Damn that Nan and her grooviness! Trina, you are just a doormat. Of course, it is possible to go too far in the other direction…

Whoa, Twink — how ’bout you crawl out of Jill’s butt about this? What a lady does behind closed bedroom/car/McDonalds’ restroom doors is her business.

So. Which one would you choose? And remember that things are not always what they seem; Trina could be a doormat because she has been raised according to a view of fundamentally-Biblical, sublimated femininity that also extends to keeping it on clampdown ’til after marriage, and even then, just every third Saturday and only if neither one of you enjoys it! Do you really want a lifetime of hot meals but frigid nights?

Still from Blue Velvet (1986), l to r: Laura Dern, Isabella Rossellini, and unbelievably gorgeous slice of ’80s man meat Kyle MacLachlan — three guesses who the next Hot Man Bein’ Hot of the Day is going to be.

Meanwhile, that alleged whore Jill might actually be acting out because she has been abused, and, like a kicked cat who has not been loved well enough, will just as easily cut you with a broken bottle as blow you.* She may even be one of those chicks who downs a bottle of bourbon and sleeps with your dad so you’ll beat her up, just so she can feel anything.

Ups and downs, blondes and brunettes, femmes fatales and ingenues –and which is which??– deconstruction of assumed codifications. Oh! Such a Lynchian conundrum!

Naomi Watts and Laura Harring, Mulholland Drive (2001).

*Your cat blows you, right?…right??

.laura harring photographed by werner pawlok as paula in the poet directed by paul hills.

.wrote nicholas cox in the gentleman’s recreation circa 1686: ”…the trailing or dragging of a dead Cat or Fox, (and in Case of Necessity a Red-herring) three or four Miles, (according to the Will of the Rider, or the Directions given him) and then laying the Dogs on the Scent.“

.red herring by sian storey.

Forget about “balls out” acting, what really impresses me these days are the actresses who bare their bushes, and it’s about time. I’m not talking your average porn star. I mean respected actresses who win prizes at Cannes (although I must admit that line is getting blurred all the time). Let’s take a look at some notable examples of renowned actresses who have exposed their nether regions for art:

A terrific actress and truly beautiful, Julianne Moore proved she was a real red head in Altman’s Short Cuts (1993).

Another fabulous redhead is the great Tilda Swinton in an equally great film Julia (2008). Tilda acts with her boobs and her crotch in this movie and she’s genius. Trust me, see it! Plus she utters probably the best line reading in the past thirty years of cinema, “You! I wouldn’t wipe my ass with you!”

Kate Winslet in Holy Smoke (1999). I love seeing Kate Winslet nude in movies and Jane Campion captures a nice full frontal shot of her young, gorgeously zaftig body in this film that I loved and hardly anyone saw. Kate Winslet is probably the best film actress alive today, and she’s famous for revealing a “less than perfect” body. Of course “less than perfect” means she’s a size 8 as opposed to a size 2, which by Hollywood standards makes her a plus size, which means that I’m really fat.

Isabella Rossellini went from gorgeous lounge goddess draped in a blue velvet gown to emerging from the hedges of a suburban lawn naked, brutally exposed and bruised in David Lynch’s Blue Velvet (1986). Her full frontal reveal was done in a long shot, but it sent shock waves of fascination and repulsion. Lynch later trumped it in with his hot lesbian scene in Mulholland Drive (2001), but for some reason gorgeous brunette actress Laura Harring’s “down there” is digitally scrambled. WTF? I wonder why that decision was made. Ratings perhaps? Who knows, it’s one of the hottest sex scenes ever filmed. Mulholland Drive is a great film, probably my favorite film from the past decade. In fact, I think it’s time for another screening.

Speaking of Mulholland Drive, Naomi Watts’ masturbation scene is Oscar worthy for its realism, but the big prize for baring it all, and I mean ALL is Charlotte Gainsborough in Antichirst (2009). I just saw it last week and it’s still fresh in my mind and in my nightmares.
Charlotte Gainsborough looking like a young Patti Smith with a soft voice that is capable of escalating into horrific shrieks is the perfect casting for Von Trier’s twisted fairy tale of a movie. I threw my scarf over my head and closed my eyes during the genital mutilation scenes, but they were wide open during the scene when she’s down on the ground in a forest masturbating completely naked. Whoa! That shocked me just because it was so raw and so real.

