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Lowest Price on How to Be

justinmayer1954 — Fri, 19 Mar 2010 07:19:57 +0000

Lowest Price on How to Be.

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Hits on so many serious notes in such a humorous procedure. I wouldn’t recommend it for someone who doesn’t understand ironic humor. Robert pattinson does an improbable job with a character who is awkward and looking to pick up reasons for who he is.

I LOVED THIS MOVIE! Comic British comedy and Robert Pattinson was so enthralling to gape!!
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Watch Vietnam - A Television History Movie Online

justinmayer1954 — Thu, 18 Mar 2010 19:53:34 +0000

Watch Vietnam - A Television History Movie Online.

Movie Title: Vietnam - A Television History
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Vietnam - A Television History is available for streaming or downloading.

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I was a grand fan of this series when it first aired on PBS in 1983 and I taped the whole thing. So when it came out on DVD I understanding I’d invest in the unique format, seeing as my tapes were now 20 years used and I wanted to be able to stare it again and fraction it with others without apprehension of it disintegrating.

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Boy, was I in for a letdown. First of all, this edition is loaded with commercials. That’s upright, commercials. That was the last thing I expected to peer on an expensive DVD space. But no, every episode is prefaced with no less than 2 commercials: one for Liberty Mutual and one for the Scott lawn care company. I could have lived with a brief mention of the companies that funded the series, but not only are these full-blown commercials, they aren’t even the companies that funded the making of the series! WGBH has sold commercial time to companies who had nothing to do with the making of this docmentary. If that weren’t enough, we accumulate to scrutinize the same commercials at the slay of every episode, followed by a swagger for PBS. I paid $60 for this???

But the most frightful thing about this region is that it’s been edited down from the recent series. I couldn’t maintain it. I haven’t had a chance to compare every episode on the DVD region with my outmoded tapes, but there is a segment approach the waste of episode 1 that has been deleted. In the unusual episode 1, a French colonel being interviewed about Dien Bien Phu talks about the kill of the detestable seige and refers to the Viet Minh as “Red Termites”. This has been lopped off the DVD version. I can only panic at the plan of other expurgations. Was it purged for political correctness or to originate room for the commercials? I can’t say. I don’t yet know if the other episodes are similarly truncated, but in my view none of them should have been. This series is too critical to let commercial expediency diminish its journalistic integrity.

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Thank goodness I level-headed have my former tapes. Now I reflect I will digitize them onto DVD so I can keep the work in the design the film maker intended.

Typically, DVDs offer added features that are not found on a film’s/program’s earlier VHS version. At the very least, one expects a DVD to offer the same tell as the video. The producers of this DVD space, however, evidently decided to buck that trend. If you are looking for the same roar that the unique historical and influential video series contains, DO NOT prefer this item.

The first episode alone reveals several omissions, such as the “red termite” order mentioned by another reviewer. (The insist, a memorably racist statement by a French official, clearly depicted the attitude of at least some of the French leadership at the time, who saw the Vietnamese rebels as “termites” –vermin to be exterminated. Not an fresh mind-set in colonizer/colonized relations.)

Another blatant omission concerns the French exploitation of Vietnamese rubber plantation workers. Here, the DVD not only edits out footage of workers in a plantation (with extremely brilliant images of the slicing of tree bark to extract the rubber), but it omits an entire interview with a Vietnamese national who describes the brutal treatment suffered by rubber workers. This man recalled a common expression of the time in which the plantation workers were known as “fertilizer,” because so many of those who died were buried beneath the trees among which they toiled. Unless you peruse the video, though, you’ll never know this–because the DVD cuts all of it out.

The edits I have seen so far (episode one) clearly behold to minimize Vietnamese suffering under the French colonial system. I can only imagine what the later episodes omit. The producers seem to want to keep a novel “perambulate” on their documentary-watering down harsh imagery and language, and thus sanitizing the war. This is a grievous achievement, and one that I catch hard to bear PBS condones. It is all the more appalling given the stature of the current program.

If you want the exact thing, then score the VHS. And establish pressure on PBS to release the series on DVD in its just, fresh gain. It’s worth noting that, on the PBS website for the documentary, even the official program transcript has been altered to contemplate the “unique and improved” version. Why would this highly touted documentary inspect to rewrite its fill lauded history? Are there political pressures at work? Who knows-maybe these questions will lead to the creation of a novel documentary. One that answers the question: Why did American Experience and PBS gut their have masterpiece?
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Striptease Review

justinmayer1954 — Tue, 16 Mar 2010 22:24:18 +0000

Striptease Review.

