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Pirates of the Caribbean: On Stranger Tides

Law and Order: Special Victims Unit is one of my favorite television shows, even though its gone a bit downhill lately. Is it the cast? No, because they are mostly intact. What is actually happening is that each of the main characters, known for their superb chemistry amongst each other, are suddenly spending less screen time with each other and more time to themselves. This story actually has a point. On Stranger Tides suffers the same fate: fantastic cast that don’t spend as much time with each other as we hope. Add some pointless plot lines, a calmer first-third of the flick, and you have yourself the fourth installment of Pirates of the Caribbean.

That being said, its still quite entertaining. On Stranger Tides follows a variety of people searching for the fabled Fountain of Youth. Unfortunately for us, its not just Jack Sparrow. We have Blackbeard, the Spanish, the British (led by Barbossa), Angelica, and more doing the same thing. Subplots pertaining to this quest include Jack’s past with Angelica, Barbossa’s questionable change in character, some random guy falling for some random girl (I am serious, this part was totally pointless), and the pointless Spanish people that flock in and out of the movie.

This is by far the weakest part of the movie, the script. For some odd reason, they borrowed far too much from the novel (whose pacing and themes far differ that of the Pirates brand) and forgot that sometimes simplicity is best—which is what made Curse of the Black Pearl such a great film. It was the easiest to follow, and On Stranger Tides didn’t learn from the previous two installments. To add to that, the script utterly separated everyone, even those with the best on-screen chemistry. Barbossa was barely with Jack Sparrow, Sparrow was rarely with his ex-lover, and worst of all reliable Gibbs spent minimal time with Sparrow. When they are together, the humor, the banter, tension, and the charm works well. When they aren’t, well, the movie drags a bit.

Thank goodness the cast is still on their game. Johnny Depp once again breathes life into the pirate movie with his smart, unpredictable, and hilarious portrayal of Jack Sparrow. Despite what the reviews say, Jack Sparrow’s shtick isn’t getting old as he is still a delight to watch. Geoffrey Rush once again shines as Jack’s best rival Barbossa, as his quiet intentions resemble that of Sparrow in earlier films. Penelope Cruz adds a layer of sexuality that we definitely did not have with the other Pirates of the Caribbeans–it’s just a shame she didn’t have much time with Sparrow. Director Rob Marshall was able to shell out good performances from everyone in the cast, but he definitely wasn’t the man for this job.

Almost all the chase scenes or action sequences were done with very low-lighting and poor camera angles. With the exception of the mesmerizing and chilling mermaid sequence and the opening chase, all the action moments were missing that special touch. While the bizarreness of Gore Verbinski will not be totally missed (although his style worked perfectly in Rango), his ability to crank out excellent stuntwork and fights was sorely missing here. At least we got to see plenty of it, from the opening chase to the final dramatic (and short) showdown. Say whatever you want, but there has yet to be anything that can top the infamous three-way sword fight/old mill showdown from Dead Man’s Chest.

Bottom Line: Pirates of the Caribbean: On Stranger Tides is a mix of frustration and fun. There was plenty of potential that wasn’t met because of questionable plot lines, pointless moments, lack of chemistry (once again: writer’s fault. Good going Ted Elliot and Terry Rossio), and uneven direction. All that banter aside, Pirates is also plenty fun with several delightful moments, funny lines, and much more action than the last Pirates flick. Johnny Depp, Penelope Cruz and company keep the movie afloat, and prevent it from being a pure bore. But I think the franchise works better when Verbinski is behind the camera. On Stranger Tides is decent summer entertainment, but doesn’t have the inescapable magic and charm of the first two.

