The Maid (Saturdy, October 31, 2009) (155)

The Maid is a small Chilean film about a house maid, Raquel, who works in an upper-middle class house in a fancy neighborhood in Santiago. She's in her late 30s and has spent 20-some years with the family helping to raise the four children. As she goes about her mundane day-to-day routine of vacuuming, washing clothes, cooking and minding the kids, she slips into a deep funk where she feels more and more unloved and disrespected by the household. She is somewhat hampered by migraines, so the family hires a series of assistants to help her with her tasks. Upset and insulted that she might need help, she marks her territory and works to make their lives impossible so they quit.

By far the best single element in the film is the lead performance by Catalina Saavedra. She is lovable, but somewhat pitiful; she's a proud woman who also behaves childishly; She's vulnerable and vindictive at the same time. The snapshot of her that is used in the poster for this film sums up the character and her performance perfectly. She's beaten down, but still lives to fight another day - and does so somewhat devilishly. I hope she gets attention from the various award-givers later this year and next. So far, I think hers is the best performance by a woman this year.

The tag-line of the film, "She's more or less family" encapsulates the heart of the story. Director Sebastian Silva does a wonderful job of showing how despite being so deeply rooted in this bourgeois family, Raquel will never be one of them. In the first scene, when it is her birthday and the family is trying to celebrate with her, we think it is strange that she does not want to join them. But soon we see that she is treated somewhat unkindly by them - especially by the father. He can barely get out the words to wish her a happy birthday before rushing off to his study to 'work' on his model ship building. Later, he asks that the children close the kitchen door in Raquel's face so they can eat supper together.

There is a feeling of guilt that pervades the relationship between the lady of the house, Pilar, and Raquel. Pilar does not want to step on Raquel's toes and, despite the fact that she knows the relationship is not going well and that Raquel is not happy, she cannot fire her or even give her a stern warning. At one point when Raquel has a physical fight with one of the assistants, Pilar covers for her in front of her husband. Pilar is somewhat trapped knowing Raquel's happiness is somewhat a reflection on the life that has been created for her by the family - but also that a bad attitude has an overall negative effect on the household.

This film is very reminiscent of the 2007 Argentine film Live-In Maid, which dealt with many of the same issues of class and the end of the bourgeoisie in South America. In that, there is a sense that the rich woman cannot figure out her life without the maid, who has also become her best friend. There is a sense that the monetary relationship between the two affects the personal relationship. That financial element is here too. It it hard not to wonder whether Raquel would be so well loved by the family if she did not work for them - or if their love for her is contingent on the fact that they also pay her a salary.

For a somewhat simple-looking movie, I think there is a lot of interesting sociopolitical stuff here - and the style is very intimate and immediate-feeling. Again, Saavedra's performance alone is worth the price of the ticket.

Stars: 3 of 4

KOLPAÇİNO Fragmanı İzle - Şafak Sezer

Kolpaçino (2009) Kolpaçino: Bir Şehir Efsanesi
Oyuncular:Şafak Sezer , Aydemir Akbaş , Hakan Ural , Ali Sürmeli , Eriş Akman , Hakan Aysev

This is It (Friday, October 30, 2009) (154)

When I first saw the trailer for this documentary, about seven weeks after Michael Jackson died, I had a bad feeling about it. I didn't understand why I would want to see rehearsal footage from an erstwhile concert that never took place. I figured Jackson would be as much a 'past-star' on stage as he was at the end of his life; I worried that his voice and body would not sound or look very good. As it turns out, my worries were somewhat confirmed and somewhat wrong. This is not a good movie, but Jackson was much more physical and mobile than I expected.

The biggest problem with the film is that it would seem (based on the look of the footage and an opening title) that the film was shot for internal use only and edited together to make it as 'concerty' a movie possible. But the movie is not a concert. It is rehearsal footage. Most of the 'songs' in the film are just run-throughs of the dancers' blocking with some dancing. MJ sings only about half of the songs, relying on pre-recorded vocals (with live band music) on most tracks. On some songs he sings at bit more, but the mix is strangely very quiet on the vocals and stronger on the the band (I can only imagine that this has something to do with the bad quality of the vocals available).

This is all very frustrating. I feel like the footage we see is not good enough for a documentary; I feel ripped off. There is great footage of Jackson dancing (he seems to still be a great dancer in the months leading up to his death), but not enough substantive stuff for a feature film. We get the outlines of most songs - all the big hits: Thriller, Beat It, Billie Jean, Man in the Mirror, Human Nature, Bad, etc. - but none of the soul of these songs. I would rather have sat in my living room and listened to a CD of Thriller or Off the Wall - or even HIStory, disc 1.

