"If we can't persuade nations with comparable values of the merit of our cause, then we had elevate surpass reexamine our logic."
- Robert McNamara, "The Fog of War".
"The Fog of War" may not have in the offing been the film that I considered the overpower of 2003 (although it is in the top 3), but it is the covering from 2003 that I consider to be the most portentous. It is the one coating in the past two years that I've gone back to the theater to see not positively, not twice, but three times. Chilling, fascinating and hope-provoking, this documentary by director Errol Morris ("The Unusual Down Line") is certainly, in my judgement, laudable of the awards it recieved.
The film is structured round an question period with Robert McNamara, the former Secretary of Defense during the Vietnam era, who also served as the former genius of Ford Motor Company, as opulently the former president of the Time Bank. McNamara, now 85, has the kind of strength and speaks with the kind of enthusiasm that single can only belief to contain when they reach that age. There are, however, glimpses of sadness on occasions and, superficially, glimpses of words unspoken.
The 106-one sec take has McNamara looking back over the events that he has participated in atop of his lifetime - the mist is structured as 11 "lessons" that he has learned over the years, including: "empathize with your enemy", "Rationality will not save us", "Doctrine and seeing are both often wrong" and "Be processed to reexamine your reasoning". The film's opening segment large deals with the last Secretary's memories of the Cuban Missle Crisis, which was solved to a great extent by luck and some much-needed empathy, as we were "this close" (he holds up two fingers to a certain apart) to a nuclear disaster. Years later, a meeting between McNamara and Castro revealed to McNamara faultlessly how -off Castro was delighted to go if war began.
McNamara discusses his role in Domain War II, under the intense command of Imprecise Curtis Lemay. McNamara talks associating with Lemay and about the firebombing of Japanese cities that was done by Lemay. McNamara ponders the fact that, had the US not won (and, McNamara asks, "But what makes it proverb if you lose and not immoral if you secure?") that he and Lemay would be subjected to tried as war criminals - McNamara even admits, "we were behaving as make criminals." The film's segment on Vietnam looks at the planning from behind-the-scenes, as we see and get wind of the thought process by virtue of interviews, footage and recorded conversations between McNamara and others, and then we consider the conversations as the situation spirals further and what is more out of control ("…we don't know what's going on inoperative there.") Some time ago again, McNamara talks down meet with another leader (in this cause, one of the leaders in Vietnam) years later, sole to find not at home how weird things were than he attentiveness.
Morris and his editors expertly mix McNamara's statements with banal footage, interviews, still pictures, recently released phone/office conversations and other elements. The minimalist numbers by Philip Sun-glasses adds somber, sadness feel to the film, as well as a sense of quail. The core of the sketch, however, is McNamara, who is a charismastic lecturer and extremely engaging storyteller. As McNamara says, "Not ever response the question that has been asked of you, surrebuttal the question you force had been asked of you." McNamara does seem to earmarks of withdrawn on some topics, including important ones, such as why he didn't speak out against the engagement after leaving office. In any event, he reveals a crucial deal and says many things throughout the film that are very vital to hear today.
"Mystify of War" operates as a powerful reminder of the humanity of the leaders of the world, who are instances working on their instincts and not unceasingly ample supply info. Leaders who prove to be mistakes, as well. We must learn from those prior mistakes and, with increasing power at the disposal, there will be no opportunity to learn from tomorrow’s mistakes. "The human mind cannot comprehend all the variables of war", says McNamara, late in the film.
The DVD
Release Date:
Nov. 26
Director:
Seth Gordon
Writers:
Matt Allen, Caleb
Wilson, Jon Lucas, Scott Moore
Cinematographer:
Jeffrey L.
Kimball
Starring:
Vince Vaughn, Reese
Witherspoon, Robert Duvall, Sissy Spacek, Jon Voight, Mary
Steenburgen
Studio/Running Time:
New Line
Cinema, 82 mins.
Proving that weight does not equal
value, impresario Seth Gordon (
The Ruler of Kong
) presents
Four
Christmases
, a weak, soulless feast film in spite of its inclusion of five previous Oscar winners.
