“An Education“  Rated PG-13, 1 hour 40 minutes.  Starring Ewan McGregor and Alfred Molina.  Distributed by Sony Classics. 

Friday, Saturday & Sunday @ 2pm, 4:30, 7pm & 9pm

Monday to Thursday @ 5:30 & 9:30

Friday @ 11am a FREE MOVIE!!  “Cloudy With A Chance of Meatballs” sponsord by the Bellmore Chamber of Commerce.  Come visit with Santa and enjoy a wonderful family film.

On Saturday at 11am a live performance of “The Lion The Witch and the Wardrobe” brought to us by Plaza Theatricals.  Tickets available at the box office the day of the performance.

Een hele tijd geleden zag ik ‘The Singing Detective’ op dvd, een collega had die serie nl. via internet besteld. De reeks was helaas zonder ondertitels, onlangs is hij eindelijk verschenen met Nederlandse ondertitels. Liefhebbers van fantastische tv-reeksen moeten dit absoluut gezien hebben, waanzinnig goeie Britse tv met een weergaloze Michael Gambon in de hoofdrol. Wellicht één van de beste dingen die er ooit zijn gemaakt!

Onlangs was ik op zoek naar meer van Dennis Potter, zo herinnerde ik mij dat ‘Pennies from heaven’ en recenter ‘Lipstick on your collar’ ooit op de Nederlandse omroep werden uitgezonden. De reeksen zijn ongetwijfeld op dvd verschenen, maar nog steeds zonder Nederlandse ondertitels. Dat zal binnenkort wellicht veranderen. Zo lang heb ik echter niet kunnen wachten, dus haalde ik ze allebei zonder ondertitels van internet af.

‘Pennies from heaven’ (1978) is één van de belangrijkste wapenfeiten van Bob Hoskins, later o.a. bekend van ‘Who framed Roger Rabbit’. ‘Lipstick on your collar’ is dan weer de eerste grote rol voor acteur Ewan McGregor.

"What's the plot doing way over there?"

(Paramount) Tom Hanks, Ewan McGregor, Ayelet Zurer, Stellan Skarsgaard, Armin Mueller-Stahl, Pierfrancesco Favino, Nikolaj Lie Kaas, Thure Lindhardt, David Pasquesi, Victor Alfieri, Elya Basin, Rance Howard . Directed by Ron Howard.

Any institution that is around long enough is bound to acquire opponents, if not enemies. For the Roman Catholic Church, the oldest institution on the planet, those opponents are many. But, as they say, it only takes one.

The Church is mourning the sudden and unexpected death of the pope, considered a progressive and fair-minded pontiff, beloved by his flock. As the College of Cardinals gathers to elect a new leader for their church, two very disturbing events occur. The first is the theft of a small but significant amount of anti-matter, a substance manufactured in an experiment partially funded by the Church. The second is the kidnapping of four respected cardinals, all of them considered favorites for the papal election, or as they are known more commonly in the Vatican as the preferati.

The powers of the pope are invested in Patrick McKenna (McGregor), the assistant to the previous pope (or Camerlengo as the position is titled), and he is given further reason for misgiving when he receives a cryptic but menacing note, as well as a live cam feed that indicates that the missing anti-matter is somewhere in the Vatican.

To help in the investigation, Inspector Olivetti (Favino) of the Vatican Police Force recruits an unlikely ally – Robert Langdon (Hanks), the Harvard professor of symbology whose investigations in The DaVinci Code brought down the Opus Dei group and caused much embarrassment for the Church. He arrives in the Vatican along with scientist Vittoria Vetra (Zurer) who was working on the anti-matter project and whose father was gruesomely murdered during the theft. She reports that the battery-charged electronic cannister holding the anti-matter would eventually fail when the battery died; when it did, a sizable chunk of Rome would be vaporized.

Langdon determines that the note was written by the Illuminati, an ancient society of scientifically-inclined Catholics who underwent extreme persecution in the days of Galileo. Deciphering the note, he figures out that the plan is to execute the four cardinals, once every hour in four locations sacred to the Illuminati (each having to do with one of the four elements). Langdon must follow a variety of clues to discover where each cardinal is going to meet a grisly end and arrive there before said cardinals get an early opportunity to see God live and in Person.

He is opposed by Commander Richter (Skarsgaard), the head of the Swiss Guard who are kind of the secret service of the Vatican. To let you know how he feels about the situation, he growls in a voice dripping with disdain “What a relief, the symbologist is here” when Langdon arrives at the Vatican. Also conservative Cardinal Strauss (Mueller-Stahl) is suspicious of the openly non-religious Langdon.

This is a very slick-looking thriller that utilizes its Roman locations effectively (although the Vatican locations were all recreated on a set – as you might imagine, the Church refused to allow the filmmakers permission to film there). Howard is one of the best directors working today, and his skills are one of the movie’s outstanding features. The pacing is brisk and doesn’t give you time to think about all the implausibility in the script.

The script is one of the major downfalls of the film. Writers Akiva Goldsmith and David Koepp – both of whom have delivered some really well-written scripts in the past – aren’t entirely to blame for this. Dan Brown, author of the novel, is a talented writer of page turners, but sacrifices a lot of common sense for the sake of a good plot turn. Are you telling me that the combined minds of the Swiss Guard and the Vatican Police Force, who guard some of the most important people and treasures in the world, were unable to turn the note upside down to figure out that it was sent by the Illuminati?

The script is also rather talky. Hanks spends a lot of time cogitating and then delivering a pronouncement like an explanation point “Why didn’t I think of it before? The Church of San Whoever, patron saint of Earth Wind and Fire!” It’s not that Hanks does a bad job – he’s quite believable inasmuch as he can be as an academic who isn’t fazed by being shot at and have any number of murder attempts made on him. In some ways he’s more of an action hero than scholar, but Hanks makes sure the scholarly side is well-represented.

The international cast (with actors from Israel, Scotland, Germany, Sweden, Italy, China, Russia, Denmark, Austria and elsewhere) are solid. McGregor just about steals the movie as the pious Camerlengo. I like him as an actor more and more in every role I see him as. Zurer is likewise solid in a role that literally has no reason to be there – she’s eye candy, nothing more but she at least makes a credible attempt at being at least physicist-like. Skarsgaard and Mueller-Stahl, veteran character actors both, lend gravitas to their roles.

I’ve really spent a lot of time dwelling on the movie’s faults, and that’s a bit unfair. Granted, they are glaring imperfections, but quite frankly this is a solid summer thriller with plenty of mindless entertainment. The trouble is it kind of bills itself as a smart thriller which is a bit of a disservice. This is the kind of movie that if you think too much about it you’re not going to like it as much. Instead, just sit back and enjoy the ride. It’s a pretty good one.

WHY RENT THIS: A nonstop thrill ride that doesn’t pause long enough for you to catch your breath. McGregor is becoming a much more watchable actor than he was in the Star Wars prequels. Breathtaking sets, special effects (particularly one sequence in St. Peter’s Square) and use of Roman locations make this extremely watchable.

