Naked Pictures Of

Hornblower: Mutiny

Mon, 06 Feb 2012 01:59:15 +0000

Hornblower: Mutiny
[1 clip]

Ioan Gruffudd

I am now addicted to Hornblower! This is one of the most realistic historical dramas out there.

Everything in Hornblower is played to perfection, from the sets

(fantastic, towering ships) to the costumes to the cast. The actors

are all so believable in their roles that it’s hard to pull yourself out

of that world. I had only flicked onto it by accident on TV, but I couldn’t pull myself

away. I have to say, Ioan Gruffudd is one of the best British actors

around. If you haven’t watched any of the series, well then, shame on you!

The Pest

Mon, 06 Feb 2012 01:12:31 +0000

The Pest

John Leguizamo

This is a comedy spoof of Van Damme’s ‘Hard Target’ and Ice-T’s ‘Surviving The Game’. It takes an ethnic con-artist and gives him a chance to win $50,000 if he makes it to the end of the race. The twist the plot follows is someone is hunting him for sport. Once this is realized by our main character, he’s got to find a way to stop this and save his own life at the same time.

Using John Leguizamo as the main character offers a bit of crude slapstick comedy that does present very funny episodes during the movie. For some the plot slows down and the rugged humor is a little too childish. What would you expect from a spoof? We’re not trying to recreate a cinematic masterpiece in all seriousness, but the point is well argued that there could have been more development in the script and screenplay.

The cast was well chosen for the picture and this is definitely something for the college cult classic movie watchers to incorporate in to their stash as the years go by for good laughs and an occasional throw pillow moment. The picture is truly not for those who don’t enjoy simple humor antics that parody childish home behavior.

This movie is definitely worth renting once or twice for viewing with a good crowd of friends.

Imogen Thomas

Mon, 06 Feb 2012 00:41:11 +0000

Imogen Thomas

Melanie Anschuetz

Sun, 05 Feb 2012 17:12:23 +0000

Melanie Anschuetz

Toxic

Sun, 05 Feb 2012 13:17:42 +0000

Toxic
[2 clips]

Susan Ward

Before watching this movie I knew nothing really about it. Having watched it, it’s hard to describe what kind of film it really is. The best I can come up with is it’s got elements of Pulp Fictions interlocking stories and John Cusack’s film “identity” mixed into one very stylish looking but to me confusing film.

The one part of the story revolves around a mob boss looking for his psychotic daughter who has just escaped from a mental institution. He gets two of his men to search the streets for her. The other part revolves around a strip club named “toxic” and the bar tender Sid.

To me to make interlocking stories that work, both of them have to be interesting to watch. The story concentrating on looking for the mob bosses daughter moved along nicely with great performances all round especially from Danny Trejo. While on the other hand the Toxic strip bar storyline line moved along so slowly, I would have lost interest if it had not been for the consent switching between the two stories.

I now come to the twist ending and I have to say while I got the basic idea, a lot of things just didn’t fit right. When you do an ending like this film has, I like the film to make total sense. Not one that leaves you questioning characters actions.

Anyway this might be one of those films you might have to watch a couple of times to really get it.

I gave it a 5 because it’s never really bad or really good. It’s just hour and a half of standard entertainment. I think it’s worth a watch.

Anatomy

Sun, 05 Feb 2012 07:16:23 +0000

Anatomy
[1 clip]

Benno Furmann

I was very curious about Anatomy (aka Anatomie) and if I was going to see it, I was going to have to buy it since no video stores in my area carried the film. Since it was not a low-priced DVD, I did take a chance and thought I’d take a peek at other comments on IMDb. Many of the comments didn’t give me enough hope of forking out lots of bucks for a film I had never seen nor had any clues about. I basically got the idea it was a sexy youth-oriented romp being compared to many cookie-cutter teen thrillers. Well, something in the back of my mind told me to ignore those types of comments and buy it! I did, and was I pleasantly surprised!

If it is going to be compared to any other films, I would say it’s a variation of Coma and Extreme Measures. I couldn’t see any comparison to films like Scream, Urban Legends, et al. Yes, the cast is young (that’s because they’re med students! At least they aren’t the increasingly boring high school type characters), and yes, some are lusty (basically the character played by Anna Loos is, and it is handled quite tastefully in the German language version), but Anatomy is well constructed, there is a tense mood throughout, the sets are amazing, the makeup effects are a wow, and Franka Potente is very credible in her role. I found myself enjoying all of it despite a few gaping holes in the plot! The story of a student discovering a sort-of secret society doing autopsies on still-living patients is a rather creepy scenario and what happens to those patients afterwards is quite clever. Sure, you could ask why didn’t she just GET OUT OF THAT TOWN? Okay, but then the film would be over within a half hour.

