According to Brian Ross, via this ABCNews.com story, Wesley Snipes, 48, reported to McKean Federal Correctional Institution in Lewis Run, Pennsylviania, shortly before noon. He is reportedly Bureau of Prisons inmate No. 43355-018
In April 2008, Snipes was convicted of three misdemeanor counts of willful failure to file income taxes. He had spent the time since unsuccessfully appealing his conviction.
Eventually, Snipes will be housed in the adjacent, satellite minimum security prison camp to McKean, according to Ross. McKean is supposed to be a federal prison that convicts, especially the rich and famous, prefer.
I send good wishes to Wesley and prayers to his family. I can't wait for him to be back in action. Blade will live!
Thursday, December 9, 2010
Review: First "Blade" is Still Cool
TRASH IN MY EYE No. 23 (of 2002) by Leroy Douresseaux
Blade (1998)
Running time: 120 minutes (2 hours)
MPAA – R for strong, pervasive vampire violence and gore, language, and brief sexuality
DIRECTOR: Stephen Norrington
WRITER: David S. Goyer (based upon characters created in the comic book Tomb of Dracula by Marv Wolfman and Gene Colan)
PRODUCERS: Robert Engelman, Peter Frankfurt, and Wesley Snipes
CINEMATOGRAPHER: Theo van de Sande (D.o.P.)
EDITOR: Paul Rubell
COMPOSER: Mark Isham
HORROR/ACTION/FANTASY/MARTIAL ARTS
Starring: Wesley Snipes, Stephen Dorff, Kris Kristofferson, N’Bushe Wright, Donal Logue, Udo Kier, Arly Jover, Traci Lords, Kevin Patrick Walls, and Sanaa Lathan
Blade (Wesley Snipes) is a vampire hunter. Born Eric Brooks, his mother died from a vampire attack, and Eric, still in the womb, underwent a change in his DNA, which made him part human and part vampire. He has all the vampires' strengths but none of their weakness. As a adult, Blade seeks revenge on all vampires.
Blade’s war on the vampire nation focuses on Deacon Frost (Stephen Dorff), an ambitious bloodsucker who plans to resurrect the vampire god, La Magra. Blade rescues Dr. Karen Jenson (N’Bushe Wright), a doctor attacked by one of Frost’s henchmen, and she joins Blade and his fellow soldier/father figure Abraham Whistler (Kris Kristofferson) in the battle to stop Frost and his world ending plans.
Directed by Stephen Norrington, Blade is an exhilarating, action thriller/horror. Before The Matrix, Blade featured sped up motion and high tech chop socky. With a pumped up electronica soundtrack and the visual panache of a music video, Blade didn’t have to lean on its skimpy story. It is amazing eye candy: cool, fast paced, violent, gory; it is a part arcade game, part music video, horror movie, action movie, and all around good time.
The performances are decent. Snipes is dead on monotone as the super vampire killer, and Dorff is the delightful, eternally young and sexy bad boy. Kristofferson is cardboard gruff and Ms. Wright is earnest, if not a bit over reaching, in her determination to act like the serious doctor/scientist.
A review can’t really do this very fun film the justice it deserves. Blade is not smart. It’s perfect action movie entertainment that delivers much more than it initially seems to offer. Reading this won’t do it. Blade and Deacon Frost are all bad boy cool with a very good movie as the backdrop. Just see the damn thing for yourself.
7 of 10
A-
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Review: "Being John Malkovich" is Wildly Original (Happy B'day, John Malkovich)
TRASH IN MY EYE No. 9 (of 2003) by Leroy Douresseaux
Being John Malkovich (1999)
Running time: 112 minutes (1 hour, 52 minutes)
MPAA – R for language and sexuality
DIRECTOR: Spike Jonze
WRITER: Charlie Kaufman
PRODUCERS: Steve Golin, Vincent Landay, Sandy Stern, and Michael Stipe
CINEMATOGRAPHER: Lance Acord
EDITOR: Eric Zumbrunnen
COMPOSER: Carter Burwell
Academy Award nominee
FANTASY/COMEDY/DRAMA
Starring: John Cusack, Cameron Diaz, Ned Bellamy, Catherine Keener, Reggie Hayes, Orson Bean, and John Malkovich
We’ve all read the reviews that describe particular movies as inventive, witty, original, unique, or some other hyperbole used to describe cinematic “brilliance.” Whether many of those movies deserved such praise is debatable, but Being John Malkovich is the real deal – original and stunningly, painfully unique. It’s not perfect, but it is so mind-numbingly brilliant: I’m not sure if I even know how to watch it again. I’m afraid to think what this film would be like if it were perfect.
