The Green Hornet Hollywood Adventure 3D Movie (2011)
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Cast and Crew Starring: Christoph Waltz, Cameron DiazSeth Rogen, Edward Furlong Edward James Olmos Director:Michel Gondry Writers:Evan Goldberg, Seth Rogen,Fran Striker, George W. Trendle Studio:Columbia Pictures Genre:Superhero, Action, Adventure, 3D Rating: for sequences of violent action, language, sensuality and drug content. Runtime:1 hour 48 minutes Release Date:January 14th, 2011
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The Green Hornet: Synopsis: A classic character of film, television, radio, and comic books returns to the big screen in Columbia Pictures’ feature film The Green Hornet, starring Seth Rogen as the vigilante crime-fighter. The film will be directed by Michel Gondry (Eternal Sunshine of the Spotless Mind) from a screenplay written by Seth Rogen & Evan Goldberg (Superbad, Pineapple Express), based upon “The Green Hornet” radio series created by George W. Trendle, and produced by Neal H. Moritz (The Fast and the Furious). The film is slated for release winter 2010.
Movie Plot Summary: Britt Reid (Seth Rogen), son and heir to Los Angeles' largest newspaper fortune, is a rich, spoiled playboy who has been happy to maintain a direction-less existence. When his father James Reid (Tom Wilkinson) mysteriously dies, Britt meets an impressive and resourceful company employee, Kato (Jay Chou). They realize that they have the resources to do something worthwhile with their lives and finally step out of James Reid's shadow. Kato builds the ultimate weapon, The Black Beauty, an indestructible car with every weapon and gadget imaginable and Britt decides that in order to be heroes, they will pose as villains. With the help of Britt's new secretary, Lenore Case (Cameron Diaz), they learn that the chief criminal in the city is named Benjamin Chudnofsky (Christoph Waltz). He has united all the gangs under his power, and he quickly sees that the Green Hornet is a direct threat to the prosperous criminal underworld he controls. Directed by Michel Gondry.
Plot Details: In the 3D action-comedy The Green Hornet, Britt Reid (Seth Rogen) is the son of LA’s most prominent and respected media magnate and perfectly happy to maintain a directionless existence on the party scene – until his father (Tom Wilkinson) mysteriously dies, leaving Britt his vast media empire. Striking an unlikely friendship with one of his father’s more industrious and inventive employees, Kato (Jay Chou), they see their chance to do something meaningful for the first time in their lives: fight crime. To get close to the criminals, they come up with the perfect cover: they’ll pose as criminals themselves.
Protecting the law by breaking it, Britt becomes the vigilante The Green Hornet as he and Kato hit the streets. Using all his ingenuity and skill, Kato builds the ultimate in advanced retro weaponry, Black Beauty, an indestructible car equal parts firepower and horsepower. Rolling in a mobile fortress on wheels and striking the bad guys with Kato’s clever gadgets, The Green Hornet and Kato quickly start making a name for themselves, and with the help of Britt’s new secretary, Lenore Case (Cameron Diaz), they begin hunting down the man who controls LA’s gritty underworld: Benjamin Chudnofsky (Christoph Waltz). But Chudnofsky has plans of his own: to swat down The Green Hornet once and for all.
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Cast And Crew Starring:Silvia Suvadova, Jesse Hlubik,Nick Mancuso, Barry O'Rourke,Andrea Harrison Director: Gregory Hatanaka Writers:Gregory Hatanaka, Tony T.L. Young Studio:Cinema Epoch Genre:Drama Rating:NR for not rated. Runtime:1 hour 40 minutes Release Date:January 7th, 2011
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Movie Plot Summary: Katarina is a music teacher obsessed with an unfinished symphony. She worries about her brother, Ondrej an introverted inventor whose financiers are reputedly shady and dangerous. Then one day, her ex-husband Pietro shows up in her house and locks her in a cage.
