SCARFACE
What was really intended with this murkiness? In a way, it's about the upland and fall of a gangster. In another, it's a portrait of a faulty man who has an unhealthy mania with his sister, which reminds of some of Scorsese's heroes. Then again, the film features some extremely ungovernable initiative scenes that procure nothing to envy to those from "Rambo". Not to acknowledge the documentary-style opening and the ?80s fish-out-of-ring false comedy feel of some of the early scenes in which Pacino and his sidekick are trying to get some pussy. "Scarface" is all that at the same hour and the sure effects is that, unbalanced as it may be, it's an comforting embodiment.
The heart of the film lies in Al Pacino's unforgettable explanation of Tony Montana, a Cuban punk who guns his forward movement to the apogee of Miami's cocaine world. Pacino first showed his aberrant faculty as the cold and pitiless Michael Corleone in the Godfather trilogy, but it was just one side of his acting. With "Scarface", Pacino shows that he can not only nail perfectly a Cuban accent and position, but also that he's efficient of captivating intensity and immoderation. The coating has him growing more and more obsessed with control and money. He craves a mouse who's unexceptionally not quest of him, played by Michelle Pfeiffer in her opening biggest role. And then there's his disturbing need to protect his kid sister (Mary Elizabeth Mastrantonio). What's the most striking is how, even after he achieves to get from ex-con outlander dishwasher to millionaire hot shot, he doesn't rounded off seem satisfied. He's snorting coke hysterically and scaring everyone non-functioning of his flair. Bored and agog, he doesn't even notice how successful he's become. As you can see, Tony Montana ain't a dull-witted put. He's so messed up and compound that it's hard to see him as exactly a seal in a motion picture, and Pacino is so darn convincing that you hardly disregard that it's fiction.
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The film was directed by a favorite of mine, Brian De Palma. It's remarkably different from most of his work, which is more often about carefully crafted set pieces à la Hitchcock. Films like "Carrie", "Angry Out" or "Dressed to Kill" keep overwhelming you with diction but for "Scarface", De Palma seems to put back a bit. The veil still packs unforgettable scenes, but scattering visual tricks like the split screens or 360 degrees pans that De Palma mostly love. Maybe it's the influence of screenwriter Oliver Stone. We recognize his sense of national indignation in the something like a collapse he portrays the American Vision which, according to this fog, is more about penuriousness, lies and corruption than hard work. There's also the early scenes that claim that Fidel Castro sent thousands and thousands of his convicts in America in 1980 to take revenge. I'm not saying that this ain't true, but I principled mull over that's it's a pure Stone touch.
"Scarface" is an amazing smokescreen that transcends its genre roots to and achieves the devastating feel of a Shakespeare tragedy. The film's sole powerlessness is probably the music. I don't have anything against cheesy ?80s pop, but it barely has its place in a dark and ruffian film be partial to this. Still, that's no biggy, and the dim remains an always gripping conceive of with one of the most gripping partition off performances I've ever seen and a breathtaking finale that predates and arguably outdoes the most ultra-violent and spectacular John Woo shoot-outs.
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The greatest brotherhood detective story everlastingly told comes to human being in imaginary Verona Beach, a city ripe with bearing, passion and retaliation. Gangs preside over the streets, and the citizens either thrive or barely persist in the wild raw environment. Set against this backdrop is a stunning conception of Shakespeare’s timeless tale Romeo & Juliet. In this wealthy world of hate, rival gangs and families at engage in combat with, Romeo (Leonardo DiCaprio) and Juliet (Claire Danes), are ignited by the passion of gold medal forbidden treasure and Verona Coast explodes.
Actor Milo Tindle (Jude Law) arrives at successful author Andrew Wyke’s (Michael Caine) Georgian nation house to enquire whether Andrew resolution come to split up his strife Maggie and if not, why not, since he, Milo, has been her lover and wants to marry her. After some verbal jousting, Andrew comes up with a preposterous proposition: that Milo ’steal’ the million pound’s worth of jewellery in the safe, fence it, and keep the money AND Maggie. Andrew would filch the insurance. Milo tentatively agrees, until Andrew changes the terrain rules - with gun in within arm’s reach - and Milo finds himself outmaneuvered. But when the next visitor arrives at the house, Andrew realizes the field has just begun in a deadly and twisted battle of wits.
