Streaming Easy Rider Online

February 9th, 2010 by akeelah8369038
Streaming Easy Rider Online. Streaming Easy Rider Online.

Movie Title: Easy Rider
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“Easy Rider” directed by Dennis Hopper, produced by Peter Fonda and written by Peter Fonda, Dennis Hopper and Terry Southern was a low budget film ($340 grand) that surprisingly became a box office smash. The story is about two hippys (Fonda & Hopper) who buy choppers with cash they’ve gotten from a drug deal. They ride cross country heading to Louisianna (to Mardi Gras) and on their way meeting different people, visiting a commune of hippys, ending up in jail, going to a brothel, taking acid etc. The ending was disturbing in 1969 and still is, even in these days of non-stop violence in our country. This 35th Anniversary Edition is identical to the regular dvd version of “Easy Rider” with the exact same bonus material “The Making-Of Documentary “Easy Rider: Shaking The Cage” (feat. interviews with Fonda, Hopper, etc.) and an audio commentary by Dennis Hopper plus production notes. The bonuses for this 35th Anniversary Edition are a cd which includes eight songs (do not confuse this cd with the actual “Easy Rider Soundtrack” as it is not). The songs are “Born To Be Wild” – Steppenwolf, “The Weight” – Smith, “Nights In White Satin” – The Moody Blues, “Wasn’t Born To Follow” – The Byrds, “San Francisco Nights” – Eric Burden And The Animals, “The Pusher” – Steppenwolf, “It’s Alright Ma (I’m Only Bleeding)” – Roger McGuinn and “Get Together” – The Youngbloods. The 80 page book “Easy Rider” by Lee Hill is interesting and includes all you’ll ever want to know about the film. The bottom line is, if you already own the regular dvd of “Easy Rider” I’d pass on this 35th Anniversary Edition. Of course, if you don’t own this classic film it may be worth the extra cash for the bonus cd and book.

I bought this title because I am a motorcyclist. If you have never ridden one and want to know what it is like, this movie will take you on a virtual road trip from Los Angeles through beautiful mountain scenery down to Mardi Gras in New Orleans. The two stars, Peter Fonda (Wyatt) and Dennis Hopper (Billy), head out on the highway to the motorcycle anthem, “Born to Be Wild” by Steppenwolf, and there are some fantastic camera shots of them crossing the Colorado River. If that scene doesn’t get your blood pumping, then you can be assured that motorcycling isn’t for you.

There’s a lot more to this movie than just scenic motorcycling and sixties music. A typical biker movie has a weak plot, usually involving some gang terrorizing the local community. Before creating this movie, Fonda and Jack Nicholson (George), as well as some of the other cast members all appeared in such flicks. By contrast, “Easy Rider” is really a mold-breaker for its type, because it involves a lot of social commentary.

Early in the movie, Billy and Wyatt pick up a stranger along the highway, who turns out to be the leader of a commune. He is a dead ringer for John Lennon, when he had his Sgt. Pepper look. Wyatt and the stranger get along well, but Billy is suspicious of the hitchhiker. They take him back to his commune and hang out for awhile there with the people. Wyatt fits in OK, but Billy is not generally respected. Many of them make fun of Billy. For some time, this was very hard for me to account for, since Billy is a freak.

I did not gain any insights into this until I read the book, “Riders On the Storm” by Doors’ drummer, John Densmore. In it, he explains how the Doors, who were from Los Angeles, were not invited to play the Monterey Pop Festival. San Francisco flower power was about peace and love, and Jim Morrison, the lead singer, gave off an aggressive vibe. Densmore also said that some famous flower power musicians did not want to be publicly associated with The Doors. For instance, John Sebastian agreed to play harmonica on “Roadhouse Blues,” but he would not allow his real name to be used in the credits. I believe that the difference in values between Los Angeles and San Francisco is crucial to understanding why Billy was rejected by the commune members.

Wyatt and Billy are not from San Francisco, and they do not wear psychedelic clothing. They hail from Los Angeles, and they are preoccupied with freedom–not peace and love. Billy has a real aggressive vibe to him. He is very confrontational, and he doesn’t get along well with others. Wyatt is more of a seeker. He is open-minded and interested in what other people have to offer. They’re both rich, but not through legal or reputable means. They smuggled some cocaine across the border from Baja, Mexico, and then they sold it for a huge profit. The two are friends, and they seem to have accepted each others strengths and weaknesses.

