Posted in: Disc Reviews by Archive Authors on January 20th, 2006
2005 was definitely a big year for Tim Burton. He had the mega successful Charlie and the Chocolate Factory and ended the year with this film, Corpse Bride. Neither Charlie or Corpse deserved to be placed on the top of Burton’s best work list, but both are filled with typical Burton qualities from his funny jokes to interesting visuals.
Tim Burton’s Corpse Bride is similar to The Nightmare Before Christmas via Burton’s usual trademarks. Corpse Bride features...Burton’s land of the dead from his very funny Beetle Juice, the dark tone of the film from Sleepy Hollow and the usual score by Danny Elfman. Oh and one more usual Burton quality. Johnny Deep adds in his voice portraying Victor.
Posted in: Disc Reviews by Archive Authors on January 20th, 2006
Synopsis
One of the memorable events of history that has gone unnoticed was the 1893 World’s Fair, held in Chicago. It was an elaborate event that transformed Chicago into several different metropolises (or is it metropoli?) like Venice, for instance. The result was a lavish, expensive journey that inspired many, among them, architect Frank Lloyd Wright.
Posted in: Disc Reviews by Archive Authors on January 17th, 2006
The Gospel is the first mainstream film to come out in quite sometime that deals with the role of the African-American church. Reading the title of the film, one must think The Gospel is an overly heavy religious filled film right? Well, I am very happy to say that the film is not particularly a religious film, but what a film that has the type of characters that can make a viewer become a believer. Not necessarily the type of believer of the church, but the type of believer in the music that is sung in...The Gospel. The film deals with the economic and social function of the whole church mainly how the church operates as a stabilizing force, a stage for random personalities, an area for various power battles and a business that must find a way to make a profit otherwise it will find itself going out of business.
The films features such well-known singers as Yolanda Adams, Fred Hammond, Martha Munizzi and ‘American Idol’ finalist Tamyra Gray. Even though the film does have a plot, the film never spends too long on one area only to return to the musical performances, which is where the film become so enjoyable.
Posted in: Disc Reviews by Archive Authors on January 14th, 2006
Synopsis
I was amazed that a film starring three Academy Award winners (Robert De Niro (Raging Bull), Kathy Bates (Misery), F. Murray Abraham (Amadeus) would be so ignored and passed over by the movie going public. Based on a novel by Thornton Wilder and adapted for the screen and directed by relative unknown Mary McGuckian, the film recounts a tragic incident where several people fell to their death from a bridge collapse. A monk by the name of Brother Juniper (Gabriel Byrne, The Us...al Suspects) tries to piece together the lives of the people involved in the accident, to determine if it was a larger act of divine intervention.
Posted in: Disc Reviews by Archive Authors on January 11th, 2006
Synopsis
I’ve long held the somewhat chauvinistic belief that female stand up comedians are simply not funny. I’ve given people like Ellen DeGeneres, Paula Poundstone and Margaret Cho as much unbiased time as I can give, and I just don’t laugh at them. Their sense of humor is softer than any comparable male comedians, and is far more subtle. Does that make me a cro-magnon male with a large forehead? Probably.
Posted in: Disc Reviews by Archive Authors on January 11th, 2006
Tessa Quayle (Rachel Weisz) is not your standard activist. She won’t be satisfied by simply standing on protest lines – she must be where the action is, and for her it’s in disease infested Kenya. When a pharmaceutical company sets up shop there to distribute a prototypical drug to the people, Tessa becomes involved in a conspiracy that will eventually costs her her life.
After Tessa turns up dead – and this is no spoiler – her death is featured in the opening scenes of the film, husband Justin (Ralph Fien...es) delves into her world – a world he has learned to accept as a diplomat – to find the reason behind her death. Upon his discovery he learns that his wife was an entirely different woman than the one he knew, a woman who regularly hid things from him. But why did she keep secrets? Was she having an affair? Was she protecting Justin from a life she knew he would not sympathize with as a government worker?
Posted in: Disc Reviews by Archive Authors on January 9th, 2006
Synopsis
Tae-suk is a young man who breaks into people's home while they are away. He lives there in their absence, but doesn't steal anything, and fixes odds and ends while he's there. During one such break-in, it turns out that owner's wife is there, and a love affair begins between the two. When the abusive husband returns, Tae-suk winds up killing him with the title instrument, and the lovers flee.
Posted in: Disc Reviews by Archive Authors on January 8th, 2006
Synopsis
Lenny Baker is a young Jewish lad (based on writer/director Paul Mazurksy himself) who dreams of being an actor. The time is the early 1950s, and Baker moves from Brooklyn to Greenwhich village to make a name for himself. Every conceivable element of Beat life in the Village is present, and Baker encounters all sorts of characters (including a young Christopher Walken and Jeff Goldblum). He must also deal with complications in his relationship with girlfriend Ellen Greene, and his domineerin... mother (Shelly Winters).
Posted in: Disc Reviews by Archive Authors on January 6th, 2006
Synopsis
Welcome to Vince Lombardi High School, where new principal Mary Woronov (coming on like a cross between Miss Jean Brodie and Ilsa) is determined to stomp the student body into submission. In order to do this, she wants to banish rock music. Her chief antagonist is PJ Soles, a huge fan of the Ramones, and she eventually enlists the band itself to help defeat Woronov and her fascistic hall monitors.
Posted in: Disc Reviews by Archive Authors on January 6th, 2006
Peter Weir’s Gallipoli is a remarkable film. Starring an inexperienced model, who was only intended to be used for a photo shoot to promote the picture and shot on a small budget, this film's longevity and frequently attained levels of excellence could have never been predicted. That doesn't mean Gallipoli will be turning up on any all-time best lists any time soon, as the first half has a tendency to drag its feet. However, a solid hour two punctuated by one of the most haunting images I have seen in a...war film elevates the material from slow-paced and dragging to something that actually works, and is certainly worthy of recommendation. Mark Lee, the model-turned-actor mentioned above, stars opposite Mel Gibson, and delivers a performance of such credibility that no one could have ever guessed he didn't know the first thing about acting. In fact, he holds his own with the already seasoned Gibson, and the two make a believable pairing as a couple of naive young men hungry for adventure, who make the mistake of seeking it during the First World War. Their paths lead them to the disastrous real-life battle of Gallipoli, where strategic incompetence led to the senseless slaughter of a great many Australian soldiers.
The sense of pride in one's country is always there, and the movie seems to endorse such a feeling. However, the anti-war message is never far from the surface, and it wells up prominently in the third act like blood from a liver wound that reappears as quickly as it’s washed. Still, it's anti-war without being partisan, and remains true to all the soldiers, who gave their lives for their country, their beliefs, and most importantly, their mates. Weir's directorial style also provides the film with two strong legs, and has since been imitated in every great modern war film, especially Spielberg's Saving Private Ryan. The underwater shrapnel scene of Gallipoli is recreated with equal skill and effectiveness by Spielberg, but let's remember: Weir did it first. And Weir's constant use of exterior locations, while nearly achieving overkill status from time-to-time, demonstrates the director's expert sense of landscape and scope. It's a beautiful picture to watch, but not always one to entertain. However, hang with it through the first hour, and you'll be blown away by the crescendo of fear and violence Weir's film has reached.
