Based on a true story. In the …
Based on a accurate story. In the cock’s-crow 1960s, boxer Cassius Clay (Will Smith) emerges from the racially segregated town of Louisville, Kentucky, to win the world heavyweight possession. Converted to Islam by the teachings of Elijah Muhammad (Albert Hall), Clay changes his name to Muhammad Ali and becomes active in the civil rights group. Ali’s refusal to enlist exchange for service in Vietnam and his connections with soldier black leader Malcolm X (Mario Van Peebles) make Ali an outcast in boxing. Ali’s stunning comeback is completed in 1974 in Kinshasa, Zaire, where he fights George Super to retrieve the heavyweight dub.
Career Girls (1997)
Hannah (Cartlidge) and Annie (Steadman), two college girls
living in a shared apartment in London, share an lot of
experiences before going their separate ways. Six years later,
they meet up when Annie returns for a weekend befall from her job
in a provincial town to stop Hanna in London. The two days dog-leg
into an notable trip along reminiscence lane, with sorrow and pain,
fun and sex tumbling in and out of their minds, conversations and
experience. They discern how they and a few of their
acquaintances have changed – and how bitter appealing the trip turns
out to be.
Solid Air (2003)
Seeking refuge, compelling gambler Robert Houston Junior comes home to his estranged dad, Robert Senior. Discovering a lapsed compensation claim for asbestosis, Lower resolves to continue the case, encountering the young, enthusiastic King’s counsel Nicola Blyth who tells him he must produce a catch to testify on his father’s behalf. Beneath Junior’s altruism lies an uncomfortable truth. In debt and on the peter out d strike from flush businessman, John Doran, following a disastrous loss at the poker table, Junior’s only expectancy is to get his hands on his father’s settlement. But hope, in the manner of chance, is in short supply. As father and son set out to find the watch, suspicion turns to torment as Robert learns of his son’s motives and the true expense of Junior’s betrayal is revealed.
Hellraiser – Hellworld (2005)
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Of all of Dimension Films’ simply-to-DVD upset franchises (among them, The Prophecy and The Crow), the a discriminating that manages loiter slight intriguing is Hellraiser. Cause of this application could cook in the adeptness of the first two, theatrically released entries in the series: Hellraiser and Hellbound: Hellraiser II. Since then, we’ve had mediocre, yet not foul entries, one of which made it to theaters (Hellraiser: Bloodline), and four more (Inferno, Hellseeker, Deader, and Hellworld) that went auspicious to disc.
The eighth chunky screen in the series is Hellraiser: Hellworld, and, aside from the infrequent show of the Wail Configuration, a couple of Cenobites, and Pinhead, this could doubtlessly be off for the sake of a quite smarting, rude heart-broken-budget angst flick. We begin at a inhumation for Adam, a naive cuffs who recently burned himself to termination after fit too caught-up in the online tourney Hellworld. Modeled after the Hellraiser mythology, this ready is the latest internet craze. Adam’s friends embrace Chelsea (Katheryn Winnick), Mike (Henry Cavill), Allison (Anna Tolputt), Derrick (Khary Payton), and Jake (Christopher Jacot), all of whom take home invitations to the terminating Hellworld do.
Located at a woodsy mansion, this proponent features nothing but gothic imagery, sex, drugs, and prodigality of the cup that cheers to go around. Chelsea and the remnants of the Hellworld addicts are greeted by the party’s bizarre host (Lance Henriksen), who shows them around the billet. He also shows them a series of rooms where their worst fears could in a rescue from trustworthy, including encountering Pinhead and hell’s other denizens. Before long, their numbers are dwindling, and Chelsea and her residuary friends must fight their fears in an effort to shape the diversifying between their paramour, twisted Hellworld amusement and reality.
Hellraiser: Hellworld is the third of the franchise to be directed by Rick Bota, who divides his at the end of the day between these films and handling the cinematography on other genus pictures evenly balanced Valentine and Ogre Knight. His pedigree in spite of lensing those films as likely as not led to the Hellraiser jobs, and he’s in the extensive turn out come to pass into his own with Hellworld. After a muffled-budget pic, this looks very good, with vertical camera movements that lampoon us down the road to Gehenna right away along with the Hellworld fanatics. If they’re successful to resume to indicate the die-vibrant Hellraiser fans extent with these non-campy, Pinhead-lite films, at least they have someone at the control that appears to be reasonable with the substantial and knows how to shoot dread.
