“I’d hate to press the newspapers stick the words ‘La Salle Parish’ and ‘Transsexual murder’ in the same headline.”

The Feature:
You know the feeling you get when you’re watching a movie, and halfway through it, you still have no idea what in the hell is going on? Well, welcome to 100 minutes of confusion, called “The Badge”. The movie starts off in the swamps of Louisiana. Gunshots ring out, and a mysterious woman runs in front of a truck that overturns in an attempt to not run her over. The next day, “she” turns up dead (actually a transsexual), and Sheriff Darl (Billy Bob Thornton) is off to investigate.

The movie then spirals out into a convoluted mess. The transsexual’s wife, a stripper named Scarlet (Patricia Arquette), comes to town and looks for answers. Meanwhile, Sheriff Darl has enemies who want him out of his position of power, and frame him for contributing to the delinquency of a minor. Obviously, there is something larger at work here, but the movie is such an unorganized mess, that it’s easy to miss certain plot points, no matter how obvious they are.

Before I even popped “The Badge” into my DVD player, I didn’t know what to expect. Surely a movie consisting of a talented cast including Billy Bob Thornton, Patricia Arquette, and Sela Ward had to be better than average at best, right? After watching the movie, I kind of understood why it didn’t have a large release… It does nothing to showcase the acting talents of any of the above three.

Therefore, I really can’t say that this was a good movie. It could have been better, especially with a more satisfying ending, and characters that hold your interest throughout the film; but unfortunately it falls short in most departments.

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As of fresh, it has evolve into popular to dismiss overly silly summer popcorn films as a throwback to the era of “B” grade motion pictures. Discrete films released in the summer of 2001 (including Jurassic Park III, Tomb Raider, The Mummy Returns) seemed fitting for this distinction, in the truly that each placed specious everyday citizens against creatures from another time and stick. Now comes Ivan Reitman’s Evolution, a fade away which, on the interface, looks to be the most credible candidate during an homage to the Saturday matinee “B” picture; upon closer inspection, it is a pale fake of recent films with almost identical responsible for matter.

Evolution opens with a bang, letter for letter. In the serene night of the Arizona desert, prospective firefighter Wayne Gullible (Scott) is feverishly practicing for his upcoming test to enhance a firefighter when a meteor crashes, leaving his car, and practice facility, in pieces. Quickly, local community college professors Ira Kane (Duchovny) and Harry Block (Jones) are called in to look into the meteor, and upon doing so the two hint a awesome disclosure: Samples taken sponsor to the coterie are evolving at a lightning fast rate that will soon spell extinction for humans. As is almost always the case in this sort of movie, the military is brought in, and Harry and Ira are no longer allowed to persist in their inquiry. Ira, Harry, and Wayne are soon on their own to bear the creatures and guard the day, but not without the pinch of the beautiful Dr. Allison Reed (Moore), a unhandy Army scientist who may just be falling in love with Ira.

Taking more than a trivial amount of parcel of land points from both Men In Blackguardly and Reitman’s own Ghostbusters, Evolution suffers from a insufficiency of cleverness in its calculate. It is the script by David Diamond, David Weissman and Don Jakoby that causes the model to assault apart in the third act. All of this is frustrating, considering that the remains of the vapour contained promise and marginal character development.

This is all the more insufficient because other areas of Evolution work so bare excellently. The look and feel of the film are enhanced by above ordinary production design and special effects sequences. Production conspirator J. Michael Riva has wisely opted for vibrant color and exaggerated set conception to ease convey the feel and soft-pedal reinvigorate of 1950s character movies. For the film’s exotic creatures, celebratory effects sovereign Phil Tippett has skillfully created several different creatures, each unique in their own way. From a seemingly repose quiet down dog-like creature that unleashes an Alien-like figure when it opens its way in, to an particularly nasty “triphibian” (as Reitman calls it in the commentary track) that looks like something out of a video game, Tippett’s work here is very apex nobility. Each of these creatures moves with serenity from one end to the other their scenes, including a stunning use of CGI to go a flying alien time effortlessly through a crowded mall.

