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Home » dir » Everything Good Marks Family

All Good Things (2010)

ALL THINGS GOOD is a polished little film based on a true story that while it may not have the visual gruesome detail of the usual thriller tropes of films, it is terrifying in its presentation of personality variations that produce a shuddering reaction on a purely intellectual level for the audience. It is both a love story and a missing persons/murder mystery based on a still unsolved case that continues to haunt New York investigators and reporters and detectives.

What writers Marcus Hinchey and Marc Smerling have created from known and newly discovered facts, speculation and court records results in a psychological examination of a powerful New York family, obsession, love and loss. The film relates incidents that began in 1972 and end in 2003 and at this time the truth is still unknown. Director Andrew Jarecki uses a superb cast and a fine sense of voice-over narration to interweave the puzzling history with the gradual dissolution of each of the characters involved.

Sanford Marks (Frank Langella) is one of the wealthiest owners of Manhattan real estate, the current head of a family that has long dominated the New York scene with its power and money. Marks is aging and is relying on his son David (Ryan Gosling) to take over the family business: he sends David out to the brothels, and filthy hotels and porn houses to collect rent. David is reticent to be a part of his father’s business: he is a deeply disturbed young man, having witnessed his mother’s suicide leap as a child. David meets a tenant in one of the properties – Katie McCarthy (Kirsten Dunst) who longs to go to medical school but at present has no income to support that dream. The chemistry between the two is magnetic and despite David’s father’s objection that Katie is not of ‘their kind of people’, David decides to marry Katie and move to Vermont to open a Health Foods store – a move that makes the couple ecstatic, but is financed by Sanford Marks who eventually convinces David to sell his haven and move to New York to stay with the family business.

In their Manhattan home (and in their country lake front home!) the couple flourishes until Katie mentions she’d like to have children – a force that drives David back into violent behavior resulting form his witnessing his mother’s suicide: David can’t understand why Katie would want anything but the obvious life of wealth they enjoy. The shell is cracked and the subsequent events include Katie becoming pregnant only to be forced by David to terminate the pregnancy, Katie’s disappearance after uncovering the facts about the sources of wealth of the family, David’s descent into drugs and irresponsible behavior, and ultimately his leaving New York for Galveston, Texas where he lives a life disguised as a woman, his only friend being another old runaway Melvin Bump (Philip Baker Hall) who David engages to do away with a ‘problem confidant’ (Lilly Rabe), after which Bump is killed and dissected and tossed into the river. The murders are never solved nor is the mystery of Katie’ disappearance. A trial (the source of the voice-over throughout the film has been the lawyer’s interrogation of David in the year 2003) fails to resolve anything and the film ends with the message that David Marks is at present a real estate broker in Florida.

Frank Langella is superb as the heartless father who drives his family like cattle in the quest of power and wealth. Ryan Gosling offer a multifaceted performance of the deeply disturbed David and is match by Kirsten Dunst’s bravura performance as Katie, the simple bright girl whose life is quashed by a powerful family’s sickness. The brilliant cast, including the performances by Philip Baker Hall and Lilly Rabe – daughter of the deceased Jill Clayburgh), has excellent cameo roles by Diane Venora, Trini Alvarado, David Margulies, Nick Offerman and many more. This is a tough film to watch because at the bottom of it all is that it is true and the cases are unsolved. It makes us cringe but it is a very fine film.

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Good Deeds

Tyler Perry’s “Good Deeds” is the first Tyler Perry movie I have seen. I saw the trailer when I went to see “Red Tails” in January, and I was intrigued. I’ve been eagerly anticipating opening night ever since. And talking it up until my family are sick of it.

I wasn’t disappointed. But first, a word of warning. I wouldn’t call “Good Deeds” a family film. I may not take my teenage sons to see it — although the great lessons may win out over the questionable scenes in the end. Parents should be aware that there is significant vulgar language, especially in the first half of the film, and that there are both frank discussions of sexuality and a couple of rather intense lovemaking scenes that may not be suitable for younger children. The main character is living with his fiancée, and they are having sex before their marriage, which some people may object to.

That said, “Good Deeds” is a great story. Wesley Deeds grew up with a silver spoon in his mouth and has the perfect life. Only Wesley isn’t really sure it’s his life, though he has buried these insecurities so deep that he isn’t really aware of them anymore. His fiancée finds him utterly predictable. But they think they are in love, and their families are thrilled that they are finally going to marry. Lindsey Wakefield, on the other hand, is living in an ever-worsening nightmare. She is barely making ends meet, and from the first moment that we see her, it’s clear just how precarious her situation is. And it just keeps unraveling.

Lindsey works as a janitor in Wesley’s corporate headquarters. They meet when she parks in his reserved spot, and there is an altercation involving Wesley’s boorish brother. We see from the beginning that Wesley has a good heart, but that figuring out the right thing to do can take him some time. Wesley and Lindsey keep running into each other, but he doesn’t make a significant move to help her until the day he witnesses her child being torn from her arms by a social worker. In the process of helping Lindsey, Wesley not only falls in love, but finds spontaneity and rediscovers his childhood dreams.

