Oi Kev, Its my time, And I dont waste it on all the good things in life - like drinking, womanising (ah, those days), women, girls babes, or real work...
Movies Good and bad!!!! Review or read here about them!
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Ed, I think if u mean like a clickable little poster of the film so people can relate easier. In the first page of the moviepage, looks better to.
Oi Kev, Its my time, And I dont waste it on all the good things in life - like drinking, womanising (ah, those days), women, girls babes, or real work...
Oi Kev, Its my time, And I dont waste it on all the good things in life - like drinking, womanising (ah, those days), women, girls babes, or real work...
(tomorrow when im sober 
)
Director:
Liliana Cavani
Screenwriter:
Peter Berry
Frank Deasy
Starring:
John Malkovich
Dougray Scott
Ray Winstone
Chiara Caselli
Lena Headey
Genre:
Drama, Thriller
In this trip from page to screen, Patricia Highsmith?s urbane murderer Tom Ripley has matured. Gone are the blonde, youthful locks boasted by his last embodiment, Matt Damon in ?The Talented Mr Ripley,? to be replaced by the rather balder head of John Malkovich. But fans need not worry ? happily married and living in Italy he may be, but the character?s unique taste for a spot of cold?blooded killing remains as strong as ever. Ripley?s distinct brand of hatred is sparked this time around by an insult uttered by one of his neighbours, a terminally?ill Englishman played by Dougray Scott. When Ray Winston?s cockney gangster turns up at his door in desperate need of an unknown assassin, Ripley?s dastardly thoughts turn to revenge as he tempts the innocent Englishman into a diabolical game of murder and money.
Predictably, Malkovich has all kinds of fun playing the homicidal genius at the film?s centre. Although at points veering a little too close to panto dame, his Ripley is a camper, wiser version than we have seen before, full of droll one?liners as he ruthlessly dispatches souls into the other world. But while there are some terrific set?pieces ? including a train sequence which Hitchcock would have been proud of ? the film fails to really set pulses racing as the suspense all too often flags. And while Scott and Winston give good support, the uneven pacing means there?s a real danger of the audience being left as unsympathetic towards the characters as Ripley is to those around him.
Last edited by Adamizer on Sun Jul 20, 2003 7:29 pm, edited 1 time in total.
BRUCE ALMIGHTY
Got some fun FX
Bruce Nolan: Jim Carrey
Grace: Jennifer Aniston
God: Morgan Freeman
Hood: Mark Adair-Rios
Susan: Catherine Bell
Waitress: Sally Kirkland
Debbie: Lisa Ann Walter
Jack Keller: Philip Baker Hall
directed by Tom Shadyac. Written by Steve Oedekerk, Steve Koren, Mark O'Keefe.
There is about Jim Carrey a desperate urgency that can be very funny, as he plunges with manic intensity after his needs and desires. In "Bruce Almighty," he plays a man for whom the most important thing on earth is to become an anchor on a Buffalo TV station. When he fails to achieve this pinnacle, he vents his anger at the very heavens themselves, challenging God to show and explain himself.
One could argue that Bruce Nolan, Carrey's character, is not necessarily qualified to be an anchor, on the basis of two remote reports we see him delivering, one from the scene of a chocolate chip cookie of record-breaking size, the other from on board an anniversary cruise of the Maid of the Mist, the famous Niagara Falls tour boat. During the cruise he learns while on the air, live, that he will not be getting the coveted anchor job, and goes ballistic, even uttering the dread f-word in his dismay.
Now that may argue that he is a loose cannon and not fit to anchor anyway (although he would be replacing a man whose primary skill seems to be smiling). Nevertheless, in anger and grief, and facing the loss of the love of his faithful girlfriend Grace (Jennifer Aniston), he calls upon God, and God answers.
God is, in this case, a man in a white suit, played by Morgan Freeman with what can only be described as godlike patience with Bruce. Since Bruce is so dissatisfied with the job God is doing, God turns the controls of the universe over to him--or at least, the controls over his immediate neighborhood in Buffalo, although at one point these limited powers seem to extend directly above Buffalo to such an extent that Bruce is able to change the distance of the moon, causing tidal waves in Japan.
