Accompanied by a mediocre music groove (Commodores, Cars, Blondie, etc), three moronic youths are herded through puberty and the glum rites of allowance all too familiar from endless correspond to films (comparing pricks, humping hookers, necking in the back of borrowed cars, spying on girls in the shower). The viewpoint is predictably phallic: fear/contempt of the female festers like a squeezed pimple; an abortion is shown more lasciviously than any relations. Puberty Blues and Porky’s look positively developing wits such sickening junk. Boaz Davidson should baffle to sucking Popsicles.

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Three years after A Heart in Winter, Gallic maestro Claude Sautet comes up with another exquisitely woven tapestry of emotions that dare not warn their name in Nelly & Mr Arnaud. Significant by pointillist playing from Emmanuelle Beart and Michel Serrault, as a girlish abigail and older man whose passionate orbits seem almost willfully out of synch, the cinema is essentially an extended conversation whose delights can be savored at the dialogue and observational levels.

Beart plays Nelly, 25, who one day meets the emotionally remote but gentlemanly Arnaud (Serrault), a retired magistrate in his mid-60s who spontaneously offers her a loan to help out. Arnaud, who’s penning his memoirs, later offers Nelly work as a typist at his apartment office.

Meanwhile, she’s courted by Arnaud’s publisher, Vincent (Jean-Hugues Anglade), a relationship that increasingly irks Arnaud. Nelly rebels against Arnaud’s seeming arrogance and possessiveness but eventually returns to their working relationship and, after Vincent dumps her, their friendship.

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By distilling the pair’s relationship into a series of conversations, mostly in Arnaud’s apartment, Sautet studiously avoids the expected course of a May-December romance. As in the best of his previous pics, Sautet is more interested in the what-could-have-happened than the what-actually-has.

Beart not only holds her own opposite Serrault in the dialogue exchanges but also proves surprisingly touching in the pic’s key emotional moments. Other perfs are well-rounded throughout, particularly Anglade’s ruthless charmer and Michael Lonsdale’s McGuffin-like mystery man from Arnaud’s past.

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Nearly everyone employs a few helpful, less-than-cherished pop culture tropes that function as a good indication of "OH HELL NO". On the other hand, some cliches are delicious. There are sci-fi movies set in dystopian futures, novels about addiction and mental illness, Johnny Depp flicks, Josh Whedon series, British costume dramas, foreign horror movies with creepy children and/or dream sequences, stuff by David Lynch, training montages, and subtitled romances involving Women Of A Certain Age. Those are all (mostly) automatic yesses…for me. YMMV.

[
|
more plastic…
]    

by
harzerkatze
at
Wed 3 Mar 2:17am
score of
1.5 absorbing
Ok, here are a few of my trope hurdles. I am a fantasy follower, so I will mostly talk about my exposure there:
- If you have altercation scenes, use people who comprehend how to fight, or your moving picture is going to suck. No amount of special effects or rapid cutting will foreign the fact that that gazebo has never held a sword.

Bad illustration: Underworld.

Good example: Ivanhoe (1952).
- If you have a gathering of characters, don't have only the prime character do everything, or your movie is going to suck. Fantasy movies are a team rollick.

Unfavourable example: the Dungeons & Dragons movie.

Virtue example: the 13th warrior.
- If you after to have planned a comedic sidekick, choose a character who isn't supposed to also be a warrior, or your moving picture is going to suck.

Bad Example: the dungeons & dragons movie, and Lord of the Rings II (good movie, but Gimli as comedic sidekick sucks).

Good example: Lord of the rings I (Merry is a suitable comedic sidekick).
- As a rule: If you make an ironic or gaffe-in-cheek fantasy movie, it will most likely suck. Making a funny pretence film that is sympathetic is very drunk art.

Bad example: Dragonheart.

Safe benchmark: The Princess Bride or Willow.
- On the other hand, if you have a setting that is rightful absurd, you may still make a decent moving picture out of it if you take it no joking anyway.

Vicious example: To all intents most full-grown fantasy movies, from The Barbarians to Red Sonja.

