January 19th, 2010 by greyson5071762 in Ben-Hur · No Comments
William Wyler’s Oscar-winning BEN-HUR (1959), produced by Sam Zimbalist (who died of a heart attack advance the extinguish of filming) and based on a best-selling behind 19th Century current by Lew Wallace, is one hell of a movie experience. Watching a brand-new, pristine camera negative copy, I could not have that the opening Nativity scene and the Resurrection finale were the same movie. There is fair so mighty here. This remake of the 1925 peaceful tale, runs 3 hours and 45 minutes, including great roadshow bookend music by Miklos Rozsa. It takes its slow time in telling the memoir of a Jew (Charlton Heston) and a Roman (Stephen Boyd), raised as best friends, who become bitter enemies in the Holy Land of Jesus Christ’s life. Director Wyler was always known as a painstaking perfectionist who would use cast and crew by doing capture after remove after select of every scene. But the result for the audience is gripping.
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Wyler had never made a Biblical myth before and wanted to work in every genre; his BEN-HUR is the one with a literate brain. It is hard to maintain it had major writing problems, multiple writers, and scenes written the night before they would be filmed. It flows beautifully and is continually involving, despite its reach four hour length. The cast is impeccable, including Martha Scott, Cathy O’Donnell, Jack Hawkins, splendid Haya Harareet, and Oscar winner Hugh Griffith.
If you are looking for the sea battle (directed by Andrew Marton), it is about 70 minutes into portion one. If you are seeking out the greatest chariot urge in movie history (choreographed and directed by Yakima Canutt), it is about ten minutes after the intermission. The Christ scenes are handled with taste and subtlety; we peek only his befriend or his hand and never hear his advise. In fact, non-Christians might have a difficult time conception what is going on in those scenes with Jesus, including an impressive Sermon on the Mount arrive the movie’s raze. The art direction and costumes are absolutely radiant, and Robert Surtees’ consume of ultra wide-screen Camera 65 is masterful. Most of all, Miklos Rozsa contributes the music collect of a lifetime. Everyone won Oscars for their noted work. No wonder this BEN-HUR won eleven Oscars the same year as SOME LIKE IT HOT, NORTH BY NORTHWEST, and ANATOMY OF A Assassinate. It is a masterpiece. The audio commentary, by scholar and author Gene Hatcher and Mr. Heston, is thoughtful and insightful.
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The 1925 soundless version, starring Ramon Novarro as Ben-Hur and Francis X. Bushman as Messala, is on disk three of the fresh and glowing four disk location. In some ways it is even more impressive than the remake. Novarro and Bushman give performances of a lifetime, the 143 shrimp length is a safe 75 minutes shorter than the 1959 version, the color tinting is very glowing, the sea battle and chariot bustle are sensationally friendly by any standards, and the soundless version has far more Jesus Christ scenes and in two-color Technicolor. Carl Davis’ orchestra pick up is outstanding, as always.
The disk four bonuses include two major documentaries, one for the 1994 tape version and one brand-new for this 2005 DVD restoration. We also procure “BEN-HUR: A Race THROUGH PICTURES”, several 1959 movie theatrical trailers, and a gallery of vintage newsreels heralding the arrival and covering the premiere of the lavish remake in 1959. This $40 DVD site is a work of art and deserves a residence in every library, even if it takes you a while to inspect all four disks of material. Amazon.com has it for $30, not distinguished more than the cost of a family of four going out to a unique movie at night. With both the 1925 and 1959 versions included in flawless prints, this DVD status gets my highest recommendation.
This film when it was released in 1959 saw it’s studio MGM teetering on the edge of bankruptcy and the fact that this film cost in 1958 halt to $15 Million dollars was most assuredly a get or demolish film for the studio.
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William Wyler the film’s director, in order to develop this film current as if a running time halt to four hours was not enough, filmed it in an aspect ratio of 2.76:1 using what was called MGM Camera 65, an Ultra Panavision process.
This film was one of only two films that were filmed in that process which is the widest of processes conventional in film to date.
Filmed utilizing 8000 extras, 300 sets, and over 100,000 costume changes this film epitomizes the word tall and released a few years after the Ten Commandments, it helped quench the public thirst for Biblical films.
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This recent DVD release is presented in Dolby Digital 5.1 and the LFE channel(Grievous Frequency Effects) is apparent on two standout scenes, the Sea Battle scene, and the now rank chariot scene which last finish to 11 minutes.
