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DOWNLOAD MOVIE Sweet November Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Review:
Sweet November

Movie:
Sweet November, originally released earlier this year, was based on the little known 1968 film of the same name. Directed by Pat O’Conner, the film stars Keanu Reeves (Nelson) and Charlize Theron (Sara), with Jason Isaacs (Chaz), Greg Germann (Vince), and Liam Aiken (Abner). O’Conner previously directed Inventing the Abbotts, Circle of Friends, and others, while Reeves and Theron previously starred in 1997’s Devil’s Advocate together as husband and wife.

Sara Deever is an eccentric, charming woman who, every month, chooses one man to help for one month’s time. When she meets Nelson Moss, a workaholic advertising executive, she knows that she’s found her November. After some convincing and losing his job, Nelson reluctantly agrees to let her try and help him. During the course of the month, Nelson and Sara begin to fall in love - but will her secrets interfere with the love blossoming between them?

I missed Sweet November in the theater, but I was looking forward to seeing the film on DVD. I must say that I really enjoyed the film, though it is sad, and look forward to revisiting it again in the future. Reeves and Theron both give great performances, and the supporting actors, Isaacs in particular, do a great job as well. At times, the movie does feel slightly long, in part due to several sub-stories that exist within the main framework of the film. However, I’m glad that none of these stories were cut, as the film on the whole is excellent.

Picture:
Sweet November is presented in 1.85:1 anamorphic widescreen. The transfer is crisp and sharp throughout, with no print defects that I detected. Colors in the film are well saturated throughout: most of the film features vibrant colors, but in some parts of the movie, the colors are intentionally muted slightly and tinted. Flesh tones are natural throughout and blacks are deep and rich.

Sound:
Sweet November is presented in Dolby Digital 5.1 in both English and French. I was impressed by the 5.1 track, as I really didn’t expect the film to utilize the surrounds as much as it did. From the very beginning of the film, the surrounds are used effectively and quite often for directionality, ambient noises, and the film’s terrific score. Dialogue throughout the film is crisp and clean, with no distortion that I could detect. Optional subtitles are available in English and French.

Extras:
The main extra is the nine and a half minute long featurette titled, “Sweet November: From the Heart.” Its mainly promotional, though to be honest, it gives away quite a lot of the movie, and I would recommend watching it only after you’ve seen the film. It features quite a lot of clips from the film, as well as interview clips with Reeves, Theron, Isaacs, O’Conner, and Deborah Aal, one of the film’s producers. While mainly focused on discussing the storyline, it does give a bit of insight as to why some of the actors were cast in the film. Other extras include the film’s theatrical trailer and select filmographies for Reeves, Theron, and O’Conner.

Summary:
Sweet November is a great romantic drama that will appeal to fans of the genre or the lead actors. Warner’s DVD provides the film a great presentation that will certainly please fans of the film. Highly Recommended!

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DOWNLOAD MOVIE First Knight Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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First Knight Reviewed By Slyder Posted 08/22/01 10:25:59

"A Firsthand Disaster" (Total Crap)

