Hi there!
Peneflix Reviews has moved to a new URL - http://www.peneflix.com. All new reviews will be published there.
You can sign up to be a subscriber there by clicking on "SIGN UP HERE!" under the "About Me" blurb on the right. From there you simply choose your username and enter your email address and you'll be emailed your password. With this, you'll be able to comment and get an email whenever a new review is posted!
Please update your bookmarks! http://www.peneflix.com
Thursday, September 16, 2010
Wednesday, September 15, 2010
FLAVORABLE FOREIGN
ANIMAL KINGDON
One of the toughest, grittiest, crime films in recent years. For almost two hours you will be breathless, clutching your seat, shutting your eyes; the tension, supreme anxiety and tightly wrought writing and directing will stay with you long after you have exited the theatre. This Australian movie written and directed by David Michod won the world cinema jury prize at Sundance; not a false or insincere moment, the reality so brutal it invades and scares the psyche.
The story is told from the perspective of Joshua, “J.” (James Frencheville), a 17-year-old whose mother has just died of a drug overdose. He is taken by his grandmother into a ‘den of iniquity”, living with hardened criminals, his uncles. This coming of age film suffers no illusions as to the outcome of this teenager.
At times the dialogue is challenging but you will be introduced to one the most creative and complex characters in the archives of film history. Jacki Weaver, as J.’s grandmother, Janice, combines the cunning of Lady Macbeth, cruelty of Mommie Dearest; she is as dark as Satan on the inside but outside exudes the syrupy sweetness of a saint, converting all she encounters to her cult. Her role and how she possesses and portrays it is the quintessential example of the intrinsic essence of acting.
THREE &1/2 STARS!!!
MESRINE: KILLER INSTINCT (PART 1)
PUBLIC ENEMY NO. 1 (PART 2)
If you love French films RUN to view four hours of the most satisfying action and acting, based on the autobiography of French gangster, Jacques Mesrine, seen since “Scarface” or “Bonnie & Clyde”. It is violent but not sensational, it does not embellish the carnage, just records it.
Vincent Cassel, as Jacques, is riveting, mesmerizing, hypnotic and captivating as the “bad guy” who is impossible to resist. His dark, lethal, smoldering gaze leaves no female heart unscathed. Jacques capitalizes on his criminality; craves the television notoritity, focusing especially on his Houdini-like jailbreaks, outrageous bank robberies, and an audacious kidnapping.
The polished and brilliant directing by Jean-Francois Ricket eliminates the supercilious, concentrates almost entirely on the “close up”; every emotion flows from the actors faces to the viewer. The audience is totally engaged and sucked into the escalating pace of the story; feeling the exhilaration of the chase, escapes; titillation of the passion, pain; satisfaction and pleasure in reveling in a true tale, well told, beautifully portrayed and casted.
FOUR STARS!!!!
SOUL KITCHEN
In today’s vernacular many are referred to as “foodies”; questing after the newest restaurants (have friends who flew to Madrid, Spain for a night just to savor the the delicacies of the hottest restaurant); celebrity chefs have mega status and world wide fans.
As much as eating and the anticipation of swallowing gastronomical sensations, it is the preparation of cuisine that sings to my soul: oh, the bliss of giving birth to the perfect soufflé, brioche, reduction; the scent of a turkey, brisket or even stuffed cabbage adds character, ethnicity, and personality to a home: sterility screams with the scent of Lysol or Pine- Sol!
One of my least favorite words is “moderation”: mundane, boring, bland, implying restraint. Whereas, “indulge”, giving in, luxuriating, wallowing, satiating, gratifying, implying endless pleasures; here is a word that resonates possibilities! Indulging and placating the desires of the taste buds is one of my ten commandments! Also I crave any film revolving around food and its preparation ranging from junk food (“Diner”) to the ultimate in haute cuisine (“Babette’s Feast”) !
“Soul Kitchen” a film made by Fatih Akin’s a German born Turkish filmmaker is a ridiculous, hilarious, romp of a farce that spills upon the audience 99 minutes of joyous laughter and escape from tedium; you do not have to think, just feel. Soul Kitchen, owned by Zinos, ( devastatingly portrayed by Adam Bousdoukos) specializes in fare a notch above a diner, food that the locals adore, basic and comforting; but like all the characters goes through a monumental metamorphosis. The audience, a willing ingredient in the recipe.
The plot jumps from one scenario to another, the successful transitions extremely appetizing. Akin’s creates a roux that entwines family relationships, love and its disenchantments, music and food, at times secondary to life’s lessons, but the “soul” of the movie.
“Soul Kitchen” rests comfortably with my favorite food films: “Mostly Martha”, “Julie & Julia”, “Chocolat”, “Big Night”, “Ratatouille”, “Dinner Rush”, “Tortilla Soup”, “Like Water for Chocolate”, “Eat Drink Man Woman”. Off to the “kitchen”…….but in my wake leave….
FOUR SCRUMPTIOUS STARS !!!!
