Directed By: Louis Malle Screenplay By: Andre Gregory Based On The Play “DYADYA VANYA” By Anton Chekhov Play Adaptation By: David Mamet Cinematography: Declan Quinn Editor: Nancy Baker
Cast: Julianne Moore, Wallace Shawn, Lynn Cohen, Larry Pine, Brooke Smith, Jerry Mayer, Andre Gregory, George Gaynes, Phoebe Brand, Madhur Jeffrey
An uninterrupted rehearsal of Chekhov’s “Uncle Vanya” played out by a company of actors. The setting is their run-down theater with an unusable stage and crumbling ceiling. The play is shown act by act with the briefest of breaks to move props or for refreshments. The lack of costumes, real props, and scenery is soon forgotten.
though you can tell it’s more performance, so stripped down and organic that it sometimes feels like the actors’ lives and drama might be bleeding into the performances. Keeping the audience on its toes and feeling magically
Though from time to time you can see the people watching. As an audience as well as the director. The film begins traditionally as the actors and director arrive to let us see the setup and give us a New York street view placing the location to a degree.
How it works, not such a staged production, but any distraction. No illumination. So that we are close in the middle of the action and relationships and characters as the camera stays close, rarely moving, and is always close in and tight on their faces. Feels like it is giving us intimacy with the characters.
Wasn’t quite sure exactly when the play started as it seemed more like a general conversation at first then all of a sudden moved on. Though serious it feels adventurous and experimental, open and free.
This is another collaboration that feels similar in spirit yet bigger and not as much of an endurance test. Whereas MY DINNER WITH ANDRE seems almost like a documentary of an intellectual dinner conversation between two friends that reflects so much personality and personality about the people involved. Though we know it is a put-on production, in reality, it was the actors using their real names and partial history but really two originally created characters. Here we have Andre Gregory break up the scenes and guide the audience a bit so that we are In New locations within the play.
Though we are with the camera and the theatrical viewers are right up on them they manage to establish being alone and to themselves quite well. So good it’s hard to tell the difference
Truly be amazing if done straight through act breaks need to explain what has passed and where we are at
Happy to see Brooke smith who over the years has quite a resume. Not exactly a star but a recognizable character actress over the years. Who has earned her success from small to significant supporting roles seems as if we can watch her grow up on the screen as I remember her early first role in THE SILENCE OF THE LAMBS. One of my favorite immoral films in junior high school and high school where I earned the nickname Hannibal the cannibal by fellow students and Jeffrey danger because of the similar first name and I was also quiet and unassuming. It’s always a surprise to see her even at first if she seems miscast like in BAD COMPANY.
Directed By: Betty Thomas Written By: Susannah Grant Cinematography: Declan Quinn Editor: Peter Teschner
Cast: Sandra Bullock, Elizabeth Perkins, Viggo Mortensen, Dominic West, Margo Martindale, Diane Ladd, Reni Santoni, Alan Tudyk, Azura Skye, Steve Buscemi, Michael O’Malley, Marianne Jean-Baptiste, Susan Krebs
A big-city newspaper columnist is forced to enter a drug and alcohol rehab center after ruining her sister’s wedding and crashing a stolen limousine.
This movie is charming in its own way. As it is primarily a comedy but it gets deeply dramatic and doesn’t always provide a happy ending.
This movie marked a difference In Sandra Bullock’s career. Where she seemed more interested in trying to stretch past her girl next door image and have more edge to her but also kind of realized her limitations. So she was trying to have a middle ground here.
The film is too light to really be too hard-hitting, but gets to the emotional landscapes that it needs to and hits those aspects hard.
It’s a relief to watch a film where there is a hint of romance but treats it more for what it is a connection that can easily be read as a distraction from your true problems.
While Sandra bullock is engaging it’s the side characters that really pepper the film
And make it spicy. They are also more the heart and dramatic pulls of the movie. Luckily though Sandra bullock is clearly the star. She lets the supporting characters breathe enough for us to care about them. Even if some stay one-dimensional.
Even though in hindsight the plotline with Azura Skye’s character would have been more recognizable and maybe a more informed outcome. Though she is one of the more heartbreaking. Elements of the film And definitely memorable characters.
Though Viggo Mortensen comes into this film Like a true movie star and makes his presence felt he still feels more like a minor element to the film As a whole. Whose most dramatic and Piercing scene is a throwaway one at a gas stop. Though throughout the oozes charisma.
Though when the film hits her dramatic past. It does feel right and strong. Yet luckily never quite overdramatic.
