Metropolis (1927 movie) rewievs and watch it online.

пятница, 29 мая 2020 г.

Win Win...Paul Giamatti Coaches Up Wrestling and Life

There are two types of off-beat films; you have quirky and then you have Paul Giamatti-esque. Giamatti, you know the guy in that wine movie (Sideways) and that odd comic book guy movie (American Splendor) returns to the screen in Win Win. Win Win is the third movie from actor turned director who still acts Tom McCarthy. If you aren't familiar with Tom's first two films The Station Agent and The Visitor, you should see both.

Giamatti plays Mike Flaherty a struggling lawyer/wrestling coach/husband/father of two young girls. When an aging client named Leo might be forced into state custody, Mike becomes his legal guardian in order to get $1500 a month for taking care of him. Without telling his wife Jackie (Amy Ryan) any of it, Mike puts Leo in an old age facility while he collects his monthly check. One night while stopping at Leo's house he sees a young boy sitting in front of the door.

Kyle is Leo's grandson and ran away from Ohio. Mike and his family take Kyle in for the night, but the next day Mike brings Kyle to the bus station to send him home. When Kyle doesn't leave, Mike feeling shame for what he's doing to Leo, allows Kyle to stay with him until they can get in touch with his mother who's in rehab.

Meanwhile Mike's not making enough money at his law firm which is causing problems there and at home. He coaches the high school's wrestling team which doesn't have a win all season long. Then Mike brings Kyle to wrestling practice. Kyle asks Mike if he could practice and when it comes out that Kyle is an Ohio wrestling champion, Mike realizes he's in a "win win" situation. He can keep Leo in the old age facility and collect the check and keep Kyle at his house in order to finally win some wrestling matches.

Everything is going smoothly for Mike. His money problems aren't as bad, his team has one good wrestler on it and Kyle is actually a pretty good kid and the family loves him. But when Kyle's mom shows up out of rehab, Mike's life is thrown back in the fire. The truth about Leo being in the home comes out, Kyle isn't happy with his mom around and now she wants the monthly check. Kyle is acting up because of his mother and now isn't happy with Mike because of what he's doing to his grandfather. Can Mike fix everything or did he just bring more problems on himself?

Win Win is a quirky, funny, off-beat, touching little film. It was a 2011 Sundance Film Festival Non-Competition Feature and has excellent performances in it. Giamatti is great as the out of shape, life keeps punching him in the face loser who's hopefully getting things together. Amy Ryan plays a polar opposite mother compared to her Boston druggie mom in Gone Baby Gone. She's caring, funny and plays well opposite Giamatti. New comer Alex Shaffer who plays Kyle, nails the I don't care, whatever, teen angst role perfectly and if you have teenaged boys in your family, you can see the resemblance.

But the film also "wins" because of the supporting cast. Arrested Development's Jeffrey Tambor is hilarious, but then again when isn't he? And Blue Bloods Bobby Cannavale might steal the film. As Giamatti's best friend and new assistant coach, Cannavale is hysterical with great lines and facial expressions. And the kids on the wrestling team have some great lines including the Star Wars fanatic who's first match is against Darth Vader.

Win Win isn't a film most people will run out to see. It probably won't open in most cities so most people will have to wait for it to hit DVD. And that's a shame. If you like Giamatti's work, have seen other Tom McCarthy films, you should definitely try to find it in a theater near you. It is just one of those good, non-Hollywood blockbuster films that not enough people get a chance to see.

Movie Review - Exam (2008)

This film is a psychological thriller that will keep you riveted throughout. It is an English film and therefore the actors are not familiar to an American audience. That becomes an asset, however, as we put our own take on the personalities of each of the applicants for a coveted position.

Eight final candidates for a prestigious corporate position are ushered into a room where there are eight tables and chairs, each with as pencil and paper on the table. They are given instructions by a man known only as the invigilator to answer one question in eighty minutes. Before he leaves, he gives them three rules which they must obey or be disqualified. They must not try to communicate with him or with the guard that is in the room; they must not spoil their paper either accidentally or intentionally; they must not leave the room.

A battle of wits commences as each tries to prove his worth. One candidate gives everyone a name according to their looks - white, black, brown, deaf, dark, blonde, brunette, etc. They realize they must put their combined intelligence to work. Black explains that ultraviolet light or certain liquids might bring out invisible ink on their exam papers. They are careful not to break any rules; they realize that they are not forbidden to talk with one another, to stand up and walk around, and to manipulate anything in the room which might help their case.

