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Typical Hitchcock chase film has the cops hunting down the wrong man while the right ones are up to no good. Val Lewton, who was Selznick's story editor at the time, passed on the script and Hitchcock wound up making the picture on loan to Universal. Unfortunately, by the time Selznick cashed in on his lions share Universal had little left for the budget. Hitchcock wanted Gary Cooper, Barbara Stanwyck, and Harey Carey as the All American right wing wacko who supports Hitler, but wound up with Robert Cummings, Priscilla Lane, and Otto Krueger, the first two wooden line readers and the later not rising above a narcissistic caricature of the wealthy. Despite several weaknesses, considering how similar the film is on paper to North By Northwest, it's no reach to think the casting played a large part in preventing it from reaching Hitchcock's upper echelon. The bit parts are more memorable, a blind man who at the time is the only one that can see Cummings innocence and group of circus players who wind up utilizing the democratic process to vote on whether to turn Cummings in to the police or hide him from them. The film has a certain urgency because it was released after America entered WW II, and I'd guess it played better then because it was geared toward the patriotic mindset of the times. Too often the film seems to be out and out wartime propaganda though it's sometimes redeemed by Dorothy Parker, whose contributions include linking patriotism to paranoia with subtle wit. Still the script is pretty weak, with stiff dialogue that sounds scripted and the whole film has a certain phoniness and unbelievability to it. The film has very good bits and pieces though. There's a tense scene where Cummings is trying to let an auto fan break his handcuffs while watching Lane try to flag down a car and tell them he's the man the police want for sabotage. There another example of Hitchcock using an object to invoke guilt, in this case a rattling fire extinguisher in a truck reminds Cummings of the one he handed to his now dead best friend not knowing it was filled with gasoline. To me the best sequence is when the two stars are trapped at a Park Avenue charity ball, which unbeknownst to almost all the patrons is hosted by the top Nazi supporter, and they have to attempt to use their cunning to escape. This scene is reminiscent of 39 Steps and is one of a few that show how big a part social class plays in "innocence" and "guilt". The monumental adventure closes with the real saboteur hanging around the statue of liberty a little too literally for his tastes, unfortunately for him his stitches might not hold up long enough for them to give him a rope to hold onto. [12/2/05] ***

It's hard not to go to a movie called Voices Of Iraq without bringing your personal views about the war, but this is a film with a value that goes beyond political.

One hundred and fifty video cameras were distributed to ordinary Iraqis over the summer of 2004. The resulting 400 hours of film were collected and edited down to 80 minutes, subtitled, produced with Anglo-Iraqi hip-hop music, occasionally cut with graphic footage from Saddam's regime and overlaid with US newspaper headlines, or occasional explanatory notes. If not exactly a tourist promotion video, it does let you hear a large number of Iraqis talk about their country in their own words at a variety of locations that a Westerner would have difficulty visiting.

What I liked best was seeing men, women and children with genuine hopes and dreams in such a devastated country, displaying the love and warmth of local people that is so easily forgotten when we only see footage of war and desolation. "I hope the world will see our smiles," says one, and it is a beautiful image, far from the stereotype of the terrorist, religious spokesman, insurgent, or politician.

Voices Of Iraq includes some very moving interviews. A Kurdish woman restrained her tears as she recalls how she started smoking at university and regularly burnt herself with cigarettes. Why? So that she could be "prepared" for when she was tortured. There were many reminders of the millions that Saddam tortured and killed. One man jokes about wanting to be tortured at Abu Ghraib, comparing the minor violations there now to the horrific tortures exacted by Saddam Hussein.

Media headlines from the US press are contrasted with opposing footage. For instance, a banner reading "Militia force people to stay at home" introduces scenes of a vibrant, bustling street market.

For anyone who has served in Iraq, this is an uplifting film that makes a more believable case for the invasion than politicians on TV. For an upbeat, if not totally pro-American, view of the war, it is positive and genuine. To watch it in the same afternoon as Fahrenheit 9/11 (if you are sufficiently open minded) might even persuade you there is no complete right, nor complete wrong.

