Rage of Honor

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In October 1962 the detection of Soviet missiles in Cuba triggers a political crisis that
threatens to escalate into atomic confrontation. With the assistance of Attorney-General
Robert F. Kennedy (Steven Culp) and Presidential advisor Kenny O’Donnell (Kevin Costner),
US President John F. Kennedy (Bruce Greenwood) attempts to negotiate the withdrawal of the
missiles without the use of military strikes.

Joan of Arc [from the entertainment, Joan of Lorraine, by Maxwell Anderson] is a big picture in every respect. It has size, color, pageantry, a bold, distinguished bas-relief. It has powers that be, opinion, an appeal to faith and a dedication to a cause that leaves little unsound. And then, of track, Joan of Arc has Ingrid Bergman and a dream supporting designate.

Fleming has done an exciting job in blending the symbolism, the medieval warfront heroics, and the basic dramatic elements into a generally well-sustained whole.

There are certain misfires and false keynotes which militate against the desired consistency, such as Jose Ferrer’s tiptop impersonation of the Dauphin, later to become the King of France, who makes his characterization so much the complete nitwit that the audience may well wonder at the complete obeisance of Joan to this weakling sovereign, regardless of the fact he is a symbol of the realm. The churchly gradations are also script shortcomings.

The majesty of the earlier sequences is compelling almost all the way. When Joan edicts that ‘our strength is in our faith’, when she leads her army in the Battle of Orleans, when she is betrayed by the Burgundians in calumny with the English, when in the earlier scenes she wins the grudging alliance of the Governor of Vaucouleurs and the courtiers at Chinon, Bergman makes Joan a vivid albeit spiritual personality.

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The color by Technicolor is magnificent. The production is lavish and looks every bit of its $4 million-plus.

1948: Best Color Cinematography, Color Costume Design.

Nominations: Best Actress (Ingrid Bergman), Supp. Actor (Jose Ferrer), Color Art Direction, Editing, Scoring of a Dramatic Picture

Enhance your internet experience by watching high-quality streaming films on your computer and skip the hassles of renting from your local video store and paying the money charged for returning a movie late. Through streaming video webservices, you can watch your lovely movies when it is convenient for you with no rental agreements to sign or late charges to pay ever. Watch movies online

The Russian dropped the batter in the 50’s. American is a wasteland ruled by the Soviets and roamed by mutants and warriors. Rock and roll is soundless royal. In fact, Elvis is the King of Las Vegas. Buddy, a warrior who is as homicidal with his sword as he is with his guitar, roams the desolate landscape with the Kid, his young compadre, battling various foes in hopes of discovery Lost Vegas and fit the next king. This independent setting was unequivocally popular at several festivals in 1998.

AMERICAN SILVER SCREEN
A film march past by Steve Rhodes
Copyright 1999 Steve Rhodes
RATING (0 TO ****): ***

"We're in America today, and we're ready to roll," says the
indefatigable filmmaker, Mark Borchardt. Chris Smith's hilarious
documentary, AMERICAN MOVIE, chronicles the innumerable trials and
tribulations of Mark as he sets off to make his magnum opus,
NORTHWESTERN. (Most of the film, however, has Mark sidetracked as he
attempts to finish COVEN, one of his many cheap horror flicks, so that
he can raise enough cash to complete NORTHWESTERN.)

After winning the Grand Jury Prize at Sundance, AMERICAN MOVIE was
picked up by Sony Pictures Classics for a nationwide theatrical release.
The only recent movie quite like AMERICAN MOVIE was the much better
HANDS ON A HARDBODY, which should be required viewing for anyone who
likes either documentaries or comedies. What the two films share is a
respectful but honest view of the poor part of America either ignored by
Hollywood or excessively romanticized. Both take place in the
cinematically unpopular middle of the country.

Actually, AMERICAN MOVIE isn't about making a movie, that's just the
context within which to tell the story of someone in search of the
American dream. "The American dream starts with me each and everyday,"
Mark proudly tells us. And for the 30ish Mark, the day starts off with
his paper route so that he can earn some of the money he needs to stoke
the fires of his ambitions.

