Essence documentary filmmakers Nigel and Marianne Thornberry (voices of Tim Currie and Jodie Carlisle) are in the Serengeti Plain in Africa with daughters Elizabeth (Lacey Chabert) and Debbie (Danielle Harris) and adopted wild kid Donnie (Flea). Elizabeth, who has the power to communicate with animals, discovers that ivory poachers Sloan and Bree Blackburn (Rupert Everett and Marisa Tomei) plan to trap thousands of elephants during a solar eclipse. After being sent to a London boarding mould, Elizabeth escapes and with mischievous chimpanzee Darwin (Tom Kane) by her side, she returns to Africa to save the elephants and bring the Sloans to justice. 

La Locanda della Felicita'

BACIATE CHI VI SLASH BACK (EMBRASSEZ QUI VOUS VOUDREZ)

Regia Michel Blanc

Con Charlotte Rampling, Jacques Dutronc, Carole Bouquet, FRANCIA, 2002, 90', ISTITUTO LUCE

Da che parte cominciare per recensire questo videotape? dal regista (Michel Blanc, ma non so che altro dire di lui)? dagli attori ( conosco solo Charlotte Rampling e Carole Bouchet e non erano i migliori)? dalla trama ( una ricca donna altoboghese in vacanza con una sorte di corte dei miracoli che, al ritorno, darà una festa nel giardino della sua bella casa, in un crescendo di equivoci)? dal messaggio che il regista voleva esprimere? anche su questo sono perplessa, forse sono stati rappresentati alcuni degli archetipi di uomini: il marito mascalzone (secondo me poco credibile), il marito geloso (il migliore, il più divertente), il perdente (non riesce nemmeno a suicidarsi! ah, scrive la lettera d'addio, piena di errori con una macchina da scrivere uguale a quella di snoopy e trovata nella spazzatura), l'assistente, amante, del marito della ricca borghese, con problemi di identità sessuale (non a caso uso il termine assistente, perché mi esonera dalla scelta tra il termine maschile e quello femminile), il dipendente extracomunitario del ricco borghese innamorato della figlia, l'adolescente figlio del perdente, alle prese con le sue prime esperienze sessuali e unico dei maschi a uscirne, se non vincente, almeno non perdente. Le donne (ogni uomo si confrontava con una moglie o compagna di letto), che mi sembravano le vere protagoniste, in realtà mi hanno convinto meno.

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Tutto ciò: premesso, a me il film è piaciuto, non sarà un capolavoro, ma mi ha fatto sorridere.

-By Daniel Eagan

Scribe-numero uno Kenneth Lonergan makes an impressive feature debut with You Can Count on Me, a modest but winning look at the strained bonds between a brother and sister in an upstate New York village. Uniformly unflagging performances bring elsewhere the nuances in Lonergan's script, and his uninterrupted direction finds a good balance between sentiment and humor. The film's opinion in probity values and lack of cynicism may not appeal to jaded viewers, but attentive marketing could employees draw the audience it deserves.
Shot in New York's Catskill Mountains, the dusting presents lifeblood in the unpretentious town of Scottsville as both easygoing and claustrophobic. Sammy (Laura Linney), who dissolute her parents in a automobile accident while still a laddie, has lived there all her autobiography. A loan apparatchik at the local bank, she is raising her eight-year-old son Rudy (Rory Culkin) by herself, leaving little time for her random incident with indemnity salesman Bob (Jon Tenney). Brian (Matthew Broderick), a new bank executive determined to revive employee expertise, threatens to cut into Sammy's days with Rudy.
Sammy's long-estranged associate Terry (Mark Ruffalo) leaves his girlfriend in Massachusetts and takes a bus to Scottsville, clearly to look in on but really to borrow money. Sammy barely persuades him to stay with her for the purpose a few days. A immortal luxuriant son, Terry layers a self-deprecating polish on top of a seething anger. He can virtually believe himself when he insists, 'I'm not the kind of guy the whole world says I am.' But it doesn't take yearn to achieve why he is always in trouble.

The relationship between Sammy, a devoted churchgoer who nonetheless falls into an affair with the married Brian, and Terry, a strong-minded atheist who still fights for saw truths, is an fascinating one that refuses to follow conventional formulas. Neither's approach to life is 'better' than the other's, just as neither can non-standard like to find happiness, either together or besides. In a quietly intense scene, Sammy's Methodist padre (played by chairman Lonergan) confronts Terry about his philosophy of biography. Echoing the film's strategies, the minister uses logic and low-class wisdom to bicker that everyone's life is prominent-a message that still can't resolve Terry's problems.

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Originally a one-act play, You Can Compute on Me is built enclosing two confrontations between Sammy and Terry, prolonged arguments that are powerful and utterly convincing. Lonergan's criticism is attuned to all the slights and mistakes that help define sibling bonds, just as Linney and Ruffalo capture the wariness between their characters. Ruffalo is excellent in a fastidious role, but Linney is outstanding, decision her character's doubts and contradictions as happily as her strengths. The film's emotional fireworks wouldn't be as effective without its refined droll bits, or the strong supporting cast. Modest, lesser-scale, but in the kill to a great extent moving, You Can Count on Me is a surprising flick that will compensation accommodating viewers.

Reviewed by Dennis Schwartz

An unpretentious and spirited, but uneven Western. It’s directed
in a workmanlike manner by Andrew V. McLagen and scripted with comedy in
mind by James Lee Barrett from a story by Stanley Hough.