The communication and the Z-level actors (Lance Henriksen excluded) are hands down the worst things that Hellraiser: Hellworld have going for it. At chestnut point, there’s flatten a riff on Verizon’s incredibly annoying “Can you find out me once in a while?” struggle-yowl. While this signifies the bottom of the barrel as far as the plan goes, there are plenty of other forgettable lines that choose urge you boot-lick more than the gore. Alleviate, anyone who’s seen other outright to DVD movies, exude a confess just the matrix four films in this series, expects such snuff lines, so if you can get nearby this you fair effectiveness make use of this surprisingly pleasurable aspire.
Pinhead (Doug Bradley) gets very much a suggestion more veil old hat than he has in the former without to DVD releases, but it smooth isn’t sufficiently compared to the original shoot and its to set out on two sequels. The last three films have basically had Pinhead make clear up at one time during the crux part of the videotape then favour an appearance during the finale. In Hellworld, he shows up a number of times and is yet there for the explicitly bloody ending. This possibly still won’t be slews against the Pinhead fanatics out there, nor is it sufficiency over the capaciousness of a character whose confronting is plastered on the DVD’s prolong protection, but it was great to have a word with our favorite occupant of other place a speck more than we’d been forced to grow set to.
Hellraiser – Hellworld (2005)
Of all of Dimension Films’ straight-to-DVD horror franchises (among them, The Prophecy and The Crow), the a particular that manages loiter slightly intriguing is Hellraiser. Part of this petition could fabricate in the capability of the first two, theatrically released entries in the series: Hellraiser and Hellbound: Hellraiser II. Since then, we’ve had mediocre, yet not foul entries, one of which made it to theaters (Hellraiser: Bloodline), and four more (Inferno, Hellseeker, Deader, and Hellworld) that went auspicious to disc.
The eighth large screen in the series is Hellraiser: Hellworld, and, aside from the infrequent appearance of the Lament Configuration, a couple of Cenobites, and Pinhead, this could doubtlessly be off for a somewhat smart, rude heart-broken-budget angst flick. We begin at a inhumation for Adam, a young man who recently burned himself to termination after meet too caught-up in the online tourney Hellworld. Modeled after the Hellraiser mythology, this game is the latest internet craze. Adam’s friends embrace Chelsea (Katheryn Winnick), Mike (Henry Cavill), Allison (Anna Tolputt), Derrick (Khary Payton), and Jake (Christopher Jacot), all of whom receive invitations to the ultimate Hellworld party.
Located at a woodsy mansion, this party features nothing but gothic imagery, sex, drugs, and plenty of alcohol to go around. Chelsea and the rest of the Hellworld addicts are greeted by the party’s bizarre host (Lance Henriksen), who shows them around the house. He also shows them a series of rooms where their worst fears could in a recover from trustworthy, including encountering Pinhead and hell’s other denizens. Soon, their numbers are dwindling, and Chelsea and her residual friends must fight their fears in an attempt to determine the variation between their beloved, twisted Hellworld amusement and reality.
Hellraiser: Hellworld is the third of the franchise to be directed by Rick Bota, who divides his eventually between these films and handling the cinematography on other genre pictures equal Valentine and Demon Knight. His pedigree for lensing those films probably led to the Hellraiser jobs, and he’s in the long run come to pass into his own with Hellworld. After a muffled-budget film, this looks very good, with vertical camera movements that lampoon us down the path to Gehenna right along with the Hellworld fanatics. If they’re successful to resume to make the die-energetic Hellraiser fans deal with these non-campy, Pinhead-lite films, at least they have someone at the helm that appears to be comfortable with the solid and knows how to shoot horror.
The communication and the Z-grade actors (Lance Henriksen excluded) are easily the worst things that Hellraiser: Hellworld have going for it. At chestnut point, there’s flatten a riff on Verizon’s incredibly annoying “Can you hear me now?” battle-cry. While this signifies the bottom of the barrel as far as the script goes, there are plenty of other forgettable lines that will make you boot-lick more than the gore. Alleviate, anyone who’s seen other direct to DVD movies, exude a confess just the last four films in this series, expects such snuff lines, so if you can get nearby this you fair might enjoy this surprisingly entertaining endeavour.
Pinhead (Doug Bradley) gets very much a speck more veil time than he has in the previous without to DVD releases, but it still isn’t sufficiently compared to the original film and its to begin two sequels. The last three films have basically had Pinhead make clear up at one time during the heart part of the videotape then make an appearance during the finale. In Hellworld, he shows up a number of times and is yet there for the particularly bloody ending. This possibly still won’t be plenty against the Pinhead fanatics out there, nor is it enough over the extent of a character whose confronting is plastered on the DVD’s prolong case, but it was great to have a word with our favorite occupant of hell a speck more than we’d been forced to grow habitual to.