I always liked movies that are set in the medieval periods, you know, the age of kings and knights, the fantasies of dragons and fairies, and all that shit. I had high hopes for this film, I mean its based on Camelot and the Knights of the Round Table for Christ Sake!!! Then, the film ended, and I have to tell you, watching the TV show Hercules is even better and more enjoyable than sitting here and watch this sardonic pile of shit. Of all the medieval ?poque films I?ve seen, I?ve never seen one that makes feel so fucking ripped off.So, the story is about this bitch, Lady Guinevere (Julia Ormond), who is offered marriage from King Arthur of Camelot (Sean Connery), but on the road, she and her guards are attacked by the evil Malagant (Ben Cross), a former knight of the Round Table who has rebelled and wants to establish and expand his own empire. But she?s saved by a bohemian swordsman called Lancelot (Richard Gere) and manages to avoid the enemy and return the future queen to Arthur?s guards. She is attracted to Lancelot, but since she also wants to be a rich bitch, she marries Arthur. Lancelot then joins Arthur?s cavalry and goes to fight against Malagant?s army, while at the same time, he and Guinevere fall in love even more, which in the end could be devastating.Ok, first of all, Sean Connery got an excellent-fitting role as King Arthur. You can see how well the character fits on him. But also, you can see that he?s bored with the role, and doesn?t really excel in his performance throughout the film. In other words, he?s not as believable. There?s a reason for that. Like every actor, he needs the money, he knows that this film was doomed from the start, but he doesn?t care, he just gets paid to act. I?m NOT offending Connery in anyway, in fact I think he?s a great actor. The only point I?m making here is that the film was fucked from the start, and he knew that, but he?s just an actor, already signed into the project, what can he do? Same thing with Gere and Ormond, they?re actors, nothing more.The script called for some good ideas, but the ideas were so poorly made, it?s just laughable. Where to start? Lets start with the flaws that came throughout most of the movie. For a great medieval era film to succeed, not only needs to have great performances and good directing, the settings have to look realistic enough to believe that we?re watching those times. Braveheart did this, Willow did this, many other films did this, except this one. This film has one of the lamest art directions/set decorations and costumes ever. The settings look like they just filmed the fucking movie in any park, or a historical museum. I say this because the fucking houses and all look unnecessarily old, like the movie were more of a fucking witch hunt in a historical relics museum, than the history of Camelot. Ok, it looked FAKE!!! Then there?s the great city of Camelot. Oh, I laughed at this one; the fucking city looks so FAKE, since you can easily tell it?s a fucking computer-generated castle. It?s so bright it looks also like either a fucking amusement park at night or a UFO, or even goddamn Disneyland!!! It shines so much as if the fucking castle were made of glass. Um, guys, this is the medieval period, not the fucking year 3000!!!!The Costumes were of piss-poor quality; I?ve never seen such a fucky costume, it looked FAKE!!! THIS IS A PERIOD PIECE FOR CRYING OUT LOUD!!! The battle sequences looked FAKE, no blood spill, not even a single minute of medieval warfare realism, the fucking costumes don?t get cut, everybody dies without a single drop of blood. What the hell is this, a damn children?s swordplay? Those fucking crossbows are so little, that you can realize right away that they look more like toys than war weapons. Is as if the battles didn?t have a soul, a cause, a fury, it?s just a bunch of fuckheads playing around with swords. The script unfortunately has some of the worst one-liners ever. It?s hard to believe that the guy who directed this was Jerry Zucker, the man behind such classics as Ghost, and Airplane. How could you come up with this type of shit? His direction is flawed in many aspects. The suspense atmosphere that he builds is artificial, and poorly made, the moments where you should gasp, you chuckle (the betrayal), and in the moments you should be hanging on the edge of your seat, you?ll be laughing your ass off (battle scenes). The betrayal scene and later trial is never believable, and instead it brings out a sense of stupidity and ridiculousness. The performances were all dull. Connery, Gere and Ormond are wasted here, you can see their embarrassment in their faces, and the rest of the supporting cast was also awful. I?m still trying to figure out whether Jerry Zucker was trying to do a comedy spoof of Camelot or a drama about it, because honestly, it shits at both.In the end, don?t waste your time in this film; it?s such a sack of shit, that it?ll leave you ripped off and with a lot of bile to take a painful piss. Go see some better films like Braveheart, Camelot, or Willow, but stay away from this flick.
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DOWNLOAD MOVIE Suddenly Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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There is a limit to how far you can take a one-joke movie. “Men Suddenly In Black” goes beyond that limit.

The one joke is this: take a sex farce about husbands on the make for some quick adulterous action, and play it out like a snazzy action thriller. It’s cute at first, obnoxious not too long after that, and all too tiresome before we even get to the halfway point. Director/co-writer Edmond Pang Ho-Cheung, who previously made “You Shoot, I Shoot” (and who also wrote the novel on which the cult favorite “Fulltime Killer” was based), finds his film slowly draining of the very energy that’s supposed to drive it, as it becomes increasingly clear that muddled comedy and a rambling storyline is all we’re going to get.

Jokingly referred to as a true story, “Men” tells the tale of four men whose wives are heading out of town for the day, leaving them fourteen hours to get laid. They’ve been planning this for years, saving up enough cash, working out how to best cover their trails, even contacting old flames in the hopes of landing some free nookie instead of having to resort to hookers. Ah, but their plans constantly backfire - a brothel is raided by the police, etc. - and soon their wives, who did not, it turns out, leave town, are hot on their trail. Can they nab some hot sex before they’re busted?

It’s tricky business, making a movie about such despicable characters (both the men and women are quite nasty). You can try to make these people fascinating in their villainy, so we want to watch despite our hatred of them. Barring that, you can turn your story into a morality play of sorts, allowing the audience to revel in these people’s downfall. And barring that, you can play up the farce angle, exaggerating the whole mess to absurd proportions.

That’s where Pang heads. Sort of. The cast is pretty solid - Eric Tsang, Chapman To, Jordan Chan, and Spirit Blue star as the husbands; Teresa Mo, Candy Lo, Masha Yuen, and Tiffany Lee star as the angry wives - but they’re all put to waste, stuck performing broad, iffy comedy that never goes as full on into the world of sex farce that it needs to. In fact, there’s no sex at all here, turning what could have been a manic bedroom comedy into something lesser. Pang is far more interested in the comedy of his visual style, working overtime to recreate the snap of a briskly edited action flick, leaving his cast far behind him. He’s so hung up on this idea that he can’t figure out when enough is enough; one sequence, that finds the husbands engaging in a fight with press photographers, is designed to parody the slo-mo shoot-out world of John Woo, with flashbulbs replacing handguns. It’s worth a grin or two, but Pang, so sure of himself, lets the scene go on for what seems to be an eternity. He exhausts the comedy, then he runs over it to make sure it’s not breathing.

