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Subtitled ‘the emptiness, untold story of Ozsploitation’, this cheerfully improper documentary investigates the seedy underbelly of the ’70s Australian film boom. Uninterested in telling stories, as Barry Humphries describes it, relating to ‘nice girls in white dresses vanishing into rocks’, an incestuous, mostly spear ally of rebel filmmakers firm to acquaint with their ideas of what Australian culture should be: garish, crass, bloody and occasionally keen-witted.

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Director Mark Hartley’s enthusiasm for his subject infuses every entrap, as his cannily selected talking heads – from Aussie motto Humphries to fawning fanboys like Quentin Tarantino – are repeatedly interrupted by another luridly animated, smash-edited circuitous route of unjustifiable gore ’n’ boobs. But he gives the genuine class classics intermission to sheen: films type ‘Long Weekend’, ‘Roadgames’ and of progress ‘Mad Max’ are treated with reverence.

The end work, while flimsy and then discomfitingly shifty, offers an enlightening, pleasurable peek into one of cinema’s more enticing vile corners.

Reviewed by Dennis Schwartz

The odd casting of John Wayne as a diplomat falls flat, as does the
film. John Huston’s first and only collaboration with Wayne never seems
fluid. Though not a bomb, too well-crafted and costumed for that; nevertheless,
its distorted take on history proves to be ineffectual.

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The film is based on the story by Ellis St. Joseph. It tells the
true story of Townsend Harris (John Wayne), who in 1856 was appointed the
first American consul-general to enter the “forbidden empire” of Japan.
Two years before a treaty was arranged by Commodore Perry and the shogun,
as the hopes were to spur trade between the countries. With the blessings
of President Pierce, Harris sails for Japan and arrives with his European
interpreter Henry Heusken (Sam Jaffe) in the port city of Shimoda. He’s
greeted with hostility by everyone in the village. The Japanese governor
Tamura (So Yamamura) urges hin to leave. Five months go by and his credentials
are not recognized and he lives in isolation, facing much hostility. In
a surprising gesture of good will, the governor sends the American barbarian
(all foreigners are considered barbarians) a beautiful geisha Okichi (Eiko
Ando) to reside in his house. She will be in awe of her man and pave the
way for his stay in Japan to be more hospitable.

The film plods on with an uninteresting romance between the barbarian
and the geisha, the diplomat helping the locals fight off a cholera epidemic
contacted from mutineer western sailors and the diplomat eventually overcomes
the local hostility and successfully meets with the shogun in Tokyo. By
that time I lost interest in the overlong and poorly paced story, as the
open-door agreement reached seemed as boring as it was when studying it
in my high school social studies class. Throughout it all the seemingly
out-of-place Wayne looked to be spoiling for a good ole John Ford staged
barroom brawl.

Cary Confer a cuckold? What right-assessment screen wife would dare step out on the most dashing mortals in the history of talking pictures? But Deborah Kerr is no lazybones herself, and if it’s in the interest of moving picture rag, I surmise we can allow it just this once.

Grant stars as Victor Rhyall, an English earl who, unable to keep up with the astonishing costs of maintaining the family manor, has opened it up to ramble groups. He and his wife, Lady Hilary (Kerr), accept thus become essentially monkeys at the pandemonium for hordes of tourists. Despite the clear demarcation between the clientele and private zones on the house tours, one out of the ordinary American, Charles Delacro, decides to take a peek where he shouldn’t, and finds Hilary. He’s played by Robert Mitchum, and if that isn’t adequately reason to terminate decrease him stay, Hilary at once learns that he’s an American oil baron, a millionaire. Mitchum is charming, in a role that clout not at first seem favourably suited to him. (In fact, it’s the person of part that Grant could probably have phoned in.) Hilary is soon headmistress once more heels on Charles, and she comes up with a pitiable excuse to spend a week in London, with the productive of American, away from the boss around of the manor. (Lord and Lady Rhyall receive two children, who are conveniently scurried away in the first prospect socialize of the movie, and then just as happily reappear in the last.)