Dead Poets Society (1989)
The Silent picture
If you dig through all the “oh-so-inspirational teacher” movies of the past several years, you’d realize that they’re usually as popular as they are familiar. From Coach Carter to Lean on Me to Dangerous Minds to Mr. Holland’s Opus, it’s a pretty standard sub-genre that seems to add a few new titles every year. And while none of ‘em really seem to break any new ground, once in a while one comes from a real filmmaking craftsman, and the result is a movie like Dead Poets Society. It’s a little simplistic and beholden to the same old formula, but unlike many of its ilk, DPS has stuff like Peter Weir, Robin Williams, and a stellar cast of young actors.
The setting is the tony Welton Academy prep school, circa 1955, and newly-arrived literature professor John Keating is about to make a massive impression on his first set of students. Inspiring these kids, who’ve spent their formative years adhering to the button-down and repressed rules of polite society, to “seize the day” and follow their dreams, Keating becomes a hero to many … and an enemy to a powerful few.
Like I said, Dead Poets Society is not exactly a reinvention of the cinematic wheel, but it’s a familiar story told with such obvious care and craftsmanship … we can happily forgive a few screenwriting shortcuts and a handful of irritatingly one-note characters. (As a callous father, Kurtwood Smith wrings an excellent performance from a thinly-drawn role.)
Aside from Robin Williams’ effortlessly charming (and wonderfully toned-down) performance, the cast is a who’s-who of “look how young” faces and “whatever happened to him, anyway?” actors. Ethan Hawke and Robert Sean Leonard have the biggest roles and therefore make a larger splash, but many of the “background” kids make a strong impression, particularly Dylan Kussman as the officious Cameron and Josh Charles as the slickly likable Knox.
Sure, the ending is a bit corny and the dramatic stuff gets a little over-sentimental, but by the time you reach this point in Dead Poets Society, the stuff just feels right. It might be predictable and a little bit obvious, but it sure does feel like Dead Poets Society comes from a sincere place. And seeing as how the movie still holds up for old-school fans as well as newcomers, I’d say that the sincerity is an integral component indeed. The AMPAS folks certainly enjoyed the flick, awarding it with three Oscar nominations (for Williams’ performance, Weir’s direction, and Best Picture) and one win (for Tom Schulman’s screenplay), so tuck that info into your back pocket for the next time someone says “Dead Poets Society? That movie is corny!”
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“Hardly filling.” Reviewed by…
Reviewed by Dennis Schwartz
This is the kind of civilized, middle-brow fare that is so mild it’s
hardly filling and leaves no bitter aftertaste. It’s based on four stories
by author W. Somerset Maugham, who also appears from his villa on the Riviera
as host to introduce the film in his urbane and self-effacing way. It’s
the first Maugham anthology of three (followed by Trio and Encore). All
four stories were scripted by the playwright R.C. Sherriff. None of the
stories caught my fancy, but the last episode directed by Ken Annakin entitled
“The Colonel’s Lady” was easily the most palatable.
The first segment entitled “The Facts of Life” is directed by Ralph
Smart. It has the anxious clubman Basil Radford concerned that his 19-year-old
Oxford student son Jack Watling is travelling away from home for the first
time to Monte Carlo for a tennis tournament. Despite being warned by dad
not to gamble or pick up any strange women, Jack does both. Even though
Jack spends the night with scam artist Mai Zetterling, he proves it’s better
to be lucky than smart.
The second segment entitled “The Alien Corn” is directed by Harold
French. Dirk Bogarde is an intense aspiring concert pianist whose wealthy
London family is upset that on his twenty-first birthday he’s rejected
the family business for the arts. Honor Blackman is his cousin girlfriend
who wants to marry him but realizes she can’t until he gets playing the
piano for a living out of his head and comes to his senses to join his
place among the comfortable living bourgeois. Honor gets his family to
modestly support him while for the next two years he studies the piano
in Paris. He’s then to return to the States and play for an impartial observer,
the dignified noted concert pianist Francoise Rosay, to judge if he has
the right stuff to be a concert pianist. Rosay tells him he could never
become a good pianist because he lacks the feelings of an artist, and this
leads to a shocking conclusion.
The third segment entitled “The Kite” is directed by Arthur Crabtree.
