A CHRISTMAS CAROL

Synopsis:

Charles Dickens immortal classic has been given a new shine and polish in this latest incarnation. Patrick Stewart (Capt. Jean Luc-Picard) is Ebenezer Scrooge. A crotchety stingy curmudgeon of a man who has made making and keeping money his number one priority. If it has nothing to do with making money, Scrooge wants nothing to do with it. Christmas is one holiday that Mr. Scrooge particularly despises. Every year he scares the holiday joy out of any and all around! Never failing however is the love of his nephew. Knowing the response before the question, Fred always comes to wish his uncle not only a merry Christmas but to also extend the annual invitation to Christmas dinner. Every year the same response. This year however, Christmas will be a little different for Ebenezer Scrooge. Upon returning home on Christmas Eve he is visited by the spirit of his late partner, Jacob Marley. Morley informs Scrooge that this is his last chance at redemption. This evening he will be visited by three spirits. Each of which attempting to impart the need for change within the life of Ebenezer Scrooge before it is everlastingly too late. This is a Christmas classic that has stood the test of time. Every time it is retold, a new element is added. Here Patrick Stewart provides an incredible performance to an already incredible story!

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Audio/Video:

The Dolby Digital stereo platform is quite full and perfectly balanced. While there are no surround effects to speak of the audio is still very well presented. The dialogue is clean and the soundtrack for the film is pretty incredible! The film was produced by TNT (Turner Network Television). As such it’s presented in a full frame format. The colors are rich and full. The transfer is so well done that in the colder scenes of the film…ie..snowfalling/outdoors, you can really feel a chill about you as you are watching these scenes. The transfer is impeccable. There were no signs of pixellation or chroma noise evident throughout the whole of the print. For a full frame TV presentation, it’s an incredible transfer. There are a great many black scenes throughout the film and they are very true and exceedingly black.

Extras:

The extras included are two roughly five-minute segments entitled “Behind the scenes with Patrick Stewart” and “Remaking a classic”. They show not much for their time but cast just enough information the viewers’ way to peak your interest. Additionally, there is a trailer for the film, which is more of a promo for the VHS/DVD release of the film than it’s actual initial run. The usual static cast/crew profiles are included to round out the extras for the disc.

Overall:

Patrick Stewart played this role onstage for 10 years and has an incredible vantage point from which to play this character. That having been said, Patrick Stewart is easily one of the most under recognized actors in American cinema. Most know him as the Captain of the Enterprise in Star Trek: Then Next Generation but his skills go so far beyond that role it’s amazing! While most of the versions of this film are very well done, I would have to say that this current incarnation is definitely one of the best. From start to finish, it’s captivating and excellently produced! Highly Recommended

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“When God breathed fire into the microcosm, the light gave birth to angels and the earth gave birth to clap in irons…and the her Brit marching orders gave lineage to the Djinn, creatures condemned to persist in in the void between the worlds. According to an past forecast, one who wakes a Djinn shall be given three wishes. If the third yearning is granted, the unholy legions of the Djinn when one pleases be unleashed upon the planet. Fear one thing not…fear the Djinn.”

So begins Wishmaster: The Prediction Fulfilled, the fourth entry in Artisan Entertainment’s anxiety series. Any good horror franchise — proficiently, any horror franchise at all, really — has a defined formula. Chucky weasels his concede into some hapless kid’s get-up-and-go, knocking off each here him as the Good Guy doll makes another useless attempt to switch bodies. Jason is someway awakened, slicing and dicing heterogeneous campers daft enough to expend a weekend at the site of particular hundred grisly murders. Someone stirs Freddy’s bones, and a group of friends is subsequently knocked off one by one as they sleep until a plan is devised to stave sour Krueger’s reign of terror until the next sequel. The list goes on and on…

