Jo Taylor’s blog

The Movie

Payable to the worldwide renown of Freddy Krueger and the financial success of the Riot films, divers under consideration Wes Craven to be a completely mainstream filmmaker. But, the director has many freaky movies on his resume, most being early efforts, such as 1977’s The Hills Have Eyes or 1982’s Deadly Bounty. And be revenged after the success of A Nightmare on Elm Street, Craven clearly wasn’t ready to watchful away from bizarre films, as evidenced by 1991’s The People Under the Stairs.

The People Under the Stairs opens in the ghetto of an unnamed city. In a filthy apartment there, a women lie pernicious in the bedroom. Her two children, Ruby (Kelly Jo Minter) and her young brother, Fool (Brandon Adams), have just learned that the people is to be evicted, as they are behind on the fee. Ruby’s “friend”, Leroy (Ving Rhames) claims that he knows where the restaurateur lives, and that there’s a rumor that the landlord’s lineage is full of gold. It is Leroy’s thought that robbing the landlord’s edifice would be the freedom thing to do, and he convinces Jay to come with him.

Fool, Leroy, and another accomplice named Spenser (Jeremy Roberts) go to explore in default the house. Spenser decides that he needs to see the preferred of the current in in order to get an scheme of how to plan the robbery. When he doesn’t earnings from his scrutiny, Leroy and Around enter the structure, on the contrary to find themselves trapped in a lineage of horrors. The landlords, whose names we never learn, they simply call each other Mommy (Wendy Robie) and Daddy (Everett McGill), combustible in a understood fortress, where the windows are all unbreakable and the doors are electronically locked. To make matters worse, they are heavily armed and live with a very large dog. Cheat learns that the landlord’s daughter, Alice (A.J. Langer) lives like a prisoner in the house. Leroy and Jest make happen that they are going to demand to fight their concede gone from of the bordello. But, to if they can cause to be acquitted past Mommy and Daddy, they will must to facing the terrible beings which dwell in the basement.

To say that The People Under the Stairs is a uncanny movie would be quite an understatement. The cinema plays like a bleak fairy-chronicle, in which the poor peasants rise up to attack the citadel of the monster which enslaves them. Setting aside how, the viewer knows that they attired in b be committed to strayed far from fairy-tale dismount when Daddy suddenly appears dressed all out in leather fetish gear. The film is relatively light on horn, but there are a some setpieces which are surprisingly bloody. The titular people under the stairs are indubitably a gruesome bunch, and their predicament is truly nauseating. Also, the actual and implied scenes of child masturbation may be too much for some viewers.

The other feature which makes The People Lower than drunk the Stairs so odd is its tone. As with Phantasm, the main character here is an youthful (the story takes place on Fool’s 13th birthday), and having a stripling placed in this wonderful of angst creates an strange vibe in the videotape. There isn’t much humor to be had in The People Under the Stairs, but the few jokes in the film feel as if they are aimed squarely at a 13 year old audience. It’s verging on as if the Farrelly Brothers did a re-author a register on Craven’s script and added a handful of groan-inducing song-liners. The moments where levity is attempted kill the flimsy distress which the film exhibits.

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In behalf of the first hour, The People At the beck the Stairs has some rather suspenseful moments, but the last 35 minutes contain some plot twists which are deeply spiritedly to consume and the film runs unconscious of gas in the vanguard the finale. While the life story doesn’t go the duration, Craven’s pitch does. Robie and McGill, who had previously played a weird couple on “Twin Peaks”, on no occasion cease character here, which allows their eccentricity to escalate throughout the movie. Ving Rhames has only a supporting part, but, as usual, he’s good. Young Brandon Adams is asked to carry the film and does an admirable job, although he seems uncomfortable with those unessential jokes. The People Protection the Stairs shows that Craven is a director who isn’t afraid to experimentation, and the product has some moments, but can’t busy up to the bizarre feel which permeates the movie.

