Based on a true story, this Brazilian drama has a lush authenticity as it tells a story that has strong historical relevance even as it sometimes slips into heightened melodrama. Filmmaker Bruno Barreto recreates the events with sensitivity, bringing the real people to life in complex, emotional ways. So while it's sometimes a bit tormented, it's also fascinating.
In 1951, American poet Elizabeth Bishop (Miranda Otto) leaves her boyfriend (Treat Williams) in New York to travel to Rio de Janeiro to visit her old university friend Mary (Tracy Middendorf) and her new girlfriend, the noted architect Lota de Macedo Soares (Gloria Pires). They live in idyllic splendour in Lota's country estate, where the painfully shy Elizabeth is pried out of her shell by an overt display of affection from Lota. When Mary gets jealous, Lota agrees to adopt a baby, as long as she can keep Elizabeth as well. So they create a rather tense family together, which is strained badly by emotions as the years go by. But they find common ground when they get involved in the election campaign of their politician friend Carlos Lacerda (Marcello Airoldi).
This three-way relationship is clearly never going to last, but these women give it a go. Lota's complete rejection of society's rules is intriguing as it leads to some of her more iconic design work, but her Latina temperament also gets the best of her as she can't bear to let Elizabeth out of her sight. Intriguingly, the script reflects but never exaggerates repressed 1950s and 60s attitudes, layering in all kinds of dark meaning between every line of dialogue. Which makes every scene feel rather gloomy.
Continue reading: Reaching For The Moon Review
Ava is skilled at fighting and has left behind a rather shady past to set up a life with her beloved husband. Together, the pair are unstoppable adventure-lovers, always up for the next adrenaline rush. However, one of their escapades goes deadly wrong when they vacate to a glorious Caribbean island and decide to zoom over a forest on a zipwire. Ava's husband plummets towards the ground after his support snaps and Ava is left desperately searching for him. When no body is found around where he landed and no one of his resemblance has been rushed to the nearby hospital or, indeed, the police station, Ava starts to believe he's been kidnapped in a dastardly ploy to get at both of them. But it's a case of 'hell hath no fury.' for Ava, who doesn't care who dies as long as she gets her husband back.
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Jay's lived a less than honest life, sleeping around with women he could never care about, fritting away money he doesn't have in casinos and at races and drinking away his problems every night at seedy bars. However, when he meets Daisy, a mentally unstable but harmless young girl who has lived virtually her whole life indoors sheltered from the harms the real world can bring, his life begins to change and he endeavours to take her along to his wealthy parents' house on the weekend of his brother's wedding to prove to them that he can change his ways. Having never tasted a drop of alcohol in her life, kissed a boy, gone to school or owned a pair of shoes, Daisy also sees her life turn into an adventure as she seemingly becomes the only one who can change this man's stony heart and force him to love her.
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The puppeteer who gave life to beloved children's puppets on 'Captain Kangaroo' show has died.
Cosmo Allegretti, the talented puppeteer behind Captain Kangaroo's friends on the CBS show of the same name, has passed away aged 68 after falling ill with emphysema. His attorney and friend John Munzel confirmed that Allegretti had suffered with the respiratory disease and had died on 26th July, in a statement on Wednesday (7th August).
Watch A Clip Of Cosmo Allegretti's Puppetry On Captain Kangaroo:
The Associated Press reports that the puppet and voice actor died in Arizona where he had a New River home in addition to a Hampton Bays residence in New York. He was briefly married during the 1950s to Carol Lawrence, a Broadway actress who would go on to appear on TV series such as Saved by the Bell and Sex and the City.
Continue reading: Cosmo Allegretti: The Man Behind 'Captain Kangaroo' Puppets Dies Aged 86
With a focus on messy family relationships, this thriller's deranged comical touches almost make up for its contrived plot and annoyingly thin characters. Director Ruzowitzky (an Oscar winner for The Counterfeiters) makes the most of the snowy landscapes and an eclectic cast, but the jarring combination of grisly violence, black humour, romance and drama never quite comes together.
In a northern Michigan blizzard, Addison (Bana) is on the run with his sister Liza (Wilde) after a casino heist. When their car crashes in the snow, they decide to head for the Canadian border separately. Liza is picked up off the road by Jay (Hunnam), a hunky ex-con boxer who's stopping to see his parents his parents (Spacek and Kristofferson) while running from the cops himself. Addison encounters a variety of local characters himself as he tries to catch up with Liza. And the local sheriff (Williams) relentlessly picks on deputy Hanna (Mara), his daughter, as they track the fugitives through the snow.