Smashing the lights to get at the inner ultraviolet lights does not work. Setting off the sprinklers, thinking that the liquid might reveal hidden letters on their exam papers does not work either. We are shown the digital clock at regular intervals to add to the suspense.

White is a narcissistic tyrant who attempts to eliminate the other candidates by tricking them into breaking the rules. He succeeds in a few cases and the number of candidates slowly shrinks to four. Brunette seems to be the only candidate who knows anything about the company; she is immediately suspected of being a plant which she denies vociferously. She claims that she is merely trying to obtain a promotion. Deaf is eliminated early when he spoils his paper and is ushered out by the guard, leaving his spectacles behind in the scuffle.

The ending is not predictable; it is very satisfying however. You will have to watch this movie to gather up the details at the end which clarify the entire picture. I enjoyed every minute of it.

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четверг, 25 апреля 2019 г.

Trite and without zest

In recent years, the young adult genre has become increasingly popular, and the plot literally asks from paper pages on wide cinema screens. Their dialogues are simple and not fanciful, the hero is averaged, and the message itself does not load and does not press with moralizing, at least the idea does not lie on the surface and the reader / viewer guesses how deep it is. And for examples here to go far is not necessary. Maybe this is even a mutually beneficial "exchange", and after the film adaptation the author of the youth novel wakes up again famous. In this plan, “After” Anna Todd is no exception. Another question - how much do they fit together - the film and the book? And is everything that the writer wanted to convey to us — is it embodied on the screen?

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Yes, indeed, “After” in the version of Susan McMartin and Jenny Gage has absorbed all the classic and hitherto flawlessly existing techniques that can lure any teenage rebel romance, which are, by the way, the main characters themselves. And if you look at what kind of audience gathered in the cinema - mostly young couples in love, a group of guys who accidentally wandered in, a crisp and violently commenting storyline, in general, the hall was filled seriously - then the creators' expectations were clearly met.

So, the modest quiet person Tessa Young turns out to be a first-year student at one of the numerous American universities, and she would study perfectly well, but the spirit of rebellion, which had been dozing somewhere deep down, is breaking out. The mother was accustomed to constantly teach and control, and Tessa was literally suffocating herself - this is clearly seen at the very first visit by the student dormitory. And the new neighbor Steph is the very embodiment of her inner rebellious side. Somehow too quickly they came together: clubs, parties, booze, party ... And this seductive Hardin - literally beckons with its mystery and seems to possess some kind of terrible black power. Because of the “exemplary” character of the heroine, Josephine Langford, she somehow didn’t really believe it. Too everything happens quickly - you don’t have time to believe in the purity of Tessa’s feelings and thoughts, as she is already having fun splashing with Hardin in the lake, kissing, sleeping in the same bed, finally gathering, and it is still unknown in whose house. And the point here is not at all in the specifics of the limited time of the film, but in the emphasis of its creators.

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Some have already noticed the idea expressed by Anna Todd in the novel of the same name, and I myself caught it a little differently than the one in the film. Susan McMartin is not new to screenwriting, which cannot be said about Jenny Gage, for whom “After,” in fact, is the first attempt at a wide screen. And this is clearly noticeable by the abundance of clichés and stamps that fill the entire film. Whether it is a library scene and a standoff (although it looks rather ostentatious) with the antagonist Hardin (and is he such an antagonist?), A literary dispute and a neighbor addict, constant parties and a lot of sex ... We are shown what we expect and In this, in my opinion - the main problem of the film. In “After” I did not see the zest (although it is in the book), but there are a lot of platitudes. I saw how the audience anticipated many of the future scenes on the screen with their comments, how some were leaving the hall ... It all comes down to the predictability of the plot, because sometimes you regret that there is no rewind button in the cinema, at least the audience.

In my opinion, in “After” the moment of reincarnation is very important, the idea that everything is not always what it looks like. And this reincarnation is not very noticeable. Yes, our opinion about this rebel has changed several times, but for some reason, it was not at all true that it was not about the main character, from the very beginning. Remember the same Jamie Sullivan from “Hurry to Love” and her Landon Carter - that’s where the images are clearly conveyed. For some reason, analogies with this film immediately came to mind, maybe because of a similar confrontation / reincarnation? “After” film makers only bypassed the Hardin-Landon line by the very edge, although the latter is important in the book. Noah himself - Tessa’s school boy looks no more than an “app.”