WE ARE FAMILY
A Hindi/Bollywood remake of “Stepmom” , the 1998 Hollywood film starring Susan Sarandon, Julia Roberts and Ed Harris. This is a better version starring Kajol (Maya) “the flawless mother”; Kareena Kapoor as Shreya, the somewhat imperfect, talented, gorgeous girlfriend; and my favorite Bollywood male star, Arjun Rampal, Aman, the beleaguered ex -husband torn between two extremes, family and present amorous obligations.
The plot is redundant and needs no explanation. All the actors are superb in their depictions of love, frustrations, pyrrhic battles, with no lauded victor.
It is a lovely, tearful romantic comedy, very predictable but worth watching three stars at the pinnacle of their performing prowess. And three young actors (the children) at the commencement of their careers.
The platinum scene in the film is a song and dance number; Elvis Presley’s, “Jailhouse Rock”; Elvis, the King, could never have envisioned the enchantment, levitating emotion and motion, giddiness his music could still inspire so many years after his death. Magic.
THREE STARS!!!
For Now……………Peneflix
One of the toughest, grittiest, crime films in recent years. For almost two hours you will be breathless, clutching your seat, shutting your eyes; the tension, supreme anxiety and tightly wrought writing and directing will stay with you long after you have exited the theatre. This Australian movie written and directed by David Michod won the world cinema jury prize at Sundance; not a false or insincere moment, the reality so brutal it invades and scares the psyche.
The story is told from the perspective of Joshua, “J.” (James Frencheville), a 17-year-old whose mother has just died of a drug overdose. He is taken by his grandmother into a ‘den of iniquity”, living with hardened criminals, his uncles. This coming of age film suffers no illusions as to the outcome of this teenager.
At times the dialogue is challenging but you will be introduced to one the most creative and complex characters in the archives of film history. Jacki Weaver, as J.’s grandmother, Janice, combines the cunning of Lady Macbeth, cruelty of Mommie Dearest; she is as dark as Satan on the inside but outside exudes the syrupy sweetness of a saint, converting all she encounters to her cult. Her role and how she possesses and portrays it is the quintessential example of the intrinsic essence of acting.
THREE &1/2 STARS!!!
MESRINE: KILLER INSTINCT (PART 1)
PUBLIC ENEMY NO. 1 (PART 2)
If you love French films RUN to view four hours of the most satisfying action and acting, based on the autobiography of French gangster, Jacques Mesrine, seen since “Scarface” or “Bonnie & Clyde”. It is violent but not sensational, it does not embellish the carnage, just records it.
Vincent Cassel, as Jacques, is riveting, mesmerizing, hypnotic and captivating as the “bad guy” who is impossible to resist. His dark, lethal, smoldering gaze leaves no female heart unscathed. Jacques capitalizes on his criminality; craves the television notoritity, focusing especially on his Houdini-like jailbreaks, outrageous bank robberies, and an audacious kidnapping.
The polished and brilliant directing by Jean-Francois Ricket eliminates the supercilious, concentrates almost entirely on the “close up”; every emotion flows from the actors faces to the viewer. The audience is totally engaged and sucked into the escalating pace of the story; feeling the exhilaration of the chase, escapes; titillation of the passion, pain; satisfaction and pleasure in reveling in a true tale, well told, beautifully portrayed and casted.
FOUR STARS!!!!
SOUL KITCHEN
In today’s vernacular many are referred to as “foodies”; questing after the newest restaurants (have friends who flew to Madrid, Spain for a night just to savor the the delicacies of the hottest restaurant); celebrity chefs have mega status and world wide fans.
As much as eating and the anticipation of swallowing gastronomical sensations, it is the preparation of cuisine that sings to my soul: oh, the bliss of giving birth to the perfect soufflé, brioche, reduction; the scent of a turkey, brisket or even stuffed cabbage adds character, ethnicity, and personality to a home: sterility screams with the scent of Lysol or Pine- Sol!
One of my least favorite words is “moderation”: mundane, boring, bland, implying restraint. Whereas, “indulge”, giving in, luxuriating, wallowing, satiating, gratifying, implying endless pleasures; here is a word that resonates possibilities! Indulging and placating the desires of the taste buds is one of my ten commandments! Also I crave any film revolving around food and its preparation ranging from junk food (“Diner”) to the ultimate in haute cuisine (“Babette’s Feast”) !
“Soul Kitchen” a film made by Fatih Akin’s a German born Turkish filmmaker is a ridiculous, hilarious, romp of a farce that spills upon the audience 99 minutes of joyous laughter and escape from tedium; you do not have to think, just feel. Soul Kitchen, owned by Zinos, ( devastatingly portrayed by Adam Bousdoukos) specializes in fare a notch above a diner, food that the locals adore, basic and comforting; but like all the characters goes through a monumental metamorphosis. The audience, a willing ingredient in the recipe.
The plot jumps from one scenario to another, the successful transitions extremely appetizing. Akin’s creates a roux that entwines family relationships, love and its disenchantments, music and food, at times secondary to life’s lessons, but the “soul” of the movie.
