Julia Ormond

Två FBI-agenter (Julia Ormond och Bill Pullman) kör in på den lilla polisstationen mitt ute i den amerikanska öknen, där polisen härbärgerar de enda tre överlevarna från en fasansfull massaker längs med den relativt öde vägen. En polis med tvivelaktig värdegrund, en missbrukande ung tjej samt en åttaårig flicka vars hela familj fallit offer i massakern är de enda överlevande. När förhören påbörjas läggs pusslet sakta på plats inför oss och allt är inte alltid vad det ser ut att vara.

Det är rått, skitigt och på något vis övertygande trots dess absurditet. Kanske inte så konstigt med tanke på att regissören är Jennifer Lynch (dotter till David Lynch) som här skapat ett mysterium som man visserligen kanske börjar ana svaret på rätt tidigt, men samtidigt blev i alla fall jag så pass nyfiken att jag absolut ville ha det bekräftat. Trots att det egentligen är utstuderat brutalt, slipper vi se speciellt många slabbigheter då det allra mest handlar om psykisk terror. Dock lite för mycket freakshow och för lite djup och förklaring kan jag ändå tycka, men det blir en helt okej och lite udda thriller med ett foto och rollprestationer som är över medel. Roligt att se gamla V-skådisen Michael Ironside i något nytt.

Betyg: 3

I sat down to watch Surveillance this week and kind of ended with mixed feelings. Directed by Jennifer Chambers Lynch daughter of director David Lynch, she has taken to being behind the camera just like her father. Surveillance centres on a police station in a rural area of the US where some killers have been going on a spree and which the authorities have been unable to catch. In walk two FBI agents played by Bill Pullman and Julia Ormond. They rock up and begin ruffling the feathers of the local authorities at the station and while investigating they begin to find out that no one is who they seem. Dum Dum daaaah! What else is new.

Dam kids graffitied, the ground again. Better call for backup.

I liked Bill Pullmans character, Sam Hallaway. He seemed gruff and distant and focused on the job and Pullman pulled this off well, excuse the pun. Ormond also did well with her character which was quite believable problem was the last 30 or so mins of the movie where the characters all reveal themselves, not to put any spoilers, but the believability kinds of comes into question at that point and I kind of lost interest in them.

The movie plays with flash backs to several groups. A couple who are out on a drug buying trip. Stephanie, a girl (played beautifully by Ryan Simpkins) with her family which isn’t as happy as seems and two police officers with dreams of being heroes are crossing into vigilantism. The groups slowly come together as their worms surface. This is actually the best part of the film. The character depths are shown and flaws revealed but you get to like them. It all comes to a head where the group meets the killers and this is where it became a bit contrived for me. Maybe I’m a little jaded with these sorts of films maybe I’ve seen it all before. I managed to pick the reveal for the two FBI agents 20mins before it actually happened and I’m pretty sure most people will. It was reasonably obvious.

Back at the station the FBI agents are interviewing the survivors of this encounter with the killers. Tensions arise between cops, victims and FBI with parties begging to act suspiciously. The problem I had at the end is what often happens. The killers are shown to be the super villain like geniuses that are always thinking 10 steps ahead of everyone else. Sure I don’t mind that every now and then but in this case it really irked me. One of the cops was this snap shot shooter. Could take out a car tire moving at 100miles from 50m yet at then end he couldn’t shoot a person in the head/body from 3m away. WTF is that! Anyway script issues aside Jennifer Lynch did a great job with direction and she does have a great eye for the camera. Maybe it’s to do with her dads mentoring, maybe it’s cause and effect, maybe it’s karma who knows. It all fit in very nicely.

So in ending, this isn’t a bad movie. I could have been a great movie for me if it wasn’t for a few issues I had with the script. I could be a little hard on it but it is watchable. I’d give this one a 6.5/10. Oh, not a booby to be seen. Dam you Lynch!!

