deadimpulse

• 
  I recommend you see...

  The Big Town

  by Veronique

  "the big town" appears like a hommage to paul newman's 1961 "the hustler", an archetyped prodigal son tale people always enjoy to hear: a smug small-town boy with one special talent who hit big to the metropolitan city in his pursuit of fame and wealth, the essence of american dream, then he would bump into a lovely dame of maternal heart as well as the femme fatale who devours him alive with extreme sensuality. inevitably, he would sink into either booze or sex, or, both of them altogether. disillusioned, so he hits the road again to his home town with a broken heart. either he retracks to where he started or devastated by his presistant pursuit of dream. corny, right? but you just cannot quit it! whether it's the big-cocked dirk diggler in "boogie night", or billard master paul newman in "the hustler"...what counts is how the story is presented.
  
  "the big town" is predicable in every scenario but it's rendered so elaborately that you accept it with adoration anyway, especially when the fresh-faced matt dillion, who was one of the promising supernovella who's got sex appeal, charisma and most of all, genius of his fluent naturalistic actings which resurrect the remants of james dean, marlon brando and paul newman in their days of rebellious outrage, and dillion had the edge to pull them off in pratically any material about troubled youth, such as his "rumble fish"...he simply looks so damned attractive with a cigarette burning in his mouth, throwing a dice recklessly as if he's gonna win, he's got "the cool" to swoon you.
  
  it's a pleasant peep at the young, even more voluptuous diane lane as the femme fatale, and the sex scenes are surely a nice treat with elvis' "fever" in the background every time they mate. bruce dern as the obnoxious blind gambler boss and tommy lee jones as the tough-assed criminal, they're the villians alongside our prodigal charm-boy. every actor just fits into his/her part so seamlessly that makes this predictable story worth seeing. it's a compelling reminiscence of the hipster 50s with the best soundtrack of those songs which once hit the top notch of national sales. the process of viewing it is just one word to describe: smooth.
  
  paul newman's hustler has received the ruminations of his tragic flaw: excessive ego as his fingers are smashed and his sweetheart commits suicide for humiliation that leads him into finding his true self, "hustler" is more of a think-piece to tell you the doctrine that everything you gain easy has a price to pay. but dillion's dice-thrower just slides across the path of easy dough in the poise without harsh retribution as you wish for him. so "the big town" is more of a crowd-pleasing feel-piece without grits in a well-groomed nostalgic aura so all you've got to do is to float along with protagonist like a 109 mins of hashish fantasy.

  groaningbitch

  after viewing this, i've found elvis' "fever" is such a cool right song to play in lovemaking(jk)..ha..diane lan was even hotter with fuller bossom, rounder hips and a cuter face of slight baby fats..suddenly i think i almost forgot how cool and handsome matt dillion used to be in those 80s movies, considering the crappy pieces he's involved in recent years.
  
  "the big town" is a nice tribute to the hipster 50s. the director ben dolt is in the television branch of re-made "twilight zone". so "the big town" may seem sort of melodramatic but in a nice way.
  
  here's "fever":
  

  posted 8 hours ago
• 
  I recommend you see...

  Other Men's Women (The Steel Highway)

  by Veronique

  "other men's women" is one of those experimental pieces of works in the early sound movie stage. even it's directed by the maverick who created the legend of james cagney's "public enemy", william a wellman, but inevitably it's raw and primitive, in need of more polishing mellowness since cienma then still had its tiny span to adapt into the sound to emulate popcorn noises in theater. it also features fresh-looking enormously pretty mary astor with innocent wide eyes and lips of cheery blossom. most of all, it has young jimmy cagney before he hit big as the tough bootlegging gangster.
  
  the flick is upon the absurd melodrama of threesome romance among the railroad coal-refilling workers whose code of buddy language is "have a little chew on me"(a sign of exchaning pop-gum), tiptoeing upon the freight train, leading a freewheeling proteriat lifestyle of hard-labour, booze and easy dame after work. somehow the sceneries do have a touch of americanistic realism which could compete with italian neo-realism despite its occasional backfires of overly deliberate melodrama. and the descriptive viewpoint is entirely male-centered, and mainly on the struggle of brotherhood and the illicit passion which is suppressed and un-fulfilled except a brief kiss without further developments. the rest of the story is relentlessly mushy about the manly principle of never crossing your pal's wife even you desire her to death...blah blah blah.
  
