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Orit Fox is a famous Israeli Model who is more famous from the size of her implanted silicone boobs, While cuddling kissing the deadly SNAKE on Spanish television channel Telecinco on LIVE SHOW the Snake goes Hot n Horny and bites the Models implanted boob to satisfy his lust, but ends up stepping into animal heaven, and the Famous model is rushed to the hospital for a vaccination. Israeli model Orit Fox was about to lick the snake when it wanted to lick back during a publicity stunt for radio DJ Shmulik Tayar. The serpent lunged forward and bit Fox's fake breast, sending witnesses into a frenzy. The actions caught the model off guard as she desperately tried to pull him off the breast. Rumored to have the largest bosom in all of Israel, the model was rushed to the hospital and given a tetanus shot and released.
snake who bit Israeli model and actress Orit Fox in the chest died after being poisoned by an unusual venom -- the silicone in the buxom blonde's surgically enhanced breasts. Spanish TV channel Telecinco's footage of Fox's encounter was racking up...Unfortunate for the snake he later died from silicone prisoning.
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HollywoodNews.com: It is starting to seem like Vanessa Hudgens is going to have even more drama to deal with right now.
It is being reported that more nude photos have been leaked of Hudgens that may have been from the same batch as her original photo scandal, states TMZ. The difference with these photos? It is reported the new ones are extremely graphic.
This time, Hudgens is reportedly fully nude in the photos. Hudgens allegedly thinks someone has it out for her as the photo leaks tend to coincide with her movie releases.
Do you think someone is trying to mess with Vanessa Hudgens’ career?
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Cast And Crew Cast: Lauren German,Milo Ventimiglia, Michael Biehn,Michael Eklund, Rosanna Arquette,Courtney B. Vance, Iván González,Ashton Holmes,Jennifer Blanc Director: Xavier Gens Writers: Karl Mueller, Eron Sheean Country: Germany | USA | Canada Language: English Production Co: Instinctive Film, BR Group, Filming Locations: Manitoba Production Centre, Winnipeg, Manitoba, Canada Genre:Drama | Sci-Fi | Thriller Release date:16 March 2011
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Movie Plot Summary: When a mysterious cataclysmic bomb devastates New York, eight strangers take refuge in the basement of their apartment building. The residents soon succumb to cabin fever as fear of sickness, dwindling supplies, and ruthless outside invaders, plays on their mind. However Eva, the only young woman, has her own worries as the men begin to regress into dangerous packs. She quickly learns to be ruthless if she wants to survive, aware that her sanctuary is becoming her hell. Will her survival ultimately be at the expense of her humanity?
Movie Info: The Divide, a claustrophobic suspense film from director Xavier Gens, stars Michael Biehn of James Cameron’s The Terminator and Milo Ventimiglia, the star of the TV series ‘Heroes’. The two may not be playing the heroes, exactly, in the film. It also stars Rosanna Arquette (David Cronenberg’s Crash), Courtney B. Vance (‘Law & Order: Criminal Intent’), and Lauren German, an actress whose credits include The Texas Chainsaw Massacre and Hostel 2.
German’s character is at the centre of the film, set in New York, which is virtually destroyed in a mysterious explosion in the first act. Eight survivors take refuge in the fallout shelter of an apartment building, where they are menaced first by mysterious men in HazMat suits and eventually by each other.
this sounds like a good movie and I wouldnt wait to see it and I do have a crush on Milo Ventimiglia for four years so I would love to see him again in the flim but I find the movie something that my parents and I would watch because we love movies with end of the worlds like this so we would so see it
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Cast And Crew Cast: Rutger Hauer,Charlotte Rampling,Michael York, Director:Lech Majewski Writers: Lech Majewski (screenplay) Michael Francis Gibson (screenplay) Produced by: George Lekovic.... consulting producer Lech Majewski.... producer Freddy Olsson.... producer Dorota Roszkowska.... producer Cinematography by: Adam Sikora Production Companies: Silesia Film Distributors: Joint Entertainment International (2011) (Taiwan) (theatrical) Koch Lorber Films (2011) (USA) Country: Sweden | Poland Language: English Filming Locations:Debno, Malopolskie, Poland Genre:Action – Romance Release dates:17 Mar 2011, 18 March 2011 (Poland)
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Summary: Set in 1564, the year Peter Breugel created the painting "Christ Carrying A Cross", this joins the theme of Christ's suffering with the political and religious oppression of Flanders at the time. Analysis: Judging by the downright odd trailer released the other week, this English-language, €1.1 million-budgeted Polish production should prove to be something quite different than what you'd expect. Back in 2008, art critic Michael Gibson approached filmmaker Lech Majewski to work on a film inspired by Bruegel's masterpiece, a film that wouldn't be confined to a standard historical narrative.
Focusing on a dozen characters out of the five hundred presented in the original painting, Majewski intertwines several dissonant subplots and incorporates them into the movie's main narrative involving Breugel creating the artwork. Opting for a mix of experimental techniques involving 3D, multi-level filming and a lot of digital trickery, the result yields shots akin to painterly compositions with many scenes heavily inspired by various different sections of the painting itself - including a crucifixion, a man getting his eyes picked out by crows, and a woman being buried alive. Movie Review: Every year at Sundance there are a number of actors and actresses who show up in multiple works. This year is no exception, with the usual breakout “it” girls (Elizabeth Olsen and Brit Marling), established talents (Greg Kinnear and John C. Reilly, among others) and deservingly showcased character actors. One of my favorites this year is Robert Longstreet, who appears in a whopping four titles (“Septien,” “Catechism Cataclysm,” “Take Shelter” and “The Oregon”).
But the person people seem to be the most excited about this year, myself included, is Rutger Hauer, who balances his new theatrical release, “The Rite,” with a fantastic double duty at the fest with the very dissimilar and differently amazing “Hobo With a Shotgun” and “The Mill and the Cross.”