Almost every scene runs on minutes longer than they should, with the premises ceasing to be amusing. One bit, with Tsang bumbling in a negotiation attempt with a prostitute, becomes irritatingly redundant; how many times can he yell at her, apologize, grovel, yell again, lather, rinse, repeat?

What “Men” needs is to back away from the spoofy yuks that overpopulate it and look instead to the subtlety of a more low-key character comedy. We do get some quieter personal moments, but these never quite work, feeling added in out of obligation, to keep the characters from becoming too impersonal. These attempts at human drama are so poorly conceived - one husband’s meeting with an old flame should have more heart and less fat-chicks-are-ugly cruelty; another husband’s desires to return to his wife lacks the heartfelt impact it thinks it has - that one wishes Pang would’ve just avoided such attempts altogether.

“Men” is funny in spurts, a line here, a bit there. Tony Leung’s extended cameo as the husband who was caught long ago and now spends his days locked away is pretty funny, with Pang’s script finally hitting some right notes (and Leung hamming it up wonderfully), although this, too, gets overbaked and loses steam due to clunky repetition.

For the most part, however, the film’s a big dud, loud and cocky but all too empty. It’s a jumble of comedy that never quite takes off, no matter how much vigor the fine cast pumps into the project.

The DVD

The two-disc special edition DVD set reviewed here is a Hong Kong release from Mei Ah Entertainment that has been encoded for All Region play. There is also a single disc Region 1 version that has been released in the U.S. by Tai Seng; this is not that disc.

The two discs are housed in a clear single-size keep case, which fits into a cardboard sleeve.

Video

The anamorphic widescreen (1.85:1) presentation can best be described as a decent transfer; it’s not very crisp or clean, but it’s free of any digital problems.

Audio

Dolby 5.1 surround is used for both the original Cantonese soundtrack and a Mandarin dub. Both tracks are quite nice, playing into the whole action-movie joke without ignoring the dialogue. Removable subtitles are offered in English, Traditional Chinese, and Simplified Chinese.

Extras

Disc one features a commentary from Pang, with optional English and Chinese subtitles. There are some long gaps in the conversation, but when he’s talking, it’s of interest, especially when the discussion leads to the politics of the movie. (Pang admits he is not making a point for or against adultery, but merely telling a silly story.)

Also on Disc One are trailers for “The Romancing Star,” “The Romancing Star 2,” and “Running On Karma.” All three trailers are presented in both Cantonese and Mandarin; burned-in subtitles (in both Chinese and English) are included on the “Karma” trailer.

Disc Two opens with a Director’s Statement from Pang. It’s a two page chunk of text in which he discusses his intents for the film. (Both Chinese and English translations are presented.)

A thirty-minute making-of features the usual assortment of on-set interviews with cast and crew, although it does manage to go a bit more in-depth than you’d expect from a mere half-hour.

Deleted scenes and outtakes are of minor interest (no subtitles are available, so following along may be an issue). The deleted scenes offer very little, while the outtakes consist mainly of flubbed lines.

Storyboard comparisons of several scenes don’t go into the detail such a feature usually provides - we only get a minute or two of each of the featured scenes, not enough to be of much value.

A music video (it does not tell the song’s title in English) is better than usual, combining clips from the movie with footage of the studio recording session.

The film’s trailer and TV spot, a photo gallery, and a “data bank” detailing character histories round out the disc.

