The Oppressed blog

Genre:
Action, Experience, Thriller
Lawful Site:

kingkongmovie.com

Rating:
throughout frightening adventure violence and some disturbing images
Runtime:
3 hours 07 minutes

Jackson make off his out-and-out cinematic epitome to the iconic story of the gigantic ape-ghoulishness captured in the wilds and brought to civilization where he meets his tragic karma. The screenplay by Jackson, Walsh and Boyens is based on the real fish story by Merian C. Cooper and Edgar Wallace, which became the classic 1933 RKO Radio Pictures film, directed by adventurers Cooper and Ernest B. Schoesdack. Jackson see fit employ the latest motion picture technology to cinematically portray the timeless tale of the beast and his loveliness. He will expand on the chapters of the tale that be a chip off the old block chase hit pay dirt in the mysterious and dangerous jungles of Skull Key, and his Kong promises to be a unique and breathtaking creation.

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Drinking heavily, stuck as the cook in the course of a trendy overwhelm club, and nagged by his visiting mother, Sam Neill desperately hopes that a romance with Sophie (Carides), a Greek-Cypriot barmaid, settle upon remodel his luck. Instead, the extermination of his dope-dealing Turkish washer-up embroils him in a black comic nightmare involving an inconvenient trunk, a cruel bouncer, and Sophie’s club-owner fiancé. This being a comedy, though, Neill in the end ’sees the light’ and resolves to change his life. A likeably offbeat and instances surprisingly dark comedy thriller, stereotyped amid a seldom acknowledged working class ethnic community.

Reviewed by Dennis Schwartz

The eight Bond film in the series trots out Roger Moore for the first
time as Sean Connery’s replacement, as George Lazenby in On Her Majesty’s
Secret Service (1969) didn’t satisfy the public as the new Bond. It’s set
in the fictional republic of San Monique in the Caribbean, Harlem and New
Orleans. Paul McCartney & Wings sing the excellent theme song. Guy
Hamilton (”Goldfinger “/”Diamonds Are Forever”/”Battle of Britain”) keeps
things tacky and cartoonish (lowering it to the level of a Roadrunner cartoon),
filled with timely blaxploitation humor and questionable voodoo (bordering
on a racist take). In this entertaining but ridiculous Bond, that almost
completely takes on a comic-strip look as written by Tom Mankiewicz, where
the blacks are the villains and the white guys are the heroes. Bond fans
might go for the exciting chases (that includes a double-decker bus losing
its top deck and a Piper Cherokee plane destroying a small airport) and
the ease in which Moore brings to the role, but Bond purists might descry
at how far this one has veered from the rugged image of Connery’s believable
Bond to this absurd spectacle that is seemingly all about the special effects
and the stunt people and the Moore portrayal has him acting suave as a
dapper international playboy but not that convincing as someone who could
fight his way out of a jam.

Two MI6 agents and a United Kingdom’s delegate at the United Nations
have been inexplicably and uniquely killed within a short time of each
other in the UN, in New Orleans and in the island of San Monique. M (Bernard
Lee) orders Bond (Roger Moore) to keep tabs on the suspicious prime minister
of San Monique, Dr. Kananga (Yaphet Kotto), who is visiting NYC. Bond ventures
into Harlem’s Fillet of Soul restaurant following a couple of Kananga’s
cronies, but is easily spotted as the only white guy and taken prisoner
by black gangsters who work for Mr. Big. When the thugs try to execute
Bond in the back alley, he escapes and meets with the CIA’s Felix Leiter
(David Hedison) in trying to determine Mr. Big’s connection with Kananga. 

Bond next investigates in San Monique, and has black CIA agent Rosie
Carver (Gloria Hendry) unexpectedly hook up with him. After an attempt
on Bond’s life with a deadly snake and the disclosure of a frightened and
inept Rosie as a double agent on Kananga’s payroll, Bond somehow infiltrates
Kananga’s cliff top fortress that’s protected by voodoo. There Bond seduces
Kananga’s Tarot card ‘ward’ Solitaire (Jane Seymour), a virgin seer whom
the crime lord deems necessary to have by his side to see the future and
who sees the truth only if she remains a virgin. They escape together from
Kananga’s clutches and discover that Kananga is growing vast supplies of
poppy in the fields that are undetected under nets. In New Orleans, Bond
learns the heroin pushers are using the Fillet of Soul restaurant chain
as points of free distribution to eliminate the white mafia from the drug
business and gain new addicts for when they begin to sell the junk for
big profits acroos the country. Bond is captured again by Mr. Big along
with Solitaire, and must once again make a daring escape. 