The movie makes some clear statements about sixties social values and morals. In other cases, it brings up issues, but doesn’t reach any firm conclusions. The movie ends tragically, but it isn’t an indictment of flower power. Billy had rejected peace and love, and had he not reacted in the confrontational manner that he did, things might have turned out differently. This movie is about the tradgedy and failure of hate–and the need for peace, love, and understanding. I give this movie a five-star rating because it documents the issues of the times so effectively. As a motorcycle movie, this production is practically unbeatable because it has captured the spirit of motorcycling so well.
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Watch Xanadu – Magical Musical Edition Online

February 9th, 2010 by akeelah8369038
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Movie Title: Xanadu – Magical Musical Edition
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All the people that say the plot makes no sense, and they didn’t know what was going on, need to read this review. To truly enjoy this movie, you have to be educated on black and white musicals, poetry, and greek mythology.
First of all I will explain the origins of the word “Xanadu”.
In 1797 there was a poet named Samuel Coleridge who lived by himself. He was asleep, after taking a dose of Opium and washing it down with alcohol. In his dreams appeared a beautiful woman, (he later called her a muse) reciting a beautiful poem. Alas, a knock at the door from a friend broke him out of his dream, and he rushed to his table to write down what he could remember. The result was a poem titled “Kubla Khan”
In the poem, there is a heavenly place called XANADU, where there is eternal love and happiness. The word has sense been adopted to mean “heaven”.
The movie is based on this poem. When Kira appears to a bewildered Gene Kelly, and tells him to call his new club XANADU, and together they recite the first lines of the poem KUBLA KHAN.
Now the reason Gene Kelly is in this film is because Kira has appeared in his life in the 1940’s. She returns to help him out again, to inspire his dying ambitions, by inspiring him to open another music club. However he will need someone young and hip to help him out. So Kira also inspires Sonny Malone to quit his bland painting job and use his talents towards his dream. Therefore Kira brings the 2 men together.
Xanadu is a remake of a film titled “Down To Earth” starring Rita Hayworth. Rita also appears as a muse to inspire people to follow their dreams.
Gene kelly’s character “Danny McGuire” was actually the name of Gene’s character in the 1944 film “Covergirl”.
If you are well read on Greek Mythology, you will know there are muses who represent the arts. They are called for in times of need to help inspire an artist’s dying ambitions. Therefore the opening scene where the muses are coming out of the wall serves as a window between their world and ours.
Another good tidbit to know about the film, Andy Gibb was suppose to be the male star, not Michael Beck. Andy apparently was in ill health at the time and couldn’t be insured by the company.
Xanadu was a film I saw as a 9 year old child. I had been severely injured and could not walk. I was hopeless and depressed. Then one night, Xanadu made its cable debut. I was carried into the living room to watch it (I couldn’t walk). I had never seen Olivia Newton-John before, and I was mesmerized by the most incredible woman I had ever seen, dancing and singing through this magical fairy tale. My life had been hum drum up to that point, and the magic, glitz, animation, and music from this film made me want to get up. I was so anxious to walk and rollerskate (LOL) that I was up in no time walking around. I will forever love this movie and how a “muse” called Olivia inspired me to live again.

I LOVE this movie. Why talk about how bad it is? Because it is VERY bad. It’s so bad it’s good! Whose idea was it to merge fading musical star Gene Kelly with 80’s pop sensation Olivia Newton John??? Throw in some ELO music and some neon special effects and you’ve got XANADU. Oh, it’s fabulous!! Roller skating, off-the-shoulder 80’s dresses, long hair, leg warmers…. This is XANADU. The storyline is negligable. You just wait till they get to the next song! The choreography is that Kenny Ortega 80’s stuff. Look for Matt Latanzi (Olivia’s ex) as a dancer in the background. By the time this movie gets to it’s roller-skating in the round finale, you will be rocking! (The dancers/rollers chant: “Xanadu! Xanadu!” and perform some sort of choreographed hand-jive movements! I want to learn those moves!) Enjoy it, y’all. Like the song says: “Now that you’re here, now that you’re near … Xanadu!”
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The Limits of Control Movie Streaming

February 9th, 2010 by akeelah8369038
The Limits of Control Movie Streaming. The Limits of Control Movie Streaming.

Movie Title: The Limits of Control
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The Limits of Control

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dir Jim Jarmusch 2009

5* Haunting neo-noir

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I just saw a preview of this film last night, and … wow. Very Jarmuschian, very Doyle’ish. Yes, legendary Wong Kar-Wai cinematographer Chris Doyle shot this, and it was an inspired fit. Visually, the film is beautiful as we tour Spain from the cities to the remote country, yet at the same time brooding and ominous.