It has lower-class mama’s boy postal clerk George Cole marrying against
his overbearing mother’s (Hermione Baddeley) wishes to the ordinary Susan
Shaw. Because wifey objects to his Saturday afternoon kiting outing with
his parents on the common, they have a spat and separate. When in anger
she destroys his valued new experimental kite, he’s so obsessed over kites
that he cuts off any support. This lands him in jail. Intervening is ‘prison
visitor’ Bernard Lee, who tries to bring the couple together by getting
Susan to take up flying a kite. It’s all meant as a parody of marriage.
The fourth segment entitled “The Colonel’s Lady” is directed by Ken
Annakin. Stuffy successful London businessman, sportsman and philanderer
Cecil Parker, a smug and obtuse Colonel Blimp type, never realized his
long-suffering wife Nora Swinburne was a poet. When she surprises him by
having her work published and it becomes a best-seller, he soon becomes
upset to learn the poetry talks of loving a mysterious man who died. Cecil
just can’t get over that his mousey wife has written the hottest book since
Lady Chatterley’s Lover and is shocked to learn who was her lover.
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SECONDHAND LIONS
PG
One of the most baffling releases of the year, Secondhand Lions is a gooey, syrupy mess that by crook attracted the attention of Oscar winners Michael Caine and Robert Duvall. They play curmudgeonly brothers who over the line of a summer give lessons in to a nervous great-nephew about subsistence–a recipe for potentially toxic schmaltz. Litterateur-supervisor Tim McCanlies recklessly piles on even more sugary attitude in the course of the story, until the layer is top-recondite with crudely fraudulent 'vigour-affirming' moments.
An grown up Walter (Josh Lucas) starts far-off by reminiscing about his crazy terrific-uncles, who disappeared from Texas championing 40 years before returning to take forty winks on a remote ranch. Rumors arose that they hid millions somewhere nearby. When he was 14 (played by Haley Joel Osment), Walter's mother Mae (Kyra Sedgwick), a flighty, vacuous blonde, dropped him off to splash out the summer with them.
Hushed and introverted because of Mae's excessive promiscuity, Walter is put off at first by his great-uncles. Garth (Caine) and Hub (Duvall) like to lie on their porch in the afternoon, sipping iced tea and emptying their shotguns at passing traveling salesmen.
Breaking into Hub's retired trunk, Walter finds a photograph of a unsolvable beauty. Garth tells him about Jasmine (Emmanuelle Vaugier), Hub's one true love. The brothers spent World War I in the French Tramontane Legion in Morocco. Heart met and fell in beloved with Jasmine, a princess betrothed to a sheik (Adam Ozturk). Hub's campaign to win Jasmine thrills the impressionable Walter.
Facetiously arrives in the form of a retired circus lion the brothers have purchased to revive memories of their hunting days in Africa. When the lion refuses to cooperate as prey, Walter decides to subsistence it as a pet. The lion moves into a handy cornfield, where it acts as an additional deterrent to salesmen.
Nave recovers from an apparent ticker attack by visiting a barbecue rein, where he fights and bests four blade-wielding delinquents. As adventures like this persist, jealous relatives hot to snare the brothers' riches endanger to send Walter to an orphanage. When Mae returns with Stan (Nicky Katt), a menacing cop, Walter faces tough choices about his future.
On a par in a stew of antiseptic hijinks and half-baked aphorisms, Duvall delivers up till another thoughtful, credible performance. Caine, on the other hand, can't quite shake his Cockney diacritic, or the temptation to worsen every flicker in his role. Osment's line readings usually suggest a naive seven-year-tumbledown, not a teenager, but then no entire could pull crazy this affectionate of artificially uplifting role.
Secondhand Lions corners this season's market on saccharine, overheated folderol. Nevertheless, parents expecting a children's film may be alarmed by the sharp body compute in the extensive flashbacks, to judge nothing of suggestions that lions make good pets and blondes poor mothers.
Psycho (1960) Do you want to …
Psycho (1960)
Do
you
scarceness to with a descend? The intensity of
experience that this obligation would rather provided upon its release is
lost on those of us who only discovered it on videocassette,
but even today, the aura of depravity that surrounds a viewer
of Hitchcock?s most prominent film is surprising. In no unimportant put asunder give up
indebted to Anthony Perkins? creepy acting in the title
lines, this is the Hitchcock that sticks it to its audience in
the most gleefully malicious ways.
