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In every rumor there is a portion of truth nobody knows nothing about. Hushhhh!.. Neither do you.
In this dark thriller, an innocent hero seeks reasons to the suicide of a TV starlet, whom he was in a romantic relationship with. All heard and known from the news is that the starlet was rumored to be seen in a late-dinner date with a member of a municipal council. Some politician that you don't want to mess up with. The tone of the thriller is set in such a mood that we don't have time to care about what does this guy do for a living, if he is not a detective?
He is not a detective, so this turns toward a sweet sour revenge. A revenge like Quentin Tarantino or Bryan Singer knew how to craft it in the '90s. The romantic kid decides to find whoever is guilty from the suicide of his girlfriend. How far he can go with that fantasy?
It is a nice challenging set-up with self-denial exams introducing new allies and new foes meanwhile. Yet, there is this major hindrance to catch up what is happening, why is happening and how is happening:
1- Characters do not look for other options 2- Characters do not have strong motivation or a good reason to be in this story 3- Characters do not have reasonable and mutual growth 4- And finally, what you see is what you guess and get: Story does not establish the film, the film becomes something else other than the promise.
Unless this is your first South-Korean action-thriller that you are watching, you will be okay with brutal fighting scenes, meaningless pain inflicting sequences, imbecile acting melodrama moments, cheap laziness in directing antagonist interactions(bad guys just stay there awaiting to be destroyed), and my favorite cheapness: Only as smart as a high-school manga. Well, guess what, the opening scene takes place when the heroes are in high school.
What you cannot find in any other action-thriller, but only in this film:
1- Trying to discover a secret via the fastest and the hardest way: Trace Manga! Track the suspects and beat them to death until they speak out who did it! "I am asking you s.o.b! Tell me who did it! Or I f.cking break your arm!". Crack! He breaks one arm. Oh no! He was innocent!
2- THE DARK TURN: Nobody knows who did it. But the more the hero seeks answers for, the more he learns that... It is a hidden top secret network, where its individuals are equal to each other; everything that is done, every news that is written, is known in the first place by no one. But the rumored secrets prompted the crime in this same first place, too. The more the hero struggles to find answers, he finds himself being part of it, and he turns his back to review his present life; that he was doing the same what it was done to him to other innocents like him.
3- The information is travelling faster than the speed of the light: Since every character engaging in the story is an employee of the news and media franchises, they cannot see the end of their actions, but we can. The use of internet in this film was nicely constructed with all the necessary reason and result synergies.
4- "Forget it Jake, it's Chinatown". This small-brain film will remind you and help you understand better the big-brain classics of all time. "Louis I think this is the beginning of a beautiful friendship"
5- The town is not called Chinatown or Casablanca, but the realm of the unseen corporate institutional power is much larger: "Media"
When Plastic Surgery Goes Wild: Be careful! When you are falling dead, don't you ever bruise that pretty skin
The major issue in second TV instalment of the Criminal Minds episodes is that the timing that's given for the Antagonists to step into the story. Was ridiculously insufficient. With an unorthodox thinking, even God himself gave %16(sixteen percent) of the lines of the Bible to Satan, that he could be introduced first as a serpent in Garden of Eden, in the entire chapter of Genesis 3. And if you have a Circus Of Horrors(1960-UK-Sidney Hayers) material in your hand to shape it up in an contemporary American life setting, you've got to give life to your antagonist to make him plausible.
A teen girl in blue mask walks in with doubts on her mind why did her father want to alter the look of her face. Does her father also run a country-wide touring circus with all-four-seasons bikini wearing honey bunnies as in 1947 British Horror of Doctor Schuler's plastic surgery fantasies?
Criminal Minds is a TV-series with a lot of screen timing on the Protagonist side, where we don't see enough of what evil side is doing in the mean time. So copycatting a British Horror with mysterious evil characters is not appropriate material.
Yet, it is the kind of material, what TV is missing in recent years. Below is my previous research regarding plastic surgery stories established in silver-screen.
There are notable films within various genres featuring plastic surgery. Starting to count, let's look at the drama/romance genre first: In Elizabeth Taylor's popular drama movie "Ash Wednesday(1973)", Taylor's character tends to have plastic surgery to retain her lover's attention on her. From the last decade of 1900s, Alejandro Amenabar's "Abre Los Ojos" and its Hollywood copycat "Vanilla Sky" both tell the off-base story of a playboy's lose of his handsome face due to a traffic accident, and his captious dreams of regaining his pretty face with plastic surgery. From the TV, 2005's Golden Globe winner TV- drama "Nip/Tuck" was taking its departure with two plastic surgeons of opposite personalities.
Plastic surgery was also memorable in Robert Zemeckis's "Death Becomes Her(1992)" where Meryl Streep and Goldie Hawn were making up a fun out of this matter. Addictive to look younger, two aged ladies were competing with each other via having plastic surgeries until they explore a youth elixir. Another funny example of a plastic surgery comedy had been featuring in a scene in Terry Gilliam's "Brazil(1985)" where the leading character's mother wants to have plastic surgery without anaesthesia while she's awake.
Whereas in the horror genre, the plastic surgery has been used very seriously in odd details. The cult filmmaker Jesus Franco's "Faceless(1987)" was a psychopathic crime story, in which a plastic surgeon kidnaps a beautiful model to stitch up her face into his sister's. Dated 1960 the British horror "Circus of Horrors" told another crime story of a plastic surgeon who takes his patients prisoner to work as models at a circus of horrors.
Maybe the earliest example to a plastic surgery concept on the big screen was Humphrey Bogart's "Dark Passage(1947)". This was an unique crime/thriller movie, having Humphrey Bogart as a criminal's new face after the plastic surgery which made it easier for him to hide away from the police. In the other crime/thriller movies that used plastic surgery within its concept, Michael Caine's "The Jigsaw Man" displayed a KGB agent who is sent to Britain for misleading targets. John Travolta and Nicolas Cage's "Face Off" on the other hand, brought a fresh idea of shifting agents with each other by means of plastic surgery. Looking at a Turkish TV crime genre epic "Kurtlar Vadisi(Valley of the Wolves)" displayed a MIT spy turning a Mafia boss after a successful plastic surgery altering him to a new identity so that he could prevent Turkish mafia from attacking Pope in Vatican or destroying the future of EU.
* References and external sources to this article can be found at:
- University of Toronto. ScienceDaily. (2011, August 25). Anti- ageing techniques not yet viewed as acceptable, study suggests. Retrieved (March, 8, 2014)
- Anti-ageing and reversing youth (Lef Magazine, October,2008)
Donald and the Wheel (1961)
a true collectible of a Walt Disney run Sci-Fi piece
Not having seen my father for over 5 years, this Walt Disney production reminded me too much of him, and gave me some clues to "What on Earth ever happened to movies?" and "Why don't they make it like they used to any more?".
The answer was simple, and came naturally: When young producers grow old, if they are recognized enough, they desist taking part of turning raw ideas into stories, for if they don't... Then they face the risk of losing their reputation over a silly money-making mechanism employee(I am not offending no one), but then(who did this mistake? Nikola Tesla did and Howard Hughes did), hence movies without them are not made fully but came to a senseless conclusion by losing the original idea in an effort to keep the story interesting and the mandatory rules applying.
Whereas Donald And The Wheel is a single executive run Walt Disney studio production, it is only one man's self-inspired work, and it is way ahead of its time. For he is the Walt Disney himself who that one man is, produced the entire footage, wrote most parts, plotted the entire production design, drew sketches on a blackboard with a piece of chalk, just like you've seen today on the animation, and ultimately he invented the first-seen-on-movies 3D human-cartoon match-up visual effect, dated 1961 the same year Walt presented the first full-color TV-programming via his co-production "Wonderful World of Color(**)", 27 years before Who Framed Roger Rabbit(Robert Zemeckis of BackToTheFuture).
But that's not it. The gem in this short animation is that Walt tells the history of world science, from the wheel-invention perspective. If you imagine another world, without no other discovery than the wheel, this is what you get. If you don't believe me, for I don't have a Nobel award, I remind you that in 1904 Einstein has said that "If you take any true scientific discovery and add it to a non-working mechanism, not only will it work the mechanism, but it will operate it solely by itself(*)". Do you think Walt didn't know that?