Julia Ormond. Yes, the French ladies like to take off their clothes. God bless.

Il curioso caso di Benjamin Button è un film del 2008 diretto da David Fincher, adattamento cinematografico dell’omonimo breve racconto di Francis Scott Fitzgerald.

Leggi altre notizie su: | Drammatico | Sentimentale | David Fincher | Brad Pitt | Cate Blanchett | Julia Ormond

I had that thought the other day while I was cooking. (“One, two, three, crack!  New egg.”) . . . and then it reminded me of when my grandmother Mamacella, Mom, and I watched the remake of Sabrina in the theatre.  Julia Ormond’s hair is so 90’s!  Let’s just say it won’t prove to be as timeless as Audrey Hepburn’s.  Though the new version is good, nothing compares to the original of course.  Anyway, as we sat in the audience watching 1994 Sabrina make out with her Paris boyfriend, Mamacella leaned over and whispered to fourth-grade me, “Now don’t you do that!”

I said, “OK,” and then she started giggling.  I don’t know why that’s such a vivid memory.

But back to the thought– I remember Sabrina and the French chef every time I crack an egg to make brownies, and I feel grateful, especially to Mom, for allowing us to be carried away in stories when we were young.  Not just movies, either (though John watched Those Magnificent Men and Their Flying Machines every day one summer, I’m pretty sure), but books– oh, the books.  The Great Brain series, Mary Poppins, the Little House series, Narnia. . . those were the worlds to which I traveled as a child.  And certainly the ability to mentally and emotionally travel like that is something that’s valuable as an adult; helping one imagine what’s possible (now called “strategic thinking”), what type of world you’d like to live in, what kind of environment you want to create for yourself.

Beyond that, it’s easy for me to embrace the idea that I am part of a greater story; and a grand one.  It’s OK now that I’m not the main character.  But processing and living all those stories. . .  it gave me a framework to process life.  I know there will be conflict (crucial to the story!), there will be character development, and ultimately there’s going to be resolution.

As a little girl I squeezed my eyes tight and prayed that there would be a world like Narnia that I could go to, that I could open a closet door and be there.  Of course, it didn’t happen for me like that.  And even though I am not in fact Jo March from Little Women or Sacagawea the Indian Guide, or Christy teaching mountain children to read and write in a one-room schoolhouse, I want to be bold like they were.  And I want the story to end well.  It’s got to!

So, even as an adult, it’s not silly to pray now.  It’s not silly to enjoy what’s beautiful and hope for what’s good, and hope, knowing, that what’s good has got to win in the end.

Surveillance (2008)
★★ / ★★★★

Jennifer Chambers Lynch (“Boxing Helena”) directed this thriller about the investigation of two FBI agents (Julia Ormond and Bill Pullman) regarding the murders of two serial killers. In the police station, they had three witnesses whose commonality was someone close to them was killed: a little girl (Ryan Simpkins), a drug addict (Pell James), and a police officer (Kent Harper). The FBI agents tried to put pieces of the puzzle together but not all of the information they gathered fit. I did like this movie until half-way through the picture. I found the murder scenes to be chilling and horrific. I also liked the idea that the inaccuracies of testimonies were explored in a meaningful way through extended sequences when the interviewers would ask pretty much the same questions in various ways. However, I grew tired of the movie because of the uninterminable scenes regarding the two officers shooting tires since they were either bored or had nothing better to do. I believe that it took away a significant amount of time from the film instead of really exploring who the killers were. A lot of critics mentioned the fact that Jennifer Lynch was David Lynch’s daughter. While that may be true, I thought their ways of telling a story were very different from each other, which was a good thing because I thought Jennifer Lynch really came into her own. However, toward the end of “Surveillance,” I felt that she tried to inject some of her father’s methods of storytelling. It did not work for me because I thought that the twist did not add much for the movie’s dramatic weight. In fact, I felt a bit cheated during the revelation. This film’s sinister tone definitely reminded me of memorable thrillers like “Se7en” and “The Usual Suspects” but, as a whole, it was more limp instead of haunting. I definitely wanted more emotional resonance instead of empty darkness and despair with far too many loose ends.