“Hobo” has received the greater attention of the two, for quite obvious reasons. It’s a fun, comically violent throwback reminiscent of early Troma films, only much better looking, in which Hauer stars hysterically as the title hobo with the title shotgun. Based on what was initially a fake trailer, winner of a competition where the prize was placement of the trailer on Canadian prints of “Grindhouse,” it is in some ways a lookalike cousin of last year’s “Machete.”
However, I think it’s better than “Machete” (which I enjoyed), because it doesn’t need to reach for any political issues. Maybe you could say it addresses public apathy, a theme it would share with the popular Slamdance documentary “Superheroes” (both films also include a car smashing into a homeless man’s shopping cart). Or, the easy target of mass desensitization to violence.
Really, though, it’s best to just think of it as a recall of the exaggerated reflections of urban decay seen in films of the ‘70s and ‘80s. And because of that irrelevancy to anything present it can simply be enjoyed. That is, if you can stand a lot of blood and gore, children being burned alive in a school bus, limbs being whacked off by a lawnmower blade, people being stabbed with ice skates and other shocking, debauched, so-astounding-its-hilarious violence.
Of course, there is also much shotgun action, including one moment that joins “Piranha 3-D” in having nasty fun with castration—and showing just a tad too much. You definitely get what’s promised by the name of the movie, and unlike some other title-is-synopsis features (“Snakes on a Plane”), “Hobo” is entirely satisfying as a movie, too. It’s an urban western in which an outsider (Hauer) arrives in a relatively lawless town, cleans up and brings justice with the help of a young prostitute (newcomer Molly Dunsworth)—humorously for the western fans, Hauer’s hobo keeps calling her a schoolteacher, a play on the genre’s conventional character types—by bringing down a brutal clan led by a weaselly maniac named Drake (Brian Downey).
The one thing that might link “Hobo With a Shotgun” and “The Mill and the Cross,” other than Hauer, is that both feature scenes of torturous execution involving men attached to wheel-shaped objects (in “Hobo” it’s a cleverly altered manhole cover; in “Mill” I guess it’s technically an actual wheel, but not used as such). Broader comparison would include the fact that both are adapted from what turns out to be a segment of the film’s narrative.
In the case of “Mill,” that previously visualized segment has nothing to do with cinema. The film, directed by Lech Majewski (best known in the states for co-writing “Basquiat”), is based on the painting of Pieter Bruegel the Elder’s populous 1564 masterpiece “The Procession to Cavalry.” More than a mere artist biopic, it concentrates on the single work and brings it to life, as part tableau vivant, with actors and some beautiful CG matte work.
While in “Hobo” he’s the centerpiece, in “Mill” Hauer only appears now and then as the painter, sketching the scene and discussing it with his patron (Michael York, who appears to be turning into Christopher Plummer). Otherwise it’s a mostly dialogue-and-plot-free look at what was going on in Bruegel’s world prior to what he masterfully documented of it on the canvas. Documented is the key word, because I occasionally thought of the film as an all-reenactment documentary of “life in a day” in Flanders in the 16th century.
Yet due to the painting being a re-creation of the crucifixion of Jesus, it’s hard to really get behind either “Procession” or “Mill” as representing any kind of true scene of the time. Did Bruegel really witness a scene like this? Perhaps something similar he adapted to the Biblical parallels? Even if so, those gorgeous observations of the painting’s characters’ lives are still purely speculative, particularly the idea that the mountain beneath the windmill is hollow, with a winding staircase that takes the miller up into it.
Some of the scenes look familiar, as though inspired by other Flemish and Dutch paintings of the era and later. I thought as much of the shadowy post-Renaissance works as the relatively bright and cartoony work of Bruegel, which may have been intended since the film does take place at a transitional time artistically. Regardless, I was engrossed with every shot, traveling through the mise-en-scene as thoroughly as I would a still artwork.
My eyes had their best cinematic trip since “Tron: Legacy” (or maybe even “Enter the Void”). But I don’t know how many others can appreciate “living classics” as much as I do, even with stunning special effects and cinematography. Are you a fan of Akira Kurosawa’s “Dreams,” Julie Taymor’s “Frida,” Jan Svankmajer’s “Lunacy” Peter Webber’s “Girl with a Pearl Earring” and the general work of Peter Greenaway (as well as anything else incorporating a sort of tableau vivant that I’m forgetting)? Then see “The Mill and the Cross.”
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Cast : Documentary Director: Sean C. Casey Writer: Paul Novros Production Co: Giant Screen Films, Budget: $4,000,000 (estimated) Country: USA Language: English Runtime: 43 min Genre:Documentary | Short - Release date:18 March 2011
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Movie Info: Join Storm Chasers star Sean Casey and the researchers of VORTEX 2, the most ambitious effort ever made to understand the origins and evolution of tornadoes, on this heart-pounding science adventure.
Armed with a 70mm camera, a fleet of customized vehicles designed to withstand gale force winds, torrential rains and unrelenting hail, and an arsenal of the most advanced weather measurement instruments ever created, the stars of Tornado Alley take audiences on a thrilling quest to experience a tornado’s destructive power at point blank range. Experience the adrenaline and the science of nature’s most dramatic phenomena! Traversing the “severe weather capital of the world,”
Tornado Alley documents two unprecedented missions seeking to encounter one of Earth’s most awe-inspiring events–the birth of a tornado. Filmmaker Sean Casey’s personal quest to capture the birth of a tornado with a 70mm camera takes viewers on a breathtaking journey into the heart of the storm. A team of equally driven scientists, the VORTEX2 researchers, experience the relentless strength of nature’s elemental forces as they literally surround tornadoes and the supercell storms that form them, gathering the most comprehensive severe weather data ever collected. This science adventure reveals the beauty and the power of some of our planet’s most extreme–and least understood–weather phenomena.
Join Storm Chasers star Sean Casey and the researchers of VORTEX 2, the most ambitious effort ever made to understand the origins and evolution of tornadoes, on this heart-pounding science adventure. Armed with a 70mm camera, a fleet of customized vehicles designed to withstand gale force winds, torrential rains and unrelenting hail, and an arsenal of the most advanced weather measurement instruments ever created, the stars of Tornado Alley take audiences on a thrilling quest to experience a tornado’s destructive power at point blank range. Experience the adrenaline and the science of nature’s most dramatic phenomena!