“Soul Kitchen” rests comfortably with my favorite food films: “Mostly Martha”, “Julie & Julia”, “Chocolat”, “Big Night”, “Ratatouille”, “Dinner Rush”, “Tortilla Soup”, “Like Water for Chocolate”, “Eat Drink Man Woman”. Off to the “kitchen”…….but in my wake leave….
FOUR SCRUMPTIOUS STARS !!!!
WE ARE FAMILY
A Hindi/Bollywood remake of “Stepmom” , the 1998 Hollywood film starring Susan Sarandon, Julia Roberts and Ed Harris. This is a better version starring Kajol (Maya) “the flawless mother”; Kareena Kapoor as Shreya, the somewhat imperfect, talented, gorgeous girlfriend; and my favorite Bollywood male star, Arjun Rampal, Aman, the beleaguered ex -husband torn between two extremes, family and present amorous obligations.
The plot is redundant and needs no explanation. All the actors are superb in their depictions of love, frustrations, pyrrhic battles, with no lauded victor.
It is a lovely, tearful romantic comedy, very predictable but worth watching three stars at the pinnacle of their performing prowess. And three young actors (the children) at the commencement of their careers.
The platinum scene in the film is a song and dance number; Elvis Presley’s, “Jailhouse Rock”; Elvis, the King, could never have envisioned the enchantment, levitating emotion and motion, giddiness his music could still inspire so many years after his death. Magic.
THREE STARS!!!
For Now……………Peneflix
Friday, September 10, 2010
BOLLYWOOD: A JOURNEY YEARS IN THE MAKING
In October of 2004 I took my first of five excursions to India. Finally on this my fifth trip, I was granted THE Bollywood experience I had fervently wished for.
There is a vast difference between Hollywood and Bollywood and not just the production process. Hollywood is a destination; the gargantuan 45-foot-high, 350-feet-long sign nesting in the Santa Monica Mountains, (near Los Angeles, California,) trumpets the film world (actually is referencing Hollywood Hills,Ca.) a Universal studio tour, etc. Bollywood, based out of Mumbai is amorphous and ubiquitous; it is everywhere and nowhere; its illusiveness is difficult to categorize or contain.
Approximately six months of planning went into this “production”; working with Beyond Bombay, my tour guide and countless Indian American friends, I was able to interview the best Directors that Bollywood has to offer; the Steven Spielberg, Martin Scorsese, Quentin Tarantino, Nancy Myers of the India film industry. A plethora of writers, editors and technicians graciously consented to my probing and inquisitive questions. (I think they thought I was Barbara Walters)!
It has taken six years , approximately 200 films and a myriad of books to grasp the Bollywood aesthetic; with this knowledge, my love India and its film making prowess has increased a thousand fold.
My first interview was with Indu Mirani, the senior film critic for the Mumbai Mirror; also in the process of launching her own company! She not only had the ‘scoop” on who was doing what to whom in the star circuit but was a brilliant satirist who captivated my imagination and ignited my sense of humor! She took me to the set of the upcoming Madhur Bhandarker (“Page 3”, “Chandi Bar”) flick. Madhur, young, handsome, intelligent, with enough charm to fill the new airport in Delhi gives his female protagonists a level of depth that is revolutionary in Bollywood. An added bonus was being introduced to the dark, sensual and extremely “hot’ Ajay Devgan whose latest “Once Upon a Time in Mumbai” is a box office sensation; his wife Kajol whose flame is still intense can be seen in “We Are Family”, now on India and and world wide screens, (will review eventually)!
Later that day I spent a fascinating and edifying hour with one of Bollywood’s sensational and sought after film editors, Kuldeep Mehan. Editing can make or destroy a movie; Kuldeep for 22 years has worked with the scintillating, demanding and most precocious directors; his creation process takes place in a tiny 5X5 room. Hours lived in front of a average size computer; proving genius does not need space to thrive.
Make up! An entertaining light-hearted visit with Virginia Holmes, an English woman whose quest to make it in India, as an outsider, excluded from the main stream, is gaining notoriety and acceptance along with her partner Natasha Nischol. If you can magically make an actor look better on screen than off, your destiny is carved in granite . Her 10 years of diligence has been worth the fray, both as a woman, and artist.
My interview with Aditya Sorap, a sound engineer was certainly educational; never giving much thought to “sound” except for decibel, his lesson in the dubbing process was enlightening. Also was reminded of the expression, “behind every great man, there is a greater woman”; his mother (Rajani) is his manager and at his side at all times!
Aarti Bagdi, a 32 year old female director with Rajshri Films shared her challenges in the industry; she was half way through a film being made in Japan (she learned the language) when it was shelved. Lessons learned early in one’s career are invaluable. Her star is just commencing its ascent.
Another young, beguiling director and writer Mahesh Nair spent time over a leisurely breakfast explaining the difficulties of getting an interview with recognized and established producers and the ultimate problem that all in the business face, the financial backing, the millions of rupees needed for the conception and birth of a film. Also, unlike Hollywood, Bollywood needs the star, not the story to generate a monetary interest in the project.
