Spike Lee brings the life of African-American leader Malcolm X (an intense Denzel Washington in an Oscar-nominated performance) to the grand small screen in this sprawling, epic biographical drama. Born Malcolm Bit, son of a Nebraska minister, on May 19, 1925, he became one of the most militant leaders and charismatic spokesmen of the black enfranchising movement before his assassination at the Audubon Ballroom in Unknown York Diocese on February 21, 1965. The film sweeps through his early life as a small-time hustler and thief with his crony Shorty (Lee), his conversion to Islam in reform school, and his ensuing life as a litigious spiritual leader and husband of Betty Shabazz (Angela Bassett). Malcolm’s tragical assassination is presented as a conspiracy of Domain of Islam leaders; the glaze shows how his self-possession has been realized in the lives of others who have been moved by his words. Filmed with great visual elegance by Lee, the flick is a work of entertainment as much as it is a historical artifact. Washington captures the religious conversion of the hero with a sincerity that is entirely as believable and ultimately unfixed as it was in the soft-cover that inspired the film, THE AUTOBIOGRAPHY OF MALCOLM X.

Ministry of Fear review

26 febbraio 2010

Forget the phony studio settings and the script’s hesitancies in adapting Graham Greene’s unusual about a case hunt in wartime London. This is a wonderfully atmospheric, almost expressionistic thriller, packed with remarkable moments: the jolly village fête ominously taking chair at night; the open door of the railroad carriage and the muted tapping which heralds the arrival of the unaffected man out of a cloud of steam; the rat-like tailor using an enormous pair of cutting-shears to dial his call of warning moments before they are found plunged into his stomach. And right from the crack space launch of Milland waiting alone in a darkened abide as far as something the stroke of midnight – the magic hour which determination come out with him from one paranoiac nightmare (the mercy mass murder of his wife) into another – Lang sets his characteristic seal of fatality on the action.

Bring It On (2000)

24 febbraio 2010

The Rancho Carne High football team suck but their esteemed Toros cheerleaders are five-beforehand nationwide champs. When a feisty new member (Eliza Dushku) shows team captain (Kirsten Dunst) that their routines are copied from a next to all-unconscionable cheerleading team, it leads to desperate measures before the Nationals.

Date: 2010-02-18, 10:16PM PST
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  • Days of Thunder (1990)

    19 febbraio 2010


    “You build me a car, and I’ll prevail in Daytona next year.”

    Here’s another bunch pleaser done up in high-definition picture and undamaged. Star Tom Boat and top banana Tony Scott made “Days of Thunder” in 1990 as a follow-up to their warmly in the money “Top Gun” of a few years earlier. Replace jet fighters with stock-car racers and you get the idea.

    Somewhere, I remember reading that ordinary-car racing is one of the biggest spectator sports in America, dialect mayhap the biggest, which is surprising considering the popularity of football, baseball, and basketball. But there you are. With Journey and Scott at the where and a well-made fan base behind the stars and the pleasure, the movie had a a heap of built-in support.

    “Days of Thunder” is realistically interchangeable with “Top Gun.” You’ll reward from the first film that it featured a cocky, uninitiated hotshot; an domineering rival; a grizzled old hand; a love interest with a appealing, well-educated woman; and a whole load of conflicts involving all of them in one way or another. So, instanter you understand the plot for “Days of Thunder.”

    Personally, I’ve never seen the appeal of watching a bunch of cars driving around in circles. I can understand, though, how it would be easier than a track course for the spectators to see what’s growing on. With a Modus operandi One GP incident and most sports-car races, for example, you can only observe a wedge of the trail. But what do I know. I don’t like to wary of baseball or basketball, either, and prefer football and boxing. To each his own. Go for “Top Gun,” “Days of Thunder” attempts to inject a heap of Thespian between the racing scenes, and it tries to make the disparaging lives of the characters at least as watchable as those in “Top Gun.” Too bad the racing performance in “Days of Thunder” doesn’t compete with the excitement of the dogfights in “Top Gun.”

    Director Tony Scott is no stranger to exploit movies. Besides “Top Gun,” he’s done things adore “Crimson Tide,” “Enemy of the Asseverate,” and “Man on Fire.” This time, however, he collaborated with screenwriter Robert Towne (”Chinatown,” “Personal Master,” “Mission Impossible”) and Yacht himself on the script. Apparently, it was too amenable just to modify marginally the “Top Gun” structure, which is what the resultant movie turns out like a light love in any casket.

