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Edtv full length movies

Saturday, September 20th, 2008

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Edtv
EdTV Reviewed By Erik Childress Posted 02/15/00 15:14:30

"Not The Truman Show - But Not Bad Either" (Average)

ED TV (***) - It’s impossible to start watching ED TV without thinking of The Truman Show. The opening sequence is almost identical to the trailers that were put out for Truman last year. This is a film that will be more enjoyable to anyone who hasn’t already witnessed the magical tapestry woven by Peter Weir’s 1998 masterpiece. But that being said - ED TV won me over eventually on the strength of its performances and its storytelling despite a numerous amount of shortcomings. Ron Howard, in my opinion, has never directed a bad film (not counting his early Roger Corman days) and maybe that track record makes me give him the benefit of the doubt here.I wanted to believe this film had little in common with the Jim Carrey film and this began to take effect during the scene where Ed is finally put on the air, waking up scratching himself and spouting morning wood. This whole scene had me laughing and I began to enjoy ED TV. McConaughey makes a perfect Ed with his “aw, shucks” kinda charm and good ‘ol boy-type attitude. But the film is full of good performances, most notably Woody Harrelson and Martin Landau - particularly during a touching cemetery scene. I liked the way ED TV used the newspapers to reflect opinion polls on the real life stars of the show and the way those opinions reflected upon the individuals. The film also has some good fun with the real-life dramas of Ed’s family and the twists they take. But the film is just trying to be a comedy and nothing more. Not that there’s anything wrong with that - but a comedy of this magnitude deserves its script to ask a few more questions. I wish that Ed didn’t hook up so early with his brother’s girlfriend, because this one subplot threatens to swallow up anything else the film wants to be about. This romantic angle should have been dragged on a little more. One point I’ve been consistently bringing up is the manner of which the film presents its big love-making ratings scheme with Elizabeth Hurley. The script misses the boat to comment on how actors always talk about doing love scenes and how its so hard and the most passionless setting ever. Here they have Ed go after Hurley with no qualms about the other 3 guys in the room, not to mention the hundred of people outside the apartment. I liked the use of the stalker in the film, but was left wanting more with that angle. That’s the main problem with ED TV - is that it’s not ambitious enough. Just because a comedy is there for mainly big laughs doesn’t mean it can’t aspire to be a film like Tootsie which had big laughs and a lot of social commentary.And that’s a shame because I enjoyed myself during ED TV for the most part. I had enough laughs to where I can recommend the film on that basis alone. But I can’t help think - that even if The Truman Show never existed - ED TV really wouldn’t have been much better.
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download Cast Away videos

Friday, September 19th, 2008

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Miss Cast Away and the Island Girls Reviewed By David Cornelius Posted 07/26/05 05:31:31

"You may very well sit in silent awe over just how awful it all is." (Total Crap)

