tag:blogger.com,1999:blog-7000215497485678922024-03-05T10:43:02.232-08:00Bait an Oscar: July 2008Brycehttp://www.blogger.com/profile/01204405331514065742noreply@blogger.comBlogger22125tag:blogger.com,1999:blog-700021549748567892.post-21343987090763236402008-08-02T23:41:00.001-07:002008-08-02T23:41:58.473-07:00After the FallAuthor(s): D.W. Dillon (NV) & Chris M. (NJ)<br />After The Fall<br /><br />Produced by Frank Marshall<br />Directed by John Boorman<br />Written by Scott Frank<br />Music by Explosions in the Sky<br />Cinematography by Caleb Deshanel<br />Edited by Stephen Mirrione<br />Art/Set Direction by Dennis Gassner<br />Costumes by Patricia Field<br />Sound by Bob Beemer<br />Sound Effects Editing by Richard Hymns<br />Special Effects by Robert Lagato & Mark Lasoff<br />Original Music by Dolores O'Riordan<br /><br />Principal Cast<br /><br />Jack Nicholson as Adam Garrity<br />Sigourney Weaver as Vivian Faulkner<br />Hugh O'Conor as Liam O'Rielly<br />Nora-Jane Noone as Nessa O'Reilly<br />Sophie Okenedo as Evelyn Harvey<br />Robert John Burke as President Hennigan<br /><br />Tagline: "We all fall down."<br /><br />Synopsis: Caldera de Tuberiente, the plain-leveled volcanic cauldron is the notorious fixture of La Palma Island in the Canary's, off the coast of Spain. When it erupted, causing a mega-tsunami, nobody thought it could reach Ireland. The hundreds of thousands of Irish in seaside towns were now buried in a watery grave. Not even President Hennigan (Robert John Burke) survived the onslaught. With the country bleeding under an economic upheaval, vice president Vivian Faulkner (Sigourney Weaver) sought to bandage the gaping wound of what was once the proud Emerald Island that is Ireland, now the lawless land of old.<br /><br />To see them come out of the woodwork from all directions would make any photo journalist's camera shake. To see street hooligans overwhelming local law enforcement, with more than half the military devoting all it’s resources to rebuilding major cities. The pickings were ripe to take over an ailing country. And that was when I, Liam O'Rielly (Hugh O'Conor), took my first picture of Mr. Adam Garrity (Jack Nicholson). After losing his wife and child in the tsunami, the excommunicated Catholic priest turned pub owner preacher spoke not the word of god, but of repent and re-order. His charismatic preaching reached the masses quickly, from propping himself a-top a milk carton in the middle of a town, then onto radio and television. He reminded me of my rebellious youth as a punk rocker protesting whatever society had to offer. His demand for the sinners and government conspirators to pay for the country's suffering as well as his own was his only goal, and I followed. Accompanied by his enigmatic associate, Evelyn Harvey (Sophie Okenedo), he would strike fear into the fearful, and uplift the weak into carrying out subtle acts of terror that would mirror the IRA and KKK of old. Evelyn had too, lost her family. Her hooded sweater covered her pain and anger, with only the darkness in her eyes piercing the lens of my camera. The only picture I would ever capture of Miss Evelyn would also be the most infamous.<br /><br />When mass let out at the newly built St. Patrick's Cathedral in the rubble capital of Dublin, President Faulkner's speech to the public at the steps of the grand new church was to be a symbol of hope for the country. President Faulkner imagined an entire country that was truly green, in her heart and on earth. To my mentor, it was futile scientific nonsense that he deemed costly and irresponsible; to watch unsheltered people starve while the president took her time building recycling centers. But she spoke proud and we listened, and we took pictures, and the world had changed in an instant at the snap of my Canon 7 55mm lens as it caught Evelyn Harvey, dressed in religious garb, placing the barrel of her Luger to the head of a now proven leader.<br /><br />The life I had lead through a camera that captured a dying nation came with a price. My darling wife Nessa (Nora-Jane Noone) now rested in the arms of the same man I had worshipped. A country lost another great leader, and my accomplishments, while rewarding, ailed me so. Now on the dole with nothing but painful and regretful memories, compiling the photos of all the atrocities at the behest of Adam Garrity opened my eyes; from the hangings, bombings, and assassinations to the brainwashing and manipulation of a nation... A man once so displaced with government now looked to run for President of Ireland as if he were their savior. But the public will come to know this man as I did, see as I saw...Not as my mentor, but as a true monster after the fall.<br /><br />What the Press Will Say?:<br /><br />The Round Table with Richard Schickel from Time Magazine: Featuring screenwriter Scott Frank, director John Boorman, actors Jack Nicholson and Sigourney Weaver, of "After the Fall"<br /><br />Richard Schickel: Let us start with Scott Frank, what led you to write this devastating film about a volcanic eruption that causes a mega-tsunami that hits Ireland?<br /><br />Frank: It was a combination of things; I caught this doomsday scenario on National Geographic and thought, "How would a country bounce back...", and the different variables that would encompass such an event. From society's behavior to the government's actions - It's more society vs. government than anything. They rebel in the form of Jack's character Adam Garrity, as he uses religion to influence the people, while the government attempts to pick up the pieces. Ireland's a proud country, who had great leaders like Eamon de Valera, and I think Sigourney's character embodies his vision of Ireland. Her character goes through a lot and she really is the backbone of the film.<br /><br />Schickel: Sigourney Weaver, welcome, tell me about President Vivian Faulkner?<br /><br />Weaver: She is one of those strong female characters that don't come along very often. The president and government's back-story before the mega-tsunami was pretty status quo. Her character breaks new ground, goes against the grain, ditches the advisors and begins an ambitious, yet dangerous journey. You got a nut in Jack's character who's become a growing threat, her cabinet looking to replace her, as well as the people not believing in her. Jack's character leads the bunch and let me tell you, I only have a few scenes with him; One in particular where we debate each other in the middle of a small town, we got so aggravated with one another in the scene, I believed we truly hated each other for a moment. I remember when John yelled cut my fists were clenched, I was ready to deck him. (Laughs)<br /><br />*Jack Nicholson interjects*<br /><br />Jack Nicholson: Richard, there's something to be said about a woman with that kind of a conviction. Really it's a brilliant scene between Sigourney and I - I'm there to stir the pot, up everyone's game and if that means hitting where it hurts, then I'm going for the gut.<br /><br />Schickel: Your character Adam Garrity is a mixture of Hoffa and Daniel-Day Lewis' Bill the Butcher from Gangs of New York. Were you inspired by any characters, fiction or otherwise?<br /><br />Nicholson: (Laughs), funny you should ask that, I ran into Liam Neeson who visited the set, and told him about the role. He of course, played the famous Irish rebel Michael Collins and he more or less tells me I'm playing an evil Michael Collins. But Bobby Duvall's performance in The Apostle stayed with me, yeah...<br /><br />Schickel: John Boorman, director of such classic and diverse films such as Deliverance, Excalibur and Hope & Glory, tell me, what drew you to this project?<br /><br />Boorman: This film felt urgent – even though it’s completely fictional it read like it had happened, or could happen... If you’re looking for politics it has it. If you’re looking for religion it has it. The movie is done in such a way it doesn’t point fingers and is not judgmental, you, the audience is allowed to do all of that. As for shooting the film in Ireland and staying authentic and true to the culture, I mean, it's easy when you got the likes of great Irish actors who are a staple in their cinema with Hugh O'Conor who I first noticed playing a long Daniel-Day Lewis in My Left Foot. He is a fearless actor who takes chances and loves to battle the heavyweights on screen – and least we forget the talent that is Sophie Okenedo, who I must say gives that raw, brutally powerful performance. I think she surprised me most, you see when you meet her, she’s so soft spoken, you think she’s this delicate girl, then you watch her as Evelyn Harvey, and you are mesmerized.<br /><br />*Jack Nicholson and Sigourney Weaver both nod in agreement.*<br /><br />Schickel: The film has gotten some scathing attacks from religious groups such as the 700 club and the Evangelicals, and from Feminist groups, particularly with the controversial scene involving President Faulkner.<br /><br />Boorman: I knew going into this that would stir the pot – but at the end of the day it’s just a movie. The movie has millions of meanings and if they want to focus on particular scenes and issue then let them. But at the end of the day, the movie must have been effective, if it’s creating this type of passion, then I guess we have done something right. Art is dangerous, it needs to challenge us, because if it's not making you think, its not art. There's a lot of trivia to this film from being inspired by the tornado that wrecked Greensburg, Kansas, where the community is now rebuilding an almost completely environmental friendly city, to Ireland's rebellious past and all those great disaster genre pictures like George Seaton's Airport.<br /><br />Schickel: But it's much, much more. It starts out as a tragedy and ends bittersweet, but on the way it's a very politically charged period piece drama in the sense that the scenery is undeveloped because of the tsunami. The debates are held in places like a town center and over the radio, as if Abraham Lincoln and Stephen Douglas were campaigning for President.<br /><br />Boorman: I think Scott Frank and I wanted to strip the nation and show the struggle to rebuild it.<br /><br />Schickel Well, I think you succeeded and look forward to seeing it again. We are out of time, so I want to thank the stars of "After the Fall" for joining us, Jack Nicholson and Sigourney Weaver, writer Scott Frank and director John Boorman. Take care.<br /><br />For Your Consideration<br />Best Picture<br />Best Director - John Boorman<br />Best Actor - Jack Nicholson<br />Best Actress - Sigourney Weaver<br />Best Supporting Actor - Hugh O'Conor<br />Best Supporting Actress - Sophie Okenedo<br />Best Original Screenplay - Scott FrankBrycehttp://www.blogger.com/profile/01204405331514065742noreply@blogger.com0tag:blogger.com,1999:blog-700021549748567892.post-70360572139163087252008-08-02T23:39:00.000-07:002008-08-02T23:40:58.656-07:00The Aftermath<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgblXojShoHcMir3C9sjnEncEE0p8shX3dLa4vY_XLZBKPXYOPZPwC1NTmRk-1dGf0AZp0aCE6ohribbBXk-qUIwJ1UpzpfMcH6nzOBT3RbO-6RXb1P1rraq7ZdoXbsxpTtUUnlTJR1zw0O/s1600-h/The20Aftermath1.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgblXojShoHcMir3C9sjnEncEE0p8shX3dLa4vY_XLZBKPXYOPZPwC1NTmRk-1dGf0AZp0aCE6ohribbBXk-qUIwJ1UpzpfMcH6nzOBT3RbO-6RXb1P1rraq7ZdoXbsxpTtUUnlTJR1zw0O/s320/The20Aftermath1.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5230177697489323474" /></a><br /><br />Author(s): Chris P. (IL)<br />The Aftermath<br /><br />Directed by Antoine Fuqua<br />Written by Michael Schiffer<br />Produced by Edward Zwick and Marshall Herskovitz<br />Distributed by Warner Bro. Pictures<br />Music by Mark Isham<br />Edited by Conrad Buff IV<br />Cinematography by Philippe Rousselot<br /><br />Main Cast<br />Christian Bale as Officer Kyle Mitchell<br />Taraji P. Henson as Yvette Charles<br />Kevin Zegers as Officer Frank Waters<br />Ginnifer Goodwin as Michelle Mitchell<br />Loretta Devine as Shirley Charles<br />Anthony Mackie as Anthony Smith<br />James Garner as Harold Mitchell<br />Delroy Lindo as Lt. Jackson<br />William Fitchner as Bruce Waters<br />Brandon Mychal Smith as Demetrius Smith<br /><br />Tagline: "Death is at the Center of Life."<br />Synopsis: An interconnecting story, set in the crime riddled and dangerous austral streets of post-Katrina New Orleans , surrounds the dysfunctional individuals linked to the accidental murder of a corrupt teenager, the events that led to this incident, and the affects this has on their lives.<br /><br />OFFICER KYLE MITCHELL (Bale), an embittered and hot tempered southern cop, was never a man who was prone to giving or showing much compassion (which is why he's so proficient at his job). This, however, is causing a major riff between him and his exasperated wife of nearly twelve years, MICHELLE(Goodwin), a high school English teacher, and building an even substantial grudge between him and his crippled, alcoholic, and bed ridden father, HAROLD (Garner), who he blames for his unpleasant childhood and hateful attitude towards others. But after his novice partner shoots a teenager, in the heat of the moment, during an attempted store robbery, it changes his perception on life and his career forever...<br /><br />YVETTE CHARLES (Henson), a spiteful, eight month pregnant, mother figure, is facing the future pressures of motherhood, constant confrontations with her god fearing and very critical mother, SHIRLEY (Devine), coping with the damage of her home and neighborhood after the hurricane, and the resistance of her lover's, ANTHONY (Mackie), the incarcerated father of Yvette's unborn child, deeply troubled younger brother, DEMETRIUS (Smith), who lives his life on the streets as a criminal. When Demetrius is gunned down by a cop, Yvette must tell her boyfriend that his brother is dead and that she has also suffered an unfortunate miscarriage...<br /><br />OFFICER FRANK WATERS (Zegers), a rookie cop, grew up around immorality. His father, BRUCE WATERS (Fitchner), a death row inmate, was charged and convicted of killing Frank's mother during a violent argument. This is the reason Frank wanted to become a cop. LIEUTENANT JACKSON (Lindo), Officers Waters' and Mitchell's shift aid, becomes a mentor to Frank and guides him through many tough and challenging obstacles. When Frank accidentally shoots a getaway teenage delinquent, it sets off a media storm of bad publicity for his unit, exposes his reckless and out of control past, and ruins his reputation as a cop...<br /><br />"The Aftermath" is a hard hitting and powerful crime drama about the affects of death and murder, disconnected families, and the professional and personal consequences tragedies bring onto people.<br /><br />What the Press Would Say:<br /><br />"The Aftermath", a deep, thought provoking, emotionally involved, and character driven drama, is about the unintentional shooting of a teenager in New Orleans and the characters connected to this murder.<br /><br />"Training Day" director, Antoine Fuqua, and screenwriter, Michael Schiffer ("Colors"), have created a very unique, compelling, and gritty story about life struggles, death, and the burdens brought on by private and professional set backs. Fuqua brings a slick yet poignantly complex atmosphere into the lives of various characters and the incredibly difficult paths they must cross in order to sustain any sense of humanism within their tough surroundings. He also perfectly captures an authentic landscape of post-Katrina New Orleans life and the struggles some of its residents have to face up against the growing number of homicides and corruption in their communities. Schiffer's screenplay, though uses familiar material, ignores cliches and gives us fantastic and interesting characters with a natural sense of their environment. The depth Schiffer conveys into his script only enhances the extremely profound direction and astonishing performances.<br /><br />The ensemble cast is universally excellent. The ever diverse, Christian Bale, turns in yet another powerful and understated performance as Officer Kyle Mitchell, a virulent cop with little respect for his marriage, his father, the citizens he's supposed to protect, and himself. Bale's portrayal of this extremely bitter and sorrowful soul is painfully harsh yet heartbreaking, honest, and realistic. The underrated, Taraji P. Henson, plays Yvette Charles, a volatile pregnant woman who looks after her imprisoned paramour's younger brother. Henson's performance is beyond outstanding. The scene where she reveals to her boyfriend that his brother and their unborn child is dead is probably the most affective and gut wrenching things you'll see all year.<br /><br />The supporting performances are equally as memorable. Ginnifer Goodwin stars as Michelle Mitchell, the aggravated wife of an impassive cop and the teacher of a dead student. Goodwin shows this woman as lonely, afraid, and disturbed by her crumbling marriage and by her husband's constant lack of love and admiration. Loretta Devine portrays Shirley Charles, a very religious and overprotective mother. Devine's performance is simply brilliant. She exposes this character's care and affection for her daughter's afflicted life through her severe stances. Finally, James Garner delivers a meaty and truly remarkable performance as Harold Mitchell, an alcoholic and disabled father. Garner observes the true nature of this character and makes a man who is depressed but expresses his emotions through excessive drinking and by his cruel resentment towards his son.<br /><br />"The Aftermath" is an enthralling, gripping, and carefully crafted piece. This isn't a film about race, class, Hurricane Katrina, injustice, or the law. But simply a movie about the way life and death result in the internal pain we all must face and which makes this film even more remarkable. A definite must see.<br /><br />Awards Consideration<br />Best Picture<br />Best Director - Antoine Fuqua<br />Best Actor - Christian Bale<br />Best Actress - Taraji P. Henson<br />Best Supporting Actor - James Garner<br />Best Supporting Actress - Ginnifer Goodwin<br />Best Supporting Actress - Loretta Devine<br />Best Original ScreenplayBrycehttp://www.blogger.com/profile/01204405331514065742noreply@blogger.com0tag:blogger.com,1999:blog-700021549748567892.post-20197283506526208122008-08-02T23:38:00.002-07:002008-08-02T23:39:22.755-07:00The Architects of FearAuthor(s): Tony (PA)<br />The Architects of Fear<br /><br />Directed by David Cronenberg<br />Written by David Cronenberg and Josh Olson<br />Based on the Outer Limits episode "The Architects of Fear"<br />Music by Philip Glass<br /><br />Principal Cast:<br /><br />Viggo Mortensen as Allen Leighton<br />Jennifer Connelly as Yvette Leighton<br />William Hurt as Dr. Phillip Gainer<br />Danny Huston as Dr. Hal Herschel<br /><br />Tagline: "To stop fear, we must unite. To unite, we must fear"<br /><br />Synopsis:<br /><br />Eleven of the most credible scientists in the country sit at the round table. The room is dark with the glare of cigarette smoke hovering over the table. Years have gone by since the war has started and fear is among every household. With multiple threats of attack over the years, the last resort is to unite. If humanity itself is threatened, men will stop fighting each other and work together. At the head of the table is Dr. Phillip Gainer, the chairman of the Advanced Biological Studies Group. He gives this insightful speech and proposes an idea, that if they were able to create an outside being, something the world has never seen, proof that we are not alone, nations will bond. The idea to use genetic alteration by using a mysterious life form not publicly discovered yet. The studies and surgical procedures are perfected, they only need a participant. After a drawing, Allen Leighton was chosen.<br /><br />Allen Leighton lives a normal life for a scientist. He's quiet, down to earth, and has been married to his wife, Yvette, for twelve years. Yvette is as good hearted as her husband. Her kindness and love she devotes to Allen only makes his situation more unfortunate. He must give it all away to go through with the experiment, including his unborn child, Yvette being three months pregnant.<br /><br />The process begins with a single shot, followed by holding Allen in a cell, exposing the alteration inside him. After the painful ordeal, Allen must arrange his death preparations. He informs Yvette that he's traveling out of town for a seminar across the country, his last goodbye. Weeks go by and Phillip must tell Yvette the tragic news, that Allens private jet never made its destination. The news hits hard for Yvette, but deep down she refuses to believe it. With the help of acclaimed scientist Hal Herschel, the transformation begins. Days go by as Allen's skin begins to crack as he feels his organs slowly change every day. The more he misses Yvette, the more hostile and hopeless he becomes. An outraged Gainer must keep Allen's spirits high while comforting Yvette. While dealing with her pain, Yvette questions the words around her and begins to search the truth to what really happened to her husband.