"Bruce Almighty," directed by Tom Shadyac and written by Steve Oedekerk, Steve Koren and Mark O'Keefe, is a charmer, the kind of movie where Bruce learns that while he may not ever make a very good God, the experience may indeed make him a better television newsman.
The problem with playing God, the movie demonstrates, is that when such powers are entrusted to a human, short-term notions tend to be valued higher than long-term improvement plans. Consider, for example, the way Bruce deals with a dog that pees in the house (the payoff shot, showing the dog learning a new way to use the newspaper, had me laughing so loudly that people were looking at me). And consider Bruce's methods for dealing with traffic jams, which work fine for Bruce, but not so well for everyone else; when you're God, you can't think only of yourself.
Freeman plays God with a quality of warm detachment that is just about right, I think. You get the feeling that even while he's giving Bruce the free ride, he has a hand on the wheel, like a drivers' training instructor. Aniston, as a sweet kindergarten teacher and fiancee, shows that she really will have a movie career, despite the small-minded cavils of those who think she should have stayed on television. She can play comedy, which is not easy, and she can keep up with Carrey while not simply mirroring his zaniness; that's one of those gifts like being able to sing one song while typing the words to another.
Whether "Bruce Almighty" is theologically sound, I will leave to the better qualified. My own suspicion is that if you have God's power even in a small area like Buffalo, it's likely to set things spinning weirdly everywhere. If a butterfly can flap its wings in Samoa and begin a chain of events leading to a tropical storm in the Caribbean, think what could happen when Bruce goes to work.
Got some fun FX
Bruce Nolan: Jim Carrey
Grace: Jennifer Aniston
God: Morgan Freeman
Hood: Mark Adair-Rios
Susan: Catherine Bell
Waitress: Sally Kirkland
Debbie: Lisa Ann Walter
Jack Keller: Philip Baker Hall
directed by Tom Shadyac. Written by Steve Oedekerk, Steve Koren, Mark O'Keefe.
There is about Jim Carrey a desperate urgency that can be very funny, as he plunges with manic intensity after his needs and desires. In "Bruce Almighty," he plays a man for whom the most important thing on earth is to become an anchor on a Buffalo TV station. When he fails to achieve this pinnacle, he vents his anger at the very heavens themselves, challenging God to show and explain himself.
One could argue that Bruce Nolan, Carrey's character, is not necessarily qualified to be an anchor, on the basis of two remote reports we see him delivering, one from the scene of a chocolate chip cookie of record-breaking size, the other from on board an anniversary cruise of the Maid of the Mist, the famous Niagara Falls tour boat. During the cruise he learns while on the air, live, that he will not be getting the coveted anchor job, and goes ballistic, even uttering the dread f-word in his dismay.
Now that may argue that he is a loose cannon and not fit to anchor anyway (although he would be replacing a man whose primary skill seems to be smiling). Nevertheless, in anger and grief, and facing the loss of the love of his faithful girlfriend Grace (Jennifer Aniston), he calls upon God, and God answers.
God is, in this case, a man in a white suit, played by Morgan Freeman with what can only be described as godlike patience with Bruce. Since Bruce is so dissatisfied with the job God is doing, God turns the controls of the universe over to him--or at least, the controls over his immediate neighborhood in Buffalo, although at one point these limited powers seem to extend directly above Buffalo to such an extent that Bruce is able to change the distance of the moon, causing tidal waves in Japan.
"Bruce Almighty," directed by Tom Shadyac and written by Steve Oedekerk, Steve Koren and Mark O'Keefe, is a charmer, the kind of movie where Bruce learns that while he may not ever make a very good God, the experience may indeed make him a better television newsman.
