Movie Title: The Closet
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You may not know the name of French director Francis Veber, and his laughable French comedy “The Dinner Game” (1999), but if you are fond of comedy, you might have seen the films like “Father’s Day” and “Birdcage.” Yes, the last two Hollywood outings are actually remakes of his works, and though not all of his films are masterpieces, “The Closet” alone would form you remember his name. This film is that droll.

Daniel Auteuil is M. Pignon, who has been working for a condom factory as an accountant for 20 years, now he happens to learn that he is going to be fired. Apprehensive by the news, he thinks of jumping from the window to raze himself when an mature man living in the next room gives a tip; “pretend you’re satisfied.” For political reasons (and commercial ones too) the company cannot fire him as they are tremulous of being accused of having discriminating attitudes. It succeeds, and M. Pignon is ecstatic … for a while.

Because unexpected things happen like chain reaction; “sexual harrassment” from his heavenly female boss (she has her contain reason), sexual approach from his co-worker and rugby coach (he has his gain reason, too), and so on. The fable goes on with twists and turns, finally leading to the confidence newly established in M. Pignon.

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Though the ending is not as genuine as it should be, and some parts are a bit amazing, the cast is so titanic that those flaws are all ignored in the waste. Daniel Auteuil’s dead-pan humor is always effective, and funniest is his face when he is in a parade wearing a large tip of condom on his head. Also droll is Gerard Depardieu, whose character experiences a total transformation.

“The Closet” has some satire on our attitude about sexuality, but it doesn’t preach them. Rather, the film handles them with a lighter tough, which avoids the pitfall of being too dismal or philosophical. The fact is, the film is too light for some; and clearly the director hesitates to push some captivating points the film presents. But “The Closet” should be about M. Pignon, who, impartial like the protagonist of the same name in “The Dinner Game,” is about Mr. Everyman. His jog to a modern life is what we peer, and we savor watching. As such the film succeeds, and it is because of improbable Daniel Auteuil.

Francis Veber, the King of French Farce, keeps cranking ‘em out at a rate that would boggle even the mind of Georges Feydeau. His latest, “The Closet,” features nebbishy accountant Francois–mocked by his colleagues, abandoned by his wife, dissed by his son and about to be fired–who schemes to maintain his job by pretending to be jubilant. Francois’ cheerful psychologist neighbor advises him not to change anything about himself–what will change is other people’s perception of him. That’s not the only thing that changes in Veber’s smoothly written, surefire-as-clockwork farce. Francois’ life ends up changing in unforeseen ways, as do the lives of the people around him–particularly that of Santini, the homophobic personnel manager who must suddenly play up to Francois in order to withhold his contain job. All sorts of crazy complications ensue, and the denouement is appropriately sunny. “The Closet” won’t change your life, but it will leave you feeling tickled, and you will marvel at the sheer star power lavished on this lightweight narrative. Daniel Auteuil and Gerard Depardieu, France’s respond to Kevin Spacey and Robert De Niro, play Francois and Santini; in the supporting cast are Thierry Lhermitte, Michel Aumont and Jean Rochefort, which is roughly equivalent to having Richard Gere, Gene Hackman and Michael Caine in the supporting cast of an English-language movie. These obliging professionals know exactly what is required of them, and utter it gift-wrapped. As crazed as the comedy gets, it is the unruffled individual moments that will really leave you rolling in the aisles: whether it’s Auteuil’s sick embarrassment at sitting on a Cheerful Pride float wearing a condom hat, or Depardieu’s blissed-out, zombie witness as his world crumbles around him, you know that you are in the hands of master farceurs.
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]]> http://pierce3165606.greenwordpress.com/2010/01/06/stream-the-closet-movie-online/feed/ 0 http://pierce3165606.greenwordpress.com/2010/01/01/stream-i-am-legend-movie-online/ http://pierce3165606.greenwordpress.com/2010/01/01/stream-i-am-legend-movie-online/#comments Fri, 01 Jan 2010 11:25:30 +0000 pierce3165606 http://pierce3165606.greenwordpress.com/2010/01/01/stream-i-am-legend-movie-online/ Stream I Am Legend Movie Online.