Craig Schwartz (John Cusack) is a talented puppeteer with a failed career and an (seemingly) unhappy marriage to a frumpy animal lover (Cameron Diaz). When finances finally get too tight, Craig gets a job sorting files for the peculiar Dr. Lester (Orson Bean). He becomes hopelessly infatuated with Maxine (Catherine Keener), a sharp-tongued woman who works on the same floor. On one particular day of drudgery, Craig accidentally discovers a door to a portal that leads literally into the head of John Malkovich (John Malkovich). After Craig shares the secret with his wife Lottie, she can’t get enough of being John Malkovich, which, of course, leads to a maze of confusion and conflicting desires that both destroys and redefines relationships and creates new pairings.
Directed by award-winning and acclaimed music video director Spike Jonze, Malkovich defies an accurate description. It is alternately a fantasy, a comedy, a romance, and a drama; it is a story that both crosses and breaks genres. The film derives its brilliance from writer Charlie Kaufman; the script is a masterwork and one of the finest original screenplays of the last few decades. That Jonze could make a coherent and entertaining film of a story that it so philosophical, surrealistic, avant garde, and abstract foretells that the creativity seen in his music videos, he will carry over to film – lucky, lucky us.
The performances are all very good; everyone seemed more than up to the task of translating Kaufman’s eccentricity and brilliance to drama. Cusack once again affirms both his coolness and his talent. It’s pointless to praise Malkovich, and Ms. Keener only showed a more attentive audience the skill she’d already showed in films with smaller audiences. If no one will, I will toot Ms. Diaz’s talent. Her beauty merely accentuates her talent. She buried herself in this role as the frumpy lovelorn Lottie; she can do the method thing, so where’s the props?
Brilliant, smashing, exhilarating, ingenious, hilarious, hysterical, and wildly original – all have been said before, but these praises were made whole with Being John Malkovich. The film does seem to run out of energy late in the story, and the sci-fi/fantasy element seems to go overboard. Still, it is a film that has to be seen, if for no other reason than because Being John Malkovich is a fresh look at individuals and their need for and of other people. Run see this thing.
9 of 10
A+
NOTES:
2000 Academy Awards: 3 nominations: “Best Actress in a Supporting Role” (Catherine Keener), “Best Director” (Spike Jonze), and “Best Writing, Screenplay Written Directly for the Screen” (Charlie Kaufman)
2000 BAFTA Awards: 1 win: “Best Screenplay – Original” (Charlie Kaufman); 2 nominations: “Best Editing” (Eric Zumbrunnen) and “Best Performance by an Actress in a Supporting Role” (Cameron Diaz)
2000 Golden Globes: 4 nominations: “Best Motion Picture - Comedy/Musical,” “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Cameron Diaz), “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Catherine Keener), and “Best Screenplay - Motion Picture” (Charlie Kaufman)
Being John Malkovich (1999)
Running time: 112 minutes (1 hour, 52 minutes)
MPAA – R for language and sexuality
DIRECTOR: Spike Jonze
WRITER: Charlie Kaufman
PRODUCERS: Steve Golin, Vincent Landay, Sandy Stern, and Michael Stipe
CINEMATOGRAPHER: Lance Acord
EDITOR: Eric Zumbrunnen
COMPOSER: Carter Burwell
Academy Award nominee
FANTASY/COMEDY/DRAMA
Starring: John Cusack, Cameron Diaz, Ned Bellamy, Catherine Keener, Reggie Hayes, Orson Bean, and John Malkovich
We’ve all read the reviews that describe particular movies as inventive, witty, original, unique, or some other hyperbole used to describe cinematic “brilliance.” Whether many of those movies deserved such praise is debatable, but Being John Malkovich is the real deal – original and stunningly, painfully unique. It’s not perfect, but it is so mind-numbingly brilliant: I’m not sure if I even know how to watch it again. I’m afraid to think what this film would be like if it were perfect.