In the Silicon Valley, young adults dream of striking gold with the next
Internet IPO. In Milwaukee, in the bleak, cold heartland of the
country, Mark sees film as his ticket to success. Driving out of his
poor neighborhood of tiny houses and mobile homes, he goes to an upscale
community to show us where he wants to live. Were it not for the
fabulous success of THE BLAIR WITCH PROJECT, we might write-off Mark's
cheesy, slasher flicks as being forever destined to be financial
disasters. But if another indie filmmaker can ride to fame and fortune
on something that looks like a bad home video, why not Mark, who even
shoots with real film rather than videotape?

Mark, a likable guy with a scraggy beard and long unkempt hair, talks a
mile a minute about his aspirations. He figures that when NORTHWESTERN
is in production, he'll need a bunch of assistant directors just to hold
the crowds back. Still, Mark, who comes from the Ed Wood school of
filmmaking, readily admits his deficiencies. "There's such corny
dialog," he says of his third draft of NORTHWESTERN's script, "that it'd
make the Pope weep."

Although you'll find Mark charming and funny, not everyone has a
charitable view of Mark's potential. "His main asset is his mouth," his
own brother tells us in candor. "He's best suited for just working in a
factory."

His buddy and fellow filmmaker, Mike Schank, who looks straight out of
Central casting, acts like his brain was fried years ago. The rotund
Mike, with his tie-dyed shirt and his wild hair and beard, relates
stories of his abuse of drugs and alcohol, which he has finally given
up. He steals every scene in which he appears with his sweet, out-of-it
demeanor. Sent with careful instructions on how to put up flyers for
the world premier of COVEN, Mike walks off without taking the flyers.
When reminded by Mark, Mike just gives him a puppy-dog grin as if to say
that if you didn't place the flyers directly into my hands, it can't be
my fault.

As delightfully inviting as the documentary is, it makes you yearn for a
fast-forward button. After a fast-paced, promising beginning, Chris
allows his film to lose focus in the middle. Including too much footage
of Mark's semi-senile, elderly grandfather, Smith lets the picture get
sidetracked. Footage of Mark bathing his grandfather might work in some
other film, but here it just bogs down the narrative. His grandfather,
as one of his financial backers, deserves a place in the documentary,
but perhaps not so prominent a one.

Although the documentary is about Mark's films and whether they would
ever get distributed, Chris Smith and Sarah Price, the two filmmakers on
AMERICAN MOVIE, maxed out their nine credit cards buying film stock for
two years, as they followed Mark around. They eventually did attract
some investors and, after their success at Sundance, a distributor. The
American dream appears to have come to them quicker than it did to Mark
and Mike, but in America there is plenty of dream to go around. And
Mark, certainly, isn't one who is likely to ever quit.

AMERICAN MOVIE runs too long at 1:49. It is rated R for fake-looking
gore and frequent profanity and would be fine for teenagers.

Email:

Steve.Rhodes@InternetReviews.com

Web:

http://www.InternetReviews.com

Beautifully acted (with Spacek winning an Oscar) rags-to-riches biopic of Country & Western singer Loretta Lynn, here working her technique from the Kentucky coalfields, via the Grand Ol’ Opry, to superstardom. For all the fashionable footnote, what with poverty and anxious breakdowns it’s still highly old hat stuff, but lovingly constructed to bring up unremarkable but verve-warming entertainment.

The Fourth & Terminal Season

Newlyweds: Nick & Jessica is a reality television series about the married life of pop stars Nick Lachey and Jessica Simpson. The series first aired in 2003 and completed its final season earlier this year. Each season is divided into ten episodes. In the first season, Nick and Jessica were just learning what life was like together. There were plenty of opportunities for the two to get used to each other’s idiosyncrasies. In the second and third seasons, which were packaged together as in one DVD set, Nick and Jessica were no longer official newlyweds. With a year of marriage in the past they have become more accustomed to living with each other and understand each other better. But despite the change, the seasons flow pretty much the same as the first season. This fourth season sees the couple together (and a part) for another ten episodes.