WHY RENT SOMETHING ELSE: The script is full of holes and lapses in logic that detract from the action. While it bills itself as an intellectual thriller, it works better as mindless entertainment. Some egregious factual errors, particularly as to historical context and Catholic  

FAMILY VALUES: Some rather spectacular and gruesome murders occur, some of which may be too intense for children.

TRIVIAL PURSUITS: While filming in Rome, the crew and equipment were blocking the passage of a bridal party on the way to a church for their wedding. Upon hearing about the situation, Tom Hanks personally escorted the party through the filming area and prevailed upon crew to move equipment so that the party might pass. The grateful family of the bride invited Hanks and director Howard to stay for the reception but their busy filming schedule prevented it.

NOTABLE DVD EXTRAS: The Blu-Ray edition contains a feature on CERN, home of the large hadron collider and the world’s largest particle physics factory. The crew were permitted to film on the premesis (although not in sensitive areas) and the achievements of CERN are discussed in some detail.

FINAL RATING: 6/10

TOMORROW: The Soloist

Angels & Demons 2-Disc

Angels & Demons is the sequel to the 2006 Blockbuster The Da Vinci Code.  The Pope has died and a successor is to be named by the Conclave. Four candidates has been called but were kidnapped and killed in the process. Symbologist Robert Langdon accompanied with a young physicist must race through Rome to unlock the clues and the mysteries that will lead them to a new powerful weapon, a group that will stop at nothing to have them, and a shocking truth that could change the world.

Four Christmases

Four Christmases features an all-star cast including Reese Witherspoon, Vince Vaughan, Robert Duvall, and Sissy Spacek. It’s a comedy about a couple who wanted to spend christmas in an exotic location while avoiding their own families. However, due to mother nature and a Television News Crew they will have to spend four Christmases this time. Can their true love survive four families?

Funny People 2-Disc Unrated Edition

Funny People stars Adam Sandler, Seth Rogen, Eric Bana, and Leslie Mann. George Simmons was at the top of his game with his low comedy films but is hit with the worst punchline of his life: a rare form of leukemia with a very little chance of survival. He decides to go back to his roots of stand-up comedy. There, he takes Ira Wright under his wing as his assistant/joke writer. As George reconciles his life, he tries to get back the one thing he lost along the way.

Check out all these new films at your local video store!

See you next week and Happy Viewing!

Director and producer Grant Heslov brings a psychedelic, drug-induced comedic outlook at life with “Men Who Stare at Goats.”

The film is about reporter Bob Wilton(Ewan McGregor) at a ho-hum newspaper and who is fed up with the dullness of his life. After interviewing a local man claiming to be a former “psychic soldier” and his wife leaving him for an one-armed man, Wilton jets off to the Middle East in search of his next big story. Wilton is convinced he should produce stories as a war correspondent, but is often left behind. One evening at a hotel restaurant he encounters Lyn Cassady(George Clooney), a strange figure who says he’s part of a secret U.S. military wing called the New Earth Army. This unit is described as “warrior monks” who fight war with their minds by using psychic abilities, can pass through solid walls and stop goats heartbeats by staring at them. Are you lost yet?

Wilton is intrigued and follows Cassady into the desert on a mission that Cassady isn’t even sure of. It is slowly revealed to the audience the two are tracking Cassady’s former psychic teacher Bill Django(Jeff Bridges). They must also battle the psychic warrior who made the entire unit fall apart, Larry Hooper(Kevin Spacey).

Viewing the trailer at another film, I thought this film looked really intriguing. It has a great assortment of cast (McGregor, Clooney and Spacey). After watching it, it seemed like two hours of torture. The storyline started out normal enough until Wilton met Cassady. The events of the duo seem too strange to believe, or even comprehend at times. In one scene, Wilton and Cassady are driving through the desert when Cassady says he is “cloud bursting” to keep himself in shape. He stares at a large, puffy cloud and it disburses before his eyes. A few second later, Cassady hits a large rock along the highway when there was nothing else to hit. Another instance is when Django promotes the use of LSD and marijuana so the New Army can “free themselves” from the world. A lot of people have used LSD, but really?

I had trouble engaging with the story and keeping my attention focused on the film. The plot was very jerky and disconnected.

The difficulty of turning non-fiction into a convincing and enjoyable fictional narrative has defeated many a director including most recently Richard Linklater with the inexorable Fast Food Nation, so an adaptation of Jon Ronson’s book The Men Who Stare At Goats was always going to be hard work for first time director Grant Heslov, who previously co-wrote George Clooney’s Good Night and Good Luck.

This film starts with the disclaimer that more of this story than you would think and goes on to tell the story of hapless Ann Arbor journalist Bob Wilton who uses the break-up of his marriage as the catalyst to become a war correspondent on the War on Terror.  Frustrated and humiliated in a Kuwaiti hotel, Wilton stumbles across George Clooney’s Lyn Cassady, a name he recognises from his days interviewing in Ann Arbor.  What follows is part-road movie and part-madcap comedy exploring the antics of the so-called “New Earth Army” – a black op exploring the possibilities of the mind in combat led by Jeff Bridges’ Bill Django.

There are a number of problems with this film, most notably with the film’s structure.  The road movie sections are present day which leaves much of the antics of the army in flashback narrated by McGregor.  As a device, this doesn’t work and takes the audience in and out of the movie.  The other problem is that I just didn’t find a lot of this film to be particularly funny.  A lot of the jokes fell flat, particularly between McGregor and Clooney and this is symptomatic of  performances which feel “phoned in” and unremarkable.  With no-one is this more apparent than with Jeff Bridges who could play the drugged-up hippy role in his sleep.  In the case of Clooney, McGregor, Bridges and Spacey, all of them have played similar roles better in better films.

The book is a fun interesting book and whilst some of that fun makes it onto the screen, once again this film is just another illustration that adapting non-fiction is tricky.

4/10

Lo que nadie duda a estas alturas de la partida es que Ewan McGregor es uno de los actores más aclamados y reputados de su generación, ni Daniel Craig o Jude Law han conseguido alcanzar su status dentro de la industria cinematográfica. Acaba de estrenar en Estados Unidos “The Men Who Stare at Goats“ donde interpreta a Bob Wilton. Le acompañan en el cartel de esta alocada comedia nada más y nada menos que George Clooney, Kevin Spacey o Jeff Bridges. Pero en la videoarena nos preguntamos ¿cuál fue el primer papel cinematográfico de este actor escocés? Cómo fueron sus inicios  antes de convertirse en el fetiche de Danny Boyle.  

Renton le trajo la fama internacional.

El viaje al estrellato de este actor comienza en 31 de marzo de 1971, fecha en la que nace. A los 16 años deja su localidad natal de Crieff para iniciar su carrera teatral uniéndose a Perth Repertory Theatre. Sus padres no tardarían en animarle a que abandonara esta compañía para que se formara como actor.  Así que comenzó sus estudios de arte dramático en Kirkcaldly en Fife y en la Escuela de Música y Drama de Guildhall. Allí compartió estudios con Daniel Craig, Alistair McGowan, David Thewlis o Naveen Andrews, famoso por su papel de Said en “Perdidos” y con el que mantiene su relación de amistad en la actualidad. A los 22 años tras haber interpretado en la televisión a Jimmy en la serie “Family style”, consiguió dar el salto al cine y consiguió su primer papel gracias a Susan Figgis que le ofertó el papel de Álvarez en la película del director escocés Bill Forsyth llamada “BEING HUMAN“, y que en España se tradujo como  “Un hombre perdido en el tiempo”.