The major state of the art film studio, Whistling Woods International; a teaching studio studded with ambitious neophytes and stratospheric technology was massively impressive; Sudeep Menor our guide whose encyclopedic knowledge astounded us; wanted to record his every sentence. It was here that I met and interviewed the iconic screenplay writer Sachin Bhowmick (affectionally called Dada) whose career has spanned fifty years with films “Lajwanti "(1958), “Love in Tokoyo” “An Evening in Paris”; he regaled us with tales of times and stars of the past. He is an institution and has richly earned the approbation and idolatry heaped upon him.
Subhash Ghai (“Taal, “Yaadein”) and Ravi Gupta also part of the Whistling Woods conglomerate, shared their perceptions on the viewing and attendance tactics of the Indian American audience; they hypothesized that this group prefers to see films in the privacy of their homes, with family and friends, a social event. I disagreed feeling that there is nothing that can replace the cocoon like quality that a darkened theatre sheds upon the viewer; the exclusion of reality, cast aside; replaced temporarily, by the delectable, delusional domain of fantasy! But the size of the theatre attendees is shrinking, their hypothesis could be correct and tragic.
Rakeysh Mehra. The reclusive genius, the award winning director of “Rang De Basanti”; one of the most catastrophically successful films of all time starring heartthrob, Aamir Khan ; the second viewing more powerfully potent than the initial screening. Rakeysh is a unique, mystical man, an archaic esthetic in a contemporary milieu. He is a visionary who views the world with the wisdom of the past and the prescience of the future; his philosophy so pristine, so applicable it borders on the sublime. For two hours he shared his life, his dreams of a universe devoid of strife and pestilence; of all he held dear. I left knowing that I had been in the presence of not only greatness, but goodness.
Mahesh Bhatt. (“Saaranch”) The quintessential showman; an award winning director, writer, actor. He has directed 50 films, written 24, produced 13 and acted in 5. I encouraged him to increase the number in the last category; for 45 minutes he was a whirling dervish, speaking, gesticulating, expounding with passion and fervor on a myriad of topics. He is brilliant, iconoclastic, shocking and delivers his one liners with perfect pitch. His influences range from the ordinary soul to the extraordinary heart. He feels that film makers are in essence prostitutes, selling their wares at accessible rates; movies are a cure for the “cancer” that eats society, an antibiotic that can have positive short term results. At 62 he is in his prime and turns to gold all that he touches.
Soni Razdan. Actress. Director (“Nazar”). Soni is beautiful, charismatic, graciously delightful; she invited my guide and me for tea in her stunning home. She is a woman of substance, insight, and exudes confidence and professionalism in all she endeavors. She has succeeded in a male dominated arena but still struggles with acceptance and financial support for her future projects. Her talent and energy, channeled for success, inevitably will prevail. Soni is the wife and muse of Mahesh Bhatt. He dedicated his book “A Taste of Life” to Soni, “who helped me put into words those feelings that only the heart can hear.”
My taste of Bollywood, gleaned and flavored by the kindness of these spirited and gifted individuals, will linger forever on the taste buds of my mind, heart, soul and pen. My lasting gratitude to all of you bewitching, enthralling, spellbinding people, and to those who placed them in my sphere.
Penelope Steiner
There is a vast difference between Hollywood and Bollywood and not just the production process. Hollywood is a destination; the gargantuan 45-foot-high, 350-feet-long sign nesting in the Santa Monica Mountains, (near Los Angeles, California,) trumpets the film world (actually is referencing Hollywood Hills,Ca.) a Universal studio tour, etc. Bollywood, based out of Mumbai is amorphous and ubiquitous; it is everywhere and nowhere; its illusiveness is difficult to categorize or contain.
Approximately six months of planning went into this “production”; working with Beyond Bombay, my tour guide and countless Indian American friends, I was able to interview the best Directors that Bollywood has to offer; the Steven Spielberg, Martin Scorsese, Quentin Tarantino, Nancy Myers of the India film industry. A plethora of writers, editors and technicians graciously consented to my probing and inquisitive questions. (I think they thought I was Barbara Walters)!
It has taken six years , approximately 200 films and a myriad of books to grasp the Bollywood aesthetic; with this knowledge, my love India and its film making prowess has increased a thousand fold.
My first interview was with Indu Mirani, the senior film critic for the Mumbai Mirror; also in the process of launching her own company! She not only had the ‘scoop” on who was doing what to whom in the star circuit but was a brilliant satirist who captivated my imagination and ignited my sense of humor! She took me to the set of the upcoming Madhur Bhandarker (“Page 3”, “Chandi Bar”) flick. Madhur, young, handsome, intelligent, with enough charm to fill the new airport in Delhi gives his female protagonists a level of depth that is revolutionary in Bollywood. An added bonus was being introduced to the dark, sensual and extremely “hot’ Ajay Devgan whose latest “Once Upon a Time in Mumbai” is a box office sensation; his wife Kajol whose flame is still intense can be seen in “We Are Family”, now on India and and world wide screens, (will review eventually)!