Here we have a film which stars Eric Roberts, Charlie Schlatter, Stuart Pankin, and Michael Jackson. Sometimes, you can’t make this stuff up if you tried.The movie is “Miss Cast Away and the Island Girls,” and it is, for lack of a better word, an abomination to all mankind. Written and directed by bottom-shelf B movie hack Bryan Michael Stoller (“Dragon Fury II,” “Undercover Angel”), this direct-to-video travesty arrives at a time where I personally thought I could not possibly see anything worse than what I already have; in addition to theatrical disasters “Man of the House,” “XXX: State of the Union,” “Are We There Yet?,” and “Diary of a Mad Black Woman” (just to name a few), I have, in the course of a few short months, stumbled upon the DTV disasters “Mulva: Zombie Ass Kicker!” and “H.G. Wells’ The War of the Worlds,” both of which I noted as being among the very worst movies I have ever, ever seen. Surely, nothing out there could top these selections in terms of sheer badness.I was wrong. “Miss Cast Away” is - here we go again - among the very worst movies I have ever, ever seen. Please take note that I am not prone to hyperbole of this sort, and that I have seen more bad movies in my lifetime than any reasonable person ever should, so when I say it’s among the worst of the worst, that’s my way of warning you not merely to avoid renting this, but also, if you come across the DVD at your local video store, be sure to back up several feet, just to be on the safe side.The movie is a “parody comedy,” which is your first sign to run like hell. Next sign: even if you factor in that the thing’s been sitting on some shelf for a year, that still means that the endless references to “Cast Away,” “Miss Congeniality,” “The Green Mile,” “Titanic,” “The Sixth Sense,” “Scream,” and the Tim Burton version of “Planet of the Apes” are waaaaay outdated to be even remotely interesting. (And just so you think this wasn’t conceived in ages ago, there’s a riff on “Lord of the Rings,” too.) This is a film that thinks that casting Evan Marriott, aka “Joe Millionaire,” would be really hip.The plot, for those who care: a plane carrying contestants for the Miss Galaxy pageant crashes on a desert island. Meanwhile, evolved apes are hatching a plan involving Noah’s Ark and the Perfect Storm, which somehow will destroy the planet. Dopey co-pilot Charlie Schlatter gets word from “Agent M.J.,” working for Pope John Paul II (guess he’s not dead anymore), that since Austin Powers is unable to save the day (oh, don’t ask, unless you’re curious about unfunny copyright infringement), Charlie’ll have to do the job.Now, let’s talk about the casting of Michael Jackson for a moment. It seems that ever since Stoller made a short film parodying one of Jackson’s Pepsi commercials from the “Thriller” era, the two have been pals. And so Stoller thought it would be cute to have his pedophile buddy - I’m sorry: “alleged, acquited” pedophile - show up in a cameo role (which is meant to spoof his cameo in “Men In Black II,” which itself was a lame response to a toss-off gag in “Men In Black,” making the cameo not clever by three).The sight of Jackson here is slightly icky, not only because of his recent lawsuit, but simply in the fact that the guy looks downright insane. He’s been facelifted to death, his death mask-like appearance and freakish immobility reminding us just how nuts he’s become over the years. And yet, his scenes are the best things about this movie, as they’re the only moments that provide laughs. You see, Jackson plays his secret agent scenes for keeps, putting deadly seriousness into his delivery, trying like mad to show genuine concern over the fate of the planet. He even does the “whip off the sunglasses to punctuate seriousness” trick! The surreal sight of Michael Jackson delivering a somber warning about Noah’s Ark to Charlie Schlatter, all in a film that thinks calling a guy “Colonel Sanders” is hilarious, well, sir, that’s too much to take.(A side note. The DVD also includes Stoller’s “award-winning” parody short, as well as its world premiere introduction by Don Rickles and Steve Lawrence courtesy of “TV’s Bloopers & Practical Jokes.” I’m not sure what award this short may have won, but unless the award had “dumbest” in its title, I doubt it was deserved. The short film stands merely to show that Stoller never had a lick of talent, nor did he ever have a knack for comedy. It’s every bit as painfully unfunny as “Miss Cast Away.” Sigh. Some people never change, I suppose.)Back to the movie. Stoller’s idea of what makes for a good laugh mostly involves images of women in bikinis falling over a lot, cue cartoony sound effects. The dialogue is relentlessly dreadful, with most of the gags coming off as wretchedly as this one: “Good luck with your mission, which we will call ‘Raiders of the Lost Noah’s Ark!’” Wow. Double wow, even. This is a film that includes a dinosaur-sized killer boar (courtesy of the worst CGI you may ever see), which means we get to hear the pun “Jurassic Pork” not once, not twice, but three times. Yes, Stoller was so proud of this bit of wordplay that he dumps it on us three separate times.Can it get worse? Yes. Yes it can.Noah (Stuart Pankin, thankful for the paycheck) keeps losing a game of cards to one of his ape captors; his response is to snigger, “Maybe this game should be called Crazy Apes!” Later, we meet a submarine captain named Sgt. Pepper, and when he asks for the periscope to be lowered, a stethoscope comes down on a string. In case you don’t get the joke, the script then has Pepper scream comically, “I didn’t say stethoscope, I said periscope!” The routine is then repeated with a variety of other objects that Stoller found to be hilarious. I don’t recall what those objects were, however, since I was busy looking for a gun so I could shoot my eyes out.When not relying on the moronic and the laborious, Stoller’s busy being downright obnoxious. His camera drools over the women in the cast (former beauty queens and Playboy models all), lingering on their cleavage as much as possible. Which is fine, I suppose - guys may rent this to catch the jigglefest, and a jigglefest is what they’ll get. But then we get the unfortunate business of Joyce Guirard, playing Julie, Charlie Schlatter’s love interest. Julie’s a hottie, to be sure, but she’s not decked out in caked-on makeup… until later in the film, when she whips back her hair to reveal a more skanky, skeezy Julie. And the script insists on calling her “the now beautiful Julie.” Meaning that not only is Stoller an unfunny hack, but he’s a douchebag as well.I suppose that if you like your movies to have Austin Powers rip-offs involving “can you hear me now?” cell phone jokes, then yeah, you might think “Miss Cast Away” is a “hoot.” If this is the case, chances are good that Hooters is your favorite restaurant, Gallagher is your favorite comedian, you own the DVDs of all them new movies Leslie Nielson has been making, and you have “Git-R-Done” tattooed on your bicep. More power to you, my friend.But the rest of you, stand clear. The bombs featured within are quite deadly indeed. This is a work that insults the word “insipid.” It is a piece that celebrates idiocy. It is ineptitude on a grand scale. It is one of the most excruciating cinematic experiences of my life. It is an exercise in terribleness.So yeah, you might want to skip it.
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watch new Three Kings movies