Un hombre perdido en el tiempo, 1993.

Una historia dividida en cinco capítulos que recorre la historia de la humanidad a través del personaje de Héctor interpretado por Robin Williams. McGregor aparece en el tercer segmento en un corto y tragicómico papel. Os centro un poco en la trama. El barco español donde viaja esta suerte de héroe temporal naufraga enfrente de la costas de África. Allí los supervivientes pasan hambre y sed. Un par de marineros no se les ocurre la feliz idea de robar y beberse todo el agua que queda. Por ese motivo, Don Pablo jefe de la expedición les castigará a la pena máxima, morir crucificados bajo el sol.  Será Álvarez el que se presente voluntario en lugar de Héctor para ajusticiarlos.

No fue uno de esos comienzos escurridizos como el protagonizado por Sigourney Weaver. McGregor tenía un par de frases. Cortas pero las tenía, y encima se echo una carrerita por la playa.

Un año después Danny Boyle le descubriría y le daría el papel de Alex Law en “Tumba abierta“. En 1995 mientras trabajaba en el programa de televisión “Kavanagh QC” conoce a diseñadora de producción francesa Eve Mavrakis en Francia. Durante ese verano el 22 de julio se casan en Dordogne, Aquitania (Francia) y fruto de esta unión son las dos hijas que tienen, Clara Mathilde y Esther Rose. Un año después daría el salto definitivo a la fama gracias al papel de Mark Renton en “Trainspotting“. Aquí volvería a coincidir con un viejo amigo, ya que ambos habían coincidido durante su debut cinematográfico, hablo del actor Robert Carlyle, que aparecía también en “Un hombre perdido en el tiempo” interpretando en el primer segmento a Shamen. Un vikingo que le robará a Hector su mujer e hija.

Pero las coincidencias en su carrera no acabarán aquí ya que la llave que le abrió las puertas al estrellato vino de la mano de Baz Luhrmann que le ofreció el papel Christian en “Moulin Rouge” y fue George Lucas quien le diera el empujón final al ofrecerle el papel de joven Obi Wan Kenobi en la famosa epopeya galáctica. Aceptó el papel porque su tío el también actor Denis Lawson aparecía en ”La guerra de las galaxias” interpretando a Rojo dos en la batalla final en la Estrella de la Muerte.

Denis Lawson es Rojo Dos en "Una nueva esperanza"

En la actualidad, McGregor ha formado una compañía de producción con sus amigos Jonny Lee Miller, Sean Pertwee, Jude Law y Sadie Frost, llamada “Natural Nylon”. Con ella esperan hacer películas innovadoras que no se ajusten a los estándares de Hollywood.

There must be something horribly wrong with me because Johnny Depp has always left me cold.  Sure, if he snuck into my bedroom begging for some lovin’, I wouldn’t tell him to take a hike.  But here he is, People’s Sexiest Man Alive again and I’m like, “whatev.”

I never agree with People’s choices around beauty and sexiness.  Boring Pierce Brosnan?  Frat Boy Affleck?  Two-time Sexiest winner Brad Pitt’s another hunk about whom I’ve always been lukewarm.  I was down with former Sexiest Men Denzel and Clooney, and still consider JFK, Jr. one of the sexiest men to have ever walked the planet.  But the rest of People’s choices…yawn.

So what better thing to do on a cold Sunday afternoon than sit around deciding who the sexiest men in the world are.  Here’s my list. 

Edward Norton – He’s scrawny and has a receding chin, but Edward deserves the clichéd “best actor of his generation” title.  Ol’ Ed must have something in the sexiness department considering he scored babes Rosario Dawson in 25^th Hour and Salma Hayek in real life.  Anyone who can make a neo-Nazi hot definitely deserves to be on some list.

Barack Obama – Nobel Prize winner.  Devoted family man.  Coolest American president who ever lived.  Obama is the epitome of sexiness.  Now, if he can just pass health care.

David Letterman – Yep.  Dave.  In high school, I had a major crush on him.  He doesn’t offer much in the looks department but the dry, quirky, somewhat mean-spirited wit adds more to his appeal than a pretty face ever could.  Plus, you can see in the way he flirts with female guests and fawns over Julia Roberts’ mouth that there’s a love monster within the geek’s body.  This latest scandal only proves my point.

Javier Bardem – I saw him a couple times in Madrid and he came off as one of those “serious” actors who think smelling bad is a sign of artistic depth.  Seems he doesn’t bathe.  Still, Javier’s intensity is the stuff of dirty dreams.  His fights with Penelope Cruz in Vicky Cristina Barcelona made you believe co-dependent, mind-fucking romances are the way to go.  Even with that weird Coen brothers haircut in No Country for Old Men, Javier’s the bee’s knees.

This Guy Who Rides My Bus – I really need to get over my attraction to tattooed, messily gorgeous meatheads who chain smoke and work in sandwich shops.  The one who rides my bus every morning was recently reading a Dummies guide on raising ferrets.  Upgrade, Laura, upgrade.    

Ewan McGregor – He wears makeup and skirts, sings in musicals and shows his butt all the time in films.  Ewan is the cute, wacky class clown who just happens to be easy on the peepers.  While his sexier peers have fallen off the cultural radar (Jude Law anyone?) Ewan keeps showing up and giving his all in decent flicks.  He ought to instruct his friend Jude on the finer points of career longevity and how not to shag nannies. 

Djimon Hounsou – Remember how great Janet Jackson looked in her black-and-white music video, “Love Will Never Do Without You?”  I don’t because I was too busy staring at Djimon Hounsou.  He’s one of those lucky bastards who gets to look incredible and have talent.  Only a god like Djimon could distract anyone from the sexy powder keg also known as Leo DiCaprio, but he did it in Blood Diamond.  Then he had to ruin it and marry that Kimora Simmons witch.  What a loss…

Lenny Kravitz – When I lived in New York, a friend of a friend was subletting an apartment in Soho.  Lenny Kravitz supposedly lived across the street.  For a time, five of my girlfriends and I were seriously considering taking on several jobs and living in the cramped place together just to see Lenny walk by the window in his Calvins.  Though he hasn’t made an interesting album in a decade and his lyrics are kinda dumb (“my mama said that your life is a gift/my mama said there’s much weight you will lift”), not much more comes to mind when looking at that face than sex. 

Don Draper – A handsome as hell, emotionally remote, psychologically tortured cad who can’t keep it in his pants?  What a dreamboat!  I refuse to read articles about or watch interviews of Jon Hamm, the actor who plays him, because I have a feeling he’s actually a likeable and even shy person.  I prefer scumbags like Draper.

Freddie Ljungberg – He’s a Swedish football player.  He did ads for Calvin Klein underwear.  If there’s any confusion as to why he’s the sexiest man alive, please refer to the southern portion of the aforementioned ad.