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Demi Moore was qualified in this film. She is not only a fine woman, not unbiased body wise, but within her soul.

Demi plays a divorced woman, Erin Grant, who looses custody of her beloved daughter to a scumbag of an ex husband. (This is typical justice in the right world. I report to this movie because it happened to me and I haven’t seen my daughter for 13 years.)

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Anyway, she had a respectful job at the FBI and looses it because of her husband’s criminal activities. Then she looses her daughter because she doesn’t have a job.

So she becomes an exotic dancer to fabricate the money needed to fetch her daughter benefit. It’s agreeable money for her but she doesn’t really like what she’s doing. However, she performs with class and dignity, regardless of the stigmitism of “strippers.” Ving Rhames, who is the bouncer Shad, has a soft region in his heart for Erin. Anyone calling her a “stripper” will pick up a drill gun spinning at their forehead. She is a “dancer.”

Burt Reynolds plays the sinful, crooked Congressman who finds his “angel” (Erin) and persues her. There is upright snaffu’s, comical scenes, and Erin is witty and courages because she will not give up on her daughter. Her treasure for her daughter is deep and genuine.

Demi learned to dance like an exotic dancer for this film and after unprejudiced having a baby at the time, she looks expansive.

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This film you will either like it or not. If you’re looking for a lot of skin, T&A, this is not what you want. This film does have class. Demi’s brief nudity in the film honest proves that she is a confident woman and a spacious actress.

A fun comedy, I would thik made with a exquisite extreme budget, but composed worth seeing and if you like Demi Moore it is definetly worth buying it.
In the unrated version you will notice some more nude scenes compared to the modern.
It is definetly the sexiest movie for Demi Moore’s fans.
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Watch Good Times Movie Online

justinmayer1954 — Mon, 15 Mar 2010 19:12:09 +0000

Watch Good Times Movie Online.

Movie Title: Good Times
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Good Times is available for streaming or downloading.

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I wasn’t quite obvious what to inquire from this movie when I first viewed it. I ended up being pleasantly surprised. It’s certainly watchable and a fun period part. Sixties fans will pick up a kick out of seeing scenes of Sonny and Cher going around town and the brief concert footage that is shown at the beginning of the film.

The situation concerns Sonny accepting an offer to execute a film but Cher doesn’t feel it’s the true thing to do. Sonny images them in a Western, a Jungle describe (spy for Micky Dolenz from the Monkees in a fleet cameo!), and a detective drama. The duo gain the time to converse a couple of songs, including an accoustic version of “I Got You Babe”.

Cher has almost as many wardrobe changes during this film as Natalie Portman does in the Star Wars films. The director (William Friedkin) seems to have some sort of unique obsession about the scene where Cher is dressed as a (kind of creepy) clown. It’s shown TWICE in flashback acquire. It also appears that character actor Paul Frees did a lot of (uncredited) scream overs for this film. If you like Paul Frees, you’ll win to hear a lot of him in this movie.

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The DVD contains a fairly natty print and it is presented in widesceen format. The color booklet contains a short location summary and lists the chapters. Anchor Bay released this with no extras. A trailer, bios, and photo gallery would have been a nice plus. Captions would have been appreciated too. It’s too unpleasant that Sonny is gone because I believe he could’ve recorded an enchanting audio commentary track for this film.

If you or someone you know enjoys music and films from the sixties, by all means check this out.

This is such a gleaming, whimsical video that it shows the beginning of the struggles & climbs and the raw talent & determination both Sonny & Cher had early on. It has various skits meshed into a movie that highlights both singing and Cher solo too, shows personalities & appreciate toward eachother, clothing styles outasite,segments actually shot in their first home amid the fanciful 60’s, at a time when producers really tried to do things their intention.Segments include Sonny as bumbling sheriff, inspect & Tarzan-type, carousel scene & point to S & C as independent innovates, who hiss to continue to value fancy over any monotonous movie.
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Barton Fink Movie Streaming

justinmayer1954 — Mon, 15 Mar 2010 00:41:08 +0000

Barton Fink Movie Streaming.

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Welcome to the wonderfully wacky world of the Coen brothers. Joel and Ethan Coen are two of the most knowing filmmakers in America today. Every film they turn out is a cinematic gem, and “Barton Fink” is no exception.

The film centers around a slightly pompous, idealistic, left soar playwright, Barton Fink (John Turturro), who in 1941, after becoming the toast of Broadway as the pretentious speak of the celebrated man, goes west to Hollywood at the invitation of a major studio in order to try his hand at writing screenplays.