What goes on the story is that a father and his son sing together a Orson Welles kind of duet, telling the history of science, from the very date of the invention of the wheel in BC.3500, its many uses in carriage, in military defense, in agriculture, in forestry, in ancient metropolis constructions, in Ancient Egypt BC.2000 which the history has more records than the other civilizations as being used for the first type of ground transportation, then in Philosophical Ancient Greece BC.400 when Hippocrates and Aristocrates designed the first horse carriage(via stealing the secret of How to train horses from Persia) and starting from BC.200 Romans how the horse carriages developed in time until AD.1820, when the locomotive and the railroad systems were invented. All displayed within perfect illustrations, like a hands-on science class taught by a never- understood mad professor wearing suede shoes dancing waltz to himself and speaking to himself with a unique jargon you never want to miss.
The professor's illustrations goes on until the automobiles are used in travel to long ground distances(1920s), and the first space satellites(1950s). Meanwhile the father and the son singing duets and dancing, go back in time to BC.3500 to inspire the caveman in motivating him to invent the first wheel. The caveman finds the father and the son too crazy to believe in, and quits his silly idea of inventing something that rolls on its own unstoppably.
-------------------------------------------------------------------- References and bibliography used in this review follows:
Live Science - Invention of the wheel 180008 (**) D23 - about Walt Disney (*) einstein-website.de/z_biography
Erotiko pathos (1981)
Don't let the charming girls kill their aunts out of jealousy
is must be one of the rules of being ladies' men. In this B type softcore feature, Monica Nickel -a German/Greek playboy playmate- plays a coming-of-age girl Della, a seductive beauty who is on hunting for mature men to drive them wild towards having all types of foul sex, public sex and skinny dipping. But neither of the scenes involve gay/lesbian interest nor any male nudity hardcore elements. Monica Nickel is a playboy playmate and she will show all, of course, with a couple of other older females joining her. The sex scenes are so soft in the style of Emmanuelle series, but still they are motivating and rolling with high temperature.
Read these critic, if you will, prior to watching the movie, so you will know what to expect. I promise that there are no spoilers.
There are many qualities that makes this film a good romance flick either than being a Poison Ivy type seductive crime. How can a girl steal some other girls' boyfriend without being a spoilsport to that girl? She can if she is as smart as Della. All Della wants alongside the movie is to be a grown-up girl. She is doing what she thinks mature people do. And the world around her obeys her dream. It's a small and pink world, that she can fall for a criminal and can easily save him from being charged for a new crime.
Her fugitive boyfriend convinces her not to kill her aunt reminding her that every girl has the potential to be a mother one day, and hence they have to respect other mothers no matter what. Such a ladies' man!
The crime is not this movie is made of. It's a coming-age drama softcore with all the plausible reasons for a girl to go rebel and go berserk against everything that can stop her from being grown-up so quick, while at the some time -with all of her innocence deep inside- falling for wrong men.
Neither the story or script is engaging for professional aspects. Don't forget; this movie is a softcore/romance movie and can only be watchable for these purposes. When you have this purpose and got everything ready with your sweetheart for a soft and tender night, you'll enjoy it all, with all the music, the settings, the atmosphere, the innocence, the soft and pink world where nothing good or beautiful happens except love.
With all the music, the settings, the atmosphere, the innocence, the soft and pink world where nothing good or beautiful happens except love.
What follows below is the lyrics of the song at the opening credits that takes us to these pink crime world:
" It's only love
Keeps me alive
If you should ever leave me
That I'd just die of your sadness
I hope you understand
With such a feeling
With such a deep emotion
I'll give your love my devotion,
Tenderness and passion
It's only love
So don't be afraid
If some time I get angry
'cause I don't feel any more loneliness " (music by Giovanni Ullu)
(song and lyrics uncredited)
Who Killed the Electric Car? (2006)
"America is addicted to oil" says President George W.Bush as he commits the murder of the Electric Car
When somebody asks your opinion about what will be different in future, the answer you're going to give to that person will not be the same answer after you watch this brilliantly thought-provoking documentary.
In the recent years I became a volunteer member of the World Future Society via the U.S. based monthly magazine called Futurist. WFS is a society established in 1966 by the Baby Boomers, who had the prevailing sociological demographics of being afraid of the future and technology. Wherever and whenever the more you read and the more you make research about what's upcoming with the future, you end up finding yourself in a strictly controlled mechanism...
A strictly controlled mechanism of making people afraid of the future is a Globalism vista. This is what 99 percent of today's scientists all over the world face, as they keep running after their dreams to effectuate an EASIER LIFE for the whole world in the future.
When I say "easier life" I am daydreaming about a future with less obligations, less touch of economy in every little thing of life, less time wasted on waiting things, less time wasted on waiting your flight/waiting your bus/waiting for the traffic lights to turn green and there comes the vision of spending less time on daily transportation.
But the vision of spending less time on transportation is restricted with the Global Economy. Until the Earth's oil resources are totally drained coming to a point of depletion, the people of Earth will still be obliged to use refined petroleum to fill the gas tanks of their cars; since this Global Economy is based on the money you spend to fill out your gas tanks.
Whereas since the early 1920's Ford and General Motors have already developed the idea and possibility of running automobiles with use of electrically charged batteries. This is the initial introduction of the Electric Car in this feature documentary. The science of Electric Car has come back to development in the 1980's once more. As General Motors company developed the technology further, they have introduced their first publicized Electric Car in a 1989 fair opening. The pioneer electric car in America has been named GM-Saturn EV.1 (EV stands for Electric Vehicle).
In the late '90s in the states of California and Arizona, a total of 78 electric cars have been purchased by public. Ford Think, Ford Ranger EV, Toyoya RAV4 EV, Toyota Hybrid, Nissan Altra EV, and Honda EV Plus are the electric cars that are sold. Along the documentary, which is very nicely done through public interviews, we get to lend our ears to the satisfactions of electric car drivers.
92 minutes of running time in this documentary features two main themes:
1/ the introduction of Electric Cars and their manufacturers, principals of their engines and fuels, electric vehicle charging stations, and the EV owners
2/ the investigation of the obvious question "How come there aren't any Electric Cars in the traffic today?" that is followed by "Who did take off the cars from the traffic?"
This investigation covers every little and every crazy possibility that comes to your mind when you think of who killed the electric car:
Western States Petroleum Association, California Air Resources Board, American Petroleum Institute, California Governor Arnold Schwarzenegger, President George W.Bush, California Fuel Cell Partnership Group, car companies, lack of marketing, emission requirements, lack of public demand.
Which one is guilty, or who is guilty? Who is behind the fact that Electric Cars are taken off the traffic?
The writer and director Chris Paine has done a great job putting together a list of suspects, as if this is a case and as if the act of justice needs to punish the guilty.
This documentary of course cannot offer solutions to what to do about this guilt. It is the mission of the American Justice System. But as long as USA doesn't approve Liberalism for its regime, no one is going to punish the guilty. Yet this is only my opinion. This professional documentary doesn't have any political stand, and it doesn't force you to anything. It is just to let you know, and let you think.
Rebel with a Cause - a very week social drama due to disregard of psychological science
An author and a movie-maker are two totally different career personalities. It isn't always easy for an author to turn his own novel into a feature-length movie. Even though there are exceptions, in general the idea of writing a drama novel develops through emotions and thoughts, whereas writing a movie requires thinking in visuals and in character motives.
As a novel "The Perks of Being a Wallflower" has published by MTV in the year 1999 for Young Adult audiences. Examining social psychology as a subject matter is the leading concentration herein. This novel has several references from English Literature works and Western Philosophy movements. Author Stephen Chbosky reflects his opinions on struggles of an adolescent growing up to adulthood in a western society where the adolescent has to face isolation and alienation while delving deeply into individual freedom as it is the case in Nihilism, Absurdism, and in Existentialism.
The refusal of loneliness is the concealed and driven force of being a wallflower. Being a wallflower for an adolescent in this film stands for acting the cool guy, and acting the wanna-be-popular guy. According to Albert Camus, the French philosopher, this is the definition of being a "rebel".
