One of the defining movies of the 80’s decade, The Breakfast Club remains an entertaining film which evokes nostalgia among many viewers. Inevitably, any foray into the cinema blockbusters of the 1980s will evoke a number of titles, such as Back To The Future, Beverly Hills Cop, or The Goonies. The Breakfast Club is certainly one of those films, and it’s almost universally cited as one of the preeminent films from the era. If you enjoy relationship films, it’s easy to see why, because The Breakfast Club is a movie built solely on the strength of its characters and the conflict surrounding them.

Shermer High School principal Richard Vernon (Paul Gleason) oversees the Saturday morning detention of five high school students from differing backgrounds. Confining them to the library, he fails to relate to them as individuals with a future or a purpose. Making up the cast of misfit characters are Andy Clark (Emilio Estevez), Brian Ralph Johnson (Anthony Michael Hall), John Bender (Judd Nelson), Claire Standish (Molly Ringwold), and Allison Reynolds (Ally Sheedy). Forced to spend their Saturday together, the five students strike up a conversation (with the exception of the muted Allison). For the most part, their conversation consists of picking on each other and making jokes at each other’s expense.

Continually butting heads with Principal Vernon, the teens help pass the time by uniting against Vernon and by engaging in conversation with the infinitely wise janitor, Carl (John Kapelos). Eventually, each student (including Allison, who eventually opens up) comes to understand the plight of the other. The pretty princess Claire doesn’t have a perfect life. Neither does the popular wrestling champ Andy. Brian and Allison have their own problems just like anyone else, and John puts up a front to look tougher and more hardened than he really is. In the end, the five develop a lifelong bond – with Claire and John igniting a budding relationship.

Sporting a smash hit soundtrack headlined by Simple Minds’ “Don’t You (Forget About Me),” The Breakfast Club attained instant cult classic status. The ‘brat pack’ came to define a generation and made its mark in Hollywood. A light-hearted comedy, blended together with a series of relationships between different people, The Breakfast Club’s true strength lies with the ability of its audience to relate to the issues at hand. The characters recount stories from their lives that in one way or another are easily relatable to most every American who attended high school.

It’s this universal familiarity with the themes depicted by The Breakfast Club that make it a classic adored by millions. Despite the longings of teenagers throughout time to forge unique identities and set themselves aside as revolutionary, in the end, most high schools sport the same cast of characters, and those various roles have remained unchanged for most of the last several decades. As one of the most memorable films of the 80’s decade, The Breakfast Club is a definite must-see movie.

In the new movie Ratatouille, Remy has a problem. As with many who live in France, he has a passion for fine food, and a gift for making it. His keen sense of smell serves him very well as an enthusiastic gourmet, and in his ability to pick just the right combination of ingredients to create magical flavors. And great food is that to him – magic. It has a power that fills him with wonder and awe.

Only problem is, Remy is a rat.

Merde! What’s a rat to do?

His pragmatic father, Django (Brian Dennehy), otherwise unimpressed with Remy’s culinary ambitions, puts his son to work as the family clan’s official rat poison detector. Remy (Patton Oswalt) makes do as best he can, until he is caught pilfering some saffron from a little old lady’s countryside cottage kitchen. The little old lady is not too happy with this, and reacts by spraying her kitchen with shotgun fire.

Chaos ensues, and the rat clan, which had been residing in the attic, is forced to evacuate into the sewers. Remy becomes separated from his family, and eventually finds his way into the heart of Paris. With the help of his imaginary sidekick who has taken the form of his idol, Chef Auguste Gusteau (Brad Garrett), he finds his way into Gusteau’s restaurant.

The restaurant has seen better days. It’s previous owner, Gusteau, died of a broken heart after a vicious review from the powerful food critic Anton Ego (Peter O’Toole) resulted in the loss of one of the restaurant’s 5 stars. The new chef, Skinner (Ian Holm), a pint-sized conniving tyrant with a Napoleon-complex, has not helped it. He is more interested in exploiting Gusteau’s reputation to produce a line of microwavable food products than in restoring the old restaurant’s grandeur.

Remy becomes involved in the restaurant’s fate when he reacts in horror at the sight of the garbage boy, Linguini (Lou Romano), making an inept attempt at spicing up a soup behind the cook’s back. He rescues the soup by adding some choice ingredients of his own, but is discovered. Linguini, realizing that the rat has a talent for cooking that he himself does not possess, takes him in. He and the rat work out a system whereby Remy controls him like a puppeteer, using Linguini’s hair like strings. Thus, a great culinary partnership is born.

