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Blind Date
I liked every minute of this. I went on a journey with
these people and I really loved it. There were all kinds
of emotions and in less than 20 minutes. A fantastic piece
of filmmaking and writing. And, the acting was superb.

A really talented director.
A great future in store for this guy

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DOWNLOAD MOVIE Ghost Busters Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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In the vast wasteland of Saturday morning kids’ shows, Filmation Associates was in the 1970s more ambitious than most production companies. Where Hanna-Barbera dominated the field with singularly bland formula cartoons that were a far cry from the team’s superior theatrical shorts, Filmation frequently aimed much higher. The company’s The New Adventures of Superman and Flash Gordon were more faithful to the spirit of those comic books and strips than superhero cartoons produced by others. Fat Albert and the Cosby Kids was groundbreaking in many ways, not the least of which was its stereotype-breaking cast of African-American kids, while the company’s animated Star Trek not only retained the look and feel of the original live-action series, but it surprised many with intelligent, adult teleplays that didn’t play down to its audience.

From a production standpoint, Filmation often bit off more than it could chew, audaciously aiming for Star Wars-type sci-fi adventure with original programs like Space Academy and Jason of Star Command on paltry Saturday morning budgets. And yet, audiences didn’t seem to mind; budgetary shortcomings aside, they were tickled to see so much creative energy invested in such cheap shows.

For these reasons, many of Filmation’s programs attracted a teenage audience and even some adults when they were new, and more than 30 years later many are still fun to watch. Such is the case with The Ghost Busters (1975-76), a modest yet endearing and enduring children’s sitcom modeled after the horror-comedies of the 1940s and ’50s.

The series was probably inspired by the popularity of Abbott & Costello’s horror spoofs - Hold that Ghost, Abbott & Costello meet Frankenstein, etc. - which had been packaged and nationally syndicated to local station across the country in the early-1970s. Children embraced these old movies, which usually ran Saturday or Sunday mornings, and on weekends similar horror comedies starring Bob Hope, the Bowery Boys and the like were also airing frequently.

The Ghost Busters reunited Forrest Tucker and Larry Storch, the stars of TV’s F Troop (1965-67), who like Hope and Crosby were pals off-screen as well as on and enjoyed working together. Besides F Troop and The Ghost Busters Tucker and Storch occasionally teamed up for other projects (Incredible Rocky Mountain Race, etc.) until Tucker’s death in 1986, and like Hope and Crosby they had a natural chemistry than transcended the sometimes weak material they were given.

In The Ghost Busters Tucker and Storch play Kong and Spencer (sometimes “Spenser”), professional ghostbusters, each week tracking down various witches, vampires, Frankenstein monsters and other spooks, dispatching them with their trusted “ghost dematerializer.” Aiding them - and, arguably, the smartest of the bunch - is Tracy (Bob Burns), a beanie-wearing Gorilla. Tracy may be mute, but can drive a car and type an impressive 75 words a minute. (Burns shrewdly suggested that his credit read “‘Tracy’ trained by Bob Burns.” Many children and even some adults assumed Tracy was a real gorilla, not a guy in a suit.)

The show was created and written by Filmation scribe Marc Richards who, according to producer Lou Scheimer, could crank out a 30-minute episode in a single day, though the cast ad-libbed or worked out a lot of additional material on their own during production. The humor is the broadest of slapstick with a lot of Vaudeville-era wordplay and sight gags, and the shows generally follow an established formula. The week’s monsters are introduced in the opening scene, which is followed by some comedy at the Ghost Busters‘ dilapidated downtown office, which is like something out of a ’40s era private eye movie. Then Spencer and Tracy leave to pick up their next “ghost-busting assignment,” which comes in the form of Mission: Impossible-style self-destructing recorded messages. After that, there’s more comedy in the office, then the trio head for the nearest graveyard and castle (which seems to be the same cramped sets redressed over-and-over) for the big showdown with the monsters.

The budget-driven decision to shoot the series on videotape rather than 35mm film made it appear even cheaper than it already was, though alternating directors Norman Abbott and Larry Pearce (whose unusual list of credits include Goodbye, Columbus, Two-Minute Warning and The Bell Jar) do their best to give it the feel of classic ’60s sitcom: Abbott had helmed numerous episodes of The Munsters and Get Smart!, while Pearce had done a batch of Batmans.

Some of the comedy is labored, emphasized by an incessant laugh track, and the production values are occasionally pretty threadbare (the cramped graveyard and castle sets aren’t far removed from what one might expect in an Ed Wood movie), but Tucker, Storch, and Burns hold it all together. To their credit the two film and TV veterans give it all they got, never walking through their roles and injecting them with the same energy that they brought to F Troop. They also generously give Burns’ Tracy the plurality of laughs, scene-stealing “rim-shots,” as Burns calls them. Burns is a delight to watch; though his gorilla head’s movements were limited to a mouth that could open and close, his animated snorts and pantomiming make it come alive.

