“Nothing limits achievement like small thinking; nothing expands possibilities like unleashed imagination.” William Arthur Ward

Over the weekend I watched a movie that touched me on so many levels, that I must say it is now one of my favorites.  To break into anything on my “favorites list”  is a major accomplishment to me.  I don’t have favorites.  Life is full of beautiful experiences that to have a favorite color, food, movie, song, seems not fair to anything I would soon experience.  Like I would already have a biased opinion when something new comes knocking on my door.  I have things that I enjoy just as if it was the first time experiencing it i.e. a song, movie, a food.  So, I have things I appreciate more in  small categories. I admit, I can be a bit complicated.  You will never hear me say my favorite color is purple blue and my favorite muffin is chocolate chip or my favorite movie is Love Actually.  Although, those have made their categories.

The new entry on my favorite movies is definitely one of those movies that I, in time, will watch again and again.  On a late Saturday night curled up on the couch with pumpkin spiced hot cocoa I took in every bit of Tim Burton’s 2003 film, Big Fish.  Sound familiar? Have you seen this?  I cannot recommend it enough.

Big Fish is full of color.  It startled my feelings.  It inspired me. It reminded me what it’s like to believe in magic and fairytales. Can you recall that feeling as a child when a monster was in your closet at night? How about Santa Clause and Rudolph were coming sometime in the night thinking you definitely heard pitter patter on the roof top above you?  That the Toothfairy was going to leave a sweet surprise under your pillow?  That Mickey and Minnie Mouse were the best couple in the world?  Where your imagination had endless possibilities?

The main theme in this film is reconciliation and takes place between a father and son. Reconciliation is defined as “resolution, compromise, reunion, and bringing together.” Reconciliation is one of those heavy words for me that in life, friendship, and love to name a few is that knot on a string of pearls that holds everything together.  Over time, it can become loose and even to the point if not valued (purpose of why it is there), will become weak only to result in the strand of pearls simply falling apart.  In life, to become separated and drift apart.

I can recall from personal experiences where reconciliation has played crucial roles including family relationships, friendships and love.  Some too late to be resolved and a lesson that I have learned from and some thankfully saved.  Those reconciled as a result of having a stronger  bond “string” which helped support that weak knot.  That helped secure it and bring everything together again.  We can say, it is never too late.  I believe, sometimes it can be. That is so unfortunate.  That is why reconciliation is such a heavy word.

“The practice of peace and reconciliation is one of the most vital and artistic of human actions.”  – Thich Nhat Hanh

A brief synopsis of Big Fish per by Wikipedia –

“Big Fish is a 2003 fantasy drama film adapted from the 1998 novel of the same name by Daniel Wallace. The film was directed by Tim Burton and stars Albert Finney, Ewan McGregor, Billy Crudup, and Jessica Lange. Finney plays Edward Bloom, a former traveling salesman from the Southern United States with a gift for storytelling, now confined to his deathbed. Bloom’s estranged son, a journalist played by Crudup, attempts to mend their relationship as his dying father relates tall tales of his eventful life as a young adult, played by Ewan McGregor.”

Some of us can relate to living up to an expectation, I know I can. I will admit honestly to that.  This film shows the struggle of a son living under his father’s fairytales, including big fish, finding and marrying his soulmate, having a giant as a best friend, living in perfect places, joining the circus, being a hero, and even war to name a few!

The father in this film expressed his love to his son through stories and wholeheartedly with his words.  I often say on my blog that words are powerful.  This film demonstrates the power and absolute beauty of words.

In addition to reconciliation, the film touches upon the endless possibilities of using your imagination, turning dreams into realities, finding your soulmate and of course the unconditional love within family and friendships.  This film entertained me every second. It touched upon so many emotions.

This touching and artistic film included so many memorable quotes that you must watch every second of the movie.  If you have to answer a call, respond to a flashing blackberry, pour another glass of wine or pop more popcorn… hit PAUSE. It is in the smallest moments of the film where the prettiest things are exposed.  Moments that literally caused my heart to smile.

Some of my favorites -

Young Ed Bloom: Now I may not have much, but I have more determination then any man you’re ever likely to meet.

————————————————————————————————————————————

Will Bloom: I know better than to argue romance with a French woman.

————————————————————————————————————————————

Young Ed Bloom: I just saw the woman I’m going to marry. I know it. But I lost her.

Amos Calloway: Oh, tough break. Well, most men have to get married *before* they lose their wives.

Young Ed Bloom: I’m gonna spend every day for the rest of my life looking for her. That, or die alone!

————————————————————————————————————————————

Karl: I don’t want to eat you. I just get so hungry. I’m just too big.

Young Ed Bloom: Has it ever occurred to you that maybe you’re not too big? That maybe this place is just too small?

————————————————————————————————————————————

Will Bloom: A man tells his stories so many times that he becomes the stories. They live on after him, and in that way he becomes immortal.

——————————————————————————————————————————————–

Young Ed Bloom: You don’t know me, but my name’s Edward Bloom… And I love you.

—————————————————————————————————————————————-

Will Bloom: [to Ed] You’re like Santa Claus and the Easter Bunny combined – just as charming, and just as fake.

I won’t speak much more of it, or give away the ending.  I will say that in life, we can only be so blessed to come full circle. Especially, before it is too late.

When is the last time you unleashed your imagination?

CK

Matt Damon ponders how much cooler he would have looked if the production had sprung for a Harley.

(Universal) Matt Damon, Joan Allen, David Strathairn, Julia Stiles, Scott Glenn, Albert Finney, Paddy Considine, Edgar Ramirez, Trevor St John, Daniel Bruhl, Joey Anash, Tom Gallop, Corey Johnson, Colin Stinton . Directed by Paul Greengrass

The most recent installment of the hit film series based on the John Le Carre spy novels, The Bourne Ultimatum picks up pretty much where the last film, The Bourne Supremacy left off, in Moscow. We pick up with memory-challenged superspy Jason Bourne (Matt Damon) being chased by the Moscow police through the back alleys of Moscow. An injured Bourne finally makes his way into a closed for the night medical clinic where he tries to effect crude repairs, but he is interrupted by a pair of clever cops. They aren’t quite clever enough and he escapes once again, disappearing from the CIA grid.

Back in the States, CIA director Ezra Kramer (Glenn) is very eager for Bourne to be caught. Deputy Director Noah Vosen (Strathairn) believes Bourne is a major threat to the agency, whereas Deputy Director Pamela Landy (Allen) thinks Bourne is not necessarily out to take down the agency, but instead to get answers. Landy is put in charge of the hunt for Jason Bourne.

In Turin, a newspaper columnist (Considine) meets with a CIA section chief (Stinton) who gives the columnist information about Blackbriar, the successor to the Treadstone program that created Bourne (and that Bourne essentially destroyed). The CIA, apparently monitoring every cell phone call on the planet, picks up a call from the columnist to his editor that contains the word “Blackbriar” and immediately he is put under surveillance. Bourne by chance reads the man’s column (apparently he’s a big fan of the Guardian newspaper, since he reads it in another country) and realizes that the columnist may have information that Bourne needs. Of course, this sets off all sorts of mayhem, including a chance meeting between Bourne and Nikki Parsons (Stiles), the Treadstone agent who helped Bourne previously. Chased by the CIA, Interpol and quite probably some irate Girl Scouts, Bourne makes his way to New York City with the intention of discovering the truth about himself and possibly bringing an end to the game he no longer wants to play.

In a terse spy thriller like this one, you have to take a few things on faith, and suspend disbelief to a certain extent. It’s hard to believe that an agency with the technical ability to pick out a single word in a phone conversation involving two men not under suspicion for anything are unable to suss out a man entering their country undisguised under a passport they themselves issued. I mean, don’t they have computers at the airport?

Plot holes aside, you come to a Bourne movie for the action sequences, and here the movie doesn’t disappoint. Chased by assassins (and chasing them), evading detection by legions of agents and police, director Greengrass sets up a massive body count (not to mention an auto body count, as the film might just be worse for automobiles than for stuntmen) and extended action sequences which, while breaking no new ground, do cover old ground expertly. He keeps the suspense ratcheted up to 11 throughout most of the movie, with very little breathing room and manages to move the plot along with expository sequences without breaking momentum created by the action scenes – the one in Tangiers, by the way, might be one of the best you’ll ever see. However, be warned many sequences appear to be filmed by hand-held cameras. While this delivers a kind of you-are-there feel to these sequences, in my opinion it’s used a little overly much and gives the movie a kind of jerky quality that I found jarring.

Damon continues to do the part of Jason Bourne with extraordinary aplomb, rarely displaying much emotion but allowing the feelings bubbling below the surface to see the light of day from time to time. Strathairn plays a worthy adversary who picks up after Chris Cooper and Brian Cox from the first two movies and acquits himself nicely. Stiles does some of her best work in the Bourne movies and as the only other actor besides Damon to appear in all three movies, providing some nice continuity.

The movie takes place in several European cities, including Moscow, Turin, Madrid and in Tangiers, Morocco as well as New York City. The movie uses actual locations to add a further air of realism, a nice touch (which created some difficulties for the filmmakers – if you look closely during the train station scene, there are people who notice the cameras and point to them). While many of the secrets of Jason Bourne are explained (including his actual identity), there is certainly enough room left at the end for a sequel if the filmmakers and actors choose to go there which for awhile, it appeared they did until Greengrass recently withdrew from the proposed fourth Bourne film, leaving the status of the movie very much up in the air – Damon’s participation without Greengrass is certainly less likely.

