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DOWNLOAD MOVIE Waterworld Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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The tag of Waterworld being Mad Max in the water is an appropriate one, as both films are set in a post-apocalyptic world full of anarchy, eccentric madmen, and vehicular mayhem.  The film would become infamous for being grossly over budget (becoming the most expensive film at the time), and when news got out of its production problems, it became a sitting duck for many critics, while American audiences stayed away, assuring its place as one of the biggest box office losers of all time, although it would recoup its money in foreign markets. 

For all of its bad reputation, it’s actually not without merit, and it does have some entertainment value strictly as an action flick.  Unfortunately, it isn’t strictly targeting action fans, as it has roots in science fiction, adventure, drama and even a little comedy, and along these fronts, the entertainment value is inconsistent at best, or at worst, almost nonexistent. 

The setting of Waterworld is a few hundred years from the present (perhaps longer), during a time when the entirety of the Earth is covered by water after the polar ice caps have all melted away.  The concept of dry land resides only in myth, and the hottest commodity on the trading market is dirt, which is the latest treasure that the swarthy mariner with no name (Costner, A Perfect World) has a dying community abuzz.  When it’s discovered that the mariner has gills and webbed feet, he is decried as a mutation and sentenced to die.  However, an iron-fisted opportunist named Deacon (Hopper, Witch Hunt) attacks the sea village (aka the Atoll) moments before his imminent death, and in exchange for their safe passage, the mariner takes on two new passengers on his vessel — a woman named Helen (Tripplehorn, The Firm) and a young girl named Enola (Majorino, Napoleon Dynamite).  It seems the girl has a tattoo on her back rumored to be a map to find dry land, and Deacon desperately wants to obtain it, stopping at nothing, including the murder of countless innocents to get the world’s most valued prize. 

Shaky science notwithstanding (many have claimed it an impossibility for the entire Earth to be covered in water even if the entirety of the polar caps melt), Waterworld seems the equivalent of a Roger Corman film if he had almost $200 million at his disposal to make one of his pet projects come to life.   Perhaps as a low-budget film, this sort of idea would have been enough to be passable as cult science fiction fare, but as a major studio attempt at a summer blockbuster, it’s woefully inadequate.  The acting, especially by Hopper, is way over the top, with silly shenanigans and half-baked scientific explanations that make it unsuitable as a film to be taken seriously.  A man with a working set of gills, which in most likelihood would take millions of years, isn’t even worth the dramatic license to indulge, especially since it doesn’t even factor in as critically important to the overall story. 

Yes, this was a far-fetched crock just from the first idea, and one can only speculate as to why such a lavish production couldn’t have started with securing the rights to a more fully developed screenplay before they even started to engage in their free-spending production.  The only elements of the film that work at the level they should are the stunts and swashbuckling action scenes.  Alas, those aren’t really enough to keep our interest in a two hour and fifteen minute movie.

Waterworld isn’t as bad as its reputation would have you believe, but it’s also not nearly good enough to qualify as anything more than an extravagant no-brain popcorn flick.  If you’re in the mood for escapist adventure and explosive vehicular carnage, this may suit your needs.  Even so, The Road Warrior did the same but much better at less that 3% of the budget of this overblown, underdeveloped misfire.

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DOWNLOAD MOVIE Madagascar Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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It used to be exciting to see a new 3D animated feature, but after some dull outings of late with Shark Tale, Robots, and now, Madagascar, the eye-candy thrill is gone and we need something more to keep our interest.  Unfortunately, if there is any interest in Madagascar, it will probably come mostly from very young viewers, as the comedy and events that transpire are lively and colorful enough for toddlers and those just entering grade school, but there’s little in substance for most everyone else.  Madagascar starts off in setting in New York’s Central Park Zoo, where the main attractions are Alex the lion (voiced by Ben Stiller, Meet the Fockers), Marty the zebra (Chris Rock, Head of State), Melman the giraffe (David Schwimmer, Six Days Seven Nights), Gloria the hippo (Jada Pinkett Smith, Collateral), a couple of chimps, and a crew of rascally penguins.  Tired of his urban existence, Marty yearns to see more of the outside world, and makes his escape, along with his friends out to stop him before its too late.  The breakout goes awry, as the animals are deemed to be shipped back to Africa, where they are slated to spend their days at a wildlife reserves.  However, another mishap occurs, stranding the animals on the island of Madagascar, where they find they must fend for themselves in an eat-or-be-eaten existence they aren’t altogether prepared for. Unlike many of the 3D animated features that have come out before it, Madagascar isn’t revolutionary, or even evolutionary.  It is a complete formula picture, full of cartoon characters, lots of moments for throwing in crowd pleasing songs to sing along to, fart gags, and in between, a few inside jokes, asides, and pop culture references to try to appeal to adults in the audience.  There really isn’t enough humor here to keep most adults from nodding off, and kids will probably not understand any of the jokes aimed at older generations, so the kitchen sink approach suffers from too much of one and not enough of the other.  While films like Shrek and the Finding Nemo managed to have the right balance to keep everyone amused, Madagascar seems to be spread very thin in its material.  The characters are very similar to those we’ve seen before in similar animated movies, and for some reason, most of the characters in Madagascar annoy more than they amuse. I could just label Madagascar as a stunningly made kids film and give it a pass, but it’s clear the makers of it are going for mass appeal.  In that regard, the results are less than favorable, so if you’re looking for another film to appeal to all ages, you will probably find yourself growing anxious for the film to finally end, even though the youngest in your family will want to see it again (and again and again).  Despite the kind of money Dreamworks pumps into the artistic and computer graphic element, it’s the story telling that is the key to a lasting film, and without much of a story, there also isn’t much of a movie.