But the promised concealed and driven force of being a wallflower isn't displayed in the film, which is the initial problem of the chain of other continued failures. The reasoning with choosing to be a wallflower is explained through shyness. If the Charlie character is made shy, how can he easily strip down his clothes in front of a hundred people on the Rocky Horror Picture Show night? The psychological trauma awaiting after committing such a "rebel" action for a shy person may be very severely grievous, or may be not. Let's hope it may not.
The ease of dialogues and interactions between Emma Watson's character(Sam) and Charlie are also improper with the given character motives. She types "write about us" to Charlie's typewriter. And what does Charlie do in return? He types "I will". This is just nonsense. Later on she goes to sit on her bed sort of inviting him to sex. The moment as a couple they were about to start making out, as Sam touches Charlie on his inner thighs, Charlie recalls his sister who is dead. How can you recall your late sister while your dream girlfriend makes love to you as she touches your thighs? Reality is that Charlie's character is not directed to be a shy character. He is just a cool but abnormally depressive character. And this has nothing to do with being a wallflower.
Charlie is the next James Dean. Everything he did to lure girls, so did James Dean the same way. For over 65 years in Hollywood, being the cool and rebel guy always created more impression on girls rather than being a nice popular guy. This is a huge and inexcusable directing inferiority.
Whoever loved this film, loved it because of the resolution at the end. Whereas also whoever hated this film, hated it because of the revelation at the end. The Perks of Being a Wallflower film has two main themes:
1/ Finding the love you deserve 2/ Finding the meaning of becoming an adult
Each theme is in contradiction with each other. This film offers us the resolution that seeking the love you deserve keeps you away from becoming an adult. And it offers us the revelation of finding the meaning of becoming an adult in Nihilist freedom of an understanding that you cannot run after love, love will come to you.
Failure in "Thinking Differently" : a Poorly Marketed Good Drama movie about an Epoch-making Achievement, and absolutely not a Biography movie
Steve Jobs(R.I.P) October,5th,2011.
jOBS is not a biography movie like Citizen Kane, Gandhi, The Last Emperor, The Last King of Scotland, Malcolm X, and Gladiator. But it takes all the genre clichés from these movies, while following the same story structure of Social Network.
Since I mentioned David Fincher's movie Social Network, I will start my review with the major problem in jOBS: Considering Social Network was an aptly marketed everyone's hero style of an average business-drama movie, in order to market a Steve Jobs life story appropriately, this wasn't the right choice. The cause of this marketing errors are the trailer, the poster with Ashton Kutcher on it, and the movie itself with Ashton Kutcher starring in it.
Then what is jOBS about? jOBS is just a simple telling of a person's epoch-making achievement like Schindler's List, Spartacus, Raging Bull, Braveheart, Papillon, The Pianist, and even David Lnych's The Straight Story. jOBS has more than a few things in common with those movies including the pain of sacrificing your beloved ones in order to succeed in your career, including similar character traits, similar ethical beliefs, similar moral decisions. jOBS is only a brief telling of what Steve Jobs gave to the Macintosh computers, just like what Oscar Schindler gave to Jews, and what Braveheart gave to Scotland. You can't expect to see the birth and death of Steve Jobs in this movie. This is not a biopic, instead it's a drama, poorly marketed good business-drama.
There are both strong and weak points in the technical side of jOBS. As a start, having no narration is a strong point, yet having not explained why Steve Jobs dropped out from college is crucially a weak point. Ashton Kutcher takes his girlfriend and goes behind bushes in the country and smokes weed. Then we get to figure it out that Steve Jobs has dropped out from college because he smoked weed and got his girlfriend pregnant. Refusing the birth of his first child due to his busy work schedules, Steve Jobs character has been made more weaker and weaker minute after minute. There is certainly a rule of character growth followed in this film, but none of this film's audiences have really bought that character growing incidents.
This is an average business-drama movie, set in the world of entrepreneurial minds. You're lonely, you always keep a positive mind but always looking for a person to trust, you are goal-oriented, you take maximum risks for every little achievements in your life, you are a reliable friend to your colleagues but they are always afraid of you, and you see every step in your life as a competition with someone else's steps in their lives...
This is a strong premise that killed the sense of making a Steve Jobs movie to honor his memory. This movie should have been made in 1997, when Steve Jobs have become the de facto chief CEO of Macintosh. And this movie could have been titled "Think Differently" as this is what it is only about. If this has been a movie called "Think Differently" made in 1997, then it could earn some recognition. Now people would come to you and ask "What did Steve Jobs do for the last 14 years of his life as a CEO in Apple?"
A great Zombie movie and a must-see on Halloween
There are only some minor spoilers in my review, and those spoilers are in the technical and structural aspects of movie-making. I'm not going to spoil the story to you, because it's very brief like a prime time news story. I just want to mention the opening segment of the sci-fi movie District-9. The style used in District-9's opening segment is inspired from Rec.
This horror film has been made within a first person point of view live action perspective, and shot by a single hand-held camera. The ultimate challenge is that the entire movie goes until everybody dies. There are no bad guys, and no good guys. Everybody is a victim. Everybody must die.
All along the movie we are controlling Pablo's camera, and we are in his point of view. If you ever played FPS(first person shooter) computer games, you'd like this even more, because this film is entirely in FPS gaming style. We are always in point of view of Pablo's video camera. If the battery dies, the camera shuts down, then we can't see anything. If the audio receiver is disconnected, we can't hear. If the camera lens gets broken, we'd take off the lens, and start filming via night vision. This is a very strong premise, and absolutely this is what made me keep watching till the end. Otherwise zombie movies for me are just unreal and nothing interesting or scary, and always guessable too.
I'd recommend this film for adolescents who want to have fun on Halloween. As a unique zombie movie, it deserves multiple views. Turn on the volume and just join the fun.
Üç arkadas (1958)
Golden Age of Stars lapsed into reverie
Remember the times when movies are made with stars. Remember the times when there is no story to tell, if there is no star to play it. It feels so sad that oldies are archaic. Like a golden statuette, you can't be part of its drama any more, no matter how close you look you hold and you feel it.
Three Friends is one of those oldies which belong to bygone days, when the movies were only following one side of a story, very straightforwardly. You'd easily know who the protagonist and antagonist are. But you can never see a scene where protagonist is not present. There is no other story happening in the background with side characters or with the antagonist. There is only one plot, but with many different themes that is enriched: Heroic themes, love themes, friendship, innocence. It's fully a drama.
Because there has been a revision in 1971 of the same movie played by different actors, shot by the same director onto the same script, you can easily tell how the modern cinema has evolved by time. Particularly this is a story of three poor friends who are helping out a blind vagabond girl by sharing their food and home with her. In the similar setting of Charlie Chaplin's City Lights with lots of inspirations from the Tokyo Story and Akira Kurosawa's Seven Samurai, Three Friends is a highly emotional social drama which focus is on friendship and innocence. Highly recommended for all lovers of classic drama movies.
Hare-Way to the Stars (1958)
Hare-Way to the Stars(1958) vs. Haredevil Hare(1948): Chuck Jones refines his work
The original premiere Looney Tunes version of the first Marvin the Martian stories has this simple promise:
"Marvin the Martian is a diabolical genius who wants to destroy the Earth, but Bugs Bunny stops him"
Michael Maltese writes a script for Haredevil Hare(1948) following the promise above. In Haredevil Hare, Bugs Bunny is sent to Moon for a given mission: To establish the first radio contact between Moon and Earth. So he goes to Moon, just after he thinks he is the first creature to land on Moon, he meets with Marvin. Marvin wants to destroy the Earth. But Bugs distracts him, so he accidentally blows up his spaceship. Not only Bugs saves Earth from being destroyed he also completes his mission. But the plot-hole, a huge logical deficiency, here is that the space engineers establishing the first radio connection with Moon, doesn't know that a Martian wants to destroy the Earth, and even at the end of the episode Bugs Bunny didn't tell them so.
