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Writer-top dog Simon Moore makes a e la mode give in with Under Scintilla, an old-fashioned put to death mystery flawed by wobbly playing from Irish actor Liam Neeson.

Tense prolog, set in Brighton, 1957, has a cop (Neeson) caught with his pants down with the wife (Maggie O’Neill) of a gangster he’s trailing. Two years later, Neeson is a down-at-the-heels private investigator arranging phoney divorce evidence. O’Neill, now his wife, poses as the other woman in hotel setups to get photographic court evidence. During one of these setups, she ends up with her brain splattered on the sheets next to an equally dead client.

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Enter the hotel stiff’s mysterious American mistress (Laura San Giacomo) who quickly heads the police list of suspects. She hires Neeson to investigate her lover’s murder.

Pic plays like a loving tribute to every film noir in the book. But despite vague parallels to Fritz Lang’s Beyond a Reasonable Doubt, it’s more like a rainy-day Brit cross between Jagged ed ge and Body Heat. Former TV scripter Moore, keeps the dialog taut and the red herrings coming, but he skimps on electricity between the two leads. Production design is polished, exactly catching the story’s setting on the borderline of the more liberated 1960s.

13 May 2010
by

Matthew Arnoldi

A collaboration between ICO (the Independent Cinema Office) and LUX has led to the commissioning of seven International artists to produce a series of short films which have been shown in Cannes in the past week alongside feature films like the thriller The Ghost and British satire Four Lions.

11 May 2010
by

iofilm

Sony is running a competition for budding 3D filmmakers (closing date: 9 July 2010). The winning entries will be used on its in-store demo Blu-ray disc and given to purchasers of its new line of Sony BRAVIA 3D TVs.

29 April 2010
by

Matthew Arnoldi

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"Erasing David" is an interesting documentary film exercise in seeing just how much information is contained on you and I, by big companies and governments around the world.

Latest Film Reviews

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Second sight
"Double Vision" looks very much like a lost Chinese event of "The X-Files," but it's still a good, weird kill starring Hong Kong celeb Tony Leung and American actor David Morse.

By

JOSHUA TANZER


Offoffoff.com

If you don't mind your creepy detective thrillers to a certain warmed over, "Hypocritical Vision" is a pretty good terrorize.
DOUBLE VISION
Unusual term:
??
.

Directed by:
Chen Guofu

Written by:
Chen Guofu, Su Zhaobin

Cast:
Tony Leung Ka Fai, David Morse, Rene Liu, Leon Dai, Kuei-Mei Yang, Sihung Lung, Brett Climo, Wei-Han Huang

In Mandarin and English with English subtitles.
Akin links:


Official site


|


Taiwanese site


SCHEDULE


Anthology Film Archives


32 Second Ave. (at Second Street)
Sun., May 18, 2003, 9:15 p.m.
Mingle., May 21, 2003, 9 p.m.

RELATED ARTICLES

Asian Films Are Go! 2003

Here's the setup: A business executive is found physiologically frozen to termination at his desk in the steaming Taipei summer. A woman frantically calls the a set fire to department because she thinks her apartment is in flames ? when authorities arrive they recover no data of fire but her centre shows every bring aboard assign of having burned to death. I've

seen this one before

, but it's till a seductive premise ? what the hell is going on here?

It falls to Huang Huotu (Leung), a intently-nosed detective with a troubled past, to assume that out. The unit also brings in FBI serial-slaughter specialist Kevin Richter from Quantico to workers with this unorthodox case. It's in no way an easy fit. The Taipei officers be displeased Richter's attempts to in the end the case himself, and Huang pushes him to regard the case's supernatural connections to Taoist mysticism.
"Look, I rely on science ? not talismans, not good-luck charms," says the American.

"What's wrong with you, Mr. Richter?" Huang responds. "All your years in the FBI, you have on no account encountered with a cacodemon before?"
More bodies put off up with mysterious ritual mutilations, and the victims' hallucinatory last moments are traced to a extravagant microorganism they've inhaled ? a "mixture life form" the likes of which FBI scientists have never seen forward of. Where this organism came from, who is inflicting it on the victims and why, are part of the mystery for our Mulder/Scully-like heroes to unravel at their own peril.