“Like Mike”?

Not really. This “heartfelt family comedy,” as its marketers describe it, is more pointedly a slick piece of cross-promotion for stuff that has nothing to do with the movies. Weirdly, the packaging geniuses at the NBA (which co-produced “Like Mike”) have chosen rap star Lil’ Bow Wow to sell their basketball tickets and merchandise. Although the preternaturally gifted rapper and dancer is able to strut his stuff for a few minutes in “Like Mike,” his gifts are largely wasted in favor of a tiresome story and myriad special effects sequences. Maybe next time his agents can find him a movie in which he – oh, gee, let’s see – actually sings and dances.

Taking a little from “Oliver Twist” here, a bit from “Cinderella” there, and just a dash from “The Red Shoes” for good measure, “Like Mike” concerns a cunning little orphan named Calvin (Bow Wow) whose problem is that he isn’t all that young: At 13, he has aged out of the infant-toddler stage at which most kids are adopted. Like most youngsters their age, Calvin and his best friends at the orphanage, Murph and Reg (Jonathan Lipnicki and Brenda Song), are flat-out hoops crazy: They while away their time shooting baskets, playing one-on-one and cheering on their local NBA team, the Los Angeles Knights. But the closest they get to a real game is when they’re forced to sell candy outside the Staples Center by the latter-day Fagin who runs their group home with sadistic despotism (the villain is played with slithery malevolence by Crispin Glover).

Calvin’s life of misery – he desperately longs for a family, preferably one like Will Smith’s on “The Fresh Prince of Bel Air” – is interrupted one day when he tries on a pair of donated sneakers. Not only are they a perfect fit, but the initials “M.J.” are inscribed inside. Convinced that his new shoes once belonged to Michael Jordan, Calvin begins to undergo a startling makeover: The kid who couldn’t shoot straight is suddenly flying through the air just like his idol. When Calvin unexpectedly gets to see a Knights game in person, and even more unexpectedly is given the chance to show his new moves during halftime, the team’s manager (Eugene Levy) sees a gold mine: The Knights sign Calvin and find a terrific new marketing gimmick: “He’s lean, he’s mean, he’s 13.”

“Like Mike” features its share of inside-basketball jokes, especially some witty segments featuring real-life NBA players like Allen Iverson and Jason Kidd. But despite its moments of comedy and some nice chemistry between Bow Wow and co-star Morris Chestnut as the Knight who reluctantly mentors Calvin, there’s something troubling about a movie that depicts would-be parents trolling an adoption center like so many Kmart shoppers. It should come as no surprise when Calvin ultimately finds his “Fresh Prince” and that he and his friends embark on a wonderful new life. But the frightening myths about adoption that run through “Like Mike” make even its happiest endings a little bit creepy.

LIKE MIKE (PG, 100 minutes) – Contains brief mild profanity. At area theaters.

Danny (Nick Giannopoulos) never had much strength, but that didn’t stopover him being a suburban song and social advisor at his showbiz mother’s endowment school. Along comes crim Marcus (Russell Dykstra) who hires Danny to teach him and his combine to be performers - as a children’s organization. They have a yen for to smash a carousal that local billionaire Mrs Rory Van Dyke (Lena Cruz) is throwing for her grandson, and steal her fabulous diamond necklace. Danny’s mind is made up for him when he meets Marcus’ gorgeous sister Kirsty (Isla Fisher) and somehow, an inapt and politically incorrect children’s class are thrust into the limelight. But things go villainously wrong with the heist and The Wannabes are dragged into a kidnapping and other vile acts.

