December 23rd, 2009 by gaven4437521
Oliver Stone’s Alexander Revisited is now something of a masterwork. He is given the chance to deny the narrative as he would have originally liked to have presented it. The 45 minutes of extra’s are factual extra’s…spread out in short 2 to 5 second edits…to more lengthly exchanges that happily include Brian Blessed as the Physical Instructor, Christopher Plummer as Aristotle and quite a bit more announce over and character addition from Anthony Hopkins as the worn Ptolemy.
The action starts almost immediately with a longer, more graphic version of the Battle of Gaugemela (Wonderfully undertaken, Stone paying homage to the mountainous Sergei Bondarchuk with those terrific panning shots) and then works backwards through Alexanders youth. The film moves forward and backwards from there yet the unusual subtitles give you the year and how long, before or after, from the previous scene. It is quite instructive to anyone the slighest bit confused and is a favorable history lesson. Also friendly are longer dancing scenes with Roxanna’s troupe and Bogoas’ troupe…both gracious, filmic scenes…beautifully done. The Bogoas character (Francisco Bosch) is also expanded and made far more sympathetic.
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The Indian Battle (wonderfully filmed in Thailand) is also more graphic as are some of the more intimate scenes yet nothing is without merit. This is not 2007, it’s 330BC and mores and the view of battle, honor, fidelity etc were different for those times. I for one, praise Mr. Stone for a very lawful feel and presence…and even minor characters are explained in far greater detail…such as the young Guardsman who killed Philip (Kilmer) …in a flashback we behold his motives. It is now far more beautifully edited…from a master filmaker who values editing, JFK gets my vote as the best edited film of all time.
I am giving it 5 Stars…a masterpiece. Do eye the Stone introduction, he says it better than I…”If you liked the recent you’ll like this, if you hated the unique you’ll detest this even more!” Now there is a man!
The only fraction I am saddened about is that over the extinguish titles Vangelis’ sage share ‘Titans’ is tranquil only 2 minutes long…yet it fits the edit…and I would race you to rob the CD for the complete 4 puny version…one of the best pieces of film music I felt ever written.
I originally sat on the fence in my view of the theatre release of Alexander, but Alexander Revisited has won me over as admirer of the film. The original carve has a truly anecdote feel and the leading characters are portrayed with more breadth and depth. In particular, the climactic crises of Alexander’s career are conveyed more intelligibly and convincingly than before. I am the author of both academic articles and non-fiction books on Alexander, so I feel I should comment particularly on the historical accuracy of the film. In my concept Alexander Revisited is notably just, valorous and accurate in its pursuit of historical accuracy. Although Oliver has deliberately conflated events which actually occurred at different times and places into single scenes (I judge he had to in order to jabber the whole tale in a single film), almost everything has some kind of historical basis in the group of 2000 year outmoded accounts, which provide most of our knowledge of Alexander. For example, such details as Cleitus severing the arm of a Persian about to strike Alexander, the incident with the monkeys in India and Alexander’s visit to the wounded after the battle are all in the sources. Even that eagle is mentioned by Curtius. Furthermore, many snippets of dialogue are based on words actually said to have been spoken by Alexander: e.g. “He too is Alexander”, “So would I if I were Parmenion”, “It is a glorious thing to live with courage…” Titanic attention to historical detail was also paid to the costumes and scenery. Babylon was particularly capable - the ziggurat, the flowers and the caged vast cats were all really there when Alexander drove into the city in a chariot. Overall, Alexander Revisited gives a more authentic sense of the right history than any other film about the ragged world that I can consider of. Gladiator was a broad film, but its greatness owed more to Marvel funny strip principles of action and violence than to its setting in primitive Rome. Alexander Revisited is a gigantic film because it tells one of the most compelling human stories in all of history with faithfulness, drama and pathos.