El actor británico Ewan McGregor, protagonista de filmes como Trainspotting (1996) y La Guerra de las Galaxias (2002), afirmó que planea realizar nuevamente un viaje en motocicleta por varios países.
“Tuve una experiencia tan maravillosa viajando de Rusia y Asia central hasta frica que sería una locura no continuar con esos viajes, por que realmente los disfruto”, declaró McGregor, de 38 años.
El actor realizó su último viaje en motocicleta junto a su mejor amigo, Charley Boorman. Según McGregor, viajar por frica lo afectó “muy profundamente”.
“Escuché a gente hablar acerca ese sentimiento de pertenencia cuando uno está allí, y eso es lo que experimenté. En la parte central de frica me sentí totalmente como en casa, como si no tuviera que estar en ninguna otra parte.

Sentí una conexión muy fuerte con ese lugar”, agregó.
El actor sostuvo que en frica “hay muchas cosas grandiosas y positivas”, aunque también “horrores espantosos”. JMG

Based on the article “The Yankee Bandit: The Life and Times of Eddie Dodson, World’s Greatest Bank Robber”, written by Timothy Ford and published by GEAR Magazine, The Electric Slide tells the true story of suave hipster and celebrity-magnet Eddie Dodson (Ewan McGregor), who in 1980s Los Angeles owned and ran one of the city’s most stylish art deco furniture stores. Celebrities flocked to buy the latest pieces and Eddie was living the high life along with the Hollywood elite.

But when Eddie met cool and unimpressed Jenny (Carey Mulligan – An Education), he decided to do the most outrageous thing he could think of to win her attention – he robbed a bank. Eddie discovered in himself the uncanny ability to charm pretty bank tellers into emptying their drawers of cash and getting away with it. And Jenny discovered that a boyfriend who robbed banks was about as hot as it got.

Over a period of months, Eddie and Jenny robbed over 70 banks in the Los Angeles area, often narrowly escaping the increasingly frustrated FBI. When the authorities interviewed the tellers who had been robbed, each of the described Eddie “like a movie star, the most charming man they had ever met.” The media, jumping on the story, dubbed him “The Gentleman Bandit.” But Eddie’s criminal lucky streak would not last forever as the FBI closed in and angry loan sharks with unpaid debts threatened his life.

Directed by Tristan Patterson.

Source: Collider

I went to bed at about 10pm, but haven’t been able to fall asleep.  Maybe it’s my own fault for taking a 1 hour nap earlier today, but it could also be Dan’s fault because he decided to go to bed the same time I did despite being wide awake and so I was bothered by his tossing and turning.  1.5 hours later, he’s sound asleep while I’m sitting here writing about how I wish I were asleep, too.  Fortunately for me, this week is only a three day week.

I had meant to cook something fancy and different this weekend, but I actually ended up pretty busy the whole time.  Friday night, Dan and I decided to have a “date night” and so we went out to eat and ended up at the movie theatre with the idea of seeing whatever it was that looked good when we got there.  I suggested seeing Twilight and he was willing to go (but not happy about it), but when we saw the line of tweens stretched across the entire theatre, we decided to rethink that decision.  We ended up deciding on The Men Who Stare at Goats based entirely on George Clooney’s presence.  Fortunately our decision worked out and we loved it.  Even better, I was surprised to see that Ewan McGregor was in it!  Anything with Ewan McGregor in it is something that I want to see (yum).  On Saturday I went shopping with Jenny, went to work out, and did a little more shopping with Dan after that.  Earlier today, I went to the dog park, donated to Goodwill, bought groceries for our Thanksgiving dinner, looked at some dog kennels for when Dan and I go out of town, and did a lot of cleaning.  I did make a delicious dinner for myself consisting of macaroni and cheese, broccoli, and chicken, but it wasn’t really fancy enough to highlight here.  I did make up the breading for my chicken though, so my chef skills are getting much better.

Thanksgiving for me is going to be spend here in Saint Paul since my family is in Mississippi and Dan’s is in Illinois.  I would have liked to fly down to see my family this holiday, but my flight benefits with Delta don’t kick in until December 2nd.  And so, Dan and I will be staying here and making our own dinner.  Cornish hens will stand in as turkey for us, and with it we will have mashed potatoes, gravy, twice baked potatoes, green bean casserole, pumpkin pie, cinnamon ice cream, and pumpkin bread.  I really do think it will be a lot of fun getting all of this ready for us to eat, and the best part is that if we screw something up, we won’t be embarassing ourselves in front of our entire family! 

After the big Thanksgiving dinner that we make for ourselves, we’ll be heading out for black friday shopping.  Our big stop will be at Sears, where we have our eyes on a Samsung TV and a Garmin GPS.  The best part is that Sears opens at 4am while pretty much everything else opens at 5, so we should be able to get some of the really good deals at other stores as well, before they are all sold out.  I’m looking for some new pots and pans, some towels, sheets, and maybe a dog bed.  And honestly, if we find a great couch, I might think about getting that as well.  I’ve always thought of black friday as a shopping day for me, and I’m not ashamed to admit it.  I like to buy my gift recipients gifts based on thought, not on price tag or gadgetry, and plus I love buying things for myself.  It’s one of my favorite pasttimes.

I am feeling a bit more tired, so I’m going to try to get to sleep again.  My alarm clock is set to go off at 5:25am (5 hours from now) so I can get a work out on… but we’ll see if I actually get to the gym.

I actually made time to see a movie last weekend. Here is a review piece I wrote on The Men Who Stare at Goats.

If you like watching middle-aged men staring intensely into space for uncomfortable amounts of time, then The Men Who Stare at Goats is the movie for you. The film includes some staring, a few goats, and a whole lot of ridiculousness.

The movie begins with a disclaimer stating that “More of this is true than you would care to believe.” A better warning would be “This is not as funny as you were led to believe.” Despite the A-list actors and over the top story, there is very little in The Men Who Stare at Goats worth laughing about.

The story, such as it is, focuses on likable Ann Arbor reporter Bob Wilton, as played by a fresh-faced Ewan McGregor. Wilton’s world begins to crumble when his wife leaves him for his one-armed editor. Determined to prove himself to her and squash the voice of the “little man” inside him telling him to live his “little life,” he packs up and goes to Iraq to engage in serious journalism.

Only he doesn’t. He ends up stuck in Kuwait, awaiting permission to cross the border. It proves fortuitous, as he meets Lyn Cassady (played by a mustached George Clooney) in the hotel bar. Wilton remembers his name from an interview that identified him as being part of a military unit focusing on psychic abilities. Much to his surprise, Cassady confirms the story. “So what you’re saying is that… you, are a uh… psychic spy?” Wilton disbelievingly asks.

“A Jedi warrior.” Cassady replies with all seriousness. He then invites Wilton to accompany him on his last mission into Iraq – since a doodle in the reporter’s notebook makes him think it is destiny for them to travel together.

Along the way – as the pair gets into a series of increasingly unbelievable mishaps – Cassady tells the story of the New Earth Army. The project was the brainchild of a Vietnam Vet turned New Age spiritualist Bill Django (as played by Jeff Bridges), who decided based on a vision that psychic powers would define the military’s future.

