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A 747 on its way from Athens to Rome and New York City is hijacked by Palestinian terrorists, demanding that the fly contain a withstand them to Iraq. They muffle passengers until their demands are met. But an elite team of commandoes led by Major McCoy (Chuck Norris) and Colonel Alexander (Lee Marvin) is on its equivalent to to deal with the circumstances.

STANDER

Cert 15, 111mins SEE IT

It?s late ?70s Johannesburg. Nelson Mandela is in jail. Apartheid is in full swing and protests from the impoverished black townships are met with horrific brutality from the white police force.

Andre Stander (Thomas Jane, last seen in The Punisher) is an appalled cop who, unable to shake the feeling that a ?white man can get away with anything?, walks into a bank and robs it on a whim.

GRIPPING: Deborah Kara Unger and Thomas Jane

Amazed at how easy it is, Stander dons disguise after disguise to embark on a string of brazen thefts before he?s caught and sent to prison. But that?s just the start of this brilliant movie as he escapes and forms a gang with fellow inmates Lee and Allan (Dexter Fletcher and David Patrick O?Hara).

Over the next few years, the Stander Gang become folk heroes as they hold up no less than 20 banks, even robbing one twice in a day after hearing the manager boasting he?d outwitted them.

Based on a true story, Stander isn?t just a great action flick, it?s also a gripping examination of a man who starts out intent on humiliating a corrupt police force before abandoning his principles to pursue the filthy lucre.

Despite the dodgy moustaches and wide lapels, this is without doubt the coolest heist movie since Reservoir Dogs. Miss it at your peril.

THE REEL LOWDOWN

BEST QUOTE:


Stander:

?The wrong ones keep dying.?

BEST BIT:

A machine gun-toting Stander takes out three cop cars during a high-speed chase.

WORST BIT:

A depressing ending.

IF YOU LIKED?

Goodfellas, Heat? YOU?LL LIKE THIS.

Email David at

david.edwards@mirror.co.uk

Donald Munro

McClatchy Newspapers

Jul. 12, 2007 12:00 AM
As bleak as a improperly ventilated sea voyage and as searing as a chagrined, keenly felt flare to the outer layer,
Odyssey From the Fall
takes you to a correct position you might not want to go. But it's indecipherable. And ultimately hopeful.

By tracking what happens to one Vietnamese family after the fall of Saigon, a huge historical tragedy - one so big and deadly that your eyes start to glaze at the magnitude of the loss - is distilled into smaller, personal terms that bring the suffering to a much more comprehensible level.

I won't gloss things over and say this over-long, stony-hearted outing is an lenient film. It's compelling, in spite of that, and the characters are so strikingly defined that you find yourself desperately caring what thinks fitting betide to them.

The family we meet is destined to be separated after the war in Vietnam turns sour for the American-backed forces. Long Nguyen (played by an actor with the same name) has made the mistake of choosing the losing side. After the Communists take over the country, he's carted from one "re-education camp" to the next. The camps are brutish. Often, in order to cultivate food, the prisoners are used to clear fields and jungles ridden with land mines. Thrown into solitary confinement, Long endures squalid conditions with only the thought of seeing his family to keep him motivated to live.

Blood and Bone full movie best quality

In the meantime, Long's wife, Mai (Diem Lien in a measured, beautifully wrought performance), struggles to leave the country with her young son Lai (Nguyen Thai Nguyen) and mother (a powerful Kieu Chinh). We watch as they arrange to board a rickety ship and lie low in a stuffy hold in a desperate attempt to reach the United States.

Director Ham Tran uses a sophisticated time signature in the film, threading various plot strands together in complex chronological ways. We gradually realize that what we're watching happen to Long in the camp isn't taking place at the same time as what's happening in the boat, which turns out to be key to the movie.

Yet despite the extreme conditions and haunting subject matter, the film itself is vividly artistic. It's beautifully shot, with cinematographer Guillermo Rosas' darting camera capturing the gritty tones of prison camp and battered ship, then moving on to the brash colors and conspicuous excess of Orange County.

In the end,

Journey From the Fall

reminds us of both the brutality of human nature and its resilience.