The problem with playing God, the movie demonstrates, is that when such powers are entrusted to a human, short-term notions tend to be valued higher than long-term improvement plans. Consider, for example, the way Bruce deals with a dog that pees in the house (the payoff shot, showing the dog learning a new way to use the newspaper, had me laughing so loudly that people were looking at me). And consider Bruce's methods for dealing with traffic jams, which work fine for Bruce, but not so well for everyone else; when you're God, you can't think only of yourself.
Freeman plays God with a quality of warm detachment that is just about right, I think. You get the feeling that even while he's giving Bruce the free ride, he has a hand on the wheel, like a drivers' training instructor. Aniston, as a sweet kindergarten teacher and fiancee, shows that she really will have a movie career, despite the small-minded cavils of those who think she should have stayed on television. She can play comedy, which is not easy, and she can keep up with Carrey while not simply mirroring his zaniness; that's one of those gifts like being able to sing one song while typing the words to another.
Whether "Bruce Almighty" is theologically sound, I will leave to the better qualified. My own suspicion is that if you have God's power even in a small area like Buffalo, it's likely to set things spinning weirdly everywhere. If a butterfly can flap its wings in Samoa and begin a chain of events leading to a tropical storm in the Caribbean, think what could happen when Bruce goes to work.
Lee has a few strikes against her when she applies for a secretarial position at a law office. She was released only recently from a mental institution and, after only 1 day back with her dysfunctional suburban family, she has already succumbed to her secret, self-destructive habit. Hired by Mr. Grey, at first the work seems normal but soon Lee and Mr. Grey embark on a more personal relationship.
http://romanticmovies.about.com/library ... railer.htm
http://romanticmovies.about.com/library ... railer.htm
SECRETARY
Director: Steven Shainberg
Actors: Maggie Gyllenhaal as Lee Holloway
James Spader as Edward Grey
Jeremy Davies as Peter
Genre: Drama
Year of Release: 2002 (I wonder what took it so long to land here?)
PLOT:
A psychologically unstable girl gets a job as a secretary for a lawyer, who himself, also seems to have a couple of screws loose. The man is as perfectionist as they come and orders the timid girl around something fierce. Do spanking and masturbation sessions ensue? You bet! And there's plenty of that in the movie as well.
CRITIQUE:
This is a perfect example of a "small quirky" movie. It's not the black comedy that I was expecting it to be, in fact, it's more of a really bizarre love story, but at the end of the day, it beats the shit out of most of the retreads bulldozing their way through theaters nowadays, and I guess we shouldn't have expected any less from the peeps who brought us VULGAR, AMERICAN PSYCHO, amongst others (that's Lions Gate Films, by the way). With that in mind, it also needs to be said that this is not a movie for everyone. It has a very deliberate pace, it doesn't necessarily have much "action" and features various sequences of adults being either spanked or masturbating themselves (like a Sunday afternoon at my place). So if MEN IN BLACK 2 was your idea of an "awesome movie", you best skip over this one. This is a "character-driven" movie which essentially focuses on these two very warped individuals for over an hour and forty-five minutes, and the main message that I got out of all of it (other than the fact that I gots to get me a secretary asap!), is that no matter how messed up you believe you are...there is always gonna be someone as messed up as you out there, and better yet, someone as messed up as you...who you could actually fall in love with!
That's right, even those folks who prefer candle wax on their nipples or sucking toes can apparently find the "right" person in life (which still doesn't explain my bachelorhood, but I guess that's another story altogether). There are various elements which help this film gel as a whole, including the score by David Lynch regular Angelo Badalamenti, the great looking office sets, the palpable sexual build-up between the two lead characters, played splendidly by both the underrated James Spader and the cutey-patootie Maggie Gyllenhaal, and even more so, the very original premise which places these two very odd people in a very basic situation to which we can all relate (having a shitty boss). And no matter how bad you think you've ever had it with your own supervisor, I don't think it'll come close to some of the kooky (kinky) stuff that goes on in here. One very memorable sequence features Gyllenhaal having sex with her boyfriend (actually, more like "lying there" while her boyfriend penetrates) and another in which her boss asks her to bend over the desk, pull up her skirt and...well, maybe I should leave the rest to your imaginations, but needless to say...this movie gets pretty graphic! Now I've never been into that whole S&M scene myself (M&Ms are more my game) but the way that it was presented here (you know, very surface and un-leather and chain-like), actually turned me on here and there.