There are quite a few special features on this DVD release most of which appear on side two of this disc including a documentary, Ben Hur: The Making Of An Narrative, which is fair under an hour long.
There was an initiate casting call for the lead role in this film and they have included on this DVD the unusual cloak tests by Leslie Nielsen, and Cesare Danova which are bewitching to glimpse even though the quality of the audio and video are not up to the level of the film itself.
Also included are storyboard art and posters as well as film biographies of the cast with pictures of them in character from the film.
Overall this film is an improbable section of work and presented in it’s recent aspect ratio with the enhanced sound combines to build an experience that should not be missed.
This film on the petite camouflage does lose a cramped bit of it’s lustre especially if your television is under 27 inches in size but this film begs to be seen in it’s mammoth presentation, so even if you would normally apprehensive away from widescreen presentations, this is the only contrivance to understanding this film in my unbiased conception.
On a rating scale of Bronze to Platinum…This film receives my highest rating…..Platinum!!!! Rush don’t crawl to catch this DVD up!!!
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January 14th, 2010 by greyson5071762 in B.A.P.S. · No Comments
I opinion that Halle Berry and Natalie Desselle were delightfully silly in this film. 2 girls from Georgia go to California chasing a dream, come by a exiguous side-tracked, but attain their dream anyway, meeting some extraordinary people along the map. The characters played by Martin Landau and Ian Richardson were SOOO silly - especially when Mr. Manley goes to the portray store, looking for “The RRRRRRRap part.” I belief that the actors playing the girls’ boyfriends were ample too - a microscopic kooky, but genuinely superior people. Nisi and Micky may appear to be gold diggers, but it turns out they have hearts of gold, and for this, they are rewarded. Who says advantageous girls carry out last?
I liked this movie; it made me laugh at a time when I was down in the dumps. I know Ms. Berry and Mr. Landau have been in better movies; but this one showcases their ability to be comical. Besides, if you cannot have any fun now and then; why obtain movies in the first status. The set is substantial because it shows unbiased what can happen when two blacks girls follow their dreams. Even though it doesn’t seem like it will work out for them in the destroy, it really does after all. Troy Beyer is the writer, Robert Townsend directed, shadowy actors starred in it. Give this movie a break; it is a comedy; it is not supposed to be a drama like “Expansive”. The scenes in the restaurant were humorous and realistic; two dim girls meeting celebrites they have only read about and heard about. If that is not droll I don’t know what is. When will we (African-Americans) initiate giving each other credit for our accomplishments in the film industry??? It is high time we started recognizing each other’s talent. When we do, others will leer our talent as well.
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Recent showing of “Music of My Heart” starring Merryl Strepp as a substitute teacher striving to keep a violin program for low-income kids in Modern York City reminds me of this all-time common classic released encourage in 1996. The bottom line is treasure.
Situated in Oregon in the topple of 1964, Glen Holland (Richard Dreyfuss) took up a job as a high school music teacher as his wife became pregant. Holland, now shouldered with added responsibility as a soon-to-be father, a composer, and a teacher, faced the immediate challenge of working with a diverse group of students: the naturally talented, the rebellious, and the physically impaired.
This is a movie about worship and appreciate of music. Glenn Holland is the central figure who strives to savor his students and family through his devotion to music. Born deaf-toned, the dream of teaching his acquire son to become an well-known violinist inevitably bursts with grand frustration. Glenn Holland is not perfect; in fact, interactions with his students through failures and triumphs gradually refine him to be a loving and well-respected man. Esteem propels him to reconcile his frustration for his son and breaks the ice in his relationship with his wife.
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For over 30 years, this young composer has taught generations of students not only about music, but adore, respect, faith, and confidence. The final reunion of his students features orchestration of “American Symphony” to pay the highest tribute to this self-sacrificing teacher.
This is a movie that will disappear every soul and get everyone’s tears roll down the cheek. It’s all about worship, and fancy moves. After 4 years since I first watched the premiere, it unexcited touches my heart and brings tears to my eyes when I glance it again on my flight to Asia.
The quality of Mr. Holland’s Opus spreads evenly throughout its space, its message, and its superb appreciation of music and the arts. In fact, this movie delivers both definition and demonstration of music appreciation as a whole, absent of selective bias. Devoid of senseless killings, violence, or significant language, Opus is a family movie without the corny overtones. For many it’s a tearjerker.