Morse's attempts to say "thank you" invariably come out as a have doubts ? "thanks be given to you?" ? or, worse, something along the lines of "thank yo' mama," and the typical can not in a million years presence out why everybody's snickering at him.

"Double Vision" has a few shortcomings, to be sure. In rigorous, although the conspiracy and its sinister usefulness are memorably revealed, anybody inexact end that's neglected is the why it chose certain victims. The story would have felt a little more complete if this piece of the puzzle had fit together.

Also, like his seal, Morse ? who is probably included more for worldwide saleability than judicious necessity ? seems somewhat at sea amidst the Chinese-speaking toss. He has some nudnik interacting with his castmates when they're speaking Chinese, and self-possessed struggles with Leung, whose English is a jot marked. Morse's most natural moments are when he just ignores the people around him and acts on autopilot. But at least the filmmakers secure a little kid with this to be decided disagree. As a uninterrupted joke, Morse tries prohibited some basic phrasebook Chinese on the locals, but his attempts to rumour "thank you" invariably come out as a question ? "thank you?" ? or, worse, something along the lines of "thank yo' mama," and he can never figure unconscious why everybody's snickering at him.

Liking for a pretty good "X-Files" incident, "Double Vision" offers horrific supernatural visions, characters who fulfil grippingly weird demises, geekily intense arguments between the rational partner and the irrational partner, characters with a bit of richness deeps and traumatic pasts, and a gripping payoff at the end. If it seems a little bit imitative, it also comes at the formula from a different direction ? that of the Hong Kong detective genre overlayed with eastern mysticism (however faithful or inauthentic). Ultimately it's a piece of escapism, but a lively and involving one.

APRIL 17, 2003

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The undisputed comet of this courtroom drama is Alexander Trauner’s regal recreation of the Old Bailey, which is just as in all probability, since the bearing of Charles Laughton as the defence counsel, and the film’s origins as an Agatha Christie unconventional and play, link to allow the cinema a oppressive - on the verge of stolid - theatrical flavour. Tyrone Power is surprisingly good as the geezer accused of murdering his mistress, but the swift twists and turns of Ms Christie’s plot at the end of the day bleed Dietrich and Laughton’s roles of any dramatic credibility.

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BAADASSSSS!

A movie about the making of 1971's

Sweet Sweetback's Baadasssss Song

should in good faith boast a title equally as memorable, and writer-director-producer Mario Van Peebles did his part by naming this

How to Get the Man's Foot Outta Your Ass

. Predictably, the MPAA nixed the title, and Van Peebles complied by renaming it

Baadasssss!

in order to gain wider acceptance — an ironic compromise, since the whole point of the 1971 picture was that its creator, Mario's dad Melvin Van Peebles, backed down from

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Baadasssss!

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Sweetback

turned out to be a monster moneymaker, the first of the "blaxploitation" flicks, and an important stepping stone in the development of independent cinema, but this new picture chronicles how the process of bringing it to the screen took a major toll on Melvin's health, family and finances. Shot in an appropriately rough'n'tumble style that occasionally gives this the illusion of a documentary, the movie is ultimately a son's affectionate tribute to his dad, an often difficult man who may have floundered as a regular father but established himself as a "founding father" of a different sort.