Like most of the third movies, this one is pretty flawed but you can take some solace in the fact that while it doesn’t arise above its own ambitions, the movie nevertheless fulfills those ambitions nicely. In other words, you get exactly what you came to see.

WHY RENT THIS: Awesome action sequences as have become synonymous with this franchise. Exotic locations that bring to mind the cold war spy thrillers that the source material was contemporaneous with. The tension is unrelenting.

WHY RENT SOMETHING ELSE: The plot holes are hard to ignore. Too much hand-held camerawork which was cliche even before this was made.

FAMILY VALUES: While the action sequences are terrific, they may be a bit overwhelming for some, as the sudden and sometimes realistic violence will be.

TRIVIAL PURSUITS: Among the pictures of terminated agents that Landy faxes near the film’s conclusion are producer Frank Marshall and actor Richard Chamberlin, who portrayed Bourne in a 1988 TV mini-series.

NOTABLE DVD FEATURES: Nothing listed.

FINAL RATING: 7/10

TOMORROW: Harry Potter and the Half-Blood Prince

Matt Damon ponders how much cooler he would've looked if the production had sprung for a Harley.

(Universal) Matt Damon, Joan Allen, David Strathairn, Julia Stiles, Scott Glenn, Albert Finney, Paddy Considine, Edgar Ramirez, Trevor St John, Daniel Bruhl, Joey Anash, Tom Gallop, Corey Johnson, Colin Stinton . Directed by Paul Greengrass

The most recent installment of the hit film series based on the John Le Carre spy novels, The Bourne Ultimatum picks up pretty much where the last film, The Bourne Supremacy left off, in Moscow. We pick up with memory-challenged superspy Jason Bourne (Matt Damon) being chased by the Moscow police through the back alleys of Moscow. An injured Bourne finally makes his way into a closed for the night medical clinic where he tries to effect crude repairs, but he is interrupted by a pair of clever cops. They aren’t quite clever enough and he escapes once again, disappearing from the CIA grid.

Back in the States, CIA director Ezra Kramer (Glenn) is very eager for Bourne to be caught. Deputy Director Noah Vosen (Strathairn) believes Bourne is a major threat to the agency, whereas Deputy Director Pamela Landy (Allen) thinks Bourne is not necessarily out to take down the agency, but instead to get answers. Landy is put in charge of the hunt for Jason Bourne.

In Turin, a newspaper columnist (Considine) meets with a CIA section chief (Stinton) who gives the columnist information about Blackbriar, the successor to the Treadstone program that created Bourne (and that Bourne essentially destroyed). The CIA, apparently monitoring every cell phone call on the planet, picks up a call from the columnist to his editor that contains the word “Blackbriar” and immediately he is put under surveillance. Bourne by chance reads the man’s column (apparently he’s a big fan of the Guardian newspaper, since he reads it in another country) and realizes that the columnist may have information that Bourne needs. Of course, this sets off all sorts of mayhem, including a chance meeting between Bourne and Nikki Parsons (Stiles), the Treadstone agent who helped Bourne previously. Chased by the CIA, Interpol and quite probably some irate Girl Scouts, Bourne makes his way to New York City with the intention of discovering the truth about himself and possibly bringing an end to the game he no longer wants to play.

In a terse spy thriller like this one, you have to take a few things on faith, and suspend disbelief to a certain extent. It’s hard to believe that an agency with the technical ability to pick out a single word in a phone conversation involving two men not under suspicion for anything are unable to suss out a man entering their country undisguised under a passport they themselves issued. I mean, don’t they have computers at the airport?

Plot holes aside, you come to a Bourne movie for the action sequences, and here the movie doesn’t disappoint. Chased by assassins (and chasing them), evading detection by legions of agents and police, director Greengrass sets up a massive body count (not to mention an auto body count, as the film might just be worse for automobiles than for stuntmen) and extended action sequences which, while breaking no new ground, do cover old ground expertly. He keeps the suspense ratcheted up to 11 throughout most of the movie, with very little breathing room and manages to move the plot along with expository sequences without breaking momentum created by the action scenes – the one in Tangiers, by the way, might be one of the best you’ll ever see. However, be warned many sequences appear to be filmed by hand-held cameras. While this delivers a kind of you-are-there feel to these sequences, in my opinion it’s used a little overly much and gives the movie a kind of jerky quality that I found jarring.

Damon continues to do the part of Jason Bourne with extraordinary aplomb, rarely displaying much emotion but allowing the feelings bubbling below the surface to see the light of day from time to time. Strathairn plays a worthy adversary who picks up after Chris Cooper and Brian Cox from the first two movies and acquits himself nicely. Stiles does some of her best work in the Bourne movies and as the only other actor besides Damon to appear in all three movies, providing some nice continuity.

The movie takes place in several European cities, including Moscow, Turin, Madrid and in Tangiers, Morocco as well as New York City. The movie uses actual locations to add a further air of realism, a nice touch (which created some difficulties for the filmmakers – if you look closely during the train station scene, there are people who notice the cameras and point to them). While many of the secrets of Jason Bourne are explained (including his actual identity), there is certainly enough room left at the end for a sequel if the filmmakers and actors choose to go there which for awhile, it appeared they did until Greengrass recently withdrew from the proposed fourth Bourne film, leaving the status of the movie very much up in the air – Damon’s participation without Greengrass is certainly less likely.

Like most of the third movies, this one is pretty flawed but you can take some solace in the fact that while it doesn’t arise above its own ambitions, the movie nevertheless fulfills those ambitions nicely. In other words, you get exactly what you came to see.

WHY RENT THIS: Awesome action sequences as have become synonymous with this franchise. Exotic locations that bring to mind the cold war spy thrillers that the source material was contemporaneous with. The tension is unrelenting.

WHY RENT SOMETHING ELSE: The plot holes are hard to ignore. Too much hand-held camerawork which was cliche even before this was made.

FAMILY VALUES: While the action sequences are terrific, they may be a bit overwhelming for some, as the sudden and sometimes realistic violence will be.

TRIVIAL PURSUITS: Among the pictures of terminated agents that Landy faxes near the film’s conclusion are producer Frank Marshall and actor Richard Chamberlin, who portrayed Bourne in a 1988 TV mini-series.

NOTABLE DVD FEATURES: Nothing listed.

FINAL RATING: 7/10

TOMORROW: Hollywoodland

This week Hannah’s over the moon about getting Ian Brown’s autograph (thanks to Uncle Sean) and then she goes all festive on us, thinking about Christmas and loving the Christmas Markets…

A little bit of true Mancunia in Ireland

So all you Mancunians …where is one of the most unlikely places to be chatting to mega Manc Ian Brown and talking about Forever Manchester?

Well that might just be Castlebar, County Mayo on the West Coast of Ireland! The Royal Theatre, Castlebar, to be precise.

Castlebar, County Mayo

However that is exactly where my beloved Uncle Sean found himself last week.

What’s that you say? Unlikely ? I should think so.

A taste of Pure Manchester came to County Mayo that night and Sean was there to taste it all – including a pre show chat with the great man himself when Forever Manchester and all it stands for was discussed and reflected upon.

Thanks Sean for spreading the word, being a True Mancunian and Keeping the Faith!

Perhaps a blog on Northern Soul and all its pure joy and influences in our City coming soon just for you, just as a little thank you for snaffling me his autograph?!   Or the influence that Irish immigration had on shaping communities in Greater Manchester. Just a few tasters of my blogs to come in 2010…

Dreaming of a Mancunian Christmas

In the meantime, I thought I’d share my Mancunian Christmas so far with all of you.

This Christmas you can’t leave the house without encountering the ghost of Christmas Past, Present and Christmas Yet to Come. Dickens manages to jump out at you from every shop, street corner and television advert.

So, what does Christmas mean to me?

It has always been a family tradition to watch Ronald Neame’s musical adaptation of the Dickensian classic. Year after year, our family would settle down to watch Salfordian actor Albert Finney bring Ebenezer Scrooge to life, whilst squabbling over who gets the best chocolates from the tin of ‘Quality Street’. Forgive me for namedropping, but a fond memory of my childhood is sitting in the back of a car, whilst one of Salford’s finest exports; Finney, sang song after song from his hit films ‘Annie’ and ‘Scrooge’. I remember clearly that Albert Finney was visiting Manchester suburb Davyhulme, following the death of his mother, and upon request, sang ‘Thank You Very Much to me, a song which was nominated for an Oscar in 1971. It is because of this annual tradition that I went to see Disney’s ‘A Christmas Carol’ in 3D at The Printworks, as soon as I could. The film certainly did not disappoint. The snow scenes in particular were phenomenal in my opinion, and I would describe the film as nothing short of spectacular. A definite ‘must-see’ this Christmas!

Charles Dickens' A Christmas Carol

For me, Christmas is the best time of year. But with even Nigella Lawson advising us to be more stingy with the turkey and avoid the lure of the biggest one in the shop, is the season changing?  It’s doubtful. Our interest has moved from the largest turkey to the biggest present under the tree. Practically every bus stop in Greater Manchester is advertising the latest ‘must-have’ gadget, every shop window is adorned with baubles and exotic displays and every street corner in central Manchester is clothed in twinkling lights. This is not to say that I agree with Scrooge’s ‘Bah Humbug!’ approach to the festive season. In fact, quite the opposite…One of my most favourite Mancunian traditions is to visit the annual Christmas Markets.