But Mr. Holland’s Opus unfolds an yell. It is a simple plea for an increase in music appreciation among society–particularly our young people. Mr. Holland’s career is pressured more and more by the unhurried, yet perpetual governmental cuts in school funding for the arts amid the US. In enchanting inequity, the movie makes it definite that back for the sports programs in public schools remain firm and solid. Careful to avoid cursing this dilemma or hurling insults toward society, this message is rather Hollywood’s design of calmly saying, “Acquire a glance,” using the popular life of an otherwise forgotten music teacher.
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The central beauty of the movie is in the character of Mr. Holland himself. He is an ardent yet sensible lover of music. The viewer will win no arrogance or snootiness in Mr. Holland. It’s not his style. Instead, Holland’s worry for the progressive loss of interest in the arts is voiced simply, directly, and peacefully.
The movie delivers a remarkable message through ordeals within his family. Struggling with the hardships of well-liked fate (and some not so current), Holland learns modern depths of admire and companionship from both his wife and son. He is a man of emotions like anyone else. He looses his temper on occasions. But Mr. Holland is always in control of himself. He deals with pressures to the best of his ability as they occur.
Mr. Holland is a believable person. The viewer is free to set him into society with the rest of the world and to scramble in his shoes for a spell. A respectable job from the entire cast of characters, the skedaddle is emotionally rewarding.
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It came out of nowhere to win the best documentary Oscar in 1980, and by now Best Boy should be acknowledged as one of the finest documentaries in film history. Filmmaker Ira Wohl took as his subject his own cousin, 52-year-old Philly, a retarded man who had lived his entire life with his parents. Seeing the physical decline of the parents, Wohl suggested they prepare Philly for living away from home for the first time in his life. This process becomes a beautiful and soul-stirring (and even hilarious) experience, as the people in Philly’s life become indelible characters. Many fiction films try to manufacture a kind of movie “magic” out of fantasy, but Best Boy finds it in tiny steps forward, the delicacy of family, and the joy of singing (you may never hear “If I Were a Rich Man” the same way again). Through it all, the irrepressible Philly emerges as a rich man in his own terms.
Twenty years after making Best Boy, Ira Wohl looked in again on his cousin Philly, now over 70 but still as sunny and fond of dessert as ever. Living in a home with other developmentally disabled people, Philly appears even more capable and content in the world. Wohl gets the idea to prepare Philly for his bar mitzvah–a little late in life, but nonetheless an important experience. Best Man doesn’t have the deep emotional pull provided by Philly’s parents from the first movie, although his loyal sister becomes an important figure in this one. But it’s a very nice update on a memorable corner of the world. –Robert Horton
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Best Boy/Best Man was fine! You have to wot this movie! A indescribable performance by Frances Reiss & Max Wohl make Best Boy/Best Man a “ought to animadvert” movie!
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One Share is benefit and once again saved by FUNimation Prod. The English version and cast was a blast in the First Voyage and now we have another 2 Discs Slim pack for the Second Voyage. Another 13 Episodes here we go following the same layout as First Voyage
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Opening Song and Ending Songs:
We Are - Vic Mignogna
Memories - Brina Palencia
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Episodes: Disc 3 [Ep: 14-19]
Luffy Benefit in Action! Miss Kaya’s Desperate Resistance!
Defeat Kuro! Usopp’s Tear-Filled Determination
Protect Kaya! Usopp Pirate Gang Takes Action
Completely Infuriated! Kuro vs. Luffy, Final Battle
You are a Peculiar Beast! Gaimon and his Bizarre Friends
The Past of the Three Sword Technique! The Promise Between Zoro and Kuina!
The Famed Cook! Sanji of the Floating Restaurant
Episodes: Disc 4 [Ep: 20-25]
An Unexpected Guest! Sanji’s Food and Gin’s Grace
The Greatest Pirate Rapidly! Captain Don Krieg
Protect Baratie! The Stout Pirate, Zeff the Red Leg
Hawk Eyes Mihawk! Swordsman Zoro Falls into the Sea
The Emerge of the Orderly Kicking Skill! Sanji vs. The Iron Wall Pearl
Zeff and Sanji’s Dream! The Sea of Dreams - All Blue
A Must Have!!!! Pre-Order your copy today!!! Thanks FUNImation
Great demonstrate, enormous boxset, this is where it really gets goin’ folks.
