After I broke up with Zac Efron, I don’t think that I can fall in love with someone else. I’m still love him you know. It’s hard to forget him after what happen in our life. I can’t stop thinking about him. His blue eyes always haunting me everywhere I go. His shadow always around me and make me feel uncomfortable to do anything. It’s killing me softly.

Stop it!!!! Stop right there okay…. It’s over…. No more drama….

Okay.. so what do you want from me?

Nothing. I just want you to know that everything it’s over now and you have to forget about that and making a new step in your life.

Of course I will… and I think I’m gonna take one.

Really… Are you sure? So what is it?

I don’t know… I just… I think… Emmm…. Emmmmmm……

Come on… just tell me okay… stop playing game with me.

Okay… okay…. I think I fall in love again.

What????!!!

Yes… definitely ….

But… With who? Do I know him?

Yes, of course you do. He is so famous right know.

Oow really? So tell me what his name?

Chace Crawford.

Chace what? Who is he?

What?? Don’t you know him? What kind of person do you? Where are you living lately? Are you living on Antarctica or wherever that no TV and internet at all?

I really don’t know him. This means that he doesn’t famous enough, right?

All right. I’ll tell you a little bit about him. Listen to me carefully and don’t stop it before finish okay?

So first time I know him when he played as Nate Archibald in The CW’s new drama “Gossip Girl” in 2007 ago. His full name is Christopher Chace Crawford. Born on July 18th, 1985 at Lubbock, Texas, U.S. His tall 1.84 m and very match if he standing in my side. He’s got everything that is on a gorgeous man. The face. The hair. The perfect smile. He’s so debonair. Not to mention those gorgeous blue eyes and that stunning six pack. And I think he is much better than Zac Efron. Yeah Zac Efron have a beautiful eyes too… but still Chase Crawford is hotter all around. So it’s not surprising that In 2009, Chase Crawford was named “Summer’s Hottest Bachelor” by People.

What??? No way. There’s no one can beat Zac Efron.

Whatever. Just wait until you meet Chace Crawford. You’re gonna say different thing. Just trust me.

O yeah one thing more, he signed on to play a lead role as a drug dealer named White Mike in the upcoming film Twelve, directed by Joel Schumacher. The film, based on Nick McDonell’s novel Twelve, is scheduled to be released by winter 2010. I can’t wait to see him on that film.

And you know what, it’s make me surprised that Chace was in the video for the music “I Will Be” from the British singer Leona Lewis, playing her boyfriend. The video was released in January 2009. I really love this song.

So if you still thinking that Zac Efron more hotter than Chace Crawford, just take a look at his pictures and the video below, after that tell me what do you think about him.

| View Show | Create Your Own

PSA: Batman is one cool dude, you guys.

Nicole Kidman as “Dr.” Chase Meridian in Batman Forever.

He is so cool, he makes the ladies’ hair blow.

Evan Marshall’s life has stalled at 25 years old. Left without answers after his older brother Victor’s disappearance from a camping trip near Town Creek, Maryland, he has tried to move on. But when Victor returns one night, very much alive and having escaped his captors, Evan asks no questions. At his brother’s request, he loads their rifles, packs up their boat and follows him back to Town Creek on a mission of revenge that will test them in every possible way.

This supernatural revenge tale that stars Dominic Purcell, Henry Cavill, Michael Fassbender and Emma Booth.

The film is out on 19th January 2010 on DVD

Source: Quiet Earth

CLICK FOR TRAILER

What?

Billy: life has changed since school, but has Billy noticed? Wendy: respectable, hardworking and a virgin. Daddy says “marry a nice boy” but she has other ideas! Alec: success, wealth and a wife. He knows what he wants but can he have it? Kevin: what’s his secret? Scared of Women? Gay? Or is it something that’ll really shock his best friend? Jules: life is one high-powered party. Sex, drugs and really pushing life to the limit. Leslie: she loves her work and she loves her boyfriend…but work’s less trouble! Kirbo: a romantic wrestling with reality, chasing the girl of his dreams.

This is the story of a tightly knit group of college graduates who must now confront, as individuals, all the issues of life after college in the 1980s. They must make tough decisions regarding their careers and relationships that will shape a lifetime and cause conflicts within their friendships.

This is an eighties classic (note the fantastic Brat pack cast!), so a expect to laugh, cry and go through it all with the characters. This is the ‘Breakfast Club’ of college graduates.

Where?

At home.

With?

Just on my own.

Why?

With the passing of John Hughes still fresh in the memory, I’ve been looking over his filmography and realised that although I had seen all of them, it’s been a really really long time since I watched St Elmo’s Fire. In fact, I think I was about 8, and I didn’t really understand what was going on.

Then I saw it on Blu-Ray for £5, so I snapped it up. One for the collection, one for the blog, everyone wins!

Worth It?

Eurgh, I lost in a big way.

Indulgent arsehole characters, a paper-thin storyline which was executed in a far superior way by the BBC2 series This Life, in general, it pretty much summed up what I hated about the 80’s.

I won’t go on a massive rant about why I hated this film, it doesn’t deserve it, there isn’t enough to write about because it is a completely nothing film and it’s completely understandable why it was left off of a lot of Hughes’ eulogies.

The points are for the theme song, and the theme song alone.

3/10

Tanit Phoenix

by Clint Morris – MovieHole.com

Moviehole’s been tipped off that South African stunner Tanit Phoenix (“Lord of War”, “Gallowalker”) has joined the cast of direct-to-disc sequel “Lost Boys : The Thirst”, now lensing in Cape Town, SA.

Phoenix, whose foxy face and frame can be seen often in men’s mags, will play the part of Gwen, a wealthy romance novelist who enlists the help of vampire-hunter/surfboard shaper Edgar Frog (Corey Feldman) to track down a family member whose gone missing.

Needless to say – considering Ms Phoenix has been recruited to play her – Gwen’s a dead-set hottie that’s bound to raise Frog’s, er, stake.

Phoenix joins the abovementioned Feldman, Jamison Newlander, Sean Cameron Michael, and Seb Catang for the Dario Piana-directed sequel, out next year via Warner Premiere.

More on the second sequel to Joel Schumacher’s 80’s ‘classic’ as it comes in.

Amazon Specials!

A lot of twists and turns await in The Number 23 by Joel Schumacher. Walter Sparrow (Jim Carrey) is a loving husband and father who is an animal control officer. His life is turned upside-down when he is late to meet his wife after being bitten by a dog whilst on duty. To pass the time his wife, Agatha (Virginia Madsen), browses around in a book store and buys him a book to read entitled The Number 23. As he reads it he encounters a lot of similarities between his own life and the life of the protagonist, Fingerling. In the novel Fingerling is a detective who tries to stop a girl from committing suicide, but does not succeed in his efforts. The girl was haunted by the number twenty-three as was her father before her, and now the number is coming after him. In turn, Walter begins to see the number twenty-three everywhere. When he again encounters the dog that initially bit him, it leads him to the grave of a young woman called Laura Tollins. As his life starts to unravel, it becomes apparent that there is indeed much truth to his obsession with the book. But he might not like what he finds…

Although I found the film to be a big disappointment, I must admit that the cinematography and camera techniques were absolutely excellent. Too bad they do not save the film from its downfall. The trailer, which enthralled me, is quite deceiving. It creates the impression of a conspiracy-theory film about the significance of the number twenty-three. When viewed in totality, however, the film lapses into another stereotype thriller. It tries to be too clever for its own good and relies on far-fetched twists and turns to create several incredulous elements of surprise.

