Social Security Radiculopathy

All is well! The Kids Are All Right

This film insipidus was entitled to his little Oscar nomination for best film. Almost every year, it's the same one or two small films typically "indie" are appointed for the ultimate prize of American cinema in distress but it is noticeably fashionable to praise it and watch with envy in the French media. Examples of these indie films we remember best are Juno and Little Miss Sunshine . Same ingredients, same recipe, same success. These films also need to model the ultimate disaster American Beauty Sam Mendes, a real Academy Award Winner of a sad memory that we have all at one time or another, rotten two hours of our lives, and we had already pinned on our pages. But back then to this film by Lisa Cholodenko, a filmmaker who hardly resembles the slave model that gives us hope his name and his obviously gay. Cholodenko actually interested in her latest shoot a blended family of small lezbdos suburbs of California.

Lisa Cholodenko proudly displays the number of ideas it has already had

Early in the film, when our patience and hope are still pumped up, we say that this story of father (Ruffalo) whose arrival disrupts the lives of a small family homoparental (Julianne Moore Annette Bening and their two teenagers) will perhaps give something funny, surprising, original, funny. Not at all what the hell! Everything is sewn with white thread, and nothing ever happens! Nothing! Nay! Sure, the couple of lesbians is fairly credible, which is not bad in a film Rican shit and which also earned Oscar nomination for Annette Bening this year. Certainly (in trivia the devil), the daughter of Steven Spielberg has a small role in this film. But other than that ... Other than that! We find many of the usual tics course movies "indie", which of course the omnipresent music with, in mind, David Bowie, definitely very popular in these films, but also things like Deerhoof latest, Fever Ray, Tame Impala. Anyone can, as usual, fun to take this film to a blind-long test of half past one. Where it gets boring is when these references are more direct, including a dinner scene where Annette Bening tetanic Mark Ruffalo and repeat in chorus Joni Mitchell. "No how pinkeuzoïde Ow, if you gafftasste Some Some grododendron, ye . If you sent this scene, you can safely assume that you have survived what must be one of worst movies of last year. At Ease!

small preview of one of those interminable "food scenes" in which we are spared nothing, not even the "moment toothpick"

Moreover, about scene "meal" should be also know that this film is particularly stuffed. That must be a record. Unheard of! We see the protagonists constantly eat their food disgusting while exchanging banalities confounding. Gotta be six scenes "meals" and God knows it's unbearable to see all these actors who pretend to chew and return their tongues in their mouths the same way. It really wonder if they have already eaten one day to realize that it does not happen like that and we certainly do not like it when you eat ... And shit, we do not eat your mouth open! My cousins I still do, and it is a Tragedy eat in front of them since that time. See it in this film reminds me of those terrible moments. There's also this terrible film two or three scenes so-called "brushing teeth" and, as usual, no toothpaste, but the characters are still pretending to spit their phlegm in the sink at the end. I do not know about you, but I deal with this sad spectacle, I see in infra-red! Obviously, we would not pay attention to these details if there was also some interesting things on the screen. But as it happens almost nothing, we are surprised to get a ball for the atrocities we have seen, and suffered a thousand times elsewhere. This film, which wants to be very deep, no better than any episode of Desperate Housewives we have extended by one hour.

The actor left the air to quell his plate, thinking "Ras and tired of these flat-bio végétalo lezbdos, what about my manhood?"

Besides being a great big pile of manure, The Kids Are All Right also ends fairly hideous advocating a morality sadly doubtful. Basically: a family must necessarily remain curled up on itself to survive. Mark Ruffalo is therefore kindly requested to visit Moreover, while everyone was really attached to him yet, so that everyone could taste her irresistible juggernaut of the Latin Middle West. Finally, how about this film without mentioning the terrible plan on prawns wilted Julianne Moore? The most famous Hollywood actresses redheads here loses what little sex appeal that was left on the edge of his 70 brushes, and she'll probably hang like a millstone terrible image the rest of his career. An image that is not ready to leave me. If you follow me well so far, you have guessed that Julianne Moore embodies a lesbian. However, it is well known: lesbians do not watch their body is totally negligent, dress like rags and do not pluck. QED Josée Dayan! This seems to be a fact, but it's still surprising that a lesbian (Cholodenko) prepare such a portrait of his own camp. She shoots himself in the foot, either. Lisa "2 IQ" Chodolenko when epilating does not putrefy our legs literally and inevitably become a purplish color, while repugnant and overlapping black hair, something even more surprising in a Pure redhead like Roger Moore. Frankly, this is one of the ugliest things I've seen in my life.

Argh!