I am sure there are other examples, but these are the ones that come to mind. Art cinema will always push the boundaries, and I think it’s about time that sex is depicted truthfully. I don’t know if Antichrist is a great film, but its power to break through a barrier of what can be considered appropriate for cinema versus pornography cannot be denied. I don’t think I will ever want to film what Von Trier does in Antichrist, but his willingness to “go there” encourages me to be bolder in my vision as a filmmaker. And the actresses who also “go there”? Sexuality is part of being human. For an actress to depict that truthfully in the hands of a director’s artistry is an exercise in trust. It’s very interesting to contemplate what separates a Charlotte Gainsborough, looking chic on the red carpet at Cannes and a porn star doing the same thing in Vegas. And while we’re showing it all, why not show the guys’ stuff too. Did Willem Dafoe’s dick double have to belong to a well-endowed porn actor? Couldn’t he just be an average size, or can’t we handle that naked truth yet?

En el 2001 se estrenó una de las películas más desconcertantes que uno se pueda imaginar. Y como no podía ser de otra manera, su autoría estuvo a cargo nada menos que de David Lynch, un experto en la materia. No es fácil acceder a su cine onírico, simbólico y surrealista y son más los que se van a quedar afuera que adentro.

Mulholland Drive, que es el nombre de la ruta que une Hollywood y Santa Mónica, fue concebida en un primer momento para ser una serie de televisión. Hasta se filmó el episodio piloto. Pero a la ABC no le convenció y el proyecto se rechazó hasta que Lynch lo recuperó para transformarlo en una película (recordar que Lynch había sido el productor de una serie que se emitió por ABC, Twin Peaks, considerada hoy como una serie de culto).

En la superficie la película trata sobre una joven que llega a Los Angeles con el sueño de triunfar como actriz y conoce a una amnésica que supuestamente es la única sobreviviente de un accidente. Pero sólo en la superficie, ya que nada es lo que parece. El rol que debe asumir el espectador es de suma importancia y en ese sentido la experiencia de ver el film es única. A los que les guste que todo cierre y quede explicado, que se abstengan.

Escena a escena, el director va creando un universo cada vez más complejo e hipnótico que se le presenta al espectador en forma de rompecabezas. No se puede hacer otra cosa que prestar atención a los detalles y dejar fluir las sensaciones que transmiten los personajes y los escenarios en los que se desarrolla la historia. La atmósfera del film siempre se mantiene entre el misterio y la intriga, y la música acompaña a las imágenes hasta casi fundirse en ellas. La potencia visual que se desprende de los cuadros es una de las principales virtudes de Mulholland Drive.

“Una historia de amor en la ciudad de los sueños” es la definición que utilizó el propio Lynch para referirse a la película, que contiene una crítica un tanto feroz contra Hollywood y lo que le puede esperar a las personas que concurren allí para convertir en realidad sus sueños de volverse famosas.

Faltando media hora para que termine la película y a partir de una escena en particular, cuando aparece el vaquero y dice “wake up”, las piezas empiezan a encajar y el guión descubre su genialidad.

A partir de ese momento [NO SE RECOMIENDA SEGUIR LEYENDO ESTE PARRAFO A AQUEL QUE NO HAYA VISTO LA PELICULA] se revela que todo es un sueño de Betty, que en realidad se llama Diane (ese nombre lo tomó de una camarera). Lo que hizo Diane fue contratar a un asesino a sueldo para asesinar a su amante Camila, que en el sueño es Rita, y al final se suicida por la culpa que eso le genera. El director de cine Adam es con quien Camila se va a casar y por esa razón es que en el sueño a Adam todo le sale mal. La torpeza del asesino responde a que Diane se arrepiente y no quiere que Camila muera. La llave azul es la prueba de que el asesino cumplió con su cometido y la caja que esa llave abre es la conciencia de Diane. Los ancianos que aparecen al final representan el remordimiento que la invade (en el sueño hasta se ve muerta a sí misma sin saber que es ella).