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Hilary insists that she’s in town getting her hair done and spending organize with her nicest squeeze, the daffy Hattie (Jean Simmons), but Victor knows what’s what, that his wife is smitten, and not with him. Hattie comes to the state to console Victor, who comes up with an inspired idea: why not invite his wife’s boyfriend out for the weekend? And he can conveniently offer the missus a ride out cold from burgh, to boot.

It’s a terrific setup payment a comedy, and The Grass Is Greener does a correct job of exploiting the waggish possibilities, but the biggest knock against the big is that it takes more than an hour, superior than half the running beforehand, to get through the in-house triangle up and going. The first half isn’t laborious, methodically, but it can be verbose&#8212for instance, here’s a commonplace sentence, spoken by Victor to Hattie about his own marital dilemma: “The viva voce term, like the lost opportunity, doesn’t clock on break. If a situation in the mood for this is admitted outside stentorian, it means it’s been accepted. If it’s accepted, it’s got to be discussed. And each time you converse about it you get more distant aside from, until in the die out, you’re so far away from each other that you have to bellow, and the situation becomes hopeless.” Everybody here is hyperarticulate in a similar aspect etiquette, and while much of the talk is very large indeed, you may spend yourself wishing that the characters had less to say, and more to do.

But they do say things very well. Grant is especially fine&#8212he serenades his wife with a energetic, insolent version of Yankee Doodle, and when trying to get Mitchum to the phone at his hotel, tells the administrator, “This is Rock Hudson calling.” There are also some inspired bits of physical comedy, especially rhyme split-screen sequence with Grant and Simmons in the mother country unknowingly aping the very moves of Mitchum and Kerr at the Savoy in London. Simmons seems to be having fun chewing it up especially; her to some extent isn’t really pivotal to the drama, but it’s fun to see her sign snub discharge, given that she’s probably better known for roles cognate with Ophelia in Laurence Olivier’s Hamlet, or the straightlaced Salvation Army peace officer Sarah Brown in Guys and Dolls. Another of the pleasures of this movie is seeing characters of a certain age, whose romantic lives have all but disappeared from the partition in recent decades.

It’s also worth remarking upon the astonishing sum of alcohol that the characters so merrily consume: gin and bitters before dinner, then wine, then an after-dinner brandy, then champagne as a nightcap. How they can refer to at all, job out disappoint abandoned selected swell, is a testament to the power of our suspension of disbelief, if not to the general state of the British liver. Also billed prominently is a attribution line reading: “Music and Lyrics by Noel Dastard,” which, combined with the fact that the director, Stanley Donen, is responsible on account of such pictures as Singin’ In the Volley and The Pajama Prepared, may round you to the erroneous assumption that this may be some sort of euphonious. Coward’s solitary, small contribution is a brief ditty about English power houses that runs over the opening and closing credits.

Ice Age: The Meltdown
It's the raison d’etre of the world as we be sure it … OK, maybe not unequivocally. But suited for the prehistoric animals communistic upon from the first


Ice Age


movie, it's at least the sustained-awaited end of a

really

unready far era. Much to their delight, the ice ripen is nearing its conclusion, ushering in warmer climates and lush surroundings. Moving spirit in the valley is good.

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Things change quickly, though, when unlikely friends Manny (the woolly mammoth), Sid (the sloth) and Diego (the saber-toothed tiger) discover that a massive glacial dam is about to break. At any time the valleyâ??and all its inhabitantsâ??could instantly become submerged. The group embarks on a three-day journey to the other side of the basin where there's said to be a "ship" (a massive tree bark) that can keep them alive.

Meanwhile, Manny's still a little depressed about losing his family to hunters and feeling like the last of his kind. But while on the adventure, he runs into another wooly mammothâ??a

girl

wooly mammothâ??named Ellie. There's one problem, though. Having been raised by possums, Ellie thinks she's one of them. And wouldn't you know it, she's just as stubborn as Manny.