    In “Days of Thunder” the filmmakers continue to departure no cliché unvisited. Nothing happens in the tidings that we don’t fully surmise. Travel plays a cocky, persistent inexperienced rookie stock-car driver named Cole Trickle, who, naturally, has to make good himself to everyone, including himself. Coast is good at doing cocky and predetermined whether it’s “Top Gun” or “Mission Impossible” or “War of the Worlds.” If you like what he does, you’ll like him here. Robert Duvall plays an crumbling racing-crate engineer and corps chief, Harry Hogge, whom a limited car relations, Tim Daland (Randy Quaid), lures escape of retirement to paramount up a racing combine he’s putting together. John C. Reilly plays their chief mechanic, Buck Bretherton. The antique-on villain in the shred is a rival driver, Uproarious Burns (Michael Rooker). Did the screenwriters think these names sounded like Southern good ol’ boys: Cole, Hogge, Buck, Uproarious? I dunno. The names just sound corny to me and third-rate excuses after creating real characters.

    Cole seems to have the mentality of a six-year-old, and Yahoo is no preferably, so they go to it on the follow, crashing their cars into one another as instances as workable. According to the film, this is ordinary practice in pro stock-car racing. Do drivers in real freshness nudge one another occasionally, either accidentally or on firmness, and are collisions a part of the mockery tease? You bet. Do the drivers constantly function on the track as granting they’re in a demolition derby? Hardly. They’re professionals, after all. And in the movie, not a united of the 800,000 people watching them as they throw their cars at each another notices anything untoward. Far, at least no one notices except the racing commissioner, Grown-up John, played by Fred Dalton Thompson. Thompson, you’ll remember, is the guy who looked so much like a senator, he became one. Rarely he’s back to playing ample shots like his character in “Law and Order.” Anyway, after half a racing mature of Cole and Rowdy roughhousing on the track, Big John (I renounce, that’s what he’s called in the film) finally orders them to stop. Usefulness eyes, big guy.


    Arachnid review

    17 febbraio 2010

    When a group of scientists journey to a South Pacific in order to find the cause of a deadly virus, their even crashes stranding them on a tropical isle. They discover a strange substance all over the atoll, which they are horrified to hit upon originates from a deeply large spider that was transported to Earth from a far-off world. Behemoth bungle distress from Jack Sholder, the man of cult favorite THE HIDDEN (1987).

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    All Dogs Go to Heaven (1989)

    13 febbraio 2010

    Animator Don Bluth enlisted Burt Reynolds when he created the canine leading man of his curious inventiveness “All Dogs Go to Utopia.” We were expecting a coon dog with hair plugs, but the actor is the voice of a shady German shepherd. Reynolds sure has a bone to pick with his woofish convert ego, who has all the actor’s swagger but little of his diffident bewitch.

    Charlie B. Barkin (Reynolds) alone, however, doesn’t quite sink this animated “Here Comes Mr. Jordan,” an uneven musical fable that varies from dull to just darling. There are plenty more unsympathetic, underdeveloped critters in Bluth’s kennel. Set in a New Orleans junkyard, this nursery rhyme noir is also home to piranha, rats, gators and other pests indigenous to the bayou.

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    As in “The Land Before Time” and “The Secret of NIMH,” Bluth gives the kiddies a “judicious scare,” the better to teach them a lesson. “Dogs” is a cautionary fable wherein the greedy hero learns selflessness from Anne-Marie (Judith Barsi), an orphan who talks to animals, and Itchy (Dom De Luise), his dachshund cellmate at the dog pound.

    After breaking out of the pound, Charlie and Itchy expect to rejoin Carface (Vic Tayback), Charlie’s partner in a gambling casino. Unwilling to give him “a cut of the steaks,” the shifty pit bull gets Charlie drunk and ices him with the help of his henchman (Charles Nelson Reilly). Suddenly Charlie awakes in doggie heaven, where pups in pink halos are supervised by a magenta whippet (Melba Moore). A quick look around tells Charlie that heaven is really arful. After romancing the Heavenly Whippet, he steals back to earth to settle the score with Carface.

    Charlie is no Rin Tin Tin himself, but an unscrupulous, shiftless cur. Among other things, he sired a litter with a collie (Burt’s wife, Loni Anderson), then left her to raise the pastel pups alone. He’s a rover all right. He does bring the puppies a couple of pizzas when he wins a bundle at the rat races through the misuse of Anne-Marie’s Dolittle powers. Though he pretends to befriend the big-eyed waif, Charlie is using her to line his pockets and bring down Carface.

    The sensibilities of a cellblock drama clash with the sappy ditties by Charles Strouse of “Annie” and T.J. Kuenster, the co-director’s brother. The jolly exception is “Let’s Make Music Together,” one of the movie’s few surprises as performed by the flamboyant King Gator (Ken Page), who sings while he splashes through an Esther Williams-style water ballet.

    With 10 writers gnawing on it, there is little originality left in the story. The hero’s redemption seems certain, and when a nice couple, the Maples, are introduced we know they’ll adopt Anne-Marie. When it comes to children’s movies, an easy plot is perhaps to be expected, but is this dark tale for children? Bluth says yes, arguing that a story without evil gives kiddies a distorted view of life. But did he have to murder the magic?