Which was suitable, since the overall effect of this film is definitely noir. Mysterious goings on, presumably unlawful; suspenseful music; a morally ambiguous central character; the aforementioned brooding and ominous landscape; even a flamenco rehearsal reminiscent of the almost obligatory nightclub scenes in classic noir.

Structurally, the film is simple. A Lone Man (played with impeccable detachment by Isaach De Bankole’) arrives in Madrid. He is contacted, given brief and cryptic instructions, and goes on to make the next contact. At each stage, he orders two espressos, “in separate cups”, opens a matchbox to find a folded square of paper with a few numbers and letters on it (coordinates?), which he memorizes and destroys; he has some task such as “find the violin”; he hangs out for a while, always ordering two separate espressos, until he is contacted, given a pass phrase; has a few cryptic words and exchanges his matchbox for a new one, and sets off on the next phase. At each stage there is a small cast of sharply drawn characters, cameos really … the flamenco performers; or a cafe waiter impatient with his habits; or the beautiful, naked, and seemingly very willing (though we’re never sure just what game she’s playing), young woman (Paz de la Huerta) who shows up in his hotel room. Few, if any, characters other than the Lone Man are here for more than a few minutes.

This structure seems like it should quickly get tedious, but instead the tension builds palpably. What, we wonder, is really going on, even as we are presented with a few clues. Why all the complex charades? Is this criminal, political, or…? Fortunately, we eventually do get to resolution of sorts, although a suitably ambiguous and head scratching one. I know I’m definitely looking forward to a chance to view this one again.

“The Limits of Control” is another not-so-wholesome creation of Indie-film master Jim Jarmusch, a filmmaker well known for his boring films. A good kind of boring, mind you. I’m referring to the stillness of life, the observation of insignificant details and idiosyncrasies of individual lives, ideally displayed in appreciating the things around us that are inattentive. Ingenious, and a whole lot of “I” words. Watching his earlier films was a challenge at first, but once I got into the curve, I appreciated the whole “little things” aspect he slowly crafts.

What kind of story he slowly crafted in “Limits”? It’s about a man in a suit named, since no character in this movie has a name so I made ‘em up, “Suit Man.” Issach de Bankole plays in his first Jarmusch-English-speaking role as Suit Man, an otherwise silent character on a mission. He receives a matchbook, he waits….Then he meets a character, receives another matchbook, he waits…. Later, he meets another character, receives yet another matchbook, he waits…. Goes on a countryside, meets yet another character and receives another matchbook once again, he waits…. “Limits” can be essentially called “Ticket Booths: The Movie”, getting a ticket from a ticket booth to stand in line to another ticket booth. There is a point to this film, but it didn’t have to elaborate for something obvious.

To me, this is Jim’s most inaccessible film to date. It’s very arduous, which is not a problem in itself since that’s a common pacing in his own films, but it is when the film’s so desolate. There are many sequences with no dialogue, almost none of which are fresh and gazing to make these scenes interesting. “Limits” certainly test my patience on how uneventful and redundant certain scenes are.

His last film, “Broken Flowers”, developed a bit of mystery in itself for anyone who saw the movie and know the ending (or lack therefore), but in this film, it’s downright enigmatic. What are those pieces of paper mean before Suit Man ate them? Who are the syndicate that captured a certain character? What does he see in the art portraits, premonitions or a part of himself? Stuff happens that I don’t understand and yet the main character does, and this movie wants me to go along with the journey; it simply did not let me in on the experience.

What I like about Jar Moosh’s best films is how the characters interact with the banality of the scenery, quirks and all. Here, all the side characters just speak in proverbs. Redundancy is also an issue with the cast, very few of them have a distinct personality. Only in what they wear (like Tilda Swinton’s blonde attire) make them stand apart, but looks don’t mean much in this film.

I admit, though, the “Barton Fink”-esque enigma did work in the movie’s favor at times. In the beginning, there was a scene between Suit Man, Spanish Messenger and his translator in which the subtitles display what the Spanish Messenger said and the translator saying exactly what the subtitles read. Was it amusing or unnecessary? I think it’s both just for absurdity’s sake, plus the end of the conversation was funny. I did understand the “two coffee in separate cups” motif, I thought it was a nice touch. I laughed at how Suit Man got inside a secured building; it’s never the “how”, it’s the spontaneity of the result which was funny. The moment between him and Bill Murray’s character was a pleasant payoff. Also, there’s nothing wrong with having a character always in full-body nudity, even if there’s no reason other than the director needed to include one, like in every other film of his.