There, he meets studio head, Jack Lipnick (Michael Lerner), and his yes man and whipping boy, Lou Ride (Jon Polito) . Asked to write a screenplay for a Wallace Beery vehicle about wrestling, a subject about which the bookish Fink knows nothing about, causes Fink to go into a professional tailspin.

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Ensconced in a decaying venerable hotel, seemingly race by its slightly creepy and unctuous bell hop, Chet (Steve Buscemi), who bizarrely appears on the scene out of a trapdoor gradual the hotel’s front desk, Fink begins his ordeal . The elevator is accelerate by a cadaverous, pock marked, elderly man. The corridors of the hotel seem endless. The wallpaper in Fink’s room is peeling away from the wall, leaving a viscous, damp ooze in its wake. His bed creaks and groans with a life of its maintain. It is also hot, oppressively hot.

No residents of the hotel are apparent, except for the appearance of shoes outside the doors in expectation of the free shoe shine the hotel offers its denizens and for the noise made by his neighbors. Finks meets one of his neighbors, the portly Charlie Meadows (John Goodman), a gregarious Everyman, possessed of an abundance of bonhomie. A self-styled insurance salesman, Charlie cajoles Fink out of his shell, befriending him in the process. Cramped does Fink know that beneath Charlie’s congenial exterior lies a horrific secret that will spillover onto him in the not so distant future.

At a luncheon with studio under boss, Ben Geisler (Tony Shalhoub), Fink meets a noted writer that he reveres, W. P. Mayhew (John Mahoney), a southern sot so steeped in drink that his companion/secretary, Audrey Taylor (Judy Davis), has to do his writing for him. Fink falls for Audrey but finds his overtures rebuffed. Unruffled, she is willing to try and support him overcome his profound writer’s block. In a classic Coen twist, it is this single act of kindness that acts as the catalyst for the nightmare that makes Fink’s life become a living hell on earth. He goes from living a life of self-imposed isolation and angst to one that appears to have been created by a Hollywood hack, filled as it is with the most astonishing situations, a accurate studio head’s dream.

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John Turturro is terrific as the introverted, tightly hurt, pretentious, and neurotic Fink, who in Hollywood, away from the womb of the Immense White Arrangement, is like a lamb led to the slaughter. With his sculpted afro, horn rimmed glasses, nerdy clothes, Fink is the stereotypic Hollywood thought of the commie writer. John Turturro makes the role his with a purposeful intensity.

John Goodman is sensational as the garrulous Charlie Meadow, the epitome of the working class man about whom Fink likes to write. Unfortunately, all is not as it seems, as Charlie has a sunless side to him, a very unlit side. John Mahoney is helpful as the Faulknerian-like writer, and Judy Davis outdoes herself, as the self-sacrificing Audrey Taylor.

Michael Lerner will razzle-dazzle the viewer with his over the top portrayal of a like a flash talking studio head who is willing to pay enormous bucks for the cache of having a top Broadway playwright turn out screenplay swill for the masses. Jon Polito is very edifying as the Uriah Heepish, quintessential yes man he portrays. Tony Shalhoub is great in his role, underscoring the absurdity of the former Hollywood studio system.

Steve Buscemi, looking surprisingly minute in his bell hop uniform, resembles an organ grinder’s monkey, at times. The viewer may also seek information from him to sob, “Call for Phillip Morris”, as in the archaic cigarette campaign, though he speaks in a controlled, respectful monotone, at all times. Detached, his very presence adds a slightly contaminated quality to the film, though he does nothing remotely outrageous, other than the method he makes his hide appearance. His entrance onto the shroud in this fashion foreshadows what is to reach.

This film is not for everyone, as it does not have a neatly wrapped ending. Instead, it goes beyond the standard expected ending into an absurdist foray. Quiet, those who treasure films by the Coen Brothers will not be disappointed by this satiric discover at Hollywood. It is tiny wonder that this film became the darling of the Cannes Film Festival.

For a long time, the absurdist masterpiece Barton Fink was only available in a dingy VHS release. It was better than nothing, but this film deserved better. Thankfully, it’s here - in all its stupefying glory.

I won’t portray the fable. Plenty of other reviews do that. Not long ago I was tempted to explain it. That unexcited seems a respectable course, as there is a honorable sense that, beneath its amusing, surreal surface, Barton Fink is trying to command us something urgent and distinguished. Perhaps, but the primal forces in a writer’s mind as s/he shapes a immense sage do that, anyway - often without the writer’s specific knowledge.