Movie Title: I Am Legend
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“I Am Memoir” is not a film that sticks closely to it’s source material. While that is it’s biggest flaw, it is also where it shines. If you ha told me two years ago that I’d accumulate misty-eyed watching Will Smith deny “Three Petite Birds” in a titanic budget motion describe I’d have laughed myself comic, but this adaptation of Richard Mathson’s untouchable original that -while itself being a vampire story- inspired the entire zombie film genre as we know it takes the epic we all know whether we’ve read the book or not and turns it into an exceptionally personal affair for all of us. One man. One dog. A familiar metropolis deserted by day, but crawling with death by nightfall. This is our setting and it’s one that never gets musty for me.

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The plague that wipes out Robert Neville’s world is never fully explained, simply inferred to be the result of some sort of failed cure for cancer. Gone from the original and the recent Vincent Sign classic, The Last Man on Earth, is the long struggle of Neville to effect his ill daughter, his wife’s tranformation, and the frightful actions of the US government to hold the plague. What it left is simply one man, alone trying to acquire his sanity and hopelessly searching for a cure to a disease that has already wiped humanity off the face of the earth and left the “survivors” as rabid vampiric horrors. It’s dark, it’s pathetic, and it’s perfectly human. Will Smith has a penchant for picking abominable, schmaltzy films to star in, but no one can sigh his talent and charisma as a leading man. Naturally, this is a film he must carry single-handedly and he does an awesome job of it; he’s dramatic, he’s relateable, and at times, he is humorous. The humor is that of the shadowy and defective kind, but in a world like his, that is all there is left.

The vampires/zombies/infected in this are all CG and more than a bit reminiscent of Gollum from The Lord of the Rings. I’m not a fan of these kind of effects when practical would have been more effective and was acutely aware of the fact that I watching computer-generated monsters, but they worked nonetheless. The infected expose to be evil foes for Neville to face, combining suprising cunning, inhuman strength, and impossible agility (hence the CG) . Their only weakness is that sunlight kills them almost instantly. Neville plays a game of cat-and-mouse with them, gathering supplies, researching cure, and searching for survivors by day while making obvious to win wait on to his fortified apartment before nightfall when the creatures approach out to hunt for his hiding site. More than a few shades of 28 Days Later are prove in this film, which is comic considering the book and it’s film offspring are largely what provided the elements of that film. So I guess the genre has officially approach paunchy circle now.

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Ultimately, it’s the personal touches that design “I Am Chronicle” such a treat. Bob Marley provides both the soundtrack to Robert Neville’s day and the inspiration for his work, which is both ironic and uplifting at times. This may sound uncommon for a dismay flick, but if you are a fan of Marley (himself a Narrative) it makes all the sense in the world as you seek. Watching Neville attempt to interact with mannequins he’s residence up as he returns the movies he rents (in alphabetical order, one at a time) and seeing him snap when one of the figures is moved is both droll and, at times, intensely disturbing. When relief finally comes, Neville finds he has lost the ability to interact with other humans at all and is relegated to performing lines from “Shrek”, which is playing on his television at the time. The ending is a complete 180 from the book which is disappointing, but not as corny as it could have been. The unique I Am Memoir has one of the most lustrous and darkly ironic endings ever set aside on paper, but director Francis Lawrence didn’t destroy it by go for the tickled ending either. The result is a compromise between the pitch blackness of the book and the cloying cheese that many Will Smith fans admire. It turns out a bittersweet and hopeful conclsion that should satisfy both while not thrilling either. But I left the theater with “Redemption Song” collected ringing in my ears and a gratified feeling. If only every movie could do that for me.