I believe that the numerology topic has a lot of potential, but that it did not reach its full potential in this film. SPOILER WARNING! DO NOT READ THIS IF YOU HAVE NOT YET WATCHED THE FILM: The idea of destiny finding its way to Walter and making him pay for his sins is spread too thick. It is quite unbelievable that such a loving father and husband could also be a callous murderer. And his wife and son’s reactions to his previous life is quite unconvincing as well. Where is the outraged confusion? The heartache? The resentment? The film ends with such hopeful closure which would upstage The Brady Bunch. And Walter’s repentance at the end seems too good to be true – like a superficial, pretentious sermon. But who am I to judge? My sins are bound to find me out as well. Hopefully my skeletons aren’t as dark as Walter’s though… SPOILERS END HERE.

Genre: Thriller / Mystery / Suspense-Drama
Running time: 95 min
Country: USA
Language: English
Director: Joel Schumacher
Writing credits: Fernley Phillips
Producers: Fernley Phillips
Beau Flynn
Tripp Vinson
Distributed by: New Line Cinema
Main Cast:
Walter Sparrow – Jim Carrey
Fingerling – Jim Carrey
Agatha Sparrow – Virginia Madsen
Fabrizia – Virginia Madsen
Robin Sparrow – Logan Lerman
Isaac French – Danny Huston
Dr. Miles Phoenix – Danny Huston
Suicide blonde – Lynn Collins
Laura Tollins – Rhona Mitra

Inauguramos a partir de hoy una sección con monográficos sobre cine. Así, cada sábado hablaremos de algún film de culto, analizaremos alguna saga o criticaremos películas míticas. Hoy, vamos con el Batman fílmico…

Para empezar a hablar del cruzado de la capa, hay que remontarse a los mismos años 60, época en la que una serie Camp basada en el personaje, congrega a miles de fans ante la pantalla. Si, hablo de aquella mítica teleserie en la que las onomatopellas de los golpes copaban la imagen: Pow, Biff…

Viendo el enorme éxito que tuvo esta serie, el paso era lógico. Había que llevar a Batman Y Robin al cine. Y así, el productor William Dozier se decide a filmar un episodio largo con estos protagonistas de excepción. Pero claro, es una película y no un capítulo. Quieren tirar la casa por la ventana y fichan a todos los villanos importantes. Joker (Cesar Romero) Pingúino (Burguess Meredith) Enigma (Frank Gossin) y Catwoman (Lee Meriwether, sustituyendo a Julie Newmar, la catwoman de la serie, liada con otro proyecto). Batman (Adam West) y Robin (Burt Ward), deberán enfrentarse a tal atajo de viles y viciosos villanos.

El tono Camp de la serie está presente desde el principio, quedando para el recuerdo la escena de Batman corriendo con la bomba, o la del tiburón de cartón piedra que mordía la pierna del héroe.

En aquellos tiempos la imagen que la mayoría del mundo tenía de Batman, era ésta. Un Batman ciertamente tripudo y siempre metido en situaciones inversímiles y estúpidas. En DC Comics, la editorial que publica el personaje se llevaba las manos a la cabeza. Necesitaban devolver a Batman al origen. A las sombras…

Pasan los años y en las oficinas de Warner Bros se empiezan a oír entre susurros rumores sobre un nuevo proyecto con Batman. Tom Mankiewicz, asesor creativo en Superman the movie (Richard Donner 1978) propone un guión, pero no cuaja. Se parece más a James Bond, personaje del que había escrito libretos, que al propio Batman.

Se van sucediendo los rumores, hasta que el anuncio es oficial. Batman vuelve al cine. La gente del comic tiembla ya que durante años han estado dando una imagen oscura al héroe para que ahora lo arruinen con un film tan camp como aquel de Adam West. Pero pueden estar tranquilos. Se elige a Tim Burton como director. En aquella época, Burton tan solo había dirigido dos films y un puñado de cortos, acordes a un estilo que le va a caracterizar durante el resto de su carrera. Burton lo tiene claro. En su mente, ya sabe quién es Batman. Michael Keaton.

Los fans y el propio Bob Kane, creador del héroe ponen el grito en el cielo y empiezan a llover las quejas. Que si el tipo es bajito, que si ¿qué hace un actor de comedia en un proyecto como este? que si….. Pero da igual. Burton no cede. Lo tiene claro. Ya ha trabajado con el actor en Bitelchus, y le gusta cómo interpreta.

Por el camino, Keaton suelta alguna perla que deja al personaje en no muy buen lugar, lo que cabrea más al ejército de fans. Para el papel del villano parece haber más unanimidad. Alguien del estudio propone a Jack Nicholson. Nadie tiene nada que decir al respecto. Es el maldito Nicholson. Todo un puntazo. Hasta Bob Kane asiente al oir la elección. El actor de Chinatown, no lo duda. Acepta a cambio de fines de semana libres. Y así, junto con Kim Basinger, se empieza a rodar BATMAN.

1989 por fin es el año en el que Batman llega a las pantallas grandes. Tras ver el film, ya nadie recuerda a Adam West. El tono oscuro de Burton (presente en toda su obra) el genial Joker a medio camino entre un asesino psicótico y un payaso de feria, el tema musical de un Danny Elfman desatado y Keaton. Keaton calla a todos los fans. Es el mejor referente visual de Batman que existe. Y nadie puede negarlo.

El film revienta las taquillas de todo el mundo. Y da lugar a un fenómeno: La Batmanía. Mires donde mires, el símbolo del murciélago está ahí. En los cereales, en los refrescos, en las hamburgueserías…..

Burton se frota las manos. A pesar de los agujeros del guión y ciertos momentos tensos ha terminado. Lo ha logrado con nota, así que ya puede dedicarse a otros proyectos. Pero volvería a Gotham.

Con Batman por todas partes, y viendo el éxito del film, que Warner Bros quisiera una secuela era algo que estaba cantado. Así que nada, a llamar a Burton otra vez, que venía de dirigir Eduardo Manostijeras.

Para este nuevo film, se cambia todo el diseño de producción. La película no va a ser para nada un calco de BATMAN. Así, para este Batman Returns se crea un enorme set con la plaza principal de Gotham, el cementerio de la ciudad y el zoo. Todo ello cubierto bajo una espesura blanca causada por la nieve. Poco a poco va tomando forma un proyecto que estará llamado a ser el más Burtoniano de la saga.

Los papeles principales están cogidos. Michael Keaton vuelve a ser Batman. Kim Basinger lo deja en favor de Michelle Pfeiffer que va a ser la mejor Catwoman fílmica jamás vista. Por su parte Danny DeVito se une al cast para interpretar al Pingüino, villano de la función junto con Cristopher Walken que interpreta a Max Shreck (un guiño Burtoniano a Nosferatu).

Al ver el principio del film, se ve que todo es distinto. No tiene que ver nada con el Batman anterior. El film es Eduardo Manostijeras pero con Batman de protagonista. Hasta en la banda sonora, otra vez de Elfman, se nota que las garras de Burton han llegado lejos.

Finalmente la película triunfa, pero los resultados no son tan espectaculares como los de su predecesora. No obstante, en Warner están contentos. La secuela tiene luz verde.

Entre medias de lo que todavía se llama Batman 3, aparece Batman animated series, la mejor recreación del personaje en la pantalla pequeña y que durará cuatro temporadas y serviría para que se creara un universo animado en torno a los héroes de DC.

Las cartas están lanzadas. Batman 3 es una realidad. Pero no va a ser lo que se espera de ella. Burton se mantiene como productor, pero no como director, labor que recae en Joel Schumacher. En cuanto al papel principal, Keaton dice que ya no quiere ser Batman; el guión no le gusta, se vuelve sutilmente al Batman de los 60 y eso no va con él. Así que Schumacher le ofrece el papel a Val Kilmer que acepta, para luego dar mil millones de quebraderos de cabeza a todo el mundo en el set.