Making everything more strange is that there are brief interviews with some of the dancers and band members where they talk about how *amazing* Jackson is. (I mean, he's paying their salaries - so I don't know why they would say anything else.) This hagiography is no big surprise (I don't really expect them to raise questions about his pedophilia or obsession with plastic surgery), but it sort of feels like they're all forcing the issue too much. I'm sick of the revisionist history on the man. He was once brilliant and beautiful and became a physical and social freak show. This was not our misunderstanding of him; he was the problem himself.

A few surprises and observations in the film: Beat It is a song that does not age well. It sounds very dated now and the guitar solo bridge is trite and silly; Human Nature is really a beautiful song - possibly Jackson's most beautiful; At times, Jackson looks like a kabuki dancer with a face covered in make-up, even when he's not wearing make-up; The moment when he talks about his in-ear monitor being a 'fist in his ear' is hilarious - but only for the dirty joke that comes to mind; It's not clear that Jackson is a nice person to work with - not that he's a jerk, but his personality does not really come through in the film.

I think the saddest part of the film and the biggest problem with the fact that it is simply rehearsal footage, is that Jackson never speaks for himself about his feelings and never talks directly to the camera about what is going on. He speaks to the director of the show (and the movie), Kenny Ortega, and he speaks to the band and the dancers, but he never speaks to us (or to a director off-camera in an interview, as it typical for a doc like this). This made me think that he is a man (animal) in a cage. We see him doing stuff and interacting with people, but we never hear from him. Maybe this is the deepest part of the film - after all, this is who he was at the end of his life.

Stars: 1 of 4

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Rembrandt's J'Accuse (Sunday, October 25, 2009) (153)

Peter Greenaway is an interesting filmmaker - and by interesting, I mean that he makes weird, off-beat movies that are not always successful and sometimes are downright bad. It is no surprise then that a documentary by him would also be non-standard and a bit cheeky.

In this film, Greenaway presents a case for how Rembrandt's The Nightwatch is actually an artistic indictment of the painting's subjects having murdered a man to enhance their political power. He presents 31 pieces of evidence and unusual variations in the painting that lead him to this conclusion and he tells a very compelling story that leaves us totally convinced about Rembrandt's motives and the guilt of the accused men.

Formally the film is very interesting. Throughout most of it, Greenaway appears in a box at the bottom of the screen talking directly to us as he makes his arguments. We do not see art or academic historians, but Greenaway makes points from the point of view of those experts. In the background are close-ups of the painting itself as well as dramatic re-enactments of Rembrandt speaking to the men he was painting getting them set up in costumes and staging them. There are also scenes where Greenaway questions and cross-examines the historical figures (again, actors in period costumes) as if in a murder trial.

Of course, the film is is it's own formal work of art - and reminiscent of how modern and contemporary artists (Roy Lichtenstein, Cindy Sherman, Thomas Struth, etc.) have re-examined the old masters in their works. It is a fresh look at a somewhat stuffy old work. It sounds totally dumb to say, but he really makes the work come to life - and not just because he has actors impersonating the characters on the canvas. He adds all sorts of behind-the-scenes drama that makes the dark background of the painting brighten for a moment. He does this with a tongue planted firmly in his cheek - though it is not silly, just self-aware. This is probably Greenaway's most successful work in a decade or more. It's a lot of fun!

Stars: 3 of 4

Antichrist (Sunday, October 25, 2009) (152)

This is an open letter to Danish filmmaker extraordinaire Lars von Trier. Please note, I do not recommend that anyone see his new film Antichrist. It is shocking and disgusting and terrible. OK - maybe you should see it because it is so wonderfully bad. How von Trier is considered a modern master is beyond me. WARNING: This letter has lots of spoilers and might not be totally SFW. Again: Don't see this movie.

Dear Lars von Trier:

I wish I could say that when in Antichrist a dead fox with its guts spilling out jumps up and says directly to the camera 'chaos reigns' that I knew the picture was a piece of garbage. But sadly, this fact was clear to me way before this sequence. Your movie is totally fatuous, quasi-intellectual sophomorism. And you are a conceited demagogue.

Your film opens with what I think is a very elegant slow-motion sequence with Willem Dafoe and Charlotte Gainsbourg fucking wildly in the shower and their baby falling out an open window to his death, all while a Handel aria plays. This is nice, but is not even a close of anything to come. Once the baby dies, the Gainsbourg goes into a state of extreme shock (she seems to be bi-polar) and gets hospitalized.

