Showing posts with label bruce willis comedy movies. Show all posts
Showing posts with label bruce willis comedy movies. Show all posts

Hot Rod (2007)

Hot RodI'm going to cut right to the chase. This movie has a few moments that just don't hit it home. That said, they are exactly that. Moments. This movie was not made to be "good" by any traditional standards. I've heard and read complaints about how the story is shallow, or how the character doesn't even have an age, or hometown, or job, or whatever...but who cares?

Listen..you can't watch this movie expecting to come away with some deeper meaning. There's not one there. Even I'll admit that. You can't watch American Beauty and expect to come away holding your sides. Just as American Beauty was a great film because it conveyed perfectly what it set out to convey, so to is Superbad, because it was exactly what it seemed: An '80s teen movie...that just happened to come out in 2007.

If you have a soft spot in your heart for The Breakfast Club, or even Mighty Ducks (I know, it's not an 80's movie), you will find a familiar, albeit slightly twisted home in this film. If you don't like movies with montages, or Europe music, or cut an paste dialogue music video clips, then you're right...don't see it. I didn't enjoy Fight Club...but I don't trash it, because it just wasn't my thing. It was a great movie for it's audience. So is this.

Enjoy!

"Yes" is my response to this movie. Finally a movie that understands what is truly important in this world: 80s music training montages, fighting people HARD, being totally awesome, and love. It's not obvious Will Ferrell jokes, or Napoleon Dynamite non-jokes, it's somewhere inbetween...and then a sharp right turn off into space. Hot Rod is its own brand of geniusthe genius of The Lonely Island.

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Hot Rod marks one of the first films to feature the new generation of Saturday Night Live members with Andy Samberg and Bill Hader. It's standard practice that SNL has become a launching pad for a movie career. Do Samberg and Hader have what it takes to make that jump from the small screen to the big one? If you put Footloose (Special Collector's Edition), Napoleon Dynamite Like, the Best Special Edition Ever!, and Nacho Libre (Special Collector's Edition) into a blender, Hot Rod would be the martini you would get.

Andy Samberg plays the eternal optimist with zero talent and tons of ambition. He's the Ed Wood of the stuntmen world. He commits himself completely to the role and is likable enough. Isla Fisher is absolutely adorable as the film's love interest and lights up the screen with her engaging smile infectious energy.

Hot Rod follows the tried and true formula of the inept underdog who doggedly pursues his goal despite a lack of any kind of talent. However, this film has a very off-kilter, staccato rhythm all its own, reminiscent of Napoleon Dynamite, that is surprisingly refreshing.

The film features unusual exchanges between characters, like when Rod asks Denise, who would win a fight: a grilled cheese sandwich or a taco, to which she replies, "In a fair fight or prison rules?" This should give you an idea of what kind of film this is. To further throw you off, the film's soundtrack is populated by 1970s prog rock, cheesy 1980s synth-pop and a scary abundance of music by Europe that makes you wonder just what year this film is set in.

Hot Rod is not a gut-busting, laugh out loud funny film but funny in its own unassuming way. Just when you think this is going to be another tired, formulaic SNL film, it takes a hard left into strangeville. Hot Rod has a quirky, personal feel of an independent film and not a studio picture. It is one of those films completely misrepresented by its trailers but in a good way. It is a modest film with a lot of heart much like its protagonist.

There is an audio commentary by director Akiva Schaffer and actors Andy Samberg and Jorma Taccone. They mainly banter and crack jokes with Schaffer being the only one remotely trying to stay on topic. They ruthlessly make fun of each other which is pretty entertaining even if it feels like a series of in-jokes at times.

"Ancestors Protect Me: Behind the Scenes of Hot Rod" is a jokey take on the usual promotional featurette as cast and crew ham it up for the camera and poke fun at these kinds of extras.

Also included are 13 deleted and extended scenes with optional commentary by Schaffer, Samberg and Taccone. They crack jokes about this footage and explain that it was cut because of time constraints.

There is also an "Outtakes Reel" that is an odd collection of bits that aren't all that funny per se, but rather peculiar kind of like the film itself.

"Kevin's Videos" are eight clips shot by Rod's step-brother Kevin that were glimpsed in excerpts in the film. These are funny "promos" and "training exercises" showing how inept Rod is at, well, anything physical. One promo has Rod admiring a jetski that's not his.

"Punch-Dance" takes a look at Rod's "inspiring" tribute to one of the dance sequences in Footloose with a shot-by-shot comparison that is quite funny.

"Home Video Footage of Orchestra Recording Session" is exactly what you get and that's it.

Finally, there is a theatrical trailer.

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Are you kidding me? How can you possibly slam this movie? It is freakin' hilarious from beginning to end!! This movie is a comedy. It will not be an Oscar nominee. It will make you laugh until your sides hurt. That's what comedies are supposed to do! If you liked The Jerk, Strange Brew, Talladega Nights, or Waterboy, you will love this movie! It is nonsense humor at it's finest! And whatever you do, I challenge you NOT to laugh at the Punch Dance! Funniest movie of 2007!

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This movie is a really smart satire of Hollywood stunt movies and other movies that feature doofy characters. It destroys and mocks formula even as it follows those formulas (sort of). It's tongue and cheek delivery can fall flat in parts (especially if you're expecting the expected), but it's a must-see, even if a lot of people don't get Akiva Schaffer's viewpoint the first time around.

P.S. The extra footage is hilarious--I laughed harder at the cut scenes than I did at the movie. I can't believe the studios made them cut some of these gems. And the commentary...so funny.

