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DOWNLOAD MOVIE Angel Heart Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Angel Heart Reviewed By Charles Tatum Posted 02/22/03 10:20:41

"Heart Attack" (Awesome)

Mickey Rourke, still good enough to appear in theatrical releases as opposed to straight to video fare, stars as the New York private detective Harry Angel.The setting is 1955, and this normally lowbrow investigator is hired by Louis Cyphre (Robert DeNiro) to find a missing singer named Johnny Favorite, who owes Cyphre a debt. Angel begins making the usual inquiries, finding out that Favorite was an amnesiac WWII veteran who was spirited from the local hospital by a mysterious duo who paid a morphine addicted doctor $25,000 to keep the patient on the books as a resident there.Angel seems to have hit a dead end, learning Favorite had asociety girlfriend down south, as well as a secret lover. Cyphre keeps pushing Angel, plying him with cash. Angel also takes a more personal angle on the case, especially since the doctor ends up dead of an apparent suicide, but Angel is a murder suspect. Angel goes to New Orleans, and tracks down the society girlfriend Margaret (Charlotte Rampling). As Angel finds more and more people who used to know Favorite before the war, but have not seen him since, the witnesses turn up dead after seeing him. Margaret, as well. Lisa Bonet is Epiphany, the offspring of the secret lover and Favorite, and Angel is drawn to her, resulting in one bloody love making session. She is mysterious, is 17 and has a child (something not exactly looked up to in the ’50’s), and comments that Favorite was the most evil person on the face of the earth. And Cyphre keeps Angel on the case, even as more bodies pile up and the New Orleans police look into Angel’s motions. We soon learn the real relationship between Angel and Favorite, and Cyphre’s true identity.This film is most notorious for Cosby alum Bonet’s sex and nude scenes, which are not all that notorious except that she was on the squeaky clean sitcom first. Rourke is very good as the slightly dumb Angel, who kind of stumbles from person to person as opposed to doing any kind of brilliant Sherlock Holmesian deductions. DeNiro is great as Cyphre in his few scenes. This was made back when DeNiro did not agree to appear in EVERY film made; when his very screen presence was an event. He should make more genre films, but he made the laughable "Mary Shelley’s Frankenstein," instead. Rampling is given nothing to do except make a cute corpse.The main surprise ending of the story is too easy to figure out. The mechanics of Favorite and Angel’s relationship are hinted at, but Cyphre has a line about an egg being a symbol of the soul, and you pretty much have it once you hear him say it. Parker’s visuals are stunning, nothing appeared on screen this disturbing until "Jacob’s Ladder," to which this film favorably compares. His version of New Orleans is appropriately hot and humid, another great instance where he makes his main characters sweat and suffer just like normal people (just look at the perspiring Phil Joanou made Alec Baldwin go through in "Heaven’s Prisoners). Great look and good script, by Parker based on the novel by William Hjortberg.All in all, "Angel Heart" succeeds enough times to make it a scary, suspenseful ride. You may know how it all comes out, but getting there is the fun.
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DOWNLOAD MOVIE Proof Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Proof (2005) Reviewed By Peter Sobczynski Posted 09/23/05 14:00:06

"Another bit of Miramax Oscar bait that doesn’t add up" (Pretty Bad)