Movie Reviews: Gregory Hatanaka’s psychedelic martial arts thriller “Mad Cowgirl” was a perplexing motion picture, a real head-scratcher. To be perfectly honest, I’m still not entirely sure if I fully comprehend the message the filmmakers were trying to impart. And while I have this strange, unexplainable desire to give the flick another spin, I seriously doubt I could stomach another viewing anytime soon. That said, Hatanaka’s latest endeavor, the cleverly-titled “Violent Blue,” intrigues me. Judging from the teaser trailer recently unearthed by the fine fellows at Twitch, the film appears to be another entry in the “How hard is it to emulate David Lynch?” genre. Apparently, it’s not as difficult as you might think.
Phil Ochs: There But for Fortune Hollywood Documentry Movie (2011)
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Cast And Crew Starring: Joan Baez,Tom Hayden, Christopher Hitchens,Phil Ochs Director:Kenneth Bowser Writer:Kenneth Bowser Studio:First Run Features Genre: Documentary Rating:NR. for not rated. Runtime:1 hour 36 minutes Release Date:January 5th, 2011
Hollywood movie online English movie online Comedy movie Romantic movie online movie Review movie story Family Movie Thriller Movie Phil Ochs: There But for Fortune Hollywood Movie Phil Ochs: There But for Fortune Directed By Kenneth Bowser
Movie Plot Summary: From civil rights to the anti-war movement to the scandals of Watergate, protest singer Phil Ochs wrote songs that engaged his audiences in the issues of the 1960s and 70s. In this biographical documentary, veteran director Kenneth Bowser shows how Phil's fascinating life story and music were intertwined with the history-making events that defined a generation. Even as his contemporaries moved into folk-rock and pop music, Phil followed his own vision, challenging himself and his listeners. Not one to pull punches, Ochs never achieved commercial success de desperately desired. But his music remains relevant, reaching new audiences in a generation that finds his themes all too familiar.
Movie Info: Phil Ochs: There But for Fortune movie poster provides viewers with a quite interesting and impressive sight since Phil Ochs: There But for Fortune movie poster is filled with images which assures of unique nature of upcoming movie. Being a documentary drama with touches of history and biography in it this sure will give away a rare and refreshing kind of an experience for audience. Moreover movie caption which goes as the most passionate voice of his generation could be the most relevant voice today is impressive.
Phil Ochs: There But for Fortune movie will be the latest directorial venture of Kenneth Bowser as he will try to come up with an effort to bring out the life of one of the notable songwriters and singers who had a considerable influence. As a protest singer he had made his fans aware about issues in 1960s and 70s and through the medium of music he had done an exceptional and outstanding spice of work to the society through his talents which remain well known even today.
Phil Ochs: There But for Fortune movie will feature Phil Ochs himself through archive footage and in addition to that Joan Baez and Tom Hayden will also be seen in cast of movie as they will come up with sharing their views about this popular singer. Therefore upcoming motion picture which will be released on 5th of January 2011 will definitely be a must watch movie for its biographical and historic touch in shape of a documentary.
Movie Review: recording artist Phil Ochs to the turgid second rung of 1960s protest singers seems more an act of twisted fate than an informed critical judgment. "Fifteen years ago in the old folky show, you were just one voice in the crowd," eulogized Harry Chapin in song shortly after Ochs's suicide, thereby perpetuating the myth of the singer's genericism while still attempting to canonize his passion. It's hard to say whether that well-intentioned paean, "The Parade's Still Passing By," helped to skew the singer's posthumous reputation or if it was merely a barometer of existing misconception, but it's an apt summary of what in his legacy requires challenging. Implicit in the track's faint praise, even, is the rumor that Ochs's death was in part inspired by his inability to compete with Bob Dylan's appointment as generational spokesperson.