Good model: Juggers.
- If you use special effects, using the wisely is more important than the amount of money you put into them. You can have effects that are sleazy but still nice.

Bad norm: Chronicles of Riddick.

Wholesome Example: Luminary Wars — a new craving or even Hawk the Slayer.
- Yeah, we separate mirage has a lot of black and white good vs. evil. But to be sure is that a good villain is more distinguished than a good hero. If you villain has no defining characteristic expect for how damage he is, your movie is customary to suck.

Bad example: Hawk the Slayer. Braveheart. Dragonheart. Profuse others.

Considerable example: Darth Vader from Big name Wars. The Big from Buffy. Vizzini from The Princess Bride.
- Like manner, just because your hero is teh solid guy, that is not enough. If your champion can do caboodle and has no bad characteristic, your movie is going to suck.

Bad lesson: Braveheart. Dragonheart. The dungeons & dragons film. Many many others.

Good example: Mad Martigan from Willow. Lord of the rings. Mal from Firefly.

Question authority. Don't inquire why. Just do it.


by
StofCircumstance
1 hour, 48 minutes ago
score of
1
in reaction to
comment 2
Okay, I can bear most of your premises absolutely easily…but how on earth can you have such disdain repayment for

Braveheart?

I can't stand Mel Gibson any more, but that talkie is distinctly his opus. And it's a agreeable-made rhyme.

Zen Happens


by
at
Wed 3 Mar 9:06am
score of
1
1. Choppy, skittish membrane action. Either the lead actor needs to learn how to do his or her own power scenes or the stand-ins need to be able to do them. But, destined for all that's holy, conclude with the Bourne series style of remain aloof from scenes. They don't make me the least hint entertained. Most times I need to take something for shift sickness.

2. Misstatement endings. Particularly twist endings that don't occupation or that are the only think for seeing a movie. If they're striking, they're only high-minded for the earliest week or so the film is in widespread turn loose. Appellation of audacity pleasure do them in.

3. Forget about the emotionally wounded cops — call a moratorium on emotionally scarred key figures. Frankly, I've had enough of following the antics and trying to develop empathy with actors wealthy the full retard plunge. Hardly focus on a courteous story with realistic altruist types acting on the screen.

4. Top-hole correction someone is concerned the next studio exec who greenlights any project featuring "Nationalist Lampoon" in the title.

Plastic is a maintain of something or other.



Re: Suffer from That Trope Off My Lawn!

by
at
Matrimony 3 Mar 11:13am
score of
1
in reply to
comment 3
One that faded away a few years ago, but is ripe as a service to a revival ,is The Best Friend's Curse. I refer you to films like

Refresh Gun

and

An Functionary and a Gentleman

, where the hero's moral advancement depends on his best buddy's untimely death because of the hero's unwise actions. This is allied to the Girlfriend's Girlfriend Effect, where the hero's take interest gets the handsome guy, while her best friend is stuck working in the mill and living in a trailer appropriate for the idleness of her dazzle.

What rescues us from insignificance is the spunk of our questions and the profundity of our answers. Carl Sagan



Re: Camp Your Taste on B-Roll

by
1 hour, 46 minutes ago
score of
1
in reply to
comment 5
That was totally awesome, thanks!

You yearn for b-somerset of a guy talking about b-roll in appearance of a callow scan?

peace


by
at
Ally 3 Blot 1:33pm
their own medicine of
1
Really, I'm done with him. What does he complete any more?

Take a literary or cola discrimination classic, add some day-glo color and a bit of CGI, Johnny Depp with pancake makeup, possibly a verve of Helena Bonham Carter, and voilà! A Tim Burton Reimagining®.

The macaroni can't even acquire a new haircut for chrissake.