Indie Film forces, was also entitled to some fairly explicit sex scenes between Mark Ruffalo and Michael Moore, where the two actors seem to literally "take their feet" for Julianne purplish, hairy kinky Marco . At the very beginning of the film, Moore also administer one guesses what is commonly called a "cuni lingus" to Annette Bening who wanted nothing so much and who still seemed to be ignoring a "Juicy Lucy" first class. After 20 years together, it is breathtaking about the love that will bring these two characters can not knowing that one has purple legs and the other is the "glorious rain" as soon as we tickle a little. Given all that, we rejoice necessarily be in a movie "indie" Rican. It's crazy what they dare to do, show, suggest. I who have subscribed to BangBros, ForcedBabySitters Spankwire and I could not believe my peepers. You bet ... Die Lisa Cholololenko, returns to play tennis! You and your two ideas, you can even do a double!

Presumably surprised by his own cobra and the intensity of pleasure felt, Mark Ruffalo "descends from the train" so as not to upset the actress not quite menopausal by a jet unfortunate

I will end my review with a little trivia from his store, noting that it is rather ironic that Annette Bening plays a lezbdo she is actually married to the biggest "serial Fucksters" of Hollywood in the person of Warren Beatty. Warren Beatty, the actor who says terrible round of interviews he has degummed over 3,000 women and children throughout his life, and counting . Chilling ...

All is well, The Kids Are All Right Lisa Cholodenko with Annette Bening, Julianne Moore and Mark Ruffalo (2010)

Mario Salieri Free Films

100 Dollars for a sheriff

I finally saw the 100 Dollars for a sheriff Henry Hathaway. And to my taste it is much better than True Grit , his successor directed by the Coen brothers, which I previously reviewed on these pages (I recommend reading the article in question before you begin the latter because they are directly related). I still have not read the novel by Charles Portis doubly appropriate in 1970 and 2011, so I do not know if the two films are meant to scrupulous adaptations the letter of the original text, it is certain that the Coen takes almost exactly the unfolding narrative Hathaway, scene by scene, and his dialogues, word for word (except for two sequences on the character of Texas Ranger and few side gags). We can quite legitimately talk about remake, no offense to our cranky cronies. However the two films remain quite different. They share a few flaws, like some lengths (including very slow to initiate action itself of the film), and a certain heaviness through gossip too long. However these works do not really share the same qualities.

In fact I found the original Hathaway much more beautiful than its remake, this beauty is through staging, hanging in the sequence, for example, or simply by what is seen directly on the screen, namely the wide open spaces of the American West, sublime, the Coen brothers ever do filming. As such the original comes to us like a breath of fresh air if it is discovered after his dismal remake. Hathaway's film is beautiful but much more complete, more interesting, more intelligent too. The characters are certainly less directly tasty (It is also necessary to appreciate the broad strokes drawn with a trowel from those of the Coen brothers), but they are also widely richer and denser. This is true for heroin, Mattie Ross, played by Kim Darby in the 1970 film, which very intrepid and fierce child is no less fragile and innocent. It is much more convincing and touching as the unbearable Haille Steinfeld with his head cocked first-class running through the film of Coen reciting dialogue that articulates up to dehumanize them better, while forcing the a tone that quickly becomes exhausting. It is also true supporting roles, like the man which is then cut your fingers down into the cabin, played in the film by Hathaway a very young Dennis Hopper gives body to this ephemeral character - note that the role taken by Ned Pepper Barry Pepper was originally embodied by a dashing Robert Duvall, another aspiring actor and future iconic figure of the cinema of the 70s. To return to this scene in the hut, I must confess that I took this brief orgy of violence for a signature Coen, it is not, even if instead of taking a bullet in the back the second gangster blew himself cheek.



But I cease any digression here and I hang up the cars of my modest demonstration of the supremacy of the characters is especially true for Hathaway's character Cogburn, much less histrionic in the guise of the indefatigable John Wayne, also more ambiguous, as in this scene where he compares the thugs to mere rats should be exterminated. A funny scene indeed frankly, that does not appear in the remake of Coen, like most of the gags and good replica of the original film, usually supported by John Wayne. The Coens have seen fit to erase the already present sense of humor and replacing it with theirs, and unfortunately, the match is final, the film Hathaway wins soundly. It is certainly a sober western too long with a fairly classic plane-plane, but it is nonetheless a very good movie whose remake pales, which failed in erase flaws and he has breathed new, far more damaging.