Craig Schwartz (John Cusack) is a talented puppeteer with a failed career and an (seemingly) unhappy marriage to a frumpy animal lover (Cameron Diaz). When finances finally get too tight, Craig gets a job sorting files for the peculiar Dr. Lester (Orson Bean). He becomes hopelessly infatuated with Maxine (Catherine Keener), a sharp-tongued woman who works on the same floor. On one particular day of drudgery, Craig accidentally discovers a door to a portal that leads literally into the head of John Malkovich (John Malkovich). After Craig shares the secret with his wife Lottie, she can’t get enough of being John Malkovich, which, of course, leads to a maze of confusion and conflicting desires that both destroys and redefines relationships and creates new pairings.
Directed by award-winning and acclaimed music video director Spike Jonze, Malkovich defies an accurate description. It is alternately a fantasy, a comedy, a romance, and a drama; it is a story that both crosses and breaks genres. The film derives its brilliance from writer Charlie Kaufman; the script is a masterwork and one of the finest original screenplays of the last few decades. That Jonze could make a coherent and entertaining film of a story that it so philosophical, surrealistic, avant garde, and abstract foretells that the creativity seen in his music videos, he will carry over to film – lucky, lucky us.
The performances are all very good; everyone seemed more than up to the task of translating Kaufman’s eccentricity and brilliance to drama. Cusack once again affirms both his coolness and his talent. It’s pointless to praise Malkovich, and Ms. Keener only showed a more attentive audience the skill she’d already showed in films with smaller audiences. If no one will, I will toot Ms. Diaz’s talent. Her beauty merely accentuates her talent. She buried herself in this role as the frumpy lovelorn Lottie; she can do the method thing, so where’s the props?
Brilliant, smashing, exhilarating, ingenious, hilarious, hysterical, and wildly original – all have been said before, but these praises were made whole with Being John Malkovich. The film does seem to run out of energy late in the story, and the sci-fi/fantasy element seems to go overboard. Still, it is a film that has to be seen, if for no other reason than because Being John Malkovich is a fresh look at individuals and their need for and of other people. Run see this thing.
9 of 10
A+
NOTES:
2000 Academy Awards: 3 nominations: “Best Actress in a Supporting Role” (Catherine Keener), “Best Director” (Spike Jonze), and “Best Writing, Screenplay Written Directly for the Screen” (Charlie Kaufman)
2000 BAFTA Awards: 1 win: “Best Screenplay – Original” (Charlie Kaufman); 2 nominations: “Best Editing” (Eric Zumbrunnen) and “Best Performance by an Actress in a Supporting Role” (Cameron Diaz)
2000 Golden Globes: 4 nominations: “Best Motion Picture - Comedy/Musical,” “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Cameron Diaz), “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Catherine Keener), and “Best Screenplay - Motion Picture” (Charlie Kaufman)
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Wednesday, December 8, 2010
"The King's Speech" Rules the British Independent Film Awards
Created in 1998, The British Independent Film Awards (as they describe it) celebrates merit and achievement in independently funded British filmmaking, honor new film talent, and promote British films and filmmaking to a wider public.
2010 Winners
Best British Independent Film
The King's Speech
Best Director of a British Independent Film
Gareth Edwards for Monsters
The Douglas Hickox Award
Clio Barnard for The Arbor
Best Screenplay
David Seidler for The King's Speech
Best Performance by an Actress in a British Independent Film
Carey Mulligan for Never Let Me Go
Best Performance by an Actor in a British Independent Film
Colin Firth for The King's Speech
Best Supporting Actress
Helena Bonham Carter for The King's Speech
Best Supporting Actor
Geoffrey Rush for The King's Speech
Most Promising Newcomer
Joanne Froggatt for In Our Name
Best Achievement In Production
Monsters
The Raindance Award
Son of Babylon
Best Technical Achievement
Gareth Edwards for Monsters
Best British Documentary
Enemies of the People
Best British Short Film
Baby
Best Foreign Independent Film
A Prophet
The Richard Harris Award
Helena Bonham Carter
The Variety Award
Liam Neeson
The Special Jury Prize
Jenne Casarotto
For a complete list of the nominees: http://bifa.org.uk/nominations/2010
2010 Winners
Best British Independent Film
The King's Speech
Best Director of a British Independent Film
Gareth Edwards for Monsters
The Douglas Hickox Award
Clio Barnard for The Arbor
Best Screenplay
David Seidler for The King's Speech
Best Performance by an Actress in a British Independent Film
Carey Mulligan for Never Let Me Go
Best Performance by an Actor in a British Independent Film
Colin Firth for The King's Speech
Best Supporting Actress
Helena Bonham Carter for The King's Speech
Best Supporting Actor
Geoffrey Rush for The King's Speech
Most Promising Newcomer
Joanne Froggatt for In Our Name
Best Achievement In Production
Monsters
The Raindance Award
Son of Babylon
Best Technical Achievement
Gareth Edwards for Monsters
Best British Documentary
Enemies of the People
Best British Short Film
Baby
Best Foreign Independent Film
A Prophet
The Richard Harris Award
Helena Bonham Carter
The Variety Award
Liam Neeson
The Special Jury Prize
Jenne Casarotto
For a complete list of the nominees: http://bifa.org.uk/nominations/2010
Review: "An American Werewolf in London" Will Howl Forever (Happy B'day, Rick Baker)
TRASH IN MY EYE No. 85 (of 2003) by Leroy Douresseaux
An American Werewolf in London (1981)
Running time: 97 minutes (1 hour, 37 minutes)
MPAA – R
WRITER/DIRECTOR: John Landis
PRODUCER: George Folsey Jr.
