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Pursuit of Happyness, The (20…

Racket of Happyness, The (2006)

December 15, 2006
B- (Fresh)


That darn ?y? in ?Happyness? has been bugging me for months. Not knowing Chris Gardner?s story, I had no clue of the meaning until about twenty minutes into

The Pursuit of Happyness

, a clearly Hollywood-ized account of Gardner?s entrance into the world of stock trading. Granted, the film has one of the best trailers of recent memory, but it only delivers what is promised and nothing more.

Gardner, portrayed by Will Smith, certainly had some amazing misfortunes ? at least according to this account. Struggling with the sales of a revolutionary bone density reading machine, Gardner soon sees his wife, Linda (Newton), up and leave him with the responsibility of raising their son, Christopher (Smith, Will?s real-life son). Living day-to-day and with $21 to his name, Chris soon enters a stock broker internship at Dean Witter with a determination to make a better life for himself and Christopher. You?d be a fool if you didn?t think he succeeds.


Predictable from beginning to end,

The Pursuit of Happyness

is recommendable almost entirely because of Will Smith?s moving performance. Gardner is down on his luck for the majority of the film, but Smith?s charisma shines as he conveys Gardner?s willingness to crack a joke and break through even the hardest of corporate businessmen. A scene in which he and young Christopher must spend a night in a public restroom is devastating and well-acted by an increasingly diverse Smith. The interplay between Smith and his son is also well-played, particularly in scenes where they are doing what are otherwise normal father-son activities. This connection adds depth to the predictability.

Director Gabriele Muccino makes the mistake of overplaying the material and Steve Conrad?s script comes across as preachy in several scenes. The story seems oversimplified, which I suppose is expected since there is a lot to cover in feature-length time, but let?s face it: the chances of Gardner coming in contact with two people who have stolen his bone density machines in spacious San Francisco is next to zero. It?s these kinds of bizarre contrivances that hamper the emotional impact of the film.


At the end of the day,

The Pursuit of Happyness

is the type of emotionally uplifting film that will likely satiate the average movie goer?s appetite for some inspiration and the occasional tear ? especially around the holidays. There?s nothing new here, just a whole lot of the old dependable. The difference is that the old dependable is above average.

Facing_Ali

Laws of Attraction review

At the beat of their game, high-powered New York dissolution attorneys Daniel Rafferty (Pierce Brosnan) and Audrey Woods (Julianne Moore) are a classic study in opposites. She is meticulous in her preparation and practices law strictly by the regulations; he makes opportunities and manages to win by the ass of his pants. Now they are eaten away against each other on opposite sides of a suggestive public divorce between style designer Quiet (Parker Posey) and her unnerve-superstar husband Thorne (Michael Sheen), with an Irish castle at stake. Audrey and Daniel travel to Ireland to chase part depositions, and find themselves thrown together at a romantic Irish country festival. During a night-time of drinking and dancing, they are swept away by the two shakes of a lamb’s tail, and wake up married. How can they pursue to work on opposite sides?

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Flowers of Shanghai (1998)

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I’ll freely admit, I’ve not in any degree seen any films by Hou Hsiao-Hsien up front, despite his fairly impressive standing as an established artisan. So with Flowers of Shanghai being my first experience with his work, I enjoy a strange, opposing impression of his style. While various people consider Hou as only of in fashion cinema’s great geniuses, I take this is one of those artistic dilemmas where some people pleasure simply not persist the sparkle; in this case, me. I fully recognize a wealth of ingenuity here, I just simply think Flowers of Shanghai is such an incredibly “hard-core” art film that its appeal will be consummately blow or gal.

The story takes place in the tardily 19th century, in story of Shanghai’s most opulent brothels sections. The women who work in here are known as “flowers”, and are even named for various floral varieties. The lives of several women are traced as they must deal with various adversities. Repayment for some of the prostitutes, life is vaguely satisfying, but they be required to endure the petty jealousies from other women. Others are not as auspicious, being forced to in spite of violence and hatred as they desire for a living outside of the brothels. One of the men who is part of the destinies of these women is Ingenious Wang (Tony Leung, best known looking for his delicate performances in two John Woo films, and a handful of kung-fu projects), who never seems reasonable with the mental image of what is going on. Though he benefits from the male-dominated social order he’s immersed himself in, he seems to feel somewhat remorseful at the uniform time.

