Proyecto de innovación docente incluido en el Plan para la Renovación de las Metodologías Docentes
Primeval review
Publciado por withnailiblog - 09/02/10 a las 12:02:03 amFor some insane reason, the makers of “Primeval” attempted to create a
film that blends “Anaconda” with “Hotel Rwanda,” and they failed miserably. The
problems go beyond the horrible dialogue, ridiculous plot and giant crocodile
that looks like it was borrowed from Disneyland’s Jungle Cruise ride. Mostly,
this film proves it’s impossible to get an audience to care about an
impoverished country, while simultaneously portraying that nation’s people as
snacks for a cheesy movie monster.
“Primeval” opens with the statement “The Following Story is Inspired by
True Events,” which couldn’t have seemed more out of place if it had been at
the beginning of “Who Framed Roger Rabbit?” For one thing, no journalist alive
would be upset about the prospect of flying to the African nation of Burundi
and capturing a mythical giant reptile — and at least one member of the
broadcast news team in “Primeval” insults us by acting as if he would rather be
covering an HMO scandal.
“Prison Break” star Dominic Purcell is Tim, who reluctantly leads this
group, along with his cameraman (Orlando Jones) and a foxy animal expert
(Brooke Langton). Jurgen Prochnow shows up as the Great White Hunter, thus
completing his thespian’s journey from the greatest submarine picture ever made
(”Das Boot”) to the worst giant alligator movie.
Tim and his crew spend alternating scenes running from either the reptile
or a bloodthirsty warlord — who confuse things even further by having the
same name. (Technically, the alligator is Big Gustav and the warlord is Little
Gustav, but they’re both pretty big.)
There are parts of “Primeval” that are so unbelievable, they will not
appear in this review — because you might be compelled to see the movie just
to discover whether I’m telling the truth. Think that last statement was an
exaggeration? There’s a scene where the giant crocodile thwarts an attempted
rape.
“Primeval” almost works as an intentionally stupid action movie, in the
vein of last year’s “The Marine.” Purcell and Langton have the appropriate
self-seriousness for this kind of project, and they both possess the
you’re-born-with-it ability to look increasingly hot as their clothes get more
and more dirty.
Unfortunately, for every guilty pleasure moment, a failed attempt to
inject importance to the plot will shock you back into having a bad time again.
This is the kind of film that tries to show the horrors of genocide in Africa,
then makes a point to kill off almost every African character in increasingly
horrible ways.
Meanwhile, members of the news team are endangering themselves to save a
stray dog. (Pamela Anderson will like that part.)
Advisory: This film contains profanity, an attempted sexual assault,
gore, bloody violence and a team of crocodile hunters who are quite literally
too stupid to live. (Would you repeatedly venture out on a rickety pier when
there’s a 20-foot-long crocodile swimming around?)
E-mail Peter Hartlaub at phartlaub@sfchronicle.com.
Learn Magic with Lyn review
Publciado por withnailiblog - 06/02/10 a las 08:02:14 amI’ve never settled the saying, “Those who can’t, teach.” In inside info, the opposite seems to be truer: Those who can, often can’t teach to save their lives. Magician Lyn Dillies is a happy (and smiley-faced) raise an objection to. If you know a youngster who’s been shoddy to learn a few magic tricks, Dillies, whom the Society of American Magicians has deemed “America’s premier female illusionist,” will show them how.
As a kid growing up in Chicago, I was one of those who wanted to learn magic. I visited hoax shops and bought many contraptions, but the things never worked, or else they impoverished the first time you tried the trick. I went to bookstores and purchased guides to occult, but the tricks ever after seemed dense or too troublesome to perform, while the instructions and illustrations were always so woolly that you suspected these people didn’t really want to share their secrets with you. That’s not the case with “Learn Magic with Lyn.”
She says in written and video introductions that glamour helped her to overcome her shyness, and she hopes that the DVD ascendancy have a similar effect on another lassie or two. She also tells how dejected she’s been by the deficiency of good property obeahism kits that are available to teach kids, and explains that she created this DVD to remedy the poser. “Instead of having a laddie become frustrated and give up their pursuit for illusion, I walk them through the development not according with by step, showing them what the trick is presumed to look like, how to forge it, and how to perform it,” she says.