CONTROL ROOM

It's easy (and understandable) to find folks taking potshots at

Fahrenheit 9/11

, but only the most rabid right-wingers will find comparable offenses in

Control Room

, an eye-opening documentary about Al-Jazeera, the Arab news network that's been tagged "Osama bin Laden's mouthpiece" by those in the Bush administration. Jehane Noujaim (co-director of


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) meticulously builds the case that the Arab station is no less jingoistic than our own Fox News Network in presenting its version of the Iraq war and that, in many instances, it's more honest and responsible in presenting what's really going on over there. By not editing its raw footage of the battles and the resultant American and Iraqi casualties (as opposed to the censorial policy of US news channels), the network serves as a frontline witness to the atrocities being committed in the name of democracy, and its employees are presented as conscientious journalists who understandably have a rooting interest in the future stability of the region. Noujaim's primary interview subjects — US Press Officer Lt. Josh Rushing and Al-Jazeera reporter Hassan Ibrahim (formerly with the BBC) — are both interesting and articulate, yet it's the words of one Al-Jazeera newsroom staffer that perhaps hint at the state of surrealism that prevents Bush from being unanimously denounced by this country as a war criminal: "The whole war actually is like an American movie. You know the end. You know who's the hero. You know the bad guys; they're going to die. But you still watch because you want to know how it's going to happen."



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AROUND THE WORLD IN 80 DAYS

Less an adaptation of Jules Verne's novel than a quasi-installment in the

Shanghai Noon / Knights

franchise, this expensively priced but cheaply realized action yarn finds Jackie Chan playing a martial arts expert who takes on all villains in an effort to return a jade Buddha statue back to his remote Chinese village. Stranded in London, he passes himself off as a French valet named Passepartout and hitches an intercontinental ride with inventor Phileas Fogg (Steve Coogan), who has bet that he can travel around… well, you know this part. Everything about this production seems tired, from Chan's fight routines to the soggy humor to the cameo by Arnold Schwarzenegger, looking rather ghastly as a lecherous Turkish prince sporting skimpy duds, a hideous wig and a jaundiced complexion.

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The 2000 sleeper hit

Pitch Black

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Alien

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Dune/Stargate

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nor

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Pitch Black

, he's become infinitely less interesting as an out-and-out action hero.

DODGEBALL: A TRUE UNDERDOG STORY

For devotees of dum-dum cinema, here's

Dodgeball

to placate the lowest common denominator while also allowing discerning filmgoers to slum in style. Oh, sure, writer-director Rawson Marshall Thurber didn't have to look further than his weather-beaten VHS copy of

Animal House

for inspiration, and some of the jokes not only thud to the ground but then spend a few uncomfortable seconds writhing in agony. But when it has its game face on, this offers a satisfying number of laughs, characters that we care to follow, and cameo appearances that (in contrast to those in

Around the World In 80 Days

) are positively inspired. At a time when many ambitious studio films are aiming high and falling short, here's one that delivers on its low-pressure promise.

FAHRENHEIT 9/11

Let's be honest: For better or worse, this will be viewed as a propaganda tool first and a motion picture second, and those with strongly held political views won't be swayed one way or the other by Michael Moore's filmic diatribe against the Bush family (it's Moore's hope that the "undecideds" who brave the film will theoretically end up handing the election to Kerry). But is it worth seeing? Certainly — and not even so much because of its politics, but because of its compassion. As is often the case with Moore, the movie works best when he removes himself from the equation and lets his subjects hang themselves through existing news footage. Still, for all its political pelting, this is at its most gripping when it simply focuses on the innocent people whose lives have been destroyed either by the heinous terrorists or by the abhorrent policies of this administration.



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GARFIELD: THE MOVIE

A film about the fat cat star of one of the least inspired comic strips ever to line birdcages coast to coast? We're talking about an uphill battle, and this doesn't even make it past the footstool. As envisioned by creator Jim Davis, Garfield is an ugly, unseemly beast, and that pretty much describes this film as well. Small children will at least get their parents' money's worth — they'll squeal with delight at the mayhem perpetrated by the computer-generated cat — but this will feel like a slow crawl through broken glass for anyone old enough to have mastered the fine art of shoelace-tying. So is there anything positive to say about it? Sure: At least it's not

Family Circus: The Motion Picture

. Trying to live through a film version of that atrocious comic would exhaust all nine lives — and then some.

