Mamma Mia! The Movie

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From what I know of the history of this play/movie the two ladies that worked so hard to get ABBA and others to put this together in GB are now two of the wealthiest women in England - and from what I have seen it drives the critics nuts, ("lousy, bad camera work, Brosnen can not carry a tune etc., etc.,) the bottom line folks, this movie fits like that old comfortable shirt your wife (the critic) wants you to throw away because it looks "awful". Well, the heck with em, I like my shirt, and I like meatloaf and mashed potatos, and I like Mama Mia, maybe it is mind candy, maybe it does not reach the high brow standard, but it "feels good" so the pundants can take their "expert" advise and put it where "the sun don't shine", this movie makes me smile and who knew Meryl Streep could sing like that - the "Winner Takes it All" maybe very poorly filmed according to the so called experts because the one I saw said "get me off the Merry-go-Round" but it sure sent chills down my back - let the experts rave - I know what I like, and this film made me laugh - in times like these I will take that any old time over what the high brows think I should see!

PS - as for Mr. Brosnan's singing and why he did the film - straight from the horses mouth -

Q. What drew you to this movie? A. My agent called and said, "Meryl Streep, Mamma Mia!," and I said, "I'm in!" I didn't even know who I was playing. I kept thinking, I want to work with this wonderful actress.

Q. How did you fare with all the singing you had to do for the role?
A. I've never done anything as orchestrated or musically complex in my life. At first, I just made noises. Then I went to London and trained in the studio with Benny [Andersson] and Bj�rn [Ulvaeus] from ABBA. My family let me know that they were very worried for Dad when they first heard Dad sing. But sing I did.

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Practical Magic

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I bought this movie after it came out and pop it in every couple of months. "Practical Magic" is a wonderful, have-fun movie that is just right as a Halloween movie for any age (save maybe very, very young viewers.) I know because every Halloween party I've had, this movie has delighted my guests.

Sandra Bullock and Nicole Kidman are wonderful as two sisters in this movie. Their on-screen chemistry is amazing. You can't help but smile as they joke with each other and interact because it reminds you of how you were with a close sibling or how you wish you could be with one.

Stockard Channing and Dianne Wiest are amazing. As supporting actresses, they almost steal the show as they are described as the aunts who are "sugar and spice" by the director, Griffin Dunne.

The story is about two sisters who are very close who live with their aunts in what I assume is a New England town. They have the reputation of being "witches" who curse any man who dares love an Owens woman. Of course, Gillian (Nicole Kidman) and Sally (Sandra Bullock) get into a bit of trouble as Gillian's evil boyfriend Jimmy (Goran Visnjic) accidently ends up dead at their hands through self-defense that can be deemed suspicious by anyone else and they try to figure out a way to cover it up. Things get stickier when the Officer Hallet (Adian Quinn) shows up to find the wanted Jimmy and sparks fly between Sally and Officer Hallet. Do they try to send him away and risk Sally losing her one true love? Or do they let him stay and risk Gillian and Sally getting caught while Jimmy's ghost continues to torment Gillian?

This movie is based on a third of Alice Hoffman's wonderful book by the same name. For those of you who have seen the movie (spoiler alert) and are curious about the book, you won't be disappointed. Remember the woman that wished to take another woman's husband? Well, you get to find out what happens to her as well as the adventures that Sally's daughters get into as they grow up. In other words, the book is better than the movie, but the movie is just as fun as the book.

As for those of you who like DVDs and their extra features, it is chock-full of them. From the game of "find the ingredients to mix the love potion" you have to search through the various features in the DVD to click on "ingredients" and get clues as to mixing the love potion which opens up a whole behind-the-scenes featurette. It also contains trailers, bios, and other little tidbits that were artistically designed well and accompanied by wonderful little chimes and music.

This "witch" movie is not quite as dark as "the Craft" (or ridiculous for that matter) as not as sex-filled as "Witches of Eastwick" but genuinely wholesome, fun and delightful. Especially the "Midnight Margaritas" scene which will have you humming the tune for days. A good recommendation for a Halloween movie for most ages.

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Elizabeth

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This is a magnificent film with a stellar cast giving award calibre performances. Cate Blanchett deservedly won the Golden Globe Award for Best Actress in a Drama. She is truly the heir apparent to Bette Davis and Glenda Jackson, both having portrayed Elizabeth I in memorable performances. Cate Blanchett now joins their ranks with her own incredible performance in that role.