Se va viendo que la película tiene más colorines que las dos anteriores. Una cosa decisiva al respecto: En este film sale Robin. Chris O´Donell será el chico maravilla.

Todo es distinto, nada es igual. Se rediseña Gotham, con más colores, más pulp todo. Se cambia el precioso Batmovil que diseñara Anton Furst para BATMAN y se ridiculiza a los villanos hasta puntos insultantes. Dos Caras, interpretado por Tommy Lee Jones, es un estúpido, un calco del Joker, solo que con media cara desfigurada. El otro villano de la cinta, porque en esta película todo pretende ir a lo grande, es Enigma, al que da vida Jim Carrey. Probablemente Carrey es el único que está algo metido en el papel, pero no lo suficiente. Nicole Kidman hace las veces de chica en apuros con diálogos estúpidos como nunca vistos en el cine… Lo peor de todo, no hay duda, son los dichosos pezones. El Bat-traje tiene pezones!!!!! Sin duda un film para olvidar.

El film, estrenado como Batman Forever,  recauda lo suficiente para que Warner siga frotándose las manos. Quieren Batman 4. Lo peor está por llegar.

Schumacher hizo suya la franquicia de Batman. Pero lo hizo para mal. Si ya en este Forever, Gotham se teñía de colorines lo que está por venir, es el ridículo a la enésima potencia…

(Continuará…)

Sim, é um filme bobinho. Sim, esbanja clichês vampirescos. Sim, a produção é datada pra caralho. E ainda assim diverte de verdade – não como aqueles filmes ruins de décadas passadas que a gente se esforça pra gostar só porque tinha gostado quando era aborrescente. A direção do Schumacher (isso foi um trocadilho?) é uma das responsáveis pelo belo resultado final. Depois ele desaprendeu tudo sobre filmes divertidos e enterrou por quase uma década a franquia do Batman. A trilha sonora pop segue o espírito do filme e ainda traz uma pérola: a regravação de “People Are Stranger” pelo Echo & The Bunnymen. E o roteiro esbanja bom-humor e algumas ótimas tiradas. De resto, restam canastrices de uma molecada que desapareceu e também de dois carinhas que depois melhoraram bastante: Kiefer Sutherland e Jason Patrick. Sem falar na presença da deliciosa (à época e ao filme) Jami Gertz, que faz qualquer um querer virar vampiro…

(The Lost Boys – 1987) - Trailer
Direção: Joel Schumacher
Roteiro: Janice Fisher, James Jeremias, Jeffrey Boam
Elenco: Jason Patrick, Keifer Sutherland, Jani Gertz, Corey Haim, Corey Feldman, Dianne Wiest

The “I want breakfast” scene from Joel Schumacher’s excellent 1993 film is probably the one most people remember, although there are funnier and more powerful scenes (I’m thinking of Michael Douglas’s first encounter with the Hispanic gang members, or his visit to the army surplus store).

I’m sure the reason this particular scene is so famous is that every person in the world who has ever eaten at a restaurant where there are pictures of the food on the menu can identify with it.

What makes it memorable for me is the outrageous scene-stealing performance of Dedee Pfeiffer (Michelle’s younger sister) as Sheila the Whammyburger waitress. I wonder whether she was asked to play the part this way. Anyway, just watch her.

While I don’t have the deepest respect for Joel Schumacher, the man who put Batman in a coma, everyone always reminds me of Falling Down, his one free pass movie, the movie that everyone loves him in, and the one movie where he didn’t seem to fuck it all up with his odd sensibilities. It’s a cult classic, a searing indictment of American values in the 90s, and I can’t think of anybody who hasn’t loved it to death after they saw it. So, after watching it again after quite a number of years (that’s the unofficial trend of the week, I see), I can say that I appreciate Falling Down, and I think it’s one of Schumacher’s best, but I don’t think it’s the best thing since sliced bread.

As with many stories of its ilk, Falling Down begins with a day that might not be as bad as any other day, but it sure feels like shit when you’re living it. A fellow named William Foster has had a really bad day. His ex-wife had a restraining order put on him, his job has let him go, it’s the hottest day in what seems like forever, and he just can’t take it anymore. He walks out of his car, leaving it behind, and makes a journey across LA to break the restraining order and attend his daughter’s birthday. Along the way, he will will violently break all the rules that his life has been held up by, and he will oppose with some heavy-duty firearms anyone who stands in the way of a hot LA day redeemed. Simultaneously, we find ourselves with only one real hero in the town, a barely standing old cop who is the only real thing willing to put an end to William’s pissed-off nerdy tirade. Will our police officer hero be able to stop him in time, or is William going to get what he wants? And is the police officer even our hero?

It is an emotionally complex film, more so than it perhaps even realizes. There’s something very melancholy about the pathetic Foster, from the moment he steps out of his car and you see him abandon the constraints of normal life. It’s a joyless spree of violence that offers not even the illusion of happiness or euphoria that proceeds any act of self-liberation. His acts are not acts of anger, these are acts of acute confusion and disbelief that life can steer so wrong. And his rival in this blind struggle is Prendergast, an officer belittled by the force, his superiors, and even his wife for his old age, his refusal to curse or lash out, and his tendency towards patience. He also has an emotional struggle throughout the film that is far from Danny Glover’s close-to-retirement Murtaugh in Lethal Weapon. This man is beat down, struggling to maintain a feeling of potency even as everyone around him mocks his zealotry towards this mysterious crime-wave. There’s more to this than meets the eye, and if anyone is willing to look past the slightly-worn “fuck society” sentiment used here as some sort of knee-jerk reaction to 90s ennui, then you’ll find that these characters are, if anything,  fresh and lively.

And the acting is pretty good for a Schumacher film. Michael Douglas is a wonder as William Foster. His maniacal intent is cloaked behind a deep emotional connection to his daughter and a stinging regret of a failed marriage. Even during his violent assault weapon-fueled soliloquys, he is tinged with something that really approaches empathy with me. It is a tribute to Douglas’s ability that he can make a man like Foster not only likable but charismatic! We want him to succeed; almost. And Robet Duvall is amazing as everyone’s favorite put-upon officer, Prendergast. I remarked in my Colors review what a pro Duvall was, even with his patented Poker Face on. Here, he arguably does even better as Prendergast, a character with a little more depth. He’s truly one of the best, and this is another good performance from a man I’ve gained a lot of respect for this past year. Barbara Hershey is the weakest link of the three leads as Beth, Foster’s ex wife. She’s a bit too soft for what I think the character calls for. She needs more fire under her feet, a little temperature boost to make her really shine. Compared to Duvall and Douglas, Hershey doesn’t really carry all the weight she should, and she should be carrying quite a lot as the caretaker of Foster’s daughter, who is the linchpin to the whole thing.

There are some flaws. it’s not exactly consistent. The message has an opacity that is either all-encompassing or lazy, and I don’t think this is terribly intentional. Some of the settings are unnecessarily harsh towards Foster, especially the breakfast scene shown above (like a fast food restaurant manager wouldn’t let you tea-bag him for a positive review on your comment card!) and I often get the feeling that LA was a pathetic parody of itself rather than the semi-realistic mirror it should have been. But it’s still good. It’s an exceptional movie with some real power behind it. A lot has to be said for the lead actors, and even the near-graceful approach Schumacher uses for such a bold indictment of society. It’s got a lot going for it, and while I won’t go to sleep tonight with visions of Foster dancing in my head, I’m still surprised and found it to be a little better than I remember it. I give Falling Down 8 1/2 tea-bagged fast-food restaurant managers out of 10!

Stay up with me as I cram in a review for one of my favorite films of all time! Jin-Roh: The Wolf Brigade!