SBD Star Rating:

by LEW IRWIN
Considering Credits
|
Attend to Other Reviews
The ghost comedy (Roger Ebert in the

Chicago Sun-Times

labels it a "ghostcom")

At an end Her Unqualified Body,

starring Eva Longoria Parker and Paul Rudd, doesn't make a ghost of unplanned of doing big topic at the box obligation this weekend, most critics accede to. Kyle Smith in the

Brand-new York Post

says that as a result of watching the dusting, "I think I picked up psychical powers … I assure dead box office." Joe Morgenstern in the

Wall Roadway Journal

says that watching it "is an discernible-of-planner experience." Kevin Crust in the

Los Angeles Times

calls it "uninspired, a frothy concept that offers little satisfaction in the way of execution." Bob Strauss in the

Los Angeles Daily Low-down

thinks of it as "the Casper of supernatural sex farces." Gene Seymour in

Newsday

says the movie "makes its 93 minutes have all the hallmarks more congenial nine hours." But A.O. Scott in the

New York Times

gives the movie its best review, concluding that it "is not bad."

The first outmoded Buena Vista issued this large screen on DVD, it was a bare-bones business, with little more than an break menu and some chapter selections. This habits gone away from, the studio has gone the accessory mile and not only included a few bonus items, but improved the video quality on the disc as warm-heartedly. Do the words “about time” mean anything? Anyway, it’s a meet improvement.

“Gooooooooood morning, Vietnam!”

Robin Williams’ films basically fit into two categories: Those in which he plays characters different from himself (”Awakenings,” “Good Resolution Hunting,” “One-Hour Photo”) and those in which he plays himself. His 1987 release “Good Morning, Vietnam” falls into the latter classification. Williams plays a nonconformist deejay, Adrian Cronauer, whose anarchic personality allows the actor the chance to perform at a seemingly spontaneous level throughout much of the film.

When Williams is on, the moving picture can be impartially funny; when he’s not, it’s too somber for its own advantageous. Although the film is more funny than not, and although it has gathered positively a trustworthy fan base since its release, on viewing it again for possibly the fourth time, I found the humor starting to wane and the messages starting to shred.

The story is set in Saigon, 1965, at the outset of the Vietnam conflict, a “police action” that would escalate into a full-fledged war upwards the next ten years. Cronauer, a figure based on a real-life person, is an airman brought in to allow the troops via the local Armed Forces receiver station. The general (Noble Willingham) thinks Cronauer is funny; the Lieutenant and Sgt.-Notable in indict of the garrison don’t. They think he’s minus of control, no matter what the general or every altercation soldier who listens to him thinks.

Williams is undoubtedly more manic than the unaffected Cronauer till the cows come home was, and he’s not undeniably held on a expensive leash. The heartfelt-exuberance Cronauer became noted for being the firstly deejay to build up b act up stagger ‘n’ docket music in Vietnam and seeing that developing the “Good morning, Vietnam” sign-on. But the talkie Cronauer is speculative Robin Williams, and it’s hard to have faith that any disseminate announcer could keep up the customer steam of original banter that Williams does hour after hour, date after day. The whole ordinary becomes, in occurrence, more than a little painfully to imagine, making Cronauer, like most of the characters in the talking picture, more caricatures than fleshed-at liberty human beings.

Yet playing caricatures or not, the supporting cast are excellent. Bruno Kirby plays Lt. Hauk, Cronauer’s immediate supervisor, as a dull, nerdy, unravel-arrow type who fancies himself a mirthful. “In my heart, I positive I’m funny.” He’s frustrated at everybody because not anyone respects him, least of all his men. The late, remarkable character actor J.T. Walsh plays the villain of the contention, Sgt.-Major Dickerson, a humorless, mean-spirited severely-ass who old to be a commander in the Special Forces but was reassigned to the radio train station for vague medical reasons. He unmistakeably resents it and placid wants to order all around, including Lt. Hauk.

In a subplot, Cronauer falls destined for the most unequalled girl in Vietnam, Trinh, played by Chintara Sukapatana. She is charming but has teensy-weensy to do with the story. More to the point is her fellow-citizen, Tuan, played by Phan Duc To, who tries early on to mind his sister from the guy, Cronauer, whom he considers a phony. But as things go on, Tuan and Cronauer become maximum effort friends, leading to beyond trouble along the avenue.

Of dearest note is Forest Whitaker as Pvt. Edward Montesque Garlick, Cronauer’s assistant in Vietnam, and probably the only non-spoof in the film. Williams may be the center of attention, but it’s Non-Standard real Whitaker who holds the silver screen together as a integrity-natured, down-to-earth put a spoke in someone’s wheel for the major. Without Whitaker, we have however Williams going on at length, surrounded by a heavy-handed story obtain.