When she wakes up (after a month in a coma!) Dafoe, who is some sort of psychiatrist, decides he doesn't like the treatment she's getting, so he flushes her meds down the toilet and resolves to treat her himself. As he treats her, she goes through several stages of 'recovery', with some episodes of crying, self-mutilation and, again, jumping on her husband to fuck him (I mean, why not!?). At a certain point, he decides that they should go to their country house deep in the woods, because he believes part of her problem is that she's afraid of nature (or something like that). Once she gets there, she begins to get better, but ultimately goes fucking bat-shit and attacks her husband.

Your need to show graphic sexuality on screen makes no sense to me. Yes, it's very frank, but I'm not sure it really helps tell the story. I don't need to see vaginal penetration in the opening sequence to understand they are screwing (I think you were trying to make a visual allusion to the stabby violence that would follow, but this was still pretty juvenile). I don't need to see Gainsbourg hit Dafoe in his erect cock with a paving stone and then jerk him off until he spooges blood on her shirt. I don't need to see her drill a hole in Dafoe's leg and then attach a grinding wheel to it with a wrench as a 'man-anchor'. I don't need to see her cut off her clitoris with a rusty scissors. None of these details give me a deeper understanding of anything and are basically all totally fucking gross.

I guess your point in this movie is that men keep women down and hurt them, so it is a woman's right to fight back. Or maybe that men make women into monsters, so we should not be surprised when women fight back. But this argument falls apart once we know that she is bi-polar and is suffering from an extreme depressive episode followed by an extreme manic episode. Also, Dafoe's biggest sin we know about is that he tries to become her shrink (I guess that's something about man's control over women), but this is not the worst sin in the world. Yes, it is very unethical, but it should not lead her to castrating him, or whatever she does. You also show Gainsbourg putting the kid's shoes on the wrong feet to torture him - which means either she's an incredibly negligent mother, or an outright evil one who hurts her child so directly. She is not an easy woman for us to love.

Most of the dialogue in the film is hilariously bad. Several times in the screening I went to, the audience laughed AT the film. At one point, after Gainsbourg has been depressed for several months and unresponsive to Dafoe's treatment, and he says earnestly, 'This is not going to work.' I mean - really, Lars?! That's the best line you could come up with? When the fox said 'chaos reigns', just about everyone in the theater laughed (again) - but aside from the ridiculous line, I don't even understand what the fuck it means. Is the fox a mythological symbol of chaos? Is the woman chaotic? Is there something about the relationship between men and women that is chaotic? Is the fox the Antichrist? I don't know.

Throughout the film, the cinematography is striking, but frustrating. I found that the blue-green, hyper-stylized look of the film made me forget at moments how bad the movie was and enjoy looking at it visually. Maybe it's unfair of me, but I want my bad movie to look really bad too. I think it's cheesy for your turd of a film to look good. (It's also very anti-Dogme 95 of you to have a film look so fancy, bt-dubs.)

I have a few final questions for you: Why is the film set in Seattle? It seems like a totally random place. Is this a criticism of American culture? I don't know how emblematic of America Seattle really is. (I also object to the fact that I don't really associate Seattle with snow, but rather with rain -so I think the snow in the opening sequence is lazy overkill and visual obfuscation). Do you object to psycho-pharmacology and talking therapy? Do you think one is better than the other? At one point it seems like you hate all therapy, but then you let the women who is in bad therapy hurt somebody, so maybe you like therapy. Which parts of the body did Willem DaFoe's body double play? What does this film have to do with Andrei Tarkovsky and why did you dedicate the film to him? Have you considered retirement, and if not, why not?

Most importantly: This film seems to break almost all of the Dogme 95 ten rules. Was this done on purpose? Do you think Dogme is bullshit the way we do? Of all the broken rules, #6 (no murders or weapons) is especially shot to shit - why did you do this? Do you think it makes you an ego-maniac and a hack to write a manifesto and then get sick of it after less than 14 years?

I appreciate that there is a credit at the end for 'research on misogyny' - but I think you are really a misanthrope - at least that's the only explanation I can figure on why you would make this movie - because you fucking hate humanity and want to make us suffer like dogs.