Later that day I spent a fascinating and edifying hour with one of Bollywood’s sensational and sought after film editors, Kuldeep Mehan. Editing can make or destroy a movie; Kuldeep for 22 years has worked with the scintillating, demanding and most precocious directors; his creation process takes place in a tiny 5X5 room. Hours lived in front of a average size computer; proving genius does not need space to thrive.
Make up! An entertaining light-hearted visit with Virginia Holmes, an English woman whose quest to make it in India, as an outsider, excluded from the main stream, is gaining notoriety and acceptance along with her partner Natasha Nischol. If you can magically make an actor look better on screen than off, your destiny is carved in granite . Her 10 years of diligence has been worth the fray, both as a woman, and artist.
My interview with Aditya Sorap, a sound engineer was certainly educational; never giving much thought to “sound” except for decibel, his lesson in the dubbing process was enlightening. Also was reminded of the expression, “behind every great man, there is a greater woman”; his mother (Rajani) is his manager and at his side at all times!
Aarti Bagdi, a 32 year old female director with Rajshri Films shared her challenges in the industry; she was half way through a film being made in Japan (she learned the language) when it was shelved. Lessons learned early in one’s career are invaluable. Her star is just commencing its ascent.
Another young, beguiling director and writer Mahesh Nair spent time over a leisurely breakfast explaining the difficulties of getting an interview with recognized and established producers and the ultimate problem that all in the business face, the financial backing, the millions of rupees needed for the conception and birth of a film. Also, unlike Hollywood, Bollywood needs the star, not the story to generate a monetary interest in the project.
The major state of the art film studio, Whistling Woods International; a teaching studio studded with ambitious neophytes and stratospheric technology was massively impressive; Sudeep Menor our guide whose encyclopedic knowledge astounded us; wanted to record his every sentence. It was here that I met and interviewed the iconic screenplay writer Sachin Bhowmick (affectionally called Dada) whose career has spanned fifty years with films “Lajwanti "(1958), “Love in Tokoyo” “An Evening in Paris”; he regaled us with tales of times and stars of the past. He is an institution and has richly earned the approbation and idolatry heaped upon him.
Subhash Ghai (“Taal, “Yaadein”) and Ravi Gupta also part of the Whistling Woods conglomerate, shared their perceptions on the viewing and attendance tactics of the Indian American audience; they hypothesized that this group prefers to see films in the privacy of their homes, with family and friends, a social event. I disagreed feeling that there is nothing that can replace the cocoon like quality that a darkened theatre sheds upon the viewer; the exclusion of reality, cast aside; replaced temporarily, by the delectable, delusional domain of fantasy! But the size of the theatre attendees is shrinking, their hypothesis could be correct and tragic.
Rakeysh Mehra. The reclusive genius, the award winning director of “Rang De Basanti”; one of the most catastrophically successful films of all time starring heartthrob, Aamir Khan ; the second viewing more powerfully potent than the initial screening. Rakeysh is a unique, mystical man, an archaic esthetic in a contemporary milieu. He is a visionary who views the world with the wisdom of the past and the prescience of the future; his philosophy so pristine, so applicable it borders on the sublime. For two hours he shared his life, his dreams of a universe devoid of strife and pestilence; of all he held dear. I left knowing that I had been in the presence of not only greatness, but goodness.
Mahesh Bhatt. (“Saaranch”) The quintessential showman; an award winning director, writer, actor. He has directed 50 films, written 24, produced 13 and acted in 5. I encouraged him to increase the number in the last category; for 45 minutes he was a whirling dervish, speaking, gesticulating, expounding with passion and fervor on a myriad of topics. He is brilliant, iconoclastic, shocking and delivers his one liners with perfect pitch. His influences range from the ordinary soul to the extraordinary heart. He feels that film makers are in essence prostitutes, selling their wares at accessible rates; movies are a cure for the “cancer” that eats society, an antibiotic that can have positive short term results. At 62 he is in his prime and turns to gold all that he touches.
Soni Razdan. Actress. Director (“Nazar”). Soni is beautiful, charismatic, graciously delightful; she invited my guide and me for tea in her stunning home. She is a woman of substance, insight, and exudes confidence and professionalism in all she endeavors. She has succeeded in a male dominated arena but still struggles with acceptance and financial support for her future projects. Her talent and energy, channeled for success, inevitably will prevail. Soni is the wife and muse of Mahesh Bhatt. He dedicated his book “A Taste of Life” to Soni, “who helped me put into words those feelings that only the heart can hear.”
My taste of Bollywood, gleaned and flavored by the kindness of these spirited and gifted individuals, will linger forever on the taste buds of my mind, heart, soul and pen. My lasting gratitude to all of you bewitching, enthralling, spellbinding people, and to those who placed them in my sphere.
Penelope Steiner
Thursday, September 9, 2010
CAIRO TIME; SWITCH: THE CONCERT
In the theatres also On Demand!