Alicia Keys-Keep a Child Alive

Usher-Powered by Service

CGI-DAY 3

Today, Day 3—Thursday, seems to be celeb day, even more than the past two. I was in a press conference with Usher (who just donated a million dollars and is launching a new youth service program, “Powered by Service” www.poweredbyservice.org). Really Usher, you’re chewing gum for this? The new project aims to mobilize 5 million young people in initiating projects to serve their communities. He is partnered with several other organizations, including Philippe Cousteau and his focus on Oceans of the World with the “Waterplanet Challenge.” I bumped into, literally, James Brolin who was standing with Barbra Streisand—ended up dashing for the exit with them at the end of the night when we were ducking out a bit early.

Ricky Martin opened a session about human trafficking—his focus with the Ricky Martin Foundation (www.rickymartinfoundation.org). He’s looking very buttoned up in his black suit and gray tie. He gets choked up as he says, “I’m here because there are so many kids who didn’t make it,” we lost them, he tells us, to slavery, sexual slavery, and human trafficking.

This is also the focus of Mira Sorvino and Julia Ormond, who are here. There’s Bono being called up on the stage, next to Jessica Alba. Eve Ensler, Jesse Jackson….and this is before the evening awards ceremony with Demi & Ashton, Alicia Keys performing, Ben Stiller as MC, Lisa Ling presenting an award, and Quincy Jones giving a super-long speech. The carpet is blue throughout this hotel, but today it seems it ought to be red.

Queen Rania of Jordan—the most stunning ruler in the world—is one of the panelists on the dais for “Building Human Capital—Creating Jobs and Strong Communities.” She gets a big reaction when she tells us, “It would cost $11 billion dollars to put every child in the world into primary education. That is the money Americans spend on their pets every three months.”

Devastating statistics again float out: On average, paternally-led families that earn one dollar a day spend, on average, 2 cents on education and 20 cents on alcohol, sugar drinks, prostitution, and gambling. When mothers are given the money to make family decisions, almost 95 cents gets re-invested into their families.

Brad Pitt, with his pointy, Green Arrow-looking beard, gets the hallways buzzing—he is a featured panelist in the Town Hall meeting, “Building a Better Future—A Progress Report on Make it Right, New Orleans.” Make it Right was born from this conference three years ago, and will, by this time next year, have built 150 houses in the Lower Ninth Ward that are green, aesthetically designed, sustainable, and affordable. Many families are already back home from their paradigm-shifting work. Bill Clinton wonders why, if we can do it in New Orleans for no more money than traditional, wasteful architecture—why would we ever build the old way, anywhere, again?

After truly dense days of emotionally and intellectually challenging forums large and small, the evening awards are a nice relief. The ballroom has gone through a mild transition—tables have dark tablecloths instead of white, more elegant chairs have been swapped in, the crowd arrives more dressed up with lots of cocktail dresses, suits, and an array of beautiful native fabrics from cultures around the world. Juanes, the most popular Latin recording star, does a couple of great numbers, and Alicia Keys, a CGI member with her outstanding fight against AIDS (www.keepachildalive.org), closes out with her hits, including “Superwoman,” particularly poignant considering the day’s insights.

To have been present this week to such profound commitment and the energy to make change, it felt like the people in these rooms had the drive and determination to solve all the problems in the world. How can we not, every one of us, want to be part of that?

Philippe Cousteau-Waterplanet Challenge

Ricky Martin-Ricky Martin Foundation

Three Rivers es un drama médico relacionado con el trasplante de órganos, y puede llegar a ser interesente por sus dosis de drama, urgencia y esperanza.