Director Chuck Jones and writer Michael Maltese make a revision 10 years after Haredevil Hare, naming it Hare-Way to the Stars, to keep it easily marketable rhyming it both with that earlier episode and also with Ella Fitzgerald's popular country song title(Stairway to the Stars). This way it became one of the most marketable cartoons of Warner Bros all time. In the production side, not only that the problems with the plot are fixed, but also Looney Tunes wanted them to create a more funny, more combative, more challenging cartoon. So Jones and Maltese started a new opening image and a unique set-up, putting Bugs in a bad morning mood after he wakes up to go and get himself a nice morning shower. The first funny and challenging moment is here in the set-up that, Bugs is not aware that he is going to Moon, unlike Haredevil Hare. Also when on the Moon, even though the same story 10 years ago follows its identical sections step by step, this time Marvin the Martian is more prepared to the combat, he has back-up for everything Bugs does. Bugs find himself in a tough challenge killing Martian soldiers one by one in most funny ways possible. And ultimately at the end, again unwillingly and uncontrollably, just like how he came to Moon, Bugs returns to Earth bringing Martians with him, creating a perfectly funny and suspended ending.
The next most noteworthy episode of Marvin the Martian story with him trying to blow up the Earth is "Mad as a Mars Hare"(1963) a Merrie Melodies touch to the Marvin the Martian series. What's different production-wise than the Looney Tunes episodes is that, as always Merrie Melodies are more concerned with the humour not with the story. In Mad as a Mars Hare, we will find Marvin the Martian more prepared to fight, more angrier, more challenging and hence more funnier, with cool sci-fi ideas that only add more booze to the excitement of the episode.
Tinker Tailor Soldier Spy (2011)
The premise is hard to fit into two hours and into this sort of plot-structure
Tinker Tailor Soldier Spy, a movie adapted from one of the best Cold War era crime novels, with the same title with a slight difference: "Tinker, Tailor, Soldier Spy". When you put commas as they appear on the 1974 novel cover, you get to understand that a tinker is a spy, a tailor is a spy, and a soldier also is a spy. And when you think of it, you get to ask yourself this question:
"Why would a tinker turns a spy, and a tailor, and a soldier too?"
Take a guess to answer the question above. 'Cause if you don't, the movie, which is terribly directed, won't tell you what the spies are trying to find out. Here is the truth after the unknown. The truth lies underneath a tongue twister game Children of the Cold War in Britain used to play. The tongue twister is this, as it appears on the prologue of John le Carré 's novel:
"Tinker... Tailor... Soldier... Sailor... Rich... Poor... Beggar... Robber, take the sea-shells and take the jacket buttons, trade in daisy leaves and trade in sunflower seeds, now you did, we are friends, we are friends, we are friends"
While reading the novel, which is consisted of 42 episodes, 7 episodes for each occupation from the children's tongue twister and there are 6 pieces in the game of Chess. 7 times 6 equals to 42. When you pair them with each other, you get to solve the mystery:
Chess pieces from highest rank to the lowest rank: "King... Queen... Rook... Bishop... Knight... Pawn"
Let's pair them: "Tinker is King... Tailor is Queen... Soldier is Rook... Sailor is Bishop... Rich is Knight... Poor is Pawn"
When Bishop(Gary Oldman as Smiley) explores the Rook(John Hurt as Control)'s chess board with the names and photos of his subordinates(Knight and Pawn), even Smiley didn't know that he was the Bishop. And when the Knight(Mark Strong as Prideaux) is assassinated, what should the Rook do next? That's what the movie is about.
Since the promise is a heavy secret, which both the screenwriters and the director hides away from the audience, to fit the story into this sort of plot-structure ; then you don't have much to tell.
John le Carré 's novel is one of the best boring novels I've ever read in my life, even though it has a unique mystery. Yes, it's a mystery, but in fact there is nothing happening at the present time. It's just all thoughts and ideas about the events in the past, in order to find the mole that destroys the organization's plans. Should every crime story necessarily be involved with a mole?
So, don't expect nothing original to find, when you're watching Tinker Tailor Soldier Spy, except some unique production aspects as follows:
1- Unpredictable hero 2- No bad guy to challenge against 3- An unrevealed secret turns good guys into bad guys 4- Suspicion, kills! 5- Spectacular views from some European cities, the shots from the city of Istanbul are the most accurate ones(except the Hotel shot) after other hit movies such as Eastern Promises, James Bond: From Russia With Love and a Jackie Chan comedy/crime flick
If you really want a good crime/thriller/mystery watch Robert De Niro and Matt Damon 's The Good Shepherd(2006), since in this specific genre and sub-genre mix no better movies filmed yet.
The Spirit of Christmas (1995)
Jesus, Santa Claus and Brian Boitano visit South Park for Christmas
The Spirit of Christmas (a.k.a South Park The Un-Aired Plot of 1995), is actually the second instalment of South Park Christmas shorts, with 1992 The Spirit of Christmas: Mr.Frost being the pioneer. And if you are looking for an original South Park short with what every fan loves most about, you shouldn't miss this one. And here is why:
* A strong character goal -->> Stan and Kyle seek the true meaning of Christmas during a discussion
* One Amazing Story Catalyst -->> Jesus descends into town in the middle of Stan and Kyle's discussion
* Not a character driven story, but story driven characters -->> One of the unique episodes that doesn't follow what Stan does, it follows instead what Jesus does
* Memorable lines -->> (1) Jesus: Tomorrow is my birthday
Stan: Your birthday is on Christmas? That sucks dude!
(2) Cartman: I say we help Santa Claus.
Kyle: Your just saying that because he brings you candy.
Cartman: Hey I don't have to take that kind of sh*t from a Jew.
Kyle: Your such a fat f*ck Cartman that when you walk down the street people go darn that kids a big fat f*ck.
* Kenny is getting killed losing her nob, alongside to 6 other Southpark civilians, her screaming for death is her only line
* And the best of all -->> Jesus combats Santa Claus hand to hand.
If my research is not wrong, this animation short has come out just before the Chipmunks' Christmas Special that year, remember where Dave tells the chipmunks that Christmas is not just about presents when Alvin collects money to buy himself a Christmas gift. Of all the Christmas animations and cartoons, I'd vote for the South Park Christmas short. This is pure and original fun.
Sevistigimiz günler (1961)
Prince Charmings exist only in teeny dreams
Sevistigimiz Gunler is a typical socio-economic story of three roommate girls in their early 20s' who are hoping to find their Prince Charmings. With a lot of references to Billy Wilder romance flicks, writer/director Halit Refig who is one of the best in early Yesilcam Cinema, tells a lesson of relationships in a humorous and playful way. The biggest factor what makes this film to stay in the list of '60s memorable Yesilcam Cinema, is the quality story-editing work of Orhan Elmas, over Bulent Oran's original screenplay.
This film is unique in its content development ideas. And those ideas give significant social messages at the end of the run. The run is all about a bet of the three girls laying off against each other promising that whoever falls in love with a boy pays the monthly rent of the house they share together. Things go crazy and wild, and even Wilder(!), when they both fall in love with three men. So their lives change dramatically as they forget about the bet, and come on the edge of marriage and pregnancy. But are the men whom they fell in love with, really worth considering as Prince Charmings, or are they just cheaters slickers? Perhaps it's about the time the girls should realize that they are all grown up fast to find out that there is no such thing as Prince Charming.
When Art goes beyond expectations, everything else falls behind it: Money, love, family, crime, suicide. Everything else.
Turkey's auteurist filmmaker Sinan Cetin, portrays an aspiring film director who struggles to get a filming approval from the national government for a socialist movie. The film Kagit, is not about what happens if this movie is shot. Instead it's all about how easy to disregard this movie if it has different political views; even before seeing it, more even before reading the first page of its script.
Following the formulaic structure laying out a simple screen-story, Kagit has a very basic idea, a pure theme and a pretty straightforward message. The title "Kagit" stands for "paper" in Turkish. A signed sealed and delivered government paper is able to ruin anybody's life. We witness how can and why can this be happening: Ruining somebody's life, if a movie is not approved for filming. When this theme of the film is stated in the opening segment, even before the story is set up, Sinan Cetin forces the viewer to get curios about the visual results of a certain problem. Like the painter in Andrei Rublev(1966-Andrei Tarkovsky) so colourful but so Godless, like the beastly composer in Amadeus(1984-Milos Forman) so truthful but so lonely ; the young aspiring filmmaker in Kagit is so talented and so hopeless. He finds great deals of obstacles on his path of making his first movie. Fighting these obstacles, Kling Klang King of the Rim Ram Room may feel ashamed of himself, but the King of self-belief will never feel so.