Perhaps the strongest prospect of Evolution is the cast. At outset sight, Duchovny looks to be stereotyped, but as Ira Kane, Duchovny takes a break from his goggle-box counterpart to bring a monotonous humor to his character. Alongside Duchovny is the immensely talented Orlando Jones (that 7-up guy) in a position that for most actors may well hold been thankless. I enjoyed the chemistry between the two, as their dialogue goes beyond the droll banter that exists in other buddy pictures. Moore, who has what amounts to little more than a supporting duty, looks beautiful and does a nice job. Seann William Scott once again portrays the at any rate number he has in every other silent picture in which he has been knotty. It is accept that Scott chooses to bear over this goodness from film to film because he is getting very permissible at it.

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I enjoyed a lot of things here, but not enough to tout the pellicle. Taken with a view its doff expel and technical merits Evolution is well-known. But ultimately the script is too harmed in the third act, too much so to overlook.

Big laughs, big heart, big teenage moments—all in 72 minutes

By Matt Pais

Metromix

April 2, 2009

William H. Macy and Steven Kaplan
(Credit: Anchor Bay)

(1 rating)

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Ah, prom. Is it ever easy? It certainly isn't for Danny Stein (Steven J. Kaplan, perfect), a nice Jewish boy who hasn't asked anyone to the big dance that's only two months away. After he turns down his longtime platonic best friend (Alia Shawkat of "Arrested Development"), Danny explores a variety of options, from a cute sophomore to, well, anyone he can find.

The buzz:

Throw a corsage in a video store and you'll probably hit a prom-focused teen movie. At least this one has a good supporting cast (which also includes William H. Macy and Cheryl Hines as Danny's separated parents) and an uncommon location (a South Florida retirement community). Maybe Brian Hecker's feature writing-directing debut brings something new to the portrait of high school's most stressful night.

The verdict:

The mixed signals, the blown opportunities, the regrets, the surprises. "Bart Got a Room" really understands high school and being young, and turns its basic, universal premise into a search for contentment and perspective. The movie is frantic, not always convincing and ends with a frustratingly unnecessary voiceover. Yet every time you think "Bart" is turning sour (will Danny take a prostitute as his date?), the movie shifts into something real and unexpected. What's at stake isn't a big, climactic kiss or the goal of losing virginity; just the bonds of friendship and family, and the horror of feeling like the only lonely guy in the world.

Did you know?

This year won't bring many richer moments of painful desperation than Danny watching the clock after he arrives 45 minutes early for a dinner date—just to ensure he isn't late. Every…tick…hurts.

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R 18+
3 stars
2005
Rachel Blanchard, Alison Lohman, Kevin Bacon, Colin Firth
Atom Egoyan
107
R 18+
2006-09-22
Trailer; featurettes; deleted scenes.
2004431
1160246247251-smh.com.au
http://www.smh.com.au/news/dvd-reviews/where-the-truth-lies/2006/10/12/1160246247251.html
2006-10-12
Where the Truth Lies
Philippa Hawker, Reviewer
Stylish, self-conscious mystery about a '50s comedy duo who break
up after a death.
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Kevin Bacon, Rachel Blanchard and Colin Firth in
<em>Where the Truth Lies.</em>
198
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Movie:
Foggy Owl is the true feature of Archibald Belaney, an Englishman, who grows up with a man of colour in the 1930s. At the age of 17, he travels to the wilds of Canada to make a living as a trapper and a hunting guide. A local people of Indians adopts him as one of their own, and gives him his Indian name, “Grey Owl.” Known as Archie to his friends and allied Indians, he writes articles about the things he’s seen and the life he leads for a variety of magazines, and is offered the take place to write a novel upon his experiences.

During the off-season, he meets Anahareo (Annie Galipeau) during a ceremonial dance he and his Indian brothers perform to make some extra money. Anahareo is an Indian by descent, but town-raised and unaware of how Indians live in nature. She convinces Archie to take her to the Indian village that adopted him, and show her around, which is the start of their relationship, and later on, she accompanies him during the winter months as he hunts and traps to survive.

Directed by Richard Attenborough, Grey Owl’s two hours is divided into two main sections. The first hour exposes the viewer to a myriad of the wonders of nature as we accompany Grey Owl as he hunts and traps. This also fleshes out the relationship between Anahareo and Grey Owl and brings up the conflict in Grey Owl’s life – if he continues to trap and hunt beaver, will they become extinct? Is trapping what he really wants to do? The second hour answers these questions, and delves more into who Grey Owl really is, what he stands for, and his relationships not only with Anahareo, but with the Indian people.

