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legalmoviedownloads — Thu, 28 Aug 2008 12:34:00 +0000

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It’s not every movie — well, not any other movie that I know of — that can claim to have been inspired by both Monica Lewinsky and Hillary Clinton, the unhappily mirrored images of contemporary femininity. But the girl forever known as Monica and the senator known as Clinton were apparently the inspirations for the appealing period drama “Mona Lisa Smile,” about a gaggle of 1950s Wellesley College students and the free soul who tries to ignite the flame of liberation in their collective conscience. Julia Roberts stars as Katherine Watson, a California bohemian (she swoons over abstract expressionism and doesn’t wear a girdle) who’s hired at the all-women’s college as an art teacher. Believing her charges just pups, she soon discovers otherwise as the students, all brightly lipsticked and brilliant to the last bloodcurdling smile, shred her to pieces. ADVERTISEMENT After licking her wounds, Katherine tosses out the assigned curriculum and proceeds to give her young recruits a lesson in independent thinking. Enemies are made and minds are opened, including that of the teacher, whose single status and frank dismay at women who lock themselves away in domesticity means that she too must have both her mind opened and knuckles lightly rapped. Buffed to a high gloss by director Mike Newell, whose best films — “The Good Father,” “An Awfully Big Adventure” and “Donnie Brasco” — have a lot more rough around the edges than this one, “Mona Lisa Smile” is a curious, at times awkward hybrid. The film is at once a star vehicle and an ensemble piece, a self-conscious revel in period style and a toothless critique of that very same period. If writers Lawrence Konner and Mark Rosenthal, whose previous credits include “The Jewel of the Nile” and the dolorous remake of “Planet of the Apes,” seem unlikely candidates for a crash course in enlightenment, it’s not because of their gender but that nothing in their résumés points in this direction. To be honest, their female apes didn’t seem all that Alpha. For this story, though, the screenwriters have cooked up more complex types, Alphas and Betas, Veronicas and Bettys, the distaff versions of the GI Joes from World War II movies. There’s the WASP conservative who fumes about “reds” (Kirsten Dunst as Betty), the brainy WASP goddess (Julia Stiles as Joan), a very unorthodox Jew, the token exotic (a marvelous Maggie Gyllenhaal as Giselle) and the girl who’s supposed to be the plain one but isn’t (newcomer Ginnifer Goodwin as Constance). Packed into the same dorm, these friends balance academics with instruction in white gloves and party manners from Professor Abbey (Marcia Gay Harden), a “spinster” in the mold of Miss Havisham. Harden is her usual winning self as is Juliet Stevenson, who plays the other kind of spinster (think Gertrude Stein), which may explain why she’s gone lamentably soon. There isn’t really much of a story, just women trying to find themselves in a world that wants them to lose themselves in men. Plus ça change and all that. Katherine tries to enlighten her students, making the case for choices other than a Mrs., but because the feminism in this film is so deliberately fuzzy, not all that much happens. Each time Katherine strikes a blow for independence, the filmmakers counterbalance with a scene in which another character tempers the teacher’s rage and rhetoric. In one of the film’s most effective scenes, Katherine delivers a lecture on the absurdity of the mass cultural images of women in contemporary advertising. Waving her hand at images of various Perky Pats and Sunny Susans vacuuming in heels, Katherine cries out, “What does that mean, what does that mean?” It’s a powerful moment, and I wish the filmmakers had had the guts to play out Katherine’s question to its logical conclusion — in other words, independence without compromise. If they had, then the film wouldn’t be so busy furnishing a love life for all the women, except of course those pathetic spinsters. More critically, it wouldn’t need to trot out two separate scenes in which Katherine is admonished — first by a male teacher, then by one of her students — for the very boldness and free thinking that the movie asks us to love. The guy chides Katherine for being perfect (get ready to smell the brassieres burning, buddy) while the student lectures her teacher on the liberation politics of marriage. It’s hard to believe that the women who produced this movie, including Roberts, would brook such nonsense. Beggars, however, can’t be choosers, and the truth is that there aren’t many movies that speak to women these days. That’s not a complaint; it’s a statement of fact. “Mona Lisa Smile” is too smug and reductive. But smitten by the rare sight of so many actresses crowding the screen (with their clothes on, no less) and talking about real things that matter to real women — do you need to choose between a life of the mind and a life of hot kitchens and baby diapers? — I fell for the film nonetheless. For all its flaws, its obvious if irrelevant similarity to “Dead Poets Society,” it lets us spend some quality time with some of the finest actresses in American film as they give energetic life to one of the most radically underrepresented minorities in Hollywood: the intelligent woman. In 1969, the Wellesley graduating class representative, Hillary Rodham, gave this response in answer to the idea that young people like her should be satisfied with how President Nixon was running the country. “Our attitudes are easily understood having grown up, having come to consciousness in the first five years of this decade — years dominated by men with dreams, men in the civil rights movement, the Peace Corps, the space program — so we arrived at Wellesley and we found, as all of us have found, that there was a gap between expectation and realities. But it wasn’t a discouraging gap, and it didn’t turn us into cynical, bitter old women at the age of 18. It just inspired us to do something about that gap.” What became of this firebrand is one of the more interesting political stories of the past decade. You can feel both bitter and cynical about her story and marvel at the irony of how this wonderfully independent soul would decades later come face to face with Lewinsky, the poster girl for post-feminism. (Indeed, it was the Lewinsky scandal that led the screenwriters to Wellesley.) Like a lot of women, Rodham had to compromise and smile her way to the top. Still, whatever you think of the person she became, there’s no denying that, on the brink of entering the world, her idealism was a wonder. If the women in Hollywood who have the power to make decisions burned with just a bit of that Wellesley girl’s utopian spirit, it wouldn’t just be movie stars and Mona Lisa doing the smiling. ‘Mona Lisa Smile‘ MPAA rating: PG-13, for sexual content and thematic issues. Times guidelines: Mild sexual content; suitable for young teens. Julia Roberts…Katherine Watson Kirsten Dunst…Betty Julia Stiles…Joan Maggie Gyllenhaal…Giselle Dominic West…Bill Revolution Studios presents a Red Om Films Production, released by Columbia Pictures. Director Mike Newell. Writers Lawrence Konner, Mark Rosenthal. Producers Elaine Goldsmith-Thomas, Deborah Schindler, Paul Schiff. Director of photography Anastas Michos. Production designer Jane Musky. Editor Mick Audsley. Costume designer Michael Dennison. Music Rachel Portman. Running time: 1 hour, 59 minutes In general release.
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legalmoviedownloads — Wed, 27 Aug 2008 12:34:24 +0000