100 Dollars for a sheriff Henry Hathaway starring John Wayne, Kim Darby, Robert Duvall and Dennis Hopper (1970)

Sample Speech For Trainers

Manhunt

This film is part of Fritz Lang classics that stand out to the movies in February 2011. It was then that I discovered this work among the first that the great German filmmaker has done after his exile in America. His flight to the land of freedom was motivated by the proposal made to him by Goebbels to direct the film propaganda of the Nazi party. This is in response to this offer devilish, and even before the entry into the war the United States, that runs Lang Man Hunt in 1941, political thriller charged against the Nazis that sounds like an exhortation to the America's commitment in the war. The story, an introductory panel presents as a fable, originally published in newspapers and made a great noise, is that of Captain English Thorndyke (Walter Pidgeon), a famous hunter of wild beasts, who, in 1939, on the eve of the war, Hitler holds his gun after spectacle. The man simply first press the trigger of a gun is not loaded, such as a sports hunter refusing to kill but happy to have won the chase. And finally, during which the thief, Thorndyke load his gun and prepares to fire when a sentinel seizes him.

The German officer Quiver Smith (George Sanders) who is responsible for interviewing Thorndyke after his men have beaten and who is himself a great hunter, offers his prisoner to free him without restraint if he agrees to sign a document attesting that he has indeed tried to kill Hitler and the assassination attempt was sponsored by the British government. Such an admission would in effect for Germany to blame for England for a declaration of war immediately justified. But Thorndyke, right in his boots though strained, refuses. Lang then seems to afford some good staging daring for its time and for such a topic. During the discussion away that oppose the two fighters and officers, a plan, insisting rather long and surprises the viewer, a plan that seems very composed and juxtaposed Quiver Smith, filmed in the American plan and looked forward to the shadow cast on the ground of his prisoner-overs, and slumped sitting. So it seems pretty clear that the handle of the sword of the German officer, worn on the belt, could easily symbolize an erect penis familiarly the shadow of his opponent's face savaged English. Or when a breath of symbolism takes Hitchcock Film Lang (in a film that was originally to be filmed by John Ford, for the record).

Getting back to the story, refusing stubbornly to cooperate, Thorndyke eventually managed to escape after a steep decline and a breathless chase through the forest. Or when the hunter becomes hunted, pursued by a pack of howling dogs that substitute their owners thanks to the wonders of staging. On board a boat to London, Thorndyke is assisted by a courageous and mischievous child, played by Rody McDowall, Cornelius from Planet of the Apes here 13 years old, yet the character is so endearing and delicious one would expect to see accompany the hero until the end of the feature film.

But it is nothing and Thorndyke that landed in London, generous kid is quickly replaced by another character, Jenny, a beautiful young English woman decked out with a terrible cockney accent and a gifted banter to break everything sung by the lovely Joan Bennett, who would later become a muse of Lang and turn to him in three other films with great La Femme au portrait . Befriending, if not more, with Jenny, eludes his pursuers Thorndyke Nazis who in turn are helped in infested London of German nationals. Moreover, we find the feeling of attending a thriller Hithcock at several chases in the London slums, especially in the underground scene, where John Carradine straight escaped straddle e fantastic continued our hero. This sequence allows Lang to set up a recurring motif of the film, taken from the famous plan on Hitler trapped in the sights of a sniper rifle. On three occasions, when it comes to killing an enemy Nazi idea of the viewfinder will return to better describe the evil that Nazism which concerned that too few Americans of his time and that Lang attack violently, accusing him frontally .

After all a game of chase, Thorndyke believed to be able to forget, but Quiver Smith puts his hand on him and trapped in the cave where he thought he had found refuge. Fritz Lang refuses to do so in the classic happy ending (and those who would discover the film avoid reading what will immediately follow), since the German officer tells his prey that Jenny, the little English is full of life he began to love is dead, killed by his henchmen. Via this cruelty last minute, Lang says, and repeats that he intends to denounce the assassins unscrupulous. At the end of the film and the war that erupted after Smith Quiver killed by an arrow shot in the head with a bow made art on the go with the slats of her bed wren, Thorndyke is parachuted in Berlin his sniper rifle proudly worn on the chest, and with the desire to do battle again with the target of all targets.

Manhunt is therefore certainly a film "minor" by Fritz Lang, but it is nevertheless a damn good movie. The scenario could easily be poor among other hands, but Lang actually a good movie with his hilarious talent director. The final battle scene, between the two hunters that a wall of rock separating becomes memorable as Fritz Lang creates a space with his camera as we will not forget. As for the final plan, I can not imagine the effect it could have in the film, made in 1941 I recall. View hero parachuted into Nazi Germany with his sniper rifle hanging from the neck to confront Hitler and again this time with the firm intention to rid the world had to make a sacred effect on the viewer of the time , taken from the desire to believe in this fable and hope the success of such a liberator. I say "believe in this fable" because this film, far from any low propaganda, is a thriller that boasts a large fictional film before being hired or engaging.

Manhunt Fritz Lang with Walter Pidgeon, Joan Bennett, George Sanders, John Carradine and Rody McDowall (1941)