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Cast And Crew Cast: Paul Giamatti,Amy Ryan, Bobby Cannavale,Melanie Lynskey, Jeffrey Tambor, Director:Thomas McCarthy Writing: Thomas McCarthy (screenplay) Story: Joe Tiboni Produced by: Jacqueline Brogan....co-producer Lori Keith Douglas.... executive producer Lisa Maria Falcone.... producer Tom Heller.... executive producer Michael London .... producer Mary Jane Skalski.... producer Erica Tuchman.... associate producer Original Music by: Lyle Workman Cinematography by: Oliver Bokelberg Film Editing by: Tom McArdle Genre:Comedy Release date:18 March 2011
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Synopsis for Win Win movie: Tom McCarthy, acclaimed writer/ director of THE VISITOR and THE STATION AGENT, once again explores the depths and nuances of human relationships in his new film about the allegiances and bonds between unlikely characters. Disheartened attorney Mike Flaherty (Paul Giamatti), who moonlights as a high school wrestling coach, stumbles across a star athlete through some questionable business dealings while trying to support his family. Just as it looks like he will get a double payday, the boy’s mother shows up fresh from rehab and flat broke, threatening to derail everything. McCarthy’s deft touch with balancing drama and comedy, broken hearts and poignant humanity is at play in WIN WIN.
Movie Plot Summary: If you liked “Sideways” and “The Station Agent” you’re going to love “Win Win.” Paul Giamatti plays a downtrodden lawyer, who also coaches a high school wrestling team. (Rest easy – it’s NOT all about wrestling.) Amy Ryan plays his smart but goodhearted wife and Bobby Cannavale is his best friend and confidant. The characters and writing are superb and the story is full of surprises. It’s about the kind of people you might know, and very entertaining. We love this character driven story and think you will too – it comes out March 18. This dramatic comedy, a disheartened attorney moonlighting as a high school wrestling coach stumbles across a star athlete from a troubled home. Directed by Tom McCarthy and starring Paul Giamatti, Amy Ryan, Melanie Lynskey, Jeffrey Tambor, Bobby Cannavale.
Movie Review: Tom McCarthy’s “Win Win” is very, very Fox Searchlight, if you know what that means (and it’s not necessarily a bad thing). At times I felt like I was watching the characters from “Little Miss Sunshine” had they all stayed home instead of taking the cross-country trip to the toddlers & tiaras show. In spite of some way too coincidental elements to the story, I like “Win Win” a lot more than I probably would have in any other director’s hands.
McCarthy, the actor-turned-filmmaker who gave us the wonderful Peter Dinklage showcase “The Station Agent” and the wonderful Richard Jenkins showcase “The Visitor,” here gives us a wonderful Paul Giamatti showcase (he doesn’t need one as much). That said, though, this is more celebratory as an ensemble film, featuring one of the best casts I’ve seen in some time, and Giamatti may in fact be the least remarkable part of it. He’s great, as usual, but that’s it, he’s simply his usual.
Giamatti plays a New Jersey lawyer whose practice is struggling, and on the side he co-coaches (with a relatively underutilized Jeffrey Tambor) a high school wrestling team, also a miserable failure. When an elderly client (Burt Young) who’s estranged from his family faces being turned over to the care of the state, Giamatti steps in primarily to exploitatively earn some extra money as the old man’s guardian. Suddenly, complicated yet fortuitous happenstance occurs when Young’s runaway, troubled teen grandson shows up, and of course he’s an exceptional wrestler.
The film must be seen for the supporting cast, including the hilarious Bobby Canavale who is never better than in a McCarthy movie, and McCarthy is never better without Cannavale playing the part of the fool/comic chorus. He might be playing the same exact character he plays in “The Station Agent,” but I will continue to see the filmmaker’s work if he continues to feature Cannavale in such capacity (now I’m certain of what “The Visitor” is missing).
Amy Ryan meanwhile remains one of the most watchable actresses right now, seemingly taking a back seat as Giamatti’s wife, but she’s actually tremendous at what she’s required to do. Another critic stated after the screening that she doesn’t get to do enough, that she just reacts to things. But man is she brilliant at reacting to things. And she’s really pretty funny, just on a quieter, less laugh-out-loud level than the scene-stealing Cannavale.
Everyone should at least agree that Ryan and Giamatti are perfectly matched together and their chemistry makes them the best parental pair since Patricia Clarkson and Stanley Tucci in “Easy A.” I also love the fact that in this she’s the very opposite of her character in “Gone Baby Gone,” and in fact gets to respond to a counterpart “druggie” mother as if she’s reacting to her alter-ego while reflexively addressing just how broad a character actress she is. Win Win Movie English Movie Picture Win Win Movie – Hollywood Movie Review : English movie online Trailer movie review movie story Watch Free Movie Online and Download Free Wallpaper Win Win including photos, trailer, and cast list for this comedy film starring Paul Giamatti, Amy Ryan,Bobby Cannavale, and Director:Thomas McCarthy.
It’s somewhat unfortunate that, as the other mother, Melanie Lynskey is not as worn down and messed up as Ryan is in “Gone”—not that I should expect her to be as incredible as Ryan is in that Oscar-nominated performance, but it’s also hard not to make the comparison. And either way, the contrast could have been much, much more pronounced. Not to mention that regardless Lynskey should have been made to look like a woman who’d had a kid at 17 and has since then had problems with addiction and other presumable hardships. Instead, she kind of looks better in “Win Win” than she’s ever looked before. Ultimately the movie works more for the acting (and McCarthy’s direction of the actors) than the script, though the writing is not as sappy or feel-good or happy ending-friendly as it first seems. I was pleasantly surprised with a number of choices McCarthy makes in the unfolding of the story, particularly in the end. I was, however also disappointed with the lack of a few payoffs that should have been in there.
