Edited by R. Allen Leider
November 6th, 2009

                                                A Christmas Carol   in 3-D         also in IMAX 3-d

“Disney’s A Christmas Carol,” a multi-sensory thrill ride re-envisioned by Academy Award®-winning filmmaker Robert Zemeckis, captures the fantastical essence of the classic 1843 Charles Dickens novela in a groundbreaking 3D motion picture event. The story has been adapted, used as the basis for or produced in versions more than two dozen times incluiding string of motion pictures with the likes of Reginald Owen, Alastair Sim as Scrooge, TV  almst every year, but notably 1947 with John Carradine as Scrooge, an opera, a radio broadcast with Lionel Barrymore in one of his best performances. There have been many animated versions as well including Disney's version with Mickey Mouse and The Flintstones version.

Seven years after the demise of his aprtner, Jacob Marley, crusty Ebenezer Scrooge (Jim Carrey) begins the Christmas holiday with his usual miserly contempt, barking at both his faithful, underpaid, clerk Bob Crachit (Gary Oldman) and his cheery well-to-do nephew Fred (Colin Firth). But, when the ghost of his deceased partner Jacob marley comes on Christmas Eve and tells him that he will be visited by the spirits of Christmas Past, Present and Yet to Come and if he does  not heed their warnings, he will wind up in the hereafter as an entrapped spirit himself, much as the chained Marley has become.

One hour later, Scrooge begins an eye-opening journey revealing many truths old Scrooge is reluctant to face, he must open his heart to undo years of ill will before it’s too late. The first, the Ghost of Christmas Past, takes Scrooge to the scenes of his boyhood and youth which stir his suppressed gentler and tenderer emotions. The Ghost of Christmas Present, then takes Scrooge to the home of nephew Fred to observe his game of Yes and No and to the humble dwelling of his clerk Bob Cratchit to observe his Christmas dinner. The third spirit, the Ghost of Christmas Yet to Come, scares the srap out of Scrooge with dire visions of the future if he does not learn and act upon what he has witnessed.  

Reborn as both a humanitarian and a Christian Scrooge finally begins to treat his fellow men with kindness, generosity, and compassion, and gaining a reputation as a man who embodies the spirit of Christmas.

Notes:
A Christmas Carol was pirated in January 1844 by Parley's Illuminated Library. Dickens sued and won his case, the pirates simply declared bankruptcy leaving Dickens to pay £700 in costs.  The novella was adapted for the stage thatyear with three productions starting February 5th, 1844 with one by Edward Stirling sanctioned by Dickens which ran more than forty nights By  February 1844, eight rival Carol theatrical productions were playing in London. Stirling's version played New York City's Park Theater during Christmas season of 1844. There was a musical version of the tale at the Chatham Theater in New York City in 1844.  

                                                                                               The Players: Jim Carrey, Gary Oldman, Colin Firth, Bob Hoskins, Robin Wright Penn, and Cary Elwes

                                                                                                The Filmmakers:
                                                                                                Directed by Robert Zemeckis
                                                                                                Release by Walt Disney Pictures



                                               Men Who Stare at Goats  Reviewed by Andrew Johnson
Having the power of mind control and causing an animal to drop dead just by staring at it! If possible, how this could be used on a battlefield with human beings!  “THE MEN WHO STARE AT GOATS” shows how Bob Wilton (Ewan McGregor), a depressed reporter in search of the story that will change his life, through the aid of an inside informant, finds a U.S. military secret unit tinkering with the use of psychic powers on the battlefield.

This film is a quirky, dark comedy inspired by a true life story and factual events. Hard to believe that in reality, psychic research is being done as a weapon. For the reporter, it’s a mind-boggling mission to find out all about this phenomena. He meets eccentric Lyn Cassady (George Clooney) who claims to be part of the experimental military unit, the New Earth Army, which will change the way wars are fought. There, “Warrior Monks” are able to read enemy’s thoughts, pass through solid walls, and even kill a goat by simply staring at it. Cassady refers to these men as modern Jedi.,

The program was founded and conducted by “enlightened” military man Bill Django (Jeff Bridges).  The film progresses as things get even more comedic. Lines and situations contain numerous laughs for the audience as an incredible scenario of occurring events is presented. As the reporter tags along with Cassady through the war zones of Iraq, many adventures are theirs, including being captured, their car hitting a road mine, and finding the training camp run by renegade psychic Larry Hooper (Kevin Spacey), a rival of Cassady in previous psychic training where Cassady excelled. There’s an hilarious scene toward the end of the story where a camp of American soldiers have LSD put into their breakfast. The final scene wrapping it all up is one of unbelievability, not to be missed, allowing for the film's-length movie joke of MacGregor's desire to become one of these 'U.S. Army Jedi Knights'. 
It wouldn't have worked with any other actor. Don't miss the last five minutes of the film!!