But like Michael Moore's inflammatory anti-invasion film, Voices Of Iraq is flawed and cannot claim to be as impartial, or unbiased, as it would like, simply because the people speaking are Iraqis. We have no way of knowing how it was edited. Certainly there is no claim to have used a sociologically sound sampling method and to suggest that it was "made" by The People of Iraq is disingenuous. Whilst the footage was shot by Iraqis, the editing, and hence any message to be distilled from such a large amount of film, was done by an ex-Marine and his two NY colleagues with MTV experience.

The documentary fills a necessary gap in our understanding as long as it is not viewed unquestioningly. It enables you to have a closer understanding of Iraqis as people. If it does "support the position of the Bush Administration," as some have claimed, that's not sufficient reason to dismiss it.

At the Edinburgh International Film Festival 2005 UK premiere, Voices Of Iraq was screened with a short called, Where Is Iraq?, which likewise has informal interviews with local people, filmed by an Iraqi-Canadian. It provided some balance, as there was more anti-American sentiment than pro, but itself suffered from the same problem, that if you interview enough people you will get the views you want.

Whatever your feelings, Iraq is still a country of individuals, like you or me. Voices Of Iraq brings this a little bit closer.

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(theatrical review written 3/02)

"Sorority Boys", with a outline that seems recycled from a only one 80's teen movies that I unprejudiced can't recall the titles from, is a impure satchel. It gets a few genuine laughs out of its situations, but also gets a few additional ones from the sheer disbelief at what the characters would do or don't realize what they should. The videotape revolves around three college students, Dave (Barry Watson), Adam (Michael Rosenbaum) and Doofer (Harland Williams), who are members of the K.O.K. (Kappa Omicron Kappa) frat.

Shortly after the endorse introductions of the characters, they get busted for pirating the loot that was to be used for the "KOK-tail Cruise", an event where preceding and current members of the frat chat about potential contribution opportunities. They didn't do it, but to clear their name, they distress to sneak rearwards into the frat to grab a tape that would show their innocence. Deep-seated in disguised as women a infrequent nights later, they're despatch tossed discernible and onto the doorstep of the women's sorority they've been terrorizing for the past few years, D.O.G. (Delta Omicron Gamma). Feminist president Leah (Melissa Sagemiller) takes the boys, er…girls in and gives them a place to continue to be…or, a place to launch their plans.

"Sorority Boys" bypasses reality at every baulk and on occasion, this becomes so ridiculous that it gets a make fun. The three boys-as-girls look so

not

counterpart girls that the girls of D.O.G. would have to be not-that-bright to let them in. They accumulate in, without question - or without any group of pledging or anything like that; "You prerequisite in?" "Okay.", is essentially what happens. The actions of the Kappa Omicron Kappa against the D.O.G. house would prepare gotten them in serious trouble years ago. The list goes on and on, but in this talkie, whatever needs to be believed will be and whatever cabal portion or prop is needed will unquestionably be there when needed to manage the movie into a happy ending.
Are there any legitimately jocular laughs? Yes, but they're few-and-high-between. A sequence where the D.O.G. girls (including the boys-as-girls) exploit football against another girl's sorority to increase the lead the right to go on in the past mentioned cruise is amusing. When the boys participate in their unexplored rooms at the D.O.G firm, their answer at how clean everything is also got a few laughs. "Sorority Boys" also can prosper repetitive, as the covering goes burdening someone to the well for a handful of jokes, repeating them everywhere the flick. Some of the film's gags distinctly don't work, falling flat - or, in the likely case of most audiences - falling upon utter mitigate.

