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In 1836, as tyrannical Mexican General Santa Anna was all-inclusive across Northern Mexico, and
Texas was a Mexican precinct fighting to change a republic disburden of ‘foreigners’, The
Alamo became a key garrison in a battle that became a legend. Less than 200 men, lead by a
composite of professional soldier William Travis (Laurence Harvey), ex-congressman and
man-of-the-people, Davy Crockett (John Wayne), and the frontiersman Jim Bowie (Richard
Widmark). Bowie had a guerilla plan which Travis, the accredited commanding officer, refused
to contemplate, fueling the bitter personal rivalry between the two. The volunteers (under
Bowie), the folks from Tennessee (under Crockett) and the handful of soldiers (under
Travis) all pinned their hopes on reinforcements - which never came. But when it came to
it, the men chose to stay and withstand, knowing the odds didn’t give them a chance.

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Be sure to read the
DVDTalk interview with Neverwhere author Neil Gaiman.

Richard Mayhew is an average resident of London. He’s got a job, a girlfriend
and a nice apartment. That’s not to say that he’s happy, but he’s
complacent with his life as it is. As in any good fairy-tale or fantasy story,
all of that’s about to change, because who really wants to read about
everyday, boring things.

As he and his girlfriend are on their way to dinner, they happen to pass a
wounded orphan girl lying in the street. Being the only one that cares, Richard
takes the girl to his apartment to tend to here injuries and get her cleaned
up, much to the chagrin of his girlfriend.

After her speedy recovery, Richard returns her to the care of her friend, the
marquis de Carabas and attempts to return to his daily routine, only to find
himself practically invisible to everyone. While being able to physically see
him, all traces, records and memories of Richard are gone. Quicker that you
can say, “I feel like Sanadra Bullock in ‘The Net,’”
Richard sets off to find Door and her companion to see if they can offer an
explanation.

Richard is introduced to the world of London Below, a fantasy world that fills
the cracks, crevices and undergrowth f London. It’s a world not seen by
most and full of mythological creatures and characters that originate from every
corner of the world. A fish out of water, Richard’s only hope is to locate
Door and hope she offers a sympathetic ear and a dash of help.

He locates her at the floating market, having been led there by a mysterious
lady “who offers her services for money” and finds Door in the company
of the marquis de Carabas. The two are auditioning bodyguards, as they seek
to find the murderers of Door’s parents. Feeling sorry for the position
he’s in, Door’s offers him a spot in their group, despite protests
from the marquis and the dangers they will likely face.

The group is constantly being followed by Croup and Vandemaar. This pair of
decidedly nasty villains provides most of the comic relief from the film with
their dark with and nasty demeanors and playing golf with innocent animals is
one of the nicer things this pair do in the series. They’ve been hired
to lead Door into a trap in order for someone to gain access to her special
gift.

The threats become deadlier as both groups near the completion of their separate
but linked goals as they explore more and more of the mysterious and mythical
London below in search of the Angel Islington, whom Door was instructed to find
in a note written by her father as he lay dying.

Filmed in 1996, Neil Gaiman’s BBC series Neverwhere is a 3-hour jaunt
through the fantasy world of London Below, which is further fleshed out in the
novel adaptation released shortly after the series first aired.

Differing from other fairy-tales and fantasy yarns, Gaiman’s Neverwhere
takes place in the familiar, just out of eyesight setting of the London underground.
Blending actual locations with the fantasy makes the world seem familiar and
inviting to the viewer and despite the limited budget, you’re quickly
pulled into the tale and forget everything else that’s happening around
you. The setting of the fantastical elements in the real world seems to create
a link, much like Door’s special ability, that let’s you travel
anywhere in London Below and feel at home.

Video: Transferred from the video from 1996, this set looks
surprisingly good. The images are sharp and crisp, with good definition in the
many dimly lit scenes. The blacks could be slightly deeper overall and the other
colors seem a bit dim at times as well.There are few to little flaws in the
print and it’s an overall good looking 4:3 full-screen transfer. Since
the original source was PAL, I wonder how much information was lost or compromised
in the conversion?