 “THE MEN WHO STARE AT GOATS” is a calculated, wacky, nonsensical hoot! 

BTW: Your tax dollars paid of these experiments!

 
                                                                                            The Players: George Clooney, Jeff Bridges, Ewan McGregor, Kevin Spacey, Robert Patrick, Stephen Lang

                                                                                            The Filmmakers:
                                                                                            Directed by Grant Heslov
                                                                                            Screenplay by Peter Straughan inspired by the book by Jon Ronson
                                                                                            Director of Photography: Robert Elswit
                                                                                            Music composed by Rolfe Kent
                                                                                            Distributed by Overture Films
 
 George Clooney ...  Lyn Cassady
 Ewan McGregor ...  Bob Wilton
 Jeff Bridges ...  Bill Django
 Kevin Spacey ...  Larry Hooper
 Stephen Lang ...  Brigadier General Dean Hopgood
 Robert Patrick ...  Todd Nixon
 Waleed Zuaiter ...  Mahmud Daash
 Stephen Root ...  Gus Lacey
 Glenn Morshower ...  Major General Holtz
 Nick Offerman ...  Scotty Mercer
 Tim Griffin ...  Tim Kootz
 



                                                The Fourth Kind  Reviewed by CJ Henderson
I once saw an HBO comic who described the idea of "based-on-a-true-story thusly: "It’s like ‘the O.J. Simpson story. Poor black kid, gets good at football, wins the highest college honors, turns professional, marries a beautiful blonde, becomes a movie star. The end. Based-on-a-true-story."

Sadly, most every Hollywood adaptation of anything that really happened, even when they swear they’re trying to remain faithful, ends up looking nothing like the reality being depicted. Like the movie, "The Perfect Storm." The only real fact in the entire film was the fact that this one particular boatful of guys went out to see and never came back. That’s it. That’s all anyone knew. All the high drama that filled the two hours on screen was complete and utter fabrication. So, is it any wonder audiences take such things with a lot more than a single grain of salt these days?

Well, the latest release from Universal, "The Fourth Kind," does not fall into that category. Oh, it’s based-on-a-true-story, all right. But it sticks to the facts. How can I be so certain of this? Because, this is one true story where there was plenty of audio and video taping going on in real life. And, to prove they’re not cheating, the filmmakers intercut their take on things with the actual video footage and audio tapes of the real event. For those of you interested in UFOs, alien abduction and all that kind of stuff, this my friends, appears to be the real deal.

The story: In 1972, a scale of measurement was established for alien encounters. A UFO sighting is an encounter of the first kind. When evidence is collected--second kind. Contact is made with an extraterrestrial--third kind. And when contact leads to abduction, then you have contact of the fourth kind.
Thousands of people have claimed to have been abducted, but never has there been anything approaching proof--until now. Roughly a decade ago, Psychologist Dr. Abigail Tyler (played by Milla Jovovich when not actually appearing herself in video recordings) lost her husband. Before his death, she and her husband had been working with a number of patients who were having remarkably similar experiences. They felt that at three thirty in the morning they were being watched by a white owl. Eventually the owl seemed to find its way into their homes. And then, they began to realize it was not an owl at all.

As Dr. Tyler placed certain of these patients under hypnosis to try and recover more complete memories of these supposed home intrusions, those being hypnotized had uniformly incredible reactions. Also, during these sessions, whenever the patients began to exhibit unusual, almost impossible, behavior, a curious interference would jam the picture.  This is one of the most interesting films ever created. Stylistically it is a major achievement. The careful integration of the actual footage with that of the actors is remarkably well done, the end effect being one that basically chills to the bone. The most remarkable footage of all is that taken from a police vehicle dashboard. It doesn’t show all that much, but you can clearly hear the police officer reporting that something is flying over the house he has been assigned to watch, that he sees people being taken out of the house.