The show attracted a surprisingly diverse line-up of name guest talent playing various monsters. Many were working steadily in prime-time television but were eager to appear on the show anyway, maybe because many of these actors had kids of their own. Guests include Bernie Kopell, Ted Knight, Len Lesser, Ann Morgan Guilbert, Severn Darden, Joe E. Ross (more or less in his It’s About Time persona), Howard Morris, Jim Backus, Barbara Rhodes, Ina Balin, and The Bowery Boys’ Huntz Hall.

Video & Audio

The Ghost Busters shows its age, looking exactly like a mid-’70s sitcom shot on videotape. The full frame presentation is about as good as it probably ever will, which is perfectly adequate. There are no subtitle options, though an alternate Spanish language track is included. The fifteen episodes and extra features are presented over two double-sided discs; five episodes on each of the first three sides, with all the supplements on side four.

Extra Features

The primary supplements are the set’s detailed booklet and interviews with producer Lou Scheimer and Bob Burns. The booklet is quite nice, offering writer, director, and guest cast information for each episode, along with a plot summary and trivia. Also included are the show’s theme song lyrics, sung with charming tunelessness by Tucker and Storch over the opening credits.

The interviews, with Scheimer and Burns, running nine and fourteen minutes respectively, are problematic. The comments of both, especially Burns’, are warm, informative, and amusing, but badly put together. For some reason director/editor Tom Suzuki opted to present them in non-anamorphic widescreen, with the subjects trapped in a picture-within-a-picture that’s gotta be pretty small on standard monitors. In the background the show’s themes are played over-and-over ad nauseum to the point where you’ll want to scream. There are no cutaways to clips; that’s odd, considering that Burns points to specific episodes that he especially likes.

Also included are brief Bumpers from when the show first aired on CBS, scripts for all 15 shows in DVD-ROM format, lots of “trailers” (main titles, mostly) from other Filmation shows and theatrical features, and an excellent photo & art gallery.

Finally, an episode from a 1986 animated Ghostbusters series, featuring the “sons” of Kong and Spencer, is included. It’s nothing special, but the show is in excellent condition.

Parting Thoughts

The Ghost Busters is no lost classic of television comedy, but it is a fun show that’s pretty much been MIA for the past three decades. BCI’s presentation and extras are nice, and if you’re like this reviewer, watching it again after so many years makes for a neat little trip down memory lane.

Film historian Stuart Galbraith IV’s most recent essays appear in Criterion’s new three-disc Seven Samurai DVD and BCI Eclipse’s The Quiet Duel. His audio commentary for Invasion of Astro Monster is due out in June.
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DOWNLOAD MOVIE Walk the Line Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Boasting stellar performances by Joaquin Phoenix and Reese Witherspoon, Walk the Line is a Johnny Cash biopic that is so much like last year’s Ray Charles biopic that it will be tough for it to suffer the comparisons, especially since Ray is easily a much better movie overall. I do have to admit that I didn’t know one single Johnny Cash (nor June Carter) song before going to see the movie, and I only recognized one of them, Ring of Fire but just because it’s been promoted since the movie was announced. So fans of Johnny Cash and country music in general will probably like it better, and I quite liked it.

Poor and having to work during his childhood, with a brother that died when they were kids, a tough time to get into the business, and a drug abuse problem that came with that, all that was part of Ray, and also of Walk the Line now. And both had very strong, Oscar worthy performances. Joaquin Phoenix plays the Man in Black and what a performance he gives. Quite and very interior at times, or putting it all out because of the drug or the alcohol, he makes no mistake. Emotional when needed, funny too. Of course that this is the best performance of his career, and he was great in Gladiator, Quills and Buffalo Soldiers too.

If I had to give someone the Oscar the right now, I’d go with Philip Seymour Hoffman for Capote though, but Joaquin would be second in line.

A tougher role in the movie was that of Reese Witherspoon who plays June Carter, the love of Johnny Cash’s life for a long time before she finally married him. Reese is amazing here, perfectly transforming into June from the beginning of the movie. She has a very thick accent, that must’ve been easy since being a southern belle herself, and luckily doesn’t tiring or anything. Oscar talk again, she would be a lock to win if she were supporting. Still, she has great chances as a lead actress. I liked her better than Charlize Theron in North Country, but I’m not so sure if better than Gwyneth Paltrow in Proof, though both those movies tanked at the box office so it’s going to be very tough for them to overpower Reese.