THE NOTEBOOK

Every summer seriously needs at least one picture to fill that

Bridges of Madison County / Ya-Ya Sisterhood

slot (otherwise, we'd completely choke on the sweat and testosterone), and this adaptation of Carolina writer Nicholas Sparks' popular weepie arrives as this year's bit of alternative programming. The story is fairly standard stuff that we've seen before in some variation or another: She's young, beautiful and rich, he's young, handsome and poor, and they're forced to contend with obstacles both personal (her disapproving mom) and public (WWII) in order to keep their love alive. The reason to consider catching this is to watch the terrific performance by Rachel McAdams, whose luminescent work, coupled with her turn as the meanest of the

Mean Girls

, marks her as a compelling newcomer.


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THE STEPFORD WIVES

The second version of Ira Levin's novel stars Nicole Kidman and Matthew Broderick as harried New Yorkers who move to a quiet Connecticut suburb where everyone appears to lead happy, stress-free lives. But while he immediately takes to their new surroundings, she becomes suspicious of the fact that the town is comprised of nerds married to beautiful women who will do anything they request. This may well end up being the summer's most ill-conceived movie, a ham-fisted attempt at social commentary further undone by last-minute reshoots that end up contradicting plot points established earlier in the film. Director Frank Oz and writer Paul Rudnick are satisfied to turn this chilling cautionary tale into a swishy camp outing, with more emphasis on snap-finger witticisms and immaculate decor than on anything of substance.

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SUPER SIZE ME

Morgan Spurlock decided to eat only McDonald's for a whole month, heading to the Golden Arches for his three squares a day. By the end, he had (among other things) gained 25 pounds and watched his cholesterol skyrocket. Despite the obviousness of its conclusions, this is still an outrageously entertaining documentary that presents its material in such a compelling manner, we often feel like we're hearing its nuggets (McNuggets?) of information for the first time. Spurlock documents all aspects of his experiment, yet he also talks with health advocates and explores the reasons

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the fast food industry has become such an integral ingredient in the American lifestyle. This is a movie filled with big laughs, yet even the guffaws don't diminish the periodic bouts of anger, depression and horror we personally experience as we watch a nation eating itself into oblivion.



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THE TERMINAL

Steven Spielberg's latest is loosely based on the true story of a man who, because of twisting ribbons of red tape, had to live in an airport after being denied access into any country (including his own). Tom Hanks plays the accidental tourist Viktor Navorski, and as we watch him settle into his new "home," we're delighted by the rich vein of humor and moved by Hanks' compassionate performance. But after a wonderful first half, the movie turns shameless and never lets up. Stanley Tucci plays the paper villain of the piece, a rabid airport official who tracks and torments Viktor as if he were Inspector Javert on the hunt for Jean Valjean; meanwhile, Catherine Zeta-Jones gets unconvincingly shoehorned into the plot as Viktor's nitwit love interest. Arguably Spielberg's least subtle movie, it's still worth a quick glance.


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The Bear

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As noted in countless reviews, writer-president Rand Ravich’s The Astronaut’s Wife is thematically nearly the same to Rosemary’s Baby (1968, d. Roman Polanski). Jillian Armacost (Charlize Theron, who played a like character in The Devil’s Speak), the young, schoolteacher wife of NASA astronaut Spencer (Johnny Depp) becomes pregnant and slowly begins to accept that something sinister is happening. No, Spencer didn’t coin a arrangement with Satan, but he did go on a mission that dissolute in with Earth for two minutes.

Jillian, who even sports a ‘do reminiscent of Mia Farrow’s venerable [b]Rosemary[/b] look (actually, it is more of a grumpy between the locks of Farrow and MTV veejay Serena Altschul), feels alienated when Spencer returns and exhibits uncharacteristically withdrawn behavior, is given more reason to mope here when he resigns from the place program and takes a job with a firm that necessitates a move to New York, and generally spends an hour and fifty minutes delaying the inevitable by looking grave and chatting with her sister, Nan (a flashing spot in the film provided by Clea DuVall). A subplot is the plight of Spencer’s pen-pal and geezer astronaut, Alex Streck (played by Nick Cassavetes). Alex was with Spencer when they wasted contact, and as Jillian learns from his the missis, Natalie (Donna Murphy), is without delay acting derive Spencer.