One way or another, even knowing that Anna Todd’s book of the same name has sequels - there is no desire at all to wait for a film adaptation. Although their creation is likely only a matter of time.

6 out of 10

Still can't believe you are mine

Emotional will be a review, because I really liked the film, and do not care if it is attributed to 'vanilla 50 shades' (this is not true at all) or to snotty melodrama or teenage cliches.

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Duplicate the annotation to the picture, I will not, it's you, and so you can see in the description of the film, and I will describe my emotions. There are many, and they are deep. I did not expect such a reaction and the quality of the film when it went on. I read the 1st book (the film was shot in a series of fan fiction), I liked it, and most likely I will find the time and read the entire trilogy. Immediately I can say that the film is softer than its original book, and even better.

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In the description, we are lured by a duet of female friends and a rebel who collide in college and their life changes. But here everything is deeper and more interesting. A diligent student actually represents not just a quiet wisest, but a very pure very pure light that can literally illuminate with this light, which does not understand the 'game', and if it gives its heart, it gives it entirely. In a certain way, I identify myself with Tessa, because in the above described plan I am identical with her. A rebel in actual fact is not just a smug tattooed macho, but a man who survived a wild injury, and because of this, grew his armor so that it no longer hurt. And this, too, I can understand. This is why I recommend this film not only (and not so much) to adolescents, but older people, say 20+, with more life experience, so that you can appreciate the experiences, and not just giggle in scenes with kisses. From the above, it is already clear that the on-screen union of Hiro and Josephine is full of sensual chemistry, which the creators have been seeking for months to listen to the main roles for so long. The actors played their characters perfectly. Maybe you can even remember in Hiro the little Tom Reddl from 'Half-Blood Prince', thanks to the strength of his gaze. If so, then you will definitely enjoy the campfire scene when the ocean of storms and pain is reflected in Hardin’s eyes. Or confidential and some kind of native scene in the library (no spoilers, since it is even from the trailer), when Hardin reads Tessa, and she strokes his hand. Or their pool dance, mmm ...

Sensuality - one of the connecting magic of this picture, as a result of the unification of acting chemistry + camera work + music. You just feel the hair trembling, although it probably depends on the level of sensitivity of the viewer. As Hermione used to say, if you have an emotional range like a toothpick ...

A film / book about the power of love, about mistakes and forgiveness, which is born from sincere bright love, if the feelings are so strong and two people are really meant for each other. In general, it is about emotions, and not about snot (as some log individuals say). I hope I somehow managed to convey this in my review, and you too can grasp these fine lines of sensuality and tenderness while watching.

'She took my hand and brought me out of the darkness.'

10 out of 10

четверг, 14 февраля 2019 г.

Nanking Massacre ...

Would my review be helpful? …I do not know. But I really want to speak.

The first version of this review was very rude and simple to say, as it was written immediately after viewing it for fresh emotions. I am writing this option after three days, I still think about this film, since it is not one of those that you forget 10 minutes after watching.

I have not watched films of this genre for a long time, that is, films about war, about people during a war, about tragedies of such magnitude.

I may seem too sentimental, but this film just knocked me out of my mind. Frankly, I did not hold back tears about five times exactly while watching a movie.

He talks about the Chinese city of Nanjing during its capture by the Japanese army. This capture was very cruel, nobody spared. Especially not sorry women, girls and girls, you know what they did with them before they were brutally murdered.

This film is about 14 female students of the temple, a young boy protecting them, one undertaker and 14 women involved in prostitution. All the heroes seek refuge in the temple, which will be their last hope for salvation or their destruction.

The whole tragedy of the film lies in the fact that a person is ready to go for the sake of his salvation, and what he will do to save the same ordinary people who ended up in the same Hell.

The roles of the main characters were perfectly performed by Christian Bale, the gorgeous and insanely beautiful Nee Nee, and the brave Xinhu Zhang.

The events described in the film actually happened and were called the “Nanjing Massacre”.

This is a very tragic movie! And here I have nothing more to say.

10 out of 10

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If God is in heaven, does he fly?

In 1941, Japan and China for 4 years arrived in a state of undeclared war. The city is overtaken by turmoil abruptly and unexpectedly, but for now nothing, unaware of the Graham family, remains to live in Shanghai in its rich land, in a large house among servants of Japanese origin. Jimi, the son of parents respected in Japan, arrives in dreams, studies in a school that befits his parents' wallet, and has a passion for aircraft.

On one day, when the tension in Japan’s relations with other countries rises to the limit, parents pick up their son and leave for the hotel. At night, war begins, bombing, people run out into the street, the flea begins, among which Jimi loses his parents.