Johnny Cash’s story starts with the death of his brother, which happened when they were young and left him with a grudge against his father who made him miserable after the accident (Jack Cash died while working cutting wood on a circular saw). The father, Ray Cash, is played by Robert Patrick who gives a pretty good performance too.After Johnny got married for the first time he formed a country band with some friends from work (who were not good musicians at all) and then he found a recording company who let them record a song but not before they changed their music which was very mediocre at first, but once Cash found his right sound and style, he was a superstar.

June Carter had been a star since she was a child and around these days she was married and singing with her husband. She played it funny though, as her family of big musicians always told her that she wasn’t the best of them, and so she thought of bringing comedy to her act.

She had a tough time having to put up with all those boys she toured with (during their Sun Records days, which gave life to many popular singers back then), which included Elvis Presley (pop-star Tyler Hilton), Jerry Lee Lewis (Waylon Malloy Payne) and Carl Perkins (blues singer Johnny Holiday). And after that she had to live with Johnny Cash’s stalking (pretty much) and the people’s disapproval of her getting divorced which happened twice before wedding Cash, and during all that she also got put down for forming a relationship with him (just friends though at first) while they were both married. Cash’s first wife was Vivian Cash and she is played by Ginnifer Goodwin, who gives a passable performance though she gets very little respect in the story. She’s complaining all the time (rightly so though as Johnny was touring and singing duets with June all the time, and he was popping pills like a maniac), crying and yelling, and the writers don’t care to give her any dignity like Ray’s did with Kerry Washington’s Della Bea, Ray’s wife who had to go through pretty much if not more (especially being black) than Vivian.

I love the fact that all of the actors portraying singers in the movie actually sang all their songs, including Joaquin and Reese who make the perfect singing voices and can really sing in tune and in the same style Johnny and June did. I’m guessing they also played the instruments themselves. The songs during the whole movie are excellent and very enjoyable. The sound department did a great job with the music for the movie. Sadly though, that’s the only technical praise I can give the movie. Phedon Papamichael’s cinematography is not impressive at all, and I really feel the movie needed some kind of style like Ray had which was that beautiful black and gray tone of smoking. Nothing like that here. Director James Mangold’s camera work was also mediocre, poor even. Very disappointing coming from the man who gave us Cop Land and Girl, Interrupted, both great movies that had their own styles, even his Kate & Leopold did.

Co-written by Mangold and Gill Dennis, and based on a couple of Cash’s autobiographies, this is a very good movie that does a great job in showing us who Johnny and June were and what they went through, but as a whole it fails because the supporting players are very underwritten, specially Ray, as Patrick could’ve use more time to develop the character, and Vivian, though if the role would’ve been bigger I don’t know if Goodwin could’ve make it work. Still, the music and powerful lead performances make Walk the Line very worthy of a watch, and it’s made me want to give Cash’s discography a try. I’m sure I’ll become a fan after a few listenings.

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DOWNLOAD MOVIE Hard Candy Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Hard Candy

Vivid

Genre: Feature

Director: Chuck Lords (AKA: Paul Thomas)

Cast: Nicki Hunter, Julian, Dasha, Steven St. Croix, Jennifer Luv, Evan Stone, Naudia Nyce, Mario Rossi, Tommy Gunn

Length: 82 minutes

Date of Production: 7/26/2004

Extra’s: The best extra for most of you will be the inclusion of five bonus scenes from previous Vivid releases. Three of them featured Dasha and they were pretty decent overall. Personally, I preferred the nearly 28 minute long Behind the Scenes feature since it allowed the cast a chance to goof off as well as showed some more sex footage. This was where I noticed the listed director, Chuck Lords, was actually Paul Thomas (I had my reservations about a movie where the director was too embarrassed to use his own pen name). In any case, it added a lot of value to the DVD for me. There was also a short biography of Dasha, two photogalleries, a limited fetish menu, some trailers, a double sided DVD cover, and a lot of spam at the front of the DVD.

Condoms: Yes

Audio/Video Quality: Hard Candy was presented in the original 1.33:1 ratio full frame color it was shot in for Vivid Entertainment by director Paul Thomas. Visually speaking, I could see why he used one of his aliases since it wasn’t up to his usual standard, although he’s not exactly known for a crystal clear picture in most of his adult movies even on a good day. This time, there was a fair amount of grain and some video noise with a lot of movement by the camera and some compositional errors that led me to think Thomas was having an off day. It wasn’t terrible but aside from some decent fleshtones and a nice mix of medium to close up shots, it lacked the visual punch needed to make this one stand out in any significant way. I didn’t see any compression artifacts this time though and the video noise was minimal compared to many other releases by the company so it wasn’t all bad news. The audio was presented in stereo English but it lacked any separation between the channels and the dynamic range wasn’t much better; surprising since the boom mike fell into view at least a couple of times and could be seen in the shadows of the scenes.