Thursday, September 18th, 2008

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This movie is a GREAT Christmas movie. Lou Diamond Phillips was what I
consider a newbie to the screens and was wonderful in this. My family
and I had a copy off the TV and have lost it. We would love to be able
to find another copy. This movie showed a very different perspective of
"The Three Kings" and the journey they made to find the Christ Child. I
think it is a movie that should be re-released at Christmas time. It is
one of those movies that after you watch it, you really remember it. I
first saw it in 1987 and still to this day love it and could re-watch
it and find more detail to it that I missed the several other times I
have seen it. I have tried to locate a copy of it but have had no luck.
If anyone has a copy feel free to respond and let me know if you are
will to share it.

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divx Dead Silence movie

Wednesday, September 17th, 2008

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Dead Silence (2007) Reviewed By Rob Gonsalves Posted 03/19/07 07:34:53

"I’m serious — this could’ve been a Disney film." (Total Crap)

There’s something eerie about dolls, particularly ventriloquist’s dummies. Their faces frozen in one expression, their jaws carved open on either side of the chin — they’re like mutilated corpses made to move and speak for our amusement.A few films over the years have capitalized on the innate creepiness of these dummies, such as the Michael Redgrave segment of 1945’s Dead of Night, or the 1978 Anthony Hopkins thriller Magic. We could’ve used another good evil-dummy film, but Dead Silence isn’t that film. It’s a convoluted ghost story in which the ghastly stillness of the dummies hardly plays a role at all. In the first of many mistakes, the movie offers bland TV actor Ryan Kwanten as the hero, Jamie Ashen, whose wife is murdered right after a dummy is mysteriously delivered to their home. This feels like a prologue promoted to a premise, and Kwanten can’t convey the anguish of a young husband who’s just discovered his wife horribly disfigured (her mouth sliced wide open, like a dummy’s); he just goes around looking sullen. A skeptical detective (Donnie Wahlberg) pins the crime on Jamie, who hightails it to his hometown Raven’s Fair, where the dummy came from. Years ago, the spooky ventriloquist Mary Shaw (Judith Roberts) held the whole town in thrall, inspiring an insipid ditty after her death: “Beware the stare of Mary Shaw/She had no children, only dolls…” That doesn’t even rhyme. Apropos of its title, Dead Silence offers one neat trick, though director James Wan (Saw) botches it consistently. Whenever a dummy is around and something evil’s going to happen, the soundtrack runs down like a record player in a power outage, then goes completely silent. Well, almost completely. Apparently to discourage filmgoers from stampeding to the counter and complaining that the theater speakers just died, Wan gives us tiny noises and wannabe-scary strains of music. It’s a cop-out, and when there’s a jump moment, the soundtrack jerks to life with the usual “eek” cacophony. The movie begins with a vintage Universal logo, promising a thriller more old-school than new-slash, but hasn’t Wan seen any of the old Universal chillers, some of which barely even had music? They may not have dated well, but they have a stark, uncompromising quietude that Dead Silence, of all films, sorely needed. Jamie keeps wandering around Raven’s Fair, grilling the terrified townspeople (the only one who seems to have a job is the funeral director) as well as his estranged dad (Bob Gunton) and his new trophy wife Ella (Amber Valletta). In a movie this underpopulated, we figure something’s up with Dad and Ella, though we’re not quite prepared for the goofiness of what Wan and screenwriter Leigh Whannell (also Saw) have in mind for them. Regardless, Wahlberg’s tough detective soon joins Jamie in town, swiftly losing his skepticism and becoming a scaredy-cat (Wahlberg, responding to the escaping Jamie with a resigned “I don’t have a full tank of gas!”, is the movie’s sole connection to entertainment). There’s a climax promising a rampage of 101 evil dummies, but Wan settles for making their eyes and heads move ominously. It’s a rotten time for the movie to go minimalist. Dead Silence is perhaps a serviceable rental on the slowest of slow Sundays. It comes across as a conscious attempt by torture-porn gurus Wan and Whannell to break away from the laborious cruelty of the Saw series and work a different side of the horror street, but they can’t let go of their shock-cut instincts. Aside from the condition of some of the victims, the movie could easily have been PG-13 or even PG; nothing in the story demands gore, as it is an old-school ghost story at heart, but Dead Silence sometimes plays as if the filmmakers bargained with the MPAA to get an R rating rather than to avoid one, in order to keep their cred with splatter fans.As a horror fan who scarcely blinks at cascades of fictional blood, I’m in the odd position of saying: Here’s a horror movie that didn’t need the gore. It could even have been one of those Disney thrillers of 25 years ago (like, say, ‘Watcher in the Woods̵ ;) with a little imaginative effort. But all Wan and Whannell know is shock-and-awe tactics. They may shock, but there’s no awe.
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Tuesday, September 16th, 2008

