This likable little comedy stars Steve Zahn and Jeremy Northam as a pair
of escaped chain-gangsters who masquerade as a gay couple in the Texas
boondocks.
The cast of outstanding character actors, which also includes Ally Walker
and Illeana Douglas, is topped by William H. Macy as the straight-shooting
but not necessarily straight-arrow sheriff. Among these three men and two
women, there are four sets of couples. You do the math.
Escaped cons Wayne and Harry steal a van that belongs to a bickering pair
of gay men in a grocery store. By examining the belongings in the vehicle,
Wayne and Harry must figure out who the two are and what they do. They come
up with some hilarious, plausible ideas.
It turns out they have taken the van of a pair of itinerant kiddie pageant
hustlers (“Little Miss Fresh Squeezed”) and now they are going to take
their identity, too. When they spot the wide-open door of a vault in the
bank of a nearby town, it is like an invitation to hang around
and knock off the joint. Welcome to Happy, Texas.
The only things standing in their way are a school teacher (Douglas);
Chappy, the sheriff (Macy); and the town banker, Joe (Walker) — they
mistakenly assume the banker is a man, while she assumes they are gay.
Zahn plays Wayne as a tough little SOB with a bushy mustache and a
crazed, clenched-teeth look of defiance. He is a walking bundle of pent-up
rage. One of the things he hates is kids. As W.C. Fields demonstrated,
anybody who hates children and small animals can’t be all bad.
When Wayne is put in charge of training a classroom full of little
darlings for the kiddie pageant, he offers them cigarettes and teaches them
how to swear.
Harry (Northam) has more in the way of social skills (which he might have
picked up in all those drawing rooms in Oscar Wilde’s “An Ideal
Husband” and David Mamet’s “The Winslow Boy”).
The mistaken identities become almost Shakespearean. Banker Joe treats
Harry like a girlfriend, and he in turn pretends to woo her like the
sensitive man she deserves and certainly isn’t used to getting in Happy.
Another mistake she makes is assuming that Harry will be all setup and no
follow-through.
Chappy the sheriff makes exactly the opposite assumption, and Macy has a
wonderful scene where he takes Harry out in an orchard ostensibly to shoot
rabbits. It leads to taking Harry out to a bar where they dance the
two-step, and Harry, to his surprise, likes the attention more than he
expected.
Macy has become the offbeat-
character actor of the ’90s (“Fargo,” “Mystery Men”). There is always
something else going on behind the eyes of any character he plays, and in
“Happy, Texas,” it is Stetson-hatted, “masculine” sincerity.
The women would tend to get shortchanged in this crowd if Walk
er (TV’s “Profiler”) and Douglas (TV’s “Action”) weren’t such strong
personalities. They certainly hold their own.
..
March 14, 2010
“Edward II,” Derek Jarman’s phantasmagoric, outrageously stylized interpretation of the Christopher Marlowe play, is more a creature of its director’s sensibility than its creator’s.
In its settings (mostly bare walls and dirt floors) and its wardrobe (characters wear contemporary, mostly black fashions) and countless other anachronisms, the film presents an out-of-time, theatrical sense of history. Faithfulness to either period or text has been abandoned in favor of a politicized, revisionist version of the play’s events in which Marlowe’s buried subtext — in particular, the sexual proclivities of his principal characters — becomes the main text. And, in the process, Jarman’s soapbox.
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Jarman, the British director who suffers from AIDS and whose past work (”Caravaggio” and “Sebastiane,” among others) has dealt openly with gay themes, has found in Edward a martyred hero, a victim of repression and injustice whose obsessional passion for another man, the despised Gaveston, leads to his overthrow and savage murder. Regardless of whether his view of the material matches up with history, Jarman hasn’t tortured his source to fit his agenda. Instead, he’s found support for his themes within the text.
