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Cast And Crew
Starring: Habib Boufares,
Hafsia Herzi, Farida Benkhetache,
Abdelhamid Aktouche
Director: Abdel Kechiche
Running Time: 151 Minutes
Status: Released
Country: France
Genre: Drama, Family, Foreign
Country:France
Released Date: Philippines 4 June 2010 (French Film Festival)
Released Date:USA 27 July 2010 (DVD premiere)
Also Known As (AKA): La graine et le mulet France (original title)

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Plot Keywords: Shipyard | Bank Loan | Rejected Loan Request | Foreman | Cooking

Plot Summary:
Though it is seldom discussed (or acknowledged) in the West, modern-day France incorporates a substantial number of immigrant communities, with many indigenes from North Africa populating the bucolic regions of southern Gaul. Abdel Kechiche's La Graine et le Mulet hones in on one such community, located on the ocean, which exudes a laid-back, unforced rhythm and a slower pace of life for all of its residents. For many years, one such occupant, sexagenarian Slimane Beiji (Habib Boufares), has nurtured a single lifelong dream: to open up his own couscous and fish restaurant in the community. This dream appears ever more impossible when Slimane is promptly laid off, but he soon lands on the idea of occupying a wrecked boat and converting it into the restaurant. Meanwhile, the gentleman has recently divorced his wife, Souad (Bouraouia Marzouk), and has moved into a hotel owned by his lover, Latifa (Hatika Karaoui), but Slimane's extended family continues to meet at Souad's home on a weekly basis for her beloved fish couscous, where they expostulate their views on life and reflect on the state of their relationships with one another. In a tangentially related subplot, Slimane's oldest son, Hamid (Abdelhamid Aktouche), enjoys an extramarital affair, ignoring his nuptials with his Russian wife and the presence of his infant boy, and thus endangering the sanctity and happiness of his family. ~ Nathan Southern, Rovi

Movie Review:
This is the story of French-speaking Arabs somewhere in a port city on France's Mediterranean coast. The main character, Slimane, an Arab immigrant, works as a repairman on boats, and his immediate boss is always on his case about how slow he is. When Slimane confronts him, the boss simply says the work is no longer profitable and that his hours must be cut. Slimane is in despair. He has missed two alimony payments to his ex-wife, and as he brings large amounts of fresh fish around to her, he discovers that the freezer is full of frozen fish, the stuff he brought previously that hasn't been eaten. She tells him fish doesn't pay the bills, and now he has to think of something.
Slimane feels like a failure, but thanks to the aggressive nature of Rym, his daughter by his girlfriend, he succeeds in obtaining a loan from the bank to open a boat restaurant that specializes in the fish couscous that his ex-wife makes so wonderfully. No one in the local community believes he can pull it off, but he schedules an opening night and invites all the local grandees. There is live music and drink is flowing. His ex-wife cooks a huge quantity of couscous and everything is ready.
To say more would be to spoil the film. Suffice to say, the big night could not go off smoothly and still qualify as drama. But the star attraction is the young actress who plays Rym, Hafsia Herzi. She cannot be past her teens but shows tremendous depth and range—in addition to an extra talent that viewers will have to wait to see. She is easily the funniest character as well, since the rest are rather sad types that depict the dysfunction inherent in Muslim immigrant communities in the West.
The style of this movie is pure realism. The acting is superb all around, so much so that it almost feels like a documentary at times, a kind of "day in the life" where some documentary filmmaker follows these people around for a few days to see how they live. What augments this sense is that the camera is almost always hand-held, and the image is moving around all the time in a method pioneered by NYPD Blue. I found this slightly irritating, actually, since it does not give much room for spectacular cinematography. My ideal movie is a visually mesmerizing spectacle, and this film is not one — at least in terms of the photographic quality. There are some scenes where the movements of the actors—particularly Hafsia Herzi—compensate for this shortcoming. But on the whole it is unremarkable visually.