Rather than a simple allegory, Barton Fink is a collection of surfaces, styles, textures, and mannerisms. That they seem to add up to more than the sum of their parts is the huge trick, akin to the draw a painter can suggest the dappled depths of a forest with a few deft pats of a fan brush. Which isn’t to say the film is shallow. No; there is a lot going on here. But to suggest that this film has a specific meaning is also to suggest it has an retort. Only mediocre films (by the likes of, say, Stanley Kramer or Oliver Stone) provide answers in a attempt to effect themselves more distinguished. The Coens (writer Ethan, director Joel), like most of us, haven’t a clue about the Mysteries of Life. So they don’t try to “…swear us something about all of us, something handsome…” as Fink himself professes. Instead, they be pleased “…making things up…”, like the other writer in the film, the Faulkneresque W.P. Mayhew (played to perfection by John Mahoney) .

Somewhere in here, though, the sleight-of-hand, the postmodern flourishes (wherein genres clash and surfaces spill over one another in unexpected ways), cracks appear. Through them we spy something else…something truly repugnant.

Barton Fink’s resonances with the Holocaust are notorious (the noxious and Fascistic German and Italian cops, the Jewish Fink, the burning hallway, the story’s year - 1941, the nice guy next door - also with a German name - who turns out to be a madman; on and on) . These touches cannot be accidental. Yet, the Coens seem to have deliberately avoided any clear throughline, any markers which would provide for a certain interpretation.

Perhaps this is the point - that there is no design to form sense of the madness. Barton Fink, the character, is a writer who tries to celebrate the “popular man” - to write about “valid life”. Yet, exact life is incomprehensible to him. Nice Guy Charlie Meadows (the estimable John Goodman) is a crooked murderer. His idol is a raving drunk. His muse is a purveyor of formula hackery. The authorities are openly anti-semitic. And his bosses - Lipnick (Michael Lerner) and Geisler (Tony Shalhoub) - are utterly indifferent to his craft. The events that unfold around him are too horrifying and irregular to design sense of. Simply assign, they cannot be explained by any rational interpretation. Which, if this film is really a parable of the Holocaust, is as it should be, since there is no rationale in genocide.

When it comes to “making things up”, no one does it better than the Coens. Their skill in marshalling symbols is sublime: Mayhew’s latest book is called “Nebuchadnezzar”; Lipnick, like king Nebuchadnezzar, has a dream he wants Fink to clarify (the wrestling film he’s writing for Wallace Beery) . At a famous point in the film, a dazed, sleepless Fink opens the Gideon bible to the page where Nebuchadnezzar threatens to slice the Chaldeans’ tents to a dung-heap if someone cannot define his dream. He flips to Genesis, and there, on the page, is the opening of his screenplay - the only piece of it he’s been able to write. It’s a quick-witted sequence, that truly adds up. Lipnick is Nebuchadnezzar; Fink is trying to be Daniel. There is (literally) Hell to pay if he cannot do the job.

Beyond a few moments like these, though, trying to impose a specific meaning on Barton Fink is folly - like trying to impose a specific meaning on any of Luis Bunuel’s better films. There is something about it that, like Lynch’s best work, goes moral past the rational self and nestles more deeply in the unconscious. I acquire something from every viewing of this film, and share of its beauty is that I cannot stammer exactly what that is.

This DVD is nicely produced, with Roger Deakins’ blooming cinematography looking better than ever, and Dolby Surround sound track well reproduced. A 5.1 re-mix would have been welcome, as would a serious commentary track, should the Coens ever be able to bring themselves around to doing one that doesn’t lumber fun of commentary tracks.

John Turturro is helpful as the title character. Judy Davis acquits herself nicely as Mayhew’s secretary/lover/ghost-writer.

This is one of those films that’s worth really thinking about, and watching again and again. Don’t question answers; request an experience - and a worthy one at that.
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Stream Home of the Brave Movie Online

justinmayer1954 — Sat, 13 Mar 2010 11:18:27 +0000

Stream Home of the Brave Movie Online.

Movie Title: Home of the Brave
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Home of the Brave is available for streaming or downloading.