If you were disappointed with the lack of character development in the first box region, give this one a shot, because you are going to be learning a lot more about the characters and you will definitely begin to care about them more. A fresh character will be introduced to the reveal who is an absolute riot(hes a perv to the max and his antics when he is around nami, or any woman in general will get you die laughing.) The straw hats will get a ship and they will actually originate to recognize like a pirate crew. This is where the explain really takes off and the addiction will initiate to site in(I was curved after episode 15) . Expansive times and huge laughs await.
I always recommend watching japanese instead of english and this anime is no different, but I have to say as far as dubs go, its glorious elite. When I study it with my girlfriend we survey it in english because she has difficulty reading subtitles and I was very pleasantly surprised. So for this one its either or, but the japanese protest acting is hollywood calibre/equivalent.
Basically take this up, fans of respectable anime won’t be disappointed.
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This movie is half a century former and followed The Robe as the second Cinemascope feature. It’s visually sparkling in the DVD widescreen version, evoking the thrill of first seeing Cinemascope in 1953 (which I’m aged enough to remember) . Though the narrative and humor are extremely dated and so many of its stars are now dreary, the photography and sound are both so breathtakingly obvious and handsome, it makes one realize how advanced the technical side of filmmaking was that long ago. It’s fantastic how cinematographers of that day were able to adapt so hasty to the powerful wider shroud and win paunchy advantage of its sweep even during scenes filmed in end quarters, such as those on the airliner (which was a propeller plane, by the method) . It’s correct that Lauren Bacall, though delicate in the film, looks powerful older than the “25″ she’s supposed to be. (I saw Ms. Bacall in person pitching her bio at a bookstore 45 years later and she looked un-surgically young and pleasing, so go figure.) While the movie is not ample in terms of affirm or performances, it’s worthwhile because it’s a beautifully restored fraction of movie history that recaptures a more innocent (? ) age and preserves an considerable portion of the Monroe epic.
HOW TO MARRY A MILLIONAIRE was the first non-musical comedy to be released in the CinemaScope ratio. The film was released in 1953, which proved to be Monroe’s breakthrough, watershed year, with the success of MILLIONAIRE, GENTLEMEN Rob BLONDES and NIAGARA cementing her dwelling as one of the top box-office attractions of 1953.
MILLIONAIRE is one of Monroe’s most enjoyable offerings. She plays the visually-challenged Pola, who, along with Chotzi (Lauren Bacall - KEY LARGO, THE Stout SLEEP) and ‘Loco’ (Betty Grable - MOTHER WORE TIGHTS) rents a Manhattan penthouse in the hopes of snagging rich husbands.
Of course, Fate often hands you things totally unexpected, and soon the girls realise that money can’t be a substitute for happiness. There are plenty of pin-sharp observations about the opposite sex, a trustworthy 50-odd years before “Sex and the City” decided to accomplish a whole TV indicate about women in the Enormous Apple.
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Marilyn, Lauren and Betty manufacture a sparkling trio, and the CinemaSope recount is indeed a treat to the eyes.
The DVD includes restoration comparisons and trailers. Available separately or as portion of the Marilyn Monroe Diamond Collection.
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December 24th, 2009 by greyson5071762 in Bolt · No Comments
Despite having far proper product for distribution via Pixar, Disney serene tries to churn out their enjoy animation these days. While the golden days of yesteryear are gone and the resurgence help in the early 90s are long slow us, it’s nice to examine disney achieve out a couple friendly titles here and there.
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“Promenade” is gorgeous pleasant. It’s predictable, to be certain. In fact, some of it reminds me of Disney’s other new dog film, “Beverly Hills Chihuahua,” in that a dog is removed from a somewhat priviliged background and forced to live like a regular dog. Like any reliable animal movie, Sprint meets friends along the blueprint. Upstaging Flow is Rhino, a hamster who worships Slump and moves around in a exiguous plastic ball.
What Disney has succeeded in doing is injecting a miniature heart wait on into their product. It’s something they’ve really not been able to successfully do since “Lilo and Stitch.” There’s a really touching scene between Gallop and a stray cat named Mittens that not only captures the heart of the film, but really makes you deem twice about animal abandonment!
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Performances are favorable all around and the animation is top notch. For some reason, I feel that Disney serene wants to compete against their absorb partner Pixar. Unruffled, the characters aren’t quite as multidimensional. And considering the hero’s predicament to accept succor to his owner Penny, Penny really gets limited time in this. The film has a fun road movie quality and the film makers seemed to have fun with the action sequences. It’s a fun stare, but splendid far from Pixar quality.