The central character of ?Proof,? the long-delayed film adaptation of David Auburn?s Pulitzer Prize-winning play, is a dour and emotionally troubled young woman who seems to have to inherited both the genius of her father, a brilliant mathematician, as well as his madness. So who would you select in your mind to portray such a person? I don?t know who you might have pictured (unless you saw it on Broadway and cannot imagine anyone other than Mary-Louise Parker in the role) but I suspect that your first choice was probably not Gwyneth Paltrow. Nevertheless, she has been given the part?apparently part of the long-standing policy at Miramax to give her every female role that could possibly have an Oscar nomination attached to it?and while she isn?t especially bad, there is never a single moment in which she comes across as anything other than a miscast actress.Paltrow plays Catherine, a brilliant mathematician at the University of Chicago who abandoned her studies a few years earlier in order to take care of her father, Robert (Anthony Hopkins), a legend in the field who has spent the last few years slipping into dementia. As the story opens, Dad has just died and Catherine is forced to make her first few tentative steps from out of his considerable shadow. Arriving from New York for the funeral, her annoyingly perfect sister Claire (Hope Davis) comes in and starts treating her once again like a fragile little girl?she makes plans to sell the house that Catherine and her father lived in and bring her sister back to New York where she can get the ?help? that she needs. At the same time, hunky young mathematician Hal (Jake Gyllenhaal) comes into her world while going through her father?s papers and seems to be sweeping her off her feet. What passes for conflict in the film occurs when Hal, going through Robert?s 103 notebooks, comes across a mathematical proof that, if it checks out, could somehow revolutionize the field. The question arises as to who wrote it. At first, Catherine denies any knowledge of the existence of the proof and then claims that Robert, despite his failing faculties, somehow pulled it together enough to hammer it out. Before long, she admits that she actually wrote the thing after all and Hal doesn?t know who to believe. If Robert wrote it, it would go down as a late-career triumph for his hero that would reassert him as one of the great mathematicians of all time. If Catherine wrote it, it would make her equally famous and revered throughout the academic world. Because she is a bitch, Claire insists that Robert must have written it and even though Hal is already sleeping with Catherine, he immediately withers like a little whelp and goes along with Claire?s assessment. Despite all the academic muck on display, ?Proof,? the film version at least, is essentially just another riff on the old warhorse of the fragile young lass beset by a domineering parent, hateful siblings and an outside world that just doesn?t understand her. Properly cast and staged, I can see how it could be transformed into an audience-pleasing work?with all the talk about advanced mathematics, it allows the audience to feel smart without actually having to know anything about the subject?but ?Proof? is anything but properly cast and staged. Instead of figuring out a way of telling this relatively intimate story in cinematic terms, director John Madden (who previously teamed with Paltrow on ?Shakespeare in Love? and a London production of ?Proof?) opens up the play by the laziest methods possible?he?ll take a long dialogue scene and have the actors perform it in the back of a cab or in a department store for no other reason than to remind us that he is making a movie instead of a play and he can do such things. The lack of the immediacy of the theatrical experience is evident in other aspects as well?most obviously in the opening scene between Catherine and Robert, which must have had a considerable impact on stage but which comes off as nothing here. The four actors at the center of the film are all incredibly talented but even they seem stymied by the material. As I said, Paltrow is simply miscast and Gyllenhaal is even less believable as a fellow academic?whenever he talks about math, it is with the unsure grasp that you see in people reading something in a foreign language without quite knowing what it means. Yet both of them come off brilliantly compared to the others. Davis, generally a wonderful actress, gives the least interesting performance of her career as the flinty, unfeeling sister?she is supposed to be somewhat cruel and insensitive but Davis takes it so far over the edge that you begin to flinch every time she appears on screen. As for Hopkins, he contributes a brief and hammy bit of scenery-chewing that may be the most embarrassing work he has turned in since he had the stroke in ?Legends of the Falls? and spent the second half of that film talking like Popeye.On paper, ?Proof? must have seemed like a foolproof equation: Acclaimed Play + Respected Director + a High-Powered Cast= Powerful Drama/Oscar Gold. The problem with mathematics, though, is that no matter how long or intricate your proof might be, one tiny mistake can render the entire thing useless. (Perhaps this is why so many movie mathematicians suffer from crippling mental problems.) In ?Proof,? the mistakes start right from the start and it seems that no one involved had the ability to wipe the board clean and start over again
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DOWNLOAD MOVIE Outlaw Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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The Outlaw Josey Wales (1976)

NYT Critics’ Pick
This movie has been designated a Critic’s Pick by the film reviewers of The Times.

THE OUTLAW JOSEY WALES

Each time Clint Eastwood, in The Outlaw Josey Wales, kills someone, or is about to kill someone, or is on the verge of some other major policy decision, he spits. This is to establish the character.

Mr. Eastwood has established several pints of character by the time he rides off into the sunset fully two hours and seventeen minutes after the movie begins. A number of other characters are established by devices every bit as worn and dribbly.

A hard-luck but winsome Indian girl repeatedly gets knocked off her feet or worse; a sneaky boatman cringes and leers; a spry old woman bustles about with a broom, shrills out hymns, and grabs a rifle to shoot marauders; a doe-eyed young woman opens her eyes reindeer-size to convey fear, passion, or bashfulness; a young follower of the outlaw manages three distinct and radiant deathbed scenes on one bullet hole.

The Outlaw Josey Wales, which opened yesterday at various local theaters, is a soggy attempt at a post-Civil War western epic. Josey Wales, a peaceable Missouri farmer, has his farm burned and his wife and child killed by Unionist freebooters. He joins a gang of Confederate marauders, goes through the war—conveyed briefly by a montage of war shots—mows down a platoon of Union soldiers, and flees to Texas with a price on his head and an array of vicious lawmen and bounty hunters after him.

It is a long exodus, in the course of which Wales kills a great many people and, despite his contention that he wants to travel alone, picks up a whole variegated convoy of stock characters.

They are tedious companions on such a long trip, especially because most of them—Paula Trueman as the old woman, Sondra Locke as the doe-eyed daughter, Sam Bottoms as Wales’s dying follower—overact beyond belief. Their lines don’t help them. "Clouds are the dreams floating across the sky of your mind," doe-eyes tells Wales.