Body of Review: One of the biggest porn producers in the world must certainly be Vivid Entertainment, an industry leader in terms of providing porn for couples these days. Their contract performer system has long been emulated by other companies and for all the criticism the company and its leaders get, the company is a model of success that most of the competition wish they could get a piece of. One of the reasons they do so well relates to the way they employ a number of talented directors, including Paul Thomas. His latest effort for the company, Hard Candy, was not his best but fans of Dasha will appreciate it nonetheless. The movie is a little fluff piece that centered on a bachelor party in which muscular Tommy Gunn and his posse of pussy plunderers get some fine ass to play with. If this interests you, read the following breakdown of the scenes, noting that condoms were used a lot here:

Scene One: Nicki Hunter, the curvy, busty blonde that always seems driven in her scenes, took care of tattooed Julian on the couch after all the gals teased Tommy into submission. Nicki’s moves were great as she gave Julian a lap dance in her black & red lingerie, making me appreciate her talents too. I’ve long known she’s an anal queen and she did not disappoint after the splendid oral and vaginal screwing; giving some solid energy as she performed with him on the couch. It was also a nice touch to see her masturbate as he jerked off onto her but I’ve long held that letting the gal work out the load is preferable most of the time.

Scene Two: Dasha, the attractive Czech blonde on the front DVD cover, was up next as she showed Steven St. Croix that she too had some lap dancing skills. While not as energetic as Nicki, I thought she was in fine form here too and he appeared to appreciate her attentions throughout the scene. I noticed she looked leaner than usual as she took care of him orally before he returned the favor. The sex wasn’t as advanced as the first scene but she looked good as they boned and I can still see why Vivid kept her so long as a contract performer.

Scene Three: Jennifer Luv, one of the cutest gals I’ve ever met (at the AVN show a while back), was next up as she tormented the mighty Evan Stone while the last scene had already been underway for a while. I have never been a fan of scenes edited together and this was no exception as it distracts from the heat of both scenes but she was looking good too. She was vocal, energetic, and nearly as talented as Nicki in this scene, making it a winner in most ways. I would’ve rather seen it last longer but that’s what she’d say if she and I had a scene too. There was oral and straight sex only this time; like the majority of other scenes.

Scene Four: Naudia Nyce, another younger cutie in a cast littered with established performers, reminded me of a young Stephanie Swift combined with Belladonna as she let Mario Rossi go down on her while on the stairs. He did an okay job but she really shined when returning the favor. Using her hand to increase the friction, she gave him a nut milking good time before they boned as if on fire. They also did anal sex while on the balcony and it was a pleasant sight seeing her cheeks spread apart as he slammed her hard. After some ATM, the scene went back to the other couples going at it (again, a distracter).

Scene Five: Dasha, all warmed up and ready to bone, finally gave muscular Tommy Gunn, the groom here, his reward for the patience he showed while everyone else was having fun. The scene included the usual oral and straight sex but none of the anal I’m betting he wanted to get. She was moaning a lot here but didn’t say a lot as he went to work, with him doing most of the pumping before popping on her sweet ass. It was an anti-climatic ending to the show but fans of Dasha will probably be happy to see her here.

Summary: Hard Candy could best be described as a quickie made in a day with an attractive cast of hard working gals. In terms of their looks, I’d be willing to acknowledge that they would be called “eye candy” by most straight men and their sexual skills were pretty good, if limited by the situation they were put into here. I’m going to rate this DVD as a Rent It since the limitations bugged me more than a little but fans of the cast could do a lot worse and the extras added some nice value to the package. In short, Hard Candy was worth a look for all it offered, even if it didn’t manage to satisfy my sweet tooth.

For other great choices in porn, check out: 2004’s Top Porn List and 2003’s Top Porn List.

Note: You can see candid shots of numerous porn performers by visiting: My Photo’s and read about their antics at 2004 AEE Show.

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DOWNLOAD MOVIE Monster Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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The Human Monster (1939)

THE SCREEN; ‘The Human Monster,’ Featuring Bela Lugosi, at the Globe, Latest Horror Picture–2 Foreign Films

Even connoisseurs of the horror film will doubtless be constrained to admit that nothing quite so consistently horrid as “The Human Monster,” at the Globe, has ever befallen this hapless city. Brooded over by the batlike spirit of Bela Lugosi, it comes like an evil visitation compared to which the hunch-backs of Notre Dame (first and second string); the two Doctors Jekyll and Messrs. Hyde, and both King Kong père and fils are about as intimidating as Ferdinand the Bull. To begin with, all Mr. Lugosi has to do is to look at people and they either get hypnosis or cramps from laughing. Our personal reaction was more hysterical than horrified, but that’s a matter of taste.