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DOWNLOAD MOVIE Valentine Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Shirley Valentine, the 1989 film adaptation of the hit London and Broadway play about a bored English housewife and her personal reawakening during a trip to Greece, comes to DVD in a sparkling new transfer. Pauline Collins, an unfamiliar face to most moviegoers in 1989, received a lot of attention for her Oscar-nominated role here as the downtrodden Shirley (she had originated the role on stage), who gradually realizes her life, such as it is, is quickly passing her by, and that she had better do something about it before it’s too late. Ably supported by Tom Conti as an amorous Greek bar owner, Shirley Valentine takes the familiar tale of a middle-life crisis, and tries to keep it honest (most of the time), even though it’s rarely balanced or even fair, while, despite its “opening up” for the screen, often remaining determinedly stage-bound.

Shirley Bradshaw (Collins) lives a comfortable, yet maddeningly routine and unvaried life as a Liverpoolian housewife. Things have become so bad for Shirley, who feels disatisfied and unfulfilled, that she’s taken to addressing the kitchen wall (which one assumes she faces much of her day, cooking and cleaning) as Wall, telling her troubles to it — and to us (Shirley also addresses the audience directly, breaking the fourth wall and letting us in on her thoughts and feelings). Her husband, Joe (Bernard Hill), a business owner, appears relatively indifferent to Shirley’s plight (although to be fair, the film never shows her attempting to explain her troubles to Joe). His main source of irritation is when Shirley deviates from his strict weekly dinner menu; when she fails to deliver steak on Thursday, a rather nasty fight erupts, and Shirley confirms an earlier decision she made was the right one.

Earlier, a friend, Jane (Alison Steadman), told Shirley that she had an extra ticket for a two week trip to Greece, and she invited Shirley to go along. Shirley, amazed at her own audacity in breaking away from her needy yet controlling husband for two weeks, dithers about going, but when faced with Joe’s stiff-necked opposition, as well as an aborted return home by her grown daughter (who thinks Shirley’s trip is “disgusting” for a middle aged woman), Shirley does the unthinkable and leaves home — but not before cooking all of Joe’s dinners in advance and freezing them for him.

Once in Greece, Shirley finds that traveling alone can be just as lonely — if not more so — than staying at home. Jane immediately shacks up with another tourist, and Shirley is left to make a new friend on the beach: Rock (yes, like inanimate wall Wall, Rock is a huge rock on the beach). Leaving behind the other nosey tourists who pity her, Shirley wanders off to a nearby seaside bar, and requests a table right at the surf’s edge. She tells the owner that it will make one of her dreams come true. Sensing a lonely foreign tourist, the bar owner, Costas Caldes (Tom Conti), talks with Shirley, convincing her that she should come with him the next day on a boat excursion around the island. Of course he promises no funny stuff, but of course, he’s lying, and sure enough, his quiet charm works on Shirley and they initiate a sexual fling. Feeling liberated, Shirley must make some tough decisions when it comes time to return home from her trip.

When Shirley Valentine came out, I remember quite a few critics and fans discussing it like it was some kind of raucous comedy, with Collins spitting out venomous one-liners like a jacked-up British Neil Simon character. I skipped the movie when it premiered, but watching it today, it seems much more laid back than its previous reputation implies. Quite often, Shirley does go for the rim-shot quip, but it’s all rather low-key, really, with a British reserve that feels more like Ealing than Simon territory. Unfortunately, Shirley Valentine doesn’t have the impish charm — as well as the smart-cookie wit — of an Ealing Studio comedy; it often plays just like what it is: an “opened up” one-woman play that probably worked better on the stage.

Every time a movie uses a character that breaks the fourth wall, a whole new crop of viewers suddenly feel like they’ve discovered something terribly new, but in Shirley Valentine, it’s one of the least successful uses of it I’ve seen. It’s not that Collins can’t pull it off; she’s a sly one, with a bit of a twinkle in her eyes that’s infectious. It’s just that the process is infrequent, so when it does come back after a lull, after we’ve started to view the film as a film again, we’re reminded by her comic asides to the camera that we’re watching a filmed play. And frankly, the things she’s made to say don’t ring true in a cinema world. Watching a play, the audience readily accepts characters speaking out to the void, or to us directly, as a theatrical means of expressing thoughts. But in film, it’s a far trickier technique, especially if what’s being said is at times unbelievable (Michael Caine’s Alfie did it expertly). Watching Shirley greet her kitchen wall never feels believable (or the equally stupid “Rock”), and just comes off as a stagy trick that they should have left out of the film version. Other sequences in Shirley Valentine feel theatrically clunky, as well, including a largely awkward scene with Joanna Lumley as a childhood schoolmate who’s become a prostitute (perhaps it worked better as a verbal remembrance by Shirley on the stage). Casting good actors in roles that were only heard about but not seen on the stage doesn’t make a one-woman stage show into a fully integrated film.

