Movie Title: Nanny McPhee
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That’s what Mr. Cedric Brown (Colin Firth), the widower father of seven children who’d take the team Olympic Gold for mischief-making does. Working at a funeral parlor with two silly assistants, Mr. Jowl and Mr.Wheen (Derek Jacobi), he relies on nannies to look after his offspring, but his childrens’ antics are all to drive away the nannies; in the case of Nanny Weston, they make as if they were eating the youngest, an infant.

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Mcphee (Emma Thompson) arrives at the Brown resident one stormy night, and her profile silhouetted outside the door reminds me of the shudder one thinks when Alfred Hitchcock’s profile is shown on his show. If the Wicked Witch of the West from The Wizard of Oz and Mary Poppins were thrown together, one would get Nanny McPhee. She’s clearly no beauty, as she has two warts on her face, a swollen nose, and a tooth that hangs over her lower lip. She also carries a crooked staff which she taps on the floor in order to conjure magic.

She wastes no time in getting the kids well-behaved, especially in a scene where the children have invaded the kitchen in defiance of their father punishing them. Her way is akin to forcing a PS2 junkie to keep playing games until he either gets bleeding controller blisters or his eyes pop out of his skull. Result, he’ll have had enough.

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Brown is gratified that her only conditions are that she teach his rambunctious kids five lessons and that she requires Sunday afternoons off. The lessons include saying please and thank you, going to bed on time, getting up on time, and doing what they’re told. And mysteriously, when one of the lessons are learned, her warts disappear until…

Brown though is quite ineffectual in enforcing discipline in the household, as he is wishy-washy and too busy at his job. It’s clear that the death of his wife, whom he still talks to via the empty chair she used to sit in, is still affecting him. His oldest, Simon says that he doesn’t care about or spend time with them like he did when their mother was alive. But he is living off an allowance from his forbidding Aunt Adelaide, and if he doesn’t marry by the end of the month, she’ll cut him off. The children will be sent to foster homes or put to work in the workhouses. He’s desperate enough to choose Selma Quickly, a disreputable and loudmouthed woman whose taste in colours are a garish dayglo fuschia and green, as a prospective new wife. Why not Evangeline, the scullery maid who’s learning to read and is concerned about the children?

Three performers from Love Actually are reunited. They are Colin Firth, Emma Thompson, and Thomas Sangster, who played Liam Neeson’s son. Thompson provides the film’s sole center of stability and rationality, a soothing contrast to the stiff eccentricity of Angela Lansbury’s Aunt Adelaide, and Celia Imry’s vulgar Quickly.

McPhee’s five lessons are values that seem to have been lost on the kids of today’s era. In fact, they seem to have more in common with the wild jungle mentality the Brown children have in the beginning. She tells her charges: “When you need me, but do not want me, then I will stay. When you want me, but do not need me, then I have to go.” Nanny McPhee effectively joins the ranks of Mary Poppins and Charlie and the Chocolate Factory in instilling good manners and values in children.

I saw this movie 10 minutes ago in a hotel room. Immediately, I go to Amazon.com to see if I can buy it. This is how good the movie is. You want to own it and watch it again and again. The story is good (no doubt, if you have read the book). The director is good. Just love it. Highly recommended.

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Bob Rafelson directs this dark psychological thriller about the seductive interplay between two intriguing women. Catharine (THERESA RUSSELL) is a sultry beauty who meticulously sets her traps. Alex (DEBRA WINGER) is a federal sleuth who just as meticulously uncovers what no one else suspects-that this femme fatale tricks wealthy men into marrying her, then kills them to inherit their fortunes. Soon Alex’s obsession with the mysterious Catharine draws her deeper and deeper into danger.

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Black Widow was nice! You have to regard this movie! A signal performance by Debra Winger & Theresa Russell make Black Widow a “should regard” movie!

The startling cast includes Debra Winger, Theresa Russell, Sami Frey, Dennis Hopper, Nicol Williamson. This cast just make Black Widow the more wonderful!