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Mere weeks away from learning that their unit has received orders to go home from Iraq, various soldiers go on a humanitarian mission and rush into an ambush. Chaos ensues, and all receive an injury in one blueprint, shape, or obtain. Weeks later they are all in Spokane, Washington and the four main characters (Vanessa - Jessica Biel, Will - Samuel L. Jackson, Jamal - Fiddy, and Tommy - Brian Presely) deal with piecing their lives together while many abhor the war, and by proxy, own that hatred against the soldiers fervent in it. The rest is impartial a person-by-person experience of individuals coping with semi-related post-war lives.

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Home of the Doughty is controversial in that it’s difficult for a movie-maker to relay a message that’s very sure of the military life or the struggles of a soldier - and sustain a job in Hollywood - but it’s determined that the creators of this movie didn’t even remotely try. They paint a bleak describe of abandoned, abused, and shell-shocked soldiers who drink uncontrollably, can’t control their madden, and can’t represent to the “civilian life” outside of the foreign world of the military. In that sense, Home of the Bold reminded me in many ways of The Things They Carried by Tim O’Brien. Damage often accompanies scars, but what doesn’t always coincide mentally, however, is the visibility of those same scars. Outward appearances don’t always sing the truth of trauma or mental difficulties.

With all that said, however, as a broken-down soldier and family member of several generations of soldiers, I can say unequivocally that the image conveyed is hazy to say the least. To be more moral, it’s slanted politically, with hints and outright displays of ignorant anti-war rhetoric, and reeks of the same type of elitist comments made by John Kerry about the correlation between being in the military and a lack of intelligence or education.

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While the biased, hyper-focus of the movie is on the haunted few, what’s left out is the gigantic majority who deal with their troubles without a comment or complaint. Therein exists the truism of bravery, courage, honor, and sacrifice of the majority, and perhaps it would do the Hollywood folks a bit of capable to concentrate a slight more on those stories, because I’ve heard several and I’m clear there are countless more.

At an approach screening of HOME OF THE Fearless, the studio flunky introducing the describe claimed that it’s the only film that’s been made of one of America’s wars while the U.S. was peaceful fighting it. Oh, wrongo bongo! I can offhand deem of three made about the Vietnam debacle during the period of that conflict: A YANK IN VIETNAM (1964), TO THE SHORES OF HELL (1966), and THE GREEN BERETS (1968) . Perhaps the politically right might tend to forget these as none were anti-war, and the last, starring John Wayne, was unabashedly pro-U.S. involvement. How mercurial we forget that there were two sides to that debate.

The first twenty or so minutes of HOME OF THE Valorous, taking plot in Iraq, is the introductory bit when we meet Will (Samuel L. Jackson), an Army medical officer assigned to a forward medical unit, and three Army enlisteds: Vanessa (Jessica Biel), a driver in a motor transport unit, and infantry grunts Tommy (Brian Presley) and Jamal (Curtis Jackson) . While on a humanitarian support mission, a military convoy carrying the four is caught in a vicious urban ambush that includes an explosive design hidden in the body of a dog.

The balance of the film takes position in Spokane, WA, after the four return to the home inappropriate of their respective national guard units. Vanessa is now minus her suitable hand. Will, who’d been tasked with providing initial trauma care to so many horribly maimed young soldiers (including Vanessa), now finds himself emotionally disconnected from his civilian patients, while at the same time having to deal with the hostility emanating from his anti-war, teenage son. Jamal is wracked with guilt; while in pursuit of the convoy’s attackers, he accidentally killed an Iraqi woman while searching her home. During that same pursuit, Tommy had his best friend die in his arms after the latter was twice shot in the benefit by an insurgent gunman.

My screening’s viewing audience was informed that Director Irwin Winkler view the Iraqi war would be over by the time HOME OF THE Intrepid was released. Thus, it’s perhaps not surprising that it doesn’t overtly befriend or condemn our presence there since its appearance in American theaters was assumed to be after the fact. (Interestingly, one of the protagonists decides to return to Iraq for all the upright reasons; reasons that may leave a lump in the viewer’s throat.) Rather, it’s an emotionally wrenching glimpse of four average Americans left to cope in the normal world in the aftermath of violence. Each of the four principals gives an Oscar-worthy performance, as does the character of Will’s long-suffering wife Penelope (Victoria Rowell), who discovers that life with hubby home doesn’t meet long-harbored expectations.

Of course, fair as the media doesn’t assume news worth reporting unless it’s of the dreadful sort, HOME OF THE Daring ignores all those war veterans, perhaps a majority of those who have served or are serving, who ultimately return home to remove up where they left off without having hit too devastating a hasten bump in their lives. In any case, whether you wait on or condemn our nation’s new entanglement in that discouraged toilet of a country, you must necessarily arrive away from HOME OF THE Plucky with an admiration and sympathy for our uniformed men and women that benefit there. And shame on you if you don’t.
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Buy Cowboy Bebop - Best Sessions Blu-Ray

justinmayer1954 — Sat, 13 Mar 2010 02:12:47 +0000

Buy Cowboy Bebop - Best Sessions Blu-Ray.

