Søgeresultat: performance anti taches
American History X [1999]

American History X [1999]

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Perhaps the highest compliment you can pay to Edward Norton is that his Oscar-nominated performance in American History X nearly convinces you that there is a shred of logic in the tenets of white supremacy. If that statement doesn't horrify you, it should; Norton is so fully immersed in his role as a neo-Nazi skinhead that his character's eloquent defense of racism is disturbingly persuasive--at least on the surface. Looking lean and mean with a swastika tattoo and a mind full of hate, Derek Vinyard (Norton) has inherited racism from his father, and that learning has been intensified through his service to Cameron (Stacy Keach), a grown-up thug playing tyrant and teacher to a growing band of disenfranchised teens from Venice Beach, California, all hungry for an ideology that fuels their brooding alienation. The film's basic message--that hate is learned and can be unlearned--is expressed through Derek's kid brother, Danny (Edward Furlong), whose sibling hero-worship increases after Derek is imprisoned (or, in Danny's mind, martyred) for the killing of two black men. Lacking Derek's gift of rebel rhetoric, Danny is easily swayed into the violent, hateful lifestyle that Derek disowns during his thoughtful time in prison. Once released, Derek struggles to save his brother from a violent fate, and American History X partially suffers from a mix of intense emotions, awkward sentiment and predictably inevitable plotting. And yet British director Tony Kaye (who would later protest against Norton's creative intervention during post-production) manages to juggle these qualities--and a compelling clash of visual styles--to considerable effect. No matter how strained their collaboration may have been, both Kaye and Norton can be proud to have created a film that addresses the issue of racism with dramatically forceful impact. -- Jeff Shannon, Amazon.com
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American History X [1999]
Riverdance - Live From New York City [1996]

Riverdance - Live From New York City [1996]

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The Irish hard-shoe sensation Riverdance underwent its second incarnation with Live from New York City, a 1996 performance filmed at Radio City Music Hall. The dazzling choreography and energetic score remain, but Michael Flatley was replaced by less-flamboyant Colin Dunne, a superb technician who works well with Flatley's former colead, Jean Butler. About half an hour longer than the 1995 original, Live from New York City expands upon the second act's theme of the Irish leaving their homeland for other parts of the world. In the most engaging new number, "Trading Taps", a trio of Irish dancers faces off against two urban American tappers. While much of this show will be familiar, it's different enough to be enjoyed on its own terms. It's also more stylishly shot, but that's also its biggest drawback--frenetic editing that allows only brief glimpses of the dancers and leaves the viewer dizzy. --David Horiuchi
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Riverdance - Live From New York City [1996]
Meet The Parents [2000]

Meet The Parents [2000]

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Randy Newman's opening song, "A Fool in Love", perfectly sets up the scenario of Meet the Parents: "Show me a man who is gentle and kind and I'll show you a loser". Greg Focker (Ben Stiller) is the fool in love. Just as he's about to propose to his girlfriend Pam (Teri Polo), he learns that her sister's fiancé asked their father, Jack Byrnes (Robert De Niro), for permission to marry. Now he feels the need to do the same thing. When Greg meets Jack, he is so desperate to be liked that he makes up stories and feebly attempts to ingratiate himself with his prospective father-in-law rather than having the courage of his convictions. It doesn't take an elite member of the CIA to see right through Greg, but unfortunately that's precisely what Jack is. Directed by Jay Roach (the Austin Powers films), Meet the Parents is a well-crafted comedy that makes for a pleasant contrast to the sloppy excesses of the Farrelly brothers. Stiller is great at playing up the uncomfortable comedy of errors, balancing just the right amount of selfishness and self-deprecating humour, while De Niro's excels as the intimidating father. Blythe Danner as his wife, the Gracie to De Niro's George Burns, is the true heart of the film and Owen Wilson turns in yet another terrific comic performance as Pam's ex-fiancé. -- Andy Spletzer, Amazon.com
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Meet The Parents [2000]
Elizabeth : Special Edition [1998]

Elizabeth : Special Edition [1998]