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The Sting (Blu-ray + DVD + Digital Copy) (1973)

The StingI just bought this DVD for my father because this movie IS a classic, no matter what anyone says. But, when it came in the mail, I was surprised to see "Full Screen" on the front of the box. So I did what many of you did NOT do (with the exception of reviewer cammonro dated Sept 2, 2003), I went to the Universal web site and emailed their Home Entertainment division.

From Universal Studios Home Entertainment:

'The Sting' is only available on DVD in the 1.33:1 aspect ratio, which in this case displays the same picture information side-to-side as was seen theatrically. Also, more information is shown top-to-bottom than in the theatrical version because of the way the film was originally shot.

One process used in creating movies for theatrical exhibition is to place 'mattes' over the top and bottom of the 35 mm film frame to alter the aspect ratio to 1.85:1 'Widescreen.' To avoid black letterboxing bars on the top and bottom of the picture when it is displayed on standard television, the original mattes are removed in a process known as 'Open Matte.' (This is not to be confused with 'Pan & Scan,' a completely different process of transferring film to Video and DVD.) 'Open Matte' was used with in the production of 'The Sting.'

SO THERE YOU HAVE IT. For all of you complaining about how this DVD is PAN-AND-SCAN, you are WRONG. And for all of you still waiting for WIDESCREEN, you ALREADY HAVE IT with this DVD if you understand what Universal is saying above; you are actually seeing MORE than what you'd see in the theater version because of the "Open Matte" process Universal used, NOT pan-and-scan.

If anyone begs to differ with these facts, argue with the source, Universal.

Please stop whining about this DVD's aspect ratio. It's not "full-screen." It's widescreen with the original top and bottom sections restored.

According to film historian David P. Hayes, THE STING was filmed in 4:3 (equivalent to "full-screen") ratio because director George Roy Hill wanted it to look like an old movie. The studio (and/or the exhibitors) apparently had second thoughts about it, though, so theatrically-released prints had the top and bottom sections blocked ("matted") to fit the widescreen format.

What you see on this DVD is not "pan and scan" (with missing left and right content), but the original format with the top and bottom restored.

(...)

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Honestly i've seen better HD DVD's but still this one is remastered like crazy,its a hell of alot clearer than the original dvd release and its amazing to see what they can do with movies such as old as this one. I mean 1973 this movie comes out and after watching the HD DVD you would think it was a new release. All in all to keep this short this is an amazing film and you should pick it up on HD DVD right now!

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The most successful "sting" occurs when a victim never realizes that she or he has been "stung." In this Academy Award winning best film, that would be Doyle Lonnegan (Robert Shaw), a mobster/gambler in Chicago in the 1930s who is bilked out of hundreds of thousands of dollars by Henry Gondorff (Paul Newman) and his associates who include Johnny Hooker (Robert Redford). Credit George Roy Hill with brilliant direction of an especially talented cast. The musical score is eminently appropriate, devised by Marvin Hamlisch based on the works of Scott Joplin. A great deal of real or apparent blood is shed as elaborate preparations for the sting are completed. Most of the characters are not who and what they seem. We know what Gondorff and Newman are up to, of course, which adds to the fun. But there is a twist near the end of the film which fooled me. The narrative is seamless. The pace is expeditious but unhurried. In all respects, this is a thoroughly entertaining film but also one which at least suggests some darker regions of human nature. Those who enjoy it may wish to check out The Grifters (1990) which also has a bittersweet flavor at times. For broader humor, I suggest Dirty Rotten Scoundrels (1988).

NOTE: My comments are limited entirely to the film itself. Although the image and sound are clearer than in the VHS format, the supplementary features are unworthy of this Academy Award winning best film.

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The acting is wonderful, the suprises are unpredictable, and overall, this is one of the most original movies I've ever seen in my life. There can be no duplicates. And evey time i watch this movie, some how I notice about five things I've never seen before, like it changes every time. And no, I'm not an old movie collector or total classic lover, actually, I'm only sixteen. But this is easily one of my favorite movies in history. My favorite scene is with the card playing on the train.

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American Pie Presents: The Book of Love (2009)

American Pie Presents: The Book of LoveAnyone that has watched the films in this series since the beginning (American Pie Unrated (Widescreen Collector's Edition)) is going to inevitably rate this film in comparison to the other films. The first film, much like another film of that same general era (The Matrix (10th Anniversary Edition) [Blu-ray]) was somewhat ground breaking. It was raw, crude, lewd, and really, really funny thanks to being so lewd and crude. The later films in the series have had that bar to jump over and some have been mildly successful (American Pie Presents The Naked Mile) while others have been merely amusing. This particular film (Book of Love) seems to fall into that range with nothing to really push it towards a higher rating. For me, I think I'd have to put this one into the same ratings area as American Pie Band Camp (Unrated Widescreen Edition). While this film is, at least in the Unrated version, loaded with more gratituitous T&A than that earlier film, the story seems to be about as weak as that earlier story was.

There are several cameos in Book of Love that do add to the fun, and a load of extras that add value as well, but personally I'd have to say that this one veers far more to rental territory than to purchase territory. Tread carefully here. If you aren't a fan of the series, then look elsewhere.

Hopefully the next film in the series delivers something a little better for everyone to enjoy.