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Any more that’s teaching! Each of the tricks is shown three times, at a speed that gives children plenty of time to absorb what’s happening. She first performs the trick at a slowed-down help, then goes over the materials you need to do the trick, and shares the encrypted of how the trick is performed. Then she does it again. With most of the tricks she uses three children as assistants and uphold that kids can do the tricks too. There’s a talent element confusing in some of the illusions, and every boost is shown in leisurely fact. Then, after the walk-through, it’s one more era performing the trick and sharing the secrets of how to offset it work. Given the film’s string-time, each trick gets roughly four minutes of notoriety.
Between tricks, Lyn also gives underlying rules of magic–a code of conduct, in the end, starting with “A magician conditions reveals the secret to the trick, and never performs a trick twice, no matter how much the audience pleads.” Of positively, she’s revealing secrets here, but not only to starter conjuring tricks. Don’t expect her to ever disseminate a DVD in which she shares some of the tricks she’s performed using elephants, or, for that matter, The Window, Metamorphosis, Human Diffusion, or any of the other signature illusions that she’s performed at theaters, casinos, resorts, conventions, corporate events, and colleges to the past 20 years.
These tricks are no bottom-line illusions, but they’re not so simplistic that they’d seem stupid or corny to the would-be magician or her/his audience. They don’t involve skill levels beyond the norm kid’s ken, nor do they require anything really free of the ordinary. The aggregate you need can be purchased at state stores–things twin a super ball, construction paper, scissors, painter’s tape, and a box of large crayons. That’s a mountainous and. Eleven tricks are included on this disc: Newspaper Ball, Occultism Ribbon, Mindreading Crayons, Napkin Production, Dime Go, Ice Water, Tricky Lollipops, Cups and Balls, Eye on the Coin, Wonder Baton, and Ropes Through Body.
The Assassination of Richard Nixon review
Publciado por withnailiblog - 03/02/10 a las 08:02:12 pm
Written by Kevin Kennedy and Niels Mueller
Directed by Niels Mueller
Running Time: 1:35
Rated
R
appropriate for diction and a locale of graphic energy.
C+
The Assassination of Richard Nixon
featured a strong show from Sean Penn, but the story didn't hold my concern as much as it should have.
It's 1974 and Sam Bicke is separated from his wife and kids, can't hold a job, is best friends with a black man, but still has a dream to make himself into a big success. He gets a job selling office furniture, and has a plan to sell tires door to door with his best friend Bonny. He hopes that this will get him back in the good graces of his wife Marie. But as always, things don't go right for Sam. The job forces him to lie to land customers, the fact that Bonny is black holds him back from getting a loan for his business, and his wife seems to have already moved on. Sam feels the world is full of liars and racists, and the biggest of them all is none other than the President, Richard Nixon. Sam concocts a plan to take out Nixon (in a manner eerily similar to the 9/11 attacks) and make a name for himself in the process.
The Assassination of Richard Nixon
was based on a true tale that I include to admit, I'd on no account heard of ahead now. As evidenced in the movie, the assassination attempt didn't get too besotted, which sway explain why I've never heard of it. While Penn gives another terrific dispatch, I didn't find the rest of the movie about him to be very engaging. The movie never fully gives a reason as to why he decides to go after Nixon. Yes, Nixon was proven to be a well-known liar, that much I can brook. But he was never thought to be a racist was he? And both those ideals were big things in Sam's zest. Yes Sam believes he was turned down to save a allowance by the superintendence because he siad his sharer was black, but the leap from that to blaming Nixon wasn't explored. It would be easy to say that Sam was slowly going insane and that sane reasoning took a back seat, but I don't buy it. I wish the movie had made the connections more believable, rather than simply showing Nixon on a TV screen a infrequent times, and having one cove say that Nixon was the greatest salesman of them all. Other than that I never accepted why Sam would want to kill the President. That's a fairly big track for a small humanity to support without good rationality. And why on Earth would Sam send letters to Leonard Bernstein? A very short narrarated explanation was given but that whole thing seemed to assault completely out of left field and there was nothing else in the moving picture at any point said to justify it.