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The Movie

In October 24th, 2005, several bands gathered together for a live performance at the Henry Fonda Music Box in Hollywood, CA. The purpose of this live performance was to get together a bunch of bands to pay tribute to the band Sublime, whose lead singer passed away in 1996. The concert also served as a benefit for MusiCare. This tribute performance was recorded and released on DVD and entitled as Look at All the Love We Found: A Tribute to Sublime. In June 2005, an audio CD of a similar nature with a different set of bands covering Sublime songs was released. This DVD is a follow-up and provides fans of punk, ska, and more specifically, Sublime a chance to see several different musical groups perform covers on Sublime’s greatest hits.

The content of the Look at All the Love We Found: A Tribute to Sublime DVD includes a live concert performance with twelve songs, which include individual band performances and group jam sessions. Interspersed throughout the live performance are interviews with Bob Forrest from Thelonious Monster, John, Bert & Dickie from The Ziggens, Scott Russo from Unwritten Law, Murs from Living Legends, Josh Fischel from Bargain Music, AWOL One from The Shapeshifters, Norwood Fisher & Angelo Moore from Fishbone, Raul Pacheco & Wil-Dog from Ozomatli, David Hidalgo & Louie Perez from Los Lobos, 2mex, solo artist, and Ikey Owens, The Long Beach Dub Allstars.

The interviews address topics that include their opinions about Sublime, experiences with the band, their music styles and trying to find the right song to cover, etc, as well as a reading of words from Bradley Nowell by Norwood Fisher. The DVD comes with the option to watch the concert with the interviews or without. The interviews make up approximately ten minutes of the feature’s total runtime of one hour and four minutes. I personally would have preferred to have seen the interviews as an entirely separate featurette to watch apart from the concert. On that note, I am glad they included a concert-only play.

Overall, I was not blown away by the live performance. I think part of the problem is that I am not very familiar with a lot of the bands who performed in the concert, and I am not a huge fan of Sublime’s music either. In the end, the tunes just weren’t as catchy to me and I would much rather hear the songs in their original format conducted by Sublime versus the covers.