Final Thoughts

If you’re a fan of the movie, then this release is certain to please. But for anyone else, there’s just not much to the movie to make this worth catching. Rent It for a few nice ideas and a fun appearance from Leung, but that’s about it.
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DOWNLOAD MOVIE Men in Black Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Go ahead, admit what you’ve always suspected: A certain percentage of people met in daily life are so strange, so out-and-out weird, they have to be aliens from another universe. Now, at last, comes a major motion picture that dares to tell you it’s all true.      Wised-up and offhandedly funny, “Men in Black” introduces us to the super-secret government agency, known as MiB for short, that makes those aliens toe the line. Starring the inspired pairing of Tommy Lee Jones and Will Smith, “Men in Black” is a genially twisted riff on the familiar alien invaders story, a lively summer entertainment that marries a deadpan sense of humor to the strangest creatures around. ADVERTISEMENT      Based on obscure comic-book material, “Men in Black” has maintained the energy and sass of the form while taking on, in Ed Solomon’s screenplay, a hipster attitude that extends to the protagonists’ ever-present black suits and the Ray-Ban sunglasses they always wear.      Barry Sonnenfeld is an excellent director for this point of view, and “Men in Black” is a blend of the strengths of his previous films, the knowing humor of “Get Shorty” and the visual razzmatazz of “The Addams Family.” And Sonnenfeld also oversaw the smooth blending of the different comic styles of the picture’s two leads.      Jones, as his dead-on reading of the most memorable line in “The Fugitive” revealed, has a definite flair for gruff, acerbic humor. His Agent K is a no-nonsense government operative who suddenly shows up at a routine Border Patrol investigation of a suspicious truck near the Texas-Mexico line. One of its passengers, it turns out, has come from a lot farther than Cuernevaca.      In the meantime, James Edwards (Smith), a New York City cop with a glib, engaging cockiness, is doing his best to chase down a suspicious person with the unnerving, practically extraterrestrial, ability to just about leap tall buildings in a single bound.      Though MiB boss Zed (Rip Torn) is worried about Edwards’ insouciance, K admires his perseverance and is soon recruiting the cop to sever all human contact and join “the best of the best of the best” as Agent J. But not before a whole lot of explaining is taken care of.      Unbeknownst to most people, the planet Earth has volunteered its services as a safe zone where political refugees from other galaxies can live in peace, “kind of like Casablanca without Nazis,” in K’s helpful phrase. Mostly they’re law-abiding citizens, but MiB is around to hold the line when they turn rogue, which means using outlandish weaponry on some pretty weird individuals.      *      A good deal of the fun of “Men in Black” is joining Agent J as he gets acquainted with the variety of wacky aliens masquerading as humans that form K’s beat. Created by four-time special-effects Oscar winner Rick Baker, with an assist from Industrial Light & Magic, these include beings that sprout new heads like weeds, intergalactic emperors tiny enough to live in hollowed-out skulls and much larger and more formidable beings.      Though its charm is in its attitude and premise (and Danny Elfman’s rousing score), “Men in Black” does have a serviceable plot that kicks in when a rusty flying saucer crash-lands in a rural area.      Out comes an unseen-for-now creature who promptly rips off (literally) the ill-fitting skin of a local resident named Edgar (Vincent D’Onofrio) and lurches around Manhattan looking for the Arquillian galaxy, one of the treasures of the universe. That search involves considerable mayhem, which is where the boys make contact with the city’s deputy medical examiner, mistress of sang-froid Dr. Laura Weaver (Linda Fiorentino).      ”Men in Black” is set in New York at the suggestion of its director, a native son, and that sets up inventive use of such landmarks as the Guggenheim Museum, the old World’s Fair grounds in Queens and the Battery Park vent room for the Holland Tunnel, plus the expected jokes about what percentage of cabbies are not of this Earth.      Hard to ignore because it’s partly unexpected is the film’s slime factor. “Men in Black” has periodic moments of gross-out humor that will not be to everyone’s taste, and when Edgar the invader finally reveals himself, he turns out to be more disturbing and off-putting than the film’s genial tone would have you expect.      But mostly what you get with “Men in Black” is the opportunity to spend some quality time with the Kings of Cool in a world where inconvenient memories get erased and supermarket tabloids offer the most reliable alien tips. It’s not the traditional world where only the bad guys wore black, but you already knew that, didn’t you? Men in Black, 1997. PG-13, for language and sci-fi violence. An Amblin Entertainment production in association with MacDonald/Parkes productions, released by Columbia Pictures. Director Barry Sonnenfeld. Producers Walter F. Parkes, Laurie MacDonald. Executive producer Steven Spielberg. Screenplay Ed Solomon. Cinematographer Don Peterman. Editor Jim Miller. Costumes Mary E. Vogt. Music Danny Elfman. Production design Bo Welch. Art director Thomas Duffield. Set decorator Cheryl Carasik. Running time: 1 hour, 38 minutes. Tommy Lee Jones as K. Will Smith as J. Linda Fiorentino as Laurel. Vincent D’Onofrio as Edgar. Rip Torn as Zed. Tony Shalhoub as Jeebs.
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DOWNLOAD MOVIE Hellboy Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Hellboy Reviewed By Erik Childress Posted 04/02/04 16:39:40

"Comic Book Movie Limbo" (Pretty Bad)