A realistic social drama, very painful and very true, reflects one overlooked truth in a real-life example. When art goes beyond expectations, everything else falls behind it: Money, love, family, crime, suicide. Everything else. But does Art really worth losing them all? Watch and decide.
Backwoods Bunny (1959)
Bugs versus turkey vultures in a Sierra redwoods forest
Bugs Bunny goes to vacation digging tunnels all over the country and ends up in a wild forest, where tall trees especially Sierra redwoods surround the area. He digs a hole to himself and starts living in, unaware that he's being watched by two wild turkey vultures from a giant redwood.
One of the turkey vultures plans on hunting Bugs Bunny, laying a bunny trap right beside Bugs's hole. So the strife is kindled, which can only make the vulture mortified and Bugs romped through. Funny episode with a couple atypical Bugs tricks, but not much gags to offer. Since neither of the characters don't have a certain and individual goal, we don't enjoy the challenge and we can easily guess how this all ends up.
By its courage on enlightening KGB's anti-globalist vista, I first thought Salt is an adaptation, till I find out the fact that it's written for the screen by Kurt Wimmer, the genius writer of Equilibrium(2002)-which is the best contemporary sci-fi screenplay I've ever heard of-. As a matter of production, if Salt is especially written for Angelina Jolie to play the lead, Phillip Noyce isn't a bad choice at all to direct the movie; but I could still have preferred Kurt Wimmer to direct it, as he did the Equilibrium.
Angelina Jolie's first action was Cyborg-2(1993), in which she showed the white feather for a thrill to be created out of a bad Jean-Claude Van Damme sequel; and she was pretty good at that. Consider that I compare her acting from the age of 18 with her capacity in Salt, herein she doesn't act nothing. It is either the director or herself that makes the movie seems like it's been done before with same look of scenes from Tomb Raider or Tom Cruise's Mission Impossible and the likes of them.
As a whole, Salt is well worth to see and enjoy with suspense-action-thriller type of storyline. But as the one thing in common with all the suspense stories, there is a breach in the story development. It gets complicated and confusing at times forcing us to figure out if Jolie is working for CIA or KGB. The fact is that Jolie betrays every person she meets. She betrays CIA first, then when we start guessing she's a Russian militant but then she assassinated the Russian president. The problem is that what everyone calls them plot holes, there are no plausible reasons for why Jolie betrays everybody. Maybe in real life Brad Pitt asked this question to himself too.
Dreams are not even %50 human mind control... Seeing the Inception from a more realistic, Tarkovsky perspective
~MY REVIEW CONTAINS SEVERAL REFERENCES TO TARKOVSKY, A QUOTATION FROM ROGER EBERT AND ANOTHER FROM CHRISTOPHER NOLAN'S INCEPTION SCRIPT (for detailed info check below the end of this article)~
Ideas need to be enriched while the roots are kept loyal, especially in Sci-Fi. Above everything else, aware of the fact that while the story is taking place in several dimensions of dreams, there is no link to the real-life. My first point is about this huge story development deficiency. The only link to our universal earth dimension is Michael Caine character and the children, and they're frozen, they're playing out there in the garden, we see from behind. This is the first thing why the whole movie is para-psychologically inappropriate.
I said para-psychologically inappropriate, 'cos today psychology is in the point that dreams expose supernatural(or meta-physical) skills of human mind. If you are implanting an idea through a dream into someone's mind, it's not that easy, THE BALANCE OF NATURE WOULDN'T EASILY LET YOU DO THAT. As an example I want to compare the Inception with "The Eternal Sunshine of The Spotless Mind". There, Jim Carrey was going back time in his dream trying to identify the person who is dating with his fiancée; but he ends up with facing a supernatural vitality covering the person's face. The way Nolan explains is this: *(1)* "Never recreate places from your memory. Always imagine new places."
When the time comes where Saito explains why he hired Cobb for the implantation, this is all we get: *(2)* "You remind me of someone... a man I met in a half-remembered dream. He was possessed of some radical notions" So the most important question one ever needs to ask "How did they all start to dream implantation?". There is no answer nor explanation to it. Whereas in its ancestor, "The Minority Report" was quite brilliant at explaining the technological advance.
Compare with Matrix, the dreams are your guides to the reality, you're not a guide to someone's dream. Matrix gives you a clue of understanding how some people's lives may change with their dreams and visions. It had this inspiration that Neo became a hero out of a loser. Dreams are able to do that, as Wachowski Brothers taught us. Another comparison can be done with the good and evil side. Nolan never divides people into good vs. evil as Batman or as Memento or any films he's done. But for someone's favor, Cobb is hired by business man to implant an idea into another business man, which doesn't do any thing with the good. *(3)* "The only condition of fighting for the right to create is faith in your own vocation, readiness to serve, and refusal to compromise"
Sci-Fi loves impossible, but it also denies the practical errors. Inception's plot is theoretically fine but practically slow off the mark.
Just like Roger Ebert said at Chicago Sun, Inception's story can either be told in a few sentences or not told at all. Ebert's approach to criticize Nolan's earlier work was even more harsh. *(4)* "How does a man with short-term memory loss, remember he has short-term memory loss?" (for Memento). Some injuries can go engraved someone's sub-conscious, so he didn't even need to remember it, he was just living it. Though Ebert was right on one thing, that if Ellen Page hasn't been enrolled in the movie as a new chosen one to this confidential job, the whole movie was almost meaning nonsense.
The things that are likable is Marion Cotillard participating as a independent virus in dreams, going in and killing whoever and whenever she likes. Ellen Page is being used to create spaces in dreams, so that the missionaries will be able to create totems that tell a person whether they're dreaming or living the reality. The only totem without Ellen Page was the spinning of the whipping top in the sleep house. Also the last dream which Di Caprio is having on the airplane was cut in the half as if it was meant for to be continued. It was the only dream that made me believe that someone is dreaming, whether it's Cobb or Arthur or any of the missionaries. 'CAUSE DREAMS NEVER LAST.
*(1)*(2)*: from Quotes for Inception at IMDb / *(3)* : from Andrei Tarkovsky quotes at thinkexist.com / *(4)* : from Roger Ebert, Chicago Sun-Times, July.14.2010
The A-Team (2010)
The new Alpha Team cannot even be an Omega Team for good. Even so i liked its entertaining manner.
The Alpha Team, the heroes for hire, are back. But whom are they hired by? Nobody. This time they keep running away from the U.S. Military army justice, while trying to justify themselves. To beat the rap, to be cleared of blame they need to put the blame on someone else, right? And who is gonna that? CIA does. SuperMan, the flying guy from Krypton story with a family of Gods and Goddesses, has more brains than this.
Well, it's an action film, who cares about the concept? OK. If so.
All the critics and complaints were about the shaky camera technique, the quick-cut editing style when it comes to action. I'm not gonna say everyone's right, but they are not totally wrong either. The main issue is Director of Photography and Visual Effects. If you are not able to frame a good action scene in choosing the camera distance, zoom and aperture ; in the fear of looking so fake, then you can only be annoying. I'm repeating: Because of the effort of Visual Effects to be seen more realistic, the perfection of eye-view is being taken away. This is not new. It was just like the same issue with Quantum of Solace of James Bond. This only fits well with high-budget FPS action games on play-station(e.g. Call of Duty).
Well, it's a character-driven fun and exciting mob movie, who cares if the action is only good as play-station games? OK. If so.
The characters. Who can say Hannibal, Murdock, Faceman or B.A. is better than the original? One of the few things I liked about this remake is the characters are introduced in a very cool way, instead of the opening credits. Best of all is the B.A's intro, with his tattoos on his body, Quinton Jackson brought about an entertaining "voila!" and kept the entertainment at high. Quinton was the only one I liked from the cast. Liam Neeson as Hannibal is trying to give a new dimension to the big shot character, his Hannibal Smith turned out to be a tasteless watermelon as Annabell Smith. Faceman is down too, but Bradley Cooper had nothing less than Dirk Benedict to play Faceman; sadly the script messes up with him. I want to add a big major complaint here: Originally Faceman is never ever became the leader of the crew, nor ever his ideas been appreciated by Hannibal. Hannibal had always thought that Faceman is just a great diplomat. But in the film we never saw Faceman's diplomatic success. Murdock as District 9's Sharlto Copley, he killed the good out of Murdock, the "Howling Mad" Dwight Schultz character must have been as cool and as funny as Jim Carrey. Original Howling Mad has very unique skills, other than operating helicopters, he is a great way to distract the enemy. In war, the key for victory lies in the ways of distracting the enemy. But who is aware of that? They talk about M.Gandhi, but they got no any idea about war strategies. Supposedly they are the best Iraq war vets. It was a promising film, but sadly it's a failure. Finally, I tell you the worst part: Jessica Biel as army general. When she shouts to order her subordinates, and even yells at somebody; everyone just chops her off. What a commander out of blue!