I'm not sure if it was Gyllenhaal (or maybe even Spader) but the movie really juiced the tension between the two. But despite its daring subject matter, the flick ain't perfect, doesn't finish as well as it starts, goes on for a little too long and doesn't really develop any other characters but the two leads (I thought the mom was hilarious but what was her story?) Once again, let me remind you that this is not a kid's movie or a comedy per se (although admittedly, it does feature some funny moments), this is not the kind of movie that everyone will dig (it moves slow and offers plenty of master/slave sexual undercurrents), but it is definitely original in every sense of the word, features a couple of very unique and fun performances by its leads and had me seriously wondering about the fates of these two very quirky individuals long after the credits were done rolling. Now if you'll excuse me...I gotta go jerk off...
Director: Steven Shainberg
Actors: Maggie Gyllenhaal as Lee Holloway
James Spader as Edward Grey
Jeremy Davies as Peter
Genre: Drama
Year of Release: 2002 (I wonder what took it so long to land here?)
PLOT:
A psychologically unstable girl gets a job as a secretary for a lawyer, who himself, also seems to have a couple of screws loose. The man is as perfectionist as they come and orders the timid girl around something fierce. Do spanking and masturbation sessions ensue? You bet! And there's plenty of that in the movie as well.
CRITIQUE:
This is a perfect example of a "small quirky" movie. It's not the black comedy that I was expecting it to be, in fact, it's more of a really bizarre love story, but at the end of the day, it beats the shit out of most of the retreads bulldozing their way through theaters nowadays, and I guess we shouldn't have expected any less from the peeps who brought us VULGAR, AMERICAN PSYCHO, amongst others (that's Lions Gate Films, by the way). With that in mind, it also needs to be said that this is not a movie for everyone. It has a very deliberate pace, it doesn't necessarily have much "action" and features various sequences of adults being either spanked or masturbating themselves (like a Sunday afternoon at my place). So if MEN IN BLACK 2 was your idea of an "awesome movie", you best skip over this one. This is a "character-driven" movie which essentially focuses on these two very warped individuals for over an hour and forty-five minutes, and the main message that I got out of all of it (other than the fact that I gots to get me a secretary asap!), is that no matter how messed up you believe you are...there is always gonna be someone as messed up as you out there, and better yet, someone as messed up as you...who you could actually fall in love with!
That's right, even those folks who prefer candle wax on their nipples or sucking toes can apparently find the "right" person in life (which still doesn't explain my bachelorhood, but I guess that's another story altogether). There are various elements which help this film gel as a whole, including the score by David Lynch regular Angelo Badalamenti, the great looking office sets, the palpable sexual build-up between the two lead characters, played splendidly by both the underrated James Spader and the cutey-patootie Maggie Gyllenhaal, and even more so, the very original premise which places these two very odd people in a very basic situation to which we can all relate (having a shitty boss). And no matter how bad you think you've ever had it with your own supervisor, I don't think it'll come close to some of the kooky (kinky) stuff that goes on in here. One very memorable sequence features Gyllenhaal having sex with her boyfriend (actually, more like "lying there" while her boyfriend penetrates) and another in which her boss asks her to bend over the desk, pull up her skirt and...well, maybe I should leave the rest to your imaginations, but needless to say...this movie gets pretty graphic! Now I've never been into that whole S&M scene myself (M&Ms are more my game) but the way that it was presented here (you know, very surface and un-leather and chain-like), actually turned me on here and there.