The movie begins in 1554, in an England that is bitterly divided on the issue of religion. Ruled by Mary Tudor, Henry the VIII's oldest daughter and a devout catholic, protestants are being burned at the stake as heretics, giving rise to Mary's popular name, "Bloody Mary". Reviled by her Spanish husband and in poor health, Mary is badgered by her advisors to do away with Elizabeth, her considerably younger, bastard half-sister. This Mary will not do, no matter how pressed. Still, Elizabeth lives her life with the sword of Damocles hanging over her head at all times.

When Mary dies, Elizabeth takes the throne, no more than a mere slip of a girl wearing the crown of England. Her advisors look to guide her, and she follows their lead, until she determinedly takes control of the reins of power, and follows her own counsel with the help of her most trusted advisor, Francis Walsingham, played to cunning perfection by Geoffrey Rush. With his help, she is able to fend off the ever present threats to her hold on the throne of England, not just from her own courtiers, but from Marie de Guise, Queen of Scotland, deliciously played by Fanny Ardent.

In the film one sees the transformation of Elizabeth take place. She goes from being a young woman, really no more than a girl, who is in love with Robert Dudley, the Duke of Leicester, dashingly played by Joseph Fiennes, to the commanding woman history would ultimately come to know as the Virgin Queen. Confronted cruelly with the politics of intrigue and betrayal, she learns that to stay in power and effectively lead her people, she must rule with her head and not with her heart. She succeeded brilliantly, leaving a rich legacy that would be remembered as the Elizabethan era.

This film is an absolute masterpiece. While not quite historically accurate, the film is a broad overview of what happened when Elizabeth first took the reins of power. It also attempts to explain why Elizabeth I would be known as the Virgin Queen. This film is a lush and lavishly costumed medieval tapestry that is woven with great care. It is, without a doubt, a magnificent movie that will hold the viewer in its thrall. Bravo!

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The Glass Bottom Boat

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The Glass Bottom Boat is about everything that life was about in the 60's. The Cold War was in full swing, James Bond had become a household name and Doris Day was still the top box office actress. With all of this, how could the film go wrong- what could they lose? Doris Day and Rod Taylor had already lost alot in their previous film Do Not Disturb which many have never even heard of unless you are an avid Doris Day fan. All believed including the man responsible for many Jerry Lewis movies, Frank Tashlin that this would be a success. With Tashlin's talent for spoofing the times the world was in, Glass Bottom Boat was just what the doctor ordered.

The film begins by introducing the widowed Jennifer Nelson, played by Doris Day. She works at NASA with a part-time job as a mermaid for her father's Glass Bottom Boat service. When Jennifer gets caught up, literally, she meets Bruce Templeton, played by Rod Taylor. She is not immediately impressed, and thankful that they will never see each other again, or so she thinks.

She soon finds out that she and Bruce are not only co-workers, but worse- he's her boss! She then becomes his personal assistant who makes mysterious phone calls, which the bumbling security guard played by Paul Lynde believes to be to the spy she is working for to get Bruce's top secret GISMO to the Russians. This assumption soon becomes an ultimate security problem, and everyone is out to get her.

Frank Tashlin really does a great job with his characters. Some unforgettable highlights of the film include Dom Deluise as a Public Address Installer (who uses the job as a cover for his real one) who ends up with he and Doris Day covered in banana cream cake and their legs stuck in a trash can, Paul Lynde dressed in drag to get into the women's restroom to see what Jennifer was up to, and finally where Edward Andrews and Dick Martin meet up unexpectedly when they were supposed to be meeting with Jennifer for a twilight rendezvoux.

This really is a film that does not get old. It holds up with some of the other comedy films of today. The acting wasn't Oscar-worthy, but it wasn't intended to be. The movies from this time were intended to be fun and to get your mind off of the serious things going on around the world. For a good laugh, watch this film. It still works 40 years later- it puts a smile on your face and reminds you that things can always be worse!

