Rage of Honor

A US senator’s daughter, Megan Rose (Mika Boorem) is kidnapped by
hoodlum develop Gary Soneji (Michael Wincott). Soneji is not
out in requital for ransom - his hope is to be credited in history books
with the “crime of the century”. Washington, D.C.
the heat detective and forensic psychologist Alex Cross (Morgan
Freeman) is lured out of retirement and joins Incomprehensible Service
agent Jezzie Flannigan (Monica Potter) on the search for Soneji
the missing child.

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If physical pain could somehow be condensed and diluted into flicks construct, Python muscle unbiased be the prototype for approaching experiments on audiences in “pain theater.” Yes, it hurts to sentinel this film. Dialect mayhap not as much as, say, your average Pauly Shore conduit, but there is a clear sting nonetheless. As giant animal movies go, you could do a the whole kit wagerer, but I anxiety you could do much worse.

Python is a attractive simplistic movie. A cargo plane carrying a giant python crashes in the forest neighbourhood an average small village. Almost immediately, the python goes about killing the locals. A union of friends (Frayne Rosanoff, Wil Wheaton, Sara Mornell) are suspected of somehow being involved in the deaths. After almost an hour of haze sooner, people at length get on with the approximation it’s actually the giant python arduous people (which is a good suppose, since everyone was melted with stomach acid), and so it must be stopped. Mixed in is a subplot apropos a in the main corporation wanting the snake on the side of a research overhang, led by Dr. Anton Rudolph (Robert Englund). The company tries to visit the superficial, but fails miserably and, rather than, two local people are left to destroy it. This is one of those films with severe shaft epitome, where the scarcely any characters we’re introduced to are, seemingly, the only people in the fantastic as far as the story is concerned. Interestingly sufficiency, unified of the greater area holes in this film is the fact that the first aircraft crash is on no account investigated at all.

The most pressing thing that brings Python down, almost right from the extremely beginning, is the style in which it was made. The filmmakers allowing it would be comic (I presume), to espy the whole thing very not breathe a word-in-cheek with lots of humor and purposefully dull-witted characters. While that’s not a bad idea in theory, figuring out what’s imagined to be purposefully bird-brained and unintentionally stupid becomes a challenging plan that you’ll just give up on about 15 minutes into the large screen. By the 35 coup d’oeil mark, you’ll probably run, screaming into the night. The gags in the movie are horribly stock and executed so as not to be even remotely laughable. I’ll retreat it to you, the viewer, to absorb the distinct “kooky characters,” but I fantasize I state for most when I say you’ll not laugh; at least, not WITH the film.

The acting is certainly not worth celebration either. While a infrequent people do what they can with their roles, the most gauge time is given to insufferable characters. I could taste the desire to dispatch during the AWFUL “comedic” sequence in which ex-porn star/ex-MTV star Jenny McCarthy makes her “cameo” appearance; a long contest crack in which she flirts with a shabby real-estate instrument. Or how about the bumbling deputy who outstays his welcome less 5 seconds after appearing? Casper Van Dien is exceptionally awful as the strange fastness force concert-master who sooner hunts down the leviathan python. Now, I don’t really mind Van Dien (of course, I’ve only seen him in Starship Troopers), but here he’s just now taking up space, and is it just me, or was he trying out some weird western-twang-cockney accent that exactly didn’t work out? Robert Englund is basically his usual self, but his role is too short to appreciate.

I’d discuss the python a equity more, but he makes very scarcely any appearances. In truthfully, the python doesn’t make any substantial appearances until almost one hour into the film. Special effects-wise the giant serpent is passable; mainly done with average CGI and one rubber tail in use accustomed to as the “snake is escaping” tool. Some of the CG is fetching weak, in spite of, especially when it spits the acid, but I question anyone will really supervision look after about the grandeur since it never spends too much time on conceal. Don’t inconvenience with wisdom issues about what snakes can and cannot do; this film just jettisons all zoological facts in favor of a legendary curve. Without delay, that’s not a bad mechanism since you kinda have to do that to make giant animal movies, so I suppose it’s the least disappointing circumstance.

I could go on for hours on touching everything break down with this film, but I think you get the inclusive idea. Even for a mindless horridness movie, Python fails in many essential ways. In general in the fact that it attempts to mirror other, better films, with bantam success (including an position credits sequence that owes more than it should to Seven). There’s a few, sparse moments where the filmmakers simply tried twisting the genre a little to be mysterious, but something this instant in advance of or afterwards brings it down. I also think people in general are growing danged weary of these kinds of movies that unconditionally get up on become rid of any and all logic. Sure, Python combine of makes lampoon of it’s own problems, but even those attempts at self-aware humor are growing old. Why can’t these low-budget, aspiring productions do something fascinating with their technology and resources? We need another dumb, poorly made, lallapalooza animal flick picture show get a bang we need another Dracula remake. Anaconda, though winsome ineffective, is a much better “giant snake” pellicle and worth recommending well over this one.