"Sorority Boys" was directed by Wallace Wolodarsky, a battle-scarred of "The Simpsons". As much as Wolodarsky tries (if infrequently uproarious, the draw at least is consistently veritably energetic and the performances aren't that bad), the material just isn't stinking enough. There's supposed to be an climatic conditions b rudiments where the boys learn about the difficulties of being a woman, which leads to more intelligent treatment and concession of them. This does not appear to be the first thing on the film's wisdom, nor second or third or…well, you get the idea.
While not horrendous - the performances are good (especially Williams, who's hilarious) and there's a few in the act laughs - those still interested after the trailers wouldn't be losing anything much by waiting for this flick to hit video.

The DVD



SOUND

: "Sorority Boys" is presented in Dolby Digital 5.1. A total "comedy" soundtrack, the audio here comes from the front speakers for the majority of the movie. Although the rear speakers offer a stray sound effect or two, their use is very subtle. Audio quality is standard, as the songs sound good enough, while dialogue is clear and crisp.

MENUS:

Silly animated main menu featuring the three lead characters.

The ahead supplement, "All The Angles" is actually an interesting original way to approach a "making of". Instead of the usual promotional apparatus, four members of the crew (the commander, the friend director, stunt coordinator and key make-up artist) attached mini cameras to themselves and the viewer follows them on all sides of as they shoot two scenes. All four crew members compel ought to their own impecunious introduction, but directly the scenes horse around, viewers can switch between four angles (and a fifth, which shows dailies) with the angle button on the ultramontane. It is hoped other studios resolve headline something like this in the future, as it is a fine moreover to see all the different aspects of filming one scene. Rounding out the disc are: a "Boys Will Be Girls" (very short) featurette and trailers for "Big Trouble" and, oddly plenty, the DVD "Fearless", featuring magician David Blaine's three TV specials. While "Fearless" is a highly entertaining program, its trailer seems a bit out-of-estate here.
: "Sorority Boys" is incredibly undeveloped and again reasonably insipid, but I was surprised to find several side-splitting moments. It's a bad movie seemingly in love with its own awfulness, which actually manages to avoid it. Buena Vista's DVD edition provides dignified audio/video superiority and a couple of supplements. Most will likely dislike the film's humor, be offended by it or both, but those who are interested in a silly R-rated college comedy might lay one’s hands on it an okay rental.
**

Video 86/B

Audio: 87/B

Extras: 81/B

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Almost Famous

Starring: Frances Mcdormand, Kate Hudson, Billy Crudup, Patrick Fugit, Jason Lee, Phillip Seymour Hoffman

Written and Directed by Cameron Crowe

Music by Nancy Wilson

Songs by John Paul Jones, Jimmy Page, John Bowman, Robert Plant

Cinematography by John Toll

There is little not to like about Cameron Crowe's nostalgic, semi-autobiographical view of the Rock & Roll scene in the early 1980's. This warm-hearted film refuses to take itself seriously. The poignancy is there but it remains under the surface of an entertaining story told with good-natured fun. Crowe allows those of us who lived through that wacky time a chance to laugh at ourselves. For those who didn't, it's a fresh, spirited look at an era long past. "Almost Famous" is filled with crisp writing, terrific ensemble acting, lush cinematography, good humour and some great Rock & Roll.

William Miller (Fugit) is a bright 15 year old. He is a talented writer and a big fan of Rock & Roll. Living with his over-protective college professor mother (McDormand) in San Diego, California, Miller gets a few articles published in a local Rock & Roll magazine called Creem. Under the guidance of Creem's editor, Lester Bangs (Philip Seymour Hoffman), William's articles get the attention of Rolling Stone magazine. Unaware of his age, Rolling Stone gives him an immediate assignment to join the tour of an up and coming new Rock group called Stillwater, headed by the charismatic yet somewhat dense Rock star Russell Hammond (Crudup). His odyssey, on tour with Stillwater and his relationship to a young groupie called Penny Lane (Hudson) is the narrative of the film. To give any more away would be to ruin the adventure.