Cassady’s story, shown in a series of flashbacks, details the rise and eventual fall of the New Earth Army, which he believes was brought about the moment the psychic powers were used to kill a goat. Wilton realizes a little too late that he is in over his head and his only option is to tag along on Cassady’s crazy quest for redemption.

The audience, much like Wilton, begins to suspect they’ve been taken on a strange journey. In both cases, the ending is not as rewarding as they have come to expect.

The problem is simple. The Men Who Stare at Goats confuses being absurd as being funny. In sacrificing believability for a laugh, it only alienates the audience, who are more likely to roll their eyes or sigh than anything else.

This is illustrated in the scene where Cassady and Wilton encounter an Iraqi man during the course of their journey. They run him over while attempting to rescue him (after they have all escaped from militant kidnappers, of course) and then continue to call him Mohammed even though his name is Mahmud. It’s tired, and frankly, a little insulting.

The movie seems to be relying on the strength of its cast to carry the heavy-handed dialogue. They work with it as best they can; yet none of the roles allow them to flex their acting muscles.

Clooney manages to retain his charm, but the script prevents him from ever hitting the level of intensity he is capable of reaching. Of interest is the similarity this film bears to one of Clooney’s previous projects, Burn After Reading, from the convoluted nature of the plot down to the typeface used on the movie posters.

One of the films few successes was Bridges in the role of soldier-turned-hippie Bill Django, complete with long grey braid and Om necklace. The flashbacks to the New Earth Army are some of best, carried by his paternalistic bearing, grinning with pride as he shapes the powers of his Jedi warriors. But then again, Bridges is comfortable in the role of the father figure, as seen in some of his recent works – Stick It!, Ironman, and How to Lose Friends and Alienate People all come to mind.

Those who are interested in The Men Who Stare at Goats would fare better by simply watching the trailer instead. You’ll get the basic story, see the few funny jokes, and save the cost of a movie ticket.

The trailer:

Of the five films currently sitting in top spot in the Irish box office, three are based on books, and that’s before taking into account the second instalment of the Twilight series, which just opened yesterday. Wikipedia has helpfully compiled the highest-grossing movies of the last decade; eight of the top ten are adaptations of books (or comics, in the case of The Dark Knight, which are just as valid a literary form, if you ask me). Books are obviously Good Business at the minute.

Based on the book of the same name, The Men Who Stare At Goats is unlikely to make a late run for inclusion in the list of big money blockbuster book adaptations. This might be because it doesn’t include enough vampires/boy wizards/orcs/all of the above. It might also be because, as an early title slide warns us, all too many of the events it portrays have their basis in fact.

Ewan McGregor stars as journalist Bob Wilton who embarks on a journey through Gulf War II Iraq with off-beat ex-military man Lyn Cassady (George Clooney), a former member of what the US Army referred to as the New Earth Army. Led by Jeff Bridges in Sergeant “The Dude” mode, this Cold War-era group formed with the aim of creating super psychic soldiers capable of remote viewing, walking through walls and killing goats by staring at them. Now, with the group long dissolved and gone their separate ways, Cassady has — so he claims — been psychically tasked with one final mission…

It’s actually difficult to pick out the made-up strands of narrative from the stuff that’s rooted in fact. Much of the detail relating to the New Earth Army and their methodologies is supposedly true, and the attempts of both the American and Russian military to investigate psychic powers have been well documented. Naturally, the film plays all of this for laughs — and quite rightly too — and while there are plenty of funny moments that juxtapose military men and New Age hippie-trippiness, there is a slight feeling of an opportunity missed in terms of biting satire. Maybe the subject matter is just too ridiculous to really go for the jugular.

The best of the comedy comes courtesy of Clooney, who is stone-cold brilliant as Lyn Cassady, a man who clearly believes he has a very special gift, might also be on the wrong side of the see-saw of sanity, and is also a disillusioned, burnt-out, and ultimately tragic individual. Spouting New Age mumbo-jumbo military techniques with the utmost sincerity, and completely unafraid to make himself look foolish for the sake of a gag, he’s utterly believable throughout the film, and plays Repressed Crazy almost too convincingly for comfort. There’s also a nicely meta collection of jokes around the codename for the New Earth Army (Jedi) and Ewan McGregor’s presence.

Still, the overall feeling is one of slightness, or inconsequentiality. Which is fine; it’s good fun and it doesn’t outstay its welcome, but it also feels like a film which doesn’t have very much to say about a variety of important topics (military spending, the futility of war, the presence of corporate influences in post-war Iraq…take your pick), and we’ve come to expect more from film-makers of this quality.

Languidece noviembre, amarillean las hojas de los árboles y todo ese rollo… y como ellas, van cayendo marchitos los estrenos del fin de semana, sin despertar gran interés a un servidor. Algo me dice, sin embargo, que unos cuantos millones de personas se empeñarán a llevarme la contraria:

-Luna Nueva (estrenada el miércoles 18): Blockbuster palomitero apoyado en el fulgurante (y por mí no catado) éxito de las novelitas de Stephenie Meyer, aquí está la segunda entrega de… sí, otra historieta de vampiros y amoríos adolescentes, en la línea del producto HBO True Blood. Cómo será de pobre el guión cuando de lo único que se ha hablado es de si el vampiro Robert Pattinson, cansino como él solo, sale con esta o con la otra; y, sobre todo, con cuántos kilos de músculo se ha forrado el hombre-lobo Taylor Lautner. Pobre crío él, que a sus 18 años se ha visto obligado a machacarse en el gimnasio y engullir proteína tras otra, y quién sabe si metiéndose hormonas y otras mierdas, para cambiar su cuerpo cuando aún estaba desarrollándose, por culpa de unos productores que sopesaban la idea de largarle por alfeñique. Con más razón que nunca: para fans de la saga.

-Amelia: No parece que sea el caso, pero película que hace Hillary Swank… (casi) Oscar que se lleva; ahora encarna a una aviadora pionera que tiene que sufrir a Richard Gere y a Ewan McGregor (¡Dios!) mientras rompe barreras más chungas que el sonido, como la discriminación por ser mujer, bla, bla, bla.

-Un lugar donde quedarse: Sam Mendes, otrora admirado por American Beauty, parece cada vez más fuera de onda; ahora sirve una comedia gafapastiana y con airecitos Green Village, rollo cultureta/alternata/intelectualoide que tira para atrás.

-Tenderness: El título, la verdad, no invita nada. Luego, ¿quién sabe?, igual hasta engancha la historia de un poli (Russell Crowe) obsesionado con un chaval que mató a sus viejos y del que está convencido que, fuera ya de la cárcel, se cepillará a más gente, incluida una niñata enamorada del tal asesino. Una incógnita.

-La noche que dejó de llover: Luis Tosar se merece nuestro eterno respeto por su Malamadre de Celda 211; pero esto, hasta que alguien me demuestre lo contrario, es una ESPAÑOLADA.

