Watch Trans-Siberian Online

March 11th, 2010 by kira8882284
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Movie Title: Trans-Siberian
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This one grabbed my attention when I read about it in the Current York Times last month. The article made it sound like it might rival Hitchcock’s Strangers on a Tell or Agatha Christie’s Execute on the Orient Recount. Well it doesn’t. Not even terminate. Granted it does feature exotic Transsiberian locales from Beijing to Moscow, a drawl mosey stout of mystery and suspense, and the work of a situation of genuine actors. Unfortunately, everything that is lovely about this film is derailed by a script that takes one too many unlikely dwelling turns. So, instead of getting a suspense filled Strangers on a Assure or an elegantly paced Slay on the Orient Assure, we fetch fair another Hostel or Turistas.

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In the beginning there is the thrill that one is about to embark on an exotic skedaddle into an position for the most portion uncharted by Hollywood (Siberia), and the film does snort a few glimpses of China and Russia that entice the seek. And, at first anyway, the characters and their relationships are sharp enough to grab and absorb our attention. Woody Harrelson is always superior and here he delivers a fairly convincing performance as “Roy”, a christian volunteer doing work with needy children in China. Roy is the typical bleary-eyed American optimist blissfully unaware of his occupy naivete. The fact that he wears Woodrow Wilson styled bifocals nicely underscores his slight vision of the world. This isn’t Oscar stuff by any stretch but naivete is Woody’s forte and since this character truly is caring and compassionate and sees only the best in other people he’s actually quite likable. Since everyone else in this film is slightly jaded and gaurded and hiding a sketchy past, Roy’s optimism and openness and childlike enthusiasm for trains is actually quite refreshing. His openness is at times an asset (he is a people magnet), at other times a liability (his naivete and over-the-top Americanness manufacture him an easy target at home and abroad) .

Accompanying Roy on this volunteer breeze to China is his wife Jessie (played by the immensely talented and infinitely watchable Emily Mortimer whose previous film appearances include: Match Point, Lars and the Loyal Girl & Glowing and Fantastic) . Jessie is an peculiar match for Roy. She has experienced more of the world than he has and her adventurous, and perhaps dusky, past is something that she keeps to herself. That is until Roy and Jessie board the Transsiberian Swear and meet fellow travelers Carlos (Eduardo Noriega, best known for his work in the Spanish film Originate Your Eyes) and Abby (Kate Mara) . Carlos and Abby are seasoned travelers who view like they have seen a lot of the world, and not honest the stuff that’s in the Lonely Planet go guide. Though well traveled, they are younger than Roy and Jessie and peaceful bulky of wanderlust for the world and each other. Being around them reawakens Jessie’s beget aloof simmering wanderlust. Reckless and impulsive Carlos awakens her sense of pain and her sensuality (which have remained for the most share dormant during her time with Roy) ; and unrooted and dangerous Abby reminds her of her possess younger and riskier, and as yet unmapped, self. Abby represents that side of herself that Jessie misses but also fears so she feels threatened by but also protective of Abby who is traveling down a lot of the same paths and traveling down them for many of the same reasons that Jessie formerly did. Abby’s attraction to Carlos reminds Jessie of her occupy attractions to such men when she was that age and therefore she has conflicting feelings for Carlos: her younger self wants him, her older self wants him out of the record. The fact that Jessie has a past and an thought of many different types of existence makes her an pleasurable observer of human nature and as a result she takes astounding pictures. But this avocation, like her relationship with Roy, is also a pleasant one. It allows her to indulge her interest in the disordered variety of life that she is attracted to but also to fill a responsible and apt distance from that world. However, her pictures also provide clues to an undeniable truth about Jessie. In the most memorable scene of the film a detective handles her camera and begins to scan through her photos while she nervously watches vivid the disagreement between culpability and liberty is only one delete button away. Mortimer does an exceptional job with the role. This character is burly of surprises, including self-surprise, every step of the map.

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The film could have worked well had it confined itself to developing the personal histories and tracing the evolving relationship dynamics and life trajectories of these four characters as they fade together in finish quarters on an exotic bid passing through one snowy Siberian locale after another. Instead, the film decides to consume a different route and heads off into the usual Hollywood thriller terrain: drug smuggling, torture, cancel, trainjacking & smashing etc… In other words, at about the halfway point, the film foregoes character search for (and subtlety), and becomes your usual lurid, predictable, and forgettable summer flick.