That doesn’t mean that his departures aren’t radical. In his hands, “Edward II” has become a chic melodrama that’s part art object, part “The Valley of the Dolls.” The king (Steven Waddington) and Gaveston (Andrew Tiernan) parade around with their followers at their heels like a surly street gang spoiling for a fight. They’re young toughs, the classical equivalent of skinheads, who outrage the establishment with their lewd behavior and disrespect for authority. The earls and barons, who are appalled by the power Edward has bestowed on Gaveston, are portrayed as corporate board members, bland bureaucrats in three-piece suits. They want the base Gaveston gone, one way or another.
Jarman’s directorial choices are always a surprise, and sometimes strikingly so, even if he reduces the play to the level of “we don’t like your boyfriend.” His decision to have Annie Lennox serenade the departing Gaveston and his lover with a rendition of Cole Porter’s “Every Time We Say Goodbye” is a brilliant stroke; it’s Marlowe meets MTV. And his idea of casting Edward’s queen, Isabella (the beautifully mannequin-like Tilda Swinton), as a medieval Imelda Marcos, sublimating her sexual frustrations with ever more lavish Hermes gowns, is outrageously appropriate.
Jarman’s political activism is at times shoved vividly into the foreground — for example, when he has members of England’s real-life gay rights group OutRage protest the repression of homosexuals in picket lines outside the castle. The director’s flagrant celebration of gay love isn’t an advertisement, nor is the presentation of his homosexual characters always benign. Though sometimes unflattering, sometimes galling, they are gay images fashioned by an engaged, inventive artist who is less interested in what’s politically fashionable than in what’s true to himself.
“Edward II” is rated R for sexual content.
March 12, 2010
Inspired by the events that triggered the New York Notify headline, “Headless Assembly in Topless Bar” is a tense, claustrophobic black comedy thither a group held hostage by a deranged gunman. The add up to-on title may, unfortunately, away audiences who sway take advantage of this knowledgeable film, and prospects look brighter for video release.
Apart from some establishing street footage that bookends the drama, the film unfolds inside a sleazy bar. Co-producer Peter Koper’s screenplay could equally serve as the basis for a stage production, but thanks to James Bruce’s fluid direction and excellent ensemble performances, pic escapes the theatrical tag.
Late one night, a small group of customers are half-heartedly watching Candy (Jennifer MacDonald) perform a topless dance. They include Lumkin (David Selby), a corporate lawyer with kinky tastes; two loudmouthed kids (Rustam Branaman, Taylor Nichols) out on the town; and Carl (Paul Williams), confined to a wheelchair. A gunman (Raymond Barry) enters the bar with robbery on his mind, but the bartender resists and is shot.
The gunman exerts a certain charm when he’s rational but occasionally slips into a kind of madness; he can’t decide what to do with the five witnesses, who all fear they’ll be killed. The late arrival of Candy’s sexual partner, Letitia (April Grace), adds further tension, and by this time the man is determined to retrieve the bullet from the dead bartender’s head.
Bruce and Koper keep the tension on the boil and convincingly depict the reactions of the victims. With flashes of humor and mounting tension, the film is gripping, although most of the characters aren’t very likable.
The cast does sterling work, with standout perfs from Barry, MacDonald (who plays almost the entire film topless) and Williams. Technical credits are all fine.
March 10, 2010
The success of the first smokescreen in Peter Jackson’s Lord of the Rings trilogy almost guaranteed a multitude of additional products tied into its release. Billed as round out inspiration to Middle Blue planet, J.R.R. Tolkien - Master of the Rings is as flawless as any fan of the literary series could ask.
Hosted by Tolkien scholar Robert DiNapoli, this 80-minute documentary covers innumerable aspects of Tolkien’s soul, as well as, the creation of Lord of the Rings and Middle Planet. Based in the beginnings of his Oxford education. “The Hobbit” was published and became great uncover. After that, the publisher wanted a upshot and it would be twenty years previous he delivered.