Liberals are every time hesitation about the aggregate.


by
at
Wed 3 Mar 1:42pm
score of
1
The Making of Making of Trope. if you accompany the "Making of…" featurette on HBO or the rough of a DVD, you take in that they are exactly the in any case. The unparalleled telling how the director is a mastermind, the director weighty how Kurosawa was a genius, both the falling star and the big cheese praising the make-up artist and/or costumer for mounting the scene for the character so coolly, the star telling us that we should keep an eyesight on the ingenue because she will be a big celebrated hersolf some day…yeah, that pretty much sums them all up.

What rescues us from insignificance is the moxie of our questions and the depth of our answers. Carl Sagan


Don't Wipe out It In



(Wed 3 Mar 8:32am)

—–=o—-

The Smithsonian Institution has rejected OJ Simpson's suit. No, not a legal action; it's
the actual suit he was wearing when he was accquited.

-


…Views Do Not Reflect



(Mon 1 Mar 10:04am)

—–=—-o

Thick-headed assclown from Dallas equates
because of the Olympics. His name is Gil LeBreton. Thoughtfully, he included his phone number, 817-390-7760, and email talk, glebreton@star-telegram.com, seeking comments. From one Texan to another, "Fuck you, Gil."

-

NOTE: The CAP Examination Model makes no scoring allowances for trumped-up "messages" to excuse or for the sake of manufacturing of justification for aberrant behavior or imagery, or as far as something camouflaging such ignominy with "redeeming" programming. Disguising sinful behavior in a theme outline does not pretext the sinful behavior of either the ditty who is black-and-white entertainment or example from the sinful display or the practitioners demonstrating the sinful behavior. This is NOT a flick picture show parade post. It is a cinema analysis usefulness to parents and grandparents to tell them the truth about movies using the Truth.
"There are some in the fun industry who take care of that 1) violent programming is harmless because no studies be present that prove a connection between furious pastime and belligerent behavior in children, and 2) young people know that television, movies, and video games are simply pretence.

Unfortunately, they are wrong on both accounts.

" And "Viewing mightiness may lead to real elasticity fury." I applaud these associations in return fortifying 1 Cor. 15:33. Presume from the

rest of the story

. From our nearly seven years of study, I contend that other aberrant behaviors, attitudes, and expressions can be inserted in place of "violence" in that statement. Our Chief - Child Psychology Support, a licensed psychologist and certified disciples psychologist concurs. In search example, "Viewing arrogance against fair prerogative may take the lead to your kids defying you in real lifetime." Or "Viewing shafting may take to sex in real life-force." As well and notably with side, scorn and foul language. I more distant contend that any complete behavior can be inserted in place of "violence" with the regardless unintentional or strong of being a behavior template for the observer; of being incorporated into the behavior mechanics and/or coping skills of the onlooker. In choosing your entertainment, interest meditate on carefully the "allay of the story" and our findings.

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Belly button-gazer or prey-buster; neither works out accurately for the audience

The graphic novel

Watchmen

stormed comic book stores 23 years ago and has since gone on to be dubbed “one of the 100 best English-language novels from 1923 to the present” in

Time

and “one of the 50 Best Novels in the last 25 years” in

Entertainment Weekly

.

Well, that might be a bit overstated. While the first half of the book really does live up to the hype; the second half turns into a plodding, navel-gazing exercise in cold war existentialism.

The novel certainly broke the mold and stretched the medium in all different directions, incorporating text-based “excerpts” from character autobiographies, newspaper articles and other reference materials with the ultimate effect of creating a fully-realized, self-contained world that felt authentic even while some of the ideas and politics were convoluted. (For example, Richard Nixon holds a five-term presidency from Vietnam right on into the 1980s and an odd joke about a “cowboy actor” (Ronald Reagan) in the White House popped up on the very last page.)

As for that first half, what a ride! It’s a terrific read in which the good guys are shunned, their masked vigilantism made illegal and their days of heroism relegated to the dustbin of memory. It so fully fleshes out a sense of history and individuality, it is a pleasure to read. The idea of “masked adventurers” plays off existing characters like Captain America, Batman and all the others, while also acknowledging by name other characters like Doc Savage and The Shadow as if they were real-life heroes.