Up to now, the most popular screen grotesqueries have had a certain lightness of touch; when Quasimodo, for instance, was beaten by knouts in the cathedral square, the camera mercifully averted its lens, or gave the streaming blood the merest glance, purely for verificative purposes. Not so “The Human Monster,” in which not only is Wilfred Walter more unglamorous than even Charles Laughton as the hunchback, but is totally blind in the bargain. Consequently, his homicidal technique is the more deliberative and, so to speak, stately, giving the camera plenty of time to dwell with sadistic relish on the more recherché details of his method of doing his victims in. But Jake, as the Monster is more familiarly known, is just a stooge, a sort of shipping clerk for Bela, who does a wholesale business in select and artistic submersions.

Bela, in fact, covers the waterfront with highly insured clients (he solicits insurance in his spare time) and so annoys Scotland Yard with this marine Blitzkrieg of bodies that even the conservative Yard is compelled to assign its brightest inspector (Hugh Williams) to the case. A pretty, blond daughter of one of the victims, who floats a loan with Bela and then goes floating down the Thames himself, is mixed up very attractively in the matter, and there are numerous incidental people who give a good if sometimes barely intelligible account of themselves, as is sometimes the wont of English actors. In fact, if the British accent gets much worse, they will soon have to provide incidental titles for America.

At the Cine Roma

The homely humors and obvious sentimentalities which reside in the oft-told story of the generous and innocent old man who marries a young girl to give her unborn child a name are being recounted with simple charm and wit in the Italian film “Pensaci, Giacomino” (”Think It Over, Jack”), at the Cine Roma. The story is taken from a play by Luigi Pirandello and, thanks to a couple of mild indelicacies which have oddly got past the censors, trips neatly along the edge of propriety to a suitable conclusion, which permits every one to eat his cake and still have it.

Angelo Musco gives a broadly comic but credible performance as the ancient; Dria Paola is blondely beautiful as the erring maid. There are no English subtitles, so you must understand Italian to catch the none-too-subtle drift.

At the 48th Street Theatre

When Per Axel-Branner wrote and directed “Paa Kryss med Albertina” (A Cruise in the Albertina), the Svensk Talfilm production (with English titles) now entertaining the Scandinavian patrons of the Forty-eighth Street Theatre, he threw restraint to the winds and chucked in almost all the standard movie ingredients except blood.

The result, if a bit weird at times, is an amusing comedy romance, somewhat on the burlesque order, featuring Adolf Jahr, a popular Swedish singing actor, and Ulla Wikander, a new and rather pleasing blonde. Honorable mention must be given to Emil Fjellström for making the helmsman of the wind-jammer Albertina a figure to break down anybody’s laugh resistance. Aake Engfeldt also is good as the timid city man who vainly hopes to win the fair Ulla.

The uncomplicated story of the rich and spoiled girl taken for an involuntary cruise in a merchant ship under command of the stalwart Mr. Jahr furnishes the excuse for many merry episodes afloat and ashore and for some fine scenes in sunshine and storm.

THE HUMAN MONSTER, directed by John Argyle, screen play by Patrick Kirwin, Walter Summers and J. F. Argyle, based on “The Dark Eyes of London” by Edgar Wallace; produced by Mr. Argyle for Monogram Pictures. At the Globe.

Dr. Orloff . . . . . Bela Lugosi

Inspector Holt . . . . . Hugh Williams

Diana Stuart . . . . . Greta Gynt

Lieut. O’Rielly . . . . . Edmon Ryan

Jake (The Monster) . . . . . Wilfred Walter

Grogan . . . . . Alexander Field

Dumb Lew . . . . . Arthur E. Owen

Secretary . . . . . Julie Suedo

Henry Stuart . . . . . Gerald Pring

Walsh . . . . . Bryan Herbert

Policewoman . . . . . May Haliatt

The Drunk . . . . . Charles Penrose

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DOWNLOAD MOVIE Holiday, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Holiday, The

I had a chance to checkout the new film Mr Beans Holiday last week and have to say that for Mr Bean fans you can expect more of the same. Rowan Atkinson returns to the iconic role that made him an international star in ‘Mr. Bean’s Holiday.’ In his latest misadventure, Mr. Bean–the nearly wordless misfit who seems to be followed by a trail of pratfalls and hijinks–goes on holiday to the French Riviera and becomes ensnared in a European adventure of cinematic proportions. Tired of the dreary, wet London weather, Bean packs up his suitcase and camcorder to head to Cannes for some sun on the beach. Ah…vacation.

