The Week in Original Content: 'Ghost Protocol' Blu-ray Review, When Kids Can Watch 'Bully,' Weird Wrestling Promos and More

The Week in Original Content: 'Ghost Protocol' Blu-ray Review, When Kids Can Watch 'Bully,' Weird Wrestling Promos and More
By Peter Hall Apr 13, 2012
Monday, April 9

Watch: An Exclusive 'The Darkest Hour' Blu-ray Clip Reveals the Sequence That Got the Movie Made by Peter Hall
'Mission: Impossible - Ghost Protocol' Blu-ray Review: Great Entertainment Both In Front of and Behind the Camera by Peter Hall
8 Long-Delayed Films That Actually Turned Out Great by Tara Bennett
March Movie Madness Tournament: Which Summer Movie will Rule Them All? (The Final Four Begins!) by Sean O'Connell
ActionFest Countdown: The Final Lineup of Films, Special Guests, How to Win a VIP Badge and More by
3D Throwdown: Are 'Chicken Little,' 'Tintin,' and 'The Three Musketeers' Worth Watching in 3D at Home? by Todd Gilchrist
Tuesday, April 10

When Can I Watch 'Bully' With My Kids? by Sean O'Connell
The VOD Report: 'Iron Lady,' 'Albert Nobbs' Now Streaming by Robert B. DeSalvo
Buy Me, Rent Me, Forget Me: A New Herzog Doc, an Alien Invasion, an Australian Thriller and More by Peter Hall
Wednesday, April 11

The Major 'Hunger Games' Fan Sites React to News That Gary Ross will Not Direct ‘Catching Fire’ by Perri Nemiroff
'The Three Stooges' and the Most Awkward and Embarrassing Wrestling-Related Movie Promotions by John Gholson
The Ultimate 'Avengers' Trailer, TV Spot and Clip Roundup: Here's Everything That's Currently Online by Erik Davis
'Skyfall' Set Visit Preview: We've Got Details on James Bond's Next Adventure, Plus 4 New Images by Rick Marshall
The Conversation: What Are People Saying About 'Battleship'? by Christopher Campbell
March Movie Madness Tournament: Which Summer Movie will Rule Them All? (Region 3 and 4 - Round Four) by Sean O'Connell
‘The Hunger Games’ Countdown: The Movie Is Out and So is Gary Ross, So What’s Next? by Perri Nemiroff
Short Rounds: Five Director Suggestions for 'Catching Fire,' with Video Proof! by Daniel Walber
Dialogue: Drew Goddard Talks Bringing ‘The Cabin in the Woods’ to Life While Shielding Its Dark Secrets by Perri Nemiroff
Thursday, April 12

The Conversation: What Are People Saying About 'The Avengers'? by Christopher Campbell
Watch: An Exclusive TV Spot for 'Marley,' a New Film About the Life of Iconic Musician Bob Marley by
The Last Sci-Fi Blog: Where the Heck Is Our 'The Forever War' Movie? by Jacob S. Hall
Girls on Film: Hollywood and the War Over the Female Body by Monika Bartyzel
Friday, April 13

The 10 Scariest Sci-Fi Prisons From Movies & TV by Rick Marshall
Dialogue: ActionFest's "Female Star of the Year" Gina Carano on Kicking Ass On Screen and Off by Fred Topel
The Week in Movie Posters: 'Django Unchained,' 'Cosmopolis,' 'Rust and Bone' and More by
Best/Worst Movie Promos of the Week: ‘Django Unchained’ and ‘Moonrise Kingdom’ Win Big with Unique Imagery by Perri Nemiroff
The Weekend Rent: Five Movies That Laid the Foundation for 'The Cabin in the Woods' by Robert B. DeSalvo
Free Movies

Relation Between the Industry and Movie Reviews

The films that are being released every year indicates the changing trends in the movie industry, especially as these trends are related to what a movie review tells us.

Popular trends include sequels, movies that continue the story for ever. Films released recently do not generally make for good sequels. Sequels are even made of films that were released long ago. Website content writing for such movies becomes a lot more difficult as you have to go through a lot of history and details before you can actually start content writing for a movie.