The markets offer a unique European experience and take place in some of Manchester’s most picturesque areas…The enormous L.E.D. Father Christmas and ‘Merry Christmas Manchester sign’ that looms over Albert Square perches proudly on the beautiful Manchester Town Hall, for example.  Firmly established as a festive favourite, Manchester’s Christmas Markets are considered to be among the very best in Britain and Europe. And I would not disagree for a second! The sensuous sights, sounds and aromas invade the senses, and the twinkling chalets offer the perfect setting for a quick de-stress after a busy day in the office, or a special festive family day out.

Manchester's Christmas Markets in Albert Square

As I approached the Christmas Markets from St. Peter’s Square, I was hit with instant festive joy! The aromas of sweet cinnamon, mulled wine, spiced cider, Spanish paella and German bratwurst sausages filled the air. The wonderful sounds of a street choir at the foot of the Town Hall, singing carols fondly compares with a Dickensian Victorian Christmas. The suckling pig and gingerbread houses harp back to simple and wholesome Christmas’ gone by. Is this why without fail we bring Dickens and his characters, back to life year after year for the festive season? Questions aside, it is undeniable that the Christmas Markets have now become an intrinsic part of a Mancunian Christmas. The success of the Christmas Markets can be seen by the fact that the number of wonderful stalls on offer are extending year after year, and the German Markets can now be enjoyed at Albert Square, St Ann’s Square, Exchange Street, New Cathedral Street and Brazennose Street.

But, Christmas is also a time for reflection and whilst many of us regard the festive season as a time of merriment and good cheer, for some people in Manchester, Christmas is a bleak and lonely time. You can help these people…why not treat yourself to a piece of Forever Manchester fashion, inspired by proud Mancunians? That way you can own an exclusive piece of clothing, whilst helping local communities and people who may find Christmas a little difficult.

 So…that’s all from me. Enjoy your Christmas shopping and don’t eat too many mince pies!

 Love and Christmas wishes to Mancunians everywhere, especially those in County Mayo!

 Have a wonderful Christmas and an even better 2010,

 Hannah.

My Christmas Market discovery of 2009 is the goulash/shashlik stand in Albert Square where you can get Pork, Chicken or Mushrooms with spiced potatoes.  Like all the Christmas Market fayre it seems a little expensive for fast food, but the portions are very filling and extremely tasty.  I like the Pork Shashlik best.  The guy demonstrating the garlic-grating solution in Albert Square is worth a look too. 

Enjoy!

Chris

Terry, I can’t predict the future. I pay professionals to do that, and even they get it wrong sometimes.

– Reuben

After the massive success of the first movie, Soderburgh and company came back together for Ocean’s Twelve. This setting and story are dramatically different from the glitz and glamour from the first incarnation. Instead of the bright lights of the Las Vegas, the Eleven are focused their attention on Europe. I think that this was a mistake, because it hurt the caper aspect of the story.

When the Eleven successful pilfered Terry Benedict out of his $150 million dollars at the ending of the first movie, (spoiler alert) the beginning show how the gang was doing during the three and a half since the heist. Most of them spent some or all of their $13 million dollars cut.

They get a rude awakening when Benedict tracks them all down wherever they were hiding. He offers them a chance to correct their mistakes by stealing his money. Benedict gives them two weeks to return the money with interest, which is roughly $200 million dollars, or he will kill them.

The gang has a pow-wow to discuss how they could get the money is that short amount of time. They decide to go to Amsterdam to meet up with Matsui (Robbie Coltrane), who gives them an assignment to steal the world’s oldest stock certificate from 1602 worth $2.5 million Euros.

When they do, they realize that a famous cat burglar named “The Night Fox” (Vincent Cassel) got the stock first. Not only that, but the team realizes that The Night Fox made the call to Benedict that ratted them out.

The Night Fox issues a challenge to the Ocean’s Eleven to steal a Coronation Faberge Egg from exhibit in Paris. They want to beat The Night Fox at their own game. Eleven becomes Twelve when they enlist the help of Roman (Eddie Izzard) to help pull off the switch-a-roo.

This movie as a whole is not well executed. The dialogue was not up to par. The scenes dragged on way too long. I was bored to tears. The movie looks grainy. The interaction with the members felt clunky and stagy. There wasn’t the synergy from the first outing. I was disappointed with this movie, especially the last thirty that fell off the tracks.

Judgment: This is one of the instances that the sequel is not better than the original.

Rating: **1/2

For some reason on this miserable Sunday afternoon, I had become apoplectic with rage.  Perhaps it was the coffee, perhaps it was the alcohol, perhaps it was the malfunctioning Mac computer which refuses to let me see the Apple Support page – I DON’T KNOW!  But I had to drag myself away from the eternally loading blank screen, pour a cup of tea and look at a great big book on Dada while the rain lashed the windows.  Filthy weather.  Then I remembered that I hadn’t seen the DVD that had come through the (delayed) post.  ’Under the Volcano’, directed by John Huston, starring Albert Finney, Jacqueline Bisset, and ‘plummy’ Anthony Andrews.  Not one of my priority titles on LoveFilm, but since I can’t even get the website to load, I get what I’m given and that’s fine by me thank you very much.  Buggers, my friends, can’t be choosers.

I stuffed that on my swag-bag-sized list during that honeymoon period with LoveFilm when you scour around for all the films you never thought you’d see, and which have finally (mostly) suddenly become available.  One tends to look for film adaptations of one’s library.  I haven’t read Malcolm Lowry’s book, but I bought it second hand, and it has a grotesquely fascinating cover.

The film begins with music as disjointed as the dancing skeletons of the Day of the Dead festival.  The first scenes are sumptuous, decadent, surreal.  I adored it.  Albert Finney, resplendently fucked in tuxedo and shades, ambling through scenes worthy of Hieronymous Bosch or Ensor at night.  He wanders into a bar, talking to a thin dog, drinking frantic shots of gin, whisky, tequila with his doctor, while a Peter Lorre film grins and cowers in a darkened cinematic room.  Hooked, I was.

The setting was gorgeous, exotic (to a dead white European male, which I suppose is the point), furious explosions of sunlight and flowers.  And then, of all things, the gorgeous, sparkling Jacqueline Bisset arrives to mix up that heady brew.  At some point during the middle of the film, I wanted to be there.  I wanted to feel the sun on my face, hear the enervating cries of the festival crowd, drink with Albert Finney and the chirpy Anthony ‘Sebastian Flyte’ Andrews, rip open that minx Bisset’s tight dress, and delve into the debauchery.

However, it soon turned nasty when the dwarf pimp shows up and it starts to rain.  A couple of guys dressed as death pick up their scythes and pop into the bar to keep warm.

Mr Finny is on the Mescal.

He speaks to an elderly lady, who explains that the chicken that stands on the table before her is also a donkey.  An over-persuasive gaggle of whores take advantage of Mr Finney, and give him a dose of the clap.  Not that he has much time to enjoy it, as he’s soon being distressingly intimidated by a group of Nazi-funded bandits who take exception to him talking to their horse.

Am I allowed to give away the very ending?  Surely you know?  Well, all I will say is that the film ends in the same manner as that with which the story is told – there is a sense of glorification in the absurdity of the situation.  Not just the situation of being an unemployed, alcoholic dignitary in Mexico, but (dare I say it?) the Human Situation.  We are left feeling that life itself is absurd, and tragedy only helps to re-inforce the fact.  But on what better canvas than to paint that existentialist message?

A hard lesson to learn indeed, but the perfect hang-over cure.

Big Fish | Tim Burton, 2003

Tim Burton is one of my favorite directors because he is great at making the kind of movies he makes, and doesn’t let go of that. However, if you were to ask some film connoisseurs what they think Burton’s best film is, they’d respond with one of the two films that marked a departure from his dark story telling, Ed Wood and Big Fish. I would agree with those that think that the latter is indeed his best.

Big Fish tells the story of the life of Edward Blood. When he was young (and played by Ewan McGregor), he was a hot shot in his small town, so he decides to see the world, only to get sidetracked by the person he would marry. His older self (played by Alber Finney) is dying of cancer, and his son desperately want the true version of all the stories he has told him throughout his life. Throughout the movie Edward’s version of his life is told, and in the wonderful end we get to decide whether we like his version or the true version.

What Burton does best is create  movies that rely more on their visuals than the story. This time, he has a great story to work with that only relies on his style for about 25% of the movie. For the rest, we get to see him brach out and just focus on the characters rather than the elaborate sets. Yes the movie is beautiful, but the most touch scenes (aside from the end) are ones that rely on the connection between two characters in a barren room, and he handles those perfectly. In the end, great visuals are used, but he still focuses on the characters, which was the right call. None of these scenes would have worked without the actors

Ewan McGreagor and Albert Finney are great at capturing the charm in Edward Bloom. However, Finney stands out because he also has to show us the Edward that is dying and has to stop being charming when his son tries to get the truth out of him. There are also great supporting performances from Jessica Lange, Danny Devito, Steve Buschemi, and Helena Bonham Carter. Also, I will forever love this movie for introducing me to the great talent that is is Marion Cottillard.