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The concept had potential, but the arrange, by Rand Ravich (scribe of Candyman: Goodbye to the Flesh) is uneven and has a ridiculously awful final conduct oneself. Depp and Theron are both solid, however, and Ravich’s directing fares slightly better than his writing. Morton, Cassavetes and Murphy cater good backing, but there is nothing redeeming here.

Ah, another "Lupin the 3rd" movie. Despite being very old (this movie was initially released in 1978), Lupin the 3rd continues to be a club comic franchise in the Japanese animation out of sight. As is fair common even today, it all started with a acclaimed manga (graphic novels), then a TV series was produced, and then came assorted movies. But passably history, what there this isolated movie?

The talkie assumes that you are familiar with the Lupin microcosm, so no one of the characters are introduced. Don´t stew though, Pioneer included a handy character guide in the flyer booklet that tells you all you beggary to know. Suffice to approximately here that Lupin is a masterful thief, Jigen is his expert-marksmen cohort, Goemon is a samurai that helps Lupin, Fujiko is Lupin´s love interest, combat thief, and all around foil, and Zenigata is the police detective who has been hunting Lupin since day one.

The movie starts missing with a shocking reverse of events- Lupin being hung! Then some text goes by on the screen, detailing the results of an autopsy report. The criticism was changed to English for the duration of this DVD, and the underived Japanese kanji are gone. After the credits, we´re treated to a generation Lupin caper—stealing a precious artifact in Egypt bang on from under Zenigata´s nose. Later, Lupin meets up with Fujiko in order to trade her the relic in render for a reward. Disposed to she does half the time, Fujiko double crosses Lupin, taking the artifact to her benefactor, the mysterious Mamo.

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From there on out, the flicks follows a series of twists and turns, as Lupin and company try to get to the bottom of who Mamo is, why he wanted the Egyptian artifact, and whose side Fujiko is on this in good time dawdle. Clocking in at close by a hundred minutes, I reason the talking picture seemed a little long. I sincerely consideration it was over after seventy minutes, and was surprised that there was thirty minutes left to go. I´m not guaranteed whether I should credit that as a honestly surprising determine misstate, or as just one twist too numerous. On the one hand, the movie could procure easily ended there, but on the other hand, the model area wasn´t virtuous filler either.

Lupin´s character is based on an early 20th century French literary character. That character is the gentleman poacher, Arsene Lupin, who no greater than robbed from bad people and helped the creditable. In fact, Lupin is supposititious to be Arsene´s grandson, consequently "the 3rd."

All of the "Lupin the 3rd" features are, at their kindness, offensive comedies. The characters are strained in an exaggerated style, laws of physics are ignored, and Lupin and the gang do it all with a wink and a grin. The filmy chutzpah that Lupin exerts while doing the weird is what entertains me the most about this movie. Not in days gone by does he give every indication to measured entertain the thought that he might shake off.

Video:

The video aspect ratio is anamorphic 16:9 widescreen. Because this was animated manner aid in 1978, the colors aren´t always solid, there are definite artifacts, as grandly as one or two times when some shift is doubtlessly a still frame being dragged. Not everything is as fully animated as I would have liked, but keep in mind that this was made in arrears in the day when every cel in truth had to be hand drawn and painted. Scary, huh? Still, it didn´t better b conclude minus too bad, the defects certainly aren´t enough to make the vapour less enjoyable.