Will Sampson, who played the Indian in One Flew Over the Cuckoo’s Nest, and another Indian in Buffalo Bill, does a blue-painted Navajo chieftain and gets to say, among other things: "Your words of death carry iron." Mr. Sampson has specialized in displaced-Indian roles. As a real warrior Indian he seems embarrassed.

Playing a civilized Indian who attaches himself to Wales, Chief Dan George has moments of dry humor and whole stretches of damp whimsy. Mr. Eastwood, as indicated earlier, doesn’t act; he spits. He is also the director.

The movie tends to muffle and sell short whatever points it may be trying to make. There seems to be a ghost of an attempt to assert the romantic individualism of the South against the cold expansionism of the North. Every Unionist is vicious and incompetent, whereas Wales, despite his spitting, is really a perfect gentleman.

There is something cynical about this primitive one-sidedness in what is not only a historical context, but happens also to be our own historical context. To the degree a movie asserts history, it should at least attempt to do it fairly.

THE OUTLAW JOSEY WALES (MOVIE)

Directed by Clint Eastwood; written by Philip Kaufman and Sonia Chernus, based on the book Gone to Texas by Forrest Carter; director of photography, Bruce Surtees; edited by Ferris Webster; music by Jerry Fielding; production designer, Tambi Larsen; produced by Robert Daley; released by Warner Brothers. Running time: 137 minutes.

With: Clint Eastwood (Josey Wales), Chief Dan George (Lone Watie), Sondra Locke (Laura Lee), Bill McKinney (Terrill), John Vernon (Fletcher), Paula Trueman (Grandma Sarah), and Sam Bottoms (Jamie).

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DOWNLOAD MOVIE North Country Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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North Country Reviewed By EricDSnider Posted 10/25/05 18:05:35

"So the giant rubber penis in the lunchbox … That was wrong?" (Average)

