Edited by R. Allen Leider
November 6th, 2009
A Christmas Carol in 3-D also in IMAX 3-d
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“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:
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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
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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 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
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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.
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
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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
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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
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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:
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.
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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