But his trip doesn’t go as smoothly as he had hoped when the bumbling Bean falls face first into a series of mishaps and fortunate coincidences, far-fetched enough to make his own avant-garde film. Wrongly thought to be both kidnapper and acclaimed filmmaker, he has some serious explaining to do after wreaking havoc across the French countryside and arriving at his vacation spot with a Romanian filmmaker’s precocious son and an aspiring actress in tow. Will Bean be arrested by the gendarmes or end up winning the Palme d’Or? It’s all caught on camera as Atkinson again applies his awkward athleticism to a comedy of errors in “Mr. Bean’s Holiday.”

Growing up I was a huge fan of his sketch comedy and films. His ability to do physical prop comedy without saying a word always would bring me to tears and get me chuckling. Now that I have grown a wee bit and am no longer into the gag comedy as much Mr Bean isnt quite as appealing but have to admit I did enjoy this movie and feel it lives up to his past films. To clarify I have matured and as such I dont have quite the same family friendly sense of humor. I can however recognize a funny movie families would enjoy when I see one and this movie is just that.

Mr Beans Holiday is a family friendly movie that delivers laughs throughout and has a stand out cast. If you are a fan of Rowan Atkinson’s past films or are looking for something to watch over the christmas holiday with your family this film is a safe bet. I would say rent or buy this one for sure. Rent if you have never seen Mr Bean and buy it if you have and enjoyed the past films.

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DOWNLOAD MOVIE S1m0ne Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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The Movie:



Every season has one genuinely good film that goes largely overlooked by audiences. This Summer, that film would have to be writer/director Andrew Niccol’s “Simone”, a thought-provoking and well-acted film that only suffers from the film being a bit too overlong. Director/writer Niccol is largely known for writing the Jim Carrey vehicle “The Truman Show”, but should receive more notice for his directing debut, 1997’s “Gattaca”, a film that I consider a whisper away from perfection.



Al Pacino stars in “Simone” as Victor Taranski, a director who had his rise to fame in the 70’s and now is depressed to find himself in an era where more concern is geared towards financial statements than quality films that are about something. To top things off, the star (Winona Ryder) of his latest film has just walked off the set after her ludicrious demands weren’t met. His ex-wife, who’s now the studio head (Catherine Keener) reveals that, after this episode, his contract will likely not be renewed.



When everything’s fallen apart, Taransky is visited by a computer engineer (Elias Koteas) who he watched be booed off the stage at a convention nearly a decade ago. He’s about to pass away, but he’s recently finished “Simulation One”, a virtual reality program that can create a digital actress or actor. Taransky doesn’t accept, but the program finds its way into his hands thanks to the fact that the computer engineer left it to him in his will. Curious, Taransky starts work and - 9 months later - finds that he’s actually been able to remove the Ryder character from the entire movie and replace her with Simone (model Rachel Roberts in her debut).



Taransky wanted nothing more than the movie to be completed. While he clearly doesn’t predict success, Simone becomes an enormous hit. Instead of revealing that she’s a digital creation, Taransky goes ahead with the cover-up, leading to bigger and bigger methods of deception to try and hide the truth from a population that has fallen for the “actress”.



Niccol clearly was on the right track with the idea behind “Simone”, but it seems as if the screenplay was in need of some tightening before cameras rolled. The film’s theories about real vs. fake and several other topics are fairly well-stated, although they tend to become muddled as the movie starts to become overlong in the last act. While an interesting story, it’s also a rather slight one; while I was never bored, a good 20-25 minutes of editing could have helped the story run cleaner.



On the other hand, I was greatly pleased to see that Niccol’s visual style that he started in “Gattaca” continues here. Niccol and cinematographer Edward Lachman (”Erin Brockovich”) wonderfully attempt to recreate the same clean visual style that Slavomir Idziak and Niccol did with “Gattaca”. Again, especially with the studio lot sequences, scenes are washed with a pure light and subtle yellowed tone. There’s also Niccol’s tendency to present conversations in front of vast, empty surroundings (similar to a lot of scenes in Wes Anderson’s “Rushmore” and “Royal Tenenbaums”), which surprisingly actually brings the viewer closer in. From a technical standpoint, the one element that came up as rather disapointing was Carter Burwell’s score; while I’ve often praised the composer’s brilliant, brilliant work in the past, his score here didn’t sit well with me and often either didn’t add much to the scenes or came up in scenes where score didn’t feel necessary.



