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Reviewed by Dennis Schwartz

Advertised as a disturbing true story documentary about Doug Bruce
who on July 3rd, 2003, during the day, found himself on the F train heading
for Coney Island and suddenly realized he couldn’t remember anything–his
name, his occupation, where he lived, or his family. The film, which plays
out as the real film noir Memento, is by Rupert Murray, a friend of the
amnesia victim, who puts things on film that are fascinatingly scary but
much too sketchy. Murray becomes witness to his friend’s efforts to try
and put his life back together, and reveals the intensity the young man
goes through to reinvent himself. Several newspaper stories have questioned
the veracity of this documentary, but the filmmaker swears Bruce’s amnesia
is real. If it’s a hoax (which it very well might be), you can count me
as one of those who would nevertheless love him for it in the way Orson
Welles did those fakers in “F for Fake.” The heart-breaking mystery story
follows the subject 21 months after his accident and finds he still has
not regained his memory. But the wealthy yuppie seems to be a much nicer
person since going after art than when he was a Wall Street businessman
in his former life; he has learned how to get on without his lifetime memories
and seems to be a gentler person than when he was a jet-setter (as evidenced
by home movies taken before the accident).

The frightened young handsome and articulate man is staring out at
the seedy Coney Island section without a memory or identification, and
turns himself into a police station. He’s then brought to the Coney Island
Hospital ER and sent to the psychiatric ward. Luckily he’s identified two
days later by reaching a random phone number in his pocket, and learns
from the Long Island girl, Nadine, he dated only a few times that he’s
Doug Bruce–a 35-year-old retired British-born stockbroker with a fancy
Noho loft, who at 30 decided to study photography full-time. The information
doesn’t jar his memory, but it takes us on a wild ride to his past and
how he deals with this situation. His former girlfriend of eight years
Magda returns from Poland to take care of him with TLC and is puzzled because
he’s really a different person; he learns his mother died and flies to
Spain to meet his well-to-do father Ivan and sister Marina for the first
time since the accident, but can’t establish any warmth to them he might
have had before; he then visits his hometown of London and reunites with
his old mates but doesn’t recognize them and doesn’t seem to be interested
in keeping up the friendship, as he is clearly the same man but no longer
the same person. The filmmaker, someone Bruce knew in London 15 years ago,
is one of the Brits he meets again in London; the other is the Aussie Narelle,
who becomes his live-in girlfriend.

I don’t exactly know where the filmmaker is going with this sad tale,
that has a happy ending–that is, if you go along with the subject being
cool with not having his memory back. Whatever, I found this unsettling
story to be gripping. It raises but offers no answer to the philosophical
question of — Who are we? The way I look at it, even if it’s a hoax (the
film could have used doctor reports on his amnesia treatment to erase some
of my doubts, though I still believe it’s not a hoax), it’s still a film
that caught my interest and made me think more intently of who the hell
am I. 

A Film Procession by James Berardinelli


Combined States, 1999


U.S. Release Girlfriend:

beginning 1/99 (limited)

Operation Length:

1:41

MPAA Classification:

R (Violence, making love, nudity, profanity)

Theatrical Aspect Ratio:

1.85:1

Cast:

James Woods, Melanie Griffith, Vincent Kartheiser, Natasha Gregson Wagner


Director:

Larry Clark


Producers:

Stephen Chin, Larry Clark, James Woods


Screenplay:

Christopher Landon and Stephen Chin, based on the book by Eddie Little


Cinematography:

Eric Edwards


U.S. Distributor:

Trimark Pictures

The ironically-titled

Another Day in Paradise

can best be described as a "feel bad" movie. The director's intent is to leave audience members drained and shaken by the bitter content. However, while films like


Happiness


and


The Celebration


readily accomplish that aim,

Another Day in Paradise

falls short. The movie doesn't have much of an impact, and therefore fails to haunt viewers on their trips home from the theater. It aims to be powerful and gritty, but merely succeeds in being dreary and grungy.