He does so from a crocodile pit, and also manages to destroy Kananga’s
heroin-refining operation in New Orleans. This leads to a cartoonish speedboat
chase along the Louisiana bayous with the bad guys and a redneck sheriff
(Clifton James) in pursuit. Bond then returns to the Caribbean island to
track down Kananga, who has returned there with Solitaire in tow. 007 rescues
Solitaire from being sacrificed at a voodoo ceremony, while Leiter’s CIA
agents bomb the poppy fields. Bond and Solitaire then locate Mr. Big’s/Kananga’s
underground heroin refining plant and in hand-to-hand combat Bond manages
to bring down Kananga and his giant henchman Whisper (Earl Jolly Brown).
The last member of the black gang to get unarmed is the dangerous Tee Hee
(Julius Harris), with his mechanical claw (lost his limb to a crocodile),
who attacks Bond aboard a train. But the voodoo priest, Baron Samedi (Geoffrey
Holder), a supernatural force who was supposedly killed in the poppy field
raid, resurfaces in costume at the end to have the last laugh and prove
that he’s indestructible–a product of voodoo’s magic.

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Harry Potter and the Half-Blood Prince full movie download bluray

Reviewed by Dennis Schwartz

Ray Dennis Steckler (”The Thrill Killers”/”Wild Guitar”/”Body Fever”)
sure knows how to make lousy films. This one’s a beaut. It’s one of his
best. You should see his others, if you doubt that this isn’t top of the
line Steckler. This $5,000 budgeted home movie type of film is a sophomoric
moronic spoof on Batman and Robin as crime fighters, made by an amateur
with just about enough talent to at least make it appear somewhat as a
commercial film (the quality of the photography is sound). The best thing
about this film is its title, as the title maker left off by accident the
nd in and. Rather than fix the problem for a slight charge, Steckler chose
to leave it as is and that’s why the title reads Rat Pfink A Boo Boo.

When Hollywood dwelling Elvis-like rock singer Lonnie Lord’s (Vin
Saxon) sexy girlfriend Cee Bee Beaumont (Carolyn Brandt, Steckler’s wife)
is kidnapped by a thrill seeking gang of three loonies after her name is
chosen at random from the phone book, the singer and Cee Bee’s rube gardener,
Titus Twimbly (Titus Moede), don silly costumes of capes and masks to become
crime fighters called respectively Rat Pfink and Boo Boo. The gang, one
carring a chain, another a hammer and one who can’t stop giggling in a
menacing way, have demanded a $50,000 ransom that evening or else they
will kill Cee Bee. The dynamic duo follow one of the gang members after
leaving the money in a briefcase in the designated dumpster. Around twenty
minutes of chasing after the baddies and fighting with them ensues, none
of which is funny or pretty to look at. It ends with Cee Bee being rescued
by Rat Pfink after she’s been carried off into an open field by Kogar,
an escaped gorilla.

There’s no getting around it, this is a celebration in bad filmmaking;
it should, I think, be a challenging watch for even those who relish really
bad films. It also features Saxon singing some terrible rockabilly tunes
like “Big Boss A-Go-Go-Party” and “Running Wild.”

Reviewed by Dennis Schwartz

You can literally hear this drama creaking. The strangest thing about
it is not its anti-establishment stance or its cornball humor, but that
it without cause turns into an unconvincing and absurd love story in its
last moments. Director Peter Godfrey (”The Decision of Christopher Blake”/”Highways
by Night”/”Cry Wolf”) seems lost as how to direct this grownup Shirley
Temple vehicle, where the child star has lost her cuteness in this adult
role and the story she’s saddled with has too many obstacles of incredulity
to overcome. It’s based on the soapy novel by Edith Roberts and lamely
written by Charles Hoffman.