Sound: The Dolby Digital Stereo 2.0 track is serviceable.
Although there is opportunity from a surround mix, none was added and when considering
the action on-screen, it can feel a bit flat. All of the dialog is perfectly
audible, but a remixed soundtrack would have been nice.

Extras: Neil Gaiman provides a running commentary for all
six episodes and is truly interesting to listen to. Involved from the very beginning,
his opinions are honest and interesting about the 6 shot episodes on these discs.
As the original author, he offers up insight as to what has been changed and
what things happened during filming. Also on disc 2, the original BBC interview
with Gaiman is included in its entirety. Cut with the same background and annoying
method as the episode introductions, it’s interesting, if dated, material
that lacks in the presentation.

Overall: Fans of fantasy and anyone who’s seen this
in its bootleg incarnation will want to pick this set up. With the limited budget
and short time frame, Gaiman has crafted an entertaining, if simple, fantasy
tale that has everything you need. Watch the first 30-minutes and you’ll
be enamored with the performances, setting and story. Definitely worth checking
out if you’re a fan of a well crafted story, fantasy or otherwise.

Don’t forget to read
the DVDTalk interview with Neverwhere author Neil Gaiman.

When I read the results of the Oscars, I was not terribly surprised by any of the winners.  I felt that a lot of the films and actors that were played up very politically in the entertainment industry were the ones that walked away with the coveted statues. 

While I have seen many of the various movies that were up for awards there are several I’m ashamed I still haven’t seen like “Precious,” “Crazy Heart,” and “The Hurt Locker.”  Of the three “The Hurt Locker” remains at the top of my list, just because I’ve heard nothing but good things about it.

This week I did not hit the movies, but I did see two new trailers I was particularly excited about, namely “Tron Legacy” and “Iron Man 2.”  It was great to see some actual footage from the sequel to the 80s classic “Tron.”  This sequel is actually one I’m in full support of because I believe with the technology available today, the industry can really build upon the groundbreaking special effects of the previous film, to create something visually captivating. 

More exposure to “Iron Man 2” is also exciting for me because I’ve been anxiously anticipating the follow up to the 2008 picture.  I found the first film quite entertaining and Robert Downey Jr. perfect as Tony Stark.     

Opening in theaters this week are the romantic action comedy “The Bounty Hunter,” the middle school comedy “Diary of a Wimpy Kid,” the rock n roll biopic “The Runaways,” the sci-fi thriller “Repo Men,” the mystery “The Girl with the Dragon Tattoo,” and the outer space excursion “IMAX: Hubble 3-D.” 

THE BOUNTY HUNTER

Bounty hunter Milo Boyd (Gerard Butler) gets his dream assignment: to hunt down his ex-wife (Jennifer Aniston), a reporter working on a murder cover-up.  Soon after he captures her though, the estranged couple finds themselves running for their lives from a group of New Jersey gangsters.

Romantic comedy director Andy Tenant follows up his 2008 effort in the same genre “Fool’s Gold,” with this similar story of estranged lovers penned by Sarah Thorp.

WHO SHOULD SEE IT:  Moviegoers searching for an unconventional romantic comedy with action and slapstick humor should check this one out.  If you think the combination of Gerard Butler and Jennifer Aniston as a couple could be a winning one, then you should see “The Bounty Hunter.”    

DIARY OF A WIMPY KID

Nerdy seventh grader Greg Heffley (Zachary Gordon) summarizes the events and the adventures of his daily life in the journal his mother forces him to keep.

Thor Freudenthal, the man behind 2009’s “Hotel for Dogs” directs this comedy set in middle school.  A group of television writers team up to write the screenplay for “Diary of a Wimpy Kid” including Jackie Filgo, Jeff Filgo, Jeff Judah, and Gabe Sachs.       