With the upcoming release of director Ti West’s latest horror flick, The House of the Devil, and with all these signs of the upcoming apocalypse, (balloon hoaxes, A-Rod hitting in the post season and David Letterman having sex) we thought it would be a great time to give a few pointers for when Satan actually does take over; so let’s give the devil his due as we come to grips with Beelzebub returning to this plane of existence.

7. Who You Gonna Call?

6. PETS

5. NOISE

4. DÉCOR

3. HOUSEGUESTS

2. PARKING SPOTS

1. OTHER PROBLEMS

Interview with the Vampire
directed by Neil Jordan

I admit it. Everything I used to know about vampires, I got from Anne Rice. I know better now, thank you. In time, I’ve learned that not all vampires are cultured and erotic and gay. Lately, I’m having a hard time reading her stuff. The way she describes a character bores the shit out of me. I get it, he looks like an angel, you don’t need three pages for that. Or maybe it’s just my attention span. ANYWAY.

200-year old vampire Louis (Brad Pitt) tells a reporter named Daniel (Christian Slater) the story of his life. He tells him about his maker Lestat (Tom Cruise), how he refused to feed on humans, his “daughter” Claudia (Kristen Dunst), how he met Armand (Antonio Banderas) and his coven. In the novels, the drinking of blood is something sensual, as though it’s how vampires have sex, and that is captured in the movie. Brad Pitt makes a charming Louis. I’m not sure about Tom Cruise, though. I think Stuart Townsend makes a more convincing Lestat.

Trivia: Stan Winston did the vampire make-up and effects. <3

Bram Stoker’s Dracula (1992)
directed by Francis Ford Coppola

Vlad the Impaler (Gary Oldman) returns from the war to find that his beloved wife (Winona Ryder) had killed herself upon hearing he was dead. Pissed at God, he turns to Satan and becomes a vampire. Fast forward to the Victorian era, a young attorney named Jonathan Harker (Keanu Reeves) was sent to Transylvania to arrange some real estate transactions with Vlad Dracul. Dracul saw a photo of Jonathan’s fiancee and believed that she’s the reincarnation of his dead wife. With the help of Van Helsing (Anthony Hopkins), they try to stop Dracula from taking Mina as his bride.

Trivia: Monica Bellucci plays a vampire. She gets naked. Cary Elwes is one of Lucy’s (Sadie Frost) suitors. Keanu Reeves’ accent is especially confusing in this movie.

Near Dark (1987)
directed by Kathryn Bigelow

On a night in town, Caleb (Adrian Pasdar) meets Mae (Jenny Wright). While making out, she nips him on the neck and runs off. Caleb goes home dazed, confused, and smoking. It’s morning, the sun is out. Mae managed to get to him in time with the help of her “family”. Jesse (Lance Henriksen), Severen (Bill Paxton), Diamondback (Jenette Goldstein), and Homer (Joshua John Miller) are not happy about it. If he doesn’t kill soon, they will have him for dinner.

Trivia: The screenplay was written by Eric Red, who also wrote The Hitcher (1986). Henriksen, Paxton, and Goldstein have worked together in Aliens, which came out the previous year.

From Dusk ’till Dawn (1996)
directed by Robert Rodriguez

The Gecko brothers Seth (George Clooney) and Richie (Quentin Tarantino) are on the run from a bloody bank robbery. Their plan is to flee to Mexico where the cops can’t touch them. They take Jacob (Harvey Keitel) and his children hostage and force them to drive them all the way to Mexico. They are to meet Carlo (Cheech Marin) in the best-named bar in the history of ever, The Titty Twister. Unfortunately for them, the bar is home to blood-sucking freaks.

This is my favorite Rodriguez film. The script is brilliant and the cast alone is reason enough to watch it. Harvey Keitel, Quentin Tarantino, Juliette Lewis, Salma Hayek (Holy Mama, that dancing!), Cheech Marin, Danny Trejo, Tom Savini (SEX MACHINE!), and fine, George Clooney.

Trivia: Cheech Marin has three roles in the movie: a border guard, Carlos, and Chet Pussy.

The Lost Boys (1987)
directed by Joel Schumacher

Newly divorced mom (Dianne West) moves to Santa Carla with her sons Michael (Jason Patric) and Sam (Corey Haim). Michael falls in love with Star (Jamie Gertz) who’s running around with a bunch of vampire misfits led by David (Kiefer Sutherland). Michael becomes one of them and it’s up to Sam and the Frog brothers, Edgar (Corey Feldman) and Alan (Jason Newlander) to save him. Kiefer Sutherland makes a very sexy vampire. Jack Bauer’s got no shit on David!

I don’t know about you, but that right there is a good reason to see Lost Boys.

Trivia: If you pay attention, you’ll see that Sam has a poster of Rob Lowe in his closet. The title is a reference to the lost boys in J.M. Barrie’s Peter Pan. DUH.

Part 1 here. Maybe Part 3 tomorrow. I dunno how many parts there are going to be. We’ll see.

Com todo o respeito a obra cinematográfica clássica de 1987, dirigida por Joel Schumacher o meu texto não conta uma hístoria vampiresca. Levando o título ao pé da linha esse é um conto de três garotos bi que sempre levaram a vida de uma forma inresponsável.

Daniel era promíscuo por natureza e não acreditava no amor,  ficou com um cara pela primeira vez aos treze anos e desde  então a lista dele deixa a de qualquer pessoa que eu conheço no chinelo. Eu o conheci na escola e ficamos por um tempo. Após esses eventos nos afastamos, mas recentemente somos grandes amigos-confidentes-parceiros.

Yuri sempre foi engraçado e perverso . Hoje é promíscuo e usuário de drogas. Durante um tempo sempre saíamos juntos os três  para “caçar”, hoje raramente nos falamos.

Eu como já testemunhei diversas vezes sempre acreditei desacreditando no amor, e de certa forma Daniel é um tanto culpado por isso, a convivência me fez adotar algumas das convicções particulares dele.

Essa semana fui surpreendido pelo mesmo me apresentando um cara, esse ele conheceu no busão e está nitidamente amando a pessoa. Pediu o cara em namoro e tudo mais. E o filme de terror acaba tomando suas linhas de romance. Faço gosto do namoro e aprovei o candidato que conseguio a façanha de consquistar alguém que se julgava inconquistável.

E não nego o meu passado conturbado um dia eu encontro um chinelo velho para o meu pé cansado. E vendo os olhos de um descrente brilhar por  causa de um sentimento novo, volto a acreditar nesse tão desconhecido amor e já chega de viver de paixões tão perdidas quanto a obra de Schumacher que numa era  de efeitos especiais poucos tem o prazer de  conhecer.

Trailer:  Os Garotos Perdidos

Os nomes das pessoas do post são meramente ficticios

How can something so wrong… somehow be so right?

It’s St Elmo’s Fire (Man In Motion) by John Parr, the theme song from director Joel Schumacher’s 1985 brat-pack movie.

Even by 1980s, big-haired, soft-rock standards, this song (and its video) is particularly cheesy.

And yet I’ve always liked it – I even bought the 12-inch single back in the day – though I can’t really explain why.

It’s not just because of the link to the film which, though not in the same class as John Hughes‘ brat-pack offerings such The Breakfast Club, is still something of a guilty pleasure. There’s just something a little bit special that makes it stand out from the crowd of 80s soft-rock dross.

Anyway, here’s the video (incidentally, fans of the movie may be interested to know that in August this year, US network ABC won a bidding war for the rights to develop a TV comedy-drama series based on the film).

Enjoy!

La franquicia de Batman es una montaña rusa de ires y venires, de cómo la Warner Brothers se imagina sus episodios y de cómo cada uno de sus directores le apuesta a algo creativo (si es que se puede llamar creativo el vacío intento de Joel Schumacher en 1997 con su Batman & Robin).

