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Saturday, September 20th, 2008

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Friday, September 19th, 2008

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Final Analysis **1/2 (out of 5) (1992)

Cast: Richard Gere, Kim Basinger, Uma Thurman, Eric Roberts, Paul Guilfoyle, Keith David

Directed by Phil Joanou

  A psychiatrist begins a romance with the sister of one of his patents, although later finding out she’s married to a powerful gangster-type. His lover kills her husband, claiming “pathological intoxication” whereby the person is susceptible to uncontrollable acts of violence when under the influence of alcohol. The shrink pulls some strings and gets her off the hook, but is uncertain if she is a scheming murderess or really a victim to her condition.

A potentially nifty Hitchcockian thriller, with many references to VERTIGO in particular, overdone in style and laughable in acting and writing. It’s watchable and enjoyable, but these actors are solely cast on their looks, and deliver their poorly conceived lines with vast ineptitude. In the hands of a better drector and with a cast of credible thespians, this could have worked much the way FATAL ATTRACTION or JAGGED EDGE did, but we aren’t so blessed here. As far as thrillers go, it does have it’s merits, but the misses outweigh the hits in this mediocre endeavor.

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Thursday, September 18th, 2008

Download Quick Change

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Bill Murray (Ghostbusters, Caddyshack) stars as Grimm, a man who dresses like a clown in order to fool the police when he and his two cohorts commit a bank robbery which sees them taking away a million dollars.  As fine as the heist goes, they still need to catch a plane out of town without getting caught, and in a city as crazy as New York, that’s easier said than done. 

Taken as a straight heist comedy, Quick Change has its clever moments, but it’s not nearly as hilarious as the insider’s look at New York City, and some of the comical things that make living there so frustrating.  As depicted in the movie, it’s no wonder our hapless trio need to gat away.  Astronomical rent, crazy city construction, muggings, crime bosses, irate bus drivers and more are fodder for Howard Franklin (The Public Eye, The Man Who Knew Too Little) to poke fun at, succeeding in delivering laughs above and beyond the plot of the film itself.

At under 90 minutes, Quick Change moves at an economical clip, giving us just enough entertainment without overstaying its welcome.  Good performances all around, with another hilarious smart-ass character for Bill Murray (who would also co-direct) to play.   It’s probably the best Bill Murray film you’ve never heard of, so if you’re a fan, it’s well worth your time.

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Wednesday, September 17th, 2008

Download Land of the Dead

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Land of the Dead
The world is besieged by an plague that is spread through the feeding habits of its’ victims. Zombies bite people, who in turn change to zombies and attack more people until almost everyone is walking around with an appetite for flesh. Interesting premise, zombies are. They open the door to a story that can take place just about anywhere, to anyone, at any point in time. As a viewer, one can play along with the fantasy of “What would I do in this situation”. Perhaps this is why fans of George A. Romero are hooked on his films.Romero continues his “DEAD” franchise with LAND OF THE DEAD along the same lines as the previous installments, but the film lacks the cherished character development and slower paced reflection moments of the others, and continues the “zombies are evolving” theme that began in 1985’s DAY OF THE DEAD.  It’s not a bad movie, in fact, it’s a damn good one, but it’s just not in the same knockout category of the rest.Here’s a rundown. A group of survivors have lived through several years of the zombie crisis by forming together and fortifying a city called “Fiddler’s Green”. Inside the city’s electrified fences and guarded bridges, residents are categorized into the haves and the have-nots. While the select reside in luxurious apartments within the skyscrapers, the less fortunate masses are thrown the leftovers.In order to continue his fat-cat ways, the head honcho (Dennis Hopper’s character Kaufman) employs a rag-tag group of soldiers who drive around in armored vehicles, the Dead Reckoning being the mothership, in order to salvage remaining goods and supplies from the vast, zombie ridden landscape outside the protected zone. The film focuses on Cholo (John Leguezamo) and the Dead Reckonings captain Riley (Simon Baker). Both men are done wrong by Kaufman, and their circumstances lead them on separate journies of vengence.From here Cholo turns bad, steals the Dead Reckoning, and threatens to blow up the city while Riley is forced to go capture the vehicle back from him. Riley teams up with his most loyal compatriot, Charlie, and a new friend by the name of Slack. After loads of wonderful gore and violence, along with some clevar comedic moments, the final showdown between Riley and Cholo ends up being a prelude to the real battle… the evolving zombies have infiltrated the city and are attacking the citizens!The problems with this film are not technical, rather, they come from the film feeling rushed and overcooked. Just over an hour and a half, the film neglects the soft moments of previous films where the cast gets a break from running around and killing things. During this time, we get to see their emotions, we become closer to their stresses, concerns, desperation. LAND OF THE DEAD doesn’t take the time to breath, and for that reason, the film lacks the soul Romero fans were expecting. Another problem with the film are the evolving zombies. Big Daddy, the main zombie, yells too much, thinks too fast, moves too quickly, and teaches the other zombies things. He will hold another zombies hand and show him how to do something, and the zombie will learn the motion! This is borderline insulting to hard core zombie fans, but Romero wanted it. Bub, from DAY OF THE DEAD, was a smart zombie that learned to speak, shave, speak on the telephone, and shoot a gun, mourn the loss of his master,however, Bub still appeared to be somewhat brain damaged and disabled. Big Daddy, on the other hand, grunts and groans like a fully functioning pissed off human being who is just pretending to be a zombie as a joke on the other zombies… kind of like Jane Goodall walking around like an ape so that she will be accepted and be able to walk freely amoung the wild animals. I didn’t like Big Daddy, and I blame him for screwing up the film the same way I blame Jar-Jar for ruining PHANTOM MENACE.Overall, the film is well directed and it’s a very fun movie. I didn’t get into it the way I did the other films, but that may change in time once it grows on me. If anything, this is Romero’s zombie return to the big screen, and that alone is worth the price of admission. Looking forward to the directors cut DVD, as well as any sequels that may be coming soon. Just leave out the Big Daddies and give us some time to get to know the characters next time!

