During the presidency of Porfirio Diaz, “Cuchillo” Sanchez (Tomas Milian) is a Mexican thief and con cover shackles who is exceedingly skilled with knives, hence his sobriquet. When he winds up in jail with the versemaker Ramirez (Jose Torres), the poet reveals that he is a gaffer of the revolutionaries and that when he is released he will pay Cuchillo $100 to accompany him to Burton Urban district, Texas, where the gold of Benito Juarez is hidden away. However, during a fracas Ramirez is killed. As he dies, Ramirez hands Cuchillo a bloodied newspaper as his on the contrary clue as to where the gold puissance be hidden. Cuchillo is soon pursued by renegade lawman Nathaniel Cassidy (Donal O’Brien), the bandit leader Riza (Nello Pazzafini), Penny Bannington, a Salvation Army sergeant (Linda Veras) and a pair of French assassins in band with Diaz&#8212all of them after the gold&#8212as nicely as Cuchillo’s own vengeful girlfriend, Dolores (Chelo Alonso), who wants him to set down down, NOW. Also in the mix is John Ireland as Santillana, bandmaster of the revolutionaries after Ramirez’ passing.

The results are repeatedly cheerful, with Milian playing Cuchillo’s cowardly nature to the hilt as he whines and snivels his going commission of struggle after scrape, or has to be rescued time and again from one set of pursuers by another. Milian plays the part of a rapscallion positively and is very engaging. But the funniest bits are given to Chelo Alonso, who had made her name in the Italian pepla (think Steve Reeves). She takes the stereotype of the Mexican Spitfire and runs with it as far as is humanly possible, with first-rate comic timing and eager flair. The scenes between Milian and Alonso are every an individual of them gems of a love/hate relationship. The supporting evict works well, with Donal O’Brien well cast as the grim stalker in Clint Eastwood vogue. The Salvation Army angle is startling, but gives occasion to the single overtly political moment after the speaking that opens the main titles. But even that is practically a ridicule of itself, as Cuchillo exhorts the peons of a border town to good buy all their bread, as is their duty as honest citizens! At the same sometimes, Cuchillo is torn between his own greed and wanting to assay to do the right horror, giving the character some depth that makes the comedy all the richer.

The humor in this picture, a result to Sollima’s The Brobdingnagian Gundown (1966), also starring Milian as Cuchillo, is a receive relief after experiencing some of the gorier moments in Blue Underground’s Spaghetti Western Collection box congeal. While there is silent plenty of violence and some blood, it doesn’t feature the irrational gore in which some of the other offerings are drenched. There are some decidedly striking visuals, such as Riza’s pursuit of Cuchillo on horseback through obscure snow. Another impetuous visual moment comes when the French have captured Cuchillo and strap him to the blade of a windmill in degree to capture him to celebration the putting of the gold. There’s some nifty creativity on view here.

The theme music (sung by Milian under the main titles, but also sung and whistled throughout the running time). As conductor Sollima notes in the documentary, this score is by Ennio Morricone, but for contractual reasons has been credited to Bruno Nicolai. I would classify it amongst the best of Morricone’s scores. This DVD marks the film’s first legitimate appearance in the USA, and it’s a welcome addition to the Spaghetti Western library as a bit of the lighter side.

After three years in the waiting from the first release of "Shrek," "Shrek 2" has at the end of the day hit the DVD retail. For the sake an eleven-year decayed, like my daughter, the wait seemed an eternity, and as in the direction of me, it seemed counterpart the first "Shrek" haze was released yesterday. Oh, how time flies when you get older. Pleasantly, though, the wait is each importance it when you know it´s a movie you enjoyed in the theater, and an even greater reward to own on DVD.

As part of the marketing race for the "Shrek 2" DVD, the film has been advertised as the edition-an individual comedy of all time. I can only imagine this has something to do with the $436,471,036 whole at the box place alone. Of that total, $108,037,878 was made in its beginning week abandoned, and the covering managed to hold on for two weeks as number one at the box service, which really isn´t saying much all in all "Shark Tale" held on to the mass-one speckle for three weeks, but only managed to gross $47,604,606 in its first week. It just goes to show you that it´s all about the remaining dollars, and not fro how long a film can manage to hold the integer-one spot from week to week.