Ratatouille is the eighth feature film by Pixar Animation Studios, and will only help to continue to cement the studio’s ever-growing reputation as a creator of technically brilliant and beautiful films that are paired with wonderful storytelling.

Movie-lovers occasionally express the lament that the soul of a movie, the story, often gets sidelined in favor of glitzy, eye-catching computer wizardry. Pixar has proved that you can have it both ways. Its talent for stunning and breathtaking computer imagery has gone hand-in-hand with compelling stories that are packed with heart and moral depth.

Following in this tradition, we are treated to the gorgeous skyline of Paris with its Eiffel Tower, the subtle detail of each scallop and piece of fruit, as well as the great depth of emotion each character shows on their face. The message of believing in yourself, of never giving up your dreams, comes through loud and clear. The importance and strength of family ties, even when those same family members don’t always understand you or your dreams, is also shown.

Foodies will appreciate the respect and reverence given to gourmet cuisine in this film. Throughout the movie, it feels as if the creators are as passionate about great food as Remy is. There is a level of sophistication and knowledge about how a gourmet kitchen works that is impressive, and is an element that will draw grownups to the film along with their kids. And even though those same kids may not quite understand what “sweetbreads” are, it would not surprise me in the least if Ratatouille ends up inspiring another generation of future chefs.

This degree of familiarity with haute cuisine is the result of cooking classes the Ratatouille crew took, as well as their consultation with professional gourmet chefs. Producer Brad Lewis even interned with Thomas Keller, the legendary chef and owner of The French Laundry. It also didn’t hurt that the Sets and Layout Manager, Michael Warch, was a professional chef before working at Pixar and holds a culinary degree.

The sense of authenticity extends into the rhythm of work displayed in Gusteau’s kitchen, which is also filled with some of the characters one might find in Anthony Bourdain’s Kitchen Confidential. There is the Sous-Chef who had been in prison for some mysterious reason (he keeps changing the story) and the tough-as-nails Colette (Jeanene Garofalo), who teaches the hapless Linguini the down-to-earth gritty realities of working in a busy restaurant kitchen.

There are some last caveats for young ones, even though the movie is rated G. Remy is often running for his life and avoiding various deadly implements. There is also a scene of a rat-poison shop that has a grotesque display of dead rats in its window. Despite all this, my 4-year-old daughter was engaged throughout the whole movie, though she did start to cry at an emotional low-point when Remy & Linguini weren’t getting along.

By the ending credits, the audience was applauding – further evidence of just how special this film was. All in all, this is a grand film fantastique that both adults and young children can enjoy (a rare treat!). You may not be able to take your child to a real gourmet restaurant yet, but you can visit Gusteau’s. Go, see it and enjoy this feast of a movie. Bon appétit!

I just saw the movie Crazy **** Cancer by Kris Carr and this is my shooting from the hip review, my knee jerk reaction. Actually, I was reacting as I was watching the film. I was once ignorant myself, just like her, in the start of the movie. My so-called incurable eczema was a better teacher, because I could see it everyday, no need for those special diagnostic equipment Kris Carr had to endure.

What first struck me was I could feel and see her FEAR. FEAR was in the air. Just because some doctor diagnosed her with some kind of cancer, there was so much FEAR, fear that this was incurable, that she was going to die. Good thing she didn’t try chemotherapy, radiation or surgery as her tumors were beyond reach of their medical technology.

It was painful for me to watch all those ignorant people in the movie… FEAR was killing them. There was one woman who was being consumed by pharmaceutical drugs!

I was unhappy Kris consumed so much grains at the start of the movie… that was a recipe for disaster. I was happy Kris stumbled upon Dr. Robert Young of PH Miracle fame, then the Hippocrates Center. What was unlucky for her was that these were closed minded, low-fat, raw vegan approaches. Raw vegan has a time and place, and it should be temporary. What was unlucky for her was that she hadn’t stumbled upon doing the detoxes… she did see the colon cleanses in the alternative healing convention but didn’t do it, nor did she do any liver flushes. What was unlucky for her was she hadn’t stumbled upon Hulda Clark and parasite killing. What was unlucky for her was she hadn’t stumbled on pollution avoidance… she still wore make up.

I don’t know if Kris Carr continued to take birth control pills, that would be a big culprit.

I am happy for her that her efforts had put her tumors on hold, but I would like to inspire her that that isn’t enough. Never accept disease. Fight with knowledge, fight with self experimentation. Kris is a good candidate to view my Cancer Cure Manual website. Make a checklist of what she has missed.