On the technical side, it is as beautiful as any other Burton movie. The sets, the costumes, the cinematography, the make-up, all great. I must single out the music. Danny Elfman’s score is among the best of the decade (and deserved to win an Oscar), and Pearl Jam’s original song, “Man of the Hour,” packs a great emotional punch as it plays after that great finale.

Big Fish is one of the top 10 movies of the decade. It’s great story and themes combined with Burton’s vision makes this an unforgettable experience.

Onora il padre e la madre (Before the Devil Knows You’re Dead) è un film del 2007 diretto da Sidney Lumet, con Philip Seymour Hoffman, Ethan Hawke, Marisa Tomei e Albert Finney.
Il titolo originale è una parte dell’antico detto irlandese May you be in heaven half an hour before the devil knows you’re dead, traducibile come “Che tu possa arrivare in paradiso mezz’ora prima che il diavolo si accorga che sei morto”.

Leggi altre notizie su: | Thriller | Drammatico | Sidney Lumet | Philip Seymour Hoffman | Ethan Hawke | Albert Finney

Looker is a 1981 science fiction film written and directed by Michael Crichton. It starred Albert Finney, Susan Dey, James Coburn and featured former NFL linebacker Tim Rossovich as the villain’s main henchman. The film is a suspense/science fiction piece which comments upon and satirizes media, advertising, TV’s effects on the populace, and ridiculous standard of beauty. Though spare in visual effects, the film is notable for being the first commercial film to attempt to make a realistic computer generated character, for the model named “Cindy.” It was also the first movie to create 3-D shading with a computer, months before the release of the better-known Tron.

Kim Carnes recorded her own version of the title song for her album “Voyeur” (1982). The title song in the movie was performed by Sue Saad.

Amazon Specials!

The place where it all goes down, in the forest.

Trusted adviser to 1920s Irish crime boss Lee O’Bannon, Tom Reagan’s loyalty is tested when he takes up with O’Bannon’s gal pal, Verna Bernbaum. Meanwhile,rivals Johnny Caspar and Eddie Dane threaten O’Bannon’s racket.

Miller’s Crossing is directed by the highly original Joel Cohen, and it’s pretty easy to tell, as there are many numerous look a likes in this film to countless others of The Coen Brothers.

In this film, there are many very good scenes that are just about being visually and emotionally captivating. Coen makes this film touch you but not with words or actions, but by the look of the film, and how you feel you’re in this torn-down 1920’s era of where gangsters and crime rule the town, and where everything is deceptive.

If you’re looking fora good mafia film then look no farther. Many stereotypes in mobster films don’t quite happen in here. We have always seen these tommy-guns blazing, but not with the kind of style this film gives us. The script is not like many other mafia films, as it is very realistic but also very challenging and complicated.

The reason it’s very complicating is because it starts off on the wrong foot talking about characters we do not know, and have no clue about. Probably about 45 minutes into the actual film is when we finally find out who all the players are. Many events in this film also happen, without us even knowing ourselves. I liked the little John Tuturro scene at first and felt that was good, but then it starts to over-play itself and just turned out to be a little too annoying.

The movie does have some pretty interesting scenes with some great violence and great visuals, but moves at a snail’s pace. There were way too many scenes that just featured these people talking, drinking, smoking, or anything else about gangsters. I felt like this film at points got boring, and does not do very well trying to pull it’s viewers in.

Miller’s Crossing features a lot of big names that are recognizable, but aren’t in this film as much as you would think. Gabriel Byrne does a very good job at playing this lead and doesn’t act tough throughout the whole movie, and actually does show some weaknesses within. Albert Finney, John Tuturro, and Marcia Gay Harden all are in this film and show up but are not used as well, and don?t seem to powerful for a film that bases it all on the power of a look and feel.

Consensus: Though not one of Coen’s best, Miller’s Crossing is a small mobster gem that is visually spectacular and features a real-life look at the world of the Mafia.

7/10=Rentall!!!

Hoffman and Hawke relearn that old lesson -- no plan is foolproof -- in "Before the Devil Knows You're Dead."

Here’s the plain truth: Sidney Lumet’s grim, gripping “Before the Devil Knows You’re Dead” won’t so much wear you down as break you down … hard. In frame after frame, Lumet uses his disjointed, objective direction to build the momentum, and he never hesitates or shrinks back. Neither do the actors. So the hits — emotional and physical — keep coming until the film steamrolls into a conclusion that’s profoundly unsettling. “Devil” is as draining as it is invigorating to behold.

Part of that energy has to do with the way the story (epic in scope) unfolds. The narrative is nonlinear, so the characters are introduced in jarring flashbacks and meta-flashbacks. This a multi-layered story, with plots and subplots weaving in and out, but there is a common thread: Andy (Phillip Seymour Hoffman), a man who believes money will rebuild his broken life. Andy convinces his brother Hank (Ethan Hawke) to commit the perfect crime: Rob their parents’ jewelry store, pawn the merchandise and walk away with $60,000 each. It’s a win-win, since Hank is months behind on his child support and Andy’s living light years beyond his means (thanks to his money-hungry wife, played by Marisa Tomei). But Murphy’s law (or karma?) mucks up Andy’s scheme from minute one, and nothing about the robbery goes as planned. Things go very, very wrong, leaving Andy and a shell-shocked Hank with blood on their hands and their father, Charles (Albert Finney), hell-bent on finding out who planned the robbery.

To say more about the plot would be to ruin the experience of watching “Devil.” There are grueling twists and surprises aplenty. In fact, the film feels much like a vase that’s been broken and glued back together wrong, with sharp edges jutting out and pieces shoved into nooks where they don’t really fit. But that’s why “Devil” is so absorbing — the pieces are all there; it’s up to viewers to put them in order. In Lumet’s mind, it seems, the viewers are the detectives. He makes us work for it.

The actors deserve much of the credit for injecting even more energy into “Devil.” The supporting cast is large, but the players make their performances singularly unforgettable. Finney is quietly effective as Charles, a man reeling from the fallout of a crime he can’t fathom. But his is not a one-note performance, for Charles isn’t an ideal father, and Finney isn’t afraid to let the cracks show. Hawke, too, plays it subtle; it might be the best work he’s ever done. Known for playing fake-charming womanizers, he shrinks himself to portray Hank, an emotional cripple whose coddled upbringing didn’t prep him to deal with reality. He cowers when things go wrong. Tomei, who just keeps getting better, is impressive as Gina. Essentially, Gina’s a trophy wife; she spends more time romancing Andy’s platinum card than Andy. But watch what Tomei does with her eyes, particularly in the scene where Andy breaks down. There are hints of depth there. Gina may be one of the film’s few female characters, but Tomei makes her more than just a party favor.

As for Hoffman, this may be his best performance — and he won an Oscar for “Capote.” In “Devil,” Hoffman gets another meaty role, and he does not disappoint. On one level, he exceeds at demonstrating Andy’s many flaws. Here is a man who craves money and success, a preternaturally calm control freak who refuses to admit he’s sinking too fast to pull himself up. He steals and lies, then wonders why the parts of his life “don’t add up.” But leave it to Hoffman to find beauty where there is none. When Andy finally lets loose, Hoffman rips into the pain like a man possessed. He shows that Andy is an insecure man who has numbed his feelings to the point where he believed they no longer existed. It’s the exhausting, awe-inspiring lit fuse that fires Lumet’s exquisitely crafted and tumultuous Greek tragedy character study.  

Grade: A+

El terror se convierte plano a plano, en algo sumamente abstracto: es la angustia ante lo desconocido.

Sigourney Weaver.

“ALIEN“ es un film muy british a todas luces, con ello quiero decir que no sólo es que esté realizado en Gran Bretaña, no, con ello quiero decir que está realizado muy al gusto de los británicos, aterroriza pero prácticamente sin una gota de sangre, eso es porque profundiza en la narrativa de Alfred Hitchcock, por eso funciona tan bien como thriller o largometraje de suspense, como queráis denominarlo. Así que pasemos a analizar diferentes aspectos de la película que son muy importantes, esos pequeños detalles que están ahí, que parecen irrelevantes, pero no dejan de ser lo que le otorga mayor enjundia al film de Scott.

Saul Bass, gran maestro de ceremonias, y genial introductor, por no decir, diseñador y creador de los más famosos títulos de crédito del cine norteamericano, supo entender muy bien los diseños de Hans Rudi Giger y eso se deja ver en los rótulos iniciales del largometraje a pesar de que no está acreditado. En tan sólo dos minutos nos hará un gran resumen de lo que será el núcleo de este particular viaje espacial. Los motivos por los que no está acreditado, no nos interesan, para mí son meramente anecdóticos, pero lo verdaderamente curioso es la estructura que poseen. Comienza de la forma más inquietante que puede arrancar una película con una pantalla casi en negro, porque nos pone el universo de fondo, comenzamos el viaje de lo general a lo particular, porque acabamos viendo un planeta de fondo.  Todo ello acompañado por la suite creada, por Jerry Goldsmith para marcar este efecto, con instrumentos de viento y cuerda para ir de la mano con Bass e ir de lo dulce y placentero a lo estridente y peculiar.