La serie está desarrollada por la productora de Jericho, Carol Barbee. La estuctura de las historias se contarán desde 3 puntos de vista diferentes: médicos, receptor y la familia del donante.

Los actores de la serie son: Alex O’Loughlin (Dr. Andy Yablonski), Julia Ormond (Dra. Sophia Jordan – al parecer en el último momento se ha caído del reparto y sólo aparecerá en el piloto), Katherine Moennig, Daniel Henney, Christopjer J. Hanke y Justina Machado completan el elenco.

El estreno será el domingo 4 de octubre de 2009, por CBS, únicamente en Estados Unidos. También se estrena por Universal Channel, el 1 de octubre.

http://www.starwlog.com/2009/09/20/three-rivers

Che: Part One, felt very complete and fulfilling. I found myself looking at Ernesto “Che” Guevara as a very well rounded person. Not as an ideological self fulfilling man but as an articulate man with thought out rational decisions as well as a man with many useful talents. The film turned out to carry much weight in many different areas.

The acting of the cast all around was very good but Benicio Del Toro took the movie by storm but he did this in a very subtle way. His performance displayed how Che’s spirit was able to superseded the hardships faced in the Cuban Revolution. It did not display any brutality or recklessness but a devotion to a cause. Del Toro’s performance was that worthy of an Oscar nomination but I don’t think Che Guervara cared to much about awards.

The directing by Steven Soderbergh was visually stunning at times with much of the scenes shot in the forest. What kept the movie upbeat though were the scenes of Che in New York giving interviews and addressing the U.N. It added an extra layer to the film allowing you to see another side of Che; the side in which he shows his political and speaking abilities. The writing was very good with the dialog always keeping you engrossed. The music, though not much of it, was very good and stayed within rhythm of the rest of the film.

Overall the film succeeds in showing Che as a well rounded man never developing into oversimplified or unnecessarily complex portrayal of a man. The movie was very accurate and refused to take on a role of being inspiring or Hollywoodish which I enjoyed. The only problem I had with the film was that it seems to have a little too much of a feel of a war film rather than a biopic. Still I highly recommend this film.

Che 2: A Guerrilha
Após a Revolução Cubana, Ernesto Che Guevara está no auge de sua fama e poder, mas resolve aparecer incógnito na Bolívia, para organizar um pequeno grupo de cubanos e recrutas bolivianos para começar a grande revolução latino americana.

A Verdade Nua e Crua
Abby Richter é a ambiciosa produtora de um programa matutino, que se orgulha de ser capaz de achar uma solução instantânea para qualquer problema. Mas, quando o asssunto é namoro, Abby tem um currículo impecável de fracassos. Quando seu programa sofre uma queda nos índices de audiência, Abby é forçada a trabalhar com o recém-contratado correspondente especial, Mike Chadway. Seu quadro, ”A verdade nua e crua”, promete revelar o segredo sobre o que atrai os homens de verdade. Apesar de Abby não gostar de Mike, ele se torna uma mina de ouro instantânea para a emissora. Abby, então, conhece Colin, um vizinho que é médico e solteiro. Ela odeia ter de admitir, mas precisa dos conhecimentos de Mike acerca da mente masculina para dar os passos certos.

Goodbye Solo
Em Winston-Salem, na Carolina do Norte, dois homens iniciam uma improvável amizade que irá transformar suas vidas para sempre. Solo é um taxista senegalês em busca de uma vida melhor para sua jovem família e William, seu passageiro, é um típico homem do sul, já idoso, que carrega alguns arrependimentos. Durante duas semanas, numa viagem de táxi pelo interior do estado, os dois homens percebem que, apesar de suas diferenças, precisam um do outro mais do que conseguem admitir.

Genere: Drammatico

Regia: Steven Soderbergh

Cast: Benicio del Toro, Julia Ormond, Rodrigo Santoro

Distribuzione: BIM

Nazione: Francia – Spagna – U.S.A.

