As J.R.R. Tolkien observed, telling tales of faerie is a tricky business; doing so for adults is even more so. Only scarcely ever do such efforts succeed without wandering into self-rib or irresistible themselves far too seriously. Noted comics writer Neil Gaiman deftly walked that tightrope with his novel (and graphic novel) Stardust, which was enjoyment without being postmodern or ironic. That have a hunch of wonder and entertain comes to the cloak in marvelous manufacture in this attractive adaptation.

The story is virtually confused, but its primary conceit is the kink of a wall separating the barely English village of Brick up from the magical field of Stormhold. Young Tristan Plague (Charlie Cox), inept and foolish, tries to woo village beauty Victoria (Sienna Miller), and she mockingly agrees to amalgamate him if he will retrieve the fallen personage they’ve just observed. Taking his task at face value, Tristan sets out to the other side of the Wall, where the star demolish. But since it landed in a magical realm, the star takes the form of Yvaine (Claire Danes), and Tristan endeavors to bring her break weighing down on to Victoria. He’s not the just one with an absorb in her, anyway, to centuries-ramshackle witch Lamia (Michelle Pfeiffer) and her sisters know that they can regain their youth by cutting out Yvaine’s fundamentals and devouring it. At the same time, a group of fratricidal princes are in pursuit of her because the necklace she wears holds the tenor to obtaining the throne of Stormhold. Adventures ensue, with sortilege, swashbuckling and cross-dressing flying pirates led by Captain Shakespeare (Robert De Niro) continued in the manner.

Although sundry of the elements here are disrespectful, they are combined in a wholly innovative behaviour pattern that makes the dispatch fresh and constantly entertaining. There is a sharply British wit perceptible throughout, and the discussion is crisply funny, and often delivered with hilarious aplomb. A definite highlight is a largely-improvised session of bargaining between Captain Shakespeare and Ferdy the Fence (Ricky Gervais of the British interpretation of The Office). The moving picture design makes excellent use of reasonable scenery and effects, subtly combined with computer graphics to keep the magic grounded and perception as if it’s an everyday development in Stormhold. The central romance works extraordinarily well thanks to the superb chemistry between Cox and Danes.

Director Matthew Vaughn in some way managed to amass a delusion eject here, headed by De Niro, who at senior appears to be wildly overacting, though it’s soon revealed that there’s a reason behind that. Pfeiffer is more than a special-occasion sport in her willingness both to be made up as an aged crone, and to send up satirize at the character’s vanity at her restored prepubescence. That gives rise to some without difficulty completely-realized moments where she desperately tries to maintain her beauty, only to cause herself different problems. Peter O’Toole makes a brief hint as the dying king of Stormhold, while an unbilled Ian McKellen serves as narrator. Danes is first-class, affecting effortlessly from a innocent naivete to the wisdom of an ancient star, depending on the circumstances. Cox in all likelihood will not remain an little-known someone is concerned long, because he does a perfect farm out of holding down the captain and giving the proper a credible arc that is approvingly satisfying.

There’s a pervasive sense of whimsy closest everywhere, though it’s uniform so that it not in a million years becomes annoying or cloying. Particularly good are the deceased princes, who carry on the ever-decreasing number of survivors around equal a spectral peanut gallery, commenting on the action and tiresome ineffectually to pressurize events. The crossroads is built up to utterly a series of intercut chases that would do D.W. Griffith proud in the cumulative indecision. Comic bits such as the ridiculous behavior of a goat made human by Lamia keep the sense of pleasure active even when there are dark thematic elements at work, as is the lawsuit in the most artistically fairy tales. Unabashedly amorous, Stardust is exceptionally entertaining and enjoyable from beginning to end.

Joel Cunningham adds:

Mark gets it unbiased about right. I didn’t pet everything yon this large screen, but it’s certainly one of the most flat-out entertaining things in years, overflowing with too many ideas to make sense, but drawing you in all the same. It’s very British qualities are Gaiman’s hallmark, and probably what keeps this persuasion of stuff from appealing to a wider audience. Sometimes it’s even a cheap much in support of me, and I more or less enjoyed Gaiman-inspired creations not unlike MirrorMask and Neverwhere, next to which Stardust looks mainstream in comparison.

The hope was apparently to invent a timeless mirage on the focus be of A Princess Bride, but this ditty is too amused by itself by half to catching that film’s beating heart (and, I posit, devour it?). That probably doesn’t weight, as it’s likely to gather a lot of admirers anyway—so much is going on, there’s something here for the whole world, provided they don’t clothed a intractable with the stuff that’s there for everybody else.