Gran amante de la geometría, este diseñador apuesta por una tipografía mecánica, que realza el sentido de ciencia-ficción y futuro, y juega con ellas para ir desvelando poco a poco el título del film, juega con la idea de suspense, y nos va adentrando poco a poco en el universo del largometraje. Pero es más, va jugando con otra regla de oro del diseño, la simetría. Pensad que un rostro simétrico es bello, ese es nuestro canon.

La simplicidad otra de las reglas de oro del diseño se deja ver claramente en estos rótulos porque sólo hay un movimiento de cámara, es un travelling, que va de izquierda a derecha, en un plano americano que no deja ver por completo la forma real del planeta que aparece en el fondo de la imagen, homenaje al gran maestro Alfred Hitchcock, obliga al espectador a imaginar si es un planeta o un huevo, así de esta manera llegamos a otra de las características de los rótulos de crédito de Bass y es que es capaz de resumir absolutamente el espíritu del film en dos minutos. Pero no olvidemos que el cine es Gestalt, luego hay que hablar de aspectos psicológicos, nosotros leemos de izquierda a derecha, la música comienza con sólo instrumentos dulces de viento, todo para que el espectador se sienta cómodo a pesar de estar viendo una pantalla casi en negro. Pero el tono de los acordes irán cambiando a medida que el travelling sobre el ecuador del planeta llegue a la mitad del movimiento, allí nos toparemos con a medio camino de un increíble in crescendo que lleva de la mano al espectador. Y es el momento en el que ya tenemos todos los instrumentos (cuerda, viento y percusión), que se correlaciona con el momento justo donde tenemos en pantalla el punto de origen de la criatura. Y cuando Bass nos desvela el título del largometraje por completo, en ese mismo instante nos hallaremos en el clímax del crescendo de la suite de Goldsmith, a caballo entre lo romántico y lo barroco, entre la belleza, el misterio ante lo desconocido. Creando un paroxismo curioso, que se difumina rápidamente a medida que volvemos al universo en general y mediante un encadenado aparece la Nostromo en cuadro en la parte izquierda del fotograma y arranca verdaderamente la película.

No puedo evitar contaros una coincidencia cósmica, Saul Bass había coincidido con Helen Horton, que en “Alien” presta su voz al ordenador central a “Madre”, en un film que dirigió en 1974 llamado “Sucesos en la cuarta fase” e intepretaba en esa ocasión a Mildred Eldridch, y también coincidiría con John Barry, el director de fotografia no el músico, del que hablaremos en “los hijos bastardos”.

LA LARGA MANO DE JOSEPH CONRAD

Józef Teodor Konrad Korzeniowski, más conocido como Joseph Conrad, es un célebre autor de novela de aventuras, y cuya bibliografía ha conocido más de una adaptación cinematográfica. Tanto Gordon Caroll como Ridley Scott son dos grandes admiradores del autor, eligió para su debut en la pantalla grande “Los duelistas”, que realizó de la mano del célebre productor David Puttnam, todo un cazatalentos, y la acción nos trasladaba a las guerras napoleónicas donde podíamos asistir a un duelo sin fin protagonizado por Harvey Keitel y Keith Carradine. Así que ponerle el nombre de “La Nostromo” a la nave es un homenaje más en su filmografía a la obra de Conrad. Esta novela de Conrad ha conocido alguna ambiciosa adaptación televisiva, en la que actores de la talla de Colin Firth, Albert Finney,  Brian Dennehy, Joaquim de Almeida, Lothaire Bluteau o Claudia Cardinale, acompañaban a Claudio Amendola que daba vida al famoso personaje que da nombre a la serie y a la novela, pero que en su momento pasó sin pena ni gloria. Lo verdaderamente curioso es que la novela se centra en un país imaginario sudamericano llamado Costaguana, y Sulaco es el nombre de la ciudad portuaria, y no podemos dejar de pasar por alto que el nombre de la nave en “ALIENS”, segunda parte de esta franquicia dirigida por James Cameron, no es otro que el de la citada urbe ribereña, y en la novela es donde se centra la vida de los personajes y la acción fundamental. Y Ridley Scott no deja de construir un relato de terroríficas aventuras espaciales de siete personaje, en la que el viaje sideral marcará a fuego al personaje principal. Pero hay coincidencias con el universo de Conrad. Un importante dato es que el escritor ucraniano vivió la época álgida del colonialismo, la lucha contra las corporaciones y el capitalismo, y todo ello se haya como telón de fondo de esta aventura peculiar. Idea barajada tanto en Nostromo como en ”El corazón de las tinieblas”, donde reflejará la barbarie del universo colonial africano del siglo XIX, y en el que veremos como el personaje realiza un viaje y lucha contra una corporación. Francis Ford Coppola la adaptó libremente al cine en su célebre film bélico “Apocalypse Now”.

LO COTIDIANO

Scott juega con la vida cotidiana al igual que pasa en alguno de sus antecedentes, pero el lo lleva un paso más allá. Así, en primer lugar elimina el machismo de versiones previas e introduce otros problemas como las reivindicaciones salariales, como cuando Brett le comenta a Dallas durante el desayuno que no está de acuerdo con lo que van a cobrar o cuando le pide una gratificación monetaria por ir a investigar la señal desconocida llegando a una acalorada discusión con el capitán de la nave.

Inclusive las actitudes de los trabajadores, como la que muestra personajes como Parker, absolutamente insubordinado, crítico con las decisiones de los mandos, mostrando una actitud cínica hacia la empresa,  llegando incluso a tomarles el pelo, diciendo que tiene que emplear más horas de lo debido para terminar de arreglar la nave.

El racismo, como en la escena en la que Parker le hace levantar a Ash de su asiento y lo limpia con la mano o la introducción de terminología marítima como cuando utilizan los términos virar a babor o a estribor en la escena del aterrizaje o aeronáutica, en la anterior escena podemos escuchar ”llegando al apogeo orbital”, “recoger el tren de aterrizaje”, “conectar la gravedad artificial” o “turbulencias”.

Otro ejemplo lo encontramos cuando están tratando de averiguar en que punto del espacio Kane manda a Ripley que contacte con control de tráfico:

Esta es la astronave comercial “Nostromo”. Número de registro 180924609. Me reciben. Astronave comercial “Nostromo” de las Islas Solomon. Me reciben. Número de registro 180924609. Espero contestación…llamando a Antártica, control de tráfico.

NARRATIVA FÍLMICA

El film arranca con múltiples travellings de carácter descriptivos, con amplios planos generales que nos ubican en el entorno, nos describen con todo tipo de detalles como es la nave por fuera, por dentro, nos muestra sus largos corredores. Así Scott, saca partido a todo el diseño de Jean Giraud, más conocido como “Moebius” y Ron Cobb, creadores de todo este particular universo de aspecto industrial, recordad que los personajes de la trama no dejan de ser mineros espaciales. Moebius procedía del mundo del cómic y escribía para la revista “Metal Hurlant”, mientras que Cobb  procedía de la serie B y había colaborado previamente con Dan O’Bannon en una inmensa gamberrada espacial dirigida por John Carpenter llamada “Dark Star“, para la que hizo los diseños y los efectos especiales. Os dejo enlace a un gran artículo sobre los diseños de Cobb aparecido en Microsiervos.

Para pasar a primeros planos, todo dentro del mismo travelling, y mostrarnos la recepción del mensaje, que hará despertar a la tripulación, y les embarcará en esta barroca aventura.

Scott da mucho dinamismo a la cámara, sobre todo cuando los personajes suelen tender a estar estáticos en el espacio y viceversa. Así suele fusionar  panorámicas a los travellings, y todos son a contra lectura, para generar desasosiego en una escena cotidiana de la vida mediante la incomodidad física de la lectura. Eso da idea de la exquisita planificación que posee de la escena, al margen de sus conocimientos como cineasta. Así, la secuencia del desayuno se erige como todo un gran ejemplo de la técnica narrativa del director británico afincado en EEUU. Hace un barrido del comedor de izquierda a derecha para acabar centrando el foco de atención en Kane, que posee una línea de diálogo muy profética, al decir que se siente que está muerto.

Uno de los múltiples aciertos de Scott frente a sus predecesores es dotar a las transiciones en las que podemos ver como pasa la nave por delante del encuadre, de un verdadero sentido narrativo dentro del largometraje. Así pues, serán verdaderos puntos y seguidos, que otorgan un cierto alivio a la intensidad de la narración, pero que no dejan de otorgar dinamicidad a la narración. Llegados otra vez  a este punto debemos de hace hincapié en el desarrollo de movimiento. La nave siempre ira a contra lectura, con lo que el alivio es menor, porque inconscientemente marca un stress de lectura al espectador, generándole una cierta ansiedad.

Pero será tras la muerte de Kane que estas transiciones se harán de otra manera, esto es debido que ahora servirán para dar respiros en la intensidad de la narración realmente, pero siempre marcando un punto y seguido. Para ello, siempre veremos pasar la nave pero ya no será un movimiento a favor o en contra de la lectura, es decir de derecha a izquierda o viceversa, ahora será de atrás a delante, siempre alejándose en el sentido del eje de la x espacialmente, bien sea viendo la superior a vista de pájaro o…

la parte inferior de la nave.