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Cast and Crew
Cast : Chace Crawford, Emma Roberts,
Rory Culkin, 50 Cent, Ellen Barkin,
Kiefer Sutherland, Charlie Saxton,
Zoe Kravitz, Kiefer Sutherland (Narrator)
Director: Joel Schumacher
Writers :Jordan Melamed
(screenplay)Nick McDonell (novel)
Release Date: 6 August 2010 (USA)
Genre: Drama | Thriller
Runtime: USA:93 min
Country: USA | France
Language: English
Sound Mix: Dolby Digital
Certification: USA:R
Filming Locations: New York City, New York, USA

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Plot Keywords:Drug | Manhattan New York City | One Word Title | Drug Addiction | Teenager
Twelve(2010) Plot Summary:
A young drug dealer watches as his high-rolling life is dismantled in the wake of his cousin's murder, which sees his best friend arrested for the crime.
Based on the Nick McDonell novel of the same name, Twelve follows a high school dropout-turned-drug dealer. His lucrative life sours when the dealer's cousin is brutally murdered on an East Harlem playground and his best friend is arrested for the crime. McDonell wrote his novel when he was only 17, which depicted teenage drug use and decadence on the Upper East Side.
A privileged, pot-dealing high school dropout heads down a collision course with tragedy after his cousin is slain in Harlem and his best friend is arrested as the prime suspect in the killing. Inspired by author Nick McDonell's critically acclaimed novel, Joel Schumacher's gritty inner-city drama tells the story of White Mike (Chace Crawford), a wayward teen who makes more money selling pot to rich kids from the Upper East Side than he ever would with a high school diploma. Spring break is here, and everyone in Manhattan is looking for a sack. White Mike's spoiled clientele always springs for the good stuff, making this an especially profitable time of the year. When White Mike's cousin winds up on the losing end of a deadly skirmish at an East Harlem housing project, the drug-pushing dropout finds his comfortable existence shaken to the core. - Jason Buchanan, All Movie Guide
Based on the critically acclaimed novel by Nick McDonell, written when he was only 17 years old, Twelve is a chilling chronicle of privileged urban adolescence on the Upper East Side of Manhattan. Set over spring break, the story follows White Mike, a kid with unlimited potential, who has dropped out of his senior year of high school and sells marijuana to his rich, spoiled peers. When his cousin is brutally murdered in an east Harlem project, and his best friend is arrested for the crime, White Mike is hurled on a collision course with his own destiny.
Led by director Joel Schumacher, a talented ensemble cast perfectly captures the obvious pain of children teetering on the brink of adulthood. Schumacher counters their overindulged behavior with operatic staging and a literary voice-over. For every decade, there are moments when youth culture is frozen in "art," to be reveled in by the generation that lived it and observed by those that didn't. That is Twelve.

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Twelve is the story of 17-year-old White Mike, the privileged son of a restaurant tycoon. His mother succumbed to breast cancer several years before the film begins. White Mike is a drug dealer who has taken his senior year in high school off to sell drugs to his wealthy peers. When he is not selling drugs he is reminiscing of his childhood and philosophizing about a world he feels he is not a part of. The title of the film refers to a new designer drug which the protagonist of the novel, White Mike, sells. The drug is referred to as a cross between cocaine and ecstasy.
A high-school dropout (Chace Crawford) sells drugs to his wealthy former classmates. A high school dropout-turned-drug dealer's lucrative life sours when the dealer's cousin is brutally murdered on an East Harlem playground and his best friend is arrested for the crime.
A tiny remedy play watches given his high-rolling being alive is distant inside a arise of his cousin’s attempted murder, that sees his fan arrested given a crime. |
Twelve is an upcoming film, set for release on July 30, 2010 (USA). The film is based on the book by Nick McDonell. The screenplay is written by Jordan Melamed and directed by Joel Schumacher, and stars Chace Crawford as White Mike, Emma Roberts as Molly, Emily Meade as Jessica, Curtis "50 Cent" Jackson as Lionel, Charlie Saxton as Mark Rothko, Rory Culkin as Hunter, Jermaine Crawford as Nana, Billy Magnussen as Claude, Esti Ginzburg as Sara Ludlow, Jeremy Allen White as Charlie, Kiefer Sutherland as a narrator, Alexander Flores as Arturo, Chanel Farrel as Shelly and Philip Ettinger as Hunter, friend of White Mike.