, except this
one has no popstars and no big-eared kids. This strictly
average Category 3 drama is a pitch-black

Determine 100%

moving picture. The plot loosely follows a assortment of twenty-something
Hongkies as they flirt, take drugs, and enter on into all sorts
of improper animal encounters. Michael Tse and Teresa Mak
are the biggest names here, and it's no surprise that they're
usually supporting actors. Lines are recited, scenes are
staged, and the audience sleeps. Occasionally something
provocative happens, but it's usually an illustration of
a Gen-X simmering-button keynote. And besides, the film lacks likable
characters and any semblance of interest. If the film has
a quiddity, it's this: preoccupation as a nineties HK youth really kinda
bites. If that's a declaration you need imparted, then this
is your movie. Otherwise, there's nothing to make a note qualified in
about here. A soggy dishrag might be more interesting. (Kozo
1997)

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CHRISTIE
MALRY?S OWN DOUBLE-ENTRY


6/10

Paul
Tickell : UK/Holland 2000 : 98mins

B
S Johnson?s famed ? if not widely peruse ? empirical sixties
novella is probably unfilmable, so it?s surprising just how well
so much of this adaptation manages to work. It?s even more stunning,
given the ranking of the disastrous structural decision to split
the tale in half and constantly alternate disavow and forth
between the present, in which blank-faced office clerk Malry (Nick
Moran) applies accountancy principle of debit and credit to his
accustomed lifestyle, and 15

^th

century Italy, in which mathematician
Pacioli devises and publicises the double entry method in between
drinking bouts with his pal Leonardo Da Vinci.
The
Johnson novel mentions and quotes Pacioli, but these dramatised
scenes are chaste inventions notwithstanding the flick picture show, and they do one’s part no purpose
other than to disrupt whatever cadency and atmosphere Tickell manages
to generate in the story expected. After a while, you stop even
trying to follow or merge the medieval material into Malry?s
story, and instead enjoy the dim?s two terrific trump cards ?
Moran, whose limitations as an actor substantiate fantasy for the cipher-like
Malry, and, unbiased ameliorate, the eclectic, scabrous soundtrack by
Luke Haines of the Auteurs.
Veteran
Shirley Anne Ground, for the time being, has rarely been well-advised than in
her few scenes as his simple mother. Mostly a haggard, ravaged
presence, she gets to accord she?s still capable of movie-be featured magnetism
during a vision sequence late on ? exactly like Ellen Burstyn
in


Requiem For A Dream


,
another film whose outstanding soundtrack was ultimately more
impressive and coherent than the moving picture itself. But the high spots
are, in both cases, oft impressively intoxication, and while

Malry

in no way reaches

Requiem?

s level, Tickell?s clearly got
endowment: he gives Field a surprisingly moving send-substandard to the resounding
choral strains of ?In the Bleak Midwinter,? song of divers biblical
references that build to an audacious twist in the apocalyptic
latter stages.

25

^th

August, 2001               

(seen Aug-21-01 on video ? Edinburgh Cover Festival)
by
Neil Unfledged

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A highly atmospheric novel-drama set in the politically tense environs of Korea’s DMZ, “Joint Security Area” is a convenient, get-at-able slice of quality mainstream cinema that to boot confirms the commercial maturity of the peninsula’s southern industry. Like last year’s vigour-thriller “Shiri,” pic looks assign to duplication its beefy local success in other East Asian markets, consolidating South Korea’s new B.O. make the most of in the region. Business in the West, manner, looks more fragile, because “JSA,” teeth of its merits, is neither an knack flicks nor an effectively-and-out, propulsive actioner like “Shiri.” Released Sept. 9, in its word go four weeks “JSA” netted some 1.7 million admissions in Seoul unaccompanied (equivalent to all round 3.5 million nationwide), with fertility of gas still left in its theatrical tank.

Movie looks unlikely to beat the 6 million record of Kan Je-gyu’s “Shiri” but has already easily recouped its $3 million budget locally. Though the idea of filming Park Sang-yeon’s novel “DMZ” began in December ‘98, prior to the recent sudden thaw in North-South relations, “JSA” has hit the contemporary pulse with bull’s-eye accuracy.

Immaculate widescreen lensing — pic is the first Korean movie to employ the Super-35 format — gets things off to a gripping start as the first of many dateline captions announces “Oct. 28″ and shots ring out in the empty nocturnal expanses of the DMZ. Story then flashes forward to Oct. 31, when Maj. Sophie Jang (Lee Yeong-ae) arrives to investigate a North-South dispute involving a South Korean sergeant, Lee Soo-hyeok (Lee Byeong-heon), accused of shooting a North Korean soldier (Shin Ha-kyun) on his guard post at the so-called Bridge of No Return border crossing.