Kenneth Bowser's vintage photo-laden documentary Phil Ochs: There But for Fortune immediately if subtly debunks this assumption. Tracing the genesis of Ochs's musicianship, the film illuminations distinctions in influence between the presumed folk victor and subordinate; Dylan arrived in Greenwich Village a well-oiled Woody Guthrie jukebox, but Ochs was an aspiring composer who idolized Elvis, Hank Williams, and Bob Gibson well before he reached New York City. Commenting on the brief period that both enjoyed under the tutelage of Pete Seeger, who saw no disparity in quality between them, talking head Christopher Hitchens further elucidates that Ochs's impersonal nature made him the anti-Dylan. "Anyone could like Bob Dylan," he offers, "but [Ochs's songs were] far more political and tough-minded."
Ironically, Ochs's astringently leftwing tunesmithing recalls Woody Guthrie far more indelibly than Dylan's lysergic, starry-eyed prophesying; if "The Chimes of Freedom" is an ocean of sincerity, "Love Me, I'm a Liberal" is a winking sluice of disapproval. Dylan's intentions could never quite be definitively discerned, which enabled future generations to interpret his music within their own emotional contexts. Ochs's hammy, adenoidal delivery, on the other hand, could never be taken seriously; his hopelessly unreliable narrators, whether draft dodgers or witnesses-cum-co-conspirators to acts of abuse, would later influence satirists like Randy Newman. Bowser makes clear with a glut of choice testimonials—Dave Van Ronk (via archival footage), Van Dyke Parks, Abbie Hoffman, and Jello Biafra among them—that Ochs's error was in associating with and deifying the first popular iteration of Dylan, and gladly suffering its occasional abuses. (Dylan once sneeringly claimed that Ochs wasn't a folksinger, but a journalist.) Zimmy's shadow would prove too desultory, too self-warping, to rest within comfortably. And, as There But for Fortune argues, by the time Ochs's and Dylan's styles had visibly bifurcated, the former had already resigned himself to the compromise of second fiddle.
The film unfortunately never touches upon Ochs's reaction to Dylan's folk apostasy, if he had one, though it briefly explores the surprising rewards of his own departures from the guitar-and-vocal formula. (Pleasures of the Harbor, still his most accomplished album, impishly pairs scathingly antisocial statements with ornate orchestral accompaniment.) But this dearth of personal confession on the part of Ochs himself (he didn't keep a diary and wasn't interviewed extensively in his final decade) quickly facilitates Bowser's surface-skipping narrative rhythm. After the mid '60s we bounce from one epochal event to the next as a way of externalizing Ochs's presumed turmoil, but the turbulent national climate is questionably made to appear more disheartening than the far more personally damning album sales (or lack thereof) Ochs experienced. The assassinations of Bobby Kennedy and Martin Luther King Jr., in particular, become opportunities for glib, Boomer-centric malaise: "There were so many awful things that happened in the '60s," one interviewee prosaically points out.
Bowser's "reading" of Ochs's inner pain through the uncomfortable transitions his era underwent would likely satisfy a man who released a record entitled All the News That's Fit to Sing. But applying the impersonal, if rousing, stance of songs like "I Ain't Marching Anymore" to biographical examination lends itself to emotional anemia—even the palpable possibility of mental disturbance is mostly elided because it disputes the symbolism of Ochs's death in the disillusioned '70s. Toward the end of the documentary brother and manager Michael suggests a diagnosis of manic depression; this would, at least, logically explain how Ochs could audaciously promise a publishing company hundreds of sales for a protest song in one moment and then grovel at Dylan's boot heel in the next. Footage of his final days as a raving, overweight street wanderer (he looks like one of Andy Kaufman's schlubby alter egos) is nearly as tragic as the inaccurate portrait of his heyday that posterity has preserved. There But for Fortune admirably attempts to revise that image, but its fidelity to its key demographic doesn't allow it to go far enough; the inadvertent message is that Ochs will likely never escape the obligatory prism of his populist outrage.