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Told as a children’s fable, “Muhammad: The Last Prophet” is the story of Islam’s divinely inspired teacher and serves as a primer, presenting the religion’s basic principles in a straightforward manner. Director Richard Rich, whose numerous mainstream animation credits include “The Fox and the Hound” and “The Trumpet of the Swan,” faces the daunting task of not being able to actually show Muhammad in accordance with Islamic law. He and screenwriter Brian Nissen are for the most part successful, focusing on the struggles of Muhammad’s followers in 7th century Arabia. The reliance on point-of-view shots, however, is at times disorienting and creates the unintentionally comedic effect of a prophet-cam panning back and forth or up and down as Muhammad moves his head. ADVERTISEMENT “Muhammad: The Last Prophet,” unrated. Some war action. Running time: 1 hour, 33 minutes. Opens Sunday in selected theaters. Noel‘ Palminteri’s directing debut Noel” is such a thick and gooey slice of holiday hokum it’s hard to see why that estimable actor Chazz Palminteri chose David Hubbard’s script for his directing debut. It’s equally hard to understand what attracted an actress of the caliber of Susan Sarandon and other notables to the project. Palminteri draws some very good performances from his cast — only to pile on a lot of shameless heart-tugging on top of a contrived script about five New Yorkers facing Christmas Eve alone. Sarandon is a workaholic book editor, a man-shy divorcée who desperately tries to communicate with a mother in the final stages of Alzheimer’s. Office worker Nina (Penélope Cruz) and her taxi driver fiancé, Mike (Paul Walker), are madly in love, but Mike’s jealousy threatens to destroy their relationship. Alan Arkin is a diner employee who in turn is convinced that his late wife’s spirit has entered Mike’s body. In the most thankless role, Marcus Thomas is a young man whose childhood was so brutal that the only happy Christmas he ever had was when family violence sent him to a hospital. The film represents some of Cruz’s and Walker’s very best acting, and Walker’s encounter with Arkin takes a surprisingly poignant turn. But Sarandon is hard put to play a woman deluding herself about the possibilities of getting through to her mother. The belief that Christmas is a time for miracles is put to a pretty severe test in “Noel.” Noel,” Rated PG for sensuality, thematic material and some language. Running time: 1 hour, 36 minutes. At selected theaters. Behind the synthesized music A PhD in engineering physics who began building theremins with his father as a teenager, Bob Moog is a mostly unsung figure in recent music history. Director Hans Fjellestad’s documentary “Moog” aims to change that and will undoubtedly strike a chord with fans as they recognize the omnipresence of the Moog electronic synthesizer over 40 years of music. The film features interviews with colleagues and musicians, covering the wide variety of genres, including rock, jazz, funk and classical, the phenomenon has influenced. A boon to some, a scourge to others, the synthesizer — which can now emulate any noise imaginable in addition to emitting its own spacey sounds — is controversial for allowing musicians to vastly expand their sonic reach while arguably putting others out of work. Moog himself questions the decision to attach a keyboard to the instrument, which encouraged musicians to use it for melodic purposes rather than the experimental sounds that avant-garde and academic composers made when it first appeared in 1964. A big thinker in every sense, Moog expounds on a wide variety of subjects related to music, creativity and an almost spiritual interaction with his innovation, making him a complex and amiable subject. Fjellestad exhibits a playful adoration for the man and the otherworldly sounds of his machine in an intriguing rendering of one of music technology’s seminal figures. “Moog,” unrated. Running time: 1 hour, 10 minutes. Exclusively at Laemmle’s Fairfax Cinemas, 7907 Beverly Blvd., L.A., (323) 655-4010.
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Monday, September 15th, 2008