I did like “The Limits of Control” to some degree. The music was rightfully transcendental, and the Jarmusch touch of stillness and oddities are there, and it has to be to prevent it from being boring, the bad kind. His films are niche for sure, but this film is so artsy that it limits its appeal from enthusiastic viewers. This is not the film to start appreciating the filmmaker.
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Stream Traitor Online

February 8th, 2010 by akeelah8369038
Stream Traitor Online. Stream Traitor Online.

Movie Title: Traitor
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The movie is called “Traitor,” and the implication is that the main character, played by Don Cheadle, has betrayed his own country. But it’s nowhere near that simple. Some think he’s a traitor to the United States while others think he’s a traitor to Islam. He may be a traitor to his own beliefs, his loyalties divided between his Muslim faith and his American upbringing. By the end of the film, no one is any closer to understanding what he believes, himself least of all. He’s a double agent frequently confronted by conflicting ideologies, and it’s slowly but surely tearing him apart. One way this movie succeeds is that we’re able to feel for this character no matter what side he’s on; we can sense the anguish he feels, the torment of being a misfit in every culture he immerses himself in. We see in his face the unease and guilt he’s forced to live with everyday.

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Cheadle plays Samir Horn, who was born in Sudan but raised in the United States. Thirty years ago, his father was killed in a terrorist attack, although it’s unclear which side was responsible; it may have been an anti-Muslim faction, but it may also have been devout Muslims who opposed his beliefs. Whatever the case, Horn is now a Special Forces Engineer Sergeant for the United States Army, someone trained to infiltrate terrorist organizations and gather information. It seems his loyalties have shifted; while in Yemen, he’s caught selling detonators to a group of jihadists, and after a brief shootout, everyone is arrested. In prison, he befriends Omar (Saïd Taghmaoui), who is apparently in league with people on the outside, people willing to risk incarceration or death to free their brother Muslims. A frenetic jailbreak ensues. Not long after, Horn becomes entangled in a terrorist conspiracy, one that would result in several major attacks on American soil.

Two FBI agents have been assigned to locate and arrest Horn. One is Roy Clayton (Guy Pearce), who, interestingly enough, once considered World Religions as a college major. He claims to take his own Christian faith seriously, but unlike Horn with the Koran, we never see him reading from the Bible or quoting any of its passages. We’re never told what Max Archer (Neal McDonough) believes, although it’s obvious that, as far as his job is concerned, he’s all about getting results as quickly as possible; in an early scene, he gets impatient with Horn and subsequently punches him in the stomach. Clayton is much more calm and collected, and he understands that you get information from a suspect by pushing his buttons, not by letting him push yours. Indeed, Horn is a tough nut to crack, probably because he knows how to keep secrets from both sides.

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To describe the plot any further would not only give too much away, it would also require a lot of explaining, more so than anyone would be willing to read. As Horn says, “The truth is complicated.” It would be more accurate to say that the truth is elusive, simply because I’m not convinced he knows what the truth is. He probably no longer knows which side represents good and which side represents evil. His beliefs are divided between what he reads in the Koran and what he sees going on; one passage states that killing one man is like killing all mankind, yet he’s surrounded by Islamic extremists who commit murder to get their point across. He’s serious about his faith, but it’s clear he doesn’t always understand it. He certainly doesn’t understand how certain ideas can be misconstrued out of all reason, such as Takfiri, or blending in. A Pakistani terrorist named Fareed (Aly Khan) baffles Horn by saying that jihadists living in America drink alcohol and eat pork in order to blend in. Both acts go against Islamic beliefs.

Horn would probably argue that murder, no matter how justified, also goes against Islamic beliefs (I would make the same argument, although I’m well aware that many people would not). If there were no jihadists, if terrorism were to be eradicated entirely, Horn would not need to be a Special Forces Engineer Sergeant. He would not have to infiltrate enemy hideouts and pretend to be on their side. Only then would his mind be at ease; he could worship in peace without having to worry about suspicious activity in American and Muslim communities. Is it unreasonable to suggest that the vast majority of Muslims long for the same peace of mind? I don’t think so. Neither is the idea that there’s a gigantic difference between jihad terrorists and those of Islamic faith.