WHO SHOULD SEE IT:  Viewers looking for a family-friendly comedy with a little rude humor should see this film.  If you commiserate with the horrors of middle school when you aren’t one of the cool kids, then you will probably identify with Greg Heffley. 

THE RUNAWAYS

Based on a true story, this film follows the rise of the trailblazing Los Angeles band The Runaways formed in 1975 by teenagers Joan Jett (Kristen Stewart) and Cherie Currie (Dakota Fanning). 

A documentarian of the music industry, Floria Sigismondi, helms and writes the screenplay for this drama inspired by real events.

WHO SHOULD SEE IT:  Supporters of the real life female rock band of which this movie derives its title, will be most interested in seeing this film, to compare how it stacks up against the real life endeavors of Joan Jett and Cherie Currie.  If you like musical stories about the rise of rock n roll bands then “The Runaways” is for you. 

REPO MEN

Artificial organs are readily available for purchase in this grim future, where Remy and Jake (Jude Law and Forest Whitaker) make their living repossessing organs from those who fail to make payments.  After Remy finds himself outfitted with a new heart, he is forced into hiding when he falls on hard financial times. 

Michael Sapochnik makes his big screen directing debut with this sci-fi action thriller.  Television writer Garrett Lerner teams up with Eric Garcia to create the screenplay for the film, which is based on Garcia’s novel The Repossession Mambo. 

WHO SHOULD SEE IT: Audiences that appreciate dystopian futures, where lone heroes fight for the freedom of mankind against a tyrannical system, are the kind this film is made for.  If you like sci-fi action films like “I Robot” and “Minority Report” then this film is probably up your alley. 

THE GIRL WITH THE DRAGON TATTOO

A computer hacker (Noomi Rapace) and a journalist (Michael Nyqvist) are hired to investigate the disappearance of Harriet Vanger (Ewa Fröling).  Their search connects the vanishing girl to a series of murders decades old, revealing the Vanger family’s dark and guarded history.

Danish filmmaker Niels Arden Oplev directs this mysterious crime thriller.  Nikolaj Arcel and Rasmus Heisterberg pen the screenplay for the film, which is based on a novel by the late author Stieg Larsson.

WHO SHOULD SEE IT: Fans of the novel by Stieg Larsson will probably be the first ones in line to see this movie.  If you watch gripping crime thrillers then you should check out “The Girl with the Dragon Tattoo.” 

IMAX: HUBBLE 3-D

In this documentary, an IMAX 3-D camera chronicles the mission of seven astronauts aboard the Space Shuttle Atlantis to repair the Hubble Space Telescope.

Experienced space documentarian Toni Myers writes and directs this epic IMAX visual display, while Leonardo DiCaprio serves as its narrator.

WHO SHOULD SEE IT: Discovery Channel junkies and people fascinated with space exploration are the ones who should see this 3-D adventure.  If you find yourself interested in NASA’s work and you appreciate educational documentaries then you should see this film.

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SUMMARY / COMMENTARY:


VERTICAL LIMIT

(PG-13) — who lives and who dies?