My history with Hellboy goes back as far as the announcement of the film?s production. I leave it to my comic book expert friend to fill me in on what?s so interesting about the various comic book adaptations invading screens outside of the classics I already know so well. His excitement peaked my interest. Throw in Guillermo Del Toro behind the camera and the other eyebrow went up. Then I saw the first trailer and I thought the title character looked ridiculous and the premise rather laughable. Further ads hyped up the action and the film?s look and suddenly I was excited. After the opening 15-minute prologue, I was convinced that this could be one of the best comic book films ever made. And if I walked out after the opening credits, I probably could have kept on believing that.Hellboy you may have guessed didn?t stem from a celestial setting, although you may have confused him as some bad seed spawn of The Punisher or the male lead in the unmentionables corner of your local video store. During Hitler?s fascination with all things occult outside of the Lost Ark or Holy Grail, that mad monk Grigori Rasputin (Karel Roden) was enlisted to open the doors of Hell and unleash unholy?well, hell?on Earth. Lucky for us the Bureau for Paranormal Research and Defense (BPRD doesn?t exactly flow like FBI or CIA) was on the case and shut the door just in time. But a little baby demon was brought into our world and instead of being raised by the minions of Beelzebub was put under the care of Professor Bruttenholm (a solid John Hurt) at the BPRD.A red-skinned devil with He-Man muscles and shaved horns don?t exactly say ?next door neighbor? so Hellboy (Ron Perlman) has been contained as best he could when not sneaking out and stirring up the Bigfoot/Loch Ness crowd. Other than his love of cats and pancakes (he only snacks on one of them; this isn?t ALF), Hellboy has been attracted to pyrokinetic Liz Sherman (Selma Blair) who left the BPRD and now shacks up an institution where her silly-looking blue firestarting powers can be contained. (Give me Drew Barrymore or Pyro anyday.) Other members include walkin?, talkin? amphibian, Abe Sapien (Doug Jones, voiced by way of David Hyde Pierce) and new Hellboy handler, John Myers (Rupert Evans). One grasps that this is the ?double A ball? of the X-Men.For Hellboy?s latest adventure, it seems some of those nasty Nazis are back, resurrecting Rasputin once again in a ritual right out of the original Blade. Not too bad for a guy who was originally poisoned, shot, bludgeoned and drowned. And that was just his first death. Rasputin?s main talent seems to be the power of persuasion as his villainy consists of appearing to good people and whispering alluring alternatives to their lifestyle. Rasputin would likely fit in better on Queer Eye for the Straight Guy or the final act of The Last Temptation of Christ than as our villain of choice for a superhero battle. Turns out Rasputin is even a more boring villain than Hellboy is as our hero. The battle sequences, one after another, consist of giant tentacle creatures right out of Men In Black. (A final face-off even has Hellboy dispatching of one in the exact same Tommy Lee Jones fashion.) The initial showdown is cool as a warm-up. FX have certainly improved since the MIB days, but these creatures become the central evil rather than the drones they should be leading up to the big boss and thus become too monotonous too quickly. Matters aren?t helped by the languid stops at exposition inhabited by expressionless characters who are more or less Hellboy?s chief sidekicks. Selma Blair is devoid of a single identifiable facial expression throughout the whole film. I?m aware she?s supposed to be sullen and detached, but its called acting Selma and you were more convincing with a shlong caught in your mouth in The Sweetest Thing. Adding Rupert Evans, the nondescript agent, as our eyes and ears into this universe, I can only guess is there to throw our color schemes back into balance. Since he?s so vanilla, Hellboy?s makeup job stands out that much more and becomes even more convincing.Hellboy is as magnificent looking a comic book film as I?ve ever seen, but an increased sense of boredom detached me about midway through. Both times I saw it. Hellboy?s fabled sarcastic wit is more than a mystery to me since the quips on display are as lackluster as the action. This is more one step above The League of Extraordinary Gentleman rather than one step below X-Men. As Del Toro said at a screening in Austin, this is ?a film made for geeks by geeks.? Although I consider myself proudly amongst the geekdom ranks of film lovers, maybe this is for hardcore geeks satisfied with the page-by-page of each volume and familiar with the entire comic history created by Mike Mignola. Del Toro only had so many minutes to make me a believer. He had me at 15 and completely lost me at 112.
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DOWNLOAD MOVIE Chronicles of Riddick, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Chronicles of Riddick, The

I saw the previews of this movie a long time ago. Then it came out at the beggining of the summer, and since I’ve never seen Pitch Black, to which Riddick is the sequel to, I wasn’t too excited to see it. It kind of flopped in the Box Office, and reports said it wasn’t as good as Pitch Black, and that it wasn’t worth seeing. Specially cause of the horrible acting by Thandy Newton.Anyway, I didn’t see it.Now they opened it in the Venture Cinemas here a few blocks away from home, and they have the movies at $1 so I decided to check it out even though I still haven’t seen Pitch Black.I haven’t mentioned that Vin Diesel is the star of the movie, basically cause he’s good in it. the rest is the bad. Specially Thandy Newton. She’s really bad.

The rest of the cast is ok. Dame Judy Dench and Karl Urban are very good. Specially Urban who has lots more to do than Dench.My other problem was the story. It was very confusing at parts. And the way it finished didn’t make sense for the future. I don’t know. Maybe is cause I haven’t seen Pitch Black, but after seen Riddick, I don’t care.