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True Crime (1996)

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I absolutely loved it! I'm not into the thriller action movies but I was flipping through the channels today and I came to this movie on USA. I decided to watch it, little did I know that I was going to be so absorbed in it. I loved the way the story always had you thinking you knew who the murderer was but then the police found a new suspect. And speaking of police this movie was especially great because of Cadet Cutie Tony(Kevin Dillon)and Alicia Silverstone,who executed her catholic school-girl innocence well. Oh and the murderer turns out to be . . . . . . . . . . . . . . . . . you think I'm going to tell you,watch the movie and you'll find out!

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Nacho Libre

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Much better than most comedies; you do have to have a sense of humor to enjoy it, so if you rarely laugh, don't go to this movie. Kind hearted and humorous portrayal of Mexican culture; if you have lived in Mexico as I have, you should enjoy this. Also it's refresing to see a movie that can be humorous without resorting to overt sexual conversations.

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Max Manus: Man of War(with ENGLISH subtitles)

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This movie is based on a true story about a hero who did not want the nazis to take his country Norway. I watched the movie with a person who helped Max Manus escape and who actualy lived this story. He thought this interpretation was very realistic. Even some of the characters looked like the ones he remembers. A fantastic movie about a WWII chapter we rarely hear about.

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Girl, Interrupted

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Winona Ryder is back from several years of lull in any highly memorable roles in major movies, and she is right on form with possibly her best performance yet. But that is certainly not all this movie has to offer. She plays Susannah Kaysen, an inpatient for a year at a mental hospital, who wrote the book about her real life story on which this is based. Not only Susannah but several of the other inpatients are most memorable characters. Angelina Jolie won Best Supporting Actress for playing Lisa, a sometimes menacing and always interesting patient there because of her anti-social personality. Other quite meomrable characters include a pathological liar who is Susannah's usually sweet roommate, played by Clea DuVall, and the Sullen and obsessed Daisy, who will eat nothing but chicken from her father's rotisserie, played by Brittany Murphy. Through her own struggles and interactions with the others, Susannah confronts in a memorable way some of the hot issues of the late 1960's, making this almost a nostalgia trip as well as a riveting human drama.

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The Italian Job (1969)

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A double feature was recently offered on cable TV that allowed me to view "The Italian Job" twice - the 1969 version with Michael Caine and the 2003 version. The two films have little in common except a gold bullion robbery, 4 million dollars worth in 1969, and 27 million in 2003, to allow for the decreasing value of the dollar and bigger and better ways to spend it! I enjoyed the 2003 thriller but the older film is really an excellent comedy. I am so glad that I had the opportunity to see it, because I missed it, and lots of laughs, the first time around.

"The Italian Job" (1969) is a campy caper packed with 1960s nostalgia. There are enough gadgets and girls in this film to make even James Bond content, although Bond would never work with the bumbling, quirky characters that Michael Caine, called Charlie Croker here, is forced to deal with. The film opens with a choreographed hit by the Italian Mafia. The choreography could have been done for the June Taylor Dancers. It's a riot! Anyway, Roger Beckerman, a brilliant thief, is murdered because he had masterminded a potential heist to take place in Turin, Italy, involving millions of dollars of Chinese gold bullion. Beckerman leaves a tape for Charlie Croker, who has just been released from a British prison. The video tape, to be viewed in the event of Beckerman's death, explains the entire caper and offers Charlie the opportunity to do the job. Charlie gets the funding for the project from Mr. Bridger, played by a wonderfully comic Noel Coward. Bridger is an inmate of the prison where Charlie had spent the last few years and he rules the UK underworld like a king, from his jail cell, with guards and inmates paying him homage. Croker fights off the advances of gorgeous blondes with one hand while he uses the other to whip into shape his motley crew of screwball bandits.

The dialogue is hilarious at times, especially when the team of thieves, who seem to have a collective IQ of 75, go at each other like recalcitrant adolescent schoolboys. Croker who occasionally is forced to step out of his role as master-thief to play schoolmaster, yells at his men during a particularly delicate operation, "Get yourselves sorted out and shut-up! No one talks anymore except me!" During a meeting with the Mafia leader who threatens to kill Croker and his men if they pull-off the job, Charlie responds, "You will be making a grave error if you kill us. There are one-quarter million Italians in Britain and they will be made to suffer. Every restaurant, cafe, ice cream parlor, gambling den and nightclub in London, Liverpool and Glasgow will be smashed. Mr. Bridger will drive them into the sea!"