Bobby (Vincent Kartheiser) is a teenage thief whose idea of a big score is emptying the coins out of a cigarette vending machine. When he gets caught in the action and is brutally beaten by a security guard, his girlfriend, Rosie (Natasha Gregson Wagner), is forced to call in medical help. Enter "Uncle" Mel (James Woods), who arrives with advice and drugs to dull the pain. Later, after Bobby has recovered, he and Rosie join Mel and his girlfriend/partner, Sid (Melanie Griffith), in a life of crime. When Mel asks Bobby if he's ready "to graduate from the world of screwdrivers and vending machines to some really serious larceny," the budding criminal can't refuse the lure of big money. At first, everything is great, with Mel and Sid acting like parents to their youthful friends, but, after a drug deal goes bad, the relationship becomes strained.

The audacity evident in Larry Clark's debut feature,


Kids


, is absent here. With the exception of one raunchy sex scene (which features actor Vincent Kartheiser nibbling on Natasha Gregson Wagner's nipples), Clark's direction is tame. He's clearly emulating early Scorsese (it's impossible to miss the

Mean Streets

influence), but, since he's about the umpteenth film maker to do this, the style comes across as tired and derivative. The same can be said about the material. There's nothing inherently new in the surrogate father/son relationship between the older, experienced Mel and the younger, impressionable Bobby, and Clark doesn't do much to invigorate it. One needn't look any farther than Robert De Niro's


A Bronx Tale


to see what can be accomplished with similar themes.

The performances are variable. Vincent Kartheiser (who was dreadful in the 1997 Bottom 10 candidate,


Masterminds


) and Natasha Gregson Wagner (recently in the opening sequence of


Urban Legend


and most of


Two Girls and a Guy


) are credible, although Gregson is the more compelling of the two. Unfortunately, Clark either indulges or encourages James Woods' natural impulse to go over-the-top, resulting in a startlingly uneven portrayal from the veteran actor. There's one excruciating scene when Woods is bouncing up and down in the back seat of a car, flailing his arms and shouting. Then there's Melanie Griffith, whose role as crime-girl Sid is outside of her microscopic range. Griffith's squeaky voice and unconvincing acting occasionally endangers the audience's ability to take this movie seriously.

Another Day in Paradise

's tone is relentlessly downbeat. Not only is nearly every scene filmed in dimly-lit conditions, but frequent use is made of hand-held shots (to emphasize chaos) and grainy film stock (to give a low-budget, documentary-like feel). With the exception of a great one-liner ("I need an enema"), there's virtually no intentional comic relief throughout, although Woods' inappropriate scenery-chewing offers occasional moments of laughter. Overall,

Another Day in Paradise

feels like just one more movie about drug deals, street violence, and the strange ties that bind low-level criminals together. Clark's unpolished style lends the film an edgy quality, and there's enough energy to keep most viewers involved for the duration (at least those who aren't scared off by the bloodshed), but sketchy character development and a recycled plot limit the movie's overall effectiveness.

© 1999 James Berardinelli

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Reimagining William Shakespeare’s “Macbeth” as a hateful comedy set around a burger dump in early ’70s rural Pennsylvania, Grub Streeter-director Billy Morrissette’s initiation is a creative fantasy that doesn’t quite deliver. Making allowance for all the sinister machinations of the source material, this bloody tale of greed, treachery and murderous ambition comes up surprisingly short in terms of suspense and dramatic butt. As comedy, it fares a mean superior thanks to a top-drawer irregularity, but “Scotland, Pa.” offers more mild amusement than definite laughs, tagging the slick, colorful production as a minor commercial proposition.

Morrissette’s basic ploy of time-warping the Scottish play’s husband-and-wife hatchet team to the early days of the fast-food boom seems rife with possibility for sharp-edged satire about American consumer culture. But aside from some easy digs at McDonald’s, there’s no attempt to give this jokey exercise any contemporary relevance, resulting in a film that blithely struts along with the sense that it’s a whole lot smarter and funnier than it actually is.