“I Am Epic” fails to adapt the book of the same name to the spacious hide, but succeeds in so many other ways. I can’t give it a perfect catch, but I will give it a very hearty recommendation to fans of Will Smith, zombies, vampires, and Bob Marley. Relish.

I Am Sage can’t find a resplendent shake. This Will Smith-led production is the third attempt Hollywood has made to adapt the quick-witted fresh. None of the adaptions have truly done the modern justice (which is a shame), but this version has approach the closest.

Here we have a bright beginning; footage of a scientist (played beautifully by Emma Thompson) saying humbly that she’s discovered a contrivance to cure cancer. Quickly forward a few years, and Recent York is utterly devoid of human life, put for Robert Neville (Will Smith) . As the first half of the film progresses, we learn about his meager living, spending the day harvesting and trying to spy a cure, even now, while spending the night huddled in his protected home as creatures prowl.

His only companion, a amazing dog named Sam, protects Neville as Neville protects him. They have a friendship based on loneliness and the human need for someone or something to bear onto. Sam is Neville’s only connection to the past and the only scheme to report what exiguous humanity is left, either in the world or Neville himself. This period in the movie is pitch perfect, puncuated by one or two horrid sequences that instill trustworthy terror.

Unfortunately, the last half of the film deteriorates into an action movie that completely changes the meaning of the words “I Am Myth.” Don’t gain me substandard, it’s mostly done really well. Constantine director Francis Lawrence has a advantageous handle on the action and delivers some profitable scenes. But, it becomes muddled and veers off completely from the original. My biggest complaint, though, is the utilize of CGI. Instead of using actual flesh and blood actors, all of the creatures are created with CG and they eye incredibly deceptive when lined up next to precise people. In the beginning, it’s not a plight but as you glimpse more of them (and you will) it’s glaringly distinct. And annoying.

All of this I was expecting going in, though. Considering that the film was co-written by Akiva Goldsman who also wrote I, Robot, I knew this version would stray from the source material impartial as I, Robot did. As a movie, it’s genuinely thrilling and creates the perfect balance of tension and action through most of its entirety. And, surprisingly, Will Smith shows that he’s a really ample actor as he has to not only tackle many conflicting emotions during the two hour speed time but he also has to do so without having great of anyone to react to. Spending a superb hour or so without another single actor for Will Smith to work with was a gamble and it paid off.

Your enjoyment of the film is entirely based on what you bring to the table. If you’re coming to this film expecting to eye the book advance to life you’ll be sorely disappointed. However, if you’re looking for a proper action movie that actually has a splendid myth and a human aspect, you’ll be hard-pressed to salvage one as thrilling recently.
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]]> http://pierce3165606.greenwordpress.com/2010/01/01/stream-i-am-legend-movie-online/feed/ 0 http://pierce3165606.greenwordpress.com/2009/12/31/review-of-american-kickboxer-1-online/ http://pierce3165606.greenwordpress.com/2009/12/31/review-of-american-kickboxer-1-online/#comments Fri, 01 Jan 2010 03:03:09 +0000 pierce3165606 http://pierce3165606.greenwordpress.com/2009/12/31/review-of-american-kickboxer-1-online/

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Pulse-pounding action reigns supreme when international kickboxing champions John Barrett and Keith Vitali star in this high-impact look behind the scenes of the professional fight game. B.J. Quinn (Barrett) is the best of the best in the ring – until he’s sent to jail and suspended from fighting after a freak accident. Now title-hungry Jacqus Denard (Brad Morris), whose testimony clinched B.J.’s imprisonment, is on the warpath. First, he pulverizes B.J.’s chief rival to the world kickboxing title (Vitali). Then, he publicly challenges B.J. to a final showdown. The ultimate physical and spiritual test of championship minds and bodies is about to detonate. Grab your ringside seat!