Anyone who has ever worked with other people has witnessed or engaged in something that could be termed "sexual harassment." Coworkers often become friendly, which means they become comfortable, which means they make remarks that, viewed objectively, could be considered a violation of the company’s sexual harassment policies. But it’s OK because the coworkers are friends and no offense is intended or taken."North Country" is not about that type of incident. "North Country" is about the other kind of sexual harassment, the kind that truly IS harassment (because it is unwelcome), the kind that makes the workplace hostile and frightening. "North Country" would have been a better movie if it had included some of those gray-area scenarios, the ones that could be nothing more than innocent but poorly phrased remarks, rather than making all of its offenders so clearly, undeniably out-of-line. When all the men in your workplace openly declare that they don’t think women should be allowed to work there, and reinforce that sentiment by using their own excrement to write vulgar names for females on the walls … well, there’s pretty much only one way to take that.The film is based (loosely, I gather) on a real-life case that became the first successful class-action sexual-harassment lawsuit in America. Directed by Niki Caro (whose "Whale Rider" depicted matters of female empowerment much more gracefully), "North Country" stars Charlize Theron — all Minnesota and white trash — as Josey Aimes, a young single mother who takes a job at the iron mine where her father (Richard Jenkins) works. The year is 1990, and Pearson Mines has only been hiring women for 15 years, and only then because the Supreme Court said they had to. Josey’s immediately supervisor, a weary, mustached man named Arlen Pavich (Xander Berkeley), tells her and the other new female trainees in no uncertain terms that he doesn’t think they should be working there at all.And then the sexual harassment begins. Not subtle stuff, either, but alarming, vulgar and degrading. The men behave like pigs, speaking crassly to the women, grabbing them, drawing obscene pictures on the walls, and spreading lies about the women’s sexual proclivities. And somehow, maddeningly, everything gets blamed on the women.Josey’s female coworkers are used to it by now, but Josey isn’t. She just left a poisonous relationship, and she is near the point where she can’t take any more abuse. But she can’t quit, because she needs the job. The higher-ups are no more sympathetic to her case than the supervisors are, making the point that if Josey would spend as much time improving her job performance as she does complaining, everyone would be a lot happier. It eventually gets so bad that the community’s dads are telling their sons not to pass the puck to Josey’s son during hockey games.The harassment is so flagrant that it becomes laughable. I find it hard to believe that any group of men ever behaved THIS badly in the workplace, much less that their behavior was condoned all the way up the corporate ladder, and much less that it all happened as recently as 1990. I don’t deny sexual harassment can be a real problem, or even that some of the specific events depicted here could happen. But ALL of them? You watch the film and tell me if the flurry of depraved harassment and near-rape seems believable to you.Realistic or not, it weakens the film’s case to have the villains portrayed so one-dimensionally. Usually a film like this would include a moment or two of self-doubt, where the crusader wonders if maybe she’s making a mountain out of a molehill. But Josey experiences no such second-guessing, and the film (adapted by Michael Seitzman and Laura Leedy from Leedy and Clara Bingham’s book "Class Action") never gives her a reason to.Josey chooses as her lawyer one Bill White (Woody Harrelson), a local boy who studied law in New York before returning to Minnesota for reasons he is cagey about. He is one of only a handful of decent men in the town — a category that does not even include Josey’s father, at least not at first. (Sissy Spacek has a small but crucial role as Josey’s quiet, old-fashioned mother.)So where does one look for decency in this sexist town? In the marriage of Kyle (Sean Bean) and Glory (Frances McDormand), longtime friends of Josey’s and moral support in her times of trouble. Kyle and Glory are a blue-collar, beer-drinking couple, the kind of people for whom a tender expression of love might include a few swear words. In these characters we find the mix of qualities the film is looking for: They match the traditional descriptions of husband and wife, but Kyle is also sensitive and Glory is also strong. It’s the only color in an otherwise very black-and-white movie.
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DOWNLOAD MOVIE Shrek Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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A gleeful piece of wisenheimer computer animation, “Shrek” doesn’t have much patience for traditional once-upon-a-time fairy tales: The only time one appears, its pages end up as reading material and then some in the hero’s outhouse.      That hero is a fierce ogre with a name that’s Yiddish for fear. He made his debut in William Steig’s 1990 children’s book, about a cheerfully ugly monster who’s “tickled to be so repulsive,” that has become something of a classic. ADVERTISEMENT      As the more wised-up version of that wised-up modern fairy tale, “Shrek,” the film, is all comic attitude, all the time. Casual, carefree, consistently amusing, it plays a lot like the earlier “Aladdin,” which Ted Elliott & Terry Rossio, lead writers and co-producers here, also wrote.      Like “Aladdin,” which did wonderful things with Robin Williams as the irrepressible genie, “Shrek” is blessed with Eddie Murphy as a motor-mouth donkey named, well, Donkey. Though his sidekick work in “Mulan” seemed forced, Murphy (taking off from a script by Elliott & Rossio and Joe Stillman and Roger S.H. Schulman) is spectacular here, and he’s in good company.      Mike Myers, using a Scottish accent that echoes one of his Austin Powers characters, brings not only sharp comic timing but also a kind of sensitivity to the role of Shrek, an ogre who’s more troubled by the world’s disdain than he was in the book. And Cameron Diaz is appropriately feisty as Fiona, a princess with a secret and a woman who hasn’t let being trapped in a tower affect her attitude or her style.      Though Steig’s book did without a classic villain, “Shrek” adds a dandy one in Lord Farquaad, a tiny Richard III type (wonderfully voiced by the tall John Lithgow) whose enormous head is packed with evil thoughts, like how best to give the third degree to a gingerbread man who’s reluctant to talk.      Farquaad is the ruler of a super-sanitized place called Duloc, which he’s determined to turn into the most perfect kingdom on earth. (Any resemblance between Duloc and a certain amusement park run by “Shrek” producer Jeffrey Katzenberg’s former employer is probably not coincidental.)      As part of this quest for perfection, Farquaad places a bounty on fairy-tale characters like Pinocchio and the Three Bears and forcibly exiles them. Donkey is one of them, and when he’s saved by Shrek, whom he admires as “a mean, green fighting machine,” he decides the two of them should be buddies. “Freaks got to stay together,” he declares, adding, with perfect animated logic, “every monster needs a sidekick.”      Shrek doesn’t quite see it that way. He’s a privacy-loving Garbo type who just wants to be left alone, which is why he keeps his property posted with “Beware of the Ogre” signs. So when all those dispossessed fairy-tale types invade his swamp, Shrek stamps off to Farquaad’s castle to complain.      That miniature man is having crises of his own. His magic mirror informs him that to have the perfect kingdom, he must marry a princess. In one of “Shrek’s” many pop culture references, the mirror parodies “The Dating Game” by presenting him with a choice of three bachelorette princesses, including one, Snow White, who comes with the advisory “though she lives with seven other men, she’s not easy.”      Farquaad settles on Fiona, and when Shrek presents his case, he tells the ogre that he can have his swamp back if he rescues the princess from her dragon-guarded castle. So off Shrek sets on what turns out to be a most unconventional quest with the determined Donkey, “a dumb, irritating, miniature beast of burden” tagging along. “Yes, he talks,” Shrek says of his annoying companion. “It’s getting him to shut up that’s the trick.”      ”Shrek’s” pair of first-time directors, Andrew Adamson and Vicky Jenson, keep the pace brisk enough to balance flatulence jokes with an earnest theme about being comfortable with who you are. The team also makes good use of advances in computer technology that allows human creatures to look more like flesh and blood. The film also shrewdly utilizes pop classics like “Try a Little Tenderness,” “You Belong to Me” and “On the Road Again” to simultaneously underline emotion and appeal to the parents of the film’s intended audience.      