Filmic technique aside, there are quite a few things in the Shirley Valentine script that might strike some viewers as awkward, as well. While it’s difficult not to get into the spirit of Shirley’s rebellion against her seemingly stagnant emotional prison (aided no doubt by Collins’ bright performance), nagging questions of motivation do pop up because the film plays fast and loose with the other peripheral characters. One of the reasons it might be easy to side with Shirley is because everyone else in the film is portrayed as a flat, cardboard comedic target. Joe is seen only as an emotional thug, flipping his dinner into Shirley’s lap. When we do get a brief flashback of him acting decently (when Shirley remembers their initial happy times), it’s fleeting, and no explanation is given as to how or why he turned out the way he did (it’s interesting that Shirley says they both used to laugh in their youth, but she — and the film — only blame him for stopping. Maybe he stopped when she stopped?). Shirley’s annoying neighbor is one-dimensionally pompous, obviously functioning as a springboard for Shirley’s contempt. And Carlos turns out to be exactly what the film wants to trick us into thinking he’s not: a genial predator of bored, romance-starved foreign travelers (the cliched gauche British tourists are facile, as well). It’s easier to put forth Shirley as a downtrodden victim who rebels against her station in life, when the screenwriter has put up such one-dimensional obstacles to her path towards personal redemption. How much more rich the film’s conflict could have been if everything in Shirley’s life appeared relatively normal — and she found she was still unhappy.

But where Shirley Valentine does work very well, is in getting across that feeling that I suspect everyone gets once over the course of years, where they look back, and wonder how they became who they are in life. How you became the “you” you are now, and how different that person is from the “you” you used to be. There’s a marvelously sad and poignant flashback to Shirley’s schooldays, where the piss-and-vinegar Shirley is gloriously young and alive and willing to face any challenge — back when she says, “I was Shirley Valentine, not Shirley Bradshaw.” I think everybody over the age of 25 or so can relate to a moment like that, where you realize how far you may have strayed from the kind of young adult you used to be, and this particular sequence is most successful at getting across that lump-in-the-throat sudden awareness of how someone might have settled for far less than what they’re capable of enjoying.

And that’s the successful part of Shirley Valentine. Collins is quite touching in her scenes where she comes to the inescapable conclusion that she’s settled for far less than she should have. Not necessarily that she married the wrong man, but that she’s let her life slip into an emotional vacuum, and that she needs to get back to that young Shirley Valentine’s attitude of taking life on her own demanding terms. At times, the film can be fairly honest, too, with the emotional drawbacks of such an experimentation with life. Shirley is well aware that Carlos is a liar, but she’s willing to go along with the affair to jump-start her emotions, to kick her back into the realm of senses that she’s been deadened to. And there’s no guarantee that her final gambit with Joe will pay off the way she — or perhaps more accurately, the audience — would like. Despite the one-sided easiness of most of Shirley Valentine’s targets, there’s no denying the depth of some of the truths do come out of this funny, sad comedy.

The DVD:

The Video:
The anamorphic 1.85:1 widescreen video image for Shirley Valentine is quite lovely, with deep, rich, true color (the skin tones are particularly subtle in the Greek sequences), and blacks that hold.

The Audio:
Here’s where things get a little weird. The disc offers two Dolby Digital 5.1 Surround mixes: one labeled “US English,” and the other “UK English.” My first thought when seeing that was perhaps the US version is a dub, with different vernacular or perhaps even different scenes with different dialogue. Upon watching both, and flipping back and forth between the two, I could find no difference. Even watching for lip movements, where dialogue was obviously looped in post-production, I couldn’t tell any difference between the two mixes. If someone knows what’s up with these two supposedly different tracks, email me. There’s also a French 2.0 Surround mix, and English subtitles available.

The Extras:
There are no extras for Shirley Valentine — not even a trailer. Too bad; I’ll bet Collins would have been a hoot on a commentary track.

Final Thoughts:

Manipulative, stagy, and maybe not even fair, Shirley Valentine still achieves a depth of feeling in its familiar mid-life crisis story, mainly through the thoughtful, emotionally true performance by Pauline Collins. It’s funny, but mostly sad, and certainly worth your time. I recommend Shirley Valentine.