There is an accepted trend in making movies out of popular cartoons, comics, history and literary works. Major film industries aren't letting go of the chance to cash in on the popularity of best selling graphic novels and turning them into successful films. In website content writing, movie critics will also have to flow with the trend. They will also have to go through the book or the novel before they see the movie. This will give them a better idea about how the movie was made in context of the book or the novel. Content writing for such movies is really a taxing affair.

Comics as well as graphic novels are a favorite amongst directors and producers every year. Comic-based movies are trending worldwide. Movie makers are also bringing back to life popular cartoon characters and cashing in on their ever-lasting popularity.

With the television industry adding new features almost every year like internet movie streaming, the manufacturers of televisions are facing a downward trend. Research has stated a decline in the worldwide sale of LCD TVs in the coming months. This will be the first ever decline that they have to face since the launch of LCD TV in 2000.

Many popular TVs can now be connected to the Internet, a drift which started almost a year ago with restricted functions, such as news and weather. Now, advanced systems and new partnerships will provide online streaming movies through the TV.

Features for top tier TV models also include advanced representation of fast-moving scenes and a low usage of power. Sony, LG, Toshiba Corp. and Samsung Electronics Co. will introduce TVs that can display Flickr photos, YouTube videos and many more with just a broadband connection.

TV manufacturers have already upgraded the TVs to 240 frames per second without setting up more new frames. The first eco-friendly line of LCD TVs is the 00 Eco Bravia models that consume almost 40 percent less power, exceeding the usual requirements.

Last, most analysts agree 3-D viewing is the next big wave coming to the consumer electronics industry. Watching films on the Internet is becoming popular, and will only enhance the reviewer's ability to do a fast movie review.

All these changes in the industry will subsequently change the method and quality of article writing for movies. Article writing for movies will become more crisp and clear as the critics will be able to view better picture and sound quality. Even the slightest mistake will shine on the screen giving the critics a chance to include them in their article writing.

Bhavesh B is an avid writer and regularly writes movie reviews and articles. Get in touch with him for latest movie reviews and other  web content writing services now!

Peliculas Online

My Verdict on Balance (1989) A Short Film

If one wants to understand the directors' vision of the short film Balance, he/she would have to possess great knowledge of German history or be prepared to delve into the subject. The leading political parties in those days may have (and I use 'may' because I'm not entirely surely) curtailed the freedom of expression, which including films by censoring direct references or attacks against the government. Unless we have lived in those times or are as curious as Leo Tolstoy about World history, we may not understand many elements in Balance: the numbers on the... (What should I call them?) daunting figures, why these figures looked identical, and what the musical box represented etc, since they are represented symbolically.

But one can grasp a general idea about the film- some say it is about corruptive power, some feel the movie castigates materialism while a few reviewers with good historical knowledge talk about fascism and related topics. After a couple of watches, I observed one small detail that cleared some concepts in my mind- the person who was sitting on the box while the platform kept tilting left and right managed to eliminate most of his companions, and while at first he does this accidentally, by the end his deed is deliberate and cruel.

This made me think of the box as some form of throne or title. Before it arrives, the five work in perfect harmony till the contents of the box are heard by the characters. Then one decides to do away with the box (he possible prefers harmony) and tries to create an imbalance to knock off the foreign object. But he is stopped by another as the rest witness the action, baffled. When one begins to dance to the music playing from within the box, another applies pressure on the platform to bring the box towards him. This causes the performer to sit on the box to prevent falling, while the rest move hurriedly in a state of panic and confusion. The guy on top of the box doesn't push the first guy intentionally and we can make this out by the look on his face. The second person too is kicked accidentally, but when the man had an option to save his last mate, he decided not to.

Now understand this situation using this context: the man on the box or the throne inevitably acquires power. The first few times people close to him suffer unintentionally by him or the power he has (the weight of the box) and he can be exonerated for those crimes. But when the person realizes that the box is the source of dominance, he cuts off any others' reach by killing them intentionally and deviously. No one is left to question him, and he seems to be satisfied in the ending. But he doesn't realize how lonely his position at the top is and how far he is from 'power' in metaphorical terms (he doesn't get the fruits of power).