<br /><br />The change worsens as Allen begins to have violent tantrums and schizophrenic episodes. He barges out of his restraints with angry tendencies. He attempts to call the one thing he remembers in his life, Yvette, only for her to hear the desperate screams that strikingly sound like her husband as Gainer and Herschel struggle to contain him. Months go by and the experiment is complete. An emotionless creature is confined, unlike anything anyone has ever seen before. Their plan is to fly him out of the country at a designated target for the world to see and have the idea more will come. It is too late, the creature is so overpowering he manages to kill his way out of the laboratory. His remaining instinct is to go home. He enters his home as Yvette stares in fright. The creature struggles to breath and reaches out to her as he crumbles to the floor. Gainer and the remaining scientists enter the room to see their creation die in front of them. The change was too much for him to handle. Yvette knees to the ground and puts the pieces together. Her cry is screaming, her last goodbye.<br /><br />What the press would say:<br /><br />The public have been striving for a film like "The Architects of Fear", one that captivates the essence of horror blended in with remarkable storytelling, beautiful imagery, stunning acting, and a cerebral emotional experience. What was once shown as an hour long episode on The Outer Limits is now remastered, retold, and redone in such spectacular fashion. David Cronenberg signed his name as the director and writer of the film, bringing his legendary horror elements to the screen, along with screenplay writer of History of Violence, Josh Olson. Together, the two clash and blend their own respectful styles into one gem. Olson masters the home life scenes, the hidden tension between the characters that we can only assume is going through their mind. Meanwhile, Cronenberg also covers traumatizing human nature into a graphic, unforgettable fantasy. Cronenberg overwhelms us with a sublime mixture drama and misery. Beyond all that lies a tragic love story about a husband and wife that we feel absolutely hopeless for that we ourselves feel hopeless. A beautifully illustrated romance between Allen and Yvette is so staggering that we eagerly, yet painfully wait for the unhappy ending to follow. An ending to which there is a great suspense created through the entire film that builds up to that one scene where our main characters are together one more time.<br /><br />Viggo Mortensen is our lead guy. He plays the humble scientist Allen Leighton. Leighton reminds us all of the ideal husband. Loyal, mild mannered, intelligent, a hard worker, but has time to cook his wife dinner and watch a movie together. Although his job is demanding, his smile never disappears when he's with his love. Mortensen is shockingly excellent in a difficult role that must connect with us viewers so we can feel his pain as his transformation continues throughout the film. As it worsens, no longer do we see his understated charm. We can see the torment and helplessness through this astonishing performance that is worthy of Academy attention. Jennifer Connelly plays his wife, Yvette. Connelly's acting is undeniably convincing that along with her chemistry with Viggo, it makes the film into what it is. Her performance can be compared to Viggos, as far as character developments. Connelly shows great range from being emotionally destraut after hearing her husband is dead, but as the film goes on she becomes more suspicious and she can't believe anything she hears. She doesn't know why they would lie, but that sinking feeling in her gut that her husband isn't dead doesn't go away. Instead of feeling pain because of her deceased husband, she feels that he is alive and there's nothing she can do about it. A pure, unadulterated masterful performance. Finally, William Hurt joins the cast as a very interesting character in Dr. Phillip Gainer. Hurt is the wildcard that the viewers don't know how to look upon, which is a great feeling to have as an actor. He truly believes what he's doing is for the good of mankind, but guilt is inevitable. Although he cares for the two of them, he's a manipulator that looks at science as top priority. It's debatable whether his actions are justified, but one is for sure, Hurt is electrifying in his attempts.<br /><br />"The Architects of Fear" is a film that cannot be taken lightly. From its haunting music cues to sinister outcomes, it never fails to disappoint. At times it may not be pleasant to look at, but every scene serves a purpose, even the graphic ones that aren't overly done but sophisticated. An intelligent, science fiction love story that pays tribute to the 1963 episode. Cronenberg takes his new found wits he gained from "History of Violence" and "Eastern Promises", and combines them with his intense atmosphere and uneasy vibes from his horror classics. Beneath the brilliant make-up effects and "yucks" there lies a strong core. It's the events that change our characters emotionally, not physically, that inspires the true horror. A horror none of us will forget anytime soon. That being said, it's a lesson of its own. One that says there is no magical substitute for mutual love.<br /><br />FYC:<br /><br />Best Picture<br />Best Director - David Cronenberg<br />Best Actor - Viggo Mortensen<br />Best Actress - Jennifer Connelly<br />Best Supporting Actor - William Hurt<br />Best Adapted Screenplay - David Cronenberg and Josh OlsonBrycehttp://www.blogger.com/profile/01204405331514065742noreply@blogger.com0tag:blogger.com,1999:blog-700021549748567892.post-62369461372169978592008-08-02T23:38:00.001-07:002008-08-02T23:38:45.604-07:00Baked AlaskaAuthor(s): Brian (AZ)<br />Baked Alaska<br /><br />Directed by Richard Linklater<br />Written by Tina Fey<br /><br />Main Cast<br /><br />Kristen Stewart (Erin Rothman)<br />Kevin Kline (Jerome Flanagan)<br />Joan Cusack (Deirdre Rothman)<br />Bette Midler (Rita Flanagan)<br />Alan Alda (Victor Rothman)<br />Tina Fey (Carrie Rothman)<br />Zooey Deschanel (Lily Flanagan)<br /><br />Tagline: “A Celebration of Friendship, Dreams and Dessert.”<br /><br />Synopsis:<br /><br />Rothman’s Diner is the premier restaurant in Sitka, Alaska. The menu has just a little bit of everything: steaks, fish, salads, sandwiches—the usual. Everyone that goes in knows their servers’ names and is more than likely good friends with the owners. Rothman’s was opened 60 years ago by the deceased George Rothman, then was passed down to his now semi-retired, insult-spewing son Victor, and then to Victor’s eldest daughter, Deirdre, a self-pitying yet oddly lovable divorcee (a choice that came much to the dismay of his younger daughter, the neurotic, self-absorbed Carrie). And when Deirdre retires, she is prepared to hand the title of Manager down to her daughter, Erin. At least, that’s the plan. The last thing Erin wants is own the diner. What Erin really wants to do is move out to Hollywood and try to break in as an actress. But when she tells that to her family, no one takes her seriously or even considers allowing her to go. Erin, however, remains determined…for a while, at least. But this being the summer before her senior year, the odds of her dream coming true are looking increasingly miniscule by the day.<br /><br />Risky Business is the fastest growing restaurant chain in the country. The menu is essentially the same as Rothman’s, but with a bit more selection and notably lower prices. The managers of this particular branch are Jerome and Rita Flanagan, a married couple who have been traveling across the nation for several years opening new establishments. Rita is convinced (and rightfully so) that, if she can make this branch a success, both she and her husband will finally be promoted to the stature of “Executive Expansion Supervisors.” She will stop at absolutely, positively nothing to reach that title. Their daughter, Lily, joined the family business when she graduated from college, and is equally as devoted to working her way up the ladder. Jerome, on the other hand, couldn’t possibly care less. Since he married Rita thirty years ago and began working for Risky Business, he’s essentially zoned out of life. After his attempts at being a writer failed miserably, Jerome has given up hope on ever truly being happy.<br /><br />The two groups inherently hate one another. Carrie (in an act that showcases her over-the-top antics) goes as far as to egg Risky Business’ building, while Lily purchases a television ad stating that when she was having lunch at Rothman’s, her soup “smelled of rat poison.” One evening, Deirdre and Rita scheduled to have a “discussion” on a local news station; this being a huge issue for a small town. During the taping of the debate, Erin and Jerome bump into each other for the first time. Each of them expects the other to be passive aggressive or blatantly rude to them, as all of the other family members have been. This, however, is not the case. And so, the two are naturally intrigued by one another. After exchanging grievances to one another during the taping, Erin and Jerome agree to meet, in secrecy, in the wilderness, as both of them love the idea of having someone they can talk to that understands their strife. And from there, an unforgettable friendship forms. Over the next year, they would escape a bear attack, give each other recipes, race each other on a glacier and set up a camp inside a waterfall. Jerome would convince Erin to audition for the school play, Erin would be the first person to read a manuscript Jerome wrote thirty-five years ago, Jerome would write Erin a monologue and Erin would start calling Jerome “dad.”<br /><br />What the Press Would Say:<br /><br />“Baked Alaska” opens with a shot of the Alaska wilderness. This shot is immediately followed by a shot of a plate of food being served. Then the wilderness again. Then food. Wilderness. Food. And by the end of the montage, you realize that you are about to see the sweetest, most honest and most stomach-achingly hilarious film of the year. And that first impression is absolutely correct.<br /><br />It is hard to talk about “Baked Alaska” without first talking about the cast. Kevin Kline, Kristen Stewart, Joan Cusack, Bette Midler, Alan Alda, Tina Fey (who also penned the screenplay) and Zooey Deschanel. Where can I even begin? I suppose with the two main supporting women. It is fairly rare for a film to pick up two Oscar nominations in one acting category, but I believe that “Baked Alaska” has the potential to do just that. Joan Cusack plays Deirdre, the frustrated, self-demeaning manager of Rothman’s Diner, the local hot spot in Sitka, Alaska. Cusack is certainly no stranger to playing these overwrought comedic characters, but she’s never been as on top of her game as she is here. She is quick to pick up on Fey’s subtexts and character development, and gives one of the most multi-layered performances of her career. Cusack, however, is topped by her co-star Bette Midler, who portrays a selfish bitch-on-wheels desperate to work her way up the corporate ladder. Midler incorporates the side-splitting humor she has become famous for into the role, but also adds emotional depth, as displayed in her final scene (I don’t want to spoil anything, but it involves her husband confronting her). The best scene for both of these ladies would have to be towards the beginning, where their characters are having a debate on local television. Again, it wouldn’t be as funny as it is if I were to tell you what happens, so I will just let you be (pleasantly) surprised. However, as I said, Midler and Cusack are the supporting players. The leads are Oscar winner Kevin Kline and the up-and-coming Kristen Stewart, who was last seen as Rachel Price in “The Poisonwood Bible.” I don’t know if I’ve ever seen such strong chemistry between people with such a large age gap. Stewart plays Erin Rothman, the daughter of Cusack’s character and heir apparent to owning the diner. Her character is a sarcastic, unhappy teenager who yearns to be an actress. Much like her co-stars, Stewart finds complexity in what is, on the surface, a relatively simple character. The character has become so used to taking care of herself that she doesn’t know what to do when Kline’s character offers a helping hand. This a difficult theme to reflect when it is never flat-out stated, but Stewart’s performance makes it all crystal clear. This theme is best amplified in a scene where Kline picks Stewart up from a party where she has clearly been drinking; a great scene for both of them. Kevin Kline is known to mix humor and drama into his performances, and his work in “Baked Alaska” is no exception. However, this is also unlike anything he ahs ever done, as this time his character is not eccentric or “wacky”, but downbeat and depressed. And if this is any indication of what he can do with these sorts of characters, then bring it on. Kline is understated and haunting (see: his first run-in with Stewart), but also hilarious and imaginative (see: the waterfall scene). I really do believe that each and every one of these performances have strong Oscar potential. This is one of the strongest ensemble casts I’ve seen in a while.<br /><br />As with most dramdies, the real star of the film is the screenplay. From the moment it was announced that Tina Fey was the writer of this film, I, like most others, was quite intrigued. I was expecting another “Mean Girls.” The result was not quite that. It was actually better. When it wants to be, “Baked Alaska” is just as funny as Fey’s last feature project, but it also has strong dramatic heft in the more serious scenes. Fey has done more than prove to us that she is capable of comedy with her years on SNL and the current hit sitcom “30 Rock”, and has hinted to us that she is capable of drama in each of her endeavors as well. And “Baked Alaska” solidifies that theory. The script is also complimented by excellent direction from Richard Linklater who, like Fey, combines his hilarious comedic work (“Dazed and Confused”) with his thoughtful dramatic work (“Before Sunrise/Sunset”). All too often, the directors of comedies are overlooked at the Oscars. However, I can sense that this will not be the case for Linklater. He uses the Alaskan environment entirely to his advantage, with sweeping, practically epic shots of the wilderness. Hopefully that will be enough to solidify an Oscar nomination.<br /><br />This is the most fun you will have at the movies this year, no matter who you are. “Baked Alaska” is a rare gift to moviegoers that I encourage you to accept as soon as possible.<br /><br />FYC:<br />Best Picture<br />Best Director (Richard Linklater)<br />Best Actor (Kevin Kline)<br />Best Actress (Kristen Stewart)<br />Best Supporting Actress (Joan Cusack)<br />Best Supporting Actress (Bette Midler)<br />Best Original ScreenplayBrycehttp://www.blogger.com/profile/01204405331514065742noreply@blogger.com0tag:blogger.com,1999:blog-700021549748567892.post-29603469337873788222008-08-02T23:37:00.000-07:002008-08-02T23:38:11.044-07:00Conviction<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWKDXvMvwwwfBiSiPmy7WQc79mx1NO_jVJNotX0rp9HuKGVtXC2BxTU_OCuQvABG7G0PMnckiGLL_feehkZ9Zr-fvwq2s2qZku9SELVn5SV2jSq4BkQh8JLb5kxUC78uuU6Udi6pfSYJ3i/s1600-h/CONVICTIONposter.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWKDXvMvwwwfBiSiPmy7WQc79mx1NO_jVJNotX0rp9HuKGVtXC2BxTU_OCuQvABG7G0PMnckiGLL_feehkZ9Zr-fvwq2s2qZku9SELVn5SV2jSq4BkQh8JLb5kxUC78uuU6Udi6pfSYJ3i/s320/CONVICTIONposter.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5230176977912817618" /></a><br /><br />Author(s): Douglas Reese (MI)<br />Conviction<br /><br />Written and Directed by Eli Roth<br />Produced by Eli Roth<br />Director of Photography: Milan Chadima<br />Edited by George Folsey, Jr.<br /><br />Cast:<br /><br />Jeremy Sisto ... Jackson Meiks<br />Maggie Gyllenhaal ... Helen Adams<br />Jordan Ladd ... Tiffany Leigh<br />Jacob Kogan ... Junior Meiks<br /><br />Tagline: “One Only Sees Truth When They Have Faith”<br /><br />Plot:<br /><br />The car flipped four times before arriving at a halt. Due to the impact of the road and his head, Jackson suffers from a third degree brain hemorrhage. His son, Junior, dies in the hospital a few hours after the accident. Jackson leaves the hospital four months later only to dedicate the next three month after to Christianity. His friend Helen arrives every Sunday morning, giving Jackson a ride to church where Jackson spends his best time asking his Lord to forgive him. Jackson feels at fault for Junior's death. Helen, dedicating herself as much to helping Jackson as possible, offering him dinners after church and even allowing him to move into her house. Jackson, however, decides to remain in his apartment alone.<br /><br />Jackson's younger sister Tiffany, a fractured woman that has carelessly lead her own life toward a commitment to heroin, breaks Jackson's self-isolation when she asks to stay a week. She tells him its because she is ready to get her life back on track, but Jackson can tell that its for a more dark, secretive reason. He does allow her to, feeling that its the right thing to do.<br /><br />Tiffany keeps herself on a very destructive schedule. An emotionless vampire, she sleeps during the day, and disappears from the apartment during the night, and Jackson can only feel low for Tiffany. Tiffany returns home one night with a friend of hers. The two shoot up in Jackson's bathroom. Jackson acts as if he is clueless of what they were doing. And it is on this night, while Jackson prepares to go to bed, that he sees a man in his window. A man that eerily resembles Jesus Christ. The man just stares, and Jackson does as well. He walks away. Arriving and peering out the window to view his vacant snow-covered front yard.<br /><br />The next day, after watching Tiffany and her girl pal sleep it away on his living room floor, he eats dinner with Helen and tells her of his visitation. Helen, sort of worried about her friend, goes along with Jackson's story and tells him that “its a turn of faith and a sign that God has your back. I feel there is no other solution to this situation than that.” Later that night, Tiffany leaves for the night. While remaining in his bedroom playing oldie records, Jackson is visited once again. Only this time, its not Jesus. It is his son Junior.<br /><br />Junior tells Jackson that a dark and demonic force is moving in on him and his home. The dark force, as Junior explains, is an invisible predator and it lurks deep within Tiffany. And this force needs to be destroyed to not only help Jackson and his own soul, but to keep Tiffany from serving a terrible fate at the hands of Satan. And it is on this Saturday night that Tiffany comes home, emotionless and altered by drugs and alcohol. She curses at Jackson, hits him, and blames him for past family circumstances. With a simple appearance of Junior leading him to a kitchen knife, Jackson slashes and stabs at his baby sister, until she gasps her last breath on the kitchen floor.<br /><br />Helen arrives the next morning, expecting Jackson to exit his apartment for church. Strangely, and unlike him, he doesn't come out. Helen knocks at the screen door, the main door remaining open for he to see the living room. Jackson doesn't arrive to the door, and Helen, decides to go in and see if he is alright. Walking through the living room and into the kitchen, Helen is terrified at the sight of blood. On the floor, the puddles enthrall an immediate reaction to her subconscious. She takes out her cell phone and calls the police. And it is not until after the phone call that Helen begins to hear a faint voice coming from the bedroom. Walking down the hallway she finds her way to the bedroom. A vague sight startles her as she makes a yelp and stares at Jackson, who sits on her bed, covered in blood, his little sister's head lying in his lap. He brushes her blood-stained blonde hair. He stares into space, slurring and mumbling the Lord's prayer. Helen becomes ached with terror. She slowly shuts the door.