  as the notorious grapefruit scene in "public enemy" suggests, director wellman may have an obvious reluctance to deal with women in his movies, when a guy's showed off by a dame, he doesn't know or not willing to cope with that but smash a bundle of grapefruit to her face then takes off since misogynism is primarily due to man's fright to confront the womanly menace. (ha)..there's rarely a place to deepen into a woman in "other men's women" since its two female roles are either disposable waitress(joan bondell) you swoon on monday and ditch by tuesday when you're lonely and miserable or the demure angelic wife (mary astor) who remains passive without actions, the object of desire, something you want greatly but could never have. then a whole long-winding story on brotherhood and the code of manhood.
  
  but un-deniably, the fun of "other men's women" is its naturalistic shooting of proteriat lives within the inland states of america, just like a fragment of past coming into reality which you cannot resist appreciating and life was so simple when you could just climb upon the ladder of a freight train to do your own petite illegal drifting without costing a cent.

  groaningbitch

  "other men's women" is the work of maverick director william a wellman who made cagney's public enemy. pre-code flick, but nothing too controversial or immoral about it. it showcases the naturalistic side of old america of inland states that you may appreciate if you endure its melodramaticity.

  posted 1 day ago
• 
  rubystevens

  Hey - try this quiz and see how we compare
  
  Great Movies

  posted 1 day ago
• 
  I recommend you see...

  Merrily We Go to Hell

  by Veronique

  "marrily we go to hell" is a pre-code celebration of reckless brass toward hedonism as well as some possible suggestive content of marital promiscuity. sylvia sidney is still typecasted as the virtuous good girl who sticks to her beau even he may be a drunk wimp who cannot just make up his mind whom he truly loves, incurred with a very shakespearan issue "to be or not to be", absolute melodrama. besides that, you could take a peep at young gay cary grant who seductively tosses his champagne while leering the dame next to him.
  
  so sidney is enormously rich but well-behaved nice dame who's got attracted to a handsome alcoholic who has a strange sort of quibing cuteness to charm the lady of silks into the slave of love. so she's determined to love him and wed him even he's abscent in their engagement party, forgot to bring along his matrimony ring in the ceremony and mostly he still possesses a self-contradictory crush to a broadway prima donna of blonde hair. gorgeous sidney of brunette hair still tolerates that since her beau always says "you're the swellest dame i've ever met" without any assured announcement of L. O. V. E. later she descends along with him while he's hanging over the blonde on the other hand, so merrily they go to hell in booze and decadence despite our swell dame still looks helplessly chaste in decay. would good sydney win the man she deliriously loves?
  
  the best pleasure of pre-code movies is its indulgence of thorough melodrama without the moralistic hindrance for better light of doctrine. somehow sylvia sydney, whose mostly reputed work remained today is still hitchcock's "sabotage", shimmers in her adorable ingenune naivete whether it's pre-code or post-code, unlike norma sheer who conducts like man-hunting tramp before code but stingy mama after code. but i do harbor a private wish to see sylvia sydney act sluttish just like loretta young in pre-code "midnight mary" to gratify male audience's voyeuristic covet, but it ain't goody sydney. (lol.)

  groaningbitch

  it's a rare pre-code movie which is nearly lost. pre-code flicks have the best of melodrama without the moralistic redemption i disdain. sylvia sydney, the grief-stricken wife in hitchcock's "sabotage", is now in the arms of fredric march to merrily go to hell. (i simply love the title!)

  posted 2 days ago
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  I recommend you see...

  Transformers: Revenge of the Fallen

  by Serdar

  I saw its trailer in theatre, it didn't say it was Transformers first but some things started to blow up, the first scene I told my friend "This must be Michael Bay". Now you gotta give it to the man, he blows real good :) In Michael Bay movies, at some point, they must stop the film and show some "behind the scenes" because while people watching them they don't think "I wonder what's gonna happen next" they think more like "Damn, how the hell did they do that!?" So, instead of a final, a behind the scenes extra would be more suitable.
  