Picture:
Grey Owl is presented in its theatrical aspect ratio of 2.35:1 in anamorphic widescreen. The picture is remarkable – the scenery is terrific, as this is mostly an outdoors movie – and nature is presented in its full splendor. I couldn’t detect any artifacts in the picture, although there is some very slight edge enhancement.

Sound:
Grey Owl presents the viewer with a few options for sound – Dolby Digital Surround 5.1 in English or English Dolby Surround (although the disc defaults to 5.1). The DD 5.1 was very well done. Although the film is dialogue heavy, the surround shines when needed, as during the Indian dances, when Grey Owl hunts, etc.

Extras:
This DVD comes through with loads of extras. You get two audio commentaries, one by the director, and one by producer Jake Eberts. Both offer a fascinating look at the making of the film, and although some things are repeated, they’re both worth listening too. You also get two making of featurettes, which contain video clips and interviews with Pierce Brosnan, Jake Eberts, Richard Attenborough, and others. You’re also treated to two vintage short films with the real Grey Owl from 1934 and 1936, which are quite interesting. The theatrical and teaser trailers are also present, along with chapter stops, motion menus, and a trivia game. If you have a DVD-ROM, you’ll have access to the biography of Grey Owl, the option to read the script, and excerpts from “The Making of Richard Attenborough’s Grey Owl,” an illustrated book.

Summary:
Grey Owl is a fantastic movie, and I can’t recommend it highly enough – its message to preserve nature and protect its inhabitants is quite powerful. Archie Grey Owl is a complex character vividly portrayed by Brosnan, who does an excellent job bringing him and his ideals back to the forefront during a time of mass consumerism and the widespread destruction of our environment. If not for the message, you owe it to yourself to at least experience this extraordinary DVD for the remarkable visuals this movie presents.

Karen (Sarah Michelle Gellar) is an commerce undergraduate living in Japan, studying sexually transmitted till. When her associate Yoko (Yoko Maki) doesn’t show up in search work, Karen is sent as her replacement to care for an oldish American patient Emma (Grace Zabriskie), who lives with her son Matthew (William Mapother) and his wife Jennifer (Clea DuVall). On arrival, she finds the company in totality disarray and woman in a coma. When she investigates the strange sounds she hears upstairs, Karen is confronted by a mysterious and shocking preternatural force. A force which has also impacted on her boyfriend Doug (Jason Behr), Emma’s daughter Susan (KaDee Strickland) and English University Professor Peter (Bill Pullman).

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The Movie

I’d heard a handful of unflattering things about HBO’s The Comeback while it was on the air, and then the network went and canceled the thing after only one 13-episode run — so obviously I didn’t sit down with the DVDs and expect something brilliant. But while it’s true that The Comeback takes a few episodes before it finds a comfort zone, and sure, it feels like the 25th “Hollywood-based” comedy series to hit the small screen in the past few years — the simple truth is that this is a very funny, very smart, and very pointed satire that probably should have made a bigger splash. One could point to the prickly lead character (a has-been sitcom actress who’s desperate for a career resurgence) as part of the show’s demise, but if you manage to stick with The Comeback beyond its first several episodes, you’ll probably be surprised by the unexpectedly touching and oddly poignant detours it takes.

Also, it’s pretty darn funny, although not necessarily in a “hold your sides in hilarity” kinda way.

The fantastic Lisa Kudrow stars as Valerie Cherish, an aging actress still barely clinging to the grapevine of celebrity. But Valerie’s hit upon a potential goldmine: Not only will she be co-starring in an all-new sitcom, but she’ll also be the focus of a “reality show” that aims to document her re-claim of fame. Needless to say, the sitcom turns out to be an absolute pile of crap — and the reality show isn’t going much better. Stuck with a film crew permanently by her side, Valerie stumbles from audition to rehearsal to dressing room, always more than willing to stick her foot in her mouth or bumble her way into one harrowing humiliation after another.