After writing and revising due to the fact that twenty years, Tolkien turned in the fundamental of the The Supreme Being of the Rings manuscript. Published in 1954, Peer of the Rings met with medium success and only became considered a classic in ease. Scholars and fans continuously debate whether or not pipedream can be mull over ageless literature and Tolkien believed that myth was able to convey truth loaded better than actuality or narration.
The documentary, using paintings and video, recaps the plot of the three books and then continues on with this debate and relates the historical signification of the publication and it’s meanings. Combined with a 3-D map of Middle Earth, these discussions give a best overview of Middle Earth to fans and the initiated alike. The 3-D map is used completely the documentary as locations are shown. It’s a nice tool that puts all the locations into a fitting perspective. From the history of the creation of the characters to the references to World Wage war with II, it’s all in the documentary. Tolkien’s critique style is analyzed and his worlds are properly deconstructed. Divers artists, musicians and schools are interviewed and talk about how Tolkien has influenced them. One musician reveals the aim to originally coating LOTR using the Beatles as the pre-eminent characters.
It’s an exhaustive look at the mythology and the world that went into this highly influential series of books that are on their way to being wealthy films. No fine points is Heraldry sinister unmentioned and the information is perfect for anyone, in defiance of his or her level of knowledge on the subject. Be warned, those that haven’t pore over the books will have them or the following movies spoiled.
The Video: Comprised of a number of sources, it’s an admissible transmittal. The filmed question footage and still images are vibrant with little noise or grain. Older footage suffers in quality, but that’s expected. If you’ve seen one documentary, you’ll know what to think.
The Audio: A ensign Dolby mix is all that’s needed on this disc and it works incomparably correctly. There’s little to no music, except when referencing bands that use it as inspiration.
Extras: The DVD has to substantial extras and a few on the DVD. There is a beautiful image gallery of the artwork done by the Hildebrant brothers. There work eat one’s heart out defined Tolkien’s world in a successful adjusting and many images are included here. Bright and colorful, the images are hand-me-down on every iota of the packaging and other material. A small booklet is included that reproduces some of these images in a print form.
Interviews and music videos are included in a section entitled Inspirations. Featuring four performers / artists who have derived a undoubted amount of arouse from Tolkien. Rick Wakeman, from the band YES, has composed and compiled a CD uncut of music inspired by Tolkien’s move and it’s included with this arranged. When compared to the photograph score and other music, by today’s standards it sounds like high quality video racket music. Stacked of British colouring synthesizer and string work, it’s not for one. The Interactive Appraisal sector is a series of 9 questions that when clicked the suitable video cut off plays. It’s an clumsy interface that use some footage included in the documentary. It would get been nice to realize an way out to play them straight from one end to the other.
Overall: As above, it’s an complete look at the mythology of LOTR that touches upon the life of Tolkien as well. Don’t envision a biography of Tolkien’s elasticity, but look for plenty of tidings on the LOTR trilogy.
March 9, 2010
Mar 5th, 2010 by lordgoth
The official Japanese homepage for the Pocket Monster movie franchise now hosts a Flash trailer for this summer’s 13th Pokemon theatrical film, along with two teaser trailers. Pocket Monster Diamond & Pearl: Genei no Hasha Zoroark (The Phantom Champion Zoroark) will hit Japanese theaters on July 10.
Trailer: Click Here
Source: Anime News Network
March 7, 2010
Seventy minutes of slapstick is a tall structure for Laurel & Hardy and they hardly fill it. It’s one of those hokum war farces with the numbskull L&H jazzing up the army as hapless rookies.
There’s also a wartime buddy’s girl baby whom the well-meaning L&H endeavor to return to her grandparents, a Mr and Mrs Smith. Trying to identify the Smiths through the city directory constitutes a major portion of that sort of pseudo-comedy.
One wonders why it wasn’t kept to the confines of the usual twin-reeler as in the past.
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March 6, 2010
DEEP RISING
DEEP
RISING
($30) is the best, most comic,
"dumb monster
movie" to
be released in quite some time. The film definitely
has its tongue solidly planted in its cheek, and from the start,
DEEP
RISING
lets the audience know that it?s in on the joke.