Es difícil hablar de Mulholland Drive. Lo que hay que hacer es verla y sentirla por uno mismo. Es un viaje por una sinuosa carretera donde los sueños se han desperdigado por el camino.

Otras recomendaciones…

Petróleo Sangriento

Million Dollar Baby

Las películas de Pixar

Laura Harring

Anora Fleece has got it rotten. Her husband is abusive, her children are disrespectful, and she lives in the middle of nowhere feeling like a nobody. Then Imogene Cochran moves into the neighborhood. Imogene sells Kathy K. Kosmetics make-up for the cocoa skinned woman. The neighbors don’t like cocoa skinned anything, but that doesn’t stop Imogene and Anora from becoming friends and, eventually, more than friends. When Anora’s husband, Cheb, finds them, all hell breaks loose, but the tables are turned when Anora accidentally shoots Cheb dead. Anora and Imogene then pile the kids in the Kathy K. car, throw the corpse in the trunk and ride off on a “family” road trip to bury Daddy.

Written and directed by Nancy Kissam

Starring Laura Harring, Jill Marie Jones, Oded Fehr

Muitas pessoas estão fadadas a verem e repetirem sempre as mesmas coisas. Quando essas pessoas entram em contato com algo diferente, encaram isso de forma negativa fazendo julgamentos prévios e se privando de idéias que muitas vezes podem ser geniais. Algo parecido acontece com aqueles que se dispõe a assistir alguma das obras do americano David Lynch, que já possui um vasto currículo no mundo cinematográfico, entre seus trabalhos temos a série Twin Peaks e filmes como Veludo Azul, Coração Selvagem, A Estrada Perdida e Cidade dos Sonhos.

Rabbits é uma série de curtas com 08 episódios que totalizam aproximadamente 43 minutos de duração, e que foi inicialmente exibida no site do autor. É quase impossível classificar essa obra em único gênero, Lynch faz uma bem sucedida mistura de comédia, drama, fantasia, horror e mistério. Como personagens temos três coelhos humanóides – Jack, Jane e Suzie – que vivem na mesma casa, onde a sala é o único local em que ocorre a encenação, que não passa de diálogos e movimentos dos personagens. Nas vozes dos personagens temos Scott Coffey (Jack), Laura Harring (Jane) e Naomi Watts (Suzie).

A série pode ser facilmente confundida com uma peça de teatro filmada, devido à falta de cortes de câmera, com exceção de um no sexto episódio. Os diálogos são aleatórios e a princípio não possuem nenhum nexo, porém se o telespectador atentar bem vai notar que trata-se de um “quebra-cabeça” e que os diálogos se complementam a intervalos de falas sobrepostas, isso pode ser notado quando se ver uma pergunta simples ser respondida bem depois e logo após algumas falas, que por sua vez serão respondidas ou argumentadas depois, e assim se segue.

A série conta com palmas e risadas de uma platéia que não se sabe se está presente, fazendo lembrar as sitcoms norte-americanas, esse recurso auditivo é usado de forma excêntrica sendo aplicada em momentos em que não há nenhuma piada aparente. E ainda temos uma trilha sonora sinistra composta por sons indecifráveis que se intercalam com barulhos de chuva e trovões.

Apresentada sob o seguinte slogan: “Em uma cidade sem nome inundada por uma chuva contínua… três coelhos vivem com um mistério terrível”, é difícil tirar conclusões sobre o sentido da série. Muitos sites foram criados onde os fãs mais ávidos escrevem e debatem as mais diversas interpretações que vão desde uma hipótese de vidas passadas até um suposto e sinistro reality show. Essa ausência de sentido é o ponto chave e um êxito de Lynch, pois fica a cargo de quem assiste criar sua própria interpretação, e isso não só contribui para fazer com que as pessoas pensem, mas também para que essas pessoas adquiram a capacidade de criar, mesmo que sejam meras interpretações.

Recomendo a série, e os que se interessarem podem fazer o download em TORRENT dos episódios compactados em um só, clicando AQUI, e para legendas em Português AQUI.

Assista o 1° Episódio:

Considering Dolph Lundgren got famous playing a blond Russian and can definitely act better than Kevin Nash, who doesn’t even have any lines and is terrible, it’s telling Jonathan Hensleigh didn’t bring him back for a small role, an acknowledgment of the far superior 1989 Punisher adaptation.