Valerie takes so much emotional punishment in the first five episodes… I’m convinced that’s what doomed the show to cancelvania. But as the 13 episodes move on, the background characters begin to show much more dimension, and Valerie’s plight is portrayed with just as much humanity and hopefulness as frustration and insecurity. To be honest, I pretty much hated the gal for the first two episodes, but once The Comeback starts tipping its hand, the series displays a masterful balance between venomous satire and subtle sweetness. And Kudrow is truly something to behold in this series; her Valerie Cherish is desperate yet strangely noble, egocentric yet unexpectedly generous, and hilariously passive-agressive from stem to stern..

The satirical side of The Comeback is spot-on perfect. It’s evident from frame one that this show was put together by people who know about television production. Kudrow’s extensive Friends experience no doubt came in handy (she produced and co-wrote the series, in addition to anchoring it), but series creator Michael Patrick King deserves much of the praise. A longtime sitcom veteran, King paints a backstage picture that couldn’t possibly be more accurate. The set, crew and cast members of “Room and Bored” feel like a spoof of a hundred mindless sitcoms, and the backstage double-dealings provide some of the season’s best moments. (The late-stage addition of two nonsense-spouting comedians is a brilliant touch.)

Although The Comeback is Valerie Cherish’s show all the way, it’s a mockumentary-style comedy that’s got some real buried treasure in the supporting cast department. As the young producers of “Room and Bored,” Robert Bagnell and Lance Barber are just perfect. (Barber’s hateful “Paulie G” is one of the most interesting TV villains I’ve seen in a long time.) As the quietly mercenary little producer of Valerie’s reality show, Laura Silverman delivers some great laughs while using only a minimum of syllables. As Valerie’s loyal hair & make-up man, Robert Michael Morris takes what would normally be a one-note “old flamer” character and brings a lot of color and enthusiasm to the the role. Young Malin Akerman plays the perky young starlet whom Valerie takes under her wing, and the kid’s got the look and charm of a young Cameron Diaz. Also offering some brilliant supporting work is Damian Young as Valerie’s long-suffering, still-affectionate, and ever-bemused (non-famous) husband Mark. The guy steals just about every scene he’s in; Young and Kudrow together do some really fantastic work together. (James Burrows, basically the Spielberg of Sitcoms, has a really excellent recurring role as a tough-love series director.)

The Comeback is whole lot better than I thought it would be, but I’m not really surprised that HBO canned it after only one season. After Curb Your Enthusiasm, Entourage, Fat Actress, The Larry Sanders Show, and all the other “behind-the-scenes” series, this one must have felt like old news right out of the gate. Plus it does take a few episodes to warm up to… but I still liked the series quite a bit. And that’s one great thing about DVD: “Failed” series get to live a second life. I suspect this one will find a few more fans down the road.

Episode List (*My favorites)

Disc 1

The Comeback (Pilot)
Valerie Triumphs at the Upfronts*
Valerie Bonds with the Cast
Valerie Stands Up for Aunt Sassy
Valerie Demands Dignity*
Valerie Saves the Show
Valerie Gets a Very Special Episode*

Disc 2

Valerie Relaxes in Palm Springs*
Valerie Hangs with the Cool Kids*
Valerie Gets a Magazine Cover
Valerie Stands Out on the Red Carpet*
Valerie Shines Under Stress
Valerie Does Another Classic Leno*

In “Single Unsullied Female,” the subconscious tone that director Barbet Schroeder creates is so densely minacious that the air feels mucilaginous around you. Though Schroeder consciously evokes Hitchcock’s “Vertigo” and Polanski’s “Rosemary’s Tot,” the movie conjures up less chivalrous precursors as well, in particular “The Pointer That Rocks the Cradle,” “Basic Instinct” and other recent psycho femme thrillers. What’s remarkable, notwithstanding that, is how engrossing the marriage of these high- and low-brow elements turns incorrect to be. The traction between its comfortable and its trashy form is precisely the key to its vitality. If it were any less seedy, it wouldn’t hold the same edgy, gut-twisting jolt.

Schroeder’s true subject here is dependency, and to explore it he puts his microscope to the relationship between two vastly different young New York women, Allison (Bridget Fonda) and Hedy (Jennifer Jason Leigh), who become roommates in Allison’s rent-controlled Upper West Side apartment. (There’s one catch: because of the rent control, Hedy has to remain officially anonymous.)