---

Paul Mavis is an internationally published film and television historian, and the author of The Espionage Filmography

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DOWNLOAD MOVIE Starship Troopers Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Forget the Terminator, it’s the Exterminator you’ll be looking for after experiencing “Starship Troopers.” A film whose self-proclaimed motto is “Kill anything that has more than two legs,” this picture has what it takes to premiere at a Roach Motel and be reviewed by the makers of Raid.      Based on Robert A. Heinlein’s classic 1959 science-fiction novel, “Starship Troopers” presents the evildoers almost no one can abide, the one kind of villain not likely to hold press conferences protesting small-minded stereotyping. It’s us vs. the bugs, big time, and as one character resolutely puts it, “we’re in this for the species, boys and girls.” ADVERTISEMENT      Put together by Paul Verhoeven (”RoboCop,” “Basic Instinct,” “Showgirls”), a director for whom excess is never enough, “Troopers” does not fit any reasonable definition of a quality motion picture. But it certainly is a jaw-dropping experience, so rigorously one-dimensional and free from even the pretense of intelligence it’s hard not to be astonished and even mesmerized by what is on the screen.      Part of the reason is those darn bugs. Besides the hordes of gigantic Warriors, who attack in unstoppable waves like the Japanese in xenophobic World War II movies, there are flying bugs, crawling bugs, gargantuan fire-breathing Tanker bugs and even, Lord protect us, a deep-thinking Brain bug that knows lots more than we’d like it to.      Constructed out of a complex combination of model and miniature work and computer-generated imagery, “Starship Troopers‘ ” impressive futuristic world of bugs, spaceships and total war makes you wonder about the sanity of the technicians who spent lonely hours making innumerable insects look good on camera. There must be less taxing ways to make a living.      But where “Starship Troopers” has it all over similar effects-laden efforts like “Independence Day” and “Twister” is its complete lack of pretense. There’s no mock emotion here, none of the nauseating pseudo-sensitivity that, for instance, marked Judd Hirsch’s character in “Independence Day.”      What Ed Neumeier’s script provides instead is a cheerfully lobotomized, always watchable experience that has the simple-mindedness of a live-action comic book, with no words spoken that wouldn’t be right at home in a funny paper dialogue balloon. Not just one comic book either, but an improbable and delirious combination of “Weird Science,” “Betty and Veronica” and “Sgt. Rock and His Howling Commandos.”      *      Also thrown into this high-energy mix, in case anyone was thinking of getting bored, is the fascist utopianism of the original Heinlein novel. Introduced via infomercials and news broadcasts playing on a computer screen, “Troopers” takes us to a militaristic future where video bulletins encourage young people to “Join the Mobile Infantry and save the world” and schools teach that “violence is the supreme authority” and nothing solves problems with the efficacy of “naked force.”      ”Troopers” opens with its own teaser trailer, a TV broadcast of Earth’s attack on bug stronghold Klendathu, in the heart of the Arachnid Quarantine Zone, the dread AQZ. “This is an ugly planet, a bug planet,” an on-screen reporter huffily reports before getting eviscerated on the spot by an understandably outraged local resident.      Now that it’s got our attention, “Trooper” flashes back a year and goes into its Betty and Veronica mode, introducing its key characters as students at a high school located for unknown reasons in Buenos Aires. These youthful performers are by and large not familiar faces but they all have the shiny photogenic glow of a shampoo commercial, not to mention a sleek superficiality that makes Luke Skywalker seem like Hamlet by comparison.      Square-jawed hero Johnny Rico (Casper Van Dien) is captain of the football team and in love with the beautiful Carmen Ibanez (Denise Richards). But while Carmen is flirting with handsome Zander Barcalow (Patrick Muldoon), Johnny is oblivious to the fact that vixenish Dizzy Flores (Dina Meyer), his attractive quarterback (the game has changed some over the years), is carrying a major torch for him. And brainy Carl Jenkins (Neil Patrick Harris, TV’s Doogie Howser) is too busy perfecting his mind-reading techniques to even have a girlfriend.      All this romantic plotting comes to a boil at graduation. Both Carmen and Zander head off to Fleet Academy to become hotshot pilots, and Johnny, under the influence of hard-nosed teacher Jean Rasczak (Michael Ironside), dismays his parents by joining the rugged Mobile Infantry in the hopes of impressing Carmen. And who should turn up in the same platoon but old pal Diz. Talk about complications.      Of course, everyone’s personal life takes a back seat when those pesky bugs, who have been trouble before, launch a devastating sneak attack on Earth. Fearless, egoless and hard to kill, the bugs are a heck of an opponent and they seem to know that after years of skirmishing this will be a battle to the death.      A very messy death it turns out to be, for “Starship Troopers” offers no shortage of all manner of carnage. The bugs are both nuked and blown away by what’s been reported as the most ammunition ever used in a major motion picture, while the hapless humans are repulsively chomped up, dismembered, impaled, beheaded and completely slimed on by the enemy. “Bugs don’t take prisoners,” our troops are warned and, for better and worse, neither does “Starship Troopers.” Starship Troopers, 1997. R, for graphic sci-fi violence and gore, and for some language and nudity. A Jon Davison production, released by TriStar Pictures. Director Paul Verhoeven. Producers Davison, Alan Marshall. Screenplay by Ed Neumeier, based on the book by Robert A. Heinlein. Cinematographer Jost Vacano. Editors Mark Goldblatt and Caroline Ross. Costumes Ellen Mirojnick. Creature visual effects supervisor Phil Tippett. Music Basil Poledouris. Production design Allan Cameron. Art directors Steve Wolff, Bruce Robert Hill. Running time: 2 hour, 9 minutes. Casper Van Dien as Johnny Rico. Dina Meyer as Dizzy Flores. Denise Richards as Carmen Ibanez. Jake Busey as Ace Levy. Neil Patrick Harris as Carl Jenkins. Clancy Brown as Sgt. Zim.
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DOWNLOAD MOVIE Medallion, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Medallion, The

The Medallion (2003) / Action-Fantasy MPAA Rated: PG-13 for violence and some adult humor Running time: 90 min.