Everyone should see Balance at least once for the various messages it sends across. But make sure about the kind of film you are in the mood for: this isn't your Pixar, happy, all's-well-that-ends-well treat.

Peliculas Online

My Review of 'Tyrannosaur' - A British Film Released in 2011

Since I'm evidently having troubles in beginning my review, I shall try to make my job easier by putting in another movie to clear my own understanding on 'Tyrannosaur'. The second movie was also a British film that came out in 2009 and starred Colin Firth as a gay professor suffering from melancholic depression, plus it was made by a first time director who is also a fashion designer. Yes, I'm talking about 'A Single Man' which made a quiet reception on the box office but was commended by critics for Colin's heartbreaking performance. In spite of loving the film and Firth's performance, I did realize that the film circumscribed itself to three or four major characters and intended largely on creating an atmosphere. 'Tyrannosaur' does the same thing by limiting its scope to Joseph and Hannah's characters or rather their perspectives and leaving out all extraneous details. We don't know much about Hannah's husband except that he is rich, jealous and dastardly; we also do not get much details of Joseph's life since the script limits us to witness his perpetual aggression. It could all have been dangerously one note had Olivia Coleman and Peter Mullan not made their characters so engaging and uncompromising. Like Colin Firth and Julianne Moore in 'A Single Man', they don't make their actions and dialogs seem 'movie-like' (think a 'Tarantino' film) but sustain the tense suburban atmosphere requisite for 'Tyrannosaur'.

The movie is about Joseph, a middle aged man with a dangerous mind - he is violent, foul-tempered, vituperative, and alcoholic. Before the opening credits begin, we already hear F and C expletives from him as he leaves the bar in a drunken state. He kicks his own dog so hard in the ribs it dies despite his attempts to save him. He is always in the 'attack then repent' mode until he meets Hannah at her store where he hides after assaulting some teenagers. Hannah behaves at first like a woman who will do good for others always and Joseph condemns in quite a colorful language this clichéd nature of hers. Joseph's impact on Hannah proves life-changing for her and she realizes that having total faith in God and believing he will do good isn't any use and that she had to take up matters in her own hands (her pathetic childless marriage). This unleashes the rage inside her which she had repressed for so long; on the other hand, for Joseph things begin turning around as he takes the initiative to stop pitying himself.

The title of the movie that has been debated by many for being hastily chosen, foolishly chosen, deliberately chosen to give an 'Indie' appeal and for some, completely wrong as the movie had no dinosaurs in it. I do agree that the director Paddy Considine has picked out a remote idea for the film's title and its more because the film does not venture much in giving us enough background details. The motif of Joseph's late wife and the similarity between her and Hannah should've been more pronounced. Paddy does give us clues about Joseph's relationship with his wife, especially in that small moment where his sister quips "Doesn't this remind you of something?" or something like that when a battered Hannah comes to her place and he asks his sister what should he do with her. And then there is the conversation between Hannah and Joseph later, but it's all too fine for a motif that is the title of the film. Then comes the relationship between Hannah and Joseph: How shall this be critiqued? What is shown to us seems disturbing and spooky enough to make us wonder whether Hannah should've ever met Joseph. I also want to point out the motif of prayer that was constantly spoken of in the beginning could've had more development as the plot progressed. The plot duration itself is a bit sketchy as if we take that Hannah had spent a couple of days with Joseph, how is it that the truth came out so late; surely suspicions are bound to arise when 'the house seems quieter than usual and people don't show up at work' (I'm trying my best to avoid any spoilers). And let's completely forget about the Muslim shop owner angle and overlook the fact that cops rarely seem to appear.