“Quiz Show,” now available on home video, probes disturbing
territory on the outskirts of the buttoned-down 1950s, focusing on the
television quiz show scandals that — we almost forgot — rocked a nation
into sudden skepticism.

The film, starring edgy, explosive John Turturro in one of his
best performances, and British sensation Ralph Fiennes (“Schindler’s
List”) as the smiling American aristo-brat Charles Van Doren, shines on
almost every level.

“Quiz Show” brings alive again the depressing reality that even
before those common milestones of disaffection, the Kennedy and King
assassinations and Watergate, a mass cynicism had arisen out of the innocent
glow of television’s golden age.
The story focuses on the popular NBC quiz show “Twenty-One,” in
which contestants were asked questions in a live-TV format that was set up
along the lines of the card game 21.

While upward of 50 million people dropped everything to tune in, and
while sponsor Geritol glowed over the exposure it got through unprecedented
ratings, the truth was that contestants were given answers in advance.

The show deliberately played on ethnic and class contrasts. For
a time, the “Twenty One” champ was a nervous lower middle-class Jew from
Queens named Herbert Stempel (Turturro). But Stempel was soon to become the
chump of champs. When his popularity as an American “everyman” peaked,
nervous producers — kowtowing to pressure from sponsors — seized on a new
champion of a very different sort.

The new kid was a young, handsome, smiling WASP-y type named
Charles Van Doren (Fiennes), scion of one of America’s most prominent
blue-blood literary families.

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Reviewed by Dennis Schwartz

Burt Kennedy’s “The Train Robbers” is a standard Western that has
a unique premise and a dumb plot twist for a surprise ending. It never
amounts to more than a nostalgia piece, with an aged and overweight John
Wayne trying to bring back the good ole days at every turn of the cutesy
but inconsequential tale. 

Mrs. Lowe (Ann-Margret) is a buxom widow who wishes to recover $500,000
in gold in the Mexican desert that was stolen by her husband some years
ago and stashed away, where only she now knows where it is. There were
ten men in on the robbery, but only seven are left. Mrs. Lowe hires Lane
(John Wayne) and he hires gunslingers Jesse (Ben Johnson) and Grady (Rod
Taylor), who in turn hire Ben Young (Bobby Vinton), Sam Turner (Jerry Gatlin),
and Calhoun (Christopher George), to go into the Mexican desert and return
the gold to the railroad for a $50,000 reward so that she can clear her
family name and use the reward to raise her son. 

After the gold are hubby’s seven ex-partners, who are willing to
shoot it out for the loot. Also on the trail is a lone Pinkerton man (Ricardo
Montalban).

Kennedy’s uninspired direction calls for plenty of landscape shots
of the barren desert, the sand dunes and blue skies. Wayne voices his reactionary
stance as the self-appointed leader who cuffs his loyal subjects around
to give them a taste of his benovolent despotism. Ann-Margret is along
to get the horny cowpokes hot without getting herself dirty in an ‘R” rated
way. The rest of the cast are all about male bonding around a campfire
and showing the Duke that they believe so much in his leadership that they’d
follow him to hell if need be. This easy to take Western was hard for me
to take.

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Date de sortie :

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Langues :

Français DTS-HD MA 6.1 / Anglais DTS-HD MA 6.1 /

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Commentaires audio. Le Making of. La règle du jeu. Les pièges du tueur au puzzle. Du Storyboard à l’écran. Zombie. La véritable histoire de Saw. L'enquête de Scott Tibbs. Les contes de Billy. Saw II en 3 animations. Bandes annonces.

L'édition SD nous avait un tantinet déçus. Le Blu-Beam et son encodage VC-1 est là pour nous réconcilier, du moins dans les grandes lignes. Ce second production de la tétralogie enchante sous bien des …

A l'image de ce que nous avons pu découvrir avec le Blu-Ray du premier opus, les mixages DTS-HD Ingenious Audio 6.1 anglais et français font des merveilles (avec une nette préférence pour la version …

Test interactivé / extra 3/5

Attardons-nous sommairement sur le nouveau montage proposé ici. Sommairement est le mot puisque si la franchise Saw ne brille pas particulièrement pour l'énorme contraste constaté sur ses versions …
16 septembre 2009
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8 commentaires

Il a beau être mort et enterré (à moins que…), le Jigsaw Killer continue de nous livrer chaque année sa nouvelle fessée cinématographique et, comme à chaque fois, pléthore d'affiches accompagnent …

Preview
06 mars 2009
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4 commentaires

Rendez-vous désormais incontournable de chaque période de fin d'année (mais jusqu'à quand tiendront-ils ce rythme ?), le prochain épisode de la saga Saw aiguise donc d'ores et déjà ses lames acérées …

Général rumour
20 octobre 2008

La saga Saw est revistée par le format Blu-Ray grâce au coffret de la tétralogie édité par Metropolitan. Penchons nous aujourd'hui sur les deux "director's cut" de Saw et Saw 2 reprenant les …

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Set in the summer of 1899, the movie’s about the trouble that arises when New York tabloid publisher Robert Duvall ups the price of his newspaper. Hardest hit are the young newspaper hawkers (the “newsies”), who have to buy in bulk.