Sweet, lovely film involving two decent, good and interesting people accidently thrown together in the exotic, confines of Cairo, Egypt. Patricia Clarkson, with her magnetic charm plays Juliette, the stranded wife of a U.N. official. She is escorted and introduced to the mysteries and religious practices of Cairo by Tareq (Alexander Siddig, who smolders in the role).
This is a film about temptation and how one reacts to it. Are we destined for all our needs to be satiated or satisfied by one or several individuals? Are there different kinds of love and do we have a choice in whom we love?
This movie addresses those choices and succeeds in leaving the audience in a retrospective mood; not judging but questioning.
TWO & 1/2 STARS!!
SWITCH
Normally, I would have skipped this soft, cuddly movie but was persuaded to attend, by a not-so-soft but cuddly nonetheless, individual; I smiled, laughed and was vastly entertained throughout this entire joyful film. Jennifer Aniston (if only she would change her hairstyle, or part it on the side) plays the 40 year old Kassie whose biological alarm has sounded and she shares with her best friend Wally (played by the ever so adorable Jason Bateman) that she plans on having a child; the “donor” Roland ( the dynamically disarming if somewhat annoying, Patrick Wilson).
The obvious scenario, hilariously depicted, captures the audience and we embrace our captivity.
The movie sparkles with the introduction of Sebastian, played by the irresistible, beguiling, captivating, Thomas Robinson; a precocious, introspective 6 year old; the movie loses its luster with his absence. An older Sebastian is played by Bryce Robinson, the real life older sibling of Thomas!
Cameo performances by Jeff Goldblum and Juliette Lewis give substantial substance and richness to this light hearted comedy.
“Switch” off all your cares and woes, feel the highs, forget the lows;
Exit knowing you’ve experienced a THREE STAR!!! SHOW!
THE CONCERT
Go for the love of music, especially Tchaikovsky
For the love of a unique story: Russian/French connection
For the love of beauty, ethereal Melanie Laurent (“Inglorious Basterds”)
For the love of film; Radu Mihaileanu, has directed a pristinely polished gem
For the love, and the healing powers of escape
For the love of a movie deserving and receiving…….
FOUR STARS!!!!
For Now………..Peneflix
Sweet, lovely film involving two decent, good and interesting people accidently thrown together in the exotic, confines of Cairo, Egypt. Patricia Clarkson, with her magnetic charm plays Juliette, the stranded wife of a U.N. official. She is escorted and introduced to the mysteries and religious practices of Cairo by Tareq (Alexander Siddig, who smolders in the role).
This is a film about temptation and how one reacts to it. Are we destined for all our needs to be satiated or satisfied by one or several individuals? Are there different kinds of love and do we have a choice in whom we love?
This movie addresses those choices and succeeds in leaving the audience in a retrospective mood; not judging but questioning.
TWO & 1/2 STARS!!
SWITCH
Normally, I would have skipped this soft, cuddly movie but was persuaded to attend, by a not-so-soft but cuddly nonetheless, individual; I smiled, laughed and was vastly entertained throughout this entire joyful film. Jennifer Aniston (if only she would change her hairstyle, or part it on the side) plays the 40 year old Kassie whose biological alarm has sounded and she shares with her best friend Wally (played by the ever so adorable Jason Bateman) that she plans on having a child; the “donor” Roland ( the dynamically disarming if somewhat annoying, Patrick Wilson).
The obvious scenario, hilariously depicted, captures the audience and we embrace our captivity.
The movie sparkles with the introduction of Sebastian, played by the irresistible, beguiling, captivating, Thomas Robinson; a precocious, introspective 6 year old; the movie loses its luster with his absence. An older Sebastian is played by Bryce Robinson, the real life older sibling of Thomas!
Cameo performances by Jeff Goldblum and Juliette Lewis give substantial substance and richness to this light hearted comedy.
“Switch” off all your cares and woes, feel the highs, forget the lows;
Exit knowing you’ve experienced a THREE STAR!!! SHOW!
THE CONCERT
Go for the love of music, especially Tchaikovsky
For the love of a unique story: Russian/French connection
For the love of beauty, ethereal Melanie Laurent (“Inglorious Basterds”)
For the love of film; Radu Mihaileanu, has directed a pristinely polished gem
For the love, and the healing powers of escape
For the love of a movie deserving and receiving…….
FOUR STARS!!!!
For Now………..Peneflix
Sunday, September 5, 2010
THE AMERICAN
In the last few years whenever someone asks me if I have seen the latest Julia Roberts or in this instance George Clooney film, my negative kites take flight. Last night I saw “The American” and my kites are now another ring around Saturn. It is vying along with “Sex and the City 2” for first place as one of the worst films of 2010; on second thought, it ranks second; nothing could be worse than “Sex and the City 2”!
It is silent, senseless, at times sensuous but ultimately sinks into septic of sludge!
“The American” does win first prize as my briefest review; my worthy intention to save all of you!
ONE STAR! (The cinematography is luscious.)