It probably shouldn’t be the case, but a film’s ending is really it’s beginning. It’s the last thing in your mind when you leave the cinema; so a satisfying ending if likely to define an audience’s response to a film. Similarly  a poor one. One of the most famous examples of this is the original cinema release of Bladerunner. This film was always going to divide audiences, with its dark palette, moody atmosphere and serious themes for a sci-fi story with the star of Star Wars. Some responded well to what they saw, though – struck by the film’s seriousness, skill and depth…until a tacked on ending under studio pressure, that undermined much of went before with a happy and upbeat conclusion. It’s taken 25 years to fully fix that, with a Director’s Cut that wasn’t really, and a Final Cut that probably is. With a suitable ending in place, it stands clearly as the masterpiece it undoubtedly is. A film of Bladerunner’s quality shouldn’t have suffered so much over its last few seconds; but it did, hampered for years by a few misjudged seconds (as well as the needless narration).

The Men Who Stare At Goats is no Bladerunner, but it shares a similar problem with its ending. Its based on a non-fiction book, about the ’secret’ psychic spy division of the US army. The unit’s story is told in flashback, as Ewan McGregor’s journalist accompanies George Clooney’s army man into modern-day Iraq – it’s a device that’s not in the book, understandably added in to give the film narrative momentum. The flashbacks tend to work better; the road movie plot is unconvincing and could have been done more simply and effectively. There is, though, a lovely light comic tone that carries the film along over the many flaws along the way. Some truly hilarious moments will live a long time in the memory – Jeff Bridges, Kevin Spacey and Ewan McGregor are all engaging presences. This, though, is Clooney’s film, and his pitch perfect portrayal is funny, skeptical, satirical and kindly all at the same time. He is truly a master of his craft; there are few contemporary actors capable of this kind of role.

All of which makes the ending all the more disappointing. Until the last two minutes, the narrative flaws are largely ignorable thanks to the film’s good-nature, fine performances and well-paced laughs.  Up until the end, the viewer’s given just enough to make you understand why people can fall for the nonsense of psychic spies; to see that coincidences can sometimes look like more than that. The film’s conclusion, though, is a ludicrously miss-judged attempt at feel-good up-lift; it’s no less than an insult to audience intelligence and devalues so much good that’s gone before. It’s an attempt at joyful wonder, ignoring that true wonder is about undeserved grace and favour and beauty rather than achieving something patently impossible.

It could be argued that such an ending allows a more honest view of the film’s flaws; that’s understandable, but unfair. See it, but close your eyes and shut your ears for the last minute; that way you’ll walk out laughing at a flawed but entertaining comedy. If not, you’ll just feel let down.

Hilary Swank as Amelia Earhart. Photo courtesy of MCT Campus

By Taylor Madaffari

3/5 Stars

Mira Nair’s biopic Amelia may have barely gotten off the ground, with its bland storytelling, dismaying superficiality, and inability to transcend the icon and make real insights into this extraordinary woman’s life, but two-time Academy Award winner Hilary Swank (Boys Don’t Cry and Million Dollar Baby) glows in her turn as the legendary aviatrix.

The film is told in flashback, focusing on the decade between Earhart’s first taste of fame in1928 and her 1937 fateful disappearance somewhere over the South Pacific during an attempt to fly around the world.  It highlights her instant superstardom as “Lady Lindy,” her popularity in the lecture circuit and in commercial advertising, her solo flight across the Atlantic, her marriage to New York publisher George Putnam (Richard Gere), and her affair with Gene Vidal (Ewen McGregor), the founder of TWA and father of Gore Vidal.

All of this, yet the narrative is strangely static— emotionally flat and uninspired.  Nair’s direction is too timid, tiptoeing around Earhart’s affair with Gene, there are a number of illicit glances and one stolen kiss in an elevator, but that’s the only evidence ever offered.  I think Nair may have been afraid of presenting a morally flawed and complex character, but that’s exactly what would have made Amelia more human, and, as a result, infinitely more interesting.  Even the ever-present dangers inherent to flying in the 1930’s don’t register.  Everything is bland, calm, flat-lined.

The dull emotional tenor of the film is at odds with the passion and fervor of the real Earhart.  She was a proto-feminist, challenging gender barriers (she wore pants and sometimes ties, insisted the word “obey” be removed from her wedding vows) and dedicated to living her life on her own terms.  She was deeply committed to achieving her dreams and inspired others to do the same, mentoring young women and using her celebrity to gain recognition for female flyers.

Swank, with her short, tousled hair, splash of freckles, slightly androgynous face, slim figure, and strong physical carriage, perfectly embodies how I imagine this vibrant woman.  She looks like her, smiles like her, sounds like her—she’s absolutely captivating.

However, the viewer is never privy to what drives her.  We’re not quite sure what’s at stake when she leaves George Putnam’s side to fly the skies.  Nair trades meaningful characterization for inspiring platitudes in banal voice-overs that, at times, lean toward romantic drivel.  She doesn’t seem particularly interested in exploring Earhart’s drives, ambitions, or motivations beyond a superficial level; this Earhart loves to fly because the script says so.  The movie is unsurprising; it makes no discoveries or insights, presents no novel perspectives.  It simply rehashes the generalities we know to be true:  Amelia Earhart was a courageous woman who led an extraordinary life.

Despite these disappointments, the film is visually stunning, with breathtaking aerial views, bold Art Deco lines and lush 1930’s fashions.  It boasts impeccable period detail, including real-life footage, headlines, and the gleaming recreation of the twin-engine Lockheed L-10 Electra that Earhart flew to her uncertain end.  Her final flight is dealt with tastefully and directly, artfully avoiding the realm of conspiracy and wild conjecture; it is so accurate, that many of the radio transmissions between her and the Coast Guard cutter Itasca, stationed off of Howland Island, are repeated verbatim.

This film should have been a soaring, inspiring, complex account of an intriguing woman, but it never quite got off the ground.

Click here to listen to “Amelia Earhart’s Last Flight”:

http://www.youtube.com/watch?v=xRMu3dEHCaM

Hilary Swank as Amelia Earhart. Photo courtesy of Daemon's Movies.

By Taylor Madaffari

3/5 Stars

Mira Nair’s biopic Amelia may have barely gotten off the ground, with its bland storytelling, dismaying superficiality, and inability to transcend the icon and make real insights into this extraordinary woman’s life, but two-time Academy Award winner Hilary Swank (Boys Don’t Cry and Million Dollar Baby) glows in her performance as the legendary aviatrix.

The film is told in flashback, focusing on the decade between Earhart’s first taste of fame in1928 and her 1937 fateful disappearance somewhere over the South Pacific during an attempt to fly around the world.  It highlights her instant superstardom as “Lady Lindy,” her popularity in the lecture circuit and in commercial advertising, her solo flight across the Atlantic, her marriage to New York publisher George Putnam (Richard Gere), and her affair with Gene Vidal (Ewen McGregor), the founder of TWA and father of Gore Vidal.

All of this, yet the narrative is strangely static— emotionally flat and uninspired.  Nair’s direction is too timid, tiptoeing around Earhart’s affair with Gene, there are a number of illicit glances and one stolen kiss in an elevator, but that’s the only evidence ever offered.  I think Nair may have been afraid of presenting a morally flawed and complex character, but that’s exactly what would have made Amelia more human, and, as a result, infinitely more interesting.  Even the ever-present dangers inherent to flying in the 1930’s don’t register.  Everything is bland, calm, flat-lined.