Cast: Jackie Chan, Lee Evans, Claire Forlani, Julian Sands, Alex Bao, Anthony Wong, Christy Chung, John Rhys-Davies Director:  Gordon ChanScreenplay: Bey Logan, Gordon Chan, Alfred Cheung, Bennett Joshua Davlin, Paul Wheeler

 

 

I suppose it’s a bad sign when a seemingly mindless action film has five writers attached to it.  The Medallion ends up being another misfire for Jackie in an English language film, proving that people might like him in buddy flicks, but are still not sure they want to see him as the main star.  It’s not hard to figure out why, as Jackie’s brand of humor is seen by and large as too juvenile in nature to many moviegoers, which is a shame since he is quite a funny comedian in his own right.  Except The Medallion is a mostly unfunny film, not only because it has quite a bit of dark overtones, but when it does go for laughs, which is more frequent than it should, it’s so trite in its delivery that more groans are elicited than chuckles by a significant margin.

The film starts out with Julian Sands as the maniacal Snakehead, following a legend that promises immortality and god-like powers.  It seems a young boy controls a powerful ancient medallion every thousand years, and Snakehead wants the vast powers bestowed upon him, probably to eventually rule the world.  His kidnapping plan is thwarted by H.K. cop, Eddie (played by Jackie Chan), who teams up with an Interpol officer, Watson, and an old flame, Nicole (Forlani), in rescuing the boy and stopping Snakehead’s nefarious plans.

Basically, The Medallion is a retread of the weak Eddie Murphy flick from the 80s, The Golden Child, except with Jackie Chan as the star.  It has the same type of kid with the same type of powers, the same kidnapping plot, the same high-kicking female sidekick, the same kind of tone and sense of humor, and very similar scenes involving the boy’s lack of speech and unwillingness to eat certain things.  Unfortunately, the overall quality ends up being about the same as well, with unevenness caused by the juxtaposition of very light slapstick humor with much darker violent undertones. 

There are very few decent moments in the film, with an occasional funny gag, but none of these have to do with the story at large.  The rest of the time, it’s bereft of entertainment value by derivative plotting, an awful score, poor cinematography, and dimly lit fight scenes.  Jackie has a few decent moves, but much of the time he is clearly assisted by cables or computer enhanced graphics (there’s a reason for it, but I don’t want to give a spoiler like other critics have done), so we can’t even rely on seeing some amazing athleticism on display.

The Medallion is one of the most forgettable of Jackie’s films, neither funny nor exciting enough to garner any sort of distinction.  You’ve seen Jackie much better, much funnier, and much more appealing before, so unless you are a completist or have an incredibly low threshold for entertainment, my advice is to avoid ninety minutes of sure monotony.  Even Jackie’s staunchest of fans have to be disappointed in the kind of films he chooses to cast himself in these days.

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Manhunter Reviewed By Jack Sommersby Posted 06/05/06 05:29:09

"The Best of the Dr. Lecter Series" (Worth A Look)

Not without its faults, this first entry in the Dr. Lecter series of films is far better-scripted and controlled.In Michael Mann’s Manhunter, William Petersen stars as FBI agent Will Graham, who’s lured out of early retirement to track down a serial killer of entire families and their pets in the Southeast, and he does so with the gift — or curse, in light of the mental ramifications — of extreme empathy, the ability to assimilate his quarry’s sicko mind-set in the hope of predicting his next move. In essence, he must become the killer without becoming him. The film, based upon the dark and deeply disturbing novel Red Dragon by Thomas Harris, written for the screen and directed by Michael Mann, is slick and swift, and, most welcome of all, extremely respectful in not assaulting us with the overstated. Where most films would go the exploitation route in the uncouth effort to garner our attention from start to finish, Mann details the investigation to us very tactfully, very suggestively, very analytically: there are only three onscreen murders, and they occur only in the last five minutes; before that, it’s the aftermath of the killings of the families that are detailed, where the hero dictates to a tape recorder or ruminates to himself aloud the possible thoughts going through the killer’s head. This approach might seem too distanced for most mainstream audiences, but the effect has a gradual fascination to it in that we’re forced to recreate the killings in our own minds, making them ten times more unsettling. Manhunter affords us the opportunity of watching a genuine intellectual experience on the part of Graham, which is intensified in meshing this with the psychological battle of wills between him and his old nemesis, a sociopath named Dr. Lecter, whom Graham consults on the killings. As the hero, Petersen is intense but no more than adequate; as Lecter, Brian Cox is brilliantly focused and helplessly mesmerizing. (The only disappointment in the cast is the mediocre Tom Noonan as the on-the-loose killer, nicknamed "The Tooth Fairy".) Mann doesn’t successfully convince us of doppelgänger recognition between cop and criminal — the linkage isn’t quite lucid and developed enough (though Harris’ novel didn’t bring this off, either) — and he’s decidedly more stylish than need be — the knockout color cinematography and rock songs call our attention to the film as such too often (though the score by The Reds and Michael Rubini is superb). But this is still a very entertaining picture that manages to hold us, and hold us with an icy grip that tells an enthralling tale with conviction and restraint, and the rewards are plentiful. Standout scene: In a supermarket, Graham reluctantly tells his young son of his mental breakdown after having captured Lecter, ashamedly viewing himself as a freak; and when he’s asked how Lecter slayed his victims, Graham, with a cautious pause, replies, "In bad ways."The DVD from Anchor Bay sports a remarkable widescreen presentation, with special features pretty decent: a conversation with cinematographer Dante Spinotti, and a series of interviews with the cast that details some interesting tidbits.
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DOWNLOAD MOVIE Sahara Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Hotel Sahara (1951)

