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Iron Man Ignites Summer ‘08 (4/5 Stars)

By the end of his film Jon Favreau’s Iron Man is a light and fluffy character, a superhero colored in with bright bits of crayon, but he doesn’t start out that way. Ironically it’s early on in the story when Tony Stark, the man inside the bright red suit, is still a carefree playboy and globe-trotting arms merchant that he has the most edge.

It’s there that Favreau’s superhero movie works best, as Stark is captured by a group of terrorists known as the Ten Rings (nod to all you Mandarin fans), injured, and forced to work in a dank cave designing weapons. Continue reading ›

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Sex Movie Deception (4/5 Stars)


Deception is a lean, well-crafted sex thriller with a polished European feel and a striking visual style courtesy of first time Swiss director Marcel Langenegger. It’s a quieter sort of thriller than we’ve become used to after so many Bourne flicks, but that doesn’t mean it’s boring. Continue reading ›

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Teeth – Vagina Dentata (3.5/5 Stars)

It’s been a while since we had filmmakers like Russ Meyer and John Waters, or anyone for that matter, making movies that assumed the audience was capable of being shocked. Instead we’ve had the torture porn genre, which operates under the idea that the more blood and gore there is, the louder the audience will shriek. Given the diminishing returns on the Saw and Hostel series, though, it seems that concept is running out of steam too.

So, in comes Mitchell Lichtenstein, who takes a delightfully retrograde approach to exploitation and horror with Teeth and succeeds marvelously. Reinventing one of history’s most enduring urban legends, Lichtenstein cobbles together a satire-horror-farce-vigilante drama that works thanks to its straight-faced sincerity, both in the script and in the presence of its leading lady, Jess Weixler. Continue reading ›

Meet The Spartans (1/5 Stars)

There are funny movies and then there are Jason Friedberg/Aaron Seltzer movies. Generally I’m lucky if their films give me the slightest urge to laugh, but as I sat watching their latest attempt at a spoof I came to realize that the two are actually providing movie-goers an incredibly important service. Continue reading ›

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Skip Cloverfield and Watch Korea’s ‘The Host’ Instead

For Cloverfield, this creative team spends way too much time setting up characters that we don’t really care about, and far too little time with the creature and its destruction. Personally, I liked the creature far more than the humans. The monster looked very cool and it seemed able to spawn little winged creatures (bat-like tarantulas with lethal bites) that provided the film with one truly scary attack in the subway.

But we are given no information about what the creature is, where it might be from, or any speculation at all about it. Abrams has said that he wanted to create an American monster movie that would provide a legendary figure like Godzilla and be a metaphor for our times. Well his nameless beast does neither. Continue reading ›

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The Emmanuelle Beart Collection – A Heart In Winter, The Story Of Marie and Julien, Nathalie

The Emmanuelle Beart Collection (A Heart In Winter / The Story Of Marie and Julien / Nathalie) 

Un Coeur en Hiver ( A Heart in Winter ) (1993)

Daniel Auteuil (Manon of the Spring) plays Stephane, the curiously diffident coowner of an exclusive violin brokerage and repair shop. A brilliant technician, Stephane can make any instrument live up to its promise, yet he is emotionally remote himself, disconnected from passionate experience. His partner, Maxime (André Dussollier), lacks Stephane’s gifts but is rich in personality and desire. When Maxime’s new lover, a violinist named Camille (Emmanuelle Béart), is drawn to Stephane’s still waters, the latter is briefly moved, thus destroying the fragile, symbiotic relationship between all three individuals.