Anno: 2009

Il lavoro di Soderbergh si divide in due parti, anche se è stato presentato a Cannes in un’unica pellicola. I titoli delle due opere sono: The Argentine e Guerrilla. E’ la storia di un giovane medico argentino di nome Ernesto Guevara cui verrà attribuito il soprannome “Che”, il quale incontra in Messico l’esule cubano Fidel Castro. Si unisce a lui e al suo manipolo di guerriglieri decisi a partire per Cuba per abbattere il dittatore Fulgenzio Batista sostenuto dal governo americano.

Entrambi si imbarcano il 26 novembre 1956 alla volta dell’isola di Cuba con altri 80 determinati ribelli. Il “Che” alla guida di un piccolo gruppo di uomini dopo un lungo periodo di combattimenti nella Sierra Madre conquista la città di Santa Clara e marcia verso l’Avana. Il “Che” diventerà grazie al suo coraggio e ai suoi ideali l’eroe simbolo delle rivoluzioni latino-americane  in quanto si dimostra un combattente abile nell’arte della guerriglia e un uomo sensibile verso i deboli e gli sfruttati. Il personaggio del “Che” è interpretato da Benicio del Toro che gli da tono della voce e furore nello sguardo ai uno dei miti più duratori nel mondo.

Eine der bekanntesten weiblichen Persönlichkeiten der abendländischen Geschichte ist Katharina die Große, ihres Zeichens Zarin von Russland in den Jahren von 1762 bis 1796. Passenderweise wurde die vormals preußische Prinzessin bereits zweimal von deutschen Diven verkörpert:

Marlene Dietrich in "The Scarlett Empress"

1934 verkörperte die bis dato berühmteste deutsche Schauspielerin Marlene Dietrich unter der Regie ihres Mentors Josef von Sternberg die legendäre Zarin in The Scarlett Empress. Besonders aus cinematografischer Sicht ist dieser Streifen nach wie vor sehenswert, da von Sternberg ein echter Magier des Lichts und fantasievoller Setdesigner war. Man achte vor allem auf den gruselkabinettartigen Zarenpalast! Filmausschnitt.

Hildegard Knef in "Katharina von Russland"

Bildquelle

Auch unser aller Hilde Knef hat  1963 schon als Katharina von Russland vor der Kamera agiert, in einer italienischen Produktion unter der Regie von Umberto Lenzi. Da ich diesen Film persönlich leider nie gesehen habe, kann ich leider nichts weiter dazu sagen, vielleicht hilft dieser Filmausschnitt weiter. Oje, wie sieht denn Hilde hier bloß aus?

Julia Ormond in "Young Catherine"

No more Blondes: In der 1991er TV Produktion überzeugte Julia Ormond als durchsetzungsfähige Young Catherine, die dem verrückten Ehegatten den Thron klaut und das Militär bezirzt, nicht so glamourös wie Marlene, aber recht unterhaltsam allemal. Vor allem die mit Feuerstellen ausgestatteten Großraumschlitten sind mir in Erinnerung geblieben: Filmausschnitt.

Catherine Zeta Jones in “Catherine the Great”

Eine weitere TV Produktion (1995) reichte die Krone an Catherine Zeta-Jones weiter. Auch dieser Film, namens Catherine the Great, ist mir nur ausschnitthaft bekannt und konnte mich bisher noch nicht in die Videothek locken. Zumindest sieht Zeta-Jones in folgendem Miniclip auf sehr russische Weise üppig aus ; )

My name is Benjamin Button, and I was born under unusual circumstances. While everyone else was agin’, I was gettin’ younger… all alone.

– Benjamin Button

Nominated for thirteen Academy awards last year, The Curious Case of Benjamin Button was not on my list of films to see at that time. It is currently #210 on Top 250 of All Time on IMDb. I told friends of mine that I refused to see the film, because of the obvious comparisons to the emotionally manipulative Forrest Gump. After watching the Criterion Edition of this movie, Gump was at least interesting to watch.