That may ultimately be the point “Traitor” is trying to make, although it’s difficult to tell with a story actively trying to be ambiguous. Director Jeffrey Nachmanoff and producer/co-story creator Steve Martin (yes, that Steve Martin) have crafted a political drama that forces the audience to think really hard, more about the main character’s beliefs than about the actual plot. Themes of not belonging and divided loyalties are certainly not new, but that doesn’t mean they’re no longer used effectively; “Traitor” succeeds on many levels, not the least of which is Don Cheadle’s believable performance. He above all else is what gets the story off the ground, allowing it to be much more than a run-of-the-mill thriller. He adds genuine emotional touches in the subtlest of ways, from precise eye movements to random breathing patterns. Essentially, he makes it real, especially since he never reveals which side his character feels most connected with.

Traitor is a fantastic thriller starring Don Cheadle as Samir Horn, a Muslim who was born in Sudan and moved to America as a teenager. He grows up to be a Special Forces soldier for the US, and as the movie begins, we see him moving through the Middle East selling explosives.

His fate crosses with two FBI agents, played by Guy Pearce and Neal McDonough. Soon the two are crisscrossing the globe hunting Samir, who is becoming more and more involved with a cell led by a terrorist mastermind.

The film is written and directed as a great thriller with enough action and suspense to keep you ocuupied and guessing, but not to the extent that it comes off like a routine action movie trying to be more than it is. The film has several twists and surprises and keeps the viewer engaged throughout.

But everything is held together is by Cheadle, who burnishes his reputation as one of Hollywood’s greatest talents. His Samir is at once devious, treacherous, loving, compassionate, stubborn, and dangerous. Traitor is a great film, but it would not possess the same impact with a lesser talent as its star.
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The Funeral Streaming

February 8th, 2010 by akeelah8369038
The Funeral Streaming. The Funeral Streaming.

Movie Title: The Funeral
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The Funeral is available for streaming or downloading.

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Abel Ferrara, like his star here, Christopher Walken, is not much noted for subtley. Don’t get me wrong, I enjoyed BAD LIEUTENANT, but it’s not a particularly morally complex film, and tends to go just a wee bit over the top to make its points (which, really, is one of the reasons it’s as impressive as it is — sometimes bold strokes work, if you’ll pardon an obvious pun). What’s most interesting about THE FUNERAL is that it takes characters — gangsters — who all too often are treated in a cartoonish, romanticized fashion, and lends them considerable moral complexity. All the gangsters in this film are forced to continually confront their consciences in regard to what they’ve become; the characters played by Walken and Penn in particular are both extremely reflective, troubled men, and capable, in different ways, of being quite articulate about the moral ground they find themselves on. There IS something uneven and choppy about the film — it almost feels like Ferrara was forced to cut it down from a considerably longer length to satisfy the studio, and there are things I’d've liked to see better developed — but there is simply TOO much to recommend this film to take a star away for that. The performances are top-notch, and there’s genuine thought put into a genre too often coloured with crayons. There may well be good things to say about GOODFELLAS and all that, but for their ills, this film is the remedy. Highly recommended.

Saw this film this weekend on cable and was wonderfully surprised by the somber atmosphere, striking performances, and the director’s intent to not provide the kind of action and conclusions demanded by the ganster movie genre. This film is not Scorese’s milleau; rather, it offers a familial portrayal about the viral effects of violence within a small family–and where that compulsion can lead. The cast is excellent, performances are rich, and the mise-en-scene is perfectly dark for the subject matter. Be patient, and be rewarded.
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Stream Fight Club Online

February 7th, 2010 by akeelah8369038
Stream Fight Club Online. Stream Fight Club Online.

Movie Title: Fight Club
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When I’m looking at the Top Ten list’s of America’s critics and the nominations of the DGA,WGA and all the other guilds and press associations, I terribly miss David Fincher’s outstanding film “Fight Club”, which is possibly the best film of 1999.

Not only is the film visualy stunning, it is also very thought-provoking, wickedly funny and, above all, extremely entertaining. Only few films managed to be so many things at once. David Fincher, in my opinion one of the most exciting directors of the decade, fills his movie with so many ideas that it would be sufficient for three more movies, and they are not just gimmicks for their own sake, they all mean something. Edward Norton and Brad Pitt are brilliant in the leads and the soundtrack by the Dust Brothers fits perfectly to the images.