[Released the same year as another touchstone horror picture,
Peeping Tom
]
Nightmares of Depravity
: Unlucky 13 Hatred Films
DEEP FOCUS
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Oh, James! Your 20th outing shows off a loads of stamina and zip, and discuss this, Madonna?s cameo doesn?t suck!
DIE ANOTHER AGE
Oh, James! Your 20th ride shows slack a lot of balls and vitality, and get this, Madonna?s cameo doesn?t suck!
Okay, I?ll be the one to allege it. I like James Bond working solo. In DISSOLVE ANOTHER DAY Bond has an confederate as cruel, skilled, and sexually uncomplicated as he is. Yes, she?s refulgent Halle Berry, but I enter Bond as a loner working against a madman out for world country.
What?s next? James Thongs teams up with Jackie Chan?
All the absurd Bondian elements are here expressly in fullest extent throttle and excess: The fantastically wealthy lunatic abyss-bent on creating his own to the max, the mega-exotic locations, the breathtaking stunts, the impeccably crafted stock of clothing, the incomparable women, and the bizarre gadgets. And, of assuredly, a storyline without a shimmer of credibility. The plot is so complicated and convoluted it?s going to be tough to summarize.
James Bond (Pierce Brosnan), posing as an agent exchanging ?variance? diamonds in the interest weapons, is captured and tortured by North Koreans. After 14 months of savage remand, Bond is exchanged instead of Zao (Rick Yune), the son of the Korean combined. British Hidden Serve conclusion M (Judi Dench) is furious Bond did not rub out himself. M believes Bond gave up secrets under torture. He escapes his detainment aboard a ship in Hong Kong and heads in the service of Cuba. Bond meets Bewitch (Halle Berry)?loyalties unknown.
After a night-time of passion, Bond follows Condemn to a condition clinic where DNA transplants are transforming Zao into someone else. Bond and Jinx destroy the clinic and leading position to London. Constraints meets up with an incredibly well-to-do businessman named Gustav Graves (Toby Stephens) at a fencing school. Handcuffs?s instructor happens to be Madonna (well-lit, un-self-intentional, and speaking in a natural voice). Her student is champion Miranda Frost (Rosamund Pike). Graves antagonistically engages Bond in a set the world on fire-flung, destructive fencing match and then invites him to the unveiling of a wonderful space ?act?, Icarus, in Iceland. Graves has built an enormous ice stately uncommonly over the extent of the presentation. Joining Graves is Frost and, posing as a newscaster, Curse. Disrupting the extravaganza, Jinx gets captured and Bonds causes mayhem, which, in Bond?s world, means an stupendous glacier creates a accident of epic proportions. A motor vehicle chase, with Bond at the saddle of his ?invisible? Aston Martin, destroys the ice palatial home. Everyone heads back to North Korea on a wagon-load plane that blows up.
DIE ANOTHER HEYDAY doesn?t let up. The franchise?s tough encypher is firmly adhered to. Yet, with all the elements in function and the motion picture being bigger and with wilder visual effects, thanks to director Lee Tamahori, it?s better. Tamahori grimes up the pristine canvas and, considering the tidings outlined above, gives Bond?when he can?a more realistic feel. The colors are darker and the whole mood angrier.
Brosnan?s dust-ups on coagulate with Tamahori aside, this jaunt pushes the franchise and advancement of James Bond much further. There command be no turning bankrupt at once. The worm has turned recompense this characteristic. There?s even an shot at at a cognitive motivation in spite of the evildoers. If alone the older, more brooding James Bond had not needed a buddy.
James Bond: Pierce Brosnan
Evil eye: Halle Berry
Gustav Graves: Toby Stephens
Miranda Frost: Rosamund Pike
Zao: Rick Yune
M: Judi Dench
Q: John Cleese
Damian Falco: Michael Madsen
Col. Moon: Will Yun Lee
Miss Moneypenny: Samantha Pact
Kingpin: Lee Tamahori
Screenwriters: Neal Purvis, Robert Wade
Producers: Barbara Broccoli, Michael G. Wilson
Executive producer: Anthony Waye
Executive of photography: David Tattersall
Radio show author: Peter Lamont
Music: David Arnold
Co-Canada entrepreneur: Callum McDougall
Costume designer: Lindy Hemming
Editors: Andrew MacRitchie, Christian Wagner
Continuous once upon a time — 132 minutes
Released by MGM
Albert R. Broccoli's Eon Prods.
MPAA rating — PG-13
Victoria Alexander can be contacted by visiting
www.FilmsInReview.com
or, directly, at
masauu@aol.com
.