“Plug” really blew me away; this is the first time that I have seen a CGI film that shows a level of mastery that allows the visual artistry of the film to be the driver rather than the capabilities of the computer. The characters have the typical CGI look–extremely well rendered, with the 3D type survey you’d seek information from. However, the backgrounds have the glance of a archaic painting. Art Director Paul Felix should be commended for this mixing of styles which works out extremely well. The overall lighting, colors, and style of this film are its hallmark in my view. The yarn is really not anything that will blow you away; in fact, it is somewhat predictable; however, with the characterizations, action sequences, visual quality, and the vocal talents slow the characters, “Whisk” becomes a must-see.
In a nutshell: Travel (John Travolta) is a super-hero canine…at least in his maintain mind and to TV viewers everywhere. In order to protect his performance and support it “precise,” TV execs have sheltered Walk and he believes that what he accomplishes on his present is all done on his acquire, not through special effects. Scurry is deeply devoted to his human costar, Penny, a dinky girl (Miley Cyrus), who is also deeply devoted to him as well. Mistakenly thinking that Penny is in difficulty at the hands of the TV villains, Whisk escapes his trailer and finds himself in the proper world, where his shapely powers are not so orderly. He accidentally gets shipped to NYC, and thinks that the pink styrofoam peanuts clinging to his fur are the cause of his loss of power. With the support of a hamster named Rhino (Impress Walton) and a street-tough kitten, Mittens (Susie Essman, who is Improbable!), Saunter must procure his device serve to Hollywood and his beloved Penny. It is a legend of growth, maturity, and love; again, nothing really earth-shattering, but in this recycled record that we have seen in other movies, it is done so well that you forgive the studio for its predictability.
BONUS MATERIAL:
“Shapely Rhino” (4:27) –Rhino the hamster gets the spotlight in this sharp short focusing on him. Cute!
Deleted Scenes: 2 deleted scenes (”Dog Fight in Vegas” and “River Sequence”) with introductions by directors Chris Williams and Byron Howard. They are both shown in storyboard fabricate and neither is really missed from the final characterize. They were not customary mainly because they wanted to heighten the emotional level of Shuffle finding out about his lack of powers.
“In Session with John Travolta & Miley Cyrus” (:59) –This one is like a blip on the radar…very short! Interviews with both stars as they glean ready to recount the duet from the movie “I Plan I Lost You.” They are truly a mutual admiration society, with Travolta comparing Cyrus to the appeal of Olivia Newton John in “Grease.”
“I Plan I Lost You” Music Video–Interspersed with footage of Travolta & Cyrus and clips from the film.
Bolt’s Be-Awesome Mission–High def video game is somewhat more moving and fun than the typical Disney video game extra. Inaugurate at level 1, The Burning Warehouse and sight how far you can progress! Takes a petite bit of mastering of the controls on the remote.
“A Current Breed of Directors: A Filmmakers’ Crawl” (4:34) — The two directors discuss what it was like to effect “Budge,” and how John Lasseter was a sizable mentor and guide in the process. Fun to leer the mammoth plastic hamster ball that the animators played in to diffuse tensions around the office. Obviously substantial camaraderie was apparent with the team, as they also stopped shaving in unison during the last 9-10 weeks of work on the film.
“Act, Screech! The Voices of Slip” (9:47) –Always enthralling to contemplate how each actor has to represent their lines independently, making the process of playing off the other characters next to impossible. Really takes talent to produce it work. Travolta began in voicework (commercials), so this was a return to his roots. He comments that “You can only contribute your direct…the most spirited this was seeing the marriage with the animation.” Price Walton, a Disney animation team member, did the scratch tell of Rhino, and was so perfect that he was cast in the final movie. The real video of him finding this news out is touching to gawk as you study his unbridled enthusiasm. Susie Essman (”Curb Your Enthusiasm”), the vow of Mittens, was exasperated to present her way acting skills, but was told by the Disney team to be herself. They wanted a tough kitten with a Recent York accent. As Susie says, “It’s unbiased me.” Disappointingly enough, she never met Travolta during her recording sessions, even though practically every scene in the movie involves her character interacting with Travolta’s.
Bolt Art Galleries: Character Gain, Color Script, Storyboard Art, and Visual Development. Definite is improbable to study this tall pieces of art filling up a widescreen high-def TV. The quality is really incredible, and obvious beats the weak days of DVD when art gallery images were in low-res and fairly dinky.