Coleman is so darn good here - take that scene where Hannah's husband arrives at the garments' store just as she puts a tie around Joseph's neck. Her husband threatens to deal with her once she returns home (he doesn't say this aloud as Joseph is present) while Joseph watches her reaction from the changing room. Coleman conveys Hannah's fear and tremulousness so convincingly not just through her face but also through her body movements we totally feel for her character. It's a shame I didn't notice her the first time I watched the disappointing Iron Lady (I like most other viewers was gushing at how good Streep was). Even there, she convincingly reacts to her mother's demential condition. And Mullan does a fine job of making Joseph seem as a man haunted, enraged, trapped and dictated by his past actions. The cinematography is another noteworthy thing - the flat, gray, bleached look to highlight the grittiness of the film. In a scene where Hannah drinks nonstop out of frustration and fear, as the lights keep flashing on her, for a moment it seemed the color of her eyes changed to bright yellow (maybe I'm just imagining) similar to an effect in the movie 'Black Swan'.

Tyrannosaur is intense and difficult to digest, and the performances go hard. Maybe it would've cut deeper had a few more minutes been added (especially towards the ending) to do its themes more justice.

Peliculas Online

My Review of Pandora' Box, a 1929 German Film Starring Louise Brooks

Pandora's Box is a 1929 German silent film about the life of Lulu, a beautiful, lively, gregarious but opportunistic and manipulative woman who gets everything she wants with her seductive charms. Her life takes a positive turn at first when one of her lovers', a wealthy editor in chief Mr Schon agrees to marry her, and she is able to break into show biz. But after she kills Mr. Schon in retaliation, her life disintegrates till she is reduced to go back to her old profession as a street-walker.

A lot many viewers today regard Louise Brooks' uncanny performance as bold, uncompromising and naturalistic. However, in 1929 soon after the film's release, a reviewer from New York Times had said that her expressions were 'hard to decipher at times'. After watching the film twice in two days, I too had similar question about Brook's character Lulu: what is her ultimate aim? Sometimes we find her confident and heedless of her actions but at others she radiates warmth and sympathy which contradicts her former emotions.

Take Lulu's relationship with Mr. Schon, for instance. At the stage show in Act 3, Ludwig Schon along with his fiancé oversee the backstage happenings. When Lulu finds her lover with his fiancé, she flips out. The camera pans on her face and she genuinely seems heartbroken in that frame. That act made me believe Lulu, despite her promiscuity and love for money, truly loved the rich editor in chief. But during act 4 and especially in Act 5 after the ruckus in the courtroom scene, I found myself confused about Lulu's character. I remember Natasha's character from War and Peace who took some reckless decisions driven by instinct but that character, despite being unpredictable, at least had consistency. Therefore we could anticipate to an extent what she might do and become more curious about the situation. I could not say the same about Lulu at points in the film, and this may be partly attributed to the fact that the movie is silent and therefore doesn't have rather advantage of dialogs.Had there been dialogs, I would've probably got a better insight into Lulu's personality. But I should credit Brooks for giving her best shot and making her character starkly different and almost contemporary for that time; her killer looks are something to die for, seriously.

I also didn't find some cohesiveness in the storytelling as well. Gustav Diessl's character, a brutal motif serving as a resolution to Lulu's life, should've got more screen time. In fact, I was under the impression she would ditch Alva, the son of Late Schon and Lulu's hapless lover, and make off with that waiter whom she was flirting for a moment at the 'hospitable and discreet' gambling den. I also felt the character of Schigolch could have had more development; it was ironical when Lulu ends up at a garret ( she had mentioned before that she wouldn't want to go back with Schigolch to his old garret), but the initial scene when Lulu danced as Schigolch played his mouth organ could've been brought back towards the end ( like showing Lulu putting on an entertaining act along with Schigolch on the streets trying to fetch some money or attracting some bawdy men perhaps). For some reason, the initial unimportant scenes, though entertaining enough, are unnecessarily stretched. For example, when Lulu refuses to perform the skit, the director could've showed her running straight into the property room instead of having Schon coming to her, pressing her arm in front of the crew and ordering her to perform ending with Lulu telling Rodrigo that they'd do the skit they had planned, before getting into the room with Schon.

The film's take on lesbianism is praiseworthy and Alice Roberts deserves credit for not shying away from the role. In fact, I heard she had pitched the idea of making the character of Countess Augusta a lesbian. She displays her affection so naturally, understanding the essence of her role. I remember an episode from the reality show Top Chef when one of the female contestants was highly appreciative of a fellow lady contender, and was extremely upset when the latter was eliminated. It was later told during the reunion episode that the two women had pursued a relationship after the show. And I saw the same behaviour from Roberts' character - two thumbs up for her performance.