ABSTRUSE
RISING
stars Investigate Williams as John Finnegan, a smuggler who is ready
to impel any passengers or cargo on his knockabout, as want as the price is
right- with no questions asked. Finnegan?s
"no questions
asked"
policy gets him more than he bargained for when he discovers
that he is transporting a club of heavily armed hijackers who design
to rook out of the worlds, biggest most voluptuous journey ship while it is at quantity.
However, when Finnegan and his "passengers" capture up with the
ship, they consider it dead in the water, with its lifeboats inviolate, and no
signs of life.
Not wanting to let
the mystery abide by them from their true judicious, the hijackers make their
way to the ship's vault where they find a handful of terrified survivors
hiding inside. Much to their horror, Finnegan and the hijackers stumble upon
that something from the deepest recesses of the ocean has infested the
ship, and ingested most of the passengers and team. This is where
HEAVILY
RISING
heads into
ALIENS
province, delivering a tale of humans
with heavy-duty instinctive weapons versus slimy monsters. Sure the idea
has been done to finish, but
DEEP RISING
maintains an edge because
the special effects are top of the line and the film really doesn't cover
itself too no joking. Notwithstanding the grossest special effects are fair-minded a bit
goofy, I know the grisly effects brought a leer to this horror fan?s
arrive. In addition to Treat Williams,
DEEP RISING
also features
the disarmingly delightful Famke Janssen and Kevin J. O'Connor. O'Connor
supplies much of the film's overflowing comic deliverance.
Hollywood Pictures Home video has
made
PROFOUNDLY RISING
available on DVD in a good-looking Letterboxed
unveiling, which unfortunately the lacks the anamorphic enhancement
over the extent of wide screen televisions.
DEEP RISING
is presented rather close
to the full 2.35:1 aspect ratio, with only minor instances where the edges
of the cover enter into the picture compromised. While the film is on the joyless side,
the transfer is sharp and offers a solid level of detail. Color reproduction
was excellent, with strong strong hues and not a tip-off of chroma noise
or distortion. There were times where digital compression artifacts were
noticeable, degree they appeared in very dark sequences that were generally
of a brief duration.
Similar to most stylish action oriented releases,
WEIGHTY RISING
has a killer Dolby Digital 5.1 conduit soundtrack.
Bass copy is great, and the fully directional effects really kick,
first of all during monster attacks. This track is loaded with little look
effects that help get the audience able looking for what?s lurking down
the next passageway. Dialogue and music are also swell integrated into
the great sounding Dolby Digital soundtrack. The DVD also includes a matrixed
Dolby Ring compatible track, as well as a French language soundtrack
and English captioning.
A grandstand trailer is the only
supplement offered from head to foot the simple interactive menus.
If you like smug, but completely
mindless entertainment,
THE WATERS RISING
is the perfect DVD for you.
I had fun, and so will all the monster big fans out there.
March 4, 2010
“The Strive of the Roses” is yuppie Armageddon, an explosion of empty values and curdled peevishness that blows a marriage and blasts a decade. Under captain Danny DeVito’s evil eye, a blushing comedic romance becomes a rarefied bedroom Gothic, as angry as a witch’s mood. In this unflinching adaptation of Warren Adler’s novel, DeVito cheerfully turns the kid-meets-Irish colleen genre into a squashed bonbon.
“The War’s” combatants are Oliver Rose, a disapproving husband, and Barbara, his once-acquiescent wife, whose sudden search for her own identity threatens his control over their marriage of 17 years. As the Roses’ love withers, the gorgeous house that he paid for and she restored becomes their irreconcilable difference. When neither will move out, the house beautiful becomes a nightmare on Elm Street.
Michael Douglas — the actor most likely to turn up in a cautionary tale these days — is reunited with Kathleen Turner, his costar in the “Romancing the Stone” romps. The feisty screen swashbucklers rebuckle their swashes, as messy divorce movies can be every bit as physical as romantic adventures. For that matter, the couple sees more action than the shark in “Jaws.”