I saw this movie in Los Angeles and was plesently surprised. This movie had me glued to my seat until the credits rolled. Anderson clearly has created a mystery masterpiece telling the fable of a clueless couple, Woody Harrelson and Emily Mortimer, stuck on a putrid country squawk scuttle through the grim backdrop of a post-soviet Russia. The two are caught in a whirlwind of drug-smuggling, torture and curved cops. I haven’t been this impressed with a movie for a long time and can’t wait to select this sucker on DVD disc!
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Watch Carrie Online

March 10th, 2010 by kira8882284
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Movie Title: Carrie
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Seeing this movie on cable is nothing compared to actually seeing it uncut and rated R. Unlike the ludicrously-conceived sequel, which hit theaters in 1999, this movie does not have a strong emphasis on blood or gore, and there is an evident emotional factor as well. The viewers can actually sympathize with Carrie White as she goes through her adolescent period, endures the hardhips of being the center of ridicule and banter, and her feelings of happiness when Tommy asks her to the prom. Sissy Spacek plays her character to a T, making the emotions believable and realistic. Piper Laurie, who plays her mother, is the pinacle of the tight-fisted parent who allows for nothing degrading to enter into her child’s life or mind. Brian de Palma has truly done a good job in recreating the Stephen King classic, and while some factors of the movie and the book differ at different times, there is level-headed a remaining quality of justice done to the original. This movie will also construct some people consider twice before making fun of anyone again. To all who observe this, I hope you indulge in it.

Stephen King’s first unusual that was adapted into film version is quite factual to the author’s words. While Stephen King was less than glad with the film version of his malevolent masterpiece, “The Incandescent”, King was quite overjoyed with Brian De Palma’s direction and his vision with “Carrie”.

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Sissy Spacek in her debut role as the freakish, troubled and telekinetic Carrie White. Sissy beat out Melanie Griffith and Carrie Fisher for the title role that launched her career.

The shapely Piper Laurie is cast as the ravenous religious fanatic, stark-raving, bible beating, madwoman and Carrie’s mother, Margaret White who chastises Carrie relentlessly and has a penchant for locking her daughter in the closet with a really creepy, crucified Jesus statue and candles so that Carrie may repent of her atrocious, gross and womanly ways.

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Amy Irving as the well-to-do town doctor’s daughter Sue Snell and Amy’s real-life mom, Priscilla Pointer as the “cocktails at five socialite”, Mrs. Snell.

William Katt plays Tommy Ross who asks Carrie to The Bates High School Senior Prom, the butch, Betty Buckley as the ultimate in P.E. teachers from Hell, Miss Collins, Nancy Allen, Brian De Palma’s wife as the horribly cruel and self-absorbed, Chris Hargensen, John Travolta as the boy from the base side of the tracks, Billy Nolan and P.J. Soles, the “whore” from Halloween as Chris’ best friend and partner in crime, Norma Watson.

Even a young Edie, (Grace from Ferris Buehler’s Day Off and the car rental lady from Planes, Trains, and Automobiles) has a bit portion.

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The staunch star here, however, is Brian De Palma’s direction and the cinematography in “Carrie”. The opening shower scene rivals “Psycho”, the Senior Prom dance scene makes the viewer dizzy no matter how tiny a mask you survey it on, the split-screen King and Queen and ensuing bloodfest is masterfully directed and shot along with the dream sequence that was filmed backwards in the extinguish. However, my popular scene is where Margaret White is crucified a la “creepy Jesus statue” style, by her bear daughter!

A Top 10 Fear Film In My Book!

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Stream The Essential Steve McQueen Collection Movie Online

March 3rd, 2010 by kira8882284
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Movie Title: The Essential Steve McQueen Collection
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You could call him the unexcited one. McQueen had a talent for portraying quite a lot with minimal dialog and that’s the blueprint he liked it. He has maybe 75 lines off dialog in “The Blooming Seven” yet his presence is equal to that of star Yul Brynner. You’d be forgiven for being confused about which Steve McQueen boxed region to grasp. MGM has recently released “The Steve McQueen Collection” which features four McQueen classics that have previously been available on DVD; “The Thomas Crown Affair”, “The Handsome Seven”, “Junior Bonner” and “The Sizable Sprint”.

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“The Principal Steve McQueen Collection” is a different beast entirely; it does feature 1 title that is no different than the previously issued version -”Papillon”. All the rest have either never been issued or, in the case of “Bullitt”, are now in two disc deluxe editions that accomplish this status a worthwhile addition to any collection.