<br /><br />What the Press Would Say:<br /><br />Eli Roth, best known for his graphic holds-no-bars horror films, has bravely constructed a horror film of a different kind. Brilliantly constructing his character, Roth buries deep within sorrow and guilt as he fabricates Jackson Meiks, a tragically blistered soul who begins a rampant change toward personal weakness as he begins to fall into a depressive state. Roth is intelligent in his screenplay, structuring this character into a completely authentic and realistic situation, and Roth brings this character to brilliant depths by casting Jeremy Sisto as Jackson. Sisto is a completely deep actor who finds great emotional depths in his character. A greatly executed performance, Sisto never backs down from reaching into terrifying complexities of Jackson and in the end, gives the film an astounding sense of human weakness. In a scene when dead son Junior reappears to him, Sisto portrays so much emotion with a single tear drop and subtly creates a sense of love rediscovered. A truly great sequence showing an underrated actor in a fluently and authentically developed performance. In an unforgettably comfortable portrayal, Maggie Gyllenhaal portrays Jackson's friend Helen with a great deal of life. She seems like a down-to-earth woman that is there for her friend and in hopes of helping keep foot of him. In her scenes with Jackson she shows care. In the final scene in Jackson's apartment, she brings focus not only to terror, but of pity. The final shot of her expression as she realizes Jackson's mind has lost momentum and closing the bedroom door is exceptionally acted, with Gyllenhaal bringing so much to the screen in such little time. A true woman is brought to the screen through Gyllenhaal's portrayal. As for writer/director Eli Roth, it is clear that he is capable of creating a greater and more complex horror film, that doesn't rely only on its terror, but on its character, whose loss of conviction with himself brings him down to his mental unstableness at the film's climax. A truly masterful direction by a director who deftly understands his genre. A terrific, emotionally devastating, and ultimately saddening psychological horror story has finally been told – and to perfection.<br /><br />For Your Consideration:<br /><br />Best Picture<br />Best Director – Eli Roth<br />Best Original Screenplay<br />Best Actor – Jeremy Sisto<br />Best Supporting Actress – Maggie GyllenhaalBrycehttp://www.blogger.com/profile/01204405331514065742noreply@blogger.com0tag:blogger.com,1999:blog-700021549748567892.post-74478482028298419202008-08-02T23:35:00.000-07:002008-08-02T23:36:59.845-07:00Dirty Little Secret<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd2aIaAkKX1-f33X3uQ5HIdA30MMQr1NIZckegbdrermGxc_pU7j0zsJIm5GX4LmELCJfhK5uhuJ-vyQNVBwFHa3U62SxSpJSc3P-_aXPQjG9PrWJS4K1lkiifLUtdIOsiSbDZ0m-UlGGw/s1600-h/dirty-little-secret_front1copy.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd2aIaAkKX1-f33X3uQ5HIdA30MMQr1NIZckegbdrermGxc_pU7j0zsJIm5GX4LmELCJfhK5uhuJ-vyQNVBwFHa3U62SxSpJSc3P-_aXPQjG9PrWJS4K1lkiifLUtdIOsiSbDZ0m-UlGGw/s320/dirty-little-secret_front1copy.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5230176668483575474" /></a><br /><br />Author(s): Evan (NY)<br />Dirty Little Secret<br /><br />Director: Noah Baumbach<br />Writer: Noah Baumbach and Frank Warren<br /><br />Cast<br />Dustin Hoffman – Frank Warren<br />Josh Brolin – Anonymous Man<br />Frances McDormand - Anonymous Woman<br />Randy Shelly - Anonymous Teen<br /><br />Tagline: “Secrets are only safe in the most public of places.”<br /><br />Synopsis:<br /><br />Frank<br />The simple concept of the Post Secret project was that completely anonymous people decorate a postcard and portray a secret that they had never previously revealed. No restrictions are made on the content of the<br />secret; only that it must be completely truthful and must never have been spoken before…Frank Warren started the website on blogspot on January 1st, 2005. He receives thousands of postcards monthly and has to select a few every week to go on the site. Topics range from sexual misconduct and murder to secret phobias or lies. Each postcard tells a story, and Frank likes to play the stories out in his head the way he thinks they have gone. When three postcards come the same day, from the same post office, he looks them over and thinks out the story…<br /><br />Anonymous Man<br />Postcard: “I don’t want him to turn out like me”<br /><br />The man is a heavy drinker and has, on multiple occasions had to be taken to the hospital to have his stomach pumped. He loses his job and can no longer provide for his family. He is unaware of his wife’s anger, and completely ignores his son… unless he’s drunk. When he is drunk he gets crazy. He beats his wife and tells his son to perform obscene acts on him. When he turns sober and remembers what he has done he regrets it completely. A stake is driven through his stomach each time he wakes up and remembers what he has done. But he can’t talk to them about it. He pretends he doesn’t remember, that everything is OK.<br /><br />Anonymous Woman<br />Postcard: “I saved the life of someone I truly hate. Nobody will ever know that it was me.”<br /><br />The woman hated her husband not only was he irresponsible and lazy, he was mean. However loud she yelled, he would never do what she told him to. It was a waste of her life to stick around, but without a high school diploma, she couldn’t provide for her own son. Once, her son was out at a movie, alone, and her husband collapsed. She rushed over and felt for a pulse. Upon locating it, she performed CPR on him until a glob of something shot out of his mouth. She laid him on his bed and walks out of the room, to clean the kitchen.<br /><br />Anonymous Teen<br />Postcard: “I want life to be simple and easy… again.”<br /><br />The Teenager sat alone in movie theatres. He liked to watch other people’s lives, because his was plainly unbearable. Also, movies always had happy endings. His parents always fought, and when his father got drunk, he molested him. The teenager was also gay, but he couldn’t tell anyone. His father had made him want things that only homosexuals and women want. He wished he could just go back to when he was younger, when playing on his own was fun, when he could use his imagination without the rude interruptions that the real world presented. The teenager wants to be in that place again, a place where everything is simple and easy, and where his mother and father were still in love.<br /><br />What The Press Would Say<br /><br />Although many post-secret postcards are hilarious and cool, many that are sent to Frank Warren concern very serious issues in peoples lives, and “Dirty Little Secret,” Noah Baumbachs new film dives into where all the bad starts in people. Following a normal, three-person suburban family, Mr. Baumbach crafts an intensely vivid portrayal of guilt, grief, and the power that every person has to change themselves. In this film, the first story that is shown is that of Frank Warren, the creator of the post-secret art movement. Dustin Hoffman gives a surprisingly reserved performance as the mellow intellectual, and lover of art. What he imagines upon receiving three postcards from the same post-office is the tight story of a woman who has an abusive husband, an alcoholic husband who molests his son, and a teenage boy who struggles with his sexuality, and his family life. The entire cast does a great job at showing just how they distance themselves from each other, and how some are struggling to bet back. Frances McDormand, who plays the anonymous women, gives a stunning performance as the woman who has a hate for her husband, but doesn’t show it. She keeps her anger bottled up, making her completely oblivious to how her son is treated. Josh Brolin also gives a powerhouse performance as an alcoholic who refuses to seek help, even though he knows he abuses his son when he is drunk. Showing us every side of the complicated octagon of a man, Mr. Brolin proves once again that he is one of the best working actors today. The young Randy Shelly, though, gives the best performance in the film. As the last story told, I expected for it to be less powerful, as the third acts of other of Noah Baumbachs films have been. I was mistaken. Mr. Shelly gives a superb portrayal of a boy who is hurt by his father, but has learned to deal. Although he is dealing with normal teenage things as well, most of these are excluded from the film. Mr. Shelly transports us deep inside the mind of this nameless character with his heartbreaking performance, as we learn about his mixed feelings about his sexuality, the grief he feels about his parents, and the longing and hope that things will go back to the way they used to be, something only a child could ever sincerely believe. Digging deep into the psychology of humans, “Dirty Little Secret” is a must see film for anyone who has ever felt, well, alone.Brycehttp://www.blogger.com/profile/01204405331514065742noreply@blogger.com0tag:blogger.com,1999:blog-700021549748567892.post-64072087855634757292008-08-02T23:34:00.001-07:002008-08-02T23:34:56.922-07:00Every Last NightAuthor(s): CJ (CA)<br />Every Last Night<br /><br />Directed by Shona Auerbach<br />Written by Naomi Foner<br />Music by Mychael Danna<br />Original Song: "Towards Your Arms" by Vienna Teng<br /><br />Kate Mara as Jillian Cowry<br />Jensen Ackles as Danny McClellan<br />Christian Coulson as Scott McClellan<br />Genevieve Bujold as Annie McClellan<br />Ian Holm as Daniel McClellan<br /><br />Tagline: What brought them together tore them apart.<br /><br />Synopsis: Mechanic Danny McClellan (Ackles) is an ex-collegiate athlete brought down by an early injury who now supports his aging parents in their Massachusetts home. When Danny’s younger brother Scott (Coulson) comes home from college and brings his girlfriend Jillian (Mara) along to meet the family, she is accepted by the McClellans warmly. As their visit wears on, however, Danny begins to feel that he is falling in love with Jillian. One late night, Danny and Jillian share a kiss, but separately resolve to never speak of it.<br /><br />The next afternoon, Scott proposes marriage to Jillian and she accepts. Months pass and Scott and Jillian’s wedding draws closer, as the interactions between Jillian and Danny grow more tenuous. Two weeks before the ceremony, Danny finally confronts Jillian with his feelings- that he is deeply in love with her. They share an impassioned night together, but afterwards Jillian tells Danny that she wants to move to California with Scott when they get married, because she loves Danny and fears driving a wedge between the close-knit family. Similarly, Danny is wracked with guilt at betraying his brother, as well as anguish at the thought of losing Jillian.<br /><br />Danny flees to his garage, and is surprised when Scott comes to seek him out. Scott, unaware that the connection between his brother and his fiancée has evolved past platonic, asks Danny to be his best man. Danny, promising himself that this marks the end of his feelings for Jillian, accepts and wishes Scott well. Following a loud explosion, all goes black. Danny wakes up in a hospital bed, his parents at his side and Jillian nowhere to be found.<br /><br />Danny’s parents tell him that there was an accident in the garage, and that he was injured. He has been in a coma for the past two weeks, making today the date planned for Jillian and Scott’s wedding. Danny demands to know his brother’s whereabouts, and his parents reveal that Scott, after lying comatose for three days, died without waking. After the funeral, Jillian left Massachusetts to return to California, and Danny's mother, Annie, knowingly tells him to let her do what she needs to.<br /><br />That winter, when after a long period of recovery Danny has been allowed to leave the hospital, he visits Scott's grave, and expresses regret about keeping the truth from him. He leaves a letter from Jillian on Scott's grave, and the film closes with Jillian's voiceover reading its contents.<br /><br />What the press says:<br /><br />‘Every Last Night’ is no feel-good film. It is a story of fallible people who give into impulse as well as make thought-out decisions. There are no heroes- the characters left in the best light are the ones granted the least amount of attention, perhaps a commentary on how an individuals flaws become more prevalent the closer we become to them.<br /><br />As Danny McClellan, Jensen Ackles carries the responsibility of a lead role well, hefting the weight of the drama on his shoulders with an accuracy that develops the predicament of his character into a third protagonist of the film. He is simultaneously drawn between the responsibilities of being the older brother, and a staunch refusal to hurt his younger brother, Scott (deftly if fleetingly played by Christian Coulson), even though he feels a growing passion for Scott’s girlfriend, later fiancée, the glitteringly unattainable Jillian.<br /><br />Kate Mara ably portrays the difficult role of Jillian, an outsider being drawn into the closeknit McClellan family. Most of Jillian’s exposition is saved for the very last scene of the film, and so the audience knows very little about the woman who causes such discord in the lives of the winningly charming McClellan boys. Mara shows the guarded but delicate emotion in her character during a tender love scene, and once all is said and done at the film’s close, her portrayal is drawn together like a well-spun mystery novel.<br /><br />‘Every Last Night’ fills itself up with complex themes, and admirably does not get bogged down with their weight in the second act. However, the execution of the film’s story does lean towards heavy-handed. It buzzes with questions and conclusions about the ideas of family, fate, the endurance of love, and most importantly, the fragile condition of hope. ‘Every Last Night’ unwinds its somewhat formulaic (and yet, most decidedly unconventional) plot with an urgency rarely seen in family dramas, placing incredible importance on each fleeting moment, which -for better or for worse-, bodily throws its audience into the thick of the characters’ lives.<br /><br />FYC:<br />Best Picture<br />Best Original Screenplay: Naomi Foner<br />Best Original Score: Mychael Danna<br />Best Actor: Jensen Ackles<br />Best Actress: Kate Mara<br />Best Supporting Actress: Genevieve BujoldBrycehttp://www.blogger.com/profile/01204405331514065742noreply@blogger.com0tag:blogger.com,1999:blog-700021549748567892.post-29587440142747621692008-08-02T23:33:00.002-07:002008-08-02T23:34:13.052-07:00A Good Man is Hard To FindAuthor(s): K. Scarlett (GA)<br />A Good Man is Hard to Find<br /><br />Directed by Bennett Miller<br />Written by Dan Futterman<br />Based Upon the short story by Flannery O'Connor<br /><br />Main Cast<br /><br />Shirley Maclaine as The Grandmother<br />Patrick Wilson as Bailey<br />Melanie Lynskey as The Mother<br />Michael Shannon as The Misfit<br />Ty Simpkins as John Wesley<br />Heidi Hayes as June Star<br />Jonah Hill as Hiram<br />Lukas Haas as Bobby Lee<br /><br />Tagline: "The grandmother didn't want to go to Florida..."<br /><br />Synopsis:<br /><br />And with these simple words, our story begins. Bailey simply wants to take his family for a nice drive down to Florida for some sight seeing, despite the protests of his mother, who insists they go to Tennessee instead. Why? Because a violent criminal who goes by the name of "The Misfit" has just escaped from the Federal Penitentiary and is rumored to be heading down to Florida, according to the newspaper. "I wouldn't take my children in any direction with a criminal like that aloose in it. I couldn't answer to my conscience as it is..."<br /><br />The family sets off on their trip. Bailey, the grandmother, the mother, the baby, and Bailey's spoiled, ill-mannered children John Wesley and June Star, who seem to take great pleasure in tormenting their ornery grandmother in the backseat. Meanwhile, the Misfit has in fact escaped from the Federal Penitentiary, meeting up with his misfit friends, Hiram and Bobby Lee, surely up to no good as they head down Florida way. Certainly no need for Bailey and his family to worry, though. After all, Florida's a very big state...right?<br /><br />What starts off as a relaxing road trip for a Georgian family turns into a simple, quiet, yet profoundly meditative story about the role of destiny and circumstance in our lives. How one simple mistake can lead to a car accident accident. And how a few simple words, spoken without forethought, can seal our fate...<br /><br /><br />What the Press would say:<br /><br />Director-writer team Bennett Miller and Dan Futterman follow-up their 2005 critically acclaimed Capote with yet another quiet examination of melancholy Americana. This time, they breathe new life into A Good Man is Hard to Find, Flannery O'Connor's classic short story about fate and consequences. Dan Futterman's expertly crafted screenplay expands upon O'Connor's effective, but terse narrative, adding just the right elements to flesh the piece into a feature length film of undeniable profundity. Much like in Capote, Gord Peterson's meticulously careful art direction expertly recreates the time and place. This time, it's a road trip through the sleepy south, aided by Adam Kimmel's beautiful cinematography. The imagery of Southern Gothic, captured so beautifully in the words of many of Flannery O'Connor's works are transferred perfectly from page to screen in this wonderful re-telling of a story that does not lend itself well to film adaptation. The film's final scenes mirror the bleakness and finality of that of the short story in a way that does the late O'Connor justice.<br /><br />Patrick Wilson and Shirley Maclaine give incredibly nuanced and often times funny performances as the squabbling mother and son, arguing over every detail of the trip. But it is Michael Shannon who is the best in show here, giving a focused performance that is at once humorous and terrifying. In the film's final moments, there is an important, yet ambiguous interchange between the Misfit and the Grandmother—one whose meaning will be discussed for years to come. It is one of the singular scenes in American cinema this year—amazingly acted, and (if there's any justice) it will certainly earn Maclaine and Shannon Oscar nominations, if not wins. A Good Man is Hard to Find moves to the front and center for every single film award out there, and will leave even the most stone-faced viewers shaken, contemplative and justifiably haunted.<br /><br />FYC:<br /><br />Best Motion Picture<br />Best Achievement in Direction: Bennett Miller<br />Best Performance by an Actor in a Leading Role: Patrick Wilson<br />Best Performance by an Actress in a Leading Role: Shirley Maclaine<br />Best Performance by an Actor in a Supporting Role: Michael Shannon<br />Best Adapted Screenplay: Paul Thomas AndersonBrycehttp://www.blogger.com/profile/01204405331514065742noreply@blogger.com0tag:blogger.com,1999:blog-700021549748567892.post-13102913811261409642008-08-02T23:33:00.001-07:002008-08-02T23:33:40.383-07:00Hale's InfernoAuthor(s): Joshua (NY)<br />Hale's Inferno<br /><br />Directed by Steven Soderbergh<br />Written by Stephen Gaghan<br />Produced by Scott Rudin & Steven Soderbergh<br />Executive Produced by Steven Spielberg<br />Distributed by Miramax Films<br />Film Editing by Dylan Tichenor<br />Cinematography by Robert Elswit<br />Costume Design by Anna B. Shepherd<br />Make-Up by Sian Grigg<br />Art Direction by Nazzareno Piana & Luca Tranchino<br />Original Score by John Williams<br /><br />Principal Cast<br /><br />Liam Neeson - Jefferson R. Hale<br />Ralph Fiennes - Gideon A. Hale<br />Ian McKellan - Charles Rafelson<br />John Malkovich - Mitch Howard<br />Paddy Considine - John Marcus<br />Charlotte Rampling - Lillian Rafelson<br />Jeremy Northam - Luther Malone<br /><br />Tagline: "Justice will be Done"<br /><br />Plot/Synopsis:<br />It's a different society here in England. We are just about entering the 20th century and I fear that by that time I will dissolve into thin air. I will lose the little I have. The reason to why I say this now is all due to the fact that years ago the use of man has been limited. These days technology has improved rapidly. Many men believe that the machines have taken over the work. I am nearly fifty-five years old and the world is not good to the elderly folk. My much younger brother Gideon and I have been estranged from each other for quite a long time, but ironically we both landed the same job here in Rafelson Factories. He too is suffering the same fate as well as all the other employees of Charles Rafelson; who are forced to feed loads of coal into the mouths of these small ovens so that the very machines that demote us function. It's an inferno for me.