Anchor Bay

The real world will try to teach us many things. It teaches us that only two things are certain, death and taxes. Unfortunately, one of the things that is not always certain is the wonderful mystery of love. Sometimes, it lasts for a lifetime but more often than not it can be a cruel device and become fleeting. The movie, Blue Valentine deals with this difficult subject and explores one such relationship that is clearly on the ropes.

Frankie (played by Faith Wladyka) screams for her daddy. She yells again. The girl makes her way back to the house and crawls inside using the window. She finds her dad, Dean (played by Ryan Gosling) asleep on the couch. Frankie wakes him and they go outside and we realize that their dog, Meagan is gone. They go back inside and try to wake the mother, Cindy (played by Michelle Williams). She resists but eventually stirs.

Every year when the Academy Awards have been given out, I look over the winners in each category, and more often than not I scratch my head at the ultimate winners. I find myself wondering if they saw the same movie I saw. I start to ponder if there might be an alternate-universe version of these movies that somehow find themselves in the hands of the Academy jury. Sure, once in a while they get it right. Films like The Godfather, Gladiator and Unforgiven manage to fight off the competition and claim their earned statues. Most times, however, I find that a trend of political correctness enters the picture more than the quality of the films or actors themselves. It's the only way I can explain Sean Penn taking a statue over Mickey Rourke a couple years back. Films and actors are rewarded to showing the proper political philosophy. So, when I heard that The King's Speech won the award this year, I began to fear the same circumstances had once again prevailed. I hadn't seen the film, but the subject matter appeared to qualify. I considered it another undeserved Oscar given to an ambitious Hollywood crowd brown nose. Then I saw the film through this Fox Blu-ray release. It might not happen often, at least no more that a dozen times a day, but boy was I wrong about The King's Speech. This really was one of the best films not only of this last year but in quite a long time.

The Duke of York (Firth) has a serious speech impediment. He stammers, which isn't the most confidence-inspiring trait for a member of the royal family to have. In the past the problem likely would not have become an issue. But the invention of radio has made it essential for the members of the royal family to speak to the nation and the world. With the help of his extremely devoted wife Elizabeth (Carter), he has seen all manner of specialists both of sound scientific principle and the whack-job varieties. Nothing works. Elizabeth hears of an unconventional therapist who has a rather impressive track record. When she visits Lionel Logue (Rush) for the first time under an assumed name, she finds him a bit arrogant and unwilling to bend his rules, even for the Duke of York. Still, they decide to give the man a try. At first it appears as though this was merely another in a long string of failed attempts to help the Duke. He leaves as frustrated as he had ever been. It didn't help that the obstinate man insisted on calling him by the too-familiar name of Bertie, reserved only for close family. He treated the Duke like a child. The Duke exited holding a record made of an attempt to speak with blaring music in his ears. He decided he didn't need to hear the recording and suffer the usual humiliation.

"I guess if this is the first you're hearing about it, I know how this must all sound."

Unless you've been in a coma like the lead character of The Walking Dead, you've been hearing a lot about this AMC television series of late. It's no wonder. I'm amazed that it's taken so long to see a zombie television series. The show has incredible visuals. There's a courtyard scene at the beginning of the pilot that is as impressive as anything you've seen in a movie. And when a character has to shoot a 6-year-old girl in the head, you understand instantly that this is going to be something unique.

"This despicable remake of the despicable 1978 film, I Spit On Your Grave adds yet another offense: a phony moral equivalency."

Roger Ebert is at it again. Over thirty years ago he pretty much hated the original film, but he didn't stop there. He extended his hatred to the fellow movie-goers he encountered as well. The 2010 remake appears to retain his disgust, and couldn't be prouder of the slight. Go figure.

"A vile bag of garbage named I Spit On Your Grave is playing in Chicago theaters this week. It is a movie so sick, reprehensible and contemptible that I can hardly believe it's playing in respectable theaters..."

Seldom has a film been so proud of a bad review like the one Roger Ebert delivered when he saw the film in 1980 during its limited Chicago area run that year. The rest of the review continues its rant against the violence and despicable nature of the film. But Ebert doesn't stop there. He extends his contempt for the audience who shared the film with him. He describes them as a "profoundly disturbing" crowd. He continued to describe the audience: "they were vicarious sex criminals." The man's certainly entitled to his opinion. Give those associated with I Spit On Your Grave some credit for refusing to engage in the insult. Instead they wore it like badge of honor and used it in several of the film's later release campaigns. Good for them.