The crown jewel of this spot is the unique deluxe edition of “Bullitt”. McQueen plays San Francisco detective Frank Bullitt. He’s been assigned to protect a sight for a major trial. The see, though, is murdered. Before the post-mortem has begun, Bullitt hunts for the killers and plans on nailing them. Featuring an astounding high accelerate dart through the streets of San Francisco and shot entirely on residence, “Bullitt” was Peter Yates’ first major US film and it crackles with energy.

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“Papillon” tells the record of a thief nick-named Papillon for the spacious butterfly tattooed on his chest. (McQueen) framed for slay in France and sent to Devil’s Island for life. From the moment he steps on the boat headed to the prison he’s planning his rush. He agrees to protect a financial thief Louis Dega (Dustin Hoffman) . Schaffner’s film portrays Papillon’s attempt to survive on Devil’s Island until he can figure out an run thought. Although this isn’t Schaffner’s best film, it has a number of grand moments that equal his classic films “Patton”, “Planet of the Apes” and “The War Lord”. McQueen more than holds his believe with diagram actor Hoffman.

“The Cincinnati Kid” features McQueen as Eric Stoner a dash playing ace who challenges the best gambler around “the Man” Lancey Howard (Edward G. Robinson) . A terrific performance by Edward G. Robinson allows Robinson to almost seize the describe under McQueen’s nose. With a terrific supporting cast, “The Cincinnati Kid” would be one of the most memorable films about gambling until “Rounders” three decades later.

“Never So Few” features McQueen in the third billed role of Bill Ringa a member of the O.S.S. fighting the Japanese during World War II in Burma. Ringa and his Captain Tom Reynolds (Frank Sinatra) are in Burma to whine the Kachin natives in how to fight the Japanese. Reynolds fights dirty when Chinese rebels tainted over to Burma to destroy and loot the American soldiers stationed there. Although it’s not one of director John Sturges (”The Dazzling Seven”. “Ice Situation Zebra”) best films, “Never So Few” provides McQueen with a role that continued his breakthrough as a actor. It also inspired Sturges to cast McQueen in “The Heavenly Seven”.

“The Getaway” almost got away without being made. Originally Peter Bogdanovich was to command with his girlfriend actress Cybil Shepherd in the lead. When she dropped out so did Bogdanovich. Luckily director Sam Peckinpah stepped in and the rewritten script by Walter Hill was tooled for McQueen. Scandal broke out on the location when McQueen became enthusiastic with his co-star Ali McGraw (who was then married to Paramount head Robert Evans) . McQueen plays thief Doc McCoy who has been paroled. The only plight is that Sheriff Beynon (Ben Johnson) expects him to do a gigantic robbery for him. He plans on killing McCoy afterward but things don’t quite work out the blueprint that Beynon intended.

“Tom Horn” (McQueen) a tracker and “enforcer” who dispensed justice in the former west takes a job to halt cattle thieves. When things catch messy and Horn has to waste some of the rustlers, the ranchers who hired him want Horn stopped. He’s establish on trial for the destroy of a 15 year customary boy. The next to last film McQueen made before he died in 1980, is a surprisingly mighty and gigantic western. The screenplay by novelist/screenwriter Thomas McGuane (”The Missouri Breaks”, “92 in the Shade”, “Rancho Deluxe”) and Bub Shrake (”Nightwing”, “J.W. Coop”, “Songwriter”) portrays a character out of time; Horn’s style of dispensing justice faces the gray world of corruption and politics. McQueen gives one of his best nuanced performances in a film that didn’t do all that well at the box office. It’s a pity as it’s a stout movie that deserves a wider audience. Luckily, for those who catch the boxed site they’ll finally score a chance to gape this classic western.