Eric Roth scripted both movies, the movie is told in flashback from the end of WWI when Benjamin (Brad Pitt) is born to the time before Hurricane Katrina hit New Orleans. In 2005, a daughter, Caroline (Julia Ormond) is at the bedside on her dying mother, Daisy (Cate Blanchett), where the story of Benjamin is told through a journal that he kept throughout his life.

The movie recounts when he was born after WWI ended when his mother dies in childbirth. His father, Mr. Button (Jason Flemyng), abandons Benjamin on the doorstep of an old folk’s home. A young black couple, Queenie and Tizzy (Taraji P. Henson, Mahershalashashbaz Ali) find him and raises Benjamin as their own child.

As the movie drones on, it delves into how Benjamin and Daisy met, Benjamin traveling the world, the “soul mates” coming together and them realizing that they can’t be together in the end. It retells all of the history happening around Benjamin. He is just there to witness it. He doesn’t participate in it.

This film was clearly made for Oscars. It’s grandiose. It has the magical, fantastical elements with the central hook of Benjamin aging backward while everyone is aging forward. The makeup, the digital imaging, the costumes through the different periods of time, the swelling Alexandre Desplat score, the saturation of the screen. It’s all there. Somehow, it doesn’t work.

I understand that the point of the film is that the people that come in and out of your life shape who you are. “You never know what’s coming for you.” It was the motto of the movie like “Life is like a box chocolates” for Gump. It was a defective clone.

This movie meandered through subplots that bored me to tears. Do we need to see that guy getting struck by lightning? What’s up with the relationship between Benjamin and Elizabeth Abbot (Tilda Swinton)? Do we need that “what if” montage of Daisy in Paris?

There was always little hints about time with the countless clocks around, and especially the clock that goes backwards that was made by the blind man. The inexplicable appearances of hummingbirds where there shouldn’t be any.

Reading some of F. Scott Fitzgerald’s short story that this movie was based on, I got the sense that the story would be a comedy of errors rather than a biopic about a fictional person.

The characters were not that interesting to root for anyone. They were bland. The simple guy, the ice queen, the deadbeat dad, the magical Negro. There is nothing of substance here.

Judgment: An Oscar baity movie that misses the heart of the central premise.

Rating: **1/2

A BCNCultura ja hem parlat de les pròximes estrenes més significatives, tant per repercussió mediàtica com per qualitat cinematogràfica: The Limits of Control, de Jim Jarmush, Inglorious Basterds, de Quentin Tarantino, i The Imaginarium of Doctor Parnassus, de Terry Gilliam, són les tres grans pel·lícules amb directors de renom que queden per aparèixer a la gran pantalla del nostre país. El circuit independent i el panorama cinematogràfic internacional obren les portes a altres propostes de qualitat. Per exemple, les quatres que ara mateix comentarem, pel·lis que des d’aquí ja hem pogut veure, ja sigui a festivals o a través dels nocius i perillosos P2P: Breathless, de Yank Ik-June; Surveillance, de Jennifer Lynch; Wendy and Lucy, de Kelly Reichardt; i Frozen River, de Courtney Hunt.

Breathles, de Yank Ik-June

Òpera prima del coreà Yank Ik-June, guionista, productor, protagonista i director de la pel·li (guanyadora del Durián de Oro al darrer BAFF), narra les viviències d’un home, Song Hoon, criat entre violència, mala educació i barbaritats màximes a dojo que viu un dia a dia de crits i pallisses, amb les quals es guanya la vida, ja que és l’encarregat de cobrar deutes per un mafiós amic seu. Les úniques estones que té per ser humà i mínimament càlid són amb el seu nebot, amb qui manté una relació tan curiosa com entranyable, i amb una noia que coneix després de creuar qutre paraules que serveixen de pretext a Song Hoon per trencar-li la cara després d’escupir-li a la cara. No obstant, en el to i discurs de la pel·li, tant violent com sarcàstic, aquests moments són tan divertits com explicatius, i la pel·li evoulciona a mesura que evoluciona el protagonista. Educació, comunicació, família, amistat, Breathless crea un petit collage vital que farà les delícies tant dels fans del Kitano de El verano de Kikujiro com del Johnnie To de Exiled. La pel·lícula manté el ritme i l’interès en tot moment, i encara que té un final previsible, valdrà la pena veure-la i de pas apuntar el nom del Yang ik-June per comprovar com evoluciona el seu cinema.