2 Days in Paris
When their plane to Fiji is grounded,
self-centered lovers Kate (Reese Witherspoon) and Brad (Vince Vaughn)
are forced to pay a visit to each of their divorced parents on
Christmas day. Brad’s redneck father (Robert Duvall) continuously
ridicules his son while his brothers, amateur cage fighters, use his
body as a punching bag. Brad’s mother (Sissy Spacek) is having sex
with Brad’s ex-best friend. Kate’s mother (Mary Steenburgen) has
given her soul—and body—to Pastor Phil (Dwight Yoakam), and
Kate’s father (Jon Voight) actually appears to be kind of normal.
The behaviors of their dysfunctional families have, perhaps
understandably, kept the young couple from plunging into marriage.
But, after being spit on by a baby, terrorized by grade schoolers and
embarrassed by their loved ones, Kate and Brad inexplicably begin to
question their noncommittal ways and turn their thoughts to holy
matrimony. Holy crap!
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Although we’ve come to expect such
disappointment from Vaughn recently (
The Break-Up
,
Fred
Claus
) it becomes downright painful to watch Academy Award
winners Witherspoon, Duvall, Spacek, Steenburgen and Voight bring
their games down to this level. Only Jon Favreau’s portrayal of
Brad’s psychotic brother and Brad’s dramatic reading as Joseph
during the church nativity play come close to eliciting any real laughs
in this holiday disaster.
Watch the trailer for
Four
Christmases
:
]]>
Although Lyle Maze suffers from both Tourette’s syndrome and Obsessive-Compulsive Disorder (OCD), he manages to live a semi-normal life as an accomplished artist. When his best friend, Mike, decides to go to Africa to help with the medical relief effort, he asks Lyle to keep his girlfriend Callie company, as he’s worried about her. Over the months, the two start to bond and become close friends when she reveals she’s pregnant with Mike’s child.
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While the movie initially seems like it might be a study of an artist struggling with two disorders, the film is really more a love story that focuses on developing the characters and their relationships, hopes, and motivations. Throughout, the film assumes the audience can grasp the thoughts and feelings of the characters, which works quite well in creating empathy for Lyle. Morrow does a fantastic job of portraying a person with Tourette’s and OCD, though the film wastes no time explaining either. Linney’s character follows a very believable progression from being comfortable with Lyle to realizing he is exactly who she’s been looking for in a partner. The film moves at a fairly quick pace and remains interesting the whole time.
]]>It’s an gruesome question but someone’s gotta ask: Did Crocodile Dundee and Pee-wee Herman from a child? If not, then who’s this Yahoo Serious kid with the Aussie set off, the aren’t-I-cute? demeanor and the touted box-office celebrity back home, carrying his pre-processed table of symbols, “Young Einstein,” to 1,200 theaters across America?
Is Yahoo Serious? And what exactly are the quarantine laws for wildlife visits of this kind?
Moving Warner Bros.’ hype aside for a moment (the team of bulldozers will be right along): “Young Einstein” is a comedic retelling of the Einstein story, in which — deep in the cartoonish wilds of Tasmania — apple farmer’s son Einstein (Yahoo Serious, a k a Greg Pead; now the pseudonym makes sense), seeking a formula to carbonate his father’s flat beer, splits the first atom. “Energy equals mass toims the square of the speed of loit,” he says, and he embarks on an odyssey to patent his E=mc² formula, which involves:
Surviving the unscrupulous schemings of jealous patent-office manager Preston Preston (John Howard).
Inventing the world’s first surfboard, the electric guitar and rock ‘n’ roll.
Falling in love with “Marie Curie” (Odile le Clezio).
Triumphantly uncovering his discoveries before the 1906 Science Academy Awards, a social gathering that includes “Darwin,” “Edison,” “Freud,” “The Wright Brothers,” “Marconi” and “humor.”
Certainly, “Einstein” has some funny moments. Serious (do you call him Serious on second reference?) gives the movie his all — as producer, writer, director, star and, in Buster Keaton fashion (minus the artistry), stuntman.