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The first thing you need to know about Sleepers is that it’s based on a novel by Lorenzo Carcaterra that was allegedly based on a tru story. The movie repeats this bogus claim, which was attacked and determined by a wide majority to be misleading. Knowing this, Sleepers can be a problematic movie because it’s too neat, too clean, too manipulative in terms of legal justice and dramatic impact to be truly convincing. And yet, with its stellar cast directed by Barry Levinson, the movie succeeds as gripping entertainment, and its tale of complex morality–despite a dubious emphasis on homophobic revenge–is sufficiently provocative. It’s about four boys in New York’s Hell’s Kitchen district who are sent to reform school, where they must endure routine sexual assaults by the sadistic guards. Years after their release, the opportunity for revenge proves irresistible for two of the young men, who must then rely on the other pair of friends (Brad Pitt, Jason Patric), a loyal priest (Robert De Niro), and a shabby lawyer (Dustin Hoffman) to defend them in court. Despite the compelling ambiguities of the story, there’s never any doubt about how we’re supposed to feel, and the screenplay glosses over the story’s most difficult moral dilemmas. And yet, Sleepers grabs your attention and pulls you into its intense story of friendship and the price of loyalty under extreme conditions. The movie’s New York settings are vividly authentic, and Minnie Driver makes a strong impression as a long-time friend of the loyal group of guys. –Jeff Shannon

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The fabulous cast includes Kevin Bacon, Billy Crudup, Vittorio Gassman, Robert De Niro, Minnie Driver. This cast just make Sleepers the more astonishing!

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Director Jack Hill, a protege of the original schlockmeister, Roger Corman, knew his way around a low budget and a shocking subject. Women-in-prison films were nothing new in 1971, but The Big Doll House had it all–sex, violence, nudity, a sadistic guard, and a sexually frustrated warden–and served it up with an abundance of cheapjack energy and tongu-in-cheek humor. The beauty of Hill’s movies lay in the way they could appeal not only to the hordes who would go see them at drive-ins but also to the tru trash-cinema fans who could appreciate his offbeat sensibilities. The plot is rather hoary, with a new inmate discovering the corruption of the prison setup, complete with a drugged-out psycho, a cellmate informer, and a guard who delights in torturing the women with poisonous snakes. The girls put their heads together and begin to devise a way out of their tropical hellhole, but not before disrobing several times and having a knock-down, drag-out fight in the muddy rice paddy where they’re forced to toil all day. The Big Doll House, like some of Hill’s other movies, was shot in the Philippines, with the cast and crew making up plot elements and dialogu in near-gurrilla filmmaking. Though the islands were a cheap place to produce movies in the ’70s, the working conditions were boot camp-like. Where The Big Doll House really succeeds is in its mix of titillation and action, a fast-paced combination that makes it one heck of a fun exploitation movie to watch. It’s also worth noting that this movie gave the great Pam Grier her first real starring role; she would become a Jack Hill regular before moving on to more substantial roles. –Jerry Renshaw

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The great Lucille Ball (I Love Lucy, Stage Door, Yours, Mine and Ours) plays Florabelle, an elderly bag lady struggling to survive on the streets of New York City. She carries her most prized possessions in a shopping cart, and has staked out a Manhattan street corner as “home.”

When approached by Carrie, a curious young social worker played by Daphne Zuniga (Melrose Place, Spaceballs), Florabelle introduces her to the underground of Grand Central Station and the details of daily survival. Together both women discover a new perspective on their lives.

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The Berlin Philharmonic’s annual summer concert at the city’s Waldbuhne has long been a Mecca for classic fans. To crown the season each year, the orchestra offers 22,000 attendees a very special concert, featuring the greatest conductors on the podium of Berlin’s favorite outdoor theatre. The concerts are always sold out months in advance. Since 1984, each summer concert has had a particular theme — for example, there was an Italian Night with Claudio Abbado, an American Night with Simon Rattle, a Russian Night with Seiji Ozawa and a French Night with Georges Pretre. Then, in the summer of 2001, Placido Domingo joined the phalanx of podium greats. In recent years the celebrated tenor has also been attracting attention as a conductor, and many performances in leading opera houses have shown that wielding the baton is no mere sideline for him. And now the Berlin Philharmonic invited him for the first time, a happy circumstance; as a gust on their rostrum, the Spaniard conducted a Spanish Night and delighted his audience by dint of his musical competence and temperment.

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Spanish Night – Domingo was pleasure-giving! You have to notice this movie! A superb performance by Berliner Philharmoniker & Placido Domingo make Spanish Night – Domingo a “need to envision” movie!

The breathtaking cast includes Berliner Philharmoniker, Placido Domingo, Ana Maria Martinez, Sarah Chang. This cast just make Spanish Night – Domingo the more stupendous!