If this were merely a piece of fiction it would be worthless, just another episode of the "X-Files." But, it’s not fiction. It really happened. You see plenty of moments of it actually happening right there on the screen before you. That’s what’s different about this film. That’s what makes it like nothing you’ve ever seen.  As far as the quality of the filmmaking goes, everything is at the least acceptable. Sets and locations are fine, and match up to the real video shots well enough. The direction and cinematography are very well done. The story takes place in Nome, Alaska, and the motion picture takes full advantage of the available scenery. The soundtrack supports the action nicely, and the sound effects department should count themselves cheated if they don’t get an Oscar nod.

The cast does a fine job as well. Interestingly, often the actors don’t come off as being as terrified as the people they’re playing whom often the audience gets to see in side-by-side comparison shots. Like I said, a very interesting movie.  Now, for that full disclosure thing, I myself have never really believed in alien abduction. Oh, I’ve always said I’m willing to keep an open mind, and frankly I’d like to think that somewhere in the universe there’s someone smarter than us. But, much as I’d like to believe in UFOs, I’ve never found any proof I could accept as conclusive.

This film actually might have changed that for me.

Our final word: 5 stars out of 5.

                                                                                               The Players: Milla Jovovich, Elias Koteas, and Will Patton

                                                                                                The Filmmakers:
                                                                                                Directed by Olatunde Osunsanmi
                                                                                                Screenplay by Olatunde Osunsanmi
                                                                                                Released by Universal Pictures


                                                The Box      Reviewed by Andrew Johnson
This is a chilling Cinema rendition of the Richard Matheson classic short story, “Button, Button,” written and directed by Richard Kelly, who gave us “DONNIE DARKO,” the classic 2001 sci-fi mystery cult classic which was one of the classic "Twilight Zone " episodes in the 1950's..

Imagine . . . at the push of a button in a box, a million dollars is yours. Brings to mind that Staples button you see in their advertisements, which they unbelievably sell and does nothing on pushing the button.

 “THE BOX” is a film that presents this windfall to a couple. Only thing is, it comes with a cost: someone will die, someone they do not know. Is it worth causing the death of a fellow human being in order to gain monetary wealth?

Norma Lewis (Cameron Diaz) in 1976 teaches at Libby Hill Academy in Richmond, Virginia, a private school. She needs an operation for her deformed foot, the result of a medical mistake. It is painful and causes her to limp. Her husband Arthur (James Marsden), a NASA engineer has just received the news that his promotion, considered a sure thing, was denied. His bright son may no longer be able to attend the area’s best school. Norma learns that her son’s reduced tuition, because she teaches at the school, will be no more in a cost cutting move. It’s then that a mysterious, sinister  individual with a disfigured face (Frank Langella) comes to their door with the box and that life-changing proposition mentioned above.   Their choice as to whether or not to accept this windfall must be made in 24 hours. With the moral dilemma in mind, Norma pushes the button. This decision will have great ramifications for the two as occurrences beyond their control impact on their fortune and fate. And that’s when the film takes the turn to the sci-fi mode in a most convoluted manner. 

 Acting is well accomplished with the direction of the film well-paced. It all holds your interest as you proceed step by step in the machinations of the interesting plot. The film makes you think about what you would do if a similar offer were given you. Would you take a me-me-me and numero uno approach in acceptance or consider the moral issue of taking an unknowing and unsuspecting life? A most interesting dilemma!

                                                                                               The Players: Cameron Diaz, James Marsden, Frank Langella, James Rebhorn, and Holmes Osbourne

                                                                                               The Filmmakers:
                                                                                                Directed by Richard Kelly
                                                                                                Written for the screen by Richard Kelly    based on the short story “Button Button” by Richard Matheson
                                                                                                Director of Photography: Steven Poster
                                                                                                Original Music by Win Butler, Regine Chassagne, and Owen Pallett
                                                                                                A Warner Bros. Picture