The AMERICAN PIE series is by far my favorite group of comedy films so I hate to say that BOOK OF LOVE is a bad film but it really is. Certainly none of these films are CITIZEN KANE but they have all had some funny gags, likeable and attractive characters and fairly decent scripts (the first four in particular). Sadly this group of actors (who are supposed to be in high school but look to be in their late twenties) can't even pull off this lame material which includes screwing a peanut butter sandwich, oral sex from the family dog and the "Stiffler" character getting plowed in the rear by a CGI moose. All of the characters are unpleasent for the most part (although Ms. Arquett does a decent job). There is really no one to identify with in this film. This time around no attempt is made to link Stiffler with his previous onscreen relatives and his character amounts to little more than a cameo. Even Eugene Levy phones it in on this one. The entire premise of the film is also extremely unlikely and rather stupid. Hopefully the inevitable part 8 will get back on track. This one is true mess.

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Once again Universal dumps the high end cameras and transfer into one of their franchises, so the resulting Blu picture and sound are flawless, but in a film that does not qualify. The DTS was mixed perfectly, especially in each fantasy sequence the music didn't drown anything out. The picture was crystal enough to see every pore and flesh tone and there is a great deal of that. Aside from the cameos and fun fantasy sequences, the movie is forgettable, but the supplements are fun and worth the watch, including:

* Making of, 8:00 minutes. Director intros with how he dislikes the usual fare so this and all of the others could have been one long documentary of gags, outtakes and fun on the set. This one covers some brief interviews and gags.

* Love Manual, 5:50 minutes. The hot girls from the movie and some of the cameo guys give their take on how to get with ladies.

* Trivia. One of the cast goes around the set and tests people's memory on some good American Pie trivia. Enjoyable.

* Pie-Cons, 6:50 minutes. Interviews with the long list of cameos in this film.

* Deleted scenes, 11:14 minutes. Plenty of extra skin and forgettable dialogue.

* Gag Reel, 4:00 minutes. More outtakes and adlib stuff hilarious.

* From the Set, 10 clips totaling 19 minutes. Essentially more deleted scenes with lots of extra ladies sans their clothing in funny sequences. Obviously this crew/cast had a good time making the film.

The extended is only a few minutes longer and there really isn't that much of a difference to warrant watching this twice. I would say bookmark the few worthy music scenes on your BD player (love that feature) watch the supplements and skip the rest, but the quality and extras make this a worthy addition to your library if you like the franchise. 3 stars for the positives listed. Enjoy.

Read Best Reviews of American Pie Presents: The Book of Love (2009) Here

With the American Pie movies 2 of them stand out as by far the worst and best of the series. The best being oddly enough American Pie 2 and the worst being American Pie Presents Band Camp the second worst dreaded forth sequel of an movie series with the worst being Wrong Turn 4. Another odd thing about the American Pie movies is that Book Of Love is the second worst of the series and it's follow up American Reunion is the second best of the series.

The plot of the movie is pretty simple 3 guys (Nathan, Rob, and Lube) are trying to lose their virginity in high school and keep striking out big time kind of like Finch, Kevin, Oz, and Jim in the first pie movie. The main character Rob takes the place of Jim in this movie since he is tying to get with a girl named Heidi and keeps woosing out when trying to pick her up, kind of like Jim does with Nadia in the first pie movie. Except the big difference is Heidi isn't an exchange student, is present through out the entire movie, and isn't really comparable to Nadia in the first pie movie. Then there's Nathan who has a girlfriend who won't go all the way kind of like Kevin does in the first pie movie. Except the difference is Nathan's girl (Dana) is not a virgin and has black hair. Then Lube because he's overweight kind of plays the part of Oz and Finch combined without being involved in any sports. And then Scott Stifler takes the place of Steve Stifler in the movie.

Rob accidentally sets part of the school library on fire when going after Heidi at a school dance and puts the fire out with water. After he puts the fire out with water he finds the book of love/bible in ruins through serving detention cleaning up his mess. Him, Nathan, and Lube try to read the book of love and use it to get laid. Then after they end up killing a prostitute (Monique) over 65 years of age in Canada by Rob trying to have sex with her due to a passage in the book of love that was written in 1975 about having sex with Monique that Rob, Nathan, and Lube thought was written in 1995. Rob, Nathan, and Lube find the name Noah Levenstien as the first person who checked out the book, contact him, and find out he was the original writer of the book. Then Noah, Rob, Nathan, and Lube contact everyone else who checked out the book to re-print what they'd wrote in the book.

Now lets look at the mistakes in the movie

*Scott Stifler is by far the least funniest of all the Stiflers including Eric. It seemed like the actor who played him really lacked that jerky voice and presentation of anger it took to play a Stifler. Plus the Stifler's play LaCross and football not basketball.

*Way too many embarrassing youtube videos on Rob. It was almost like Rob's little brother put too many youtube videos up of Rob's embarrassing moments during the movie and the director didn't spread out all the boys trying to lose their virginity getting embarrassed through out the movie like in the first American Pie with Finch, Stifler, Jim, and Oz. Instead (even though Lube got an embarrassing moment or 2 in the movie) it seemed like everything was focused on Rob. And Stifler got a good embarrassing moment at the end of the film that was pretty good. Plus all the embarrassing moments in this film unlike the first American Pie just seemed too fictional and non believable causing them not to be as funny as they were in the first American Pie.

*Stifler's house-When Scott Stifler threw a party at his house it just didn't seem believable as your typical get drunk high school party. The party seemed to have too much going on at it and just wasn't the same as the party's Steve Stifler threw at his hose in American Pie 1 & 2 and American Reunion.