Allison is a drop-dead set of curves topped with a helmet of flame-red Louise Brooks hair whose fiance is history for sleeping with his ex-wife. Immediately, the contrasts between the roommates is blinding. Hedy is as painfully self-conscious as Allison is outgoing; as plain as Allison is ravishing; and as sullen as Allison is bright. But where Allison is romantic and naive, Hedy is a realist with a keen sense of horse hockey. Allison, who has never lived alone, isn’t even aware how shaky her sense of self is, or how much she needs others to reinforce it.

Hedy, who is the guilty surviving member of a pair of identical twins, is more than happy to act as Allison’s reflecting pool. All her life — or at least since the age of 9, when her twin was killed in an accident — Hedy has been searching for her missing “other half,” and before long, the women begin to function as two smoothly meshed parts of a single machine, protecting each other, confessing and dreaming out loud to each other and sharing each other’s clothes, perfume and tastes in movies.

Schroeder shoots these sisterly bonding scenes as if the two strangers were falling blissfully, magically in love, transforming them instantly into the most appealing and effortlessly compatible romantic movie couple of the year. But the information that we have about Hedy and that Allison doesn’t have gives this lyrical (and unconsummated) courtship a ripping edge, because we can see Hedy slowly but steadily transforming herself into Allison’s double.

Allison’s relationship with Hedy is precious for obvious reasons: By becoming her mirror, Hedy has answered Allison’s most fervent, most terrifying secret prayer. Naturally, when Hedy’s intentions become obvious — at the precise moment when Hedy marches down the stairs at the beauty parlor with her hair styled and colored identically to her roommate’s — Allison is enraged though for reasons she can’t quite articulate. And by the time she figures out that something unhealthy is going on, it’s too late.

Fonda and Leigh are brilliantly subtle in the way they modulate the flowing emotional currents between their characters. As the frumpy, mush-mouthed Hedy, Leigh is most dazzling when she looks longingly and scrupulously over Allison’s features, studying every pore, the fragile angle of her neck, her insouciant, hip-locked way of standing, like an actress working her way into character. She’s the movies’ first Method roommate.

Yet, while Leigh has the part with the flashier effects, Fonda shows how Allie blossoms under Hedy’s tireless attentions. If you look at the film as a kind of psychological vampire movie, with Allie as the parasite’s victim, you can see how enthralled the victim is by its enemy, how ready to be taken.

You can ponder “Single White Female” from a great many angles — as a lesbian power struggle, or a symbolic depiction of the soul-stealing that goes on in every relationship — but of all the possible alternatives, Schroeder and screenwriter Don Roos have chosen the simplest and the least alluring. In the end, the movie deteriorates into a predictable exercise in melodramatic slasher tactics.

Schroeder’s refusal to choose moral sides gives the psychological confrontation between the women the kind of weird, mutually accepted form of diseased codependency that Claus and Sunny von Bulow shared in his previous film, “Reversal of Fortune.” In “Single White Female,” Schroeder leaves the subtext unresolved, but manages to strike a very raw nerve.

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Having rid Tromaville of all evil, Toxie hangs out at the deception home with his visually-impaired bimbo girlfriend Claire – until the vengeful chairman of Apocalypse Inc, purveyors of toxic waste, trashes the home and lures our hero to Japan, to be reunited with his long-lost ‘father’. Discovering that dad is a disgusting drug dealer, Toxie suffers an Oedipal calamity. For the time being, the toxic revengers terrorise the Tromavillians and meander their town back into a radioactive dump. An unimaginative re-while under way of Part I, minus the capital school nerd comedy and chronic bad taste, plus some uncalled-for Japanese footage. Puerile garbage with a remembrance half-being of about ten seconds.

Reviewed by Dennis Schwartz

This glib talk-fest is based on David Rabe’s 1984 misanthropic play
about friends caught in the web of Hollywood hype. What comes through with
flying colors after the two hours of its production is the brilliance of
the magnificent ensemble cast, who are able to make the superficial lives
they are portraying seem colorful and their story worth telling. Eddie
(Sean Penn) is the hollow casting director who lives in a Hollywood Hills
luxury condominium with his business partner Mickey (Kevin Spacey); Chazz
Palminteri is cast as a second-rate actor and violently unstable ex-con;
and, Artie (Shandling) is their sleazy friend, a big shot in a Hollywood
studio who acts as their respected confidante.