Whereas that film–and to some extent, the one following this effort–tried to be a senselessly violent action revenge movie, Hensleigh’s Punisher tries to rationalize the comic book character, who’s never been conducive to such analysis. The closest is Garth Ennis’s recently concluded terminating work on the character, which acknowledges the unreality and tragedy of being an unstoppable killing machine.

Hensleigh tries to turn Thomas Jane’s Punisher into a sympathetic hero. He fails miserably and, as a result, gives Jane the worst written role in a movie filled with poorly written roles. When John Travolta, all in all, turns in a better performance than Will Patton, it might very be the end of the world as we know it.

Laura Harring is atrocious. Who else… oh, poor Roy Scheider. Why was he in this one?

The best performance is from Rebecca Romijn. Really. She’s actually totally believable as a regular person with real problems. Ben Foster and John Pinette are both good too, as Romijn’s sidekicks.

Hensleigh is a boring director, but not terrible. His wife, Gale Anne Hurd, probably got him the job. She should have brought in a real screenwriter.

Carlo Siliotto’s music, though inappropriate (it’s heroic), is all right.

CREDITS

Directed by Jonathan Hensleigh; screenplay by Hensleigh and Michael France, based on the Marvel Comics character created by Gerry Conway, John Romita Sr. and Ross Andru; director of photography, Conrad W. Hall; edited by Jeff Gullo and Steven Kemper; music by Carlo Siliotto; production designer, Michael Z. Hanan; produced by Avi Arad and Gale Anne Hurd; released by Lions Gate Films.

Starring Thomas Jane (Frank Castle), John Travolta (Howard Saint), Will Patton (Quentin Glass), Roy Scheider (Frank Castle Sr.), Laura Harring (Livia Saint), Ben Foster (Dave), Jon Pinette (Mr. Bumpo), Rebecca Romijn (Joan), Samantha Mathis (Maria Castle) and Marcus Johns (Will Castle).

Laura Harring

Feature I co-authored.
Published in Independent Weekly in August 12, 2009 issue.

North Carolina Gay & Lesbian Film Festival
Carolina Theatre
Aug. 13-16

Like the crape myrtle blooms and desperate getaways to the beach, the North Carolina Gay and Lesbian Film Festival is something of a late-summer tradition in the Triangle. With an annual attendance of approximately 10,000 people, and a mixture of searing drama, sexy and comic romps and earnest documentaries, it’s a large and bustling festival with something for everyone.

Jim Carl, Carolina Theatre senior director and director of programming for the NCGLFF, says this year’s fest is the strongest yet. “We always try to be cutting edge,” says Carl, “but this year we hit the jackpot.” While his enthusiasm is to be expected, a viewing of a dozen titles made available in advance does reveal a diverse and ambitious program, and one with a few big names for good measure.

Among the titles: the much-anticipated Little Ashes, with star-of-the-moment Robert Pattinson; Drool, a dark comedy starring Laura Harring (Mulholland Dr.); and Training Rules, a documentary about anti-gay discrimination in the Penn State women’s basketball program.

The festival kicks off Aug. 13 at 8 p.m. with a high-dollar event, A Sordid Comedy Affair, featuring Caroline Rhea (Sabrina, the Teenage Witch), Rue McClanahan (Golden Girls) and Del Shores. The festival runs through Aug. 16 at the Carolina Theatre. A pass for 10 movies is $70 in advance and $75 during the festival; individual film tickets are $8.50 with Star Members paying $6.25. Tickets for the opening night comedy show are $32-$39.