The flow is divided into distinct sections, each pertaining to a unlike hetaera. The stories are interconnected in many ways, but the underlying technique seems to be an attempt at focusing on the individual personalities. While much of this is a very exhaustive, complex way to tell the fortunes, it also makes things extremely tedious in myriad sections. Hou Hsiao-Hsien treats the camera as a distant beholder, perhaps too shy to actually involve itself in the proceedings. An interesting stance at first, but it soon becomes tedious when moral-dialogue scenes of 10 to 15 minutes are virtually unchanging, with little or no additional visual flair (beyond the excellent cinematography). In my opinion, Hou is stretching the interest influence of the material far too much and it results in a demanding and, at times, frustratingly repetitious affair.

As a result, many viewers will simply abandon the veil, and I honestly can’t put them. Flowers of Shanghai is gainful in some ways, but the manner of making the flick so reluctant and conceptual seems vastly exclusionary. I suppose I admire Hou Hsiao-Hsien for the sake the fact that we’re seeing uninterrupted, unremitting scenes, but when a blur feels a charge out of prefer a chore to watch, this is not a good thing. As I said earlier, taking into consideration Hou’s immense reputation, perhaps his work is naturally not to my liking. I’m sure there are people who remark Ben-Hur painfully boring, though it’s regarded as one of histories skilled filmmaking achievements. Certainly, anyone remotely interested in the business of importance should go viewing Flowers of Shanghai, but it may be a surely internally divisive experience.

Monty Python and the Holy Grail (1975)


If anybody would constantly play the part the ridiculous "What veil do you consider to be the greatest cult film of all time?," I would beget to answer that question with "Monty Python and the Blessed Grail." There is just seems to be no escaping this fog. Sure, "The Rocky Horror Image Posture," "Strange Brew" and countless others have strong followings, but "Monty Python and the Clean Grail" has the strongest. Not only do I view Python devotees everyday at work, but it has been the same at other jobs. I experience also run into "Grail" fans along other stops in my strange journey through life.

Back in 1991, I was going at the end of one’s tether with fundamental training for the U.S. Army Infantry at Fort Benning, Georgia. In the hardly days before you are sent "downrange" in search training, you are kept in the not so warm Reception Center. Here, you find yourselves waiting for a week with many other unfamiliar recruits. These are not all of the people you force train with second you reach your training company, but you strike to know some of them quite lovingly. Well, there was Private Christian. One night, during one of the first nights at social, Private Christian and a several of others had intellectual of each other´s betrothed as a service to "Monty Python and the Holy Grail." To my amazement, they began to act loose the steam. I´m pretty sure they did it with at least 90% accuracy. I had seen the film before on television, but had not at all realized its cult esteem until I had watched it being performed by the U.S. Army Infantry Troupe.

Since those days, the question of migrating sparrows and coconuts has been pondered. Attempts at reaching a restroom have been stopped by a stranger quoting "Nobody shall pass." No matter how hard you try, it doesn´t arise as if you can ever fully escape the cult favour of "Monty Python and the Reverential Grail." Granted, I work at a business where engineers and programmers are immoderately bountiful and these professions be enduring a higher average of Python quoting cultists, but the appeal of the film is quite widespread.

Whenever you have a film with a aromatic following, DVD releases are instantly subjected to unvarying examination if they are not of high quality. This was the casing with the first Columbia TriStar launch of "Monty Python and the Holy Grail." The transfer was not uncommonly honourable and there were unreservedly no supplements. I own a replica of the Criterion Collection LaserDisc from a few years helpless and there was no way I wanted to own the sub-par effort Columbia TriStar post e contribute onto the market. The DVD was quickly and universally panned. Now, a scattering years later, a Special Number of the film has been released and in a rare occurrence, the Criterion supplements are licensed throughout release on DVD.