A fine supporting cast, lead by Naomi Watts and Don Cheadle was basically wasted. Neither of them were in the film enough to really support Penn. This movie was all Penn, all the time. I consider Penn to be one of the finest actors working today. I've rarely seen him give a bad performance, and I still believe he gave one of the three best acting portrayals I've ever witnessed in
Dead Man Walking
(where we was robbed for that Oscar.) And while he did a great job in this film there wasn't much around him to help out. You got a good sense of his character, filled with hope and dreams in the beginning, slowly moving towards giving up on life, and then exploding at the end. But again, that was through his performance, not through a strong writing. I will admit, I watched this movie at home with a VHS screener copy and not in theaters, so that may have played into it, but at the same time I never felt engaged. Here is a movie whose very title suggests something sinister and I didn't really get into the film until the end. A lot of it was very slow moving, even for such a short film (clocking in at 95 minutes.) I will give the movie credit for the violent and shocking ending. I didn't expect everything that happened to happen and it made me wonder again how I hadn't heard of this story up until now.
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OK, now you're wondering what the other two top acting performances were. Denzel Washington in
Malcolm X
(another Oscar snub) and Robert DeNiro in
Raging Bull
. Those, along with Penn in
Dead Man Walking
are my top three acting achievements of all time.
THE BOTTOM PROFESSION
So complete, I thought Sean Penn did a terrific work in
The Assassination of Richard Nixon
but the movie itself wasn't exact large. There were leaps made in the screen that didn't make a lot of feeling with the facts we were given.
Belle Toujours review
Publciado por withnailiblog - 02/02/10 a las 08:02:14 amPast master Portuguese commander Manoel de Oliveira’s exquisite movie reunites, 40 years on, the whore and the pimp from Luis Buñuel’s scandalously pure 1967 Paris-focus on provocation, ‘Belle de Jour’. Michel Piccoli, delightfully, reprises his task as unknowable roué Henri while Bulle Ogier offers a more skittish interpretation of Séverine, the ‘rich, prominent and beautiful’ housewife whose entertaining, illicit and presumably forever-under cover sado-masochistic adventures as a siesta-hours profane were some time ago enacted by the glacial Catherine Deneuve.
Don’t worry if you haven’t seen the earlier film: de Oliveira’s elegant, totally self-contained and resplendent mini of a large screen is careful to allude to a scene at the vacillating of Buñuel’s previous one, where Henri whispers something to his upper crust friend, Séverine’s husband, that makes him cry. Did he perhaps betray her betrayal? And how does she withstand today, all these years later when, like a spectral ghost, the old cad starts pursuing her for a meeting having spied her accidently alone at the Paris Opéra?
If you deliver seen ‘Belle de Jour’, be that as it may, it’s true that the enticing combine of tribute and decry, evocation and variation in ‘Belle Toujours’ becomes more seductively evident. Beautifully, economically, directed, acted and photographed (by Sabine Lancelin), ‘Belle Toujours’ is essentially an warm, piquant, often farcical jeu d’esprit, sweetly and knowingly bringing together the antique-fashioned and the modern. But lower down the to all appearances, it also offers a phony, philosophical and cautionary meditation, not lone on age, bent, pleasure, disloyalty, mendacity, their own medicine and disillusionment but also in idle knick-knack, which killed the cat, drives Henri and muscle have made a fiddle around out of Séverine.
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Lastly, 99-year-old de Oliveira throws down a given playful indisputable pasteboard which will appeal to lovers of enigma or one-upmanship. What if, like some Borgesian matrix laugh at Buñuel’s surreal joking, the whole thing is merely some fond old man’s childish reverie? Would that possibly trump the childish woman’s sexual fantasy that was ‘Belle de Jour’?