Track List

1. “Get Out” performed by Bargain Music
2. “Bad Fish” performed by Long Beach Shortbus
3. “Paddle Out” performed by The Ziggens
4. “Saw Red/Save Me” performed by Unwritten Law
5. “Alphabet Aerobics” performed by Blackalicious
6. “Waiting for My Ruca” performed by AWOL One, Abstract Rude, Daddy Kev, and Josh Fischel
7. “Date Rape” performed by Fishbone
8. “Saturday Night” performed by Ozomatli
9. “Pawn Shop” performed by Los Lobos
10. “Santeria” performed by Stephen Perkin, RAS 1, Eric Wilson, Josh Fischel, Bob Forrest, Ikey Owens, Asdru Sierra, Ulises Bella, Field Marshall Goodman, Norwood Fisher, and Walter Miranda
11. “Doin Time” performed by Stephen Perkin, RAS 1, Eric Wilson, Josh Fischel, Bob Forrest, Ikey Owens, Asdru Sierra, Ulises Bella, Field Marshall Goodman, Norwood Fisher, Angelo Moore, 2mex, Murs, and Walter Miranda
12. “What I Got” performed by RAS 1, Eric Wilson, Josh Fischel, Bob Forrest, Ikey Owens, Asdru Sierra, Ulises Bella, Field Marshall Goodman, Norwood Fisher, Angelo Moore, and Walter Miranda

The DVD

Video:
The video on the DVD is presented in anamorphic widescreen color. The visuals look great with a clean and crisp picture. The lighting was also done nicely and details the performers well.

Audio:
The sound in this concert DVD is provided in 5.1 Dolby digital surround, 5.1 DTS digital surround sound, and 2.0 Dolby digital stereo. In general, the audio track sounds good with vocals and instrumentals coming off rich and vibrant and only a few distortions.

Extras:
For special features, the DVD comes with two music videos, “Pawn Shop” from the release party of the Tribute album with Sublime’s original drummer Bud Gaugh, and “Date Rape” performed by Fishbone, and a slide show with pictures and a narrative about the Sublime tribute.

Also included is a bonus audio CD with Sublime covers “Ebin” by The Banned feat. Chuck D., “Had a Dat” by Dr. Isreal, “Waiting for My Ruca” by Bedouin Soundclash, “Roots of Creation” by Mishka, “Don’t Push” by Mystic Roots Band, “Burritos” by Brain Failure, “Get Out (live)” by Bargain Music, “Date Rape (live)” by Fishbone, and “Waiting for My Ruca (live)” by AWOL One, Abstract Rude, and Josh Fischel.

Final Thoughts:
Originally billed as an audio CD, Look at All the Love We Found: A Tribute to Sublime, was a tribute to Sublime and a benefit concert. Afterwards, another live performance was put together and recorded for a DVD concert with the same title. The concert features bands like The Ziggens, Fishbone, Unwritten Law, and many more performing covers of your favorite Sublime titles. Fans of Sublime and punk/ska music in general should be most interested in this release. I, for one, did not care for the covers and would much rather just listen to Sublime play their hits in the originally released forms. So unless you are a fan of Sublime and the punk/ska genre, this release is probably best worth skipping.
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legalmoviedownloads — Tue, 26 Aug 2008 12:35:45 +0000

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Heartbreakers – **1/2 (out of 5) (2001)

Cast: Sigourney Weaver, Jennifer Love Hewitt, Ray Liotta, Gene Hackman, Jason Lee

Directed By David Mirkin

I seem to remember having seen HEARTBREAKERS before…I think it was called DIRTY ROTTEN SCOUNDRELS back then though. Of course, it’s a little different here since the main con artists are female, and also mother and daughter, but outside of this the plot of two con artists, the experienced pro and the fledgling student learning the ropes, who swindle the well-to-do out of their money through sheer ingenious trickery, it’s basically the same movie. Oh yes, there is one other notable difference: DIRTY ROTTEN SCOUNDRELS is funny.

Sigourney Weaver plays Max Conners (get it?), mother to Page and once spurned by a no-good man, who got her pregnant and left the two to fend for themselves. Max teaches Page that men are evil and never to fall in love with one or end up getting hurt. They spend their time with a successful con game, whereby Max gets wealthy men to marry her while also denying the husband sex, then Page enters the scene and seduces the blue-balled former bachelor, eventually getting caught in the act, then losing big money when Max files for divorce. Page wants to finally part ways and fly the con on her own, but Max is worried she isn’t ready because she might make the mistake of falling for one of the intended victims.

If HEARTBREAKERS is passable entertainment, it’s only due to the likeability of the stars and not much else. Weaver, Hackman, and Liotta are all fine actors who once had well-respected careers but lately the roles have been less-than-meaty for them and their careers are on the demise, while once red-hot actors like Hewitt and Lee have cooled off to make way for the newest, latest hot stars. We still like all of these actors, and they are still a talented bunch, yet they are also a forgotten crew of thespians who sadly have to settle for rather meager films like HEARTBREAKERS for them to continue to make a living. While the actors have heart, and do the best they can to inject life into their roles, to turn this script into anything of substance would have taken a miracle.

HEARTBREAKERS is a study in waste. A waste of good actors, a waste of a $40 million dollar budget, and what’s worse, a waste of our time. The film offers nothing new, fresh, exciting, or funny, and while it isn’t a particularly horrible film, it never rises above the level of so-so. Every plot element and attempt at humor is contrived absurdity, resulting in characterizations so flimsy that when the elements of love, honesty and betrayal enter the mix in the moments of seriousness, we can only shrug with indifference at people so one-dimensionally phony that they could never give genuine love or be loved in return.