<br /><br />I yearn to get out, but where will I head. Today the vicious demons that carry around wips and guns killed a close friend of mine. His name was John Marcus. Apparently he went mad and destroyed a couple of small machines in the factory and also tried to murder Rafelson. He was shot down by one of the demons I speak of, Mitch Howard; In front for all the employees to see. The bullet plunged his forehead. Rumors spread that he was denied money to help an ailing family member. He must have been very desperate to go to him. Everyone knows that Charles is not a loving man. His form of love can be seen in the bruises that his wife carries around on her face. The poor women goes threw embarassment when she is seen in public. One could see her efforts of trying to cover the marks. For me she's just one example of Rafelson's cruelty. John Marcus was a human being with a family and the thought that I could be on my knees one day knowing my fate always crosses my mind. So to a tragic event, my brother and I have been spreading the word around to the other men informing them to join forces and start a union. We will take charge of the factory and shut it down completely. We will strike, and in return we ask for justice. Justice that will allow us to have better pay and protection because in the this world, that's all I need to survive and I will survive this vicious place.<br /><br />What Will The Press Say:<br /><br />A stirring look at the life of a hard working human being, Hale's Inferno takes the audience on a visceral, astounding look at the power that can unfold when one is facing situations of life and death. During the late eighteen hudrends, men work side by side in cramped shafts, under terrible conditions. This scene opens the film and conveys efficiently to the audience as the film's lead Liam Neeson looks upon the fire with retaliation on his eyes. As Jefferson Hale, Neeson navigates the complex and difficult personalities of an unsatisfied employee of a large industry as he struggles to cope with the world that he now hates.<br /><br />Tall, middle-aged, and misanthropic, Liam Neeson's Jefferson R. Hale stands and delivers a searing portrait of soul-rotting ambition. An ambition to break free of the man he is; a hard-working slave and poor. He would do anything to break free from the society of people who catch deadly diseases everyday and throw their waste right out the window without hesitation, and that means the film's spirit is as black as the underground inferno that guides Hale''s every movement. Muscularly directed by Steven Soderbergh & masterfully written by Stephen Gaghan, Hale's Inferno burns its imagery onto your brain and alters your state. It's an original, and what it has to say about the world is rarely pretty. Along with Neeson is his Schindler's List co-star Ralph Fiennes who portrays Jefferson's brother, Gideon. A great comeback for Fiennes, who delivers more than what we expect for this particular role. At times Gideon seems un-trustworthy and we can some what feel his hate for his brother. This alone brings a interesting edge to his character. It would be tough to see who succeeds if Fiennes finds himself battling veteran Ian McKellen if the two men are recognized for supporting actor consideration. McKellen's Charles Rafelson is one villian to remember as he rules Rafelson Industries and everyone around him with an iron fist. His actions are deadly in the end, and he goes to businessman Luther Malone (Jeremy Northam) who can provide a conveinent gang of men to fight off or kill any employee who get's in his way. This leads to an incredible showdown between Rafelson and Hale. Along for the vivid ride are John Malkovich who portrays one of Rafelson's vicious men who are appointed to keep watch of the workers, and Charlotte Rampling who seems to be the only women to appear more than once playing Rafelson's alarmed wife. She fears him like never before, but what will she do about it?.<br /><br />The incomparable John Williams delivers his masterful original scores for the film. It is a film in which music was given so much responsibility for creating mood. Never leaving any questions un-answered, Hale's Inferno will leave the audience satisfied until the very shocking end.<br /><br />For Your Consideration:<br /><br />Best Picture<br />Best Director - Steven Soderbergh<br />Best Actor - Liam Neeson<br />Best Supporting Actor - Ralph Fiennes<br />Best Supporting Actor - Ian McKellan<br />Best Supporting Actress - Charlotte Rampling<br />Best Original Screenplay - Stephen GaghanBrycehttp://www.blogger.com/profile/01204405331514065742noreply@blogger.com0tag:blogger.com,1999:blog-700021549748567892.post-22520667045579906932008-08-02T23:32:00.000-07:002008-08-02T23:33:06.464-07:00The House of Bernarda AlbaAuthor(s): Corey (SD)<br />The House of Bernarda Alba<br /><br />Directed By: Mike Nichols<br />Written By: Tony Kushner<br />Based on the Play By: Federico Garcia Lorca<br />Produced By: Mike Nichols, John Calley, and Sarah Polley<br />Music By: James Newton Howard<br /><br />Cast:<br /><br />Bernarda Alba: Meryl Streep<br />Angustias: Cate Blanchett<br />Adela: Emily Blunt<br />La Poncia: Diane Venora<br />Magdalena: Amy Ryan<br />Amelia: Leah Curney<br />Martirio: Sarah Polley<br />Maria Josefa: Angela Lansbury<br /><br />Synopsis:<br /><br />After the death of her second husband, Bernarda Alba imposes a period of mourning on her household that is to last eight years. Such a period of mourning has been traditional in her family. Along with Bernarda, though, her five daughters are forced to mourn along with her.<br /><br />Ranging from ages 20 to 39, the daughters have lived a life which has been controlled by their mother to an excessive degree. The period of mourning, though, isolates the daughters further and tension begins to mount within the household.<br /><br />Angustias, the eldest daughter, has inherited a large sum of money from the death of her farther. The wealth, in turn, attracts the young and attractive Pepe Romano. The two are to be married.<br /><br />Within the walls of the hot and confined house, though, it is revealed that Adela, the youngest of the daughters, has been conducting an illicit affair with Romano. Adela’s relationship with her mother and sisters becomes more strained as she struggles to keep everything a secret. Soon, Adela refuses to follow any of the instructions from her mother.<br /><br />Adela’s secret, though, is held only by Poncia, the maid. Still, as the confines of the house begin to wear on the sisters, everything unravels and Adela’s biggest secret of all threatens to tear the family apart.<br /><br />What the Press Would Say:<br /><br />Director Mike Nichols once again proves that his best projects come while working with adapted material, especially that of the stage. His first work, Who’s Afraid of Virginia Woolf? was, of course, a stage adaptation and The House of Bernarda Alba is his best since then. He handles the material masterfully.<br /><br />The cast has probably the biggest responsibility of making the movie work, and they do it. Interestingly, all of the actresses have had some stage presence at one time or another, and it shows. All deliver interesting, well fleshed passionate performances, but it’s the iconic pairing of Streep and Blanchett that makes much of the film work. Diane Venora is great though, and should receive the Oscar buzz the eluded her for her screen work in Heat.<br /><br />The material is hard to handle, but Tony Kushner does wonders. The play itself explores themes of repression, passion, and conformity, and Kushner’s adaptation does a great job covering all points. Lorca’s play was originally a foreshadowing of Fransico Franco’s fascist regime, but still the material works good in the hands of such a master.<br /><br />The film, itself, is not strictly a period piece, and not merely an adaptation. Rather, it stands as a stunning work for an immensely talented group of individuals. As a film, it helps show what repression does to individuals and helps to show that secrets and deception will, before long, begin to tear at all of us.<br /><br />Awards Consideration:<br /><br />Best Picture<br />Best Director: Mike Nichols<br />Best Actress: Meryl Streep<br />Best Supporting Actress: Cate Blanchett<br />Best Supporting Actress: Diane Venora<br />Best Adapted Screenplay: Tony KushnerBrycehttp://www.blogger.com/profile/01204405331514065742noreply@blogger.com0tag:blogger.com,1999:blog-700021549748567892.post-90980857369842009372008-08-02T23:31:00.002-07:002008-08-02T23:32:20.617-07:00I Am the Bat-ManAuthor(s): George (GA)<br />I Am the Bat-Man<br /><br />Directed by: Spike Jonze<br />Written by: Spike Jonze<br />Music by: Thomas Newman<br /><br />Cast:<br /><br />Jim Carrey as Tim Crawford/ The Bat-Man<br />Sam Elliott as Police Chief Colin Shickadance<br />Alison Lohman as Jill<br />Cary-Hiroyuki Tagawa as “Judo Master” Yakamura<br />Tim Blake Nelson as CNN reporter Mark Matheson<br />Sean Bean as Prosecutor Nathan Kelvin<br />And George Clooney as Defense Attorney Blake Johnson<br /><br />Tagline: “He changed things… Forever.”<br /><br />Synopsis:<br /><br />Where do we begin?<br />Entrepreneur/inventor Tim Crawford was sitting in his one room apartment watching the evening news. He had just finished trying to sell his new invention “The Ninja Star” which he made all by himself. People laughed at him when he told them about his inventions (after all they were all from his favorite superhero Batman) but he never stopped trying. His neighbor Jill asked why he kept doing this line of “work”. Tim honestly didn’t know, but knew he could help people if he really tried.<br /><br />Now, as he sat watching the horribly depressing evening news, he started to wonder. Why isn’t anyone actually trying to stop crime on their own? Sure, there was the police but no ONE single person ever went completely vigilante on crime, like Batman. Tim looked at all his inventions, and smiled. He had a black sweatshirt, black pants, and a batman mask he got on his twelfth birthday. Why couldn’t HE be that one guy who could stop crime…?<br /><br />Police Chief Colin Shickadance was at his two story, three bedroom house where his wife was getting ready for bed and he was sitting on the bed drinking his fifth beer. He turned on his television and turned to the city’s local news. He was amazed to see that the top story was that of a man dressing up as comic book “hero” Batman. Apparently he had caught two robbers in the act of theft and tied them up after knocking them out. Shickadance was stunned. In his 27 years on the force he never saw anyone go solo against crime. No one was that stupid. That was the kind of stupidness that was like if someone meant to say Shickadance’s name wrong. That was the epitome of stupidness. He growled as he went to bed. He would deal with this in the morning.<br /><br />Later in the week, Tim went to take Judo lessons from “Judo Master” Yakamura. He couldn’t expect to fight crime by just copying what he did in the movies. After two weeks he was ready, but “Judo Master” Yakamura had to settle for an I.O.U. instead of cash from Tim.<br /><br />Soon, Tim, I mean “The Bat-Man”, was all over the news. It wasn’t a month later until CNN reporter Mark Matheson picked up the story and broadcasted it all over the US. Jill had been giving less and less money to Tim to pay his rent as he started to get a steady job at a local grocery store and Yakamura finally got his pay. Meanwhile, Shickadance was getting angrier and angrier. Not only were new recruits constantly mispronouncing name, but the whole “Bat-Man” thing was getting out of hand. No one citizen has the right to do the police’s work. No One! He had to stop this guy before they started calling him instead of the police for help. It was simple. Trap The Bat-Man.<br /><br />On a routine night, Tim was out and about looking for criminals to stop and things like that, when all of a sudden he saw Jill in her apartment with a gun to her head. He sped over there to see if she was all right, but when he got there he saw Police Chef Shickarance (or –mance , or –lance or something like that) and was immediately knocked out.<br /><br />Two days later, Tim was exposed to the world as “The Bat-Man” and was the center of a new media sensation. When Mark Matheson received the news he was horrified and became the center of the “Free The Bat-Man” club dedicated to getting this citizen out of jail. The country fell in love with Tim/The Bat-Man because he genuinely was trying to do something good in the world. Web sites and books were written about him and he was soon put on trial. Shickadance was able to hire high-powered prosecutor Nathan Kelvin and get him to come all the way from Britain to make sure that this nut job would stay at an asylum for the rest of his life. Matheson was able to get into contact with smooth talking defense attorney Blake Johnson and got him to take Tim’s case. Kelvin had given Tim a slew of charges, and he and Johnson had to figure out how to make the jury believe they weren’t true.<br /><br />After a grueling three weeks Tim is finally put on the stand. He and Johnson had gone through a lot to prove his innocence, but Kelvin had gotten Jill to testify against him and claimed that she didn’t know he was “The Bat-Man”. Johnson had done all he could and so had Tim. Tim finally is able to speak for himself and says that he had only done good for the city and had not made any innocent people endangered or injured. What he did was to try and help his decaying city and country stop the crime that was suffocating the people around him. The jury was ready to reach a decision. The whole country was tuning in. Tim was ready for his fate. The verdict came out: NOT GUILTY!<br /><br />What the Press Would Say:<br /><br />Spike Jonze’s new comedy takes weirdness and the effect of public opinion to another level. “I Am the Bat-Man” is funny, and occasionally gut-wrenching look, at the effect of how one man can send this nation into a downright frenzy. The film also has many references to new Batman film, The Dark Knight and pokes fun at some of its trailer’s most used lines (the tagline is an obvious example). Jim Carrey leads this all-star cast as the multi-dimensional and lovable Tim Crawford aka “The Bat-Man”. Sam Elliott pulls out a downright mean and gutsy performance as the ill-tempered and oddly named Police Chief Shickadance. He gives a comedic edge to the film (the mere saying of his name can cause you to laugh) and is never boring on screen. Alison Lohman gives a believable and emotional performance, as Cary-Hiroyuki Tagawa gives a funny and sometimes silly performance as “Judo Master” Yakamura. Tim Blake Nelson also gives a good performance for what he is given, but it is Sean Bean and George Clooney who give two of the best performances in the film. Bean excels as the cold and seemingly heartless prosecutor Nathan Kelvin. His many monologues gives him plenty of time to see how capable he really is and his presence alone gives a cold and dramatic tone the film. Clooney, on the other hand, brings comedy back into the film as the fast talking and suave defense attorney. He and Carrey have a very good cause and effect relationship that puts the film back on a light note. The cinematography gives some looks obviously taken from the previous batman films, and Carrey’s suit is actually less of a batman costume than ever. He has a tapped Batman symbol on his chest, which he cuts out of a magazine, and gets a black blanket he has as his cape. Overall, Jonze delivers his own touch and even make’ “the city” have no name just so it can have a slightly ominous touch. The last third of the film really makes you think of how many rights a citizen really has, and how they should be treated. A great script and performances also makes this a very witty, silly and sometimes very clever film that pokes fun at America, the media, and even the average superhero fan!<br />Nominations:<br /><br />Best Picture<br />Best Actor (Jim Carrey)<br />Best Supporting Actor (Sean Bean)<br />Best Director (Spike Jonze)<br />Best Original Screenplay (Spike Jonze)Brycehttp://www.blogger.com/profile/01204405331514065742noreply@blogger.com0tag:blogger.com,1999:blog-700021549748567892.post-64258926038888740132008-08-02T23:31:00.001-07:002008-08-02T23:31:44.541-07:00In The Land of EdenAuthor(s): Ryne (OR)<br />In the Land of Eden<br /><br />Directed by Brian DePalma<br />Written by Stephen Gaghan<br /><br />Cast:<br /><br />Ayelet Zurer as Safia Negara<br />Shohreh Aghdashloo as Nina Aghajan<br />Jonathan Ahdout as Rahman Negara<br />Aramis Knight as Hafeez Negara<br />Homayoun Ershadi as Fr. Rawand al-Maliki<br />Cliff Curtis as Hani Negara<br />Emile Hirsch as Charlie Rose<br />Jamie Foxx as Adam Mackie<br />Jackie Earle Haley as Timothy Wolcott<br />Jeremy Piven as Dean Novak<br /><br />Tagline: "In the Birth Place of Faith, Differences Matter"<br /><br />Synopsis:<br /><br />Prologue: Once integrated peacefully under the rule of Saddam Hussein, Iraq's Christian population has been decimated since the U.S.-led invasion in 2003. Muslim extremists have murdered priests, burned churches, pillaged Christian-owned shops, and destroyed homes. Priests in Iraq estimate that fewer than 500,000 Christians remain, about a third of the number as before 2003.<br /><br />Prior to the overthrowing of Saddam Hussein, the Negara family lived peacefully in the city of Balad running a local liquor store, a common practice for Christian families. Hani (Curtis) would wake up early every morning to open shop while Safia (Zurer) stayed home to take care of her aging mother Nina (Aghdashloo), and the couple's two children, 8 year old Hafeez (Knight) and 16 year old Rahman (Ahdout), went to school. Every Sunday, the family would attend church led by Fr. Rawand al-Maliki (Ershadi), who converted to Christianity during his teenage years. Life was good for the Negara's that was until April 9, 2003 when Baghdad fell and the rule Saddam Hussein ended.<br /><br />In a matter of day, anti-Christian rioters began to take to the streets of Balad. They quickly moved through the city, setting fire to any Christian store they could find. The Negara's liquor store was no exception. They burned the store down calling it the work of Lblis, devil, and when Hani tried to stop them, they shot him several times in the head leaving him dead in the streets. When Hani did not come home that night, Safia and Rahman went to the store in search of him. Safia could not believe her eyes. They began to swell with tears while Rahman attempted to comfort his mother. Balad was no longer safe for the Negara family.<br /><br />With no place else to turn to, Safia packs and takes her mother and boys to the church where they will stay until the riots die down. Once they die down, Safia hopes to try to flee to Syria to start a new life. Fr. al-Maliki welcomes them, but urges them to leave as soon as possible because of the growing threat to the church. In the middle of the second night, a loud noise rings from outside, waking Safia and Nina from their sleep. The two rush outside to find a fiery blaze coming from Fr. al-Maliki's home. A suicide bomber has driven his car into the house and blown it up.<br /><br />Just as Safia and Nina turn around to go back to the church, lights aim at them from all around. This is sure to be the end. The lights begin to approach the women revealing the faces of four United States soldiers. Charlie Rose (Hirsch), the young idealist, Adam Mackie (Foxx), the cocky and arrogant rebel, Timothy Wolcott (Haley), who does what he is told and speaks very little, and Dean Novak (Piven), the sarcastic jokester. The soldiers have been trapped in the "hot zone" of Balad for several hours unable to get any help. Safia tells the soldiers the situation her family is in. The soldiers agree to take them to the air base right outside the city where they can be transported to safety. The problem is the dawn is rising and the riots will start again very soon. The soldiers and Negara must move quickly while remaining unnoticed to get out of Balad alive.