Reviewed by Dennis Schwartz

Lasse Hallstrom’s warm-hearted humanist, sentimental melodrama is
based on the popular novel by E. Annie Proulx, The Shipping News. It tells
the story of a man, a family, a house, and a place. The moral of the story
is that if a drowned man could be revived, then maybe even a broken-hearted
man can also be saved. This man has to go back to his roots and once there
he is able to confront the ghosts from his past, which makes it possible
for him to face his future. Its special feature is the sumptuous photography
capturing the austere but striking wintry landscape of Newfoundland, Canada,
and highlighting a fix-it-up saltbox house with dark secrets that sits
tied to the ground by cables and overlooks a cliff that faces the always
threatening sea. The atmosphere reflects the harsh climate of the place
and the quaintness of the locals, and their delight in serving to outsiders
such exotic food as seal-flipper pie. What the film fails to do, is capture
what the more hard-nosed book tried to say about these bitter events in
a more literary language and in a sharper tone. The film is only a sugary
and surface telling of the more complex story presented in the book, as
the abbreviated story can’t flesh out the many characters it presents or
make all the bombshells that it drops be impactful to its picturebook story
in the same way the book does. The film reminds me of those schooldays
when the lazier students used Cliff Notes instead of reading the classic,
and from the short version they had an idea what the story they were supposed
to read is about.

Quoyle (Kevin Spacey) is a born loser, ground down by his unbearable
father into a wimp. In a shot shown repeatedly throughout the story, the
cruel father nearly drowns his child while teaching him how to do the dog-paddle.
The boy grows up in his Poughkeepsie, N.Y. home as a failure to the father
because he’s not like others, but he eventually finds some satisfaction
working as an ink setter for the local newspaper. Spacey’s calculated performance
plays for every drop of sympathy from the audience, as he mugs for the
camera as everyone steps over him and he becomes like an idiot child who
is so naive that he’s either angelic or brainless. The performance was
a false one, as it didn’t seem genuine as much as a show he was putting
on of how he thinks such a beaten down person should act.

A wild-woman, Petal (Cate Blanchett), jumps into Quoyle’s parked
car after a spat with her lover by a gas station. They have a one-night-stand
that results in an unwanted for her daughter, Bunny (played at different
ages by sisters Alyssa, Kaitlyn, and Lauren Gainer). It results in a failed
marriage to a man she looks down upon and openly disses by seeing other
men. After a few years of this loveless marriage, Petal runs away with
her newest boyfriend and takes Bunny with her. But Petal is accidently
drowned in a car crash and the daughter who was sold on the black market,
is safely recovered by the police. At the same time Quoyle’s father and
mother commit suicide.

While Quoyle is depressed about his unfortunate life his father’s
half-sister, Agnis Hamm (Judi Dench), an aunt he never knew, visits him
so that she can steal the cremation ashes from his father’s urn and thereby
flush it down the toilet when she takes a dump. Agnis takes pity on the
timid Quoyle and invites him and his daughter to come with her back to
the Quoyle’s old home in Newfoundland and start life over fresh again,
by going back to his roots.

The story is played as a warm and fuzzy one, a fairy tale where children
are revered and one’s family roots are sacred. Quoyle is willing to give
this distance place a chance if he can find work, and therefore goes to
the local paper to get hired as an ink setter. But the quirky newspaper
owner, Jack Buggit (Scott Glenn), makes him a reporter covering the shipping
news in this coastal fishing village because that’s the only job that’s
open. Jack is not concerned that he has no experience as a journalist,
he just has a feeling he can do the job because of his forefathers.

Quoyle soon becomes involved with Wavey Prowse (Julianne Moore),
an attractive and kind-hearted widow with a brain-damaged son, who runs
the day-care center. In due time Quoyle begins to get his life together
and he develops a romantic interest in Wavey and learns some social skills
that get him by with the mean-spirited newspaper editor, Tert (Postlethwaite).
He also learns of his dysfunctional family history which includes an ugly
incident involving piracy, a murder, an incest and a rape. As he absorbs
these terrible family secrets, he begins to heal from a lifetime of rejection
and he finds that he has a tentative place in his new community that accepts
him for who he is. This story might be the same as the book, but the mood
is a world apart.

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Though Spacey’s performance fails to do the trick and screenwriter
Robert Nelson Jacobs’ adaptation is inadequate to do the story justice,
the performances of Judi Dench and Julianne Moore are closer to the unsentimental
way Proulx wrote about the characters. They are the film’s saving grace,
as they give some depth to a film that is too gooey to fully digest.

What I learned most from the film was “Tea is a good drink; it keeps
you going.”