As a service to the uniformed, "Monty Python and the Holy Grail" is a British comedy yon a band of adventurers looking repayment for the famed Holy Grail. Led by King Arthur (Graham Chapman), Sir Lancelot the Brave (John Cleese), Sir Robin the Not-Unreservedly-So-Encounter-As-Sir-Lancelot (Eric Idle), Sir Bedevere (Terry Jones), Sir Galahad the Thorough (Michael Palin) and Patsy (Terry Gilliam) set out with clanking coconuts to battle French taunters, secluded nymphomaniacs and vindictive rabbits. They also encounter Knights Who Say Ni!, a Prince in affliction, a eximious Enchanter named Tim and Dennis, a commoner who does not believe pre-eminent executive power cannot be achieved because a watery acerbic was handing over swords.

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I have become a member of the cult that adores this low-budget comedy from 1975. Over the years I have laughed bloody hard at the antics of Ruler Arthur and his misfit band of knights. I comprise quoted, at some in good time always, every other in accordance from the take. The sanity I have not quoted every single specialty from the film is certainly not because solely half the lines are good. They all are. I just haven´t watched the film enough to retain each and every line, ploy and note. There are not many films I can about of where every scene has a eventful circumstance to it. I suppose if you do not like "Monty Python and the Holy Grail" you would disagree, but the entire game time of the personification is filled with fun lines and clever ken gags.

"Monty Python and the Holy Grail" is a silly, but intelligent crumb film. It is also British humor, which is actually strange from our American manufacturer of humor. Monty Python is an acquired taste for many, and the comedy troupe´s films are no blockage. I have known more than a nuisance of people who vehemently attack watching the picture. This is a agreeable example of a love it or hate it film. Some of the jokes infer a complimentary shred of thinking to fully get. Others were upright economical and easy to pull off. The between result works exceedingly well. If you are looking for the sake a mildly intelligent comedy that is quite a blocking of the beaten tow-path, this is surely it.

Video:
After the debacle created for the before all DVD notice of "Monty Python and the Holy Grail," Columbia TriStar decided to do things right. Benefitting from a theatrical re-release, "Monty Python and the Holy Grail" received a unripe digitally remastered picture. Twenty four seconds of footage were re-edited into the picture (previously only seen on the Criterion laser). Unlike the Criterion disc, the new scene is seemless with the take to one’s bed of the picture. The film is still saddled with source corporeal faults (dirt, scratches, etc…) and could use a unabated restoration, but compared to any above-mentioned video incarnation of the film, this is the best it has ever looked.

Unlike the head DVD distribute, this new disc features an anamorphic widescreen spectacle. Shown in 1.85:1, "Monty Python and the Holy Grail" is completely furlough of digital artifacts. The colors show lass signs of era. The picture is a iota soft, but certainly the cleanest and most detailed it has ever been. Colors have faded a but, but otherwise, saturation and comparison are good. With the exception of a scarcely any faults of the source print, "Monty Python and the Saintlike Grail" looks genuinely ravishing.

Audio:
The picture was not all that received some work for the spectacular re-unloose and this DVD. "Monty Python and the Holy Grail" now sports a new Dolby Digital 5.1 Surround mix. The DVD also retains the card mono mix on a off audio river-bed. The main spot does benefit much from the audio mix, as much of the tete-e-tete and effects undisturbed reside in the center artery. Some stereo imaging has been achieved, but with the umbrage at of the films music, it is however a minor improvement over the autochthonous mix. The music does move along disintegrate across with a little more life, but you pleasure never muff the original dated materials from a haze that was from the first muddled in 5.1 sound. In addition to the two English tracks, there is also a French mono mix and English, French and Spanish subtitles.


3 mei, 2004 Mike Peek CIA. Dr…

3 mei, 2004

Mike Peek

CIA. Drugs. Spionnen. Jackie Chan. Zie hier de ingrediënten van

The Accidental Spy

, een film die Chan twee jaar geleden maakte in Hong Kong. Voor filmmaatschappij Golden Harvest was het de grootste investering uit haar geschiedenis, een investering die zichzelf bij lange na niet terugbetaalde want

The Accidental Spy

flopte in het thuisland van Chan genadeloos.

download movie

Dit is opvallend want hoewel Chan niet meer het slangenmens van 10 jaar geleden is, is

The Accidental Spy

een stuk beter te genieten dan de producties die de Aziaat de laatste jaren in Hollywood maakte.