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King Arthur the Extended Unrated Director’s Cut contains fourteen minutes of never-before-seen footage, including more intense battle sequnces and the scenes “Rain and Snow” and “Saxons Surrounded.” Bonus Features

Alternate Ending “Badon Hill” With Optional Director Commentary
Blood On The Land: Forging King Arthur
Cast And Filmmaker Round Table
Director Commentary
“Knight Vision” Trivia Track
Producer’s Photo Gallery
Konami’s King Arthur Playable Xbox Demo

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King Arthur – The Director’s Cut was genial! You have to see daylight this movie! A unimaginable performance by Clive Owen & Ioan Gruffudd make King Arthur – The Director’s Cut a “need to sort out” movie!

The miraculous cast includes Clive Owen, Ioan Gruffudd, Mads Mikkelsen, Joel Edgerton, Hugh Dancy. This cast just make King Arthur – The Director’s Cut the more wondrous!

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Movie Title: Never Cry Wolf
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Never Cry Wolf is available for streaming or downloading.

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The first time I saw Never Bawl Wolf on the astronomical mask in 1983 is a day I’ll never forget. When the credits started rolling and I came attend down to earth, I could not remember where I was or what I had done that day up to that point. The film had so overwhelmed me that everything else seemed unimportant, and the film seemed like the only reality. That had never happened before and it’s never happened since.

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It took me many years and many more viewings to figure out why this film is so unbelievable. For the first 45 minutes or so, Never Bellow Wolf is declare to be a archaic “Man and Nature” film, with the “natives” being status up in the “first-rate savage” archetype–they are the ideal, the “suited guys,” the reliable ones, while White man is disagreeable (except for our hero Tyler) . It’s a structure that’s been customary many times, and it’s delicate. Of course all this is beautifully-filmed and hauntingly aesthetic, but the film was aloof fairly extinct, albeit extremely well-done.

But then it unleashes a surprise, which turns the fable on its head. Tyler is talking to Mike, his Inuit friend, one of the “marvelous” ones, one of the “favorable guys.” Mike reveals that he would like to ruin wolves, and explains why. The reasons sound so worthy like the reasons of “White” man.

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This casual revelation stuns Tyler–and us too. The film shatters the “kindly savage” archetype in a brief, economic scene. (The penultimate scene, also between Tyler and Mike, which could be considered as an extension of this scene, is equally brief and economical. The script is a masterpiece of understated writing, almost like cinematic haiku.) We are not hit on the head with this “message” and in fact it, along with the equally eloquent closing monologue (normally I disfavor VOs in a film–*show* me, don’t *tell* me, but here it’s vital and extremely well-done) are so subtle that many critics who praised this film actually did so while missing the point.

Never Roar Wolf takes the used archetype of civilized man being dropped into nature and finding it a “purer,” “richer” existence, and stands it on its head. No doubt Tyler collected finds it this draw, but he also learns Darwin’s oldest rule: survival of the fittest. At the slay of the film Tyler tells us he has learned there are no heroes and no villains. Indeed we never accumulate out who is responsible for the film’s final slaughter, and that is one of its greatest strengths. This, and Bambi, are the only two Disney films ever made that embrace ambiguity as a dramatic element. For that reason I’ve always regarded these, and not “Fantasia,” as Disney’s riskiest–and greatest–motion pictures. So many movies effect a lot of noise about how they are going to shake up our world. This one really does, and very quietly. Yet even many viewers never seem to latch onto this, seeing it as a wide-eyed call for conservation. It actually isn’t.

As others have stated, the music/cinematography/acting/directing are all agreeable. The wolves are well-trained performers–I once had the pleasure of visiting the wildlife retain where they were living out their “retired days.” And the last shot–an ad lib between Charles Martin Smith and Zachary Ittimangnaq, is endearingly sweet, without being sappy in the least. This is film with sentiment, but it is not *sentimental.* It would never find made today. (Seems like I say that about most of my common films.)

And that’s the reason I *suspect* Disney treats this film very shabbily. It was made the year before Michael Eisner took over the studio. Eisner likes Ample Event films. Never Sob Wolf is a runt film. Eisner likes fantasy. NCW was based on a honest fable. Eisner likes stars. NCW has none. Studio chiefs rarely tout the work of their predecessors–if anything, they have an investment in making such work see as awful as possible. Yet it’s hard to deliver that while Disney has made more common films since then, it has never made something as, well, deep. The studio today seems to have forgotten about the movie, or wants the world to. On the latest DVD release, except for a petite good discover on the disc itself, you’d be hard-pressed to catch proof this is Disney’s product at all. The transfer to DVD was farmed out. Even the Disney studio logo at the film’s launch has been completely lobbed off! (The logo of the company that transferred it to DVD replaces it.)