Sincerely,

Aaron

No Stars

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Genre: Comedy
Movie Type: Horror Comedy, Romantic Comedy
Themes: Zombies, Unlikely Heroes
Director: Edgar Wright
Main Cast: Simon Pegg, Kate Ashfield, Nick Frost, Dylan Moran, Lucy Davis
Release Year: 2004
Country: UK
Run Time: 99 minutes
MPAA Rating: R

It's often said that the true character of a man is only revealed in times of dire crisis, and for likable, lovelorn loser Shaun (Simon Pegg), that moment of reckoning came when the dead rose from their slumber to feast on the flesh of the living. A hapless electronics store employee who spends most of his spare time downing pints at the local pub with his roommate, Ed (Nick Frost), Shaun's life seems to fall apart when he is dumped by his girlfriend, Liz (Kate Ashfield), and his obnoxious stepfather, Philip (Bill Nighy), shows up to berate him for not being more attentive to his caring mother Barbara (Penelope Wilton) -- especially since he forgot to send flowers for her birthday. Things take a turn for the worse when the dead return to stake their claim on the Earth, and though the chaos that follows threatens to swallow up all of England, it's up to Shaun to keep his cool and prove himself once and for all by successfully rescuing Liz and his mother. With his trusty roommate by his side, nothing -- not even the living dead -- can stand between Shaun and the two most important women in his life.

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Amelia (Saturday, October 24, 2009) (151)

It seems to me like a biopic about Amelia Earhart would be a totally thrilling and interesting movie about a proto-feminist and her high-flying (literally!) life and career and a wonderfully tragic ending. I'm somewhat surprised that there is not a new film version of her life every few years, the way there are so many Queen Elizabeth movies. But then when I saw this totally anemic film effort, I realized that lives that are inherently cinematic should not always be made into movies - and that sometimes it is possible to screw up a grilled cheese sandwich.

The structure of the film is completely trite: We see Amelia setting off on her final trip, and then cut back to her childhood in Kansas learning to fly with her father; then we see her later in the round-the-world trip flying over Africa, and we cut back to her first flight across the Atlantic. This back-and-forth format is so tired that it's surprising director Mira Nair is even breathing. You could design a computer program, I'm sure, to come up with a more creative plot.

Amelia Earhart (played by Hillary Swank) meets George Putnam (Richard Gere), a New York publisher and advertising and PR man who is looking for a woman who can sit in the back of a plane while two men fly it to London (or Ireland, as it turns out to be). Earhart is strong-willed, but concedes control for hope of marketing riches that would follow the flight. And the riches do follow. When she is done, she gets swept up on a lecture tour with product endorsements and instant fame.

She falls in love with Putnam and also meets and falls for Gene Vidal (Ewan McGreggor), Gore Vidal's father. As she struggles with her love life, she embarks on other flying expeditions (from Hawaii to California; across the Atlantic solo; and somewhere in South America). At some point she attempts the Mt. Everest of flying - a trip around the world. As history shows, her plane goes down somewhere in the South Pacific.

There are so many problems with this film it's hard to know where to begin. My biggest complaint is how lifeless and superficial the movie is. We basically don't know anything about the characters (including Earhart) or their motives and backgrounds. Putnam and Earhart fall in love sorta because they sit next to each other in meetings and Model-T Fords - but we never see why they fall in love. Clearly Ewan McGreggor is hot, but it is never clear why Vidal and Earhart are attracted to one another. (Also - putting a child Gore Vidal in the film is totally unnecessary and dumb. His character adds nothing to the film - and honestly, I think most viewers don't know enough about him today to care who he was then.)

We are never shown that Earhart is a great pilot - and one of our first introductions to her is as a passenger in her trans-Atlantic flight shows her as a restless but compliant second to the male fliers. This doesn't help her case as a master aviatrix. (OK - I do want to say that I love the word 'aviatrix' - and not because it sounds like dominatrix - but because there aren't enough English words that end in 'trix'.) We see that she was selected because she was pretty and could fly - but we are supposed to think that she was the best pilot in the world (or something like that), but we never see this.

Not only is the structure of the script terrible, but the dialogue is laughable too. It seems like most of the talk in the film is simply explaining what was going on or what going to happen next in very clear terms. It felt like the dialogue was written by children - or maybe for a children's book. At one point, Earhard says that she likes flying because it lets her move in three dimensions ... Well, yes, Amelia, you can also walk or run or sit in bed in three dimensions if you want too! This terrible talking was compounded by Swank's totally terrible affected accent. I can only guess that Earhart had some midwestern folksy accent - though it really just comes out as a caricature of a 1930s woman.

(In addition, the production values are terrible and I was constantly bothered by the badly looped-in dialogue that didn't sync with the footage on screen, especially in the most important moment of the film as Earhart is leaving for her final journey -which is shown twice!)

One of my biggest pet peeves in film is anachronisms that would be easy to fix - like bad props and costumes. This film features two Longines watches that are shamefully modern and totally unnecessary. These are clearly put in by the studio's marketing department - but there's no reason why Nair should have allowed modern watches (that do sorta look old) rather than vintage Longines watches - especially when the Longines brand was basically made on the back of 1930s-era aviation. I mean, Nair should be in control of everything on screen - props and costumes and all. If you can see a quartz watch on a wrist in 1937, why not a black box in the cockpit of Earhart's plane. That would have made the search for the wreckage much easier!