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Cast And Crew Cast: Florencia Colucci,Abel Tripaldi, Gustavo Alonso,María Salazar Director: Gustavo Hernández Writers: Oscar Estévez (screenplay), Gustavo Hernández (story), Produced by: Gustavo Rojo Cinematography by: Pedro Luque Film Editing by: Gustavo Hernández Runtime: 86 min Genre: Drama | Horror - Release date:16 March 2011
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Movie Plot Summary: The plot is based on a true story that happened in the late 40's in a small village in Uruguay. The film focuses on Laura, who, second by second, intends to leave a house which hides an obscure secret, unharmed. Laura and her father Wilson settle down in a cottage they have to renew since its owner will soon put the house up for sale. They will spend the night there and repair the following morning. Everything seems to go smoothly until Laura hears a sound that comes from outside and gets louder and louder on the upper floor of the house. Wilson goes up to see what is going on while she remains downstairs on her own, waiting for her father to come down.
Laura ( Florencia Colucci) and her father ( Gustavo Alonso) settle down in a cottage which seems to be off the beaten track in order to update it since its owner ( Abel Tripaldi) will soon put the house on sale. They will spend the night there in order to start the repairs the following morning. Everything seems to go on smoothly until Laura hears a sound that comes from outside and gets louder and louder in the upper floor of the house. Wilson goes up to see what is going on while she remains downstairs on her own waiting for her father to come down. The plot is based on a true story that happened some time ago in a small village in Uruguay. "La Casa Muda" focuses on the last seventy eight minutes, second by second, when Laura intends to leave the house which hides an obscure secret and she hopes to leave unharmed. REAL FEAR IN REAL TIME, this is the most remarkable underlying feature of the film which will not go unnoticed by all those who may be willing to experience this different and disturbing filming experience.
Movie Review: About a month ago we first learned about La Casa Muda, the first Latin American film to be shot entirely with a professional photo camera that also happened to be filmed in one single 72-minute sequence shot. And now we have an English-subbed teaser trailer to check out to see how things are progressing.
The film is still in audio post-production and on track for its March, 2010, completion. It was directed by Gustavo Hernandez, photographed by Pedro Luque, and produced by Gustavo Rojo at an amazingly low budget that amounts to $6,000 (US). La Casa Muda (The Silent House) digs deeply into the unexplored subject of psychological terror, and here’s the full synopsis provided to us by Rojo:
Laura (Florencia Colucci) and her father Wilson (Gustavo Alonso) settle down in a cottage that seems to be off the beaten track in order to update it since its owner (Abel Tripaldi) will soon put the house up for sale. They will spend the night there in order to start the repairs the following morning. Everything seems to go smoothly until Laura hears a sound that comes from outside and gets louder and louder on the upper floor of the house. Wilson goes up to see what is going on while she remains downstairs on her own, waiting for her father to come down. The plot is based on a true story that happened some time ago in a small village in Uruguay. La Casa Muda focuses on the last seventy-eight minutes, second by second, while Laura attempts to leave the house, which hides an obscure secret, unharmed.
REAL FEAR IN REAL TIME is the most remarkable underlying feature of the film, which will not go unnoticed by all those who may be willing to experience this different and disturbing filming experience.
In closing his email, Rojo joked, “Perhaps we may see the remake soon!!!”
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Cast And Crew Cast: Micheal J. Smith Sr, JimMyron Ross,Tarra Riggs, Johnny McPhail,Ventress Bonner, Jimez Alexander,Jean Paul Guillory, Marcus Alexander,Marquice Alexander Director:Lance Hammer Writer: Lance Hammer Produced by: Andrew Adamson John J. Hammer.... executive producer Lance Hammer.... producer Mark Johnson.... executive producer Nina Parikh.... producer Aimee Shieh.... executive producer Cinematography by: Lol Crawley Film Editing by: Lance Hammer Country: USA Language: English Also Known As: To erma Filming Locations: Camden, Mississippi, USA Budget: $700,000 (estimated) Runtime: 96 min Genre:Drama - Release date:18 March 2011
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Movie Synopsis: The plot synopsis reads: “A single mother and her embattled son struggle to subsist in a small Mississippi Delta township. An act of violence thrusts them into the world of an emotionally devastated highway store owner, awakening the fury of a bitter and longstanding conflict.” I’ve been wanting to see this one since I started to hear some good buzz for it coming out of this year’s Sundance Film Fest. Will decide whether it’s worth a buy after I’ve actually seen it.
Movie Review: Ballast” is the very life of life. It observes three good, quiet people as they sink into depression, resentment and rebellion. Then it watches patiently, gently, as they help one another find their futures together. The film has a bedrock reality that could not be fabricated. It was filmed on locations in the Mississippi Delta, and uses actors who had never acted before, but who never step wrong. Few professional actors could convince us so deeply. But already you are filing this film away to forget. You don’t care about the Mississippi Delta. You want to go see real movie stars. You already have too much reality in your life. You are suspicious of words like quiet, patiently, gently. The film’s own writer-director, Lance Hammer, winner of the best director award at Sundance 2008, does a better sales job in writing his synopsis, where you will find words like embattled, act of violence, emotionally devastated, the fury of a bitter and longstanding conflict. Be honest. Now it sounds less threatening to you.
The film centers on two households side by side on an open flatland. A man named Lawrence (Micheal J. Smith) lives in the house next to his sister-in-law, Marlee (Tarra Riggs), and her 12-year-old son, James (JimMyron Ross). After the death of Lawrence’s brother, they are not on speaking terms. They ran a roadside convenience store and gas station together, but now it stands closed, its gate padlocked, and Lawrence sits at home alone, a cigarette burning itself down in his fingers. James comes to visit him one day.