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Actor Richard E. Grant makes his feature writing-directing debut with the semiautobiographical drama “Wah-Wah,” which is both acidly funny and very moving. Described as a “coming of age at the end of an age” story, the film is set in late-1960s Swaziland on the verge of its independence. The memories are more bitter than sweet for Grant, best known for roles in films such as “Withnail & I,” “The Age of Innocence” and “Gosford Park,” as he recalls the domestic turmoil growing up in the Southeast African British protectorate. Things almost immediately begin to go badly for his fictional proxy, Ralph Compton (Zachary Fox), son of the minister of education, when he inadvertently witnesses his mother, Lauren (Miranda Richardson), committing adultery in the front seat of a car. ADVERTISEMENT Twelve-year-old Ralph is further traumatized and left alone with his father, Harry (Gabriel Byrne), when his mother leaves with her paramour, another member of the hypocritically judgmental British colony. Unable to cope with the loss of his wife, Harry packs Ralph off to boarding school and takes solace in alcohol. Two years later, Ralph has sprouted into a lanky teen, now played by Nicholas Hoult, who taught Hugh Grant a thing or two in “About a Boy.” When Ralph returns home from school on a break, he discovers Harry has impetuously married again, to a loud American former air hostess named Ruby, played by the beguiling Emily Watson. Ralph tries hard not to like Ruby but finds that she understands him far better than either of his parents, and they become necessary allies when Harry’s drinking turns him into a Jekyll and Hyde personality. By day, he is the charming backslapping politico, but at night, when the liquor cabinet opens, he’s a vicious drunk. Ruby provides Grant the most ammunition with which to skewer the colonials. As an outsider, she brings a fresh perspective and leaps at every chance to point out their contradictions. It’s Ruby who mocks the upper-class slang that’s spoken, the “toodle-pips” and “hobbly-jobblys” that sound like so much “Wah-Wah” to her. Against a certain nostalgia for a period when the sun was definitely setting on the empire, Grant balances a sharp satire of the “hoity-toity” Brits with a tender memoir of the dissolution of his family. His depiction of the cloistered social scene where adultery is rampant but a divorcée is shunned is tremendously engaging. In his writing, Grant makes use of the same keen sense of observation that made his published film diaries, “With Nails,” and novel, “By Design,” so amusing. He also shows that his time on the sets of directors Bruce Robinson, Robert Altman, Francis Ford Coppola and Martin Scorsese, and others, was well spent. The film is crisply directed and well-paced, making good use of African panoramas to give the hothouse drawing room scenes space to breathe. And like many actors who turn to directing, Grant has assembled an excellent cast, which includes Julie Walters and Celia Imrie. A wry and involving film, “Wah-Wah” is clearly a labor of love for both Grant and his cast. Grant opens up his life, not with embarrassment or explanation but with humanity and gratitude. Emotional, melodramatic and sentimental, the film unabashedly wears its heart on its sleeve, and is the better for it. * Wah-Wah MPAA rating: R for some language and brief sexuality A Roadside Attractions and Samuel Goldwyn Films presentation. Writer-director Richard E. Grant. Producers Marie-Castille Mention-Schaar. Pierre Kubel and Jeff Abberley. Director of photography Pierre Aïm. Editor Isabelle Dedieu. Costume designer Sheena Napier. Music Patrick Doyle. Production designer Gary Williamson. Running time: 1 hour, 37 minutes. At selected theaters.
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online Adventures of Baron Munchausen, The dvd

Sunday, September 14th, 2008

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Adventures of Baron Munchausen, The Reviewed By jules Posted 11/25/98 13:56:47

"Gilliam’s richest most fantastic film." (Awesome)