‘Hotel Sahara,’ British Picture Starring Yvonne de Carlo, Has Premiere at Rialto

The conflict in the African deserts in World War II was as nothing as compared to what happens to the assorted “guests” of “Hotel Sahara.” For this concerted effort at merriment dreamed up by our British cousins, which arrived at the Rialto last night to usher in the New Year, is war at its worst. The stalwarts who fought from Tobruk to Cairo, we feel certain, never had to contend with the likes of this caravansary, an inn invaded by the nicest platoons of Italian, British, German, French and, finally, American campaigners.

The owner, a timorous but opportunistic Egyptian; his fiancé, who is equally opportunistic but infinitely more beguiling; her mother, a lady willing to adapt herself to any romantic circumstance, and a comic opera major domo, try to keep the hotel intact against these “aggressors.” It is, in short, a cute idea with an occasionally funny twist, but it is a joke that wears awfully thin after the first two or three misunderstandings are unveiled.

As the charmer who is willing to change clothes and accents to accommodate each new invading team, Yvonne De Carlo is easy on the eyes and is ready to sing a cool ballad or dance a hot cooch number. Miss De Carlo’s acting, on the other hand, is as improbable as the story. Peter Ustinov does everything but chew the sandy sets as the harassed owner of the Hotel Sahara who sees his love fly out its windows with each successive military arrival.

And, Roland Culver and David Tomlinson, as the leaders of the British “invaders”; Guido Lorraine, as the romantic Italian captain; Albert Lieven, as the correct Nazi lieutenant, and Mireille Perrey, as Miss De Carlo’s mother, wrestle with a few silly lines and a couple of silly situations. The conflict in the desert must have been either grimmer or more comic than the antics depicted in “Hotel Sahara.”

HOTEL SAHARA, original story and screen play by Patrick Kirwan and George H. Brown; directed by Ken Annakin; produced by Mr. Brown; a British-made feature presented by the J. Arthur Rank Organization and released through United Artists.

Yasmin . . . . . Yvonne De Carlo

Capt. Puffin Cheynie . . . . . David Tomlinson

Emad . . . . . Peter Ustinov

Major Randall . . . . . Roland Culver

German Lieutenant . . . . . Albert Lieven

Private Binns . . . . . Bill Owen

Corporal Puller . . . . . Sydney Tafler

Private O’Brien . . . . . Tom Gill

Madame Pallas . . . . . Mireille Perrey

Yusef . . . . . Ferdy Mayne

Italian Capitano . . . . . Guldo Lorraine

The French Officer . . . . . Eugene Deckers

American Woman . . . . . Bettina Hayes

Fatima . . . . . Olga Lowe

Italian Soldiers . . . . . Massimo Coen

Enzo Plazzatta

German Soldiers . . . . . Rolf Richards

Henrik Jacobson

Anton Diffring

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DOWNLOAD MOVIE Johnny English Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Johnny English

After three Naked Gun movies and three Austin Powers movies, do we really need another spy spoof movie? Well, apparently someone thought we did, and they put up the money for Johnny English. On paper, it’s a good idea: Rowan Atkinson is a great comedic actor and John Malkovich plays a terrific villain. Toss in the pair of screenwriters who penned the last two James Bond films, and you’ve got all the ingredients for a hilarious box office hit, right? On the other hand, is it really possible to make a movie based on a British television ad?

Johnny English is a desk-bound employee of the British secret service. When all of England’s other secret agents are killed, Johnny English receives his first mission: to protect the British crown jewels. This mission is soon revised to: find the British crown jewels after English predictably bumbles their safe-keeping. Standing in his way is the evil Pascal Sauvage, a French prison baron with the worst of intentions. Luckily, English can rely on the help of his straight man/ sidekick Bough and a beautiful stranger named Lorna Campbell.