Donna (Anna Paquin) is a vacuous teen-age hitchhiker that Artie brings
back to their pad so that the boys could use her as a sex pet, and she
in return gets a free place to sleep. Darlene (Robin Wright Penn) is the
dispassionate sexual interest of Mickey, but the chilling love for Eddie.
After dating Eddie, Darlene has sex with the suave Mickey who makes a pretentiously
gallant gesture of returning her to Eddie — saying his friendship means
more to him than she does. Bonnie (Meg Ryan) is the good-hearted stripper
who freely has sex with those she wants to; one of her most inglorious
moments she says, is when she had fellatio in a car while her 6-year-old
daughter is in the backseat and her daughter is traumatized by what she
sees. If the movie reaches a climax of any relevance it is because of her
disastrous date with Phil, where he loses it and throws her out of a moving
car.

The sex relationships are all disasterous and difficult to comprehend,
as the film goes overboard on dumping on all the female leads leaving no
room for them to be anything but the objects of the men’s failures and
desires.

These four unlikable men indulge us with how they prey on the weak.
Their constant need to talk and say nothing pursues them every moment of
their day. Cell phone conversations and empty self-righteous discourses
trying to explain what they are about and what trouble they are in continues
seamlessly from scene to scene. These men are not just materialists and
users of people, but are truly depraved human beings.

Eddie as the central figure of the story is probably the one who
is the most out of it, either because of his heavy cocaine sniffing or
his tremendous vanity or his inability to know the difference between what
is real and what is false. When Artie brings the sex-crazed Donna to keep
in his house as a CARE package he pounces on her, indifferent to her as
he is with everyone else he knows. The only difference is, that when he
is with his friends he pretends to listen.

Because of the sharp dialogue and the ability of the actors to get
under the skin of their characters, this morbid look at humanity seems
poignant. Its humor is in the form of sarcasm and scorn which is a mean-spirited
way to look at others, though Mickey says he is flip not sarcastic. His
retorts and dry comebacks are what he terms as examples of ‘flip humor’
used in the sense that we are all going under, so why be that serious about
life! When Eddie asks him, “What kind of friendship is this?” He responds,
“An adequate one.” He is the one who seems to be above the fray, never
getting himself dirtied by the group.

The most significant relationship is between Eddie and Phil; it was
also the oddest and the most sycophantic. Eddie’s closeness with Phil is
based on lies and a false sense of need one has for the other. It is ruptured
when Eddie finally tells him with cruel honesty, we need guys like you
in Hollywood to make the bullshit look real. You’re expendable. You do
not matter.

This is not a great drama as much as it is a black comedy that has
great acting and intriguing dialogue. There are no breakthroughs in character
that can explain misfits like these guys, who assume power positions and
misuse the trust society has in them. Dominance and establishing their
place in the pecking order is what motivates them. They compete against
each other because of their jealousy and hatred of the other. Even a long
lasting relationship between Eddie and Phil can’t be viewed as necessarily
a sincere one. Mickey tries to tell Eddie this when he mentions how cold
his relationship with Phil is. “Phil is very safe because no matter how
far you manage to fall, Phil will be lower.”

As an interesting gesture to the media age of the 1980s, Drazen uses
the TV images we view from the impulsive channel-changing of Eddie, showing
how meaningless and bland everything seems on the screen: news, wars and
football games are all manufactured as significant events by the media.
But these events all meld into insignificance in one’s daily life, with
no follow-up search for the truth. This is analagous to the lives of the
male-bonding friends who make small gains upon seeing something about themselves
reported by others, but fail to search inward to see what they really are
all about.

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This was a tough film to like and an even tougher film to hate. Its
appeal is hypnotic, in the sense that we are overhearing conversations
we shouldn’t be hearing but we can’t stop listening to them. If we met
these types in our everyday world, more than likely, we couldn’t stand
to be around them for too long. For two hours to see them on film is also
too long. An 80-minute film, one that is made more mobile, taking away
some of its staginess would have suited me just fine.