Surveillance, de Jennifer Lynch

Després de Boxing Helena, tant irregular com interessant, la filla de David Lynch va rebre tantes crítiques negatives i destructives que la van fer desaparéixer del mapa. Amb Surveillance, ha recuperat l’autoestima i de pas ha obtingut el reconeixement de la crítica internacional. Va ser premiada com la millor pel·li del darrer Festival de Sitges; i els motius eren evidents. Surveillance es centra en la persecució per part de Julia Ormond i Bill Pullman, dos agents del FBI, d’un assassins que estan fent una escabetxada allà per on passen. Els agents investiguen cas darrera cas fins que arriba un punt que la investigació s’encalla, punt d’inflexió de la pel·lícula. Narrada amb una frescura i dinamisme dignes d’elogiar, l’estil de Jennifer Lynch no té res a veure amb el del seu pare. La prodríem situar en a mig camí entre Rob Zombie i Quentin Tarantino, però sense arribar encara al nivell d’aquests.

Wendy and Lucy, de Kelly Reichardt

Directora habitual en festivals com Sundance o l’Independent Spirit Award, amb Wendy and Lucy ha donat el salt i ha traspassat la frontera del cinema independent per exportar la seva pel·li i d’aquesta manera donar a conéixer el seu estil cinematogràfic. Michelle Williams és Wendy, protagonista absoluta de la pel·lícula, amb permís de la seva gossa, la Lucy. Ambdues viatgen cap a Alaska per buscar feina i fortuna, però el seu cotxe-llar s’espatlla. La Wendy comprova com tot el seu pla se’n va en orris. Neorrealisme del bo, sense floritures ni drames afegits, Wendy and Lucy agradarà i molt a tots aquells que pensen que El ladrón de bicicletas és un exemple de cine compromès sense necessitat de cabòries intel·lectuals.

Frozen River, de Courtney Hunt

La pel·lícula de Courtney Hunt ha acumulat premis com el Gran Premi del Jurat de Sundance 2008 o el de millor actriu als Independent Spirit Awards d’enguany, a més de nominacions als darrers Oscars, les de millor actriu i el de millor guió original, arribarà als cinemes del nostre país el 4 de setembre. Una altra òpera prima de nivell que narra les aventures i desventures d’una dona (una brillant Melissa Leo) sense feina que ha de tirar endavant la seva família de qualsevol manera: portar emigrants de Canadà als EUA. El drama de les fronteres, evocat d’una manera tan brillant com subtil, a través d’un personatge incapaç de fer front a la crueltat i les absurditats d’una societat tant desigual com incomprensible.

Starring Bill Pullman and Julia Ormond. Sam Hallaway and Elizabeth Anderson. Directed by Jennifer Lynch. Ok daughter of David Lynch. This seem interesting to me. I imagined something different. Bill Pullman seems to like the off beat movies doesn’t he? Pullman and Ormond arrive to a town where there’s been a crime. Two FBI agents were called in to help with the investigation. There are witnesses that need to be interviewed. As the story unfolds it appears the police have secrets. Pullman and Ormond slowly uncover the story. The movie has that small town slow with the people seem to be off their rocker. Sorry small town people but thats were all the crazy sh$t! happens. The story does move along and it had me wondering who is the killer. It’s part of my fun to try to figure it out before the movie reveals the killer. This movie threw me for a loop. The little girl Stephanie played by Ryan Simpkins added to the mystery. Can’t forget Caroline Aaron and Michael Ironside just to complete that odd small town feel, sorry! I would hate to spoil your fun. If you like crime dramas with a twist? This one is right up there as strange but I can’t look away. I almost forgot to mention about Julia Ormond. I don’t recall a lot of her recent work but I remember Legends of the fall, First Knight and Sabrina. This movie seems way different a role for her. I just thought it was a big change. Pell James as Bobbi Prescott plays a convincing drug funky. Enjoyed the movie because I like the off beat movies its a nice change of pace.