For Now……………Peneflix
It is silent, senseless, at times sensuous but ultimately sinks into septic of sludge!
“The American” does win first prize as my briefest review; my worthy intention to save all of you!
ONE STAR! (The cinematography is luscious.)
For Now……………Peneflix
Thursday, September 2, 2010
MAO'S LAST DANCER & STEP UP 3D
MAO’S LAST DANCER
Based on a true story, this film sheds light on Chairman Mao’s cultural revolution; a revolution that eliminated personal identity and creativity; if possible the differences in male and female would have been expunged, procreation relegated to a Petri dish.
Out of this morass of sameness rises Li Cunxin (portrayed proactively and sensuously by first timer, Chi Cao); taken as a boy by the Party to be trained as a ballet dancer; a tool, a foil to be used as propaganda; one of the most painful scenes, but telling, is the bastardazation of the true meaning of the ballet into a charade and show of force representing the warped and brain- washed Chinese culture of 1966-76. A video tape of Baryshnikov’s gravity- defying feats, banned and relegated to the status of contraband.
The dance scenes are exhilarating; Chi Cao (a principal with the Birmingham Royal Ballet) flies off the screen; his portrayal as a loyal party member, ripped from the conformity of Communist China and placed as an exchange student in the Huston Ballet is joyously believable and entertaining. The ultimate display of his amazing agility is his performance in Stravinsky’s “The Rite of Spring” (Graeme Murphy’s stunning choreography); the glittering gem in a crown of gorgeous ballet sequences.
Secondary roles, especially Bruce Greenwood as Ben Stevenson, the director of the Houston Ballet and Kyle MacLachlan, playing Charles Foster, an immigration attorney are solid and rich performances by confident and seasoned actors.
For the love of classical dance and the triumph of an individual over a totalitarian society this film garnishes……
THREE & 1/2 STARS!!!
STEP UP 3D
From the classical to the contemporary, this movie with its street dancers is fun, fabulous, dazzling, and like a magnet pulls, surrounds and smothers the audience with its ebullience, and aerobic triumphs. The three dimensional technology is captivating and enhances the effects of dancing, literally with the stars, over the rooftops, through the streets, alleys and parks of New York City. 2010’s version of “Singing in the Rain”.
The plot is predictable and trite but it hardly matters. For two hours suspend belief, “go with the flow” let your ageless spirit join the corps and dance, fly, forego reality and bask in the Peter Pan magic of knowing that the competition and prize are yours!
THREE STARS!!!
For Now………….Peneflix
Based on a true story, this film sheds light on Chairman Mao’s cultural revolution; a revolution that eliminated personal identity and creativity; if possible the differences in male and female would have been expunged, procreation relegated to a Petri dish.
Out of this morass of sameness rises Li Cunxin (portrayed proactively and sensuously by first timer, Chi Cao); taken as a boy by the Party to be trained as a ballet dancer; a tool, a foil to be used as propaganda; one of the most painful scenes, but telling, is the bastardazation of the true meaning of the ballet into a charade and show of force representing the warped and brain- washed Chinese culture of 1966-76. A video tape of Baryshnikov’s gravity- defying feats, banned and relegated to the status of contraband.
The dance scenes are exhilarating; Chi Cao (a principal with the Birmingham Royal Ballet) flies off the screen; his portrayal as a loyal party member, ripped from the conformity of Communist China and placed as an exchange student in the Huston Ballet is joyously believable and entertaining. The ultimate display of his amazing agility is his performance in Stravinsky’s “The Rite of Spring” (Graeme Murphy’s stunning choreography); the glittering gem in a crown of gorgeous ballet sequences.
Secondary roles, especially Bruce Greenwood as Ben Stevenson, the director of the Houston Ballet and Kyle MacLachlan, playing Charles Foster, an immigration attorney are solid and rich performances by confident and seasoned actors.
For the love of classical dance and the triumph of an individual over a totalitarian society this film garnishes……
THREE & 1/2 STARS!!!
STEP UP 3D
From the classical to the contemporary, this movie with its street dancers is fun, fabulous, dazzling, and like a magnet pulls, surrounds and smothers the audience with its ebullience, and aerobic triumphs. The three dimensional technology is captivating and enhances the effects of dancing, literally with the stars, over the rooftops, through the streets, alleys and parks of New York City. 2010’s version of “Singing in the Rain”.
The plot is predictable and trite but it hardly matters. For two hours suspend belief, “go with the flow” let your ageless spirit join the corps and dance, fly, forego reality and bask in the Peter Pan magic of knowing that the competition and prize are yours!
THREE STARS!!!
For Now………….Peneflix
Monday, August 30, 2010
GET LOW
GET LOW
This wondrous, magical platinum finished film, with its ingenuity, elegant simplicity, creatively crafted cinematography, but primarily the wisdom and purity of its message,
spoke volumes in a whisper.