The best thing that can be said about Johnny English is that it’s short. The movie moves at a quick pace and is over before you know it. That said, too much time is spent setting up the gags. You can see every blunder coming a good five minutes before it happens and when it finally comes around, it’s not very funny. In fact, the best laughs don’t come from the script at all, but from the talented, stretchy-faced Atkinson.

Atkinson’s English is part Mr. Bean, part Inspector Clouseau, but the sum of these two parts is far less funny than one would expect. The high points (English lip-synching to ABBA in the bathroom mirror) are far outnumbered by low points (English emerging from a toilet covered in fecal matter).

Malkovich, as the French villain Sauvage, should have been the saving grace of this film. Unfortunately, the character-as-written is bland and uninspiring. There is little for Malkovich to do except don a creepy stare and speak in a French accent which can only be described as “extreme.”

In the style of Johnny English himself, the filmmakers blundered themselves into un-funny territory and failed at their mission to create a successful spoof. Atkinson is funny and charming as always, but given the below-par script of Johnny English, one wonders if Atkinson’s mission was only it to get away with some Queen Elizabeths.

-Megan A. Denny
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DOWNLOAD MOVIE Hearts in Atlantis Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Hearts in Atlantis Reviewed By Erik Childress Posted 09/27/01 09:59:35

"Three Subplots In Search Of A Movie" (Average)