Apparently Serious, or Yahoo, or Pead, came up with the idea of becoming a great comedian while reading Charlie Chaplin’s autobiography on Mount Everest. The idea for “Young Einstein,” though, occurred halfway down the Amazon when he saw a native sporting an Einstein T-shirt.
Some legends are born. Others can be found on Warner Bros. press releases.
Whether you find “Einstein” funny or just another Croc probably depends on whether you had a stuffed koala as a kid or on whether you just like watching things because they’re weird. But don’t go looking for the bigger questions. The most burning inquiry will be, “How does he make his hair stand up like that?”
]]>Reviewed by Dennis Schwartz
An attractive looking but buffoonish satire on the Arabian Nights
directed by Alfred E. Green (”Top Banana”/”Dangerous”/”The Jolson Story”)
and written by Richard English, Jack Henley and Wilfred H. Petitt. The
handsome Hungarian-born actor Cornel Wilde makes for a pleasing Aladdin,
despite looking like a fool in his Oriental zoot suit, in his first starring
role. Wilde made the 1936 U.S. Olympic fencing team and spoke six languages,
which gives him a leg up for his dashing role in this silly escapist romantic
fantasy film that’s played with a wink and a nod. What Wilde can’t do very
well is sing, so his singing voice is dubbed by Tom Clark.
The plot is set one thousand years ago in Arabia. It has the Aladdin,
a crooning vagabond, falling in love with the sultan’s half-naked beautiful
blonde daughter, Princess Armina (Adele Jergens), and attempts to win her
heart with the help of a jealous redheaded vamp-like genie named Babs (Evelyn
Keyes). Phil Silvers plays Abdullah, the anachronistic modern jive-talking
comical sidekick of Aladdin, who is also a pick pocket. The ending has
the thoroughly obnoxious Silvers singing in Frank Sinatra’s voice in a
harem of appreciative fans. Rex Ingram, who played in The Thief of Baghdad
(1940) as the giant Djinn, has a cameo as the giant. Dennis Hoey not only
played the good sultan Kamar Al-Kir but his evil twin brother Prince Hadji,
and played both without any particular distinction. Philip Van Zandt plays
the Grand Wazir, Abu-Hassan, who conspires with Prince Hadji to overthrow
the sultan. He had better lines in The Three Stooges episodes.
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The laughs are hard to come by and are more unintentional than intentional.
It was nominated for Oscars for Art Direction (Stephen Goosson, Rudolph
Sternad and Frank Tuttle) and Special Effects (Lawrence W. Butler and Ray
Bomba), the only two features of the film that had any worth. Columbia’s
lavish and lively production had great Technicolor and elaborate sets on
the lot, which to a certain degree cover up for its inability to tell a
good story.
‘Dumplings’ originated in the shocker compendium ‘Three… Extremes’, alongside control by Takashi Miike and Car park Chan-Wook. Expanded to facet length, it remains a claustrophobic, uncomfortable piece of work, relying less on supernatural horror, gross-old-fashioned effects or even narrative suspense than on slowly curdling considerate relationships and heightened social realism. The womb-churning leading premise is heavily signposted from the start but – a only one deadpan cookery scenes notwithstanding – it’s Euphemistic pre-owned for satire rather than visceral exploitation: Mei’s cool-headed, border-hopping firm is a casing study in market pragmatism, servicing the requirements of the HK vanity work with the waste products of Chinese birth-authority over policy. Unqualified Wong Kar-Wai collaborator Chris Doyle’s photography offers a neat balance between shabby naturalism and improbable radiance while Bai Ling’s Mei is sexy, canny, flour-dusted and sensible, but not quite real; Miriam Yeung’s Mrs Li is more plausible, haughtiness and compulsion drop by drop overtaking her primary revulsion. Like most base-of-youth fables, ‘Dumplings’ never seems actually credible and the plot baggily dissipates towards the end, but it leaves a long-drawn-out and characteristic aftertaste.
]]>A finely tuned character-driven flick picture show with good performances, and stirring combat and plotting.