Batman es la creación de Bob Cane, un norteamericano que se hizo millonario al venderle derechos patrimoniales de la franquicia a DC Comics, claramente aprendió de los errores de Joe Shuster y Jerry Siegel que inventaron Superman basados en la teoría del súper-hombre de Nietzsche y fueron estafados ingenuamente por la DC Comics. Cane aprovechó todo el potencial de su personaje y se hizo muy popular primero por la excentricidad del millonario que encarnaba y porque era el único súper héroe que no poseía poderes sobrenaturales.

Gracias a Frank Miller el excéntrico millonario dejó de ser colorido y extrovertido para convertirse en un hombre solitario, abnegado y lleno de miedos internos. Tim Burton en 1989 con Michael Keaton fue el primero en llevarlo al celuloide con Batman; su antagónico era el Joker interpretado por Jack Nicholson y como raro, una nominación al Oscar. El mismo Burton en 1992 repite con Michael Keaton y develan una segunda parte de la franquicia con Batman Returns esta vez los villanos eran Michelle Pfeiffer como Catwoman y Danny DeVito como el Penguin, acompañados de Christopher Walken un verdadero villano.

Todo pintaba a que la tercera parte de la saga la iba a hacer de nuevo Tim Burton pero la Warner dijo que se estaban haciendo demasiado oscuras estas pelis, que eso no era comercial, por lo cual le pasó la batuta a Joel Schumacher y en 1995 al lado de Val Kilmer como el nuevo Bruce Wayne sacaron Batman Forever. Lo positivo un excelente Edward Nygma, el Riddler interpretado por Jim Carrey, acompañado por Tommy Lee Jones como Harvey Dent, Two Faces. Lo pésimo, la mala caracterización de Kilmer, la pobre presencia de Nicole Kidman y la terrible aparición de Chris O’Donnell.

No sólo fue mala, sino que le dieron una segunda oprotunidad a Schumacher y sacó en 1997 Batman & Robin. No tengo nada en contra de los homosexuales pero fue el Batman más gay de la historia de todos los hombres murciélago. Tomas cerradas a las nalgas de George Clooney, los pechos de Batman y Robin y una Alicia Silverstone de muy regular actuación. Uma Thurman actúa aquí pero pasa desapercibida el verdadero éxito de la peli Mr. Freeze interpretado por Arnold Schwarzenegger en un disfraz increíble.

Tuvieron que pasar ocho años, para que los fanáticos sanáramos nuestras heridas de decepción y repulsión para ver el nacimiento del nuevo Batman.

En 2005, con guión escrito por Christopher Nolan sale Batman Begins. Christian Bale es el nuevo Bruce Wayne, Michael Caine como Alfred, Gary Oldman como James Gordon y un reparto de lujo con excelentes actuaciones. La historia vuelve a las raíces de Frank Miller y se explora un súper héroe vulnerable que redefine sus miedos y los potencia para salir adelante. Una excelentente narración, un humor muy sofisticado, nos muestra un diamante en bruto, un batman en proceso de formación, de madurez, de realización personal.

La música es magistralmente dirigida por Hans Zimmer y James Newton Howard. Se aleja de la fanfarria caricaturesca de sus antecesores (a excepción de Danny Elfman que lo hizo formidablemente) y le imprime un aire de misterio perfectamente amalgamado con la historia.

El reparto, como lo decía antes, es un quita-aliento desde Morgan Freeman pasando por Liam Neeson, Cillian Murphy, Rutger Hauer, hasta el fantástico Tom Wilkinson. Y lo más bonito es que aunque el protagonismo de los villanos es liderado por Ra’s Al Ghul, los malos son realmente de la vida real como el mismo Bruce Wayne, a quién temerle más que a un puñado de locos que se acaban de escapar de un manicomio, a una camada de ciudadanos en plena histeria o a un grupo de vengativos mafiosos que se pasan la ley por donde mejor les parece.

Batman Begins es el retorno del hombre oscuro que toma la justicia por sus manos… Un paraco, si. Pero por ahora divertido y con una ética inquebrantable.

Crítica de Cinema – Texto publicado originalmente em A ARCA, em 20/10/2004.

Sempre que ouço falar no nome de Joel Schumacher, minhas pernas tremem. Isso porque a primeira coisa que me vem à cabeça é Batman & Robin. Sim, o bat-cartão de crédito, o close na bunda do George Clooney e tudo o mais. O lance fica ainda mais obscuro quando lembro que Schumacher também foi responsável por outras “jóias” da cinematografia, como Tempo de Matar (1996), O Cliente (1994) – estes dois inspirados em obras do escritor John Grisham, o que comprova que o diretor deveria ser proibido de chegar perto de qualquer livraria – e o pior de todos, aquilo que costuma atender pelo nome de Tudo por Amor (1991) – é, aquele com a chatona da Julia Roberts e a musiquinha-chiclete do Kenny G. Como se pode ver, a filmografia de Joel Schumacher é excelente para o Halloween: dá muito medo!

Mas o negócio não é tão ruim quanto aparenta: Schumacher também é responsável por trabalhos muito bons. O cara já retratou com doses cavalares de suspense o aterrorizante submundo da pornografia no nervoso 8MM (1999), entregou uma das melhores interpretações da carreira de Michael Douglas com o excelente Um Dia de Fúria (1993), apresentou Colin Farrell ao mundo no elogiado drama de guerra Tigerland – A Caminho da Guerra (2000) e ainda transformou uma cabine telefônica no palco de um exercício de medo e tensão em Por Um Fio (2002), também estrelado por Farrell. Um dos primeiros trabalhos de Schumacher é também um de seus melhores filmes, e o longa que se tornou um divisor de águas no gênero terror: o fantástico Os Garotos Perdidos (The Lost Boys, 1987), que ganhou merecidamente uma edição especial em DVD este mês.

Os Garotos Perdidos foi o filme que chamou a atenção de vez para o nome do diretor, que até então dirigira somente cinco longas-metragens – entre eles, o cliché da sessão da tarde O Primeiro Ano do Resto de Nossas Vidas (1985) -, sendo que destes cinco, dois foram made for TV. O diretor caiu de pára-quedas no projeto, que seria originalmente dirigido por Richard Donner (Mad Max), que não pôde aceitar por problemas de agenda (Donner concluía Máquina Mortífera na ocasião). O roteiro original, escrito por Janice Fischer e James Jeremias, era um terrorzão que falava sobre “crianças vampiras”, idéia repudiada por Schumacher, que exigiu dos produtores algumas mudanças, como por exemplo a transformação dos protagonistas em adolescentes – de modo que pudesse atrair mais os jovens. Para isso, a Warner Bros. contratou Jeffrey Boam (Viagem Insólita, Indiana Jones e a Última Cruzada), que alterou vários conceitos do script e o tornou mais cômico, misturando referências a O Massacre da Serra Elétrica, Superman e A Morte do Demônio.

Vamos à história: ansiosa por uma mudança no rotina depois do recente divórcio, Lucy Emerson (Dianne Wiest) se muda com os filhos Michael (Jason Patric) e Sam (Corey Haim) para a casa do seu pai (Barnard Hughes), na pacífica cidade de Santa Carla, na Califórnia. Na verdade, a cidadezinha litorânea não é tão pacífica assim, como denuncia uma pichação na placa de boas-vindas: “a capital mundial do crime”. Isso se deve a uma série de desaparecimentos seguidos de assassinatos, cujo(s) autor(es) a polícia local não faz idéia de quem seja. Além deste pequeno detalhe, Santa Carla também é tomada por gangues de motoqueiros punks. Bem, devidamente instalados, cada um segue a sua vidinha: Lucy se entrega cautelosamente a um novo romance com Max (Edward Herrman), Sam passa a freqüentar uma banca de gibis usados instalada num parque de diversões e Michael, numa de suas andanças pelo local à procura de diversão, acaba caidinho pela sensual Star (Jami Gertz).