This was the first effort from the German part of Columbia Pictures, and it’s actually quite an impressive one. There was a bit of care in the production and to actually offer some genuine thrills is an accomplishment. It is a bit mature in mind, as it doesn’t resort to constant opportunities for sexual encounters(a breast fest) or juvenile drug jokes. Anna Loos’ character, while often making sexual remarks and looking for some fun, was actually a nice touch–having a character that was a woman more intelligent than any of the men in the school. She found that sex was really just a distraction for her and the men rather lacking.

THE IMPORTANT STUFF: Watching this film in the original German language with English or French subtitles is the BEST way to enjoy it. I saw the theatrical trailers dubbed in English and was disgusted by the change it made in the film’s tone. I have never seen a properly dubbed film in my life–they never can find voices that suit the film’s actors or characters. Sure enough, I tried to watch some of Anatomy dubbed in English and the intelligence level of it dropped severely, making it seem more like a comedy. A good example is when one guy was freaked out at being cut open and screamed to be sewn back up–hearing it in German he sounded frantic, but dubbed in English he sounded like a comedian. Frankly, I’m sick of hearing people say they can’t handle reading subtitles or watch a “letterboxed” film. Anatomy comes off as silly with dubbed voices that seem octaves too high for any of the people you see in the film, and Anna Loos’ sexual comments then just sound like awful remarks right out of Fast Times At Ridgemont High. I wonder if the negative comments about Anatomy are from people who watched it dubbed, it just doesn’t seem like the same film at all! This is not a cheap horror film and deserves to be viewed as it was created. Interesting to note that some of the English subtitles are different in scenes in the feature and the “making of” supplement.

As it turns out, I gambled and won with Anatomy. It’s a competent thriller with likeable characters and doesn’t try to go for cheap thrills.

Fortysomething

Sun, 05 Feb 2012 07:16:23 +0000

Fortysomething
[1 clip]

Hugh Laurie

I’ve just seen the third episode tonight, and this really is the most staggeringly brilliant comedy I’ve had the pleasure to view in a great many moons. Quite why ITV has decided to move it to the 11pm slot on a Saturday night I know not, but I would thoroughly recommend that you check out the rest of the series and then rush to acquire a copy as soon as it’s released on DVD or video.

The characterisation, script, performances and plot are all excellent – Hugh Laurie, Anna Chancellor and Peter Capaldi are all at their very best, and there’s some quite stunning physical comedy from Mr Capaldi in particular. All the supporting roles are excellently played as well, particularly the three sons, their two inane girlfriends and Ms Chancellor’s employer (the ever-wonderful Sheila Hancock).

All of which may sound a tad hyperbolic, but if I’d just said “Well, it’s about this doctor facing a midlife crisis, he’s worried that his wife may run off with someone else, his practice partner is psychotic and obsessed with his wife, his teenage sons can’t stop either thinking about, or having, sex, and meanwhile he can’t remember the last time he actually had any himself,” I’d never really have got it out of my system, now would I?

Dogville

Sun, 05 Feb 2012 07:16:23 +0000

Dogville
[1 clip]

Stellan Skarsgard

I started watching Dogsville and felt like turning it off.. after all, what kind of movie could occur with no scenery? No doors.. it seemed like some sort of play/movie hybrid but after a shortwhile all those things faded away until I realized how much I would have missed if I had turned it off – it is now one of my favourite movies of all time.

Why? It is so brave to criticse humanity like this and admit just how ‘dark’ a race we truly are – not matter how much each of us profess to being ‘good’, we all know that most of us are anything but. Through this movie you see a woman who learns the cold harsh truth in a place where she expected to find the goodness that her faith told her existed. And then on not finding it, discovered that even within her lay a wrath that echoed the darkness that she herself wished did not feature so dominant in our race. And the biggest test of this is to observe your own emotions throughout this movie until what you feel at the end as perfect evidence…

I honestly believe those people that don’t believe what this movie is expressing needs to take a cold hard look around them. And if they still don’t believe, they are just like the people in this movie – unwilling to see the truth and coming up with excuses and reasons when nothing justifies the horrible world we live in.

A true masterpiece – one of the few pure pieces of art in cinema with amazing acting from Nicole Kidman especially, and the lack of a set causes you to be immersed in the characters like no other movie. And its ‘them’ and human nature that is the focus. Will leave you thinking and astounded (unless you don’t like to think and can’t watch a movie that isn’t afraid to do something unique, in which case there a countless movies for ‘you’).

I’m Not There

Sun, 05 Feb 2012 07:16:16 +0000

I’m Not There
[1 clip]

Heath Ledger

Haynes’ adventurous biopic of Bob Dylan, which uses six actors of both sexes and several races ranging in ages from 11 to 50, is both exhausting and fun to watch. It’s also hard to describe. But let’s start with those six and the characters or facets they portray. Arthur (Ben Whishaw) is the Dylan who incarnated Rimbaud and serves as a kind of narrator whom we see smoking and giving ironic answers to some kind of inquisition sporadically throughout the film. Woody (the wonderful young Marcus Carl Franklin, an amazing a singer and actor) is a precocious rail-hopper with a guitar (labeled like the real Woody’s, THIS MACHINE KILLS FASCISTS) and tall tales that start with his claim that he’s Woody Guthrie. Woody’s scenes show him rescued by a black family and a white family and performing with country black musicals. He represents the early shape-shifting Dylan in search of an identity and telling a lot of lies along the way.