Product: Cowboy Bebop - Best Sessions
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This Best Sessions collection of Cowboy Bebop contains 6 episodes of the series, with remastered video and a recent remixed soundtrack. Most people will not feel justified in buying this station when there really is nothing novel besides the soundtrack quality. For me though, I want everything Bebop I can catch my greedy hands on, so when I saw it for 12 bucks I grabbed it. Yes, I have these episodes already on DVD, but to hear these tremendous episodes on surround takes it up a notch. I feel like Bebop fans that have a helpful system should bag this. The sound is the only reason though, as there is nothing here we haven’t seen before on the other Bebop releases. The episodes contained here are “arguably” the best sessions, but each of them are unruffled vast. In my belief “Ballad of Fallen Angels” is the best session there is, and to hear the grand music to it in a remixed soundtrack is astonishing. But I will only recommend this collection to die-hard Bebop fans that are as obsessive as I am about watching these episodes in the best possible audio/visual quality. For those who pass on this release don’t disaster, you aren’t missing anything recent.

This dwelling is grand. I haven’t watched all 6 eps yet, but I am really digging it. Adore that opening music!

I disagree with a previous reviewer saying how the eps lose coherence when not seen in relation to each other, I am having no plight getting into it, and I had only seen a fragment of 1 episode prior to getting this location.

Needless to say I am twisted and found this a large blueprint to introduce myself to the Bebop universe.

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Highly recommended to all freshman to this class of Bebop!
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Wrecked Movie Streaming

justinmayer1954 — Wed, 10 Mar 2010 10:28:24 +0000

Wrecked Movie Streaming.

Movie Title: Wrecked
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Wrecked is available for streaming or downloading.

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“Wrecked”

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Really Raunchy

Amos Lassen

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I get it wonderful to observe how remarkable elated cinema has changed and is changing. “Wrecked” (TLA Releasing) is most definitely representative of the fresh wave of happy movies. Filled with lots of nudity, the film is the epic of two boys who should never have fallen in care for. We notice the descent into drugs and random sex as youngsters tear into a world that they are not yet ready to enter. This is erotica with a record.

Ryan, an 18 year traditional, tries to become an actor and really works at getting his life on track but when his ex-boyfriend shows up at his location and asks to cease there, his life takes a turn. Daniel offers Ryan a loving relationship but he cannot live up to that because of his drug habit and his sexual behavior which can only be labeled as promiscuous. He manages to rope Ryan in and soon the two procure themselves in a dependable descent. Sex becomes their world and the camera takes it all in. Ably helmed by a brother team, Harry and Bernard Schumanski, we observe twinks as we have never seen them before and this mettlesome Memphis indie film goes where few films have dared to go. This is not honest a movie but an experience and what you study may haunt you long after the film is over. It is an attractive contemplate at a word that many of us do not now and it is acted with style that shows us what can happen when one loses his direction in life and also forgets who he really is. Not an easy film to examine but “Wrecked” is a film that will create you wonder if this is the map contented life is going and if so, what can be done to end it.

“Wreaked” shows aspiring actor Ryan (Theo Montgomery) allowing his career and life to be sabotaged by the torch he carries for a druggie ex-boyfriend, Daniel, who ran out of his life at least once before.

Ryan lands his first role with a acting group and celebrates by getting off on a web-clip by hustler Taylor (name from the commentary) . Shortly thereafter Ryan comes home and finds the ex-Daniel waiting on the veranda. Overjoyed Ryan is willing to remove Daniel support if he gets a job and stops taking drugs. Daniel charms and agrees, stifling any further conversation with kisses and more. Ryan’s life starts sliding downhill, and his job performance suffers. Taylor the hustler turns out to be a pal of Daniel’s too, leading to an explicit three-way. To produce the point obvious, there is a photography student, who gets roped into first Daniel’s and then Ryan’s game. Ryan’s life drifts out of control. He knows what to do but impartial loses the will to do it.

The DVD comes with a commentary by the two directors and Theo Montgomery, a deleted scene, an extended mixture of scenes, a photo gallery, and some TLA trailers.