Many reviewers thought the film was fascist. I think you can only call this ridiculous, since that assumes Fincher sympathizes with Tyler Durden’s project mayhem. In fact, he invites us to form our own opinion, like Stanley Kubrick did in “A Clockwork Orange”. “Fight Club” hands over the resposibility to the viewer. This may be uncomfortable to some, others (like myself) will embrace this.

FIGHT CLUB arrived in the US with a blaze of publicity stressing its violence and nihilism; some critics (and those close to the production) countered this with the suggestion that it was an anti-materialist jeremiad. On a second viewing, it seems like neither — it’s easier to see it as a smart, committed and complex piece of filmmaking. David Fincher once again dazzles with his direction, which is as intelligently energetic as the acting of Brad Pitt and, especially, Edward Norton. What’s really impressive, however, is the way that the film manages to flirt with an anti-materialist, hyper-masculine primitivism even as it suggests that we’re all a little too sophisticated to buy it (as it were).

FIGHT CLUB may hold that we’re not the clothes we wear, or the credit cards in our wallet, but it’s savvy enough to realise that our paths of thought and modes of organisation are almost entirely contaminated by the world we’ve created. Is the solution to destroy that world? Well, that’s an option — but watch closely in the movie’s second half and see how subtly and hilariously Fincher undermines this: the anarchists begin to chant management-speak, to dissolve into a collective identity, and to form franchises as if they were selling frappucino rather than revolution. Norton is especially horrified at all this, and his wonderful reactions to the disintegration of ‘Project Mayhem’ are the calm (and moral) centre of the film. Rather like ANIMAL FARM, Fincher tells us that we can have our revolution, but it’s going to cost us dear; perhaps even the individuality and reason which we’d hoped to gain from our actions.
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Watch Quest for Fire Online

February 7th, 2010 by akeelah8369038
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Movie Title: Quest for Fire
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Already people are fretting about this movie Mel Gibson is making about the last days of Christ in which everybody will be speaking Latin and/or Arameic without subtitles. Well, if you are a-feared of such a prospect you can warm up on 1981 Canadian/French production from Jean-Jacques Annaud. “Quest for Fire” (”Le Guerre du feu”) should be a good test for you because in this story, set among the Cro-Magnons of eighty thousand years ago, you know neither the characters nor the plot.

The genesis for this story is quite primal. A tribe of Cro-Magnons is attacked by its neighbors and has its fire stolen. This requires a small band to go forth and seek fire, which is necessary to ensure the tribe’s survival. The trio consists of the brains of the outfit, Naoh (Everett McGill), the hulking brute, Amoukar (Ron Perlman), and the wiry comic relief, Gaw (Nameer El-Kadi). Along the way they hook up with Ika (Rae Dawn Chong), a young woman who is rescued from slavery because she actually knows how to MAKE fire, as opposed to waiting for lightning to hit something and start only a very small little fire.

The authenticity of the “language” in this film comes from the work of authors Anthony Burgess(”A Clockwork Orange”) who created the spoken languages and Desmond Morris (”The Naked Ape”) who worked on the body language and gestures. I have certainly met a few people who were bothered by the lack of sub-titles, but never anyone who did not understand what was going on or what was being communicated. Without your eyes darting to the bottom of the screen throughout the movie you can pay attention to the nuanced performances and each viewing allows you to further amplify the dialogue you are conjuring up in your mind. For realism, “Quests of Fire” has everything from “One Million B.C.” to “Clan of the Cave Bear” beat big time.

Ultimately, this story is not just a quest for fire, but a quest for love at a time when we think men simply knocked a woman over the head with a club and dragged her home to his cave, and if the film had not suggested the birth of true civilization came with the discovery of the missionary position, this film would enjoy a much better reputation. Annaud was probably trying to make a point about the importance of romance as a contributing factor to human evolution, but that idealization goes up in smoke when Ika shows Naoh a better way of doing it (it was almost enough to cost this film a star, but overall the ambition and execution on this one is too good to be that petty over one small screw up). For now the biggest complaint is that “Quest for Fire” is not yet available in wide-screen, because Claude Agostini’s cinematography loses a lot in the scan-and-pan version of this decidedly “foreign” film.

Undoubtedly Jean-Jacques Annaud is an unconventional director. With only ten films done up to this moment he has managed to impact the audience more than once.

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His movies in brief: “Black & White in Color” (1976) won the Best Foreign Film Oscar, “The Name of the Rose” (1986), “The Bear” (1988), the controversial “The Lover” (1992) and “Enemy at the Gates” (2001) a realistic recount of the Battle for Stalingrad completes his works.