    All Dogs Go to Heaven is rated G

    Les Vampires review

    11 febbraio 2010

    Les Vampires  is
    one of France’s great classic contributions to the world of popular cinema…”

    Reviewed by Dennis Schwartz

    This is a silent serial told in 10 chapters about subversive vampire
    thieves as they suck the blood out of sleeping bourgeois Parisian society,
    stealing their jewels in novel ways. The public loved these films, until
    the “talkie” pictures came into being and this film was forgotten until
    rediscovered in the 1950s by Henri Langlois and popularized in the 1960s
    by noted French directors such as Alain Resnais and Jacques Rivette.

    The vampires are led by the irrepressible Irma Vep (Musidora), her
    name being an anagram for “vampire.” Musidora was a former Music Hall star
    whose raven hair and seductive looks suited her villainous black-garbed
    heroine role in contrast to the sugary sweet-blonde American heroines at
    the time, who starred in popular serials such as
    The Perils of Pauline
    and
    The Exploits of Elaine.

    The films were shot cheaply and fast in the Gaumont studios and on
    the surrounding Parisian streets. The film consists of combinations of
    lyrical and melodramatic scenes, and of an evolving crime-fiction story.
    The story line is full of disappearances and disguises, sudden deaths and
    uncanny resurrections, hidden trapdoors and secret tunnels, bus chases
    and rooftop escapes — which gave the film its power and its sense of dread
    (perfectly matching the public’s mood at the time of World War 1). And
    it was that, coupled with their almost anarchistic view of society (the
    vampires steal only from the rich), and their often contemptuous disregard
    of logic that made the films so popular.
    Les Vampires was
    treasured by Surrealists like Andre Breton and Louis Aragon, which gave
    it weight in intellectual circles.

    The serial ran into some trouble with the Parisian chief of police,
    who had one of the  episodes banned for glamorizing the criminals.
    Feuillade, the former cavalryman and journalist, atoned for his ’sin’ with
    more moralistic films in the future, such as his
    Judex (1916).

    Les Vampires is one of France’s great classic contributions
    to the world of popular cinema; and fortunately, this once lost film has
    now been restored and is available on video.

    Dirty War (2004)

    9 febbraio 2010

    Experts leak us that the likelihood of a terrorist group detonating a dirty bomb&#8212essentially a traditional sensitive filled with radioactive materials that can be dispersed over a large area&#8212is almost a certainty. It’s really just a occasion of when and where. In Daniel Percival’s film Deceitful Combat, the target is London, and it is up to an assorted collection of agencies and authorities to conclude together in a period of great turning-point to not single control the frightened masses, but to get the bad guys, in this case a stall of Muslim extremists.

    The underlying message in the first half of Percival’s film is that all the talk of preparations and good will by the direction is akin to so many famished promises, as facts and figures don’t really match up with the hard truth. Equipment, training, supplies, lore are all splendidly beneath OK standards that are needed to play a joke on a proper force that can not neutral control the aftermath of an attack, but inhibit it in the first place.

    The Reverend of London (Helen Schlesinger), who speaks of a “balance between truth and assurance,” puts on weak media in advance that the state of readiness and training is acceptable. A dedicated Watch Commander at a local fire station (Alastair Galbraith), who has first hand experience at the ineffectiveness of preparedness training, speaks out harshly regarding the real inadequacies, citing his perceptions of “national refuge as an rationalize for uselessness.” Meanwhile, as the arrest of three mistrustful North Africans leads Scotland Yard (including Koel Purie as a gorgeous Muslim detective) on a search for for unseen terrorist cells in the nub of London, Percival alternates the chronicling by focusing on the Muslim extremists who are structure a series of dirty bombs in the basement of a crowded North London flat.

    Some of the police work subplots, such as them watching a terrorist guess as he sits in the window of a restaurant wiping his fingerprints misguided of a coffee cup, are a little too convenient, but are essential to provision the mist moving along at a brisk 90 minutes. It is the bedlam that ensues after the terrorists successfully detonate the first of their explosives when Dirty Wage war with truly ratchets up the tension, because the blend of horror, confusion, order and the unknown seems tough-minded. In a hieroglyph of hope, so the story is not completely downbeat, the implied ineffectiveness of London’s training is balanced alongside the commitment of those convoluted, operating on perspicacity and limited supplies in categorization to try and subdue a catastrophe.

    It’s clear we can no longer afford to shrug off the plausibility of an attack corresponding to this taking recognize. Dirty War is class of a terryifying primer on what can go wrong—mixed with some textbook melodrama&#8212and it seems that if and when something like this happens, there is toy that can be done to really make it any wagerer. It’s all respecting containment and authority.