Rarely, but sometimes, a movie can have an actual physical effect
on you. It gets under your defenses and sidesteps the "it's only a
movie" reflex and creates a visceral feeling that might as well be
real.

Open Water

had that effect on me. After the movie was over, I felt the need to walk in the sunshine and try to cheer myself up.

That's not to say

Open Water

is a thriller that churned my
emotions. 

It's a quiet film in which less and less happens as a large, implacable reality begins to form. The ending is so low-key we almost miss it. It tells the story of a couple who go scuba diving and surface to discover that the boat has left without them. The horizon is empty in all directions. They feel very alone.

When night follows day, when thirst becomes unbearable, when
jellyfish sting, when sharks make themselves known, when the boat STILL does not come back for them, their situation becomes a vast, dark, cosmic joke. It is one thing to be in danger of losing your life. It is another thing to have hours and hours to think about it and to discuss how casually the Caribbean vacation was settled on, instead of a ski holiday. The angriest line in the whole movie may be: "We paid to do this." They went to a good deal of trouble and expense in order to be abandoned at sea.

The movie stars Blanchard 

Ryan and Daniel Travis as Susan and Daniel. They come from a world of SUVs, cellphones, and busy work schedules, and their lives have been reduced to the fact that they are floating in the ocean. With their scuba outfits, they can float for a long time. Much longer, indeed, than will be of any interest to them.

The sea is calm. The water is cold but not cold enough to kill
them. The opening scenes explain, with implacable logic, the series
of events that leads to two scuba divers being counted twice, so
that the boat returns to port with 18 divers, although it left with
20. If this seems like inexcusable carelessness, well, we can kind
of understand how it happened. And the movie is based on a true
story of two divers left behind.

The movie, written, directed, and edited by Chris Kentis, tells
its story with a direct simplicity that is more harrowing than any
fancy stuff could possibly be.

For most 

of an hour we are essentially watching Susan and Daniel float, and talk, and think. Their dialogue is believable: no poetry, no philosophy, no histrionics, just the way people talk when they know each other well and are trying to kid themselves that things are not as bad as they seem. How could they be FORGOTTEN? How could the crew not notice their gear on board, or their missing air tanks? Surely the boat will return. Certainly there will be a search.

They try  

it is fatal to drink seawater. Those are certainly
shark fins cutting the surface of the sea. Most sharks won't bother
you, but the word "most" is not anywhere near inclusive enough to
reassure them. There is even a period when Susan discusses whether
this might have all been Daniel's fault: He spent too much time
looking at that damned eel.

"Fault" is as meaningless as any other concept. Nothing they
think or believe has any relevance to the reality they are in. Their
opinions are not solicited. Their past is irrelevant. Their success,
dreams, fears, loves, plans, and friends are all separated from them
by this new thing that has become their lives. To be alive, but
removed from everything they know about how and why to live, is
peculiar: Their senses continue to record their existence, but
nothing they can do has the slightest utility.

The movie is about what a slender thread supports our conviction
that our lives have importance and make sense. We need that
conviction in order to live at all, and when it is irreversibly
taken away from us, what a terrible fate to be left alive to know
it.

*** 1/2 out of 5 stars

Researcher Carlos Helicopters of the Call of Helicopters blog scrutinized the next Call of Duty game's helicopter density, leading to some surprising findings. With 27 helicopters spotted over the course of one minute and 30 seconds, that's an astonishing rate of 0.3 helicopters per second. Not since Call of Duty 4: Modern Warfare have we seen a game so helicopter packed!

If that HPS frequency remains constant throughout Treyarch's next Call of Duty game, Activision could sell 25 million copies of Black Ops easily. And if there's no dedicated helicopter deathmatch mode in Black Ops, we'll feel we've been essentially lied to.

Call of Duty: Black Ops will touch down on the PS3, Xbox 360, Wii and PC on November 9.

Send an email to Michael McWhertor, the author of this post, at mike@kotaku.com.

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After his suspense pictures and romantic adventure stories could he come
up with a shocker, acceptable to regular American audiences, which still
carried the spine-tingling voltage of foreign presentations such as
“Diabolique”?

The answer is an enthusiastic yes. He has very shrewdly interwoven crime,
sex and suspense, blended the real and the unreal in fascinating proportions
and punctuated his film with several quick, grisly and unnerving surprises.

“Psycho” opens with Janet Leigh and John Gavin in a cheap hotel room.
That afternoon, on returning to her office, Miss Leigh succumbs to
temptation and steals $40,000.

But as she flees Phoenix, Hitchcock’s finger is always on the wheel. A
highway patrolman represents menace behind his disturbing dark glasses. She
is back in the world of uneasy reality as she purchases a used car from a
convincing dealer.

And then suddenly she is in a strange motel, talking to its eager,
sensitive manager, Anthony Perkins, who smiles disarmingly, tightens and
freezes at certain suggestions, and betrays a speech defect during moments
of nervous excitement. Perkins is excellent as young Norman Crane (sic).