This film is pure fun with the mother of all car chases as the grand finale. Not to be missed!
JANA

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Alila

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**1/2

"Alila" is a snail-paced series of vignettes about life in one Tel Aviv neighborhood. The film features roughly a half dozen stories playing out simultaneously, most of them focused on a single apartment building and the people who live and work there. Gabi is a young woman who's having an affair with an older married man named Hezi, who has set her up in her own little unit in the complex where he comes to visit her periodically for passionate sexual encounters. The second major plot strand involves Ezra, a building contractor, who is helping to add what may be a possibly illegal wing onto the building. Ezra, who lives in the van he uses for work, has an ex-wife whom he still loves and can't seem to leave alone, as well as a teenaged son who has gone AWOL from the Israeli army because he doesn't believe in the cause for which the military - and, by extension, the nation - is fighting. There are several other plot strands running throughout the film, but these two are the most prominent and, in the second case at least, the most compelling.

If writer/director Amos Gitai had managed to pick up the pace a bit and brought a little more cohesiveness to the narrative, "Alila" might have been an interesting little movie. The tale involving the young boy and his divorced parents is, by far, the most intriguing, and one wishes that Gitai had simply made the film about that storyline and jettisoned the rest. The part dealing with Gabi and Hezi is not only hackneyed and dull, but involves a change of heart on the part of Gabi that is so arbitrary and poorly prepared for that it seems as if large chunks of the film had inadvertently tumbled onto the cutting room floor and been swept out with the trash. One character in the film even has the incisiveness to analogize Gabi's life to the infamously bad soap opera "Back Street" - and how right she is! Apparently the filmmakers were incapable of perceiving and acting upon the astute self-criticism inherent in the comment. The other stories are even more dull and uninteresting - although, mercifully, they take up far less running time than this one. The film touches ever so lightly on such topics as the tensions between Arab and Jew, and the problems of illegal immigrants in the country, but neither issue gets much in-depth analysis from the filmmakers.

The acting is good, especially in the one episode that really counts, but even that isn't enough to pump some badly needed life into the film. "Alila" meanders down its long and monotonous path, only to wind up pretty much where it started at the beginning.

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Battleship

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This film has for only purpose to entertain us and in this aspect it is highly succesful. The main hero is very likeable, the leading girl charming, the display of military hardware impressive, the aliens naughty (and ugly and stupid!), the scenario doesn't make much sense, the CGI effects are EXCELLENT, US Navy is the best, US government is incompetent - in one word, everything is as it should be in a movie made to go nicely with your popcorn on a Friday evening. WARNING! Some SPOILERS incoming at six o'clock!

The main hero, Lt. Alex Hopper (Taylor Kitsch) is a troubled young man who after messing up a lot in his early life finally joined the US Navy and by some extraordinary miracle managed to become an officer in charge of weapons on board of USS "John Paul Jones", a very powerful destroyer of "Arleigh Burke" class. He is however poorly noted by his superiors and is generally considered as a disappointment and a failure. The unexpected alien invasion during a naval exercice will suddenly force him to take command ("Who is in charge now?" "Hopper!" "We are so dead!") and lead his men into a particularly deadly fight against a vicious and resourceful enemy.

Other than his messy life style Alex Hooper has also another "problem" - his gorgeous, sculpturally beautiful girlfriend Samantha (Brooklyn Decker). She loves him, he loves her and they are engaged to be married - but her father hates his guts and for reasons which you will have to discover yourself his agreement to their marriage actually matters...

Other characters are also important: Alex's brother, Stone Hopper (Alexander Skarsgard) who is the older, responsible and organised version of Alex; Vice-Admiral Shane (Liam Neeson), tough, impressive commander in chief of US Pacific Fleet; Japanese Navy Captain Nagata (Tadanobu Asano), commanding the Japanese destroyer "Myoko" and Lt. Colonel (Retired) Mick Canales (Gregory D. Gadson), a bitter US Army veteran who lost his both legs in one of recent American wars.

Rihanna makes her movie debut in this film, as Petty Officer Cora Raikes, a weapon specialist and crew member on board of USS "John Paul Jones", serving under Alex Hopper orders. She has a lot of screen time and she is VERY good! I was very pleasantly surprised by her acting and I am looking forward to see her in more films.