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DOWNLOAD MOVIE Little Children Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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About halfway through Todd Field’s deeply resonant “Little Children,” adulterous suburban lovers Sarah and Brad (Kate Winslet and Patrick Wilson) indulge in something really naughty: They join in a moment of mass moral panic and righteous ostracism at the community pool. The cheerful chaos has just been obliterated by the discovery that the goggled and flippered town pervert, Ronnie McGorvey (Jackie Earle Haley), has slipped into the water among the kids. Sarah spots him first, then awareness sweeps over the crowd like a wave. Parents rush poolside, children scramble out of the water or get plucked out by the armpits, babies start to wail. It’s as if the shark from “Jaws” had finally found a way to justify decades of collective primal fear. Wrapping their arms around their kids, Sarah and Brad instinctively join the crowd. They may be guilty, but McGorvey, mercifully for them, is guilty of much worse. For a nearly wordless sequence, the pervert-in-the-pool scene is astonishingly complex, not to mention brave, and it’s indicative of the wicked insight and emotional subtlety at play in Field’s lucid and sensitive film. The movie begins as a satire, rolling inexorably forward — like the meatball in the camp song — building steam, mass and weight until it completely obliterates every bogus piety in its path. What’s revealed in its wake is an empathetic, humanistic vision that rejects, even in difficult, extreme cases, the mob impulse to demonize. ADVERTISEMENT The story of an illicit love affair that coincides with a presumed pedophile’s move to town, “Little Children” is based on a book by Tom Perrotta, who wrote the novel “Election” (Alexander Payne’s film was later based on it). Field, whose last film was “In the Bedroom,” co-wrote the movie with Perrotta, with whom he obviously shares an interest in hermetic environments and a fascination with what happens when their familiar dynamics are disturbed by outside or deviant forces. But “Little Children” is one of those rare films that transcends its source material. Firmly rooted in the present and in our current frame of mind — a time and frame of mind that few artists have shown interest in really exploring — the movie is one of the few films I can think of that examines the baffling combination of smugness, self-abnegation, ceremonial deference and status anxiety that characterizes middle-class Gen X parenting, and find sheer, white-knuckled terror at its core. The title is far more inclusive than it seems at first. Sarah and Brad are misfits in their town, where the norm is so rigidly but tacitly enforced that even the slightest deviance raises eyebrows and hackles. The two meet one morning at the playground frequented by a cadre of regimental stay-at-home moms ruled by queen bee Mary Ann (Mary B. McCann). Mary Ann’s approach to child-rearing combines a militarism, adherence to protocol and self-satisfaction not seen since “The King and I,” and while Sarah tries to conform to the strict rules of snack times and play-dates, she can’t manage to subsume herself to the degree required by her cohorts. Her feelings of rebellion and inadequacy are exacerbated by the fact that conformity is couched in a false broad-mindedness and empathy, making it insidious, alienating and cruel. If Sarah is a threat to the moms’ conformity, the mysterious house-husband Brad is a threat to their complacency. Male, beautiful to the point of inciting panic (the ladies call him “the prom king”) and apparently unemployed, he’s an erotic apparition in the playground, not to mention an apparently discomfiting reminder of a stage in life when sex was its own justification and reward, instead of another task to be scheduled. Sarah, who is unhappily married to a much older man named Richard (Gregg Edelman), a remote and tedious branding consultant with a secret porn fetish, gets through the days pretending to be “an anthropologist studying the behavior of suburban women,” not as a suburban woman herself. Her attraction to Brad, therefore, is not only impulsive and romantic, it’s intrinsic to her sense of who she is — or was. Among other things, a former PhD candidate in literature. (She never finished her thesis.) Brad’s attraction to Sarah has more to do with what she sees in him than what he sees in her, as well as with her willingness to inhabit a world outside of their reality. She’s not as beautiful as his wife, Kathy (Jennifer Connelly), but she demands nothing. While Kathy waits impatiently for Brad to pass the bar (which he’s failed twice), Sarah is happy to live with him in the past, clinging to the idea that they are hovering in the pleasant limbo of unrealized potential, cheering madly in the otherwise deserted bleachers at night football games in which a bunch of cops play a bunch of accountants. When he’s not taking care of his son, playing football or watching teenagers skateboard at the high school when he’s supposed to be studying for the bar, Brad spends evenings riding around town in his new friend Larry Hedges’ (Noah Emmerich) van. Larry, who befriends Brad one night during his “rounds,” warning the town of McGorvey’s presence in their midst, is Mary Ann’s male counterpart. A former cop who took early retirement under troubling circumstances, he now dedicates his time to persecuting McGorvey and his mother, May (Phyllis Somerville). Haley and Somerville are remarkable as “mommy” and damaged son, creating a rapport astonishingly layered with disappointment, resignation and wary hope. “Have you ever thought about the term ‘homeland security’? I mean really thought about it?” Larry asks Brad one night. Brad doesn’t say, but the question lingers. Security weighs heavily on all the characters, but the more they grasp at it, the more damage they do to themselves and others. May’s deep inner strength exists in sharp contrast to Larry’s bullying, which masks a bottomless well of self-loathing and fear. Obsessed with “the family,” “the community” and, of course, “the children,” Larry causes nothing but harm. It’s the same poisonous certitude that causes Mary Ann to take the opportunity, during another memorable scene at a book club, to tell Sarah what she thinks of her by calling the unhappily married and unfaithful fictional character Emma Bovary “selfish” and “a slut.” Sarah delivers a defense of the individual versus the crowd that is rousing, moving and all the more touching for the fact that she, like Madame Bovary, is neglecting her child. While Sarah and Brad’s standard adulterer’s guilt is painfully heightened by the aggressively virtuous cult-of-the-child that stifles their pretty suburban town, the movie’s actual kids are not so much characters as they are tiny loci of anxiety, resentment and redirected ambition. In fact, the only child in the story who is loved reciprocally and without reservation is McGorvey. His mother is a firecracker with no illusions about her son and only the most modest expectations, which he will probably not meet. Strangely, she adores him anyway. carina.chocano@latimes.com ‘Little Children‘ MPAA rating: R for strong sexuality A New Line Cinema release. Director Todd Field. Screenplay Field, Tom Perrotta, based on Perrotta’s novel. Producers Albert Berger, Ron Yerxa, Field. Director of photography Antonio Calvache. Editor Leo Trombetta. Running time: 2 hours, 10 minutes. Exclusively at Pacific’s ArcLight, 6360 W. Sunset Blvd. (at Ivar Avenue), (323) 464-4226; AMC Century City, 10250 Santa Monica Blvd., (310) 289-4AMC; Laemmle’s Monica, 1332 2nd St., Santa Monica (310) 394-9741.
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Matador, The