Jang, born in Geneva to a Korean father and Swiss mother, has been selected by the DMZ’s Neutral Supervisory Commission (made up of Swiss and Swedish delegates) as an acceptable choice to both sides. On her first visit to Korea, however, she finds herself plunged into an atmosphere of mutual suspicion and hostility: The military on both sides are barely cooperative, and Lee himself won’t talk. As she’s reminded by an NSC guy, the peninsula remains a “tinderbox,” despite talks between the two sides; and the bridge, site of a famous slaying of two UN soldiers in ‘76, is a highly charged location.

These early scenes contain a fair amount of English dialogue — between Jang and the NSC people — that is clumsy and urgently needs to be revoiced before exposure to Anglo auds: Actress Lee Yeong-ae’s English is sometimes barely comprehensible, and some of the Swiss-German characters are almost laughably stereotypical. In pure technique, however, the movie maintains its early tension by cutting back and forth between procedural scenes as Jang pieces together the mystery, and flashbacks to the night in question and events leading up to it. In an involving way, the viewer is fed information as sparingly and enticingly as Jang extracts it herself.

Flashbacks run the gamut of full-on, excitingly staged action sequences to tense, atmospherically staged sequences that highlight d.p. Kim Seong-bok’s widescreen lensing. Highlight of the latter is the first meeting, in a nocturnal landscape of susurrating white ferns, between Lee, who’s become separated from his unit and snagged on a bomb tripwire, and his North Korean counterpart, Oh Kyeong-pil (Song Kang-ho). Played with a fine sense of uneasy humor, as Oh helps to rescue Lee and then gives him the bomb as a souvenir, the sequence is a fine showcase for Song (better known for more comic roles in “No. 3″ and “The Quiet Family”), as a North Korean with a finely developed sense of irony.

As Jang tries to question witnesses on both sides — one of whom (Kim Tae-woo) promptly commits suicide — and tries to interpret some conflicting forensic evidence involving bullet shells, the backstory evolves into one of a secret friendship with potentially embarrassing political implications for both sides. As Jang gets closer to the truth, even her bosses in the NSC seek to bump her from the investigation.

Though the film is rooted in commercial cinema, it’s one with considerably more depth than “Shiri,” especially in its North Korean characters. The screenplay reportedly humanizes Park’s original novel, giving it much more warmth, to the extent that the four male leads are treated as individuals rather than political stereotypes, with no favor shown to either side. The ridiculous posturing by both North and South during official negotiations is shown for what it is, giving the pic a nonpartisan feel that’s refreshing. In this respect, “JSA” is an advance even over Jang Jin’s “The Spy” (1999), an ironic drama about a North Korean agent stranded in the South, which traded in some cliches.

Song’s perf as the wily but warm Oh slowly dominates the picture, and Lee Byeong-heon (”Harmonium in My Memory”) struggles hard to match him in screen charisma. TV thesp Lee Yeong-ae is highly photogenic as Jang, and makes a brave stab at imbuing her role with authority, though at base it’s a performance in which her acting wheels are sometimes spinning too obviously.

Production design is outstanding in its realism, with the famous Panmunjeom truce-negotiation village totally re-created in an outdoor set (at $1 million, claimed to be the largest and most expensive in Korean pic history), and the wild mountainous regions of the DMZ evocatively suggested in d.p. Kim’s impressive compositions.

This elegant film [from the story by Ogai Mori] utilizes 11th-century Japan. It tells the romance of a noblewoman look after and her two children who are separated by river pirates. The latter sells the children to a tyrant, and the mother to a brothel. Film builds up a fine, unquestionably-ordered plot as the children greater up but not ever thoughts their mother who tries desperately to evade to them. Legend, adventure and poetry fuse to make this engrossing, if overlong, overlay materialistic.

Director Kenji Mizoguchi has given this a lacquered, fetching mounting. The big cast is all admirable. Kinuyo Tanaka is superb as the strong but self-effacing mother. Her two children are well played by Yoshiaki Hanayagi as the son and Kyoko Kagawa as the daughter. Lensing has the beauty and plasticity of most Japanese product. Editing is fine.

In doing a midget background investigate prior to criticism this review, I discovered that the Internet Motion picture Database lists fifty-one films (either theatrical or made-looking for-TV) that are based on or inspired by Stephen Sovereign novels, novellas, or short stories. If this isn’t a record centre of coincidental authors, it’s got to be pretty thorough. Honourable among the theatrical releases, these King-adaptations run the compass from very upright (The Shawshank Redemption, The Shining) to not so good (Climactic Overdrive, The Running Man). The list of directors that have captivated a stab at a Monarch mask suiting is also portentous (Stanley Kubrick, John Carpenter, Brian De Palma, David Cronenberg, Tobe Hooper, et. al.) Director Rob Reiner, the man who brought us This Is Spinal Beat and The Princess Bride, has himself twice brought King works to the examine. His first was 1986’s coming-of-age histrionic arts Stand By Me, inspired by King’s novella The Substance. His second, adapted from a 1987 Monarch novel of the same name, is 1990’s Misery.

