Rated: PG for intense adventure action and some scary moments.; Rated PG-13 for some bloody sci-fi violence. (special edition)
Release Date: 2008-07-11
Starring: Michael Weiss, Jennifer Flackett, Mark Levin, Jules Verne (novela)
Official Website: http://www.journey3dmovie.com/
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‘Journey to the Center of the Earth’ is the first film live action film that uses the new digital three-dimensional technology. The film is an optical tour de force, but lamentably that visual experience does not manage to incorporate the same satisfaction to a story with a duration of an hour and a half. Based on a novel of Jules Bern that captivated the imagination of readers in 1864, ‘JTTCOTE’ feels more like a sequel of the novel and not a direct adaptation of original story.
The professor of geology Trevor Anderson (Brendan Fraser), and their 13 year old nephew (Josh Hutcherson), travel to Iceland in search of a volcano that is acting up in a very unusual way. With the aid of Hannah (Anita Briem), an attractive mountain climber, they find their objective, but accidentally fall in a hollow path that leaves them in center of the Earth. What ‘Journey to the Center of the Earth’ accentuates is how the technology ends up dictating the script. In this case, the three-dimensional sequences are the main attraction, and therefore, it debilitates the story. Don’t expect too much from the protagonists either. Usually, these type of films offer high doses of special effects and nothing else. The film’s stars are only a secondary feature to the already charged up VFX.
This type of film strictly is done for the entertainment of the public and not for the Oscar committee. If you’re looking for a delightful time with the family, ‘Journey to the Center of the Earth’ will satisfy all your demands.
Rated: PG-13 for some sexual and crude content, and language,including a drug reference.
Release Date: 2008-05-09
Starring: Dana Fox
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Rated: R for for sexual content, nudity, violence and language. Release Date: 2008-03-07 Starring: Dick Clement, Ian La Frenais Director(s): Distributor: Film Genre: Country:NULL Official Website: http://www.bankjobmovie.co.uk/
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The Bank Job is a heist movie in the classic tradition – it details every aspect of the caper, from its genesis to its aftermath. The fact that there’s political intrigue and espionage swirling around the edges only makes it more fascinating. Director Roger Donaldson, whose resume includes films as diverse as Dante’s Peak and The World’s Fastest Indian, keeps the pace at a high level so even the “down” moments are driven forward by the film’s momentum. And, unlike some crime movies that become so fixated on the plot that everything else gets lost in the mix, Donaldson and his screenwriters take the time to develop the characters.
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The Bank Job‘s protagonist is Terry Leather (Jason Statham), a typical dodgy East End character. He runs a car-sales garage, is in debt to a loanshark who believes in more than “harsh words” when it comes to repayment, and – perhaps surprisingly – is happily married to the love of his life, Wendy (Keely Hawes). He is a doting father and husband. Enter Martine Love (Saffron Burrows), an old flame-who-might-have-been. When she needs a “villain” to help her with a heist, she approaches Terry with a proposition. She’s in possession of information that could net him a lot of money if he can put together a team on short notice to break into the safety deposit vault of a Baker Street bank. With his greed overcoming his good sense, Terry in inclined to believe her but, unbeknownst to him, Martine is not on the level. The puppeteer pulling her strings is an MI5 agent named Tim Everett (Richard Lintern), and he’s after the contents of safety deposit box 118 – compromising pictures of Princess Margaret that are being used to blackmail the government. So Terry gathers his crew of six, which includes Martine, a couple of close friends (Stephen Campbell Moore, Daniel Mays) and two others, without being aware of what he’s really getting involved in.
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When one looks back at the plot of The Bank Job from a post-end credits perspective, its complexity is apparent. It weaves together a large number of subplots, including police corruption, MI5 gamesmanship, hard-core criminal activity (including murder and extortion) and, of course, the caper itself. By eliminating flashy cinematography and editing, approaching the material in a clear, chronological fashion, and providing only the details necessary to flesh out crucial aspects of the story, the filmmakers never lose the viewer in a muddle of tangential characters and issues. The audience isn’t left for long to wonder about the purpose of the naked water frolic at the beginning or the incorporation of crime lord/activist Michael X into the mix.