  Now I say I'm "not interested" but I know I'll see it somehow, with some friends on DVD, I will of course vote for another movie but nobody will listen to me, they never do. But during the movie I will think of the song from "Team America". Here it is:
  
  "I miss you more than Michael Bay missed the mark,
  when he made Pearl Harbor,
  I miss you more than that movie missed the point,
  and that's an awful lot, girl,
  and now, now you've gone away,
  and all I'm trying to say,
  is Pearl Harbor sucked and I miss you.
  I need you like Ben Affleck needs acting school,
  he was terrible in that film,
  I need you like Cuba Gooding needed a bigger part,
  he's way better than Ben Affleck,
  and now, all I can think about is your smile,
  and that shitty movie too,
  Pearl Harbor sucked and I miss you.
  Why does Michael Bay get to keep on making movies?
  I guess Pearl Harbor sucked,
  just a little bit more than I miss you."
  
  :)

  rebell22

  hehe

  posted 5 days ago
• 
  I recommend you see...

  Satan Met a Lady

  by Veronique

  "satan met a lady" is a typical example of how you could ruin a ballistic novel by whimsically twisting it into a slapstick comedy. "satan met a lady" is based upon the well-reputed novel of danshiell hammett "maltese falcon" which had made a legend of humprey bogart as sam spade in early 40s. "satan met a lady" is destined to be forgotten (which i wouldn't call a doom) for its misguided adaption. there's no hard-boiled grit which is the essential attribute to "maltese falcon"...and the primary question would be: why bother to make it tough task by farcial attempt? is that a joke on hammet? sure, a forgotten joke.
  
  names of the protagonists are all changed. william warren is the womanizing detective shane who toys around with dames, and bette davis is the femme fatale who doublecross shane for a precious "flute" instead of the phenomenal black bird. then the rest follows along the fixed storyline of maltese falcon. an obese rich dame and her also overweight tepid assassin united together against davis while shane observes with smirks. warren william does have an idiocyncratic sense of ridicule, a surviver from the silent movie days in transition to talkies, and he's tall, dashing and suave with a profile which could rival john barrymore. unfortunately, william's charisma is soon to be dated after the 30s. william is the ideal personification of leading man in pre-code hollywood, and he's the only one who could blend elegance with cynicism without vulgarities but a refined sort of decadence. every player in "satan met a lady" seems playfully abscent-minded to deliver their lines, laughing flirtatiously on the script dispatched to them. it's the least noirish movie made upon american detective novel ever, and even more frivilous than william powell's "thin man" which has been turned into a screwball comedy of success.
  
  warren william's physiques do fit into sam spade by the novel but he's a reluctant sam spade who doesn't wish to be sam spade. he ain't so bitter like spade. how about davis? the only worthwhile moment she employs is her feministic assertation of asking a man to hold his hat high while being threatened with a gun because she's a LADY in presence. there's no female ferocity she expresses in "human bondage", no dubious sexuality but a girlish poise of mischief as she remakrs to william at the end "you would regret turning me in because you cannot find any other woman who is as smart as you"...so? is that a desire to be so obviously cute??
  
  generally, the value of "satan met a lady" is its campiness, the campiest version of "maltese falcon" ever! no actor involved is really paying a heart to pull it off, and the whole set of cast is literily mocking themselves. and the treasure is a flute? so, you're gonna blow it off soundly, i suppose.

  groaningbitch

  "satan met a lady" is the second adaption of hammett's "maltese falcon"..(bogie's version is the THIRD)...and it's the least noirish one because it's A SCREWBALL COMEDY! the campiest maltese falcon ever! there's even no black bird but a toyful flute. the movie is a joke, and the campiest joke, needn't take too seriously.
  
  i do wanna say warren william was quite a dashing gentleman in the 30s and has a pretty profile like john barrymore. ideal leading man in pre-code hollywood.

  posted 7 days ago
• 
  I recommend you see...

  À l'intérieur (Inside)

  by Veronique

  perhaps personally i do possess a prejudice against shock-cinema which is to offend the tolerance of your senses continuously, and what's exactly the point to stir up your worst imaginations on various nightmares? do you need such perverse stimulus because you're too callously jaded? maybe it's the contradiction of human nature that you cannot resist the curiosity of the strange and the bizarre, and there's a voice inside you that drives into a peep at the deviant. but you bounce back just like your reaction against the over-heated stove. the procedure is nothing enjoyable but catalysis of vomit.
  