When I reviewed the first season, I found it to be entertaining. What I liked about it was more or less due to the way Jessica was portrayed. She acts like a spoiled brat and seeing her try to get through some of the most basic everyday situations is pathetic and consequently, entertaining. On the other, Nick comes off in a completely different light. He is a lot more headstrong and able as an individual. He’s a really likeable guy. Nonetheless, the two make for quite a couple and their indifferent personalities made for some fun reality TV. With the second and third seasons, I found the show flowed the exact same way and there were some fun moments, but on the whole I found it was missing the appeal season one had.

Now I have had the chance to sit down with the fourth and final season. This season being the final season is little ironic, because at about the same time this DVD release came out, the “happy” couple called it quits. Maybe there’s a good reason this series ended… So to an important question regarding this DVD set, what is there to like about season four? Well, I can’t really say much besides that if you really enjoyed the past seasons, then ten more episodes of Jessica acting the airhead and Nick rolling his eyes should do you well. The show’s overly melodramatic situations deliver the same entertainment value as past seasons. There are a few funny moments scatter throughout the season, but nothing really happens that is so big and moving you just have to see it.

For instance despite Nick’s best efforts, Jessica is still horrible with money. The episode “The Valentine’s Day Budget” is a perfect example. In this episode the happy couple set a twenty dollar cap on gifts for each other. Nick manages to spend less than twenty bucks and Jessica manages to go way over. We saw this same thing happen in season two when Jessica planned a very expensive thirtieth birthday for Nick. There are other common themes from their personalities we see, Jessica whining about this or that, Nick obsessing over sports, light bouts of unconvincing drama, and so on.

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However there are some slight variations. In this season we see the couple separated at times. Jessica goes away in “The Dukes Of Hazzard” to do the filming for the movie of the same name. The change with Nick and Jessica being separated are not enough to make this season any better than the others. The end effect is that the show’s content in terms of whatever problems, situations, and ordeals they deal with comes off as the same as any other episode.

In the end, the fourth and final season offers the same kind of excitement as the past seasons. The show is good for an occasional chuckle or insight into the lives of two very rich celebrities. For that reason it is worth sitting through, but I can’t imagine wanting to watch it several times over. Rent it.

Episode Guide
1. Newlyweds Two Year Anniversary
2. Jess Gets A Root Canal
3. Training Daisy
4. The Dukes of Hazzard
5. New Year’s Eve
6. The Orange Bowl
7. Boys Weekend in Cabo
8. Newlyweds Together Again
9. The Valentine’s Day Budget
10. Newlyweds Series Finale

The DVD

“WE’RE ALL entitled to one or two . . . hundred idiosyncrasies,” says Adrian Le Duc, a lip-quivering Brit who’s repressed to the appropriateness of worry.

He’s telling Jack Carney, his new, mysterious flatmate, he’s prepared to accept him at any cost. But Adrian’s also confessing to his uptight ways and implicitly stating the theme of Martin Donovan’s “Apartment Zero,” a brilliantly crafted psychological drama set in Argentina with at least two hundred marvelous idiosyncrasies of its own.

Unlike the sensation-a-minute velocity of Hollywood’s linear-scripted, agent-negotiated star shows, “Zero’s” momentum comes from a subtly menacing accumulation. When cine-club proprietor Adrian (Colin Firth) — whose only friends are the movie-star portraits festooning his apartment — takes in boarder Jack (Hart Bochner), he thinks he’s found the solution to his existential loneliness. Jack is everything Adrian is not: walking-surfboard handsome, confident and consoling.

But things take a turn for the strange. Jack starts befriending the neighbors — a bunch of morbidly curious busybodies, as far as Adrian is concerned; Jack’s work schedule seems erratic; and out in the streets of Buenos Aires, bloodied political corpses are piling up.

Donovan, co-scripting with David Koepp, not only builds an eerily affecting relationship between the two (things get even weirder), he also revels wittily — and creepily — in the incidentals: “Zero’s” subsidiary characters are so richly (and darkly) conceived, they could spin off into movies of their own. Adrian’s invalid mother is wasting away horribly in an asylum run by nuns; a sultry, lonely neighbor makes doe-eyed advances to Jack; and the tea-and-crumpet gargoyle-featured spinsters (Liz Smith and Dora Bryan) who snoop the corridors are a scream — perhaps Donovan learned a casting thing or two from Federico Fellini after appearing in the Italian director’s bawdy “Fellini Satyricon.”