Als Buck (Chan) getuige is van een overval, doet hij er alles aan om de bandieten aan de politie over te dragen. Door zijn heldhaftige optreden komt hij in de krant te staan, wat de aandacht trekt van een privé-detective die op zoek is naar een man met zijn profiel. Hij overtuigt Buck dat zijn vader, die hem als baby in een weeshuis achterliet, stervende is en hem graag nog een keer zou willen spreken. Eenmaal aangekomen op de plek van bestemming blijkt echter dat hij de spil is geworden in een gecompliceerde misdaadzaak die draait om geld, macht en een zeer verslavende drug.

Het scenario van deze film is gecompliceerd. Alle eindjes worden wanhopig aan elkaar geknoopt en lukt niet altijd even goed. De film is hierdoor bij vlagen moeilijk te volgen en ik vraag me zelfs stellig af of dat überhaupt wel mogelijk is. De film hangt van losse elementen aan elkaar, die vaak ‘geleend’ zijn uit andere films. Zo zit er een (overigens zeer vermakelijke)

Citizen Kane

-verwijzing in en lijkt de eindachtervolging rechtsreeks afkomstig uit

Speed

. Vroeger kopieërde Hollywood de choreografie van Chan maar diens inspiratie is blijkbaar opgedroogd.

Ook qua stijl is er het één en ander veranderd na Chans succes in Hollywood. Waren zijn vroegere films simpel gefilmd met

slow-motion

als filmisch hoogtepunt, hier gaat de gehele trukendoos open. Gedurende de film wordt er met verschillende cameralenzen gewerkt, variërend van

short-focal

tot

long-focal

, en af en toe zijn ook duidelijk filters gebruikt om het beeld wat op te fleuren. Dit zijn slechts enkele voorbeelden, maar gelukkig leiden zij de aandacht niet af van waar het echt om gaat in een film als deze; de actiescènes. Deze stellen niet teleur.

Op basis van de films die Jackie Chan de laatste jaren in Amerika maakte, kon voorzichtig de conclusie worden getrokken dat de actiester zijn beste jaren had gehad. De actiescènes namen in aantal af en de inventieve stunts werden kleinschaliger, al merkte het Amerikaanse publiek, veelal onbekend met Chan, daar wellicht weinig van.

The Accidental Spy

laat zien dat de inmiddels 48-jarige ster weliswaar niet meer de jongste is, maar dat hij zeker nog wel wat in huis heeft. De gevechten zijn dik in orde en de eerder genoemde achtervolging mondt uit in een zeer spectaculair slot. Bovendien komt ook het andere en tegenwoordig steeds meer benadrukte, handelsmerk van Chan aan bod: humor. Het hart van de film wordt gevormd door een zeer vermakelijke scène waarin Jackie naakt door de stad rent, en op alle mogelijke manieren zijn mannelijkheid probeert te verbergen.

Stevige actie met een flinke dosis humor:

The Accidental Spy

is een film die bij vlagen doet denken aan de hoogtijdagen van Chan maar helaas te vaak stilvalt om echte fans tevreden te stellen. De nasynchronisatie (Jackie dubde zijn rol hoogstpersoonlijk in het Engels) maakt echter veel goed. Die is beroerd, zoals het hoort.

Designing Woman review

Dore Schary’s pattern personal effort in the future exiting the Metro infinite is a Runyonesque-type romp, based on a ’suggestion’ by designer Helen Rose and deftly directed by Vincente Minnelli. It cleverly brings together the worlds of haute couture, sports (particularly boxing), pose business, and the underworld.

Gregory Peck, a crusading sports writer, marries Lauren Bacall, a prominent fashion designer, and abandons his cluttered Greenwich Village apartment for her elegant East Side abode. Her friends are the chi chi set; his cronies are fellow sports scribes and Stillman Gym characters. The never-the-twain-shall-meet groups get together at their apartment when there’s a conflict between his weekly poker game and a reading for a Broadway musical for which she is designing the costumes.

Bacall, turning to comedy, is excellent as the fashion designer confronted by the world of fisticuffs. Peck is fine as the confused sportswriter and Dolores Gray scores solidly as his ex-girl friend. Topnotch characterizations are also turned in by Sam Levene, as the Front Page-type sports editor, Tom Helmore as the producer, Jack Cole as a choreographer, Jesse White as a peddler of information, and Chuck Connors as a mobster.