The stories of Stephen King have always shifted from our worst fears to our base innocence and the forthcoming loss of it. Alas, children have always played an integral part in his tales, whether they are supernatural or nostalgic. Movie and King fans alike also know his novella, The Body, under the name of Rob Reiner and William Goldman’s screen adaptation, Stand By Me. In fact, some of the more beloved and acclaimed King adaptations come from the collections of short stories he’s amassed in books like Night Shift and most notably Different Seasons, where alongside The Body you will find the inspirations for Apt Pupil and The Shawshank Redemption. The latest screen presence of King’s comes in the form of Hearts In Atlantis, which would seem like a conversion of his 1999 novel, consisting of a series of interconnecting novellas and short stories. But where those contained tales were linked with common threads, the film version plays like a series of three underdeveloped subplots in search of a movie.The title stems from the second story in the book, a story that is completely absent here. Instead, the filmmakers have concentrated on the opening yarn entitled “Low Men In Yellow Coats”. Set in the early sixties, eleven-year old birthday boy Bobby Garfield (Anton Yelchin) so longs for that boss Schwinn bicycle which graces the window turntable of the town store. His mother, Elizabeth (Hope Davis) presents him with an adult library card in its place. A gift that keeps on giving some parents might (and should) say, but is nothing more than a representation of Elizabeth’s self-indulgent stinginess as she blames their financial troubles on Bobby’s late father. Into their lives, and specifically their upstairs, comes Ted Brautigan (Anthony Hopkins). Ted brings with him no immediate agenda or any noticeable plan for the future. He befriends Bobby, sharing with him the value of that library card and offering him an allowance for reading the newspaper to him each day, drawing the “special places” suspicions of mom. Ted also asks Bobby to keep him appraised of lost pet notices and other signs hinting to the arrival of the mysterious “low men” who might have a vested interest in the psychic powers that Ted possesses.This trip down memory lane is bookended by the older Bobby (David Morse), now “Robert” the professional photographer, who is called back home to attend the funeral of childhood friend Sully. These pro-and-epilogues focus on the friendship aspect of the story between Bobby, Sully (Will Rothhaar, bearing resemblance to River Phoenix in Stand By Me) and Carol Gerber (Mika Boorem). These three were inseparable during that summer, notably Bobby and Carol, who get to share a couple of wonderfully staged first kisses, inexplicably overlooked with no care by Sully, who conveniently makes too quick an exit to warrant much of any sympathy associated with his flashback-setting demise.Therein lies much of the problem with the filmmakers’ decision to only tackle the beginning and the ending of King’s novel. Sure, this is where Bobby takes center stage, but Sully and Carol live on in the middle acts of a story that spans four decades and whose overriding theme is the Vietnam War, which in the film has yet to begin. No matter what kind of Lost Empire speech is concocted, the “Hearts” of the original title refers not to childhood, or the honor and glory associated with courage in the face of evil, but to a card game.With three separate stories within one story, that was part of a larger canvas, fighting for dominance with no clear theme, we are left too many dangling threads to ponder what we have just experienced. Every resolution (the ones that exist) are too anti-climactic for our thorough satisfaction. What does eventually happen to Carol and what is the true nature of Ted’s power? He has visions of the future and the ability to look within man’s souls (ala The Dead Zone & The Green Mile) but what are its full implications? Passing along his gift to Bobby through an inadvertent touch so he can win at Three-Card Monte and never use it again? The only real gifts this movie possesses are the gorgeous Oscar-caliber cinematography of the late Piotr Sobocinski, who bakes the images with the perfect nostalgic colors, and of course, the presence of Sir Anthony Hopkins.No matter what role Hopkins plays, he always brings with him a sense of assured dignity and a manner of speaking that makes you hang not just on every word, but every syllable, every letter and every sigh that escapes his mouth. Listen to the story he tells about a football player, one that couldn’t be delivered better by any awe-stricken sportswriter, and you’ll wish that he was at your bedside, not just as a youngster but every evening until the end of your days to ease you goodnight.A daunting task, without a doubt, for someone not to be acted out of the viewing audience, let alone in the same frame with Hopkins and unfortunately young Anton Yelchin isn’t nearly up to the task. Unable to even find a middle ground between the Haley Joel Osment’s and Jake Lloyd’s of the world, Yelchin tends to be way too anxious to reveal his joy or to cry his eyes out, leaving us with the unwanted distraction of a kid TRYING to act. To even the playing field, the kids are well represented by Mika Boorem, playing Carol with a more naturalistic sense than Yelchin, especially in a very powerful sequence of events late in the picture.All the Stephen King trademarks are here: extraordinary powers, evil beings from a government network (ala “The Shop”), childhood bullies and rhyming catch phrases. It’s a shame that director Scott Hicks and screenwriter William Goldman didn’t go the full nine yards in turning his novel and incredible storytelling techniques into the epic treatment that it deserved. Hicks (Shine, Snow Falling On Cedars) may have a great eye for the visuals (and it shows), but his storytelling leaves a lot to be desired. He should have taken time to revisit Frank Darabont’s King adaptations (The Shawshank Redemption and The Green Mile); a filmmaker who took his audience twice to Morton’s for steaks and Hicks invites us out to a place called Scraps. (Goldman even dips back into his Princess Bride wellspring for a couple speeches on the joys of reading.) This is a story that could have combined the fantastical of a Forrest Gump with the grittiness of The Deer Hunter into a two and a half-hour plus encapsulation of Americana and the loss of it through the eyes of Bobby, Sully and Carol. Instead, we’re left with 100 minutes that feels every bit like a Readers Digest version of a short story.
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DOWNLOAD MOVIE Dragonfly Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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In “Dragonfly,” a souped-up romantic tale of longing for contact beyond the grave, we’re told that the Doctors Darrow (Kevin Costner and Susanna Thompson) are the perfect team–he has the head and she supplies the heart. Both work at the same Chicago hospital–he runs the emergency room, and she’s a pediatric oncologist. Listening to her heart, she takes off for Venezuela on a mission of mercy despite being pregnant only to be aboard a bus caught in a landslide. Joe Darrow is overwhelmed by grief, intensified by feelings of anger and guilt. His wife had overridden his disapproval in her decision to heed her calling, and now he has nothing to console him but work. His bitterness, however, so overwhelms him that the hospital’s punctilious administrator (Joe Morton) orders him to take a leave–but not before the little patients in the pediatric oncology ward start forwarding him cryptic messages from his dead wife. Not surprisingly, Darrow is slow to believe what is happening, but once he’s convinced that his wife is attempting to communicate with him, nothing is going to stop him until he gets some answers. It would be churlish to begrudge anyone for receiving whatever consolation that can be found in “Dragonfly,” yet it is impossible to find the film anything but appalling, shamelessly manipulative and contrived, and totally lacking in conviction. It is high grade Hollywood hokum, a polished production in which its people tend to remind us of their impressive professional credentials and live in expensive vintage homes with dark, burnished interiors. There’s a self-congratulatory air to Tom Shadyac’s direction of a script and story by various hands, and John Debney’s relentlessly insistent score tells just how we should be feeling every step of the way. ADVERTISEMENT There’s nothing wrong in Cost- ner’s performance, and it’s unfortunate that his doctor’s dogged quest isn’t unfolding in a vastly different and less pretentious kind of film. The history of cinema has shown that it’s tough to evoke the genuinely spiritual, replete with intimations of the supernatural. Those few filmmakers who succeed in transcendence, such as Carl Dreyer and Robert Bresson, do so through subtlety, indirection and a burning sense of commitment in their highly personal, idiosyncratic small-scale films. Fevered to the point of foolishness, “Dragonfly” is just a drag. MPAA rating: PG-13, for thematic material and mild sexuality. Times guidelines: Intense sequences of terminally ill children. ‘Dragonfly‘ Kevin Costner…Joe Darrow Susanna Thompson…Emily Darrow Joe Morton…Hugh Campbell Linda Hunt…Sister Madeline Ron Rifkin…Charlie Dickinson A Universal Pictures and Spyglass Entertainment presentation of a Gran Via/Shady Acres production. Director Tom Shadyac. Producers Mark Johnson, Tom Shadyac, Roger Birnbaum, Gary Barber. Executive producers James D. Brubaker, Michael Bostick. Screenplay by David Seltzer and Brandon Camp & Mike Thompson; from a story by Camp and Thompson. Cinematographer Dean Semler. Editor Don Zimmerman. Music John Debney. Costumes Judy Ruskin Howell. Visual effects supervisor Jon Farhat. Production designer Linda DeScenna. Art director Jim Nedza. Set decorator Ric McElvin. Running time: 1 hour, 45 minutes. In general release.
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