Posted in: Disc Reviews by Archive Authors on December 19th, 2005
Synopsis
A prehistoric crocodile is genetically resurrected (using the Jurassic Park treatment, one assumes, though one is never told), supposedly because its growth hormone will solve world hunger (more or less the scenario that led to giant grasshoppers in Beginning of the End, and that was 1957). Anyway, the titular dinocroc gets loose from the sinister corporation’s lab, and starts gobbling up the nearby population. It’s up to Aussic crocodile hunter Costas Mandylor (Your Guide To Quality ...ilm) along with the local animal control officer and her welder/artist boyfriend to stop the beast.
Posted in: Disc Reviews by Archive Authors on December 18th, 2005
Synopsis
After years of answering questions running along the lines of "When are you guys going to make a movie?" X-Files creator Chris Carter and stars David Duchovny and Gillian Anderson decided, in lieu of taking the time off between TV seasons 4 and 5, to go ahead and start production on a feature-length movie and a place in the summer blockbuster arena.
Posted in: Disc Reviews by Archive Authors on December 18th, 2005
Synopsis
Thankfully, as part of Criterion’s desire to be completists of the Akira Kurosawa collection, they have finally decided to release Ran on DVD. For the sake of time, I’ll include my thoughts of the film based on my review of the Kurosawa boxed set, which included a previous version of Ran:
Posted in: Disc Reviews by Archive Authors on December 18th, 2005
Synopsis
In Akira Kurosawa’s later years, it was almost criminal that a director with his resume was forced to practically beg for financing. Kurosawa was in the midst of a career drought, having made only two movies in almost 15 years with Dersu Uzala and Dodesukaden. This coming after a run of films that has proved influential to even today’s filmmakers. While Kurosawa did have to obtain foreign financing for his movies in later years, Francis Ford Coppola and George Lucas, both of whom cite...Kurosawa as heavy career influences, agreed to finance his next film, 1980’s Kagemusha (or The Shadow Warrior).
Posted in: Disc Reviews by Archive Authors on December 18th, 2005
Synopsis
I would hope that with films like The Wedding Date, that the genre of films set around weddings is over and done with. There’s nothing left to mine, the horse is very dead, and in this case, the film is rather predictable. Or to put in another way, my wife said “this film will probably be stupid, but I’ll like it”. And when I was watching parts of the film, the story was so easy to follow that I could go and make a batch of chili, come back, and be caught up to the story.
Posted in: Disc Reviews by Archive Authors on December 17th, 2005
Pickpocket is precisely the kind of film that could never have been made in Hollywood in the 50's. The Hays Code was a set of morality guidelines that dictated what was and was not acceptable to be shown in motion pictures. Amongst many other things, the code would not allow a criminal to be depicted on screen in such a way as to induce sympathy from the audience. It also said that criminals must always be punished for their actions. (For a complete copy of the code, visit http://www.artsreformation.com/a...01/hays-code.html.)
Luckily, the Hays Code only applied to films made in the US, giving foreign filmmakers certain freedoms that were not awarded to those in here the states. Robert Bresson made the most of his freedoms with Pickpocket, a film that, as one might deduce, tells the story of one such nimble-fingered miscreant, and his evolution into the business. His first attempts are quite clumsy, but with time, practice, and the help of a tutor, he soon becomes quite handy. Of course, nobody can break the rules of law forever, and consequences almost inevitably follow a crime.
Posted in: Disc Reviews by Archive Authors on December 17th, 2005
In the light of today's world - all the changes that are going on in Iraq, and with hostilities toward America for our involvement being the naturally derivative baggage - I fully expected a piece of anti-American propaganda with Zaman: The Man from the Reeds. However, I was pleasantly surprised upon the discovery that director Amer Alwan, regardless of his political feelings, has instead told a simple, sweet story of love and sacrifice.
Spirituality does play a part of Zaman's character, but keep in mind before any rushes to judgment that Zaman's family is very poor. He and his wife and their adopted son live in a floating village of huts deep in the marshlands of Iraq. All they have is each other, whatever the land supplies them to live on, and their beliefs. The film implies in its presentation of Zaman's family how important one's faith is, especially when it's the only source of hope. But the film does remain blissfully ambiguous in endorsing any one belief system, and opts instead for telling a general tale of faith and love that can appeal to all audiences, who consider themselves spiritual people. While it lacks depth and complexity, its simple nature is refreshing and recommends at least one viewing.
Posted in: Disc Reviews by Archive Authors on December 17th, 2005
Peter Jackson is a true visionary. In most circles, such a statement is agreed upon if the subject is the Lord of the Rings trilogy, or his brand new King Kong remake. There are also those who'd rather remember him for his schlocky, disgusting, and dangerously enjoyable efforts Braindead and Bad Taste. Of course, either camp will love his work. It's just a matter of preference as to which type of film they love more. I'd say most find his latest efforts to be superior to those low budget e...rly works. But none of his modern genius would have been possible without The Frighteners, his breakout studio film, which garnered respect and financing from Hollywood heavyweight Robert Zemeckis. By the same token, one might say The Frighteners would have never been possible without his terrific Heavenly Creatures. The debate can rage on for as long as it needs to, but the heart of the matter reveals this: Peter Jackson makes great films, and while he may not be a perfectionist, his work argues to the contrary -- The Frighteners being no exception.
This two-hour director's cut treats its viewers to a hefty 14 minutes of extra footage, and most of it is easily recognizable to those who have seen the theatrical release a couple of times, or once recently. By recognizable, I mean you'll know it's new when you see it. Right away, I want to mention a mild concern I have for the director's cut, and it's the same kind of problem other critics have pointed out about his latest effort King Kong. Most of the deleted scenes add a stigma of excess to the film. It's longer than it probably should be. But at the same time, you find yourself so in love with the picture Jackson puts together that you don't really mind the more meandering pace. In fact, you kind of enjoy it because the new scenes add more of the same rowdy horror-comedy fun, and come across as visually endearing. This film is eye candy, but it also doesn't forsake characterization and plot for the sake of its mayhem.
Posted in: Disc Reviews by David Annandale on December 16th, 2005
Synopsis
The oppressive Parliament controls human civilization, willing to engage in any atrocity for the sake of a dubious greater good. A teenage girl, developed as a psychic super-weapon and traumatized by some mysterious event, is broken out of Parliament custody by her brother, and the two become part of the fractious crew of the mercenary ship Serenity. This crew is made up of veterans of independent colonies who fought in an unsuccessful war against the Parliament. Captain Malcolm Reynolds is ...eluctant to stick his neck out for the two refugees, but events eventually force him to take a stand.
Posted in: Disc Reviews by Archive Authors on December 16th, 2005
Synopsis
Pooja (Kirti Reddy) dreams of being a film director, but the old boys at the ad agency she works for are constantly brushing her off. When she meets singer Kabir (Abhishek Bachchan), she thinks she could use his talent, but he is hoping for a more romantic relationship. She, meanwhile, is attracted to her boss’s son, but then things become further complicated when she has to pretend to be engaged to Kabir in order to save her job.