It's easy to find a remake annoying with holding a candle to its original. But looking at all those remakes of this summer, this year, and the recent years; A-Team 2010 is one step before most of them. It's a visual fest, full of action sequences, just between your breathes and blinking. But again, just don't call them A-Team, these new guys can only be an O-Team. It's not Alpha Team; it's Omega Team.
Quatermass and the Pit (1958)
Seeing the Quatermass through an Asimovian perspective. Sci-Fi: Seeing is Believing, Science: Seeing is Experiencing.
Long before mankind set a foot on the Moon, science was questioning the possibility of life in space. When the first rockets are launched by USSR, people have begun talking about different scenarios, utopias, jokes and ultimately ideas. Hence science-fiction gained a wide angle of view: After robots, now ALIENS. The Czechoslovakian pioneer production "R.U.R(1938)" is a first step of this post-war transitional period trend. The forthcoming year 2011, we'll see a remake of it; hopefully will be recognized.
Quatermass and the Pit is the second continuation of the original "The Quatermass Experiment(1953)" which was also a BBC TV-series. These series are followed by the groundbreaking feature film "The Creeping Unknown(1955)" which has the most successful visuals and mystery run of all versions. The 1958 series were primarily focusing on make the adult audience and the authorities believe what they see and what they experience. With this version, Quatermass had become a pioneer in sci-fi taking a stand for SEEING IS EXPERIENCING, whereas it used to be only seeing is believing.
What's to experience is that Space is being introduced as a non-habitable place due to the differentiation of a space engineer after he's rescued from a space rocket crashed into the ground. Saved by an extra-terrestrial power of a plant cell, his physical differentiations followed by endomorphism, allows him to live in a persistent vegetative state. Escaping from the hospital, by time he turns into an octopus-like creeper and terrorizes the public.
According to an article from Gavin Collinson of BFI(British Film Institute) the writer/creator Nigel Kneale is requested to pen a televisual drama from a one-off sci-fi play. Before Quatermass's exploits had become a national talking point, the fiction part has only been manipulating public's fears of extra-terrestrial menaces by means of the infancy of manned space programmes.
Quatermass and the Pit allows us to experience the impairments of space travel by a salient work in drama. Alexander Moyer's narration is taking the spirit away a little, but overall it's a well achievement. Prof.Bernard Quatermass character is dedicated to his goals on scientific operations, carrying no hesitation and no fear. That's how a belief becomes an experience. If you look at Isaac Asimov's "The Currents of Space(1952)" and "Breakthroughs in Science(1959)" science and fiction were coming closer to each other. Quatermass brings you to this same level.
No Way Out (1987)
The second Populist formula of Men In Uniform romance segments after Top-Gun
A naval officer becomes a hero after rescuing his ship crew from a whirlpool in Atlantic. By means of his international intelligence service experience -which is hidden in story until the ending- he's hired by a job in Pentagon to work as an assistant of National Defense minister. Through KGB connections the defence ministry gives him a top secret mission to exterminate a CIA funding operation called The Phantom Submarine, but to let the media know what's going on, his heroic rescue is being shown to cloak the facts with KGB.
Though it's a remake of Yves Montand's Police Python and John Farrow's The Big Clock, this film offers couple surprises and endless suspense. Compare it with the best movies of 1987, Timothy Dalton's James Bond flick "The Living Daylights" or Charlie Sheen's "Wall Street" is not offering you anything as a surprising and twisted story. No Way Out possesses a sense of film noir from the post-modern world war-II era. For me in every aspect No Way Out comes before its comparisons if the consideration is onto plot, story, thriller, suspense.
Those were the factors what makes No Way Out favoured and likable. But for professional audiences and concerns, first of all No Way Out has everything in common with the Film Noir age movies; a hero and his squeeze, he's growing suspect if she's on cheating him, suddenly she dies creating a twist in the story, hero runs after to solve the mystery of her death, as simple as that. It doesn't have an effective drama plot or no good sub-plots. The only purpose is to sell more tickets. It has all the necessities for a populist production, but doesn't reflect any messages, it doesn't tell nothing to the viewer. Things happen and we watch it with excitement, wondering what's gonna happen next, that's all. The filming and directing dexterity as a whole production is what the main problem is. No wonder why no awards for this movie.
Considering Redford & Dunaway's "Three Days of The Condor(1975)", I expected to see better intelligence bureau movies in 1980s and 1990s. But not until 21st century you come across another good governmental crime. After the death of the leading actress in the film, the romance segment ends off, then we're stuck in the Pentagon, watching things happening between CIA, NSA and KGB all trying to give an end to a scandal before it rises. If you're looking to find a good crime film, you're in the wrong place.
I will finish up with what I liked most in No Way Out. It's a great popcorn movie, a perfect choice for having fun with family or with spouse/girlfriend. Kevin Costner and Gene Hackman together enhances the viewing quality. One of the best movies of Kevin Costner, and includes some memorable moments of him with his female cast-mate. Just for its moments of romance its better than Top Gun. Remember Top Gun was half-a-romance movie, this was even one-third in length. 1980s was the generation when all the women in the world dreamt and fantasized of MEN IN UNIFORM.
Two-sided Characters, Excellent directing of Photography, Continuous moments of Romance and Suspense. World is not turning fast enough!
6 years and 5 seasons of continuing show-time. Show me one more TV-series or soap opera that still keeps its first-day filming freshness and enthusiasm in the 5th season film-set. For the process of production, filming, acting, week-to-week basis on-air rating; Manuela is among the all-time best soap operas. Don't even consider Manuela as a soap opera though, since soap operas never ever got prime-time viewing at the season final episodes like Manuela did. Manuela was the only soap opera of my life-time that I watched from beginning till the end holding a breath. For one thing, Manuela never repeated itself and its plot never got boring nor suspenseless in 5 seasons.
The success of the production comes from its writing as a team of 8 writers. Back stories, former and newcomer character intros, puzzles for the viewer, solving timing of these puzzles, creating another suspense after each puzzle is solved, during every suspense moment we get to know closer each character learning another of their secret; everything is perfectly organized for a typical one-hour TV-show.
But this is not fair, what's a production without a director? Manuela is directed by Rodolfo Hoppe(also one of the producers) and Carlos Escalada, who during filming know of the fact that this film was an important milestone for everyone in the crew. It's obvious for me now as a critic to savvy who was the director of the talent and who was the director of the technical crew. Usually TV-drama directors try not to use any action to fulfill the necessity of a completeness. Manuela clears this hassle pioneeringly. You can see a punch, a fight, a fall or an accident, or attempt to suicide or kill; in just any time that you never expect to see during the telling of a drama piece. On the other hand romance moments were never ever broken into pieces or cut in the half. Remember that Manuela has the long lasting TV-screening of a kiss, while the longest kisses from sleeper soap operas are 2 to 3 seconds. Fernando and Isabel walk on the Santa Monica beach holding hands, leaving footprints on the wet sand, waves come and sweep away their footprints, while Fernando tries to entertain Isabel more, Isabel keeps worrying about her skirt getting wet of the waves of the ocean. It's a quite long scene with a background music on, offers the viewer great character intros, even for the new viewer who just seeing the series for the first time. If anybody who never watched a single episode wants to choose a randomly episode to see; he/she would still be delighted. I believe even this one little example was part of the things they all wanted to achieve. Also, great directing of photography for the scenes those were necessarily taken exteriorly.