Jack (Christian Bale) is the Dylan who became a hit in Greenwich Village and went into the South and sang “The Ballad of Hattie Carroll” and other protest “folk songs,”—the high-profile “political” Dylan who spearheaded a movement and became famous with his brilliant early LP’s. But Jack doesn’t want to be typecast and “betrays” his adoring public and his lover and folksinging champion Alice (Julianne Moore), a Joan Baez stand-in seen in later “interviews.” Jack disappears and his place is taken by Robbie (Heath Ledger), a young actor in New York who becomes famous for starring in a 1965 film depicting the vanished Jack. Robbie meets Claire (Charlotte Gainsbourg) in a Village coffee shop and falls in love, and a turbulent ten-year marriage follows, winding up painfully at the time of the Vietnam War’s end.

If Jack represents the cast-off early style and Robbie represents Dylan’s family life, Jude (Cate Blanchett) is Dylan the artist, quintessentially as seen in the mid-to-late Sixties when he toured England (an event notably chronicled by two Leacock-Pennebaker documentaries)—and shocked his audiences, some of whose members felt betrayed and shouted “Judas!”, when he shifted from solo guitar and harmonica to more personal songs with loud rock accompaniment. Jude’s segments are partly borrowed from Pennebaker, but largely consist of gorgeous black and white scenes deliberately and “churlishly” (Haynes’ word) imitative of Fellini’s 8 ½.

Jude’s new style is admired by Allen Ginsberg (David Cross) and underground groupie Coco Rivington (Michelle Williams) and he becomes internationally famous. But he continues to be misunderstood by the protest music old guard and conventional journalists like the British TV host Mr. Jones (Bruce Greenwood)—who’s incorporated into a music video for Highway 61 Revisited’s “Ballad of a Thin Man”: “. . .something is happening here /And you don’t know what it is, do you, Mister Jones.” . .

Jude and Arthur articulate the early Dylan’s challenging, ironic stance to the public, but Jude is exhausted on tour and his nihilism leads him to an existential crisis.

He’s reborn symbolically in Pastor John (Christian Bale again), who’s moved to Stockton twenty years later and become a born-again preacher, singing his own gospel songs. Finally the last version of Dylan appears in Billy (Richard Gere), in full retreat from the world—till threats to destroy his town of Riddle cause him to enter public life again. This sequence evokes a Sixties historical western in which Pat Garrett (Bruce Greenwood) is a character.

This is only the barest outline of the two-and-a-quarter-hour film, in which various “Dylan’s” are woven in and out. Maybe the reason why I found Woody’s sequences delightful and Billy’s colorful but wearying has to do with the latter’s coming two hours later. But Gere and his sequences evoke Dylan less well and are puzzling to interpret. Blanchett’s in contrast are, of course, the most conventionally straightforward. She’s the only one who successfully mimics the physical appearance and the speaking voice of the artist (unless Whishaw does a better job with the voice). But Blanchett’s mimicry is intentionally undercut (and the biopic conventionality of films like Ray avoided) by having Jude be played by a woman—which was planned by Haynes in his screenplay before he even chose his actor.

The method Haynes has chosen avoids cliché. This is still a biopic, but it’s a sophisticated one; and the fractured portrait is well justified by the nature of its subject. Dylan has always been a shape-shifter; some of his permutations were left out, such as the period of the orthodox Jew and JDL supporter. But it’s intelligent to see Dylan the man, the husband, the artist, the political being, and the religious being as completely separate entities because no simple biopic sequence can really dramatize the complexity of such an artist and such a protean existence. Haynes’ film makes you think about biography itself, as well as giving imaginative shape to aspects of Bob Dylan no non-fiction account can really provide.

Maybe it’s the daringly experimental methodology that led Dylan himself, approached through his eldest son Jesse,to grant Haynes both the musical rights and the biographical rights. Haynes has chosen a multifaceted and original way of using Dylan’s songs. Only Franklin actually performs them with his own voice. Otherwise the soundtrack mixes original Dylan recordings with existing covers, new ones by people as widely various as Ritche Havens, Iggy Pop, John Doe and Sonic Youth, and other music, including, appropriately for the 8 ½- esquire sequences, Nino Rota. There is a voice-over narration by Kris Kristofferson. Haynes worked on the screenplay for years, and then collaborated with Oren Moverman.

Ingrid Pitt

Sat, 04 Feb 2012 20:43:55 +0000

Ingrid Pitt