One night at the railroad station of the small town of Jordan, Ohio,
the wealthy Gatelys bring their teen daughter Grace home to stay after
she was sent East for a year (old man Gately sent her away because he didn’t
want her to date Tom Bates-Ronald Reagan); at the same time Minta Hagen
(Dorothy Peterson) returns by train to her husband Jim (Charles Kemper)
with an adopted baby girl. The gossip-mongers have a field day spreading
malicious rumors, as they note the color of the baby’s hair and eyes are
different from her parents, therefore it’s rumored that the baby, whom
the Hagens name Mary (Shirley Temple), is the illegitimate daughter of
Grace and her former lawyer boyfriend, Tom Bates. 

The story picks up with Mary attending the local junior college and
is put off because she’s always made to feel unwanted in town because of
the rumors that Tom Bates was her real father. Tom returns after being
in a different part of the state all these years, and doesn’t seem to be
doing much but trying to romance Mary’s kind-hearted teacher Julia Kane
(Lois Maxwell). In the meantime, Mary gets rejected by her hotshot society
boyfriend Ken (Rory Calhoun) and gets suicidal about being illegitimate
and jumps in the river. 

Warning: spoiler in the next paragraph.

To make a dull story short, Tom eventually tells Mary, someone he’s
old enough to be the father of, the truth: that her parents adopted her
from an orphanage in Evanston, Illinois, he’s not her father and that the
sickly Grace, who was soon to die, was brought home because she was mentally
ill and not because she gave birth to a child.  With that Tom and
Mary are suddenly linked romantically, and the pic ends with them ready
to tie the knot.

It’s enjoyable for all the wrong reasons, that include Reagan playing
a role that mocks the system and those future voters of his who would sweep
the real-life Reagan into the Oval Office, that nothing about this film
makes the least sense and that it’s one of those bad films one can find
funny at how muddled it is and have a good laugh at its expense.

Garrison Keillor and Robert Altman. One has a radio show, the other makes movies. In each man's case, either you like his work or you don't, period, and no amount of cajoling from the other side will make you change your mind.

I've listened to Keillor's "Prairie Home Companion" on NPR and found it mildly amusing at best, a folksy little program with jokes that I understand and appreciate, though I always wonder why his live audience is laughing so much harder than I am. Altman, meanwhile, has made films both brilliant (

"Gosford Park,"

"The Player," "MASH") and awful (

"Dr. T and the Women"

), as well as a few, like "Nashville," that are beloved by film connoisseurs and that I just don't get.

These two icons of love-him-or-hate-him entertainment have collaborated to make "A Prairie Home Companion," a movie that is both a film version of Keillor's radio show and a backstage ensemble comedy in the traditional Altman style. It retains Keillor's wry, cornball sensibilities (he wrote the screenplay), and Altman makes his presence as director unobtrusive, favoring long, unbroken takes from Steadicams that float around the theater like a silent and omniscient observer.

The film's fictional scenario is that new owners are shutting down "A Prairie Home Companion," making tonight's broadcast its last. Keillor, playing himself, is philosophical about it, while some of his regular performers, like sister act Yolanda (Meryl Streep) and Rhonda (Lily Tomlin), become nostalgic. Cast and crew are abuzz with talk of the corporate big-wig (Tommy Lee Jones) who's supposed to show up and pull the plug. Cowboy musicians Lefty (Woody Harrelson) and Dusty (John C. Reilly) decide now's the time to perform the bawdiest jokes in their repertoire. ("I think my wife might have died." "Why do you think that?" "Well, the sex is the same, but the dishes are stacking up.")

Meanwhile, a mysterious woman in white (Virginia Madsen) wanders through all corners of the theater, arousing the attention (both professional and personal) of theater security guard Guy Noir (Kevin Kline). Noir, a regular character on Keillor's radio show, is here portrayed as a real person, a 1940s-style private detective who says things like, "She gave me a smile so sweet, you could pour it on your pancakes." Kline plays him as slightly bumbling and accident prone, earning enough laughs to be one of the film's standouts.

Two of the film's best scenes occur onstage during the performance of the show itself. In one, Yolanda, a former lover of Keillor's, has a meltdown during one of his commercials for a fictitious product (duct tape, in this case). In the other, Lefty and Dusty perform a song devoted to bad jokes and tell quite a few of them in the course of it. The musicians are cracking up, and Harrelson and Reilly frequently seem on the verge of laughing themselves. Both scenes are masterpieces of gleeful, carefully orchestrated comedy.