  the story is about a woman's diabolical obssession of motherhood, so she haunts over an ill-fated pregnant woman by tracking into her house then brutally breaking into her room with a pair of scissors in attempt to cut the baby out to keep as her own. so the deeply endangered mother-to-be hides in the bathroom to defend herself...then the psychopathic wench shrewdly utilizes her fatal pair of scissors to slaughter any possible interference which includes the pregnant woman's parents...any potential cruel killing method is contained within this film such as stabbing a man's genital grudgingly...it's an extreme dosage of mental disturbance..surely there's no peaceful ending: the wench's got to sing her lullaby with the infant she freshly cut from a woman's belly while herself is deformed by a gas sprayer as she previously tries to light off a cigarette. in a nutshell, "inside" is a story of pure evil and absolute malice.
  
  the massacre is deviced with every bit of "creavity" you could imagine as if the director remarks "let's think of every worst way of torturing someone in the most disgusting ways which would make you puke"...i've got to admit the french ways of killings are more "innovative " and scarier than american michael bay's recent "chainsaw texas massacre",,,i have no problem with cinematic violence as long as it's upon the dark side of humanity. yes, you might say such terrible massacre do happen in this world since serial killers do exist. but how about their minds? any profound motivation or character sketch?? yes, it has but very limited and meager. so the victim is a survivor of car accident and the killer is made barren also by a car accident..anything more?? it doesn't have any spare time for dialogues except fanatic continuous killings. very often it does sicken me to think of the raising popularity of shock cinema, whether it's french or american ones like saws or chain texas, audience doesn't have a heart anymore to probe the depths of characters but request of intense amount of irritant to defy your adrenaline. you wanna challenge your adrenalin, go parachute-diving which might teach you something of REAL SURVIVAL.

  groaningbitch

  frankly i've got to admit, i rent this just to see how disgusting it could be, curious whether i could tolerate this. myself fits into the symtom of "too bored, and look for something to stimulate your adrenalin" but i ain't proud of it. when i finished it, all i wanted to do is to wash off the memories of this picture. maybe i do have a "cowardly" side.

  posted 8 days ago
• 
  I recommend you see...

  The Inner Life of Martin Frost

  by Serdar

  Paul Auster is one of my favoritte writers and it's great that he is also doing movies. But this film shows that some stories that work very well on paper just don't work on the screen. Watching the final scene of this movie, I thought to myself, if this was on paper I'd buy it but on screen it just looks ridiculous. In a few scenes he just shows the typewriter, I think he wants to tell "Ok, I thought this would make a good movie but now that I'm shooting it I see that it won't. But I can't quit! If I could just write on the screen.."
  
  A writer (David Thwlis) goes to the his friends house in the country after finishing his last novel that took three years to write. He just wants to do nothing. But inspiration comes for a new story and he falls in love with his muse. It's a naive story and it's not that bad but when he writes for movies, I think he should stay away from the fantasy, because he is so good with words but he can't tell everything he thinks through the actors on the screen, so it's better if he writes more realistic stories for the movies, like he did in "Smoke"..
  
  EDIT: Ok, I didn't know this movie was based on one of his books. Not the whole book, but it's the movie of a character in "The Book of Illusions". He tells the movie in full details in about 30 pages and it's pretty much the movie I saw and I was right, it works better on paper. In the book only a few people gets to see the movie, I'm sure Paul Auster didn't want it to be the fact for this one too but it did. I am gonna give an extra half star for the beauty of the book but the movie is still bad, sorry Pauly.

  rebell22

  Hey, maybe you should not see this but read "The Book of Illusions".

  posted 12 days ago
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  I recommend you see...

  Kawaita hana (Pale Flower)

  by Stella

  a stunning yakuza film with gorgeous black and white cinematography and an utterly nihilistic tone. hmm, flixster says '74 but i'm pretty sure it's '64, japanese 'new wave.' a gangster fresh out of prison meets a mysterious girl in a gambling den and they begin a relationship based on mutual thrill seeking behavior. it's not as bloody as most yakuza films; more character study than thriller, with a story involving the usual gambling, drugs and murder, but it's incredibly stylish, like melville gone to tokyo, with an existential edge. very cool avant-garde soundtrack too. this film is online at netflix in very good quality...

  rubystevens

  gorgeous japanese noir :)

  posted 12 days ago
• 
  I recommend you see...

  Hayat var (My Only Sunshine)

  by Serdar

  Reha Erdem keeps making exceptional movies in Turkish cinema. "Hayat Var" meaning "There is life" in Turkish, Hayat (Life) is also the name of the little girl that is the main character. The English name comes from the doll her father gives her that sings the song "You are my sunshine". Both titles are ironic, because the little girl's life sucks and there is no shineshine whatsoever.
  