That’s really all I should tell you. The events in this film arrive when they happen, how they happen, in the order that they happen. The plot doesn’t have “surprises,” just things we didn’t expect to happen. “Ballast” does not take the point of view of any one character. It regards them all. Because they all know what has happened before the story opens, the film doesn’t use artificial dialogue to fill us in. We find out everything in the course of events. You will see how it unfolds the way life does. Let me talk about the actors. They are these characters, with all the abilities and problems of real life. Be honest. When I wrote “Mississippi Delta,” you immediately thought of poor black people. You know you did. The race of these characters has no relevance to the story. Lawrence and Marlee are not poor. Hell, they have a gas station and a store. They’re having a hard time right now, because the store is closed, and they are sad and angry, but you can see from the insides of their houses that while they’re far from rich, they have what they need, and a little more. James has his own motor scooter.
There is not one single shred of “amateur” about these performances. Not the smallest hint. After a long casting process, writer-director Hammer brought them all together, and they discussed their characters. Hammer described the general outline. They improvised potential scenes, every day for two months. The Mike Leigh approach. They all agreed that they had the final form more or less right. They were never given a finished script. They didn’t have to memorize dialogue, because they knew it from inside out: Who they were, how they would say these things, how they would feel, what they would do. There is a fourth named character, their neighbor, John (Johnny McPhail). He is their friend and will help them if he can. He is not a saintly do-gooder. He is a decent man, has done OK in life, is older, is tactful, doesn’t butt in when he isn’t needed. He is a good neighbor, not The Good Neighbor. Then there are some kids who are alarming influences on James. Have you ever known a 12-year-old who didn’t know kids who are bad influences? Of course, if your kid is a bad influence, it’s those other kids who got him that way.
Life goes on from day to day. We grow more and more intensely absorbed. The film uses no devices to punch up tension, manufacture suspense, underline motives. When there is anger, we see it coming from a long way away, and we watch it take its time to subside. Ordinary life begins to stir, because it must. There is an ending that in one sense we probably anticipated, but it’s like very few endings. When it comes, we think, Yes. It would be like that. Exactly like that. We don’t even need to see their faces. We feel their hearts.
Especially in its opening scenes, “Ballast” is “slower” and “quieter” than we usually expect. You know what? So is life, most of the time. We don’t wake up and immediately start engaging with plot points. But “Ballast” inexorably grows and deepens and gathers power and absorbs us. I always say I hardly ever cry at sad films, but I sometimes do, just a little, at films about good people.
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Cast And Crew Cast: J.K. Simmons.Julia Ormond, Mía Maestro,Tammy Blanchard, Lou Taylor Pucci,Cara Seymour, Scott Adsit,Joe Urban,Alex Ziwak, Ryan Karels,Anthony Del Negro Director:Jim Kohlberg Writers: Gwyn Lurie Screenplay,Gary Marks Produced by: Kate Edgar Greg Johnson.... producer Jim Kohlberg.... producer Brad Luff.... executive producer Neal H. Moritz.... executive producer Peter Newman.... producer Julie W. Noll .... producer George Paaswell.... co-producer Original Music by: Paul Cantelon Cinematography by: Stephen Kazmierski Film Editing by: Keith Reamer Genre:Drama - Release date:18 March 2011
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The Music Never Stopped Synopsis: A father struggles to bond with his estranged son who suffers a brain tumor that prevents him from forming new memories. He learns to embrace his son’s choices and to try to connect with him through the power of music. Based on the story “The Last Hippie” by Oliver Sacks.
The Music Never Stopped, based on the case study “The Last Hippie” by Dr. Oliver Sacks, M.D. (Awakenings), chronicles the journey of a father and son adjusting to cerebral trauma and a lifetime of missed opportunities. Through the music that embodied the generation gap of the 1960s, and working with music therapist Dianne Daly (Ormond), the film weaves the heartwarming progress of Henry (Simmons) and Gabriel (Pucci).
Movie Review: The Music Never Stopped isn’t exactly good, but it’s definitely better than you fear it is when you reach the halfway mark. Basing their film on a nonfiction book by Dr. Oliver Sacks (who also penned Awakenings, another sentimental weepie paring grey matter with black and white characters), director Jim Kohlberg and writers Gwyn Lurie and Gary Marks have created a film that has the look, moral centre and structure of a Lifetime Movie, or maybe a particularly benign episode of House. Timing is everything though, and thanks to recent and very tragic events in Arizona, and a bullet fired into the forehead of a US Congresswoman, the brain is on our minds these days. Expect distributor Roadside Attractions to find a small but passionate following for The Music Never Stopped before the film reawakens and finds its second life in the home market, where it belongs.
In a choppy opening that means to drop the viewer into the middle of a dysfunctional family without a roadmap, we meet the Sawyers: old school conservative pop Henry (veteran character man J. K. Simmons), housewife Helen (Cara Seymour) and prodigal son Gabriel (Lou Taylor Pucci), who has just turned up in a hospital after nearly twenty years away from home. It’s 1986, and the Sawyers haven’t seen Gabriel since the height of the Vietnam era, when he ran away to “play music in the Village,” like so many boomer youths. Most came home with an acid hangover, an STD and a very bad credit rating. But Gabriel is special: he’s returned to mom and dad’s suburban world with what might be called the Memento disorder: a benign brain tumor which, when removed, leaves him in a borderline vegetative state, brought about by his inability to form new short term memories.
We’re in the midst of a standard recuperation drama for much of what follows, but there is a unique slant in all of this: Gabriel’s deep love of the music of the late sixties becomes a key to unlocking his past, bringing him back to his parents in telegraphic glimpses, but also forcing his family to relive the domestic strife that broke them apart. Almost the only memories Gabriel has access to are from 1964 through 1970—the exact American career timeline for The Beatles—but they aren’t memories to Gabriel, they’re current events. The film is smart enough to understand the tricky but inherently touching possibilities in a set-up like that: a broken home compelled by a bizarre medical predicament to relive its mistakes, and rectify them this time.