Gilliam talks to my inner child.I know how totally stinky this sounds, but it’s true! As a kid I loved fairytales (and still do) and I think Gilliam is one of the few artists today who really understands them. What is most impressive about this film (and all of Gilliam’s films) is that he is able to visualize on the screen the way a good writer can bring a reader to visualize in their mind. Every scene in this movie is a work of art from the backgrounds (which are often very obviously (and purposely) fake which simply adds to the fantasy feal of the film) to the magical way the characters take part in them (for example the way the Baron and Venus simply take off and begin an aerial dance in the ballroom scene).The movie follows the fantastic adventures of an ultimate story teller, who defies logic and reason, and a large army of turks too. The setting is a great mix of the medieval, the arabic, the magical. And it starts sometime in the 8th century on a Wednesday.The winged death removing the bright ball of light, that we must assume is the life force, from the Baron’s mouth, the giant fish rolling it’s eyes before it sneezes, the cherubs that spring from Venus’ pool to dress her, the half sunk busts and faces on The Moon, the gears inside the King of The Moon’s mount, the long backwards pan out of the sultan’s tent with what seems like thousands of turkish soldiers, elephants, carved cannons, and iege engines all around, I mean, every last scene is rich and inspired. It’s a feast for anyone who still likes to fantasize once in a while (and I don’t mean about Uma).And to top it off, it is at times brilliantly funny too! It contains just enough humour to keep a light adventurous mood, but not too much to turn it into something you’d find in the comedy section (where Time Bandits is often found) of the video store.Such a perfect balance of fantasy, comedy, drama, and adventure is rare to find, but it’s all here.I was as usual spewing my respect for this movie once when a friend’s dumb-jock-husband said: "Oh wait, is this the movie with Uma as Venus? She is such a babe, but I don’t remember the rest".Obviously not a movie for everyone, but if you like to be stimulated in your head and heart as opposed to your loins once in a while, check it out.
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Saturday, September 13th, 2008

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The Movie:



Spun” seems like less an actual movie than a demo reel for director Jonas Åkerlund that somehow found its way into theaters. The film, filled to the brim with various editing tricks, odd angles and other speeded-up visuals, seems more concerned with creating an odd, fried look than with little things like story or characters. The film is hyper-active and obnoxious, but there’s an experimental, unpredictable nature about it that makes it at least a curiosity for a little while. After that, it’s everyone for themselves, as the movie just becomes too much of a leap into the frenzied, empty lives of these speed addicts, portrayed decently by a young actors getting dirtied-up for a couple months.



The film stars Jason Schwartzman (of “Rushmore” fame) as Ross, a dropout who spends his days getting high on meth. One day, he meets up with speed dealer The Cook (Mickey Rourke) and his stripper girlfriend (Brittany Murphy). Both offer him a deal for driving them around. Ross is so involved with other things in his life that he forgets that he’s left his stripper girlfriend tied to a bed for a few days. Nikki (Murphy) ends up taking her green-tinted dog to the vet. A couple of cops try to use an addict against the rest.



In other words, this isn’t so much a story as a series of episodes - or, given the director’s previous background - music videos. Åkerlund does show talent - this is an energetic film that has a strong - if overused - visual style. Billy Corgan’s score and some stylish animation add a little texture and atmosphere to a frenzied movie. However, there’s quite a few instances throughout the film where excessive style seems used to cover up the fact that, well, there’s really not that much else going on - the movie doesn’t have much in the way of momentum, character development or story - especially in comparison to other drug films, such as “Requiem for a Dream” or, even to a lesser degree, the more entertaining “Go”. At 101 minutes, the lack of a story starts to make the pace and interest suffer.



Still, the performances are pretty decent. Murphy’s cute and her laugh is delightful. Yet, she’s able to go from 0-to-60 and turn dramatic at a moment’s notice. Schwartzman’s blandness works for the character. Mickey Rourke turns in a surprisingly effective performance as the Cook, despite the fact that there’s little dialogue - it’s all about pauses and tone. John Leguizamo often seems like he’s on speed anyways, so the performance works. Peter Stormare is also amusing as a cop.