The Matador is a refreshing, irreverent comedy that easily goes down as one of the best comedies of 2005.  At its heart, it is a buddy formula flick, although it never truly adheres to conventions, as it goes down familiar roads in its own unique way.  Bolstered by a terrific performance by Pierce Brosnan (After the Sunset, Laws of Attraction), perhaps his best in a feature film to date, this is a wholly likeable dark comedy full of quirky but well-rounded characters and little touches in the character development that sets it apart from other films of a similar nature. Brosnan stars as Julian Noble, one of the world’s most efficient assassins for hire, doing gigs for high prices for rich clients.  His latest job is in Mexico, and during his stay there he meets and befriends a down-and-out American businessman named Danny Wright (Kinnear, Stuck on You), who is there trying to nail down a deal that will put him back on track to be a successful salesman again.  The budding friendship is on shaky ground as it is, thanks to Noble’s uncouth demeanor, but things really take a new twist once Julian reveals that he is an assassin by trade.  Although Brosnan will get the lion’s share of the accolades for this film’s success, and deservedly so, it should be mentioned that equally up to the task is writer-director Richard Shepard, easily his best, getting the most out of his appealing actors and telling his story with just the right amount of mystery, color, and panache.  Although there are serious implications in the nature of Julian’s business, and some ramifications that don’t bode well in his favor, Shepard deftly is able to keep the proper tone throughout the film, which is light, mirthful, and spirited.  He wisely keeps most of the violence off-screen so that we don’t too caught up in the reality of what it is that he does. The Matador is a wicked, smart and funny comedy worth seeing for adults in the mood for a fun time.  If this were to turn into a franchise, not unlike the Bond films that Brosnan was such a big part of, I would not mind one bit. 

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Huzzah! Finally, a cartoon to offend everyone! The Dick Tracy Show: The Complete Animated Series is one of the worst examples of vintage animation I’ve seen in some time. I vaguely remember snippets of the show when I was a kid, but in no way did it stick with me in a meaningful way ? and now I know why. Running four and a half minutes each, these Dick Tracy cartoons truly are offensive, and not just for the obvious reasons, such as ethnic characters named GoGo Gomez and Joe Jitsu.

United Productions of America, or UPA Studios, has long held a cult status with animation buffs because of its innovative “limited animation” style that revolutionized the industry back in the 1950s. Reducing the number of “inbetweens” drawings between the keyframes (the frames that defined movement), allowed the animator to greatly speed up the process of animation (while also eliminating the smoothness of more traditional animation, such as the Disney shorts of the 1930s). UPA invented this process, scoring its first artistic success with Gerald McBoing-Boing. What started out as an artistic process (after all, UPA Studios was originally founded as an artistic rebellion against the formalism of the Disney process, by John Hubley, Zack Schwartz, Dave Hilberman and Steve Bosustow), quickly became not an alternative artistic expression, but a cost-cutting measure, and the cartoons that followed suffered for it.

With Hubley out of UPA in the early fifties (due to the HUAC hearings), UPA limped along under Bosustow’s reign, until Columbia (who contracted with UPA) and the other major studios began shutting down their animation departments. UPA was sold by Bosustow to producer Henry G. Saperstein, who took UPA out of the theaters and into television, to keep the company afloat. Unfortunately, that meant quality cartoons such as Mr. Magoo largely became cookie-cutter exercises in getting as much product out there as possible, with little or no artistic consideration. And that’s where The Dick Tracy Show: The Complete Animated Series comes in. Produced in 1961, these noxious little trifles flooded the TV syndication market with 130 four and a half minute cartoon episodes. What, exactly, their intent was is difficult to say now (Entertain kids? Keep the creditors off the company’s back?). One can only view them out of context today, and unfortunately, they suffer greatly by today’s standards.