<br /><br />What the Press would say:<br /><br />Brian DePalma's new film "In the Land of Eden" is a modern masterpiece that forces the audience to look past our prejudice of the Iraq War and to the people affected the most. It is a haunting movie that will suck its audience in and leave them shaken. In a Christian society, such as the US, it is difficult to think of a place where freedom of religion does not exist. Sadly, this is the case with Iraq where many consider to be the birthplace of religion. Brian DePalma's direction does a superb job at taking us to the horrors of Iraq and not apologizing for it. He asks each one of his actors to challenge themselves and they deliver magnificently starting with Ayelet Zurer. Zurer, one of Israel's most acclaimed actresses, gives a performance that will leave you stunned. It is very rare that a lead performance commands every scene, but Zurer's performance will leave your breathless. She transports you effortlessly through the heart-break and the joy; through life and death. It is simply a majestic performance that should be her breakout in the United States and for the Academy. Shohreh Aghdashloo gives an extremely powerful performance as Safia's aging mother Nina. Nina is a strong independent woman and it pains her to rely on others to help her as she grows old. Aghdashloo portrays these emotions superbly. She is able to do the subtle things that merit a great performance. The child actors, Jonathan Ahdout and Aramis Knight, give performances that are unbecoming of their age. They are mature and display a wide range of emotion. I see a bright future for each of them. The four US soldiers each give very solid performances that compliment each other perfectly. The best of them, however, comes from young Emile Hirsch who gives a ground breaking performance. Charlie Rose is everything a soldier should not be. He is unsure of himself, too emotional, some might say he cares too much about the people he fights. In a world where "macho" is everything, it is almost as if Hirsch is telling everyone that it is okay to be that way; that its "macho" to be brave enough to show your emotions and tell people how you feel. It is truly unbelievable. Jeremy Piven is also great in a role for the ages. He is sarcastic and witty as usual that acts as an excellent comic relief for the powerful last act. Overall, the strong performances and rich direction make In the Land of Eden one of the best movies of the year.<br /><br />FYC:<br /><br />Best Picture<br />Best Director (Brian DePalma)<br />Best Actress (Ayelet Zurer)<br />Best Supporting Actress (Shohreh Aghdashloo)<br />Best Supporting Actor (Emile Hirsch)<br />Best Supporting Actor (Jeremy Piven)<br />Best Original ScreenplayBrycehttp://www.blogger.com/profile/01204405331514065742noreply@blogger.com0tag:blogger.com,1999:blog-700021549748567892.post-77767565016481051762008-08-02T23:30:00.000-07:002008-08-02T23:31:11.366-07:00The Monster of FlorenceAuthor(s): Michael (OK)<br />The Monster of Florence<br /><br />Directed by Jill Hillcoat<br />Adapted by Nick Cave<br />Original Score by Nick Cave<br />Art Direction by James D. Bissell and Jan Pascale<br />Costume Design by Jacqueline Durran<br /><br />Principal Cast:<br /><br />Adrien Brody-Mario Spezi<br />Richard Roxburgh- Douglas Preston<br />Christian Clemenson- The Monster<br />Melora Walters- Barbara Locci<br />Sacha Baron Cohen- Stefano Mele<br />Nicky Katt-Carmelo Cutrona<br />Jonah Bobo- Joshua Locci<br /><br />Tagline: “Park with fear…”<br /><br />Plot/Synopsis: 11:34 PM, August 21, 1968- A child on a farmer’s front porch in tears. As the farmer opens the door, all the child mutters is, “My mother and my uncle are dead.”<br /><br />June 7, 1981- Mario Spezi is a rising journalist in Florence, Italy and happened to be covering the crime desk that day when a call came through. A couple had been killed on a hill in the Tuscan countryside in their parked car. When he arrived at the scene, Mario was surprised to find the woman completely naked and her vagina missing, along with a bullet in both of the victims’ temples. Upon further research, this killing had a striking similarity to a case back in the summer of 1968.<br /><br />10:56 PM, August 21, 1968-<br />Things to Do:<br />1. Get Rubber Gloves<br />2. Load the Gun<br />3. Find a Car<br />4. Kill the Man<br />5. Kill the Woman<br />6. Screw Her<br />7. Remove It<br /><br />July 22, 1981- Another homicide, yet again in a parked car, and with the same bullets used as in the last two killings, .22 calibers. After writing another article the now successful Mario met American writer, Douglas Preston, who soon became his partner in research involving The Monster of Florence (a name Mario had given the serial killer). They became very close friends as they looked for the Monster.<br /><br />10:42, August 21, 1968- Barbara may have been having affair, but her husband Stefano didn’t need to know about it. For all he knew she was just going to the movies with her estranged brother Carmelo and their son Joshua. Joshua was under the same impression, but when he fell asleep in the car, the two lovers decided to have a quickie on a hill just off the road.<br /><br />September 6, 1981- A fourth killing occurs and the two comrades finally figure out the pattern to the Monsters’ massacres. Pinpointing the next one in 45 days from now, October 20, in the meantime though, the pair interviews the widower of the first female victim, Stefano Mele. Throughout their investigation, everything has pointed to him as the killer…but their consultation with him goes smoothly, leaving the pair only one choice, to camp out and wait for the killer on October 20th.<br /><br />11:16 PM, August 21, 1968- He was done. He’d done all he wanted with the corpse, but what to do with the child was the main question. Thankfully, the boy was still asleep, but what was he going to do if he woke up. Driving along, he discovered a nearby farm, the porch was well lit, and if looked as if there was someone awake at the house. He just had to be discreet, as to not get caught.<br /><br />October 20, 1981- It was dark, which was obvious. The partners in crime could hardly see each other as they waiting in the car, pretending to be involved in some act that would attract the Monster to their car. It seemed like hours, where was he, he should have been their by now. They started hearing noises, but nothing was seen in all the darkness…<br /><br />What the Press Would Say: Based partially on the book of the same name, The Monster of Florence is the enthralling tale of; yep you guessed it The Monster of Florence, Italy that is, a well sought after rapist/murderer. Directed by Jill Hillcoat, this thriller is Oscar bound for sure. Mr. Hillcoat has such an eye for direction that is displayed on numerous occasions throughout the film, filmed on location in Italy, the film is simply beautiful to look at. Adrien Brody is exquisite in his best performance since The Pianist. Brody brings so much to the role that you can’t help but enjoy his time on the screen. Richard Roxburgh is also especially good in the film and gives a strong supporting performance. Not outdone by his costars he holds his own on the screen, which is highly respectable in this all star ensemble. Sacha Baron Cohen is also splendid in his role, taking a turn for the dramatic this time; Borat proves he has acting skills. Melora Walters is deceivingly three-dimensional in her role as mother/wife/adulterer and gives the performance of her career. Not once this year have a seen such a female performance on the screen, the tears seem real, though it is apparent they are not, and the performance is something that seems to be from the heavens.<br />The absolute standout performer however is Christian Clemenson, who is brilliant as the creepy Monster. His performance is truly spellbinding in a character that rivals Hannibal Lector as far as villains are concerned. He is absolutely dazzling on screen, and at times you almost root for him over Brody. In any case, if he doesn’t win an Oscar, the system is rigged, excellenence is hard to come by these days but Mr. Clemenson’s performance is as close to perfection as one can get. With a spectacular story, mesmerizing performances, and astounding scenery, The Monster of Florence is a surprising must-see and the Best film of the year!<br /><br />FYC:<br />Best Picture<br />Best Director- Jill Hillcoat<br />Best Actor- Adrien Brody<br />Best Supporting Actor- Sacha Baron Cohen<br />Best Supporting Actor- Christian Clemenson<br />Best Supporting Actor- Richard Roxburgh<br />Best Supporting Actress- Melora Walters<br />Best Adapted ScreenplayBrycehttp://www.blogger.com/profile/01204405331514065742noreply@blogger.com0tag:blogger.com,1999:blog-700021549748567892.post-57660340988588928912008-08-02T23:29:00.002-07:002008-08-02T23:30:20.186-07:00NeighborsAuthor(s): Alex C. (WA)<br />Neighbors<br /><br />Directed by Mike Nichols<br />Written by Tony Kushner<br />Distributed by Paramount Vantage<br />Music by John Williams<br /><br />Principal Cast:<br />Mandy Patinkin (Tobias Schwartz)<br />Julie Christie (Ilsa Lang)<br />Joel Grey (Sebastian Schwartz)<br />Emily Mortimer (Anna Lang)<br />Debra Winger (Sara Schwartz)<br />Daryl Sabara (Jacob Schwartz)<br /><br />Tagline:<br />“She thought she ran away from her demons. Now they're right next door.”<br /><br />Synopsis:<br />Larchmont, New York. 1985.<br /><br />German immigrant Ilsa Lang has lived in Larchmont, a suburb of New York City, for about 40 years. Ever since her husband died, her daughter Anna has lived there. She has never liked being alone. But after meeting her new neighbors, all she wants is to be alone.<br /><br />Tobias Schwartz has just moved into Ilsa’s neighborhood along with his wife Sara, his son, Jacob, and his elderly father Sebastian. Attempting a kind gesture towards her new neighbors, Anna invites them over for dinner. It is a fairly normal meal throughout, but something is different. You see, Ilsa recognizes Tobias and Sebastian. Now, Tobias doesn’t recognize the ageing woman but Sebastian does. One glance at an old photo on a windowsill confirms his suspicion. It has been 50 years since he last saw her, but he knows who she is. Ilsa Lang was the woman, then practically a girl, who turned his family in to the Nazis.<br /><br />It was a chilly day in December, 1935. Sebastian had gone into hiding with his young son Toby and his wife Esther. They had been hiding in the local church basement for almost a month, being hidden by a priest and a young teacher. The teacher’s name was Ilsa Eckhart. He had learned later from the priest, with whom he had kept in touch after he was released, that Ilsa had been paid by the Gestapo to uncover and turn in any Jews he was hiding. Sebastian, Toby, and Esther were three of her many victims. They were shipped off to a small town in Germany known as Dachau, the site of Germany’s only extermination camp. It was here that Esther passed away, screaming for her child as showerheads above her spewed toxic gas. But that was a long time ago.<br /><br />Ilsa now sits directly across from Tobias. She can tell he cannot recognize her as he carries on with ordinary conversation. Anna senses something is wrong. After the Schwartz family leaves, she asks her mother if there is anything wrong. Ilsa lies and says she simply has a bad headache.<br /><br />Arriving home, Sebastian asks his son if he knows who the woman. Tobias says he does not. Sebastian tells him to forget he even asked. Later, rummaging through some old family photos he finds one of his father, a priest, and a young woman. The young woman looks familiar. He looks on the back of the photograph and sees his mother’s handwriting. It says, “Fr. Ruehl, Sebastian, Ilsa. October 1935.” He looks at the photo again and sure enough, it is the same woman we just had dinner with. He keeps looking through the stack of photos and sees one of the same woman playing with a small child. The back of the photo reads, “Ilsa and Toby.” Instead of confronting his father about it, he decides to take the photo next door tomorrow.<br /><br />He knocks. Anna invites him in and he shows her the photograph. Anna is puzzled. Ilsa returns to find Tobias and Anna staring at the photograph. She realizes what’s happened. They ask Ilsa about the photograph. She starts to cry. Life as she knew it is over. She takes Tobias into the kitchen and tells him everything. She has her old neighbors back.<br /><br />What the Press Would Say:<br /><br />“Neighbors” is by far one of the most moving, thought provoking stories ever to be put on screen. Mike Nichols directs this film with more meaning and emotion than he has ever put into a film. Why? The answer is simple. He himself is a holocaust survivor, being Jewish in Berlin at the time of the Nazi’s takeover, he was able to escape Germany with his family. The film also has echoes of Nichols’ debut film, “Who’s Afraid of Virginia Woolf?” The acting is also some of the best put down in a story like this since “Schindler’s List,” not to mention one of the greatest ensembles since “The Big Chill.” Mandy Patinkin (Best Supporting Actor nominee, “Bee-Bee’s Funhouse”) brings the character of Tobias to life and has so much emotion invested in this piece that you can almost feel him reaching out and touching you. You completely forget that he is most well known for his portrayal as Inigo Montoya in “The Princess Bride.” Although some may ask why should we give Julie Christie another nomination so soon after “Away From Her,” watching her performance makes it obvious. She gives an absolutely gut-wrenching performance as Ilsa and not only deserves the nomination but also the win. When looking at today’s best character actresses, the name Emily Mortimer can be sure to pop up. She is brilliant as Christie’s oblivious daughter, Anna, and we can be sure to see her pick up her first Oscar nomination, maybe even a win. Her performance, although subtle, is absolutely electrifying. Although she turns in a more minor performance, it’s great to see Debra Winger back onscreen and her remarkable portrayal of Patinkin’s wife, Sara, who befriends Ilsa, is also worthy of a nomination. The best performance of the whole film, though, is given by Joel Grey. Having won an Oscar 35 years ago for his outstanding performance as the chilling Emcee in “Cabaret” (beating Al Pacino for “The Godfather”, mind you) Grey is back in a major role on film after focusing more on stage work. His performance as the Holocaust survivor, Sebastian, is one of the most awe-inspiring performances ever. Nichols also teams up with Tony Kushner, once again. The pair worked on HBO’s adaptation of Kushner’s Pulitzer Prize winning play “Angels in America” which swept the Emmy awards in 2003. One thing can definitely be said about “Neighbors.” There’s never been anything like it and there never will.<br /><br />Best Picture<br />Best Director (Mike Nichols)<br />Best Actor (Mandy Patinkin)<br />Best Actress (Julie Christie)<br />Best Supporting Actor (Joel Grey)<br />Best Supporting Actress (Emily Mortimer)<br />Best Supporting Actress (Debra Winger)<br />Best Original Screenplay (Tony Kushner)Brycehttp://www.blogger.com/profile/01204405331514065742noreply@blogger.com0tag:blogger.com,1999:blog-700021549748567892.post-52804029339248394172008-08-02T23:29:00.001-07:002008-08-02T23:29:41.863-07:00ParametersAuthor(s): Connor C. (Texas)<br />Parameters<br /><br />Directed by Bennett Miller<br />Written by Tony Gilroy<br /><br />CAST<br />Maggie Gyllenhaal- Lisa Keller<br />John Malkovich- Strange Man<br /><br />TAGLINE: “Lock your back door, you idiot”<br /><br />PLOT/SYNOPSIS:<br /><br />“33 years go by and not once do you come home to find a man sitting in your bedroom. That is, a man you don’t know who’s come a long way to deliver one very specific message; lock your back door, you idiot. However invincible you imagine yourself to be, you are wrong.”<br /><br />Lisa Keller could be described as normal. 33, single, a working girl who seems too preoccupied with work to take a man seriously. She doesn’t mind being alone, perhaps because she wouldn’t notice if she weren’t. She lives in the safest neighborhood of the safest suburb, surrounded by families and schools. But what she doesn’t know and what she can’t see is fear. It waits for her patiently, in the dark. It waits for her in the form of a strange man idling in his car not far from her home. He waits patiently for all her lights to turn off and enter her small home that is quiet, except the occasional clanking pipe, creaking branch, footfalls of a cat and possibly the swishing of this intruder’s coat.<br /><br />But would Lisa ever give in to this fear? Would she recognize and acknowledge it, or would she dismiss it? Alone in this small house that is still far too big for her, it would be easy for her to see this fear lurking in her home. It starts with seemingly normal sounds then followed by an unfamiliar car parked across the street. Then she starts noticing things out of place, maybe he moved them. She locks her doors, but maybe it’s too late now. Perhaps he’s had a key made. She might go to take a shower to find that it’s already wet. Did he take a shower? And it evolves from there. Suddenly she comes home to find her bed is no longer made and her bathtub full of water. Is this actually happening, or could this be something in her head? It doesn’t matter if it’s real or not, that only tortures her more.<br /><br />When once she could stroll through her house without turning on lamps she now must have every lamp lit so she can see her way. He, or it, or whatever it is has started to rearrange her furniture. She has nobody to tell, nobody to show. She’s all alone. She collapses onto her bed to find a strange man sitting in her bedroom. He almost smiles when she finally sees him. He sits in her most uncomfortable chair, the one that nobody ever uses in the far right corner. Terrified she sits motionless on her bed. He leans in and says in a near whisper, “Lock your back door you idiot.” He stands up and walks away, never to harm this Lisa Keller ever again. She sits still on her bed until finally she rises to find her furniture back in order, her shower dry, the car gone and the house quiet. It must have been in her head, there was no strange man. But maybe there was. Maybe he was real and merely taught her not to get too comfortable in her routine. Because one day you might come home to find a man sitting in your bedroom. What will you do then?<br /><br />AWARDS CAMPAIGN:<br /><br />As we grow older, our fears get pushed to the wayside and start to get buried under the more important things in life. But occasionally, something will introduce itself to us and we are so unprepared for it that it floors us. “Parameters” explores this idea introducing us to a normal woman (Gyllenhaal) with a nameless job living alone in suburban America. Slowly, the arising minute differences in her life start to scare her and she creates this strange man (Malkovich) who terrorizes her in secret. What the audience is left to figure out is whether or not this man is real. Borrowing ideas from Ani Difranco’s song of the same name, Tony Gilroy, who has written such hits as Michael Clayton and the Bourne series creates this thriller which is among the most thrilling and haunting of it’s time. His screenplay relies heavily on visuals and seemingly normal sounds and lays off the dialogue. Bennett Miller, who broke on the scene in 2005 with Capote has assured himself a spot in film history. The camera often times follows Gyllenhaal into her nightmare as opposed to us leading her into it. Miller brilliantly portrays the fear that is felt by the character and creates suspense with almost no musical score. As opposed to being threatened with knives and bullets the audience is frightened by change, which is the theme of the film. Maggie Gyllenhaal portrays Lisa Keller with a certain naivety that elevates the fear felt by her character. In many ways a woman possessed, Gyllenhaal shows us the proper way to play a victim in a thriller. John Malkovich creates a villain we haven’t seen since Nurse Ratchet, playing the villain with a certain smugness and silence. This character is a mystery which makes it so much harder to play. Malkovich captures this character through his movements and actions and the few times he does speak he delivers his lines very matter-of-factly which seems fitting for his character. His character is determined to teach the victim a lesson. Malkovich is officially back with the best performance of the year. Parameters is one of the few films that just might change you. A Masterpiece and a must see. ****/****<br /><br />FYC<br />Best Picture<br />Best Director- Bennett Miller<br />Best Actress- Maggie Gyllenhaal<br />Best Actor- John Malkovich<br />Best Adapted Screenplay- Tony GilroyBrycehttp://www.blogger.com/profile/01204405331514065742noreply@blogger.com0tag:blogger.com,1999:blog-700021549748567892.post-21454984154441687522008-08-02T23:28:00.002-07:002008-08-02T23:29:04.394-07:00Pirate BonesAuthor(s): Ryan (N/A)<br />Pirate Bones<br /><br />Directed by Frank Darabont<br />Written by Frank Darabont<br />Music by Thomas Newman<br /><br />Principal Cast:<br />Ethan Hawke (Adrian Blanchard)<br />Jennifer Connelly (Alice Blanchard)<br /><br />Tagline: "Just a Pile of Pirate Bones."<br /><br />Synopsis: There is not much left to say. The huge SOS written in the sand sums it all up pretty good. I doubt anyone cares about this letter; only the people that tried to kill me and my wife, though my wife is already dead.<br /><br />This pen and paper is pretty much all that survived the wreck. Don’t know why I never used it in the last month on this island. For whoever finds this letter I hope you learn what happened and send for help.