Winter’s Bone Trailer Video Independent Film Winner Of Sundance Film Festival

This is the video trailer for a new movie called Winter’s Bone, which is available to watch in theaters on limited release from this weekend.

Winter’s Bone won both the Grand Jury Prize and the Screenwriting Award at the 2010 Sundance Film Festival. It looks like a must-see for anyone who prefers their movies to have a little intelligence.

The film tels the story of a teenage woman trying to find her drug-addicted father before the family home gets taken away from them. She has to make tough decisions, and explore places she’d rather not explore.

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Winter’s Bone is dark, moody, and atmospheric. It’s loved by the critics, although some have criticized the often hard-to-watch nature of the film.

This is clearly no popcorn movie. But that isn’t necessarily a bad thing.

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Batman - Mask of the Phantasm review

Recalling the animated “Superman” shorts of the 1940s, “Batman: Mask of the Phantasm” is a baroque, melodramatic tale of good and evil that’s a tad too sophisticated for its intended youthful audience. The shrill thriller is a throwback to a bygone control more appealing to adults. This series of misconnections doesn’t continue up to terrific engage in fisticuffs office potential. Watch quick payoffs for the high-born effort.

Much in the vein of the avenger’s Dark Knight persona, “Mask of the Phantasm” finds Batman mistaken for the title villain, a mysterious killer with presumed super-human strength and wiles. The evil presence is systematically knocking off crime czars, with both the police and the gangsters assuming it’s the work of Batman.

Complicating the puzzle is the arrival of Andrea Beaumont, a former flame of alter-ego Bruce Wayne. She disappeared years earlier, the night after accepting his marriage proposal. Only now is the reason beginning to come clear, implicating the woman in the lethal proceedings.

The high pitch of the drama, the earnest quality of its characters and a deafening score combine for a fun, fatal romp. The filmmakers lean heavily on Tim Burton’s first Batman feature for its German Expressionist look, but the story is pure pulp fiction. The moral underpinnings are pretty obvious, though thankfully a step up from the banal.

The outing also benefits mightily from a strong cast of voices, including Kevin Conroy as the crime fighter, Dana Delany as

Andrea and Mark Hamill as the Joker. But the level of the animation work, though acceptable, is clunky to the point of self-parody.

It’s often impossible to decipher how much of the story should be taken seriously and what part is meant to be comic relief.

A hit on television, the animated Batman does not flow to the big screen gracefully. While the script and pedigree of actors are commendable, the craft level is too close to the small-screen offering to get audiences into theaters.

Rojo Sangre review

The Motion picture:

In Christian Molina’s directorial debut, Spanish horror legend Paul Naschy appropriately enough plays an aged horror film star named Pablo Thevenet who, sadly, is having to come to terms with the fact that his glory days are behind him. Striving to earn a meager living in an industry that worships the young and beautiful while simultaneously shunning and disregarding the elderly, Pablo’s down on his luck and not in the best of shape anymore. When his manager, Martin (Francisco Algora), finds one last gig for him working as a human statue/doorman at a strip club named Pandora’s, he’s hesitant but takes a shot at it anyway. The gig pays well enough that he takes it on and as such signs a contract with the owner of the establishment, Mr. Reficul (Miguel Del Arco).

Things start off okay for Pablo as he enjoys the new found financial freedom that his new position offers him as well as the fringe benefits (including but not limited to fancy cigars, free cutlery, and a romp in the sack with his designated personal assistant – a former lady of the evening named Tick Tock, played by Mehn-Wai). But soon something inside Pablo snaps, and boy does it snap hard.

After making short work of a few of the up and comers in the industry, Pablo’s offered a chance to get behind the camera and direct some films that, according to producer Herr Fuchs (Guillermo Montesinos), will make great use of his talent he can’t resist the offer. Things of course go horribly wrong when Pablo finds out he’s been brought on board to direct a snuff film and he winds up enraged when things to go far and he’s reminded of his own daughter’s rape and murder from a few years back.

Eventually Pablo finds out that his fate is sealed, however, and that he really should have read the small print in the contract that he signed with Mr. Reficul – a contract he tried to break but couldn’t.

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Written by Naschy himself (and obviously influenced by Faust and, at least in terms of the murder sequences, Theater Of Blood), the film does a nice job of relaying the aggravation and frustration that aging genre stars have to deal with in their golden years. The Hollywood machine does tend to chew’em up and spit’em out so to speak and in all reality, many performers probably feel just as bitter about it as Pablo does in the film – Naschy himself included in that lot.

Molina’s direction is slick and graceful. The transitions, which at times border dangerously close to overkill, are also quite interesting as the movement of a cane touching the ground gives way to a completely different scene almost seamlessly. The cinematography is carefully planned with plenty of steadicam action and a nice, distinctly European looking, lighting scheme on display throughout (particularly during the scenes that take place inside the club).

