Harriet Lauler knows that she is in the twilight years of her life, and has had a long time to contemplate her legacy as a successful entrepreneur after she's gone. She's not willing to leave the writing of her obituary to chance, and so enlists the help of a the obituary writer at the Bristol Gazette Anne Sherman to write it the way she wants. Anne tracks down a bunch of people from Harriet's life to get a taste of the sort of woman she was - unfortunately, no-one appears to have a single nice thing to say about her. Harriet is determined to touch someone's life in an important way before she goes and visits a youth centre to get started. It's there she meets an adorable, street-smart young girl named Brenda who she employs as her 'intern' when she decides to become a DJ at the local radio station. The more Anne gets to know this woman, however, the more she finds her own life being changed by her new friend.
Continue: The Last Word Trailer
In 1960, Kemp (Depp) applies for a job at the San Juan Star in Puerto Rico, working for the sardonic editor Lotterman (Jenkins). He shares a ramshackle flat with photographer Sala (Rispoli), who home-brews super-strong rum with another journalist (Ribisi). While getting slowly pickled, Kemp also gets to know the fast-talking Sanderson (Eckhart), a public relations expert who is using property developers to increase his fortune. Sanderson also has a sexy girlfriend, Chenault (Heard), who immediately catches Kemp's eye. Trouble is brewing everywhere.
Continue reading: The Rum Diary Review
Freelance journalist Paul Kemp decides one day that's he had enough of the hectic lifestyle that the early 1960's New York brings. He moves to Puerto Rico in the Caribbean to take a job at a rundown local newspaper, 'The San Juan Star', run by the equally run down Lotterman.
Continue: The Rum Diary Trailer
This isn't to say Rescue Dawn isn't good. It's often great, and in all the ways that Herzog's cinema can be great. As in Aguirre: The Wrath of God and Fitzcarraldo (his undisputed masterpieces) Herzog plunges himself (and the rest of us) once again into the jungle, in all its deceptive beauty. The jungle is that twilight zone, the border between life and death that is the domain of Herzog's cinema, and cinematographer Peter Zeitlinger (who also shot Little Dieter) ably carries the torch that his predecessor Thomas Mauch held aloft so heroically in those aforementioned Conradian tales of men endeavoring to overcome nature (and failing). Herzog lives in awe and terror of the natural world (he goes into this at length in Grizzly Man), and nowhere is that paradox more palpable than in Rescue Dawn, in which the jungle can be jaw-droppingly gorgeous one moment, and a stultifying prison the next.
Continue reading: Rescue Dawn Review
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