Kris must know there are levels beyond raw vegan diets, just add raw animal foods (wild ocean fish, grass pasture fed or wild land animals). Kris can go ahead and check her blood with the PH Miracle principles. Raw fruits, raw vegetables, plus raw organic animal foods with internal organs and raw animal fats will give her even better blood, better health.

I didn’t see Kris do any fasting. Orange juice fasting would have been great. VCO detoxing would have done her wonders.

Kris must know the pollution avoidance measures needed to have a better living environment. It is still consistent with Robert Young’s theories, I’m just saying there are levels of health beyond Robert Young, beyond the Hippocrates Center.

I can introduce Kris Carr to read up on Dr. Hulda Clark for her parasite insights and superb pollution avoidance measures. Then Kris should read and meet Barefoot Herbalist MH for his take responsibility for yourself, self experiment and be your own guru teachings and the very effective orange juice fast. Then Kris can read and meet Aajonus Vonderplanitz to be taught how raw animal foods and raw animal fats can be used to cure cancer. Put them all together and Kris’ tumors will all disappear.

Kris has the potential to be a cancer cure guru on her own. Maybe she will make Crazy **** Cancer 2: Now Cured.

Everybody’s got an opinion about movies, but only the pros get to offer their critique. At least, that’s the way it seemed to the founders of FilmCrave.com — a start-up website that challenges that notion the pros know what’s best.

“We were just three guys out of college who really liked talking about movies,” said cofounder/ designer Josh Collins. “But when we tried to join rottentomatoes.com [an association of professional movie reviewers], we found our opinions weren’twelcome.”

“I thought, ‘This is ridiculous. There should be a place where everyone can share reviews.’ But that place didn’t exist yet. So we decided to make it,” said Collins.

Filmcrave, which launched its beta edition on August 1st, has thousands of movies in its database, making it easy for users to search out flicks, rate or review them. But the site is more than just a place to post comments: it’s also a social networking site, much like MySpace, where users can create Top Movie lists, meet new people and maintain their own profiles.

“It’s much easier [to use] than MySpace,” says cofounder/designer Alex Olson, “And it fulfills a unique niche on the web. No one else is mixing movie content with a MySpace social networking feel the way we are.”

Filling this niche should make the site a huge success, cofounder/developer Nick Barry believes. While there are other movie related sites, none of them make user interaction their primary aim, said Barry. “Some even seem to be more like an online store than a community.”

The three friends expect the online community to grow exponentially — and continue to thumb their noses at the critics.

“Professional movie reviewers are the lapdogs of the entertainment industry,” said Collins. “Those who generate the best hype are treated

to fancy tid-bits and allowed to cozy up with beautiful people. It’s a club, and until now, none of us were invited.”

Early test users of the site agreed. “That’s why sites like this one are so important: everyone has access to the clubhouse,” said Christopher Hemann. “It’s like the angry mob with pitchforks at the gates of Hollywood exclusive neighborhoods. NO MORE ABOMINATIONS! WE’RE NOT PEASANTS — WE’RE UNPLEASANTS!”

The site is already generating intense enthusiasm, Barry says. And — who knows? — with the influence the internet is already having on movie making, maybe Hollywood will hear the roar.

A movie review gives indication as to whether or not others will find the movie worth watching. The purpose of most movie reviews is to help the reader in determining whether they want to watch, rent or buy the movie. The review should also give enough details about the movie so that the reader can make an up-to-date decision as to whether to watch the movie or not. At the same time, the review should not give away too much of the essential plot of the story.

In this article we will be discussing the guidelines that should be followed while writing a movie review. Before starting to write a review, the writer should remember the following procedure:

- Selecting the movie

- Knowing the context of the movie, such as it’s director, actors, story and many more

- Formulating the writers opinion in one sentence

- Selecting special scenes from the movie or other facts that will support the writer’s opinion.

The first step in writing the review is to watch the movie. Most movie reviewers take notes as they watch the movie. Watching the movie a second time helps to absorb a lot more detail about the movie. Most movie reviewers give their personal opinion of the movie in their review. In all good journalism, the reviewer should always give impartial details, and allow the reader to make their own opinion as well.

Reviewer’s opinions should be explained to allow the reader to determine whether the readers would agree or not. The reviewer also needs to consider the audience. Writing a movie review for children requires a different approach than if writing for a general movie audience. The review should always be written keeping the targeted audience in mind. The main essence of the movie should be retained in an outlined sketch — but it should always be remembered not to give away any essential details like surprises or a sudden turn in the plot.