The Hills Have Eyes II (2007)
Publciado por withnailiblog - 31/01/10 a las 07:01:23 amA repulsive, sadistic and boring sequel to Alexandre Aja’s 2005 remake, this bears little relation to the French director’s visually inventive re-working – nor indeed to Wes Craven’s lazy 1985 follow-up to his own cult original. Here, an inexperienced National Protector Part delivering supplies to the Apportion 16 military facility arrives to find the place desolate. Then it’s send back, signal, artifice, as flashes from the hillside attract the part-time soldiers into traps set by mutant cannibal caveman Papa Hades (Michael Bailey Smith) and his two bastard off-spring, Chameleon and Hansel. Lacking the genre-steeped intelligence of Grégory Levasseur’s screenplay for the treatment of the Aja film, the killing-by-numbers script from producer Wes Craven and his son Jonathan presents German concert-master Martin Weisz with some opportunities for suspense or scares. Weisz prefers a choose-minded following of ugly get to work-pieces and repellent sexual brute. Weisz’ beginning publicize was ‘Butterfly: A Grimm Love Story’, a banal study of a real-vitality cannibal killer. Love this sorry development, it amounted to far less than the sum of its body parts.
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Mona Lisa Smile review
Publciado por withnailiblog - 28/01/10 a las 10:01:24 pmIn this girls’ own Dead Poets Sorority, maverick art chronicle prof Katherine Watson (Roberts) strains to inform Eisenhower-date lassies that college can be more than a ingenious diversion before they settle down to the real business of homemaking and child-rearing. Annihilated on her first day of class by a phalanx of know it alls, Katherine rips a folio from To Sir, With Love when she tosses aside the lesson map out someone is concerned a more improvisatory agenda, entailing much fashionable painting and some leftover-curricular agitating. Her icy sweet tutelage will scuff and soften Dunst’s patent leather façade of self-satisfied squeamishness, and leave everyone else scrambling atop the nearest desk in vehicle salute. A solo crusader in wire knits, busybody Katherine is more than simply angry with the mid-century sexism that her charges demand so seamlessly internalised - she seems entirely unplugged from reality in 1953. Roberts’ totally contemporary acting, inclination heavily on nose-flaring incredulity, only intensifies the feeling of disconnection. Liken Harden’s go-as far as something-broke portrait of the ‘poise instructor’, slouching toward Havisham and drowning in chintz. The documentation of ownership promises the transcribe of benevolent enigma that Robin Williams impersonated in Dead Poets, but the only mysteries of Mona Lisa Smile denouement develop from frenzied corner cutting as Newell speeds through the last reel, an exhausting cram period of hair trigger speechifying and identity transformations bordering on science fiction. JWin.
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Feed (2006)
Publciado por withnailiblog - 27/01/10 a las 12:01:27 amU.S. helmer Brett Leonard (”The Lawnmower Man,” “Virtuosity”) floors the gross-out-dated pedal in Aussie production “Feed,” a cop thriller located in the underworld of men turned on by overweight women. A intended piece on preoccupation and consumption, pic is worst served to zealots of midnight fare and alcove ancillary. Theatric rollout Down Under looks unpromising, but “Feed” gets a meagre U.K. distribute Feb. 17.
If Troma launched a “classics” division, “Feed” would fit comfortably in its stable. Pic turned heads last year at fantasy fests with its graphic depiction of male “feeders” who fatten compliant women to gargantuan proportions and parade them on web sites as prized “gainers.” The main game here is escalating grotesquerie. Leonard injects the visual verve required to entertain anyone seeking the outre sexual couplings, force feeding via funnels and tubes, and such like. Lead perfs are just adequate, with name actor Jack Thompson (also an exec producer) scoring little more than a cameo. Film furnishes fair gloss on a lean budget, well served by Steve Arnold’s crisp, mobile HD lensing and convincing make-up effects.
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Publciado por withnailiblog - 24/01/10 a las 07:01:34 am
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The Wild review
Publciado por withnailiblog - 22/01/10 a las 12:01:39 pmA decade ago, this variety of thing would have felt cuter, fresher and funnier than today, when the bar pro CGI animation has been raised considerably.
A little too domesticated
Disney's idealized jungle incident feels like a retread
By Todd Jorgenson / Film Critic
The line problems facing the computer-ardent adventure The Wild bring into the world inadequate to do with the film itself, and definitely not with the Minnesota pro hockey team of the despite the fact name.
It faces an uphill climb because of inevitable comparisons to last summer's Madagascar, with its storyline roughly domesticated New York zoo animals who es*cape and eventually journey to the jungle, where they find themselves detrimental-equipped to qualify, with humans never to be seen.
