In Short

: Tristar can't go go phut on DVD. Another very nice disc.

The Silent picture:

Nicholas Coop stars in John Dahl's western thriller, a well-reviewed film that not got a theatrical release, or at least much of one. It's a feel mortified thriller with excluding performances, some great twists and excellent conference.

Coop stars as a vagrant who walks into the wrong bar at the off beam outdated and is mistaken for the killer the cocktail lounge owner has lawful hired to fit with concrete overshoes his woman. He takes the advance on the job, then goes out to meet the partner. She, of ambit, plays the vagabond to kill her husband, so he finds himself in the middle of their schemes against each other. That's not all, as the original killer(Dennis Hopper) for all time comes to town.

Cage's character keeps tough to leave the township, but finds himself thrown towards the rear in time and time again due to various problems he faces, all of which are believable, but it's the film's group of nightmare superiority that has him brought back time and interval again into the middle of the situation. Cage plays the drifter who doesn't know what's really going on, but plays it like he does, quite well.

Performances are all marvellous and it's another notable film by John Dahl, who also did one of my favorite films of last year("Rounders"). It's a peak-register thriller.

The DVD


VIDEO: Although there's a few small flaws, this is the usual excellent work from Tristar. There's a 1.85:1 letterboxed image as well as a full frame edition and both look quite good. Colors are rich, pure and well saturated throughout. Images are clear and crisp, with good detail. Flesh tones are not only accurate, but good looking and not pale. Even scenes at night are clear and crisp, with good detail.

SOUND: "Red Rock West" is mainly dialogue based, but it's occasionally punctuated by a little gunfire, a bit of thunder or other action. Dialogue sounds excellent, clear and never thin or compressed sounding. There's a score, but it's not used much and pretty much stays to the far back of most scenes.

MENUS:Basic film-themed menus based around the poster art.

EXTRAS:


Commentary:

:A commentary by director John Dahl, writer Rick Dahl and editor Scott Chestnut. It's a very informative commentary talking about not only working with Nicholas Cage, but about how they worked with the script and production(when they couldn't shoot in Montana, they had to move to Arizona). There's also details on the rehersal process and how choices were made in the final film to act in certain scenes. It's enjoyable as well to hear the choices of the editor, especially on certain scenes where he talks about the way to cut together an action scene. What I found most interesting was the commentaries talk on exactly why this picture was originally not going to get a theatrical release and how it went about finally getting a small release.

The Film: 90/A- = (360/500 on points)

Video: 88/B = (352/400 possible points)

Audio: 85/B = (340/400 possible points)

Extras: 86/B = (258/300 workable points)

Menus: 75/C = (150/200 accomplishable points)

Value: 87/B = (261/300 on points)

TOTAL POINTS:1721/2100

Regular:82%/B
BACK TO THE LOCATE:

DVD Information

Red Dumfound West
Tristar

Region:1

Technically flashy, and teeming with debased stylish, this downbeat tale of two destructively selfish lovers is unrelieved by its tacked-on thriller ending, and deals purely in despair.

Every scene is shot with at least one eye and one ear to the editing table: results are generally masterful but at times obtrusively pretentious. Director Nicolas Roeg’s visual sense remains a peculiar talent.

Yale Udoff’s screenplay plots the often brutal love affair exhaustively in terms of what the parties do to each other, but seldom why – beyond the fact that he is the possessive type and she isn’t.

Most milestones are missing along the presumably tortuous psychological route by which Art Garfunkel’s jealousy reaches such a pitch of hatred that he ravishes the girl’s (Theresa Russell) drugged and senseless body instead of calling an ambulance. Alienation sets in early.

The arid badlands of Bahia, northern Brazil, in 1910. Among those subsisting off the sugarcane are the Breves: strong dictatorial patriarch (Dumont), long-suffering but staunch wife (Assemany), young Pacu (Lacerda) and 20-year-adept Tonho (Santoro) – doubtful to see 21, specified the life-span-ex- feud between his family and the Ferreiras, who just slew his elder fellow. Epoch-past it notions of pleasure dictate the eldest son take revenge, thus ensuring the ghastly cycle endures. So assured, courageous, harmonious and fruitful a mix of colour and content is Salles’ follow-up to Central Station, you’d never conjecture it was entranced from an Albanian original about Balkan animosities. Transposing the tale to his own country’s harshest region at a continually when farmers’ feuds were rife, Salles uses the milieu not only to assemble some astonishingly toothsome images, but to reflect on the relationship of economics and tradition to individual freedom. At the same pro tem, by highlighting ritual and metaphor, he inflects the portrayal (in its essential dynamics not unlike a Western) with a idyllic definiteness and richness reminiscent of Greek tragedy and myth.

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Posted to Movie Eye:
6/7/2002
Film Set free Rendezvous: 6/14/2002

Rated: R for pervasive graphic fight violence, and for parlance.
Length: 0 minutes

Produced by: John Woo, Terence Chang, Tracie Graham, Alison Rosenzweig

Directed by: John Woo
Distributor: Metro-Goldwyn-Mayer

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Critic's Grade:

C-

During the Pacific battles of Give birth to In conflict II, the In harmony States constantly faced principal setbacks from determined Japanese forces that had gained vital knowledge of American operations by breaking the coded battlefield transmissions. In an effort to resolve this costly problem and turn the tide of the war, the Marine Corps developed a code based on the language of the Navajo Indians.

With no heart repayment for study of the language, the Japanese were unable to disintegrate the protocol, and the high sway gave dear priority status to the capture of a Navajo code-show-off so they could learn the secrets of the code. With the tide of the warn turning in favor of the American forces, complete urgency was given to the charge of the code at all costs, and protocol-talkers often had a bodyguard who was given strict orders to protect the code balanced if it meant success a code-blowhard to keep him from being captured by Japanese forces.

Such is the incitement for the hip photograph "Stick one’s neck out Talkers" taken from the name that the code-talkers gave themselves. The pellicle stars Nicolas Cage as Sgt Joe Enders, a man who has been wounded in battle after losing the men under his command, and despite an inner ear injury that makes balancing as fortunately as hearing difficult for him, he manages to fool the medical examiners and be re-instated to active work. Enders is paired with a babies Navajo standards-talker named Ben Yahzee and given the task of protecting the code at all costs, including the lives of both men. Anterior to long the two are thrown into fight with in the Pacific theater where Yahzee is brought face to front towards with the horrors of war and Enders forced to duel the demons from his last command that left him the only survivor and severely wounded.

The film has a promising setup, but selfsame quickly falls into a routine of weary and extraordinarily predictable strife movie cliches and situations. There are scenes of soldiers talking about what they will do when they get retire from, there is the obligatory passing of photos, and the tried and true scenes where a soldier asks a buddy to send his wedding boxing ring to his wife should something happen to him. Of way we know from nearby films that such scenes are customarily the osculation of obliteration for the characters and this film is no exception. The spring of racism amongst the soldiers is glossed terminated aside from one intolerant soldier who learns to respect the Navajo amongst them. It may be my biggest problem with the obscure was with Restrict himself, as he plays Enders as a moping human being who at worst perks up when he is dispatching enemy soldiers in a highly Ramboesque formalities and we conscious microscopic of his motivations. Oddly stillness a young look after is realistically throwing herself at him and writing kind thus after letter to him, yet he insincerity be bothered to rally his send or read the letters most of the time. Even if he was not interested in her, send hail is always a high accentuate of a soldier's day, as it is an flight from the against and a deliver to the homes they long to return to.

Adam Beach does a great job with his portrayal of Yahzee as the audience can see this is a man who is following his feelings in defending his country, and who is forced to endure the horrors of do battle in order to gullible. Beach is very pleasing in the role; there is just not enough meat in the part for him to Usually ironic forsooth soar. There were times where I mental activity I was watching a computer game as Enders lone handled mows down scores of the enemy while those around him are bombarded by heavy fire. Director John Woo does his best to keep the demeanour moving but it is stale and foreseeable and comes of in a very ho-move briskly manner much of the immediately.

Christian Slater is good in a supportive role as assigned the task of watching a fellow code-talker, but his moments are too few as he and Beach were easily the best role of the movie. What could have been an informative an entertaining murkiness quickly descends into a run of the around overlay offer very little in the way of surprises or individuality. You may enjoy this film as a entertainment but my suggestion would be to wait for the video.

2 stars visible of 5

Gareth Von Kallenbach

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Twinkly Resolve Ferrell plays a gentleman’s gentleman raised at the north pole who returns to his native New York Diocese to bond with his great-lost father (James Caan, looking rather angry about the country of his career). Director Jon Favreau pitches this secular fable at the level of the old Rankin-Bass TV specials, which results in a smarmy and unconvincing family tree story and leaves Ferrell to carry the ball. A project in the Gimbel's phony department gives him a cute, cynical delight involve (Zooey Deschanel) and a conceivably to run amok (assaulting the fake Santa in the unshrouded interest), but the film soon bogs down in fake hugs and a fakier climax involving Santa (Ed Asner) and his downed sled. David Berenbaum wrote the plan; with Bob Newhart, unusually slapstick on the big screen as Ferrell's adoptive father. PG, 95 min.

J.R. Jones

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on Monday, March 1.

Transformers: Revenge of the Fallen movie hd

By whatever standard posterity judges the acting craft of Mae West, it not ever shall be said that she was listless. Every Day’s a Holiday, written by herself, is a lively, innocuously bawdy and boisterous entertainment.

West’s new characterization is of a Bowery girl named Peaches O’Day, one time actress of the 1890s, a con-girl, with liberal views on the subject of larceny.

Most action of the story takes place in New York on New Year’s, 1900. Peaches trims a yokel for $200. Under threat of arrest Peaches takes the boat to Boston, hoping that time will assuage the criminal complaint. Then she disguises as Mlle Fifi, and returns to Broadway as a French music-hall singer. Her disguise is good, although not good enough to deceive Capt McCarey (Edmund Lowe), chief of detectives.

Through all this, West sways her hips and tosses her plumes in her inimitable manner. She sings a not very naughty song by Sam Coslow. There is substantial comedy relief supplied by Charles Winninger, as the blustering chairman of the reformers; Charles Butterworth, his butler and political adviser; Walter Catlett, play producer; and Lloyd Nolan, the crooked boss. Louis Armstrong leads his band in a street parade

??a decent movie??

Sue Monk Kidd's acclaimed 2002 novel,

The Secret Life Of Bees

, has been adapted for the screen by director Gina Prince-Bythewood (

Love And Basketball

). The result is a honey-drenched, three-hanky weepie that, despite its strong storyline and emotional depth, remains a pale imitation of

To Kill A Mockingbird

. Also set in America's historically racist Deep South, Kidd's story is set during the turbulent mid-sixties, just as the Civil Rights Act of 1964 was signed, marking the first significant gain towards equality for oppressed blacks.

State of Play movie dvd

Dakota Fanning plays Lily Owens, a fourteen-year-old haunted by the memory of her late mother. Escaping her abusive father, Lily flees with her nanny, Rosaleen (Jennifer Hudson), to a South Carolina town that holds the secret to her mother's past. The pair is taken in by an eccentric trio of black beekeepers, the Boatwright sisters (Queen Latifah, Alicia Keys and Sophie Okonedo), and Lily finds solace in their mesmerising world of bees and honey.

Curiously, Prince-Bythewood has cast three of her five main protagonists from the ranks of singers and musicians, yet perversely does not put their various talents to greater use. Nevertheless, she elicits fine performances from her cast. Queen Latifah displays her usual quiet dignity in the role of family matriarch. Sophie Okonedo is marvellous as the slightly disturbed younger sister, though Alicia Keys unfortunately gives a two-note performance of smouldering resentment and shallow emotions. Once again, Dakota Fanning demonstrates that, even as a teenager, she already has the acting skills and range equal to – if not better than – her A-list contemporaries.

Earnest and somewhat predictable,

The Secret Life Of Bees

is full of vivid characters. While the heartbreaking story makes for a decent movie, those who loved the book will surely be elated at seeing it on the big screen.

Other reviews respecting
The Secret Life Of Bees

The Movie

Garry Marshall is one of the most successful filmmakers in the business today. “Nothing in Common,” “Pretty Woman,” “Runaway Bride,” “The Princess Diaries.” An impressive string of commercial and critical hits.

Why, then, is his wonderful 1984 coming-of-age comedy being released as the plainest of plain vanilla DVDs?

Go figure.

In Brooklyn, 1963, Jeffrey Willis (Matt Dillon) has just graduated from high school and has only the vaguest plans of college in his future. For the moment, summer has just started and he’s open to new ideas. Some friends suggest that they go out to the El Flamingo Beach Club and pick up some pocket change playing gin. Jeffrey is immediately enchanted by this rough-edged paradise. It’s a haven for families that have prospered and moved away from his neighborhood, a place for folks who have “made it” and Jeffrey wants his share.

Not the least of the El Flamingo’s attractions is Carla Samson (Janet Jones), the stunning blonde who’s visiting from exotic California. Her entrance in a tight white one-piece is a moment worthy of comparison to Julie Adams in “Creature from the Black Lagoon” and Elizabeth Taylor in “Suddenly, Last Summer.” Be prepared to hit the pause and slow-motion buttons at about the 3:20 mark of chapter 2.

The real point of the film, though, is the conflict between Jeffrey’s father (frequent Marshall collaborator Hector Elizondo) and Phil Brody (Richard Crenna), a flashy manipulative car salesman who sees something of himself—something he’s lost—in the young man.

The best scenes have the quality of a good Jean Shepard story with honest nostalgia and carefully chosen details. And the big confrontation between Elizondo and Crenna might be based on fact. Performances are excellent across the board. Dillon was only 20 years old when he made the film, so he looks right for the part, and his combination of inexperience and enthusiasm seems completely unforced. Also, notice how much Jessica Walter does with her small role.

Severe Prairie Tales

Director:


Wayne Coe

This commencement feature by Coe (who designed the posters for

Back to the Prospective

and

Outlying of Africa

, middle others) is a stand-escape US independent. A prim Experimental Englander (Dourif) finds his campsite invaded by a grizzled, smelly mountain cover shackles (Jones), who turns up with a fresh body slung during the course of his saddle. Reciprocated mistrust spurs them to scare each other with antipathy stories into done with the continuously. The four tales are ingeniously varied (and intelligently keyed to the integrity of the teller and the situation round the camp-fire); but it's the belles-lettres of the framing story and the two lead performances that make amends move aside the film so extraordinary. As the T-shirt has it, it sucks you in.

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Devout Catholics last wishes as no doubt come across heresy in British filmmaker Peter Richardson’s “The Pope Be compelled Peter out.” Everybody else order simply shrug it off as a meek satire that hurls not rude gibes but reverence in the facade of Vatican power brokers. A King Ralphian falsification of a simple priest who is mistakenly anointed Pope Dave, the movie favors such reforms as marriage due to the fact that priests, female clergy and the redistribution of moneys.

Scottish comedian Robbie Coltrane plays the Rev. Dave Albinizi, a jolly priest whose unorthodoxy — he plays rock guitar and fixes old cars — costs him his position at a remote Italian orphanage. About the same time in Vatican City, a deaf secretary incorrectly records the name of the newly selected Pope Albini as Albinizi, and all of a sudden everybody is kneeling at Dave’s feet and kissing his hand. Now that’s comedy.

As in “Godfather III,” the story line accuses the Vatican Bank of unscrupulous, mob-related connections. Only there’s no real fury behind the scenario, which includes shady dealings among the smarmy Cardinal Rocco (Alex Rocco), his underworld partner, Vittorio Corelli (Herbert Lom) and the prissy Monsignor Vitchie (Paul Bartel). Certain that they can manipulate the roly-poly new pontiff, they are in for some surprise when Dave discovers something fishy, and it isn’t just holy mackerel, in the corridors of the Vatican.

The performances, including one by Beverly D’Angelo as the mother of a dying rock singer, are competent for the most part, but they seem disconnected from this Capraesque story. Bartel and Rocco would be wickedly funny if they weren’t working in a kind of cosmic comic vacuum, but they are like separate candles sputtering in the sanctum. Coltrane, who last starred in the British drag comedy “Nuns on the Run,” has apparently gotten into the rather unfortunate habit of masquerading in vestments. But then the British always did think men in skirts were a laugh riot.

“The Pope Must Die,” directed by Richardson from a script he wrote with Pete Richens, is little more than a political drag show. It’s hardly a cardinal sin but nevertheless is devoutly to be avoided.