I'm not sure if it was Gyllenhaal (or maybe even Spader) but the movie really juiced the tension between the two. But despite its daring subject matter, the flick ain't perfect, doesn't finish as well as it starts, goes on for a little too long and doesn't really develop any other characters but the two leads (I thought the mom was hilarious but what was her story?) Once again, let me remind you that this is not a kid's movie or a comedy per se (although admittedly, it does feature some funny moments), this is not the kind of movie that everyone will dig (it moves slow and offers plenty of master/slave sexual undercurrents), but it is definitely original in every sense of the word, features a couple of very unique and fun performances by its leads and had me seriously wondering about the fates of these two very quirky individuals long after the credits were done rolling. Now if you'll excuse me...I gotta go jerk off...
Last edited by Adamizer on Mon Jul 21, 2003 10:20 pm, edited 1 time in total.
Cradle 2 grave
Andrzej Bartkowiak - Director
Jet Li - Su
Earl 'DMX' Simmons - Fait
Anthony Anderson - Tommy
Kelly Hu - Sona
Tom Arnold - Archie
Mark Dacascos - Ling
Gabrielle Union - Daria
Michael Jace - Odion
By pairing rappers-turned-actors with martial-arts action stars, director Andrzej Bartkowiak has carved out his own private genre of hip-hop-kung-fu pictures -- and entrenched himself in a flashy but fruitless rut.
Hip-hop star DMX displays a natural toughness and affection as a top-notch vault-buster whose 9-year-old daughter is abducted by smugglers bent on obtaining the rare black diamonds he snatched in the film's opening action set-piece -- a stylish and exciting, if far-fetched, safe-deposit box heist and subway tunnel getaway.
Stone-faced Hong Kong high-kicker Jet Li plays a Taiwanese intelligence operative who joins forces with DMX as a way of recovering the stones, which were stolen from a secret project in his homeland. ("They aren't what you think they are," he says.)
Most of the movie's fight sequences are invigorating -- or would be if Bartkowiak weren't busy hacking them up into thousands of nanosecond-long shots. Li gracefully wallops his opponents (he kicks one guy's butt without taking his hands out of his pockets) while DMX fights street-dirty but fights well.
The plot has imaginative gangland spirals that eventually lead our heroes to a convicted crime boss (Chi McBride in a droll, smart, casually menacing performance) who is locked away in a luxurious, all-amenities prison cell. Soon they're paying action-packed visits to his strip club and his underground ultimate-fighting arena -- where, of course, Li ends up in a cage match with 12 muscle-bound grunts for the picture's most mundane brawl. (Li dispatches them easily because they attack one by one.)
Most of the action shows more creativity -- especially a chase sequence that has DMX on an all-terrain quad, out-running cops and treating the back alleys and business rooftops of downtown Los Angeles like an off-road obstacle course. (As it's in L.A., the chase is broadcast live on TV, natch.) Even the minimalist dialogue shows some cleverness from time to time.
If only screenwriters John O'Brien and Channing Gibson had stuck to the precious gems and the kidnapping, "Cradle 2 the Grave" could have been a gratifying B-movie (even with that silly title that has no connection to the story). But when the asinine plutonium subplot hijacks the last act, the flick goes into an unrecoverable tailspin of cartoonish technology, mock-scientific mumbo-jumbo and laughable Eurotrash arms dealers in the form of rabidly over-zealous day players from central casting.
After that, nothing can save "Cradle" from the grave. Not DMX's enjoyably smart kid (Paige Hurd) outfoxing her abductors. Not a final showdown in a ring of fire between Li and handsomely reptilian martial-arts-abled villain Marc Decoscos ("Brotherhood of the Wolf"). Not an over-edited, under-rehearsed kung-fu catfight between good-guy girlfriend Gabriel Union ("Deliver Us From Eva") and bad-guy girlfriend Kelly Hu ("The Scorpion King").
Not even amusing supporting performances help, like those of hammy Tom Arnold (as a thick-witted heist gang hanger-on) and sidekick extraordinaire Anthony Anderson ("Kangaroo Jack," "Barbershop"), who steals an early scene when he's forced to distract a gay security guard with reluctantly fay flirtation.