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Tuesday, September 16th, 2008

Download Trainspotting

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The Movie:

Danny (28 Days Later) Boyle’s Trainspotting, adapted from the novel of the same name by Irvine Welsh, is a fast paced trip through the seedy side of heroin addiction. Set in Edinburgh, Scotland, the film focuses on Mark Renton (Ewan McGregor of Star Wars ? Episode 1) who starts on heroin after becoming disenfranchised with his life and the world around him.

He takes to the smack like a fish to water, and soon enough finds that he’d better clean up if he wants to stick around. He makes an effort to get clean after his habit starts to affect his relationships with his family and his friends.

That’s the plot in a nutshell. At its core it’s a rather simple story but that doesn’t make it any less effective. What makes the film work so well is primarily the cast of characters and the actors who portray them. McGregor is perfectly cast in the lead and even at his lowest makes for a likeable junkie. He surrounds himself with the likes of Sick Boy (Johnny Lee Miller), Spud (Ewen Bremner), Tommy (Kevin McKidd), and Begbie (Robert Carlye). Their camaraderie is what carries the film and when you dig a little deeper it’s as much about friendship and relationships as it is about shooting up and listening to Iggy Pop.

The story twists and turns around the group of friends, focusing in and our of their lives as they struggle with their problems. This makes way for plenty of opportunity for John Hodge’s script to parlay Irvine Welsh’s sublime sense of black humor into the film. There are plenty of now famous moments here that hold up wonderfully and are just as funny now as they were when the film was released. Spud’s interview is the comedic highlight of the film, Renton’s toilet diving a close second (and a scene that borders on the surreal).

Perhaps most interesting is Renton’s relationship with Diane (Kelly McDonald), a pretty girl who looks much more mature then her actual fourteen years. The two seem to have a sort of bizarre chemistry that, even though their relationship is damned from the start, makes them care about each other regardless.

Boyle keeps the film moving at a rapid pace thanks to plenty of amusing pop culture references that help us get to know the characters and their interests, as well as some killer camera work and a great soundtrack made up of instantly recognizable tracks like Iggy Pop’s Lust For Life and more obscure numbers like Mile End by Brit Pop favorites, Pulp. Plenty of Sean Connery and James Bond references make for some amusing dialogue, particularly between Renton and Sick Boy (who idolizes Connery).

The film is not all laughs though. There are a few very intense and disturbing moments that ensure that the filmmakers are not at all glamorizing the lifestyle that the characters live. The baby on the ceiling scene still unnerves me every time I see it and no one in their right mind could possibly think that the withdrawal scenes look like any fun at all.

Ultimately, despite being obviously made in the mid nineties (making it a prime candidate for looking dated and old hat), Trainspotting still holds up as a uniquely memorable film filled with personable and believably screwed up characters, a great soundtrack, slick visuals, and a sense of manic energy rarely captured on film.

This new Definitive Edition from Miramax presents the film in its uncut international version.

The DVD

Video:

Trainspotting gets an excellent 1.85.1 anamorphic widescreen transfer that really brings the movie to life for home theater viewing. The colors are reproduced almost perfectly and skin tones are dead on. Black levels remain consistently deep and don’t break up and compression artifacts are virtually non-existent. There is some very mild edge enhancement that you’ll only notice if you’re really looking for it and even then only in a few scenes. There is also some shimmering in a couple of spots. But aside from those two minor details and the slightest hint of print damage cropping up as the occasional tiny speck, this transfer looks great.

Sound:

Miramax has supplied sound mixes in Dolby Digital 5.1 and DTS 5.1 in English, as well as a French 5.1 mix. All three tracks sound very nice, with some solid and distinct channel separation. The DTS track gets a slight edge over the 5.1 as it has a bit more kick to it but both tracks are very lively with plenty of use from the surrounds. The club scene in particular is a great example, with the music pumping out from the surrounds and the sub while the dialogue remains clear and trouble-free. With the soundtrack playing such a very important role in the film, it’s great to have such a clean and life like mix to further immerse you into the movie. Optional English subtitles are included.