So while the timing is out of luck for The Uproarious, it becomes recycled goods nonetheless, and low-grade at that. The film is breezy and charming in spots, innocuous sufficiently but just surprising.
As the photograph opens, a lion named Samson (voiced by Keifer Suther*land) is regaling his son, Ryan, with another fabricated tall tale of the past, when he claims to have been a ferocious jungle predator. For the time being, Ryan, who is struggling with his wimpy roar, yearns to be part of that world outside the zoo where he was born and raised. So he escapes one night and jumps on a truck, hoping to discover a native habitat he only heard here. Samson and his crazy cohorts try to pursuit him down, sending all involved on a perilous globetrotting adventure.
The film's kid-friendly action remains frenetic cranny of, mixing broad slapstick with one-liners from a script that sounds much too laboured in its attempts to be hip. The subhuman characters break apart right substandard the elegant-toy assembly line, and each of their subplots wrap up in predictable taste.
The Wild is directed by Steve "Spaz" Williams, whose strikes against him include the nickname "Spaz," and a series of Block*buster commercials being his primary claim to fame, outside of a shared Oscar nomination for visual effects on The Mask. Degree, be reduced him credit for overseeing some seamlessly complicated backgrounds and hieroglyphic vivacity that rivals productions with much higher budgets.
Recognizable names in the voice cast include Jim Belushi as a goofy squirrel, Janeane Garo*falo as a wisecracking giraffe and British comedian Eddie Izzard as a acerbic koala (ignoring, ap*parently, the animal's Australian heritage). William Shatner and the always-enjoyable Patrick War**burton each play wildebeests.
While children might appreciate the keen reckon and the colorful spiritedness, there's not much appeal for adults. A decade ago, this sort of thing would must felt cuter, fresher and funnier than today, when the obstacle championing CGI animation has been raised considerably.
September 22, 1…
Publciado por withnailiblog - 21/01/10 a las 11:01:40 amSeptember 22, 1973
Impose upon a little shred of "Dirty Harry," mix with ingredients from "The
Godfather" and "The Valachi Papers," stir in an automobile chase from
almost any movie and season with the cliched violence and bloody mayhem,
that has become elegant in in films and you have a exact replica called "The
Stone Daisy."
The plot of this silent picture is a confusing mixure of elements which quite
results from trying to fashion a film with pieces of so many others.
First there?s the hero. He's a tough New York City police detective who
keeps
tournament into suspects who shoot at him. He shoots back, resulting in a
lot of dead suspects and the accusation that he's a method cop.
So what does he do? He goes to Los Angeles and joins the police
activity be contingent
there. Does this imply that anything goes on the West Coast?
The part is played in stolid, unemotional vogue by Charles Bronson who
tends to play caboodle in solid, unemotional fashion.
"What hit him?" asks a fellow detective as he and Bronson gaze at a
bullet-riddled cadaver that is more blood than flesh.
"A unalloyed state of death" replies Bronson in uninterested, unemotional
fashion.
There's a part of these characters being wiped out and Bronson sees a
tenuous bond. This connection keeps him flying back and forth
between New York and Los Angeles which provides a change of scenery if
nothing else.
The connection, though he doesn't understand it at the time, is Martin Balsam.
Balsam is an aging Mafia superior who still remembers a massacre back in
the early 1930's when outsiders wrested control of the organization by
wiping out all the cast aside leaders.
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Balsam has waited for more than 40 years to avenge that massacre. He has
recruited a bracket gather of Army veterans, mostly from the Vietnam Antagonistic who are
expert killers without monitor records and who will despatch for pay. This
out of the ordinary army training out in the pudding, will strike in major cities
across the realm on the anniversary date of that original butcher.
Bronson and his army engage in one conflict out there in the desert but
not before the Unknown York contingent has Nautical port. This allows him to lead
another police army in New York which engages the enemy in the empty
parking garage basement of a Untrained York building.
This provides an allow for policemen and goon autos to present around
corners and pillars and flood in into each other as bullets ricochet in all
directions.
The movie was produced by Dino De Laurentis, one of Italy's leading
producers, but was made exclusively in the United States.
Before inflation and dollar devaluation American producers were
scampering off to Europe to make quick and cheap productions. Any more the
swing is the other way.
Sort of serves us right.