Posts Tagged ‘writer /director’
Stream Stan Helsing Online
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Stream Stan Helsing Online.
Movie Title: Stan Helsing Stan Helsing is available for streaming or downloading. |
The only things going for this self-proclaimed dread film parody are decent production values and fine actresses. The movie itself, which is not really a parody of anything but unprejudiced a limp comedy, is plain and often humdrum. The attempts at humor are usually mean-spirited, too, and usually made at the expense of the female characters (who the producers apparently want us to leer at but not respect) .
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Look, to carry over the rude parlance of the movie, I’m usually an easy lay with this sort of plain comedy: I don’t need or quiz Shakespeare. Impartial preserve things minimally bewitching, throw a few chuckles my plot, and I’ll likely give it three stars and recommend it for some modest home entertainment. Nothing gross with something comical and fun, after all. But “Stan Helsing” is unprejudiced dumb (the supreme sin of a creative work, in my book) and eye-rollingly wearisome. I’m guessing that comedy icon Leslie Nielsen is thankful he was only subjected to a fairly itsy-bitsy role in this production.
I’m sorry to say all this, as the actors and folks leisurely the camera seem like perfectly nice people in the 10-minute “making of” bonus feature (though the script makes me wonder about writer/director Bo Zenda), but I have to call it like I look it. In the raze, if you’re looking for a fun runt panic comedy to derive you in the mood for Halloween, let me quote one of Mr. Nielsen’s mighty better comedies and say, “Nothing to look here, fade along, nothing to stare here…”
It looks as if the cast had fun making this movie. Unfortunately, that fun doesn’t translate into a laughable film. Because I received a preview copy, I watched the whole thing, but had I rented or bought the movie, I’d have given up after at most fifteen minutes. At least this intention, I know that I’d have been apt.
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The chronicle, such as it is, involves four friends on their device to a Halloween party. One of the friends is the title character (played by Steve Howey, who, it seems, is supposed to waste “the six biggest movie monsters of all time” (according to the director) . As a result of various detours, none of which has any particular purpose except to help as fodder for jokes, the characters never build it to the party but instead go through numerous allusions to terror movies, some clear (as in the character “Fweddy,” a very small parody of Freddy from A Nightmare on Elm Street) and some not so sure. (In case you’re wondering, the six monsters are Pinhead, Chucky, Jason, Freddy Kreuger, Leatherface, and Michael Myers.)
Unfortunately, the humor didn’t work for me, and even Leslie Nielsen fails to achieve this mess. Airplane! this isn’t. Rather, it’s strictly for those who judge sex jokes are automatically silly and can withhold a movie.
Extras include: Commentary with the writer/director and two of the cast, a “making of” featurette, a few extended or deleted scenes, outtakes, the trailer, a quiet gallery, and a storyboard gallery.
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Watch Cashback Movie Online
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Watch Cashback Movie Online.
Movie Title: Cashback Cashback is available for streaming or downloading. |
This is one of the most much films I’ve seen in quite some time. In fact, it has lurched into the pantheon of my all-time current movies! It is a somewhat peculiar mixture of diverse ingredients, with elements of Office Plot – Special Edition with Flair (Widescreen Edition) and High Fidelity and even some allusions to Gladiator (Widescreen Edition) thrown in impartial for fun. On top of that, noteworthy of it makes you feel like you’re in the Twilight Zone, yet there’s some downright slap-stick comedy that is stirred in for one wonderful concoction of a legend!
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The DVD details the life of an artist (Sean Biggerstaff) who is having an bad time getting over his ex-girlfriend who unbiased dumped him. He’s having such a rough time, in fact, that he can’t sleep. I mean, literally – he has the worst case of insomnia the world has ever seen. Finally, he gets a job working 3rd shift at a supermarket, impartial for something to do.
While there he meets up with a very stunning cashier (Emilia Fox) and some fair tedious crazy co-workers. He looks at even something as banal as working in a grocery store as being an “artistic” (if not metaphysical? ) experience, and finds himself gravitating towards the pleasing blonde cashier.
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At the detestable, what this movie seems to be “all about” to me is a sort of meditation on feminine beauty, and the blueprint that (straight) men ogle that beauty. Yes, this includes the female nude, but in an artistic intention as opposed to being sleazy. The film is paunchy of useful flashbacks that encourage us understand the evolution of an artist’s perception of women. Many of these flashbacks,in fact, I could describe to in my beget life.