Some of “Shrek’s” best moments, however, are when it goes off message and simply fills the screen with sharp riffs on the fairy-tale characters it keeps running across. There’s fun to be had with three blind mice as well as three little hip-hop pigs, and a classic run-in with Robin Hood and his chorus line of merry men that includes a great visual reference to “Crouching Tiger, Hidden Dragon.” Smartly constructed to appeal to children and their parents, this fractured fairy tale not only knows there’s no substitute for clever writing, it also has the confidence to take that information straight to the bank.      * Shrek, 2001. PG, for mild language and some crude humor. A PDI/DreamWorks production, released by DreamWorks Pictures. Directors Andrew Adamson, Vicky Jenson. Producers Arib Warner, John H. Williams, Jeffrey Katzenberg. Executive producers Penney Finkelman Cox, Sandra Rabins. Screenplay Ted Elliott & Terry Rossio and Joe Stillman and Roger S.H. Schulman, based on the book by William Steig. Editor Sim Evan-Jones. Music Hary Gregson-Williams, John Powell. Production design James Hegedus. Running time: 1 hour, 29 minutes. Mike Myers as Shrek. Eddie Murphy as Donkey. Cameron Diaz as Princess Fiona. John Lithgow as Lord Farquaad.
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DOWNLOAD MOVIE In the Cut Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Jane Campion’s astonishingly beautiful new film, “In the Cut,” may be the most maddening and imperfect great movie of the year. Certainly it’s the most difficult to cozy up to with its unnerving fusion of hot sex, icy sentiment and warm-running blood. The movie is being pitched as an erotic thriller, but despite a suspense subplot and the frisson that comes with watching professional cupcake Meg Ryan do the nasty, it plays far closer to an adults-only fairy tale — albeit one in which the happily-ever looks a lot like “Taxi Driver.” Think of it as the ultimate grim fairy tale: the story of a woman who, while wandering the streets of New York and the tangled wilds of her imagination meets not one but several big bad wolves. Hovering around age 40, Frannie (Ryan), a writing teacher and amateur linguist, lives alone in an apartment ornamented with words fixed to the walls. She’s doing a study of contemporary slang and sometimes taps one of her students, Cornelius (Sharrieff Pugh), for the latest in street patois. She evinces a particular interest in sexual and violent colloquialisms, and indeed the film’s title, which is taken from Susanna Moore’s controversial 1995 novel, turns out to be an especially vulgar descriptor for intercourse. ADVERTISEMENT Cornelius is one wolf on the prowl; a homicide detective named Malloy (Mark Ruffalo) is another. Malloy comes knocking on Frannie’s door after an amputated female hand turns up in the teacher’s back yard. A serial killer seems to be running amok in the city, chopping women into mincemeat. Neither surprised nor visibly disturbed by this grisly news (you’d think body parts littered her front door), Frannie agrees to meet Malloy for drinks. But put off by his boorish, epithet-spewing partner, Rodriguez (Nick Damici), she flees the date and runs straight into the arms of a would-be mugger. Eluding her attacker gives her an excuse to contact Malloy, ostensibly for some protective pointers. The detective plays along with this fantasy by roughly putting an arm around Frannie’s neck and whispering dirty nothings in her ear. Has Little Red Riding Hood jumped in bed with the wolf? That question drives “In the Cut,” giving it a hum of nervous tension, but like all of Campion’s features this is a movie that earns its thrills from two people circling each other and casual camera movements that catch moments of startling beauty. The film is filled with surreal, hothouse flourishes that tell the story as vividly and often more eloquently than either the plot mechanics or dialogue. In one scene, Frannie distractedly watches two women playing pool, one in a red dress, the other in green, a visual warning that she doesn’t pick up on. Later, after telling the macabre story of her mother and father’s courtship, she stands next to a blood-red wreath of flowers adorned with a banner reading “Mom.” At once dreamy and watchful, Frannie has the wounded mien of someone who’s endured too many breakups. There’s something disappointed about her but something angry, too. When Frannie and her sister, Pauline (Jennifer Jason Leigh), lounge around listening to love songs, the explicitness of their desire comes as a shock because it’s so nakedly hurting. “What you need is a baby,” Pauline coos, “and a man,” echoing the words that reverberate through many women’s heads whether they want them to or not. What Frannie really needs is something else, but when she first meets Malloy she looks at him as if he’s stinking up the room. For his part, Ruffalo lets us know the cop doesn’t care. “Tell me what you want me to be,” Malloy tells Frannie, tracing tattoos of longing on her body. Steeped in sexual paranoia and violence, Moore’s novel is a chilly, self-conscious exercise in genre. It’s a cheap shot of a book, but Campion has always enjoyed exploring the darker side of sex and power, so it’s easy to see what attracted her to Frannie’s strange adventure. The director handles the cop stuff effortlessly, nailing the hard precinct vibe and combative banter between Malloy and his partner, but she never satisfyingly integrates the story’s thriller elements with the florid drama inside Frannie’s noggin. The film mainly unfolds from Frannie’s perspective and the images are often blurred around the edges to show just how little of the world she sees. But unlike the wife in Hitchcock’s “Suspicion,” the classic paranoid-woman movie, Frannie is also right to be scared. Campion’s visual language is richer, more expressive than Moore’s prose, and in adapting the book she’s appreciably warmed up the novel’s characters, in particular Pauline, who looks as lush as overripe fruit and just as easy to bruise. Malloy gives off waves of heat, while Frannie’s former lover, wittily played by Kevin Bacon, provides some humorous relief. But because Campion, unlike Moore’s book, is fundamentally hopeful about men and women, there’s something cockeyed about how the film ties up its loose genre threads. It’s nice to see Ryan play a role without the usual ingratiation (there’s always been a sour grimace lurking beneath that smile), but despite her best efforts it’s difficult to accept where Frannie lands. Most of the film’s last 30 minutes veer between the baffling and numbing, but just when you’re ready to throw in the towel, Campion delivers a final grace note. Although Campion isn’t as strongly committed to surrealism as David Lynch, the final image of a slowly closing door in this film affirms that she’s never been entirely in the grip of realism. A fever dream and a pitch-dark romance, “In the Cut” takes place as much in the realm of myth as on the downtown streets of New York; in each, women are either the heroines of their own stories or its victims. If nothing else, the film takes it on faith that the old storybook routines no longer apply, which helps explain why “Taxi Driver” — with its frenzied masculine violence and febrile vision of the city as a landscape of fear and desire — hangs over this movie so heavily. Once upon a time, Travis Bickle saved the girl, but then she grew up. Who saves her now? ‘In the Cut‘ MPAA rating: R, for strong sexuality including explicit dialogue, nudity, graphic crime scenes, language Times guidelines: Nudity, explicit sexual encounters, adult language, gory violence Meg Ryan … Frannie Mark Ruffalo … Malloy Jennifer Jason Leigh … Pauline Nick Damici … Rodriguez Sharrieff Pugh … Cornelius Screen Gems and Path? Productions LTD present a Laurie Parker production, released by Screen Gems. Director Jane Campion. Writers Jane Campion, Susanna Moore. Based on the novel by Susanna Moore. Producers Laurie Parker, Nicole Kidman. Director of photography Dion Beebe. Production designer David Brisbin. Editor Alexandre de Franceschi. Costume designer Beatrix Aruna Pasztor. Music supervisor Laurie Parker. Music Hilmar ?rn Hilmarsson. Casting Billy Hopkins, Suzanne Smith, Kerry Barden, Mark Bennett. Running time: 1 hour, 58 minutes. Exclusively at Pacific’s The Grove, 189 The Grove Drive, L.A. (323) 692-0829; AMC Century 14, 10250 S. Santa Monica Blvd. (310) 289-4262; AMC Santa Monica 7, 1310 Third Street Promenade, Santa Monica (310) 289-4262.
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DOWNLOAD MOVIE Mean Machine Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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The Movie:



Essentially a British remake of “The Longest Yard” with soccer instead of football, director Barry Skolnick’s film adds a touch of Guy Ritchie style (Ritchie and Ritchie’s “Snatch” producer produced this picture), but mostly forgets the humor. “Snatch”’s Vinnie Jones stars as Danny Meehan, a former soccer star known as the “Mean Machine“. Although he’s already gotten in trouble several times before, he’s caught one day after driving drunk and assaulting two officers.



Thrown into jail, he doesn’t want much to do except for serving his time. However, the prison guards have other plans - they want him to coach a soccer game with the inmates playing against the guards. Whatever you’re thinking - big game ending, etc. - you’re probably right. “Mean Machine” is really nothing that audiences haven’t seen many times before, only with different sports. Director Skolnick seems satisfied to coast along, providing little in the way of surprises and about as much in the way of humor.



However, Skolnick is lucky that he’s working with a top-notch cast (who were likely pulled in by producers Ritchie and Vaughn) - aside from Jones, most of Ritchie’s “Snatch” cast returns and there are a few other additions, such as David Kelly (”Waking Ned Devine”). The cast does about as well as they can with the material, especially Jones and Kelley, who are fairly good in their roles. They provided barely enough interest in a movie where the ending is apparent from the opening moments. Go pick up either of Ritchie’s excellent films, instead.