Get Happy (Part of Ain’t Nothing Dirty Goin’ On!, a program of men’s shorts)—Two-time Emmy award-winning makeup artist Mark Payne is the focus of this documentary. As a teen, he performed in Las Vegas with such acts as Milton Berle and Bob Hope, captivating audiences with his unerring impersonations of Liza Minnelli, Judy Garland, Diana Ross and Barbara Streisand, before turning to makeup. His strategy for success? Get out there and get happy! —BD

Remember the Eyes (Part of Quieter Than the World Tonight, a program of women’s drama shorts)—This love story misses its mark with its after school special feel. Camille (Marie Roux) is a powerful martial arts student, while Kindra (Julia Decker) is a shy painter. Kindra’s timidity proves to be more than just insecurity, as Camille discovers at the film’s final twist. Perhaps if the film’s issues were explored at feature length, this short wouldn’t seem so abrupt. —BD

And Then Came Lola (USA, 81 min. Rough cut review)—Inspired by the German art house classic Run Lola Run, And Then Came Lola stars N.C. native Ashleigh Sumner as Lola, a commitment-phobic photographer who must deliver a set of prints as quickly as possible to her girlfriend, Casey. As in the Tom Tykwer film that provides the template, three alternate storylines ensue as one minuscule detail revises the course of events. This film, written and directed by Ellen Seidler and Megan Siler, follows an interesting premise that doesn’t quite do justice to its German counterpart. At times, the dialogue feels unnatural and the acting strained, but perhaps the kinks will be worked out for the final cut. The raunchy love scenes leave little to the imagination. —BD

* Drool (USA, 86 min.)—A dumpy housewife named Anora (Laura Harring), in Catoosa, Okla., is stuck in a loveless and abusive marriage and her two children, Tabby and Little Pete, don’t respect her. Her only solace is her fantasy world in which she is a “classy” lady with a Prince Charming who whispers sweet nothings to her. Anora’s miserable luck changes after she meets her bubbly and quick-witted neighbor, Imogene (Jill Marie Jones), who gives her some much-needed appreciation. This dark and parodic comedy is narrated by her daughter, Tabby, who provides a dash of irony to each scene. Written and directed by Nancy Kissam, this film packs just the right amount of clever with equal parts outrageous. This is the N.C. premiere of the film. —BD

Misconceptions (USA, 96 min.)—Uber-religious Georgia couple Miranda (A.J. Cook) and Parker (David Sutcliffe) haven’t slept in the same bed since their son died five years ago from a rare disease, “Dietrich-Schygulla Syndrome” (which will provoke knowing laughter from devotees of German film divas). Miranda spots a TV documentary about a Dr. Sandy Price-Owens (David Moscow) who is trying to cure DSS. In the documentary, the doctor and his partner, Terry (Orlando Jones), mention their need for a surrogate mother. Miranda receives divine inspiration and decides to answer the call. A clash of cultures ensues as Terry goes to conservative Georgia. At times the characters feel more like caricatures, but this comedy is well-intentioned with its exploration of tolerance in love and religion. This is the N.C. premiere. —BD

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Não sei se Lambada, a Dança Proibida (The Forbidden Dance – 1990)  é o pior filme do mundo. Não está entre os melhores, é claro, mas pode haver coisa pior circulando por aí.

A película, dirigida por Greydon Clark, anuncia: “Se fosse mais quente, eles não estariam dançando”.

Laura Harring, a deslumbrante mexicana que protagoniza a obra, conseguiu escapar com vida do fiasco

e chegou a filmar com David Lynch o fascinante “Cidade dos Sonhos” (Mulholland Dr. - 2001), ao lado de Naomi Watts

embora depois disso sua carreira esteja naufragando em participações especiais em séries de TV.

Existe um merchandising despudorado aqui.

Estou propagandeando meu novo livro, “Cinema Falado”, que trará como bônus os “25 Filmes Que Podem Arruinar Sua Vida”, elencando (êpa) um quarto de centena das piores tranqueiras que já assisti – e Lambada está orgulhosamente entre eles.

Não se trata de um levantamento dos piores filmes do mundo – e sim dos piores que eu já assisti – existe uma pequena diferença aqui..