Jet Li -- whose English language acting skills show marked improvement -- has yet to make a good movie since leaving a respectable Hong Kong track record for Hollywood. But getting the heck away from Andrzej Bartkowiak, who doesn't seem to realize when his uber-slick flicks are self-destructing, would probably be a judicious first step toward finding better projects.
Andrzej Bartkowiak - Director
Jet Li - Su
Earl 'DMX' Simmons - Fait
Anthony Anderson - Tommy
Kelly Hu - Sona
Tom Arnold - Archie
Mark Dacascos - Ling
Gabrielle Union - Daria
Michael Jace - Odion
By pairing rappers-turned-actors with martial-arts action stars, director Andrzej Bartkowiak has carved out his own private genre of hip-hop-kung-fu pictures -- and entrenched himself in a flashy but fruitless rut.
Hip-hop star DMX displays a natural toughness and affection as a top-notch vault-buster whose 9-year-old daughter is abducted by smugglers bent on obtaining the rare black diamonds he snatched in the film's opening action set-piece -- a stylish and exciting, if far-fetched, safe-deposit box heist and subway tunnel getaway.
Stone-faced Hong Kong high-kicker Jet Li plays a Taiwanese intelligence operative who joins forces with DMX as a way of recovering the stones, which were stolen from a secret project in his homeland. ("They aren't what you think they are," he says.)
Most of the movie's fight sequences are invigorating -- or would be if Bartkowiak weren't busy hacking them up into thousands of nanosecond-long shots. Li gracefully wallops his opponents (he kicks one guy's butt without taking his hands out of his pockets) while DMX fights street-dirty but fights well.
The plot has imaginative gangland spirals that eventually lead our heroes to a convicted crime boss (Chi McBride in a droll, smart, casually menacing performance) who is locked away in a luxurious, all-amenities prison cell. Soon they're paying action-packed visits to his strip club and his underground ultimate-fighting arena -- where, of course, Li ends up in a cage match with 12 muscle-bound grunts for the picture's most mundane brawl. (Li dispatches them easily because they attack one by one.)
Most of the action shows more creativity -- especially a chase sequence that has DMX on an all-terrain quad, out-running cops and treating the back alleys and business rooftops of downtown Los Angeles like an off-road obstacle course. (As it's in L.A., the chase is broadcast live on TV, natch.) Even the minimalist dialogue shows some cleverness from time to time.
If only screenwriters John O'Brien and Channing Gibson had stuck to the precious gems and the kidnapping, "Cradle 2 the Grave" could have been a gratifying B-movie (even with that silly title that has no connection to the story). But when the asinine plutonium subplot hijacks the last act, the flick goes into an unrecoverable tailspin of cartoonish technology, mock-scientific mumbo-jumbo and laughable Eurotrash arms dealers in the form of rabidly over-zealous day players from central casting.
After that, nothing can save "Cradle" from the grave. Not DMX's enjoyably smart kid (Paige Hurd) outfoxing her abductors. Not a final showdown in a ring of fire between Li and handsomely reptilian martial-arts-abled villain Marc Decoscos ("Brotherhood of the Wolf"). Not an over-edited, under-rehearsed kung-fu catfight between good-guy girlfriend Gabriel Union ("Deliver Us From Eva") and bad-guy girlfriend Kelly Hu ("The Scorpion King").
Not even amusing supporting performances help, like those of hammy Tom Arnold (as a thick-witted heist gang hanger-on) and sidekick extraordinaire Anthony Anderson ("Kangaroo Jack," "Barbershop"), who steals an early scene when he's forced to distract a gay security guard with reluctantly fay flirtation.
Jet Li -- whose English language acting skills show marked improvement -- has yet to make a good movie since leaving a respectable Hong Kong track record for Hollywood. But getting the heck away from Andrzej Bartkowiak, who doesn't seem to realize when his uber-slick flicks are self-destructing, would probably be a judicious first step toward finding better projects.