If you must see this film, bring a marker. I have a feeling you’ll be writing some poetic graffiti on the back of the seat in front of you. "Here I sit, Brokenhearted…"

Back to Qwipster’s Movie Reviews

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legalmoviedownloads — Mon, 25 Aug 2008 12:35:55 +0000

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Based on Chris Van Allsburg’s 1981 children’s book of the same name, Jumanji, the film, fleshes out the short book to include a story about Alan Parrish (Hann-Byrd, Little Man Tate), who, as a young boy struggling with isolation and abandonment in 1969, winds up finding a strange board game. He and his only friend, Sarah, play the game, only to come to discover that playing it may cost their lives. You see, the game reveals a riddle with every turn, and each riddle brings forth new, real-life dangers that occur right in the world around them. Deadly bugs, bats, crazy monkeys, stampedes of rhinos and elephants, quicksand and more are the perils of the game, and in one fateful turn, young Alan disappears into the depths of the jungle — at least until another player rolls a 5 or 8. Flash forward to 1995, and we have a new set of kids — siblings Judy (Dunst, Little Women) and Peter (Pierce, Beauty and the Beast), who have just moved into the old Parrish house. They stumble upon the game and start to play, causing similar results, except when one rolls a 5, a strange man dressed in jungle garb appears, revealing himself to be Alan Parrish, (Williams, Nine Months), all grown up, having spent the last 26 years in the jungle waiting for his release. Alan helps the kids out of their predicaments, but he is still bound to play, as well as Sarah (Hunt, Jerry Maguire), who is still in town. Together, they must play until someone finishes the game — that is, unless the game finishes them first. Jumanji is a special effects-laden family film that has a simple premise, and delivers enough escapist entertainment to probably keep young and old alike modestly entertained. It has a fairly thin plot, but the various situations that deliver a new peril come frequent enough to keep the momentum going, constantly changing with each new roll, and it does maintain a substantial amount of intrigue as to how the game might eventually end. In short, it’s not nearly a knockout, but it does entertain while it’s on. Those looking for a Robin Williams comedy should take note that he plays his part mostly straight, sparingly cracking jokes (upon sight of the modern bathroom, he quips, quite relieved, “Oh, thank you. No more banana leaves.”) The kids are cast well, with a very young Kirsten Dunst appealing as the bright and resourceful Judy. Jonathan Hyde (Richie Rich, Anaconda) has a dual role of Alan’s father in the beginning of the film, as well as Alan’s would-be killer, as the world-renown hunter, Van Pelt, who Alan rolls to life on one of his turns in the board game. David Alan Grier (Blankman, Boomerang) provides most of the comic relief as the cop who is overwhelmed at trying to keep the peace of the town (and his spiffy cop car pristine) as the jungle environs threaten to take over. Of course, though Robin Williams plays a substantial part, the real attraction to Jumanji is the special effects quotient. Some of the creature models may not be particularly convincing (the monkeys, for instance, look cartoonish and very CGI), but the effects team do a wonderful job in mixing the special effects with the live action in a very realistic way. When animals break through walls or trample cars, it looks quite believable. Even with the somewhat sad story of Alan losing his childhood and family for 26 years, Jumanji isn’t particularly deep or profound, crafted strictly to deliver a fast-paced good time that never dallies long enough for us to see how gimmicky and insubstantial the main story truly is. Kids will probably watch with rapt attention (though younger ones may find it a bit scary at times), while adults may be moderately entertained by the look and sound, even if the story itself is left wanting. It’s certainly not great cinema, and even fails somewhat in the “troubled youth finding acceptance” theme, but, for what people would be attracted to the film for (an imaginative adventure filled with mayhem), it delivers what you expect, no more, no less. — An animated television series followed from 1996-1999, with the same characters, but not exactly faithful to the movie. A spin-off was made in 2005, Zathura. Qwipster’s rating:
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legalmoviedownloads — Sun, 24 Aug 2008 12:35:56 +0000

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Alien Abduction
I can truthfully say i've never seen worse teeth in ANY movie.
Apparently, the characters still haven't caught up with that "new
fangled invention" of the toothbrush. Or if they had, they definitely
don't brush their teeth more than one or twice a year if even that
much. They make the audience feel very glad indeed that smellovision
isn't included in the experience. I couldn't help but wonder what was
used to create the effect of such truly awful teeth as it was
definitely disgusting.