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One of the big Elizabethan-era films of 1998, Shekhar Kapur's Elizabeth serves up a brimming goblet of religious tension, political conspiracy, sex, violence, and war. England in 1554 is in financial and religious turmoil as the ailing Queen "Bloody" Mary attempts to restore Catholicism as the national faith. She has no heir, and her greatest fear--that her Protestant half-sister Elizabeth will assume the throne after her death--is realised. Still, the late Queen Mary has her loyalists. The newly crowned Elizabeth finds herself knee-deep in dethroning schemes while also dodging assassination attempts. Her advisers (including Sir William Cecil, superbly played by Richard Attenborough) beg her to marry any one of her would-be suitors to stabilise England's empire. No matter that she already has a lover. The passionate Robert Dudley (Joseph Fiennes) is married, however, and shows he cannot stand up to the growing strength of the Queen. With the help of her aide Walsingham (Geoffrey Rush), Elizabeth strikes against her enemies before they get to her first. But her rise ultimately entails rejecting love and marriage to redefine herself as the indisputable Virgin Queen. Cate Blanchett's Oscar-nominated performance as the naive and vibrant princess who becomes the stubborn and knowing queen is both severe and sympathetic. Her ethereal, pale beauty is equal parts fire and ice, her delivery of such lines as "There will be only one mistress here and no master!" expressed with command rather than hysterics. As striking as Blanchett's performance is the film's lavish and dramatic production design. The cold, dark sets paired with the lush costuming show the golden age of England's monarchy emerging from the Middle Ages. Rich velvet brushes over the dank stones while power is achieved at any price, and with such attention to physical detail, Elizabeth fully immerses you into its compelling chronicle of pioneering feminism and revisionist history. -- Shannon Gee
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Elizabeth : Special Edition [1998]
Stalag 17 [1952]

Stalag 17 [1952]

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Black comedy and suspenseful action inside a German POW camp during World War II--a setting that was later borrowed for the American TV sitcom Hogan's Heroes. The great director Billy Wilder adapted the hit stage play, applying his own wicked sense of humour to the apparently bleak subject matter. William Holden plays an antisocial grouse amid a gang of wisecracking though indomitable American prisoners. Because of his bitter cynicism, Holden is suspected by the others of being an informer to the Germans, an accusation he must deal with in his own crafty way. Holden, who had delivered a brilliant performance for Wilder in Sunset Blvd., won the 1953 Best Actor Oscar for Stalag 17. Very much his equal, however, is Otto Preminger, an accomplished director himself, who plays the strict, sneering camp commandant. -- Robert Horton
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Stalag 17 [1952]
DVD: The Gershwins' Porgy And Bess

DVD: The Gershwins' Porgy And Bess

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A performance of Gershwin's opera 'Porgy And Bess' performed by the London Philharmonic Orchestra; conducted by Simon Rattle.
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DVD: The Gershwins' Porgy And Bess
The Beatles : Anthology [1995]

The Beatles : Anthology [1995]

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The Beatles Anthology was initially broadcast as a TV miniseries to run alongside the series of three Anthology double-CD albums. This set of eight documentaries has the heft and scope of one of Ken Burns' expansive projects. Still, you may find yourself with more material--particularly about the Beatles' early lives as lads in Liverpool--than you'll want to watch. The documentary material is copious, including early performance films and tapes, at the point before they found their true voices. The actual Beatlemania years--beginning in 1963 and concluding in 1970--feature extensive performance films, as well as home movies and archival material. The best parts, of course, are the interviews with the Beatles themselves, who produced the entire thing. Along with reworking two previously unreleased John Lennon tracks as "new Beatles songs", the Anthology includes some unseen Lennon interview tapes so that his acerbic voice can be heard as well. This stands as a comprehensive document of that heady period, the second coming of rock & roll, as the Beatles took what Elvis had started and expanded upon it exponentially. This box set gives a solid sense of the historical context and the way these four musicians changed the world around them in the 1960s. -- Marshall Fine
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The Beatles : Anthology [1995]
Gumboots [2000]

Gumboots [2000]