*Eugene Levy has the smallest part of any American Pie movie-Eugene Levy wrote the book of love/bible, why is he only in the movie for 20 minutes straight and not spread out through out the entire movie like he is in the other 7 American Pie movies? And why was the book of love written in 1969 when Noah Levenstien (played by Eugene Levy) was in high school, when according to American Pie Presents The Beta House Noah was captain of the Beta House during the last greek games in 1969 (well technically second to last since in Beta House the house does have the greek games against another fraternity house at the end of the film)?

*No Kevin or Tom Myers-When Rob, Nathan, Lube, and Noah re-construct the book of love they call everyone who's checked it out and wrote in it. These people include the East Great Falls principal, Brett Michaels, and other people. Why where Kevin (ie Thomas Ian Nicholas) and Tom (ie Casey Affleck) Myers not in any of these scenes when they were the ones who were talking about and using the book of love in the first American Pie movie?

But all in although American Pie Presents Book of love may not be the best of the pie series, it's still better then American Pie Present's Band Camp and has a much better ending. Even though it seemed like the creator of this movie tried to take the same approach the creator of the first American Pie did. Except the big difference is the creator of the first American Pie found much better and younger actors no one knew about.

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The Book of Love is the final entry in the American Pie Presents series and it is the worst. Eugene Levy's cameo can't help this outrageous and unfunny sequel. Well, actually it is a recycled version of all the American Pies with the reintroduction of the book of love. The cast has no chemistry and the script feels like it is a first draft. Yes, there's graphic nudity, graphic language, sexual situations, and gross out humor, but it is all done in bad taste. There are a few scenes that attempted to be funny, but failed to do so. I bought the movie for a $1.96 at a Black Friday sale, otherwise I would have never watched it.

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The Sun Shines Bright (1953)

The Sun Shines BrightA great quality picture and sound adds an even larger satisfaction to me.

This is for me personally the best film John Ford ever made. I love the portrayal of Judge Priest by Charles Winninger. All the other character actors in this film were perfectly cast. The storyline is very human and very emotional as well on the humourous side as on the sadder side. I've seen the film about ten times and each time it is as refreshing as it was the first time.

Famed director John Ford once said that "The Sun Shines Bright" was his favorite film, and it is not hard to see why. Basically, this is a remake of his much earlier, "Judge Priest," from 1934 (starring Will Rogers). Ford critics tend to favor that earlier film version of Irvin Cobb's delightful short stories of old Kentucky, but I have always believed that this version is superior, not the least because Charles Winninger's acting is actually sharper and the dialogue crisper. Certainly, Rogers was a superb actor, but too many times his dialogue seems to trail on and on, becoming nearly unintelligible. Then, again, filmmaking in 1934 was not the same as in 1953.

Winninger was an accomplished Hollywood role player; but in "The Sun Shines Bright" he demonstrates that he was no simple comprimario or "co-star." He alternately illustrates humor, wisdom, sadness, and wistfulness. It's a superb performance. Despite the inevitable criticism that may come regarding this film not being "politically correct" (it isn't!), Ford probes human emotions and character, irrespective of race or social status. And the old Judge Priest---"trumpeter little Billy Priest"---understands fully the reality of justice, which he metes out to all, white and black, decent people and prostitutes. Certainly he does so in a social context that some present-day viewers may find foreign to "modern" sensibilities; but, getting beyond that stifling veneer of PC thought, and enjoying "The Sun Shines Bright" on its own terms can be an immensely rewarding experience.

Ford was indeed correct; it may well be one of his best films. Co-stars include John Russell, Slim Pickens, Russell Simpson, Arleen Whelan, Milburn Stone (of later "Gunsmoke" fame), Jane Darwell, and Steppin' Fetchit.

I have the Blu-ray version, which is superb. My thanks to Olive Films. Recommended.

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Ford brilliantly captures the slow, leisurely pace of a small river town in early 20th century America. A wonderful character study!

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It was good to find this film finally made the move from VHS to DVD. It has an excellent and sharp image. It is a sentimental feature, and not always politically correct but its a good movie although it is embarrassing at times, a film made in a different era of a different era. If you can forgive its blemishes, you can enjoy the pure Ford.

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Ford's remake of his earlier Southern comedy "Judge Priest." It's funny but Stepin Fetchit might make some people uncomfortable today.

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Holy Rollers (2010)

Holy RollersIn truth, I had never heard of the picture "Holy Rollers" but the idea of Jesse Eisenberg as a Hasidic Jew who becomes entrenched in a drug mule operation held an undeniable appeal. And this film is one of those undiscovered little gems--it may not rock your world, but it's a solidly constructed character study based on a real world case. Funny, moving, and suspenseful--I quite enjoyed this film. The depiction of Eisenberg's orthodox upbringing is well served, but his decision to color outside the lines is also believably demonstrated. As he is seduced to the dark side, the transition is well wrought. In fact, I think this is one of Eisenberg's most well rounded performances--one that uses his offbeat mannerisms to good affect.

The story, in and of itself, is undeniably fascinating--it documents a ring of Ecstasy smugglers in the late nineties who transported their wares internationally using the least likely suspects. Justin Bartha colorfully portrays the neighborhood bad boy who eschews the conventional expectations of the Hasidic community. Eisenberg is his neighbor and friend who becomes a bit disillusioned as his life does not seem to be going precisely as planned. When Bartha proposes an opportunity for Eisenberg to score some cash for traveling to Amsterdam, he is reluctant. But after an initial foray into this new venture, he begins to embrace it more and more. The corruption of innocence and the seduction of power are primary themes in this tale of lawlessness. But how far is he willing to go? And is there any way out?