In the end, Earhart does not come off as a feminist who is in control of her sexuality or her career during an era when women were not equal to men. She comes off as a woman who knows how she is a second-class citizen and uses her sexuality to control men and steer her career. I think it is, in fact, anti-feminist to suggest that a woman's only tool is her sexuality. This plays directly into the themes of the chauvinist world we live in and is not progressive at all.

Stars: .5 of 4

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Genre  : Action / Adventure / Fantasy
Tagline  : Gadgets, Gizmos, Guinea Pigs. In 3-D.
Plot   : The story is about a team of trained secret agent guinea pigs that takes on a mission for the US government. A specially trained squad of guinea pigs is dispatched to stop a diabolical billionaire, who plans to taking over the world with household appliances.

Infomation
Format      : AVI                                   
File Size    : 701 Mb                               
Duration     : 01:27:20                         
Language     : English                               
Source         : DVD NTSC                             
Genre       : Adventure / Action / Family / Fantasy           
Rating        : 4.5/10                     
                                               
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Resolution : 720x304 
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Audio tag : MP3
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[TITLE].........................[The Ugly Truth
[RELEASE YEAR]..................[ 2009
[FORMAT]:.......................[ Matroska
[GENRE]:........................[Comedy | Romance
[FILE SIZE]:....................[ 400MB
[RESOLUTION]:...................[ 1280*532
[LANGUAGE ]:....................[ English[Subs included]
[ORIGINAL RUNTIME]:.............[ 96 minutes
[RELEASE RUNTIME]:..............[ 96 minutes
[SOURCE]:.......................[m-720p

This image has been resized. Click this bar to view the full image. The original image is sized 1280x532.

This image has been resized. Click this bar to view the full image. The original image is sized 1280x532.

This image has been resized. Click this bar to view the full image. The original image is sized 1280x532.

This image has been resized. Click this bar to view the full image. The original image is sized 1280x532.

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Arkadaşımın Aşkı - My Best Friends Girl

Arkadaşımın Aşkı
Oyuncular Dane Cook ( Tank) , Kate Hudson ( Alexis) , Alec Baldwin ( Professor Turner) , Jason Biggs (Dustin)


Arkadaşımın Aşkı

Mahşerin Dört Atlısı Filmini Full İzleyin

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Oyuncular: Dennis Quaid (Aidan Breslin) , Ziyi Zhang (Kristen) , Lou Taylor Pucci (Alex Breslin)


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Where the Wild Things Are (Saturday, October, 17, 2009) (150)

I have to admit that when I was growing up the Maurice Sendak book Where the Wild Thing Are was not my most favorite book. I was always thrilled by the illustrations, but found the story rather simple. When I first saw the trailer for this Spike Jonze film, I was once again excited by the visuals (and happy with the great use of an Arcade Fire song) and looked forward to the film.

I think Spike Jonze has a really interesting aesthetic and has made and performed in some very interesting movies and shorts. Say what you might about Being John Malkovich and Adaptation, but it's hard to criticize the very unique look of the movies. He has a way of making very mundane and frequently dirty settings look amazing. He relishes 1980s kitsch, synthetic print fabrics and orangey-brown plastics. He's weird - but weird in a good way. Fun and interesting weird.

In the movie, Max is a young pre-teen boy who has a wonderful imagination, but is an outsider in his home town. His best friend is probably his mother, but she is mostly wrapped up in her new boyfriend. One night, when his mother has her boyfriend over for dinner, Max throws a tantrum and runs away to the woods (while wearing a fantasy animal costume). When he wakes up he finds that he's in a world where the wonderful giant Wild Things live. They behave exactly how a 10 year-old boy would expect them to. They break things and build forts and the fight and love one another. They quickly make him their king and he helps to repair their ever-fracturing world.

The themes of the story are rather eternal. The story is reminiscent of the Wizard of Oz or Candide with the idea that the grass is always greener over there - but is ultimately pretty good back home. Max is a universal childhood character that is very easy to understand and identify with.

What I love about the movie is that it really feels like it is seen from the eyes of a child - and not an adult version of what children see. That is, the Wild Things are just big stuffed animals, rather than more realistic fleshy or CGI beings. They are childish, rough and imperfect - and clearly things that could not exist in our world. They only exist in their own world - in Max's world. This world has a wonderful forest and a wonderful dessert with sand dunes - but it totally small enough to be contained in a kids head.