If The Music Never Stopped was fictional, it would be tempting to see Gabriel as a metaphor for the acid casualties and deadheads we all still run into from time to time—a case of arrested development externalized as a mutation of brain tissue. His story isn’t the most compelling one in the film though. It’s Henry, played with great warmth and subtlety by Simmons, who proves the human center of this story, and Simmons is utterly believable as he transitions from alpha male antagonist to concerned parent in careful and believable gradations that are moving and true. Henry’s willingness to make due with the part of his son that’s still available to him becomes both the movie’s message and its heart, and will surely bring a tear or two to the more receptive kind of viewer. Which is exactly what a good Lifetime movie ought to do.
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Cast And Crew Cast: Mark Womack,Andrea Lowe, John Bishop,Trevor Williams,Stephen Lord Director:Ken Loach Writing: Paul Laverty :screenplay Produced by: Tim Cole.... line producer Rebecca O'Brien.... producer Cinematography by: Chris Menges Film Editing by:Jonathan Morris Country: UK | France | Italy | Belgium | Spain Production Co: Sixteen Films, Also Known As: Irlandezikos dromos Language: English Runtime: 109 min Genre:Drama Release date:18 March 2011
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Movie Plot Summary: Ken Loach is one of Britain’s most uncompromising directors. His films are political, unblinking, and have a relentless focus on the reality of working class life. Even his most recent film, a comic fantasy called LOOKING FOR ERIC, was firmly rooted in the everyday petty humiliations and victories of life as a postman in a Northern town. It was, then, only a matter of time before Ken Loach gave us his take on the war in Iraq. And with his typical perception for what is at the core of an issue, he goes straight for the one truly unique facet of this war – the widespread use of mercenaries. This outsourcing of state-power – this compromise of the idea that in liberal democracies the elected government is the only legitimate source of violence – because it is only the government that can be held to account for its abuse – is absolutely key to understanding Iraq. It is the abuse of this power, widely reported in the more thoughtful media, that serves as a kind of short-hand for all the abuses of power that have come to characterise the war in Iraq. Power abused, violence unchecked, and all for no end other than the perpetuation of power and the amassing of wealth. Unfortunately, the insights that Loach and his regular screen-writing partner, Paul Laverty, bring to the Iraqi war have not resulted in a compelling film. In fact, I found ROUTE IRISH to be near unwatch-able – it fails as a thriller; it contains a truly risible love story; and suffers woefully from the heavy-hand of didactism.
The story begins with the death of a mercenary called Frankie on Route Irish – the road from Baghdad airport to the Green Zone. His best friend Fergus, also a squaddie turned gun for hire, decides to investigate the death, convinced that the company they worked for is covering up foul-play. Fergus investigates with the help of Frankie’s widow, Rachel, and the translating skills of a local Iraqi refugee. Sure enough, the video on the phone is compromising.
Movie Review: Let’s break down why the film fails. First, it fails as a thriller. We all know the mercenaries will have committed some heinous crime against innocent Iraqi civilians and Frankie too – after all, we’ve all seen wikileaks and it’s not like Ken Loach is going to side with the neo-cons, is it? Second, it fails the test of simple logic. Once Fergus finds the damning video, why doesn’t he put it on the web? This is what his Iraqi helper tells him to do. It’s what Rachel tells him to do. Fergus refuses. He says he wants to get more, better evidence. But we know what’s really going on. Loach and Laverty want to extend the film – draw out the narrative – so that they can show Fergus’ moral disintegration – show him resorting to torturing a witness. Or whatever. Simply put: in the age of Wikileaks, I can’t take any movie seriously that doesn’t just dump the evidence on the web as soon as possible.
This brings us to the central failing of this film: the lack of emotional grip at its heart. After all, in a world of wikileaks – years after Brian de Palma’s REDACTED – what can a movie like this really teach us? Nothing about the facts. Anyone who wants to know can find out. So the reason to watch a movie like this can only be because empathy with well-written characters can teach us something about ourselves and give us an emotional insight that mere documentary evidence cannot give. But ROUTE IRISH fails on that score too.
It’s characters are too crudely, thinly drawn to be of interest. I didn’t buy into Fergus. I didn’t buy into his slow decline into torture. And I certainly didn’t buy into his clichéd relationship with Rachel. Mark Womack (Fergus) portrays anger, frustration and guilt by shouting loudly. Andrea Lowe is wooden and two-dimensional as Rachel. The casting of British stand-up comedian John Bishop as Frankie is a distraction. Too little space is given to the Iraqi refugees. Most damning, one of those characters actually asks Fergus why he is obsessed with the death of one Brit when so many Iraqis are dying. Isn’t it just another act of chauvinism to have another film from a Western point of view? Loach never answers this point.
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Cast And Crew Cast :Eva Green,Juno Temple, María Valverde,Imogen Poots,Ellie Nunn, Adele McCann,Zoe Carroll,Clemmie Dugdale, Sinéad Cusack,Helen Norton,Deirdre Donnelly Director:Jordan Scott Writers: Ben Court (screenplay), Caroline Ip (screenplay) Jordan Scott (screenplay) Sheila Kohler (novel) Produced by: Elisa Alvares.... associate producer Carola Ash.... associate producer Guy Collins.... executive producer Michael Costigan.... co-producer Kwesi Dickson .... producer Ricardo García Arrojo.... executive producer Alain Goldman .... executive producer Sheila Kohler.... associate producer Andrew Lowe.... producer Original Music by: Javier Navarrete Cinematography by:John Mathieson Film Editing by:Valerio Bonelli Genre:Drama | Romance | Thriller Release date:18 March 2011
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Movie Plot summary: CRACKS is a coming-of-age drama set in a British girls boarding school in the 1930s. Eva Green plays the glamorous Miss G who holds the diving team in thrall, particularly the captain, Di (Juno Temple.) The order is upset when an equally glamorous new girl arrives. Fiamma is Spanish, an aristocrat, beautiful and has travelled widely. Her self-possession and sophistication stands in sharp contrast to the other girls, and Miss G soon makes her a favourite, upsetting Di. The majority of the film deal Di vacillating position in coming to terms with Fiamma’s usurpation and Miss G’s increasingly unhealthy obsession with her. The cracks of the title refer to the girls finding the cracks in Miss G’s persona, and in their faith in authority.
