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Peter
& Frederik  - Movie
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Buscemi allows the story to trickle along, downplaying the usual prison clichés to delve into the often murky relationships between prisoners, the predatory pecking order, and the undercurrent of racial divisions. He suggests everything in glances, threats, and tensions that only rarely erupt into violence. The film lacks a strong narrative line, but Buscemi's sensitivity to his characters and his sharp ensemble direction provide generous compensation. Dafoe is brilliant as the smiling smooth operator, his shaved head and jagged-toothed grin suggesting both a threatening confidence, and Furlong ably registers the fear of his sheer defenselessness in this dangerous world. Tom Arnold shines as a terrifying bully and Mickey Rourke is almost unrecognizable as Furlong's cross-dressing cellmate with a honeyed Southern lilt and makeup that would make Tammy Faye Bakker proud. --Sean Axmaker
Atlantis offers some nifty battle scenes, including an attack on a Jules Verne-esque submarine by a giant robotic trilobite and fishlike flying cars. But the film suffers from major story problems. If Princess Kida (Cree Summer) remembers her civilization at its height, why can't she read the runes? Why doesn't Milo's crew notice that the Atlanteans live for centuries? The angular designs are based on the work of comic book artist Mike Mignola ( Hellboy ), and the artists struggle with the characters' stubby hands, skinny limbs, and pointed jaws.
Daldry's film sidesteps some of the politics, both sexual and otherwise, but scores with its laconic dialogue (credit to screenwriter Lee Hall) and a cracking performance from newcomer Jamie Bell as Billy. His powerhouse dance routines, more Gene Kelly than Nureyev, carry an irresistible sense of exhilaration and self-discovery. Among a flawless supporting cast, Stuart Wells stands out as Billy's sweet gay friend Michael. And if the miners' strike serves largely as background color, the brief episode when visored and truncheon-wielding cops rampage through neat little terraced houses captures one of the most spiteful episodes in recent British history.
The setting is West Yorkshire. The event that brings them together is the British National Hairdressing Championships. Phil initially resists the urge to compete as it reminds him of the success he and Shelley once enjoyed, but his son Brian ( Pearl Harbor 's Josh Hartnett) convinces him to give it a go.
Hartnett and Rachael Leigh Cook ( She's All That ), as the daughter of Phil's old nemesis, seem like peculiar casting choices for a British film, but Hartnett's accent is passable (Cook plays an American) and they don't embarrass themselves as much as supermodel Heidi Klum, who plays a tacky, two-timing hair model. The screenplay is by Simon Beaufoy of Full Monty fame. Although not up to that standard--and certainly no match for Shampoo (the greatest hairdressing movie of all time)-- Blow Dry is still a good showcase for the talents of its three leads.
Toni Collette's ( Muriel's Wedding ) portrayal of Iris is sharp: a shy, mousy, somewhat insecure twentysomething provides interior monologue, both through her voice-over commentary and the notebook diary she religiously keeps, and evolves over a year of temping at a credit company--but it is difficult to explain what she evolves into. She gains an understanding of friendship and betrayal, but at the cost of not even the least sentimentality. She asserts her personal desires for career that are in conflict with those of the working world and her father, but without reaching true fulfillment. She outgrows her don't-notice-me haircut to become an assertive, self-confident person, yet suffers intensely and silently when a handsome coworker doesn't recognize her on the street.
Strong performances from both Parker Posey and Lisa Kudrow (who since Friends and the witty Romy and Michelle's High School Reunion seems to be suffering increasingly from stereotyping) give Collette a solid surface off of which she bounces her quiet, psychological role to great satisfaction.
What The Cotton Club lacks is cohesion. Written by Coppola and novelist William Kennedy (then enjoying the peak of his critical acclaim), the film struggles to exceed the narrative scope of The Godfather , but its multiple early-'30s plotlines fail to form any strong connective tissue. It's three (or four) movies in one, with cornet player Dixie Dwyer (Richard Gere, playing his own jazzy solos) drifting from one story to the next--loving a young, ambitious vamp (Diane Lane, with whom Gere shares precious little chemistry), enjoying the success of a hot-shot hoofer (Gregory Hines), and protecting his brazen brother (Coppola's then-newcomer nephew, Nicolas Cage) from the deadly temper of mob boss "Dutch" Schultz (James Remar). Bob Hoskins and Fred Gwynne also score big in grand supporting roles, but The Cotton Club is perhaps best appreciated for its meticulous recreation of Harlem's Cotton Club heyday, and the brilliant music (Ellington, Calloway, etc.) that brought rhythm to gangland's rat-a-tat-tat.