Extras:

This two disc set has a wealth of extra features (it appears that they’ve ported them over from the recent UK release), most of which are on the second disc, but are spread out accordingly:

Disc 1

First up is an interesting commentary track from director Danny Boyle, star Ewan McGregor, producer Andrew McDonald, and screenwriter John Hodge. McGregor starts the commentary off explaining that it has been pieced together from various interviews conducted with the participants back in 1996. It’s edited together quite nicely however, and there are a lot of interesting tidbits contained within. Boyle and McGregor both have some nice anecdotes about the films infamous toilet diving scene, and hearing Hodge discuss alcoholism versus heroin addiction lends a unique perspective to the proceedings. Hodge also discusses some of the difficulties in adapting the book for the big screen and McDonald is on hand to offer his stories about bringing the whole thing together and some of the difficulties he faced in doing that.

The first disc is also where the nine deleted scenes are housed, each scene available with optional commentary, and able to be played separately or in a montage. These deleted scenes are presented in non-anamorphic widescreen.

Deleted Scene #24 - A scene involving Renton reading a movie guide that was cut for pacing reasons.

Deleted Scene #31 - Spuds interview in a more complete form, edited because Boyle didn’t really think anyone would get it (a shame too, as it is a great scene!).

Deleted Scene #32 - Renton’s interview, cut because according to Boyle it went on too long and was actually too close to the narrative of the book..

Deleted Scene #73 & 110 - Renton, Spud and Sick Boy are caught red handed shoplifting in a record store by Diane, cut because the director felt that the scene was just poorly done.

Deleted Scene #142 - A moment between Renton and Swanney in the hospital after Swanney has lost his leg, cut because it was too similar to another scene with Tommy.

Deleted Scene #143 - Renton and Sick Boy are talking in a park, the scene shows a more cynical Sick Boy, changed by some of the darker events that occur in the film. This scene was lopped out because it takes the focus away from Renton’s story.

Deleted Scene #188 - Renton is pulled away from a soccer game when Diane tells him she’s dumping him for another guy who is in better shape. Boyle felt this was a good scene but that it needed to be cut for pacing reasons.

Deleted Scene #191 - Begbie, Sick Boy, Renton and Spud are talking at the bus station, this scene was cut once again to bring the focus of the film back to Renton.

Disc 2

The first feature on the second disc is the Retrospective. This is broken up into four parts, the first two of which are broken up into Then and Now portions. The Retrospective feature is broken up as follows:

1 ? The Look Of The Film: Then (4:00) is a quick chat with Kane Quinn, who talks about the rich layer of visual references that they were able to work into the film. Now (3:00) is a chat with Danny Boyle who gives his thoughts on how the visuals became such an important part of this film, even more so than in most movies, and how it brought the book to life.

2 ? The Sound Of The Film: Then (7:41) features footage of Shepperto Studios where most of the postproduction sound work was done on new equipment being used for the first time. Boyle and McDonald are featured. Now (4:50) is interview footage from February of 2003 with McDonald who discusses how Boyle’s taste in music and musical influences came to play such an important part in the success of the film.

3 ? Interviews: Irvin Welsh (4:36) speaks about the genesis of the story and what he was going for when he wrote the novel, as well as his feelings about the final version of the film as it appeared on screen. John Hodge (7:58) talks at length about his screenwriting process and why some of the changes that were made had to be instituted to make the novel work as a movie. Danny Boyle (14:32) speaks about his feelings on the book and how it compares to the film, as well as his overall feelings about working with the team he worked with and how the film ended up turning out. And finally, Andrew McDonald (10:32) gives his thoughts on why he decided to go ahead and produce such a difficult adaptation as Trainspotting and how it all came to pass.

4 ? Behind The Needle (6:32) is a feature that lets us take a look at Renton’s injection scene, using a prosthetic, from three very different angles. There is also a section entitled Calton Athletic Boys (0:32) wherein Ewan McGregor talks about some experiences he had with some genuine heroin addicts. This clip is taken from a longer clip that can be seen in its entirety in the Making Of Trainspotting featurette, also on this DVD.

Aside from the Retrospective segment, there’s also a Cannes section where celebrities are interviewed about their take on the film after it screened at the Cannes Film Festival in 1996. Martin Landau (0:53) seems to have enjoyed it and compares Danny Boyle to Tarantino, Noel Gallagher of Oasis (2:11) talks about how it reflected drug use in the Manchester scene happening at the time. Damon Alburn of Blur (1:03) appears to have just woken up but had fun watching the movie. Finally, Ewan McGregor (0:46) discusses how he was pleased with the positive response that the film got from the audience. A Cannes Snapshot (1:57) winds this segment up, featuring snippets of comments, footage from the party, and other material from the festival where the film premiered.

Next up is the Trailers section where you can find the Teaser (1:10) and the Original Theatrical Trailer (2:01).

The Making Of Trainspotting (9:32) is a behind the scenes look at the creation of the film featuring footage with Andrew McDonald who discusses adapting the book, as well as with Ewan McGregor, Danny Boyle and Irvine Welsh, who makes some interesting comments about his work. It’s a rather generic making of segment, but there is some material here that isn’t covered in the other supplements which makes it worth checking out.