Steven Spielberg. How nice it is to collect his films about the war without touching the “War of the Worlds” and his other films about the future. "Schindler's List", "Rescue Private Ryan", "Munich". From them blows the original and kind talent of the director, who is a pleasure to review several times. The “Empire of the Sun” can be added there as well, but there is no desire to look at it again. We looked, we stocked up with not strong emotions, listened to the story, were satisfied.

Through the eyes of young Jimi, we begin to observe what is happening: how smoothly and dramatically the peaceful situation in Japan is disturbed, how Jimi is emptying the last stocks in the house, how the pool once filled up dries up. Similarly, the psychological side of Jimi did not miss.

Having passed through all this darkness, which the young owner did not see in small quantities by force of will, he cannot remain all the same peaceful and dreaming boys with a toy airplane in hand. Many deaths remain in memory, and splitting atoms shows him how good the world is becoming. It was not the soul of a dead girl or the glare of the sun, it was the empire of a nuclear bomb.

It is always nice to look at young actors. Christian Bale, was great since childhood. Malkovich is inimitable, Stiller is not bad. And Spielberg is good, created the "Pianist" in his youth, only removed the cruelty and crush on his head, thanks to a small share of drama. In the old days, the "Empire of the Sun" would have impressed you more. And lately, the indefatigable rumble about the request of something new every day more and more difficult to satisfy.

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The path to high society

Ireland, 1770s. Barry - a young, underprivileged Esquire - falls in love with his cousin Nora. But after the cousin gives preference to the English captain, he finds nothing better than to call an officer to a duel. Almost upset by Nora's advantageous marriage with reckless tricks, Barry hastily retreats to Dublin, where, due to lack of livelihood, she enrolls in the militia and goes to the front to take part in the Napoleonic campaign.

However, the recruit soon realizes that the war is too dangerous for his life and deserts from the battlefield. So begins the story of a brilliant career ascent into the high society of an ambitious young man, who through a prudent marriage to a rich widow, achieves financial well-being, but at the same time turns from a simple-minded optimist into a cynic and a hypocrite.

Having made an excursion into the near future in “A Clockwork Orange”, Stanley Kubrick this time decided to go back 200 years. It is difficult to fully understand the motivations by which he was guided when he took on the first significant novel of the English classic William MacKep Thackeray. And although it was not the director’s first appeal to historical material (“Paths of Glory”, “Spartacus”), it’s still necessary to admit that futuristic plots, which in no way constrained his imagination, managed to Kubrick much better.

In the epic fresco about the vicissitudes of fate and its relationship with the Kubrick era, according to tradition, significantly shifted the emphasis. The novel "Career of Barry Lyndon" (1844), written by Thackeray at 33, became for the author that book, after which they began to seriously consider him. But this by no means obliged the director to follow him literally. Kubrick everywhere avoids comic conventions, diligently ignores the writer's satirical view of the degenerating nobility, and instead significantly strengthens the tragic notes.

Having inscribed a biography of an uncompromising Irishman in the cycle of turbulent military events, he leads his hero to absolute spiritual devastation in a peaceful life. Lyndon’s biographical paradox is that while he was drifting and remained a toy in the hands of fate, his career was rapidly moving upwards, but as soon as he began to give her exceptional attention, one tangible defeat immediately followed another.

After Burgess' "lively" film adaptation, "Barry Lyndon" looks like an overly academic creation: from the signature Kubrikov's mannerism for the first time, it blows ecumenical cold. However, this parable of the obedience looks incredible, even excessively beautiful, striking both the exquisiteness of the scenery and costumes, and the colors of the landscape, as if illustrating classical painting (actually, special optics were even developed for this purpose by the operator John Olcott).

It could not have been otherwise: Kubrick, being a pronounced perfectionist, spent nine months on shooting alone. As a result, for the umpteenth time, he brought to white heat producers who were seriously frightened not only by the “gestation periods”, but also by the “size of the newborn”, since the duration of the film, even after all the editing cuts, was exactly three hours.

But the fate of the villain once again left not the fate of the “father of the child”, noting the efforts of numerous “uncles and aunts, godfathers and grand-nephews”. The Oscars went to the operator, decorators, costume designers, and for the first time (besides just music), Leonard Rosenman, a musical adaptation of the 19th century classic, was awarded the prize. Actually, directorial efforts were encouraged only by the British, who gave Kubrick their main BAFTA award.