A taut and succinct screenplay maintains the film's momentum as Eisenberg rises in importance. The movie does a great job documenting the real danger of the enterprise and undeniable allure it holds for our young protagonist. Wrestling the classic demons of evil versus good, Eisenberg relates the moral and ethical dilemma with precision. But Bartha also steals just about every scene he's in! Clearly on a path to destruction, he nevertheless maintains a charisma and likability that keeps the film grounded. The film doesn't provide an easy out and everyone must face the consequences of their choices. "Holy Rollers" is quite entertaining and an easy recommendation, but beware of the hyperbole of one critic that is printed on the DVD. Comparing this to "Scarface" or "The Godfather" will set unreasonable expectations. It shares some of the same basic themes, but this small and understated film is much more specific in its tone and modest in its goals! KGHarris, 3/11.

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Casanova (2005)

CasanovaIf you're old enough to have seen the "Carry On" movies the first time around, or have watched them on DVD on "oldies night", (don't worry, we're not going to ask your age) you'll see the resemblance to this funny take on the world's greatest lover. Slapstick, double entendres and misunderstandings abound, as Heath Ledger tries to fill the trousers of the legendary lothario without getting a broken back in the process.

It takes place in 1753 in Venice, a time when no woman is safe from the charms of Casanova, not even those confined to the convent. Luckily for him he has friends in the right places and escapes being strung up for debauchery (a big word which in the movie means that he shakes a lot of bedsprings without the benefit of a marriage license)

After going one conquest too far, his friend the Doge insists that Casanova get married ASAP, or face exile from Venice. Exile is not a possibility, as we learn early in the movie that he has a very good reason for sticking around, so marriage it is, and the lady to whom he pledges his troth is not only a virgin, but extremely willing to be wed. In a classic case of bad timing, he then meets the one woman worthy of his affection, and she turns out to be a cross-dressing (but only when necessary to prove a point) feminist writer who hates every bone in his body. She unfortunately is betrothed to a corpulent but very wealthy lard merchant (Oliver Platt) whom she has never set eyes on before, the union having being arranged by her late father as an insurance policy for the family fortune.

If you're still with me after all that, things get even more complicated when Jeremy Irons shows up as Inquisitor Pucci, out for the bewigged head of Casanova as a gift for the hangman's noose.

The important thing is not to attempt to take this movie seriously as a period piece, or as a factual account of the life of Casanova. It is a historically set spoof of the life and especially the times of Casanova and should be taken with a pinch of salt or was that lard?

Amanda Richards, July 10, 2006

What a fun romantic flick about the infamous womanizer, Giacomo Casanova. Gorgeous settings, exquisite costumes, and lively music bring this wonderfully delightful story to life--not to mention the stellar cast! Heath Ledger stars, of course, with Sienna Miller, Jeremy Irons, Oliver Platt, Lena Olin, and I have to include Omid Djalili (a great comedian actor!). I'm not a big Heath Ledger fan, but I really like him in this movie--he definitely portrays the womanizer role very well. I guess "Casanova" is considered to be a 'chick flick,' but guys can get a real kick out of this movie, too. (Believe me. In the movie theater that I went to, the guys were bursting with laughter just as much as the girls were). As stated in the movie poster, this is: "A partially true story about lies told, virtue lost, and love found." I definitely recommend it to anyone looking for some great, light-hearted entertainment. Expect plenty of laughs!! Enjoy!

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This is the first of Hallstrom's films that I've seen, and I gather it's by no means typical of his recent work. However, I found it immensely entertaining. It bears little reference to the Chevalier de Seingalt's life, but once you've got over that (ideally before you see it) it is highly enjoyable. The imaginative and brilliant photography of a Venice peopled with the colourful characters and costumes of the ridotto in the city's heyday makes the film worth seeing for that alone. Venice should always look this good; its inhabitants should always wear the costume of this period.

Then the acting is good and plausible. I spent some time trying to work out who it was that Heath Ledger reminded me of, and eventually realised that it was Russell Crowe, not so much in looks as something about his manner. Jeremy Irons is hilarious and others well up to par. The film was well-paced, building to a comic finale.

I think the great point is to grasp that the whole thing was clearly conceived as a sort of Commedia dell'Arte, knockabout farce with very little sex but plenty of misunderstandings, mistaken identities and laugh-out-loud moments. And, of course, love. I thought it was made in very much the manner that operas like The Marriage of Figaro or The Barber of Seville would have been conceived and performed in when they first came out in fact it shed new light on those for me.

Not a great film it's a bit too slight for that but a good, well-made, highly enjoyable romp.

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Casanova is a minor gem of a film. It is carefully bracketed as a memoir of Casanova, who is busy in his old age writing his memories in his famous book. However, this is worth paying attention to, because in a film of masks, deceptions and subterfuge, this too is perhaps the best of all possible masks. Giacomo Casanova may be many things to many people (particularly the women of Venice), but he is a very human being, if he would but know it.

After spending the greater part of his youth in pursuit of being the pursuer ('be the flame, not the moth,' he says as he gives advice to a young man in need of help courting his love) rather than the pursued, he has finally had to promise (the Doge and the Inquisition) that he will mend his ways and marry. But, in typical Casanova fashion, the woman he intends is the unofficial intended of another, and the woman he wants is not his intended, but intended to another. If you can't quite keep pace, you might be on to something. For Casanova's desire (not to be confused with his intended) is intended to another, whose identity Casanova 'borrows' to better woo her.