When I first saw the film I wasn’t prepared as it seemed to ride the middle as far as genres and quality. Watching it again recently though it might not have a typical happy ending film Makes you feel comfortable. As the film is infinitely rewatchable.
The only problem with the film Might be that In trying to be so many different things instead of going in-depth it kind of flirts and gives a bit, little too passable when it comes to everything.
We are just given enough to feel or be informed about characters, situations, and the road to recovery. While feeling a bit spiritual but not the hokey hippie kind.
In the end, it shows the power and charisma of Actress Sandra Bullock that lasts to this day. As she is one of the last true stars of the big screen. Where audiences follow her no matter what genre of film she stars in and is still usually a hit of some kind. Yet she never comes across as the stereotype of a star.
Directed By: Jim Sheridan Written By: Terence Winter Cinematography By: Declan Quinn Editor: Roger Barton & Conrad Buff Jr.
Cast: Curtis “50 CENT” Jackson, Terrence Howard, Tory Kittles, Adewale Akinnuoye-Agbaje, Leon, Joy Bryant, Omar Benson Miller, Mykelti Williamson, Bill Duke, Viola Davis, Russell Hornsby, Mpho Koaho,
A tale of an inner-city drug dealer who turns away from crime to pursue his passion, rap music.
This film feels like a modern 70’s black exploitation film that tries to be a drama now and again. It doesn’t really deal with graphic violence or nudity really. In fact, the film feels more melodramatic to give itself heart. Though the film is obviously well made, it seems to go for a more boastful story than truly dramatic.
At times it becomes more street cliche than hearsay. The same type of formula that tries to copy from 50 cents hip hop partner EMINEM’s film 8 MILE. While both are autobiographical loosely. 8 MILE ends with a victory of sorts but gives you the hint many more challenges and problems lay ahead. Which feels natural. Hereby end everything works out and seems victorious in all aspects. Which feels more like a fantasy.
Now I realize both men lead different lives and have different histories. Items just this film concern itself with glitz and boast, with moments of heart only. There are pieces of this film That are great, but It also feels stuffed like an epic. So Much happens and so. Many stages that you Start to feel its length instead of its weight.
Let me start off by saying this movie is not as bad as I thought it would be, but it is still a little disappointing. It tries to follow the same route as mentor Rapper EMINEM by creating a movie for his first starring role that closely resembles his real-life uprising as a rap superstar.
The only problem is that while his film shows 50 cent to be vulnerable and human. It doesn’t show it enough to endear him to the audience. It also doesn’t necessarily show off his skills as some one-of-a-kind talent. That it seemed like 8 MILE went out of its way to hammer home. Though that film seemed to also be more about identity. Learning responsibility and heartbreak. Though it does include hose virtues. This film seems more about revenge and forgiveness that happens to include hip-hop in its background and battlefield.
The film is interesting, but not compelling. While being Getty and showing us the dangerous criminal and hustler lifestyle in some way. It feels inauthentic even though a lot of violence, action, and power struggles. To feel one it is trying hard to be everything. To everyone in the audience. To reach all the expectations out upon it. Tough and street for the men in that audience, but rough around the edges, sweet and sensitive for the ladies, and a gangster element to go with the songs on the soundtrack for 50 cent’s fans.
The film feels overproduced like it’s made by committee. Though it is surprisingly made by acclaimed director Jim Sheridan. Though according to 50 Cent said that this film is “about 75% accurate”
Surprisingly this film wasn’t a bit. Audiences seemed to prefer the myth and rumors of 50 cent to supposedly the autobiographical story that is presented here.
Technically the film is on point. The writing isn’t the greatest but is passable. The acting is truly the only noteworthy thug about this movie. 50 cent isn’t great but he is o.k. Virtually playing himself. He is better than you would think (way better than his role in RIGHTEOUS KILL) the stand-out is Terrence Howard as his crazy right-hand man/friend he meets in prison. Joy Bryant is as touching as she is beautiful. Omar Benson Miller is in this film he was also in 8 MILE I hope he isn’t going to keep up roles like this as Random friend, he is a better actor than that. I like him. I just don’t want to see him in best-selling rapper decides to make his big-screen debut loosely based on his troubled life movies. Get better representation.
The biggest shock in the movie is the appearance of actor/director Bill Duke. Who I love as an actor, he doesn’t work nearly enough. Who though Jim Sheridan isn’t a lightweight. He is Oscar-nominated quite a few times. Mr. Duke might have been a little better suited to direct this tale. As he had quite the directing resume himself (DEEP COVER, HOODLUM, SISTER ACT 2) Don’t get me wrong I like seeing the New York underworld from a different perspective and fresh eyes.