Details of actors, crew members, directors should be mentioned in the review. It should also be mentioned how well they have acted and how well the movie has been made technically. The technicalities are an important part of the movie review. Technicalities include art direction, music, editing lighting, cinematography and many more.

Movie reviews even include a little bit of criticism if needed. Criticism says what could have been done to make the film better or what the weak points of the movie are. Though critical analysis is not always needed, a word or two can serve the purpose in a movie review.

Conclusion

A reviewer must always remember to give an outline of the whole story, but not give away details which hold surprises or the special essence of the film. It should be kept untold for the audience to watch the film. The movie review should be written keeping a note of the types of readers who would be reading the review. The language, presentation and technicalities of writing would also depend on the types of readers. The medium which the review will be published is also important, because if the review is published on the net, the reviewer will get mostly youth readers. However, if it is going to be published in a local language in a local daily newspaper, then the approach should be different.

Mirrors (2008)

Writer-director Alexandre Aja, along with his co-writer Gregory Levasseur, had been cruising along, showing promise within the horror genre, until (cue overwrought score) the mirrors got hold of him. Their film Mirrors is another remake of an Asian horror movie imbuing everyday objects with ghostly menace. In this case, the objects are, yes, mirrors — specifically (but not limited to) the mirrors in a run-down New York department store. Of course, jump-scares involving sudden appearances in mirrors have been a cheap horror tactic for years, so this is a little like making a horror movie about murderous loud noises.

Ben (Kiefer Sutherland) is a newly-hired night security guard at that department store, and during his patrols he’s been seeing disturbing stuff in the mirrors — charred bodies, horrible wounds, people screaming for help. This seems like an excellent time to slack a bit at work and hang back in his security trailer, but Ben persists with an investigation.

Before he actually gets anywhere, we spend a lot of time with the Sutherland character, who seems frustrated over his inability to torture his way through this wan mystery. His grim overacting recalls eighties action heroes, with a pinch of Shatner thrown in for good measure, as he anguishes over his estranged wife and kids. The idea is that no one believes this disgraced cop and recovering alcoholic when he talks about the evil mirrors, but the movie doesn’t bother with a shred of ambiguity to make all of the yelling and emoting more interesting for the audience. Eventually other characters realize Ben is telling the truth, and the story picks up a little, but only halfheartedly.

Apart from a bit of creepy imagery, Mirrors is tedious, and an odd choice for a director whose movies, good or bad, tend to set their sights far over the top. Stripped of much of his usual energy and viscera, Aja doesn’t appear to have much facility for character-driven suspense — he simply punctuates the slow-creep-plus-jump-scare formula with a handful of his trademark grotesqueries.

This places the movie in a strange realm between turgid PG-13 horror and excessive R-rated gorehounding, where the former shakes itself awake with a little of the latter. It’s actually rated R but, unlike Aja’s previous films, it doesn’t seem fully committed, like an “unrated” DVD version of itself. Or maybe it’s like an evil reflection of itself in a haunted mirror that causes the original movie to cut itself up. If that sounds even remotely spooky, Mirrors still probably won’t do much for you.

 

2.0 out of 5 Stars



Director: Alexandre Aja

Producer: Alexandre Aja, Gregory Levasseur, Alexandra Milchan, Marc Sternberg, Moritz von der Groeben

Screenwriter: Alexandre Aja, Gregory Levasseur

Stars: Kiefer Sutherland, Paula Patton, Amy Smart, Cameron Boyce, Mary Beth Peil

MPAA Rating: R



 

SOURCE: http://www.just-movies.org (visit us for more)

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A movie review gives an indication as to whether or not others will find the movie worth watching. The purpose of most movie reviews is to help the reader in determining whether they want to watch, rent or buy the movie. The review should also give enough details about the movie so that the reader can make a right choice. For that the review must deal with all important aspects of the movie such as the plot or the story.

In this article, we will be discussing the guidelines, which should be followed while writing a movie review. Before starting to write a review, the writer should select the movie he is going to write about. Knowing the details of the movie, such as its director, actors, story and such things is important. Then the reviewer should formulate his own opinion in one sentence. Lastly, special scenes from the movie or other things that will support the writer’s opinion have to be selected and given.