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Since making its UK debut in 1999, the African music and dance show Gumboots has become one of the most exhilarating theatrical experiences of recent years. A unique mix of exquisite tribal harmony singing and high-energy choreography, the show not only took Britain by storm (this was filmed live in London) but also transferred to Broadway with equal success. Taking its premise from gumboot dancing (originally devised as a form of communication by 19th-century South African gold miners), the show combines this with songs and dialogue telling the story of the region, both pre and post-Apartheid. Performed with unflinching enthusiasm and charisma by the nine young men of the cast, this recording manages the rare feat of capturing the atmosphere of the show's live performance. The singing is beautiful (easily equal to the more celebrated Ladysmith Black Mambazo or superb Black Umfolosi) and the dancing proves just as thrilling as the Stomp or the Riverdance franchise. A perfect souvenir for the many thousands who have already savoured the experience, this is likewise highly recommended for those looking for a new one. On the DVD: The performance footage is backed with an utterly superb 53-minute documentary that explores the roots of gumboot dancing, placing it and the music that accompanies it in a cultural and political context. Examining all aspects of South African life, the film also reveals the inspiring story of the cast themselves--all young men from the South African townships who have taken their show from the streets of Soweto to the theatres of New York, never once losing their charm, purpose or desire to continue the process of cultural development in their own country.-- Phil Udell
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Gumboots [2000]
DVD: The Boston Strangler

DVD: The Boston Strangler

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One by one, the victims fell, each death more gruesome than the last. The actual murders that rocked Boston in the 60's are the gripping subject matter of this unforgettable police thriller. Henry Fonda stars as the investigating police detective. Tony Curtis delivers a stunning performance as the psychopath Fonda must conquer. Filmed in a documentary style that makes the horrifying events all the more real, THE BOSTON STRANGLER is one of the most powerful films in its genre.
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DVD: The Boston Strangler
Broken Arrow / Speed / The Siege [1999]

Broken Arrow / Speed / The Siege [1999]

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A high-profile action/exploitation thriller set in the late 20th century, The Siege is really a fantasy that extrapolates from major terrorist bombings, such as the one at the World Trade Centre. Denzel Washington is FBI special agent Hubbard, "Hub" to his friends, whose anti-terrorist task force must track down the terrorist cells responsible for a spate of bombings in New York. His partner is an FBI agent of Arabian extraction (played convincingly by Tony Shalhoub), proving not all Arabs are bad guys--a point the film should be lauded for making again and again. Thrown into the mix is a CIA spy (played almost kittenish at times by Annette Bening), whose ties to the terrorists appear to be at the centre of the conflicts. When the bombings escalate out of control, the President institutes martial law, sending in General Devereaux (played with impenetrable countenance by Bruce Willis) with tanks and troops to ferret out the terrorists. Echoes of Japanese-Americans in internment camps ring out as Arabs, including the son of the Arab-American FBI agent, are herded into a stadium. Periodic audio-montages of "man in the street" sentiments anchor the material in the present and show how serious and relevant the material is. But finally what we have is a taut and entertaining popcorn movie, giving itself the humanistic nod when it can. -- Jim Gay, Amazon.com
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Broken Arrow / Speed / The Siege [1999]
Talking Heads - Stop Making Sense [1994]

Talking Heads - Stop Making Sense [1994]

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Over the course of three nights at Hollywood's Pantages Theatre in December 1983, filmmaker Jonathan Demme joined creative forces with cinematographer Jordan Cronenweth and Talking Heads ... and miracles occurred. Following a staging concept by singer-guitarist David Byrne, this euphoric concert film transcends that all-too-limited genre to become the greatest film of its kind. A guaranteed cure for anyone's blues, it's a celebration of music that never grows old, fuelled by the polyrhythmic pop-funk precision that was a Talking Heads trademark, and lit from within by the geeky supernova that is David Byrne. The staging--and Demme's filming of it--builds toward an orgasmic release of music, rising from the bare-stage simplicity of Byrne, accompanied only by a boom box on "Psycho Killer" to the ecstatic crescendo of "Burning Down the House", by which time the Heads and additional personnel have all arrived on stage for a performance that seems channelled from heaven for the purpose of universal uplift. (God bless Demme for avoiding shots of the luckiest audience in 80s pop history; its presence is acknowledged but not at the viewer's expense.) With the deliriously eccentric Byrne as ringleader (pausing mid-concert to emerge in his now-legendary oversized suit), this circus of musical pleasure defies the futility of reductive description; it begs to be experienced, felt in the heart, head and bones, and held there the way we hold on to cherished memories. On those three nights in December 1983, Talking Heads gave love, life, and joy in generous amounts that years cannot erode, and Demme captured this act of creative goodwill on film with minimalist artistic perfection. Stop Making Sense is an invitation to pleasure that will never wear out its welcome. --Jeff Shannon
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Talking Heads - Stop Making Sense [1994]
Oliver Twist