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Cast And Crew
Cast:Sarsi Emmanuelle; Mark Joseph;
Maria Isabel Lopez; Myra Manibog; Pia Zabale
Director: Elwood Perez
Genre: Drama,Horror
Movie Type: Psychological Drama, Erotic Drama
Themes: Questioning Sexuality,
Fathers and Daughters,
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Release Year: 1985
Retrieved: 2009-07-29
Country: Philippine
Run Time: 125 minutes
Country: Philippines
Language: english dubbed
Aspect Ratio: 1.85 : 1
Certification: Philippines:R-18
Filming Locations: Davila, Pasuquin,
Ilocos Norte, Luzon, Philippines
Company: Viking Films International more

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Aisha Movie Review:
Recall the age-old adage: Marriages are made in heaven. Consummated on earth. But haven't we encountered lots of people in real life who try to set things up between friends/acquaintances? In fact, they take upon themselves to make matches and meddle in other people's affairs. That, in a nutshell, is the plot line of film Aisha.
Let's get one thing straight. You are not exploring virgin territory with Aisha. 'Emma', the Jane Austen novel, has been adapted on film and television in the past. Although first published in 1815, almost 200 years ago, director Rajshree Ojha and writer Devika Bhagat transport the characters from this novel to present-day New Delhi. But the essence remains the same: A simple plot and an equally simplistic love story.
Unlike most love stories that we’ve witnessed on Hindi screen, there’s no heavy-duty 'drame baazi' in Aisha, no major hurdles to cross, no parental opposition to encounter, no major conflicts to solve. The director and writer remain faithful to the novel, which prompts you to ponder, wish the relationships were so uncomplicated in today’s times.
But there's a flip side as well. The film runs a little longer [although the running time is 2 hours] and gets painfully slow in some portions. Besides, Aisha lacks the depth of passion and that could be because the makers were trying to make something lighter and breezier. Sweeping the minor complaints aside, Aisha is watchable for two factors mainly: Neat performances, especially by Sonam Kapoor and Amit Trivedi’s super musical score.

Final word? The romantic buried inside all of us may respond to Aisha well.
Aisha [Sonam Kapoor] is a girl with a simple diktat, 'everyone's business is her business.' Arjun [Abhay Deol] is a boy with even a simpler set of beliefs that, Aisha should mind her own business. Caught in the Delhi upper class world with its own set of social rules, Aisha navigates her world with a great sense of style and even greater optimism.
Caught in her web are her best friend Pinky [Ira Dubey], the small-town girl Shefali [Amrita Puri], the West Delhi boy Randhir [Cyrus Sahukar] and the hunk Dhruv [Arunoday Singh]. Aisha will make sure everyone dances to her tune. And all Arjun wants to do is disentangle that web and get Aisha out of an impending sticky mess.
Director Rajshree Ojha and writer Devika Bhagat introduce the principal characters at the very outset and within minutes, you know their traits as well. The entire first hour is filled with the assorted characters interacting with one another and technically speaking, there's hardly any movement in the story. In fact, the first hour is more of a collage of incidents and moments put together on a beautiful canvas.
But the wheels start moving towards the post-interval portions, when the lead characters [Abhay, Sonam] suffer from pangs of jealousy and the remaining characters find themselves at crossroads as far as relationships are concerned. From this point onwards, Aisha gets more and more engaging. Note the confrontation sequence between Sonam and Amrita, which leads to a bitter outburst by the latter. Note the sequence when Sonam professes love for Abhay at a marriage reception, only to realise later that she had walked into a wrong venue. Note the finale, which is very Mills & Boon type of culmination. Well penned and well executed sequences!
Director Rajshree Ojha has handled several moments well, but how one wishes she would've spruced up the proceedings by coming straight to the point, instead of depicting Abhay and Sonam in sulking moods in several sequences of the second hour. Also, from the writing point of view, Cyrus and Ira Dubey suddenly realise that they are made for each other. Why this sudden pyaar? Didn’t they detest each other? Loving the same musician doesn't imply you are made for each other! There had to be a scene or two to indicate that they are drawn towards each other.
The production design [Shruti Gupte] is impressive. The film bears a striking look all through. The styling of all characters is up to the mark. The costume designers [Pernia Qureshi and Kunal Rawal] deserve full marks for choosing/making the trendy outfits. Diego Rodriguez’s cinematography is appealing. Music composer Amit Trivedi is in form, displaying his versatility in various numbers such as ‘Shaam’, ‘Suno Aisha’ and ‘Gal Mitthi Mitthi Bol’.
Film Aisha is sure to open eyes to the talent of its leading lady Sonam Kapoor, who gives face, form and expression to Aisha. She displays the essential characteristic of an actress who has the ability to shift quickly and effectively from one emotion to another. She can cry, look wistful and deliver a biting line with equal believability. Abhay Deol is a complete natural and the fact comes to the fore yet again as you watch Aisha. Although Sonam has an author-backed role, Abhay underplays his part well and registers a strong impact in several scenes.