CINEMATOGRAPHER: Robert Paynter
EDITOR: Malcolm Campbell
COMPOSER: Elmer Bernstein
HORROR with some elements of comedy and romance
Starring: David Naughton, Griffin Dunne, Jenny Agutter, John Woodvine, Anne-Marie Davies, and Frank Oz
I remember when my late father had to actually go to the ticket window and physically purchase a ticket for me to see John Landis’s comedy/horror classic, An American Werewolf in London, because it was an R-rated movie. At the time, the local sheriff was forcing the theatre I frequented to abide by the MPAA ratings system. In the early 80’s, there were so many (fairly) hardcore teen-oriented films with strong sexual and violent themes, but I’m sure it was the sex that was bothering any influential locals who might have protested to the sheriff. I think the area was just starting to understand that the less attractive aspects of the sexual revolution were coming to visit us.
However, the “inconvenience” to my father was worth it, at least to me. An American Werewolf in London truly is a great horror film. I recently watched the movie in its entirety for the first time in over 20 years, and I still liked it as much as I did the first time. Even the special makeup effects by SFX maestro Rick Baker (who won an Oscar for his groundbreaking work here) for the first werewolf transformation that we see is as stunning, shocking, hilarious, frightening, and quite intense as it was when it first wowed audiences.
In the film two American college students, David Kessler (David Naughton) and Jack Goodman (Griffin Dunne), on a walking tour of England are attacked by a werewolf (Paddy Ryan) near a small rural village on the moors. David survives the attack, which the superstitious town folks hastily cover up. While recovering in a London hospital, David falls for his nurse, Alex Price (Jenny Agutter), and she takes him how so they can bop each other’s brains out. However, David receives a gruesome surprise when Jack returns as an undead apparition that only David can see. According to Jack, David carries a curse, and during the next full moon, he will transform into a werewolf and kill more people. Only David’s death will end the curse, free Jack’s soul, and save others from a brutal death in the jaws of the lycanthrope.
From Animal House to Blue Brothers, writer/director John Landis showed his gift for sheer lunacy, which he combined with a rich sense of humor. Granted that American Werewolf’s has some story holes (didn’t the neighbors hear all the racket David made the night he transforms and how did he leave Alex’s apartment after he transformed?), but the movie is such fun. It’s creepy, but not in a dreadful sort of way. It’s inventive, especially in the dream sequences and scenes where Jack and other undead visit David. It’s spectacular in Rick Baker’s surreal and near supernatural display of make up wizardry. Werewolf is hilarious and goofy; it has a B-movie spirit of winks and nudges with just enough gore to place it firmly in the pantheon of “serious” horror films.
I liked the acting because all the actors played their parts with such aplomb. Although I really liked David Naughton’s frantic portrayal of the doomed David, I also liked Griffin Dunne’s turn as the sarcastic and deadpan Jack. What more do I need to say? If you like horror movies, especially the one’s in which the comedy is intentional, and a good old-fashioned thriller, An American Werewolf in London is the film for you. It stood out amongst the flood of crass slasher films of its time, and it has a special quality that would make it stand out today. And I love Rick Baker even more!
7 of 10
A-
NOTES:
1982 Academy Awards: 1 win: “Best Makeup” (Rick Baker)
----------------------------
An American Werewolf in London (1981)
Running time: 97 minutes (1 hour, 37 minutes)
MPAA – R
WRITER/DIRECTOR: John Landis
PRODUCER: George Folsey Jr.