Even though chiaroscuro is heavily used to the point that sometimes characters lose their facial features, I didn't think there was any purpose to the lighting whereas in movies like Citizen Kane, the lighting created depth, style and personality. The background music is flat and for most part inconsequential and the reason I could not find a connection with the film could be attributed to this element; it seemed to say 'watch the film like you watch any other film, and when the movie finishes, you leave'. For a movie that included controversial subjects, couldn't the background music be more radical and risky instead of a generic orchestra?

Pandora's Box seems to have gained critical acclaim over the years. But apart from Louise Brooks' risky performance and the fact that controversial subjects were tackled, I did not know what I was supposed to feel after the movie. Is Pandora's Box really worth the curious peek or is it just an empty box?

Peliculas Online

My Review of Genius Frederic Back's Oscar Winning 'Crac'

Moving images evoke emotions in a manner still frames don't, at least for me. Paintings have always eluded my sense of appreciation because I don't receive signals that would take me into their world. In moving images do I get solace because they visibly attempt at delivering their message. It is the lustrous moving images in Crac that made me cry and fall in love with the beautiful and enchanting world it depicts.

The story is about a craftsman who makes a rocking chair for his love, and after they get married keeps the rocking chair at home while the couple becomes a family with the arrival of children (and plenty of them). The chair is a mute witness to their lives, as it changes from growing green to ripening red and finally fading yellow.

If you look at the Storyline section in IMDb, it says Crac is about the industrialization of Montreal as seen from the view of a rocking chair. This description seems too literal and banal and would discourage youngsters from watching the short. To me, Crac is the celebration of human life in the wonderful, advancing world symbolized in the form of a swaying rocking chair. More than the event, it is the human experience that counts; if we disregard the human aspect that concomitantly progresses in order to adapt to changing circumstances, than we remain narrow-minded. Frederick Back, like the literary stalwart Leo Tolstoy, has enmeshed history and humanity with more poignancy but using hand drawn Impressionistic strokes instead of words, than most modern Pixar films can do with spectacular life-like animation.

Frederic Back's mind works like Walt Disney's as both visualize the world in a profoundly imaginative way. Watch a Walt Disney short and you may find a living train panting and tugging the rail tracks to reach the destination. Similarly, in Crac, the crib inside which a child is play acting turns into the car he imagines. Also, minimalistic paintings come alive and dance surreally in the art gallery. Only a childlike mind could show the images so beautifully without making the action seem corny or saccharine. There are delightful and ingenious moments in Crac, for example, the dance sequence during the marriage where at first, only the craftsman and his wife begin after which a third character magically appears from behind and then the entire space is filled with happy couples. Also wonderful is the dreamy sequence of sheep in the sky when the mother is putting her kids to sleep. And the spectacular moment at the art gallery after the curator leaves. Or even the tiny bit in the beginning where the craftsman proposes to the lady and she blushes, and her upper body looks like a heart. But the most striking part is Back's observation of children. In the art gallery, while the adults in their expensive clothes try to make sense out of abstract works, the children are lured by this simple rocking chair, and a ride on it puts a big smile on their faces. Also commendable is the use of music and sounds, which mainly consist of folk music, the echoing sound of a child's laughter, the switch, the bursting bubble gum etc.

I'm borrowing Robert Christgau's words to describe Crac in a nutshell: 'Frederic Back's Crac evinces a remarkable resemblance to care- that is to care, that is to caring in the best, broadest, most emotional sense.' Tell whoever you know to watch it.