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What happens when a porno outfit tries to go legit? Well, you get Hollywood Chainsaw Hookers (1987, 75 minutes), that’s what. B-auteur Fred Olen Ray was given a budget of less than $60,000 by L.A. Video, and in no longer than a week of shooting, produced a bona fide classic that even debuted at the Egyptian Theatre. Part of his magic formula was bringing in the world’s most famous chainsaw-wielding maniac Gunnar Hansen of Texas Chainsaw Massacre as one of the leads along side B-Queens Linnea Quigley and Michelle Bauer. But neither they or Fred ever fathomed this strange little flick would become the cult phenomenon it has.
The movie: Our adventure begins with an admonition …
- “The CHAINSAWS used in this motion picture are REAL and DANGEROUS! They are handled here by seasoned PROFESSIONALS. The makers of this motion picture advise strongly against anyone attempting to perform these stunts at home. Especially if you are naked and about to engage in strenuous SEX.”
Attaboy, Fred. It’s easy to get caught up in the jiggling lingerie and whirring chainsaws, but at its festering little heart, this B-genre gem is really a private eye flick and Jack Chandler (Jay Richardson) is the gumshoe on the case. As we learn through his fantastically cornball voiceovers, it’s when trying to track down a beautiful runaway (Quigley) that Chandler accidently stumbles across an evil cult of chainsaw-worshiping prostitutes and their malevolent gore guru The Stranger (Hansen) who stalk the dingy motels of Los Angeles and gleefully turn Johns into cold cuts. In fact, the gal he’s looking for is in cahoots with the Cuisinart cultists, which unfortunately lands Jack flat on his back on a sacrificial alter as the main course for the Feast of the Dead. But not before Linnea emerges from a coffin and slinks the immortal Virgin Dance of the Double Chainsaws. It’s the stuff of B-legend. CineSchlockers undoubtedly know Mr. Hansen also brandished a saw in Mosquito (1995), which he both co-wrote and starred in.
Notables: 12 breasts. Four corpses. Sucker head butt. Spitting. Fire breathing. Gratuitous David Letterman references. Nekkid dancing. Private dick jokes. Finger stealing. Decorative body paint.
Quotables: Jack Chandler is skeptical of the chainsaw cult, “What do you do, pray to Black and Decker?!” and knows what he likes in a dame, “The kid talked like a Frosted Flake, but she had the nicest set of knockers that I’d seen in a long time.” The Stranger scolds Jack for yelping as a knife carves his flesh, “Please Mr. Chandler. Think of the neighbors. They’re trying to sleep.” Mercedes (Ms. Bauer) doesn’t take no sass, “Shut your face, HEATHEN!” Drunken whores chant incoherently, “KILL IT TO HIM!!! KILL IT TO HIM!!!”
Time codes: Mercedes covers her Elvis shrine in plastic before setting to work (9:40). Amateur pornographer with a baseball fetish (24:45). Linnea joins the picture (32:10). Can you spot Grace Jones in this set piece? (58:00). Ms. Quigley makes cinematic history (1:02:40).
Audio/Video: Beautifully presented in a widescreen (1.66:1) print directly mastered from the original 35mm camera negative. Black levels remain consistent throughout with only minimal grain or shimmering. Utilitarian Dolby Digital mono track.
Extras: The film is hosted by Fred Olen Ray as part of his “Night Owl Theater” series. The witty cigars ‘n’ cocktails vignettes give Fred a chance to ham it up in front of the camera while also providing some additional eye candy via his bodacious wife Miss Kim and some topless babes playing Twister. Fans will also appreciate the 23-minute documentary detailing the making of the flick. Linnea Quigley admits that while she was thrilled by the prospect of working with Fred, when she heard the title of the movie she asked, “This isn’t a porno, is it?!!” Michelle Bauer also shares her recollections. And as always, Fred pretty much tells it like it is, “When all is said and done, it’s probably taken me more time and more effort and more care to put together this special edition of Hollywood Chainsaw Hookers than it ever did to make the original film.” There’s also a trailer, plus reels for Fatal Justice and Angel Eyes. Motion-video menus with audio. Postcard insert for “free stuff.”