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It’s set in Val Verde, Texas, in 1867. The Bishop gang arrives in
the sleepy border town to rob a bank. Gang leader

Dee Bishop (Dean Martin) snaps at the teller: “Never mind the hard
stuff. We’ll just take the paper.” Soon things go wrong as a bank patron
named Mr. Stoner, the richest man in town, gets killed by one of the robbers
and a bank teller gets wounded. Sheriff July Johnson (George Kennedy) and
his deputy (Andrew Prine) arrest the five-man gang.

Mace Bishop (James Stewart) arrives in a town nearby to Val Verde
looking for work and stops off to bed in the local flophouse. While taking
an outdoor bath, Mace overhears loudmouth hangman, Ossie Grimes (Guy Raymond),
bragging about coming to Texas from Oklahoma on the invite of the sheriff
to hang the Bishop gang. Mace trails the hangman out of town and joins
him for coffee-on-the-trail while receiving an in-depth lecture on the
secrets of the trade. Mace departs in the hangman’s top hat, frock coat
and tools of the trade. Arriving in Val Verde, he compliments the sheriff
on the excellent quality of his five-man gallows. It turns out that the
condemned gang is led by Mace’s wayward brother, Dee, who sided with Quantrell’s
raiders during the Civil War while he rode with Sherman’s Union Army. Mace
calmly stages a last-minute escape of the gang and when the sheriff takes
a posse after the gang heading for Mexico, Mace calmly robs the bank of
$10,000 in the deserted town. 

In the chase, the wealthy widow Maria Stoner (Raquel Welch) is kidnapped
by the gang. The sheriff has a longtime crush on the sexy Mexican woman,
and vows to ride until he rescues her and captures the gang. The chase
takes place over mountainous bandolero territory in the Mexican desert.
The Mexican bandits aim to kill all gringos, and start picking off the
posse one by one. In the meantime, Mace joins his brother’s gang hiding
out in a ghost town and tries to talk Dee into quitting the gang and going
partners with him in a Montana ranch.

While Raquel is kidnapped by Dee, the two fall in love. Raquel has
previously told businessman Carter her shocking bio “I was a whore at 13
and my family of 12 never went hungry.” Her rich gringo hubby bought her
from her father for some cattle and pistols. But she later lets on, she
never complained because hubby treated me like a lady.

“Bandolero!” is overlong, routine and dull in spots despite a fine
cast. By the time the final shootout takes place we are asked to believe
that it’s possible for the brothers to go straight, that Raquel Welch can
act and this familiar story is fresh. 

The necromantic of Walt Disney lingers magnificently on in Bed knobs and Broomsticks.

The setting is a quaint olde-worlde English seaside village during the earlier days of World War II. Three Cockney kids (Roy Snart, Ian Weighill and Cindy O’Callaghan) are evacuated there and are as appalled by the dullness of it all as they are with the eccentricities and rules of Angela Lansbury with whom they are billetted. Then they discover she is studying witchcraft by correspondence course with the idea of using it against the Germans should they invade. Life takes on a rosier hue. They learn to perform all sorts of magic, fly to London on a bedstead and spend a joyous time in the never-never land [songs by Richard M. and Robert B. Sherman].

It is when the film [based on the book by Mary Norton] dives deeply into the realms of fantasy that it is most enjoyable. The trip with the principals on the bedstead through the underwater kingdom of the fishes and animated football match between jungle animals with a superimposed David Tomlinson refereeing are not only sheer delights but technical masterpieces.

[In 1997 a 139-min. de facto director's cut was released on homevideo.]

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1971: Best Special Visual Effects.

Nominations: Best Costume Design, Art Direction, Original Song Score, Song (’The Age of Not Believing’)

Revelling in the travesty of carnal dissipation, Anxious for Living transforms the standard elements of fairytale into a mess of dominant sexual mores. The wicked queen is an omnivorous barracuda-mother with a predilection with a view leather boys, who devours her empire’s sub-lumpen populace with an appetite that is tempered only by perverse sadism. Her princess daughter, trapped in the heterosexual pursuit of a Out of Story, is finally saved by a obstinate mutiny of lesbian transsexual heroines who take beside the downfall of the warm dictatorship. Single-mindedly tracing the limits where hedonism becomes revulsion, this is a celebration of the flesh, a revindication of marginalised sexualities, of desire as artifice, which is a lot less misogynist than the harmonious aestheticism of ‘natural’ sexuality in softcore porn.

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Any film which features a dead, bald and very peckish ruffian lurching towards the camera screaming ‘More Brains!‘ gets my vote. Directed by O’Bannon courtesy of George Romero, this is an zingy cross-referencing of genre: not just a horror movie, but a comic apocalyptic zombie apprehension silver screen. O’Bannon has his cube, eats it, and then throws it up in the grasp the nettle of the audience. Warehousemen unwittingly loosing a zombie interred by the CIA (of course) along with a nifty gas which ensures that state graveyards are bursting at the seams with percipience-peckish corpses. Most of the film froths and bubbles merrily: there is a acutely artistic sequence where a punkette dances in a state of nature on a tombstone already being transformed into a zombie, and another moving morsel where para-meds get their heads munched. Finally, in any event, O’Bannon runs all in all on the cranky taste gags. Matters conclude, anti-climactically, with the death of civilised lifetime as we know it.

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Peggle Nights: PSN Trailer description

This is a new and fun trailer for the game Peggle Nights

The sun has set at the Peggle Institute, but the bouncy delight has just begun! Join the Peggle Masters on a dreamtime adventure of alter egos and peg-tastic action.

Watch how much fun can you playing this great game!