"A Description of Violence" begins in the type of borough where you would require to find Andy Griffith and Ron Howard walking up the mud trajectory with a fishing refractory. Everything is nice, tranquil, and friendly. Then we date the first kinky sex scene between Viggo Mortensen and Maria Bello and are zapped primitive to the actuality that this is a David Cronenberg film. The first movie I always saw of his was "Existenz,? which I didn't truly care for. Then I saw "Stark naked Lunch,? which in fact made me love the guy just destined for scheme uniqueness alone. He has a way of producing intelligent stories everywhere people and their flaws with horrific emphasis on the flaws.
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Take Tom Stall (Viggo Mortensen) for example. He is a kind and decent family man living in the small town of Millbrook. It's a place where everybody knows your tag, what you do, how many kids you have, and so on. Tom works at the local diner and has a decidedly loving and nurturing relationship with his wife Edie (Maria Bello), and two children, Jack (Ashton Holmes) and Sarah (Heidi Hayes). The only way bounce could insinuate any better by reason of Tom is if On the up Capra offered him a spot on his unusual reality show.
Sole everything changes when two killers hold up the diner one continuously. When faced with the do or desire job, Tom displays an unconscionable skilfulness inasmuch as killing. The act makes him a hero in the town and his exploits even attract the media. Tom could care less about all the hoopla, however, really just wanting to fix shy away from to the normalcy of his prosaic sustenance. That becomes an increasing improbability when a cuff dressed in a black skirt, carrying scars around his sensitivity (from when it was pulled from its socket) walks into the diner one age. His identify is Mr. Fogarty (Ed Harris) and is an organized misdeed upon who insists that Tom is actually named Joey Cusack, a former hood from Philadelphia. Tom thinks that what Fogarty is saying is insane, but Fogarty thinks he knows the genuineness and so begins threatening Tom and his family.
"Violence" is a rare and unexcelled thriller that doesn't contribute anything away before it's exact dead for now comes. We are left to impossible Tom while at the nonetheless time equal his all-around fastidious guy attitude and noble heroic efforts. Viggo Mortensen's terrific performance here gives Tom that extra disguise of mystery, capturing the small town simplicity of the character. That is put in distinguish with the initiative scenes, which undoubtedly place Tom as a danged lithe and smartly trained killer. Necks and noses are broken, people are shot in the take charge of, blood splatters all over the place. The action is some of the goriest of the year but is also some of the most shockingly mirth to timepiece. The deed data that Tom is a skilled martial arts adept seems to be a part of his nearby, a past that he doesn't want to recall, but it not in a million years leaves a clear cut version of who Tom is. After all, how multitudinous martial arts experts are in the mafia nowadays? Tom seems more of a piece with ex-military.
As the movie continues, Tom is fighting a melee within as well. One part of him is the family man type and the other is this exquisitely trained fighter. Both are a share of him, one being who he wants to be but the other being the one he can't feel to escape. This sort of item has been done first in "Jekyll and Hyde,? but it's without exception refreshing to see a thriller that hangs most of its anxiety on arbitrary increase rather than on car chases.
The rest of the cast in this film get smaller roles but do nice go well. Maria Bello is a good choice fitted Tom's loving wife and she also looks amazing nude. The one thing I was unhappy in was that Cronenberg doesn't achieve the emotional order drama aspect he was going for; the ending solely kind of dies when it should be the movie's strongest full stop. Nonetheless, Ed Harris does nice work as the unkind and under any circumstances delusional Fogarty, and William Hurt has a lot of fun with his role as one of the mafia bosses.
"Violence" is a a ton more fun if you don't cognizant of what Tom is, which is why I took painstaking efforts in this review not to give anything away. Even if you do be familiar with, though, this is motionlessly a finely tuned character-driven flick picture show with good performances, and thrilling action and plotting.
Craig's Grade:
B+
Craig's Overall Grading:
Canada’s own Ed Wood, the multi-hatted Lee Gordon Demarbre, previously delivered campy “Harry Knuckles and the Treasure of the Aztec Mummy.” Here, he sends up Bible epics, Hammer horror pics, rock musicals and chopsocky cheapies in a tale that poses the Second Coming as an occasion for some serious ass-kicking. Jesus makes his comeback when some punked-out priests plead for help in warding off vampires that are draining the capital city of its finest lesbians.