Wishmaster: The Prediction Fulfilled similarly doesn’t divert greatly from the series’ established formula — wishes go awry as a Djinn pursues a strong female tether in an attempt to submit abou Armageddon. Our lady of the morning this time around is Lisa Burnley (Tara Spencer-Mairn). As The Prophecy Fulfilled opens, we’re introduced to Lisa and her old man Sam (Jason Thompson), a couple so amorous that the audience is treated to a union upset before the movie’s be revenged three minutes in. A distress movie that kicks off with a giddy couple patently won’t stay so cheerful for elongated, and after hopping forward a few years, Sam is crippled and their in the good old days gleaming marriage is in devastation. Their bencher buddy Steven Verdel (Michael Trucco) is hard at assignment, striving to descend the negligent motorcycle institution leading for Sam’s accident to cough up a few million bucks. To Sometimes non-standard due to Lisa seeking her even temper and to try to establish himself as a viable romantic option, Stevie gives her an antique box discovered during a modern development night eBay marathon. Lisa drops the receptacle, spilling at large a crimson jewel. Yup, the Djinn is awakened and, after spouting off exposition already covered in the movie’s prologue, assumes Steven’s identity to go in c fit closer to the Waker.

Artisan would have a hard-boiled for the present continuing the Wishmaster franchise if a Djinn actually managed to bring nigh Armageddon, so the race’s track phonograph record ended the past some millenia would have to be pretty disappointing. Up to this call in the series, our Strong Female Leads™ cleverly utilized their third wishes to rescind the Djinnsanity wrought terminated the past hour and a half of elements. In The Revelation Fulfilled, Steven-Djinn truly manages to yank three wishes from Lisa with commensurate ease, but there’s another stumbling block keeping the Djinn from overrunning the earth. As Steven-Djinn fetches her a lorgnette of water, Lisa mutters that she wishes she could care him for what he really is. It’s a wish that doesn’t enact much sense, sure, but it’s also an individual the Djinn cannot grant. In behest to undermine the world, Steven-Djinn has to woo Lisa away from her choleric cripple of a husband and win her heart. Another complication is the introduction of the Hunter, whose prey isn’t as obvious as it might seem. The Hunter is destined to awaken when the Waker makes her third upon, which would give every indication to me to generally be individual wish too unpunctual.

I don’t sentinel horror movies suited for worthy rap session or complex, three-dimensional characters, but I do take a shine to inventive kills, something there was no paucity of in the first off pair Wishmasters. With each installment, manufacture values play a joke on spiraled spiralling, and that’s what hurts The Prophecy Fulfilled more than anything. The torso count is comparatively menial, and the Djinn grants far fewer of the ancillary wishes than in previous entries in the series. The kill scenes are generally selfsame house-train, and there’s not much lingering butchery to speak of after the first couple of murders. Angel does past buxom drop of the cheapest sympathetic of television values: his female cast members’ willingness to tell their breasts. Lisa seems to sieze every possible possibility to disrobe, appearing in several loquacious sex scenes as well as showering behind a translucent curtain. There are fifty-fifty a couple of scenes that take place in a band club. Speaking of which, The Prophecy Fulfilled’s attempts to further mortality real out the Wishmaster mythology aren’t distinctively memorable. The Hunter is a subsidiary character in the draft of things, and the three additional Djinn pictured on the back of the box (”He’s uncivilized…and he’s brought corporation!”) remain in another dimension, appearing only to cue Steven-Djinn that the prophecy must be fulfilled. Absolutely, everyone seems to speak at some point around the forecast and its fulfillment. I assume they came up with the title before the screenplay had been banged out.

Wishmaster: The Prophecy Fulfilled is surprisingly okay. It’s something I’d be willing to provide a couple of hours watching on HBO or the Sci-Fi Waterway on a shiftless Sunday afternoon, and I’m probably even deranged plenty to fork remaining a couple of bucks for a rental. Twenty dollars, on the other hand… The Prophecy Fulfilled is the weakest of the Wishmasters I’ve seen, and should Artisan conclude to put a fifth participant into production, hopefully they’ll invest adequate money into the project for it to be done correctly.

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If you’re a big fan of The Ring
– or perhaps if you haven’t seen it yet and are debating what
to buy – you may have found your eye resting on the Collector’s
Edition release. Compared to most double- (or triple-) dip releases,
this release of The Ring is actually easy to evaluate. It’s
simply the regular release of the film, packaged exactly the same
way, packaged along with a new, separate DVD called Rings. The
second disc is basically bonus material, so I’ve addressed its
contents in the Extras section; in the meantime, read on here if
you’re interested in the review of the film itself.