CINEMATOGRAPHER: Robert Paynter
EDITOR: Malcolm Campbell
COMPOSER: Elmer Bernstein
HORROR with some elements of comedy and romance
Starring: David Naughton, Griffin Dunne, Jenny Agutter, John Woodvine, Anne-Marie Davies, and Frank Oz
I remember when my late father had to actually go to the ticket window and physically purchase a ticket for me to see John Landis’s comedy/horror classic, An American Werewolf in London, because it was an R-rated movie. At the time, the local sheriff was forcing the theatre I frequented to abide by the MPAA ratings system. In the early 80’s, there were so many (fairly) hardcore teen-oriented films with strong sexual and violent themes, but I’m sure it was the sex that was bothering any influential locals who might have protested to the sheriff. I think the area was just starting to understand that the less attractive aspects of the sexual revolution were coming to visit us.
However, the “inconvenience” to my father was worth it, at least to me. An American Werewolf in London truly is a great horror film. I recently watched the movie in its entirety for the first time in over 20 years, and I still liked it as much as I did the first time. Even the special makeup effects by SFX maestro Rick Baker (who won an Oscar for his groundbreaking work here) for the first werewolf transformation that we see is as stunning, shocking, hilarious, frightening, and quite intense as it was when it first wowed audiences.
In the film two American college students, David Kessler (David Naughton) and Jack Goodman (Griffin Dunne), on a walking tour of England are attacked by a werewolf (Paddy Ryan) near a small rural village on the moors. David survives the attack, which the superstitious town folks hastily cover up. While recovering in a London hospital, David falls for his nurse, Alex Price (Jenny Agutter), and she takes him how so they can bop each other’s brains out. However, David receives a gruesome surprise when Jack returns as an undead apparition that only David can see. According to Jack, David carries a curse, and during the next full moon, he will transform into a werewolf and kill more people. Only David’s death will end the curse, free Jack’s soul, and save others from a brutal death in the jaws of the lycanthrope.
From Animal House to Blue Brothers, writer/director John Landis showed his gift for sheer lunacy, which he combined with a rich sense of humor. Granted that American Werewolf’s has some story holes (didn’t the neighbors hear all the racket David made the night he transforms and how did he leave Alex’s apartment after he transformed?), but the movie is such fun. It’s creepy, but not in a dreadful sort of way. It’s inventive, especially in the dream sequences and scenes where Jack and other undead visit David. It’s spectacular in Rick Baker’s surreal and near supernatural display of make up wizardry. Werewolf is hilarious and goofy; it has a B-movie spirit of winks and nudges with just enough gore to place it firmly in the pantheon of “serious” horror films.
I liked the acting because all the actors played their parts with such aplomb. Although I really liked David Naughton’s frantic portrayal of the doomed David, I also liked Griffin Dunne’s turn as the sarcastic and deadpan Jack. What more do I need to say? If you like horror movies, especially the one’s in which the comedy is intentional, and a good old-fashioned thriller, An American Werewolf in London is the film for you. It stood out amongst the flood of crass slasher films of its time, and it has a special quality that would make it stand out today. And I love Rick Baker even more!
7 of 10
A-
NOTES:
1982 Academy Awards: 1 win: “Best Makeup” (Rick Baker)
----------------------------
Walt Disney's Bambi Arriving on Blu-ray in March 2011
DISNEY ADDS A NEW GEM TO THE BLU-RAY™ DIAMOND COLLECTION
Walt Disney’s BAMBI Diamond Edition
Releases From The Disney Vault on March 1, 2011
Burbank, Calif., December, 2010 – The Walt Disney Studios proudly announces the addition of BAMBI to its coveted, cutting-edge Blu-ray™ Diamond Collection line-up of Disney’s greatest animated-classics. Released from the Disney vault for a limited time only, BAMBI Diamond Edition features the loveable and adorable wide-eyed fawn and his forest friends in Blu-ray high-definition on March 1, 2011.
The Diamond Edition debut of BAMBI, Walt’s fifth full-length animated classic, is an endearing tale about a young prince of the forest who learns valuable life-lessons about friendship, love, and the miracle of life. The movie is a must-own coming-of-age story that Walt Disney Studios Home Entertainment has especially packaged with families in mind - providing the ultimate, interactive hi-def home entertainment experience with a newly enhanced digital restoration, enhanced picture and sound, games, activities and more.