Rita Kempley, do Washington Post, resistiu à provação de assistir à obra e escreveu: “Nisa (Laura) dança – mexendo suas maracas por dinheiro – até ser salva por Jason, e ambos entram em um concurso nacional de dança patrocinado pelo King Creole and the Coconuts. Se vencerem, terão a oportunidade de aparecer na TV e contar à América que ela deve parar de destruir a floresta brasileira. Não vamos ligar para o fato do Brasil estar fazendo um excelente trabalho ao destruir ele mesmo sua floresta”

Andrew Borntreger, do site badmovies.org teve mais senso de humor em sua avaliação do filme:

“ O lance aqui é que  ”Lambada” não é sobre a Lambada, mas sobre salvar a floresta usando a Lambada. Isso, meus amigos, é chamado de nuance…  Por um momento, eu pensei que o discurso de Nisa fosse realmente salvar a floresta. Então percebi que depois de contemplarem por dois ou três segundos como o mundo seria uma droga sem as árvores, as pessoas foram imediatamente distraídas por sua necessidade de dançar lambada pelo resto da noite. Acho que o povo de Nisa vai perder sua terra de qualquer modo, mas pelo menos ela apareceu na TV.
O mundo seria um lugar muito melhor se as pessoas parassem de tentar dançar e, ao invés disso, dedicassem seu tempo a salvar a floresta” conclui Borntreger, acrescentando”Diabos, o mundo seria muito melhor se as pessoas fizessem qualquer coisa com seu tempo ao invés de tentarem dançar. Vocês sabem quem são”

De qualquer forma, como a obra não está disponível em DVD, ofereço a vocês um pequeno – e revelador – trecho de “Lambada – A Dança Proibida”

Terá a lambada morrido?

Não – ela segue influenciando pessoas ao redor do mundo – como prova esta pequena joia em vídeo a seguir.

Aonde quer que duas pessoas estejam roçando melodicamente a genitália, lá estará a lambada, lá estaremos nós, lá estará o seu, o meu, o nosso Brasil.

Title: Mulholland Dr.
Year: 2001
Director: David Lynch
Writer: David Lynch
Starring: Naomi Watts, Laura Harring
Music: Angelo Badalamenti
Distinctions: formerly on IMDb’s Top 250
Synopsis: Um… no.
How I saw it: on video (rented from Netflix), June 2008; in the theater, 2001
Subjective Rating: 0/10
Objective Rating: 1/10 (gets a point for music)

I won’t justify it by listing what’s wrong with it. Just… f*** you David Lynch.

Studio: Lions Gate Home Ent. Release Date: 01/08/2008 Run time: 21 minutes Rating: R

The impressively muscular chest of Tom Jane is the focal point of The Punisher, a movie based on a Marvel Comics superhero. Frank Castle (Jane, Deep Blue Sea) retires from the FBI, which means–as any moviegoer expects–that his family is toast. Howard Saint (John Travolta, Face/Off), a shady Florida businessman whose son was killed in Castle’s last mission, orders a hit not only on Castle’s wife and child, but also on his parents and a whole bunch of aunts, uncles, cousins, and so forth. The killers shoot Castle himself in the chest, but he inexplicably survives and–as any moviegoer expects–sets out to even the score. Implausibly, given his sometimes curious and roundabout methods, he succeeds. Also featuring Will Patton (Armageddon) as an oily thug, Laura Harring (Mulholland Drive) as Saint’s fleshpot wife, and Rebecca Romijn-Stamos (X-Men) as a waitress with bad taste in men. –Bret Fetzer

The Punisher [Blu-ray] is available at Amazon for $10.49. To Order click here
Amazon Product Pages contain a lot of other details on this product as Customer Reviews, Sales Ranking, Special Offers, Alternate products that customers are going for and much more.Want to read these details? click here

Want to get some other Format / Binding / Version? You can search for them from here

Other Products of Interest

• Terminator 2: Judgment Day [Blu-ray]
• Hellboy (Director’s Cut) [Blu-ray]
• Stargate (Extended Cut) [Blu-ray]
• Total Recall [Blu-ray]
• Batman Begins [Blu-ray]

La gente que me conoce bien (la que no igual, se lo digo a todo mundo) sabe que uno de los ritmos que me ponen mas cachondo alegre es el que tiene la Lambada, esa sensacion de calentura que transmite en cada una de sus notas (¿?) es algo que se siente pocas veces.

Este fin de semana volvi a ver una pelicula que no veia desde hace mucho: La Lambada, El Baile Prohibido (prohibido según la protagonista por ser demasiado sexual); una cosa completamente tonta sin pies ni cabeza pero con la ventaja de tener varios bailes divertidos a lo largo de la pelicula, con un final feliz, un brujo superpoderoso, una vibora que pasa por las aduanas como si fueran pantunflas, y efectos especiales que podrian competir con Transformers (leer esto ultimo con ironia).