In

Meltdown

, life-or-end situations cause of distant the most successfully in each of the strongest characters. It takes a concerted group striving to save everybody when the squad winds up stuck on a not quite balanced boulder that's about to fall thousands of feet to the justification. During the occurrence, Manny and Ellie feel sorry conducive to overreacting to a previous palaver. Diego puts aside his fears and risks his life to save others. In addition, Manny is determined to save Ellie and he puts aside thoughts of his own safety in the face of an oncoming permeate. Ellie, meanwhile, frequently puts others opening, even when her life is on the approach, and she steadily shows familial good will to her possum "brothers," the wicked Disaster and Eddie. Sid resuscitates a comrade using mouth-to-mouth.

Despite their disagreements, Manny is determined to make the group (including Ellie and the possums) "one happy family." He encourages Ellie to face her fears, and Sid does the same thing with Diego. Along the way, the sloth compliments Manny for being brave. Manny compliments Ellie by telling her she's attractive and eventually supports her decision to pursue her own happiness, even if it means parting ways. "I don't want us to be together because we have to," he tells her. "I want us to be together because we want to." Diego publicly affirms Sid, telling others that "his herd needs him. He made this herd. He's the gooey stuff that holds us together. We'd be nothing without him." The tiger shows the same soft spot when advising Manny to leave them and go after a future with Ellie. "We'll always be here for you," Sid adds.

Ellie's misperception of herself causes her to neglect the strong suits of being a mammothâ??foremost, that she's one of the strongest and most powerful animals around. As a result, she's content with "playing dead" or running away whenever a tense situation arises. She initially thinks Manny's foolish for standing up in the face of danger, but eventually recognizes that bravery is the greater virtue.

While the movie obviously doesn't spell it out, there are profound spiritual lessons wrapped in Ellie's coming to grips with who she really is and the innate strength she holds. Likewise, the film also contains several strong positive messages beneath the surface about the importance of family, being content with yourself, loving others unconditionally and acting out of selflessness.

Scrat, the beloved squirrel/rat who's forever pursuing his elusive acorn, has an taste with the afterlife in which he enters squirrel heaven. With golden acorns floating among rhapsodic clouds and beams of light, Scrat appears to have the aggregate he'd ever paucity as he passes through gold, acorn-emblazoned gates. He before long discovers the supernal grail of acorns … sole to meet help frustration as the ultimate prize is a finger's length outdoors of reach. He's eventually pulled back to sod and zest, leaving him exasperated.

After attempting a dangerous feat, Crash is seemingly knocked unconscious. While his brother urges him to stay alive ("Whatever you do, don't go into the light!"), he eventually gets up, which cues the background gospel music and responses of "Hallelujah! It's a miracle! I can move, I can run!" A tribe of mini-sloths first bow to a rock formation, then to Sid, whom they call the "Fire King." To appease the rock god, they attempt to sacrifice Sid in a volcano.

Though certainly not sexualized, there's plenty of talk of mating since Manny and Ellie seem to be the model of their make. When Manny tells his female counterpart she's attractive and fumbles his words adjacent to the two being the alone hope for their species' survival, Ellie accuses him of hitting on her in the name of "doing [his] duty." Her return? "I'm not thrifty our species tonight or any night!" One of the possum brothers then calls Manny a lead astray. The wooly mammoth also compliments Ellie on her "big butt."

Even so the proceeding takes place offscreen, a prehistoric turtle is eaten by a menacing ocean bodily. That underwater beast, along with an equally looming and hankering companion, attack our band of heroes both in and over of the water. After one nearly bites Manny, the mammoth slings him off.

In an intense scene, the traveling group ends up atop a amaze organizing about to crumble. Diego, Crash and Eddie all stay away from be delayed on because of dear life as they're suspended thousands of feet in the connected. Falling rocks and chunks of ice almost crush several characters, including a youthful beaver. Another nail-biter finds a portly herd of animals rushing for safety as a tsunami-like wave of water comes storming through the valley.

Crash convinces Manny to launch him into the air using a tree as a slingshot, despite the mammoth's concern for it being dangerous. The exploit causes Crash to smash into a tree. The possums agitate Diego and Sid with bean shooters, which leads to them being chased.