<br /><br />Me and my wife, Alice found a…a map. Well, not a map but some coordinates and a crude sketch, but it was authentic. Watermark, aging, stamp and signature by no other than Blackbeard himself… My wife and I are collectors, treasure-seekers, scoundrels, thieves. Most people call are misunderstood occupation as pirates and that is what it truly is, no matter what fancy words we use to disguise it. That’s what we turned into on this venture. Greed took over and now we have emptied every last drop of our lives, our bones will become dry, just like pirate bones.<br /><br />We didn’t want others to find out about our discovery. The island was unmarked and a few hundred miles off the southeast coast of the Bahamas. The size of a shoebox, the island was submerged in water for the last few hundred years, but is resurfaces every so often. It is submerging again. Telling the coastguard we were going in the opposite direction to throw off our followers, well, joke’s on us.<br /><br />A thunderstorm broke out and our ship took quite a beating, so did our radio back to land and our possessions. We found the treasure and it certainly was the find. Millions of dollars in gold and gems. Alice and I knew survival would be hard with a few coconuts and wet bread, but we quickly built a raft or at least a plank from what was left. Both of us could fit and not sink or one of us and the gold. Greed played a role in this decision. Greed played a role in our whole lives, how else would we…now I, be in this situation? We decided to wait. However, when Alice started coughing blood and I started to shiver in 115 degree weather, primal instincts took over. I didn’t mean to kill her, just knock her out and when I got to shore with the treasure call for help. Alice surprised me with the machete; I guess she knew what was coming. A fist to the windpipe in self-defense unfortunately did more than knock her out.<br /><br />Now you may wonder why I didn’t make it back to shore. The wood rotted and a few yards out into the ocean our makeshift raft snapped in half. It was me or the treasure. I wasn’t giving up just yet. I forgot completely about Alice. I had the decency to bury her however, right in the hole where we dug up the treasure….the treasure.<br /><br />No planes flew by, no ships in the distance, not even a seagull or fish. I eventually dug back up Alice.<br /><br />I thought of emptying the treasure chest and going back in that, but when the island re-submerges, it will be impossible to find the treasure again. I am not sure of my next move, but time is of the essence. I am considering floating on the chest; though I worry the jewels will be damaged by the salt water. Please help me and I am offering a cut of the treasure too for rescue.<br />-Adrian Blanchard<br /><br />What the press would say:<br /><br />Set against the beautiful backdrop of the Caribbean, Frank Darabont creates another masterpiece in this two person cinematic experience that will have everyone second guessing their values and beliefs in the most extreme situations.<br /><br />Detailed dialogue and smart, realistic moves played by each character, Darabont brings his ideas to the screen on greed, life and relationships in one of the first films of its kind. What could be either a brilliant play or movie script, Darabont chooses the latter for his creation. Reminiscent of Tarantino’s dialogue (with a little less language), Darabont makes the screenplay down-to-earth as a real couple would speak with varying topics that make the ending of the film that more chilling; creating a connection with the audience. His camera work is smooth and captures the serene ocean yet the horror experienced by the couple it holds hostage.<br /><br />However, no matter how great the dialogue, a great actor must not only read it, but feel it. This is done by the Academy Award winning and nominated cast of Ethan Hawke and Jennifer Connelly.<br /><br />Hawke plays a loving husband turned sadistic wife killer in a stunning transformation along with Connelly who turns from caring wife to attempted murderer. Hawke is remorseful, but overwhelmed with greed which even blocks out his emotion of survival. Connelly also shocks the audience after she goes dead-behind-the-eyes; blinded by money and starvation. Money, greed, isolation and hunger and heat drive these people to make shocking decisions that will startle everyone.<br /><br />In these two and a half hours, everyone will revaluate their lives. This small film has the same effect as an epic with an even more powerful punch. Pirate Bones may be new, but the word “classic” is written all over it.<br /><br />Best Picture<br />Best Director: Frank Darabont<br />Best Screenplay: Frank Darabont<br />Best Original Score: Thomas Newman<br />Best Actor: Ethan Hawke<br />Best Actress: Jennifer ConnellyBrycehttp://www.blogger.com/profile/01204405331514065742noreply@blogger.com0tag:blogger.com,1999:blog-700021549748567892.post-85972793294590826682008-08-02T23:28:00.001-07:002008-08-02T23:28:32.700-07:00RaisinAuthor(s): TD (TX)<br />Raisin<br /><br />Directed by Norman Jewison<br />Written by Tony Kushner and Marsha Norman<br />Adapted from the musical “Raisin” by Robert Nemiroff and Charlotte Zaltzberg<br />Produced by Norman Jewison and Patrick J. Palmer<br />Distributed by DreamWorks SKG<br />Art Direction by John Myhre and Nancy Haigh<br />Cinematography by Philippe Rousselot<br />Costumes by Sharen Davis<br />Editing by Martin Walsh<br />Makeup by Greg Cannom and Colleen Callaghan<br />Music by Judd Woldin and Robert Brittan<br />“Hope for Tomorrow” sung by the cast of “Raisin”<br /><br />Principal Cast<br /><br />Jamie Foxx as Walter Lee Younger<br />Audra McDonald as Ruth Younger<br />Felicia P. Fields as Lena Younger<br />de’Adre Aziza as Beneatha Younger<br />Guy V. Barfield II as Travis Younger<br />Corey Reynolds as Joseph Asagai<br />Eddie Murphy as Willie Harris<br />Stew as Bobo<br />Melba Moore as Mrs. Johnson<br />John Stamos as Mr. Karl Lindner<br />Nathaniel Stampley as the Pastor<br />Renee Elise Goldsberry as the Pastor’s Wife<br />Monique Coleman as the Bar Girl<br /><br />Tagline: “The Youngers. The Money. The Drama. The Music. The Film.”<br /><br />Synopsis:<br /><br />Framed by the back porches, fire-escapes and blankly staring tenement windows, the Southside ghetto - its youth workers, women, Lindy-hoppers at a party, a drunk wending his way home - comes to life in a powerful street ballet that culminates in the riveting portrait of a pusher finding his victim while members of the community look on helplessly. This world provides the pulse, heartbeat and framework of the Younger family's existence. And though in it exists joy, lightness, laughter and hope, it is, nonetheless, a ghetto: a world of such soul - and body - grinding oppression that survival sometimes requires escape.<br /><br />In the early morning at the Younger apartment, Ruth rouses her son, Travis while she calls her husband to breakfast. Walter Lee, desperate to leave his job as a chauffeur and join the "successful" members of his society, thinks and talks of nothing else except the imminent arrival of his father's life-insurance check - and the opportunity it provides him to go into business as partner in a liquor store. Ruth reminds him that his mother is absolutely set against the selling of liquor, but Walter tries to get his wife to "sell" Mama on the idea. The more he persists, the more Ruth retreats into her morning chores. Frustrated and angry, he tells her a man needs for a woman to back him up and scathingly remarks on how rarely women seem to care about their husband's dreams (Man Say).<br /><br />Travis presents another problem: he needs fifty cents for school. Ruth tells him bluntly that she doesn't have the money but then, softening as he heads for the door in disappointment, she succeeds in conveying to him much more than fifty cents of motherly love (Who’s Little Angry Man).<br /><br />On the way to work Walter Lee encounters other members of his community likewise scurrying frantically to get where they're going - which, in his eyes, is nowhere. Later, driving his employer about the city, Walter grows increasingly incense at his position in life - and at last bolts from the car to act on his liquor-store deal (Runnin’ to Meet the Man).<br /><br />Mama comes home from her job as a domestic. Clearly her enormous warmth and strength have given the family solid, if not always "modern" values and roots. It is her dream to get out of the cramped tenement quarters and into a house of their own - a dream she confides to her small, struggling potted plant (A Whole Lotta Sunlight).<br /><br />At a local bar, Walter Lee celebrates his deal for the liquor store with Bobo Jones, one of his new partners-to-be, and Bobo's girlfriend. The third partner in the deal, Willie Harris, arrives and prematurely - in the absence of the money - the deal is sealed (Booze). Beneatha Younger, a rebellious young college student seriously intent on becoming a doctor and just as ardent about the kind of values she wants for the world, is also serious about Asagai, an African exchange student. For her, he symbolizes the intriguing continent from which her people came. At first teasingly, then tenderly, Asagai explains the meaning of the nickname he has given her as she stand enraptured by the images he creates of his country (Alaiyo).<br /><br />Walter Lee, inebriated, arrives home with the partnership papers signed and notarized to find Beneatha, awaiting Asagai, engaged in an exhilarating, if largely hypothetical, "African" dance (African Dance). Learning that the check has come, he joins his sister in a moment of wild abandon in which he sees himself as a tribal chieftain, supreme in his own land and time, leading warriors in a victory dance. When Beneatha leaves with Asagai, Ruth again tries to caution Walter that Mama might not see things his way. In bitter anger, Walter flings her from him then heads for the streets. Ruth bars his way and recalls the closeness they once shared, asking what has become of their lives (Sweet Time). Their reconciliation is interrupted by Mama, who announces that she has bought a house in Clybourne Park, a white neighborhood. When she turns to Walter Lee for his approval, he replies with bitter cynicism that she is so smart, so right and so righteous that she has done him "right out of my dreams tonight" and storms away from the house (You Done Right).<br /><br />Walter has not been heard from for three days. Mama, Ruth and Travis join their church congregation in a mighty gospel song while attending Sunday service (He Come Down This Morning).<br /><br />After the service, Mama goes to search for her son and finds him in a bar. She tells him she has been wrong - that she "has been doing to you like the rest of the world." She places an envelope of money before him, explaining that she had only put a small down-payment on the house, and asks him to put three thousand in the bank for Beneatha's medical schooling - the rest is Walter's to do with as he sees fit. As she leaves, he stands, moved by the depth of her love, and then clutches the money with exhilaration (It’s a Deal). Although the Youngers, as a family generally look forward to the new move, Travis is not so sure. Alone, he takes a last, fond look at the old neighborhood (Sidewalk Tree). Walter returns home and, in a private moment with his son, tells Travis of his dreams for them both.<br /><br />While packing to move to the new home, Walter Lee and Ruth seem to regain something of the "Sweet Time" they once had (Sweet Time Reprise). In a moment of high hilarity, they and Beneatha are interrupted by Mr. Karl Lindner, a white representative from the Clybourne Park "Improvement Association," who offers to but the house back. When Mama returns, Walter, Ruth and Beneatha announce that she had a visitor and, assuming roles of the hypothetical "Welcoming Committee" assure her how enlightened and understanding "we in Clybourne Park" have become about the Black-White relationship (Not Anymore).<br /><br />In a spirit of gaiety, the Youngers, drawn together, resume packing. Shock follows, however, with the arrival of Bobo bearing news that the Willie, the senior member of the partnership, has run off with the money. In the face of catastrophe, Walter tears from the house, then returns to inform the family that he has called Mr. Lindner to accept the Association's offer to buy back their house. He's "gonna give him a show," tell him what he wants to hear; tell him anything - just to get the family's money back. He shouts that this is the way the world is - this is America where everything has a price. "You people want that neighborhood they way you want it? Then pay for it!” (It’s a Deal Reprise) As Walter retreats, Beneatha declares him "not a man … and no brother of mine!" But Mama, understanding his anguish, demands that her daughter "measure him right. Make sure you done taken into account what hills and valleys he come through to get to wherever he is" (Measure the Valleys).<br /><br />Lindner arrives and Walter Lee, in front of his family and with his father's memory to spur him on, rises to the occasion and says his family has decided to move into the new house. After Lindner leaves, the moving men and neighbors start moving the Youngers. Whatever they must face in their new home, once thing is certain: who they are and what they stand for is intact. As the others depart, Mama stands alone for one last look at the apartment that has held so many years of her life (He Came Down This Morning Reprise).<br /><br />What the press will say:<br /><br />''Raisin,'' the musical version of Lorraine Hansberry's play ''A Raisin in the Sun,'' which was produced on Broadway in 1973, makes its grand debut onto the big screen and is less a musical in the usual sense than a play with songs. The musical, which was originally written by Robert Nemiroff and Charlotte Zaltzberg and is brilliantly adapted to the screen by Broadway writers Tony Kushner (Angels in America, Caroline, or Change) and Marsha Norman (The Secret Garden, The Color Purple), is a wonderful and beautiful work of art thanks to marvelous directing skills of legendary film director Norman Jewison (Fiddler on the Roof, In the Heat of the Night, Moonstruck).<br /><br />The success of ''Raisin'' as a musical is that the score by Mr. Woldin and Mr. Brittan does not disrupt the essential dramatic qualities of the play by reaching for a life of its own. Instead it underlines, colors and occasionally expands those qualities. As a result, none of the songs has had a life outside the show during the last eight years, and one receives the score now as though it were a fresh experience and the musical composition is an eccentric blend of styles: jazz swing (Booze), blues (A Whole Lotta Sunlight), African-inspired (Runnin' To Meet The Man, Alaiyo), musical theater (You Done Right, It's a Deal) and gospel (He Come Down This Morning). Measure the Valleys is the song that measures the story's true worth. Even though the song “Hope for Tomorrow” was not an original piece of the musical, it magically blends in well with the musical and the cast does a marvelous job at performing this song.<br /><br />The focus of the play is on the matriarch of the Younger clan, a role to which Broadway star Felicia P. Fields brings a commanding presence that gives tremendous strength to the dramatic high points and a voice that, although a bit worn now, has the authority to fulfill the demands of ''Measure the Valleys.” But the most compelling performances are given by Guy V. Barfield III who, as the young son Travis, uses his acting skills to bring out the warmth and the depth of a young boy who wishes to not leave his neighborhood, and he displays this through his song “Sidewalk Tree.” Audra McDonald who, as the level-headed but loving daughter-in-law Ruth, delivers a performance that exceeds an extraordinary range while her gorgeous singing voice gives the production its richest musical moments. Characterization and singing blend unusually well throughout the production, and this is mostly shown through de’Adre Aziza's role as the would-be medical student Beneatha, and she brings this sassy character to life. Jamie Foxx, the amazing male lead of the film, plays the key role of Walter Lee Younger, a man who goes crazy by greed and wants to buy a liquor store to fulfill his dreams. Foxx projects the character with great emotion and delivers an outstanding performance and one of the best of the year.<br /><br />“Raisin” is a wonderful feel of emotions and this is surely a contender for this month’s Oscar season. From the directing, the script, the performances, the crew and the musical composition, this film with stand out among the other films and will forever be a masterpiece in the eyes of many people.<br /><br />For Your Consideration<br />Best Picture<br />Best Director – Norman Jewison<br />Best Actor in a Leading Role – Jamie Foxx<br />Best Actress in a Leading Role – Felicia P. Fields<br />Best Actor in a Supporting Role – Guy V. Barfield III<br />Best Actress in a Supporting Role – Audra McDonald<br />Best Actress in a Supporting Role – de’Adre Aziza<br />Best Adapted ScreenplayBrycehttp://www.blogger.com/profile/01204405331514065742noreply@blogger.com0tag:blogger.com,1999:blog-700021549748567892.post-14967746414632100802008-08-02T23:27:00.001-07:002008-08-02T23:27:58.633-07:00SacredAuthor(s): Jeffrey (Long Island)<br />Sacred<br /><br />Directed by Isao Yukisada<br />Written by Takehiro Nakajima<br /><br />Kou Shibasaki as Shiori Yuu<br />Kôji Yakusho as Touma Yuu<br />Aya Ueto as Hitomi Sakaguchi<br />You as Namiko Sakaguchi/Ayako Sakaguchi<br />and Joe Odagiri as Yasu Sato<br /><br />Tagline: If you do not enter the tiger's cave, you will not catch its cub.<br /><br />Synopsis:<br /><br />(2008) My name is Yasu Sato and I work for the Japan Times. The date is September 14th, 2008. It is 5:00 in the morning, and just a few moments ago a secret world was discovered by myself and a few of my co-collaborators. It is a world that was, for several years, drowned in fear and discrimination. No written records, just symbols telling a story; symbols that I know all too well from years ago in middle school. As I walk around a hidden town that was forgotten somewhere along the line in history, and I see the skeletal corpses dating back to the 17th century, I can feel the stories of those who suffered diffuse from rotting bones into my brain.<br /><br />A woman appears from beyond the forest surrounding the abandoned town. She introduces herself as Ayako Sakaguchi, a descendant of a family from the town. She has extensive knowledge of the town's history. She sits me down and tells me a chilling story of her ancestors.<br /><br />(1640) 17th century Japan. The Kirishitan are a group of Christians practicing in secret due to the government's ban on Christianity and all outside influences. Japan had isolated itself from the West, and in a way, a remote village had to isolate itself from Japan. Around 150 people in the village practiced Christianity underground, fearing every day that they might be discovered by a Tokugawa supporter.<br /><br />The Yuu family is the richest of the entire village, with Touma Yuu being an entrepreneur of sorts. He runs a fishing business in addition to being an oral presenter of the Holy Bible (something that could never be written down in fear of its discovery). His daughter, Shiori, is in training to become a nun for the underground church service. Touma highly encourages Shiori to pursue this path; however, she is less than thrilled about it. Problems arise when Shiori's carelessness leads her to become pregnant.<br /><br />The Sakaguchi family is also prestigious, a historical Japanese example of old money. The head of the family is one of the few men of the village who can freely leave and explore; this often leads to his wife Namiko caring for her children alone. One of her kids, Hitomi, is good friends with Shiori. She develops a plan to eradicate Shiori's problem once she learns of it. As they prepare for the procedure however, they are caught by a furious Namiko. When Touma finds out, he becomes abusive towards Shiori and convinces himself that she is carrying the devil's child. He holds an exorcism late one night in the church beneath his home.<br /><br />The morning after her exorcism, Shiori is awoken not by Touma but by the sounds of deafening screams. As she steps outside to investigate the mayhem, she is introduced to the consequences of her faith. Samurai have come to maim any man, woman, or child they see. Somehow they've found out.