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Gamera – Attack of Legion (1996)

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As with most boys, I enjoyed watching “Godzilla” films as a child, as the rubber-suited antics were ever funny (not to mention the autrocious dubbing). In whatever way, as I got older, the entrancement straight away wore open. So, “Gamera 2 — Advent of Legion” would be my first happening with a “kaiju”, or giant monster haziness, in many years. Would it be like the absurd films of my youth, or something new and different?

“Gamera 2″ takes place after the events in “Gamera — Preserver of the Universe”. A series of meteors strike Japan. The military, led by Colonel Watarase (Toshiyuki Nagashima), investigate, but find no evidence of meteors, deliver proper for brawny craters. A resident scientist, Midori Honami (Miki Mizuno), and her team upon to give heed to strange occurrences, such as the disappearance of fiber-optic strand. Following a queer devour at a beer-bottling plant, Watarase and Honami pool their resources to try and discern what is going on.

In the meanwhile, a assemblage of foreign creatures is discovered in a subway burrow in a handy city. These creatures put up a mammoth plant-like artifice which begins to emit important amounts of oxygen. Speedily, Gamera, the giant flying turtle arrives to destroy this plant, but he is soon attacked by a army of the alien creatures, which meagre a likeness to the arachnid creatures of “Starship Troopers”. As Gamera is fighting to swept off one’s feet this intensity, which the miltary has dubbed “Legion”, a giant monster appears. As the aliens advance on Tokyo, Gamera must close with the battle of his life, in conjuction with the military, in tranquillity to tarry Legion.

I was delighted to on that “Gamera 2 — Advent of Legion” was indeed different in some ways than the “kaiju” films of 20 years ago. (It must be acclaimed that the on-scan English title is “Attack of Legion”, and this is the title that appears on the DVD itself.) For starters, the fairy tale is very in-depth, and at times, feels like an episode of “The X-Files”. The integument actually offers one horrific scene, and the smaller Legion aliens are really creepy. There is one scene in which a soldier fights one of these aliens anyone-on-one which is thoroughly suspenseful. The use of CGI effects enhances the performance, and gives the dusting a very with it feel.

However, some things haven’t changed. As with those tumbledown movies, the monsters are lawful guys in rubber suit, walking over models. While this is uncomplicated in a distance (especially when one notes the minute plan of the models), the “fakeness” of this approach can take the viewer out of the movie. Also, as with assorted “kaiju” films, the human characters suffer from much more screen-era than the monsters, and it takes 30-minutes for the treatment of Gamera to appear for the first time.

So, “Gamera 2 — Advent of Legion” represents the best and worst of both worlds. The videotape features an intriguing story and some perilous action scenes, but if you can’t touch one-time the inside info that it’s just a rubber-suit free-in the direction of-all, then this may not be the murkiness for you.

Video

Owing its Region 1 DVD release, “Gamera 2 — Advent of Legion” has been letterboxed at 1.85:1 and the deliver has been enhanced in search 16 x 9 TVs. The representation is precisely and, repayment for the most part, clear, showing only slight hints of grain. There is some noticable artifacting, and video noise in the equanimity of supine lines. While the colors are very good, the picture appears to be a moment dark at times, obscuring some of the action.

Audio

This DVD contains both an English (dubbed) and Japanese Dolby Digital 5.1 audio tracks. Of the two, the original Japanese keep up with has been punch to it, as it offers prominently meeting and sound effects, with no evidence of hissing or distortion. The track offers gigantic stereo and surround intact effects, which really off the ogre battles to lifetime, and there is a good amount of bass response. Unfortunately, the emphatic range is a bit gamey, making measure adjustments a indispensability.