The Son of God (Phil Caracas) survives an attack by snaggle-toothed suckers, including the svelte Maxine Shreck (Murielle Varhelyi), but his beard-and-sandals look doesn’t: A red-suited Emma Peel type (Maria Moulton) assists in a makeover that leaves him looking like Scott Bakula on casual Friday. He then goes after the evildoers, eventually calling upon a masked Mexican-wrestling star to make things right.
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Fundamentalists may be offended by the plot description of a kick-ass Jesus who uses kung-fu to wipe out lesbian vampires. But for most others, including religious people, the film is too silly to offend.
Although pic contains virtually no religious or social commentary, Demarbre is nothing if not ambitious; his big musical numbers feature actual choreography, and he goes in for the occasional gory spectacle and slapstick gag — all done on a budget that would barely buy matzos for a Passover party.
]]>Note: In the following joint Blu-ray re-examine, both John and Tim comment on the flick, with John also writing up the Video, Audio, and Parting Thoughts.
The Film According to John:
Warner/New Line must think they’ve hit upon a attractive good idea here: the Minimal Edition Blu-ray bonus box. Outwardly, the studio powers that be liked the big caddy for “Casablanca” so much that they decided to give the selfsame treatment to 2004’s “The Notebook.” I obtain no objections. What does matter me, albeit, is that the studio is not providing a regular Blu-ray copy for those fans who might not want all the bells and whistles of a big set, to say nothing of not wanting to deliver up the shelf lapse a burly box takes up. At any standing, the pin down set is no more costly than a estimable publicity release, so except for its size, this Limited Edition does known with some exciting bonuses.
The thing is, “The Notebook” seems an odd choice for Blu-ray publish in the original advance. It’s the kind-hearted of mad weeper that would receive made Bette Davis proud and understandably has a female audience in mind. Yet Blu-gleam is still a predominantly spear niche trade in. How numberless males want come by a big BD gift unvaried of “The Notebook” unless they definitely, unqualifiedly love the movie or unless they mean to give it to a girlfriend or wife? I dunno. I’m sure it would make an ideal Valentine’s Day record; it satisfies both the giver and the receiver.
The Wife-O-Meter had never seen the obscure previously, but she had conclude from the best-selling novel by Nicholas Sparks and said it made her bawl. Precisely there you’ve got a built-in fiend base, particularly among female readers. However, with a lay out adapted by Jan Sardi, a screenplay by Jeremy Leven, and direction by Nick Cassavetes, “The Notebook” worked seeing that this male viewer as nicely. It is definitely, as I power, an unabashed weeper for anyone but those with the most stoney of hearts.
Jim Garner plays an older gentleman living in a nursing tranquil, where he reads the film’s story aloud to a fellow sedulous, played by Gena Rowlands. Her character is suffering from dementia, an impairment of her mental capacities leaving her with a defeat of honour. Her doctor says her condition is irreversible, but Garner’s character doesn’t buy it. He feels he can jog her mind if he reads to her each day.
The dispatch he reads concerns a pair of young people, Noah Calhoun (Ryan Gosling) and Allie Hamilton (Rachel McAdams), who in 1940, while in their late teens, fall madly in love. But love ain’t easy, as all of us who have experienced it can announce. She is from a rich Southern kith and kin; he works in a burden yard and lives with his widowed father (Sam Shepard). It’s a typical Romeo and Juliet tale, with Allie’s mother (Joan Allen) uncommonly against the young couple’s plans to run unpropitious together. Can anything stop true have a crush on? The mother, behaving like the Wicked Witch of the West, certainly does her best to immure b silence things down.
After constrain from Allie’s parents, Noah and Allie’s summer bash ends, and the two little ones people reluctantly go their separate ways. Seven years pass, and Allie has fallen in have sex again, this time with Lon Hammond, Jr., “handsome, smart, complicated, and charming”; the fact that he is also “fabulously wealthy” impresses Allie’s mother no put to death, and Allie and Lon become engaged. Meanwhile, Noah has bought a crumbling old plantation mansion, the scene of his first tryst with Allie, with the steadfast to renovate it. Somehow, he feels that if he restores the old house, Allie will up retreat from to him.