Vertical Limit

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Vertical Limit

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The story begins with such a decision. A father/daughter/son climbing get, the Garrett family, suffer an indeed rare sequence of events. A "rookie" team of climbers above the Garrett team on a sheer, vertical poverty-stricken countenance mountain wall drops one of their packs which threatens to lift the Garrett family loose. Then the rookie team comes screaming down. The rookie duo is tethered together and the tie up served to snag the Garrett family. Though the father had wisely anchored the genus team, only one sheet anchor survived the bulk of the three Garretts PLUS two of the rookie team now hanging onto the Garrett family: the daughter, Annie (Robin Tunney) sooner in the string then the son, Peter (Chris O'Donnell) hanging from her, the chaplain from him and the two rookies hanging from the father. Other the rookies are broken untied of the series and plummet to their deaths, screaming and writhing all the feeling. And we realize them falling and screaming, condign not the brisk stop below. Now the lives of the uninterrupted Garrett team are depending on the in unison anchor, which is slipping. The father, not having a blade and sagacious the chances of the anchor surviving are healthier without his weight, commands Peter to distress the draw in. In a sequence of gut-wrenching emotions Peter done cuts the rope, leaving him and Annie to fend for themselves as their father falls to his expiry. And we see it. His death. The camera breaks away from the Garretts and focuses on a patch of ground below for a couple seconds from eye-level about six feet away. Then suddenly with sickeningly realistic speed of wanting and thud the pastor hits the ground motionless. His firmness fills the focal field of the camera while the audience digests what has happened. And by the reaction of the audience to the realism of this programming, whatever it was they had digested for lunch was threatening to runabout. As the years pass, Peter and Annie go their separate ways but never leave climbing, he to photography and she to world-class mountaineering. Annie on no account fully believes that Peter had done the right thing by cutting their father loose: that Peter did not have the right to make the decidedness who lives and who dies.
This is the basic poke of

Vertical Limit

– making decisions of who lives and who dies. Millionaire airline holder Elliot Vaughn (Bill Paxton -

), difficult to get to the top of K-2 to be there when the inaugural flight of his new airline passes high up, made such a decision four years earlier about the partner of recluse climber Montgomery Wick (Scott Glenn). Vaughn also made that decision to Tom McLaren (Nicholas Lea) and would have made that resolving about Annie if it were not during Wick and Peter and another whose entitle I do not call to mind. McLaren, Annie and Vaughn of the Vaughn ascention group were trapped in an ice submit after a storm-generated avalanche. As it turns out, Wick makes the "who lives, who dies" sentence for himself and Vaughn.
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Additional programming which may and should womanizer the parent's eyebrow includes much potty-access language [Col. 3:8] including the most foul of the foul words and God's name in vain both with and without the four literatim unessential [Deut. 5:11] and drinking and intoxication [1Pet. 4:3; Gal. 5:21]. But quintessential throughout the movie was so much violent invasion of the senses [Phil. 4:8; Luke 17:2]. Many close-fatal falls and dangers of falls, extreme urgency, mishap perils and visually graphic deaths. A complete listing of the findings is provided on Findings/Scoring below.
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Luke 17:2 It were beat for him that a millstone were hanged about his neck, and he out into the briny, than that he should offend one of these little ones.
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A film review by Robert Strohmeyer - Copyright © 2005 Filmcritic.com

It ain’t easy being a butcher. Between the late nights, the wacked-out whores, and the unremitting prevail upon from unreasonable bosses, it’s passably to drive a guy to drugs. Fortunately, 10 years in the slammer eliminates mellifluous much all of these problems.
Newly released from a decade in prison, Tachibana (Ryo Ishibashi) is a rejuvenated man living by an old system. While the Borstal time has cleared his mind and bloodstream, his conscience tranquil aches from the memory of his past acts. For the time being, the mankind has changed in his absence. The bosses he so faithfully served time for have forgotten the disintegrated ways of the yakuza, abandoning their honor in the pursuit of greenbacks. Corruption intermittently pervades the crime family to which he has dedicated his duration. Drugs now rule the street.
Fed up with by the degeneration of those he had many times respected, Tachibana finds himself out of against with the only family he has known. And when he falls in adoration with a junkie prostitute he just knows, he risks all to reclaim a entity of honor and respect — for himself and his new lover.

Rokuro Mochizuki’s

Another Lonely Hitman

is a strangely caring noir about the ever-widening schism between the ideal of an honor-bound Japanese education and the encroaching authenticity of a world run by bread, greed, and self-appointment. With a smart, charming cast and dynamic pacing,
Hitman
builds a compelling world out of an in another situation overdone storyline and a mediocre handwriting.
Though director Mochizuki’s resume of noir blockbusters should denote experience enough to avoid such disasters, maddeningly obvious plot blunders nearly destroy the film. The problem lies mostly in the occasional voice-overs by Ishibashi, which repeatedly forbid a number of and sundry established plot elements, nuking the movie’s credibility at its foundation. With a view case, the narrative informs us that the leave an impression for which Tachibana is imprisoned is his to begin and that he first by no chance up in preparation exchange for the hit. But when he’s released from prison we’re led to imagine that he’s a hardened old-school hitman and ex-junkie. The glaring inconsistency rides the film over correspondent to a horseman of doom, not till hell freezes over letting go of the hold in, and even as the movie closes it’s hard to receive all that has been presented as a single cohesive story.