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Silvia Broome (Nicole Kidman) is a translator at Combined Nations HQ in Stylish York. One evening, she’s working late and overhears a sinister conversation filtering through the paramount chamber’s microphone system: there’s a map out afoot to assassinate Edmund Zuwanie (Earl Cameron), the reviled president of  the African body politic of Matobo, who is due to make a polemical pop in to the UN within days…

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Who you gonna call? Become a member of the Secret Ritual and hard-boiled, recently bereaved deliberate agent Tobin Keller (Sean Penn), a crew who wears conspicuous dark glasses and has a sign on his desk that reads ‘Secret Agent’. Is Broome – who is herself Matoban, speaks the native Ku language and harbours a communist political past – telling the truth? And what about exiled Matoban dissident Kuman-Kuman (George Harris), who now lives in Brooklyn? What’s he up to? It’s time both for Broome to enjoy round-the-clock protection and for director Sydney Pollack to indulge in the internal machinery of the UN erection (allowing in movie cameras for the head time) and some impressive helicopter shots of NYC.
Matobo? Ku? Kuman-Kuman? All fabulous, of obviously – but we must assume that Matobo is a fill someone in on-mutinous, now corrupt sub-Saharan state along the lines of, tell, Zimbabwe and, in concoct, that President Zuwanie is a thinly veiled portrait of a Robert Mugabe-type leader. This is largely a competent, successful  thriller, but observing global politics from this perspective is an uncomfortable, frustrating experience. The world-view on display here is much more considered than, say, in a Constraints film, but the membrane still lends nothing to our understanding of postcolonial Africa or the UN (discounting the decor of its more private corners).
And as for the will-they/won’t-they chemistry between Broome and Keller…

Sam Shepard essential require seen himself as Sophocles in a saddle when it came to the making of “Silent Voice,” the essayist-director’s spellbinding mess of Greco-Roman, Irish and Inherited American myth, revisionist modishness and theatrical tradition. In this Greek blow on the Influential Plains, Shepard effectively illustrates the tragic altercation between European and aboriginal cultures that came with Western expansion.

Shepard’s West, like Clint Eastwood’s in “Unforgiven,” is populated by scoundrels and madmen. His heroes are tarnished and worn, and his story turns on avenging a woman wronged. In this case, it’s Silent Tongue (Tantoo Cardinal), a mute Kiowa, who is raped by a cowardly Irishman, Eamon McCree (Alan Bates), who knows she can’t scream. The owner of the Kickapoo Traveling Medicine Show, McCree believes he has earned Silent Tongue’s forgiveness by marrying her, but he has badly underestimated the extent of her rage.

Though she is the title character, Silent Tongue’s part is a small one, for she relies upon her two beautiful daughters — Awbonnie (Sheila Tousey) and Velada (Jeri Arredondo) — to carry out a plan of vengeance. Awbonnie, who is already dead when the story begins, takes the form of a powerful banshee. Half-woman, half-buzzard, she has been tethered to this plane by her grieving husband, Talbot (River Phoenix), who clings to the corpse of his beloved late wife.

Believing that only Velada McCree can replace her sister, Talbot’s father (Richard Harris) sets out to purchase her, as he did Awbonnie, from her father. Velada’s half-brother (Dermot Mulroney) protests, Talbot’s father kidnaps Velada and flees with the McCrees and Awbonnie’s vicious ghost in pursuit.

Luckily all of this has been presaged by the medicine show players, a Greek chorus whose songs and skits echo, prepare and otherwise help audiences make sense of the complex narrative with its references to “La Strada,” “The Wizard of Oz,” the Greco-Roman myth of sisters Philomela and Procne and the bluegrass-flavored music of the troupe’s string band.

After the comics have told their jokes, the dwarfs have finished their tumbling and the petrified man has stared back at the crowd in stoniness, McCree pitches the snake oil of which he himself is an aficionado. Full of booze and blarney, he tells of how he managed to escaped a tribe of warriors with both the secret elixir and his skin. Bates plays the scene at full bray. His uncanny resemblance to a complete jackass is all but inescapable as he bellows bawdy tunes from astride one on his way to reclaim Velada.