The film gives a serious, focused depiction of the problems of horrible partners and of drugs and also gives a reasonably realistic and frequent prove of bodies engaged in sex and in the incidentals of daily life. The actors are very kindly looking; Theo Montgomery as Ryan is spectacularly cute looking and did a gracious job as the makeup person (source: the commentary) on the plot.

The production has multiple weaknesses. The sets generally jabber cheap, not always unsuitably. For example, the one window in Ryan’s house is covered with a sheet. The sound ranges from distinct to faint. The film stock is fairly grainy. There are a number of continuity lapses. For example, in one sequence Ryan goes to bed shirtless, wakes up early in one t-shirt, and then gets out of bed in another. The supporting actors were undistinguished. The commentary says the photographer’s name is Rodney, but the character introduces himself as Tyler to Daniel. The commentary states that mighty of the character-development footage was cleave out (but not included as an extra; there are photos in the gallery that probably came from these sequences) .

The credits give some actor names and the co-directors’ names but none other. There is no listing matching character and actor. I can’t rep the names given listed on imbd.com; are they all pseudonyms? It appears nobody wants to be identified too noteworthy with the film, although the directors suggested a prequel was possible.

Still, the film was a honorable entry in the underused category of serious film that wants to exhibit serious skin. The ads suggest this is a film for lovers of twinks. They’re apt.

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Hobson’s Choice - Criterion Collection Streaming

justinmayer1954 — Wed, 10 Mar 2010 06:46:37 +0000

Hobson’s Choice - Criterion Collection Streaming.

Product: Hobson’s Choice - Criterion Collection
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For those who didn’t know, and I was one of them, a Hobson’s choice is a free choice, but where only one option is really available. At the ruin of Hobson’s Choice, a graceful, uncouth, poignant and very droll film directed by David Lean, this is what Henry Horatio Hobson faces. Please designate that elements of the status are discussed.

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Hobson (Charles Laughton) is a prosperous shoe and boot merchant in the minute town of Salford, England. The time is the 1880s. Hobson is a widower, a blusterer, a man accustomed to his comforts, his drink and his ease. He is, thanks to Laughton, larger than life, a man we can laugh at but not a man we’d probably want as a neighbor. He has three daughters. Maggie (Brenda De Banzie) is 30. She is, says her father, “a bit ripe” for marriage at her age, and he plans to retain it that method. Maggie runs the store, keeps the books, sees to dinner and keeps the home above the store dapper. Henry Hobson, or course, doesn’t pay her wages because she is, after all, his daughter. His two younger daughters both have suitors, and that’s fair glorious with him until he realizes he must give them dowries if they are to marry. There’ll be no dowries from Henry Hobson.

And now we perceive Maggie approach into her beget. She is a insensible woman with an iron will, a determination that recognizes no barriers, and a very shrewd mind. If she is ever to collect away from her father, she will have to accumulate a man to marry her. And now we meet Willie Mossop (John Mills), the shoe worker who makes the shoes in the dingy basement under the store. Willie is objective about illiterate, panicked to a fault, naive, dull, fair and with very dirty hands. He is quite jubilant to pause in the basement making shoes. In Willie Mossop, however, Maggie sees not objective run from her father, but a man who makes helpful shoes, and a man she could effect into a success with his occupy…their maintain…shop. She knows she can do this, and she’ll procure a contrivance to pick up dowries from their father for her two sisters while she’s at it. It should approach as no surprise that Maggie accomplishes all she sets out to do; that Willie becomes William Mossop whose shoes sell, who is endearing and unbiased and who has a far better haircut after Maggie takes charge. While Henry Hobson roars about, deep in the drink, pudgy of self-pity and bluster (and as moving as only Charles Laughton could fabricate him), we determine encourage and be pleased the examine of Maggie using her head, with energy and determination, to pick up the better of her mature rogue of a father. Maggie not only finds Willie, but cherish, too. By the demolish of the movie, we’ve reach to know a jubilant and successful couple. William and Maggie have given Henry Hobson a choice he would be foolish to refuse.