Oliver Twist

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If Charles Dickens were alive to see Roman Polanski's faithful adaptation of Oliver Twist, he'd probably give it his stamp of approval. David Lean's celebrated 1948 version of the Dickens classic and Carol Reed's Oscar-winning 1968 musical are more entertaining in some ways, but Polanski's rendition is both painstakingly authentic (with superb cinematography and production design) and deeply rooted in the emotional context of the story. Both Polanski and Dickens had personal experiences similar to those of young Oliver (played here by Barney Clark)--Polanski in the Nazi-occupied ghettos of Poland during World War II, and Dickens during his hard-scrabble youth in Victorian London--and this spiritual kinship lends a certain gravitas to the tale of a tenacious orphan who escaped from indentured servitude in London society and is taken in by Fagin (Ben Kingsley) and his streetwise gang of pickpockets. As the evil Bill Sykes, who exploits Oliver for his own nefarious needs, Jamie Foreman is no match for Oliver Reed (in the '68 musical) in terms of frightening menace, but even here, Polanski's direction hews closer to Dickens, while the screenplay by Ronald Harwood (who also wrote Polanski's The Pianist) necessarily trims away subplots and characters for the sake of narrative economy. All in all, this Oliver Twist rises above most previous versions, and with the benefit of Kingsley's nuanced performance, Polanski arrives at a compassionate conclusion that captures the essence of Dickens' novel in a way that viewers of all ages will appreciate for many years to come.-- Jeff Shannon
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Oliver Twist
Donizetti: L'Elisir D'Amore (The Elixir of Love) [1996] (NTSC)

Donizetti: L'Elisir D'Amore (The Elixir of Love) [1996] (NTSC)

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It's hard to think of a couple better suited to play the romantic leads in Donizetti's comedy L'Elisir d'amore than husband-and-wife team Roberto Alagna and Angela Gheorghiu. Both are charming on stage, and both have voices to die for: Gheorghiu's dark liquid tones are particularly spine-tingling, and her coloratura abilities awe-inspiring, and though Alagna has mainly concentrated on the more spinto (powerful) roles of the tenor repertoire, in 1996 when this live production was recorded his voice was just a little fresher and lighter and thus perfect for the bel canto gracefulness of Donizetti's writing. His performance of "Una furtiva lagrima", for example, is meltingly sung and free from all temptation to overplay the high notes. Frank Dunlop's 1920s-set production doesn't quite produce the belly laughs some stagings manage (in Dulcamara's patter song, for example), but has a certain small-town wistful charm nonetheless. The orchestral accompaniment under Donizetti expert Evelino Pidò is spot on, and never falls into the banal "oom-pah" trap that such simple writing can often lead to. Overall, it's a production of great charm. On the DVD: L'Elisir d'amore comes to disc with a 52-minute film on the history of the opera and its recording, with contributions from Alagna and Gheorghiu, and subtitles in English, French, German, Spanish and Chinese. The Lyon opera house is particularly well set up for video recording, and Brian Large does a sophisticated job of capturing a live performance: it's hard to believe at some points that the cameras aren't actually on stage in the middle of the action. Just occasionally this leads to the singers not knowing where to look and seeming a trifle lost, but generally the performances work superbly well on the small screen. -- Warwick Thomson
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Donizetti: L'Elisir D'Amore (The Elixir of Love) [1996] (NTSC)
And Now You're Dead [1998]

And Now You're Dead [1998]