The new BAMBI Diamond Edition will be available as a 2-Disc Disney Combo Pack (Blu-ray + DVD) for the suggested retail price of $39.99 US/$46.99 Canada, a High Definition Movie Download for the suggested retail price of $19.99 US/$39.99 Canada, and/or a Standard Definition Movie Download for the suggested retail price of $14.99 US/$24.99 Canada. Those who wish to own the standard definition DVD version of BAMBI will need to wait seven additional weeks – until April 19, 2011.
Disney’s new “Second Screen” technology, which is being introduced for the very first time on the BAMBI Diamond Edition release, will further transform the at-home movie watching experience by empowering viewers with the ability to engage with film content on multiple media platforms and bring them to life in their own hands at the touch of a button. By simply downloading the new Disney Second Screen App onto an internet-connected computer or iPad™* and synching it to the movie, consumers will instantly be able to dive deeper into the film by engaging with fun interactive elements like animated flipbooks, galleries, photos, trivia and more.
Film Synopsis: As morning light breaks across the meadow, a young deer named Bambi is born and hailed as ‘Prince of the Forest.’ Soon Bambi emerges from the thicket on wobbly legs, much to the delight of his new friends, Thumper, the playful rabbit, and Flower, the bashful yet lovable skunk. But the fun of nibbling on fresh blossoms and frolicking through the woods is only the beginning. Exploring his new world, and guided by the wisdom of Friend Owl, Bambi learns valuable life lessons with every adventure – experiencing the power of friendship, family, and love along the away.
The Making of the Film: BAMBI was Walt Disney’s fifth animated full-length feature film which released in 1942 during World War II and took approximately five years in the making due to the exquisite artwork and attention to detail of each and every scene, character and figure. The artwork itself was created by some of the legendary “nine old men,” including Frank Thomas, Ollie Johnston, Marc Davis, Milt Kahl and Eric Larson and in order to achieve the film’s unprecedented level of realism, animators modeled anatomical studies using live animals (including a pair of fawns named Bambi and Faline) and imbued each with a uniquely endearing personality. Bambi’s delightful forest home received the same painstaking attention to detail, as background artists painted hundreds of landscapes based on extensive field research and nature photographs.
Walt Disney broke the longstanding animation tradition by casting child actors in the roles of Bambi’s young animals, including Bobby Stewart as Baby Bambi, Donnie Dunagan as Young Bambi, Hardie Albright as Adolescent Bambi and Peter Behn as Young Thumper. The cast also includes Sam Edwards as Adult Thumper, John Sutherland as Adult Bambi, Paula Winslowe as Bambi’s Mother and Sterling Holloway (the voice of Winnie the Pooh and The Jungle Book’s Kaa, the snake) as Adult Flower.
Film Accolades: BAMBI was nominated for three Academy Awards® for Best Song (“Love Is a Song,”), Best Sound Recording, and Best Music Score of a Dramatic or Comedy Picture. To date, BAMBI is No. 3 on the list of American Film Institute’s Top 10 Animated Films of All Times. And in 2004, the movie was commemorated with a first-class U.S. postage stamp and in the 1990’s the film inspired astronomers to name a pair of asteroids after the adorable characters – Thumper (April 20, 1993) and Bambi (October 17, 1995).
Bonus Features:
Backstage Disney:
· Inside Walt’s Story Meetings-Enhanced Edition - A fascinating, multi-tiered, interactive story-telling experience. Go back in time with dramatic voice re-enactments of the moments with Walt that led to the creation of this classic film.
· 2 Never Before Seen Deleted Scenes
· Deleted Song: “Twitterpated”
· Blu-ray Galleries—A collection of the extraordinary images originally created as part of the design process for BAMBI.
Family Play: Games & Activities:
· Disney’s Big Book of Knowledge: BAMBI Edition— An interactive educational gaming experience that uses the film as a learning tool. Players can customize their own Big Book of Knowledge and learn all about forest creatures, seasons andmore! Each time a player completes a task, they are rewarded with new stickers to decorate their Big Book of Knowledge.
Digital Exclusive:
· The Golden Age
Classic DVD Bonus Features:
· The Making Of BAMBI: A Prince Is Born—A comprehensive look at the making of BAMBI covers the story, the characters, the actors, the art design, the music and the history of Walt Disney’s classic film using behind the scenes footage, production stills, animation, artwork and multiple interviews withperformers and behind the scenes participants.