The dull emotional tenor of the film is at odds with the passion and fervor of the real Earhart.  She was a proto-feminist, challenging gender barriers (she wore pants and sometimes ties, insisted the word “obey” be removed from her wedding vows) and dedicated to living her life on her own terms.  She was deeply committed to achieving her dreams and inspired others to do the same, mentoring young women and using her celebrity to gain recognition for female flyers.

Swank, with her short, tousled hair, splash of freckles, slightly androgynous face, slim figure, and strong physical carriage, perfectly embodies how I imagine this vibrant woman.  She looks like her, smiles like her, sounds like her—she’s absolutely captivating.

However, the viewer is never privy to what drives her.  We’re not quite sure what’s at stake when she leaves George Putnam’s side to fly the skies.  Nair trades meaningful characterization for inspiring platitudes in banal voice-overs that, at times, lean toward romantic drivel.  She doesn’t seem particularly interested in exploring Earhart’s drives, ambitions, or motivations beyond a superficial level; this Earhart loves to fly because the script says so.  The movie is unsurprising; it makes no discoveries or insights, presents no novel perspectives.  It simply rehashes the generalities we know to be true:  Amelia Earhart was a courageous woman who led an extraordinary life.

Despite these disappointments, the film is visually stunning, with breathtaking aerial views, bold Art Deco lines and lush 1930’s fashions.  It boasts impeccable period detail, including the gleaming recreation of the twin-engine Lockheed L-10 Electra that Earhart flew to her uncertain end.  Her final flight is dealt with tastefully and directly, artfully avoiding the realm of conspiracy and wild conjecture; it is so accurate, that many of the radio transmissions between her and the Coast Guard cutter Itasca, stationed off of Howland Island, are repeated verbatim.

This film should have been a soaring, inspiring, complex account of an intriguing woman, but it never quite gets off the ground.

Click here to listen to Amelia Earhart’s last flight:

http://www.youtube.com/watch?v=xRMu3dEHCaM

No voy a extenderme comentando el título que se estrenó el miércoles, porque de “Luna Nueva” mucho se ha hablado ya en este Blog, y mi compañero Snake, recogió la noticia el mismo día en el que debutaba en las pantallas españolas (para leer su post, pinchad aquí).

Por otro lado, y para quienes queráis tener una información más completa de la película, si pincháis aquí, podéis acceder a un especial sobre ella, confeccionado por Karelia, otra de los componentes de este Blog.

Y dicho esto, me dedico a comentar los cinco nuevos films que podremos ver a partir de hoy en nuestros cines.

“Tenderness” es un thriller producido en USA, protagonizado por Russell Crowe, Laura Dern, Jon Foster y Sophie Traub. La película está basada en una novela de Robert Cormier, escritor de literatura juvenil, ya desaparecido, y, precisamente, los dos personajes sobre los que gira la trama del film, son el joven Eric Komenko (Jon Foster), puesto en libertad recientemente, después de cumplir condena por el asesinato de sus padres, y Lori (Sophie Traub), una adolescente obsesionada por Eric, que irrumpe por sorpresa en su vida. Russell Crowe interpreta a Cristofuoro, un detective de la policía que sigue de cerca los pasos de Komenko, convencido de que este es un potencial asesino en serie.

“Amelia”, es un biopic sobre la vida de la aviadora estadounidense Amelia Earhart (Hilary Swank) que desapareció mientras sobrevolaba el océano Pacífico en 1937 en su intento de realizar un vuelo alrededor del mundo. El film nos cuenta también sus relaciones con su marido, George Putnam (interpretado por Richard Gere), con la ex esposa de este, a la que da vida Virginia Madsen, y con el que fue su amante y gran amor de su vida, Eugene Vidal (Ewan McGregor), padre del escritor Gore Vidal.

“Un lugar donde quedarse” la dirige Sam Mendes, realizador de las aplaudidas “American Beauty” (1999), “Camino a la perdición” (2002), y “Revolutionary Road” (2008). El film es una comedia dramática, que también puede encuadrarse en las llamadas road movie. Es el peregrinar de una pareja treintañera por Estados Unidos, buscando el lugar ideal donde afincar su familia, ya que están a punto de  tener un hijo. En su recorrido conocerán a muchas otras familias, vivirán con algunas de ellas situaciones surrealistas, pero siempre sacarán algo positivo de sus encuentros, lo que les llevará a una reflexión final.

“La noche que dejó de llover” es de producción española, está protagonizada por el aclamado Luis Tosar (“Celda 212” -2009), y fue pre-estrenada en el pasado Festival de Valladolid. Cuenta como Spleen (Tosar), un hombre fuera de lo corriente, que pasa las noches filosofando en una taberna con sus amigos, conoce a una chica con la que inicia una relación también fuera de lo corriente, y que tiene como marco la noche.

“Los condenados”, también producida en España, fue pre-estrenada en la pasada edición del Festival de Cine de San Sebastián. La dirige Isaki Lacuesta, del que pudimos apreciar “Cravan vs. Cravan” (2002) el documental con el que debutó en la pantalla grande. En esta ocasión, nos cuenta una tensa historia en la que dos ex-guerrilleros se reencuentran después de 30 años en una excavación ilegal, en la que comienzan a buscar el cuerpo de un compañero desaparecido en aquella época.

Y… hemos llegado al final. A la semana que viene, más.

Buen cine.

LA SAGA CREPÚSCULO: LUNA NUEVA

Título: La Saga Crepúsculo: Luna Nueva

Título Original: The Twilight Saga: New Moon

Género: Thriller, Fantasía

Nacionalidad: USA

Año: 2009

Director: Chris Weitz

Guión: Melissa Rosenberg

Intérpretes: Kristen Stewart, Robert Pattinson, Taylor Lautner, Ashley Greene, Peter Facinelli, Elizabeth Reaser, Kellan Lutz, Nikki Reed, Jackson Rathbone, Bronson Pelletier, Alex Meraz, Kiowa Gordon, Billy Burke, Chaske Spencer, Edi Gathegi, Rachelle Lefevre, Michael Sheen, Christopher Heyerdahl, Charlie Bewley, Daniel Cudmore, Dakota Fanning, Graham Greene, Anna Kendrick, Michael Welch, Christian Serratos, Justine Wachsberger, Jamie Campbell Bower, Justin Chon, Hugo Steele

Sinopsis: Basada en la novela Luna Nueva, segunda de la saga Crepúsculo de Stephenie Meyer.

El romance entre mortal y vampiro alcanza nuevas cotas cuando Bella Swan (Kristen Stewart) tienta al destino en su intento de conocer mejor a su amado vampiro, Edward Cullen (Robert Pattinson). A medida que se sume en los misterios del mundo sobrenatural del que ansía formar parte, descubre un par de antiguos secretos que la ponen más en peligro que nunca.

Nada más cumplir Bella 18 años, Edward decide abandonarla con intención de protegerla. Una desconsolada Bella se ve pasando su último año de instituto sola, medio dormida e insensible, hasta que descubre que puede visualizar la imagen de Edward siempre que corre peligro. Su deseo de estar con él a toda costa la lleva a asumir riesgos cada vez mayores, e incluso llega a aficionarse a correr temerariamente en moto a toda velocidad.