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And Now You're Dead may nominally be a heist movie about two rival gangs out to steal a diamond, but in reality it's an excuse for a series of exceptional action set-pieces as only Hong Kong cinema knows how to do. The film is actually set in Prague and features both a mixed Chinese and European cast, and some fairly horrendous dubbing. Fortunately no one is going to be watching for the dialogue, and the plot--assorted gangsters betray each other, while others find friendship and redemption--has been replayed endlessly since John Woo's A Better Tomorrow (1986). While Michael Wong makes an acceptable Chow Yun Fat substitute as professional thief Marty, Shannon Lee's ruthless assassin is a revelation. She is Bruce Lee's daughter, and having already appeared in Dragon: The Bruce Lee Story (1993) and Blade (1998), she delivers perhaps the toughest action heroine since Linda Hamilton's Sarah Connor in T2. It's a breathtaking performance, especially in a deliriously extended police station battle which recalls the original Terminator. Overlook the clumsy comic relief and the sub-Bond finale, and settle back to enjoy an insanely frenzied bloodbath packed with over-the-top stunts and razor-sharp martial arts. --Gary S. Dalkin
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And Now You're Dead [1998]
21 [2008]

21 [2008]

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An unconvincing exercise in moral complexity, 21 is based on Ben Mezrich's book Bringing Down the House: The Inside Story of Six M.I.T. Students Who Took Vegas for Millions. Jim Sturgess ( Across the Universe) plays brilliant blue collar scholar Ben Campbell, whose doubts that he'll win a scholarship to Harvard Medical School compel him to join a secret, M.I.T. gang of math whiz kids. Under the silky but chilling command of a math professor (Kevin Spacey), Jim and the others master card counting --the statistical analysis of cards dealt in blackjack games. The team lives a humdrum existence during the week, but on weekends in Sin City the students are rolling in cash, frequenting exclusive clubs and feeling on top of the world. Ben even gets the girl: a comely fellow card counter played by Kate Bosworth. Despite all the success, Ben feels ethically compromised and indeed director Robert Luketic ( Legally Blonde, Across the Universe), in the old tradition of American movies, plays it both ways where fun vices are concerned. On the one hand, it feels so good --on the other, ahem, we know it's wrong. That studied ambivalence proves wearing after a while, making the most interesting character in the film a casino watchdog played by Laurence Fishburne. A master at reading the emotions of gamblers beating the house with a scam, he's admirable for being good at his job, but repellent for wrecking the faces of counters in casino dungeons. He's all about moral complexity in the tradition of anti-heroes, and a truly provocative element in an otherwise superficial movie. --Tom Keogh
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21 [2008]
Sharpe's Battle / Sharpe's Sword [1995]

Sharpe's Battle / Sharpe's Sword [1995]

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Based on the novels by Bernard Cornwell, Sharpe (1993-7) ran to 14 full-length television films that follow the adventures of the titular soldier through the later years of the Napoleonic Wars. The programmes are an outstanding achievement for the small screen, dominated by Sean Bean's central performance as the heroic, troubled outsider who turns out to be a resourceful and loyal leader. Bolstered by a strong supporting cast, particularly Daragh O'Malley as Harper and (in later episodes) Abigail Cruttenden as Jane, Sharpe is often visually striking, the action tense and gripping. Consistency is maintained by all 14 episodes being directed by Tom Clegg. On the DVD: Sharpe on DVD's sound is full-bodied stereo while the very "sharp" (pun intended) picture has been transferred slightly letterboxed at 14:9. Though looking much better than the original TV transmissions the occasionally cropped framing makes it apparent the films were shot in 16:9 widescreen, so it is regrettable they have not been transferred to DVD in that format. Otherwise these are first-rate releases. -- Gary S Dalkin
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Sharpe's Battle / Sharpe's Sword [1995]
Crossfire [1947]

Crossfire [1947]

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Crossfire was nominated for the 1947 Best Picture Oscar won by Gentleman's Agreement. Gentlemen may propose, if not agree, that Crossfire was better. Like its upscale rival, the film noir raises the specter of anti-Semitism in America: just after World War II, an affable Jew (Sam Levene) is beaten to death by one of several GIs out "crawling." Solving the crime takes all night, but for the audience the killer's identity is scarcely in doubt; Robert Ryan's chilling study in psychopathic bigotry scored him his lone Oscar nomination. He's nearly matched in creepiness by Paul Kelly as an odd nightbird married to sultry Gloria Grahame. Two other worthy Roberts--Young and Mitchum--respectively play the police detective and the Army sergeant wondering which of his guys is a murderer. Incidentally, the hot button in the Richard Brooks novel was not anti-Semitism but homophobia--a sweaty subtext in Edward Dmytryk's film. -- Richard T. Jameson
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Crossfire [1947]
Rob Roy [1995]