It’s sure Disney wants nothing to do with this film today. Nothing in any of the studio’s theme parks, collections of literature, or merchandizing even reply its existence. The DVD has NO extras–not even a theatrical trailer. The Internet Movie Database lists a TV documentary, “The Making of Never Bellow Wolf,” that surely could have been included. Most upsetting of all, the DVD is *not* enhanced or anamorphic. Comparing it to my weak VHS copy, it appears the DVD was engage from the same print of the film, meaning they may have unbiased dubbed the VHS version to DVD!

A travesty. Maybe someone could do a helpful restoration of this big, neglected film. (You listening, Criterion? ) It’s ample to have Never Weep Wolf on DVD, but it deserves better treatment from its studio than it’s gotten so far. (You listening, Eisner? ) Why Disney has virtually disowned this masterpiece baffles me.

(Mark added later: as you may have noticed, NCW is now available in a number of different releases. At least one is “enhanced” for 16:9 TVs, so if you have an HDTV (and especially an HDMI DVD player), this is the map to go. The enhanced version features artwork on the conceal from the fresh film, of Charles Martin Smith standing with a pair of binoculars. The image has a “hand tinted” groundless color contemplate to it–it’s not the tiresome shadowy and white image, nor is it the “icy” dismal mask of the howling wolf. The ASIN number is B0001I55Y2. –Or, unbiased behold on the video box and you’ll recognize it says “Enhanced for 16:9 TVs.” This is the diagram you want to go.

Now the poor news: although Disney finally released this in the enhanced represent format, with better resolution, and although they now actually build their name on the front of both the box and the film, they Unexcited weak the same crappy print, which looks like a run-of-the-mill theater print with many a gash and scratch, and which was passe all the plan attend for the current VHS release in the 80s! Unreal! Again there are no extras, not even a trailer. If there’s any need to expose the Mouse rots, this is it.)

This fictionalization of the Farley Mowat book about his Arctic adventures studying wolves is amazingly enough perhaps the most controversial film Disney studios ever made. How dusky is that? The reasons for the controversy would seem minor: first, the movie is not entirely honest to Mowat’s book; two, it’s lightly plotted; and three, a man is seen running around naked in the tundra. To which I say, so what? so what? and gee, how offensive. (Maybe they should have clothed the wolves.)

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The latter complaint is the major reason for all the ranting by some “reviewers.” To them a Disney film showing human nakedness seems a sacrilege and they want their bowdlerized world returned to them, and they want Disney censured and made to promise never to do anything like that again! The complaint that there wasn’t enough tension in the film is also off disagreeable since this is a contemplative, even spiritual film, not a slick thriller. People with sound-bite attention spans who need to mainline exploding cars and ripped flesh to sustain them enthusiastic need not apply.

The criticism that Director Carroll Ballard’s film is not entirely honest to the book is legitimate, but I would point out that movies are seldom if ever entirely suitable to their source material. A film is one kind of media with its particular demands while a book is another. It is impossible to completely translate a book into a movie. Something is always inevitably lost, but something is often gained. Here the cinematography and the dazzling musical procure by Effect Isham are lovely compensations.

The acting by Charles Martin Smith as “Tyler” (Farley Mowat) and Brian Dennehy as Rosie, the exploitive redneck bushpilot, and Samason Jorah as Mike the compromised Inuit (who sells wolf skins for dentures) and especially Zachary Ittimangnaq as Ootek, the composed, wise man of the north are also pluses. Designate how compactly the main issues of the film are exemplified in these four characters. Indeed, what this film is about is the dying of a contrivance of life, not impartial that of the wolves, but of the Inuit people themselves who are losing their land and their resources while their young people are being seduced away from what is valid and apt and time-honored for the glittering trinkets of the postmodern world. This is a yarn of impending loss and it is as sad as the cool autumn wind that blows across the tundra.