Still it's not fair, what's directing without actors? There were a number of formulas to coordinate and match the events, witnesses, antagonists and protagonists. It's not either a newly invented formula, or a general pattern of formula reversal. It's something more than that it's creating a formula of complete mixture. If you consider Isabel and Manuela as two characters, one is protagonist, the other is antagonist; it's never like that. Manuela is not always the protagonist and neither Isabel is. The audience kept Isabel's side, until she wore her witch mask and turned against Manuela, then after Manuela betrayed Fernando with Rudy, the protagonist became Isabel again; since she never had betrayed Fernando with another man even though it's because of her pride. Take Bernarda as an example, she was an antagonist until the back story is told; that's when all the hearts are broken into halves, Bernarda became as innocent as Mother Mary, while her first love, now Mercedes's husband Corrado revealed as a new antagonist. Normally, even with theater-backgrounded actors, your story will fail, if you attempt to change the antagonists and protagonists with each other; but only with that much perfect cast, Manuela could've gained more and more story depth, by means of these dedicated talent crew.
Yet even this is not fair, what's a footage without editors? I never thought of the editing concept of Manuela before until I see the small parts cut into minute-length clips in Youtube, hundreds of them, Spanish, Italian, Arabic, so on. Editors created unforgettable moments with music, sounds, mixes, and scene cuts. There was a classic pattern which I love most, like a hypnotist, either in Alps or in Santa Monica Beach, or in Rome, in Florence, on a bridge... They kept some moments continuing uncut. Manuela steps off the taxi, walks towards the river bridge, Fernando sees her, starts watching her quietly, she steps closer and closer to him, Fernando all of a sudden catches her in the mid-air while she was just about to jump into his arms, Fernando twists her around himself in the air, 4 or 5 laps her feet off ground, when she's landed in the ground safely, she's given a red rose in her hand, but not as red as her blissful smile. World is not turning fast enough for them. They had a great chemistry.
I felt like being the luckiest 10-year old with a blonde girl-friend(also 10-year old) after seeing those unforgettable Manuela episodes full of inspiration. She was proud too, but I never thought of being pride contains fooling somebody around in its meaning. You all know, some like it hot and gentlemen prefer blondes. It's more than a hair color. Grecia Colmenares is not a natural blonde, but she had the heart and sex appeal for being one.
5150 rue des Ormes (2009)
Unfinished Games may cause Obsessions, but an Unachieved Purpose can Kill.
Rising like Phoenix from the ashes, the Chess concept began to take over the plot as a plot twist from a claustrophobic drift in such a modest production; that was when the story created its greatest suspense which will never end. I consider the whole as a great and awe-inspiring achievement.
After fell off his bike a film student Yannick needs to stop by a two-story town house to ask for first aid. The father of the family from that house suggests him to make a call. After he goes inside and leaves the door unlocked behind him, Yannick starts his fatal discovery with his first step inside. Very suitable movie poster for this exact moment, when the happenings start to take effect.
First he witnesses the father of the family Jacques Beaulieu committing a murder in front of his eyes, second he's locked up in an unfurnished room, and then he starts having trouble with other family members. Right at this sequence, we see one of the finest achievements in the movie: Excellent-almost perfect- CHARACTERIZATION. What will come out of the blue is all the main characters in this film will have a terrifying destiny. When everything is running organized for Jacques Beaulieu's plans, Yannick turns the outcomes upside down. Like all the other viewers, me too became fond of the CHESSBOARD OF CORPSES. Jacques planned to array the chessmen from the characters he wanted to have, but Yannick's existence also altered the appearances on the chess board.
It's not just unpredictable what's going to happen every other scene, it's also unique in story-telling, too. Deeply detailed PSYCHOLOGICAL LAYOUT, the leading actors(Yannick vs. Jacques) reflect their inner phobias, counter-phobias and behaviour patterns against each other in a very factual way. What's very engaging is the balance of justice which forces us to understand that humankind is not entirely good or evil. The evil character Jacques is only trying to save the public from criminals and sinners, while he's fighting against the evil, he becomes an evil on his own, under a self-built heresy.
Very nicely done adaptation work offers a promising film and it succeeds in production aspects, too. Yannick's psychological trauma moments are served out with nice VISUAL EFFECTS and CINEMATOGRAPHY. It offers an unique style of tension without applying basic horror methods, spooky visuals and sharp shots which forces the viewer to wince.
A few deficiencies on character and story development with possible plot holes: 1/ JACQUES'S ACT OF JUSTICE: Jacques never locks up innocents into the Room Of Sinners. But he kills a sinner in front of Yannick's eyes just because he's there to get aid for his bruises. As a serial killer of the 24 bodies and a thief to steal another 24 corpses, he should've been more careful with Yannick. 2/ MAUDE'S SUICIDE: She never attempted to suicide before suddenly deciding on helping Yannick to escape. 3/ When Yannick started first to see delusions, he sees A FAT MAN WITH GLASSES, and continues seeing the same man every time he sees another delusion. There is no story held for this supporting character. 4/ The story doesn't build the necessary bridge between the happenings and the results for each family member's destiny. Neither the mum or dad ever worried about Michelle, after Anne is sent to the afflicted children's school. When the movie is over, everybody's life will be different. This isn't a suitable premise for a movie in this genre. 5/ Anne's school never made any investigation nor at least a questionnaire about Anne's past.
This film was examining the addiction to murder and the effects of violence in the family in one point. It came to a dead end, finished in a tragedy for everyone, which is idealistically appropriate with its examination. The second point supported the idea of the personal needs to trust the government's justice system to live in safety. Creating a justice other than the current system is only a fantasy. In this case, comparing with SCORSESE'S RAGING BULL, 5150 doesn't make the viewer to feel sad about Jacques the way we felt about Jake La Motta. Both Jacques and Jake seek their own sense of justice, but end up behind the bars. Another reference on Jake La Motta is occurred when Yannick chose to turn back to the Chess-game addiction instead of the choice of freedom, so his paranoia obsession on Chess took over his personal life; just like Jake La Motta happens to become a stage comedian but continue practising his punches and crochets in the backstage of the theater. Unfinished games may cause obsessions, but an unachieved purpose can kill. A Proudly Canadian film. Congrats.
Kerem ile Asli (1971)
Even though you're destined to love, destiny cannot keep you live forever... Another legendary but sad love story
Once upon a time in the year dot, there has been a ruthless khan of a middle-eastern tribe who is expecting a son to continue his noble bloodline. Years pass one after another, his wives, several sultanas keep on giving birth to girls. One day while the Khan has gone hunting with his aide, he's given an apple by a saint dervish telling them that if the Khan wants to have a son; this apple shall be given to his Sultana, she shall eat the first half of the apple and shall give the other half of the apple to Aide's wife, when they finish eating the apple, they shall sow the seeds to the ground, and if the Khan doesn't tyrannize over his society any more thus the God will give him a son.
Their wives do so. Days later, from the seeds that are sown, one red and one white rose bring into blossom. But the ruthless Khan never gives up tyrannizing over his society, then his Sultana gives birth to a girl again, when he comes down with a serious disease that he is never able to have no more children. The same day, his Aide's wife gives birth to a son, just like the opposite way the Saint dervish promised them to happen. The aide's son is not from a noble bloodline, so he can't become a Khan. Aide names his poor son after "Kerem".
As a last resort, the ruthless Khan gives order to execute all the women in the headquarters, except his daughters, so that they cannot gossip and no one else will know that his last child isn't a boy. Thus the Khan raises his daughter as a boy and names her after Lion Khan(in Turkish "Aslan Bey"). He gives orders to his tribe to make a celebration for that he has a son, now.
In years, Aslan Bey as a boy being brought up in the headquarters without seeing no male other than his father, the Khan. When she's grown up, she becomes a strong warrior not any different than a male warrior. Her first challenge happens to be to win an archery tournament. She was very close to win it, but her last arrow hits the bull's eye when Kerem's last arrow hits her arrow. So the winner draws with Kerem and Aslan Bey. Afterwards they continue their endless races, until the day they first catch each other's eye on the same glance. The night of that day separately they see the same dream, as lovers forever. Since Kerem never considers Aslan Bey as a female, he doesn't find out who the girl in his dream is. But Aslan Bey finds out after her dream that she's secretly in love with Kerem.
In order to stay loyal to her father and her tribe, Aslan Bey never shares her true identity with her secret love; until the Saint dervish comes upon them, revealing Aslan Bey as "Asli" to Kerem, that's when Kerem finds his true love, for deep in meaning Turkish "Asli" means the true one.