Loosely based upon a rough, tough, recluse with a linen-lined face and a laser sharp tongue, just barely existing in 1938; Felix “Bush” Breazeale residing with his constant companion, a beloved mule in rural Tennessee decides to be present at his own funeral gala; his curiosity lusting for the sermon his preacher will deliver over his decaying corpse! The idea is titillating and hilarious; everyone at times wants to know how they are spoken of when not present. Over twelve thousand showed up, greedily hoping to win the lottery; ultimately inheriting Bush’s property upon his actual death.
Aaron Schneider (2004, Academy Award for his short film “Two Soldiers”) at 40, has given birth to a masterpiece, five years in the gestation process, worth every minute of massive effort. This film does not have a false second, a moment of artifice; its’ intricately woven plot addresses the deepest, darkest, finest emotions a person can have; there is a well of passion, pain, purgatory and finally a redemption; the championing of a soul in the final round of life. Seared into memory is a man called Felix.
Felix, hypnotically played by Robert Duvall (at this point my choice for the Best Actor Award) is tortured to the point of oblivion; his pristine but sacred prison is a monument to his beloved secret; testimony to the brilliance of his performance, we do not pity his situation but have indomitable respect for his decision. Robert Duvall, with a lifetime of iconic roles has achieved a depth of such magnitude in this film, that it will be years before another “Felix” can test his or anyone else’s dramatic proficiencies.
Bill Murray, as the undertaker Frank Quinn, sinks his creative teeth into this unconventional, slyly alcoholic, wise but disillusioned man and imbues him with insurmountable dignity. Gone is the slap stick humor Mr. Murray is known for, replaced with an intellect and a quarry of knowledge that obviously years of desire and drilling went into its formation. An award winning display of his multitudinous talents.
Sissy Spacek as Maddie Darrow, is beautiful, insightful, kind and seasoned; she softens the harshness of the males, but her story is the cement that binds and holds the truth of Felix’s enforced confinement. Ms. Spacek is gifted and has always shown great discretion and astuteness in her role selections.
Lucas Black, as Buddy Robinson, Frank Quinn’s assistant is wonderful. He the perfect foil, conscience to Quinn’s acerbity and harsh realism; his youth, freshness, naivety and eventual growth added a touch of warmth, joy and humor to the evolving story.
This quiet, potent and vibrantly alive film left the audience knowing the truth and validity of the words, ‘you can’t help who you love”.
I could not help but love this film.
FOUR & 1/2 STARS!!!!
For Now…………Peneflix
This wondrous, magical platinum finished film, with its ingenuity, elegant simplicity, creatively crafted cinematography, but primarily the wisdom and purity of its message,
spoke volumes in a whisper.
Loosely based upon a rough, tough, recluse with a linen-lined face and a laser sharp tongue, just barely existing in 1938; Felix “Bush” Breazeale residing with his constant companion, a beloved mule in rural Tennessee decides to be present at his own funeral gala; his curiosity lusting for the sermon his preacher will deliver over his decaying corpse! The idea is titillating and hilarious; everyone at times wants to know how they are spoken of when not present. Over twelve thousand showed up, greedily hoping to win the lottery; ultimately inheriting Bush’s property upon his actual death.
Aaron Schneider (2004, Academy Award for his short film “Two Soldiers”) at 40, has given birth to a masterpiece, five years in the gestation process, worth every minute of massive effort. This film does not have a false second, a moment of artifice; its’ intricately woven plot addresses the deepest, darkest, finest emotions a person can have; there is a well of passion, pain, purgatory and finally a redemption; the championing of a soul in the final round of life. Seared into memory is a man called Felix.
Felix, hypnotically played by Robert Duvall (at this point my choice for the Best Actor Award) is tortured to the point of oblivion; his pristine but sacred prison is a monument to his beloved secret; testimony to the brilliance of his performance, we do not pity his situation but have indomitable respect for his decision. Robert Duvall, with a lifetime of iconic roles has achieved a depth of such magnitude in this film, that it will be years before another “Felix” can test his or anyone else’s dramatic proficiencies.
Bill Murray, as the undertaker Frank Quinn, sinks his creative teeth into this unconventional, slyly alcoholic, wise but disillusioned man and imbues him with insurmountable dignity. Gone is the slap stick humor Mr. Murray is known for, replaced with an intellect and a quarry of knowledge that obviously years of desire and drilling went into its formation. An award winning display of his multitudinous talents.
Sissy Spacek as Maddie Darrow, is beautiful, insightful, kind and seasoned; she softens the harshness of the males, but her story is the cement that binds and holds the truth of Felix’s enforced confinement. Ms. Spacek is gifted and has always shown great discretion and astuteness in her role selections.
Lucas Black, as Buddy Robinson, Frank Quinn’s assistant is wonderful. He the perfect foil, conscience to Quinn’s acerbity and harsh realism; his youth, freshness, naivety and eventual growth added a touch of warmth, joy and humor to the evolving story.
This quiet, potent and vibrantly alive film left the audience knowing the truth and validity of the words, ‘you can’t help who you love”.
I could not help but love this film.
FOUR & 1/2 STARS!!!!
For Now…………Peneflix
Subscribe to:
Posts (Atom)
Posts