The film is supported by a fine [read talented] cast. Also, one of the delights of the film is the cleverly written supporting roles. Ira Dubey is spunky, a damn good actor. Amrita Puri is a revelation, a powerhouse of talent. Cyrus Sahukar is first-rate. Arunoday Singh acts his part well. Lisa Haydon [as Aarti] is underused in a small role. Anuradha Singh is classy. M.K. Raina [Aisha’s father] is efficient. Anand Tiwari [as Saurabh] is competent. Sameer Malhotra and Vidhushi Mehra [Aisha’s brother-in-law and sister, respectively] have nothing substantial to do.
On the whole, Aisha holds appeal for the youth mainly and there’s a strong likelihood that this segment of movie-going audience will fall for its charms. From the business point of view, the makers have recovered a big chunk of their investment from the sale of Satellite Rights and Music Rights and recovering the balance amount from India theatrical, Overseas and Home Video should be a cakewalk.
Director: Rajshree Ojha
Cast: Abhay Deol, Sonam Kapoor, Cyrus Sahukar, Arunoday Singh, Ira Dubey, Amrita Puri, Lisa Haydon

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Cast and Crew
Cast:Leon Lai,Richie Ren,
Baoqiang Wang,Baoqiang Wang,
Vivian Hsu,Kai Chi Liu,Michelle Ye,
Charles Ying,Kai Tan,Kai Tan,
Wilfred Lau,Yan Tang,Xiaojun Yue
Director: Dante Lam
Writers: Dante Lam (story)
Wai Lun Ng (writer)
Release Date: 1 April 2010 (Hong Kong)
Genre: Action | Thriller
Also Known As (AKA): For lung - Hong Kong (original title)
Runtime: 106 min
Country: Hong Kong
Language: Cantonese | Mandarin
Sound Mix:Dolby Digital
Filming Locations: Hong Kong, China

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Fire Of Conscience Movie Synopsis:
The investigation of a prostitute homicide brings headstrong, heavy-handed Detective Manfred (Leon Lai) in an unlikely collaboration with sly, man-of-the-world Inspector Kee (Richie Ren) from the Narcotics Bureau.
When the DNA samples of one of Manfred’s fellow officers are found at the crime scene, implicating him as the prime suspect, Manfred must look beyond the obvious to get to the truth. Meanwhile, Kee’s uncanny eagerness to lend a helping hand every step of the way outside his own turf is beginning to smack of evil.
In the line of fire between high levels of corruption and possible malice, Manfred must solve all the twists and turns of the mystery, trying to figure out who his enemy is and how to save his innocent partner from unfathomable disgrace. Unwittingly, he is about to open a Pandora’s Box that will threaten to upend the entire Hong Kong Police Force.