Such convenient coincidences might sink a lesser film, but The Departed is so electrifying that you barely notice the plot-holes. And while Nicholson's profane swagger is too much "Jack" and not enough "Costello," he's still a joy to watch, especially in a film that's additionally energized by memorable (and frequently hilarious) supporting roles for Alec Baldwin, Mark Wahlberg, and a host of other big-name performers.
First there's Sidda (Sandra Bullock), a successful playwright still wrestling with her manipulative mother, Vivi (Ellen Burstyn), after a traumatic upbringing. Then there's long-time friends Teensy (Fionnula Flanagan), Necie (Shirley Knight), and Caro (scene-stealer Maggie Smith), from Vivi's secret club of "Ya-Ya Priestesses", together since childhood and determined to heal the rift between Sidda and her mum. Through an ambitious flashback structure (including Ashley Judd as the younger Vivi), screenwriter and first-time director Callie Khouri (who wrote Thelma & Louise ) establishes a rich context for this mother-daughter reunion. There's plenty of humour to temper the drama, which inspires Bullock's best work in years. Definitely worth a look for the curious, but only fans of Wells' fiction will feel any twinge of loyalty.
As with the First Series set, the supplemental features are plentiful here commentary by the show's cast and crew is provided on each episode, and four feature picture-in-picture commentary tracks deleted scenes and outtakes are also included, as are video diaries by Tennant and Piper, and a lengthy featurette, "Doctor Who Confidential," which covers nearly every aspect of the series' production, including the introduction of the Torchwood Institute and the return of Sarah Jane, both of which would be featured in their own respective spin-off series (the first in Doctor Who 's long history) in 2007. - Paul Gaita
It isn't, however, for the hardcore architecture aficionado or Citizen Kane fan, on the hunt for inside dope on the real Xanadu (Charles Foster Kane's baroque fortress in Orson Welles's classic).
Ryu Deok Hwan gained over 20 kg for this movie

Steve Bell is, in real life, a featherweight boxing champion in Britain and therefore brings an urgent and raw vitality to the lead, but the characters as a whole are either irritating or unsympathetic, and it's ultimately difficult to find anyone to care for, or a story worth empathizing with.
Jackson and cowriters Fran Walsh and Philippa Boyens have much ground to cover that they do so with intense pacing and epic sweep is impressive enough, but by investing greater depth and consequence in the actions of fellow Hobbits Merry (Dominic Monaghan) and Pippin (Billy Boyd), they ensure that The Return of the King maintains the trilogy's emphasis on intimate fellowship.
Someone also made a mess of the characters, or at least turned them all manic-depressive the moral flip-flopping between Sean (Dylan Walsh) and Christian (Julian McMahon) is inexplicable at best. One goes wild, the other grows a conscience--and then they switch sides. One is on the brink of divorce, the other gets engaged--and another switch. It's headache-inducing how each of the main characters become nonsensical and not the least bit engaging. Here's hoping Nip/Tuck regains its mojo in season four.
When Jess's mother begins to suspect the girls of "unnatural passions" she tries to destroy their relationship with the help of Pastor Finch (Kenneth Cranham) and his congregation. But their efforts--including a terrifying attempt at exorcism--only push Jess further away. Jess eventually understands that the only way to survive is to escape, and she sets her sights on a place at Oxford.
Oranges Are Not the Only Fruit is both a broad comedy and a moving coming-of-age story.
Director Joel Schumacher, no stranger to visual spectacle, seems to have found a good match in Lloyd Webber's larger-than-life vision of Gaston LeRoux's Gothic horror-romance. His weakness is cuing too many audience-reaction shots and showing too much of the lurking Phantom, but when he calms down and lets Rossum sings "Wishing You Were Somehow Here Again" alone in a silent graveyard, it's exquisite.