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For better or worse, this is the kind of character with which Jason Statham has become associated. Over the course of a career begun under the guidance of Guy Ritchie, most of his performances have fallen into this “tough guy” category, so it’s impossible to argue with the casting. He’s easily the best-known member of the troupe. Some viewers may recognize Saffron Burrows or David Suchet, but neither has a mainstream following. The important thing to note is that everyone disappears into their roles, which is the kind of thing one has come to expect from low-profile British movies. When the entire supporting cast is comprised of character actors, this result is achieved.
Much as I enjoyed Stephen Soderbergh’s Oceans trilogy (more for the camaraderie and chemistry of the actors/characters than for the plots), The Bank Job illustrates how much more richness there can be in a heist movie when layers are fabricated into the story and the narrative extends beyond the central caper. When this movie ends, the viewer feels as if he has seen an entire tale unfold rather than merely having been granted the chance to peer through a window at the inner workings of an infamous historical crime. The Bank Job is smart, well-paced, exciting entertainment for adults – something that is more of a rarity than it should be.
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Rated: R for for sexual content, nudity, violence and language.
Release Date: 2008-03-07
Starring: Dick Clement, Ian La Frenais
Official Website: http://www.bankjobmovie.co.uk/
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Rated: PG-13 for some strong language, sexual scenes and nudity.
Release Date: 2008-06-06
Starring: Judd Apatow, Adam Sandler, Robert Smigel
Official Website: http://www.youdontmesswiththezohan.com/
Rated: Release Date: 2008-04-04 Starring: Director(s): Distributor: Film Genre: Country:NULL Official Website: http://www.shinealight.es/
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The Rolling Stones was here for a concert not too long ago, but since tickets were priced way out of my league, there was no way I could have seen them in action live unless I opted for the cheapest of the lot and sat well away from the stage. So I got to thank Martin Scorsese for having design and capture some definitive moments from a Rolling Stones performance, and share that stage magic the quartet provide when they’re at their element, on a celluloid screen, captured for posterity.
Make no mistake, the entire movie is just like being there at a Rolling Stones concert, only that you’ll have to ensure the cinema hall has great sound system installed, and you can’t actually smell the sweat the rockers exude, even though you get to go really up close and personal during their performance, something which even the standing-only front row pit will not allow. You can even throw your hands up in the air only to irk those seated behind you, unless they and everyone else are game enough to turn the sedate cinema atmosphere into a party one. So this review (if I can call it one) largely depends on whether you’re a Stones fan to appreciate, or for non-fans to want to give them a go, to kick back, relax (if you can) or just soak in the rollickingly wild atmosphere and immerse yourself into a Rolling Stones experience.
More than 20 songs were performed (if my mental counter serves me right), and for a Rolling Stones fan, you’ll likely be satisfied them all for the price that you fork out. For a simple fleeting fan like me, it’s an eye (ear?) opener to a lot more of their music, as well as an opportunity to watch them in action on the cheap. The first 10 minutes or so was the setup, with Scorsese worrying and fussing over how to film the Stones in action, and to want to have their set of songs as early as possible so that he could plan certain shots. But of course Mick Jagger and the gang got other ideas, as they flit from performance to performance during their “A Bigger Bang” tour, only to connect physically with Scorsese when they’re at the designated performance stop at the Beacon theatre for the Clinton Foundation – where you’ll get to see how big a fan Bill and Hillary are, together with their 30 strong entourage.
Interspersed throughout the concert performance are plenty of vignettes culled from past interviews spanning from the 60s, which will bring on some laughter as you watch them with perfect hindsight. You will get to see how youthful all of them looked when they first started out, and be amazed at their longevity in this business where bands come and go after making it to the top, if at all. Despite being grand-daddies, Mick Jagger, Keith Richards, Ronnie Wood and Charlie Watts still look in great physical condition to be touring and strutting their stuff, dishing out high energy, high performance concerts, with Watts even cheekily feinting tiredness at a point. In fact, none of them thought earnestly thought, back in their youths, that they will sustain their popularity, or would have reasons for it, except perhaps Jagger himself who jested that he had dreamt about rocking the stage into his 60s.
Shine a Light doesn’t break any new cinematic ground, even though it has cameras almost everywhere in a concert hall to capture every aspect and angle of the performing stage. In fact, despite Scorsese making appearances in front of the camera, his work behind it, with all due respect, could be replaced with any other director, and the outcome would probably be more or less the same, only because of the fact that it is a Rolling Stones concert with the band holding court from start to end. Would have been more of a blast to be able to see this in the IMAX version though.
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