Fire Of Conscience Movie Review:
Having just seen Dante Lam's latest in the Cannes Marche du Film and being greatly entertained by it I feel the need to pull this back up to the front of the page. When it comes to Hong Kong action these days, Dante is the man. - Todd

With his latest film, director Dante Lam firmly establishes himself as Hong Kong's brightest light for a possible renaissance of this once world-class hotbed of action Cinema. FIRE OF CONSCIENCE is a taut, gripping police thriller, brimming with gunplay, explosions and perilous stunt work that leaves its audience breathless and exhilarated.

Mourning the death of his wife, Detective Manfred Fong (Leon Lai) is falling apart. He lives out of his car, sports a scraggy beard and dishevelled appearance, drinks heavily and regularly takes out his pent-up aggression on suspects. His behaviour has attracted the attention of his superiors, and Internal Affairs have started sniffing around. His loyal team, including Liu Kai Chi and Michelle Ye, do their best to keep him washed, fed and on the straight & narrow, but it's proving an uphill struggle. Manfred crosses paths with the slick regional head, Kee (Richie Ren) while investigating the murder of a prostitute and the pair hit it off and soon find themselves working together after a teahouse shootout uncovers some serious bomb-making equipment.

FIRE OF CONSCIENCE wastes no time in establishing and fleshing out its characters, but mercifully restrains itself from the normal prerequisite melodrama in favour of thrilling on-location chases and gunfights, filmed in some of Hong Kong's busiest commercial districts. Intentionally evoking the likes of Michael Mann's HEAT in these scenes of fierce urban violence, stylistically Lam's film is closer to those of Paul Greengrass, eschewing Mann's steely sheen for a grittier handheld urgency. The result is a frantically paced film with precious little downtime, and audiences will need their wits about them to keep track with who is who when pins are pulled and bullets start flying.
Lam takes full advantage of the story's featured weapons dealers and bomb makers, unleashing a high-calibre arsenal of handguns and automatic weapons as well as some impressively grisly explosions. FIRE OF CONSCIENCE is surprisingly violent for a down-the-line policier - characters get shot, blown up, gassed, crushed, run over, stabbed and at one point even waterboarded. But all the while, it is handled efficiently, effectively and never feels sadistic or unnecessarily gratuitous. Our heroes are fallible, our villains are vicious and anyone can, and quite possibly will, get gunned down or injured at any moment. These guys spend long periods of the movie battered, bruised and bandaged up.
Leon Lai does an effective job of portraying the tortured, vengeful Manfred, without feeling the need to go all crazy-eyed, Aaron Kwok-style. It's his conscience the film's title refers to, and his struggle to continue upholding the law even as life repeatedly deals him the worst possible hand is portrayed authentically, with the bare minimum of sappy flashbacks or redemptive histrionics. Liu Kai Chi's Cheung-on is the character given the broken marriage and cute kid to deal with, but his admittedly rather touching father-daughter moment is nicely counter-balanced by his harbouring of a suitably unsavoury secret that threatens not only his own integrity, but that of Manfred and the whole team.
Richie Ren is at his most slippery smooth as Kee the glamorous career cop - well dressed, charismatic, with a taste for fast cars, beautiful women and big plays on the stock market. At first he appears to offer a crutch of support to Manfred, but before long it becomes apparent Kee's motives are far more self-serving. Michelle Ye ensures May is more than just window dressing in Manfred's team and her performance displays some of her best film work to date. Frequently first through the door, May proves more than capable wielding a handgun or hotfooting it through Central with an automatic rifle strapped across her chest, though is not beyond turning on the waterworks when an emotional counterpoint to the relentless action is required. In what could so easily have been a nothing role, Ye brings credibility and capability to the part. Which is just as well, as the other actresses, Vivian Hsu and Tiffany Tang, aren't given much to do but stand by their respective man or be placed in harm's way and exploited for emotional leverage.
At the end of the day FIRE OF CONSCIENCE is all about the action, which thankfully Dante Lam delivers in spades - stylishly, inventively and at a breakneck pace. There are passing nods to the stylings of John Woo throughout, not least in a moment towards the end when Lai goes one better than Chow Yun Fat's "baby in the hospital" finale from HARD BOILED, while maintaining a street smart authenticity best seen in Derek Yee's work. In short, FIRE OF CONSCIENCE is a blast from beginning to end, delivering a much-needed grenade down the pants of an increasingly tired and world-weary sub-genre.