Be warned that this is a very “different” sort of movie. Being an independent film, it goes well off of the beaten-track, and to me that’s a noble thing. While I’m distinct there are plenty of people who will gaze this and say “Boy, that was exclusive” I’m also confident that there are many who will say “Wow, I’d like to witness more introspective flicks like that!” I belong to the latter group.
In 2006, the short film Cashback was nominated for a best live-action short Oscar. Writer/Director Sean Ellis then went on to lunge the short about a night-shift worker in a supermarket into a feature about a night-shift worker in a supermarket. Using the same actors, and even most of the footage from the unusual short, Ellis adds a painful breakup to our hero’s life, which brings on a case of incurable insomnia. Looking for a intention to cash in on his inability to sleep, art student Ben Willis (Sean Biggerstaff) applies for a job at an all-night supermarket.
Anyone remember Saved By the Bell and Zack Morris’s envy-worthy ability to order the phrase “time-out” and thus freeze time? In Cashback Ben has this same ability, but he uses it in a mighty more libidinous way: to undress fair women in the grocery store he works at and then scheme their nude figures. Granted, these gratuitous scenes are not the crux of the film, but they’re likely to be the most memorable to most viewers. As the camera slowly pans over (and befriend over) the striking nude female forms, the audience is to gaze Ben as an fearless young artist, not as a peeping Tom. The artistic presentation of the women, and the flashbacks to Ben’s childhood experiences do their best to give this impression, but the extended length of the scenes and their lack of importance to the final outcome of the narrative, implies a hint of exploitation rather than simple artistic expression. For the most extensive contemplate at the indelible female create since Striptease, Cashback has cornered the market. Cleverly disguised in the develop of a romantic comedy, Cashback manages to comes across as an artsy British Garden Plot meets Showgirls.
With an endearing cast of characters, including Emilia Fox as Ben’s current fancy interest at the supermarket, Cashback offers an challenging chronicle exploring the complicated topics of relationships and self-expression through surrealistic methods, including freezing and fast-forwarding time. At different points, the world is swirling around Ben, faster than he can preserve up, while at others everything stops and he can question the world between the moments that we live. Eventually he comes to realize that there are times when fast-forward and freeze frame are on equal footing; no matter what, the past can’t be undone.
Cashback is the first feature from director Sean Ellis, and while it’s determined that he has immense talent in the fields of both writing and directing, it’s also certain that he has considerable room to grow as an artist. At times the film begins to shuffle a bit, and points that seem to have actual significance to the sage are left by the wayside as unusual plotlines are picked up. This causes the film to play out almost episodically, like several short films strapped together. This is only fitting, considering that Cashback started as a short. Audiences will not be disappointed by the message of Cashback: “Sometimes savor is hiding between the seconds of your life”, but they may earn themselves wondering about the presentation of the message.
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Watch Shoot ‘Em Up Movie Online
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Watch Shoot ‘Em Up Movie Online.
Movie Title: Shoot ‘Em Up Shoot ‘Em Up is available for streaming or downloading. |
Whoah! If you’re looking for mindless action, THIS is the movie for you.
It’s over the top, totally astonishing, physically impossible, but absolutely luminous all at the same time.
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2 shrimp version:
Clive Owen eats a lot of carrots, and values his privacy. There are many things that he absolutely hates, and he comes into contact with most of these things when he unwillingly gets keen in a position to demolish a very pregnant young woman. Suddenly faced with a nanny job, he shoots his design out of the frying pan and into the fire, each scenario more draw-dropping-ly impossible than the last. Paul Giamatti plays an unlikely criminal mastermind and Monica Bellucci is under-utilized as the proverbial professional with a heart of gold except she’s also got a chest of milk to go with it. Things salvage political, and hopelessly complicated, and of course there’s lots and lots (and lots) of shooting, during any (and I do mean ANY) space.