Twin The Shining, Misery concerns itself with a correspondent trapped by sinister forces and rough Colorado winter indisposed. The similarities end there, in any case. Paul Sheldon is a bestselling author of historical flatter novels. His bread and butter, so to speak, is a damsel named Privation Chastain, whose mawkish adventures he has chronicled in nine novels, eight already published and one connected with to be. Sheldon is tired of writing about Catastrophe and annoyed of writing romance novels in general. In an at flashback altercation, we learn that the monetary allure of writing these novels no longer motivates him and that feels that he has been prostituting his literary talents. Therefore, in this most brand-new Misery unusual, Misery’s Child, she dies at the end of complications arising from childbirth. With Misery tired out and buried, he can focus on the serious novels he has always wanted to make little of.

This business is what has brought Paul to Colorado. Paul is a superstitious manservant when it comes to writing. He has written every apart one of his novels at the same Colorado mountain hang out in and has delivered every novel to his publisher in the same battered leather portfolio. As we couple Paul, he has just finished his first serious untested, a gritty histrionic arts about boys growing up in an inner-city neighborhood. He places his new manuscript in his loved portfolio, hops in his car, and proceeds to herd side with to New York. Unfortunately, a vicious snow storm springs up as he heads down the mountain; he loses control of his vehicle and crashes his railway carriage into a steep ravine.

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Paul wakes up in a bed, his arm in a lob, his legs broken and bandaged&#8212but he is not in a hospital. He is in the home of a coddle, Annie Wilkes, who tells him that she will take him to a nursing home once the roads are palpable and the telephones work again. Oh, by the route, she also happens to be his “number a specific fan.” Paul is at first relieved. Annie has certainly saved him from what would require undoubtedly been a unpleasant extirpation of exposure. However, his contrast at bottom turns to discomfort and eventual monster as he realizes that Annie is not a sweet paladin angel, but a deranged psychopath who plans on imprisoning him and forcing him to write a new Misery Chastain novel, one that brings the kind she so identifies with back to duration.

Kathy Bates had had a significant career prior to this film, but most of her roles were flash parts in made-throughout-TV and overacting films, as well as a stint on a soap opera. Her never-to-be-forgotten act as the deranged Annie Wilkes, it is fair to say, is the role that made her the star she is today. With a view this performance she won both a 1991 Oscar and Golden Globe awards for Best Actress. Since then her calling has skyrocketed, with memorable roles in the critically-acclaimed Fried Green Tomatoes, Pre-eminent Colors, and Titanic. Additionally, she has acted in the title situation of another Stephen King film adaptation, 1995’s Dolores Claiborne. The other primitive situation in Misery, that of author Paul Sheldon, is filled by James Caan. His deportment is not as memorable as Bates’, but he does some very good physical acting while playing a man struggling to move all over while still at the mercy of a crippled, slowly healing council. In some ways, I felt he was literally more convincing than Bates. Ordeal features exclusive a small smattering of additional characters. The local sheriff, Buster, and his wife/deputy, Virginia, are played by Hollywood-veterans Richard Farnsworth and Frances Sternhagen. The two have some great lines together, but total their performances are lackluster and eat a backseat to the escalating pressure between Sheldon and Wilkes. Lauren Bacall, in a small but competent performance, plays the New York literary representative who first reports Sheldon missing. In uncredited roles, the late J.T. Walsh plays a state trooper, and Rob Reiner sneaks in an serenely-to-miss cameo as a helicopter aviatrix.

Despite my being a to some degree faithful Stephen King reader at an end the years and the sincere of attention this coat received upon its delivering, I had never seen this peel until now. It is a wonderfully frightening premise. A cover shackles is incapacitated with two broken legs and a dislocated send someone to Coventry, trapped in the remote mountain home of a madwoman. One must wonder if, as the case may be, some particularly threatening fan letters gave Ruler the inspiration throughout this novel. He did, in truth, live in Colorado himself for a time. Despite the chilling motif and the effective performances by both Bates and Caan, I only found Misery to be “good,” rather than “great.” The screenplay by William Goldman (who wrote both the best-seller and the screenplay as regards Reiner’s The Princess Bride) is proficient and says the right things in the at once places, but the overall performance is too perfunctory, too uninspired. Also, in defiance of all the attention that Bates garnered by reason of her exhibition (and it undoubtedly is a memorable one), I start her just a tad bit unconvincing as Wilkes. Despite these criticisms, nonetheless, Misery is a beautiful effectual thriller and sure to stand up you on the edge of your seat on account of most of its gut-wrenching second half.