<br /><br />(2008) I am deeply engrossed in Ayako's story at this point. Unfortunately, I come to find that a story as complicated as this legend has an obligation to end. The ending is not a pretty one; I find myself horrified by her tales of the persecution that followed the night of Shiori's exorcism. The persecution that resulted from the village's discovery. People were beheaded, women were raped, and homes were razed. All because they were practicing Christians.<br /><br />What The Press Would Say:<br /><br />Dark, violent, and tragic are just some of the words to describe the new Japanese epic, which calls itself "Sacred". Directed by Isao Yukisada (who is known for directing Japanese hits Go! and Crying Out Love, at the Center of the World, the former of which he won numerous awards for), "Sacred" tells the story of a man who discovers, through a legend, the lives of hidden Christians in Japan from centuries ago. Yukisada's directing has never been better, and with the help of screenwriter Takehiro Nakajima (who wrote the mesmerizing film When The Last Sword is Drawn, another period piece) he constructs a bone chilling story of persecution and self-discovery.<br /><br />Joe Odagiri plays a historical journalist writing an article for the Japan Times; when he comes across a destroyed village littered with rotting corpses and nearly destroyed relics, he knows that he has struck gold. Odagiri has a fascinating role as a young man who goes from ignorant to enlightened, with the help of a mysterious woman played by You (yes, she goes by You). The actress You might be familiar to foreign audiences for her role in the Japanese family drama Nobody Knows, where she plays a negligent mother who abandons her four children. You couldn't be any more perfect for the part of Ayako Sakaguchi: her voice captures the audience and keeps them invested in her tale. In an interesting decision made by Yukisada and Nakajima, You also plays one of her ancestors: Namiko Sakaguchi. Namiko is similar to Ayako in her mysterious and radiant presence on screen. If the audience wasn't that impressed with You as Ayako, they have to admit that as Namiko she effortlessly proves her acting ability.<br /><br />The most well-known person involved in this production has to be Kôji Yakusho (remember him from Babel and Memoirs of a Geisha?), who plays a deeply religious father. Yakusho has by far one of the baitiest roles ever written. His religious fervor makes those watching the film tremble in their seats. His exorcism scene is sure to be considered an iconic film moment in years to come; people also will be impressed by his preaching scenes in the underground church. He gives the audience not only an ambiguous character, but also helps to give them an idea of the atmosphere of the film. His daughter Shiori is played by Japanese TV queen Kou Shibasaki, who has worked with director Isao Yukisada on numerous occasions and rose to national acclaim in Battle Royale. Shibasaki is the most focused-on character in this tale due to her moral tribulations and the emotional stress that her father puts her through. She is expected to become a nun; however there is a small part of her that hopes to live a normal life that doesn't involve faith and constant hiding. When her village is discovered, Shiori is in constant turmoil because of the brutality she witnesses occurring all around her (including the beheading of her father). Yukisada directed Kou Shibasaki to the Japanese equivalent of an Oscar in Go!, and with a wide release in the United States it looks like he may help her win the real deal for "Sacred".<br /><br />Aya Ueto, who many people know from action film Azumi, plays her role as the supportive and naive friend with stunning conviction and realism. It is Hitomi's carelessness that leads to the discovery of Shiori's planned abortion. The character of Hitomi explores the themes of guilt and rebellion that are similarly seen in Shiori. Ueto's standout scene is her heart-wrenching revelation that she has let down not only her best friend, but also her mother.<br /><br />Koketsu ni irazunba koji o ezu: If you do not enter the tiger's cave, you will not catch its cub. That is to say, nothing can be achieved without a risk. Sitting ducks are bound to be disheveled. This old, wise Japanese saying is very important in "Sacred" and is something brought up by You's present-day character in the film's final moments. A village stifled by fear and persecution finds itself inevitably destroyed.<br /><br />A story such as Anne Frank comes to mind when speaking about "Sacred". Its captivating and uniquely told story is one to be remembered for ages. The films succeeds as a riveting family drama and a terrifying historical reenactment. The audience can easily embrace the emotions that the characters feel, from their fear to their undying devotion to Christianity. Not enough can be said about the importance that "Sacred" will undoubtedly have on cinema in years to come, but one thing can be stated with certainty: "Sacred", in any language, can do nothing but win come award season.<br /><br />For Your Consideration:<br /><br />Best Picture<br />Best Director - Isao Yukisada<br />Best Actress - Kou Shibasaki<br />Best Actor - Kôji Yakusho<br />Best Supporting Actor - Joe Odagiri<br />Best Supporting Actress - Aya Ueto<br />Best Supporting Actress - You<br />Best Original ScreenplayBrycehttp://www.blogger.com/profile/01204405331514065742noreply@blogger.com0tag:blogger.com,1999:blog-700021549748567892.post-51249956441768474142008-08-02T23:26:00.000-07:002008-08-02T23:27:17.938-07:00Tracing a Point ElsewhereAuthor(s): Pierre Davis (OH)<br />Tracing a Point Elsewhere<br /><br />Directed by the David Cronenberg<br />Written by David Cronenberg<br />Produced by David Cronenberg and Viggo Mortenson<br />Editing by: Ronald Sanders<br />Cinematography by: Roger Deakins<br />Music by: Howard Shore<br /><br />Starring:<br /><br />Nick Stahl as Sam Stewart<br />Viggo Mortenson as Paul Mitchell<br />Paul Dano as James Mitchell<br />Cate Blanchett as Pamela Mitchell<br />Jeff Bridges as Frank Johnson<br />Ian McShane as the Man<br />Joseph Gordon-Levitt as Tony<br /><br />Tagline: When tragedy is before you, you are left Tracing a Point Elsewhere.<br /><br />Synopsis:<br /><br />Looking For a Place in Life.<br />Sam Stewart has been a police detective for a year this month and now he gets a chance to get his first big break when the son of a mayoral candidate becomes missing. His partner is Frank an old man who has been thinking about retiring but always has second thoughts because if he retires then what would become of his life. His wife has left him and his son is off to college and not trying to connect with a father who has always put his career before his family. They begin to interview all of the suspects which include the boy’s father and mother. They also want to ask his best friend a couple questions but he has been missing for a couple of days. Sam begins to wonder if the father is setting this whole thing up for the public to connect with a grief stricken man.<br /><br />Too Many Thoughts<br />James has just woke up tied up with his mouth duck taped shut. He see’s a shining light above him and he is in an empty room with a million thoughts racing through his head. What happened last night and where is Tony. Then a blonde haired female and brunette male comes in with surgeons’ masks on with a black bag in one of their hands. The female says one word that sends chills throughout James mind and the word is “scalpel”. The man says, “We will ask you one question and if you give the correct answer then my female friend won’t have to use this scalpel on your pinky finger.” He tightens up his fist only to have it opened by the man. As the female begins to go towards James finger with the scalpel, the man asks “Where is the tape”?<br /><br />Under Suspect<br />Paul Mitchell grew up in a small town and always dreamt of a career in politics, wanting to become a mayor and maybe a future president but with the sudden kidnapping of his son his dream is put to aside. His wife Pamela a cancer stricken woman is fighting through chemo and her son missing is making her condition even worse. The police have been questioning Paul more and more everyday as if he has something to do with the kidnapping of his only son. Paul decides to try and put it in his own hands and hire a private eye to try and come up with his son’s kidnapper before it is too late.<br /><br />Never Focus On the Light<br />Tony witnesses a shining light from a cars headlight as he is attempting to go to bed after a long night with his best friend James. He can still see the beautiful blonde that he seen in the club. Her eyes lit up the darkness of the dance floor but his shyness kept him from attempting to approach her. The shining light brightens as if the person in the car is just sitting there watching him. When Tony closes his blinds and turns around he sees the female that was in the club. Is this a dream? When he feels a sudden sharp pain go through his whole body he realizes that maybe it isn’t a dream. As he attempts to run to the phone his legs give up on him and he falls. He can’t feel his legs anymore and his arms also. The beautiful blonde looks into his eyes and says, “It was awful rude for you to stare and not approach me.” She pulls out a gun and Tony sees the light that was annoying him for the last time.<br /><br />Questions<br />Tape what tape the thought is going through James mind as he is sitting there with his pinky almost gone. When James asks the man what he is talking about he seems to be annoyed and brings out a cell phone. He begins to dial numbers and he puts the phone to James ear and says, “Ask your father.” As the phone is ringing he sees the woman take the scalpel away from his finger to his throat and the man says, “If you say one wrong word then unfortunately my client will forever have to live down the god awful tape.” James asks, “What are the wrong words?” And the man says, “You will know when you begin to see your own blood dripping down your shirt.” As the phone rings there is still no answer and then there is a pick up but it isn’t his father but his mother begging him to tell him what is going on. He begs her to put his father on the phone and when he gets on the phone James asks the same question that is holding on to his life. Dad where is the tape?<br /><br />Saving a Life<br />Sam did not see this coming. What kind of tape is putting a mayoral candidate’s son in this kind of danger? Sam gets a phone call from his partner and his partner says that one of his main suspects has just been killed with a single gunshot to the head. As Paul begins to open his mouth and tell the man, different words come out of his mouth Paul says go ahead and kill him. When Paul says this he runs and dives out of the window of the police station and he falls head first to the ground on the streets of Boston.<br /><br />Selfish<br />The man gives a frightening look at James and says unfortunately for us our money will not be inside me and my lady friend’s pockets tonight. He takes out a gun and the lady friend stops him. With a sudden relief James sighs and begins to cry only to have the lady friend slit his throat. The last words that James hears is “so selfish” from the man.<br /><br />Private Eye<br />Sam tries to find out where the call came from and looks at the cell phone for the last call. He sees where the phone call is coming from and gets a team to head to the place. He rushes over there with his partner meeting up with him. They force their ways into the house hoping that James is not dead. They see James in a chair bent over. They lift his head up only to find that James is actually dead and also discovers an envelope with the words refund on it with almost a thousand dollars inside. Frank pulls out his phone and makes a phone call to his son. Asking him when the next time is they can meet up to talk about whereabouts for his first vacation after retirement.<br /><br />Tracing a Point Elsewhere<br />What is this tape and where is it? In the end Frank is trying to find out where the relationship with his son is going to go now that he has given up his first love, Pamela is dying even slower now without her family and Sam is beginning to fall under the same spell that Frank was once under putting the search for the killers and the tape above all else. In the end they are all Tracing A Point Elsewhere.<br /><br />What the Press Would Say:<br /><br />Phenomenal and brilliant filming, this is truly one of the best performances by a cast in a long time. They work together so well with every one of them feeding off of each other in every scene. The editing makes the movie gel so well with the moviegoer not having a time to comprehend what just happened in the previous scene. This is a movie that makes you think and finally thinking in movie is a good thing. Nick Stahl is a standout and refreshing breakthrough in a role that was made for him, as the cocky new cop looking for the big case to make his career. But what he was looking for, for so long is something that at the end he really didn’t want. David Cronenberg brings suspense to every scene and without Nick Stahl his incredible screenplay wouldn’t be brought to life. Coming off his first Oscar nod Viggo Mortenson is miserable in this role. But that is what this role is called for. He shows a man who at the beginning had so much confidence and was on top of the world believing nothing could happen to him even putting his career before his Cancer stricken wife. His role is sure to be on every voters mind. Another voter who is sure to be on not just anyone’s mind but in their nightmares is Ian McShane (We Are Marshall) who plays one of the scariest characters seen in recent years. He delivers his lines with a voice that would make sweat go down your whole body in a winter storm. Cate Blanchett shows why she is being hailed as the next Meryl Streep but with this role she is sure to have future actresses compared to her. You can always expect her to deliver no matter what. Every scene that she is apart of is sad because she opens herself up so the audience can feel her pain, feel her loss. Jeff Bridges plays the wise old man very well trying to mentor the new comer so he won’t make the same mistake as putting his career before himself. The scene at the end when he picks up the phone to make a tearful hello to his son makes your insides tingle. The young talents Paul Dano and Joseph Gordon-Levitt rounds out a brilliant cast that is sure to be a serious threat for the S.A.G. award for Best Cast. These young stars are not overshadowed at all and stand out among brilliant actors. This is David Cronenberg masterpiece, even though we all though Eastern Promises could be his defining moment we are proven wrong with Tracing A Point Elsewhere. The film is filmed as clean in the scenes when murder is happening and dirty and grungy in the scenes when the characters are revealing themselves completely. Roger Deakins does a brilliant job at this and should get his long eluded Academy Award. Audiences everywhere will be thrilled with this movie.<br /><br />Best Motion Picture of the Year: David Cronenberg and Viggo Mortenson<br />Best Director: David Cronenberg<br />Best Original Screenplay: David Cronenberg<br />Best Actor: Nick Stahl and Viggo Mortenson<br />Best Supporting Actor: Jeff Bridges and Ian McShane<br />Best Supporting Actress: Cate Blanchett<br />Best Film Editing: Ronald Sanders<br />Best Cinematography: Roger Deakins<br />Best Original Score: Howard ShoreBrycehttp://www.blogger.com/profile/01204405331514065742noreply@blogger.com0tag:blogger.com,1999:blog-700021549748567892.post-1792813948581635932008-08-02T23:24:00.000-07:002008-08-02T23:44:12.563-07:00Tuskegee<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVgQbfk54gco8EHZPncuFKOWxsqJi5jWdGcPzcDKYiZsZ3mCadeQtfgwZG4GsFhqi2aTFc2Y1r12HR3oTMk1HmHO6QC8CMd0F_51RCaGUq0olxAZ0xFY1CC5afqEfnZmgdfK2xw6m75mrX/s1600-h/tuskegeeposter.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVgQbfk54gco8EHZPncuFKOWxsqJi5jWdGcPzcDKYiZsZ3mCadeQtfgwZG4GsFhqi2aTFc2Y1r12HR3oTMk1HmHO6QC8CMd0F_51RCaGUq0olxAZ0xFY1CC5afqEfnZmgdfK2xw6m75mrX/s320/tuskegeeposter.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5230173941021021730" /></a><br /><br />Author(s): Bryce (CA)<br />Tuskegee<br /><br />Directed by:Tony Kaye<br />Written by: John Logan<br />Produced by:Tony Kaye, Steve Tisch, and Todd Black<br /><br />Principle Cast<br /><br />Derek Luke as Charlie Pollard<br />Stephen Tobolowsky as Dr. Taliaferro Clark<br />Toby Jones as Dr. Oliver Wenger<br />William H. Macy as Dr. John Heller<br />Barry Shabaka Henley as Dr. Eugene Dibble<br />Angela Bassett as Eunice Rivers<br />Jessica Lucas as Mary Pollard<br /><br />Tagline: "They're here to help, but not the kind of help you would want"<br /><br />Synopsis: Between 1932 and 1972, the U.S. Public Health Service conducted an experiment on African-American men infected with syphilis. These men were never told what disease they were suffering from, or if it was serious, and their doctors had no intention of curing them. They were deliberately left to rot under the severe symptoms of syphilis so that their dead bodies could be used for research. This is the story of Charlie Pollard, one of the survivors of the horrific event that took place in Tuskegee, Alabama....<br /><br />Charlie Pollard was surprised to see his wife of five years, Mary Pollard, in bed with another man, and even more surprised with himself when he found himself in bed with a hooker later that same night. The days that followed Charlie experienced pains that he had never experienced before. After seeking medical help, he was told to talk to Dr. Taliaferro Clark, who told Charlie about an experiment they were doing that could help him, but he would have to stay in their clinic for an undetermined amount of time.The decision wasn't that hard to make, Charlie and his wife had become distant. He no longer felt as deeply passionate about Mary as he had in the past.Thus, Charlie gladly became apart of Dr. Clark's experiments.<br /><br />Years have now passed. "Cure found for major sexual diseases", was the headline that was on every newspaper in the country. Dr. Clark was eager to finally be able to help his patients, who he had grown close to. However, he was stopped by his superior, Dr. John Heller, who believed more can be learned if the experiment went on and the patients left unaware of their disease and its cure. While Dr. Clark argued over the boundaries of human rights, he was given no choice but to resign from the experiment, hoping that some day the patients he had grown attached to would be cured.<br /><br />While initially Charlie's love for his wife was transparent, it had grown back to be as evident as it use to be. With every month passing, Charlie's curiosity about his love's well being grew. However, his trust for the people working in the clinic was diminishing as every month went by. Every time he wanted to leave, it was Dr. Oliver Wenger who convinced him to stay. He plagued his mind with the idea of Charlie harming the ones he loved if he left prematurely. The only ones who seemed even possible of being trusted were Dr. Eugene Dibble, who felt wrong about doing such a cruel thing to his people but needed the money, and Eunice Rivers, a nurse that manipulated patients to stay with concern and compassion, but had an agenda of her own. Mrs. Rivers felt that these men deserved what was happening to them, and believed in the experiment more than any of the other doctors.<br /><br />Decades have now passed, and Charlie is still rotting in his room in the clinic. The symptoms were becoming so severe that each breathe brought a heavy load of pain inside. His mind was always playing tricks on him. He heard voices and saw people that didn't exist. His friends that he had gotten close to in the clinic were all dead, and every visit with the doctors felt like they were just eagerly awaiting Charlie's death. He has tried several times in the past to escape, but his severe pains stopped him each time. The only thing Charlie looks forward to each day is his time he gets to go outside. When he's outside many questions always flourish in his mind. Will he ever get out of here? What has the clinic really been doing? And of coarse, what has happened to his love, who he mistakingly abandoned?<br /><br />What the Press Would Say<br /><br />Based on true events, Tony Kaye's "Tuskegee" is much more than your ordinary asylum type drama, and it's not the type of movie that points fingers at particular groups. The heart of "Tuskegee" is a complicated look at a man's physical and mental journey through pain, suffering, trust, and dependency. While the movie shares some similarities to the popular "One Flew Over The Cuckoo's Nest", this is a much more darker take on the asylum genre than what has been seen in the past. Tony Kaye, known most for "American History X", is able to present the story in a way that doesn't make the movie feel manipulative, and instead gives us a movie in which the controversial is replaced with complex and subtle meanings. Kaye presents a question of what is really necessary when it comes to science, and leaves it up to the viewer to decide.