Finally, wrapping up the extra features, there are Biographies in text format on the DVD for Danny Boyle, Andrew McDonald, John Hodge, Ewan McGregor, Ewen Bremner, Johnny Lee Miller, Kevin McKidd, Robert Carlyle and Kelly MacDonald, as well as a Gallery comprised of some behind the scenes Polaroid shots set to music (5:05).

Final Thoughts:

Miramax has done a bang up job on this current release, and Trainspotting ? The Definitive Edition is a rock solid release with great audio and video and a wealth of interesting extra features. Highly recommended.

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Sunday, September 14th, 2008

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Every so often a comedy comes along that’s so flat, pointless and grimly unfunny that you have to ask yourself: What in the world happened to Eddie Murphy’s career? First there was Walter Hill’s “48 HRS.,” still one of the best, most diverting and only buddy movies to prove that muscular action and savvy racial politics aren’t mutually exclusive; two years later there was “Beverly Hills Cop,” dated but always worth catching during one of its ubiquitous television airings. As a fast-talking criminal in the first and an equally fast-talking cop in the second, Murphy established an ability to nimbly hold the screen and steal scenes, but he also, perhaps unwittingly, set the template for the career that would follow. In one film Murphy would play prickly, winning us over with the dexterity of his timing and delivery; in the next film he would play nice, winning us over (sometimes) with a performance that often registered more as ingratiating than dazzling. ADVERTISEMENT In the early years, Murphy kept his comedy teeth sharpened with a couple of entertaining, sporadically very funny and raunchy stand-up films, “Eddie Murphy’s Delirious” and “Eddie Murphy’s Raw.” Back then it seemed that the Brooklyn native was committed to keeping it real, even in a shiny red leather ensemble. The danger signal that everything might not be right with Murphy’s movie career started to flash ominously around “The Golden Child,” initiating a fallow period. Still, although subsequent features like “Coming to America” afforded seriously slim returns, this particular trifle at least allowed Murphy to inhabit different characters in close proximity, a talent he would put to mercurial use in the remake of “The Nutty Professor.” In the last decade, though, the alarms have been sounding like Klaxon horns. Witness the star’s latest vehicle, “Daddy Day Care.” Directed with flaccid inattention by Steve Carr and written by Geoff Rodkey, the setup finds Murphy as a family man who gets his derriere kicked first by his boss (he’s canned), then by a congregation of ruthless scene-stealers (he opens a day-care center). The kid who plays Murphy’s son is terminally adorable, if distracted, and Regina King makes as pleasantly bland a spouse as Donna Reed. The less said about Anjelica Huston, doing her witchy-woman thing, the better, although Jeff Garlin and Steve Zahn, as Murphy’s cohorts, are welcome relief. There is one funny joke: When a beautiful day-care client can’t get her screaming 4-year-old to let go, she tells Garlin, “I just stopped breast-feeding him.” Without dropping a beat, Garlin replies, “I’d freak out too.” That’s all there is to say about the movie; I laughed a couple of times, but mostly I was bored out of my mind and not a little depressed. Being an admirer of Murphy demands dedication and tenacity — and a strong neck: You can get whiplash trying to keep up with his highs and lows. It’s hard to think of another contemporary comic actor whose fortunes have swung as wildly and, at times, calamitously, from those first hits to “Beverly Hills Cop III,” from the delightful (and underrated) “Bowfinger” to “The (Mis)Adventures of Pluto Nash.” Yet for the Murphy faithful, even warmed-over nonsense offers a little Murphy something, including “Dr. Dolittle 2″ and “Showtime,” a two-hander with Robert DeNiro that was widely reviled but not all that much worse than the effluvium that comes rushing down the studio pike. In December, Variety commissar Peter Bart wrote Murphy a “Dear Eddie” letter in which he suggested that, in light of the star’s recent bombs, he cut his asking price. “Show the community that at least one star is willing to step forward,” encouraged Bart, “and proclaim that actor salaries are like the stock market — they can go down as well as up.” Bart’s appeal to Murphy’s fiscal responsibility probably warmed the heart cockles of the executives who had green-lighted these flops; no one suggested that they cut their own salaries for having bad taste and judgment. The thing is, though, unlike a pitcher whose multimillion-dollar arm is on the permanent fritz, Murphy remains on top of his comedy game — the guy is as funny as ever, as his turn in the upcoming “Shrek” sequel will doubtless prove. It’s unlikely that Murphy believes in twaddle like “Pluto Nash” or in its resurrectional box office powers, and, of course, it would be better if he took a pass on drivel. Given the comedy terrain, however, it’s possible that if Murphy became more discriminating, he would also work far less frequently. Our seemingly limitless appetite for the vulgar neo-slapstick of the Farrelly brothers doesn’t leave much room for comics like Murphy who, unlike Jim Carrey, are funny above the neck, not just below. There’s a reason Steve Martin writes for the New Yorker and Chris Rock directed his last movie. Who else, after all, was going to cast the razor-tongued Rock as a presidential candidate with fiercely progressive politics? Rock stayed true to his comedic self with “Head of State.” The truth is, however, that as Murphy grew more famous and his material more mainstream, he blunted his comedy. After a certain point, be it the first, second or third $100 million in grosses, the only color that counts in Celebrity-wood is green. There’s a utopian moment in that sort of colorblindness, but it’s also arguable that something inextricably real and genuine has been lost in the bid to sell Murphy to the widest possible audience. As some of his earlier films prove, his genius isn’t limited to quicksilver timing and wacky voices but includes an almost sui generis facility for at once projecting righteous outrage and sending that outrage up the comedy flagpole, where he lets it flutter and sputter for all to see. A little angry indignation can tickle the audience; a lot of outrage can scare the bejesus out of it. Where that leaves Murphy is unknown. In “The PJs,” which he co-created and for which he provided some memorable vocalization, Murphy divided critics and provoked the wrath of Spike Lee and at least one advocacy group, which decried its “offensive jokes.” Leaving aside the question of whether the show was offensive, funny or maybe a bit of both, it’s undeniable that nothing kills comedy faster than the albatross of responsibility. Right now the most consistently funny comedy isn’t on any movie screens but on HBO’s “Curb Your Enthusiasm,” where Larry David routinely skewers every sacred cow in America, then throws them on an open flame. Could a black comic get away with that kind of outrage? I’m not sure. Like David, Murphy is certainly wealthy and established, and can venture that sort of risk. Not because, as Variety editor Bart suggested last year, he should take a pay cut to atone for his bombs and stick to smiling, but because he owes it to himself to test the limits of his craft. His participation in successes such as “Shrek” is nice enough for the preteen set. But to be blunt, it’s terribly sad that over the last decade Murphy has been celebrated more for giving voice to a sassy cartoon donkey and for a personal indiscretion than for his gifts. His fans are trying to keep the faith, but when it comes to the dispiriting likes of “Daddy Day Care,” even they have their limits. Daddy Day Care MPAA rating: PG; some material may not be suitable for children. Times guidelines: This is really clean. Eddie Murphy … Charlie Hinton Jeff Garlin … Phil Steve Zahn … Marvin Regina King … Kim Hinton Anjelica Huston … Miss Gwyneth Harridan Revolution Studios presents a Davis Entertainment Production, released by Columbia Pictures. Director Steve Carr. Writer Geoff Rodkey. Producers John Davis, Matt Berenson, Wyck Godfrey. Director of photography Steven Poster. Production designer Garreth Stover. Editor Christopher Greenbury. Music David Newman. Music supervision Spring Aspers. Costume designer Ruth Carter. Casting Juel Bestrop, Jeanne McCarthy. Running time: 1 hour, 33 minutes. In general release.
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Saturday, September 13th, 2008