Good production values for an intentionally brain-dead stupid movie,
but somehow, it didn't quite click for me. All the elements were there,
but they didn't quite gel out correctly. Maybe because everything was
just constantly a little too over the top, even in situations when
subtleness would have worked better.

The movie is a bit of silliness, that almost, almost works. A little
too rough around the edges, though, to make the silliness really work
as it should have.

Worth watching? I dunno… You should realize ahead of time there are
NO socially redeeming features to it and it IS pretty rough around the
edges. Consider carefully the use of "inbred" in the movie title
because that's pretty much what you get.

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legalmoviedownloads — Sat, 23 Aug 2008 12:36:30 +0000

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The Movie:

Essentially a British remake of “The Longest Yard” with soccer instead of football, director Barry Skolnick’s film adds a touch of Guy Ritchie style (Ritchie and Ritchie’s “Snatch” producer produced this picture), but mostly forgets the humor. “Snatch”’s Vinnie Jones stars as Danny Meehan, a former soccer star known as the “Mean Machine“. Although he’s already gotten in trouble several times before, he’s caught one day after driving drunk and assaulting two officers.

Thrown into jail, he doesn’t want much to do except for serving his time. However, the prison guards have other plans - they want him to coach a soccer game with the inmates playing against the guards. Whatever you’re thinking - big game ending, etc. - you’re probably right. “Mean Machine” is really nothing that audiences haven’t seen many times before, only with different sports. Director Skolnick seems satisfied to coast along, providing little in the way of surprises and about as much in the way of humor.

However, Skolnick is lucky that he’s working with a top-notch cast (who were likely pulled in by producers Ritchie and Vaughn) - aside from Jones, most of Ritchie’s “Snatch” cast returns and there are a few other additions, such as David Kelly (”Waking Ned Devine”). The cast does about as well as they can with the material, especially Jones and Kelley, who are fairly good in their roles. They provided barely enough interest in a movie where the ending is apparent from the opening moments. Go pick up either of Ritchie’s excellent films, instead.

The DVD

VIDEO: Paramount presents “Mean Machine” in 1.85:1 anamorphic widescreen. The picture quality remains very good throughout, but there were some small faults that I spotted on a fairly frequent basis. Sharpness and detail were generally solid, as the picture appeared sharp and well-defined throughout, with no instances of softness.

However, edge enhancement, which was visible on a fairly frequent basis, took away from what is an otherwise very nice looking presentation. While not entirely horrible, enough edge enhancement was visible to prove slightly distracting during several scenes. On a positive note, the print used was clean, with the exception of a handful of slight specks and a mark or two. Pixelation and other faults remained absent. Given that much of this film takes place in prison, the color palette remained subdued, but accurately presented.

SOUND: In a nice touch, Paramount has offered both the US theatrical version of the film’s soundtrack and the UK version. Both are in Dolby Digital 5.1 and the difference is likely that a few words were re-dubbed to make them easier for US audiences.

MENUS: Basic, non-animated main menu.

EXTRAS: Uh…well, nothing. Not even a trailer.

Final Thoughts: Jones and the other actors give it their best in an utterly predictable movie. With no supplements and a $29.99 price tag, I can’t recommend this as anything but a rental and even then, I’d only recommend it to fans of the sport.

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Movie: Warner Brothers’ Looney Tunes have delighted generations of children (and adults) with their wacky antics over the years. From the street smart Bugs Bunny, to the quick tempered Yosemite Sam to the silliness of Daffy Duck (among others), each character drew from some archetype of popular culture and the writing of their skits delighted us as they faced challenge after challenge, from the mundane to the extraordinary. In the last few decades, cost cutting measures have reduced many of the short films these characters appeared in to cookie cutter “product” but that’s to be expected in the harsh world of corporate profits. Whatever makes the most money, be it limiting the time and resources spent on a short to altering plots in order to keep an advertiser happy to exploring marketing options by adding “cute” characters that will sell well to little kids, is fair game. This brings us to the subject of this review, Space Jam: Special Edition.

The movie was released in 1996 and focused on a predicament of the cartoon characters that needed the help of a sports superstar in order to win their freedom. A promoter (voice by Danny Devito) from a far off planet, Moron Mountain, is looking for an attraction to increase profits. He comes across some animated cartoons from Earth and orders his employees to get the characters by any means necessary. They arrive on Earth and challenge Bugs Bunny and crew to a basketball game, even though the little aliens are tiny. In order to win the game though, the aliens steal the athletic abilities of such notables as Charles Barkley and Patrick Ewing (very talented on the court) and others, which makes them ~14 feet tall. The Warner Bros. cartoons, seeing their chances at freedom slipping away, recruit Michael Jordan to assist them in an all star basketball game. Jordan’s abilities on the court are legendary, even though he has retired to try his hand at baseball, and if anyone can help them, he’s the man.