Rob Roy [1995]

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One of the most invigorating period adventures to hit the big screen in decades, this lavish, brilliantly directed film drew critical and audience raves when it was released in 1995. Inspired by historical fact and larger-than-life legend, the intelligently scripted story takes place in Scotland in 1713, when Highland farmer and clan leader Rob Roy MacGregor (Liam Neeson) is forced to borrow money from the duplicitous aristocrat Marquis of Montrose (John Hurt) to help his clan survive a harsh winter. When Montrose's vile henchman (Tim Roth) schemes to dishonour MacGregor and his wife (Jessica Lange) and take the money for himself, the rugged Highlander must take courageous action to preserve his integrity. What follows--along with some of the finest sword-fighting ever filmed--is a tale of courage and valour destined to become an enduring movie classic. Tim Roth received a well-deserved Oscar nomination (for Best Supporting Actor) for his indelible performance as the foppish but deadly villain Cunningham, and both Neeson and Lange bring an earthy, sensual quality to their passionate roles. Boasting a wealth of breathtaking scenery and high-intensity action, Rob Roy is further blessed by a splendid supporting cast (including Brian Cox and Eric Stoltz), and the lush soundtrack by Carter Burwell strikes a perfect balance of romanticism and vigorous dramatic energy. --Jeff Shannon
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Rob Roy [1995]
DVD: Thank You For Smoking

DVD: Thank You For Smoking

Se flere produkter fra Dvdoo
Nick Naylor (en uhyggeligt overbevisende Aaron Eckhart) er en charmerende debattør. Så god at han elegant tryner anti-rygerne live på prime time TV - selvom de stiller op med en døende, tobaks-kræftsyg teenager.Nick har nemlig valgt at bruge sine verbale trylleevner som talsmand for tobaksindustrien (regningerne skal jo betales, som han selv udtrykker det). Rigtigt/forkert betyder ingenting. Det drejer sig udelukkende om at vinde diskussionen. Men da en veldrejet kvindelig journalist (Katie Holmes) - med endnu mindre moral end Nick selv - fanger ham med bukserne nede, og lader ham smage på lidt af hans egen smagløse medicin, begynder Nick at overveje, om det nu også for enhver pris er værd at få ret..?
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DVD: Thank You For Smoking
New Order - Finsbury Park 9th June 02 [2002]

New Order - Finsbury Park 9th June 02 [2002]

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Finsbury Park, 9th June 02 is what it says on the cover: an unadorned video record of New Order's outdoor concert in London on that date. As such, it suffers slightly from the same incongruity as any manifestation of New Order live. One tends to picture the creators of such sonic miracles as "Bizarre Love Triangle" and "Regret" wearing star-spangled robes and pointy hats; the prosaic reality of a bunch of blokes wearing jeans and T-shirts is inevitably somewhat disappointing. There are other, more fundamental, problems with this performance. Granted that the sound is better than the sound at open-air concerts usually is ("Love Will Tear Us Apart" is especially tremendous), but whatever ambience may have been generated in the mud on the day has not translated to the small screen; there is an unintentionally poignant moment during the exhumation of Joy Division's "Atmosphere" when one shot over Barney Sumner's shoulder lingers on a distant burger van. Nor does it help that Sumner frequently, and off-puttingly obviously, refers to an autocue at his feet. Given that anyone who has taken a serious interest in British pop over the last 20 years knows all the words to "True Faith" and "Temptation", it is extraordinary that the man who wrote them doesn't. On the DVD: Finsbury Park, 9th June 02 has subtitles in English, French and German. Sound is available in Stereo, DTS 5.1 Surround and Dolby Digital 5.1. Special features include a brief documentary called "New Order 9802", which comprises clips of their 1998 British tour and a few reminiscences from fans, and a three-minute montage of black and white footage of the set-up and sound check at Finsbury Park, titled "Earlier in the Day". There is also a song selector. -- Andrew Mueller
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New Order - Finsbury Park 9th June 02 [2002]
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