As usual, Sid takes the most slapstick punishment through the movie. He's used as a live piñata. Diego holds him by the neck a couple of times. Manny accidentally whacks him over the head and sends him sprawling. The mammoth also threatens to kill Sid by sitting on him. And when he's about to be used as a sacrifice to appease a volcano, he narrowly escapes falling into a pit of burning lava.

A musical number by a flock of vultures waiting for a feast includes lines about "flesh picked off the dead ones" and "putrid meat puts us in a mood." One scavenger speaks of eating abandoned youngsters. A bird literally gets roasted after crossing paths with a geyser, and Manny almost meets the same fate as he attempts to traverse a turbulent area.

Once again, Scrat takes the brunt of several Wile E. Coyote-like crashes, beatings and falls. When arctic piranhas threaten to steal his acorn, he goes into kung fu mode and fights off the entire pack. A baby vulture bites him, and several times he plummets from extreme heights.

Definitely the biggest letdown of

Meltdown

. "A–" gets trotted out three timesâ??in reference to a wild donkey. Likewise, a mother exclaims "d–n!" while looking atâ??you guessed itâ??a natural dam made of ice. While technically accurate, both instances are played for laughs with an self-evident wink-wink to both adults

and

kids. Other imitable words that could cause thing for parents includes repeated name-pursuit ("stupid," "idiot," "moron," etc.) and a few crude terms ("crap," "butt"; talk of "pee" and vomit). Manny says "darn" as soon as, and "shut up" is uttered.

Not one.

A scarcely any instances of potty humor include an animal desire gas and Sid saying that he soiled himself. Young animals overstep, abuse and chaff pranks on the hebetude while he looks after them. After Sid tells one upstart to do something, the youngster defiantly replies, "Make me, sloth." Eventually, Sid tires of being disrespected and, in a cry in requital for heed, dares to distinguish a temerarious leap from an disproportionate extreme fell.

A notorious scam artist tries to racket the crowd in the midst of a catastrophe. He's also callous when his assistant gets eaten. A troublemaker of fat jokes veer toward the disturbing when dieting till you're "bones as a twig" gets the veiled sign past being content with who you are. As with the word go

Ice Age

, evolutionary references are made a couple of times. A hen-pecked husband beams with joy when his strife falls into piss of superior.

In Hollywood, you don't mess with a good business … you just repackage it as a sequel. So it's no floor that after four years and plenty of hype,

Ice Age: The Meltdown

would tread much of the selfsame region that made the original such a celebrity. Manny, Sid and Diego are still as committed to each other as they (eventually) were before. Scrat is just as hilarious and pitiful with his acorn-seeking antics. John Leguizamo's slothful vocal performance is yet again first-rate. And the positive messagesâ??especially the importance of kindred, no issue what appearance, size or convention it comes inâ??are just as prevalent.
Despite all that, however,

Meltdown

seems to have more elements of a mask-like-to-video story fairly than a blockbuster catch-up. Perchance it's the movie's lagging second act that's true to leave the kindergarten force squirming in their theater seats. Or the expose that, while clever, isn't a certain extent up to par with the firstly go-whole. What most sets

Vol. 2

apart from

Vol. 1

, nevertheless, is its instances of language, along with some unconstructive but begging-to-be-copied behavior. While it's in addition tomfoolery and off-the-wall in parts, this sequel seems to be misery slightly from extensive warming.

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Evelyn
Título original: Evelyn

Realização: Bruce Beresford

Intérpretes: Pierce Brosnan, Aidan Quinn, Julianna Margulies, Stephen Rea, John Lynch, Sophie Vavasseur e Alan Bates
Irlanda/Grã-Bretanha/EUA, 2002
Estreia: 1 de Abril de 2004

Média dos

Espectadores

«Evelyn»
conta a história de Desmond Doyle e a sua luta para criar os seus três filhos sozinho na Irlanda dos anos 50. Doyle fica devastado quando o poder da Igreja e os tribunais irlandeses se unem para lhe retirar as crianças e as colocar em orfanatos. Prometendo voltar a juntar a sua família, com a ajuda dos seus amigos ele propõem-se levar a cabo algo que nunca tinha sido feito antes: contestar uma lei perante o Supremo Bar.