Maybe the film takes too many artistic strokes with a rather basic storyline, that seems stretched to try and make it more uplifting. It feels like Director Sheridan didn’t want to make it too simple and might have been an ill fit for the material. That seems to want to be more exciting when the action does happen and not go behind the motivation and drama of the situation as much.
50 Cent hired an acting coach but Jim Sheridan had the woman removed from the set. Sheridan told 50 “If this fails, it won’t be because you can’t act. It’s because I didn’t direct you right.” Samuel L. Jackson was offered the role of Levar but turned it down. He told an interviewer that while he liked 50’s music, he did not feel that 50 Cent earned the right to star in a film by Jim Sheridan. However, Jackson later co-starred with 50 in HOME OF THE BRAVE.
The film seems rushed maybe the filmmakers should have spent a little more time writing and working the story out while planning the release. Allow it to marinate in pre-production to work out the problems, break the story. As it stands now it’s more like the film needed to be done by a certain date to coincide with his new album or something like that. Striking while the iron was no and his career was on fire.
This film feels like a modern 70’s black exploitation film that tries to be a drama now and again. It doesn’t really deal with graphic violence or nudity really. In fact, the film feels more melodramatic to give itself heart. Though the film is obviously well made, it seems to go for a more boastful story than truly dramatic.
At times it becomes more street cliche than hearsay. The same type of formula that tries to copy from 50 cents hip hop partner EMINEM’s film 8 MILE. While both are autobiographical loosely. 8 MILE ends with a victory of sorts but gives you the hint many more challenges and problems lay ahead. Which feels natural Here, by the end everything works out and seems victorious in all aspects. Which feels more like a fantasy.
Now I realize both men lead different lives and have different histories. It seems just this film concerns itself with glitz and boasts, with moments of heart only. There are pieces of this film That are great, but It also feels stuffed like an epic. So Much happens and so. Many stages that you Start to feel its length instead of its weight.
It feels like the story had to follow the soundtrack of songs that were already laid out in advance, instead of the other way around. It also seems to be counting Mr. Cent’s new record. Now please fans of 50 cent don’t kill or harm me. I’m not placing the blame on him, but hair as everyone behind the scenes, his hands aren’t clean on what went wrong with this movie. It is his story they are supposed to be representing. I think this is actually 50 cent’s first bad investment. That didn’t seem to be hard and real enough for his fans and not too far a stretch from what was known about him to entice audiences who weren’t necessarily his fans. It just seemed like more of the same of his public image.
Written, Music & Directed By: Mike Figgis Cinematography: Declan Quinn Editor: John Smith
Cast: Wesley Snipes, Robert Downey Jr., Natassja Kinski, Ming-Na Wen, Kyle Maclachlan, Amanda Donohoe, Marcus T. Paulk, Vincent Ward, John Calley, Glenn Plummer, Thomas Haden Church, John Ratzenberger, Annabelle Gurwitch, Julian Sands, Saffron Burrows, Ione Skye, Donovan Leitch, Xander Berkeley
Los Angeles advertisement director Max visits his friend, artist Charlie, who was diagnosed with A.I.D.S. in New York City. There he meets Karen, they are attracted to each other and after they meet later that day at the concert, they have a passionate night. Then he returns home to Los Angeles to his family, and wife Mimi. A year later, Max returns to New York City again to visit Charlie, who is now dying, and there he meets Karen again, who is married to Charlie’s brother Vernon.
Written & Directed: Joel Schumacher Cinematography By: Declan Quinn Editor: Mark Stevens
Cast: Philip Seymour Hoffman, Robert DeNiro, Daphne Rubin-Vega, Barry Miller, Chris Bauer, Wilson Jermaine Heredia, Rory Cochrane, Vincent Laresca, Katrina Arroyave, Skip Sudduth, Scott Allen Coopper, Mark Margolis, Wanda De Jesus, John Enos III, Winter Ave Zoli, Joey Arias, Jackie Beat
Walt Koontz, a homophobic guy, ends up with paralyzed vocal cords because of an unfortunate stroke. His therapy includes receiving singing lessons from a neighbor who is not only openly flamboyant but also a pre-op transgenderist. Both of them are equally prejudiced; Koontz against homosexuals and the neighbor against close-minded straight people.
Cut To The Chase 