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Gone

An indispensable element in all good mystery stories is the red herring. No, this kind of red herring is not some smelly fish, but something that distracts you so that you are thrown off the scent of the real killer. Brazilian director Heitor Dhalia and “Underworld: Awakening” scenarist Allison Burnett have appropriated those venerable red herrings and combined them with the storytelling device about the guy who cried wolf for “Gone,” a shallow, slow-burn serial killer thriller. The psychological saga grows out of a kidnap victim’s memory of the criminal who grabbed her and left her at the bottom of a “Silence of the Lambs” type hole where several other victims had perished. Miraculously, our hero manages to escape, but the Portland Police Department cannot find either the hole or the killer so they write her off as a lunatic.

It doesn’t help matters that Jill Conway (Amanda Seyfried) has spent time in a psycho ward. Predictably, the authorities aren’t amused when Jill shows up at the police department with news that her alcoholic sister Molly (Emily Wickersham) has gone missing. Since she cannot get the police to launch an investigation into her disappearance, Jill buys herself a revolver and starts questioning everybody who might know something. Eventually, she tracks down the guy who not only abducted his sister but also her, too. Meanwhile, the police are looking for her because she has brandished her gun. As it turns out, the killer rings her up on her cell phone and gives her directions deep into the woods where he is awaiting her return. Throwing caution to the wind, Jill follows his directions. You can figure out after about an hour of “Gone” elapses that Jill Conway may be crazy but crazy like a fox. This make the Portland Police look pretty bad after they send her packing.

Credibility is the key to everything that occurs in “Gone,” and you know that Jill is on the right trail when her missing sister still doesn’t show up. Everybody but one cop treats Jill as credible, but he vanishes from the action, prompts us to believe that he has something to do with the case. Meanwhile, the cops do their dead level best to find Jill. Of course, these incompetent cretins blow that objective, too. As Jill questions people who may have information about her sister, she lies about the circumstances surrounding the case. Mind you, Jill goes out on a flimsy limb with her plethora of lies.

“Gone” isn’t very good. The dialogue is as forgettable as the characters are one-dimensional. One of the Portland police detectives exits the film for a long stretch making himself look suspicious. Eventually, after Jill proves that she isn’t a lunatic, she dispenses vigilante justice. Occasionally, “Gone” recalls the Ashley Judd thriller “Kiss the Girls,” but neither Dhalia nor Burnett conjure up any surprises that make you catch your breath. The far-fetched ending and the incredible cell phone that our heroine can talk on for long lengths of time in the depths of the woods undermine this occasionally atmospheric nail-biter. The performances by Seyfried and solid cast are the film’s sole saving grace.


Fast Tube by Casper

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Terri (2011)

I spent my week plus at the Sarasota Film Festival hoping beyond hope to get thrilled by close encounters with great cinema. Though I saw many that were wonderful, there was only one blow-away film for me, but boy it blew me away. One of the festival artistic coordinators warned me against missing her favorite of the films showing because I thought it would be back in the theaters eventually because it had a ‘big’ star, John C Reilly. On her advice I went on the last day anyway.

I left the festival in 2010 thinking that no film would top Winter’s Bone for me that year and I was absolutely right. This year I left the festival thinking the same because I saw Terri.

This film takes the decency and humanism in Tom McCarthy’s films, most recently Win Win, and catapults it into the stratosphere. With a mind bending performance by the kid and the passionate direction of a near first timer, I can’t explain the magnificent place this film put me. In the end, it is like Juno on steroids but so soft, supple and subtle.

And the word of mouth may have exploded into a much earlier than expected release this summer. Like Juno, it was intended for art houses at best, but I think the buzz from the happiness of those leaving the theater will take it somewhere much larger. Likely not to Juno 2008 $222+ million in the US levels, but certainly past any other art house film this year. Well at least I am predicting so.

At a Q&A I asked the director about filmmakers he liked. He mentioned John Hughes. When you see this as you must, keep your eye out for the magnificent Breakfast Club sequence that is so amazingly intimate, touching, funny, deep and sad all at once. This is what this film is, all of those things rolled up into what I will call in the end a great big happy pill that America needs badly right now.

Here’s hoping they will take it.


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