What rescues the enterprise to a large extent is a quietly wicked central performance from Maura Tierney as lovely but ruthless and cunning Pat McBeth, who sees herself and terminally unmotivated, under-the-thumb husband Mac (James LeGros) as “underachievers who have to make up for lost time.”

Pat has grown tired of sweating over fry racks and grill plates for the couple’s boss Norm (James Rebhorn), who plans to revamp his restaurant as a drive-through diner that he hopes will herald the dawn of a fast-food empire. Eager to rule her own empire, Pat convinces Mac to fake a restaurant robbery and remove Norm from the picture.

Of all the ingredients in “Macbeth,” the three witches would appear to provide the greatest possibilities for an imaginative update. But Morrissette’s solution — two fey hippie potheads (Timothy Speed Levitch and Andy Dick) and a fortunetelling babe (Amy Smart) — is perhaps the film’s lamest and most irritating invention. The trio’s continued appearances before Mac have an unnerving effect on him, but he gets the job done, if not quite according to plan, shoving Norm to a suitably gruesome death in boiling oil.

Norm’s not-too-bereaved teenage sons (Tom Guiry and Geoff Dunsworth) — one a rebellious aspiring rocker, the other a show-tune-loving gay boy — are happy to offload the restaurant onto the McBeths. Paying for it with cash lifted from Norm’s safe, the couple swiftly transforms the place into a gold mine.

But their newfound wealth and happiness is threatened with the arrival of shrewd big city investigator Lt. McDuff (Christopher Walken). While suspicion at first points away from the McBeths, their old friend and fellow burger-flipper Banko (Kevin Corrigan) has some nagging doubts, necessitating more bloodshed.

There’s a lot to enjoy here in Tierney’s razor-sharp turn, LeGros’ lazy, likable slacker persona, Walken’s canny vegetarian cop and the frequently witty dialogue. But as the mayhem intensifies and sanity gets tested — with Mac increasingly falling prey to disturbing visions and Pat tormented by her own demons — the unevenly paced film loses rather than gains momentum, often seeming poised to kick into high gear but never quite making the switch.

Actor turned director Morrissette displays the requisite skills behind the camera, delivering a visually snappy production with help from d.p. Wally Pfister’s quirky camera angles, along with the candy colors of production designer Jennifer Stewart’s amusingly cheesy ’70s decor and David Robinson’s retro-cool costumes. Anton Sanko’s jaunty tango tunes and some bubble gum period pop provide a lift to the soundtrack.

by Peter Hall Mar 9th 2010 // 12:03PM

Filed under: Fandom, Comic/Superhero/Geek

I tease a weird relationship with
going on auspicious under. I think I'm getting measurable affection palpitations in apprehension of its world premiere at SXSW on Friday, yet I've refused to accompany any trailers for it beyond the initial teaser. After hearing the raving responses from a handful of people who caught the
at Dupe-Anaesthetize-a-Thon last December, I don't covet to dare risk having any of its big moments spoiled in a trailer. That said, I solely tore through reading the outstanding behind-the-scenes compendium that is
Kick-Ass: Creating the Comic, Making the Movie
.

Given that I'm trying to avoid intelligent too much surrounding the cinema ahead of time, reading a work about the making of it written by Quality Millar, the man who not only helped produce the film, but wrote the source material it is based on, puissance seem a tad counter-productive. It wasn't, though. In a uncanny pathway it only fed my hunger more.

Creating the Comic, Making the Film

is fellow an initial hit of crack quest of a behind-the-scenes junkie be fond of me and now I'm hooked, jonesing to get my next

Backlash-Ass

fix.