In the end, this is a fairly standard but well-done costume drama of mistaken identities, plots going awry, and love triumphant (of course it would have to be, for after all, this is Casanova). Heath Ledger plays a very serviceable Casanova (no pun intended, well, perhaps a little intended); Sienna Miller plays the fair Francesca, a woman with a brain far in advance of her time (she is some ways portrayed as a female da Vinci-esque character). Lena Olin plays Francesca's mother, who has arranged a marriage for Francesca, which certainly does not involve Casanova. Charlie Cox plays Francesca's brother, Giovanni, jealous of the attentions Casanova is paying to his unannounced intended across the canal (in an interesting twist, Charlie Cox played in 'The Merchant of Venice' the year before this film was made, together with Jeremy Irons).

I was very pleased with the role played by Oliver Platt, the merchant of Genoa (coming to Venice, a very subtle, witty reversal on Shakespeare) he played the intended of Francesca, a pupil of Casanova, a lard merchant of wealth and fame, and in the end one of the good guys. Tim McInnerny plays the hapless but good-intentioned Doge. However, highest praise goes to Jeremy Irons, who plays the papal visitor/inquisitor, Bishop Pucci, who, if he isn't threatening inquisitorial tortures on illiterate philosophers or falling over backwards in boats is promising to restore the virginity of young maidens. Irons provides a delightful mixture of terror and farce that plays in both comedic and dramatic ways, and he looks every inch the post-medieval bishop.

The sets are stunning of course, this was filmed on location in Venice, so how could they be otherwise? The music is well-selected and drawn into the overall film, using Italian and Italian-influenced compositions of the Renaissance and later periods heavily.

This is a fun film, with an unexpected ending in several ways, but love reigns triumphant, and Casanova (in a very interesting twist) both 'gets the girl' and continues his amorous ways but I'll not spoil it for you.

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this is a really cute funny romantic comedy. i thought that it was very well done and it was not completely focused around sex. actually i was surprised at how little romance scenes there were considering the R rating. this film probably could have been PG 13, but either way it was still great. heath ledger is the perfect casanova and while this movie is centered around him, sienna miller's role was also very good along with oliver platt and jeremy irons. the cast is great and so is the movie. i would recommend it to anyone just looking for something romantic and fun!

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Nick & Norah's Infinite Playlist (+ BD Live) (2008)

Nick & Norah's Infinite Playlist(2008 HOLIDAY TEAM)I was all prepared to trivialize this movie for what I expected to be another hipster teen comedy taking advantage of the success of Juno and Superbad, especially given that Michael Cera is the co-star of all three films. However, this 2008 movie is really a quirky, sharply played variation on Martin Scorsese's 1985 After Hours, this time focusing on two misfit teens, kindred spirits when it comes to their taste in music, who find themselves traipsing through New York's indie rock scene for one hilariously sleepless night. Their chemistry is predestined by their names, a tribute to the scintillating married couple played by William Powell and Myrna Loy in The Thin Man series of golden-era Hollywood classics. Their nocturnal misadventures are driven by Nora's search for her hard-partying best friend Caroline, who escaped in a fit of paranoia out of a van, while gay-band bassist Nick is nursing a broken heart over Tris, the shallow, man-baiting ex-girlfriend who continues to play him.

If the movie simply limited itself to the odyssey, it would have been satisfying enough for its intended audience, but what director Peter Sollett and screenwriter Lorene Scarfaria have done to transcend the genre is make the lead characters' mutual passion for music the focal emotional point of their growing attraction for one another. Nick keeps sending Tris idiosyncratic mix CDs (like "Road to Closure, Vol. 12"), which she tosses into the trash only to provide Nora an opportunity to retrieve them and listen to reflections of his broken heart. Neither is able to articulate their feelings otherwise, as shown by their comically bumbling conversations, so the music plays a vital part of their burgeoning relationship. I still don't find Cera terribly versatile, but he has been resourceful in using his now-familiar screen persona of a dweebish sad-sack in suitably well-turned material.

Familiar as Catherine Keener's edgy but ultimately caring daughter in The 40-Year-Old Virgin, Kat Dennings comes into her own as Norah, capturing the insecurity of a character who leaves herself wide open to the pain inflicted by those around her. There are scene-stealing turns by Ari Graynor as the constantly drunken Caroline, Alexis Dziena as self-appointed goddess Tris, and Rafi Gavron and Aaron Yoo as Nick's club-friendly gay bandmates. There are a couple of Saturday Night Live cast cameos thrown in "newscaster" Seth Meyers as the horned-up passenger mistaking Nick's yellow Yugo as a cab (with Scarfaria as his girlfriend) and Andy Samberg as a bum lurking on the steps of St. Patrick's Cathedral. The alt-rock music is appropriately underground to fit the story. There really isn't that much more to the movie since the fate of these characters is clear from the outset.

It's simply that the film has good energy fueled by the constant barrage of music and smart dialogue to fill the love story that emerges from their long night's journey into morning. There are a surprising number of extras with the 2009 DVD starting with two separate commentaries, the first with Sollett, Cera, Dennings and Graynor discussing the production details, and the second with Sollett and the source novel's writers, Rachel Cohn and David Levithan, in which they discuss more of the story and screen adaptation. There are deleted scenes and outtakes, some quite funny but understandably excised, and an amusingly off-kilter Nick & Norah puppet show by Dennings. Rounding out the extras are storyboards, photo galleries, Graynor's video diary, a music video, and a funny faux-interview with Cera and Dennings.