Somewhat problematically, though, while reading

Watchmen

the mind can wander down the cinematic highway and stop at Pixar’s

The Incredibles

and mull over the similarities. The latter playfully jabs at ideas presented so seriously in the former. Capes? Yeah, they’re a bad idea. Superheroes kicked to the curb? Ditto.

Retribution

Now, after much ballyhoo and numerous ill-fated attempts that at one point featured Terry Gilliam as director,

Watchmen

is finally on the big screen. Sadly, it’s a big, bloated bore.

The problem has nothing to do with any deviations from the source material. Overall, this flick is faithful, perhaps too faithful and too literal. Key frames are recreated precisely and the source material is quoted liberally.

The problem has to do with the execution. It’s so lifeless, the movie just sits on the screen. Brooding comic book movies may be the new rage, but that doesn’t make this a great movie. This sucker broods, but it’s the brood of boredom.

The Dark Knight

was brooding and serious — and it rocked. It had its own soul, it found its own riffs and social commentary.

Zack Snyder’s

Watchmen

is like an Al-Gore-style PowerPoint presentation of a comic book’s themes and characters — all the elements that endeared the book to legions are physically present, but there’s no soul.

Who Watches the Watchmen?

The overall narrative of

Watchmen

centers on a string of murders (or rather, attempted murders) on former “masked adventurers.” It’s a storyline that creates an unlikely reunion while subplots involving things like Russians in Afghanistan, nuclear war, and a loony little comic-within-a-comic about pirates and a raft made of corpses weigh down the book’s exciting pulpy sensibilities.

The screenplay by David Hayter (

X-Men

) and relative newbie Alex Tse, however, is gutted of all storytelling sensibilities. There’s no urgency in finding the murderer, there’s no sense of impending global destruction. There’s nothing. The movie starts out like gangbusters with a nice opening credits sequence that summarizes some of the heroes’ back stories, but it winds up being a butt-buster.

And it’s interesting to note the credits say “based on the graphic novel co-created by Dave Gibbons.” He’s the illustrator. No mention is made of Alan Moore, the writer.

There’s no need to even comment on the acting at this point. Most of the cast look like plastic action figures as soon as they put on their costumes and the acting is equally plasticine.

Ironically, one of the film’s diversions from the book is toward the very end when one character comments, “Nothing ends. Nothing ever ends.”

She must’ve tried to watch the

Watchmen

.

Chairman Jonathan Miller’s 1966 BBC adaptation of Lewis Carroll’s Alice in Wonderland has been largely unknown in the U.S., but Home Vision’s DVD will go a long way to silver that. Of myriad versions of the legend, Miller’s 72-minute film is quite the most punctilious, a disconcerting dreamlike inventiveness expertly and thoughtfully realized by person involved with the exciting staging.

The great Czech filmmaker Jan Svankmajer did his own fascinating film of Carroll’s story, Alice (Neco z Alenky, 1988), but like all of Svankmajer’s features, it wasn’t really up to the level of his earlier short films, made in the 1960s and early-’70s, which remain some of the best short films ever made. Interestingly, Miller’s Alice is in many ways closer to that spirit with, as Miller describes it in his audio commentary track, a “preternatural, surreal vividness.”

Shot almost entirely on the English countryside by Dick Bush, Alice in Wonderland is at once absurd and disturbing partly because it uses realistic Victorian settings in unusual ways. Miller’s commentary and the liner notes go to some length to point out how this was done; how, for instance, a military hospital corridor nearly 3/4 mile long was converted (by production designer Julia Trevelyan Oman) to represent a portion of the White Rabbit’s hole. Most of the picture has the impression, appropriately enough, of a Victorian insane asylum. Miller is quoted in the liner notes as saying, “I was trying to recreate a Victorian film, a film from early cinema, with the effect of Victorian photography.” Though, as Miller points out, his and Bush’s use of a wide-angle lens and its almost limitless depth-of-field is not in keeping with 19th century photographic technology, the general look is nonetheless effectively realized.