DADOS DO ARQUIVO
Formato: RMVB
Qualidade: DVDRip
Áudio: Inglês e Espanhol
Legenda: Português
Tamanho: 418 MB
Divididos em: 5 partes
Servidor: Rapidshare

Sinopse: A primeira parte do filme sobre a trajetória do líder revolucionário argentino Ernesto Guevara de la Serna, mais conhecido como Che Guevara (Benicio Del Toro), tem início no ano de 1956, quando Che e exilados cubanos, como Fidel Castro (Demián Bichir), encontram-se no México, articulando resistência militar contra o governo ditador de Fulgencio Batista, em Cuba.

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Continuando con nuestra presentación de las nuevas series a estrenar durante la nueva temporada televisiva, hoy vamos a hablar de una de las series más dramáticas de los últimos años, la nueva serie de CBS Three Rivers.

Esta serie es un drama medico que se enfoca en las complejas vidas de los donantes de órganos, los pacientes que los recibirán y los cirujanos en uno de los mejores hospitales del país, donde cada momento es de vital importancia.

Liderando el equipo de cirujanos encontramos al Dr. Andy Yablonski (Alex O’Loughlin, Moonlight), un talentoso adicto a su trabajo, cuya personalidad e inteligencia lo hacen muy popular con sus pacientes y sus colegas.

Junto a Andy, el equipo incluye a la Dr. Miranda Foster (Katherine Moennig), una cirujana que intenta vivir mantener la reputación de su padre como uno de los mejores en su campo; y el Dr. David Lee (Daniel Henney), un residente mujeriego.

Además se destaca Ryan Abbott (Christopher J. Hanke), el nuevo coordinador de transplantes que debe manejar todo el proceso de transportar los órganos del donante al paciente; la Dr. Sophia Jordan (Julia Ormond), la jefa de cirugía; y Pam Acosta (Justina Machado), la asistente de Andy.

Este nuevo Drana Medico ”Three Rivers se estrenara el domingo 4 de Octubre.

Fuente:Blogdeseries.com

Occasionally, a quality film flies below the radar such that you only hear about it many years after its initial release. Smilla’s Sense of Snow is not one of those films. I had high hopes for this winter tale upon discovering that its cast included the likes of Tom Wilkinson, Jim Broadbent, Richard Harris, and Julia Ormond. Unfortunately, even strong actors can’t overcome a ridiculously bad screenplay. The screenwriter’s plot trappings are so nonsensical that one wonders, for instance, why someone didn’t stop and ask, “Why does this doctor have a light panel to view x-rays wall-mounted in his dining room?” And, yes, the film does reach that level of lunacy.

I’d like to say that this movie, which is filmed mostly in Scandinavia and Greenland, has beautiful cinematography to make up for its lack of a taut story, but even on this point it mostly fails. Now, to be fair, this film is over 12 years old and camera technology wasn’t then what it is today. Still, movies like Titanic and Saving Private Ryan were filmed at roughly the same time and they have breathtaking cinematography. I expected more especially with regard to the Greenland insert shots.

My greatest fear in reviewing Smilla’s Sense of Snow is that I might actually cause it to appear on your radar screen. So, to avert that possibility I encourage you for the first, and hopefully last time, to forget everything I wrote in this review . . . especially the name of this film.