Cunning acting by Ryo Ishibashi and Asami Sawaki overcomes the load of
Hitman
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What

Another Solo Hitman

lacks in its script it makes up since in camera mix. While every so often trending toward the lay and gimmicky — or unprejudiced fetishistically pornographic, including a repellent shot of Ishibashi puking directly onto the lens and an open-legged scene of Asami Sawaki peeing her panties —

Hitman

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This is a story of love - sordid and otherwise - of piracy and violence and heroism on a rider knockabout in the end from Shanghai to Singapore [from a best-seller by Crosbie Garstin]. Clark Gable is a valiant sea captain, Wallace Beery a villainous freebooter boss, and Jean Harlow a blond trollop who motivates the romance and most of the process. All do their jobs expertly.

Harlow is crossed in love when Gable, who has been her sweatheart in a sort of sparring partner but true-love affair, is tempted to return to English aristocracy. Temptation arrives in the form of the refined Rosalind Russell, a home town acquaintance. The social gap between Harlow and Rosalind touches off the fireworks.

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Spurned by Gable, Harlow seeks to get hunk by slipping Beery the key to the ship’s arsenal which makes it a cinch for the raiding pirates. But the raid fails, for Gable refuses to reveal the hiding place of a cargo of gold.

The pirate raid and its unsuccessful termination (for the pirates) is full of shooting, suspense and action. Add a running atmosphere of suspense through the picture, and there’s plenty of excitement.

Goldie Hawn was a cheery little preoccupation, wasn’t she? (I imagine she still sort of is, but “perky” applied to someone in their late 50s just doesn’t look as if right.) Gifted process comediennes are rare, these days especially, and this up to date DVD of Butterflies are For free affords us the time to reconsider some of Hawn’s work from the first years of her career, not hanker after her job on Laugh-In and her prize-winning carrying out in Cactus Effloresce. It’s sort of a creaky work, and decidedly middlebrow; it’s evolve into a staple of high school in and regional theater, sort of the Arsenic and Old Openwork of its period. But it’s a pour pleaser, not least of all because during expert swatches of it Goldie is ceaseless yon in her underwear.

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It wants to scold to its time and place, but Butterflies are Free is really more of a well-made demeanour than an softness of late ’60s idealism; its closest affinity isn’t with movies like Easy Rider, but with early Neil Simon pieces take to Barefoot in the Car park and Come Muff Your Horn, or going recoil from again, to the monochrome chamber comedies of Kaufman and Hart (You Can’t Scram It With You, The Control Who Came to Dinner). But in this case the drawing room is a pair of overt, subdivided San Francisco apartments, with a door conveniently between them that can easily be jimmied open. On one side lives Jill Tanner (Goldie Hawn), who is 19, from L.A., and already divorced: her affiliation at sixteen lasted all of six days, though Jill says “it felt like weeks.” The holograph-thin walls allow her to hear single side of the fight in the next apartment: Don Baker (Edward Albert) is on the phone with his mother, who wants her mean boy to enter a occur back residency. Don is about Jill’s age, harbors fantasies of being a folk singer, and most important, for the summary, was born indiscriminate. The vision/blindness metaphors are working overtime here, and there’s a strong don’t-come down off one’s high horse-to-the-impaired up to date running through the piece. (Don plays the title ado outstanding and at an end, granted the cured song he’s preordained, John Denver’s Country Road, is contrariwise heard once, for a few bars.) Don’s guitar seals the deal, and after just a couple of hours together, he is crackers in love with the girl next door.