Download Thank You for Smoking

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Adapted from the novel by Christopher Buckley, son of political commentator/author William F. Buckley, Thank You for Smoking marks the feature-length debut of writer/director Jason Reitman, son of director Ivan Reitman.  The apple didn?t seem to fall too far from the tree in either case, as both the book and feature film are effective, inspired, funny and thoughtful, showing that the sons have learned much from the fathers ? a theme that is very prevalent throughout the course of the story. At its core, Thank You for Smoking is a satire, poking fun at all angles of the debate.  The pro-tobacco lobby is shown in just as unfavorable a light as those politicians that have taken the anti-smoking mantle, while those that fall in between are challenged to think for themselves, all the while being manipulated by those same forces claiming they are doing no such thing.  The moral to the story is that there are no morals anymore, despite the fact that everyone uses morality to push forward their agenda.  The debate is spin vs. counter-spin, while the truth is ignored in favor of self-aggrandizement and political angling.  It?s not about right or wrong ? it?s about who wins the argument that?s important. Aaron Eckhart (Suspect Zero, Paycheck) stars as tobacco lobbyist Nick Naylor, who regularly makes appearances on behalf of the tobacco industry to argue against the assertions made by the anti-smoking movement as to such things as nicotine’s addictive qualities and the detriment of smoking to one’s overall health.  Nick may be a success as a brilliant conniver, but his wife (now ex) had been fed up with his lies long ago, while his son Joey finds him to be an embarrassment.  However, during a little road trip, Joey (Bright, Birth) soon gets to see what his daddy does first-hand, as the tricks of the silver-tongued trade are revealed, a bold and ingenious strategy of winning the argument by convincing the American public to disregard years of documented research by challenging the weakest links and throwing up straw men to fight against.  It’s attack and defend, as Naylor tries to thwart a bill that would see a "Poison" label on every pack of cigarettes, while also trying to promote the "coolness" of smoking by making sure it is shown regularly in popular movies. Thank You for Smoking is a funny movie in a subversive way; it?s not a laugh-riot in the slightest, and in fact, you may rarely laugh out loud at all.  All the same, the amusement level is certainly high, featuring more than enough witticisms to quote from it during many a smoking argument in the future. 

At the same time, it?s also not really about smoking, at least not in its core themes.  What it?s really about is the art of argumentation, in this case, by a man who champions a cause that very few in their right mind would champion, which is, of course, the virtues of smoking.  Turning an argument on its ear, never backing down and using someone?s own words against him is what it?s all about, like a snake-oil salesman for the modern day.  Turn on the radio or television talk shows and you?ll find no end to the Nick Naylors of the world. If there?s anything one takes away from Thank You for Smoking, other than its obvious entertainment value, it?s that we, the general public, should always educate ourselves as to the truth on our own, not relying solely on spokespersons, politicians, pundits, or anyone else that claims to be an ?expert? with only the power of persuasion on his side.  Whether smoking is right or wrong isn?t so much an issue as an example, a token argument if you will, of an debate that becomes a farce when handed over to those that have made a career at doing nothing but obfuscation and misdirection in order to walk away a winner from no-win discussions, without even having to study the subject at hand.