Extras

ADV has done its best to load this disc with extras, but most will appeal only to hardcore fans. We start with a 32-minute interview with Shinji Higuchi, the director of special effects. Higuchi discusses the intense work that goes into creating the miniatures and the monsters. Next, we have footage from two weigh on conferences (totaling 7 minutes), in which the cast and party review their preparation for making the film. The DVD includes six Japanese trailers and ten TV spots for “Gamera 2″, most of which are very much simlilar. There is 3 minutes of behind-the-scenes footage, which is essentially a montage set to music showing location shooting, but no detailed shots of the monsters. “Gamera Promotional Events” details three distinguishable exhibits which displayed props and miniatures from the film. Nearly the same in sort to the newspapermen conferences, coverage of the film’s opening dusk includes remarks from the eject and crew. In fine, we father two examples of “fun with dubbing”, starting with “outtakes”, which are unquestionably principled “witty” pieces of dialogue added to the English track. This is followed by a 12-minute segment entitled “Lake Texarkana Gamera”, in which a handful scenes from the smokescreen tease been re-dubbed with “redneck” voices. Someone let me know when this gets mysterious.

If you’re like me and had long since specified up on colossus monster movies from Japan, you may want to pay “Gamera 2 — Advent of Legion” a shot. It definitely signifies an advancement in the category, although, those rubber suits are still there. Still, Gamera is a cool bogeyman and the alien storyline offers some creepy moments.

Correspond? Contend? You can post your thoughts prevalent this reviewing on the DVD Talk forums.

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The Fisher King (1991)

Terry Gilliam’s “The Fisher King” is an odd being. In this chest, that’s something to treasure. A modern epic that fuses myth with hard-edged reality, it’s a one-of-a-kind, thoroughly charming experience.

It’s also a thoroughly long experience. Gilliam never met a film he couldn’t overextend. Better to think of this 137-minute drama as several movies in one. “Fisher” has two redemption stories, in which jaded disc jockey Jeff Bridges and traumatized drifter Robin Williams attempt to save each other. It has two love stories. It’s a dark, foreboding movie. Yet it’s a surreal comedy too. There are colorful visions of red knights, but there is also the harsh truth of the streets. And let’s not forget the eternal quest for the Holy Grail.

As the shock-radio DJ, Bridges has a malignant hatred of people. He insults his listeners daily, then he gets stoned in a black, glass tower of a penthouse while listening to the anthemic song “The Power.” He’s riding high until an emotionally distraught listener takes one of his on-air suggestions too literally. It results in a bloodbath at a fancy restaurant. Bridges goes into a three-year funk, drinking himself to near death and living off girlfriend and video store owner Mercedes Ruehl. At an all-time low, rocks tied to his ankles, he prepares to end it all in the river.

Enter Williams, an apparently deranged but witty homeless person. After pulling Bridges from the brink of death, Williams informs the DJ he’s destined for greatness. All Bridges has to do is find the Grail (conveniently located in Manhattan) and save the ragged drifter’s soul. Williams could also use a little romantic help with Amanda Plummer, a clumsy wallflower who works in a publishing office.

It turns out Williams is the victim of a traumatic experience. A former professor, he now lives in a hole in the wall, talks to invisible “fat people,” and believes a fire-emitting, mounted knight is constantly pursuing him. Bridges realizes he has to save Williams in order to save himself.

Bridges, a solid actor, lends weighty credence to a modern spiritual journey. At his lowest points, he looks as if he might implode with cynicism. Not enough can be said about Williams. He’s a dynamo in whatever he does. He goes from wildly hysterical to poignantly shy, his words spilling out in manic brilliance. When Bridges departs after a night at Williams’s pad, Williams yells after him, “Hey, now that you know where we are, come back. Don’t be a stranger. Come back, we’ll rummage!”

Ruehl and Plummer rise far above their significant-other roles. Ruehl’s facial reactions are a specialty. Plummer is a perfect, wild-card partner to Williams. She’s gawky, graceful and sexy all at the same time. At dinner in a Chinese restaurant, she and Williams work up an amusing tango of clumsiness, as they battle treacherous chopsticks and slippery meat dumplings. In this movie, at least, they’re made for each other.

Scripted by Richard LaGravenese, “Fisher” was not Gilliam’s idea. But it ties in with his mythical obsessions, from “The Time Bandits” to “The Adventures of Baron Munchausen.” As director, he creates some tremendous moments. His crowning scene takes place during morning rush hour at Grand Central Terminal. As Williams waits for Plummer to pass, the station (in his reverie) becomes an ornate ballroom. The commuters suddenly dance with each other in a delirious waltz. Before Williams can claim Plummer as a partner, however, a bell goes off. The dancers become commuters and the working world rushes back in. In this, Gilliam is in his element — leaping effortlessly from one world to another.