Miller also forsakes the elaborate make-ups expected with a live-action adaptation like this, as was done most famously in Paramount Pictures’ all-star 1933 version, and again in the William Sterling Alice’s Adventures in Wonderland (1972). For Miller it seemed crazy to hire great actors only to smother them with greasepaint and latex; and Miller’s cast is indeed quite special: Wilfred Brambell a menacing White Rabbit, Leo McKern a disturbing Duchess, Michael Redgrave an ineffectual Caterpillar, John Gielgud the Mock Turtle, Peter Sellers (who also appears in Sterling’s version) as the King of Hearts. Great character actors fill even the tiniest of roles, from Finlay Currie (as the Dodo) to Michael Gough (March Hare) and David Battley (Executioner). Ravi Shankar wrote the sitar- and oboe-filled score; though effective, it comes off as less revolutionary now than it surely did when the program first aired.

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The show is not for all tastes, particularly if your idea of Alice in Wonderland is solidly fixed upon Disney’s very different if unjustly maligned 1951 animated feature. If you’re in the right frame of mind, however, Miller’s Alice works wonderfully well, with some scenes, like the superbly-directed and photographed croquet match, coming off as sublimely transcendental.

• 
  Poster:
  
  B+

Review:

While the previewwas abjectly terrible, the poster has a strong design. Using a slight blue monochrome, the poster highlights the Norse ship sailing in behind preparing for landfall while the David-type character takes on the Goliath. It symbolically represents the film while simultaneously appealing to the teenage audience.

• 
  Trailer:
  
  D+

Review:

The film follows the life of a Scandinavian child left to be raised by a Native American tribe. He grows up to become a butt-kicking warrior in the lamest style imaginable. This movie looks like it wants to be 300 but doesn't quite know how to do it.

Oscar Prospects:

It's as likely to score at the Oscars as

300

is. The categories it has the best chances in are Costume Design, Art Direction, Makeup, Sound Mixing and Sound Effects. The film can't keep for Visual Effects and may not compete all around but its strongest hopes are as noted.

Release Date:

• April 13, 2007

Full Review Synopsis:

Year One full movie best quality

I have not seen this film.

-Wesley Lovell (March 28, 2007) Original

• ©1996-2010 - Written content and Logos are copyrighted by Wesley Lovell
• © ® ™ Academy Award(s), Oscar(s) and the Oscar statuette are registered trademarks and service marks of
  
  A.M.P.A.S.
  
• © Film images are copyrighted by the individual studios
• 

Clarence Williams, III, John Travolta & James Woods, lead an all star cast in the search for answers in the mystery adjacent the liquidation of the General’s daughter. Travolta plays a underwrite officer in the service of the CID…Flagitious Investigations Division of the Army. While on a mission in Georgia he’s, contacted by a colonel(Timothy Hutton) stationed on a military base in Virginia. It would come out that a terribly prosperously respected Global is retiring from military aid. However, in the wake of his retirement his simply daughter, a captain in the same direct, has been brutally raped & murdered. By military rule, Travolta has 36 hours in which to solve the case before an FBI squad descends on the base & pulls sequence soldiers. However, all is not as it seems in this case of Rape, promiscuity, betrayal & do in. At every corner a reborn misconstruction & turn ensures that you’ll never discern who actually did it until the exceedingly end. Noticeably a adequate thriller indeed. The audio on the disc is a 5.1 digital tour de force. There is sufficient play of the surrounds & sub to specify your home theater with a tolerable workout. The video is an amazingly brightly anamorphic display that simply dazzles. There are some night scenes that are very dark but peppered with incredible amounts of color that really shine in this production. Additionally,the print itself is marvellously rendered and it features animated menus that carry the score of the film.perceptive touch. The extras are as follows: 2 trailers, a 25 minute behind the scenes featurette & a director’s commentary. This is probably the finery produced disc to come commission of Paramount everlastingly! While the film is not a Whodunnit in the classic sense of Hitchcockian imagery or introduction, it still carries you from birth to end. Inclusive, I liked the film & am happy to recommend it to you. Happy viewing!