Lest I forget, the film is good beyond just the core themes.  Reitman’s direction is energetic and inventive, mixing in amusing musical cues and snippets to enhance the sensory humor in subtle but effective ways.  The casting is also excellent, especially from Aaron Eckhart as the conniving Naylor, who manages to retain his likeability despite doing and saying some despicable things for his own, and the corporate interest’s, profit — "moral felixibility" is his credo.  Reitman’s approach is a bit scattershot, but always interesting, filled with amusing asides and plot developments. Of course, I realize the irony of doing this review, which is little more than an argument in itself as to why Thank Your for Smoking is a good film.  I don?t claim to be right in my assessment, which is, of course, a matter of opinion.  However, like the film states, in its not-so-obvious way, if you ever want to truly know, you?ll just have to find out for yourself. 

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Thursday, September 11th, 2008

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Projectionist, The

A minor hidden gem collecting dust on the shelf at your video store, if it even carries it, The Projectionist is, based solely on outside appearances, a silly comedy featuring two comedians that usually "get no respect" from cinephiles, Chuck McCann (The Heart is a Lonely Hunter, The Aristocrats) and Rodney Dangerfield (Caddyshack, Back to School), here in his debut big screen role.  As you would a book, never judge a film by its cover, as this is more a serious, introspective, independent art film than it is a comedy, virtually a precursor to Terry Gilliam’s Brazil in some ways. 

McCann plays the titular projectionist, working at an old style theater run by the strict theater owner, Renaldi (Dangerfield).  His days and nights are filled with nothingness, except to escape into his own thoughts, imagining himself, Walter Mitty-style, as a character in one of the old movies he projects.  His most common alter ego is that of Captain Flash, a superhero that lives to save the beautiful damsel in distress from the evil clutches of the bad guy known as The Bat.  He also envisions being in some of his favorite movies, most notably as a patron in Rick’s club in Casablanca – anything to escape from the humdrum existence of his daily life, as well as the ugliness of the real world outside the theater doors.

Do not even think of renting The Projectionist because you like the comedy of Rodney Dangerfield, as he plays his role completely straight, and quite convincingly at that.  Although there are comical moments interspersed throughout the film, underneath the fanciful imagery is a serious movie about a lonely man whose head is filled with longing for another life and despair for not being able to escape.  The sadness and anguish permeate many of the projectionist’s daydreams, which also encapsulates some of his nightmares and visions of tyranny, including Hitler’s rise, lynch mobs, presidential assassinations, and religious persecution.  All of these thoughts weave in and out of his consciousness as he works through the evening, wanting to be like Captain Flash and take charge of his life, doing away with all of the bad things that he is having trouble coping with. 

Of course, as Chuck states in the movie, the theater is the place where one can always leave their troubles at the door, which is probably why he clings to his job as if no other occupation could ever satisfy him.  His friends are only those which appear to him every day on the big screen, although his fantasies are constantly encroached upon by subconscious feelings he has suppressed from his more conscious moments.  His retreat into his thoughts become so complete that when he looks to the screen, he sees himself on it, completely absorbed by his fantasies of escaping to a world much more preferable than the one he currently lives in, a Hollywood fantasy where glamour, courage, honor, and the good guy always wins.

Surprisingly, although it was first released back in the early 1970s and currently exists on DVD, The Projectionist remains mostly unknown to the general public, including many of the film buffs and art-house sophisticates that would without question enjoy this underground cult film.  Suitably, it has been restored by the Museum of Modern Art in New York, not only because of its artistic merit (they chose it as one of the three best films of 1971), but also for the vivid on-location shots of the hustle and bustle of downtown New York City of 1969.  The tone is offbeat and the delivery somewhat esoteric, so you have to be in tune with the style and themes of the film to earn a proper appreciation for it. 

Despite being his first feature, writer-director Harry Hurwitz shows a strong knowledge of cinematics, employing techniques from the days of silent films, serials, old trailers, and the classics of Hollywood in the World War II era.  If, like Hurwitz, you too long for the days of American cinema’s yesteryear, The Projectionist may find a welcome reception with you, as you escape into the world of a man that can find no escape, except that which is allowed in his mind whenever he watches a movie.

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Wednesday, September 10th, 2008

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Reviewed by Glenn Erickson


Fire Down Below may have sounded great on paper, but it is a disastrous movie where we
get to contemplate several careers that shouldn’t have come together in this particular way.
Over-the-hill glamour queen Rita Hayworth barely escapes with her dignity, which is more than
one can say for the awful miscasting of newly-minted star Jack Lemmon. His impersonation of a
tough-guy sailor is laughable, especially when set next to hulking Robert Mitchum.