I am over 50 and even though this movie is probably aimed at teenagers

i found it really enjoyable,this was due to really clever writing and

a excellent cast that seemed to work well together.

I had allready borrowed this movie from my brother and decided after

watching it to buy a copy for myself from the U.S. (i`m in australia)

that`s how much i enjoyed this movie.

The picture and audio is very good as you would expect with blu-ray

and this movie had some fantastic music.

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When you think about it, nothing much really happens in this movie. NICK & NORAH'S INFINITE PLAYLIST takes place in the course of one day and night, with the crux of the story occuring in the wee hours of the morning. So there's a bit of an energetic After Hours vibe in this movie, but catered towards the sensibilities of hip teenagers who prowl the New York streets way past their bedtime. But then it also has echoes of Adventures in Babysitting, with Ari Graynor's awfully wasted Caroline subbing in for Penelope Ann Miller's nervous Brenda. Going into this one, and me being a huge fan of one of the most fabulous romantic couples in cinema, Nick and Nora Charles (of the Thin Man series), I was already favorably predisposed towards this quirky teenage romantic comedy.

Norah has never met Nick. But she knows about this guy who makes the best break-up mix CDs, most of which were pieced together for his ex-girlfriend Tris (his latest opus being titled "Road to Closure Vol. 12"). But Tris just pokes fun at the poor sap and then promptly discards these mixes, with Norah then un-discarding them and putting them in her I-pod. Because Norah absolutely digs these mixes. So, no, Norah has never met Nick, but she's probably halfway in love with the guy anyway.

Now Nick may not look like he's all that (in fact, he looks kinda dorky), yet he plays in a rock band, plays the guitar although he doesn't quite know how to work the drum machine. And dude drives a broken-down yellow Yugo which people often mistake for a taxi. But being in a band has to count for a couple of cool points, right? The plot MacGuffin is that the legendary rock band Fluffy is scheduled to put on a secret show somewhere in NYC, the rub being, of course, that the time and location are kept a mystery, leaving Fluffy's fans scouring the city for clues in the form of little white rabbits. Nick and Norah happen to be such fans, and, during this evening, they meet by chance and then are thrown together by circumstances (circumstances being the misplacing of Norah's unholily inebriated BFF and a half-hearted quest to find Fluffy). And, somehow, someway, it turns out that Nick and Norah just may be perfect for each other.

Segue alert. The special features in this dvd are pretty righteous: two cool audio commentaries one with Director Peter Sollett, Michael Cera, Kat Dennings, and Ari Graynor (fun!); the other with Peter Sollett, authors Rachel Cohn & David Levithan, and screenwriter Lorene Scafaria; 4 minutes of outtakes; 9 deleted/alternate scenes; an awesome "Nick & Norah Puppet Show" by Kat Dennings (she pretty much recaps the film but also throws in a savage bear); Ari Graynor's excellent video diary; storyboard animations; a fake interview with Michael Cera & Kat Dennings; Peter Sollett's photo album; and Bishop Allen's music video "Middle Management." All worth checking out.

I really like this movie. See this one especially if you like movies in which two people just mostly hang out and come to find that they're awesomely sympatico. Michael Cera (Juno (Single-Disc Edition)) and Kat Dennings are terrific together, showing off an easy, natural chemistry. The low-key Michael Cera, with his not-quite-male-model looks, is likeable because he's so relatable to nerds like me, but he's also got his act together, not to mention that Cera has that wonderfully dry delivery. Kat Dennings is amazing in this film, with her vibrancy and spunk and wistful vulnerability and just her girl-next-door realness. How can you not pull for her, especially when you find out that her ex-boyfriend was mostly using her to get in good with her influential music producer dad? And don't discount the supporting actors. It's cool that Nick's gay homies aren't portrayed stereotypically, but more as regular dudes and who really are looking out for Nick. And credit to Ari Graynor for being a good sport in some pretty humiliating haplessly drunk scenes (that scene of Caroline sifting thru a soiled toilet for her bubble gum is funny, but in a really gross kinda way).

Do they ever find the legendary rock band Fluffy? It doesn't really matter, because this movie isn't really about Fluffy. There's no dumbing down here, and there are many moments of great appeal, mostly generated by the two leads. Set in the gritty neon backdrop of the Big Apple at night and with a playlist of cool indie-rock tunes to serenade things along, NICK & NORAH'S INFINITE PLAYLIST, funny and romantic, wistful and unconventional, should please both teens and adults, the night owls and even those who like to turn in early and thus will never know the delights of experiencing a live Fluffy concert. Although, again, it's not about Fluffy.

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I was expecting a typical teenage/high school rom com and what I got was something far better. This movie comes as close to capturing EXACTLY what it was like to be young, into alternative music and how many nights ended up like this.

Without giving to much away, the casting was perfect bar maybe the ex-girlfriend of Michael Cera who comes across as way too vacuous and not remotely the alt girl type. Anyway, the chemistry between Nick and Norah seems pretty spot on as does the chemistry between the guys in the band and how they interact with each other. The ability to cast gay characters without making them flaming stereotypes was a good move.

There are other nice touches--the Yugo Nick drives, the clubs they hit in NYC, the goofy late night corner store owner and the empty Port Authority bus terminal all just work to create the feeling of "oh, yeah, I remember being 20 and doing that and being there at 4 a.m." without all this urban angst and fear that movies seem to want to portray New York as having.

On the extras I enjoyed Norah's puppet show version of the movie. Other than that the outtakes, video diary, etc., are just filler.

In the end, Kat Dennings is a star period who knows how not to overact and Michael Cera finally plays a role more suited to his emo-ness.