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Krazy killers and frisky felines prowl the dark alleys of this horror kitty double feature! “The Black Cat” (1965) – After celebrating his second wedding anniversary by trying to strangle his wife, Lou, a psychotic writer, seeks solace from Pluto, The Black Cat his wife gave him as a present. But since Pluto isn’t in a partying mood, Lou plucks out the cat’s right eye and electrocutes him. After a few months getting shock treatment in a sanitarium, loony Lou makes friends with a brand new kitty that also happens to have a “bad right eye.” “The Fat Black Pussycat” (1963) – The only witness to a bunch of bloody beatnik murders in Greenwich Village is The Fat Black Pussycat, whose kitty kat ESP is being affected by the “brainwaves” of the schizophrenic killer whose sexual preference also changes while in “a schizoid state.”Deleted Prologu for “The Black Cat;” Over 30 Minutes of Deleted Scenes, Including a Different Ending, from the Original Version of “The Fat Black Pussycat;” Gallery of “Fat Black Pussycat” Publicity Photos; Kitty Kat Trailers for “The Black Cat,” “The Fat Black Pussycat,” “The Cats,” “Confessions of a Psycho Cat,” “The Girl From Pussycat,” “The House of Cats,” “Puss ‘N Boots,” “Pussycats Paradise,” and “The Tomcat;” Kitty Kat Short Subject: Stripper Margie La Mont, The Cat Girl; Gallery of Horror Drive-In Exploitation Art; Horrorama Radio-Spot Rarities; NOTE: “The Black Cat” is 1.85:1, “The Fat Black Pussycat” is Full Frame.

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Perhaps the most accessible of Robert Bresson’s films, this story of a 14-year-old schoolgirl at the mercy of the world around her is like a melodrama stripped of flourish. Mouchette is an angry adolescent in the French provinces, the daughter of a drunken bootlegger and a dying, bedridden mother, a pariah in school and a figure of village gossip. She rebels in typically adolescent ways, lobbing mud at teasing classmates and defying wagging tongus with a willful stare, but her deep pain and loneliness pour from her hollow, sad eyes. There’s no sentimentality in Bresson’s portrait of village life, but for a few brief moments the film explodes with energy and emotion. Mouchette rides the bumper cars at a local fair, flirting with a young boy in loving bumps and deliberate rams, and her dour expression flowers in a smile as the fairground speakers blare a rock & roll tune… until her father’s heavy hand slaps her back to reality. It’s a moment unlike any other in a Bresson film, a joyous reprieve from the monotony of her life, but if the rest of her existence is glum and hopeless, the film is unexpectedly beautiful. The style is often fragmented–the film opens on a stunning play of hands, feet, and spying eyes as poacher and police both wait for their prey–but the beauty of the forests and meadows creates an idyllic naturalism that leavens Bresson’s harsh portrait of the human condition. –Sean Axmaker

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Ideas are important. This century has seen a war–the Cold War–fought almost exclusively with ideas, and now we have the luxury of tracing them through all their twists and turns. Arguing the World follows four “New York intellectuals” from their radical socialist days in the 1930s through their successful careers and widely diverging political beliefs. Irving Howe, Daniel Bell, Nathan Glazer, and Irving Kristol were all strongly sympathetic with the international socialist struggle as young men, but by the time they arrived at City College they had lost faith in Stalin. Interviews and footage from 1930s protests, World War II, and the 1960s resurgence of radicalism show the intensity and the passion with which these men and their peers grappled with the ideas that would decide the fate of the world. From Howe’s lifelong commitment to radical socialism to Kristol’s neoconservatism that drove the Reagan-Thatcher revolution, we see brilliance and integrity in the face of anti-intellectualism, anti-Semitism, and generational differences. Arguing the World is a must for anyone who wants to understand the 20th century. –Rob Lightner

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Jimmy Sutane, a brilliant star of musical comedy and the toast of the West End theatre scene, has become the victim of a series of malicious practical jokes, which are beginning to affect his performance. Campion and Lugg are recruited backstage to discover the perpetrator. Campion’s investigations lead him to Sutane’s Sussex residence, where matters take a more serious turn with the death of one of Suntane’s friends and fellow actors.

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