· Tricks of the Trade (excerpt)—In an episode from the 1957 Disneyland TV show, Walt narrates the story of the multiplane camera, an animation innovation crucial to the production of BAMBI.
· Inside the Disney Archives—Disney Supervising Animator Andreas Deja guides viewers through Disney’s Animation Research Library, where artwork from past Disney animated feature films is stored, including early story sketches of Bobo the rabbit,” (who became Thumper), glass paintings made for the multiplane camera and more.
· The Old Mill—Winner of the 1937 Academy Award® for Best Short Subject/Cartoon, The Old Mill was a testing ground for several techniques critical to Walt’s artistic vision for BAMBI, including the multiplane camera, animating realistic animals and experimenting with such natural occurrences such as wind, rain and lightning.
· DisneyPedia: Bambi’s Forest Friends
About Disney’s Blu-ray™ Diamond Collection:
Disney’s Blu-ray™ Diamond Collection represents The Walt Disney Studio’s most prestigious animated classics. The Collection will be comprised with many of Walt Disney’s most treasured animated classic titles to be released through 2016. These titles represent the highest level of picture and sound, feature groundbreaking, state-of-the-art immersive bonus content, and include unprecedented levels of interactivity, personalization and customization, made possible because of Blu-ray technology.
About The Walt Disney Studios:
For more than 85 years, The Walt Disney Studios has been the foundation on which The Walt Disney Company (DIS: NYSE) was built. Today, the Studio brings quality movies, music and stage plays to consumers throughout the world. Feature films are released under four banners: Walt Disney Pictures, which includes Walt Disney Animation Studios and Pixar Animation Studios, Disneynature, Touchstone Pictures and Marvel. Through the Home Entertainment division, innovative distribution methods provide access to creative content across multiple platforms. Original music and motion picture soundtracks are produced under Walt Disney Records and Hollywood Records, while Disney Theatrical Group produces and licenses live events, including Broadway theatrical productions, Disney on Ice and Disney LIVE! For more information, please visit http://www.disney.com/.
Tuesday, December 7, 2010
"Red" is Riotous, Entertaining and Damn-good
TRASH IN MY EYE No. 100 (of 2010) by Leroy Douresseaux
Red (2010)
Running time: 111 minutes (1 hour, 51 minutes)
MPAA – R for intense sequences of action violence and brief strong language
DIRECTOR: Robert Schwentke
WRITERS: Jon Hoeber and Erich Hoeber (based upon the graphic novel by Warren Ellis and Cully Hamner)
PRODUCERS: Lorenzo di Bonaventura and Mark Vahradian
CINEMATOGRAPHER: Florian Ballhaus
EDITOR: Thom Noble
ACTION/COMEDY with elements of drama and romance
Starring: Bruce Willis, Morgan Freeman, Mary-Louise Parker, John Malkovich, Helen Mirren, Karl Urban, Brian Cox, Richard Dreyfuss, Rebecca Pidgeon, Julian McMahon, Jacqueline Fleming, James Remar, and Ernest Borgnine
Bruce Willis is one of the world’s biggest movie stars of the last quarter century. Perhaps, that status makes people forget that not only is Willis a great action movie star, but he is also a fine actor, also comfortable with character drama and comedy. At least, I think so. In his recent, Fall-released action comedy, Red (based upon the comic book miniseries of the same name by Warren Ellis and Cully Hammer), Willis shows all his sides – subtle drama, deadpan humor, and action flick stud.
Red focuses on Frank Moses (Bruce Willis), a former black-ops CIA agent living a quite, idyllic life of retirement in the suburbs. When he feels lonely, he chats with Sarah Ross (Mary-Louise Parker), a customer service agent at the office that sends out Frank’s pension checks. When an assassin squad comes gunning for him, however, Frank is forced to go on the run, with Sarah in tow. Frank is RED – retired, extremely dangerous, and someone powerful wants him dead. Frank needs answers.
To survive, Frank tracks down members of his old black-ops squad. There is his old mentor, Joe Matheson (Morgan Freeman), living in a retirement home in New Orleans, someone who can give Frank information. Marvin Boggs (John Malkovich) is a paranoid conspiracy theorist, who can give him more information. Victoria (Helen Mirren), a wetwork agent (assassin), can give comfort and aid. Then, there is William Cooper (Karl Urban), who is the CIA agent assigned to hunt and kill Frank. Cooper is kind of like a younger version of Frank, and he won’t let anything stop him.