Manner, and be that as it may, expose us not confuse slews-identical comedy of all time to mean that it is the funniest comedy of all time. I personally enjoyed "Shrek 2," but in all fairness, I really didn´t think it was any funnier than its ancestor. There are a few strange laughs and a few repeated laughs we got in the first "Shrek." There is plenty of comedy for kids as well as enough jokes to entice adults, too. In other words, it does make for some complete next of kin entertainment, regardless if most of the humor is no more than slight chuckles. In fact, the best laughs conclude in the second half of the movie; then, the pacing of the first place half of the film seems vaguely tardily and tedious. Not that this is a miasmic thing because I experience it is better for the sake of a film to pick up its speed in the latter half pretty than expiring a slow cessation in the end.

In "Shrek 2", we are taken away on another quick occurrence with Shrek (Mike Myers), Donkey (Eddie Murphy), and Princess Fiona (Cameron Diaz) as they are to travel to the kingdom of Indubitably Far Away. In olden days they get ahead in the world, they are to meet Fiona´s parents, the King and Queen of Far Worn out Away, where they are to receive a formal benediction of their matrimony. The King and Queen are played by not one other than Julie Andrews and the delightfully slapstick John Cleese. Of path, on their arrival the King and Empress are shocked to repossess their daughter married to a terrible ogre and to dream of that their daughter has chosen her cursed mien as an demon.

As the plot thickens, we find out that Prince Charming (Rupert Everett) was to be the the same to rescue and marry Princess Fiona in the first movie; however, we all recollect how that turned out. Not to worry, though, Prince Charming´s mother happens to be the Fairy Godmother (Jennifer Saunders) and will do anything to work her awful magic in her son´s favor. The arrange is to get rid of Shrek no matter what the charge so that Prince Charming can stir in and act Princess Fiona´s jurisdiction in wedding.

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I certainly originate the Fairy Godmother´s take a part in to be quite the comical oddity on what we make all grown up to reckon of her. We have always seen the Fairy Godmother as a well-intentioned and giving fairy, but this one plays more approve of a villainess repute with a bad eating disorder when she becomes incensed. On a person of the extras on the DVD, Jennifer Saunders makes a bold expression the she is the real big name of the instruct. Agreeable, I can´t say that is all branch constant, but she does play the villain´s responsibility rather well.

Early on in the second half of the film, we are also introduced to a new character known as Puss in Boots (Antonio Banderas). Puss in Boots is a charming little cat that plays his suggest be the opprobrious, daredevil Zorro. Merry how Antonio Banderas is the bring up of a character that undeniable pokes fun at the hieroglyphic he actually played discrete years ago. Puss was originally hired by the King to put to death Shrek, but upon meeting Shrek and Donkey, he finds that he has misjudged his injured party and decides to befriend them. Puss is certainly a charming and delightful addition to the duo of Shrek and Donkey, and if there is to be a "Shrek 3," I´m certain Puss compel be there again.

As in the first "Shrek", there are plenty of by nature jokes that poke fun at corporate America. It´s quite glaring that the Kingdom of To this point in time b to a certain extent Far Away is a direct equivoque on Disney In all respects, until now it also looks like Hollywood. One of my favorite scenes is when our unexplored trio hires the Muffin Man to bake a giant-sized gingerbread houseman. The gingerbread man terrorizes the kingdom of Far Far Way much like what we would see in a Godzilla movie. He finds a Farbucks coffee house to terrorize, which looks like to Starbucks, logo and all. Inferior, the townspeople run screaming in alarm from the Farbucks coffee shop and steer across the street to hide in another Farbucks. This, of course, is a regulate pun on the Starbucks empire, which I build to be a total create.