“Simone”’s performances are mixed, if largely pleasing. Pacino contributes one of his most low-key performances in recent memory, but still manages to offer a lively character. Evan Rachel Wood, as Taransky’s caring daughter, is also a highlight. Keener does fine with a character that isn’t particularly written with much depth. The oddest duo are Pruitt Taylor Vince and Jason Schwartzman as tabloid reporters after Simone. While the two actors provide fine performances, the characters really don’t have a great deal of point in the story and I almost felt as if their characters could have been deleted entirely. Winona Ryder contributes a nice minor few moments as the demanding actress and Rachel Roberts is fine in her scenes as Simone (although a concert sequence where she sings “You Make Me Feel Like A Natural Woman” is too cutesy.)



“Simone” is a flawed movie - it becomes a bit scattered as a result of its extended running time and not all of the characters or possibilities with the stories are realized. The film also never quite figures on whether it wants to be more of a comedy or a drama. However, it’s a movie that’s well-acted, shows some ambition despite elements that are a bit predictable and has scenes that are certainly thought-provoking and should encourage discussion after the film. As it’s likely playing for the last week in theaters, “Simone” should be considered for viewing either at a matinee or when it arrives on DVD, likely later this year.

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Private Life of Helen of Troy (1927)

THE SCREEN

The affaires of the first Helen were aired last night at the Globe Theatre when the widely heralded screen adaptation of Professor John Erskine’s book, “The Private Life of Helen of Troy,” was presented for the edification of a gathering that included the author of the work and also Maria Corda, the beautiful Hungarian film actress who portrays the vamp of Sparta and Troy. The combination of 1927 colloquialisms and ideas with the replicas of ancient settings and modes makes this film most amusing. It is skillfully produced, but there are omments when it would seem that the fun could have been more infectious. Alexander Korda, the director, has, in a manner, set forth this piece of humor with a sense of restraint. The production is an ambitious affair, with great hosts of people and monster stage settings.

Quite a good deal of credit is due to the title writer for the humor and also to Carl Edouarde for his arrangement of the musical score. Following a scene in Troy, some of the scandalmongers are beheld discussing the exploits of Paris and what may happen if he goes to Sparta. One of these gossipers ventures:

“There’s a Queen in Troy, and if Paris goes there, God save the King.”

For his part, Mr. Edouarde contributes just the musical selections that are part and parcel of Professor Erskine’s humorous study. The intermittent theme that accompanies the unfurling of the film is decidedly appropriate, for it is “Lady Be Good.” When the monster horse is slowly tugged into Troy, Mr. Edouarde’s musicians are impelled to delight the audience with that modern classic, “Horses, Horses, Horses.” And when Helen returns to Troy with Menelaos, the orchestra indulges in a few bars of “Home, Sweet Home.”

No better choice than Maria Corda could have been made for the rôle of Helen. She is quietly amusing, graceful, fascinating and fully cognizant of her feminine attraction as the fair lady who stirred up wars. This Helen has an eye for love wherever she finds “It,” and it is no concern of her’s that the Trojan dressmakers are vastly superior to the more conservative modistes of Sparta. The fact that the creations of Troy are becoming scantier and scantier rather fills Helen with pleasure, but there are times when she relishes an extensive metallic cloth costume, because it shows off her figure.

Maria Corda’s eyes twinkle merrily as she inveigles her victims over a cup of wine. And why shouldn’t this Helen beguile Paris? Does not her husband, King Menelaos, think of nought else but going fishing? Moreover he snores at night. Imagine then our Helen, after eloping with Paris, discovering that that young gentleman has also acquired the art of snoring. It is distressing to Helen, especially as she no way of turning back to Sparta, being on the ship bound for Troy. A pretty state of affairs!

Unwittingly, Helen rather evens up matters with Paris (who is alluded to in the captions as H. R. H. Paris), when she calmly insists that the Spartan horse be pulled into Troy. How could she, this gorgeous creature, know that the wily Menelaos was inside the horse with a hundred men?

When the giant horse stands within the city’s limits, Helen, ever thoughtless, mediates only on the adornment to the city, and she asks that it be placed a little to the left, where it will hide that awful building, the City Hall. Even when she is about to meet her irate spouse after he captures Troy, Helen takes good care that her gown is draped effectively as she stands before him ready to die by his dagger. But Menelaos is not that kind of a husband. He forgives her and back they go to Sparta, leaving Paris to die for all Helen cares.

Perhaps Helen might have turned over a new leaf, but it chances toward the end of this narrative that a good-looking young Prince of Ithaca appears upon the scene and when Menelaos is aware that Helen is incorrigible, that she is again up to her old flirtatious tricks, instead of being annoyed or vindictive, he merely says to Eteoneous:

“I think Helen will soon be going to Ithaca, so now we will go fishing.”