Movie Reviews: This story is nothing we haven’t seen before in film such as THE PRIME OF MISS JEAN BRODIE and turns out to be rather more obvious and less seditious than that seminal work. The production values are all top notch (superlative photography from John Mathieson and a particularly good score from Javier Navarrete) but the story is intensely predictable from the start. In particular, anyone who sees that Fiamma has a breathing problem in the first reel can see where the movie is going. The enjoyment is thus comes from the little moments that ring true. I loved a scene where the girls prepare for a midnight feast, and another where they get excited/disappointing by the arrival or lack thereof of post from home. Anyone who went to a boarding school will agree that these moments are marvellously well done. Juno Temple gives a strong central performance as Di, and Eva Green is strong as Miss G. In terms of conveying a magnetic sexuality that inspires high school crushes, Green is just right. But I do question casting her given her accented English, or at least casting her without changing her name to hint at a more cosmopolitan heritage. But then that would work against a key point in the plot Overall, while CRACKS is certainly an assured debut feature from Jordan Scott (daughter of Ridley) it‘s high quality production is almost too good for the rather hackneyed story of a high school infatuation gone wrong.
Review by Boxoffice Magazine: When an all-female cast stars in a film called Cracks, you’d be excused for thinking it’s a straight-to-DVD Spring Break romp. Actually, Cracks is a flawed, yet seductive exercise in period atmospherics that takes dashes of about six other movies and creates a grim fairy tale about jealously and lost innocence. Eva Green plays an all-girls boarding school teacher in 1930’s England holding her charges in rapturous sway until a newly arrived student threatens her authority. Cracks is the directing debut of Jordan Scott, the daughter of Ridley. When it comes to mood and tone, the replicant didn’t fall far from the tree. When it comes to pace, character and insight, however, things get patchy. Domestic interest will be limited with ancillary looking brightest.
Review by The Phoenix: In her debut feature, Jordan Scott (daughter of Ridley) has conjured a lovely oddity combining elements of The Prime of Miss Brodie, The Children’s Hour, If, The Belles of St. Trinian’s, and even a bit of Lord of the Flies. It takes place in 1934 at a stately, prison-like girls’ school on an isolated island. The flamboyant Miss G. (Bond girl Eva Green) dominates this realm, and her tales of adventure and paeans to desire have enraptured her young charges, especially her acolyte and favorite, Di (Juno Temple). Then Fiamma (Maria Valverde), a melancholy Spanish aristocrat, arrives, makes the others look like ugly ducklings, and even rivals and charms Miss G. with her beauty, worldliness, and athleticism.
Review by Digital Spy: Filmmaking certainly runs strong in the Scott bloodline. Jordan Scott, the director of Cracks, happens to be the daughter of Ridley, niece to Top Gun’s Tony and sister to Plunkett & Macleane helmer Jake. In her feature debut, Scott steers away from the hyperactive camerawork of her uncle and creates a moody, elegantly-staged character drama more in line with her father’s tighter-budgeted work. She forges a confident style of her own, however, with this dark tale of obsession and lust at an all-girl boarding school.
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Cast And Crew Cast: Bradley Cooper,Robert De Niro, Abbie Cornish,Andrew Howard, Anna Friel,Johnny Whitworth,Tomas Arana, Robert John Burke,Darren Goldstein, Ned Eisenberg,T.V. Carpio,Richard Bekins, Patricia Kalember,Cindy Katz,Brian Anthony Wilson Director:Neil Burger Writers: Leslie Dixon Screenplay: Alan Glynn (novel) Produced by: Bradley Coope.... executive producer Ricardo Del Río.... line producer: Mexico Leslie Dixon.... producer Jason Felts.... executive producer Adam Fields.... co-producer Ryan Kavanaugh.... producer Scott Kroopf.... producer Patty Long.... line producer Patrick Peach.... line producer: additional photography Tucker Tooley.... executive producer Original Music by: Paul Leonard-Morgan Nico Muhly Cinematography by: Jo Willems Rated: PG13 Genre:Thriller Release dates: 18 March 2011
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Movie Plot Summary: The film’s plot revolves around a down-and-out New York writer who comes into possession of a pill that gives him the ability to access the full capacity of his brain. Success follows at the same time that dark forces begin to pursue him.
Movie Info: Based on Alan Glynn’s novel and scripted by Leslie Dixon, formerly titled “The Dark Fields”,aspiring author Eddie Morra (Cooper) is suffering from chronic writer’s block, but his life changes instantly when an old friend introduces him to NZT, a revolutionary new pharmaceutical that allows him to tap his full potential. With every synapse crackling, Eddie can recall everything he has ever read, seen or heard, learn any language in a day, comprehend complex equations and beguile anyone he meets—as long as he keeps taking the untested drug.
Soon Eddie takes Wall Street by storm, parlaying a small stake into millions. His accomplishments catch the eye of mega-mogul Carl Van Loon (De Niro), who invites him to help broker the largest merger in corporate history. But they also bring Eddie to the attention of people willing to do anything to get their hands on his stash of NZT. With his life in jeopardy and the drug’s brutal side effects grinding him down, Eddie dodges mysterious stalkers, a vicious gangster and an intense police investigation as he attempts to hang on to his dwindling supply long enough to outwit his enemies.
Chances are good that when someone drops the name Bradley Cooper, you think “the handsome goofball from The A-Team and The Hangover” -- not “the most intelligent man on Earth.” But that’s exactly the role Mr. Cooper will be playing in the upcoming sci-fi thriller/satire, Limitless.
An official trailer and poster have been released for Limitless (formerly, The Dark Fields), which stars Cooper alongside Sucker Punch gal Abbie Cornish and Little Fockers star acting legend Robert De Niro.