Viendo una de esas escenas me puse a pensar y me dije a mi mismo:

-Oye idiota

-Que?

-Por que no pones esa secuencia en tu puto Blog, le haces una categoria llamada “Pornografia sucia y vulvosa” en la que vayan las escenas sucias y vulvosas de las peliculas que veas, y de paso te ahorras escribir tantas estupideces y pones un video en su lugar.

-Ya estas, pero le cambiare el nombre a “Esas Sucias Escenas”, no quiero que el Blog suene vulgar.

-O.k.

-O.k.

Y asi nacio esta nueva seccion del blog que hoy inauguro con el baile de Laura Harring

]]> http://thecreepers.wordpress.com/2008/10/30/willard/ Thu, 30 Oct 2008 15:08:29 +0000 thecreepers http://thecreepers.wordpress.com/2008/10/30/willard/

A lonely, awkward misfit tormented by his boss on a daily basis turns to rats for friendship…and revenge.

DVD Features:
Audio Commentary:Director Glen Morgan, producer James Wong, Crispin Glover and R. Lee Ermey
DVD ROM Features
Deleted Scenes:12 Deleted Scenes
Documentaries:“Year of the Rat” – Behind-the-scenes Documentary on the making of Willard “Rat People-Friend or Foe?” Documentary
Full Screen Version
Music Video:Crispin Hellion Glover’s “Ben” w/optional commentary
TV Spot:Three TV spots
Theatrical Trailer

As accomplished as it is superfluous, Willard is a stylish horror film with plenty of style and precious little horror. Genre buffs will appreciate it as a visually superior sequel/remake of its popular 1971 predecessor, giving Crispin Glover a title role perfectly suited to his uniquely odd persona, in the same league as Psycho’s Norman Bates. This time, Willard’s the psychotically lonely son of the original film’s now-deceased protagonist; a milquetoast introvert who befriends an army of obedient rats–lethal allies when Willard’s pushed to his emotional breaking point by his abusive boss (R. Lee Ermey). In keeping with his memorably macabre episodes of X-Files, writer-director Glen Morgan excels with dreary atmosphere and mischievously morbid humor (including an ill-fated cat named Scully), and Glover gives his best performance since River’s Edge. But even the furry villain Ben–an oversized rat with attitude–is more funny than frightful… so really, what’s the point? With some justification, Glover’s fans will appreciate the open door to a sequel. –Jeff Shannon

Willard is available at Amazon for $5.99. To Order click here
Amazon Product Pages contain a lot of other details on this product as Customer Reviews, Sales Ranking, Special Offers, Alternate products that customers are going for and much more.Want to read these details? click here

Want to get some other Format / Binding / Version? You can search for them from here

Other Products of Interest

• Dead Alive
• River’s Edge
• The Texas Chainsaw Massacre
• Bartleby
• An American Werewolf in London

“Great leaders, like Jane Goodall and Nelson Mandela, derive their power from taking a stand. They know the distinction between taking a position and taking a stand. Taking a position, or having a “point of view,” forces us to take sides and argue for or against. It gets us going, but rarely has a lasting influence. Taking a stand opens up new visions and possibilities, and adversarial feelings begin to dissolve. It is a way of living and being that strengthens our capacity to make a difference.”

“You don’t have to be a Gandhi to make a difference in your job, in your company, in other important places in your life. We all have a stand inside of us waiting to be expressed, and when we are in touch with that place, we become more fully ourselves & can truly change the world, ” are the very wise words of Lynne Twist.

On August 23 in Raleigh, North Carolina over 4,000 people (students, faculty, community leaders, businessmen & women) took a stand on global hunger and packaged over 1 million meals for Stop Hunger Now.  Take a look & get involved:

Thanks to Ray Buchanan, the founder of Stop Hunger Now; Rod Brooks, CEO of Stop Hunger Now; Chessney Barrick, Development Director of Stop Hunger Now; Jesse Metcalfe, Lisa Spackman, Danny Hewitt, Mike Debenham, Drew James and everyone else who has supported the Stop Hunger Now Interface Foundation initiative.