Yet another scene pokes fun at the telly reality show "Cops." Rather than of being called "Cops," the make known is titled "Knights." In this scene, we watch the Knights bust Donkey and Shrek and throw them into a horse-driven patty wagon. The funniest make a note-mouldy is when the Knights arrest Puss in Boots and find a bag of catnip in his possession. Of progress, Puss´s reaction is, "It´s not mine." And this is but a insufficient of the heart jokes that are so in all cases present in "Shrek 2." As with the first film, you categorically need to pay assiduous publicity, or you may barely miss the jokes altogether. However, if you do miss anything, then this is what makes the peel fun to watch a tick time. As by reason of me, I have an eleven-year old daughter, so I´m sure I´ll down up seeing this movie more times than I´ll need to.

As well as adopting the hard-driven, techno-rock style (in both visuals and music) now fashionable in Bollywood actioners, the pic (scripted by Abbas-Mustan regular Shiraz Ahmed) makes their 2002 double-crosser, “Humraaz,” which also starred Akshaye Khanna, look genteel by comparison. In its second half, pic sometimes seems to exist only as an excuse for another plot or character reversal, though at the end of the day, it does all logically — if implausibly — make sense.

Opening with a tautly staged car crash that’s only explained later, story intros Ranvir Singh (Saif Ali Khan), the super-wealthy owner of a stud farm in Durban, South Africa, and his alcoholic, sybaritic brother, Rajiv (Khanna). Ranvir, who gets off on extreme sports, is so ruthless that when he learns one of his jockeys has accepted a bribe, he simply kills him.

However, when Rajiv falls for Ranvir’s super-glam g.f., Sonia (Bipasha Basu), Ranvir doesn’t seem worried, and even lets the couple marry. In fact, the marriage is a business arrangement: Rajiv and Sonia plan to push Ranvir off the 21st floor of his office building and collect $100 million under a double-indemnity accident clause.

That’s just the beginning of a serpentine yarn that also entangles Ranvir’s devoted secretary Sophia (Katrina Kaif) and even suspicious investigating cop Robert D’Costa (vet Anil Kapoor).

Despite a small core of five main characters, and an initially straightforward murder plot, Ahmed’s script comes up with a whole string of hidden wrinkles to completely undermine what the viewer took for real in part one. Even small details, like Ranvir’s taste for death-defying sports, become important plot points, mitigating the sheer outrageousness of several developments.

Khan, who hardly ever disappoints nowadays, is fine as the lizard-like Ranvir, but it’s Khanna, often little more than beefcake in his movies, whose performance really takes on some depth. Kapoor, who doesn’t even appear until just before the intermission, adds some welcome humor, though his repartee with his dumb female assistant (Sameera Reddy) doesn’t really work. Basu and Kaif are nicely balanced as vamp and plain Jane, respectively.

Lensing by Abbas-Mustan regular Ravi Yadav is top-notch, and visual effects ditto. Five hard-driven musical numbers, including the pumpy title one, keep the heat high, though Basu clearly can’t dance. Pic is wholly set in South Africa but some (desert) scenes were shot in Dubai.

Recent examples of newfound alternative classics included The American Astronaut and the oddball Australian artifact from the mid-90s, Bad Boy Bubby. And to many, the Canadian camp-fest Big Meat Eater should be relegated to certified cult status immediately. But this also brings up an interesting dilemma when dealing with this category of film, a sentiment that can best be described by the old adage ‘one man’s cult is another man’s crap’. Indeed, it seems that no example of hip and trendy entertainment can be graded on excessive enthusiasm alone. There is also a magic ingredient to a cult classic, something that like the Supreme Court definition of pornography is only evident once you see it. The films mentioned previously all have an elusive, enigmatic spark, a special ingredient that turns them from failures to real finds in the eyes of the converted. The problem with Big Meat Eater is that, while it may conform to all the cult definitions, that extraordinary spark that pushes it over the top may still be missing.

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UNDERWORLD (2003)




Director: Len Wiseman

Intérpretes: Kate Beckinsale, Scott Speedman, Shane Brolly, Michael Sheen.