The real reason to watch the film though is for Naschy’s performance. He’s fantastic as the lead and is able to portray the frustration and the anger that his character experiences very well with nothing more than a simple glance. He makes the most of his intense facial features and the script plays to his strengths.

While at times the storyline verges on the absurd, Naschy’s good enough in the film and Molina’s direction accomplished enough throughout that the movie moves by at a nice pace and proves to be entertaining throughout. While hardly a gore fest, there’s enough wanton bloodshed in the movie to keep us in tune with the film’s horror roots even if at is as much a character study as it is a slasher film.

“A vulgar ethnic comedy about…

Reviewed by Dennis Schwartz

A vulgar ethnic comedy about a Jewish-Italian wedding, whose detractions
are that some of the scenes could have been better edited, the jokes are
lame, and the script is too threadbare. Stereotypical Jewish and Italian
characters rule the Long Island catered reception party of the wedding
of Lisa Weinstein (Deborah Gibson (Pop Star)) to Bobby Benigni (Joey Scherr).

The overbearing, familiar Jewish mother-type, Sylvia Weinstein (Bishop),
is in charge of the Weinstein-Benigni wedding reception. She is first seen
screaming at the band leader: “Why are you late, where in the contract
does it say we’re paying you to be late?” Max Tune (Martin Guigui), the
band leader, retorts “In the part that says working for cheap.” Later on
Sylvia’s wrath turns on the caterers as she is fussing that she ordered
’surf and turf,’ but the caterers did not give her any ‘turf.’

Everyone in the film is zany, each character does their own comedy
shtick. There is wide use of profanity throughout and at the most surprising
times, like when the groom’s father (Vella) is giving a toast. When not
using profanity he says Italians have little self-control when it comes
to women, so he doesn’t expect his son to remain loyal even though he should
because Lisa’s a nice girl.

Since it is a Vermont made indie (filmed on Lake Champlain), the
filmmaker got that state’s congressman, Bernie Sanders, to play a bit part,
as a rabbi named Manny Shevitz (like the Jewish wine). Bernie can’t stay
focused on the congratulatory speech he is offering the couple and rambles
on about the Brooklyn Dodgers leaving New York.

It is obvious that Martin Guigui–the director, writer, and lead
actor in the film–knows something about wedding receptions, as this film
is based on his experiences as a musician for 20-years — where he played
at many a reception.

The minimal plot has Max Tune play at the wedding reception of his
former girlfriend. He will try to win her back even though she just got
married. She is unaware that her husband has already been cheating with
Diane Dare (Susanna Voltare), her maid of honor and best friend, at his
bachelor’s party last night. Diane, feeling guilty, gets inebriated on
tequila, deciding how she is to tell this to Lisa, someone she has never
lied to before.

The film opens with a quote by H.L. Mencken: “Marriage is a worthwhile
institution, but would you want to live the rest of your life in an institution!”

The wedding reception is one continuous absurdity. Dom DeLuise is
an embarrassed looking priest fitting right in with all the other oddball
guests as he offers solicited and unsolicited advice, and fights off a
woman guest who wants his body. Vic DeMan (Vinny De Toma) has positioned
himself by the bar, he’s an inept pick-up artist; Hebber Stebber is a stoned-out
freak who can’t talk clearly. He is the lead singer for the misfit band,
a band that doesn’t know the lyrics for the songs it is asked to sing.

Another absurd moment is when Bobby and Lisa are arguing about the
affair in the men’s room as both families eavesdrop on the newlyweds in
the lady’s room, where the air conditioning ducts allow them to hear their
every word.

There is a clash of cultures as the guests offer toasts to the couple.
The Jews are thought of as the ones who make the money, but the Italians
as the ones who take it away from them. At least, one ethnic group is not
treated any worse than the other. Each culture gets a chance to show how
they can act coarser than the other.

Poking fun at tradition, the band’s rendition of “Hava Negila” has
a ten minute drum solo by a hirsute guy in a girl’s pink dress (Fishman).

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The ending does not resolve things. The question becomes Who does
Lisa love?

Lisa has a great smile and a star quality, she brings comedy and
warmth to the role; she even gets a chance to sing.

The cast was likable but not memorable. But, for a film with a limited
budget and limited aims, it served its limited purpose adequately. It was
funny from beginning to end, but in a perverse way. This lighthearted farce
is not suited for all tastes because of all the profanity.

Kingdom of the Spiders review

Despite the fact that hardly original, Kingdom of the Spiders creates its creeps and scares with trouble oneself, accomplishing unequivocally what it sets out to do. The filmmakers have done a caper let out that will satisfy the audience.