I'm a monumental fan of all the movie cord-ins Titan Books has been putting out done with the last few years, explicitly
Star Trek: The Art of the Film
, but I contemplate

Drop-kick-Ass

may just be their maximum effort work yet. It's plainly an indispensable resource as a replacement for production communication, but what makes it so enjoyable is that unlike their previous draw-ins, which were written by third parties,

Creating the Comic

was written by Millar himself. Unfaltering, it may lose a bit of neutrality because of that, but Millar's unassuming, casual, and honest panache of column constitute the whole aversion come across like a personal conversation between the reader and the writer.

And just as you'd believe from a personal conversation, it's right with confessions. This isn't a by-the-numbers retrospective foil down of how

Kick-Ass

the funny and

Drop-kick-Ass

the movie came together; this is Millar's personal sentiment on what it all meant to him. It opens with his own anecdote of how

Punt-Ass

, which tells the story of a unsophisticated man who throws caution to the windiness and tries to grow a superhero despite not having any superpowers, and how he and a bosom buddy literally planned to evolve into superheroes when they were in high school. These beginnings are rife with submissiveness, but they also help explain the "this is my story and I'm successful to order it my way" independent vital spirit of the comic; a intent that extended to the moving picture thanks to Matthew Vaughn and his willingness to not in the least compromise the in.

It's no hush-hush that

Kick-Ass

was made outside the studio system, but what this book dives into is just how much of an impact the studio-uninhibited territory had on the production. Not no greater than was Millar more enmeshed with than he at all times expected to be (he assumed his organizer responsibilities would match his contributions to

Wanted

, which were generally to get a five minute phone call from the studio every other week asking what he thought about a judgement they had already made) but nearly every step of the process reads as notwithstanding it were made in simpatico collaboration, which is wonderful to learn considering how commonly you come across stories of writers being shut abroad of a film after they've sold the rights to producers impartial in a writers' input.

But if reading relating to the drama from decent Millar's point of consider isn't interesting enough for the duration of you, the publisher also remand together a span of interviewers to approach everybody from the film's director and its stars to the comic's artist, John Romita Jr. and get their derogatory reactions to everything from costume design to casting to how much of a fanboy they may be. As with everything else in the enlist, these interspersed segments aren't just dry, unbiased information, but open and honest reactions. I say that not to imply that other behind-the-scenes books are by crook dishonest, but I've come across only one that are as impish and as endearing as

Rebound-Ass: Creating the Comic, Making the Movie

.

As undoubtedly as offering goes, the book boasts the standard calibre of excellence one should expect from Titan's movie tie-ins. Each age is overflowing with things to absorb, be they main body text blocks, comical sketches, frames from the smokescreen, or behind-the-scenes stills. Think about of it as a unique making-of supplemental you've seen on a Blu-ray disc, only in book form.

Again, my hat is off to Titan recompense putting faulty one censure of a behind-the-scenes film earmark. I doubt this will be the last time they do such a tremendous job and I have no idea what their next entitlement is going to be, but the geek in me can't wait to get his hands on it. The next fix you're at a Barnes & Noble, or wherever you buy books, pull a twin of

Creating the Comic

misguided the shelf and by a hair’s breadth flop at the end of one’s tether with the pages. You'll see exactly what I'm talking about in no time.

Or check

this

out!

Reviewed by Dennis Schwartz

French director Eric Rohmer’s third film is a coming-of-age story,
comically looking at the human condition. It is seen through the innocent
eyes of the wise beyond her years 15-year-old, Pauline (Amanda Langlet),
who is left by her parents to finish off the waning days of her summer
vacation with her older cousin, the very attractive blonde, Marion (Arielle
Dombsale). Marion is about to get a divorce is staying alone at her brother’s
vacation house in Granville, a beach resort along the Brittany coast which
is a train ride away from Paris.