The first step in writing the review is to watch the movie. Most movie reviewers take notes as they watch the movie itself. Watching the movie a second time helps to absorb a lot more details about the movie. Most movie reviewers give their opinion of the movie only after watching it a second or third time. In all good journalism, the reviewer should always give impartial details, and allow the readers to make their own opinion about the film.

Reviewer’s opinions should be explained to allow the reader to determine whether they would agree with his opinion. The reviewer also needs to consider the audience. Writing a movie review for children requires a different approach than writing for a general movie audience. The review should always be written keeping the targeted audience in mind. The main essence of the movie should be retained in an outlined sketch. But it should always be remembered not to give away any essential details like surprises or a sudden turn in the plot.

Details of actors, crew members, and directors should be mentioned. It should also be mentioned how well they have acted and how well the movie has been made technically. The technicalities are an important part of the movie review. Technicalities include art direction, music, editing, lighting, cinematography and the like.

Movie reviews even include a little bit of criticism if needed. Criticism says what could have been done to make the film better or what the weak points of the movie are. Though critical analysis is not always needed, a word or two in that manner can be very good at times.

A reviewer must always remember to give an outline of the whole story, but not give away details which hold surprises or the special essence of the film. It should be kept untold to keep the suspense. The movie review should be written keeping a note of the types of readers who would be reading the review. The language, presentation and the technicalities of writing would also depend on the types of readers. The medium in which the review will be published is also important, because if the review is published on the net the reviewer will get mostly young readers but if it is going to be published in a local language in a local daily the approach should be different.

The film basically wants to send out the message that every mother wants the best for their daughters. They view their daughters as their new hope. Something might have been wrong in their past experiences that they do not want their daughters to fall on the same history. This is all about the mother and daughter relationship where the daughters gained strength from their mothers. The maternal instincts to care and to watch for their daughters, even if they are already grown-ups, are also shown in this film. Even if they have matured, they still don’t know what they’ll do with their lives because they are not experienced like their mothers who had gone through a lot. The old women are the source of their strengths and understanding in their lives.

The theme is sincere and honest simply because it is the reality among us. These are instances in our mothers’ lives that served as their turning point and were able to go on living overcoming their fears, the tragic ends and challenges. Then they pass on their stories to us, daughters, for us to learn from their ups and downs and finally set our own goals and make decisions in our own selves without the dictates of the other people.

Symbols and motifs are used in the story like Suyuan’s pendant. Suyuan gave her pendant to June when they were at the kitchen talking about the crab thing related to “best quality”. The pendant changes its meaning in the course of the story. June sees it as a mere pendant which is used by old-fashioned people and it’s old. But when Suyuan died, June somehow realized that it’s a symbol of her mother’s love and care.

Another symbol is Lena’s vase. The vase is placed in a wobbly table which her husband Harold built when he was first studying architecture. She knew putting the vase or some weight in that unbalanced table will make it collapse and finally will break the vase into pieces but she didn’t mind. The vase represents their marriage which is falling apart. She knows the situation about their marriage but she refuses to take action. But her mother Yin-Ying “accidentally” causes the vase to break to warn her of the disaster if she will not do something about it.

Lindo’s red candle is a symbol of Chinese culture with regards to the success of marriage. When Lindo was married, she and her husband lighted a red candle with wick at both ends. Their names were written on opposite ends and if the light turns all night without extinguishing prematurely, customs says the marriage will be successful and happy. But Lindo secretly blows out the light so she could get free from the dilemma. Her blowing of the candle shows that she has a control over her own life. The candle is first the symbol of traditions, then of self-assertion and to connect it the tradition of claming one’s own identity and power.

The swan feather that was given to June by her father after death of her mother the feather somewhat symbolizes the hope and beauty found in June. Suyuan wants the best for June. In her childhood, she had an unsuccessful effort to find her talent and her mother seems to compare her to Waverly because she’s more talented than June. She was an ugly duckling before. No one recognizes her and she was always last in line. But now, her mother “sees” her, the beauty in her like swan. And a swan reveals its true beauty as it spreads its wings and flips it with vigor. Just like Suyuan sees June, there’s a hope for June to have a better life and a strong personality. Upon meeting the twins in China, June took the place of her mother and told the twins the story.

Motifs are also seen in the film like the control over one’s destiny. Suyuan believes that June will reveal her talent if the two of them will work hard to discover it. But June believes there is something in her that cannot be forced, saying “you’re making me someone I don’t want. You can’t make me”. Yin-Ying believes that she is destined to marry an older man but she ended up deprived upon learning of his infidelity.