In “Quest for Fire” (”La Guerre du Feu 1981) French Cesar Award, Academy of Sci-fi Award and Best Make-up Oscar, tell the story of a cave-man in search of fire, with a vocabulary almost reduced to grunts and growls.

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A Cro-Magnon tribe is deprived, after a combat, of its major treasure: fire.

They know the value of fire but hasn’t the technique to produce it by themselves. So a group of three tribe-men start the Quest for Fire, a sort of prehistoric Grail Quest.

In their journey they encounter other tribes with different stages of culture; ranging from bestial cannibalistic to fire “technocrats”.

They have time to rescue an endangered stone-age lady and of course the hero falls in love with her… and discovers many interesting new possibilities.

There is an amazing anthropological reconstruction work by far better than other filmic intents as “The Clan of the Cave Bear”.

Anthony Burgess (author of “The Mechanical Orange”) has created a neo-lingua for this movie and Desmond Morris (author of “The Naked Ape”) all corporal and gestural language.

The actors and actresses under heavy make-up deliver a very convincing performance, depending mostly on mimics to express themselves.

Musical score in charge of multi-nominated to Cesar Awards Philippe Sarde, underline the action.

Finally a special mention must be done to praise Jean-Jacques Annaud work, who as director, takes a huge risk and complies with honors.

This is a great film for audiences interested in history, anthropology or just uncommon adventures.

Reviewed by Max Yofre.

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Watch Sunset Boulevard – The Centennial Collection Movie Online

February 7th, 2010 by akeelah8369038
Watch Sunset Boulevard - The Centennial Collection Movie Online. Watch Sunset Boulevard – The Centennial Collection Movie Online.

Movie Title: Sunset Boulevard – The Centennial Collection
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Sunset Boulevard – The Centennial Collection is available for streaming or downloading.

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As a film critic says in one of the interviews on this splendid special edition, Billy Wilder not only had the craft, style and elegance we associate with classic Hollywood, he also had a biting wit that appeals to the sensibilities of today. This film has aged much better than it’s central villian, the demented starlet portrayed to perfection by real-life demented starlet Gloria Swanson. William Holden’s (literally) dead-pan narration as a two-bit screenwriter of B-movies is as sad and funny as it ever was.

The documentary on the disc does a good job of demonstrating just how unique the tone of this story is, how it perfectly navigates between funny and sad. Not everyone in Hollywood saw the funny side when it was released, and it lost to ALL ABOUT EVE at that year’s Oscars. So what? With this disc, SUNSET BOULEVARD is finally getting it’s due.

Besides the documentary, you can read two screenplay drafts of an excised opening sequence, explore 1950’s Hollywood with an interactive map and watch the film with audio commentary by a critic and historian. All these features are secondary, of course, to the movie. It looks gorgeous. The black and white picture is rich and crisp, the sound is re-mastered and the story is as compelling as ever. The special features only do what all good special features should do on a DVD. They add to the richness of the film. You may already know that Eric von Stroheim (who plays a character who directed Gloria Swanson’s character in silent films) directed Gloria Swanson in silent films. But did you know that the drugstore where all the screenwriter’s hang out in the movie is the drug store where F. Scott Fitzgerald had a heart attack in 1940? One of the reasons I love this movie is because it is so rich with Hollywood history.

I can’t recommend this disc highly enough. Kudos to Columbia for doing right by a classic, a real film lover’s film. I love this movie and I love this disc! 5/5 stars.

I first saw this film about a month ago expecting to see a campy, vampy classic the likes of which I hadn’t seen since Mommie Dearest. Boy was I suprised! This film is not campy at all, it’s a finely crafted work of art that fully engaged me in it’s story of desperation. I was suprised by the richness and depth of characters all around, but espicailly by Norma Desmond. As over the top and outragous as Gloria Swanson is I never once didn’t believe her. To achieve this level of believability and honesty from this character takes great craft. The story is dark and twisted with some new depth of character being revealed at the most suprising moments. Cinematography and lighting are astounding. I will never be able to forget the one close up shot of Norma on the movie set back lit by the sets lights. My breath was taken away and it was only one of many times.

Sunset Boulevard is a film that will stay with me forever and one that’s become a classic for one really good reason: It’s a flawless production.
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Stream Charlie Rose with Toni Morrison Movie Online

February 7th, 2010 by akeelah8369038
Stream Charlie Rose with Toni Morrison Movie Online. Stream Charlie Rose with Toni Morrison Movie Online.