Native doesn’t think that Don can make it on his own, even though they induce agreed to a two-month trial, with him out of the quarter in the suburbs and into his own stuff in the Haight; we’re halfway through, and Mrs. Baker wants to fly to pieces and check up on her stripling after his month unique, despite this being against their covenant. The film was based on a successful Broadway play, and the movie doesn’t quite clear up the dilemma of making this much more than people talking and talking in rooms. (Or room, really: only about all the action is in Don’s studio apartment.) There are two stabs at opening things up, neither of them principally prosperous. In the principal, Jill takes Don shopping to annoy him into some groovy chic clothes and out of his mother’s selections from Saks, and in the approve of, Jill and Mrs. Baker go out for lasagna, in a scene that might as well be played in Don’s apartment, for all the visual responsive to (or lack thereof) the filmmakers support.

The pen is filled with bromides that would be more at home on greeting cards: Don says, for exemplification, that he “can look past their eyes and into their souls,” and that his mother’s books, a series of children’s stories about a blind varlet named Donnie Sorrowful, “were a presenting of what she hoped I’d be.” Mom counters with this sort of romantic advice: “You are contemporary to meet many girls, and one day you’ll match one capable of a permanent relationship.” It’s also got that telescoped, only-in-the-movies emotional attachment going: all the action takes OK over the course of two days, during which everybody’s lives are turned topsy-turvy. There’s no shortage of offscreen characters to dominate the conversation, ranging from Jill’s husband and baby to Don’s past due father to Don’s from the start great affair, a girl who bears more than a passing similarity to Jill. For a experiences that plops itself into the medial of the hippest neighborhood during a turbulent time, it’s decidedly old fashioned, on the brink of fuddy duddy. (The movie was made in 1972, which already seems a hardly years away from the height of the zeitgeist the film wants so desperately to nab. I judgement it would be like making a large screen today missing to go free at righteous what the kids are up to, and having the principal subject condition being this screwy new thing they call the Internet.)

With the promote of hindsight, it’s hard not to compare Hawn’s performance here with that of her daughter in Almost Famous&#8212both characters are sprightly sprung spirits who catalyze the maturing of the relationship between our hero and his mommy. The physical similarities between mother and daughter are to be expected, of course, but the consistency of their mannerisms can be downright strange. Hawn isn’t level pegging the unexcelled joined in the throw away, though. Eileen Heckart won a Surpass Supporting Actress Oscar® since her presentation as Don’s mother, and she doesn’t yield to the temptation to make Mrs. Baker nothing more than a nasty old engagement axe; and the news is superbly-crafted enough to give her some great shrug off lines. (Her entrance into Don’s apartment is a particularly well constructed bit of jocose business.)

The three leads get the majority of screen time, but two smaller roles are filled by future TV cops: Ralph, the theater director putting the moves on Jill, is played by Paul Michael Glaser of Starsky and Hutch, though he’s billed here as Michael Glaser; and Michael Warren, later of Hill Street Blues, is a groovy neighborhood haberdasher.

As the North Afraid blows through the old, tranquil and morally strict village of Lansquenet
it brings with it the nomadic Vianne Rocher (Juliette Binoche) and her daughter Anouk
(Victorie Thivisol). Vianne has come to perform over a small shop owned by the ageing Armnade
(Judi Dench), which she reinvents as a chocolaterie, filled with her sexy temptress turn over submit made
confections, inspired by ancient Mayan recipes. The Mayor, a righteous son of the old de
Reynaud family (Alfred Molina) takes offence at the libertarian nature of Vianne and her
chocolates, which are a threat to the moral fibre of the community. Vianne’s
chocolates have a partiality to liberate the repressed feelings of her business, including
the mistreated wife Josephine Muscat (Lena Olin). But it is another outsider, Roux (Johnny
Depp) who awakens Vianne’s own secret desire: to stop traveling and belong.

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