Lewis Stone gives a capital performance as the nonchalant Menelaos. He snores, he yawns, he hates wars; but there you are, if a country demands it one must. Tom O’Brien figures as the belligerent Ulysses, ever hopeful for a conflict. Ulysses is perceived admonishing the Spartan throngs “to give till it hurts” and all that sort of thing. Charles Puffy is not especially impressive as Ajax. George Fawcett is a very worried Eteoneus. Ricardo Cortez makes Paris a lovelorn specimen.

Before the, screening of the picture, Professor Erskine appeared upon the stage and said that he had written about the more discreet part of Helen’s life. He referred to the “lovely picture,” and when he was about to introduce Maria Corda, he said that since talking with the actress he could hardly remember his previous conception of Helen.

Helen, the First.

THE PRIVATE LIFE OF HELEN OF TROY, with Maria Corda, Lewis Stone, Ricardo Cortez, George Fawcett, Alice White, Gordon Elliott, Tom O’Brien, Bert Sprotte, Mario Carillo, Charles Puffy, George Kotsonaros, Constantine Romanoff, Emilio Borgato, Alice Adair, Helen Fairweather and Virginia Thomas, adapted from Professor John Erskine’s book, directed by Alexander Korda; special music score arranged by Carl Edouarde. At the Globe Theatre.

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Dead Calm is the very intense suspense-thriller from director Philip Noyce (Patriot Games, Saint). John Ingram (Sam Neill), a captain in the Navy, arrives at the railway to rejoin his family, only to be greeted by two police officers. They take him to the hospital to see his wife, Rae (Nicole Kidman), who was badly injured in a car wreck that also killed their son. In order to start the healing process, they take a boating vacation for what they think will be a relaxing and calming voyage at sea with their dog Ben. However, three weeks in without seeing anyone, they come across a ship that appears to be sinking and a survivor franticly rowing towards them in a dinghy. They take him aboard, and he introduces himself as Hughie Warriner (Billy Zane). Hughie tells them that his ship is indeed sinking, and his five crewmates died, one by one, in one day, from food poisoning. John has trouble believing his story, and decides to check out Hughie’s ship after he reads some contradicting information in the ship’s log that Hughie had brought aboard. After Hughie has fallen asleep, he takes the dinghy, leaving Rae behind. Hughie then wakes up, knocks out Rae, and takes control of the ship, leaving John stranded with the truth in Hughie’s sinking vessel. Rae regains consciousness, only to discover she is trapped at sea with Hughie. She then must find a way to rescue her husband and save herself

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Home Alone 3 Reviewed By Tyler Sciortino Posted 03/05/03 07:58:56

"The Battlefield Earth of Recycled For-The-Money ‘Movies’." (Total Crap)

A few hours ago I called Home Alone 2: Lost in New York "The Freddy Got Fingered of Recycled For-The-Money ‘Movies’." Well, now I’m calling it’s even worse sequel, Home Alone 3, The Battlefield Earth of Recycled For-The-Money ‘Movies’, which matches quite well, since Battlefield Earth, like Home Alone 3 is to Home Alone 2, as you know, is an even more unwatchable puddle of diaherea in a film canister.Much like the second ‘film’, the basic plot is an A-B-C rehash of the plot to the first Home Alone. The only difference here is that the kid is different, that there are 4 bandits instead of 2, and that this time they are breaking into the kid’s house to find a million dollar chip that is in the kid’s remote controlled car. Sound stupid? That’s putting it mildly.Anyway, the acting here is even worse than it was in Part 2. The replacement kid for Culkin is dispicably annoying, the villians so badly lack screen presense that you’d think they picked the actors off the streets, and, well…that’s it.The screenplay is one of the worst I ever had the misfortune of stumbling into. There is absolutely no originality, the "humor" has been 500,000,000,000,000 before in the originals, and the dialogue is catastrophophic.The directing is tedious and uninspired, the debut of hack Raja Gosnell. Some may say I’m being too harsh with someone who has only directed 4 films, but look at his fucking track record: this, Blue Streak, Big Momma’s House, and Scooby-Doo. With this type of track record, he could end up following in the footsteps of post-Home Alone John Hugues and Chris Columbus as a true family film-aimed hack. Family films are fine, but they are the most intolerable genre when they are bad.And there is also made-for-TV sequel for this money-starved excuse for a movie, which is supposedly even worse. A TV movie? That’s pretty desperate for franchise who’s sequels are made soley for money. You’d at least make money from a direct-to-video film.Dire moviemaking at it’s most money-hungry and below par. 0/10.
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