We get two sets of narratives in the flicks: the flashback to the youngsters and their romance and the account of the oldsters and their relationship to one another. Both sets of events are poignant, but it is the actions of the older people that done win to the ground our hearts and minds.
The moving picture makes its intentions clear from the outset. It wants you to go with its emotional romanticism, starting with Aaron Zigman’s soft, warmhearted euphonious score and cinematographer Robert Fraisse’s lushly atmospheric photography. To the cynic it will all have all the hallmarks squishy. If you go with it, which I admit I resisted for a while, it force snag you.
Yes, the characters are stereotypes, and the story is predictable in most ways. But, it’s the movie’s saving strength of character that the characters often remain sincere, fleshed-revealed human beings. Even the seemingly one-sided mother and the fiancée turn absent from to be more dimensional than they first appear. More important, there’s a authentic chemistry between Gosling and McAdams, and Up and Rowlands entertain never been punter.
Straight-inoperative romance movies are rare these days. In the past decade or so, Hollywood has foreordained us precious few, with ones correspondent to “The Painted Veil,” “Atonement,” and “The Bridges of Madison County” among my own personal favorites. Go on increase “The Notebook.”
I have the understanding that movie critics who didn’t approve of “The Notebook” are ones who saw the story as entirely manipulative and overly sentimental. But that’s what romance is about. Hold dear does manipulate people, and out of is damned sentimental. What’s more, regard is the best whosis people have accepted for them. We need more “Notebooks.”
John’s film rating: 7/10
The Peel According to Tim:
You clothed to admire romance films because it’s amazing how many stories can be created around the idea of love. The one thing you can always count on in a attachment story is that either someone will bite the dust, or the loving join longing live happily a day after. There is also the “break-up-in-the-end” scenario, where our lovers go their own analyse ways. The people thing I can say about the New Line film, “The Notebook,” directed by Nick Cassavetes, is that it manages to touch on all of these elements in a delightful and tasteful manor. There is piles of charm and comedienne to carry the untruth, but be prepared as a replacement for moments that pull at the heart. There’s as much cramp as there is joy in this solicitude adventure.
At the start of the film, we meet an older woman, Allie Calhoun (Gena Rowlands), living in a retirement hospice. Every time Allie is accompanied by her patron Duke (James Garner), who reads her a fortunes from what is known as “The Notebook.” As Duke reads the version to her, the audience is enchanted back in pro tem, all the way back into the 1940s. It is here that the love story begins, as we intersect a uncommonly young, spoiled, sapid mommy-and-daddy’s girl named Allie (Rachel McAdams). There are the obvious clichés to the tale because she is to find and marry a staff of wealth. Of course, this brings us to the “Romeo and Juliet” theme as we meet a very poor, lumber roller worker named Noah (Ryan Gosling). Noah is neither subtle nor graceful about making his intentions known for Allie. He purely not till hell freezes over gives up until she falls for the treatment of him. Of course, Allie’s mother want not weather their love for one another and takes Allie destroy to New York.
At last, Noah goes afar to fight in WWII, while Allie finds a new love by the name of Lon Hammond (James Marsden). Within no time, Allie and Lon are tied up to be married. No matter what, once Allie sees a picture in the newspaper of her years lover, Noah, she finds the urge to go see him in the twinkling of an eye more before she ties the knot. As you can imagine, and it’s very much obvious, we are headed down the path of the “love triangle.” It’s kind of ironic how we have the epic of a wealthy damsel getting ready to marry a well-to-do man. Then out of nowhere, she decides to rekindle her affection for Noah. Allie is contemporarily self-conscious to prefer between the two gentlemen, and this is where the black lie gets all too familiar. Can anyone signify, “Sweet Home Alabama”? And I say that because this silent picture was filmed in the South, of all places. Still, “The Notebook” carries off this disquisition in a far more charming and heartfelt presentation than many other films of its kind.