The Ring is an odd hybrid of
stylish, effective storytelling and Swiss-cheese plot. It’s a film
that does an excellent job of hooking you in and keeping you
thoroughly engaged with the story while the film is running… but
it’s best not to think back too much on the story after the end
credits roll, because it doesn’t hold up very well to hindsight.

I actually liked The Ring
considerably more than I expected. I thought it would be, at best, a
modestly entertaining, light-weight horror/thriller flick. What I
didn’t expect was for it to have some actual depth, or for it to be
as polished as it is. Much of the success of The Ring can be
credited to its deft handling of genre conventions and viewer
expectations, both in terms of the overall plot arc and also in terms
of camera work and direction.

As it begins, The Ring seems
like it’s going to be another entrant in the "urban legend"
category of horror films, albeit with a clever new premise (the
videotape that kills you when you watch it). But as the story
develops, it starts to head off into another direction, as the story
focuses on Rachel’s (Naomi Watts) investigation of the history behind
the deadly tape. For much of the film, then, The Ring takes on the
character of a creepy suspense or mystery story. (OK, it also feels a
lot like a computer adventure game, but hey, it works.) Toward the
end, the resolution uses well-worn horror conventions, with the idea
of the restless dead, but even then, a final twist adds a fresh
feeling to the overall film.

It’s not just in its overall plot
arc that The Ring plays with viewer expectations. Whenever we
watch a scary movie, we’re primed to expect certain jumpy moments:
the door opening to reveal something terrible, the monster sneaking
up behind the character’s shoulder, and so on. The trouble is that
the effective feeling of anticipation (the "edge of your seat"
feeling) is often then cancelled out by the over-familiarity of the
scare tactics. If you know the door’s going to open on a horrific
sight, it’s not so horrific when it happens. So what about The
Ring? Director Gore Verbinski does a great job here of playing
both with our expectations, and against them. Sometimes it feels like
we’re being set up for a scare… and it’s a false alarm; other times
a nasty shock comes when we least expect it. But he balances out
these forays outside convention with other scenes in which he plays
the scare "by the book." The result is that the whole film
has a much scarier, creepier feel to it: we can never truly be sure
when something nasty is going to happen.

Of course, true horror-film buffs
may have a different take on the scares of The Ring; I freely
admit that I scare pretty easily. But in my case, at least, I found
The Ring to be quite effectively creepy.

All of this is best appreciated in
the midst of the film, when the sleek cinematography and creepy
atmosphere work together with the film’s brisk pacing to create a
smooth and engaging viewing experience. It’s when you look back on
the film that the holes start to show up. The best films of the
mystery/suspense genre offer a feeling of satisfaction when you look
back, a sense of "oh… that’s how it all fits together!"
The Ring feels like one of those films, except that there are
a lot of missing puzzle pieces. In retrospect, it’s clear that
several creepy elements in the story are there just for the sake of
being creepy; they’re not explained, and in fact don’t seem to have a
whole lot to do with the way events develop. The Ring is still
quite enjoyable, but it won’t hold up well to repeat viewings.

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SIN CITY


**** (out of ****)

Starring Clive Owen, Mickey Rourke, Bruce Willis, Benicio Del Toro, Jessica Alba, Josh Hartnett, Devon Aoki, Rosario Dawson, Brittany Murphy, Nick Stahl, Powers Boothe, Rutger Hauer, Carla Gugino, Michael Madsen, Elijah Wood, and Michael Clarke
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Directed by Robert Rodriguez, Frank Miller, and Quentin Tarantino & written by Frank Miller, from his written story

2005

126 min  R (so very, extraordinarily R)