On paper, the picture sounds like most of many predecessors: likable scientist William Shatner, helped by beautiful, but capable woman scientist, Tiffany Bolling, find something amiss among the tarantulas of Arizona.

This time it’s not nuclear testing, but chemical insecticides that’s causing the trouble. Their problem: stop the little beasties before they eat the world.

But Shatner and Bolling work well together on a believable script, adding an amusing mach-feminism clash along the way that’s well done.

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“The Smurfs” Movie Teaser Trailer Released Video 80s Cartoon Gets Modern Makeover

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Whenever a part of my childhood gets a clever Hollywood movie makeover, I go about a bit uptight. After watching the teaser trailer for

The Smurfs

, it seems I clothed good reasoning to be.

I positive this is a short snippet, but those plump CGI blue things are filling me with terrifying. What started as a small little cult cartoon now feels larger than zest, and I’m worried that such smoothness will undermine the series’ heart.

The film does get a healthy dose of cred with Hank Azaria and Neil Patrick Harris cast alongside the vocal talent of Alan Cumming. But perhaps that’s all negated with Raja Gosnell of Beverly Hills Chihuahua fame at the helm.

We’ll find out soon enough when The Smurfs opens on July 29.

What’s The Worst That Could Happen? review

What?s the Worst That Could Find?



Singular couple.

Lawrence and DeVito seem to want to fabricate a franchise film duo here - as if!

dir

Sam Weisman

scr

Matthew Chapman

with

Martin Lawrence, Danny DeVito, John Leguizamo, Carmen Ejogo,
Glenne Headley, Nora Dunn, William Fichtner, Bernie Mac,
Larry Miller, Richard Schiff, Ana Gasteyer, Lenny Clarke

rescuing

US 1.Jun.01; UK Apr.02

MGM

01/US 1h38

R E V I E W   B Y  
R I C H   C L I N E

Settle of thumb: Never put the oath 'worst' in your videotape title. Especially if the film in question is a resolutely unfunny Martin Lawrence comedy. He stars as Kevin, a cat burglar who falls in love with the lovely Amber (Ejogo) … and she inexplicably falls for him right perfidiously. Then while robbing zillionaire question tycoon Max (DeVito), the big cheese steals from Kevin a ringing Amber gave him. And a at daggers drawn erupts between the two men over who gets the coterie. Plots, counterplots and more ensue, dragging in Kevin's pals (Leguizamo and Mac, extent others), Max's helpmate (Dunn) and assistants (Headley, Miller, Schiff), and a quirky detective (Fichtner).
To be fair, there are a scattering mild laughs to be had in this film, mostly owed to decent performances from the side characters and a terribly twisted acreage, politesse Donald E Westlake's novel. Lawrence hams his way through the role shamelessly, maddening make a name for oneself too alcoholic to make room each scene fool fun and failing miserably every time. Director Weisman seems unsure of himself as opulently–is this clever

Ruthless People

-style jocoseness, good-hearted anarchy, or goofy Farrelly Bros vulgarity? Since he never decides, the resulting motion picture isn't any of the above. It's nothing at all. Not funny. Not remotely satirical (it never sedate tries to touch on the themes of arrogance or aggression). Not romantic. Nothing. Even so, it's fresh adequately to avoid being the 'worst' film I've seen recently. But simply proper.
themes, speech, vulgarity
13.Feb.02

R E A D E R   R E V I E W S

Still waiting notwithstanding your comments … don't be shy.

© 2002 by Hilarious Cline,

Shadows on the Wall

Tie Me Up! Tie Me Down! review

The cords that restrain us entire to another — silken, insidious, invisible — grow literal unwell metaphors in Pedro Almodovar’s fleshy love story “Tie Me Up! Equality Me Down!” Though initially rated X (it was released without a rating) and hotly debated, it’s a chronicle not of bizarre fucking, but of a sweeter considerate bondage, of loose ends tied into lover’s knots.

If “Women on the Verge of a Nervous Breakdown” was a satire of the faithless Lothario, “Tie Me Up!” is its darkly comic, slightly spooky antithesis, the story of an all-too-devoted lover. But don’t expect “Moonstruck.” This is stronger stuff, a combination of “The Collector” and a lurid technicolor romance. Or as a line of dialogue informs us, “Horror or love story, it’s hard to tell them apart.”

Victoria Abril, an Almodovar heroine from the tip of her sharp tongue to her painted toes, is Marina, a former junkie and porn star struggling for equilibrium. She seems just to be coming into her own as a relatively respectable B-movie queen when she runs up against Ricky (Antonio Banderas), a 23-year-old handyman just released from a mental hospital.