As much as I liked the Wild Things land, though, I feel that the movie ran a bit long at the end of the second act and beginning of the third. I lost track of the story there and think that it should have been cut and tightened a bit.

Still, Jonze amazed me again with a vision that maybe no other director does as well. The art directors and production designer deserve a lot of credit too, as does cinematographer Lance Accord. I think the film is set in the 1980s (at time when I read the book) and I see myself as Max, a bit of an outsider and a bit sad (oh, OK - I'll stop with the boo-hoo). If I had known then that this movie would be made in my future, this is exactly how I would want it to look.

Keep Spike Jonze weird!

Stars: 2.5 of 4

New York, I Love You (Saturday, October 17, 2009) (149)

This film is a re-make of the recent French picture Paris, Je T'Aime that had a series of simple one-scene film shorts about people falling in love in the French capital. As only dunderheaded Hollywood folk can do, producers felt that if it worked OK en francais, pourquoi pas en Anglais. (OK- I'll stop with the French, though I do like to think of film people speaking French when ripping off a tired idea.)

The main problem with the concept, though, is that the French film as thin and treacly. In other words, there was once a bad French movie that was re-made in New York and the re-make is really bad.

So the outline of the film remains the same: A pastiche of short films set in New York City dealing with people falling in love, flirting, falling out of love or fucking. I should be clear here - by 'people,' I'm only speaking of white people and by 'New York City,' I'm only speaking of Manhattan and Jewy Brooklyn. How there could not be a single story of black people, Latino people, Korean people, Russian people - let alone a single gay person of any gender - is shocking to me and makes me think the production had nothing to do with New Yorkers at all. (To be fair, there is one Sikh man, one Chinese woman, one bi-racial whore, one Orthodox Jewish woman, and an old Jewish couple - Yay! Diversity!)

Each short is directed by a different film maker and each one has its own personality and style. One is silly and funny, one is tragic, one is romantic, one is naturalistic. Then in between each sequence, there are a few characters who tie all the stories together (because as American film viewers, we are apparently dumbfucks and can't possibly understand a bunch of shorts without a few directorial guides). Rather than helping to tie the stories together, these interludes create more unusual segues - suggesting connections that are not actually there at all. Letting one short butt up against another would be much easier to comprehend. Instead we are left asking if there is one major story that we're missing as we watch all the small films. (There is not.)

Easily the biggest surprise of the whole thing is that some of the actors and directors who I would expect the least from give some of the best moments. Director Brett Ratner, who I think normally can't direct his way out of a paper bag, does a great job in his short about a boy (Anton Yelchin) who is tricked into taking a girl in a wheelchair (Olivia Thirlby) to the senior prom. It's a very funny bit and generally well done -and easily the best of all the shorts. Actor Shia LaBeouf, who I think is a terrible actor, is very good in a serious role in a heavy-handed, but elegant-ish short by Shekhar Kapur (a director I don't think much of either).

But this is, like, the worst praise a movie can get, right? That the people who really suck in general didn't suck as much as expected and were actually pretty OK. Well - that's about all I'm going to give the film. Why there were not love stories set in Washington Heights or Spanish Harlem with people who spoke Spanish, or why there was not, say a Korean story in Queens - or, forgodssake, a gay love story - is totally beyond me. I don't think this is going to get much attention or play outside of New York and I think New Yorkers are rather bored by such a safe, white script purporting to be about the whole city.

Stars: .5 of 4

Nostradamus 2012 - Kehanet (Altyazılı)

NOSTURADAMUSUN YENİ KEHANETLERİ

NOSTRADAMUS

Harry Potter ve Melez Prens Dublajsız

Harry Potter and the Half-Blood Prince (Altyazılı Filmler)
Harry Potter ın son devam filmidir
Yapım:2009
Oyuncular: Daniel Radcliffe (Harry Potter) , Rupert Grint (Ron Weasley) , Emma Watson (Hermione Granger) , Julie Walters (Molly Weasley)


HARRY POTER FİLMİ MELEZ PRENS

An Education (Monday, October 12, 2009) (148)

This film tells the story of a precocious teenage girl in England in the early 1960s who befriends an older man who purports to be a cultural dilettante and professional man of international esteem. The girl and both her parents fall in love with the guy and she decides to quit high school and begin her new life as a woman of leisure. She gets so caught up in the romance of her own story that she loses track of her goals and gets burned when she finds that the man was not entirely forthright with her about his situation. God - even writing a three-sentence summary of the story makes me want to doze off to sleep. The story is completely banal and the film is as exciting as the foggy gray atmosphere of the London setting.