Character studies. They might be the most misunderstood movies in the business. Those who do understand them love them when they're done right. When the perfect balance of performance and direction create dynamic moments through character and to a lesser extent the story, we get pretty excited. I watched Stone recently, and I got pretty excited. But that's not the experience a lot of folks had. Perhaps because the film had a limited release in just over 100 theaters nationwide, the idea that it was an art-house or festival film might have put the mainstream folks off a bit. I would have thought that a cast that featured both Robert De Niro and Edward Norton would have more than compensated for the perception. Still, the film has not been treated very kindly by moviegoers and many critics. Again, I think that's because there are still a lot of people out there, critics included, who still don't understand the nature of a character study.

Jack (De Niro) works at a prison. He's a probation officer who must evaluate potential parolees for the parole board. His job is to sit with them and hold conversations akin to counseling sessions to get a feel for where their head is at. He makes his recommendation, and it carries a lot of weight, so he literally has these men's future in his hands. His wife (Conroy) is deeply religious, and the couple read from the Bible each night. The film's opening vignette reveals that Jack was a violent and unstable man in his youth and has obviously settled down. But now he appears to go through life numb. He's about to retire, and he's searching rather desperately for some meaning in his life. His worldview is about to be shaken with his final case.

Vampires are real. There are millions of them out there. They might drink a little blood, but they're also quite fond of milkshakes and french fries. They don't usually haunt the local cemeteries at midnight because they often have curfews. They don't spend their days lying helpless in coffins deep in hypnotic slumber. They save those hypnotic states for uncomfortable desks. You can't scare these creatures with garlic or a crucifix. They're far more frightened of homework and detention. Yes, vampires are quite real and yes, there are millions of them out there. Just visit any junior high school campus, and you'll find them there not so cleverly mingling with the student body. At every one of these schools there are girls with bite marks on their necks. They consider them a sign of eternal love, but they are far more likely to lead to hepatitis than immortality. For millions of teens across America, vampires are more than real. They're cool.

As I've said many times on these pages, the vampire fad isn't new at all. It's been around for over a hundred years. The Twilight series of books has made the genre sexy and accessible to angst-filled teenage girls and a few boys. The same phenomenon has spread all over the world. In Sweden it came in the form of John Ajvidelindqvist's novel Let The Right One In. Like the Twilight books, the novel became must reading for teens across Europe. And also like Twilight, it was made into a movie that enjoyed incredible success throughout the world. It should come as absolutely no surprise at all that the American filmmakers should want to take a crack at the material. Not only would the film be made in English for the American moviegoers, but it would be the perfect film to launch the rebirth of another horror and vampire staple ... Hammer Films.

As most fans of this site know, I’m the resident video game expert on the site. Which means? I play lots of video games. So by default, whenever something video game related comes to this site, it goes to me. Good, bad or indifferent. Many video games these days do the cross-promotion thing whether it would be books, movies or even games before the actual game. One of these I received recently was Dead Space: Aftermath on Blu-ray to promote the launch of Dead Space 2.

Space. We enter to see the USG O’Bannon come into view. Suddenly we see a bunch of dead bodies all around the ship. Something is very wrong. Soon, the scene shifts to inside the ship where there is a rescue crew investigating for life signs. They find four blips on their equipment and then the engine starts up without warning. The crew rushes and finds the four life beings.

Philip Seymour Hoffman has become quite the acclaimed movie star by working in many well nominated flics such as Capote, Doubt, and Charlie Wilson’s War. However, Mr. Hoffman does a great deal of stage work when he is not performing in front of a camera. His recent directorial debut involved a piece of stage work that he brought to film, Jack Goes Boating. Let us see how this plays out.

Jack (played by Philip Seymour Hoffman) and Clyde (played by John Ortiz) are two limo drivers in New York City. They are both interested in moving out from the limo driving business. Clyde is attending night classes while Jack is thinking of applying at the Metropolitan Transportation Authority. They are also best friends and Clyde is currently trying to hook up Jack with a girl named Connie (played by Amy Ryan).

Well, I've been about a month off since my last review and the rest was sorely needed. I visited my folks, thought about my future and spent the holidays enjoying life and trying to do somethings I wouldn't normally do with my paying job and my writing gig. So, the first movie I crack open is Fire on the Amazon with Sandra Bullock, Craig Sheffer and produced by Roger Corman. Wait, Roger Corman, king of schlock and “B” movies? Hrmmm, I feel another vacation coming on.

Fade in, we see the Amazon jungle. Turtles, macaws and monkeys, oh my. Somewhere, a tree falls. (too easy of a joke and too early). Suddenly, we flash to a runway and a plane coming in from the air. RJ (played by Craig Sheffer) gets off the plane and gets right to work. For you see, he is a photographer and he's been sent here to get the scoop on the destruction of the rainforest. But in order to better understand the situation, we must get a little history about the opposition.