No more of the action may be disclosed here. But violence follows, and
then a skillfully paced interrogation by Martin Balsam as an affable
but determined private eye.

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And just when affairs become bizarre again Hitchcock brings in John
McIntire as the most easygoing and acceptable of sheriffs.

Miss Leigh is effective as the troubled fugitive. Gavin and Vera Miles,
who plays Miss Leigh’s sister, have less to contribute, but the overall
effect is expert, and again Hitchcock has used the camera skillfully.

Such a picture, in addition to all this, needs a gimmick. Here it is that
no one will be admitted to the theater after the film has begun. This device
is the final fillip to Hitchcock’s artful and theatrical trickery.

The first reels are devoted to John Howard Payne, showing him to have written the song in a foreign land, dying shortly after. The next episode is a western mining camp, to which comes a young easterner, who falls in love. They become engaged; the easterner is called back home; his love for a young woman of his own set is rekindled; he returns to the camp, and leaves without seeing Mary, but on his way back is stopped by an organ grinder playing ‘Home Sweet Home’.

In the third episode, a wife about to become unfaithful to her husband is stopped by the music of a violin above her apartment playing the strain, and she travels thereafter in the dutiful path.

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Trapped in a London subway station, a charwoman who's being pursued by a potential attacker heads into the unrecognized labyrinth of tunnels beneath the city's streets.

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Snare oficial:

La película, adaptación de la novela gráfica creada por Alan Moore y Dave Gibbons, está ambientada en unos hipotéticos Estados Unidos de 1985 en los que los superhéroes disfrazados son parte de la sociedad. Cuando uno de sus antiguos compañeros es asesinado, un fracasado vigilante enmascarado (Jackie Earle Haley) se propone descubrir un complot para matar y desacreditar a los superhéroes del presente y del pasado.

En pocas palabras?:

Una adaptación demasiado ambiciosa, hecha con mucho esmero y visualmente impactante, pero que termina agotando al espectador con su acumulación de personajes, anécdotas, subtramas y referencias a la cultura pop y a la historia estadounidense.

Justicieros eran los de antes

Product Rating:

Pros:

cast, story, characters

Cons:

schmaltzy, talky
Approximate Prices
(

$2 - $18 from 9 stores

)

BrianKoller's Full Review:
Grand Hotel
"Grand Hotel" is an early talkie, anecdote of the first to peculiarity an 'all-star' cast. The film won the Academy Endowment in spite of Best Picture, and has been considered a leading continually since. Except for Greta Garbo's camping, the performances are advantageous, especially by Lionel Barrymore and Wallace Beery. Seen today, notwithstanding how, the story and script seems a minute blood-and-thunder, and the characters too narrowly defined.

Based on the novel "Menschen" by Vicki Baum, the
story takes place in a opulent Berlin Hotel
that teems with sceptre and guests. Garbo, who was
an enormously popular actress at the time, gets
outset billing as a famed but egocentric
ballerina. Wallowing in self-sympathize, her suicide
attempt is aborted by John Barrymore, a Baron who
has turned to hotel thievery to repay his
gambling debts.

The Baron is the central character around which
the others revolve. He befriends terminally out of commission
certified public accountant Lionel Barrymore, who has withdrawn
his life savings an eye to a final fling. Lionel's
employer is uncourtly, beefy Wallace Beery,
who is attempting a love affair with progeny
stenotypist Joan Crawford.

Garbo, while handsome, gives a campy acting
of her affected ballerina weirdo. Her arm
gestures, want pauses, and the tight close-ups on
her veneer confront are reminiscent of the silent generation. She
delivers her conspicuous order "I Vant to be alone" on
three occasions.

John Barrymore coasts through his role, as the
outwardly placid and pleasant aristocrat who is
in fait accompli desperate for funds as his lifetime has been
threatened by mobsters. He also manages to smoke
adjacent to a pack of cigarettes during the movie.

Beery's character subtly changes from cruel
autocrat, burdened by business troubles, to
warring party tyrant, bullying the Barrymores and
nearing scoring with Crawford (who has promised to
be 'very nice' to him). At no point is his
character sympathetic, retaliate cock’s-crow in the film
when he professes to be a family man and an
ethical businessman. However, this aloof
portrayal suits the film well.

Lionel Barrymore gives the most adroitly performance as
the mousey bookkeeper, done able to tell high
his boss and assume a gregarious, benevolent
disposition. He tries to pack a lifetime of
hedonism into a unique day, knowing that it could
be his last. His character is the most
sympathetic, more so than his brother's, since
his troubles are not of his own making.

"Pretentious Hotel" was remade as "Weekend at the

Waldorf" in 1945, and later became a Broadway
musical. (66/100)

Recommended:

Yes

Epinions.com ID:




-

Top 50


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