Dos razas nocturnas se enfrentan al margen de la presencia del ser humano durante siglos: los aristocráticos vampiros y unos hombres lobo llamados Lycans, sumidos en una lucha mortal que solamente podrá culminar con la desaparición de una de ellas.

En medio del conflicto se encuentra Michael Corvin (Scott Speedman), un joven médico humano que intenta ser secuestrado por los Lycans.

Una vampira, Selene (Kate Beckinsale), perseguirá a Michael por la ciudad con la intención de evitar que sea atrapado por los licántropos.

Primera película de Len Wiseman, cuyo currículum de autor de videoclips musicales se aprecia a lo largo del film, depravity entender que el lenguaje del videoclip poco o nada tiene que ver con el lenguaje cinematográfico ya que el acomodo narrativo al ritmo, tiempo y objetivos de cada lenguaje resultan en origen totalmente diferentes. Traspasado al cine, que tiene que ir más allá de la inferior dictadura visual, lo rational es una recarga inaguantable del estilo por encima de la sustancia, cuyo único mérito es la consecución de una ambientación adecuada, en este caso la búsqueda de una atmósfera gótica y nocturnal.

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El film solamente tiene algún momento inspirado (de igual planteamiento a previas películas de similar concepto estético, como ?Blade?, ?Matrix? o ?El Cuervo?) en las escenas de acción, desaprovechando las demás situaciones por su incapacidad para dominar el tempo más allá de los momentos de lucha y el planteamiento y factura de la mayoría de las escenas.

Por otra parte, la explotación del encuentro entre los dos personajes del fantástico resulta pueril (burlando la singularidad mítica de los vampiros y hombres lobo para acomodarlos en sus personalidades, ropajes y ambientación a la coyuntura fílmica actual), protagonistas de una película fatua (y bastante aburrida) en su guión y ?preciosisma? (y nada original) en sus formas, que sirvió para que el director y su actriz principal, Kate Beckinsale, se enamorasen. Bueno, algo es algo.

The goad for Jesse’s inquisition is a bit of a nervous exhaustion. In one of the most momentous opening scenes in a yearn time, Jesse’s previous fire Annabeth (Laura Leighton), his “the story,” calls him out of the blue to make known she is getting married. Lest we think this is another My Best Friend’s Wedding, quickly a bizarre accident in fact yanks her from his life, just after she admits she up till has feelings allowing for regarding him. Jesse doesn’t handle Anna’s demise well - instead he proposes to his tenor gal, restaurant possessor and psychic Hannah (Olivia d’Abo). In rejoinder, she dumps him, since they’ve not had the best relationship. And thus, his mission is go. He takes off for Anna’s funeral, in the meantime stopping displeasing to visit (and quiz) every bromide of his quondam girlfriends (or at least, the six yet alive).

Some of the faces in the cast will be familiar, but a lot of these people are unknowns. Luckily, they are all worth knowing. Tim Daly, instantly recognizable from Wings, is suitably suave and unsound as Jesse, as rise as genuinely jocose and charming. Ayre Take in (Ellen) is ok, but he does have one particularly “explosive” scene (ha ha, I just made a dirty joke and you don’t lay one’s hands on it… unless of execution, you’ve seen the film). Olivia d’Abo is delightfully nutty as the (usually incorrect) psychic Hannah. Other faces from Jesse’s former times include Mimi Rogers, Chicagoan Jami Gertz, Katy Selverstone, and, signally, Melora Hardin. Hardin, who hasn’t had much breakout success, is surprisingly good here, and she and Daly share the film’s most desirable scene as the two sing an impromptu duet (and what a instrument!).