With his Bates Motel burr, gaunt good looks and tortured eyes, Ricky is obviously not your ordinary stage door Johnny. Should there be any doubt, a “Psychoesque” refrain announces him like an insistent doorbell on a stormy night in Transylvania. During one of his many escapes from the hospital, he spent a night with Marina and has since determined that he wants to marry her and raise a big family. When Marina ignores his suit, he decides to kidnap her, convinced she’ll grow to love him.

“I’ll never love you, ever,” says Marina, understandably enraged at being handcuffed, gagged and lashed to the bed. “We’ll see,” says Ricky, who would do anything to win her heart. When valentines, compliments and headstands don’t work, he opts for stronger methods. Some people use guilt and bribes, but Ricky is incapable of subtleties, so he is astonished at what ultimately wins Marina’s affections — that old standby, neediness. Deep down inside, Marina is a nurse.

Upon finally discovering the heroine’s plight, her sister Lola (Loles Leon) is astonished to learn that Marina really no longer wants to be rescued. “How can you love someone who ties you up?” she asks. “That’s not normal.” Obviously Almodovar believes that attachment is the norm, that love is a sticky lariat. A writer-director driven by his passion, Almodovar allows his movies to moan and sweat and writhe. Sex looks like sex, not pornographic but messy and warm. The curtains do not billow, the sheets burn.

X marks the G-spot perhaps, for this is an orgiastic comedy of terrors and errors. More likely X denies the disquieting truths that only art can speak, with brazen guile in this instance. Viewed superficially, “Tie Me Up! Tie Me Down!” is a NOW nightmare, but suffice to say it’s the women, calm and sure, who take the reins.

“Tie Me Up! Tie Me Down!” in Spanish with subtitles, is unrated but contains explicit sex.

Baby Geniuses (1999)

It doesn’t opt for a budding Einstein to ride out “Baby Geniuses” due to the fact that what it is: a totally fallacious, unfunny film that proves you shouldn’t beat a dead horse. The talking-babies gimmick, exhausted in the “Look Who’s Talking” trilogy, is revisited here with the suggestion that baby wording is in truth a extremely advanced regional that adults cannot understand. Despite abundant doses of CGI technology that morph baby gurgles into full sentences, pic feels cheaply made and unconvincing. And it not under any condition seems to believe enough in its own erratic conceit to permit a enthusiastic suspension of disbelief. Its false hasten intent be down and forgettable.

While the “Look Who’s Talking” series used fairly rudimentary technology to dub the babies, its first installment at least benefited from snappy dialogue, an inspired voiceover supplied by Bruce Willis, and clever situational humor. “Baby Geniuses” uses more advanced, “Babe”-type CGI technology, but it’s all gimmick and no heart.

Bob Clark and Greg Michael’s script takes a blunt, good-vs.-evil approach to the kinds of infant research done at two very different facilities. On one side is the quaint and wholesome Bobbins Nursery, where the amiable couple Robin (Kim Cattrall) and Dan Bobbins (Peter MacNicol) are the picture of loving parents and concerned teachers. Tenderly, and with no technology more intrusive than a video camera, they research the concept that babies, born with inherent wisdom, have a secret language.

On the other side is the BABYCO institute, a large manufacturer of infant products headed by Robin’s aunt, renowned child psychiatrist Dr. Elena Kinder (Kathleen Turner). Unbeknownst to outsiders, however, Elena and her partner, genetic scientist Heep (Christopher Lloyd), also run a clandestine research facility deep in the bowels of the BABYCO building. In stark contrast to the Bobbins’ home-run nursery, Elena and Heep keep a coterie of babies under virtual house arrest, monitoring their development with electrodes in stark laboratory settings.

To facilitate her experiments on genetically transmitted knowledge and infant intelligence, Elena separated twin boys Whit and Sly (Leo, Myles and Gerry Fitzgerald) at birth, giving Whit to the unsuspecting Robin and keeping Sly for her own experiments. After Sly escapes the underground facility (he is a baby genius, after all), he finds himself face to face with his twin brother in a shopping mall. A brief mistaken-identity sequence ensues, and with the help of his fellow babies, Sly engineers a rescue of the infant inmates at BABYCO.

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“Baby Geniuses” tries desperately to provoke laughter, but more often it is unintentionally terrifying. Even if it were possible to find funny the image of a 2-year-old genius wandering about a city on his own, it would take a lot more than Clark’s misguided direction to make it work. Seeing little Sly thrust into a busy intersection is enough to make any parent’s skin crawl.

Tech elements are wildly inconsistent. At times, the morphing of baby faces and dubbing of dialogue is well done; at others, it looks amateurish and sloppy. Ditto the set design, particularly of certain BABYCO interiors that look like they were borrowed from the original “Star Trek” series. Thesping is way over the top, particularly villains Lloyd (doing an approximation of a James Bond baddie) and Turner (doing an unmistakable Cruella de Vil). Music by Paul Zaza is just about the only element that is totally unobjectionable.