Overall though, “Spun” seems to think it’s more groundbreaking than it really is. It’s attempts to shock aren’t too involving. The only thing that I really got out of the picture is that Åkerlund has a visual style that needs to be paired with a better screenplay. No matter how much rapid-fire editing one throws at the screen (Åkerlund is credited here as co-editor, too), it just doesn’t cover up the fact that there’s little story (after watching it, I thought it may have worked better, had it been a series of short stories, instead.) “Spun“’s few very good moments are its quietest - a scene where Ross bids Nikki farewell as she leaves on a bus is well-handled.



The film has been released on DVD in R and Unrated versions. I ended up with the “R” version, which is one of the odder things I’ve seen. Given the material, what’s the need for an “R” release? Strangely, the “R” version censors some curse words, but leaves others unaltered. Some instances of nudity - both animated and real - are blurred, while others aren’t.




The DVD



VIDEO: “Spun” is presented by Columbia/Tristar in 1.85:1 anamorphic widescreen. Despite the washed-out look and stylistic touches the picture often takes on, the image quality on this transfer remained quite good. Sharpness and detail were often superb; the picture offered strong definition and fine details were often visible. A couple of instances of softness appear, but the picture usually remained consistent.



A little bit of edge enhancement creeped into the picture at times, but, for the most part, the movie remained free of it. A little bit of dirt and grain showed up on the print used, too - although the grain may have been an intentional aspect of the photography, I doubt the few specks I spotted were. Pixelation was not spotted. Colors remained vivid and rich throughout, with no smearing or other faults.



SOUND: “Spun” is presented in Dolby Digital 5.1. While the film’s audio is largely dialogue-driven, Billy Corgan’s score has nice presence in the front mains. A few zippy sound effects make it into the rear speakers when the the addicts do speed. Audio quality seemed satisfactory.



EXTRAS: Trailers for “Spun“, “Auto Focus” and “Levity”. A few deleted scenes.



Final Thoughts: Brittany Murphy is wonderful and the director’s feature debut shows some promise on a few occasions. However, the story is very thin, unoriginal and stars to drag on after a while. Columbia/Tristar’s DVD edition provides good audio/video, along with a few supplements. I can’t recommend the film, but those still interested might want to check it out as a rental.



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Crash Landing legal movie downloads

Thursday, September 11th, 2008

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The Movie

It’s kind of funny that Uwe Boll, who has directed less than 10 films, has become so infamous so quickly for churning out such low-grade cinematic junk — when a guy like Jim Wynokrski has been doing it for more than two decades and 65 movies! Crossing several genres, a fistful of pseudonyms, and more Z-grade schlock-piles than Dr. Boll could dream of, Jim Wynorski has directed Deathstalker 2, Sorority House Massacre 2, Dinosaur Island, Body Chemistry 3, Ghoulies 4, The Bare Wench Project, Cheerleader Massacre, and Komodo vs. Cobra — and those are some of the “good” ones.

So when I saw the pseudonym “Jay Andrews” in front of the low-rent “action” movie Crash Landing, I wasn’t fooled. I knew it was my old pal Wynorski. This time around Jim’s working with a 75th generation Die Hard concept, a pair of semi-famous names like Antonio Sabato Jr. and Michael Paré, and a really unconvincing airplane set.

The flick opens with a series of entirely random (and therefore rather amusing) murder scenes. One gal takes a bath with a curling iron, another pair shoot off of a clifftop thanks to a severed brake line. A little later on we find out that the recently-demised women were all flight attendants. And slowly all three of the puzzle pieces come together: A charter flight containing the daughter of a very wealthy businessman is about to be hijacked … and only “Masters” (Antonio Sabato Jr.) can save the day! (The fact that the head hijacker is as intimidating as Tony Shalhoub adds nothing to the intensity of the affair.)

So we ramble through the very dull “thwart the kidnappers” stage of the film, and just when you start to wonder “Hey, wasn’t Michael Paré supposed to be in this movie?” — the guy shows up as an army captain who must build a really quick runway if he wants to accomodate the incoming airliner. Oh, and it’s raining really bad, too. Just to add a little extra tension.

Really, you’ve seen all of this stuff before, only not with dialogue this outrageously stupid or performances this embarrasingly ripe. (The young lady who plays the intended kidnapee delivers her lines as if she can’t wait to get off camera.) Frankly, if you can sit through the whole of Crash Landing without chuckling at the flick’s bald-faced ineptitude, then you’re a kinder movie-watcher than I am. (Either that or the movie put you to sleep.)