                                                The Messenger      Reviewed by Andrew Johnson
It’s one of the hardest jobs of all. Someone has to do it. This film concerns those who bring the news to loved ones that the soldier – husband, wife, father, mother, son, or daughter - - has been killed in action in the military. Hitting lives in their most vulnerable moments, it’s an aspect of war we don’t thing about. This character-driven film shows an altogether different aspect of war and its results on people, to my recollection something not done before. A political and anti-war film, “THE MESSENGER” is one that may be termed depressing. It well shows what those who must tell the devastating news go through, sometimes becoming the recipients of abuse.
 Will Montgomery (Ben Foster) has just returned to the States from the battlefield. He is supposed to have done something heroic and was injured, but he questions his act of bravery. As a sergeant, he is paired with Col. Tony Stone (Woody Harrelson), an officer who seems to know the ropes and what to do in dispensing the bad news to loved ones of fallen military men.
Will finds himself drawn to Olivia (Samantha Morton), whose husband was killed and one to whom they just related the bad news. Emotional detachment begins to become a problem for Will in this cinematic portrait of grief, survival, and friendship. Probing the inner lives of steely soldiers reveals fragility, compassion, and dignity on their part.
 Director of “THE MESSENGER,” Oren Moverman made these statements in the press notes of the film: 
“This film is not about casualties of war, really. It’s more concerned with the people left behind who have to deal with life after the casualties of war have gone away.” 
“It’s about the desire to live, to let life into the darkness and to laugh even. It shows that there are people who have to deal with war in a way that is not strategic or political, but personal.”
 At times, “THE MESSENGER” is deliberate and slow moving, but it presents the picture of those in reality who must cope with the hard fate dealt them. This motion picture stays with you for a period of time after you’ve viewed it. Well constructed, well done.

                                                                                                The Players:  Ben Foster, Woody Harrelson, Samantha Morton, Jena Malone, Steve Buscemi, Eamonn Walker

                                                                                                The Filmmakers:
                                                                                                Directed by Oren Moverman
                                                                                                Written by Alessandro Camon & Oren Moverman
                                                                                                Director of Photography: Bobby Bukowski
                                                                                                Released by Oscilloscope Laboratories


                                               Precious    Reviewed by Andrew Johnson
In the October 25th New York Times Sunday Magazine, there was a discussion of the film “PRECIOUS.” It had the leadoff pondering question: Are filmgoers ready for a movie like this?
 “PRECIOUS” is a no-holds barred, hard hitting account of a young black woman raising her two incestuous children, both the result of having been raped by her own father. She also must put up with the mental and physical abuse her mother constantly bestows upon her, a woman who is one of the worst mothers ever seen in film.

 Set in Harlem in 1987, the tale shows how this mother of mothers just lies around the house watching TV and abusing this 16 year old child. Everyone else seems to do the same thing in taking advantage of her and putting her down at every turn. The only release Precious finds from the harsh reality that is her lot are the daydreams she has, mostly gotten from TV in which she dresses well and everyone respects her.

Precious doesn’t have the ability to read or write and we question how she got to junior high school with this problem never addressed. A caring principal guides her to an alternative school where a caring teacher shows her how the power of learning to read and write can lead to success in life. This is truly a social awareness film that seems to tell society that attention must be paid to the young who fall through the cracks. This film covers one story in probably countless more.

 These thoughts struck me after viewing the film: 
1. In public schools, educators are too overburdened to recognize those students with special problems. 
2. Bill Cosby has always maintained that schools cannot do it all, and parents must take on greater responsibilities for educating their offspring.
3. Some good, capable  students just do not get the supportive parents, unfortunately.
4. If one can touch the life of one individual, or several one at a time, something positive is can be done.
5. Instillment of self-esteem is a necessary thing for those students who have had horrendous things happen to them in life.
6. There must be that dedicated push of a teacher that is so necessary in having that individual student succeed.
7. Recent studies show that approximately 70% of African American children are born to unmarried parents. One out of four lack basic skills and 
     only 50% graduate.

 Some minority groups have taken the film to task as painting a very negative picture of minority family groupings. I disagree. Problems of abuse should not be hidden, swept under the carpet so to speak, but come out into the open and be addressed. This film does show that with the help and love coming from the right people, and with perseverance by the individual, that person can rise to make life livable and proceed to make a mark on society. 
 “PRECIOUS” is a brilliant document showing the human capacity to grow and overcome. And what outstanding performances, especially from the young girl, Gabourey Sidibe as Precious! Look for glamorous singer Mariah Carey in the not so glamorous role as a person representing the city who is involved with the family’s well being and possible monetary help. 

                                                                                                    The Players: Gabourey Sidibe, Mo’Nique, Paula Patton, Mariah Carey, Sherry Shepherd, Lenny Kravitz

                                                                                                    The Filmmakers:
                                                                                                    Directed by Lee Daniels
                                                                                                    Screenplay by Geoffrey Fletcher based on the novel “Push” by Sapphire
                                                                                                    Director of Photography: Andrew Dunn
                                                                                                    Music by Mario Grigorov
                                                                                                    A Lionsgate Film release





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