A pleasant gem.

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Just as Nick's yellow Yugo must roll backwards before it can move forwards, so to must our hero make a few mistakes before he gets himself going the right direction. Although it's not the most original concept for a film (night on the town), this movie's strength rests in the realistic relationships between its teenaged characters (who love, manipulate, and take advantage of one another) and the ambiance of a night in NYC. There are enough summaries here to rely on, I will simply recommend this film to anyone who enjoys a good flick about teenaged antics, young love, or indie music.

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Land of the Lost (2009)

Land of the Lost"Captain Kirk's nipples!"

...and if that quote didn't tell you the new big budget big screen "Land of the Lost" film isn't exactly directed at the Saturday morning TV crowd... I fondly recall spending those mornings in the 70's with Will, Holly, Dr. Marshall and the Sleestak, so when I heard Will Ferrell would be taking the lead I was content in the knowledge that the campiness of the original Sid and Marty Kroft show would be preserved. As fate would have it this preservation extends even to the cheesy theme song which Ferrell nearly performs in one scene...this theme song pretty much covers the series and movie's premise...the aforementioned characters, on a "less than" routine expedition via an earthquake and a tachyon gadget (this part is new) end up in a parallel space they call the "Land of the Lost" complete with prehistoric critters and lizardmen. Unlike the series they need to find Dr. Marshall's misplaced gadget in order to get home, this leads to lots of mishaps and sight gags. But as I mentioned, this is not your father's "Land of the Lost" this is a Will Ferrell, albeit watered down, but nonetheless, a Will Ferrell film, so as you'd expect there is overt crude references flying aplenty, including hot Sleestak-on-Sleestak action (not really on screen), nothing to cringe-worthy...although some drug and vague sexual jokes.

"LOTL" is bookended by a "TODAY" show sequence in which Matt himself interviews Dr. Marshall about is kooky space/time theories and then again later interviews a vindicated Dr. Marshall at the movie's end. Dr. Marshall is classic Will Ferrell, the pompous, dimwitted boob he plays soooo well, so you know precisely what you will get upon entering the theater. This time he is a nutty paleontologist who has a strange fixation on "Chorus Line" and comfort food binges. "Land of the Lost" is more "Elf" than "Anchorman", I guess. What is new here is the digital dino and big bug eye candy, not really the norm for a Ferrell film, more in the spirit of Ringo Starr's "Caveman" than "Jurassic Park" though (especially the cave-boy-speak).

The kitsch aside, if possible, "LOTL" includes some impressive sets, some true to the original show, like the Sleestak ruins and some less Kroft, but equally cool, parallel world Bermuda Triangle parallel world clutter ala desert complete with missing ships, planes and gas stations. Also true to the Kroft look are the Sleestak lizard people (one of which is voiced by Leonard Nimoy a.k.a Spock) who look largely unchanged, but I'd have bought a ticket just for them anyway.

We watched this movie on our DVR, kept it around, watched it again, and then again, and then again. By the third time, we found it to be really funny and my family still quotes the movie all the time. It's not 'Black Swan' but life's too short to ignore this movie. I only wish they'd do an 'Extras' version but that's probably not going to happen.

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I'd read plenty of negative reviews of the film before deciding to give it a look.

What the film lacks in cohesiveness it makes up for goofiness. It is most definitely a vehicle for letting Will Farrell run wild and free. It wasn't a script in search of a star so much as it is a familiar premise functioning as a playground for a comedic improv actor.

I wouldn't say it is "based on" the classic Saturday morning series so much as "inspired by" it.

Nevertheless, the cast seem to have fun in this lighgweight romp and it makes for a reasonably funny way to pass 90 minutes.

I don't know if I'd buy it for my home video library but I certainly wouldn't object to watching it again from time to time.

I didn't get to listen to the Director Commentary track before I returned the rental disc, but I've listened to others by this director and he tells interesting stores.

And the cameo by Matt Lauer is worth the price of admission!

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This movie is hilarious. I rented it two days before Christmas Eve when everything else was already out. I laughed until I cried. I knew then I had to add it to my movie collection. I have watched it several times with my family since receiving it. Highly recommended. Do not let it's rating fool you. It does have some adult references, but no nudity or horribe language. Perfect movie for a night in with the wife and teenagers.

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Always loved THE LAND OF THE LOST original 1974 Acid & Marty Krofft show, even when walking around in pjs on a Saturday morning and watching it on our black n white TV. I bought the second season of the series not long ago. So I knew I had to see this. And even though Will Ferrel is usually hit and miss with me (more often miss than hit), I thought this was the best thing he's done in a long time! And really, it's kind of a clever spin/spoof on the original that does manage to generate a fair amount of interest even in terms of an adventure story. It's great seeing how they come up with things that we know from the original. The dinosaur was certainly fierce, well-done, and filled in nicely for Grumpy. I thought the Zarn guy, Enic, could have been a little more convincing, a little closer to the original perhaps. Finally, the story stayed true to the original not in it's comedy flavor, but just in how whacked out it was falling in and out of this dimension and that one the original Land of the Lost is true sci-fi (albeit on low budget). This one also managed to bring forth and add some new twists to the old "routine expedition" gone terribly awry. And terribly ridiculous as well. I think this movie was a great idea.

PS I watched it twice the second time with friends. I liked it as much or better the second time. Some really funny scenes and kind of a clever story as well. Scenes with Chaka are HILARIOUS ("I am your master, Chaka"). This film is gonna be a classic one day.

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