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What I believe elevates this above most nature films is first the intense sense of what it would be like for a lower forty-eight kind of guy to survive in a most inhospitable wilderness, and second the witty presentation of some of the scenes. Ballard works hard to compose obvious we understand that it is chilly, very wintry and desolate and that there are dangers of exposure and weather and honest dreary loss of perspective that have killed many a would-be adventurer and might very well ruin Tyler. I reflect it was entirely lawful that advance the waste of the film we glean the sense that Tyler is going off the deep waste emotionally, that the majestic and profoundly unhappy experience has been too noteworthy for him.

Tyler begins as a greenhorn biologist dropped alone onto a frozen lake amid snow covered mountains rising in the distance so that we can behold immediately how tiny he is within this incredibly harsh vastness. The following scene when Ootek finds him and leaves him and he chases Ootek until he drops, and then Ootek saves him, gives him shelter, and leaves again without a word, was unprejudiced gorgeous. And the scenes with the “mice” and running naked among the caribou and teaching Ootek to juggle were appetizing. The territorial marking scene was obedient and witty and tastefully done. (At least, I don’t judge the wolves were offended.)

This movie was not perfect, however. For one thing, those were not “mice” that Tyler found his tent infested with. I suspect they were lemmings posing for the cameras. Those who have seen the film about the making of this movie undoubtedly know what they were; please hiss me if you do. Also the “interior” of Tyler’s tent was contrivance too enormous to fit into the tent as displayed. Also it would be indispensable from a nutritional point of opinion for Tyler to eat the “mice” raw as the wolves did! (The trusty creatures that Mowat ate I acquire were mice.) If Tyler had to exist purely on roasted and boiled rodent for many months, he would encounter some nutritional deficiencies. Calm, eating a diet of the whole, uncooked mouse would be sustaining whereas a diet of lean meat only would not. (Add blubber and internal organs for an all-meat diet to work.) Incidentally, the Inuit people catch their vitamin C from blubber and the contents of the stomachs of the animals they ruin.

Where were the mosquitos and the biting flies that the tundra is inferior for?

Since this movie appeared almost twenty years ago, the public image of the wolf has greatly improved and wolves have been reintroduced to Yellowstone Park. I mediate everybody in this lovely production can lift some credit for that.
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By far the most ambitious, unflinchingly graphic and stylistically influntial western ever mounted, The Good, the Bad and the Ugly is an engrossing actioner shot through with a volatile mix of myth and realism. Clint Eastwood returns as the “Man With No Name,” this time teaming with two gunslingers (Eli Wallach and Lee Van Cleef) to pursu a cache of $200,000and letting no one, not even warring factions in a civil war, stand in their way. From sun-drenched panoramas to bold,hard close-ups, exceptional camera work captures the beauty and crulty of the barren landscape andthe hardened characters who stride unwaveringly through it. Forging a vibrant and yet detached style of action that had not been seen before, and has never been matched since, The Good, the Bad and the Ugly shatters the western mold in tru Clint Eastwood style.

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No one was surprised when Francis Ford Coppola revisited Apocalypse Now, but his overhaul of The Outsiders raised a few eyebrows. Here was a modestly successful film better remembered for its Brat Pack cast than its Oscar-winning director, but The Complete Novel succeeds in bringing more of S.E. Hinton’s young adult classic to the screen along with Coppola’s epic vision. The story remains the same: The working class greasers and wealthy Socs (”Socials”) of Tulsa, OK, circa 1966, are at war. Despite the bigger names in the cast–Patrick Swayze, Emilio Estevez, Rob Lowe–the friendship between C. Thomas Howell’s Ponyboy and Ralph Macchio’s doomed Johnny is still the focus. If anything, Tom Cruise, as an obnoxious greaser, gives the least promising performance, while Matt Dillon (Crash) as the unpredictable Dally and Diane Lane (Unfaithful) as the beautiful Cherry provide a taste of the mature work to come. Aside from 22 minutes of restored footage (including a prologu and epilogu), which add heart and grandeur, The Complete Novel includes several new rock and roll tracks, most by Elvis Presley. In the end, the revamped Outsiders still plays like a cross between Rebel Without a Cause and The Last Picture Show–and that’s a good thing. –Kathleen C. Fennessy

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The Outsiders was compatible! You have to respond this movie! A superfine performance by Matt Dillon & Ralph Macchio make The Outsiders a “need to appreciate” movie!

The wondrous cast includes Matt Dillon, Ralph Macchio, C. Thomas Howell, Patrick Swayze, Rob Lowe. This cast just make The Outsiders the more staggering!

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