Those who consider the stage musical shallow and overblown probably won't have their minds changed by the movie, and devotees will forever rue that the movie took the better part of two decades to develop, which prevented the casting of original principals Michael Crawford and Sarah Brightman. Still, The Phantom of the Opera is a welcome exception to the long line of ill-conceived Broadway-to-movie travesties. --David Horiuchi
As directed and choreographed by Susan Stroman (who did the same honors on Broadway) and co-written by Mel Brooks, The Producers is laugh-out-loud funny. It's also a relentlessly over-the-top, shamelessly bawdy, stereotype-ridden comedy that may turn off its audience just as much as its centerpiece, Springtime for Hitler , was intended to. But Broadway fans who are used to larger-than-life figures who play to the back row while showering the first row with spit, are likely to forgive and just enjoy the famous granny-walker dance, a supporting cast dotted with Broadway performers (playing a taxi driver is Brad Oscar, who originated the role of Liebkind on Broadway then later played Bialystock), or the mere spectacle of seeing Lane and Broderick memorializing the performances that millions never got a ticket to see. (For maximum laughs, stick around through the closing credits.) --David Horiuchi
Lending the Gallaghers a hand is neighbor Veronica (Maxine Peake), fiercely loyal and protective and a ferocious force of nature. One of her sidelights is ironing topless for the benefit of horny Internet viewers. Frank says it best when he asks at one point, "Is anyone around here normal?" Written by Paul Abbott, Shameless has the same gritty setting and generous spirit as Mike Leigh's Life Is Sweet . Prodigious use of the F-word and some fleeting full-frontal nudity notwithstanding, Shameless , would feel at home on American basic cable. The optional subtitles are recommended to make better sense of the thick accents and slang. --Donald Liebenson
Stephen Sondheim's Tony-winning score favors intricate ensemble numbers that present the characters' divergent, then overlapping fears and desires. And it's the latter category that provides a primary thread to James Lapine's ingenious puzzle of a book, which coheres around the inevitability--and treachery--of our innermost wishes. That theme is given farcical energy in the first act, which offers enough comic invention, tart dialogue, and witty music for a satisfying evening of theater as is.
Instead, Sondheim and Lapine offer a bold, darker second act that takes a look at what happens after "happily ever after," elevating the work beyond inspired parody toward allegorical gravity. By the final scenes, with the one-two punch of the score's two most enduring songs, "No One Is Alone" and "Children Will Listen," what began as a clever diversion has touched deeper nerves and primed some tear ducts.
Heroes and Battlestar Galactica ) is the frankly adult tone of the series: The violence is plentiful and occasionally graphic, and there are frequent bedroom couplings between the team members and supporting players. There's also a maturity to the relationships that exceeds the usual scope of sci-fi, most notably in the affecting "Captain Jack Harkness," which sends him back to the London Blitz, where he meets and falls in love with a handsome American pilot who happens to share his name. Their love affair, like the majority of Torchwood 's "grown-up" storylines, is handled with taste and real emotion. Extras on the First Series are remarkably plentiful six of the seven discs include entirely new behind-the-scenes featurettes that explore the main characters and their major story arcs, location shooting, the impressive SUV that the team drives, and the show's extensive special effects and alien creations. Barrowman also contributes a very funny "Captain's Log," which invites viewers to join him on one of the final shooting days of the series.
Directed by Agnieszka Holland ( Europa, Europa , The Secret Garden ), Total Eclipse begins in 1870 when the newly married Verlaine is 24 and Rimbaud is 17. The volatile combination of their reckless passions, idiosyncratic talents, and obnoxious egos is a recipe for disaster--and l'amour fou --culminating in a two-year prison term for Verlaine who was convicted of sodomy.
McGregor, Lee Miller and Ewen Bremner play a slouching trio of Scottish junkies Carlyle their narcotic-eschewing but hard-drinking and generally psychotic mate Begbie. In Boyle's hands, their lives unfold in a rush of euphoric highs, blow-out overdoses and agonising withdrawals (all cued to a vogueish pop soundtrack). Throughout it all, John Hodge's screenplay strikes a delicate balance between acknowledging the inherent pleasures of drug use and spotlighting its eventual consequences. In Trainspotting 's world view, it all comes down to a question of choices--between the dangerous Day-Glo highs of the addict and the grey, grinding consumerism of the everyday Joe. "Choose life", quips the film's narrator (McGregor) in a monologue that was to become a mantra. "Choose a job, choose a starter home... But why would anyone want to do a thing like that?" Ultimately, Trainspotting 's wised-up, dead-beat inhabitants reject mainstream society in favour of a headlong rush to destruction. It makes for an exhilarating, energised and frequently terrifying trip that blazes with more energy and passion than a thousand more ostensibly life-embracing movies.