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December 19th, 2009 by gaven4437521
Like Robotech, Voltron is an anomaly: an anime series that never aired in Japan in this form. The program Americans know under that title is comprised of recut footage from Hyakujuo Go-Lion (”Hundred-Beast King Go-Lion”) and Kikou Kantai Dairugger XV (”Armored Fleet Dairugger XV”). Voltron debuted in syndication in the US in September, 1984, with a completely new storyline. Five young pilots from the Galaxy Alliance, Keith, Lance, Sven, Hunk, and Pidge, crash on the planet Arus when they’re attacked by the minions of the evil King Zarkon. In the ruins of an ancient castle, they learn the secret of recreating Voltron, the ancient robot “loved by the good and hated by the evil.” Each of them must pilot one of five lion-mecha that link to form Voltron. They also befriend Princess Allura, who pilots of one of the lions after Sven is wounded in battle. Together, they fight Zarkon’s robots and “ro-beasts,” the witch Haggar and Zarkon’s son Lotor. Obviously pieced together like a jigsaw puzzle, Voltron reuses some footage over and over, but leaves out big chunks of the narrative. When the five pilots initially crash on Arus, they stand at the edge of vast desert; after the commercial break, they’re wandering through a fog-shrouded forest. These problems won’t phase Gen-X’ers who grew up with Voltron and want to revisit this relic of their childhoods. The extras include a rather stilted documentary on the restoration of the series. (Rated 7 and older: violence)–Charles Solomon
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December 18th, 2009 by gaven4437521
Young Libby Parsons (Ashley Judd) is happy as a clam, and why not? She’s got a loving, successful husband (Bruce Greenwood), an adorable son, and an island home to die for. One morning, after a romantic sailing expedition with her husband, Libby finds herself covered in blood. Her husband’s missing, the boat resembles a murder scene, and there’s a knife on the deck. One might stop right there and call for help; Libby, however, takes matters–or, more specifically, the knife–into her own hands, and the moment she does, there’s the Coast Guard. Faster than you can say frame-up, Libby’s been charged with murder and jailed, with her young son stripped from her custody. It’s all cut-and-dried, except for one thing: Libby’s husband isn’t dead, and she’s about to track him down. And thanks to the Fifth Amendment’s double jeopardy rule, she can’t be charged twice for his murder.
Double Jeopardy has a singularly seductive revenge premise and, in Judd, one of the most seductive leading ladies to grace the silver screen in recent years. So then why does this thriller feel like it came from the bottom of the Lifetime television movie barrel? Instead of taking a gritty, hard-boiled approach, the film plays up all of Libby’s mushy emotions–tellingly, the director here is Bruce Beresford, whose best film, Driving Miss Daisy, is as far from thriller territory as you can get. No matter how stoically or deviously Judd plays her, Libby comes across as a soccer mom with a slight taste for blood. Only in a few scenes, specifically when she tracks her wily husband to his new identity in New Orleans, does Judd get to strut her stuff, stealing an evening gown and crashing his charity auction. Most of the time, though, this thriller offers only a smattering of suspense. Well, at least like Libby, the filmmakers can’t be condemned twice for the same crime. With Tommy Lee Jones duplicating his Fugitive role, as Libby’s conscientious parole officer. –Mark Englehart
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December 18th, 2009 by gaven4437521
Ian Richardson (From Hell, M. Butterfly) leads an all star cast in this malevolent satire of greed, corruption and ambition in the highest realms of government. As Machiavellian monster Francis Urquhart, he schemes and backstabs his way to the top until he is standing on a pile of broken promises, betrayals and the bodies of those who oppose him. Every step of the way, Urquhart lays out his plans with horrifying wit and venomous charm. But the ranks of his enemies are growing, and they intend to bring him down, whatever the price. Brilliantly adapted by Andrew Davies (Pride and Prejudice, Bridget Jones’s Diary), from Michael Dobbs’s best-selling novel, this satirical trilogy took home a primetime Emmy, a Peabody, two BAFTAs and a Broadcasting Press Guild Award.
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December 18th, 2009 by gaven4437521
THE ORIGINAL CULT VIDEO THAT INSPIRED A MOTO-X FREESTYLE MOVEMENT. THIS FILM WAS NAMED “PRODUCT OF THE DECADE” IN THE NOVEMBER 1999 ISSu OF DIRTRIDER MAGAZINE! “…catalyst for the freestyle movement…” “Product of The Decade!” THIS FILM IS THE SEQuL TO KICK OFF THE REST OF THE SERIES. THE FLESHWOUND CREW TAKES YOU ON AN AFRICAN SAFARI, JUMPING OFF THE LARGEST DUNES IN THE WORLD. MIX THE ADVENTURE WITH THE CRAZINESS OF SETH ENSLOW, BUBBA AND CREW AND YOU HAVE DISCOVERY CHANNEL MEETS MAYHEM.