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This is a vastly engaging and satisfying movie, thanks to Lean, Laughton, Mills and, especially De Banzie. Laughton came to loath De Banzie during the filming, and the reason is as unimaginative as De Banzie’s boring but glowing face. The movie ostensibly is a showcase for Laughton. He plays Hobson bolder than life, improper, squinting, staggering drunk, too vivid for his beget respectable…a man stout of faults and foibles we can laugh at more readily than laugh with. He has two major bits playing the drunk or hungover Hobson and he’s very pleasurable. There are two major sly and finagling scenes with him which are even better. But Brenda De Banzie, a satisfactory actor, steals the note. Unbiased as Maggie carries the day, it is De Banzie who carries the movie. Laughton must have realized this would happen during their first scenes together. De Banzie starts by giving us a no-nonsense woman who knows how to pick up things done. Her decision to compose Willie Mossop her man, to marry him, slowly lets us scrutinize fair a limited vulnerability. She’s not going to select “no” from Willie, she will acquire him a success, but we start to realize without her saying a word that she wants Willie to not obtain her unattractive. Their wedding night and the morning after is played for smiles, but they’re tender smiles. We realize that Maggie made a pleasant choice in Willie and that Willie realizes unbiased how lucky he was. Henry Hobson may continue to bluster, devour his drink, query his comforts and build us luxuriate in Laughton’s bits of over-acting, but it is Maggie and William we feel kindly about. Together, they’re going to be running things…and successfully, too.

The movie was released long ago on VHS tape and can quiet be tracked down. Criterion’s DVD release, due in a couple of months, will undoubtedly give the movie the attention it deserves. I concept to engage it as soon as it’s out and will add here my notion of the extras. This is one of David Lean’s finest films. Hopefully, the Criterion release also will bring more attention to what a ravishing actor Brenda De Banzie was.

I cannot even inaugurate to descibe the tenderness, humor, and subtle life lessons in this movie. It cannot serve but be captivating and uplifting in the truest sense. I have this on vhs…it is so obsolete from watching…I have loaned it to many friends who have said that in the first few minutes they are wondering why I appreciate it so powerful, and then they are gradually brought to the point where they are enchanted with the sweet lessons of self-determination, honest fancy, and the exquisite transformation of Willie as Maggie sees in him what even he cannot perceive. A man well treated by a woman does so great for his confidence….And as for maggie…How exquisite to spy the message that we acquire our contain happiness in life.

There are so many common moments, but i agree with the earlier review that Maggie(DeBanzie) steals the reveal. Nearly every scene with her in it contains my celebrated moments A random bit…but one of my accepted moments is legal at the wedding supper…Legal care for is seeing the well-behaved in our spouse and helping them possess it. I also really like the snip of a scene earlier in the film when Willie realizes that he will never be going relieve to his outmoded life and his sheer disbelief and joy.

This is a positive winner with the quality of Miracle on 34th street, a movie that will be watched over and over. Treat yourself and win on for your mother!
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Father of the Bride Streaming

justinmayer1954 — Fri, 05 Mar 2010 07:11:26 +0000

Father of the Bride Streaming.

Movie Title: Father of the Bride
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Father of the Bride is available for streaming or downloading.

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I fair saw for the first time ever this movie made in 1950; directed by Vincente Minnelli; and starring Elizabeth Taylor, Spencer Tracy and Joan Bennett. Ms. Taylor was only 18 when she made this film and was hideous and eternally graceful. She is so shrimp that she almost could adorn her believe wedding cake. The movie, however, as the title implies, belongs to Mr. Tracy who plays her father who cannot possess to peep his exiguous daughter grow up and find married. There is a lot of most fathers in Mr. Tracy’s character. He has some large lines and some comical scenes and endears himself to us with his gentle humor– the footage where he gets stuck in his kitchen making drinks and doesn’t secure to create a speech about his beloved daughter, unbiased to point out one luscious instance. He is such a bungler– can’t collect to Ms. Taylor at the wedding reception to say her goodbye either.

I did not procure this 54 year-old movie dated at all. Some things never change. Savor may be eternal and most families the world over act ravishing distinguished the same when it comes to seeing their children leave home.

First, a warning: this is the colorized version of this classic dismal and white film, so avoid it if you’re a film connoisseur. The fresh dark and white version is infinitely generous to this poorly done colorization.

Now, the wonderful news. This film showcases Spencer Tracy’s considerable acting ability and he delivers a witty and radiant performance as Elizabeth Taylor’s long-suffering father. Spence has several monologues which are a joy to inspect. His acting gift (along with Charles Laughton) is an absolute wonder and it’s always a pleasure to contemplate him. Joan Bennet is adequate in a supporting role and Elizabeth Taylor is breathtaking as the 18-year-old soon to be wed daughter. Liz’s performance is actually quite sterling and her interplay with Tracy is especially effective.

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Yes, this movie is dated in places, but Tracy’s performance is worth watching the entire movie. He is in nearly every scene and transforms a seemingly average movie into something really special.
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