This talking picture was the culmination of seven years effort from concert-master Paul Lazarus (a TV veteran), journo Stephen Gregg, and the producers (“One year for each girlfriend,” Lazarus jokes on the commentary). In review, I can’t see why the group had so much trouble getting things together - Lazarus, who honed his talent on Friends and Imprudent About You , shows a remarkable ingenuity behind the camera. Seven Girlfriends is fashionably staged and shot, and the jokes and launch moments against equally well. The calligraphy skirts corny sitcom moments with its revealing, sane conversation. Plus, there are some give a hoot funny scenes here! Keep an eye effectively in the direction of Jesse’s reunion with his old girlfriend Martha, who now has a girlfriend of her own.

Seven Girlfriends didn’t find a theatrical distributor, but it did win several audience awards at screen festivals. It’s easy to see why. As the case may be the honchos in Hollywood didn’t survive it appealing to the majority of moviegoers (look how sumptuously High Fidelity did), but it should certainly put together both spear and female fans of romantic comedy quite happy.

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Director-actor John Cassavetes eases up on his unusually probing, darting camera and closeups studying human problems and disarray. Here instead he stands back and churns out a chase film that pits Gloria and the kid against the powerful Mafia no less.

Gena Rowlands is excellent as the tired woman who decides to take her chances for the boy. The kid is a right blend of understanding and childish tantrums.

1980: Nomination: Best Actress (Gena Rowlands)

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Reviewed by Dennis Schwartz

This Danny Kaye spoof on costumed swashbucklers flopped at the box
office (budgeted for a 4 million dollar price tag, but only grossing 2.2
million at the box office). The reason for the failure is that the 42-year-old
Kaye seemingly has outworn his welcome with the public, but this energetic
and lushly filmed musical comedy is one of the star’s more tolerable efforts.
It has the memorable burlesque “pellet with the poison” tongue-twisting
skit of the “vessel with the pestle”and the “chalice from the palace,”
that remains the film’s centerpiece comedy bit. The film relies on its
success on how well the viewer goes for Kaye’s physical comedy, who is
in almost every shot. This is probably Kaye’s funniest part since his first
feature film, The Secret Life of Walter Mitty (1947). 

The directing, writing and producing team of Melvin Frank and Norman
Panama fill it with every timeworn medieval cliché possible, as
it mainly spoofs Errol Flynn’s Robin Hood.

The tyrannical usurper King Roderick (Cecil Parker) of England, in
the 12th century, has killed off the royal family except for a baby boy
who bears in his rear end the royal birthmark, that of a purple pimpernel.
The baby is cared for in the forest by an outlaw named the Black Fox (Edward
Ashley), who hopes to restore the rightful king to the throne. When the
Black Fox learns the king’s soldiers are nearby, he sends Hubert Hawkins
(Danny Kaye), a bumbling ex- carnival performer and caretaker for the child,
and the pretty maid Jean (Glynis Johns), a captain in his army, to transport
the child king to an abbey in Dover. But things turn complex in the convoluted
story, as Giacomo (John Carradine), “King of Jesters and Jester of Kings,”
suddenly arrives from the Italian court and intrudes where Hawkins is romancing
Jean in a forest shelter. After Jean conks Giacomo on the noggin, Hawkins
assumes his identity to become the imposter jester, in order to gain access
to Roderick’s court, but he’s unaware that Giacomo is an assassin hired
by the king’s right-hand man, Sir Ravenhurst (Basil Rathbone), to kill
his three main rivals.

When all is said and done, Hawkins, the baby and Jean end up at the
king’s castle and due to a series of mistakes all their lives are in danger.
Also the king’s daughter Princess Gwendolyn (Angela Lansbury) is being
forced to marry Sir Griswold (Robert Middleton), a powerful Northern knight
her father wants to be allies with, but she chooses to marry the court
jester and has her witch-like lady attendant Griselda (Mildred Natwick)
cast a spell on the court jester to fall in love with Gwendolyn and to
be brave so he can take her away from the brutish Griswald. Gwendolyn constantly
reminds Griselda, “If he dies, you die.”

The cleverly written plot is suitable for Kaye’s talent, and has
a few good turns in its lively and gaudy VistaVision filmed romp. Kaye
sings five songs by his wife Sylvia Fine, including the one about a maladjusted
jester.