The story rings almost true. I’d like to believe that there is a corporate CEO out there who would tolerate the kind of attitude that Lindsey displays — I haven’t met one yet, but maybe. And some of the scenes are a little predictable — I saw the ending coming from the minute Wesley told Lindsey goodbye.

But that’s why “Good Deeds” is a good film and should be a successful one. Like any fairy tale, there is just enough fantasy about it to keep us with one foot firmly planted in reality, while the rest is realistic enough that we can look wistfully on, thinking that it would be very nice if things did work just that way.


Fast Tube by Casper

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The Fighter (2010)

The Fighter has been a must-see film of mine ever since at least the end of October. Not only did the cast look to function as one strong, cohesive unit, Christian Bale looked to transform himself yet again and had gotten completely absorbed in his role as Dicky Eklund. From just viewing the trailer, Bale seemed to give a performance that reminded his fans just how talented he can actually be. The Fighter also seemed to have a lot of emotion and heart; two key ingredients that go on to making movies like this legendary. The real test would be if The Fighter could hold up to other great boxing films like Rocky or Raging Bull and in this critic’s humble opinion, it does just that.

Mickey Ward (Wahlberg) is following in his brother Dicky’s (Bale) footsteps and is trying to make a name for himself as a boxer. Dicky has been giving Mickey advice and helping Mickey train for as long as they can both remember while their mother Alice (Leo) has been acting as his manager the entire time. Mickey knows it’s time for a change if he expects to make a serious impact in the boxing world, but a crack addicted brother and a mom who thinks she’s helping his career when she’s really hurting it have both been holding him back for far too long. So when Charlene (Adams) and Mickey become an item and Dicky winds up in prison, Mickey makes the hardest decision of his life and keeps fighting with new management in tow and seemingly pushes his family out. As Mickey’s mother tries to wrap her head around her son replacing her as manager, all hell breaks loose once Dicky gets out of prison. As the date for the most important fight in Mickey’s career fast approaches, will he have the support of his family or has everything already fallen apart past the point of being repaired?

The cast is the driving force behind this film. The relationships and arguments that take place between Mickey, Dicky, their mother, her seven daughters, George Ward (Jack McGee), Charlene, and Mickey O’Keefe (as himself) are really the heart behind all the boxing that takes place. Melissa Leo turns in an emotionally powerful performance as you can tell she only wants the best for her family, does everything within her power to do just that, and still seems to wind up hurting them in the long run. Amy Adams character, Charlene, seems to want nothing more than to be with Mickey but is also relying on his success to be the ticket to her bettering her life. Then there’s Mark Wahlberg who always seems to play the same role with the same thick Boston accent. The thing about Mickey though is that Wahlberg fits the part very well. The extensive training Wahlberg went through and his experience made him a shoe-in for this role. The real gem of the film is Christian Bale though. Bale has been rather disappointing performance-wise since The Dark Knight and it’s nice to see him back in top form here. He surely looks the part as his awkward body language, sick, clammy skin tone, and the way he seems to be chewing on something when he’s not eating anything really makes him come off as a genuine crack addict. I was beginning to think that success had gotten to his head, but even if it has it’s great to know that he can still turn in engaging performances like this when he feels like it.

What’s interesting is the song, “How You Like Me Now?” by The Heavy that was also used in the trailers for Faster is used several times in The Fighter. It seems to be utilized more efficiently in The Fighter though. It felt like the song was used in Faster just because it sounded cool, but the song seems to have a stronger impact in a film about a boxer trying to turn his life around better than a film about a guy trying to gain revenge for his brother’s death. It was a very welcome addition to the soundtrack and makes the opening segment to The Fighter even more memorable than it already was.

The film also wastes little time taking full control of your attention. You don’t lose interest until that screen turns black. With the little bits of humor thrown in for good measure amongst all of the family brawling and knockout punches being thrown around, it was just really easy to get lost in the film. It was almost as if you were part of the documentary crew filming Dicky watching this all take place in person. The one complaint I have is that it all seems to end rather prematurely. While everything does come together nicely, the ending just doesn’t feel fully gratifying. It felt like the film ended right in the middle of the climax, but consider it a nitpick. It’s still an excellent film.

The Fighter is an engrossing and emotionally powerful drama that features an incredibly strong cast and the best performance from Christian Bale in a long, long time. I honestly haven’t liked a boxing film this much since Raging Bull. With all of the end of the year awards talk and so many movies being released recently and in the coming weeks that’ll be potential award winners, it is well worth every effort to see The Fighter in theaters. It has one of the most well-rounded and well put-together casts of any film to be released in theaters this year and deserves to be seen on the big screen.

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