<br /><br />Derek Luke has been able to pull off some amazing performances in some of his past works, but this role is much more complicated than his past roles. Charlie Pollard is a character whose pain turns him insane, whose decisions in trust constantly lead him into the more painful and more dark path, and whose motives grow more delusional as time passes. A character whose life is dangling on to one ideal, and one hope. This is the type of character that many actors seek, but not many can actually pull off. I would of never thought Luke would be one of those actors to pull it off, but his performance is so convincing I don't think anyone will be doubting his talents after seeing the film. I referenced "One Flew Over The Cuckoo's Nest" earlier, and while Angela Bassett's character has some of the same attributes as Louise Fletcher's character in Cuckoo's Nest, overall it's much more sinister character. Her religious justifications and motives make her seem almost as insane as Luke's character, and the way how she manipulates the patients is set up to appear as a sort of torture. It's a dynamic role that gives audiences the chance to see Bassett reach a new level in her acting career.<br /><br />While controversy is a sure bet with this movie's interpretation of Eunice Rivers, I think what Tony Kaye has done is bring something new to the table. He never really strides to make a historical statement with the film, but instead provides the concept of how these major events in history can be interpreted in many different ways, which ultimately helps people understand these character's motives, drives, and logic. While I'm certain some people will not agree with what has been said by the film, I think many will agree that the theme, acting, and filmmaking are all top notch, and deserving of high recognition.<br /><br />Best Picture<br />Best Director- Tony Kaye<br />Best Actor- Derek Luke<br />Best Supporting Actress- Angela Bassett<br />Best Supporting Actor- Stephen Tobolowsky<br />Best Supporting Actor- Barry Shabaka Henley<br />Best Adapted ScreenplayBrycehttp://www.blogger.com/profile/01204405331514065742noreply@blogger.com0tag:blogger.com,1999:blog-700021549748567892.post-31116805933894010602008-08-02T23:22:00.001-07:002008-08-02T23:23:11.522-07:00Bennie and the Jets<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTNhbrY1x4Oq_tS7cC48V_tRMClzpnULDH5ILhLOdqexMegH9P6O1RBHTsLQZr_MKkC862_KlQ3hQ6rgvPRClpZg-vwkhfOLs4T73aoQsDrbtXzq4SCF71OTKABv-wLwBVmaHAUKgfqFn-/s1600-h/Microphone-1.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTNhbrY1x4Oq_tS7cC48V_tRMClzpnULDH5ILhLOdqexMegH9P6O1RBHTsLQZr_MKkC862_KlQ3hQ6rgvPRClpZg-vwkhfOLs4T73aoQsDrbtXzq4SCF71OTKABv-wLwBVmaHAUKgfqFn-/s320/Microphone-1.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5230173113092314866" /></a><br /><br />Author(s): James Somerton (Canada)<br />Bennie and the Jets<br /><br />Directed By James Mangold<br />Written By Dick Clement and Ian La Frenais<br /><br />CAST<br />Cillian Murphy as Bennie Vicsera<br />Prince as Dedrick Jones<br />Kimberly Caldwell as Roberta Hendrix<br />Robert Downey Jr. as Jonathan Bond<br />James Marsden as Daniel Bicks<br />Courtney Love as Elix<br /><br />TAGLINE: "How High Is High Enough?"<br /><br />SONG LIST (In Performance Order)<br />"I'm Still Standing" Performed By Mr. Murphy<br />"Bennie and the Jets" Performed By Prince<br />"Don't Go Breaking My Heart" Performed By Mr. Murphy & Ms. Caldwell<br />"Your Song" Performed By Mr. Marsden<br />"Sorry Seems To Be The Hardest Word" Performed By Ms. Caldwell<br />"I Want Love" Performed By Mr. Murphy<br />"The Bitch is Back" Performed By Mr. Murphy<br /><br />SYNOPSIS<br />Bennie Vicsera stands behind a thick black curtain that blocks him from view. On the other side of that curtain is a crowd of forty-thousand screaming fans, calling for him. His band, The Jets, play the first cords to their hit single "Im Still Standing". Bennie hears his cue and panics. Too many people. Too much pressure. He lets it go to his head but within five seconds of hearing his cue, Bennie Viscera bursts onto the stage in an explosion of confetti and flashing lights.<br /><br />On stage Bennie Vicsera is a high energy showman that will do anything to get his fans singing and dancing along with him. But off stage he's shy. He doesn't like to reveal too much of himself to his band-mates but they all get along well. His two real best friends are his childhood friend Roberta, and fellow chart topper Dedrick Jones. Then, of course, there's everyone's best friend; cocaine.<br /><br />Bennie rides the wave of chart topping success, winning countless awards and, eventually, even winning over the critics. But all of this is put in jeopardy when rumors of his sexuality begin to swarm around the tabloids. In a panic he marries Roberta in hopes that all the rumors will be swept back under the carpet. They are. For the time being anyway. It wouldn't be too hard for him to keep his sexuality a secret if cocaine wasn't making him more and more reckless. His guilt is also eating away at him. The guilt of knowing that Roberta is actually in love with him, and isn't aware that she's being used by him.<br /><br />Bennie's missing shows and public appearances now. He hasn't released a new album in three years and the public is starting to lean toward more current, consistent fare. His manager, Jonathan Bond, tries everything to get him back on track but a planned intervention blows up in his face when Bennie runs off and then no one can find him.<br /><br />Bennie is held up in a secret house he's renting under an assumed name in Las Vegas. He watches on the TV as new artists emerge to take his place. The only contact he has with the outside world is Daniel Bicks, a hustler whose taken to caring for Bennie, and maybe loving him. His cocaine addiction, something that Daniel joined him with at first, has reached new heights. And even Daniel can't stand what's its doing to him. He watches him waste away and begs him to try and stop but not even his declaration of true love can sway Bennie. Daniel takes his broken heart and leaves Bennie alone in his home in Sin City.<br /><br />As Bennie's friends move on with their lives, and his "Wife" files for an annulment, he remains hidden from public eye. White powder is sprinkled everywhere in his home. A place that will surely be where he has his final rest. But when one of his contemporaries dies of an overdose, and its splashed all over the TV, Bennie is faced with a decision. Join his dead friend in whatever comes after life, or pick up the pieces and live.<br /><br />WHAT THE PRESS WOULD SAY<br />"Bennie and the Jets", a new musical from the songs of Elton John, is a terrific story with some great moments of musical genius. Loosely based on the life of Elton John himself, it takes us on the journey of Bennie Viscera; from the peak of his stardom, to the near deadly downfall, and finally to his resurrection. The film stars Cillian Murphy as Bennie, a shy, self-loathing superstar who runs from the truth and hides, figuratively and truthfully. Murphy gives a great performance and really shows off his singing abilities. He makes the character entirely likable, even at his worst moments. Kimberly Caldwell stars as his lifelong best friend Roberta Hendrix, a woman so enamored with Bennie's charm that she can't see past it. This is what leads to her falling into a fake marriage that she thinks is real. Her performance is undeniably memorable but she truly shines in the "Sorry Seems To Be The Hardest Word" musical number. A heartbreaking scene where she gives up any hope of ever being with Bennie, the man she's loved since childhood. Her biggest support in the movie is Dedrick Jones, Bennie's other best friend. Prince portrays the music superstar with so much power and charisma that he's one of the most memorable characters in the movie. His rendition of "Bennie and the Jets" sums up the history of Bennie and his rocking band. He helps in organizing Bennie's failed intervention but doesn't give up there. When all of Bennie's other friends move on, Dedrick keeps his eyes open for any trace of the missing Bennie, always looking for him, and always hoping for the best. The rest of the cast give some amazing performances as well. Robert Downey Jr. appears in only a few scenes as Jonathan Bond, Bennie's manger, but he's a great character that you love to hate. He tries hard to get Bennie's life back on track but only because it means millions of dollars to him. James Marsden has a small roll as a Las Vegas hustler that becomes Bennie's lover. But he, like Roberta, falls for Bennie and has his heart broken. He's almost a throwaway character because of his lack of impact on the story, but his performance is just too good to overlook. Courtney Love as a very small roll as Elix, a rock queen whose overdose and death leads to Bennie pulling his life back together. We see her only a few times in the film, mostly in passing glances at concerts or at parties where she forces Bennie to socialize. But she comes off as very fun and likable so these little encounters are more than enough to stir an emotional reaction in the audience at the news of her death. This is when Bennie really sees what he has become. Almost broke and entirely alone, he forces himself out of his stupor and rises up like a phoenix. In the final musical number, a stage show performed in front of some sixty-thousand cheering fans, Bennie Viscera erupts onto the stage with the words "The Bitch Is Back!". This is one of the most exhilarating sequences I've seen in a long time. After seeing Bennie so lackluster for so long, its great to see him back to the amazing showman he was in the beginning of the film. "Bennie and the Jets" is like a Rise and Fall morality tale with a happy ending. James Mangold takes us on a great ride and never lets us get bored. The musical numbers become sparse for a good part of the movie, letting the story tell itself. In fact, almost the entire second half is without them. We really start to miss the great musical performances so when we get the "The Bitch is Back" at the very end, its a heart-pumping conclusion to a great ride. With some fantastic performances, already classic songs, and a great story, this is the Elton John musical we've all been waiting for.<br /><br />POSSIBLE NOMINATIONS<br />Best Picture<br />Best Director - James Mangold<br />Best Actor - Cillian Murphy<br />Best Supporting Actor - Prince<br />Best Supporting Actress - Kimberly Caldwell<br />Best Original ScreenplayBrycehttp://www.blogger.com/profile/01204405331514065742noreply@blogger.com0tag:blogger.com,1999:blog-700021549748567892.post-76745469803337733512008-08-02T23:18:00.000-07:002008-08-02T23:21:24.360-07:00The Violinist<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi35huNxeuoB8NiK18yCImg7Hggb_0zGXO5JsWFSy4pruSg9VzV8EQmTvOPdv2gJKXEydDEIICB_duDbOv1imWQAdejWGBUwMQtGDpkAXyYGhCqcQ7_mWL7vdiDsIOy-zyIle9uljiMXpnp/s1600-h/TheViolinust.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi35huNxeuoB8NiK18yCImg7Hggb_0zGXO5JsWFSy4pruSg9VzV8EQmTvOPdv2gJKXEydDEIICB_duDbOv1imWQAdejWGBUwMQtGDpkAXyYGhCqcQ7_mWL7vdiDsIOy-zyIle9uljiMXpnp/s320/TheViolinust.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5230172541357247282" /></a><br /><br />Author(s): Alex S. (Mexico)<br />The Violinist<br /><br />Written & Directed by Andrew Dominik<br />Produced by Ridley Scott & JoAnne Sellar<br />Executive Producers Tony Scott & Brad Grey<br />Edited By Dylan Tychenor, A.C.E<br />Cinematography by Roger Deakins, A.S.C<br />Music by Nick Cave & Warren Ellis<br />Costume Design by Louise Frogley<br />Production Design by Jack Fisk<br />Set Decoration by David Crant<br />Art Direction by Crispian Sallis & Jim Erickson<br /><br />Tagline: "There's beauty to be found in madness"<br /><br />Cast:<br /><br />Arhtur Hackett – Lee Pace<br />Matilda Parrish – Melora Walters<br />Vanora Parrish – Rosemary Harris<br />Maxwell Parrish – Tom Sturridge<br />Amelia Baxter – Rosamund Pike<br />Jocelyn Davenport – Jennifer Carpenter<br />Alana Carrington – Sienna Miller<br />Edgar Dunton – Richard Griffiths<br /><br />Synopsis:<br /><br />A lot can happen in one day; in fact a lot can happen in mere minutes, one instant, one moment, can change someone's life forever. This is that moment.<br /><br />Arthur Hackett was what you would call a frustrated artist, bred by a family of musicians, and being unable to excel in anything related he resorted to the administrative side of the artistic, management.<br /><br />In the attempt of success, Hackett would never forget the day he met that little kid, little Maxie was 11 years old at the time and frankly Hackett didn't knew if a rush of excitement was going through him or a rush of envy.<br /><br />Matilda Parrish was probably the poster child for unstable women, losing her father at a very young age scarred her for life and an overbearing mother didn't help either. When she got pregnant she thought her life would actually become different but instead it defined her instability even more.<br /><br />Years later we found ourselves in a familiar scenery, Paris. Maxwell Parrish had become a celebrated violinist; giving concerts since he was 12 years old he was famous for his uncontrolled and fierce behavior on stage. However offstage he had proven to be quiet and even shy, very controlled and prudent, an elegant young man whose personality amazed every person he met.<br /><br />This night however would change everything. Maxwell is playing a very special concert filled with celebrity guests, an orchestra conducted by maestro Edgar Dunton and a performance by famous cellist Alana Carrington. The night would be anything but perfect though. Maxwell hasn't left his hotel room since he arrived to the city, and people has commented about his erratic behavior lately, radical changes of mood and attacks of hysteria are rumored, his publicist Amelia Baxter, answers every doubt with the cold demeanor she's known for and Hackett known for his sleazy personality and control over his clients, in an attempt for calming the media offers one interview before the concert. What seems to be a very naïve and harmless reporter is in charge with it, little does Hackett knows of Davenport's real character.<br /><br />Maxwell doesn't really understands what's happening to him, he sees and feels things that are not there, at least no to him, stuck in his own mind everything around him seems different, in a way clearer, he now sees how his life has changed and has been managed against his own wishes and desires, he's losing control of his own life and a grip to reality, everything is blurry now, the lies and deception of Arthur or the way he's been the only father figure he's had; he's unreliable, pill popping and neurotic mother or the woman who has always loved him unconditionally, his family. He finds himself alone right now with only the company of his controlling grandmother in a hotel room, she stand there yelling at him reprehending and medicating him, he's taking all this pills for something he doesn't even understands, nothing in his mind makes sense anymore.<br /><br />Matilda can't define if its fear or denial what's keeping her away from her son, take one, take two, this isn't working anymore, the feeling doesn't goes away, the lighting of this restaurant is really disturbing her and talking with this girl Jocelyn for so long is annoying her, why is she so curious and why does she has that smile on her face, she keeps wondering where is Arthur, why is he talking to all these people instead of her.<br /><br />Two hours left before the big moment, Maxwell just wants to stand up in that stage where everything works perfectly, where everything is fine.<br /><br />What the press would say:<br /><br />The Violinist, the new picture by the director of "The Assassination of Jesse James…" comes out of nowhere if you expected a similar piece as a follow up, yet he maintains a very particular approach to characters, is the kind of picture that isn't afraid to put its characters under a microscope, and it knows that studying their psychology is far more rewarding to the spectator.<br /><br />The Violinist offers a very special charm, It is a throwback to another time when films were allowed to be unhurried, when audiences trusted multiple story lines to converge organically, and time and place were evoked with consummate craft. The old is new again, and it has never looked so breathtaking. As "Jesse James…", The Violinist makes use of extensive voice-over narration that not only describes events but also comments on the characters and their actions. The film focuses on three main storylines, while delving in the past of each of the characters, the firs is about the quivering, sycophantic leech grasping for greatness Arthur Hackett as he deals with the media frenzy and the sanity if his own client, he also faces his own responsibility and his abuse. The second one is about Matilda filled with sniveling inferiority and mumbled cadence, as she reveals accidentally everything about her son's life to a conniving journalist. And finally, the one about the violinist, as he slowly loses control of himself and his life while dealing with her villainous and abusive grandmother.<br /><br />The film slowly changes focus from character to character as they walk through the hotel corridors and rooms, filled with long takes and constant music throughout the film, the film's tone begins to unravel scalding intensity, a studied film that is surprisingly engrossing, not to mention so handsomely made you can hardly take your eyes off it.<br /><br />Performances are amazing, Lee Pace playing Arthur Hackett loses himself in this very subjective man, he plays with his emotions in a way that's hard to determine if he's good or bad, his actions are opened to interpretations and at the conclusion the question goes even deeper. Melora Walters borders in exaggeration but from time to time becomes extremely subtle in his delivery, her mother figure reminds a very person who has found themselves in a situation when you feel helpless and weak in trying to help your children, she offers this with boldness and magnificent intensity. The newcomer Tom Sturridge takes us on a trip to the mysterious border-crossing between rarified brilliance and madness, his versatility that ranges from quietness to explosiveness is a treat to watch and the scenes where he plays the violin are intense you feel the music inside you. Rosemary Harris takes an uncomfortable role for her but excels at it, a nice looking villain that impresses with her passive aggressiveness; Jennifer Carpenter displays an amazingly controlled and refined performance that particularly shines in an interview with Sturridge where he's losing control and she pushes the right buttons to make him tick and Sienna Miller in a very brief performance shines in one particular long scene the two musicians rehearse, in this part the story relies more in facial and corporal expressions than in dialogue and she succeeds in portraying what the violinist longs for every time he stand in the stage.<br /><br />Dominik knows that life's randomness can also produce hope, humor and love. And it shows that in ways that more calculated feel good movies can't fathom. What Dominik lacks in substance is offset by his great skill with actors, his gift for shaping resonant little individual vignettes and his extraordinary intuition, his writing and directing in this explores furthermore the promise he has shown as a storyteller.<br /><br />The extraordinary expressive performers, male and female; the haunting interior and exterior conflicts; the painstaking attention to detail; the intense and palpitating score; and the subtly modulated mood shifts all combine to make a modern masterpiece an epic film that's part literary treatise, part mournful ballad, and completely a portrait of our world, as seen in a distant mirror. A psychological chamber drama that attempts to explore the madness of men, the film moves at an absorbing pace and -- in the rarest of qualities – allows the bulk of its sentimentality to emerge honestly.<br /><br />For Your Consideration<br /><br />Best Picture<br />Best Director – Andrew Dominik<br />Best Actor – Lee Pace<br />Best Actress – Melora Walters<br />Best Supporting Actor – Tom Sturridge<br />Best Supporting Actress – Rosemary Harris<br />Best Supporting Actress – Sienna Miller<br />Best Supporting Actress – Jennifer Carpenter<br />Best Original Screenplay – Andrew DominikBrycehttp://www.blogger.com/profile/01204405331514065742noreply@blogger.com0