The beauty in the film is in the natural way the slight story evolves
and how tense it gets when love and desire become the main topics that
are burning in these very ordinary characters’ minds. Marion tells Pauline
that her marriage was a mistake because she couldn’t love her husband,
that she mistook being faithful for love. That she is now waiting for love,
for something to burn inside her; that love has to be natural, it can’t
be forced. Marion comes on as the sophisticated and worldly person, who
really understands what love is. Pauline, who is a virgin, states that
she doesn’t know what love is, but to love someone you must know them.

When the girls go to the beach, which is a few miles from their house,
Marion runs into a handsome man, Pierre (Pascal Greggory), whom she dated
before she married. He’s her mirror image, as they could be taken for brother
and sister. They haven’t seen each other for 5 years and seem glad to have
met again, as he is interested in giving her lessons on windsurfing and
she wants him as a friend. It seems like these two are a natural to hit
it off, as Pierre is eyeballing her and is drooling over her perfect body.
But an acquaintance of his, Henri (Fedoor Atkine), comes along the beach
and introduces himself to them. He’s a divorced ethnologist, who has a
5-year-old daughter temporarily vacationing with him. He soon manages to
invite them all over to his beachfront house for dinner, even though Pierre
tries to get rid of him and stop this dinner date.

At Henri’s, they drink wine and talk in a longwinded manner about
love and relationships. Henri comes on as a free spirit, living only for
the moment. Pierre can only state that love for him is to be found only
with someone he could trust. Rohmer is making sport of the adults and how
phony they are. As Pierre is dying for Marion’s love, even if he doesn’t
trust her. While Marion rejects Pierre and jumps into bed that same night
with the snake-like Henri, not seeing that he doesn’t love her. The only
one who talks with a straight tongue is Pauline.

The next day at the beach, the unsophisticated Pauline is spotted
by a handsome boy her age, Sylvain (Brosse), who is vacationing with his
parents. They get a chance to know each other when Henri invites them over
to his house to listen to some records and they end up dancing together.
When Pauline feels more comfortable with him and Henri leaves them alone
to run some errands, they go into the bedroom and fool around in the bed.
Marion stops in to see Henri and sees them together in bed, but leaves
without saying anything. At home she tries to warn Pauline about boys like
that who chase after girls, but Pauline says she can make up her own mind.
Meanwhile, Pierre feels both women have made bad choices in men and jealously
speaks against Henri to Marion.

The big event in the film is when Marion and Pauline go on a day
trip sightseeing to the tourist spot at Mont St-Michel, and Henri sees
this as an opportunity to go swimming with the lady who sells candy on
the beach (Rosette). She’s someone he has had sexual relations with before,
and is thrilled by her imperfections. Since Sylvain can’t meet Pauline
on the beach he goes back with Henri and the candy seller to Henri’s. Pierre
purposely passes by Henri’s house and sees the candy seller in the nude
in Henri’s room, and later on Marion comes by looking for Henri and spots
the naked woman. To explain the nude lady Henri tells her that she’s with
Sylvain, but his lie upsets everyone and exposes how artificial he is.

The charm in the story is in how despite all the gossip and lies
and perversions Pauline sees, she grows up that summer and sees through
all the deceits of the adults. Rohmer does it without a strong plot, but
by his ability to have the characters play out who they are in a realistic
way. The rejected lover Pierre is a bore; Henri is a sly lover using fancy
words to manipulate others; Marion is someone who doesn’t understand herself
and is feeding herself lies about who she is and what she wants. Only Pauline
comes through this vacation with a worthwhile summer romance.

The pleasure in the film is in its simplicity. The natural way it
was filmed makes it a pleasant viewing experience, probably reminding the
viewer of some similar experience they might have had on the beach.

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The Enquirer
? March 9, 2010

A truck driver and his passenger were hurt Tuesday when their tractor-trailer overturned on the ramp from northbound Interstate 275 to westbound Interstate 74 in Whitewater Township.

Here's how the Hamilton County sheriff's office describes the accident:

A 2007 Freightliner operated by Gene B. Tinson, 73, of Wellington, Ky., was traveling northbound at 8:27 a.m. on the ramp from I-275 to westbound I-74 when the truck?s load shifted.