The display of modern weaponry is very impressive. 5-inch guns and 20mm Phalanx CIWS (Close-in Weapon System), "Harpoon" missiles and 324 mm torpedoes of American and Japanese destroyers are used generously and they give a great show. And once the old battleship USS "Missouri" enters in action with her 16-inch big guns, things get even better!

The aliens are very very agressive and naughty - although to be fair, they seem to avoid the colateral damage as much as possible, by sparing the obviously harmless oponents. They also try to rescue their own soldiers taken prisoner, which is something not so frequent in SF films. Other than that they are the "standard issue" aliens: ugly, hostile, technologically advanced in some fields but limited in others (they do not seem to grasp fully the concept of guided weapons) and last but not least abysmally, galactically, terminally stupid! BUT, in this film it actually is an asset, because it allows USS "Missouri" to engage the alien flagship in a way which reminds of the bloody and dramatic fight between HMS "Victory" and "Redoutable" at Trafalgar...

The scenario doesn't make much sense as for the reasons for this invasion which seems ultimately to be just a reconnaissance. The reason for the attack on Oahu island and the whole battle around it are even more ludicrous - as for the whole "saving the world" thing, let's just throw a veil of silence on it... A civilization able to send a scouting military expedition of five ships through interstellar space, can always send a second one, stronger and better prepared. So, there is a possibility of a sequel.

The CGI effects are really EXCELLENT! Alien ships and weapons are very well done, fights are very "realistic" and visually the film is a big success.

All fighting men and women of US forces (and the one lonely Japanese guy) are shown as heroes fighting to the end at the best of their capacities, engaging enemy with missiles first, handguns second and iron bars and bare fists after that, if necessary. In contrast, the US government is (of course!) completely incompetent, which is only normal, considering that it is chaired by a Secretary of Defense played by Peter MacNicol (yes, you read well!).

So, all in all, it is a rather succesful, quite entertaining film, with lots of good special effects, lots of good fights, two well playing hot chicks (Brooklyn Decker and Rihanna), some handsome men, a very stupid scenario, quite a lot of humour, at least one very touching moment and one very VERY dearly paid chicken burito...))) I had lots of fun watching it, although I am aware of its weaknesses - and I think that if all you need is some harmless entertainment, you will like it too. Enjoy!

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A Streetcar Named Desire

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As a playwright, Tennessee Williams was to the South what William Faulkner was as a fiction writer: a creative genius who revolutionized not only the region's arts scene and literature but that of 20th century America as a whole, bringing a Southern voice to the forefront while addressing universally important themes, and influencing and inspiring generations of later writers.

Pulitzer-Prize-winning "A Streetcar Named Desire" dates from the peak of Williams's creativity, the period between 1944 ("A Glass Menagerie") and 1955 ("Cat on a Hot Tin Roof," his second Pulitzer-winner). After its successful 1947 run on Broadway, "Streetcar" was adapted into a screenplay by Williams himself for this movie produced and directed by Elia Kazan, starring the entire Broadway cast except Jessica Tandy, who was replaced by the star of the play's London production, Vivien Leigh. The piece takes its title from one of the New Orleans streetcar lines that protagonist Blanche DuBois (Leigh) rides on her way to the apartment of her sister Stella (Kim Hunter), foreshadowing her later path, from (ever-unfulfilled) Desire to Cemetery (death, or the loss of reality) and a street called Elysian Fields, like the ancient mythological land of the dead.

Although Blanche is the person most visibly engaging in deception (of herself and others), almost everyone of the characters suffers loss after a brutal reality check: Stella, who hasn't been back home for years, first learns from Blanche that their genteel home Belle Reve (literally: "beautiful dream") is "lost" - although in what manner precisely Blanche doesn't specify, which immediately raises the suspicion of Stella's husband Stanley (Marlon Brando) - only to later hear from Stanley that under the veneer of Blanche's appearance as a delicate Southern lady lies a promiscuous past, and the true circumstances of her ouster from her job and ultimately from their home town were not as Blanche would have Stella believe. Stanley's friend Mitch (Karl Malden), who despite their disparate social backgrounds intends to marry Blanche after they are drawn to each other by their mutual need for "somebody" in their life, is similarly disillusioned by Stanley, and subsequently by Blanche herself when he insists on seeing her in bright light instead of the dim light of dancehalls and of the paper lamp she has insisted on hanging over Stella and Stanley's living room lamp, neither able to face the effects of age and a profligate lifestyle herself nor willing to reveal them to others. And Blanche's own loss of innocence, finally, set in years earlier, when she found her young husband in bed with another man and he committed suicide after she publicly reproached him. "Nobody sees anybody truly but all through the flaws of their own egos. That is the way we all see each other in life," Tennessee Williams says about "A Streetcar Named Desire" in Kazan's 1988 autobiography "A Life;" and in a letter opposing the movie's censoring before its release he described the story as being about "ravishment of the tender, the sensitive, the delicate, by the savage and brutal forces of modern society."