Red is one of those films that can be described as “a non-stop thrill ride,” which it is for the most part. The car chases, shootouts, fights, and other action scenes are quite good, and often funny, not because they are parody, but because the action always manages to embody the absurdity of this story.
The characters are okay, but the actors are the ones that make them better. Performers like Morgan Freeman, Helen Mirren, and John Malkovich are so good that they can both give life to flat characters and play up the comic aspects of a scene or situation with ease. They make the often-extremely violent Red seem witty and effervescent. Yes, even Bruce Willis has done this kind of character (the killer) in other movies (like The Whole Nine Yards), but here, he is cool like a movie star should be. This is the kind of movie that needs a movie star lead, and Willis provides that.
Red is not perfect. Sometimes, it doesn’t know if it wants to be extremely dangerous or extremely funny, but action comedies like this: more snarky than smart and filled with comic violence that actually looks like real action movie violence, don’t come around often enough. Red is probably the best action comedy of the year.
7 of 10
B+
Monday, December 06, 2010
Red (2010)
Running time: 111 minutes (1 hour, 51 minutes)
MPAA – R for intense sequences of action violence and brief strong language
DIRECTOR: Robert Schwentke
WRITERS: Jon Hoeber and Erich Hoeber (based upon the graphic novel by Warren Ellis and Cully Hamner)
PRODUCERS: Lorenzo di Bonaventura and Mark Vahradian
CINEMATOGRAPHER: Florian Ballhaus
EDITOR: Thom Noble
ACTION/COMEDY with elements of drama and romance
Starring: Bruce Willis, Morgan Freeman, Mary-Louise Parker, John Malkovich, Helen Mirren, Karl Urban, Brian Cox, Richard Dreyfuss, Rebecca Pidgeon, Julian McMahon, Jacqueline Fleming, James Remar, and Ernest Borgnine
Bruce Willis is one of the world’s biggest movie stars of the last quarter century. Perhaps, that status makes people forget that not only is Willis a great action movie star, but he is also a fine actor, also comfortable with character drama and comedy. At least, I think so. In his recent, Fall-released action comedy, Red (based upon the comic book miniseries of the same name by Warren Ellis and Cully Hammer), Willis shows all his sides – subtle drama, deadpan humor, and action flick stud.
Red focuses on Frank Moses (Bruce Willis), a former black-ops CIA agent living a quite, idyllic life of retirement in the suburbs. When he feels lonely, he chats with Sarah Ross (Mary-Louise Parker), a customer service agent at the office that sends out Frank’s pension checks. When an assassin squad comes gunning for him, however, Frank is forced to go on the run, with Sarah in tow. Frank is RED – retired, extremely dangerous, and someone powerful wants him dead. Frank needs answers.
To survive, Frank tracks down members of his old black-ops squad. There is his old mentor, Joe Matheson (Morgan Freeman), living in a retirement home in New Orleans, someone who can give Frank information. Marvin Boggs (John Malkovich) is a paranoid conspiracy theorist, who can give him more information. Victoria (Helen Mirren), a wetwork agent (assassin), can give comfort and aid. Then, there is William Cooper (Karl Urban), who is the CIA agent assigned to hunt and kill Frank. Cooper is kind of like a younger version of Frank, and he won’t let anything stop him.
Red is one of those films that can be described as “a non-stop thrill ride,” which it is for the most part. The car chases, shootouts, fights, and other action scenes are quite good, and often funny, not because they are parody, but because the action always manages to embody the absurdity of this story.
The characters are okay, but the actors are the ones that make them better. Performers like Morgan Freeman, Helen Mirren, and John Malkovich are so good that they can both give life to flat characters and play up the comic aspects of a scene or situation with ease. They make the often-extremely violent Red seem witty and effervescent. Yes, even Bruce Willis has done this kind of character (the killer) in other movies (like The Whole Nine Yards), but here, he is cool like a movie star should be. This is the kind of movie that needs a movie star lead, and Willis provides that.
Red is not perfect. Sometimes, it doesn’t know if it wants to be extremely dangerous or extremely funny, but action comedies like this: more snarky than smart and filled with comic violence that actually looks like real action movie violence, don’t come around often enough. Red is probably the best action comedy of the year.
7 of 10
B+
Monday, December 06, 2010
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