DeVito, who directs with a jangle of camera angles, also serves as the movie’s master of ceremonies — reformed ladies’ man Gavin D’Amato, a divorce lawyer who narrates the Roses’ story in hopes of discouraging a potential client. “A civilized divorce,” he warns, “is a contradiction in terms. … We came from mud. And after 3.8 billion years of evolution, at our core there is still mud. No one could be a divorce lawyer and doubt that.”
Here, the fatal attracter becomes the spurned lover obsessed with winning back Barbara, who becomes suddenly vehement about her own independence. Like Gekko on “Wall Street,” Oliver is motivated by the pursuit of career and power. A Harvard law grad, he worked his way up in a Washington firm while Barbara stayed home with the kids. Marianne Sagebrecht, wasted in a minor role, becomes the Roses’ housekeeper after Barbara starts a catering business, which Oliver treats with condescension.
Always right even when he’s wrong, Oliver ushers in the fall of the house of Roses. It is a long tumble that progresses from petty pranks — he saws all the heels off her pumps, she smashes his collection of Stratfordshire figurines — to sexual sadism. Director DeVito, who never did know when to quit, manages to be as clever as he is vicious. His first movie, “Throw Momma From the Train,” seems almost lyrical in comparison to the ruthlessness of this vehicle.
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Oliver is hospitalized with a heart attack that turns out to be severe indigestion, and Barbara realizes her marriage is in trouble when she is happy thinking he may never come home. “I didn’t have the strength to sign it,” he says of a heartfelt message he wrote to her as he lay dying. “They would have told me who it was from,” she replies. Compassion outlives passion, but that too has gone.
DeVito has no real affection for women, but a healthy respect for their killer instincts, as his choice of Michael Leeson’s witty, world-weary script shows. “Women can be a lot meaner than we give them credit for,” says Gavin. “A man can never outdo a woman when it comes to love or revenge.”
“The War of the Roses” takes no prisoners. It is the anatomy of a marriage from first kindling to cold ashes, an end to the truce. After a decade of role-swapping and sensitivity training, we run amok on the realities. Only eight years ago, Tootsie walked a mile in pantyhose. Now it’s toot-toot-tootsie goodbye.
The War of the Roses is rated R
March 3, 2010
Exam allusion 1/5
Beuh. Grosso modo, de la VHS, la compression en plus. L'effigy est terne, la définition mauvaise et la compression aléatoire (ah cette désagréadept alternance flou / pixelisation…). Le instructor n'est …
Test son 2/5
Du unaffected Dolby surround, non indiqué sur la pochette qui se contente d'indiquer ''son digital'', comme si c'était spécial. Mais bon, ça suffit parfaitement spout ce genre de film, qui fait la part …
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Proof interactivé / bonus 1/5
Un menu fixe et muet sur un montage photo donne accès directement à toutes les parties du DVD : un chapitrage un peu faiblard en 12 parties (vignettes fixes), une bande-annonce (pellicule francaise …
March 1, 2010
Predisposed nostalgia for that golden and not altogether allegorical period (1954) when American television was live and innovative and came from New York See. Determination his feet in this thrill of hard-hearted work and talent is a boyish scriptwriter (Linn-Baker), hastily assigned the heady task of nursemaiding an uproarious guest star through rehearsals and away from drink and trouble. The lodger is a former protect matinee idol in the Errol Flynn mould: a very amusing discharge from O’Toole, who throws himself into the drunk’s pratfall routines disposed to a lanky rag doll, coming up till the cows come home peaceable, debonair and with a shade of eye-liner. Richard Benjamin directs the smartish script and the helter-skelter tomfoolery undoubtedly brilliantly; but all concerned mishandle the soppy section where O’Toole gets misty-eyed about his discarded daughter. Still, the pace picks up in spite of the sumptuous witty climax.
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February 27, 2010
Andres Connor