Esta película posee una narración muy intensa, por todo lo anteriormente expuesto más que su director abusa intencionadamente de dos recursos: primeros planos y los planos americanos. Es como si en un texto comenzara a poner muchos adjetivos y adverbios tanto a los sustantivos como a los verbos. Puede llegar a ser extenuante, pero que en este caso es eficaz. Pero además le sirve por un lado para no mostrar completamente a la criatura, por otro juega con el fuera de campo, lo que se encuentra fuera del cuadro, obligando de estas dos maneras al espectador a usar la imaginación, y a veces aterroriza más lo que uno se imagina que lo que uno ve realmente. Pero, quiero destacar que usa de una manera muy hitchcockniana los primeros planos calificando a la criatura mediante una herramienta de montaje llamada efecto kuleshsov, y que gracias a Redrum podréis acabar de entender en que consiste.

HITCHCOCK EXPLICA EL RECURSO DEL PRIMER PLANO

Pero que sea intensa no quiere decir que sea rápida, y es ahí donde encontramos otro de los grandes aciertos, el ritmo pausado de la narración que le permite a Terry Rawlings montador y a Scott, poder elegir cuándo y cómo asustar al espectador, y crear así un ambiente idóneo donde sustentar el thriller.

Así pues, es prácticamente imposible que el espectador desconecte del film, aquí hay que hablar del montaje realizado por el siempre genial Terry Rawlings, montador de las tres primeras partes de la franquicia, y que en este particular caso hace un trabajo soberbio al saber gradar muy bien los momentos de tensión que había planificado con anterioridad el director al otorgarle toda una serie de elementos con los que poder jugar, porque no debéis olvidar que en la sala de montaje no puedes rodar lo que no tienes, ese momento ya pasó. Y a veces, sobran cosas, que no aportan mucho más y pueden hacer perder ritmo al film. Así llegamos a la versión del director, que particularmente opino que nunca debería haber existido, las nuevas escenas, eliminadas por Rawlings en su momento, están bien quitadas, porque hacen perder ritmo al metraje y tampoco es que aporten nada novedoso, como si lo hizo Cameron con la idea de la Reina. Sobre todo, porque este film juega un poco a ser un relato de Agatha Christie, y al igual que “La cosa” de John Carpenter, juega a ser una variante de “Los diez negritos”, porque desde el principio sabemos quién es el asesino, pero al final sólo quedan la víctima y el verdugo, Ripley y Alien llevándonos a un duelo espacial muy particular, en el que los personajes apenas carecen de armas, y deberán jugar con la astucia, sobre todo la teniente para poder defenderse.

El recurso de la grúa en el film sólo lo usa en una ocasión, se trata de la secuencia que tiene lugar en el interior de la nave alienígena, con el que consigue pasar de un plano americano de Kane a un plano general del interior en contrapicado para realzar más la idea de lo pequeños y vulnerables que son los tres protagonistas.

El lector y espectador de esta magnífica película no debe olvidar que está gestada a finales de la década de los setenta, los gustos narrativos dentro del género estaban en plena evolución, y la corriente del gore cobraba cada vez más fuerza, como ya habíamos visto en películas como “No profanar el sueño de los muertos”, de Jorge Grau. Pero Scott en un giro de tuerca, llega a estilizar el gore, y mostrarlo con una gran dosis de asepsia quirúrgica. Las pinceladas son escasas pero contundentes, tres serán las escenas donde podamos apreciar planos que podamos catalogar como gores. Para la primera esperará hasta el minuto 49 de metraje de la versión del director para ofrecérnosla en una verdadera orgía hemoglobínica cuando irrumpe en escena el octavo pasajero procedente del interior de Kane…

, y los otros dos planos se hayan en la muerte del Brett y Parker.

La bibliografía es extensa y variada que avala esta idea, pero el mayor testigo de todo ello es Ivor Powell, productor asociado del film y mano derecha del realizador británico, reconoce en el documental de Lauzirika que el cineasta impuso al equipo ver “La matanza de Texas” de Tobe Hooper realizada en 1974, máximo referente del género gore y obra de culto, sin albergar la menor duda.

THE TEXAS CHAINSAW MASSACRE-TOBE HOOPER-1974

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VERDICT:
7/10 Bad Ideas

A good, overlooked movie about really bad people making one really bad decision after another until they’re too far deep to achieve any kind of redemption. It’s a real pick-me-upper alright.

Before the Devil Knows You’re Dead follows the lives of two brothers, the older of which is rich and successful, the younger of which is not so much of either.  So when the younger bro goes to his older bro for some financial assistance, the older bro comes up with a freakin’ genius scheme if there ever was one – to rob their parents’ jewelry store in broad daylight.

A Swiss watch of a plan if you ask me.

Anyway, it’s directed by Sidney Lumet, a guy who’s seemingly been putting out a new movie every other weekend for the past thirty years, some of which being Dog Day Afternoon, Serpico, Network, 12 Angry Men, and a slew of other great movies that would probably compel some directors to just quit while they’re ahead. Point is, if you’ve never heard of him, take note, sucka’s. Lumet knows his shit and this is one more gritty, accomplished addition to his epic collection of work.

But aside from Lumet, the main draw to this movie is its cast. The younger brother is played by Ethan Hawke, and even though he always seems to me like the same emotional, mopey, misunderstood teen he played in Dead Poets Society, I like Ethan Hawke. He’s pretty good here and gets the job done.

But the older brother is played by Philip Seymour Hoffman, and I don’t really need to add much to that considering he has made it perfectly clear by now that he is not fucking around. He’s the most morally corrupt character in the movie with the most character development, and it also helps that he’s got the best lines that allow him to yell a lot. Hoffman’s just a wild man and a rip to watch every time. Very good casting choice.

Marisa Tomei is also here as Hoffman’s two-timing girlfriend, and if you thought she was comfortable with her body in The Wrestler, consider this a glaring precursor of things to come. Very, very naked. All the time. But she’s a good actor, too. So that works out.

Albert Finney’s good in it, too. I like Albert Finney, solid actor.

But aside from the cast, the story is also good and memorable in a very intense and totally unsettling way. I was about to call it forgettable, then I remembered the pit in my stomach I had after walking out of the theater and how all I wanted was for the person sitting next to me to reach over and give me a hug. This is one well-written, pitch-black movie with some of the most believably evil characters I’ve seen in a good while. Some of this shit would make Darth Vader shake his head and say, “Jesus H. Murphy, this family’s a freakin’ mess.”

Only complaint is that it’s almost too dark at times. After a while you really just want these people to catch a break, more for your own sake than for theirs, but it doesn’t take much foresight to figure out that things aren’t exactly turning up for this family. How about a knock-knock joke or something? Anything! Please!

I remember when this first came out someone convinced my aunt that she’d like this movie – my super-nice aunt who can barely handle anything worse than The Sound of Music – and, needless to say, the poor woman was borderline shell-shocked by the time the end credits rolled around. It’s not for everyone – actually, it’s definitely not for everyone – but if you’re in the mood for family tragedy of Shakespearean proportions, you might want to check this out, Debbie Downer.

And with the holidays coming up, the next time you need a reminder that you’re dysfunctional family really isn’t all that bad, Before the Devil Knows You’re Dead will do the trick just fine.

And what a show it was, Dave!  Anything that ends with barf obviously cannot be a hoax (1).  Have you ever faked barfing, Dave?  Did he otherwise gag himself — were it with a spoon? I don’t think so.  That looks like honest to G_d’s truth to me, Dave.

None of that says, of course, that this isn’t a publicity stunt.  Or stupid.  It is clearly both.  Fortunately, I was down in the basement printing stuff when this whole thing went down, so my first exposure to Balloon Boy was in its more lyrical, vaguely distressed overtones:

I mean, whatever the merits of the situation, we’ll always have the metaphor.

As for the principle of “Whatever” (2) — I was thinking of maybe blowing off the whole morning to blog, half-assing the afternoon, and, then, maybe catching some gay performance art tonite.  Also, I could always just Shit My Pants and write about it on Facebook for good measure.  On second thought…

Yes yes yes.  All of our friends will read this (3).  They may even think less of us after reading — as if that were even possible.

So… What’s up with Andy Capp today?

I mean, the misogyny is right about where it should be — although I think Andy usually directs his hatred of women more towards individuals — his wife or mother-in-law, for example — than articulates it as a general frame of reference for dealing with the world.  What I find really problematic is the insertion of the figure of a marriage counselor into the Fish ‘n’ Chips, Bangers ‘n’ Mash swinging lillipudlian universe of the strip.  At once, it seems to be mugging to a therapy-starved American readership and hardly plausible that whatshername could drag Andy into counseling…

Uno de los títulos más estimulantes y originales del breve esplendor de la mitología lobuna entre 1980 y 1984, periodo durante el que se realizaron las piezas maestrar sobre la temática: “Aullidos” de John Landis, esta “Wolfen”, “Un hombre lobo americano en Londres” quizás la más canónica pese a su relectura cómica y especialmente “En compañía de lobos”, memorable revisión psicoanalítica de los cuentos populares que dirigió Neil Jordan sobre el universo de la gran escritora Angela Carter.

Lobos Humanos (Wolfen)

Director: Michael Wadleigh

Año: 1980

País: Estados Unidos

Fotografía: Gerry Fisher

Música: James Horner

Guión: David Eyre, Michael Wadleigh y Eric Roth según la novela de Whitley Strieber “El despertar de lo lobos”, 1978

Reparto: Albert Finney, Diane Venora, Edward James Olmos, Gregory Hines, Tom Noonan

110 min.