The DVD



VIDEO: Paramount presents “Mean Machine” in 1.85:1 anamorphic widescreen. The picture quality remains very good throughout, but there were some small faults that I spotted on a fairly frequent basis. Sharpness and detail were generally solid, as the picture appeared sharp and well-defined throughout, with no instances of softness.



However, edge enhancement, which was visible on a fairly frequent basis, took away from what is an otherwise very nice looking presentation. While not entirely horrible, enough edge enhancement was visible to prove slightly distracting during several scenes. On a positive note, the print used was clean, with the exception of a handful of slight specks and a mark or two. Pixelation and other faults remained absent. Given that much of this film takes place in prison, the color palette remained subdued, but accurately presented.



SOUND: In a nice touch, Paramount has offered both the US theatrical version of the film’s soundtrack and the UK version. Both are in Dolby Digital 5.1 and the difference is likely that a few words were re-dubbed to make them easier for US audiences.



MENUS: Basic, non-animated main menu.



EXTRAS: Uh…well, nothing. Not even a trailer.



Final Thoughts: Jones and the other actors give it their best in an utterly predictable movie. With no supplements and a $29.99 price tag, I can’t recommend this as anything but a rental and even then, I’d only recommend it to fans of the sport.



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DOWNLOAD MOVIE One Last Thing… Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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One Last Thing… Reviewed By Scott Weinberg Posted 09/12/05 15:08:45

"Marijuana, supermodels, football stars, and cancer. I love it." (Worth A Look)

SCREENED AT THE 2005 TORONTO FILM FESTIVAL: One of the absolute coolest things about spending time at a film festival is the small handful of out-of-nowhere surprises that sneak up on you, grab you by the neck, and make you cry (twice), thereby requiring your stalwart reviewer to wait until the end credits are done rolling so that the publicity folks don’t see how moist his eyeballs are… Anyway, "One Last Thing…" is a fantastic little movie, and it’s one I hope to guilt you into seeing so you can drop me an email stating "Dude, I cried too!"Sophomore effort from Prey for Rock and Roll director Alex Steyermark, One Last Thing… is somewhat of a rarity: It’s a tearjerker for guys, and yes I also mean the sort of guys who pretty much never cry at movies. This is a sweet, funny, insightful, and entirely lovable tale that clearly comes from a personal place, showcases a large handful of excellent performances, and aspires to accomplish something rather important: It wants you, the movie-watcher, to go out and appreciate your life before it’s all over. Because, someday, (hopefully far in the future) it certainly will be.Superlative young actor Michael Angarano (best known from Sky High, Almost Famous, and Lords of Dogtown) plays a cancer-ridden 16-year-old named Dylan Jamieson, an effortlessly adorable adolescent who refuses to let the raw deal he’s been handed get him down. Dylan does his best to keep his courageous mother (Cynthia Nixon) from breaking down, and he entertains his two loyal pals by sharing his medicinal marijuana with the boys.Recipient of some attention from the "United Wish Givers" association, Dylan asks to spend one of his final days fishing with NFL superstar Jason O’Malley (Johnny Messner). But his loyal sidekicks, Ricky (Matt Bush) and Slap (Gideon Glick), inspire Dylan to ask for something a whole lot more … rewarding — a weekend alone with the vibrantly beautiful supermodel known as Nikki Sinclair (Sunny Mabrey). This announcement causes a media sensation up and down the East Coast, and pretty soon Dylan is the toast of his hometown of Marcus Hook, Pennsylvania.Thus begins the bittersweet, wryly amusing, and frequenly satisfying tale of One Last Thing…, and those expecting some sort of ultra-weepy manipulation-fest on par with the Lifetime Channel masterworks (ha) will find themselves more than pleasantly surprised by what Mr. Steyermark and screenwriter Barry Stringfellow have put together here.First and foremost, One Last Thing… is a comedic drama, which means that very little gets in the way of the sincere and heartfelt emotion, and the presentation works so damn well because the filmmakers were canny enough to keep the humor quietly realistic and always grounded with unfeigned emotion. (The screenplay was inspired by Mr. Stringfellow’s father’s battle with cancer.)One might suspect a premise about a young kid who wants to nail a supermodel before he kicks the can would be maudlin, tasteless, or obvious, and it’s a testament to the filmmakers that One Last Thing… is so consistently touching. But they (and their casting directors) were also smart enough to populate this flick with a rock-solid ensemble from stem to stern. Young Michael Angarano takes yet another step toward being known as the best teenage actor working today; Cynthia Nixon contributes a performance that’s both heart-breaking and warm; Sunny Mabrey creates a wounded and self-destructive beauty who really needs some help; Johnny Messner proves he’s a hell of a lot more than just "game show host" handsome; and the pair of unknowns hired to portray Dylan’s loyal pals (Glick & Bush) are pitch-perfect throughout.Some might dismiss One Last Thing… as an obvious and transparent testosterone tear-jerker, but I consider myself somewhat of an expert on artificial treacle and push-button platitudes — and this movie exhibits nothing but heart, wit, warmth, and sincerity. It’s funny, it’s tragic, it’s sweet, it moves at a brisk clip, and it closes the curtain precisely when it ought to. One Last Thing… stands as one of TIFF05’s finest surprises, for me, anyway, and I suspect that it’ll find lots of appreciative audiences wherever it ends up playing.It would have been so easy for "One Last Thing…" to wallow in obvious sentimentality or opportunistic schmaltz, but instead it’s a slyly intelligent, deeply moving, and warmly appealing little movie. It’s the sort of movie that I WANT other people to check out so I can see if it moves them as much as it did me. And if it doesn’t, oh well, I’ll still be buying a copy on DVD as soon as I can.
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DOWNLOAD MOVIE Eyes Wide Shut Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Eyes Wide Shut Reviewed By Erik Childress Posted 02/15/00 14:49:30

"The Most Misunderstood Film of the Year" (Worth A Look)

Eyes Wide Shut (*** ?) ?After months, even years of rumors and bad press surrounding this film, Stanley Kubrick?s final chapter to his film career turns out to be one of his best. I was stunned at how much I liked this movie and how willing I am to sit through it again.With a running time of 159 minutes, and the love-hate relationship I have to Kubrick?s work, I approached this film with some hesitancy, yet also a level of excitement since I knew nearly nothing about it. That hesitancy was immediately rinsed away with the very first scene. I was hooked all the way to the final credits. Despite all the rumors that made this film seem like Kubrick?s version of Crash, Eyes Wide Shut really tells a very simple tale with many deep layers. It?s a story of jealousy, infidelity, and truth in the context of a marriage. It also weaves it tale with an undercurrent of Hitchcockian dread and paranoia that really gets one inside the journey that Cruise?s character takes. And what a journey it is. At times comical, but mostly scary, all leading up to the already infamous orgy sequence which is nothing short of incredible. Piano notes have never seemed more threatening. This is not a film for everyone, so while I praise it highly, I do heed warning to those looking for a fun evening out. Yet at the same time, the film is a little more mainstream than most would have you believe. This isn?t The Thin Red Line with an incoherent and unwatchable storyline. While unpredictable, it?s very straightforward and never boring. At least ? I never found it boring. It?s got Cruise and Kidman giving two of their very best performances. Especially look for Kidman to pull out a nomination. It boasts an A+ screenplay handled by Kubrick at his best, filling nearly every frame with the colors of green and red (the film world?s colors for jealousy and envy). It?s a masterstroke to set this film at Christmas as nearly every place Cruise visits has an odd-looking Christmas tree. I couldn?t help think of this film as almost an anti-marriage movie, arguing that no matter how secure and happy a couple could be, our natural primal urges can?t help but make their ways into our psyches, one way or another. I pity those who see this film with their significant other. Now, don?t think I?m recommending this film, because as a film lover, it?s almost a law to like anything done by Stanley Kubrick. That?s not the case. While I think Dr. Strangelove is one of the 20 greatest of all films, and truly admire films like Full Metal Jacket, Paths of Glory, Lolita, and Spartacus ? I?m the first to admit I?m not the biggest fan of 2001, A Clockwork Orange, and The Shining (though the latter has slowly gained a little strength throughout the years)Eyes Wide Shut ranks in the upper echelon of Kubrick?s work and certainly of anything that?s been released this year. One minor complaint of the film is a blown opportunity for a true shock late in the film, by cutting to it too early. Other than that, I was highly surprised and entertained by this thought-provoking foray into the darkest depths of a relationship. As far as the controversy of the digitally-altered 65 seconds ? if I didn?t know about it, I wouldn?t have noticed. This is one of those films that could be discussed for hours on end, even if it?s about things you?d rather not talk about. (Note: Another great drinking game that can come out of this film is that you chug every time Cruise is hit on and every time he whips out his medical ID badge.)
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Universal Soldier
This is an excellent making of Documentary, that’s extremely
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especially good!. I also enjoyed Roland Emmerich’s comments a lot as he
told some very funny stories on Van Damme and Lundgren on the set!, and
they all seemed to really enjoy working on this film!, and as a result
i had fun listening to them talk about this wonderful film!.They were
all really polite, and nice, and i was really happy that Dolph and Van
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