Cary Mulligan in the lead role of Jenny is a wise girl who has a very nice and attractive demeanor. Her performance is good overall, but the dialogue she is given is terrible. She constantly speaks in half-French phrases and then banal English cliches. Not a fault of the acting at all, but rather the script, she does not seem to fit well into the era that the movie is set - as she constantly talks back to her parents and teachers in a particularly modern way. Peter Saarsgaard as the love interest, David, has one of the all-time terrible English accents here. It's hard to pay attention to his performance or the character because the accent is so distractingly bad.

One thing that comes off strangely (that might just be my contemporary prudishness coming out) is how there is not a single character who ever questions the appropriateness of a 16 year-old girl dating a man in his mid-30s and travelling around the country (and Paris) with him. I guess one could say 'times were different then' - but still, there should have been a teacher or parent asking if it was right for the couple to date (to which she could have replied, 'Oh - don't be such a prude' in a bratty tone).

On top of this problem, is the more central question of what David's motives are in sweeping Jenny off her feet. His intentions are never explored at all. Early on, he seems excited by the girl's excitement for him, and then later he seems rather turned on by her virginity and sexual adventurousness. But why he sticks around so long is never really examined. Is he really in love with her? It seems like a stretch to think he is. Aside from the puerile lust he might have for such a young girl, she doesn't seem to offer him much. She is clearly more in lust with him and fools herself into thinking it's love.

This is yet another case of the historical truth of the story getting in the way of a compelling narrative. The fact that this is based on an alleged true story gets in the way of a cohesive structure. I have to imagine all of the events here actually occurred, but they don't make a good movie. The story is totally cliche and the characters are so two-dimensional they almost recede into the beige wallpaper.

Stars: 1 of 4

Good Hair (Sunday, October 11, 2009) (147)

This is a documentary by comedian Chris Rock about the science and culture of black women's hair. I'm a bit baffled as to why Rock would make this - I mean he's never shown a heck of a lot of interest in hair before and I don't think he's a stylist by day or anything - but he actually takes the somewhat trivial topic and makes an interesting story about it.

He looks at all sorts of aspects of black hair, from historical trends (relaxer and straightening to weaves and hair pieces) to price and social impact. These sequences are intercut with the Bronner Bros. International Beauty Show, the Super Bowl and Oscars of the black hair industry rolled into one. The final day of the show is a competition where five hair stylists perform acrobatic routines showing their skills with scissors and showmanship. (The loudest and most flamboyant of the participants is Derrick J, sometimes seen on the Real Housewives of Atlanta, where he designs wigs with housewife Kim.)

But not all of the film is flash and glitter. Rock looks at how most of the companies who sell hair products to black women are white- or asian-owned. The few black-owned companies are well loved, but not nearly as big as their non-black counterparts. Rock goes to India to show how most hair weaves come from temples and holy sites where pilgrims have their black and brown hair shaved as pious offerings to god. This hair is then taken to the U.S. where it is sold (for thousands of dollars a weave) to the black community.

There is a look at how very traditional black hair (an Afro, say) is basically unwearable for black women as society expects wavy or straight shiny hair and not the tight curly hair that grows on their heads. This is a very sad observation - especially when we see this history of this bias, going back to Josephine Baker and other black celebrities of older generations.

Hair has been a political tool and a repressive agent by Whites over the Black community for centuries - and Rock shows how black women are now accepting this as standard now and embracing it. It's hard for me as a white guy to say that black women should fight back and wear their hair how they want, when it would seem that they want the expensive, uncomfortable and fragile hair - but it does make me a bit uncomfortable. Still, I appreciate this interesting, funny look at a topic I didn't know much about before.

Stars: 2.5 of 4

The Yes Men Fix the World (Sunday, October 11, 2009) (146)

The Yes Men are a post-modern political hoax duo whose mission is to expose corporate greed and fraud through elaborate public pranks. Their targets are the traditional big-meanies of the multi-national corporate landscape, from Halliburton and Dow to the wrong-headed mosaic of government agencies that work in New Orleans re-building after Hurricane Katrina. This film, written and directed by the pair themselves, Andy Bichlbaum and Mike Bonanno, is a tongue-in-cheek look at some of their more famous and powerful works that brought them the largest amount of attention.



Their most successful act began with them setting up a website that appeared to look like an 'ethics' arm of Dow Chemical. Approaching the 20th anniversary of the Bhopal disaster (where tens of thousands of people were killed from a massive chemical spill and then thousands more died in the following years from the damage) the Yes Men, posing as Dow executives, were invited on to BBC to speak about the company's reaction to the situation it created.