“Wolfen” luce como marca de distinción y mayor sugerencia como incursión en el mito de la licantropía, tomada aquí en un sentido muy elástico ya que, en puridad no se trata de “hombres lobo” sino de  una especie de animales evolucionados y fieramente adaptados al medio. El film está así enfocado de un modo espiritual e incluso antropológico/ecologista ya que esos “lobosombres” suponen una suerte de encarnación deífica de los ancestros de los indios americanos (estupendo el personaje e interpretación de Edward James Olmos y la sabia ambigüedad que se mantiene sobre su verdadera naturaleza) obligados a reducir sus cazaderos y arrinconados en reservas, una especie de unión esotérica entre estos (que trabaja encima como obreros de la construcción, lucha de clases a dentelladas) y la tierra que a la vez intenta simbolizar la guerra del ecosistema contra el progreso del hormigón y contra lo que supone el hombre blanco, enfrentando así economías y creencias.

Coherentemente a este entramado no es extraño que los lobos se refugien en una iglesia en ruinas (donde se desarrollan algunas de las mejores secuencias de toda la cinta) que supone uno de los grandes aciertos escenográficos y conceptuales de la película en clara metáfora mística y baluarte final de un orgullo glorioso ya perdido. Ni que emprendan una lucha contra una corporación (soberbio el asalto final dirigido por un majestuoso lobo blanco) que pretende edificar en ese área particularmente deprimida de la ciudad que se ha convertido en último reducto de caza, de esta forma la critica social se cuela por los resquicios al comenzar la investigación por la muerte de un hombre de negocios mientras que los “sin techo” que sirven de comida habitual no parecen importar a nadie.

De tal manera Wadleigh en su único trabajo de ficción (fue firmante del mítico documental sobre Woodstock y Carlos Díaz Maroto en su estupendo “Licántropos en el cine” adjudica a un tal John Hancock la co-dirección de este “Wolfen”) articula a través de un relato de misterio con ramalazos de terror carismáticamente protagonizado por Albert Finney, un complejo discurso simbólico, animista y reivindicativo, que con inteligencia y brío no deja que esta búsqueda metafísico-reflexiva perjudique el interés de la audiencia, ofreciendo vigorosas escenas de violencia con un uso soberbio de la “steadycam” (novedosísimo en el momento, una visión subjetiva y virada en negativo que corresponde a la visión de los lobos) y emocionantes momentos de suspense repletos de atmósfera amenazante. Un film soberbio, denso pero nunca discursivo, trepidante y repleto de sugerencia, desgraciadamente desconocido u olvidado.

原題”Before the Devil Knows You’re Dead”を見た。

十二人の怒れる男などの巨匠シドニー・ルメット監督。

84歳でこの映画とは恐れ入ります。

内容はクライム・サスペンスで、いわゆる映画的な映画。

時間軸をずらしたパルプ・フィクションのような演出なんだけど、ありがちな

“スタイリッシュ”な感じではなく、ちゃんとお話が分かる演出。

説明過多な部分も全く無く、話の中でキャラクターのバックグラウンドが

なんとなく分かる感じで、これも巧い。

役者人も凄い人しか出てないんだけど、

イーサン・ホークのダメ男ぶりが兎に角凄まじい。

あんなに端正な顔なのに…。

フィリップ・シーモア・ホフマンも正しい配役だし、

アルバート・フィネイが父親役というのも納得。怖い。

コーエン兄弟の話が好きな人なんかには特にオススメ★★★★☆

Jacqueline Bisset

 

 

 

Jacqueline Bisset (born 13 September 1944) is a British actress. She has been nominated for four Golden Globe Awards and an Emmy Award. Her popular films include Bullitt (1968), Airport (1970), The Deep (1977), and Class (1983). In more recent years, she has appeared in several television productions, most notably the FX series Nip/Tuck in 2006.

In 1967, Bisset was cast in the movie Two for the Road with Audrey Hepburn and Albert Finney. Next, she participated in the James Bond satire, Casino Royale (1967), as Miss Goodthighs. In 1968, Mia Farrow dropped out of the movie The Detective (1968) opposite Frank Sinatra, and the role went to Bisset. That same year, she was cast in her breakout role as Steve McQueen’s girlfriend in the hit action film Bullitt. She was one of the many stars in the blockbuster disaster film Airport (1970), which co-starred Dean Martin, Burt Lancaster, Jean Seberg, and Helen Hayes among others and was nominated for the Academy Award for Best Picture.

Bisset often appeared with her leading men in more than one film, such as Albert Finney, Paul Newman and Anthony Perkins. She co-starred with Newman and Perkins in The Life and Times of Judge Roy Bean, with Newman in When Time Ran Out, with Finney in Two for the Road, Under the Volcano and the ensemble mystery Murder on the Orient Express, also starring Perkins and Sean Connery.

She is the main character in Luigi Comencini’s La donna della domenica in 1975. In 1977, Bisset made strides towards becoming a better-known entertainer in America with her movie The Deep, co-starring Robert Shaw and Nick Nolte, where swimming underwater wearing nothing under her T-shirt helped make the film a box office success, leading the producer Peter Guber to say, “That T-shirt made me a rich man,”. At the time, Newsweek declared her “the most beautiful film actress of all time.” About that time, a small film Bisset had made some years earlier was re-released in the United States under the title Secrets. That movie featured the only extensive nude scenes of Bisset’s career and the producers cashed in on her fame.

By 1978, she was a household name. She earned her first Golden Globe nomination for the comedy Who Is Killing the Great Chefs of Europe? Soon thereafter, she played in the movies Rich and Famous (1981) with Candice Bergen, Class (1983) with Rob Lowe and Under the Volcano (1984) with Albert Finney, for which she earned her a second Golden Globe nomination. In 1996, she was nominated for a César Award, for her role in La Cérémonie. Bisset has worked with such directors as François Truffaut, John Huston, George Cukor, and Roman Polanski. Several of her movies are French or Italian productions.

Bisset has appeared in made-for-TV movies, especially during the last decade. She received an Emmy Award nomination for the 1999 miniseries Joan of Arc. Other notable projects include the Emmy-nominated epics Jesus (1999) and In the Beginning (2001) with Martin Landau. She has also made guest appearances on Ally McBeal and Law and Order: Special Victims Unit. One of her later TV movies, in 2003, was America’s Prince: The John F. Kennedy Jr. Story, in which she portrayed Jacqueline Bouvier Kennedy Onassis. In 2005, she appeared in Domino with Keira Knightly. Bisset’s most recent television work was a recurring role as the mysterious James, during the fourth season of the FX series Nip/Tuck. She starred in the lead role of Boaz Yakin’s Death in Love which premiered at the 2008 Sundance Film Festival and is about “a Jewish concentration-camp survivor whose willing romance with the camp’s Nazi doctor—a man who tortured her fellow prisoners—destroys the lives of her American husband and their two sons 50 years later”.

 Trivia:

Her first job was a waitress in a Chinese restaurant.

Favorite films: Brief Encounter (1945), Splendor in the Grass (1961).

Favorite actresses: Jeanne Moreau, Jessica Lange

Favorite actors: Marlon Brando, Anthony Hopkins, Montgomery Clift

Her most fulfilling role: “Julie” in François Truffaut’s “Day for Night” (La nuit américaine (1973).

Her favorite scene: fighting with Anthony Quinn in The Greek Tycoon (1978).

Godmother of actress Angelina Jolie.

Measurements: 36C-24-36 1/2 (as starlet 1973), 37C/D-25-36 (filming The Deep (1977) (Source: Celebrity Sleuth magazine).

Member of the jury at the Berlin International Film Festival in 2001

No relation to Josie Bissett.

She said her last name is pronounced “Bissit” and rhymes with “Kiss it”.

Had long-term relationships with Michael Sarrazin (1968-1974), Victor Drai (1975-1980), Alexander Godunov (1981-1988), Vincent Perez (1988-1993) and Emin Boztepe (1995-2005).

Reignited her romance with Emin Boztepe [August 27, 2009].

Hollywood gossip has linked her with Frank Sinatra and Ryan O’Neal.

Reportedly had an affair with co-star Steve McQueen while they were filming Bullitt (1968). They remained friends until his death, and Jacqueline narrated a documentary about his life titled “Steve McQueen: the Essence of Cool.”

Al margen de lo simbólico de la fecha, y con un día de retraso, diseccionamos sin más dilación lo último en aterrizar en la cartelera; que viene siendo lo que sigue:

-District 9: Ríos de tinta ha hecho correr la primera película del sudafricano Neill Blomkamp. Claro que mucho ha tenido que ver que la apadrine un tal Peter Jackson, que algo debió de ver en el novato para estar dispuesto, antes de qeu el proyecto se fuera al limbo, a encargarle la adaptación del videojuego Halo. No salió y le dejó hacer, literalmente, lo que le diera la gana. El resultado es una metáfora del apartheid con marcianos de por medio, los marcianos que viven en el gueto que da título al film. Cuentan maravillas del arranque, en tono de falso documental. La mejor opción de la nueva remesa.

-12 trampas: El tarugo John Cena, que hasta ahora se había dedicado a actuar básicamente en los cuadriláteros, en una de esas modalidades pressing-catch donde se dan palizas fingidas, de las que encumbraron en su día a Hulk Hogan. El bueno de Hogan no consiguió lo que Cena, que le den toda una película para él; aunque, en realidad, al que debemos seguir es al “malo”, Aidan Gillen, al que los fans de The Wire conocemos como el ambicioso Tommy Carcetti.