Every relationship in this film is deeply dysfunctional, and the actors have a great time playing with the soapy wrinkles. Bana and Wilde play up the creepy innuendo between the siblings, while the contrived romance between Wilde and Hunnam is like the set-up for a porn movie. Meanwhile, Mara's ambitious cop is so belittled by her awful dad and his equally sexist deputies that we don't really mind it when they start dying one by one in their encounters with Addison. And holding everything together is the wonderfully level-headed Spacek, who carries on cooking dinner while her husband goes out to shoot a deer, then cheerfully serves pie even with a shotgun levelled at her head.
Continue reading: Deadfall Review
Addison and Liza are brother and sister and partners in crime who rob a casino in order to make a better life for themselves in Canada after a troubled homelife when they were younger. However, things go badly wrong when their getaway car overturns whilst driving through a freezing blizzard killing their driver. When a police car pulls up nearby to see if everyone's OK, Addison shoots the approaching officer before suggesting he and his sister split up and ordering Liza to hitch a ride. She is eventually picked up, shivering, by former boxer Jay who is heading to his parents' and offers to take her in for Thanksgiving . She soon finds herself falling for him and struggles to cope with her protective feelings towards him. Meanwhile, Addison is getting into serious trouble elsewhere leaving a trail of bodies as he attempts to retreat into hiding. Things take a shocking turn when the siblings meet up at Jay's parents' house and Liza finds herself torn between the two people she loves the most.
'Deadfall' is the hard-hitting, morally questionable story about the trials and tribulations of family loyalty and true love with a thrilling cast and exhilarating action. It has been directed by Stefan Ruzowitzky ('The Counterfeiters', 'Anatomy', 'Die Siebtelbauern') and written by Zach Dean in his screenwriting debut and is due out in the US on December 7th 2012.
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Marley (Hudson) is a high-flying New Orleans advertising exec who doesn't believe that romance is necessary. Although she does have loyal friends: ditsy colleague Sarah (Punch), happy family woman Renee (DeWitt) and cheerful neighbour Peter (Malco). On the other hand, she tries to avoid to her estranged, warring parents (Bates and Williams). Then during a medical test, she has a vision of God (Goldberg), who grants her three wishes before she dies of cancer. But she certainly isn't seeking the love that grows between her and Julian (Garcia Bernal), her doctor.
Continue reading: A Little Bit Of Heaven Review
The title is evidently the former, though the movie is hardly the overwrought mess that I'd expected to see (for example: Message in a Bottle). Instead, The Deep End of the Ocean is a surprisingly thoughtful and laconic character study, full of nuance and genuine emotion, largely driven by Pfeiffer's unraveling character Beth. The well-known plot involves the sudden disappearance of Beth's 2 year-old son Ben, who vanishes while she is visiting Chicago. Nine agonizing years later, a kid who can only be Ben shows up -- as Sam, a neighbor's boy who wants to mow the lawn. Sure enough, it's him, but he doesn't remember his family,
Continue reading: The Deep End Of The Ocean Review
Sandra Bullock isn't doing her underappreciated talentany favors by appearing in "Miss Congeniality 2: Armed & Fabulous,"a relentlessly dim-witted sequel to her 2000 hit about a tomboy FBI agentgoing undercover at a beauty pageant.
The first "MissCongeniality" was itself so hackneyed thatthe actress's Lucille-Ball-like gift for guffaws was just about its onlysaving grace, and the same fate befalls her here. Bullock's delivery ofa few choice one-liners is the sole source of laughs in this clunker, andit's amazing to see her pull them off when her character has, without explanation,turned into a vapid, shallow, egocentric Barbie doll nitwit after becomingan implausible spokesmodel for the FBI.
It seems after her exposure at the Miss United States beautypageant in the first picture, the bureau decided she could best serve hercountry by being tarted up literally in satin and bows, and paraded aroundon a waving-and-smiling publicity tour of talk shows and personal appearances.
Continue reading: Miss Congeniality 2: Armed & Fabulous Review
While it is getting harder and harder to indulge an aging Woody Allen's enduring fantasy of beautiful young women falling in love with him in his movies, the man's comedy instincts are as sharp as ever in "Hollywood Ending."
The sophisticated screwball jaunt stars Allen as washed-up movie director Val Waxman, whose hypochondria reaches new extremes when he's rescued from deodorant commercial hell by his producer ex-wife (Tea Leoni) and given one last shot by making a $60 million blockbuster. Panicked at the prospect of making or breaking his career -- not to mention working for his ex and the Hollywood greaseball she left him for -- Val goes psychosomatically blind.
Rather than quit the picture and doom himself to showbiz purgatory, he decides he just won't let on. He'll wing it and hope his cast and crew see his apparent ineptitude as visionary eccentricity.
Continue reading: Hollywood Ending Review
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