Indeed, the procession of perils plays like a greatest hits medley, save for a nifty sequence involving airborne buzz saws that's as enjoyable as it is preposterous. Bond's grimmer demeanor, while preferable to the smirk that eventually swallowed Roger Moore whole, proves wearying, unrelieved by any true wit. The underlying psychoses that propel Renard and Elektra eventually unravel into unconvincing melodrama, while Bond is supplied with a secondary love object, Denise Richards, who's even more improbable as a nuclear physicist. Ultimately, this World is not enough despite its better intentions.
After a controversial "cure" is discovered, mutants can choose to retain their superhuman abilities or give up their unique gifts and become "normal." When peaceful mutant leader Charles Xavier (Patrick Stewart) clashes with his militant counterpart, Magneto (Ian McKellen), the battle lines are drawn for the war to end all wars.
Bursting with nonstop action, spectacular special effects and exclusive extras, X-MEN THE LAST STAND is a force of nature that "will blow you away!"
Chris Carlisle Joel Harrison Gaetano Jones Derek Long Derek Meeker Douglas Myers Daniel Rhyder Stephen Twardokus
Long-term couple Simon and Jason, along with daddy-ish
Cooper and his boy du jour, escape to a mountain cabin for a
three-day weekend away from their hectic city lives. Looking to
spice up this long-standing tradition, they add a special twist to
this years retreat - each of them must invite one attractive single
friend to their mountain getaway. Arriving are a frisky former
college roommate, a constantly naked yoga instructor, Jason's
uptight co-worker and a high-priced rent boy who do indeed stir up
the weekend. But this combination of new and old friends creates
more tension than anyone ever anticipated. After 72 hours and
multiple sexual couplings, new relationships form while others are
cast onto shaky ground.
Debra Moss Robyn Scott Chandler Darby Riley Brock Daniel Hirsh Stacia Hitt Candace Mabry Bren Allison Laura Gilreath Nathanial Carter Stockard Channing Bruce Davison Heather Graham Anthony Michael Hall Mary Beth Hurt Richard Masur Ian McKellen Will Smith Donald Sutherland Eric Thal
In New York, a reunion with patron and friend Geoffrey Miller (Ian McKellen) for art dealers John Flanders Kittredge (Donald Sutherland) and Louisa Kittredge (Stockard Channing) starts an adventure. As the business dinner starts an injured young man enters their residence. He tells them a story that he had been just been held up in Central Park. And he asks for their aid. The young man introduces himself as Sidney Poitier’s son, Paul (Will Smith). He also claims to be a friend of the Kittredge’s son and daughter in Harvard. The duo invites him to settle for the night, only to discover that Paul is not everything he declared to be. Paul’s hidden truth starts to unfold as they investigate.

IMDB

Six Degrees Of Separation - MC
IMDB

Steven Berkoff Fish Abdala Keserwani Brendan Mackey Glenn Mulhern Michael Praed Glen Mulhern Vas Blackwood Simon Godley Carol Decker Raymond Griffiths Karen Sharman
Two Irish lads stumble through London's gay scene.

IMDB
Amazon US
DVD Empire

Kieran O'Brien Margo Stilley Huw Bunford Cian Ciaran The Dandy Warhols Elbow Franz Ferdinand (II) Bobby Gillespie Bob Hardy (II) Dafydd Ieuan Franz Ferdinand Bob Hardy
Unrated Full Uncut Version Maverick director Michael Winterbottom wondered about the double standard of why novels can have explicit sex scenes and be legit and films could not. So his short film of a relationship based solely on sex and a love for music is the result of that thought. If the definition of a porn film is to shoot actors performing graphic sex scenes for real, then 9 Songs qualifies. It certainly doesn't feel or look like your standard whoopdee-do XXX feature. It's as glossy and low-budget arty as Winterbottom's 24 Hour Party People or I Want You . But yeah, Matt and Lisa do everything to each other, and the actors are not "just acting" in some of the sex scenes. No matter how landmark the movie might be, there is not much story here (at least a book with hot sex often has a good story to it). Lisa is an American drifter in London who hooks up with Matt, a scientist who studies glaciers in Antarctica. They have sex and visit nine rock concerts including Franz Ferdinand and The Dandy Warhols. As advertised, you can't find these musical performances anywhere else, but we just see them from way back in the crowd. The film has an essence of how someone can find bliss in another person's body, and the emotional, magical weight th
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