The previous DVD edition of “Bullitt” looked quite superior but can’t compare to the newly digitally remastered transfer here. Image clarity, color and detail for “Bullitt” is ample. The sound is surprisingly spry with a nice 5.1 remix that doesn’t quite exhaust the format to its best advantage but that’s not a surprise given that the film is nearly 40 years used. “Papillon” comes with the same transfer as it received in 2000. Image quality is fine but the negative could exhaust restoration and/or digital filtering to orderly up the print/improve it. It does feature a modern 5.1 remix (which wasn’t advertised on the box of the previous release and I don’t choose if it had it or not on the 1999 release but I suspect not) .The colors aren’t radiant and vibrant but they fit the general atmosphere of the film and are fairly factual to the unusual theatrical exhibition if a bit stale. “The Getaway” looks terrific again considering the age of the movie. The blacks are rock solid and the colors as smart and brilliant as they’ve ever been. There’s the occasionally soft image but, on the whole, “The Getaway” looks gracious. “Never So Few” also looks quite suited particularly when you contemplate the age of the negative. It receives a solid transfer with intellectual colors and nice image clarity. “The Cincinnati Kid” also looks exceptionally obedient with nice color reproduction and image quality. It’s distinct that some digital restoration was done to the most original releases here and “Kid” does abet from it. “Tom Horn” looks extremely suitable with titillating images, radiant and intellectual colors. Although a tad grainy (like most of the films here) that has more to do with the stock ancient to shoot the films and the condition of the negative than the transfer. In most cases, the graininess adds to the character of the films. All six films feature 2.0 Dolby Digital Surround soundtracks (in addition to the 5.1 remasters for “Papillon”) . All sound crisp with nice clarity to the dialog and music.

“Bullitt” gets the most attention here. Featuring two glorious documentaries on the film and McQueen, we also find the modern vintage featurette on the film. “The Cutting Edge” examines the the art of movie editing with a gape into other films during the editing process as well. “Steve McQueen: The Essence of Chilly” is a terrific biography on McQueen that provides a lot of information previously unknown about the actor. There’s also the recent theatrical trailer included as well. “The Getaway” features the recent theatrical trailer only. “Papillon” has the unusual promotional featurette produced for the film as section of the extras as well as the trailer. “The Cincinnati Kid”, “Never So Few” and “Tom Horn” all have only the novel theatrical trailer for the respective films. It’s a pity that Warner chose not to do a documentary or at the very least a featurette on “Tom Horn”. Since it’s about a dependable historical figure and making the film was a passion for McQueen, it would have been appropriate and provided considerable needed information on the historical figure and the production of this exquisite overlooked film.

“Bullitt” comes with an trustworthy commentary by director Peter Yates. “The Getaway” features a “virtual” commentary culled from interviews of McQueen, Peckinpah and McGraw as well as a commentary by Peckinpah biographers/documentarians Cut Redman, Paul Seydor, Garner Simmons and David Weddle. “The Cincinnati Kid” has a noble trivia filled commentary track by director Norman Jewison.

Between this release and “The Steve McQueen Collection”, McQueen fans will have most of his vital films. Although there are a few gems missing from these collections (due to contractual issues no doubt), most of the films here are among the best McQueen made. “The Getaway” and “Bullitt” receive most of the attention here with terrific commentary tracks and extras. “Papillon” probably could have primitive a face pick with a novel digital transfer and a commentary track by a film historian (or Dustin Hoffman) but it looks like we’ll have to wait for this minor classic to find its due another time. The other missed opportunity in this honorable location is the lack of extras for “Tom Horn” One of McQueen’s finest later films and a terrific western that presaged films like “The Unforgiven”, “Inaugurate Range” and “Wyatt Earp”, it’s a perfect period fraction about the transition of the old-fashioned west into civilization and those who were lost along the blueprint.

If anyone deserves a box site it’s Seve McQueen. The greatest of the Hollywood “Mans Man”. McQueen made some gargantuan movies for Warner Brothers as he did for MGM before them, and we are lucky to accumulate the unbelievable Warner Brothers DVD treatment that they have bestowed on their original box location.

While The Gargantuan Sprint is my personal celebrated McQueen film I am overjoyed to scrutinize BULLIT, and NEVER SO FEW in the same plot. It’s sparkling laughable seeing a movie not starring Steve McQueen in his box dwelling. Never so few was a staring vehicle for Frank Sinatra, but because of his scene stealing co-star Sinatra went on represent as calling NEVER SO FEW a McQueen film. It also had a substantial Director John Sturges who also made THE Beautiful SEVEN, and THE Big Hasten with McQueen.

PAPILLON, THE GETAWAY, THE CINCINATTI KID, and the very underated TOM HORN are also included in the awesome box residence. I was not yet born when Steve McQueen passed away, but I can notify you this, I have not been on the planet for more than twenty three years, but I can safely say that there has not been a actor/stuntman cooler than Steve McQueen.
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Hello world!

February 28th, 2010 by kira8882284

Welcome to Idea2blog.com. This is your first post. Edit or delete it, then start blogging!