The first major problem that stands out in The Dick Tracy Show: The Complete Animated Series is…where is Dick Tracy? It’s his show, and yet, he only sits behind a desk, and dispatches his other crime fighters to solve each show’s case. Occasionally, he shows up with a crime fighter, but he still does almost nothing. It’s almost as if the creators of the cartoon liked the notion of using the outlandish Tracy villains for the ‘toons, but that they had almost zero faith in Dick Tracy as an interesting cartoon character who could carry his own series. So, they push him to the sidelines. And in his stead, we’re stuck with Asian detective Joe Jitsu, Hispanic detective GoGo Gomez, English detective Hemlock Holmes and The Retouchables, and Irish beat cop Heap O’Callory.

It’s a debate that’s going to go on for as long as we have movies ? the merits and drawbacks of showing racially insensitive material from less sensitive times. While I usually fall on the side of “don’t throw out the baby with the bathwater” argument that Leonard Maltin and others employ (especially when discussing some of the Disney cartoons that have insensitive racial characterizations), what I find most offensive about The Dick Tracy Show: The Complete Animated Series is not the racial stereotypes, but the fact that the show is just plain unfunny. People aren’t going to like Joe Jitsu’s outrageously characterized Asian features, nor GoGo Gomez’s ridiculously insulting accent. Nor, for that matter, will people appreciate Heap O’Callory, a fat Irish cop who’s always stealing apples. These insensitive characters are enough to make The Dick Tracy Show: The Complete Animated Series a non-starter. But what really grates on me is how gawd awful unfunny it all is. Each little cartoon starts with Tracy saying the exact same thing: “Okay, Chief, I’ll get on it right away!” He then calls up one of his detectives, dispatches them to the crime scene, where the detective repeats the same physical gag (various pies, irons, pans, cars, etc. thrown at the villain) over and over again, until the end. Seriously ? that’s it to these cartoons. There’s nothing remotely witty or funny to the proceedings, and the poor production values (particularly the uninspired vocal readings and irritatingly monotonous music cues), detract even further.

The DVD:

The Video:
The Dick Tracy Show: The Complete Animated Series’s image is surprisingly clean (as is usually the case with these Sony Classic Media releases). Why anyone bothered to keep the original materials in such good condition, is beyond me.

The Audio:
The Dolby Digital 2.0 mono English soundtrack is unfortunately clear — you can hear every stupid line, every insensitive accent, and every lame-ass sound effect.

The Extras:
The only extra for The Dick Tracy Show: The Complete Animated Series is an exclusive 64 page comic book that reprints three classic Dick Tracy strip adventures from the pen of Chester Gould. It’s nice rendered, but the only possible reason for its inclusion here is to buy off the purchaser of the DVD as an apology for the animated abomination that proceeds it.

Final Thoughts:
I love vintage animation, even if it’s a little boring or lame (you can always find something of value in the animation techniques, or even a little sociology in the storytelling). However, there’s almost nothing of value in The Dick Tracy Show: The Complete Animated Series. Chester Gould’s immortal detective doesn’t even star in any of the adventures, so there’s little point in the producers of this animated claptrap invoking his image. And the detectives that we do get, are insensitively executed — and criminally unfunny. I wish there was a lower rating that “Skip it.”

---

Paul Mavis is an internationally published film historian, and the author of The Espionage Filmography
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Stigmata **1/2 (out of 5) (1999)

Cast: Patricia Arquette, Gabriel Byrne, Jonathan Pryce, Nia Long, Thomas Kopache

Directed by Rupert Wainwright

Some strange occurences are going on in a church in Brazil, where a madonna statue is weeping blood, and a Vatican priest known for his skepticism is sent in to investigate. One of the priests is now deceased and his rosary beads end up in the hands of a young New York City hair designer. She begins to exhibit “stigmata”, whereby she is inflicted with the wounds of Christ for no apparent reason and the Vatican priest is now trying to find out why.

STIGMATA is one of those films that has only one thing to say and takes it’s sweet time before getting to the point. What we get in the meantime is scene after scene of stylish directorial masturbation by Wainwright, who tries everything he can to wow us with his technique. It is this very technique that keeps the film looking interesting but making us not care about the characters since everything from the dialogue to the clothes to the sets have no foothold in reality. Ultimately the film becomes nothing more than a two hour techno-horror music video full of unpleasant images and highly-stylized virtuoso editing.

Still, there are some stretches when things seem to work, mostly in scenes involving Byrne as the conflicted priest, but there’s just too much padding and not enough sense to make much of it. In the end it tries to deliver a strong message against the Cathlic church, but due to going for flash over substance, STIGMATA is just a whole lot of “sound and fury, signifying nothing”. The only religious inspiration will come from viewers who say to themselves, “Thank God it’s over”.

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