The weight shift caused the rig to exit the left side of the roadway and turn over onto its left side. The load consisted of one large bundle of coiled steel weighing approximately 32,000 pounds.

Tinson was taken to University Hospital by the Whitewater Township Fire Department for treatment of injuries. He is listed in good condition. A passenger riding in the tractor was also taken to University for treatment of injuries received in the crash. The passenger is identified as Phyllis Tinson, 68, also of Wellington, Ky. She is also listed in good condition.

The ramp was shut down for approximately three hours.

Alcohol and/or drugs were not a factor in the crash. Tinson was cited for failure to maintain reasonable control of a motor vehicle.

Truck Overturns on Incline from I-275N to I-74W
(00:33)

The driver and a passenger had to extricated and were taken to area hospitals after a truck carrying bear up from AK blade overturned on the incline from I-275N to I-74W Tuesday morning.
http://news.cincinnati.com/section/VideoNetwork?bctid=70992549001
http://bcdownload.gannett.edgesuite.net/cinci/35546123001/35546123001_71001591001_truckthumb.jpg?pubId=35546123001
Truck Overturns on Ramp from I-275N to I-74W
The driver and a passenger had to extricated and were captivated to enclosure hospitals after a odds carrying steel from AK steel overturned on the ramp from I-275N to I-74W Tuesday morning.
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00:33

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Ghosts of Mars

Director:


John Carpenter

Mars, 2176. Voluptuous cop Ballard (Henstridge) is quizzed by superiors after returning to base, apparently the exclusive survivor of a mission to retrieve chancy crooked 'Desolation' Williams (

Ice Cube

) from a distant mining outpost. Flashbacks reveal Ballard's team arriving at the camp to discover a area of slaughter, the colonists having been taken over by a recondite ancient force and turned into cannibal zombie psychopaths. The talkie is itself possessed by powerful older spirits: the spectres of Carpenter's back catalogue. Buffs will have a respond to day ticking off the self-homages, starting with the duration mounting – expressly 200 years after his breakthrough

Battery on Precinct 13

. It's casual to knock the hole-ridden plot, the

Blake's 7

effects, and the dated racket that is Carpenter's own synth-metal score. But to raise ‘ it seriously would be to about the point: the crazily complicated flashback structure and entertaining hardboiled parley are all the more amusing for being played all-out-on straight.

Year One movie download bluray

James Christopher

A minor woman named Amelia (Liane Balaban) comes to New Orleans in search of her missing sister, Muriel (Shalom Harlow). She stays with her distracted aunt Lois (Ally Sheedy) and green niece (Josephine Martin). With the better of Lois’s neighbor, a run-down, retired private-eye named Folding money (Clarence Williams III), Amelia focuses on the only clue to Muriel’s disappearance: a computer with its hard allude wiped out. With Bill’s help, Amelia makes telephone with a drawling, philosophically-inclined young man career himself Eddie Mars–a man reachable only in the disembodied realm of Cyberspace. It’s perceptible that Eddie Mars has had some contact with the missing woman, but the nature of their relationship is unclear. As Amelia tries to ferret out down Eddie, other Creative Orleanians pierce the dead ringer: a termite control expert (David Arquette) holed up in a tented quarter; his brother, Tom, an casualty-prone fireman (Karl Geary); and a recently widowed music teacher, Hannah (Gloria Reuben). There’s also a trio of squatters (Isabel Gillies, Nic Ratner and Quintron) who had been living with Muriel, and local R&B legend Ernie K-Doe, presiding over his Mother-in-Law Lounge. The version hinges on an encompassing-the-corner sci-fi postulate, involving a computer technology that allows people to propose alternate identities over the Internet. The movie’s dreamlike orientation emerges from loyal people and places. As various characters cross paths, a larger story takes profile-a chronicle of isolated souls searching for uniting in a contemporary wilderness.