Movie Title: Charlie Rose with Toni Morrison
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Charlie Rose with Toni Morrison is available for streaming or downloading.

Click Here to Stream or Download Charlie Rose with Toni Morrison

I have never truly read Toni Morrison’s work.

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This interview gives an insight into that work, and into who Morrison is.

She speaks of her learning a richness in language from her childhood home in Lorraine, Ohio. She speaks of the storytelling which was so strong a part of her local culture and which helped form her. She tells of her early work years as a teacher, and of her beginning to write. She speaks of not calling herself a writer until ‘Song of Solomon’ became a widely read work.

She is an articulate extremely expressive and attractive personality. She has great confidence and poise. And when she tells about how her father always felt morally superior to the whites who dicriminated against him she hints at what is clearly a major aspect of her character. She is extremely proud even haughty. This is confirmed in her answer to Rose’s question about Clarence Thomas who she doesn’t particularly like not so much because of his political stances or questionable behavior but because of his lack of brilliance.

Rose is an extremely knowledgable and friendly interviewer. He does not want to contradict her even when she contradicts him. She is the ‘authority’ on racial relations here. However one thing she said about people of various groups sacrificing their ethnic identity so that they would have a common American identity which is their ‘whiteness’ is untrue to my own experience. I and so many other people I have known considered ourselves to be ‘Jewish-Americans’ not ‘white- Americans’ This might seem a minor point but I think her unfair generalization here indicates that she does have a certainly party-line on the race issues. This too is echoed when she speaks of her ideal reader as an African- American-

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In any case this interview is a good place to get to see and know something about a significant American writer.
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Stream Deep Blues: A Musical Pilgrimage to the Crossroads Online

February 7th, 2010 by akeelah8369038
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Movie Title: Deep Blues: A Musical Pilgrimage to the Crossroads
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Deep Blues: A Musical Pilgrimage to the Crossroads is available for streaming or downloading.

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I’ve been a big fan of the work of the late great blues historian/folklorist, Robert Palmer, for sometime now. His book, DEEP BLUES, is generally regarded as the definitive reference on the Delta tradition… and rightly so (needless to say, if you don’t have it… get it). What a treat to finally get a chance to meet the guy… albeit, on my TV screen.

In this eponymous documentary, Palmer assumes the role of the proverbial veteran “tour guide,” casually offering us expert commentary, laced with entertaining anecdotes and served up with dry Southern wit. While we do hear and see a great deal of Palmer, the film never loses its main focus– the blues and the musicians who keep this important element of American musical heritage alive and kicking. Each of the featured artists performs one or two songs in their entirety– in sharp contrast to so many other music documentaries, which par down their musical selections to excerpted sound bites to make room for talk, talk and more talk.

Here we find everything from down-home guitars and mouth harps being played on farm house porches to full bands–influnced by the modern Chicago-style, yet still distinctly “Pure Delta”–playing in dark, smoke-filled juke joints. True to the blues tradition, the music is hot and sweaty. You can’t watch this film and sit still–you gotta shake something. Highlights: cane fife player Napoleon Strickland (you can hear more of this wonderful pre-blues tradition on TRAVELING THROUGH THE JUNGLE: NEGRO FIFE AND DRUM MUSIC FROM THE DEEP SOUTH, an album on the TESTAMENT label, and several ARHOOLIE compilations); the totally stylin’ Jessie Mae Hemphill (granddaughter of Blind Sid Hemphill, the pre-blues style fiddler/quills [panpipes] player documented in the Lomax field recordings); harp player Bud Spires telling a folktale about the devil, accompanied by Jack Owen’s soulful guitar picking in the cranky, individualistic Bentonia style, popularized by the early bluesman, Skip James; and Lonnie Pitchford’s intense singing as he accompanies himself on the diddley bow (a raised metal string nailed to the side of a house, which you pluck with a plectrum and note with a slide).

The film covers some of the same territory as Alan Lomax’s excellent “The Land Where the Blues Began,” apparently a few years down the line. It offers so much–the leisurely, respectful cinematography of Robert Mugge; the enthusiastic, informed, perceptive commentary of the late, lamented Robert Palmer; the riveting performances of Jessie Mae Hemphill, Roosevelt “Booba” Barnes, Junior Kimbrough, and others. The sequence featuring Big Jack “The Oilman” Johnson, particularly on “Catfish Blues,” is worth the price of the ticket in itself. It’s one of the best juke joint performances ever captured on film. This film is essential, indispensable, and downright captivating.
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