Harris, on the other hand, is unusually becalmed as the father tormented by his son’s overwhelming grief. Phoenix, in his next to last performance, is convincingly feral as a husband haunted by his lost love and by her ferocious Kabuki-like ghost, both enthusiastically played by Tousey, a Native American actress. Restraint is little in demand under Shepard’s direction.

Sometimes, as in Bruce Beresford’s film of the Canadian frontier, “Black Robe,” the land itself steals the scene — a golden main beneath whose amber waves lie buried the dreams and bones of good and bad alike.

Far from Heaven is a bittersweet pastiche about a family falling apart in 1950s Connecticut, America. It stars Julianne Moore as dutiful housewife Cathy Whitaker and Dennis Quaid (long time, no see!) as Frank her businessman husband. They play the 'whiter than white' suburban couple whose Tupperware lifestyle, envied by all their friends, spirals completely out of control.

Blame the husband, blame the wife, the kids or the maid, but no-one can deny the shock that would be felt if you'd caught your husband in the '50s having an affair - least of all when it's with a man. The director uses this incidence to propel the audience through issues of prejudice - like how you'd be shunned by all if you dared admit to being homosexual. Characters in Far from Heaven recoil in disgust at the mere mention of the word.

The wholesome Whitakers try to patch things up and keep their marriage together, to keep a good reputation, but inevitably things fall apart. Despite Cathy being surrounded by so-called friends, she has to confide in gardener and handyman Raymond Deagan (Dennis Haysbert). He provides a shoulder to cry on, as he seems to have been through tough times, so can help Cathy get over her pain. But this ends up causing more problems than it solves for our heroine. She becomes the source of gossip for the community - because of her friendship with Reagan, who happens to be black.

The film manages to examine issues of race and sexuality and show us how they were rampant in 1957. But also reminds us that they are still prevalent in 2003.

The acting is of a high standard, prompting Oscar talk, and Moore's convincing portrayal of a wholesome woman who keeps her cool is utterly believable. Quaid's alcoholic man on the edge portrayal is also powerful - so much so that Frank takes over and you stop thinking "Oh that's Dennis Quaid the famous actor."

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For me the best part of the film was its aesthetic quality. Far From Heaven uses beautiful autumn colours and some highly stylised effects, borrowed by director Todd Haynes (Velvet Goldmine/Superstar:The Karen Carpenter Story) from Douglas Sirk films (known for their vivid use of Technicolor). From the perfectly coiffured ladies in their elegant '50s dresses - courtesy of Sandy Powell (Bafta winner for Velvet Goldmine costumes) - to the hip automobiles of the day, no stone has been left unturned.

The ending, however, is weak. No matter how much you are behind the issues of equality, you can't help feel this has all been done before. Humour derived from the camp tweeness of the situation is all well and good - it does give us a nudge that prejudice is alive and kicking - but does little more than gloss over the issues in a stylised fashion statement.

The tension between Cathy and Ray makes for gripping plot, but the rest of the story gets glossed over in a mass of Technicolour, twee living rooms and fifties nostalgia. And I felt more could have been made of Cathy and her circle of friends. A particular favourite scene was the chat around a table, a la Sex in The City for the 1950s. Instead of the girls bragging about the men they had slept with, the cardigan-wearing tea sippers were discussing the horrors of being asked for sex by their husbands more than twice a week. Bi Jiminy!

As a wear, snowboarding has been practised by Americans on the East and West Coasts for around 30 years - but only recently has it become more substantially popular in the US, thanks in detailed to the success of the country’s snowboarding team in the Winter Olympics in 2002. This documentary charts the development of snowboarding since its inception, focusing on five snowboarders of particular generations who set off together to the Alaskan mountains in search of more challenging, previously unknown topography.

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Tuesday, January 26 2010

Battlefield: Bad Assemblage 2 'Single Player' Trailer 
Here's seven minutes of single player

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campaign footage via YouTube, thanks
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