-San Valentín Sangriento 3D: En fin, el título lo dice todo, ¿para qué añadir nada más?

-School Rockband: Híbrido de High School Musical y My Rock Band, otro sub-producto nauseabundo para niñatos con espinillas alteradas y hormonas purulentas… o al revés, que más da. Protagoniza, ahí va la guinda, Vanessa Hudgens, famosa por unas fotos en pelota picada para su novio/niñato Zach Efron; vale, y también por salir junto a él en, claro, la saga HSM.

-Amazing Grace: Drama con sello british dirigido por Michael Apted; secundarios potentes: Michael Gambon y Albert Finney.

-El latido de la montaña: drama hongkonés (o como se escriba).

-Gordos: La última de Daniel Sánchez-Arévalo; como era de esperar, sólo se habla de cuántos kilos tuvieron que coger los actores.

-Pájaros muertos: Se siente, dos españoladas esta vez.

Por Bruno Pongas

Fatidicamente todos devem lembrar do Rei Midas, ou King Midas para os que estudaram a historinha em inglês. Para os que não lembram ou nunca sequer ouviram falar de tal pessoa, o Rei Midas é um famoso personagem da mitologia grega. Sua fama é associada ao ouro: na antiguidade, reza a lenda que as coisas tocadas pelo monarca viravam ouro… impressionante, né? Falei tudo isso com um único objetivo – e se engana quem já está pensando que a fábula da noiva cadáver tem alguma coisa ligada ao famoso rei da mitologia. Muito pelo contrário! Introduzi a pequena história somente para associar sua imagem à de Tim Burton. Por que? É simples! Alguém já viu algum trabalho ruim de Burton? Alguém já viu algum filme dele que tenha sido um fracasso? Acho difícil, afinal, tudo que ele se envolve também vira ouro, ou seja, se torna um grande sucesso.

Bobagens à parte, admiro Tim Burton por diversos motivos. O primeiro porque me identifico bastante com seu estilo. Aquela mescla de alternativo, surreal, macabro e psicodélico me encanta bastante. Segundo porque ele sabe escalar um elenco como poucos (aqui falo também como um fan, já que Johnny Depp e Helena Bonham Carter são dois dos meus atores prediletos). Por fim, fico admirado com sua capacidade de criar fábulas imaginárias extremamente originais e fantásticas, daquelas que você acaba mergulhando completamente como se fosse um mundo paralelo extremamente criativo.

Em A Noiva Cadáver podemos observar todos esses elementos juntos. Temos o alternativo (a história incomum e diferente), o surreal (o mundo dos mortos em paralelo com a terra), o macabro (mortos que andam, cantam e falam como se fossem humanos), o bom elenco (Depp, Bonham Carter, Albert Finney), e por fim, o enredo original. Esse amontoado de qualidades fazem do longa um trabalho interessante. Em aspectos técnicos é praticamente perfeito, tem um roteiro seguro e umas passagens muito divertidas (aquele cachorro Scrubs é genial!). Aliás, Tim Burton é mestre em juntar elementos sombrios com uma alta carga de humor - Sweeney Todd é outro grande exemplo, um musical divertido e aterrador. Para encerrar o ciclo de elogios, a trilha sonora de Danny Elfman é bem elaborada e cai como uma luva no filme.

Há quem diga que A Noiva Cadáver tem uma história boba e sem sal. No entanto, podemos enxergar isso sob óticas distintas. Se analisarmos cruamente, hei de concordar com essa teoria. Aquele esquema de casamento arranjado que desencadeia a vinda de mortos para o ‘mundo real’ é bem simples. Nada comparado à ousadia do assustador Coraline e o Mundo Secreto, por exemplo. Contudo, se pensarmos um pouco, temos a chance de ver o outro lado da moeda. Como assim? Para mim, o grande lance desse trabalho de Tim Burton é a simplicidade. Nem sempre uma trama engenhosa é sinal de qualidade, e fazer o simples, às vezes, é a grande chave do sucesso.

Em nenhum momento a aventura deixa de ser interessante, e algumas passagens agregam muito ao longa (as partes cantadas, por exemplo). O roteiro também tem qualidade, embora pouco se preocupe em maquiar o seu desfecho. No final das contas, A Noiva Cadáver é um passatempo divertidíssimo e um colírio para os olhos (visualmente muito bonito). No entanto, se comparado a obras mais recentes do gênero, como as da Pixar (Wall-E, Ratatouille…) e o já citado Coraline, a fantasia de Tim Burton é inferior. Também pudera, competir com essas é um pouco difícil…

Minha Nota: 8.0

Direção: Tim Burton e Mike Johnson
Gênero: Animação/Comédia/Musical/Terror
Duração: 77 minutos
Elenco: Johnny Depp, Helena Bonham Carter, Emily Watson, Tracey Ullman, Joanna Lumley, Albert Finney, Richard E. Grant, Christopher Lee, Michael Gough, Jane Horrocks, Enn Reitel e Danny Elfman.

On a whim me and a friend decided to watch “The Bourne Identity, Supremacy, and Ultimatum” films. Here’s the rundown:

“The Bourne Identity” – Matt Damon stars as the main character, Jason Bourne, a spy found lying facedown in the ocean with two bullets in his back. When he awakes he has amnesia and must piece together who he is and/or was. His one clue to the past is a deposit box which has multiple passports, money, and a gun. This tips off the CIA who are looking for Bourne namely Conklin (Chris Cooper) who sent Bourne on a secret assassination mission that has blown-up in the CIA’s face and brought questioning by another person in-the-know, Ward Abbott (Brian Cox). Bourne enlists the help of Maria (Franka Potente) whom he pays $20,000 to take him to Paris where he hopes to find out more about Project Treadstone.

In Retrospect: I remember watching this movie and loving it, hyping myself up for the sequel. Looking back, it’s still a good movie but I don’t love it as much. At the time it came out (2002) it preceded the final Austin Powers movies as well as the last Pierce Brosnan “James Bond” movie, and this was a welcome change. Both franchises had run their course and Jason Bourne was a spy who didn’t really on gadgets or one-liners; the man could disarm and disable you in three seconds using only his thumb. It was new, fresh, innovative, and action-oriented WITH a story. Doug Liman directed the first film entry in the series and I’ll give him credit for what he did, but it does seem to pale against its sequels (and imitators).

“The Bourne Supremacy” – Classified Russian documents are stolen when a CIA operation is botched and Jason Bourne is framed. On the other side of the globe Bourne is living in India with Maria when he’s spotted and during the ensuing chase, Maria is killed. Bourne returns stateside to find out why he’s being hunted down. Memories of a secret mission that wasn’t part of Treadstone return in bits and pieces and he soon goes to Moscow, returning to the scene of the crime and confronting the hitman initially sent to kill him as well as apologizing to the daughter of the couple whom he assassinated. This time around he’s being tracked down by Pamela Landy (Joan Allen).

In Retrospect: I liked this movie as much as “Bourne Identity” when it came out, citing the fact that the extra car chase was “the cherry on top of an already good movie.” Re-watching it, I liked it even more than the first. Sure, the camerawork during the fight scenes can get a little crazy or choppy, but overall it kept a cohesive story amid all the chaos.

“The Bourne Ultimatum” – A journalist for the UK paper The Guardian (Paddy Considine) has found out about Jason Bourne and is trying to expose him, along with information on a Top Secret project called Black Briar. Bourne has to get to the bottom of things and runs into Nicky Parsons (Julia Stiles) who happens to be working for the guy trying to sell the CIA secrets. Meanwhile, back at the ranch (CIA), Noah Vosen (David Strathairn) is honing in on the journalist when Bourne comes into the picture. Landy is sent in to help him with Bourne and, just in case, to be a scapegoat. Bourne must clear his name while trying to find out more information on Black Briar.

In Retrospect: I had such high hopes for this movie before I saw it in theatres. After watching it I wasn’t so much nauseous (major shaky-cam) as much as let down. It felt like an amalgamation of the other two Bourne films.

And I was partially right.

I’m reminded of a quote John Carpenter said about sequels which went something to the effect of people want the same movie over again. Sitting back and watching the other two Greengrass, as well as scriptwriters Scott Z. Burns and George Nolfi, seemed to look at “The Bourne Identity” and say, “We can just use THIS script again!” Replace Chris Cooper with David Stathairn, Brian Cox with Albert Finney, Clive Owen with Joey Ansah, and even Franka Potente with Julia Stiles, and you have “The Bourne Identity Deux.”

And to make matters worse is the 1:20 (hrs:mins) point, where we find out that everything we’ve been watching takes place before the end of “Supremacy.” So, while Bourne was busy discovering why he was framed and avenging the death of his wife, he ALSO had time to find out about the other Black Ops Program, Black Briar. Did any of these guys think about this while it was happening, or just hope to pull the wool over everyone’s eyes? Fool me once, shame on me; I didn’t get fooled the second time.

THE WINNER: “The Bourne Supremacy.” A good blend of action-adventure with a plot and storyline.

 “The Bourne Identity” still holds, but not as well as “Supremacy.” “The Bourne Ultimatum?” More horrible than when I first watched it.