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Cast and Crew
Cast: Byron Pang, Thomas Price,
Winnie Leung, Linda So
Director-screenwriter-producer: Scud
Executive director: Lawrence Lau
Director of photography: Charlie Lam
Production: Artwalker Limited.
Art director: Jack Chan
Music: Yu Yat Yiu & Ho Shan
Editor: Heiward Mak
Sales: media luna new films
Rating: No rating,
Released date:28/4/2010
Runtime: 97 minutes
Venue: Hong Kong International Film Festival
(closing film)
Language:Cantonese| English

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Movie Review:
Scud's latest effort is a brash, self-indulgent, homosexually charged film - but then no one was expecting it to be anything else. As such, AMPHETAMINE is forced to negotiate a number of tricky hurdles, both on and off screen, which it only occasionally manages to clear successfully. The story details the impassioned affair between openly gay banker, Daniel (Thomas Price) and the closeted, drug-addled lifeguard Kafka (Byron Pang). After spying him looking forlorn in a bar, Daniel offers Kafka a ride in his Ferrari, whisking him off to his luxurious apartment, where he attempts to woo him with his affluent lifestyle. Although we've previously seen Kafka getting paid to give hand jobs in the sauna, he has an ex-girlfriend and insists he is straight. Daniel is not put off however, and invites Kafka to move into his apartment, away from the bad influences of his ice-smoking older brother. But Daniel's efforts appear too little too late and Kafka's drug use threatens to forever threaten their union.
I have no problem watching films about homosexual relationships, even when portrayed as graphically as they are here - and for a Hong Kong movie, Scud leaves precious little to the imagination and includes plentiful full-frontal nudity. What does cause me discomfort is when gay characters are portrayed as being so cloyingly camp as both Price and Pang do here. Whether these actors are in fact homosexual or not is beside the point; what they are unable to do is act like a couple in love, lust or even comfortable with each other. It is one thing to portray an awkward relationship, it is another thing to watch two men touching each other with such obvious restraint. It is a sentiment that is unintentionally projected onto the audience - a feeling compounded by the continual use of clunking, lifeless English dialogue. This is not a phenomenon unique to AMPHETAMINE, local productions regularly struggle to deliver performances in English with anything approaching realism, and I understand the difficulty for directors to coach line readings in a tongue not their own. However, more often than not the actors in question are speaking in their first language, so surely should be able to perform naturally. But alas, their performances grate with discomforting awkwardness.

To its credit, AMPHETAMINE is filmed beautifully and boasts some breathtaking vistas of Hong Kong harbour from various picturesque locales. Heiward Mak's editing also lends the film a dreamlike, drug-induced quality that eases the pain of the plodding narrative and deadwood performances. What it doesn't do, however, is bring any sense of authenticity to the film's numerous depictions of drug use, which remain naïve and tedious right up until Kafka's final, patience-snapping bird impression. Yes, bird impression, complete with wings, nest and bobbing head.

There is no doubt AMPHETAMINE will be cut before release in Hong Kong cinemas and is never likely to see the light of day north of the border, but even without broaching the censorship issue, the film will struggle to find much of an audience, because it really isn't very good. There is an argument that independent filmmakers such as Scud, who work outside the system broaching challenging and controversial subjects, should be supported and encouraged. I disagree. The fact that they wrestle with difficult social issues - or just fill their films with lots of shots of naked men - shouldn't gift them carte blanche to turn in any old nonsense and expect it to be received with open arms. Clearly, A-list actors would be impossible to cast in AMPHETAMINE's leading roles, but the acting on display only further highlights the lack of breadth in the HK industry. With no middle ground in the talent pool and with a lack of willing investment there is no hope for growth. However, without decent writing, vision or relevance - and in all honesty, AMPHETAMINE feels decades after-the-fact - it's little wonder Hong Kong struggles to release more than a handful of half-decent films each year.