  Hayat has one of the most dysfunctional families ever on screen. Living in a barrack on the coast of bosphorus with her father and her bedridden grandfather. Her father does smuggling and pandering in his little fishing boat, her grandfather is in bed cursing all the time, her mother left and married a cop maybe because her husband had sex with men and his father was a sick fuck. You cannot grow up to be normal in this family and Hayat was not an exception. She doesn't talk much, she mumbles songs all the time, she spends time with the neigbour woman who is "too caring" and she gets free candy from the store where she gets molested.
  
  The movie has one of the most interesting soundtracks that fits the movie perfectly. The director uses fine examples of arabesque music (a kind that always talks about pain and mostly popular in suburbs) and after one point the songs become the narrator. Bosphorus is one of the main characters in the movie and the director makes you really feel it not only visually but by the high sounds he uses skillfully.
  
  This is a very depressing movie showing the ugly face of the corrupted society. It's not one of those movies that aims to make you cry, instead it makes you think and makes you realise what kind of a world you are living in, it makes you feel ashamed because you are sitting in the comfortable seats of a nice theatre knowing that there are actually this kind of lives out there.

  rebell22

  I know this is impossible to find but maybe it comes to your town with a festival or something. If not, go watch Alan Ball's Towelhead, they are quite smilar.

  posted 14 days ago
• 
  I recommend you see...

  Grand Hotel

  by Veronique

  1932 "grand hotel" shall be one of the most essential popular classic movies of 1930s ever with its starry cast of john barrymore, greta garbo and joan crawford. it's also where garbo utters her legendary "i want to be alone!" along with an admiring barrymore as her consoling escort. it's probably a landmarked feature which epitomizes the star personas of barrymore, crawford and garbo thru parodical romanticization of their screen images under a multi-scaled story of synchronicity. "it's grand hotel, people come, people go, nothing ever happens" the commentary line shall be the metaphor of life, imbued with a sense of literary lyricisim that might be considered cliched nowaday but a ground-breaking triumph in the early period of sound flicks of 1930s.
  
  it's not an easy task to put the story into a concrete term thru words due to its simultaneous plot developements, even they're still in a conventional sort of linear stretch. basically it whirls around the six inhibitants of grand hotel in berlin: the snobbish capitalist, a desperate dying factory worker, a cynical doctor whose face has been marked by the wretched war, a prima donna ballerina who loses her artistic drive, a geogeous but petite stenographer who's willing to sell herself for better money, and of course a gentleman-alike hotel thief in a ergent need of big cashes. the thief (john barrymore) flirts with the beautiful stenographer(crawford) in an unexpected encounter, enchanted by her lively vivacious demeanors. but later when he bumps into the room of the prima donna(garbo) to steal her pearly necklace, he's completely spellbound by her enthreal poise like a fairy goddess into flesh, he's hers. so the thief annuls his mission but determined to seek a way to gather the sum to pay the debt and his travelling expenses with this striking ballerina. somehow fate hasn't favored him, he's beaten to death by the conning capitalist who has harbored a grudge against him. so the woman he loves is leaving the hotel in a carriage without him, and the woman he's once enchanted is heartbroken by it, eloping with the dying elder man for paris in oblivion of his death. the capitalist is served by law, and the doctor mournfully signs "people come, people go, nothing ever happens"
  
  greta garbo is an odd presence to cuckor's "grand hotel" as she shifts her ancient tragic queen persona into this very modern piece of work: she weeps, she frowns, she utters the sorrowful emptiness of life as if everything is a prop of dreams but still she cannot be gratified by the limited caricature of fantasies, longingly grasping something larger than life like most of her screen characters are. what's the thing which could be larger than life? L. O. V. E. that's the archetype of garbo romantic anxiety in her movies with clarence brown like mata hari and anna karenia. when she dives into buttom, miracle happens, her romantic anxiety turns a thief into a gallant knight who suddenly summons the metto to rescue her. audience buys into that becuz it is greta garbo, only things faraway and larger than life fit her. only she could inspires the utmost noble spirit of men. BUT she might histrionically overdo it when she says "i want to be alone!" (is that a joke the scriptor plays on her?)
  