O négocio começa a ficar estranho quando Sam conhece os donos da banca, os irmãos Edgar e Alan Frog (Corey Feldman e Jamison Newlander) – desde já, a melhor coisa do filme -, que se auto-denominam “caçadores de vampiros” e revelam ao incrédulo garoto que Santa Carla está tomada por eles. Michael é envolvido amorosamente por Star, que é somente a garota do líder de uma das gangues da cidade, o enigmático e violento David (Kiefer Sutherland). Não demora muito, e três acontecimentos se sucedem: 1) Michael descobre que os punks liderados por David são vampiros; 2) Michael descobre que a gangue de vampiros liderada por David é a responsável pelos desaparecimentos; e 3) Michael bebe do sangue de David e se torna, também, um vampiro. Mas o roteiro ainda guarda algumas “surpresas”.

Os méritos de Os Garotos Perdidos são vários: a começar, o elenco está afinadíssimo e em total sintonia, principalmente no que se diz de dois dos maiores ícones adolescentes do cinema oitentista: Corey Haim e Corey Feldman. O roteiro, uma metáfora violenta sobre alienação juvenil e consumismo desenfreado disfarçada de filme de terror, retrata e muito bem a onda punk que se instalou entre o final dos anos 70 e boa parte dos 80, tão bem aproveitada em outros notórios longas como Warriors, Os Sevagens da Noite (1979) e Repo Man – A Onda Punk (1984). A fotografia de Michael Chapman (Taxi Driver) fica no meio termo entre a escuridão total e as cores vivas e claras do dia e dos figurinos típicos dos anos 80 – tática bem sucedida para atrair os mais jovens para uma fita que poderia ser rejeitada por seu rótulo punk. E por último, a trilha sonora é bem bacana, e lançou as canções Cry Little Sister, do Gerard McMann, e a fantástica People Are Strange, cover do Echo & The Bunnymen para a clássica dos Doors.

Os Garotos Perdidos estreou nos cinemas ianques em 31 de Julho de 87, em cerca de 1.025 salas (pois é, o filme é da Warner…), e gerou US$ 5 milhões e 200 mil dólares em seu primeiro final de semana em cartaz, uma média bem razoável para um filme de terror. A popularidade do longa foi crescendo através da propaganda boca-a-boca, e fechou seu caixa com mais ou menos 35 milhões, um sucesso na época. A produção ganhou o prêmio de Melhor Filme de Horror no Saturn Awards de 1988, que abrange longas de fantasia, e isto só aumentou sua popularidade, que estourou de vez com o advento do video-cassette, onde foi campeão absoluto de vendas. Como se não bastasse, ainda deu uma guinada na carreira de muitos dos envolvidos no projeto.

Por mais que tenha envelhecido um pouco, e realmente envelheceu, Os Garotos Perdidos ainda é uma ótima pedida pra dar uma incrementada numa sessãozinha básica de filmes de terror: é engraçado, empolgante, tem efeitos especiais e maquiagens muito bacanas e a história não ofende a inteligência de ninguém. Portanto, esqueça os filmecos chinfrins de terror que andam aparecendo por aí e fique com este mesmo. Como a própria tagline diz, se depender deste filme, ser vampiro é o maior barato! E por favor, não deixem mais o Joel Schumacher fazer trabalhos com a Julia Roberts! E nem com o George Clooney! Schumacher consegue ser bom quando quer!

CURIOSIDADES:

• O título de Os Garotos Perdidos é uma referência aos amigos de Peter Pan que nunca crescem no clássico conto de J. M. Barrie.

• A cidade de Santa Carla, palco da ação do filme, na verdade se chama Santa Cruz, e fica na Califórnia. As autoridades locais exigiram que o nome do lugar fosse alterado no roteiro, para não obrigar a população (e o resto do país) a reviver um pesadelo ocorrido no local. Santa Cruz ficou conhecida durante os anos 70 como “a capital mundial do crime” – assim como a fictícia Santa Carla também o é – por conta dos ataques de um serial killer.

• O ator John Carradine era o escolhido para interpretar o papel de Barnard Hughes, mas estava muito doente na ocasião das filmagens, vindo a falecer no ano seguinte. John Carradine era pai de David Carradine, o nosso prestigiado Bill da última produção de Quentin Tarantino (todo mundo sabia disso, mas tudo bem!).

• Os Garotos Perdidos está presente em várias coletâneas do tipo “os diálogos mais bacanas do cinema”. Todos os diálogos citados nestes livros pertencem aos Irmãos Frog, donos dos pontos altos do filme.

• Apesar de não ter nada a ver com cinema em si, esta é tão estúpida que eu não podia deixar de citar aqui: Kiefer Sutherland, ex-noivo de Julia Roberts, rompeu o romance com a “atriz” por conta da clara preferência do ator em passar o tempo com seus camaradas, em especial seu melhor amigo Jason Patric. Ironicamente, a amizade entre os dois atores se dissolveu depois que Kiefer e Julia terminaram o romance e ela se mandou para a Europa, com um suposto novo namorado. Jason Patric.

• Dianne Wiest é uma grande atriz, sem dúvidas. Mas ela cometeu uma das maiores gafes de toda a história da indústria cinematográfica em Os Garotos Perdidos: em pelo menos duas cenas, ela se refere ao personagem Max (Edward Herrman) como Ed, o nome verdadeiro do ator. O mico é ainda maior tendo em vista que o montador Robert Brown, colaborador freqüente de Joel Schumacher, não reparou neste detalhe. As cenas ainda constam na montagem final.

• MOMENTO SPOILER I: O personagem David, mesmo sendo empalado ao final do longa, não se desintegrou como os outros vampiros. Este detalhe se deve a um fator: na verdade, David não morreu, e retornaria para se vingar numa suposta seqüência do filme, que nunca aconteceu e até hoje é discutida entre os executivos da Warner. Há um boato forte de que a parte dois sairá nos próximos anos, mas nada é confirmado.

• MOMENTO SPOILER II: Os Garotos Perdidos é muito conhecido por sua antológica cena final, a hilária frase do avô enquanto bebe uma cerveja em frente à geladeira. Esta cena foi adicionada às pressas para cobrir o final original. Na montagem inicial, o filme terminaria com os sobreviventes da gangue de David se reunindo em um hotel abandonado. Pregado à uma parede, haveria um mural datado de 1900, com uma foto de Max, exatamente como o personagem se encontra na época da trama, 1987.

THE LOST BOYS • EUA • 1987
Direção de Joel Schumacher • Roteiro de Janice Fischer, James Jeremias e Jeffrey Boam
Elenco: Jason Patric, Corey Haim, Dianne Wiest, Barnard Hughes, Edward Herrmann, Kiefer Sutherland, Jami Gertz, Corey Feldman, Jamison Newlander, Brooke McCarter, Billy Wirth, Alex Winter, Chance Michael Corbitt.
97 min. • Distribuição: Warner Bros.

“What explains our enduring fascination with vampires?
What is it about the vampire myth that explains our interest?
Is it the overtone of sexual lust, power and control?
Or is it a fascination with the immortality of the undead?“

Desde los tiempos de ingenuidad en que se creía que el vampiro era una encarnación del demonio hasta nuestros tiempos en que se ha convertido en un referente múltiple que abarca de lo romántico a lo melancólico a lo temible y horroroso, el mito del vampiro nunca ha dejado de interesar a los mortales.

Explicaciones hay tantas como libros y películas respecto a ellas pero lo cierto es que el vampiro nos genera una atracción tan mágica e inexplicable como sus propios orígenes.