The rest of the movie plays out in formulaic fashion with the cartoons losing the first half and then trying to come from behind during the second half of the game. Far too much of the movie was spent on Jordan, a talented athlete but a dreadfully bad actor, and the script was written by two (or more) writing teams in order to include a great many cultural references and insider jokes that date the movie in a great many ways. What might have been a very funny short film appeared dragged out well past it’s useful life in order to flesh out the movie to feature length.

As far as the much-vaunted special effects that combined the live action and cartoon characters went, it was mixed at best. I’m sure they were good enough for the primary audience (children under 10 years old) but all too often they were not even cutting edge for the time they were released, making me think far too much of the budget went to paying for the multitude of professional basketball players that had minor roles in the movie rather than displayed on screen.

The movie, much like this review, rambled an awful lot and ultimately seemed designed solely for kids and basketball fans, both groups not likely to fuss too much over the details. As a cultural curio, it was interesting, but as a feature movie, I’d suggest you buy the recent Looney Tunes box set for better cartoons and stick with watching actual basketball games to see the athletes. That said, I think the movie is worth a rating of Rent It unless you’re a major fan of the various athletes here.

Picture: The picture was presented in remastered 1.85:1 ratio anamorphic widescreen color, as originally shot. It looked better than the two previous volumes released on DVD although there was some grain and a few moments of edge enhancement that even I noticed. The DVD transfer was solid and I don’t recall seeing any digital artifacts or other problems with it.

Sound: The audio was presented with a choice of English, French and Spanish in the 5.1 Dolby Digital Surround format with optional subtitles in those languages and captions for the hearing impaired. The sound here was very solid with some good separation on the front channels at times. The bass was clear and tight and the mix between the vocals and music well done.

Extras: The best extra for me was the audio commentary track with the director and some of the voice actors (in character). It was often funnier than the movie itself and provided some technical details to the making of the show. There was a second DVD full of extras as well, starting with a well done feature on the behind the scenes of the movie, a couple of music videos, a game demo for Looney Tunes, the trailer, and a bunch of classic cartoon shorts (most of which centered on Halloween themes), and a free children’s movie pass to the upcoming feature release, Looney Tunes: Back In Action.

Final Thoughts: I really would have preferred that the voices for the cartons be the original Mel Blanc (R.I.P.) or his son Noel but it’s my understanding that the producers wanted to pay very little for his services, preferring instead to pay the athletes huge salaries. Such are the priorities of major motion picture making these days but as much as the replacement voices did an okay job, it just wasn’t the same. The movie wasn’t as bad as the critics made it out to be, at least for its intended audiences, nor was it as great as its supporters would have us believe, but it was definitely mediocre in many ways as obviously intended to cash in on the various merchandising opportunities presented (when this came out in the theatres, you couldn’t step inside a store anywhere without some form of tie in for sale). I’d be surprised if the merchandising for the movie didn’t surpass the box office receipts and that was probably the reason this movie was made.

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Pirates of the Caribbean: The Curse of the Black Pearl videos for download

legalmoviedownloads — Thu, 21 Aug 2008 12:35:23 +0000

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Pirates of the Caribbean: The Curse of the Black Pearl

To the best of my recollection, there just hasn’t been a good pirate movie made in my lifetime, so it should be easy to guess that expectations were certainly low going in to seeing Pirates of the Caribbean. Then add the fact that it has an unprecedented source of inspiration, an amusement park ride, and that quintessential no-brain producer Jerry Bruckheimer (Kangaroo Jack, Bad Company) would be calling many of the shots, and you can see that pre-release feelings would be that a recipe for disaster had already been written. However, I’m happy to say that by all accounts, Pirates delivers pretty much everything you’d expect to see in a pirate flick, and unlike any others made in the last twenty to thirty years, it’s actually not close to being one of the worst films of the year.

The film starts off with Depp (Charlie and the Chocolate Factory, Finding Neverland) as Captain Jack Sparrow, a pirate of some notoriety but little luck, who happens to save Elizabeth Swann (Knightley, Bend It Like Beckham), daughter of a powerful politician, but is still subject to the crimes he’s committed. In order to escape, he finds he must kidnap Elizabeth, but in his haste to escape, he meets his swordplay match in William Turner (Bloom, The Two Towers), finding himself in prison yet again. That’s when Sparrow’s old ship, the "Black Pearl," led by Captain Barbossa (Rush, Swimming Upstream) and a motley crew of mutineers, attacks the town, kidnapping Swann in the process because she is thought to be instrumental in breaking their curse of immortality. Will seeks out Sparrow’s help in locating the mysterious Black Pearl, forming an uneasy alliance to get back Elizabeth and hopefully end the pirate menace forever.