The brute, of course, is Stanley, who not only becomes the catalyst of Blanche's fate and the destroyer of Stella's, Mitch's and Blanche's own illusions, but is her antagonist in everything from background to personality: Where she is a fading belle dreaming of days gone by he is all youthful virility, a working-class man living in the here and now; where she is refined he is crude, and where she engages in pretense, he tears down the facade behind which she is hiding. The conversation during which Stanley tells Stella about Blanche's past is pointedly set against Blanche's humming the Arlen/Harburg tune "It's Only a Paper Moon," which sees love transforming life into a fantasy world, which in turn however "wouldn't be make-believe if you believed in me." Yet, as portrayed by Marlon Brando, who with this movie stormed into public awareness with his unique and volcanic approach to acting, Stanley is no mere vulgar beast but a complex, often controversial character, despite his brutal streak almost childishly dependant on his wife and frequently hiding his own insecurities under his raw appearance (thus putting up a certain front as well, but unlike Blanche's, a socially acceptable, even common one). Ever the method actor, Brando reportedly stayed in character even during filming breaks; much to the disgust of Vivien Leigh, for whom lines like "[h]e's like an animal. ... Thousands of years have passed him right by and there he is: Stanley Kowalski, survivor of the stone-age, bearing the raw meat home from the kill in the jungle" must consequently have come from the bottom of her heart.

In early 1950s' society, "Streetcar" was considered way too risque - even downright sordid - to be presented to moviegoing audiences without severe censorship, which Williams and Kazan were only partly able to fight. One of the most substantial changes made in the adaptation was that at the end of the movie Stanley is punished for his brutality towards Blanche, whereas in the play's cynical original ending he is the only character experiencing no loss at all; indeed seeing his world restored after Blanche's exit. Since Kazan's suggestion to produce two alternate versions (one to please the censors, one in conformity with Williams's play) was rejected, even the 1993 "Original Director's Version" retains its altered, censorship-induced ending. Therefore, the play will forever constitute the last word on Williams's intentions. But even in its censored version this movie was a deserved quadruple Oscar- and multiple other award-winner (albeit undeservedly not for Brando). It has long-since become a true classic: a cinematic gem of first-rate direction and superlative performances throughout.

And so it was I entered the broken world
To trace the visionary company of love, its voice
An instant in the wind (I know not whither hurled)
But not for long to hold each desperate choice.

Hart Crane, "The Broken Tower": Preface to the published version of Tennessee Williams's play.

Also recommended:
Tennessee Williams: Plays 1937-1955 (Library of America)
Tennessee Williams: Plays 1957-1980 (Library of America)
Tennessee Williams Film Collection (A Streetcar Named Desire 1951 Two-Disc Special Edition / Cat on a Hot Tin Roof 1958 Deluxe Edition / Sweet Bird of Youth / The Night of the Iguana / Baby Doll / The Roman Spring of Mrs. Stone)
Tennessee Williams' The Glass Menagerie (Broadway Theatre Archive)
The Rose Tattoo
Suddenly, Last Summer
Baby Doll
This Property Is Condemned
Tennessee Williams' Dragon Country (Broadway Theatre Archive)

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Thomas & Friends: Merry Winter Wish [HD]

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This box set is perfect for Thomas & Friends both old and new. My boys just recently got into Thomas so they haven't seen really any of the older episodes which this box set has discs ranging from 2001-2008. Each disc has episodes focusing on a certain character or just the best of! There are over 50 episodes total and each disc is between 40-60 minutes long. Luckily my boys aren't too picky yet and love all the engines equally, but for kids who are specific or especially families with two kids who like different engines, this would be a great set. The episodes are classic Thomas & Friends episodes and I love that there are so many episodes in one set! For just $24 on Amazon, that is like $.50 an episode that you can watch over and over again!

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