My Rating: 5 out of 5

Peliculas Online

My Review of Auteur Frederic Back's Classic 'The Man Who Planted Trees'

I excessively quote about Leo Tolstoy and his works nowadays in whatever I write since I'm on the verge of finishing his masterpiece 'War and Peace'. The reason for this is the universal truths that are constantly invoked in the book through the events in the lives of its characters. In one of the paragraphs, Tolstoy describes a real life character Dokhturov as 'a person who was considered inferior to others and quite neglected while quoting history but stood valiantly in the thickest of battles and the trickiest of situations without consideration for his own life. Such people were forgotten soon because people usually do not notice the most consistent and essential people but the ones who have stood because of some reasons. People such as Dokhturov are like the cog wheels in machines that quietly spin and run the entire system but most tyros who see the machines functioning oddly will foolishly assume a tiny visible chip to be the most significant part.'

Elzeard Bouffier is such a character; he is least perturbed by the World Wars and any other political situation happening around him. His only ethos is to serve Mother Nature that has provided him his fundamental needs - food, water, shelter, clothing and most importantly, life. He tends sheep, raises bees and plants trees everyday; he does not blow his own trumpets, he doesn't want fame, glory and recognition, all he wishes to do is to serve nature and humanity. Like the cog wheel he does his work brilliantly, but remains unnoticed, unrecognized and he wants it that way. And indeed we the audience do not hear Elzeard speaking but are introduced to him by a nameless narrator who dedicates the entire short to the former. How ironic is it that while Elzeard remains nameless in his world, we the audience know his name and not the narrator's!

The story begins with a hazy view of the sky and birds and then closes in on nebulous clumps of brown that represent hills and valleys. Our young narrator then begins reciting his journey - he wanders lonely in the hills with no water and not much hope to live. Shapes begin forming at a distance and we realize there is a small town ahead albeit a decrepit one who's church remains undamaged but deserted. He vainly searches for water in the town and leaves the place soon. His eyes are caught by the sight of a tall object in the distance which he assumes to be a tree stump but later realizes it's a shepherd with a stick in his hand. The kind shepherd offers him water and takes him along to his home; the narrator observes that though the man is extremely quiet, his eyes seem to show keen discernment and determination. At the shepherd's abode, the narrator is offered soup and later the two of them sit at the table where the shepherd, Elzeard Bouffier begins segregating seeds of acorns on the basis of their quality. The narrator offers help, but Bouffier doesn't need it as he knows only he has the eyes for such a task. He selects the best hundred acorns and puts him in his tiny bag. The inquisitive narrator is so intrigued by the man he makes an excuse not to leave the next day only to know more about Bouffier. He finds out that the man is on a mission to plant trees wherever the soil is favorable and has already planted a hundred thousand seeds in the last three years. The writer then meets him after the First World War to see that entire area is burgeoning with growing trees and young streams. His unique relationship with this altruist, environmentalist and visionary continues throughout their lives and we blessed viewers get to be a part of it.

Frederic Back's works give us a feeling as if we are in a dream, however, we aren't just in any dream but one that we shall remember for a long time. This style suits short stories that are generally transient in nature- people generally don't phase out short stories as they do while writing novels; shorts come spontaneously and produce the best result when they are still fresh in mind. This artistic form wouldn't suit full length Pixar films but they create a magical effect here. Notice the scene where we see the narrator holding a bowl in his hand in the right part of the frame, and a hand and vessel magically appear on the left side to serve the writer his soup. Or the transition where the wall in Bouffier's house transforms into his cloak in the next scene. Or the herd of sheep becoming warring soldiers in the subsequent scene. Or the distorted scene that depicts the plight of the villagers. Every single frame comes alive with the use of wax pencils on frosted cel - a translucent material that is superimposed on a basic frame in order to give depth to an image. Since much of the work is hand drawn, the director has a lot more freedom to dabble with his work and provide that storytelling feel. And how can we forget the terrific use of sound that enchants us right from the beginning as we hear the clear music in the background and the audible footsteps of our narrator to the later portion where nature and human sounds dominate the picture?

My university had organized an Environment Awareness event recently where I was in the management team. Almost the entire event was marked with amateur performances, skits and poems, and in the end, I was shocked that the most important part of planting seeds was subordinated to a feeble ten minutes where we actually had to scatter the seeds that were placed inside balls of mud! Is this true compassion towards nature? Of course not. True passion comes from those people who like tiny cog wheels that operate actively but invisibly.

Peliculas Online