Bichlbaum, under an assumed name, spoke on camera about how sorry the company was that the event occurred, and how they were going to accept full responsibility for their actions and pay the victims and their families with several billions of dollars. Of course, Dow has never admitted to any amount of responsibility and has been totally unhelpful to the Indian city.



Moments after the interview, top headlines around the world reported this gigantic turn-around in message and unparallelled restitution money. Of course, it was only a matter of minutes before Dow's real spokespeople contacted news media to say that in fact the Yes Men were pranksters and that they still don't take responsibility for their actions and still will not pay any money to the Indians who were hurt.



This, in the end is the real art of the Yes Men - getting big companies and government bodies to specifically defend indefensible beliefs, policies and messages.



This film is a much more successful indictment of corporate greed and capitalism run awry than the recent Michael Moore movie, Capitalism: A Love Story. The Yes Men know that there are not two sides to every story (as Arriana Huffington has been saying for a few years now). There is not real scientific *debate* about evolution or climate change - so it's foolish for news reports to give 'equal time' to both sides. There is not a real moral pro and a con to Dow paying back victims of their chemical spill - they messed up and they should help the victims of the accident. That there are corporate suits and apologists who would defend the faceless company is sickening and, simply, bad. The Yes Men try to expose these problems.



They are not shrill, rather they are funny and friendly. In the film, they hatch their next 'attacks' from their modest super-hero den, as if they were poor, kitschy Batmans. This is a very funny and clever doc that leaves you feeling empowered by these modern-day Davids versus Goliath. I can't wait to see what they do next!



Stars: 3 of 4

Bronson (Saturday, October 10, 2009) (145)

The best way to explain the beautiful and weird movie Bronson is a line from the movie, where protagonist Charles 'Charlie' Bronson says to us, 'I'm not bad bad'. This sums up well his very cheeky and interesting persona and is both a lie and an understatement, but also rather spot-on with how we feel about him. This biopic is a fascinating and operatic appraisal of a interesting and compellingly violent character.

Charles Bronson, ne Michael Peterson, was never a really terrible person. He is known to this day as Britain's most violent prisoner, who went to jail in the 1970s, in his early 20s, for a bungled robbery (he still lives in British prison today). Once he got to prison, he began a bizarre and obsessive string of violent attacks and actions against other prisoners and mostly against the guards and prison administrators. He would organize elaborate kidnappings (into his cell), fights with other prisoners, fights with guards, stabbings and muggings and riots with lots of fires set to the facilities. As a result, he has spent something like all but four years in custody in solitary confinement - and of course, most of his life there.

Danish director Nicolas Winding Refn does a beautiful and unorthodox job with material that could be rather banal. The film is incredibly stylized and seems almost thematically Victorian - as if Bronson himself is a Victorian hero - like Sherlock Holmes. Bronson has a wonderful bald head and a fabulous thick handle-bar moustache.

The chronology of his life is intercut with sequences where Bronson is on a stage in an opera house dressed in a suit and sometimes in clown makeup explaining situations and giving some commentary on the events we're watching. This actually is a very interesting technique as it shows Bronson as a showman trying to capitalize on his notorious caché (these sequences are very reminiscent of the later scenes from The Assassination of Jesse James by the Coward Robert Ford, where Ford goes on tour re-enacting his fantastic but cowardly betrayal of his friend) but also rather intimate, as at times, he speaks directly to the camera - to us - about what is going on.

Tom Hardy does a wonderful job in the lead role. He's charming, funny, appealing and handsome. He is as bald as a newborn baby (at least a bald newborn baby) and his amazing moustache gives him a 19th Century boxer feel - which he basically was (his name comes from his days as a bare-knuckle boxer in East London when the promoter wanted him to have a strong, movie-star name like the star of Death Wish). This is a man who is clearly insane - but he's so compelling that you want to be his friend.

It's hard to watch the film not think about Kubrick's A Clockwork Orange - and Malcolm McDowell as Alex. Both films fetishize 'ultra-violence' and both romanticize fist and knife fighting as an artform. The characters see their physical appearances including their clothing and makeup as part of a persona that helps them do their bloody work. One unusual thing about Bronson's fights is that several times he stripps down nude and paints his entire body, possibly as a defensive move (it's harder to wrap up a man who you can't grab hold of) but largely as a creative touch. The imagery is striking on screen.

This film is as much about the choreography, the ballet, and the swelling operatic moments of climax as it is about the narrative per se. The style is a tremendously important device that lures us in and makes disgusting things less sickening.

This is a fascinating film that sounds rather dull when you explain it ('it's about a guy who goes to jail and gets in lots of fights while he's there') - but is in fact beautiful and evocative and tragic and, in the end, sublime.

Stars: 3.5 of 4