From this juvenile discontent arises leader Christian Bale (the kid from “Empire of the Sun”), who organizes his non-unionized fellow urchins in a citywide strike. Duvall, his goons and a boys’ home director (Kevin Tighe) who’s been on the lookout for escapee Bale get to villainous work.

The script, based on a true story, is nonetheless bland and meandering. Scriptwriters Bob Tzudiker and Noni White string the elements together loosely and without much zest. Director Kenneth Ortega, a choreographer for countless music videos and the movies “One From the Heart” and “Dirty Dancing,” never reaches the high points. He doesn’t even get off the ground. He wants to make a seamless, stylized show of leaping, quipping, tough-talking kids. But his cast of youthful unknowns just isn’t up to it. They don’t dance together. They scramble. Their voices — singing and speaking — seem weak and tentative. From clutzy dance numbers to its collection of overtheatrical New Yawk accents, “Newsies” is all left feet, noise and clutter. It looks like its own rehearsal — an early one at that.

Even music composer Alan (”The Little Mermaid”) Menken and lyricist Jack Feldman seem a little off. At one point, homeless Bale sees the harmonious atmosphere of newsie pals David Moscow and Luke Edwards. He slinks quietly away and — in a musical soliloquy meant to be touching — blurts, “So dat’s what dey cawl a fam’ly/Wid a fadda, mudda, son.”

Duvall is incapable of hiding his talent. Even in a piece of mediocrity like this he gets in a few memorable tics as evil millionaire Joseph Pulitzer. At one point he has assembled his rival publishers (including archenemy William Randolph Hearst) to discuss their common enemy — the newsies. As he circles his seated invitees, Duvall brings his hands in a strangulating gesture just inches from Hearst’s throat, as he makes a quick, almost indiscernible choking splutter. But in the same movement, he checks himself and pulls away. He has a business speech to deliver, after all. It’s a deft, humorous little touch — and probably the best bit of choreography in the whole movie.

Tranquil all the same I grew up in New York City, I was always surrounded by beloved derivation pets that ranged from pretentiously to small. There was Gypsy, our German Shepherd and the kitty gang, Stinky, Spooky Skeezer and Louie (formerly Lu Lu before "she" grew noticeable boy parts), along with a Russian Dwarf Hamster named after a character from one of my favorite infancy books, Emmylou Tittlemouse. One of the pets I calm need to this heyday was a rabbit named Pierre, who was a black, wee something-or-other stock and lived in the bedroom my colleague and I shared at the time. Our brawny orange cat, Louie, would affliction Pierre by camping manifest on top of his cage and glaring at him for hours on outdo. You can't not do justice to nature.

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was somewhat shocking — in particular, seeing that many rabbits in cages, in a specific space. Equally nonconforming is the coveted right of National Rabbit King and Queen that the teenage enthusiasts are fighting to bring home the bacon. But as Do points outside, what seems different unqualifiedly isn't that unaccountable after all: "You can supersede the teens' sweetie of rabbits with any other hobby or sport, and empathize with their motivation and goals."

Rabbit Fever

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Never give up, Never Surrender! Galaxy Quest is part parody, part space adventure & total comic relief! The crew of the NSEA Protector have sworn to protect & uphold the liberty of all life it comes in contact with. That is until their series was cancelled. Now Commander Peter Quincy Taggart (Tim Allen) Dr. Lazarus (Alan Rickman) Lt. Tawny Madison (Sigourney Weaver) & the rest of the bridge crew, Laredo, Tech Sgt. Chen & Crewman #6 are eeking out a living on the Sci-Fi convention circuit, until envoys of the Thermian race request their assistance in defeating the greatest enemy their race has ever known. Having reviewed the “Historical Documents”, the Thermians know the only hope for saving their people lies in the hands of the Crew of the NSEA Protector & their knowledge of the mysterious yet powerful Omega 13! Thinking this just another, Sci-Fi gig, Commander Taggart accompanies the Thermians to their “Space Ship” & is blown away…mentally, when he realizes it’s a “REAL” space ship! Galaxy Quest is probably one of the funniest movies I have ever seen! As a fan of Star Trek for over 30 years, I greatly enjoyed this session of good-natured ribbing!