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The Kids in the Hall – Brain Candy (1996)

Television’s Kids in the Hall make a relatively smooth, if eccentric, transition to the bigscreen with “Brain Candy.” The frenziedly scientist/corporate stuffy comedy is an sundry combination of belly laughs and cerebral humor that will delight those familiar with the sketchcom troupe’s antics. Just a tad too hip to transfer across the on, it should wind up as a mid-range steward success, with appropriate abroad potential in markets where the TV show is aired.

Unquestionably a solid showcase for the Kids (who collectively

play 32 roles) and their wry, wicked observations, this maiden film effort provides strong ammunition for a follow-up. A good commercial opening should widen the group’s audience beyond the current cult following.

The simple saga involves the fortunes of the mammoth pharmaceutical concern Roritor. The maker of Stummies is in desperate need of a hit drug to put it back in profit.

Unfortunately, most of its research units are involved in rather arcane pursuits. One by one, the scientific chiefs detail projects tothe board of directors and wind up victims of corporate downsizing.

Dr. Chris Cooper (Kevin McDonald) tells the board of “favorable results” of his new antidepressant, which has not been fully tested. The company bigshots only want to know whether it’s ready; facing the unemployment line, the scientist caves in to their needs. In a flash, the drug is dubbed Gleemonex and outperforms penicillin on the charts of Drug Variety.

The stock goes soaring, Cooper becomes a media star, the company moves to have the pill reclassified for over-the-counter availability … and the first side effects arise. A small percentage of repeat users literally become stuck fixating on their greatest moment of happiness — the key to the drug’s effectiveness.

“Brain Candy” is rather unusual in the current comedy sweepstakes because of its serious underpinnings. Kids in the Hall are social satirists in an era when humor tends to be anarchic or about bowel movements.

Though the story enjoys going off on tangents, it has a solid core that brings together its myriad strings. While the deadpan approach and its corporate setting recall the misfired “Hudsucker Proxy,” the ensemble is assured and adroitly gets the gags across without telegraphing punch lines.

With the five Kids playing the lion’s share of roles, the rest of the cast consists largely of day players and extras. (Brendan Fraser pops up in an uncredited cameo as a member of an experiment gone awry.) And while many of the troupe’s characters derive from the TV series, there is no attempt to tailor the film to conform to previous small-screen scenarios. (This approach is not unlike the one Monty Python used in its first movies.)

The film provides an opportunity for the individual troupe members to display their versatility. Bruce McCulloch gets to play the surliest of marketing execs as well as the serene Cancer Boy, while Mark McKinney goes from the somewhat blind head of Roritor to a female talkshow host and a martinet of a drill sergeant. The five members demonstrate that they are more than just sketch artists. Four of them are also among the five scripters of the piece.

Tech credits are good, but director Kelly Makin, who helmed many episodes of the “Kids in the Hall” TV series, appears to be still learning how to compose on a large screen. This is most evident in a sequence in which a character’s sexual awakening dawns: Attempts to explode into a glorious song-and-dance number fall short of the opportunity.

“Brain Candy” is good for the head. Still, it might be too intellectual for the masses, who may need a couple of more shots of this unique comic prescription to fully appreciate the joke.

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Be Cool review


Like fellow writer Carl Hiaasen, Elmore Leonard has made a nice unimportant career out of creating wacky characters who contemporary in sunny climes and manipulate themselves involved with murders, squeeze-plays, con men, mobsters, small-time hoods, and assorted weirdoes.

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“Be Cool” certainly isn’t the first publication written with a movie in mind, or even a star. But Leonard loosens his tie with this one and self-consciously plays with the whole conceit of writing sequels. While it’s been tough as a replacement for filmmakers to capture the borderline absurdist tinge of his books—which I don’t think even Barry Sonnenfeld did with “Get Shorty,” the first book-to-veil to play up Chili Palmer—foreman F. Gary Gray and his all-star cast stick this everyone like a gymnast’s landing.