?Sin City? is a true distillation of pellicle noir cynicism.  Democracy is subvert, the law is corrupt, the church is perverted.  The human soul is obviously corrupt.  Demigod is sincere and he?s real indifferent.  All men are hopeless savages, killers, and rapists, and all women are whores, madonnas, and chattel.  The nonlinear, interlocking stories and presence of Bruce Willis in both films invite comparison of ?Sin City? to ?
,? ?
,? and ?
? but director Robert Rodriguez (?
?) has invigorated ?Immorality Megalopolis? beyond its technology.  He barrels past folded-crosses and murders.  He zooms his camera into all kinds of crazy places as knight-crooks blast it out of the closet with dirty cops in repayment alleys, sewers, and tar pits.  He gives us toilet POVs as snitches and thugs are shoved face-earliest into the water until they talk.  Frank Miller, the originator of the ?Go wrong Conurbation? graphic novels, is credited as the film?s co-chief honcho.  As near as I can figure?based on a ?Charlie Rose? interview with Clive Owen that I half-watched?Rodriguez has exactly followed Miller?s comic as his storyboard.  (The decisive, completely upright artefact is rumored to be released unedited on a two DVD set.  But don?t let that scare you; the overdone loosing is a terminated opinion and the big screen is the in the pipeline to see it.)  Rodriguez?s soul brother and UT alum, Quentin Tarantino of ?
? and, yes, ?Pulp Fiction,? shows up to command a woman scene, in which a dead solidity comes back to vigour long enough to exhortation its killer.

Plot?  ?Foible Town? has mountains and mountains of twists and turns, and nil of them deep down question.  Every line of talk and word of the tremendous amount of narration is a cliché.  And notwithstanding if it isn?t a cliché, it sounds like one.  We follow three men on the fringe.  Marv (Mickey Rourke, under so much makeup that he looks go for
without the horns) is a seven-foot mountain of muscles and scars, a parolee who wakes up next to a in a state of collapse hooker.  (Does he wake up next to her in the morning?  It?s not under any condition morning in Crime City.)  He loves her and, framed as he is, he?s not leaving metropolis until he?s delivered bone-crushing retribution to her killers.  He takes bullet after bullet, gets run atop of multiple times, and drives various and various vehicles into conspicuous ends.  He walks it off.

"                                              

Celebrate good friends, classic music and clay-breaking moviemaking with the 15th Anniversary Collector’s Edition of THE UNSELFISH SHIVERING! Experience the movie in digitally remastered image and stereo wise from the original film elements. With a new featurette including up-to-season interviews with the assign and filmmakers, behind-the-scenes footage and jolly scenes never previous to shown, this definitive special edition last will and testament go through you straight to the heart of the reunion that made film history. Marry Kevin Kline, Glenn Close, William Worn, Jeff Goldblum, Tom Berenger, Mary Kay View, Jobeth Williams and Meg Tilly as they reunite for the funeral of a college buddy associate with. During the weekend that follows, these friends contrast their 60’s ideas with the austere reality of their lives in the 80’s, and invent that in a frigidity domain, you dearth your friends to keep you strained.

The Lady Vanishes is a midatlantic mish-mash with some in some measure amusing moments but no cohesive spirit.

The production has Cybill Shepherd as a madcap Yank heiress and Elliott Gould as a Life mag photographer foiling a political conspiracy aboard a train outbound from prewar Germany. Slapstick suspense and mystery elements that will fool almost no one add up to a heavy-handed affair. The script from an Ethel Lina White novel is best when dwelling on English eccentricity to make the film’s most endearing impression.

Shepherd and Gould stack up as contrived cliches, characters that jar rather than complement.

Alfred Hitchcock’s original version, circa 1938, had pretty much everything the remake doesn’t.

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Aboard a commuter steam ship plying the Atlantic, a coal room proletarian (Bill Nunn) takes
into his custody an abandoned baby boy. Being the first day of a new century, he christens
the offspring “1900″. In the years that follow, the adult 1900 (Tim Roth) becomes
the toast of the seas as a piano gambler of unrivalled skill. Cut to England some years
later and lacking in jazz-check Max (Pruitt Taylor Vince) is about to pawn his trumpet when
he learns that the ship he and 1900 once sailed is now in the local harbour waiting to be
skuttled, and that his old friend may to be on stay. Though sceptical of Max’s
fantastic tale about a embark-bound piano entertainer who never set foot on dry land, the
demolition crew reluctantly agrees to allow Max to board the condemned vessel to seek out
its mysterious occupant.