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Good stuff:
1.Clive Owen
2.Clive Owen’s one-liners
3.Clive Owen’s stunts
4.The hilariously dreadful but breathtaking, yet impossible scenarios
5.Paul Giamatti’s cell phone calls
6.The body count
7.Clive Owen’s nude scene
8.Clive Owen
Bad stuff:
1.Carrots are DEFINITELY not favorable for some people
2.Not enough Bellucci
3.Site (nuff said) but then again, we don’t need no steenkin’ plot
If you can forget that this movie professes to have a area, you’re in for a rollicking noble (but extremely violent) time. Definitely a must-see if you’re looking for mindless adult entertainment, and don’t mind looking at Clive Owen.
Rated: 4.5 stars
Amanda Richards, December 9, 2007
SHOOT ‘EM UP is well named: this is a whompingly suitable action movie that is as noteworthy parody of its genre as it is a proper tale. It never for a moment takes itself seriously and it is played by a strong cast of top-drawer actors having a terrific time. Writer/director Michael Davis has found his niche and let’s hope there will be more shadowy comedies that are as distinguished fun to recognize as this one.
The narrative is negligible: lone man Smith (Clive Owen at his best) observes a pregnant woman in chased pain, delivers her baby, then finishes off the tremendous gang of unpleasant guys who are in pursuit, taking the newborn boy to transient safety. Smith finds a lactating prostitute Donna (blooming Monica Bellucci), takes her from her business of kinky sex and makes her the baby’s surrogate mother. A smarmy gangster Hertz (Paul Giamatti in another career forming role), connected to an illicit arms manufacturer Hammerson (Stephen McHattie), is in pursuit of both Smith and the baby for reasons that are finally disclosed: the baby is allotment of a ring of potential bone marrow donors for an considerable Senator. The ending is, well, an ending. But it is the getting there that is all the fun.
The dialog is peppered with hilarious one-liners that have a loyal edge and the methods of the endless killings include several using the carrot that Smith keeps at hand as a weapon. The shootings are snappy and impossible but actually hilarious in the choreography. Clive Owen plays the role straight, with a trusty gift for humor as well as action. Paul Giamatti is a horrible delight and able to match Owens one-liner for one-liner. Monica Bellucci makes her impossible role credible and as always is aesthetic to see at! This is a quick paced, finely written and acted parody – definitely deserving of the comical book title! Grady Harp, January 08
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Infamous Discount.
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Infamous Discount.
Compare & Purchase Infamous at Amazon by clicking here! List Price: —- Amazon Price: $2.99 |
Infamous Description:
- Amazon Sales Rank: #8165 in Movie
- Released on: 2008-10-21
- Rating: R (Restricted)
- Running time: 119 minutes
Customer Reviews:
The other side of the story
In an incredible bit of misfortune, ‘Infamous’ will have to live with the stigma of being ‘that other movie’ about Truman Capote writing his masterpiece ‘In Cold Blood’. Over time that distinction may begin to wear off, but only time will tell. The trouble with this situation is that it is impossible to see 2006′s ‘Infamous’ without comparing it to 2005′s ‘Capote’ — even if you try. I promised myself that I would attempt to watch it with a fresh perspective, but within ten minutes I had decidedly broken that promise and started a list of differences and similarities in my mind. What is so unfair about this is that while ‘Capote’ is a very good movie, ‘Infamous’ is just a good one, making its faults stand out that much more by comparing it to its predecessor. Never before has being good not been good enough.
Purists undoubtedly take to ‘Capote’ as the superior film and lambaste ‘Infamous’ as a pretender to the throne, but what they are missing out on are the intriguing differences in perspective that the two films have. It is here that ‘Infamous’ earns its merits, but also where its defining flaw comes into play: that it is too afraid to risk making Truman an unsympathetic character. ‘Capote’ gets at the heart of the deviousness inherent in Truman’s dealings with Perry Smith and Dick Hickock (the killers on death row whose stories, along with those of their victims, comprise ‘In Cold Blood’) — how he used and abused their friendship and trust in order to write his masterpiece. Philip Seymour Hoffman’s Truman Capote is an egotistical liar that sells his soul for his story, made sympathetic by Hoffman’s careful portrayal and by the fact that his cruelty causes him to spiral into drink, depression, and ruin for the rest of his life. The makers of ‘Infamous’ shy away from this aspect of Capote, choosing to go for sympathy instead. His deceit is only mentioned in passing — with the effect that you wouldn’t notice it if you weren’t looking for it. This Truman really cares for Perry Smith, and the film posits that what ruined him after the executions was the loss of the one person he had ever truly connected with. This Truman is a victim of his book’s conclusion rather than culpable in it. It’s an interesting theory, but it holds less weight and feels toothless. I don’t know enough about the facts to speculate as to whether or not the sexual tension that develops between the writer and the convict is accurate, but it does add an element of intrigue to the story.