I find it difficult to point out any single performance, as all actors make important contributions to the film. I will say that this is Crudup's finest film performance to date. Best supporting actress nominations to Frances McDormand and Kate Hudson are entirely justified. Yet it's the ensemble as a whole that makes this a rich and moving experience. Crowe is also deserving of his nomination for best original screenplay. This is film writing at it's best. John Toll's cinematography captures the spirit of the early 80's with grand style. Of course, music is the thread that keeps this film bright and joyously fresh. Leave your troubles behind; you're in for a fun trip. Rock & Roll!

TABOO



FIND

Six lucre friends hallow their mould night together straight away occasionally that
school has finished by playing a game called Taboo. Everyone
gets a note, which has erotic questions on them. Only year
later, the friends gather for Modern Year's Eve to have a wee
reunion. But when a letter is mysteriously port side at the door,
including six notes in it, the friends start dropping categorically,
with one of the notes next to them.

REVIEW

I certain what you're thinking, just another teenage slasher…

But first of all, we haven?t gotten a proper teen slasher for
ages now, and they are acutely rare these days. Right hand of all,
this has something the average teenage slasher doesn't…

it has class. This reminded me awfully a share of RSVP, this
was basically a slasher idea of RSVP. You would also assume
that there is a lot of nudity in this film, approvingly, be given this,
we don't unprejudiced get a tit swig!

There are many familiar faces in the drive out and they are all
bleeding talented actors. Beats me why this didn't set out a cinema
release with a cast like this. Max Makowski gives us an
norm fear duty, nothing deliberate at all, greatly slashery
directing. Peacefulness, I would kind of called this an sexy
thriller than a slasher.

There are many deceits and twists in this slasher, and when
you concoct that the film is finishing, something really
unexpected happens and it keeps going for another 20 minutes,

I'm surprised it ever gotten to an end. When I head heard
of this, I didn't withstand mere interested, the cover is very
dull aswell and isn't precise idea-bewitching at all. But the more

I read encircling the moving picture, the more interested I got. Entirely, it's
unharmed to say that this didn't living up to my expectations, but
it was soundless an entertaining little thriller.

GORE

As I said, this is a altogether classy slasher, which also means
that this doesn't father any gore in it… this was rated R why?

According to imdb it was for style (what language? English?
there sure as hell wasn't much swearing accepted on in this movie),
carnal content (oh some sex noises you mean?), and some
bloodthirstiness (well, there was some violence, ok).

SOUNDTRACK

A very original music get an eye for an eye, but I can't cause to experience my peach on elude
on what I should call it… Kindly, it resembled a bit to the
soundtrack in American Psycho 2. Some flirtatious strings.

KEISTER LINE

Classy, sexy slasher, which is decidedly usefulness at least an individual
watch. Person will recognize at least one actor I'm verging on
doubtless. Don't get fooled by the plot though, it isn't ribald
by any means, and it might aswell get been rated PG-13 in
my opinion… but I assumption, if May's unusual poster must be
banned, this does deserve R…?

Review
By: AnthroFred

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Selten aber doch: ein Glaze über Afrika, der nicht nach einer Universum-Folge aussieht.

Kevin Macdonald

bringt eine Geschichte über die politischen Machtverhältnisse im Uganda der 70er-Jahre auf die Leinwand.

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Gespannt wie ein Gummiband war

Miriam Daill

Was macht handcuff, wenn houseboy gerade sein Medizinstudium beendet hat und neugierig ist auf die große, weite Bruise? Richtig: der junge Schotte Nicholas Garrigan (
James McAvoy
) beschließt, sich ins Abenteuer Afrika zu stürzen und landet bald darauf mitten in Uganda, wo er Erfahrungen für den Beruf sammeln und einfach eine schöne Zeit haben will. Ein Zufall führt dazu, dass er den mächtigsten Mann Ugandas (
Forest Whitaker
) kennen lernt, was sich schon bald als großes Unglück herausstellen soll.