Con la ayuda de Jacob Black (Taylor Lautner), su amigo de la infancia y miembro de la misteriosa tribu quileute, Bella restaura una moto para sus aventuras. El gélido corazón de Bella se va descongelando poco a poco gracias a su creciente relación con Jacob, que guarda su propio secreto sobrenatural.

Cuando Bella deambula sola hasta un prado, se encuentra cara a cara con un letal atacante. Tan solo la intervención de una manada de lobos sobrenaturalmente grandes la salva de una espeluznante muerte y el encuentro deja terriblemente claro que Bella todavía corre grave peligro. En una carrera contra reloj, Bella descubre el antiguo secreto de la tribu quileute y el auténtico motivo por el cual Edward la dejó. También afronta la posibilidad de una reunión potencialmente mortal con su amado muy distinta de la que esperaba.

TENDERNESS

Título: Tenderness

Título Original: Tenderness

Género: Thriller

Nacionalidad: USA

Año: 2008

Director: John Polson

Guión: Emil Stern

Intérpretes: Russell Crowe, Laura Dern, Sophie Traub, Jon Foster, Alexis Dziena, Michael Kelly, Jake M. Smith

Sinopsis: El detective Cristofuoro (Russell Crowe) es un veterano policía obsesionado con el caso de Eric Komenko (Jon Foster), un joven que acaba de salir de prisión tras cumplir condena por el asesinato de sus padres. Eric Komenko también ocupa los pensamientos de Lori (Sophie Traub), una problemática adolescente que se siente irremediablemente atraída por él desde que presenció un extraño suceso años atrás. Lori se presenta por sorpresa en la vida del joven, determinada a acompañarle allá donde vaya, a pesar de las advertencias del detective Cristofuoro, quien, convencido de que Eric es un asesino en serie que pronto volverá a actuar, no dudará en seguir sus pasos. Aunque tenga que emplear métodos poco ortodoxos para intentar detenerle.

AMELIA

Título: Amelia

Título Original: Amelia

Género: Drama, Biopic

Nacionalidad: USA

Año: 2009

Director: Mira Nair

Guión: Ronald Bass, Anna Hamilton Phelan

Intérpretes: Hilary Swank, Richard Gere, Ewan McGregor, Virginia Madsen, Christopher Eccleston, Mia Wasikowska

Sinopsis: Basada en la vida de la aviadora Amelia Earhart (Hilary Swank), legendaria piloto y un enigmático símbolo del espíritu libre americano, cuya existencia se rigió por una profunda curiosidad por todo lo que la vida le podía ofrecer. Los precoces triunfos obtenidos por Earhart en el ámbito de la aviación y su meteórico ascenso en fama y fortuna, recibieron el estímulo de su tempestuosa asociación y posterior matrimonio con el editor George Putnam (Richard Gere). Unidos por su mutua ambición, admiración y, finalmente, gran amor, el vínculo entre ellos no llegó a romperse ni siquiera con la breve pero apasionada aventura que Earhart mantuvo con Gene Vidal (Ewan McGregor). Earhart fue la primera mujer que cruzó el Atlántico en solitario y fue el primer piloto, ya sea masculino o femenino, en atravesar el Pacífico, también en solitario. En su intento por ser la primera persona en dar la vuelta al mundo por la ruta ecuatorial, la vida de Amelia se vio truncada trágicamente por su misteriosa y prematura desaparición en las aguas del Pacífico Sur en el año 1937.

UN LUGAR DONDE QUEDARSE

Título: Un lugar donde quedarse

Título Original: Away we go

Género: Comedia

Nacionalidad: USA

Año: 2009

Director: Sam Mendes

Guión: Dave Eggers, Vendela Vida

Intérpretes: John Krasinski, Maya Rudolph, Jeff Daniels, Carmen Ejogo, Jim Gaffigan, Maggie Gyllenhaal, Josh Hamilton, Allison Janney, Melanie Lynskey, Chris Messina, Catherine O’Hara, Paul Schneider

Sinopsis: Cuando Burt y Verona (John Krasinski y Maya Rudolph) descubren que están a punto de tener un niño, sufren una crisis de pánico. No soportan el pueblo donde viven, y ahora que los padres de Burt se mudan de allí, pierden el sistema de apoyo con el que contaban. Deciden emprender un viaje en busca del sitio ideal para echar raíces y criar un niño. De paso, visitan a una serie de parientes y amigos. Algunos son absolutos excéntricos, otros son conmovedores, pero todos ayudarán a Burt y a Verona a encontrar su destino. Acabarán por descubrir que para crear un hogar, sólo se necesitan el uno al otro.

LA NOCHE QUE DEJÓ DE LLOVER

Título: La noche que dejó de llover

Título original: La noche que dejó de llover

Género: Drama

Nacionalidad: España

Año: 2008

Director: Alfonso Zarauza

Guión: Alfonso Zarauza

Intérpretes: Luis Tosar, Nora Tschirner, Mercedes Sampietro, Chete Lera, Miguel de Lira, Fede Celada, Cristina Solano, Macarena Gómez, Camila Bossa

Sinopsis: Spleen (Luis Tosar), un tipo poco corriente, pasa las noches filosofando hasta el amanecer en compañía de sus amigos de La Taberna de los Dramáticos, santuario bohemio al que no falta ni una noche desde hace años. Después de tres meses de lluvia ininterrumpida, de pronto esa noche deja de llover. Es entonces cuando Spleen sale a comprar pan y conoce a La Rusa (Nora Tschirner), una rubia con flequillo en la que materializa sus ilusiones. Juntos iniciarán un viaje inesperado, tierno y surrealista a través de la noche y del interior de ellos mismos que transformará sus vidas por completo.

LOS CONDENADOS

Título: Los condenados

Título original: Los condenados

Género: Drama

Nacionalidad: España

Año: 2009

Director: Isaki Lacuesta

Guión: Isaki Lacuesta

Intérpretes: Daniel Fanego, Arturo Goetz, Leonor Manso, María Fiorentino, Bárbara Lennie

Sinopsis: Dos ex-guerrilleros se reencuentran 30 años más tarde en una excavación ilegal, donde buscarán el cuerpo de un tercer compañero desaparecido entonces. La tensión y los secretos escondidos durante ese tiempo aflorarán a medida que se acerquen a la impredecible solución final, donde no todo será lo que parecía.

-

Swanson 

Hi Katie,

When does “Angels and Demons” come out on DVD?  I loved the movie, and it seems like it should be out by now.
Taylor, 18

Dear Taylor,

Considering the fact that it came out in May of this year, it does seem like it should be out on DVD by now.  But keep in mind, the Christmas shopping season is nearly upon us.

According to the Internet Movie Database, it will be released on DVD and 2 disc special DVD on the 24th of November.  That does seem like a really long time to wait for a DVD, but special features take a long time.

Luckily, you won’t have to wait much longer.  Here are a few links to check out.

The Internet Movie Database

Amazon.com

Examiner