The relationship between Truman and Perry in ‘Infamous’ adds a layer to the characterization of the author that was missing from ‘Capote’: that he was really a damaged, insecure man at heart, and had been ever since his childhood. The bravado, the confidance, the wit, and the eloquence that Manhattan’s high society adore him for is a mask that he has put on to hide how he really feels about himself. His entire personality is an affectation, and his carefully maintained social life is artifice. Other reviewers have criticized ‘Infamous’ for being too stylized, but I think that they were trying to show how fake his life in New York was — and in my humble opinion they succeeded. Toby Jones’ portrayal is, as such, less natural than Hoffman’s, but is perfectly suited to this intention of the filmmakers and succeeds in its own right. Had ‘Infamous’ come before ‘Capote’ Jones may have been more recognized for his work with an Oscar nomination of his own, but as I said earlier, timing has not been kind to ‘Infamous’. Anyway, Truman and Perry make a connection because they can be who they really are around each other: Perry can talk about his lonely, abusive childhood and desire to be an artist, while Truman can let his guard down and stop acting like a “wind-up doll” (to use a term from the movie). ‘Capote’ gets at the heart of Truman’s duplicity, but ‘Infamous’ gets at the heart of his insecurity.
The two film’s really work as companion pieces, then, so I would encourage everyone to get over their prejudice and look at the two film’s as two different sides of one of America’s most distinctive voices. It is fitting that a personality as outsized as Truman Capote’s couldn’t be captured by only one film, and he would probably be pleased to know that that is the case.
The story of a broken heart . . .
Based on interviews in George Plimpton’s oral biography of Truman Capote, this well done film offers a somewhat different take on the character we’d already come to know through the previous year’s “Capote,” which covers the same storyline – the writing of the author’s bestseller, “In Cold Blood.” Toby Jones gives a notable performance that emphasizes Capote’s vulnerability – reinforced by the actor’s diminutive size – compared to the more arch and self-centered Oscar-winning portrayal turned in by Philip Seymour Hoffman. While both films show how Capote is overwhelmed by the stress of composing this landmark book and waiting for its publication as the two killers are held for years on death row, “Infamous” wants us to believe that Capote fell deeply in love with one of them, Perry, who returned his affection and regarded him to the end as “Friend Truman.” That Capote never wrote anything of the caliber of “In Cold Blood” again and spent the rest of his years in a downward spiral of self destruction is used in the film as evidence that it was the fateful encounter with Perry that ruined him.
Sandra Bullock gives a wonderfully controlled performance as Capote’s lifelong friend Harper Lee, who after the success of “To Kill a Mockingbird” never published another novel and left New York to return to her childhood home in Alabama, where fate provided a much more congenial retreat from the limelight. “Who knows what the heart wants,” she remarks sadly at the end of the film, “and who can defend themselves against it?” And while the film treats its subject with a certain playfulness, reflected in a mostly cheerful and larky soundtrack, it is finally the story of a broken heart. The DVD has a very cogent and informative commentary by writer-director Douglas McGrath. Definitely worth watching, even if you’ve seen “Capote.” Side by side, they demonstrate nicely Capote’s own vision of truth as it’s found in creative nonfiction.
worth seeing first
Probably the best order in which to view the films on this subject is this version first, then last year’s, then the Robert Blake movie.
If CAPOTE is a sophisticatedly sec pinot grigio, INFAMOUS is a heartier, fruitier wine. The power of CAPOTE is its restraint, with the complex central character both monstrous and sympathetic in his cool-eyed pragmatism about needing the killers to die in order to complete his book successfully. INFAMOUS suggests that Capote is more emotionally torn by this conflict of interests between his attraction to Perry Smith and his ego as a writer. There’s more wallop throughout the more indulgent film, but CAPOTE’s refusal to provide easier emotional releases makes it the more mature work. That said, I’d be more apt to replay this version.