The DVD

Video: A fairly flat and undazzling widescreen transfer. Looks about the same as it would on TV. Like, basic cable TV.

Audio: Dolby Digital 5.1 Surround, with optional Spanish subtitles. Audio quality is passable enough, provided you actually want to hear the dialogue.

Extras: Just a handful of Echo Bridge trailers.

Final Thoughts

There’s fun junk and then there’s just plain junk. Despite a few unintentionally hilarious lines of dialogue and “out to lunch” acting performances, Crash Landing is more witlessly tiresome than it is schlockily entertaining.

Plus, I think we can finally put the Die Hard concept to bed already, can’t we?
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divx Two for the Money movies

Wednesday, September 10th, 2008

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Two for the Money” is a poor man’s “Wall Street,” seemingly shot through a sock and set to a soundtrack that alternates between “Rocky”-style champ rock, waka-waka porn music and the theme to “Monday Night Football.” Not that any of this should stop you from seeing it, if you’re into that sort of thing. Even if you’re not, you have to admire a movie as enthusiastically and unrepentantly cheesy as this — especially when it stars Matthew McConaughey as a former college football player so clean-living he can’t say the “F” word, and screamin’ Al Pacino as the gambling-addicted football oddsmaker and cable sage who lures him into a life of snake-oil sales pitches, $1,000 suits and prepaid hookers. Of course, I say this as someone who didn’t have to pay to see the film, so you may want to think it over before you do. Directed by D.J. Caruso and written by Dan Gilroy, “Two for the Money” is pure, unself-conscious macho camp, but it’s not like Pacino and McConaughey don’t know it. They’re pitching tents and romping around in the grass like Jerry Maguire on steroids. ADVERTISEMENT McConaughey plays Brandon Lang, a star quarterback whose football injury leaves him languishing in a dead-end job making 1-900 recordings. Brandon has a knack for picking winners, however, and an unexpected call from Walter Abrams (Pacino) lands him a first-class ticket to New York and a job on the trading floor of Walter’s sports-tip empire. Soon, Brandon is happily submitting to an extreme makeover that includes a name change — to John Anthony — and some serious hands-on coaching in how to “sell certainty in an uncertain world.” His ascent to the rarefied world of cocky hucksterdom is punctuated by steamy — no really, I think they pumped it in — shirtless workout sessions. Walter, depending on one’s view, is either larger than life or an insufferable blowhard, whose heart condition doesn’t keep him from smoking, bellowing at the top of his lungs in close quarters, or impersonating a pony for his 6-year-old daughter. Waxing rhapsodic to his sexy martinet of a wife, Toni (Rene Russo, who also executive-produced), about how much the boy reminds him of himself as a young man, it seems for a while as if Walter is grooming Brandon/John to succeed him in life as well as in business. That is, until he starts auditioning for the role of his father. Walter encourages Brandon/John to think of himself as his son, then humiliates him when he gets too comfortable. Toni’s the picture of tough-love devotion and husband-management, and her main role in life is keeping Walter on the straight and narrow. Although how a woman who screens her husband’s potential employees — because “he has to be careful who he lets into his life” — is OK with his line of work is never explained. It doesn’t matter, though, because by the time you get around to wondering, the movie has dissipated into a tangled mess of loose ends. Walter’s love gives way to fits of jealousy, sudden cruelty, bizarre tests of loyalty — all of which confuse the issue of just what it is that Walter is after, especially after Brandon/John’s hot streak cools. “Two for the Money” takes its cues from classic rise/demise stories of fresh-faced young men and their amoral mentors, but it stops short of making a point. Not even Brandon/John’s brutal assault at the hands of the world’s biggest high roller, or a desperate call from a loyal dry cleaner for whom all garment- and laundry-related gambling clichés have come to pass, seem to motivate Brandon/John’s change of heart. What gets him is the feeling that he’s lost touch with who he really is. Which I guess ranks up there with union-busting in the Dr. Phil era. MPAA rating: R for pervasive language, a scene of sexuality and a violent act Times guidelines: Coarse language, nudity and adult themes A Morgan Creek production. Directed by D.J. Caruso. Screenplay by Dan Gilroy. Producer Jay Cohen. Director of photography Conrad W. Hall. Production designer Tom Southwell. Editor Glen Scantlebury. Costume designer Marie-Sylvie Deveau. Music Christophe Beck. Running Time: 2 hours, 2 minutes. In general release.
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