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Veteran French filmmaker Claude Sautet (of the Oscar-winning César et Rosalie) has made a powerful film here expressed in the smallest of gestures, just as one might tune the strings of a violin ever-so-slightly to achieve perfection. Sautet indeed employs such a sonorous motif in this story, in which violins always seem to be playing and suggesting that the principal characters look at life as they do music: something to be tinkered with and manipulated for effect. –Tom Keogh

WINNER – César Award, Best Director
WINNER – Venice Film Festival, FIPRESCI Prize
WINNER – Venice Film Festival, Silver Lion
WINNER – London Critics Circle Film Awards, Foreign Language Film of the Year
WINNER – European Film Awards, Best Actor
WINNER – David di Donatello Award, Best Foreign Actor, Best Foreign Actress
WINNER – David di Donatello Award, Best Foreign Film
WINNER – French Syndicate of Cinema Critics, Best Film

The Story of Marie and Julien (2003)

Jacques Rivette is one of the most under appreciated French film directors in history – and one of the most creative. He seems to dwell in a space known only to cinema, a world as changing, transparent, enigmatic, and transient as the camera’s interplay with scenes and actors. His works do not fit into the expected mold of cinematic storytelling: his mind is far too fertile to follow roads previously taken. In ‘Histoire de Marie et Julien’ he suspends time (two and a half hours of it) to focus on the possibilities of the living and the dead and the planes of ambiguity incited by dreams. The story is less important than the questions it raises and the impact is powerful – if you just stay with him to the last frame.

Julien (Jerzy Radziwilowicz) is an antique clock restorer, living alone with his cat ‘Nevermore’, a man whose seemingly dull life is touched by his role as a blackmailer to a Madame X (Anne Brochet), a strangely beautiful woman with dark secrets contained in a doll, some documents, and a letter – all somehow in the hands of Julien. Julien meets Marie (Emmanuelle Béart), an ethereally beautiful woman who appears to be both present and not present, depending on the moment.

Julien first dreams of his encounter with Marie (as does she) and then they actually meet. In no time Marie is moving into Julien’s large and musty home, surrounded by clocks and other elements suggesting time. They have a passionate love life and fall in love. Julien shares his blackmailing project with Marie and Marie is the one who is ‘the other woman’ in delivering parcels to Madame X in return for cash installments. Madame X’s dark secrets include the suicide of her sister Adrienne (Bettina Kee) who appears to Marie in what seems to be an established relationship of some sort. Marie’s duplicitous nature becomes more apparent.

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To tell more of this wondrous tale would destroy the slow unraveling of this mysterious love story: best it be seen by the viewers. All of the actors are extraordinarily fine. Rivette spends much of the movie with silences allowing the camera and actors to peruse the atmosphere, encouraging his characters to just interact with the clocks, the cat, the rooms, the parks, the mystery of that netherland of life after death. It is breathtakingly beautiful.

The DVD adds poignant interviews with both Rivette and Béart and for once the featurettes add tremendously to understanding this difficult film. Rivette shares with us that he initially wanted to make this film years ago with Leslie Caron and Albert Finney, but that because he wanted the story of the film to grow into telling itself during the filming, he could find no financial backers. Having just viewed the film it would be difficult to imagine the same story with a finer cast than we have here. An unforgettable experience. In French with English subtitles. Grady Harp, August 05

Nathalie (2003)

Catherine (Fanny Ardant), a successful doctor, seems to be in a happy marriage with her businessman husband, Bernard (Gerard Depardieu), until she learns that Bernard is having an affair. She reacts to this news with some tears but seems otherwise unmoved. That same evening, she randomly strolls into a Gentlemans Club for a drink and happens to meet the beautiful stripper/prostitute, Marlene (Emmanuelle Béart), who seems very curious and interested in Catherine.

After some conversation, Catherine decides to hire Marlene (whom she re-names “Nathalie”) to seduce her husband and report their sexual activities back to Catherine. The sexual game between Nathalie, Catherine, and Bernard takes strange twists and turns, with each scene exposing more about each character…and how their relationship changes with one another, as well as within their own self.

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Excellent film, directed by Anne Fontaine, this DVD includes the French version film with English subtitles, a making-of documentary (with no subtitles), a photo gallery, and a trailer that includes one of the smashing songs from the movie. Highly recommended.

The Emmanuelle Beart Collection (A Heart In Winter / The Story Of Marie and Julien / Nathalie)

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