  previously the entrance of joan crawford forms quite a opposite contrast to garbo in her verbal love scene with john barrymore. crawford the stenographer, the earthy surviver with the angst to live, to prosper in the leanest condition of great depression, even she has to eat one meal a day. she smiles gayly, she sneers playfully to the gentlemanly stranger who seems to take a spontaneous interest in her. she flames like a ball of fire to tantalize men, fun and laughes in dance after dance. her sex appeal is a stock at her disaposal for wealth and self-improvement. wouldn't those qualities also be her trademark in crawford's mgm movies like "chained" and "possessed"...she's the dame who grins even when she has nothing from the man she appreciates but a brief flirtation while garbo oozes sadness even when she has everything and a miraculous love interest. strangely greta garbo has no scene together with joan crawford just like the whispers of fancy cannot meet to perish by the grim reality. either these two women have a cat fight over the same man they covet or one's bitter over another as the sour loser. greta garbo also has no scene with wallace beery, lionel barrymore and lewis stone. garbo's section with john barrymore alone seems to be part dissected from the rest unpleasant part of life as a one small garbo episode within a big movie. john barrymore acts the stance of the audience to travel thru dreams to reality, then backward again. that's the evidence of the director's talent to melt different sub-gendres into one grand watchable movie as it does have some unharmonious compositions.
  
  yearning over greta gabo is like craving for the shiny stars above the sky, when you have her, the star falls upon your palm to glitter, to fascinate you into an insatiable state of ecstacy. appreciating joan crawford is like smelling the scents of a wild red rose over the bushes with thorns and un-tidy grasses, you gaze it and observe its rapturous blossom on its own, then you're aroused to pluck it to put into your pocket even it takes efforts. these two are different sorts of cinematic romanticism which has graced me over for years even it's doomed by its existentialist oblivion as life moves on, nothing ever happens.

  groaningbitch

  it is my personal intepretation of grand hotel romanticism. you could tell a odd presence greta garbo is in this movie, but somehow it works becuz the garbo and the non-garbo part have been compartmentalized well like dream and reality separate.

  posted 15 days ago
• 
  squishyk

  No problem!

  posted 17 days ago
• 
  I recommend you see...

  Lady Chatterley

  by Veronique

  "lady chatterley's lover" was once the most notorious novel by d h lawrence in british literature history and its title was once named after the genitals of two protagonists. now it's adapted by french the first time in cinematic history, and surprisingly how soft-core the french presents the story despite the bold audacity french cinema often impresses the audience on the subject matter of erotica. certainly there's a purpose to re-modify the name "lady chatterley's lover" into concise "lady chatterley": to utilize it as a feministic vehicle to assert the notion of woman's sexual awakening and her determination to be her own master. lawrence's novel's is about lady chatterley's LOVER, the proteriat macho man who stands for the vigor of life, the laborous blue-collar stud who is the object of desire for the upper-class dame who cannot get satisfactory laids from the men in the same social level as her. the book even manifests a voyeuristic scene of the lady drooling over the luscious junitor's nude during bath. the movie only reveals the lady bumps into the topless janitor wiping his own sweat. besides the casting choice of male protagonist is quite unusual to select a middle-aged uncle with thinning hair as the supposedly younger man of rags who elopes with an attractive mature woman of better upbringing.
  
  briefly, the scenario of "lady chatterley's lover" is about a sexually ungratified bourgeois dame whose husband's been handicapped by the war from the waist beneath, so this loaded woman hooks with the janitor who guardes the backyard forest. the woman abandons the bondage of status gap and moral constraint to unite with this wild man who considers sex as the sacred primitive ritual within the nature. so they gallope toward their instintual drives of life which, of course, includes sex. the novel majorly announces lawrence's revolt against puritanical sexual suppression by middle class.
  
  so how about the movie? what's the difference? as the popular french wave of feminism which has prospered since the 80s have two tendencies: the difference of gender attributes has been a subject matter rejoiced by helen cixious and julia kristieva, as well as the supreme esteem toward the uterus. so these two elements shall be the central spirit of the movie which is only about lady chatterley herself, her discovery of sexual pleasure and her assertative choice of individuality.
  