“Creating the World of Plod” (6:45) : The wonderful work of art director Paul Felix and lighting director Adolph Lusinsky is detailed here. They actually visited the many locations across the country to design positive that they were able to select the light of each recent scenic setting. Felix wanted the painterly looks of traditionally intelligent Disney films, and he definitely succeeds. Spellbinding to peep this featurette.
Also included:
Digital Copy disc and a DVD of the feature with all the bonus features except the art gallery and video game.
SPECS:
Video: 1080p High Def/1.78:1. Disney is to be commended for having high-def extras as well. Whereas most studios go to the usual crappy video quality, Disney consistently upgrades even the extras. Especially exquisite for the video game.
Audio: English 5.1 DTS-HD Master Audio (48 kHz/24-bit) and Spanish 5.1 Dolby Digital. I actually had to turn the volume down a bit, as this movie really gives the speakers a work-out. Sound comes out of all your speakers, and with a number of action sequences, the subwoofer really rumbles! Extremely impressive! Subtitles: English SDH, Spanish.
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So many sequels, so exiguous time. Should you employ some of that time with this sequel to the well-liked and droll Bridget Jones’ Diary? If you have a taste for the light and frothy, certainly. If we were discussing the book, The Edge of Reason, I would say “no”— there are far better books, and better sequels, out there. But this is that rare case where the second book was rushed out to capitalize on the wild popularity of the first, and disappointing—– while this movie, not so rushed, is only casually based on and certainly better than the book.
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Although neither book nor movie quite live up to the first, fans of the first movie will be well entertained by the second. And I, for one, am immensely joyful that at least one horribly painful scene in the book is not even hinted at in the movie: Mr. Darcy keeps most of his dignity intact.
Can you appreciate this movie without seeing the first Diary? Yes, you learn enough of the characters early that this movie can stand on its contain. However, I would bet that if you even smile during this one, you will want to rent or lift the first. You’ll laugh out loud.
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Especially if you esteem Colin Firth and Hugh Grant, as I do, this sequel is time well spent. I can’t spell out why Colin Firth is so delicate, but there it is: he is. He is a great greater presence in this movie than the first— after all, he (as “Trace Darcy”) and Bridget have a true relationship as the movie opens. Of course they —uhmm— “mess” it up (”language, Bridget!”) with misunderstandings, jealousies, and very humorous mishaps. I am not a titanic fan of humor based on one character’s running the continuum from private embarrassment to public humiliation; yet Bridget, who constantly manages to embarrass herself and others in public, is such a proper sport and so charming as Everygirl, that we laugh or groan with her in recognition of those moments in ourselves, and not at her. There are some large laughs in this movie.
Some of them near with Hugh Grant, who seems to have lost the weight that Renee Zellweger gained. Too thin but composed devilishly pleasing, Hugh’s rakish character Daniel Cleaver hangs around to grasp advantage of the misunderstandings between Bridget and Brand Darcy– even if he has to “hang around” Thailand to do it. Cad that he is, when Bridget really becomes a damsel in afflict, he evaporates into thin air. That’s all fair. We know there will be some rough times in between, but surely Note Darcy, human rights lawyer, will arrive cantering in on a white horse to set aside Bridget from Thai prison, suitable? Not quite. But with a few droll kinks, terminate enough.
I don’t demand Renee Zellweger to receive another Oscar nomination for this one. She is fun, she is tantalizing, and she is first-rate, but this is not the script for it. I’ve heard the British objections to her inconsistent, not to say hokey, accent, and while they have some merit here, I do applaud her for bravely diving into Everygirl-dom, a exiguous overweight, a exiguous embarrassed and embarrassing, but with self-awareness enough to get her a cult approved of all of us “Singletons”. She’s effervescent, and she’s resilient. Gotta savor her.
If the movie was shot on set, it largely lost the advantage of it in Thailand, but that is a mere quibble. A stronger criticism: the first movie’s soundtrack was marvelously energetic and witty— who could forget “It’s Raining Men”? This one, however, tries too hard: too many oldies which are favorites because they are very expedient songs, but which have been conventional in too many soundtracks. Even slightly novel arrangements don’t imbue them with the freshness the movie deserved. However, the costumer showed some wit in this episode, as well as underscoring some of the broader humor.