The fray picks up in L.A., where small-time allowance shark Palmer (John Travolta) had carted his big-time bent and gotten into the silent picture business, which, it amused him to turn, had much in low-grade with the underworld he knew back in Miami. “Be Cool” opens the way so profuse Leonard stories do—with two characters having a lunch that’s instantly, even violently interrupted. In this case, a record organizer (James Woods) who’s bothersome to get Chili to make a film that would be involved him and his untruth gets whacked by someone in the Russian mafia—someone with a hilariously unhealthy toupee that keeps slipping and thwarting his aim.

And how cool is Chili? Closely, he stands and calmly stares down the gunman. As the gunman takes aim at his head, Chili lights a cigarette. And as the gunman pulls the trigger and the one noise heard is a “click,” Chili just watches as his would-be assassin takes off running. At times that’s “cool” Chili Palmer make, and Travolta fits the element as comfortably as he did in “Get Shorty”—perhaps even more so. Vinnie Barbarino was sweathog impudent and Danny Zuko was greaser cool, but with Chili Palmer, Travolta gets the keys to the Ultra-Cool Club, where perhaps Agent 007 is the only other associate. As he glides effortlessly from scene to scene, Travolta is fooling around to watch, especially as every one else for everyone him tries so hard to be cool and fails miserably. Get somewhere that comically.

“Cool” Elmore Leonard style was illustrated in the opening moments, when Chili tells his friend that unless you want an “R” rating (as “Get Shorty” had), you can no greater than use the F-word once. “Fuck that,” Chili says. “I’m done”—meaning, in the frame of reference of the film’s action, through with the movie business. But with that pun, Leonard also takes a impish swipe at movie ratings and settles into a PG-13 film. Thoroughly faithfully, Chili and the rest of the “players” were “done” using the F-word. That piece of cleverness really sets the tone allowing for regarding a membrane that isn’t afraid to rock the establishment and have clowning with stereotypes at the chance of being branded politically insensitive, or even racist. Hep-hoppers and pimp-walkers especially get the rotisserie treatment, and there are mountains of disrespectful lines. When cops ask Chili to recognize that his friend was shot by the gunman, Chili responds, “Stevie Wonder could back up that.” The humor in “Be Cool” is much broader and wacked-out than in “Get Shorty,” and people are either going to appreciate that or be turned off by it. I develop it not necessarily a famed film, but a film that was great fun to watch.

There are a lot of unerring little touches and gags. When Chili pays a visit to his Edie Athens (Uma Thurman), his friend’s widow, a friend of Edie’s shows up with pizza and a funereal urn on foremost of the box. That kind of irreverence runs through the integument cast a jazz riff, and the offbeat characters take turns doing comic solos.

As bored as I was with Vince Vaughn’s character in “Dodgeball,” you can contract b enrol me up for his “Be Cool” adherent join forces. Vaughn is stand-out side-splitting and full of spitfire forcefulness as a wimpy-snowy wannabe-black record producer who dresses and acts like a hustle. Playing turned of him is The Dumbfound as a gay Samoan bodyguard who’s hoping to parlay his one eyebrow-raising representation into an acting or performing career. But Elliot has a little problem with his manhood, as demonstrated by his music video (where he croons, in falsetto, “You Ain’t Woman Adequate To Take My Man”) and his audition after Chili (where he does a laugh-old-fashioned-clamorous funny “monologue” of two cheerleaders from “Bring it On”).

Cedric the Entertainer also gets a funny riff or two as Vice LaSalle, a hip-hop CD mogul who is accompanied by his WMDs (weapons of bags destruction) in their matching black Hummers. It’s Tony Soprano flashback age when the WMDs bring a tied-up DJ to his bailiwick and he’s ready to whack him, bathrobe and everything, until his daughter comes outside and the whole pack waves and smiles sweetly—after which Sin at most takes a breakfast spatula to him instead. Foible also has a comic sidekick, a trigger-happy bundle of nerves and social faux pas (André 3000, from Outkast, as Dabu). Steven Tyer of Aerosmith flatten makes an show and generates a not many rib-frolic-at-himself-and-the-vigour laughs. There are also plenty of cold cameos, including Woods as Tommy Athens, Danny DeVito as Martin Weir, Wyclef Jean, Anna Nicole Smith, and Sergio Mendes.