Vampires: The Occult Truth, una desmitificación del vampiro repleta de datos históricos e historias que respaldan la existencia de los vampiros en la actualidad, por Konstantinos, $15.000.-

Los hay horrorosos monstruos sin razón ni corazón, como también los encontramos elegantes caballeros condenados por su propia naturaleza a sufrir en tinieblas. El mito ha inspirado a artistas durante tanto tiempo que sus limites se han doblado y llevado a lugares inimaginados tanto en la literatura como en el cine…

Nosferatu por F.W. Murnau,la clásica visión de Murnau al Drácula de Bram Stocker en edición especial de 2 dvds, $23.000.-

Nosferatu Phantom der Nacht por Werner Herzog, la extraordinaria performance de Kinski hace de esta edición especial de 2 discos un deber, $23.000.-

El mito del vampiro es inmortal y surgio hace siglos. Desde las culturas romanas y griegas a la Europa del siglo 18 las historias de seres que viven gracias a la vida de otros han abundado. Pero hay una historia que no sólo conjugó el folclor con la fantasía sino que transformó el antiguo mito del vampiro en la leyenda de la cual se sustenta el vampiro contemporáneo.

La novela “Dracula” de Bram Stoker es la piedra angular para la ficción vampírica moderna.

Dracula de Bram Stoker, edición de lujo, tapa dura y notas, $13.000.-

Bram Stoker's Dracula de Francis Ford Coppola, edición especial de 2 discos, $12.000.-

Este año Dacre Stoker, el heredero directo de Bram Stoker e historiador experto en el mito de Dracula, edita “Dracula: the Un Dead” la secuela a la obra que dió base al género de vampiros.

Dracula: The Un Dead por Dacre Stoker, la continuación a la novela de Bram Stoker, $18.000.-

Durante años fue “Dracula” el referente vampirico alrededor del cual se generaron peliculas y novelas de todo tipo, pero durante los años setenta una nueva visión del vampiro vendria a volverse un referente y gestor de un nuevo tipo de vampiro.

Las “Crónicas Vampíricas” de Anne Rice ofrecieron una nueva visión tanto del origen como del comportamiento vampirico, siempre respetando las limitaciones que hacen de este ser un personaje trágico asi como poderoso.

The Vampire Chronicles de Anne Rice, edición especial incluye los 3 primeros tomos de la saga, $18.000.-

El libro “Entrevista con el Vampiro”, primer tomo de “Las Cronicas Vampiricas” de Anne Rice fue llevado a la pantalla grande con gran exito por Neil Jordan. Hoy es un clásico del cine de vampiros y comparte el lugar junto con otras grande versiones del mito…

The Hunger de Tony Scott, con David Bowie, Susan Sarandon y Catherine Deneuve, $18.000.-

The Lost Boys de Joel Schumacher, edicion especial de 2 dvds, $21.000.-

Let The Right One In de Tomas Alfredson, probablemente la mejor película de vampiros de esta década, $13.000.-

Vampyr de Carl Theodor Dreyer, un clásico de culto en edición de lujo, 2 discos, $28.000.-

Durante el último tiempo se han lanzado nuevas historias de vampiros tanto al cine como al libro. Todas ellas apuntando a un píblico específico que gusta de cierto tipo de vampiro. Tanto el monstruo como el romantico caballero tienen cabida hoy en la amplia variedad de novelas y sagas editadas en el mundo.

The Strain de Guillermo del Toro, edición tapa dura, $20.000.-

Una plaga de vampiros amenzada con consumir Nueva York y una pareja de médicos, un experto en folklor y otros personajes deberán frenar lo que podria ser la epidemia que extermine a la humanidad. Mucha acción y gore en esta novela escrita por el director de “El Laberinto del Fauno” y “El Espinazo del Diablo”.

The Midnight Guardian de Sarah Jane Stratford, edición tapa dura, $19.000.-

En esta mezcla de ficción vampírica con historia, Sarah Jane Stratford enfrenta a los vampiros contra los Nazis y elimina de paso toda pre-concepción del bien y el mal.

Vampire Academy Box Set de Richelle Mead, los 3 primeros tomos en una caja protectora, $20.000.-

True Blood Saga Box Set de Charlaine Harris, los siete tomos en caja protectora, $35.000.-

Twilight Saga Box Set de Stephenie Meyer, los 4 tomos en edición de lujo, tapa dura y láminas de las portadas, $52.000.-

Los vampiros definitivamente seguirán presentes en la cultura pop y sus historias seguirán fluyendo por las páginas de miles de libros en el mundo… si buscas alguna en especial no dudes en contactarnos…

Escríbenos a kthulu.shop@gmail.com y encuentra el libro o película que buscas al precio que más te conviene.

La Maquimaria de Hollywood no para,y Las Prom,ociones en posters estan cada dia mas actualizadas.

Comenzamos revisando La nueva produccion de ”CELDA 211”,que tiene como protagonistas a Antonio Resines

Dentor de los nuevos films que se nos vienen,tenemos el nuevo trabajo de Cameron Diaz,”THE BOX”

Y los estrenos suman y siguen,en navidad tendremos lo nuevo de Jim Carrey ”A CHRISTMAS CAROL”

Dentro de las novedades que vienen,esta el nuevo trabajo filmico de Joel Schumacher ”BLOOD CREEK”

Para quienes gustan del cine Tierno y familiar,tenemos lo nuevo de Richard Gere ”SIEMPRE A TU LADO”

Como ven ,son bastantes las nuevas producciones que tendremos pronto en la gran pantalla,pronto estaremos con mas novedades en

Deus nos ajudem, mas a terceira continuação de Os Garotos Perdidos (1987) começa a sair do papel. Em novembro começam as filmagens, na África do Sul.

Garotos Perdidos é um clássico – que agora é cult – do cinema da década de 80 e conta a história de adolescente que se deparam com um grupo de violento e baderneiros vampiros numa pequena cidade do interior americano. Um jovem recém chegado à cidade -  interpretado por Jason Patrick (Velocidade Máxima 2)- é mordido é  transformado num vampiro ao entrar em atrito com o líder da gangue de sanguessugas. O irmão dele, junto com amigos,  precisam matar o líder dos vampiros para que suas vítimas voltem a ser humanos.

A história é simples, mas muito bem contada e foi um sucesso naquela época. Houve uma seqüência horrível na década de 90 que não precisa ser assistida por ninguém. Ao contrário da moda atual, em Os Garotos Perdidos os vampiros não são bonzinhos nem fofinhos e ninguém quer levá-los para casa. A produção tem humor sem ser patético e é dramático na médida certa.

O filme lançou e consolidou diversos nomes. Dentre eles:  Kiefer Sutherland (o agente Jack Bauer, da série 24 horas) como o chefe da gangue de vampiros e Corey Feldman (Goonies e Conta Comigo), como caçador de vampiro jovem e meio sequelado. A direção é de Joel Schumacher (Número 23)

Sinopse – Nessa terceira tentativa, Feldman retorna ao seu papel de caçador quando uma  escritora de livros de vampiros lhe oferece uma pequena fortuna para ele sair à caça das criaturas que podem ter sequestrado o filho dela.

A informação veio do Cine Click.