I have strong mixed feelings about Pirates of the Caribbean, but much of the attributed negativity comes from the feeling of excess in the battle sequences. It’s a given that any swashbuckler is going to have its share of melees full of swordfights, fisticuffs, and men swinging around on ropes galore. The mistake that Pirates makes is not knowing when enough is enough. At close to 2 1/2 hours, it would seem that at least an hour of the film is spent in lengthy fight sequences, some one-on-one and others in chaotic free-for alls. They generally are fun for about a minute or so, but they carry on and on for ten or fifteen minutes each, and sad to say, boredom does begin to creep in quite often during these stretches. In fact, I can’t remember to a large extent what goes on during these battles, as I stared at the screen realizing there was fighting going on, but not really caring too much about the details. To say that a half hour of trimming could have been employed without much notice is an understatement — it actually would have made the film much better.

Still, I am going to give the film a very modest recommendation because it is a decent pirate flick, touching every base with professional finesse, held together by the memorable performances of Depp and Rush. The plot of the film has some good twists, and the screenplay by Ted Elliott and Terry Rossio is crafted by men who know the genre. Not surprising, since they were the team responsible for such swashbucklers as The Mask of Zorro, plus Disney’s Aladdin and Treasure Planet.

So, if you’re in the mood for a revisionist pirate story, built around all of the staples and clich?s you’ve come to know, love and expect in any film of this sort, you’ll probably be content enough with what Pirates of the Caribbean delivers. Like Silverado did for Westerns, this is more of a love letter to the great pirate movies of old, filled to the brim with knowing references and tongue-in-cheek homage. So, it does have its share of gratuity in the action department, but at least there’s plenty of time for you to stretch your legs, go to the rest room or grab some popcorn. It is a popcorn movie, after all.

– Followed by Pirates of the Caribbean: Dead Man’s Chest (2006) and Pirates of the Caribbean: At World’s End (2007).

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I come to this debate late having only just viewed the video. I also
confess to lack of serious enthusiasm for this genre. I find them
mildly entertaining but never thought-provoking, apart from wondering
later "I wonder how they achieved THAT special effect." "Stigmata" is
in a class of its own - apart from the excellent script, effects, shots
pulled and editing. But apart from commendable technical excellence I
thought its profundity made its predecessors appear superficial. This
may well be due to its touching my own faith - some might say lack of
it. I attend church most infrequently, thrill to much
religiously-inspired classical music and wonder at the spectacle of
Cathedrals the world over. Yet I see the Church in whatever guise, as a
massive administration used over the centuries as a weapon of control
while it sought power and influence, accumulated wealth - and committed
thousands to the sword and flame. The theme of "Stigmata" was that God
is within and around us - not built into buildings of wood and stone.
It put into a phrase what I have always believed to be true. Each of us
is an amalgam of good and evil, our "good" side continually striving to
subvert the "bad". Is this what R.L.Stephenson might have been
suggesting with "Doctor Jekylll and Mr Hyde"? Two within one. We have
seen throughout history the way the individual’s concept of what is
"good and right" paradoxically permits him to carry out evil or
disagreeable acts in the belief that the aim is a worthy one. I hardly
need elaborate on this. The "flower children" of the 1960’s had an
enviable aim. A perfect world could be achieved through people simply
being "good and kind". Unhappily it is a flawed philosophy since they
failed to take into account that within each follower lurked the darker
side. Psychologists are well acquainted with "libido" and "mortido".
Most people find an outlet for their libido. But what of the other? The
whole secret of life is to find a creative way of harnessing the
destructive energies in an acceptable and creative manner! (Even the
crop-dusting pilot is an example of this. His creativeness is his skill
as a pilot, yet simultaneously he spreads death to millions of
parasites for the benefit of his fellow beings. He may not be aware of
this himself, of course. So yes - The "spirit" is within and around.
The other, less acceptable message to the truly "religious" is that the
Church, always fearing any erosion of its power never wishes to have
its own righteousness questioned. Why were we not given freedom to
study all the Dead Sea Scrolls? We also have evidence from
archaeologists that Mary Magdalen bequeathed her scrolls to the world,
and we also know that when Peter initially returned to his trade as
fisherman after the crucifixion, the entire movement would have died
had it not been for Mary’s persistence and efforts. But the early
church could never for a moment acknowledge its debt to a mere WOMAN!
The females have always been written out of most faiths, or confined to
minor roles. Perhaps the Roman Catholiic Church felt sufficiently
guilty to allow her limited honour - but only as being the mother of
Jesus.

"Stigmata" was a reminder to us all that - and that women are as much a
part of religion and history as we males.