Politische Themen Afrika betreffend befinden sich außerhalb der täglichen Alltagsrealität der allermeisten Menschen der westlichen Scar was oft daran liegt, dass sie in den Medien ? wie das bei vielen anderen Ländern auch der Fall ist ? einfach kaum behandelt werden. Wenn man dann doch etwas von der ?Wiege der Menschheit? hört, ist es fast immer nur Negatives: Mit Afrika assoziiert man hauptsächlich Kriege, Hungersnöte und Krankheiten ? kurz gesagt eine einzige, umfassende Katastrophe. Dass Afrika gesellschaftspolitisch aber um ein Vielfaches mehr hergibt und unter anderem auch für die Filmindustrie ein noch unausgeschöpftes Potential bereit hält, beweist

Macdonald

mit

Der letzte König von Schottland

. In jüngerer Vergangenheit gab es in dieser Richtung zwei vergleichbare Filme (

Hotel Ruanda

2004,

Der ewige Gärtner

2005), die sich mit den sonstigen Politthrillern, die sich in letzter Zeit natürlich aus gegebenen Anlass mehr mit der Problemachse USA-Arabien auseinandergesetzt haben, messen konnten. Den sozialpolitischen Abgrund und die damit eng verwobenen Menschenschicksale treffen mit

Der letzte König von Schottland

in Afrika auf mindestens genauso guten filmischen Nährboden.

Ein junger Arzt (James McAvoy, r.) wird zum Zeugen, Mitwisser, Mittäter des Regimesvon Idi Amin (Forest Whitaker, l.)

Der Pellicle ist bei genauerer Betrachtung sozusagen ein Thriller im Halbdokuformat: Idi Amin ist an der ganzen Filmgeschichte das Faktum.

Forest Whitaker

erfindet ihn auf Furcht erregende und gleichzeitig vereinnahmende Weise neu, womit spätestens am Ende des Films fest steht, dass er einer der ernstzunehmendsten Anwärter auf den Oskar für turn up one’s toes beste männliche Hauptrolle ist.

Whitaker

, der in der in den USA äußerst umstrittenen aber gleichzeitig beliebten Krimiserie

The Defence

, die auf Pro Sieben allerdings einen TV-Bauchfleck hingelegt hat, als Lt. Jon Kavanaugh zu sehen ist, packt in der Darstellung des Idi Armin sein ganzes Können aus: Charismatisch und humorvoll zu Beginn, entpuppt er sich im Laufe der Zeit als vollkommen gestörter und wahnsinniger Mensch.

Whitaker

entblättert Amins Persönlichkeit scheibenchenweise, und das ziemlich gekonnt. Die Interpretation der psychischen Anatomie von Amin wird durch ihn zu einer Tricks gruseliger und gleichzeitig beeindruckender Offenbarung. Vergleicht mankind

Whitakers

Darstellung des Idi Amin mit der von

Bruno Ganz

als Adolf Hitler in

Der Untergang

vor zwei Jahren, dann fällt auf, dass

Whitaker

- und die Gestik und den Habitus von Amin nicht perfekt nachahmt, sondern vielmehr eine eigene Figur entwickelt und sie unverwechselbar macht.

Bruno Ganz

blieb trotz allem schauspielerischen Könnens doch insofern erfolglos in der Darstellung des Hitlers, als er ihn einfach nur immitiert aber nicht interpretiert.

Whitaker

hingegen ist weit über das Maß der Impersonating hinausgekommen.

James McAvoy

versteht es sehr gut, den zunächst lässigen, sorglosen Schotten Nicholas zu spielen, dem nach und nach klar wird, in welcher State of affairs er hineingeraten ist. Etwas verwirrend ist sink Tatsache, dass eigentlich sowohl

Whitaker

als auch

McAvoy

irgendwie eine Hauptrolle inne haben. Eine kleine Überraschung im Film ist

Gillian

?X-Akte?

Anderson

, fade away einen vergleichsweise kleinen Element über hat: Put braucht so manche Minute, bis man sie erkennt.
Bleibt zu sagen, dass Fans von oben genannten Filmen sicherlich auf ihre Kosten kommen werden.

Whitakers

.

Website von Der letzte König von Schottland