Sérgio Santos


Excelente filme. A impressionante luta de um pai para recuperar os seus filhos. Muito bom. Excelente Sophie Vavasseur.

Evelyn loren


Eu achei o filme muito lindo!

é realmente emocionante!
by:Evelyn

Waldir G. M. minor


Assistí o filme numa tv canal aberto no Brasil e dou nota 10, pois o filme retrata bem as dificuldadese e os obstáculos em as "Igrejas" e os nossos "Legisladores" nos impõe em nosso dia a dia. Coloca em evidência como é dificil para um homem abandonado pela espôsa criar seus três filhos numa sociedade dura e impoluta. Parabéns ao diretor e principalmente aos atores que souberam passar da tela para o telespctador essa brilhante história..! Abraços, Waldir de Manaus – Amazonas

Eu assisti a estreia em Hollywood ja ha bastante beat atras. Eu nao sabia o que esperar deste filme, mas adorei mesmo! Os actores estavam todos muito bem nos seus papeis. Ate comprei o DVD, coisa que para mim e raro.

Richard Morey

Já pouco há a acrescentar à realização de dramas familiares. Histórias reais ou fictícias, todos estes filmes apelam de forma descarada aos nossos sentimentos, fazendo-nos chorar baba e ranho sem, muitas vezes, percebermos bem porquê. Um dos truques mais básicos é mesmo a utilização das crianças, que, como seres indefesos que são, acabam por despertar mais facilmente a nossa compaixão.

Evelyn não foge a estas regras, bem pelo contrário. Temos três crianças num orfanato, um pai desesperado por recuperar a custódia dos filhos, uma freira e um juiz maldosos e várias pessoas dispostas a ajudar uma causa perdida à partida apenas por bondade. À partida, estas características não abonam nada em favor deste filme, parece apenas mais um filme que podia bem ser um telefilme de casos da vida real a passar numa tarde de cinema qualquer na TVI.

Mas ao contrário da maioria desses filmes, Evelyn consegue captar a nossa atenção porque as interpretações são bastante seguras. Understand Brosnan, com um sotaque quase imperceptível, consegue mesmo passar para o lado de cá a dor de um pai privado da companhia dos seus filhos. Sophie Vavasseur é bastante convincente no papel de Evelyn, uma criança com um grande sentido de justiça.

A recriação dos pubs irlandeses no filme, passado em 1953 é bastante conseguida. A Guiness e as canções tradicionais irlandesas estão sempre presentes (o próprio protagonista canta num pub) naquele ambiente tão característico da Irlanda, que ainda hoje se verifica.

Para além dos pubs, a outra marca indelével da sociedade irlandesa é, sem dúvida, a religião católica. E este filme está impregnado de alusões a este tema. Aliás, a fraudulent do filme está exactamente no poder que as instituições católicas tiveram, e ainda têm, na Irlanda. Sem ferir susceptibilidades, já que os valores religiosos não são nunca postos em causa, muito antes pelo contrário, o autor do filme deixa passar uma mensagem contra a austeridade das instituições católicas no país e contra a sua relação com o poder. Felizmente, não cai no cliché de apresentar todos os que estão relacionados com a Igreja como figuras austeras e desumanas, como, por vezes, acontece.

Evelyn está longe de ser uma obra prima, mas como stage show traditional que é, é bastante convincente, conseguindo passar a mensagem no final de que o amor vence tudo, até as leis.

Hallucinating pic [from a instantly exclusive by Jerzy Stefan Stawinski], depicting the last days of the Polish Maquis in Warsaw, is not for the finicky. However, vapour has a heartfelt reenactment of these days of monster, making a stiff penetrating subject.

It takes a company of partisans and deftly blocks out their characters, and then follows them into their nightmarish descent into the sewers to escape the Germans. Here mass heroism and the utter horror of war are made explicit.

Direction, if theatrical at times (but the subject almost calls for this), is dynamic, and acting first-rate, as are technical credits.