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December 18th, 2009 by gaven4437521
1930s’ Poland. 10-year-old Karol Wojtyla has dreams, many dreams. One by one they are shattered. First, by the loss of his beloved mother and brother. Then, by the outbreak of the war and the death-fleeing human exodus which ensud. And finally, by the first signs of the Jewish persecution. These events will mark the start of Karol’s long journey from worker, to poet and teacher. A journey full of encounters that eventually leads him to become a priest and finally, in 1978, to become the man we all now know, a man who has marked an era, a man who has made history as Pope John Paul II. With an extraordinary soundtrack by multi-award winner Ennio Morricone.
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December 18th, 2009 by gaven4437521
What if you survived a bombing but no one knew? Based on a harrowing tru story from World War II, The Blockhouse paints an indelible picture of the psychology of despair. Starring screen legend Peter Sellers (Dr. Strangelove) in a rare dramatic role, “this real-life horror story” (Monthly Film Bulletin) captivates as it chills. The Allied bombardment of Normandy sends seven forced laborers into a concrete bunker. At first, they are ecstatic to discover a plethora of food, wine, candles and other necessitiesuntil they realize they are completely trapped. As time passes, fear gives way to boredom, which in turn gives way to despondency. Each man struggles to keep a grip on his sanity and maintain hope. But can there be a rescu if no one knows you’re alive
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December 17th, 2009 by gaven4437521
Fuled by the same rage at an unresponsive system that has inspired many a great social documentary, filmmaker Kim Snyder has taken up the fight for the more than 800,000 people living with Chronic Fatigu Syndrome (CFS) in the U.S. today. CFS has recently received much high-profile media discussion du to SEABISCUIT author Laura Hillenbrand’s longtime battle with the disease. Investigating the baffling malady once maligned as “yuppie flu,” Snyder interweaves her own four-year battle with the disease with the stories of others facing the same challenges; soccer star Michelle Akers and legendary Hollywood director Blake Edwards (BREAKFAST AT TIFFANY’s, THE PINK PANTHER) are among the participants. More than an account of an epidemic unfolding, I REMEMBER ME speaks to universal themes of loss, human perseverance and the difficulties in grappling with uncertainty.
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December 17th, 2009 by gaven4437521
Unavailable at all for nearly three decades, then issud in a VHS edition in 1996, the Rolling Stones’ legendary Rock and Roll Circus finally gets the full treatment with this DVD release documenting the 1968 event. The Stones were reportedly unhappy with their performance (hence the long delay), and it isn’t their finest moment; performing “Jumping Jack Flash” and a variety of songs from their then-new Beggars Banqut album, Keith Richards is game, but Jagger’s preening (especially on “Sympathy for the Devil”) is over the top, and guitarist Brian Jones looks dissolute and well on his way to his death the following year. A certain weirdness permeates some of the other musical acts as well: Jethro Tull lip-syncs unconvincingly, Taj Mahal and band were obliged to perform before the circus set was completed and the audience had arrived, and John Lennon’s outing with impromptu supergroup the Dirty Mac (with Richards, Eric Clapton, and drummer Mitch Mitchell) is hampered by Yoko Ono’s caterwauling, although their version of the Beatles’ “Yer Blus” is cool. Still, the Who are brilliant, Marianne Faithfull is beautiful, the various circus acts are fun, and the crowd clearly loves it.
The DVD comes with some fascinating bonus features, including three extra songs by Mahal, some lovely classical piano by Julius Katchen, and a “quad split-screen” version of “Yer Blus.” Best of all are a new interview with the Who’s Pete Townshend and the various commentary tracks added for the DVD–especially those by Tull’s Ian Anderson, director Michael Lindsay-Hogg, and Stones Jagger, Richards, and Bill Wyman (who dryly attributes Jagger’s reluctance to issu the show to his dissatisfaction with his own performance, not the band’s). Flaws notwithstanding, this is a treat. –Sam Graham
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December 16th, 2009 by gaven4437521
One of Clint Eastwood’s two most important filmmaking mentors was Don Siegel (the other was Sergio Leone), who directed Eastwood in Dirty Harry, Coogan’s Bluff, Two Mules for Sister Sara, and this enigmatic, 1979 drama based on a tru story about an escape from the island prison of Alcatraz. Eastwood plays a new convict who enters into a kind of mind game with the chilly warden (Patrick McGoohan) and organizes a break leading into the treacherous waters off San Francisco. As jailbird movies go, this isn’t just a grotty, unpleasant experience but a character-driven work with some haunting twists. –Tom Keogh
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