The Time That Remains French Historical Movie (2011)
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The Time That Remains Plot Summary: An examination of the creation of the state of Israel in 1948 through to the present day. THE TIME THAT REMAINS is a semi biographic film divided in four historic episodes, about a family, spanning from 1948 until recent times. The film is inspired of Elia suleiman’s father’s diary of his personal accounts, starting from when he was a resistant fighter in 1948 and his mother’s letters written to family members who were forced to leave the country since then. The Film attempt to portray the daily life of those Palestinians who remained in their land and were labelled “Israeli-Arabs” living as a minority in their own homeland.
Movie Info: What a terrific film! It is astonishing that someone could become such an accomplished and controlled filmmaker after only a handful of features spread over many years. The Time That Remains is intensely moving, very funny and incisive in its critique. It won’t please everybody and I confess that I only ‘got’ parts of it because of the investment I made in exploring writer-director Elia Suleiman’s previous film, Divine Intervention (2002).
Like the earlier film, The Time That Remains is a sharp commentary on the Israeli occupation of the Palestinian town of Nazareth which was ‘incorporated’ into the state of Israel in 1948. This time the historical events provide the structure of the film that tells the story of the director’s own family. The film opens in the present but soon switches to the moment of the Arab defeat in July 1948 when Elia’s father Fouad is a young toolmaker providing the local men with weapons. The narrative then moves forward to re-visit the Suleiman family when the son (referred to as ‘E.S.’) is first a young schoolboy, then an older student and finally in the present when the director, playing himself, visits his elderly mother.
The linear narrative with clear historical references makes the film in some ways more accessible than the series of sketches which detail contemporary life in Nazareth as seen in Divine Intervention. The recognisable structure means that, at least for me, it doesn’t feel as comedic or surreal as the earlier film (which also featured Suleiman Senior), though there are moments of surreal comedy. For instance, a running gag sees a next door neighbour who routinely gets drunk – in the first few scenes dowsing himself in petrol and trying to immolate himself and in later scenes claiming that his drunken state gives him powers that enable him to pluck Israeli planes from the sky. “It’s only logical” he says. (This is a Christian Arab community, so drinking arak is not as shocking as some commentators imply.) Other tropes of the director’s style also carry over from the previous film. He himself remains a largely passive character who never speaks – though he has some interesting non-verbal interactions with his mother. In several scenes the camera is kept static while comic scenes unfold in long shot – a hospital corridor is shown from outside the building as police and doctors play a game of tag with a wounded man, pulling his stretcher trolley one way and then the other.
Apart from the opening wartime scene, which includes a comic commentary on the failures of the Arab armies in 1948 (and which disturbingly shows the Israeli soldiers dressed much like British ‘tommies’ – which many of them had been – committing atrocities in Nazareth), the film is more subtle in its critique than Divine Intervention. Or at least, that’s how it felt to me. Peter Bradshaw in the Guardian seems to like the film but complains that the title isn’t explained. He suggests that it signals a kind of acceptance. I don’t agree with this and Suleiman himself offers this statement (which if it first appears elliptical, does, I think, make sense: Suleiman himself is in some ways a typical Palestinian filmmaker – ‘exilic’ in his perspective as an outsider and insider. The film is essentially his own observations on the memories bestowed to him by his father and the letters and cards sent by other relatives who moved to Jordan. As is often the case, the most powerful statements against the occupation are the most personal. In school, the young ES is challenged for claiming that the Americans are ‘colonialists’ and ‘imperialists’. The (Arab) school wins a prize in a Hebrew singing competition. A screening of Spartacus in the school stimulates the children’s sense of resistance – as their teacher attempts to protect them from the film’s portrayal of sexual desire.
Suleiman’s work is often compared to Jacques Tati and Buster Keaton in terms of sight gags and to Buñuel in its surrealism. This film has also prompted references to Fellini for its personal histories (i.e. like Amarcord). I think all these references can be justified but I worry that they deflect attention from Suleiman’s original, personal and highly political perspective on a specific tragedy – the occupation of Palestine.
This fascinating Facebook page on the film offers links to extracts, photos and background materials.
Cast and Crew