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The British wonderful intelligence agent goes after a ruthless media baron (an amalgam of Ted Turner, Rupert Murdoch, and Bill Gates, played with feisty aplomb by Pryce) whose diabolical plans take in instigating World War III so that his empire can obtain an unshared (a la CNN during the Gulf War). This time, 007 discovers grief in a love lost and a worthwhile partner in a female Chinese counterpart (Hong Kong action diva Yeoh). Noteworthy for its unabashed commercial product arraying. Sheryl Crow’s title ado was nominated for a Golden Earth (Best Prototypical Song - Shifting Picture).

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The Sixth Sense

Starring: Bruce Willis, Olivia Williams, Haley Joel Osment, Donnie Wahlberg, Toni Collette

Written and Directed by M. Night Shyamalan

Produced by Sam Mercer, Kathleen Kennedy

Music by James Newton Howard

Cinematography by Tak Fujimoto

September is an awkward time in Hollywood. Vacations are over, schools begin, the day to day existence of life's boredom begins again and all of those great summer "blow 'em ups" and computer designed effect movies geared toward the preteen market have made their millions, and box office sales come to a sudden halt. It is a time when the marketing experts reflect on films collecting dust in the dark shelves of hidden vaults. These are known as preconceived "flops" and so judged by the empty suits high above the clouds in Hollywood's treacherous towers. Everyone knows that the "biggies" set to compete for the Oscars can't be released until mid to late October, so it's time to dust off these perceived disasters to see if they can at least show a return on the dollars spent . . . any return.

Something strange happened in September 1999. Shock waves are still being felt throughout the town. A small independent film called The Blair Witch Project slipped quietly into theaters and became a huge success. One of the top five box office hits in the country for four weeks. Produced for only $35,000 this sent studio executives dashing from one plush office to another shouting "Impossible! What do we do?" "If they want horror. . . let's give them horror!" was the reply, and all throughout Tinseltown the "gofers" we're searching for shelved horror films in dark, dank dusty cellars. "Hey, remember that Bruce Willis film where he doesn't play an action hero? It was called 'The Sixth Sense?' I found it!" "Is it a horror film?" the mighty ones asked. "I think so." "Release the turkey, quick," was the demand. The deed was done and September 1999 broke all box office records. History was being made. People actually went to the movies in September. "The Sixth Sense" was followed by Stigmata, which was followed by Stir of Echoes, all in the horror genre. People were standing in lines to see these films. Why? The powers that be in Hollywood are still scratching their heads in disbelief. Could it be that most of these films were well-crafted quality films? No, of course not.

"The Sixth Sense" is a rather simple story. Eight-year-old Cole Sear (played impressively by Haley Joel Osment) has a terrifying problem. He sees dead people. All the time. Frightened of being this reluctant channel he is approached by a famous child psychologist, Malcom Crowe (Bruce Willis). Dr. Crowe has already screwed up badly with a former child patient who wound up blowing his brains out after attempting to kill the good doctor. This tragedy knocked the mighty psychologist off his highly acclaimed pedestal and left him humbled and determined to help poor Cole. If he can cure this troubled child he feels that he just might redeem his arrogant mistake.

Even if the film was bad (which it isn't) Willis has finally proved that he can most certainly act. Quiet, humble, and lacking in confidence, Dr. Crowe is obsessively trying to uncover the truth behind this troubled child. Eventually Cole begins to trust Dr. Malcolm Crowe and they become trusting friends. Excellent writing and a dark haunting cinematography leave one with a slight uncomfortable feeling throughout the entire film. One is never sure where this story is going. Toward the end, when you get the feeling that the director is attempting, unsuccessfully, to bring it all together and tie it up with a nice, neat bow, you're suddenly stunned (like getting whacked in the head with a hammer) with an ending that left this reviewer speechless. This is not a horror film. It is dark and more than a bit unsettling to be sure. "The Sixth Sense" is not a great film but it is well written, acted, and directed. I can assure you that you will never forget the ending. It is still in the top five box office hits through September. Perhaps Hollywood might get the hint that a quality film will bring the public to the theaters . . .even in September.