Limitless is officially described as “a paranoia-fueled action thriller” that revolves around Eddie, a lowly copywriter and aspiring novelist who turns his life around by taking a new drug that allows him to use 100% of his total mental capacity. But exterior forces, including that of Wall Street type Carl Van Loon (De Niro -- yes, that’s really his character’s name), threaten to destroy his newfound existence of wealth and riches -- even as Eddie begins to experience the troubling side effects of his new medication.
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Cast and Crew Cast: Martijn Lakemeier, Yorick van Wageningen, Jamie Campbell Bower Director: Martin Koolhoven Writers: Martin Koolhoven Screenplay:Paul Jan Nelissen Motion Picture Rating: (MPAA) Country: Netherlands | Belgium Language:English | Dutch | German Also Known As: Mein Kriegswinter Filming Locations:Amsterdam, Noord-Holland, Netherlands Budget: €4,000,000 (estimated) Production Co: Isabella Films B.V., Runtime: 103 min Genre: Drama | History | War Release dates:17 Mar 2011
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Movie Plot Summary: Near the end of World War II, 14-year-old Michiel becomes involved with the Resistance after coming to the aid of a wounded Dutch soldier. With the conflict coming to an end, Michiel comes of age and learns of the stark difference between adventure fantasy and the ugly realities of war. Winter In Wartime is a Dutch film from 2008, directed by Martin Koolhoven and based on the novel of the same name by Jan Terlouw. A huge success in the Netherlands (where it even out-grossed The Dark Knight) it was most recently featured at the Academy Awards, where it was shortlisted (alongside 8 other movies) in the section for Best Foreign Language Film. Winter In Wartime is finally getting a DVD/Blu-ray release in the United Kingdom this month. The wait has been worthwhile.
Movie Winter In Wartime Reviews: Winter In Wartime is a special and unique film because it mostly takes the form of a celluloid chameleon. Please allow me to elaborate. Aside from the powerful opening where Dutch RAF pilot Jack (played by Jamie Campbell Bower, who Dutch audiences may recognise as Caius from Twilight: New Moon) crash lands in a small Dutch village, the majority of the film feels decidedly art house in direction and tone. The chameleon aspect of the film is brought forth via its ability to often sharply change direction without ever damaging the narrative as a whole. Director Marin Koolhoven weaves this many-faceted tale beautifully.
Young male lead Martijn Lakemeier is a revelation as Michiel van Beusekom. This is undoubtedly his film and he quite frankly out acts everyone on screen. As a young boy struggling to deal with the Nazi occupation of his village and his father’s complicit co-operation with them as mayor, he constantly hints at an underlying, simmering anger that is powerful in both its reserve and authenticity. Whereas the story could potentially appear nonsensical in lesser hands, we truly believe here that Michiel is strong enough of character to not only help the stranded RAF pilot, but become actively involved in the plot to transport him to safety.
That is not to say that supporting characters are badly acted, although different parts are played with varying degrees of success. The strongest supporting actor by far is Yorick van Wageninen as resistance fighter uncle Ben: his relationship with young Michiel, who initially worships him as a hero, is sensibly focused on even as their ties become frayed and strained. They have a great chemistry together on screen and it seems fitting that some of the film’s most powerful moments feature them both. In direct contrast to Michiel’s relationship with his own father, his relationship with uncle Ben becomes all the more intriguing and powerful as it unfolds onscreen. Sadly, the Nazis are as usual in cinema nothing more than evil window-dressing, but at least this time it isn’t too over the top.
Controversially, the most well-known face to us Brits will be Jamie Campbell Bower as RAF pilot Jack, yet his acting is largely a game of two halves. As one of the few English-speaking parts in the film (the rest of the actors are subtitled) his delivery can often feel strangely devoid of conviction early on. Later, his inevitable dash for freedom with Michiel shows his true range as an actor: there is one gut-wrenching moment where he demands they pause, paranoid, gun drawn as he looks out over a nearby river… but to speak more of this would be to spoil one of the film’s greatest moments. I guess I am trying to convey the fact that Bower isn’t necessarily bad in the film. Rather, he is inconsistent and outshone by newcomer Martijn Lakemeier as Michiel. Therefore, the fact that the film isn’t really about the pilot at all, as could be initially thought, is a blessing in disguise.
Aesthetically, Winter In Wartime is very solid, set in a beautiful landscape draped in snow that lends itself well to the desperation of the protagonist’s mission. I wouldn’t go as far as to say the direction is anything revolutionary, but then I don’t think fancy camera work would have added much to the drama anyway. One moment, shot in slow motion, should feel cheesy but is surprisingly powerful, a marriage of visuals and non-diegetic sound that culminates in a devastating outcome for Michiel and his family. Italian composer Pino Donaggio, whose first feature film was Don’t Look Now and who has also worked extensively in the past with Brian De Palma, provides a score that complements the visuals without ever overwhelming them. It is a beautiful accompaniment, that sadly only falters when it fills silent moments that should have been left well enough alone.
Yet the greatest joy of this coming of age drama is that chameleon-like aspect that I mentioned at the beginning of this review. On the face of it, this isn’t the type of film that you would expect to successfully combine genuine sentimentality and bombastic blockbuster-style thrills in its final moments, yet it manages to do just that with seemingly minimal effort. There is no greater pleasure to be had when watching Winter In Wartime than realising there have been rational twists and turns all along the way: but you still won’t see the ending coming. Powerful in the simplicity of its execution yet complex enough to leave you thinking long after the credits roll, the pros available here far outweigh the cons: not quite consistent enough to be considered a masterpiece then, but close enough to warrant a strong recommendation nonetheless. Oorlogswinter is a very, very special movie around the themes war, love, trust, friendship from the point of view of a 14-year old Dutch teenager in the last winter of World War 2.
beautiful cold winter-setting with lots of snow and original landscapes; - fantastic music from Pino Donaggio; - lots of close shots on excellent actors; - shows both the adventure and the drama of a war.
The 14-year old actor playing the main role is an amazing natural talent in a very realistic story which could happen to every teener in a war-situation.
This is a movie everyone must see between 10 and 110.
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