“We’re not used to gallantry any more,” says grateful spinster Smith with the air of someone used to a lifetime of dashing suitors — this after Jack has retrieved her kitten from a precarious ledge.

Perhaps derailed by the force of his own originality, or possibly suffering from novice’s overdrive, Donovan loosens his grip somewhat during “Zero’s” final act. But the sardonic, gruesome conclusion is nonetheless entertaining; a minor skid for Donovan is sure-driving for too many others, and by that time you’ve felt already “Zero’s” full impact

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Barry Levinson’s (TIN MEN, AVALON) directorial debut chronicles the relationships between a congregation of friends living in Baltimore in 1959. The uniting fact for this group is their fear of growing up. They spend hour after hour in the local greasy-spoon diner, joking, boasting, bragging, and ultimately escaping fact. Ladies’ man Boogie (Mickey Rourke), a hairdresser by daytime and law student by Cimmerian dark, is also in over his head with the local bookie. Momma’s boy Eddie (Steve Guttenberg) is about to get married–but only if his fiancée passes a football trivia test. Shrevie (Daniel Stern) is married to Beth (Ellen Barkin) but is more comfortable hanging out with his friends and organizing his document collection. Graduate student Billy (Timothy Daly) is frustrating to under the weather into the open his own thing embrace sprightliness. And Fenwick (Kevin Bacon) is a poor shallow rich boy with a warped sense of humor and no directorship. Paul Reiser rounds out the group as the continuous but eccentric Modell.

There is something different about A Civil Action. Unlike Coppola’s The Rainmaker, which was good in its own favourably, this a altogether close and real play-acting, much less about the law case that is its form, than the humanity and fact at its core. In this true gest, John Travolta plays Jan Sclichtman, a man that embodies not just all it is to be a lawyer, but a stereotypical derogatory maltreatment Queen’s at that. Although the sexiness of Jan’s $1000 designer suits and Porsche Targa is appealing to one’s hedonistic side, in the opening sequence narration we become dramatically informed of with his craft’s “calculus of bodily hurt,” making it quickly covenanted this is a staff with a most repugnant personality.

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Led by public bashfulness during a radio call up-in show to follow up on a visit to Woburn, a small village outside of Boston where a throng of eight children have died of Leukemia, Schlichtman immediately tries to put an end to an uncomfortable (and unprofitable) relationship with the parents: “You want an apology, and there is nothing more that I would similarly to to do than to get you that apology, but from who? Who is going to apologize to you and pay me? There has to be a defendant and one with very deep pockets. This is not an inexpensive case to try.”

The parents, believing the examination supply is contaminated, ask Schlichtman to stop by the river and suspension at liberty the local factories. “What good would that do?” he retorts. But as if by fate, Schlichtman is stopped fitted a speeding ticket on a link over the river, and, as if drawn to it, discovers that the tannery that may be executive is a division of Beatrice Foods. “This is a gold mine,” he tells his colleagues, as a result environs up a battle of David versus Goliath proportions.

Yada, yada, yada, one thinks. But as the evidence mounts and the big boys crop ready to enwrap and make a clearance offer, Schlichtman has an epiphany that changes the account, the drift, his bounce. So, as they stand on the cliff overlooking the Promised Land, Schlichtman, as a consummate madam ‘ to his partners, makes an about-face from his modus operandi and leads these men to a station where fairness and abundance take a stand against an epic battle.

John Travolta is riveting in his sleaziness and born again in his character’s perpetual pursuit of his different found convictions. In any event, even he is outclassed by the underrated but Oscar&reg-nominated Robert Duvall, as Jerome Facher, the Harvard professor who is Beatrice’s tranquil but wily practised attorney who appears more interested in the Boston Red Sox than this court case. These two are surrounded by sterling supporting performances by James Galdofini (Al Love), John Lithgow (Judge Walter J. Skinner), and the scene stealing witty succour of William H. Macy (James Gordon).