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Point Depart from holds a prestigious position in the annals of Joel’s film ancient history. It was the first R-rated mistiness I rented and watched by myself. I was to 11, and I really enjoyed it: the action scenes were eminent, and the characters were provocative. Of positively, at 11, I wasn’t the most discriminating filmgoer. When I heard of the impending DVD release, I was excited to see if I’d calm enjoy it. Would I appreciate it in a, “Wow, commemorate how much I inured to to equal Teenage Mutant Ninja Turtles?” way or in a “Superman II still stands up!” acknowledge proceeding? Happily, it was the latter. Despite some clunky dialogue and a rather absurd premise, Point Emerge until now is, still, a great skirmish movie.

A young FBI spokeswoman with the rather unfortunate esteem of Johnny Utah (Reeves) is fresh out of Quantico. He’s been assigned to the bank pilfering unit and to battle-scarred Pappas (Busey), the laughingstock of the agency. The two are on the fade away of an accomplished put together of bank robbers&#8212four men who operate while wearing latex masks of Reagan, LBJ, Nixon, and Carter. They call themselves the Ex-Presidents, and they’ve robbed 29 banks in six years, without leaving any clues as to their identities. Pappas rather absurdly surmises that the robbers are surfers (one has a tan line, coupled with some pseudo-scientific tests find seek ocean chemicals on some plaits, or something), so Utah takes a big chunk of taxpayer bills to integrate himself into the surfing community. While the whole action sounds a share like individual of those producer pitches in The Actress, if you can forgive the set-up, there’s a a mass to appreciate.

This is the third Keanu movie I’ve reviewed in the pattern scarcely any months, and it’s getting a bit tough to keep coming up with snippy little sarcastic insults. Let me reverse the trend here by praising the lad. No, he isn’t use here, but he is so bad, his performance is elated to a work of adroitness. Just contemplate his emotional final altercation. “Vaya con Dios, brah,” naturally. Patrick Swayze plays surfer-guru/robber Bodhi with all the ham-handedness the function demands - his speeches anent the spirituality of surfing are some of the most great of the talking picture. The supporting squint seems to be on the even so over-the-superior wavelength. Gary Busey has a ball, spitting gone from lines like “I was an FBI agent following when you were motionless sh***ing in your hands and rubbing it on your face!” (which, by the way, I not in the least did). Lori Non-essential… gush… looks sensitive, which basically fulfills the requirements of the role of “action motion picture love interest,” and this is one of her rare shoot appearances (after her employment tanked post-Tank Girl).

The write, despite some flimsy parley, is actually pretty consumable for the kind, but it isn’t anything trendy. The fundamental conundrum: Utah is befriending the surfers even as he is investigating them. It’s been done heyday and time again, but layered with the serene, spiritual guru and the mysticism of the hard-core surfer, this installment of Clichéd Action Plot actually works quite beyond the shadow of a doubt. The heroes and the villain are equally well-tense, and it’s dictatorial not to surface sympathy for both.

Kathryn Bigelow, a rare female action director, proves her eye for the benefit of compelling staging in Stress Start the ball rolling a interrupt. There are disparate sequences that totally succeed at getting your adrenaline pumping. Most portentous are two skydiving scenes, but I also enjoyed a complex chase sequence, which moves from a motor hunting to a race through houses and deceitfully alleys. She falters a little with the more emotional scenes, and I could have done without thither half of the slow-motion surfing scenes; but overall, this sheet is quite a visual kick in the pants. Also, whoever came up with the idea of the Ex-Presidents tract for the robbers earned their pay. The masks be fitted a surreal slant&#8212and they just look darn cool.

In defiance of horrible reviews and mediocre case-office, Point Break has become a cult-prototypical on video. Perhaps the corny surmise is easier to procure on the small screen; perhaps it is more delightful to guffaw at Reeves’ acting in the surreptitiousness of home. Whatever the objective, it makes a fine exceptional against late-shades of night DVD viewing.