The rest of the movie is typical Altman — which is either good or bad, depending on your view. Characters' conversations overlap as in real life, and there is a de-emphasis on plot that causes the film to flirt dangerously with dullness. It never quite succumbs, though; the "Prairie Home Companion" broadcast itself is harmlessly diverting enough, with its down-home music and gospel tunes, to keep a viewer's interest. Keillor's fans will probably consider the film a masterwork, while Altman's people will file it away as one of the director's average efforts, better than "Popeye" but worse than "Short Cuts."

Grade: B-

Rated PG-13, a little profanity, some naughty humor

Reviewed by Dennis Schwartz

Warning: spoilers throughout.

A snappy B-film crime thriller from RKO that is only enjoyable because
the story is so quirky. Unfortunately, it is burdened with a convoluted
plot and an undeveloped character study. Edward L. Cahn plays it safe in
his direction, as he hints of a homosexual relationship between the two
main criminals but fails to pursue that avenue of thought. There are also
many scenes and situations that seem hokey and hardly credible, as the
action not only looks fake but the actors seem to have no energy to even
fake the scenes with some enthusiasm.

The film opens as a wise guy messenger, Jackie Wales (Clements),
is on a movie date to see “Corregidor.” During the 5-minute intermission
Jackie secretly leaves the theater and gets into a Cadillac driven by an
unseen man and changes into his messenger uniform, where he’s driven to
the luxurious private house of the wealthy Arthur Mansfield. Jackie shoots
Mr. Mansfield dead when he answers the door and is driven back to the theater
just as the intermission ends. Laura Mansfield, the victim’s daughter,
attending college back east and home for a surprise visit, gets a distorted
look at the messenger fleeing. At the police station she’s being questioned
by Lieutenant Brewster (Flavin), who is holding her father’s business associate,
Mr. Niles, as the possible killer because all the evidence points to him.
Niles is someone who disliked Mansfield and could gain control of their
mutual business empire upon his death, but Brewster doubts that he’s guilty.
He only holds him in jail for his own protection, figuring the real murderer
will also want to get him.

Laura is not satisfied with the police investigation and that they
let the messenger she suspects in the lineup go. So she gets the messenger
to date her, all in the hopes she can gather evidence to incriminate him
in the murder. When she discovers Jackie has contact with the owner of
the Vogue Nightclub, Armitage (Dekker), and he goes there to get money
for his gambling debts, Laura hides her true identity and applies for a
job as a cigarette girl and is hired by the silky smooth manager, Stretch
Norton (Hatfield).

The story becomes cloudy when Alice (Dell), the girlfriend of Armitage
but who really loves Stretch, learns that Jackie did the killing. Alice
witnesses Jackie asking Armitage for more money for the hit and how Armitage
in response plays the player piano loudly with the music of Tchaikovsky
blaring away as he beats Jackie up — making for a bizarre sadistic scene.

Alice concocts a scheme with Jackie to blackmail Armitage by having
him write a confession and letting her hold the letter, therefore if something
happened to him she could mail the letter to the police.

In the many ensuing twists, it turns out that Stretch is the real
boss and Armitage is only someone he hired to front for him. Laura doesn’t
know this and falls in love with Stretch, who at one point said he hates
women because he can’t trust them. With Laura in danger from the homicidal
Stretch, Lt. Brewster comes up with a plan to trap the clever killer as
this film noir ends in a conventional manner.

Reviewed April 19, 2005 / Posted April 22, 2005

Oscar®-winning superstar Ben Affleck (1997 Best Original Screenplay, GOOD WILL HUNTING), Alyssa Milano (TV’s ‘CHARMED’), Sam Rockwell (CHARLIE’S ANGELS) and French Stewart (TV’s ‘3rd THROW FROM THE SUN’) star in this hilarious college comedy involving hardcore partying, breaking hearts and, at the end of the day, growing up. Look for ‘before they were stars’ cameos by Matthew McConaughey and other venerable faces. Unwilling to judge goodbye to the partying mortal, Jack (Affleck) and his four raunchy housemates face to face the surreal week of graduation together. Against a constant swirl of girlfriends, lecherous teachers, killer hangovers and Pomp and Circumstance, the buddies are forced to let in that the carousal is definitely over - with for the moment for only one terminal expel-loose bash.