Adriana Chaves

“The Lost Boys”
a review by Darby O’Gill

Well, with all these Lost Boys reviews, I figure it was only fair to re-watch the original. Now, I haven’t seen The Lost Boys in at least 15 years, if not longer, and I’m sad to say it doesn’t quite hold up. It’s not that it’s a bad movie; it just isn’t the movie you remember. But, for those of you that might not remember, let’s recap shall we.
When the Emerson family moves to Santa Carla, California to live with their grandfather, the last thing they ever thought they’d have to adjust to was vampires. Sam Emerson, played by Corey Haim, stumbles upon a comic shop, and the Frog brothers. Edger and Alan Frog are not only horror comic experts, but also the town’s first defense against the town’s vampire infestation. Watching Corey Feldman play Edger Frog, back in 1987, just makes you realize that Feldman has always been trying too hard to act. Was Feldman really so big in the late 80’s, that no one could have told him that a 15 year old boy does not talk like a Vietnam vet that smokes four packets a day? But, let’s get back to those pesky vampires. Michael Emerson, played by Jason Patric… What’s that? No, Michael Emerson is the character’s name. No, it has nothing to do with the Emmy award winning actor Michael Emerson from LOST. I think it’s just a coincidence. Can I get back to the review now? Okay, thanks. Like I was saying, Michael, whose last name just happens to be Emerson, makes the classic 80’s mistake of making eyes at the lead vampire’s girl. He quickly gets mixed up in the wrong crowd, drinks the head vampire’s blood, eats some maggots, and slowly starts to turn into a vampire. When Sam discovers his brother is becoming a blood sucker, it’s up to him and the Frog brothers to find and kill the head vampire, before Michael makes his first kill.
As with most movies you grew up with, this one doesn’t quite playback as bad assed as you may remember, but one thing is for sure, Kiefer Sutherland’s mullet is scarier than his bite. The pacing in the original movie is much better than that of Lost Boys: The Tribe. I think the whole point of The Lost Boys, is what would you do if you found out that vampires are real, and your brother was becoming one? The movie really isn’t about the vampires. I think when they made the sequel, all they wanted to do is show bad ass vampires, but if they hadn’t sacrificed the story they would have had a shot at a good movie. If you haven’t seen The Lost Boys in a long time and love the way you remember it, I would suggest replaying the memory, and skipping the rental.

Rating:

DVD Special Features:

I didn’t get to watch any of the special features yet, but I will at some point. I’ll post an update hopefully in the near future.

This horror was directed by Joel Schumacher (Tigerland, Phone Booth, Batman Forever) and stars Dominic Purcell (Prison Break, Blade Trinity), Henry Cavill (Stardust, The Tudors) and Michael Fassbender (Hunger, Eden Lake, Inglourious Basterds). It was scripted by Dave Kajganich (The Invasion, the upcoming theatrical version of Stephen King’s It).

In 1936, the Wollners – a German family living in rural Town Creek, Maryland – are contacted by the Third Reich to host a visiting scholar, Professor Ricard Wirth. In need of money, they accept Wirth into their home. Wirth’s grand occult project seals the Wollners off from the rest of the world and makes them players in a horrifying game of survival.

Now, in 2007, Evan Marshall’s life has stalled at twenty-five years old. Left without answers after his older brother Victor’s disappearance from a camping trip near Town Creek, he has tried to move on. But when Victor returns one night, very much alive and having escaped his captors, Evan asks no questions – at his brother’s request, he loads their rifles, packs up their boat and follows him back to Town Creek on a mission of revenge that will test them in every possible way…

This sounds really good and has a cracking cast. Plus when Joel Schumacher has his Tigerland hat on he can lay down the goods.

Unfortunately it looks as if the studio, Lionsgate, haven’t really got behind it by giving it a limited release and changing its name a couple of times.

Source: STYD

Por sorpresa, sin aviso ni promoción alguna, se ha estrenado en Estados Unidos de forma casi anecdótica ‘Blood Creek‘‘ (también conocida como ‘Town Creek’), la última película del director Joel Schumacher. Y lo ha hecho de forma tan “silenciosa” que, como si fuera una buena leyenda urbana, se sabe de su estreno porque hay quien asegura haber visto que la proyectaban en algún cine. Y es que, al parecer, esta producción de terror rodada en 2007 y cuyo reparto encabeza Dominic Purcell (‘Prison Break’) y Michael Fassbender ( ‘Malditos Bastardos‘ ), les ha debido parecer tan mala a los responsables de Lionsgate que si la han estrenado es simplemente por obligación contractual, aunque ni siquiera en su web hay referencia alguna sobre la película, contando como material de promoción únicamente unas imágenes “filtradas” hace ya tiempo en YouTube (y que podéis encontrar al pie de esta misma noticia). Así pues, la ha “escupido” al mercado con un número indeterminado de copias y, para más inri, en el circuito de cines de “segunda carrera”, aquellos en los que se repescan títulos a bajo precio (el autor de la única crítica conocida hasta hoy, de la película, comenta que pagó dólar y medio por la entrada en su estreno…). En este caso, el estudio ha preferido tirar la piedra y esconder la mano, y así quitarse de encima el muerto, al igual que ya hiciera el año pasado con‘El Vagon de la Muerte‘ , estrenada también a escondidas, y como previa condición para poder quitársela de encima y hacer algo útil con ella, aunque fuera en el formato doméstico. La última pelicula “conocida” hasta el momento de Joel Schumacher era‘Número 23‘ , estrenada hace un par de años y con Jim Carrey de protagonista, y aunque para muchos, por desgracia, pasará a la historia por ser aquél “bastardo” que casi “mata” al Batman cinematográfico con su horrible ‘Batman & Robin’, en su filmografía, sin embargo, también encontramos títulos tan interesantes como ‘Jóvenes Ocultos’ ,‘Línea Mortal’‘Un Día de Furia’ ,‘El Cliente o la más reciente ‘Última Llamada’ , con Colin Farrell de protagonista. De momento, a ver si tiene más suerte con su próxima película, ‘Twelve‘ , la cual le vuelve a reunir con su actor fetiche, Kiefer Sutherland.

“Lost Boys: Reign of Frogs”
a review by Darby O’Gill

For some reason this is the true sequel to the classic Joel Schumacher film, The Lost Boys. But, why make it a movie when you can just release it as a four issue comic book series instead? I would have to guess that the answer to that question has something to do with the two Coreys.  Seeing how Corey Haim was such a mess during the filming of Lost Boys: The Tribe, they couldn’t use any of his footage in the film at all. So, Lost Boys: Reign of Frogs is the prequel to Lost Boys: The Tribe, but I think it’s the one that should have been filmed.

The story in Lost Boys: Reign of Frogs mostly takes place in 1990, but this is mainly due to being told through flashbacks of what became of the Frog brothers after the first movie. Edgar Frog tells a young protégé his tale at his surfboard shaping shop. Yes, even in this story we have to deal with the bullshit surfer storyline, but it’s easy to block out. Shortly after the events from the The Lost Boys, the Frog brothers become the go to vampire hunters, as more covens popup around the country. They’re even hired by the White House to deal with blood sucking politicians in Washington D.C., but upon their return home are faced with the return of David, the vampire played by Kiefer Sutherland in the first film, who is still looking for Michael and Star. The Frog’s quickly realize that if David is alive they must not have killed the head vampire after all. With this realization the boys team back up with Sam Emerson to kill Santa Carla’s head vampire once and for all. With a nice little twist, that will put the Frog brothers against one another in a future storyline. This story maybe hokey, but is so much better than that of the Lost Boys: The Tribe story, and who knows maybe this is the story we would have gotten had the Haim disaster not happened. We’ll never know.

The artwork in these books, by Joel Gomez, is really quite well done. My only problem with it is that the books where put out by DC Comic’s Wildstorm division, and authorized by Warner Bros., who owns of the original film rights; but Gomez’s drawings didn’t truly resemble the characters from the film. I would have just liked the characters to have been a little bit more familiar. Over all it was a fun read and was definitely a nice palate cleanser to the shitty film I had just sat through. If you did heed my review of Lost Boys: The Tribe, this should help ease the pain.

Rating: