Thursday, September 24, 2009

Watch Online Dhanush 2009 Kannada movie And free download Review Cast Crew



Dhanush Kannada Movie 2009

Release Date: 25 Sep 2009
Genre: Action - Romance
Language: Kannada
Director: Jayanth
Music Director: M S Maruthi
Cast: Prashanth ,Ramanithu Chaudhary

Reviews

Dhanush’s next film is a remake of the 1989 super hit Rajinikanth film Maapillai with the same title.
The film, (often referred to as Padikkathavan-2) is going to be directed by Suraaj and produced by Hitesh Jabak.
Says Dhanush: "It is the only film of Rajinikanth that I always wanted to remake. I know that remaking old classics is not easy and by doing so, we are not disrespecting them. There are hundreds of youngsters who have not seen the old movie. If the same story is presented in a different format with improved technology, it will appeal to them".
The buzz is that Suraaj is making the necessary changes to suit today’s youth audiences with more comedy. The hunt for the characters made memorable in the original by Srividya and Amala, are in full swing.
Actor Sameer who's one of the smart handsome guy of Bollywood steps his foot into Kollywood now.
Dwelling in Mumbai, Sameer has acted in various Hindi films and made his debut with a music album ‘Valentine's Day’.
Later he entered into various regional films that goes inclusive of Kannada Film ‘Nanna Preethiya Hudugi’, Telugu Movie ‘Amrithavarshini’ and much more. At the moment, he is busy shooting simultaneously for couple of Hindi films ‘Love Ka Thadka’ and Shyam Benegal’s ‘Well Done Hapaa’.

Watch Online An american Journey 2009 English movie And free download Review Cast Crew



An American Journey: Revisiting Robert Frank's "The Americans" English Movie 2009


Cast And Crew

Running Time: 60 Minutes
Status: Production/Awaiting Release
Country: United States, France
Genre: Documentary
Directed by: Philippe Seclier
Rating: NR

Reviews

Film Forum is pleased to present AN AMERICAN JOURNEY, a new documentary by French filmmaker Philippe Séclier, exploring both the origins and resonance of Robert Frank’s seminal photography book, The Americans, opening Wednesday, September 30.

More than 50 years ago, in 1958, 'The Americans' was published to great acclaim — as well as to negative reviews that faulted the Swiss-born Frank’s vision of a nation awash in poverty, racism and postwar jingoism.

Today it is impossible to overstate the influence of this groundbreaking work. AN AMERICAN JOURNEY travels back to the small towns and rural communities the photographer immortalized — exploring the world as Frank saw it and as it survives today.

Artist Edward Ruscha, publisher Barney Rosset, photographers John Cohen and Raymond Depardon, and curators/critics Vicki Goldberg, Sarah Greenough and Peter Galassi explore the feelings of anger and alienation which fueled Frank’s remarkable journey.

The Metropolitan Museum of Art’s exhibit, "Looking In: Robert Frank’s The Americans," opens September 22.

Playing with the documentary is the classic short IN THE STREET, shot in East Harlem in the late 1940s by Helen Levitt, Janice Loeb and James Agee.

Like Robert Frank, Helen Levitt, one of the 20th century’s photography greats, immortalizes a period in New York when the streets, sidewalks, stoops and doorways were the playground of the poor.

Rambunctious, humorous -- entirely candid in a way that today’s media-savvy children would never be -- these street urchins have become the face of urban childhood in mid-century New York.

Both films will have a one-week engagement, September 30 – October 6, at Film Forum, West Houston Street (W. of 6th Ave.) with screenings daily at 1:00, 2:40, 4:15, 6:00, 8:00 and 10:00.

French journalist Philippe Séclier has edited two photographic books, including La Longue Route de Sable, with text by Pier Paolo Pasolini. He has made a documentary on photographer Marc Riboud, collaborated with the Magnum Agency on a book celebrating their 60th anniversary, and, since 2007, has been working with French photographer/filmmaker Raymond Depardon on a variety of projects.In contemporary art, everybody agrees there is a "before" and an "after" The Americans, Robert Frank’s 1958 photographic manifesto. Half a century later, French director Philippe Séclier decided to follow in Robert Frank’s footsteps to explore the spirit of the "Beat Generation" - and the impact of his book, The Americans, not only on the art of photography, but also on American culture. From Texas to Montana, from Nebraska to Louisiana, from New York to San Francisco, An American Journey is a 15,000 mile-long odyssey through contemporary America, moving between past and present, photography and cinema, and two Americas, separated by time: 1958-2008.

"An American Journey: Revisiting Robert Frank's 'The Americans'": Opens at "The Film Forum" on Wednesday, September 30.
SA: Question: "Robert Frank is thought of as one of the greatest living masters of photography. How did you decide to make a film about him?"
Phillipe Seclier: Answer:
"It's a long story. I traveled to the USA in 1984, and learned a lot about American culture, theater, movies, paintings and American photography. In 2005, I was looking to publish a book of photographs, "La Longue Route de Sable", I made based on the story by Italian filmmaker, Pier Paolo Pasolini. The photos are from a trip I took throughout the Italian coast following in the footsteps of Pasolini. Pasolini made the film in 1959, and I made the same trip in 2001. After publishing the book in France and Italy, I decided to do another project, but I didn't want to do another book of photography, because it was so easy.
I had visited the "Storylines" exhibition at "The Tate Modern" in London by Robert Frank, and saw a special room called, "The Americans", Of course, I knew his work, and his book. Also the first time I went to the USA , I was very impressed with Ansel Adams, and Edward Weston. It was my second trip I took to the USA, when I discovered Robert Frank, and when I was in the special room, at "The Tate Modern" with "The Americans" exhibition by Robert Frank, it was the kick, and I decided to spend a lot of time in the USA to try to find the places where Robert Frank took his photographs. I tried to find everything in the book, to meet all the people who knew everything about the book, spoke to curators, photographers, and painters. I began this project in 2005 in Houston. I decided to take the road to make the same trip he made 50 years ago with a Guggenheim fellowship. I was alone at the beginning of this project. I had no grounds, no fellowship, no producer, at the beginning. It was very odd, but I decided to do it, because I thought it was a unique way to try to arrive at the finish. But after four years, there were a lot of ups and downs, like a mountain range, but I never stopped searching. I tried to find everything. It took four years, 15,000 miles, 70 hours of footage, and 30-40 interviews."
SA: Question: "What is your favorite Robert Frank story?"
Phillipe Seclier: "The fact that he was very courageous to make this project. Because I think it was difficult taking photographs during the 1950's, when you are an outsider, a foreigner, not an American. He was arriving to America in 1947, going to South America for one year, then going to Europe, it was his first trip to America, and he was very courageous. Of course, He had a grant, but it's not enough just to have a grant, you need to have a good eye and to be very courageous."
SA: Question: "Do you have a favorite photograph?"
Phillipe Seclier: "It's very hard, because in "The Americans" book there are 83 photographs, Robert Frank took approximately 20,000 photos, selected 1000 photos, then narrowed it down to 83. He printed them himself, and at the Metropolitan Museum of Art exhibit opening September 22nd, you can view a lot of his photos. It's difficult to pick just one, but I appreciate the cover. I went to New Orleans to try to find out more because this is an iconic photograph about segregation. When I decided to make this film, I knew it was necessary for me to go to Hoboken, NJ. I love the two women holding the flag. Another important photograph was from inside the hotel window in Butte, Montana. I went to try to find the flag, and met Miss Molboy, who is now 65, In Butte, it's the only image from a hotel view, and the hotel is the spirit of the trip. I was very lucky to meet the owner of the hotel who gave me the opportunity to enter inside the room, and another important photo, I heard about this black woman, on the motorcycle in Indianapolis, and I met her, her husband died 10 years ago. and it was very emotional to meet her, and the last one was in Detroit, a very iconic photograph with white and black people, because I think it's an image of segregation during the 50's. There are a lot of special images."
SA: "Did anything out of the ordinary happen when you retraced his footsteps? Did you get pulled over, did you notice any racial problems in rural America? Robert had been arrested at one point in the film."
PS: "No, no problems, traveling in the USA is very easy, and sometimes it is very hard when you are alone, but no, I had no problem with that. I was very lucky to meet people who helped me a lot. I met the policeman where he was arrested and he was very friendly, and spoke a lot a lot about the fact that it was horrific to be arrested 50 years ago, and to stay in jail maybe a few hours. It was horrific."
SA: "Robert Frank was a European foreigner looking into America, and you are as well, how does that shape your point of view?"
PS: "I don't know if an American filmmaker can make this film. It is a good opportunity to have the distance when you are an outsider to focus on the subject, like this book and this country. Some curators explained that very well in the film, the fact that he was an outsider was very important. At the same time, it was very hard for him because critics were very upset when they discovered this book. That it was not about the American dream with beautiful landscape and the Statue of Liberty, it was about how difficult it is to live in this country for people and especially for poor people. This book talked about the rich/poor, black/white, racism/segregation, and religion. The country has changed, the time has changed, but sometimes we see history repeating itself, with times like Hurricane Katrina, we see the difficulty blacks face. That was the target of the film to make an observation between two periods and to make the link between those two periods."
SA: "What are Robert Frank's feelings about the film? Does he know about it? Was there anything he didn't want to show or say?"
PS: "I met him for the first time 2 years ago in Germany with his publisher, Gerhard Steidl, who published "The Americans". It was very funny b/c maybe he understood I had no support in making this film like he was 50 years ago. so after meeting him, he pushed me to finish the film. He was very appreciative that I found the black woman, because for him it was important to know she was still alive, and she talked about her husband. He was very friendly with me. He was in Washington, DC at The National Gallery of Art exhibition, about his book Robert Frank/"The Americans' which we will welcome at Metropolitan Museum of Art here. He saw the film in January, and I think he appreciates the film."
"When you decide to make a documentary like this film, it's impossible to believe it's over and reading to be shown at The Film Forum. It's an experience , a large part of your life. Trying to go into the footsteps of a maestro of photography. Now the film is finished , I am very happy."
SA: Question: "What's next?"
PS: "It's difficult to imagine another film on photography after this one, because this book is very important. I try maybe to do something with abstract art, because I am very passionate about American Abstract art. It's too early to decide something. I need to wait to sort out the film to be sure it grows up and makes it's own life. "

Watch Online Do Knot Disturb 2009 Hindi movie And free download Review Cast Crew



Do Knot Disturb Hindi Movie 2009

Cast And Crew


Star Cast: Sushmita Sen, Govinda, Lara Dutta, Rajpal Yadav,
Ritesh Deshmukh, Ranvir Shorey, Himani Shivpuri, Rituparna
Sengupta and Manoj Pahwa
Genre: Comedy
Director: David Dhawan
Producer: Vashu Bhagnani
Music Director: Nadeem-Shravan
Lyricist: Sameer
Release Date: October 2, 2009

Reviews

A rich businessman tries to hide his extramarital affair with a supermodel. To save his skin, he bribes a waiter into pretending to be the supermodel's boyfriend. What follows is a series of mistaken identities and misunderstandings. Nostalgia, sheer delight and an air of expectancy surrounds the first album by the once reigning composers of Bollywood, Nadeem-Shravan, as they come back after a long hiatus for Vashu Bhagnani, (ex -producer No.1 ), for a comedy directed by David Dhawan, DO KNOT DISTURB. Nadeem- Shravan have been the undisputed numero uno composers of Bollywood in the early eighties and nineties and have composed innumerable chartbusters along with their ever reliable lyricist, Sameer, tracks that are still embedded in the hearts of music lovers all over the world . So, lets press on the play button and see if with DO KNOT DISTURB they are able to top the charts once again?
The album begins with Nadeem Shravan going retro as Dev Anand`s evergreen super hit number, ``Leke Pehla Pehla Pyaar`` (CID) gets a facelift and is refurbished with a whole lot of arranged programmed rhythm, feminine chorals in the form of ``Zulfaen Khol Khal Ke``. The similarity (especially in the `mukhda`) is so striking that its indeed preposterous to assume that this is a coincidence. However it does entertain mainly due to the singing by the lead pair, the extremely choosy Sonu Niigaam and Anuradha Sriram, the highly talented classical singer from South . Anuradha shows that talent knows no bounds as she is completely at ease in this propositioning and flirtatious number that will look nice on screen, if picturised properly and has the capability of attracting the front benchers. Sameer`s lyrics deserve mention as the naughty mood is conveyed quite effectively and nicely.
``Dont Ever Leave Me`` is vintage Nadeem-Shravan, although the sweet melody that they have always relied upon (in this case its Ajay`s DILWALE) takes a backseat here and its more of techno and electronic beats and synthesized rhythm. In keeping with moving times NS have resorted to this, but while this may appeal to some, it will disappoint their hard core fans who thrived on their lilting melodies. As it is the background arrangements are old fashioned with foot tapping sounds and a constant monotonous rhythm. Sameer`s use of English and Hindi is appealing and doesn`t look forced, it seems a part of the proceedings. Shaan and Shreya go through their rendition like professionals.
It`s a vigorous thumping start for ``Mere Naal``, and indeed a pleasant surprise to find K.K and Shreya behind the mike for this highly energetic `Bhangra` based `fulltoo timepass` dance number that has a slight retro touch to it as well. All credit to NS for bringing these two highly talented singers to sing this number and one is sure that this will surely break the image of the two being just serious singers. Shreya`s voice modulation is amazing and so is KK, who is simply bombastic in this `masaledar` number (the back up vocalists Jigar Saraiya and Nikita Kanwar provide able support) that is sure to be lapped up by mass as well as class. The use of Indian instruments (`dhol`, `ektara`, `sarangi/bansuri`) and their blending effectively with the catchy rhythm, the strong hook that is present throughout the song , along with nice and effective rap (by the ever reliable Earl D) is very good. We have heard a lot of `Bhangra` based number in the past but this one ranks right up their and has all the potential to hit the charts, what with Lara, Govinda and Ritesh gyrating to its infectious rhythm.

So we all heard and danced to Anu Malik`s ``Bebo`` in KAMBAKKHT ISHQ and now we have his (once upon a time) arch rival Nadeem-Shravan coming up with their ``Bebo``. And for that they have hired the lip services of the hottest singer of Bollywood, Neeraj Shridhar and Anushka Manchandani. The super synthesized background rhythm is super cool and makes the `mukhda` very very hummable. The variable tempo of the song makes it a tad different from the ones we are used to. Anushka`s voice has that attitude required and she delivers as always. Together with Neeraj they form a formidable pair. The use of English and Hindi lyrics are highly entertaining and will be lapped up by the youth who will find it to their liking. The ``Baari barsi khatan gayasi, Khat ke le andi Bebo`` part is hilarious. Hear it to believe it! Picturised on Lara and Ritesh, this song will definitely be a treat to watch on screen.
As if to keep up the good tempo started with ``Bebo``, Pritam`s lucky charm Neeraj Shridhar is back once again, this time for NS, with another highly rhythmic number, ``Beautiful Woman`` and giving him company is the highly versatile Sowmya Raoh. The number is more in the line of Sajid -Wajid`s dance tracks from David-Govinda`s last super hit outing PARTNER and we are sure that this has been done intentionally to carry the flavour and the background innuendoes relate back to ``Kisi Disco Mein Jayein`` (BADE MIYAN CHHOTE MIYAN). Despite this song being a `khichdi` of quite a few tunes this `khichdi` is spicy and lick smacking. Reason being Neeraj and Sowmya, whose singing deserves salute, specially Sowmya, who sings with verve and energy.
NS go the A.R. Rahman (PAATHSHALA) way in the title track ``Do Knot Disturb`` and is a nice, youthful number, that has a good mix of melody, rap and singing in a conversational mode. The talented Karthik gets a nod here and he is superb. Anushka`s anglesized accent is a bit too accentuated here. The chorus is nice and helps spread the feel good/comic flavour of the movie. Lyrics are unique and carefree mood of the youth who do not wish to be disturbed is nicely put on paper. Once again is this is a slightly `hat ke` propositioning, `ched-chaad` number that has a philosophical touch to it as well.
On the whole, the audio album of DO KNOT DISTURB is certainly worth a buy. NS have really reinvented themselves and have come of age. Their songs (in most cases) do not appear outdated as is the case with most composers who come out of a long hibernation. Its definitely a good comeback for the composers, although they are still not in full form as they have mostly catered to the requirement and mood of the Vashu-David team`s film rather than their going by their own instinct. Music director Shravan says, `` DO KNOT DISTURB music has something for everybody. The six songs encapsulate different moods and as always, have a variety of melodies.`` Well to some extent you are right Shravan. Our pick - ``Bebo``, ``Mere Naal`` and ``Beautiful Woman``.
Looks like Bollywood would never get bored of making comedy flicks based on the institution of marriage? On top of that, these days, the presence of apna Chi Chi (Govinda) in such flicks is becoming more and more predictable? Somehow or the other, this ace actor always bags an important role in such movies. So, whether it was the box office average movie ‘Life Partner’ or the promising upcoming flick ‘Do Knot Disturb’, you are sure to get a taste of Govinda's expertise over comedy.
Directed by the King of Comedies David Dhawan, ‘Do Knot Disturb’ has been produced by Vashu Bhagnani. The movie stars Bollywood's Who's Who of comedy, such as Rajpal Yadav, Ritesh Deshmukh, Ranvir Shorey, Himani Shivpuri, Rituparna Sengupta and Manoj Pahwa. Add to this, the enigmatic looks and the charming performance of the leading ladies, Sushmita Sen and Lara Dutta. The music of the film has been given by the talented duo Nadeem-Shravan, while the lyrics have been written by Sameer.
Coming to the plot of the movie, ‘Do Knot Disturb’ runs around the 'knotty' affair of a rich businessman (Govinda), who resorts to all sorts of measures to hide his extra marital affair with a supermodel (Lara Dutta). His wife (Sushmita Sen) is a sophisticated and sexy lady, who is extremely generous and caring. However, the twist in the ah-so-blissful life of the couple is that the wife is more successful than her husband. While she is the proud owner of a successful company, the lavish house and everything else that money can buy, her husband is the one who lives on his wife's money and moves to her beats.
Frustrated and suffocated by his state-of-affairs, Govinda resorts to an affair with a supermodel - his only way out. However, his wife gets suspicious of his moves. On the other hand, the hot and sultry supermodel mistress is too naïve to judge that her lover would not leave his wife to marry her. Coming back to the life of the couple, to get rid of the qualms, the husband bribes a waiter (Ritesh Deshmukh) and asks him to pretend to be the model's boyfriend. The waiter, then again, has a story of his own. He is in desperate need of money, for the treatment of his sick mother (reminds you of the 1970’s Hindi movies, doesn’t it!).
Allured by the money offered by the rich businessman, the waiter pretends to be the boyfriend of the mistress, so as to throw away the mistrust of the businessman's wife. However, in comes the twist, when Sohail Khan, playing the role of the ex-boyfriend of Govinda’s mistress (mainly dumped for the married man), comes to the scene. Though Sohail is genuinely in love with her, he does not have a control over his anger. Add to the already 'knotted' plot, a private detective (Ranvir Shorey), hired by the rich lady to keep an eye on the moves of her husband.

Watch Online Afterschool 2009 English movie And free download Review Cast Crew



Afterschool English Movie 2009


Cast and Crew

Starring: Ezra Miller, Jeremy White, Emory Cohen, Michael Stuhlbarg,
Addison Timlin, Rosemarie DeWitt, Lee Wilkof, Paul Sparks,
Bill Raymond, Gary Wilmes, Christopher McCann
Theatrical Release 10/2/2009
Rated: Rating Pending
Runtime: 2 hrs 2 mins
Genre: Dramas
Director: Antonio Campos

Reviews

Early twentysomething writer/director Antonio Campos makes a startlingly assured directorial debut with AFTERSCHOOL. Set in an exclusive Northeastern prep school, the film follows Robert (Ezra Miller), a confused youngster who spends most of his time watching videos on the Internet. Some of these are harmless, but some are much more troubling, including pornography and actual fights that have been captured on various consumer-grade video cameras. Robert himself doesn't appear to have violent desires, yet when he gets his hands on a video camera for a class project and starts becoming closer to fellow classmate Amy (Addison Timlin), he experiences feelings he has previously only encountered on a computer screen. During the filming of a class project, Robert unwittingly captures the overdose of two of the school's most popular girls--twins, no less--sending him into an introverted, despondent tailspin. Campos's film owes an obvious debt to the work of German provocateur Michael Haneke, and not only in its controversial subject matter. More directly, it's in Campos's ability to create a palpable sense of tension with the camera. Credit must be given here to cinematographer Jody Lee Lipes (WILD COMBINATION: A PORTRAIT OF ARTHUR RUSSELL), who uses a slowly roaming camera when necessary, but otherwise maintains a static, off-kilter frame, hinting at the dangers that lurk just beyond every corner. AFTERSCHOOL speaks volumes about the influence of the Internet and technology on our nation's impressionable youth.
Robert is a young American student at an elite East Coast preparatory school who accidentally captures the death of two classmates on camera. Their lives become memorialized as part of an audio-visual document intended to speed up the campus-wide healing process. But instead, the video creates an atmosphere of paranoia and unease among students and teachers.
As indulgent and preachy as his earlier Buy it Now, this drama shows the growing skill of 25-year-old writer-director-editor Campos. It's also packed with important themes that are addressed both artfully and hauntingly.

Rob (Miller) is a sullen sophomore at a New England boarding school, where he's dismissed as a poor kid by his rich classmates. His roommate Dave (White), who deals drugs in his spare time, won't even introduce Rob to the cool kids. When Rob joins the video class, he's teamed with the sparky Amy (Timlin) to make a film about the school. But they inadvertently record the nasty overdose of the school's most popular girls. As everyone's world comes undone, Rob maintains his aloof, awkward perspective, which unnerves the principal (Stuhlbarg).

Campos' terrific mix of imagery--pixelated YouTube clips, digital home video, crisp widescreen 35mm film--is extremely effective, establishing a strong point of view: we see everything through Rob's eyes. Even though he's utterly inexpressive, refusing to open up about anything to anyone (except in a brief phone call to his mother), we still feel like we get into his head. This is mainly due to the often off-centred camera work and a sharp editing style, which combines with Miller's remarkably contained, consistent performance.

All of the kids are eerily realistic teens (the adults are less convincing); we vividly feel their adolescent listlessness, interpersonal rivalry and tentative liaisons. And Campos shows things as they are, with an accurate and sometimes provocative depiction of high school that shatters most films' defanged fantasies. Conversations about subverting the rules and losing one's virginity have the ring of authenticity, as do some of the more intense dramatic confrontations.

Where Campos stumbles is in his tendency to moralise. There's an early suggestion that Rob's enjoyment of hard-edged porn might lead him into violence, and this threat of tragedy looms over everything that follows. Then after the overdose the school cracks down with its own Patriot Act, vowing to "never forget ... and be vigilant" so this doesn't happen again. These touches are rather heavy-handed, but they never overwhelm the central drama. Let's hope Campos realises that less pushing can actually be more effective.

As the question of sex education in British schools becomes a topic of controversy once again, it’s interesting to see a film which shows what can happen to young people when sex and sexuality become totally divorced from anything resembling love or respect.
Antonio Campos’ chilly, thought-provoking thriller paints a disturbing picture of American adolescence which has drawn comparison with Gus Van Sant’s Elephant but seems to me an even more effective and realistic examination of a world where intelligent and privileged characters have reached near-adulthood without having any real understanding of basic morality.
It opens with a rapid-fire succession of video clips on a computer, including Saddam Hussein’s hanging but ending with a long and very disturbing porn sequence. The watcher is Rob (Ezra Miller), a pupil at a well-to-do co-educational private school on America’s east coast. He shares a communal room with some equally prurient fellow pupils, including Dave (Jeremy Allen White), who’s also supplying him with drugs.
He misses his absent dad, his mother is distant in every sense of the word, he fantasises about his English teacher and has a crush on Amy (Addison Timlin), as well as lusting after the pretty and popular Talbert twins. The subject matter is predictable, but the way in which Campos tells his tale is original and constantly challenging.
Shooting mainly in long and medium shot and often cropping the frame, the effect is that the audience is purposely kept at a distance from Rob and all the other pupils, parents and teachers. The technique acquires another dimension when Rob is encouraged to join a video club, one of a host of afterschool activities designed to stimulate the pupils’ creativity. When the twins both die after taking contaminated drugs, Rob is put in charge of compiling a video memorial for them. But the audience is already aware of his actions on the day of their deaths...
The act of compiling the memorial illustrates the gulf between the conventional tributes and platitudes poured out for the twins and the reality of their lives and those of their fellow pupils. For all the floral displays and all-night vigils one gets the distinct impression that at least some of these kids don’t care about anything at all and that tragedy, like violence and sex, is simply an available commodity to be sampled and consumed with no thought to consequences or the feelings of others. A scene with the twins’ parents, where Rob clearly feels no sympathy or empathy whatever, is as powerful and chilling a piece of cinema as I’ve seen for as long time.
The adult characters get pretty short shrift too, with the teaching staff universally well-meaning but ineffectual, convinced that they’ve created a gang of really great kids and unable to come to terms with all the evidence to the contrary. It’s hard to find any particularly sympathetic characters (Amy, initially attracted to Rob as a misunderstood but sensitive soul and gradually realising the truth, comes closest). That’s clearly the point, but it does make the film’s overall effect somewhat one-note.
Campos is well served by his leads, especially Miller, who completely conveys Rob’s dead-eyed amorality and inability to connect. It’s overlong, continuing to reiterate its points for quite some time after the audience has got the message, and doesn’t offer much in the way of solutions. But for the most part this is powerful and challenging stuff, a welcome antidote to the "quirky but loveable" stereotypes of recent teen movies. It also makes clear that America’s dysfunctional youth aren’t just found in the redneck belt. These kids have everything – except a sense of right and wrong.
Engaging, provocative and superbly acted, this is an impressively directed drama that feels like a darker, arthouse version of a teen movie for the YouTube generation and marks writer-director Campos out as a talent to watch.

What's it all about?
Written and directed by Antonio Campos (whose debut feature Buy It Now was about a girl auctioning her virginity on eBay), Afterschool stars Ezra Miller as Rob, a withdrawn student who's ignored by all the richer kids at his New England boarding school and prefers to spend his time watching what he calls "little clips of things that feel real" (including porn and happy-slapping videos) on the internet. Meanwhile, Rob's roommate Dave (Jeremy Allen White) deals drugs out of their room but steadfastly refuses to introduce Rob to any of his friends, telling him that he's just not cool enough.

When Rob joins the afterschool video club, he's paired with Amy (Addison Timlin), an attractive girl he likes, for a school project and the pair become closer, especially after turning the camera on each other and asking personal questions. However, things change after Rob inadvertently records the shocking deaths of the school's two most popular students, who turn out to have been poisoned by cocaine that Dave probably sold them.

The Good
The performances are fantastic, particularly Miller, who manages to convey a wealth of emotion with the absolute bare minimum of expression – this is at times both heartbreaking and unsettling. There's also strong support from White and Timlin, while Michael Stuhlbarg and Gary Wilmes are great as the principal and the world's most useless counsellor, respectively.

Campos' stylised direction (composed of off-centre shots, seemingly random close-ups, back-of-the-head shots and so on) seems at odds with what's actually a surprisingly fast-paced and engaging plot. Similarly, the dialogue rings true throughout and there are some extremely provocative and disturbing scenes, such as a moment that hints that Rob's taste in porn may have done more damage than he realises.

The Great
The excellent script touches fascinating themes (notably the abject hypocrisy of the school staff) and also manages to convey a moment of pure emotional devastation more acutely than any number of Hollywood teen flicks.

Watch Online St Trainian,s 2009 English movie And free download Review Cast Crew



St. Trinian's English Movie 2009

Cast And Crew

Starring... Colin Firth, Gemma Arterton, Lena Headey,
Mischa Barton, Rupert Everett,
Genre Comedy
Duration 1 hr. 40 min.
Director Barnaby Thompson, Oliver Parker
Producer Barnaby Thompson, Oliver Parker
Distributor Neo Classics Films Ltd Release
Date October 2, 2009 (limited)
Writer Jamie Minoprio, Piers Ashworth

Reviews

St. Trinian’s, the infamous school for ‘young ladies’ is once again facing dire financial crisis. The bank is threatening headmistress Camilla Fritton with closure. Her unorthodox doctrine of free expression and self empowerment is also under threat from new Education Minister Geoffrey Thwaits, an old flame of Camilla’s who is determined to bring discipline and order to the anarchic school. In true St Trinian style the girls are in a league of their own; smart, fearless and determined to defend the school they love to the end. They need to unite the warring girl gang cliques and come up with the cash fast to save the school.

Surprisingly enjoyable comedy with strong comic performances, lively direction and several decent gags.

What's it all about?
Rupert Everett (in full Camilla Parker-Bowles drag) stars as Camilla Frinton, headmistress of the infamous St Trinian's school for girls, which is facing two distinct problems: first, the bank is threatening St Trinian's with closure and second, the new Education Minister, Geoffrey Thwaite (Colin Firth) is determined to bring discipline and order to the anarchic school.

Fortunately, the resourceful pupils have a plan to save the school. Under the influence of cool head girl Kelly (Gemma Arterton) and new girl Annabelle (Talulah Riley), the girls (including Lily Cole, Tamsin Egerton and Juno Temple) come up with a plan to steal a famous painting and fence it to Camilla's ne'er-do-well brother (also Rupert Everett) with the assistance of charming spiv Flash Harry (Russell Brand).

The Good
Rupert Everett is extremely funny as Camilla and his romantic scenes with a remarkably game Colin Firth (there are countless jokes about Firth's career and he even reprises the Mr Darcy wet shirt shot) are priceless. There's also strong comic support from Russell Brand and Jodie Whittaker (as the dozy school secretary), while Talulah Riley and Gemma Arterton are both superb as the two lead girls.

Parker and Thompson maintain a lively directing style and a high gag rate, ensuring that even if one joke falls flat, there's another one right behind it. They've also been surprisingly successful in updating the franchise, with cliques consisting of Emos, Chavs and Geeks, as well as a crowd-pleasing cameo by Girls Aloud in school uniforms.
The strangest thing about the film is how tame it all is, despite a couple of risque jokes and drug references – there's not a hint of sex and the girls only make drugs rather than taking them.
In short, St Trinians is surprisingly good fun and certainly not the disaster it could have been (think Spice World). Worth seeing.
St Trinian's is the school for young ladies and it is once again facing dire financial crisis with the bank threatening closure. Headmistress Camilla Fritton is also in the firing line from the Education Minister as she espouses an unorthodox doctrine of self-empowerment and free expression. In order to save the school, the St Trinian's girls decide to put their differences aside and hatch a plan to come up with cash. The leaders of the gang, Kelly (Gemma Arterton) and Annabelle (Talulah Riley) decide that a heist is the only way forward, and so decide to steal Vermeer’s ‘Girl with the Pearl Earring’ painting from the National Gallery.
This ultra-glossy, twenty-first-century update of the original series of films about the anarchic student body of the titular ‘ladies school’ comes bounding off the screen like a feature-length ad for Top Shop. Out go any radical notions of female social upheaval and in come clumsy drug jokes, broad stereotypes and reams-upon-reams of thudding pop music. The lead performances from the young cast are generally weak (apart from an excellent Jodie Whittaker) and the script is a tiresome mulch of self-conscious cultural references. Not even a camp-as-Christmas turn from Rupert Everett as effete headmistress Camilla Fritton is enough to salvage this mess, which drifts aimlessly towards a tawdry heist finale that will only make sense to those with the ability to bump their own brain-patterns to the level of sub-moronic torpor. The one-dimensional, any-excuse-for-a-musical-montage direction does, admittedly, inject some much-needed zip into the proceedings, but in terms of a cultural legacy, this is one to file next to ‘Spiceworld: The Movie’.

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More Than a Game English Movie 2009

Cast And Crew

Starring LeBron James, Dru Joyce, Romeo Travis,
Sian Cotton, Willie McGee,
Director Kristopher Belman
Producers Harvey Mason Jr., Kevin Mann, Kristopher Belman,
Matthew Perniciaro
Distributor Lionsgate
Release Date October 2, 2009 (limited; expands: Oct. 9)
Writers Brad Hogan, Kristopher Belman
Genre Documentary

Reviews

Five talented young basketball players from Akron, Ohio star in this remarkable true-life coming of age story about uncommon friendship in the face all too common adversities. Coached by a charismatic but inexperienced player’s father, and led by future NBA superstar LeBron James, the "Fab Five’s" improbable seven-year journey leads them from a decrepit inner-city gym to the doorstep of a national high school championship. Along the way, the close-knit team is repeatedly tested—both on and off the court—as James’ exploding worldwide celebrity threatens to destroy everything they’ve set out to achieve together. MORE THAN A GAME combines a series of unforgettable one-on-one interviews with rare news footage, never-before-seen home videos and personal family photographs to bring this heart-warming and wholly American story to life.
Lionsgate and Harvey Mason Media in association with Interscope Records present a Harvey Mason Media Production in association with Galley Boy and Spring Hill Productions a film by Kristopher Belman. MORE THAN A GAME is written by Kristopher Belman & Brad Hogan and directed by Kristopher Belman. The film features LeBron James, Sian Cotton, Dru Joyce III, Willie McGee, Romeo Travis and Coach Dru Joyce II.
"More Than a Game" tells the true story of five talented young basketball players, including future NBA superstar LeBron James, and their remarkable journey from Akron, Ohio to the national high school championship series.

Five talented young basketball players from Akron, Ohio star in "More Than a Game," a remarkable true-life coming of age story about friendship and loyalty in the face of great adversity. Coached by a charismatic but inexperienced player's father, and led by future NBA superstar LeBron James, the "Fab Five's" improbable nine-year journey leads them from a decrepit inner-city gym to the doorstep of a national high school championship. Along the way, the close-knit team is repeatedly tested -- both on and off the court -- as James' exploding worldwide celebrity threatens to destroy everything they've set out to achieve together.

"More Than a Game" combines a series of unforgettable one-on-one interviews with rare news footage, never-before-seen home videos, and personal family photographs to bring this heart-wrenching and wholly American story to life.

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I Hope They Serve Beer in Hell English Movie 2009

Cast And Crew

Cast ,Traci Lords ,Matt Czuchry ,Jesse Bradford
Marika Dominczyk ,Keri Lynn Pratt ,Geoff Stults
Release Date:25 September 2009 (USA)
Genre:Comedy
Director:Bob Gosse
Writers:Tucker Max (novel)
Tucker Max (screenplay)

Reviews


A guy tries to patch things up with his soon-to-be-married pal after botching things up at his bachelor party.
Tucker decides to take an impromptu trip to celebrate his friend's bachelor party. He drags his friend into a lie with his fiancée, gets him into trouble and then abandons him in order to pursue a hilarious carnal interest. Tucker is disinvited to the wedding, and in order to get back in, Tucker has to find a way to balance his narcissism with the demands of friendship.
I Hope They Serve Beer in Hell–based on the shocking, ridiculous and hilarious real life adventures of Tucker Max–is the story of an impromptu bachelor party gone horribly awry thanks to a midget, a fat girl, a gaggle of strippers, an overly destructive public intoxication ordinance, and the consequence of Tucker’s unflinching narcissism.
A tireless and charismatic novelty seeker, Tucker (Matt Czuchry) tricks his buddy Dan (Geoff Stults) into lying to his fiancée Kristy (Keri Lynn Pratt), so they can go to an legendary strip club three and a half hours away to celebrate Dan’s last days of bachelorhood in proper style. Tucker drags their misanthropic friend Drew (Jesse Bradford) along for the ride, and before they know it Tucker’s pursuit of a hilarious carnal interest lands Dan in serious trouble with his both the law and his future wife.
The ensuing blowout leaves Tucker uninvited to the wedding and ankle deep in a mess of his own creation. If he wants back into the wedding and the lives of his best friends, he’ll have to find a way to balance the demands of friendship with his own narcissism and selfishness.
I Hope They Serve Beer in Hell marks Matt Czuchry first starring role in a feature. The film also stars Jesse Bradford (Bring It On, Romeo + Juliet) and Geoff Stults (Wedding Crashers, The Break-Up) as his best friends, Drew and Dan. Keri Lynn Pratt (Nip/Tuck, Brothers & Sisters) and Marika Dominczyk (40 Year-Old Virgin, Las Vegas) round out the cast.
Directed by Bob Gosse (Niagara, Niagara, Julie Johnson), Tucker Max and Nils Parker co-wrote the screenplay adapted from Max’s book I Hope They Serve Beer in Hell, which has spent four years on New York Times Bestseller list. The film is produced by Darko Entertainment’s Richard Kelly, Sean McKittrick and Ted Hamm along with Max and Parker’s Rudius Films. Max Wong and Karen Firestone of Pinkslip Pictures also produced along side Aaron Ray of The Collective.
Darko Entertainment and Freestyle Releasing will release I Hope They Serve Beer In Hell on Friday, September 25. The film is Rated R by the MPAA for nudity, strong sexual content including graphic dialogue throughout, language and some crude material
I really hope that the new trailer for I Hope They Serve Beer in Hell is playing ahead of prints of Julie & Julia this weekend. After all, they’re both about bloggers-turned-authors-turned movie characters. The one problem might be that the audience for a foodie chick flick has less than 1% crossover with the audience for a lewd and misogynistic dude comedy. Of course, the only other appropriate placement for this spot is ahead of the similarly themed The Hangover, but that would surely just make this thing look even worse than it is.
Based on Tucker Max’s book of the same name, or at least one story from it, I Hope They Serve Beer in Hell will without a doubt be to Julie & Julia what How to Lose Friends and Alienate People was to The Devil Wears Prada. But at least How to Lose Friends featured Megan Fox, and it still couldn’t draw a crowd. So is there any hope for this? Considering how popular the trailer is on the web today, there may actually be some interest. Though we’re going to guess that after everyone has actually seen the trailer they’re not going to want to see the movie, even if they’re fans of Max’s "gonzo" tales of debauchery.
Here’s a movie that sounds like it could be really good or really bad. I’m sort of leaning towards bad at this point, because I’ve seen one too many drunken-buddy movies this year. But we’ll see.
Matt Czuchry (pictured), Jesse Bradford and Geoff Stults have signed for I Hope They Serve Beer in Hell, the adaptation of the best-selling memoir of Tucker Max. Bob Gosse is directing.
I will say that Max has an interesting story. He rose to fame after launching TuckerMax.com in 2002, a site that scored millions of unique visitors to read his short stories. He also landed a $300,000 advance from Penguin Books for his alcohol-fueled memoir. You know, you’ve gotta give the guy credit for that.
Read more…
Written by Max and Nils Parker, the film follows his trip to a friend’s bachelor party, where he catches the groom in a lie that threatens the wedding, then abandons him to pursue further carnal knowledge (I guess we all know what that means). After being tossed out of the nuptials, Max attempts to get back into his friend’s good graces.
Czuchry will play Tucker Max, marking the actor’s first starring role in a feature film. Bradford and Stults will play his best friends. The film begins principal photography July 21 on location in Shreveport, La.

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The Providence Effect English Movie 2009

Cast And Crew


Release Date: Friday, September 25, 2009 (Limited)
Studio: Slowhand Cinema Releasing
Director: Rollin Binzer
Starring: Not Available
Genre: Documentary
Rating: PG
Duration: 1hr 32min

Reviews


This is the remarkable story of a K through 12 school on Chicago's impoverished, high crime West Side, that has been sending 100% of graduating seniors to four year colleges and universities for 30 years. More than half of them are accepted by tier one schools and the class of 2008 was awarded more than $4.5 million in college scholarships. Providence St. Mel is a school that has completely escaped America's educational crisis.
Paul J. Adams III, an African-American man with activist roots in the 1960s civil rights movement, came from a family of teachers. After being black listed himself as a teacher in Alabama because of his civil rights activities, he moved to Chicago, received a master’s degree in psychology, and then landed a job as guidance counselor at Providence St. Mel, an all-black parochial school on Chicago’s notorious drug-ridden, gang-ruled West Side. "The Providence Effect" is an account of an individual man, the inner city Chicago school he founded, and the student lives that school has changed and saved.
If there's an argument against the Providence St. Mel prep school being the supreme model for remaking American education, you won't find it in "The Providence Effect," a portrait of a highly successful Chicago institution that feels more like a grant application than a social-issue doc. A PSA for educational tough love, "Providence" has earned better grades on the fest circuit than it's likely to get in a theatrical arena, where nonfiction frequently flunks out. Limited release begins Sept. 25.
Helmer Rollin Binzer's chief problem is tardiness: As "The Providence Effect" commences, Paul Adams III and his experiment in highly disciplined education have long been established. They've achieved a 100% success rate in college placement of seniors, and the bouquets have long been thrown; Ronald Reagan is the president we see visiting Providence St. Mel and praising the man who remade it. All of which is well and good but utterly devoid of conflict, aka drama. Witnessing testimonials about what's been accomplished don't quite match seeing something happen.
And a prime opportunity for something compelling seems to have been missed. Providence St. Mel decides to open a charter K-5 school, to see if its policies can translate to a public building and younger students. Reflecting on the school's success, Adams catalogues all the problems they faced, including unions, work rules and "things that don't have anything to do with children." But what are they? Why don't we get to see all this happen? Watching the struggle unfold would have made a movie out of the garland of roses Binzer throws at Adams.
Opening with a graduation ceremony and establishing the school's credentials, Binzer has little to offer, it seems, besides a parade of talking heads (from inside St. Mel's, or among its graduates), all of whom praise Adams and the school he resurrected after it was abandoned by the Chicago archdiocese. Adams' credentials as a social activist are established via footage of the civil rights fight of the '60s, in which Adams participated -- the point being that while there's no shortage of nobility in "The Providence Effect," a little such confrontation would have cured its ills as cinema.
Production values are largely adequate, although Tom Dumont and Ted Matson's score shows exceptional promise and works well with others.
"The Providence Effect" is the story of an individual man, the inner city Chicago school he founded, and the student lives the school has changed and saved. The school, Providence - St. Mel, has a 30-year 100% college placement record; with an "old school" approach to learning --- "Do the work" --- and a dedicated corps of teachers and administrators, Providence – St. Mel can serve as the model for revamping all of American education.

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Preacher's Kid English Movie 2009


Cast And Crew

Starring: Essence Atkins, Clifton Powell, Tammy Townsend, Dawnn Lewis, Gregory Alan Williams
Rating: NR - for thematic material involving some sexual content, vilence and brief drug use
Genre: Drama
Length: 110 min
Distributor: Gener8xion Entertainment

Reviews
An unworldly young women, raised by her widowed preacher father, takes off with a charming actor in a touring gospel play."I love this movie! Stan Foster is born as a filmmaker. "ThePreacher's Kid" is filmmaking at its best - well written, well directed, and the performances are top notch. It touches your heart,breaks your heart and puts it back together again. A new American classic is born."Robert TownsendDirector Hollywood Shuffle, The Five Heartbeats
"The movie has strong ministry appeal to many children who grow up in church as well as their parents."Pastor Ed SmithZoe Christian Center
"If I were to rate Preacher's Kid on a scale of 1-10 it would receive a 10. Preacher's kid was a true art imitating the life of what really happens with church folks. It was entertaining, enjoyable and is ready to be a block buster on the major screens. Thank you Gener8Xion Entertainment for keeping it real."Susie Jones, PastorTired of being a Preacher's daughter and longing to experience more of life, 20-something ANGIE KING strikes out on her own for the very first time and joins a traveling gospel show. In this modern-day rendition of the fable of The Prodigal Son, she soon discovers life on the road is tough but fears going home with nothing to show for herself, or worse, to a father who no longer loves her.

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Paranormal Activity English Horror Movie 2009
Cast And Crew
Starring: Katie Featherston, Micah Sloat
Director: Oren Peli
Rated: R [See Full Rating] for language
Genre: Horror/Suspense
Theatrical Release:Sep 25, 2009 Limited
Reviews
A haunted house makes no secret of the fact it is not pleased with its new tenants in this independent tale of supernatural horror. Katie (Katie Featherson) and Micah (Micah Sloat) are a twentysomething couple who've just moved into a new home in San Diego, California. Katie has an interest in the paranormal and believes that malevolent spirits have been following her since childhood, though Micah is not so easily convinced. However, after several nights of loud noises and strange happenings, Micah starts to agree with Katie that some sort of ghost may have followed them to the new home. After a paranormal researcher tells the couple he can't help them, Micah decides to take control of the situation and sets up a battery of video cameras so that if a spirit manifests itself, he can capture its behavior on tape. Once the surveillance cameras are in place, Katie and Micah bring in a Ouija board in an effort to talk to the spirits, a move that deeply offends the ghosts. PARANORMAL ACTIVITY was the first feature film from writer-director Oren Peli.After a young, middle class couple moves into what seems like a typical suburban "starter" tract house, they become increasingly disturbed by a presence that may or may not be demonic, but is certainly most active in the middle of the night. Especially when they sleep. Or try to.
The second sneak preview of the Telluride Film Festival, the indie-turned-studio horror pic "Paranormal Activity," unspooled in perfect conditions late Saturday: outdoors, in the dense darkness of midnight under pouring rain. And the audience, which stuck it out under makeshift ponchos and umbrellas, were primed for the experience.By now the backstory to "Paranormal Activity" is the stuff of indie-film lore. Made with a single camera for$11,000 in one house, the movie caught the attention of Paramount, which noted the film's low-budget spooks, saw it as a potential breakout along the lines of "The Blair Witch Project" and proceeded to acquire the title.The movie almost didn't make it to the fest. Telluride programming directors invited the film but could only schedule it for the Abel Gance Open Air Cinema, which screens 35 mm prints. But two days before the festival kicked off, Paramount said that it had converted two 35 mm prints and was flying them up. The movie arrived two hours before showtime.Oren Peli's film follows an an unmarried couple harassed by paranormal forces and their attempts to uncover the culprits. The essence of its psychological hook comes with several time-lapse shots of the couple asleep in their bed while all manner of bizarre but subtle phenomena unfold around them.At the screening, the crowd often muttered admonitions to the terrified characters onscreen and gasped in unison at impending threats. And while the film indeed can flirt with the obvious -- it stretches its concept a little long and repeats itself -- it also plays on our most basic fears upon falling asleep.And the ending? The less said about it, the better. Let's just say I walked back to my hotel looking over my shoulder every few steps.When people begin describing a movie as being "Very much like 'The Blair Witch Project,'" there’s a collective groan and eye roll that emerges from audiences. Whether you loved the movie or hated it, people are very turned off by the whole mock documentary/found footage movie theme that was popularized by "Blair Witch," but in all respect, it’s become a great way for indie filmmakers to tell their story and save money. It’s cheaper, and it allows for a grittier realism that sometimes works and sometimes falls flat on its face. "Paranormal Activity" succeeds with flying colors. It’s a brutal, exhausting, and genuinely horrifying little ghost flick that really makes me rethink my stance on horror films altogether.The last independent film to use this medium that won me over and has yet to catch on is "In Memorium" a movie very much in the vein of "Paranormal Activity" with pretty much the same arc and concept, and "Paranormal Activity" is in that small sub-genre that works, thanks to great performances and wonderful direction that sell the packaged concept of the entire film being "found footage" depicting a supernatural occurrence that inevitably ruins a happy couple. "Paranormal Activity" has become a slightly controversial independent film that has continued the pretense that what we’ve seen here may or may not be fictional.Like "Street Thief," the folks behind this have declined to truly explain if what we’re watching is pure fiction from innovative filmmakers, or the most realistic footage of a demonic presence we’ll ever see, and the approach toward blurring the lines of fiction and reality have split the audience for this. Fictional or not, "Paranormal Activity" acts upon its illusion wonderfully with incredible performances from its duo (if they ARE performances, that is), and utterly incredible special effects (If they ARE special… you know the rest). "Paranormal Activity" may be intent on deceiving us in a way, but for all intents and purposes, it’s a wonderful horror film that truly convinces me that the ghost sub-genre isn’t dead, after all.Every bit of dialogue feels natural, and every moment of misery, mental torture, and pain feels genuine. Micah and Katie have moved in together, and Katie is convinced that she’s been haunted all of her life. This presence that’s watched over her has apparently followed her everywhere, including this new house, and the apparition that resides with them seems to have a fond interest in Katie. Her vain and selfish boyfriend Micah is a man who seeks to document the spectacle with his camera and equipment and purposely ignores Katie’s pleas to respect the paranormal presence and refrain from taunting it. But as the nights pass, the events in the house become much more harrowing and the deliberately paced "Paranormal Activity" takes us along for this grueling experience with every breath.Micah is first amused by the proceedings and gradually comes to the realization that this benevolent force will be the death of the two and no one can help them. Every day there’s a wash of relief over the couple and the audience who feels safer but will dread the night. Every introduction of night time footage in the master bed room brings with it a sense of sheer terror of what unfolds ever so slowly. There’s nary an explanation of whom or what is terrorizing this couple, and there’s barely any hint to what is bringing terror to this household. Claw prints appear along the floors, recollections of a childhood fire Katie experienced is constantly alluded to, and the night takes on a whole new force of evil that makes every passing moment an experience that will actually leave you covering your eyes with caution.