The lumpy production plays like two unconvincing films grafted together and is mainly watchable
to see its cast put through its embarassing paces. As an early producing effort of Albert R.
Broccoli, Fire Down Below will also seem unusually familiar to devotees of the James Bond
films - it shares situations, casting, locale and music with the first Bond effort, Dr. No.


Synopsis:


Charter boat bums Felix Bowers (Robert Mitchum) and Tony (Jack Lemmon) agree to
transport hot-potato passenger-sans-passport Irena (Rita Hayworth) between islands for a hefty
fee. Irena is a hardened European refugee who has been used by men and now uses them to stay
ahead of the law. Alone with them on a small boat, she soon creates a rift between the
hard-drinking partners.


Let’s get the tenuous James Bond connection out of the way first. Fire Down Below is a
production of Warwick, the partnership between Albert Broccoli and Irving Allen, who at this time were
in the early stages of trying to get a James Bond movie deal going. It’s easy to imagine them working on
this film while hob-nobbing with Ian Fleming. Other similarities with Dr. No are probably
just superficial, but we can’t help noticing the presence of Bernard Lee, 007’s M. Cedric Connor’s
Jimmy Jean boatman character corresponds fairly directly with Bond’s helpmate Quarrel in Dr. No.


Broccoli and Allen split up before Bond came about, and Allen later presented his own parallel Matt
Helm spy series. They both must have been concentrating on the deal-making, because Fire Down Below
is a real mess. The powerhouse casting puts three big names on the marquee, but the actors don’t
begin to mesh and are given a terrible faux-hip script to read. Even laid-back hep-cat Mitchum can’t
do anything with the bad dialogue lines. ?
1


The film looks expensive and cheap at the same time. The CinemaScope frame isn’t used for anything
expressive. Too many blah shots just sit there. There’s some reasonably good location work but also
lots of iffy process shooting back in England, and weak stage recreations like the big party scene. A
calypso band that performs the limbo under the titles, wear masks to play unrelated musicians
on another carribean island later on.


It’s tough to blame Robert Parrish, who has been responsible from some stunningly good movies such as
The Purple Plain. But someone
has to take the fall for all the awkwardness on screen and in the performances. When we first see
Lemmon and Mitchum, they’re wearing ridiculous ‘tough-guy’ sailor outfits. Mitchum just looks like
he was shoehorned into a silly costume, but poor Lemmon tries to act tough and is just awful. He even
effects a foolish-looking tough-guy walk, holding his arms as if he had a rash in his armpits. There
was a good reason Lemmon specialized in meek-mensch characters - he just doesn’t convince as
a hard-drinking mug. The script, obviously not altered to fit these particular stars, pairs them in
brawls and fistfights that are just ludicrous. Robert Mitchum is a good actor, just to attempt
to play these fights where Lemmon comes out on top!


The same script has Lemmon instantly attracted to Hayworth. She always carries a certain class about
her but frankly no longer had the looks or the aura to turn men to jelly. Lemmon comes on strong and
faithful, and Rita makes speeches alluding to the darkness in her background (”I was degraded!”)
which a clean-thinking young man could never understand. It never begins to make sense.


Naturally, every shady character is looking for some angle to bed the desirable Hayworth, including
a sleazy hotelier (Eric Pohlman) who threatens her with exposure to the police. Although he denies
it at first, Mitchum’s older and harder wharf rat also gravitates toward Rita. He betrays the
overeager Lemmon, but the romantic triangle never begins to function in a way that makes us care.


Director Parrish offers some visual nods to Rita’s legacy. A shipboard swim (to a pleasantly catchy
50s vocal of the title tune) begins with Rita flipping her red hair in close-up. The shot would
evoke Gilda, if it didn’t look so awkward composed in CinemaScope. A big mardi gras scene turns
into a rather impoverished dance sequence where Rita nevertheless shows her old style in some fast
moves with ubiquitous goateed dance choreographer Tutte Lemkow
(Bonjour Tristesse, The Guns of
Navarone
,
The Fearless Vampire Killers).


This picture has enough story to fill an hour, but is padded out to almost two with the addition
of a third act that seems grafted from an entire different script. Running from the law and trying to
return to Rita, Jack is trapped on board a munitions ship that threatens to blow up. The entire story
restarts, introducing a new set of characters. Doctor Bernard Lee, harbormaster Herbert Lom and sailor
Bonar Colleano (Christ in Concrete)
meander about while we wonder where the other movie went. Mitchum and Hayworth eventually show up to
try and rescue Lemmon but the result is one unsatisfying storyline followed by an irrelevant chaser.


Pure marquee power apparently saved Allen and Broccoli from boxoffice doom, even though this
particular trio of stars never had a prayer of making the picture float. Fire Down Below is
interesting mainly as a study piece for filmmakers - they can’t all be gems, but this was a real
misfire.


Among the familiar lower-case English actors in the cast is Anthony Newly as a conniving bartender.





Columbia TriStar’s DVD of Fire Down Below is very handsome transfer of this entertaining
but quizzical show. The enhanced image shows off the pretty caribbean exteriors and reveals the
cheapness of some of the phony English interiors. The sound is basic but clear enough; the show has an
attractive score with a tropical flavor similar to Dr. No.