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Final thought: Easily one of the top genre releases of the year, and the addition of “Night Owl Theater” really creates the sort of atmosphere in which a picture of this ilk should be viewed. Highly Recommended.
G. Noel Gross is a Dallas precise designer and avowed Propel-In Mutant who specializes in scribbling B-cinema reviews. Noel is inspired by Joe Bob Briggs and his gospel of blood, breasts and beasts.
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This is the video trailer for a new movie called Winter’s Bone, which is available to watch in theaters on limited release from this weekend.
Winter’s Bone won both the Grand Jury Prize and the Screenwriting Award at the 2010 Sundance Film Festival. It looks like a must-see for anyone who prefers their movies to have a little intelligence.
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The film tels the story of a teenage woman trying to find her drug-addicted father before the family home gets taken away from them. She has to make tough decisions, and explore places she’d rather not explore.
Winter’s Bone is dark, moody, and atmospheric. It’s loved by the critics, although some have criticized the often hard-to-watch nature of the film.
This is clearly no popcorn movie. But that isn’t necessarily a bad thing.
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Narnia Fans is reporting that we could see a trailer for The Voyage of the Dawn Treader in about two weeks. Check out the article here for the full details.
As always, we will be sure to post the trailer along with a well-shaped sally forth of box-caps and the duplicate.
This may also mean that the trailer will premiere in front of Toy Story 3 as that’s the most appropriate movie set to release in two weeks. Can’t wait. Sail on Dawn Treader!
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UPDATE: Kristi at The Lion’s Call reports that Walden has confirmed the trailer will premiere in front of Toy Story 3!
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The Good Escort
Director:
Robert De Niro
Synopsis
Robert De
Niro directs this dramatic account of the creation of the CIA.
Movie review
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From Time Out London
At united hint in De Niro’s belated second directorial trip, CIA hotshot Edward Wilson (
Trouble is, undeterred by one draggy foray into Gilbert and Sullivan, Wilson, as played by Damon, not under any condition had much soul in the first embarrass. When Sgt Ray Brocco (
Paul Ryan is obsessed with women. He is a paralegal who spends his nights watching pornography. His attempts to meet women fail as he can barely speak to the opposite bonking. He begins booming to a prostitute. Eventually Paul and the quean begin fulfilling Paul’s pornographic fantasies by making adult films. A porn producer likes Paul’s lift weights and commissions him to make more films, but with fresher faces. Paul involves an innocent girl seeking acting roles in Hollywood and their life in the full-grown film manufacture leads to a brutal, humbling shin up. This characteristic swatting is notable for refined performances including Craig Wasson–known mostly from another library of sexuality, BODY DUPLICATE–as the porn processor. Michael DeGood plays Paul in his first leading rele.
One of the oddest, most downbeat comedies since “Pulp Fiction,” “The
Cable Guy” doesn’t know when to pull the plug. Much of it plays like a
personal boob tube with Carrey trapped inside, determined to act his way out
in a freak show of mugging. He’s a disturbing mixture of psychopath and
lonely soul. Here, as always, a little Carrey goes a long way.
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His performance makes co-star Matthew Broderick, as the mild-
mannered architect Steven Kovacs, come across as a saintly milquetoast.
Chosen by the cable guy to be his buddy/victim, the earnest Kovacs is also
the only character to root for in this movie.
After breaking up with his girlfriend (Leslie Mann), Kovacs takes a small
apartment for a miserable stint of bachelorhood. He calls the
cable company to get hooked up, and Carrey shows up with bullying jokes, a
wild dimpled grin and a too-personal observation that Kovacs’ new place
“smells like heartbreak to me.” Eventually the cable
guy, who identifies himself as Chip Douglas (and uses other names sitcom
viewers will recognize), takes over Kovacs’ life.
The film, directed by Ben Stiller, takes a promising leap when it suggests
that everybody is a slave to the tube. In Lou Holtz Jr.’s screenplay,
though, the idea is carried to such extremes that it becomes leaden.