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download full length Domino movies

legalmoviedownloads — Tue, 19 Aug 2008 12:35:04 +0000

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Consumer alert: The people who made “Domino” actually created a flow chart and put it on the front cover of their scripts to enable them to keep track of what the press material delicately calls the film’s “many characters and their interwoven relationships.” No plans have been announced to hand out that chart at a theater near you, and that’s a shame. A fantasy based ever so loosely on the real-life character of the late Domino Harvey, “Domino” is so over-plotted that it’s borderline incomprehensible. Absent that flow chart, figuring out exactly what is happening in this film is a real challenge for much of the time. ADVERTISEMENT Of course, if you care about things like logic and coherence, you probably shouldn’t be watching “Domino” in the first place. Its director, the flamboyant Tony Scott, says, “This movie is about heightened reality,” which means it’s a chance for him to blow things up, employ a lot of stunt people and fool around with a variety of film stocks and processing techniques. This lack of deep-dish seriousness is probably news to screenwriter Richard Kelly, who previously wrote and directed the very different “Donnie Darko.” Those informative press notes claim he sees the film as having allegorical elements relating to America’s poor overall healthcare system. Who knew? What “Domino” is really about is the opportunity to make use of one of the hot young things of the moment, British actress Keira Knightley, in a role that allows her to wear racy clothes, brandish shotguns, give a lap dance and say naughty things in a terribly posh accent. Comments about America’s poor overall healthcare system were apparently not called for. The real Domino was a friend of Scott’s, who was fascinated that the daughter of celebrated British actor Laurence Harvey wanted to work as an L.A. bounty hunter. Scott has tried to make a film around Domino’s persona for about a dozen years, but when a brief window opened in Knightley’s schedule, the film became a go. Ah, the joys of having a bankable star. Working with Knightley is a frankly unnerving range of performers. Any film that finds places for Mickey Rourke, Delroy Lindo, Mo’Nique, Mena Suvari, Macy Gray, Jacqueline Bisset, Dabney Coleman, Lucy Liu and Christopher Walken has got some serious explaining to do. “Domino” opens with a framing device of the title character in criminal custody and being interviewed by Liu’s FBI psychologist about a recent armored car heist that netted $10 million. What did she know and when did she know it? Answering those questions results in two flashback strands: how Domino became a bounty hunter and what happened to all that money. The first strand is by far the easier to follow, though not necessarily particularly edifying. The death of Domino’s celebrated father when she was very young, although apparently not related to America’s poor overall healthcare system, was quite a blow. But this is the kind of film that insists that it was the unexpected death of a beloved pet goldfish that changed her life and put her irreversibly on the bounty hunter path. Domino gets the attention of L.A.’s top bounty professional, Ed Moseby (Mickey Rourke), and his partner Choco (buff Venezuelan Edgar Ramirez) by throwing a knife through their car’s windshield. Suitably impressed, the guys take her on because she will add class to their act. Liking the work because it allows her to “live the nasty and not do time for it,” Domino prospers and soon comes to view her partners as family and drinks in the wisdom of Ed, a man who’s “been places, done things, lived life.” Sample Ed wisdom: “We all get weak over women” and “Love is a battlefield, baby.” ‘Nuff said! Working for bail bondsman Claremont Williams III (Delroy Lindo), the team gets enmeshed in that armored car job, which involves so many extraneous elements — from a grandchild who needs an operation to the California DMV to Jerry Springer, Las Vegas hotel owners, Mafia children, reality TV, psychedelic drugs, “Beverly Hills, 90210,” bandits in Halloween masks and a guy who gets his arm shot off — that it’s a wonder that flow chart made it comprehensible. And don’t even ask about an allegorical character named Wanderer played by Tom Waits. No, I’m not making this up. It’s a welcome and unexpected dash of reality to see a clip of the real Domino Harvey at the film’s conclusion. A much more complicated figure than “Domino” has any intention of portraying, she died in June at age 35 with serious federal drug charges pending against her. Given her wild and crazy streak, she might have loved what Tony Scott has put together, but it’s not clear who else will. ‘Domino’ MPAA rating: R for strong violence, pervasive language, sexual content/nudity and drug use Times guidelines: Scene of an arm being amputated by gunfire Released by New Line Cinema. Director Tony Scott. Producers Samuel Hadida, Tony Scott. Executive producers Barry Waldman, Zach Schiff-Abrams, Lisa Ellzey, Toby Emmerich, Victor Hadida, Skip Chaisson. Screenplay Richard Kelly. Story Richard Kelly and Steve Barancik. Cinematographer Dan Mindel. Editors William Goldenberg, Christian Wagner. Costumes B. Music Harry Gregson-Williams. Production design Chris Seagers. Art directors Drew Boughton, Keith Neely. Set decorator Nancy Nye. Running time: 2 hours, 8 minutes. In general release.
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