This story is a well-known Ottoman legend. And what's legend is that's actually happened in the history as far as the men of Divan literature believe and makes us believe. Under Orhan Elmas's rewritten screenplay and directing, Kerem and Asli is a sad love story. It's mostly pessimistic and plunges the viewer into dark grieves. More than half of the movie is just people getting executed, screams, cryings, endless prayers. Villains torture the good-hearted. The justice is gone. Kerem becomes blind and weak, loses his warrior skills, starts singing and playing the traditional musical instrument, climbs to mountains, composes songs for Asli. Asli falls into deep and painful sufferings in heart, she loses the joy of her life. For the viewer what's hard to bear is even though when they run away from their lives and meet for a short period of time, they cannot be happy no more. Pessimistically, they are full of fear from the fear of losing each other again.
It's a very heart-breaking story. Looking at the first half of the 1970s', all the love stories, and the Love Story too, were always sad and tear-jerker. They all have the same one final idea in common: Even though you're destined to love, destiny cannot keep you live forever.
When a very best combat/platform game turns age 21, now it became a Swashbuckler film
Prince of Persia is the BEST PLATFORM GAME on computer I ever played as a child. It's not that industrial standard movies can create new ideas, they have to find a source to make an adaptation, but Sands of Time doesn't stand enough loyal to its title. What not staying loyal to Prince of Persia means, there is not any visually admirable combat with the film at all. When it's been first released, AUTUMN 1989, in Apple II; there were only a palace, a peasant child, a princess under the Caliph's servitude and hundreds of guardians defending the palace. Our peasant child as a spy was there to rescue the princess to bring her back to father the Persian Emperor. Looking at the continuation of the game series, the story is taken back in time about 15 centuries back to Persian realm before the birth of Christ. When I played the 2003 Sands of Time game on X-Box, the combat sense of the game had been gone. It was rather boring and bothersome since our peasant has become a prince, with not much to do other than jumping back and forth over the house roofs like Spider-Man.
What's good with the movie better than its 2003 version of video game is we have more challenges than the game here. It's widely enriched with industrial standards. Classic cat and mouse type tags, rebel and noble girl falling in love with the boy, people from evil side turning to good side, suspicious characters seeking tricky and manipulative ways of possessing more power and authority, good side falls into an adventure/journey as a team, proves the importance of teamwork and beats the odds: The very-well known SWASHBUCKLER clichés since 1950s' Erol Flynn flicks, 1960s' Akira Kurosawa Seven Samurai, 1980s' Conan the Barbarian with Arnie, Indiana Jones with Harrie, 1990s' The Mummy, and from recent years the LOTR and the Pirates of the Caribbean. Prince of Persia has a lot to offer to the video game fans, but not much to offer for movie fans at all.
With great aspects from locations and change on weather conditions especially on desert, this movie is considerably interesting, even though most of them are CGI; animals from desert, the OSTRICHS, the COBRA SNAKES and ARMORED HORSES even though it's not appropriate with its history.
Sands of Time as a production had great potential of usage in props, but either the producers never made a deep research or may be they just couldn't provide them. In the computer game, the props were the heart of the franchise. FLYING CARPET, DOUBLE-SIDED ALTER-EGO CREATOR MIRROR, POTHOLE AMBUSHES, BARRED DOORS, ROTTEN PUNK FLOORS, ELIXIRS...(for the full list props from the game, please go to the Message Board to find my message, in the title page). Here in the film, a large barred door been used, but it was a pre-built one with very well-known studio usage from 1980s' RED SONJA especially. Other cons were the SACRED DAGGER which given its name to the title of the movie, the POISONED KING DALMATIC. Other than those the costumes of the actors were only average. But the Princess needed a better costume other than a gown.
I found the editing job in the introduction scenes and the first half very pathetic. It became a matter of story design afterwards. There are bunches of continuation mistakes, costume changes without the location changes and errors in every other scene while telling the drama sequences. I'm crazy for sword combats in action movies, but Sands of Time displayed one of the worst sword combats I've ever seen, Jake needed to practise more on handling swords. In this case, even the Pirates of the Caribbean was so-so. If it's the matter the best sword combat was used in Star Wars 30 years ago. As a reminder, the first 3 games until 1999, Prince of Persia was full of excitement with its excellent sword combat simulations. Instead of sword combat, we witness the agility skills of our Prince, making the guardians run after him, jumping back and forth over the house roofs. If you're using agility skills to display in such a Swashbuckler; then what's Spider-Man, X-Men, BatMan for? For the cuts and takes from the action scenes, which is hard to say "combat", director Mike Newell has preferred mostly C.U. shots, that's dated back to John Woo, which is underclass nowadays. So as an action genre, Sands of Time fails almost every aspect. But there is one thing, I most fond of is the Hassansin soldiers and their combat weapons, and the successful sound effects comes with them.
The story design is pathetic, but we feel a nice development work on the story-telling. There is not many heritages from Persian Mythology, so it's fine and dandy to draw the long bow, but why is it always TIME-TRAVEL, isn't there anything else for the Mythological Gods to represent their power on Earth? After the first half, when the exact idea of who is on evil side, who is on good side is established, and when it's their time to challenge each other; it becomes breath-taking to watch and admire the Sands of Time.
Story: 3/10 , Story Development: 9/10, Production Design: 2/10, Sounds: 7/10, Effects: 7/10, Acting: 5/10, Script: 3/10, Visuals: 7/10, Action: 5/10, Adventure: 7/10, Fantasy and Creativity: 4/10.
Overall my mark is 6.5/10. Time is never wasted if it's for fun while watching Sands of Time
Quest for Camelot (1998)
The style and the quality is low and out-of-date even in the norms of 1998, but still worth watching for fun
Back in the days when there is no such Oscar category as "The Best Animated Feature of the Year" , animations were for family use only. It's obvious that by 2001, adult themed animations began running off readily. Looking at the year 1998, alongside of Antz, Mulan, and Toy Story 2 ; Quest for Camelot was another successful blockbuster hit in the animation genre.
It's an adaptation to Vera Chapman's novel "The King's Damosel", the writer of which is the founder of the J.R.R. Tolkien Society of Great Britain. Though, most fun and joyful parts of the novel are missing in this film. The basic formula of creating a Swashbuckler Adventure out of a heroic journey story has been applied again just like The Mummy, Robin Hood, Indiana Jones, Conan the Barbarian and so on.
What's so good and staying within living memory? 1/First of all, it's very entertaining for everyone who like Swashbucklers. Must be rated "E". 2/A sense of Tim Burton style singing dialogues. 3/All the cruel and bloodthirsty fantasy world creatures are pleasant looking: Dragons, Drakels, Ogres, and the very special Two-Headed Dragon. 4/The Dark Jungle with Necromancer Trees. 5/The lost sword of Excalibur. 6/The legend of the Three Circles. 7/The story is centring on a girl who wants to be a knight! Praise for Hayao Miyazaki 8/The first time when Garrett and Kayley meet the two-headed dragon: -Garrett:What are you? -Dragon:We're the reason cousins shouldn't marry. 9/The back story of a blind farmer, and his success story becoming a knight 10/The blind farmer's silver winged falcon, and all the scenes that it's fighting with either dragons or ogres.
What's not to like and to forget? 1/The overall animation quality is only as good as a computer game except the music. 2/Some scenes and sequences are giving homage to Star Wars, Indiana Jones and even the Taxi Driver; and those homages are stomach aching. 3/King Arthur is very weak, he is half the size of Merlin and shorter than Kayley 4/Merlin is not the Merlin as we know him, he's afraid to cast spells, and not able to protect Arthur's castle 5/The moment when King Arthur grabs the Excalibur from the stone, he seems like a 4-year-old kid pretending that he's He-Man and the people around him are the Masters of Universe 6/The fact that King Arthur is Pierce Brosnan's worst voice acting ever 7/Character development and back stories of the characters are very weak except Garrett's character 8/Visual Effects are awful 9/Over 350 animators have worked to create this animation, but it's still not "animating" what needs to be animated, 'cause the action sequences and the human movements/reflexes are dreadful 10/Sound Effects are not synchronized properly
Give it a shot, this is at least worth watching, catch it on Youtube.