The opening scene, in which Gwyneth Paltrow struggles through the pain behind the lyric she’s singing, sets the overall approach of this film. It is dramatically effective, it’s well-played, and it telegraphs both the theme and the somewhat manipulative means this movie will rely upon. Similarly, the sexual relationship alleged in the prison sequences is carried off by excellent performances, is graphic as fantasy rather than likelihood, and distinguishes CAPOTE’s restraint as probably a more honest narrative choice.
The acting and period design are excellent–making favorable comparisons to similar ambitions of the period piece on George Reeves’ suicide. Audiences will appreciate INFAMOUS more if they’re aware of the history of Capote’s ANSWERED PRAYERS, the gossip fest that exposed the secrets of all his socialite “swans” and thus cost him their friendships.
It’s interesting that, in all three versions of this existential saga of meaningless virtue and shallow sophisticates, the Perry Smith performance particularly shines. In this instance, Craig all but steals the film as a Tommy Lee Jones-like hunk, though it must be noted that Segourney Weaver is fantastic at the Twist.
The murders at the eye of this maelstrom are depicted in all three versions of the story, and they remain chilling in each instance. (My companion at INFAMOUS was enraged, not having seen CAPOTE, that INFAMOUS treated such brutal killers so sympathetically–in Perry’s case, as a romantic fantasy–but she acknowledged that this film is excellent.) Based on the treatments of that central event, I’d recommend seeing the lighter (but not lite) INFAMOUS first, followed by the ascetically satisfying CAPOTE, and then the 1967 Richard Brooks original on the subject. The reverse order would not do INFAMOUS, well, “justice.”
Watch Rabid Online
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Watch Rabid Online.
Movie Title: Rabid Rabid is available for streaming or downloading. |
Cronenberg’s sage of a viral driven apocalypse pulls the viewer into a world of death and contagion. RABID, along with other early Cronenberg films, deals with the apprehension from within our believe bodies. The tale centers on the birth of a disease, which eventually spreads to a spacious city and causes social breakdown. With its irregular storyline, dull landscapes and creepy music, RABID stands out from other alarm films of the 70′s in that it has Cronenberg’s “body conscious dread” philosophy late it. Originally released on Warner home video in the 80′s and on a hard to bag import laserdisc from Japan, this DVD of RABID is the best the film has ever looked. The image exhibits diminutive grain, the colors are strong (for early Cronenberg), and the sound is certain. It is presented here in rotund conceal (1:33:1), which is possibly what the film was shot in. Also included on the disc is the full-length theatrical trailer. If you’re a fan of 70′s terror, Rabid is required viewing.
Rabid was Cronenberg’s second feature film and a more dilapidated “dread movie” than his first feature Shivers (aka They Came from Within) . Despite Rabid’s conventional script and crude budget restrictions it clearly showed that Cronenberg was a writer/director with a strong vision and someone to witness for.
Rose (played unevenly by Marilyn Chambers) suffers severe wounds in a motorcycle accident. Experimental surgery turns her into a vampire of sorts that infects her victims with a incurable and fatal case of mania that resembles rabies. Rose, either fearing for her possess safety or forced by a unique and barely understood predatory nature (Cronenberg never explores this in any right depth), escapes from the clinic where she has been recovering from her surgery and unleashes a plain plague. Although it may sound comic Cronenberg treats the subject with such an cool documentary like detachment that the results are quite chilling.
Sadly the portion of Rose (originally intended for Sissy Spacek) is underwritten, she has almost no dialogue and Chambers could not communicate any right emotional conflict in her performance. She becomes simply an object to travel the set forward, the secondary characters getting more development. This was a serious flaw in the movie and the necessary reasons I gave it three stars and not four.
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The DVD itself is resplendent shaded. The movie is not letterboxed, but the image is not injured too badly by this. There is a trailer that produces a chuckle when, after an impressive car break, the camera zooms into Rose’s first victim and the narrator solemnly says “Don’t grief about him he’s Insensible.” There is no commentary, and the biographies are handsome so so, with Corman (founder and CEO of the companies that both released Rabid relieve in 1976 and this re-issue) getting the most lauditory and in depth biography, despite having really nothing to do with making this movie at all.
Cronenberg fans will want this movie in their collections regardless of the movie and DVDs flaws. Fans of the genre might want to check this out to stare the boundless possibilites the vampire memoir does have to offer.
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