There are no extras, just some Columbia promo trailers. The packaging incorrectly states the aspect
ratio as 2:55, the early (’53-’54) ultra width of the earliest CinemaScope films. The cover graphic
tries to blend the three actors from separate stills - note that the Hayworth image is filched from
a smaller photo on the back.


Maybe office assistants are writing copy text at Columbia DVD now. The desperate blurbs on the
back of this one are utter nonsense, saying that “… a wild limbo becomes a sensuous dance solo,
climaxing with the suggestive removal of (Rita’s) high heels.” Huh? The text also tells us that
Fire Down Below had critics “looking at Hayworth for the first time as a serious actress,
instead of just another glamour girl.” Thanks for the great transfer, Columbia, but spare us the
hooey. Enjoyable messes don’t come any better than this.




On a scale of Excellent, Good, Fair, and Poor,
Fire Down Below rates:

Movie: Fair +

Video: Excellent

Sound: Very Good

Supplements: none (promo trailers)

Packaging: Keep case

Reviewed: February 11, 2004




Footnote:



1. Although I made a note to
remember a particular zinger for some future movie montage: In one sober conversation,
straight-faced Mitchum turns to the camera and says, “What, me gay?”
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DVD Savant Text ? Copyright 2004 Glenn Erickson


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Tuesday, September 9th, 2008

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Like the old joke goes: If it’s "tourist season", why can’t we kill them?

Turistas is a film without an audience, which generally means, without a real reason to exist, unless you’re the type that will watch and enjoy anything, provided there is enough exploitative blood, gore, and malice on display.  Although billed as a horror film, it isn’t really one that fits well into that genre, despite the back story of killing people in order to extract their marketable organs.  Really, it plays out more like a hedonistic adventure-thriller, sporting a heavy dose of brutal violence, with an attractive cast and grisly dismemberments.  While not incompetently made, it is a fairly reprehensible idea for entertainment, and so disheartening at times, my enjoyment of the film pretty much dropped out from the very first scene — a misguided scene of the horrible organ removal operation that ruins any surprises the film has in store.  From a storytelling point of view, the result is disastrous, and that pretty much sums up Turistas as a form of entertainment — one distastefully-executed, poorly-developed narrative calamity after another.

The film is about a group of vacationing backpackers traveling through Brazil, who find themselves stranded in the middle of nowhere when their bus breaks down.  It will be many hours before another bus arrives to pick them up, but they do find a small, secluded beachside town nearby to spend some time while they wait.  They become enamored of the beauty and atmosphere of the place and decide to stick around, partying until dawn, only to find all of their possessions stolen when they wake up.  Without passports, identity, or any money to make it, things seem like they couldn’t possibly get any worse.  Well, they could — it seems that a local gangster plans to round these tourists up in order to extract their organs for medical use, exploiting the "gringos" that have been exploiting them for years.

I’m truly uncertain what the point of the entire film is, as it seems to be a very straightforward thriller that has no real hook, save to be violent, bloody and "shocking".  While it certainly is violent, there really isn’t anything else the film can claim in terms of appeal.  As sickening as the intent of the bad guys plays out, it’s just not enough to make a film out of.  Like so many films of late, Turistas is all about the sensory stimulation, trying to reel us in with the hot bodies of the young men and women of the island, the sensationalism of the drug and drink party displays, finishing the last half with disturbingly graphic moments of sadistic torture and cruelty.

Reportedly, many people in Brazil are outraged at the stereotypes and false depictions of their country, and for good reason.  It’s certainly a nightmare for the tourism industry if people think this is what goes on there on a daily basis.  Stars of the film have even felt the need to openly apologize to the people of Brazil for the way they are depicted throughout.  Perhaps a fictional South American country would have sufficed, as the people too stupid to realize Brazil isn’t remotely like the country shown in the film would also be too stupid to recognize a made-up country as well.

John Stockwell (Into the Blue, Blue Crush) has become a director of note for making sexy thrillers in and around water, and when the film goes into the water, he certainly feels more comfortable.  Unfortunately, the film isn’t about a water escape so much as a filthy exercise in exploitation, like some episode of "Survivor" if the contestants faced a band of blood-thirsty killers to contend with.   Stockwell does a decent job in the direction, but it’s the story itself that is the true failure — this is truly a film that should never have been made on many levels.  The script by Michael Ross is nearly identical to his previous film, Wrong Turn, where another six outsiders are stranded, fighting for survival, hunted down by cannibalistic West Virginians.  It didn’t work then, it doesn’t work now. 

Turistas is the first release by Fox under their "Atomic" division, which is supposedly aimed at attracting younger audiences.  If this is what they think the youth of the world want to see, I fear for our future as a civilization, as this film was made with the attitude that wanton carnage and graphic sadism are all it takes to get young viewers into the seats and to entertain them.  Without any real hook, and without characters we can care about, there really isn’t anything remotely scary about the film from a suspense or horror standpoint. 

After this excursion into bad filmmaking, I’m reminded of a wise old proverb which states, "Visits always give pleasure; if not the arrival, the departure."   Turistas end credits couldn’t come soon enough.

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