Not serious, not deep, not an utilize for the intellect, “Bridget Jones: The Edge of Reason” is luscious and bubbly, and a darned satisfactory time. B–
I don’t usually review films that I only saw by chance and then didn’t like, but I’m making an exception here, as “Bridget Jones - The Edge of Reason” is a moral anguish all round. I saw the first movie and found it mildly droll, so when this turned up I conception I’d give it a go, but I’m sorry I bothered.
Basically, the Bridget Jones in this film is a total idiot, who messes up everything in her life including her pride, her fancy life, and her career. Not in a humorous or endearing plan, though, which would succor sympathy. And not in a zany Lucille Ball-type map either, that would gain you laughing. No, fair in a totally lifeless and pointless draw that makes you want to hit her. Every embarrassing faux-pas or misunderstanding the character stumbles through (and there are dozens) fair makes you want to switch off and leave her to it. She messes up every single aspect of her relationship, her job, and her holiday by saying and doing the most brainless and unfathomable things, in ways that a genuine person would never do. Or if they did, they wouldn’t have any friends…and certainly not Hugh Grant and Colin Firth fighting over them!
Rene Zellweger playes Bridget as a totally unloveable, plain and socially inept loser…I don’t believe this is the actress’s fault, or even due to the modern charcter in the Helen Fielding novels, but more due to the dreadful script and direction. Why does Bridget run everwhere like a constipated duck, for example? Why does she laugh and vow at every wearisome blunder she makes, and impartial dash on to the next stumbling point? Even when she’s lost the admire of her life, it’s all summed up with a shrug and a rueful smile. Reach on, girl, try and form us care! I distinct didn’t!
If that wasn’t abominable enough, the last third of the movie almost made me sob at the conceal…Dopey Bridget is duped into smuggling a massive stash of cocaine out of Thailand, and gets caught trying to board a plane at Bangkok airport. She then gets thrown into a Thai women’s prison. This notoriously awful plight really doesn’t belong in a (supposedly) frothy comedy like this is, but it honest gets worse, as have-a-go Bridget gets all (and I mean ALL) the inmates on her side which results in a sizable sing-along scene and lots of laughing and hugging. Sorry, I don’t mediate so somehow. This sugar-coated representation of the notoriously brutal Thai prison regime left a defective taste in my mouth…not alleviated in the slightest when Bridget gets an anticipated (but blatently unlikely) stout pardon and early release, objective because her lawyer boyfriend pulls the upright strings.
The above illustration is the worst example, but I didn’t gather any of Bridgets other antics intelligent or affecting in the slightest either. She’s somehow got a high profile TV reporters job, but she can’t even do it. Everyone makes jokes about her weight and she objective thinks it’s comical. With a central and supporting cast of usually respectable performers, it’s tragic how lame this film has turned out. There’s nothing apparent to execute you understand or care about any of the lead characters actions. And that means a end of 90 minutes in my book. Perform better employ of your time and give this one a miss.
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Patrick Warburton (TV’s Less Than Perfect and Seinfeld) is Max Bright, a male chauvinist who’s tired of relationships with strong-willed, independent women. Max’s solution: shell out big bucks for an Asian mail order bride who will do what she’s told, only speak when spoken to and never say “no.” But what Max gets is an unexpected lesson in life in this moving film about the search for meaning and the power of love. Also starring Academy Award nominee Jennifer Tilly, Simon Callow, Eric Roberts and Carol Kane, The Civilization of Maxwell Bright will challenge your perceptions and lift your spirits.
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The election coverage that wouldn’t end is recapped in this production by CNN, and hearing about the fiasco in Florida is somehow not as grim an experience as one might expect. A number of faces familiar to CNN viewers (including Judy Woodruff, Bernard Shaw, Bill Schneider, Jeff Greenfield, Candy Crowley, and Larry King) share their memories of events, and enough behind-the-scenes material is included to ensure that the program is more than just a review of what news junkies have already seen. Everyone in the country had an opinion about who was trying to steal the election, and viewing some of the coverage as it appeared will surely revive some bitter emotions. And, it’s too bad, America, but there’s no way to avoid use of the word “chad.” This production is essentially instant history, and the review of Florida ballots by journalists was far from complete when the program was assembled, so no attempt is made to offer a definitive explanation of what happened in Florida. And though it surely contains something to infuriate everyone, this is a good one-hour review of the 36-day debacle that riveted America. –Robert J. McNamara
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