Carrie White is a plain and very sheltered girl raised alone by her extremely strict Christian mother who frequently punishes her. At school she is habitually bullied, something that gets ten times worse after a both humiliating and terrifying experience in the girls' locker room which causes her mother to inflict yet more punishment on her. Through her tumultuous life, she discovers that she has the power to move objects with her mind, something that causes much distress to her mother. The only people to truly show any compassion is her gym teacher Miss Desjardin and one of the popular girls, Sue Snell, who encourages her handsome boyfriend Tommy Ross to take her to the school prom. Carrie accepts, believing that she has been accepted for the first time in her life, only to face the biggest and most destructive humiliation of her life.
The re-make to the Oscar nominated 1976 horror based on the book by acclaimed author Stephen King is due to hit screens this year in the first major rendition since the Brian De Palma flick's release. 2013's 'Carrie' has been directed by Kimberly Peirce ('Boys Don't Cry', 'Stop-Loss') with a screenplay by Roberto Aguirre-Sacasa ('Roberto Aguirre-Sacasa') and it is set for release in UK cinemas everywhere from November 29th 2013.
Okay, there are no other movies about curling (to my knowledge), and this film is short of spectacular, but it's amusing enough to merit a peek. It's certainly Leslie Nielsen's best work in many years.
Continue reading: Men With Brooms Review
The DVD case for The Republic of Love engages in a little harmless misinformation. The film is not actually based on a Pulitzer Price-winning novel. It's based on a book written by someone (Carol Shields), who wrote another book (The Stone Diaries), which did win a Pulitzer.
That's some comfort, too, because I can't fathom how a middle-aged romantic tragicomedy like this could possibly win a major award.
At its core is a story of a radio talk show host Tom (Bruce Greenwood) and "mermaid researcher" girlfriend Faye (Emilia Fox). Tom has a string of divorces behind him, the result of being too anxious to fall in love with every girl he meets. Faye is gunshy -- it seems that all of Tom's ex-wives are friends of hers. (And, strangely, she's never met him?)
None of this is played for laughs, really. We're supposed to feel bad for Tom and pine for he and Faye to find something lasting amidst an environment of bleak winter, dysfunctional families, and dying geriatrics. Cold and detached, it's hard to get behind either of these characters, who not only don't seem very right for each other, they don't seem very right for anyone. Case in point: When Tom is jogging with a friend, the guy (right next to him) collapses and keels over dead. Tom doesn't notice: He's distracted by a billboard with his face on it, concerned with the size of his nostrils. As for Faye: A mermaid researcher? I can't put my finger on it, but something just doesn't gel there.
Director Deepa Mehta does nothing to make this palatable. In fact, she goes out of her way to distance us from the story and the characters, most notably through washing the entire movie into total gray, giving it just a hint of color (in the end, the movie brightens up in a particularly awful scene that has animated flowers growing over the frame). Wintry symbolism has never felt so forced -- and in a film that ought to have been played as a romantic comedy, it's never been more out of place, either.
This film is one of Film Movement's simultaneous theatrical/DVD releases -- but I can't find any theater that's showing it. Film Movement is also the sole distributor of its DVDs -- releasing one a month -- so you can't usually get them at Amazon. This one's the exception.
Capturing the same rousing, Depression-era, hero-of-the-underclasses spirit that "Seabiscuit" did in 2003, "Cinderella Man" may be, in many ways, just another boxing movie (training montage here, point-of-view punches there, Big Fight finale), but it's one with an effectively and unabashedly uplifting emotional core. Directed by Ron Howard with a masterful eye for period authenticity (from the boarded-up brick storefronts to the boxers' softly brawny body types), the film's driving force is the never-give-up performance of Russell Crowe, starring as Jim J. Braddock, a one-time heavyweight contender whose career was derailed by a broken hand in the early 1930s. Left to fend for his wife (Rene Zellweger) and three kids by the luck of the draw as a dockside day laborer in Newark, he often couldn't even keep the lights on in their tenement-basement flat.
But after turning up at the New York Boxing Commission's Madison Square Garden offices, literally hat-in-hand looking for a little spare change, his old manager (Paul Giamatti) gets the washed-up pugilist one fight -- filling in at the last minute for an absent boxer against an unbeatable rising star -- that nobody ever imagined Jim might win.
You can guess the rest, even if you aren't familiar with Braddock's celebrated comeback. Yet "Cinderella Man" is awash in character detail that keeps it feeling fresh until hand-wringing tension takes over for the 15-round championship climax against the menacing title-holder Max Baer (Craig Bierko), a hulking brute of a boxer who had killed two men in the ring.
Continue reading: Cinderella Man Review
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