  firstly, the movie is made more puritanical than the novel could ever be. from the numerous sex scenes, lady chatterley appears like an adult virgin who never witnesses a male frontal before. (but in the novel, lady chatterley has cheated her husband with his friend before she meets the janitor, but experienced enough to recognize he ain't considerate partner who cares about her part of pleasure) more than half of the love scenes are fully clothed with only the genitals out to put the activity into function until later she requests to see how his "stock" looks like by curiosity. basically the french lady chatterley is more like a timid woman with electra complex, who never knows what sex is like rather than the sensual woman in full bloom as the novel describes.
  
  secondly, the male protagonist isn't exactly that virile as lawrence's depiction, more like a paternal figure with an apparent soft center, who declares himself has some sensitive feminine sides which prefers to be enclosed by the breeze of mother nature (a surrender to the grandeur form of uterus) instead of the volcanic phallic man who is a semi-misogynist repulsing over lesbianism and cursing feminine frigidity. the french LOVER seems even more frigid than lady chatterley who drags the palm of his hand over her one breast to encourage him into having sex with her. could i call the sex scenes lame? i suppose they're just NORMAL and highly conventional even they still preserve some crucial sequences of the novel like scurrying naked in the pouring rain within the forest and embellishing your sex organs with flowers that are the naughtiest and funniest parts in the story. but the movie expresses them with more childlikeness instead of frivolous humor.
  
  thirdly, the cinematic ending is lady chatterley finances her janitor lover to purchase a ranch of his own. he refuses it gently but she persuades him into it anyway so she could occasionally sneak into his ranch to date him behind her husband like a kept male mistress despite he still views himself big man of machismo. (while he confides her his "feminine" side of character)...so it's like, hail to the all-mighty woman who manages to stay in the marriage with an impotent puppet and still harbor a secretive love interest for her own private amusement as she suggests to him that she needs his "talent to live" to feel alive. does it make sense to you? (it's an open ending anyway) on the contrary, the novel ends with the couple's glorious triumph to shed off the confinement of classes and revolutionalize over the banal system of hypocritical civilization to have a baby and build a home of their own.
  
  the comparisons i've made above just bare the feministic resort this movie applies. whether you would be entertained or not depends on your preference and acceptance over the issue of matrix celebration. but un-deniably, the movie shoots the nature in such a pleasant scale to saturate you into an idyllic land of oblivion and temporal naivete, for that merit i deem it highly watchable. as for lawrence's novel, in the course of reading it, i do detect the preachy undertone filled with a sort of male-centered angst which catapults this novel into the classic niche of literature. the book has a message which is political and judgemental; the movie's reluctant to convey any message but indulge in constant haltings over the smell of morning dew and the scent of floral blossoms. which is better, it various from individuals. the book is more spunky and provocative; the movie is more lyrical and freewheeling. "lady chatterley" is NOT a faithful cinematic adaption of a mighty literature classic, but i certainly wouldn't dismiss it as a lackluster flop.
  
  (ps) marlon brando came into my mind as the blueprint of d h lawrence's original stud who enlightens the path of un-bridled sexualities for this desperate dame who just awaits him to conquer. don't you find brando fit, considering his perfomances in "last tango in paris"?

  groaningbitch

  it's rare case of contemporary movie adaption over such controversial material in literature. it's softer and gentler and reluctant on nudity. and it's from FRANCE who has made its fame by explicitness. you wouldn't feel bold over it despite it does grant a clear closeup of male frontal to you. the feministic version of "lady chatterley's lover"..is on lady chatterley not on the lover.

  posted 21 days ago
• 
  I recommend you see...

  Terminator Salvation

  by a

  But... weren't this supposed to be better than part three?!?
  
  I present to you; 10 warning signs that will tell you this film stinks. Oh, and I'm sure some of you will like it so I better warn you. I'm sure there's spoilers in here for those who cares.
  
  Warning sign no. 1: The director. McG?!? Was McD taken, or isen't McGoo gangster enough? I'm sure it suited Charlies Bozos but c'mon. McG?
  
  No. 2: The trailer. If you think they used all the few clips where Bale screams and groans as if he were making porn, then think again. Thats all he does. There is no acting in this film. Only screaming and cool oneliners. Just as there is no story. Only action and cool set-pieces.
  
  No. 3: The opening credits. When it sports names like McG, Common, Moon Bloodgood and whatnot, you just know it's filled with people who started somewhere else than acting. Their stupid ass managers probably thought it would help their modelling careers or gangsta hiphop career if they starred in some hollywood trash that appeals to the masses. Which means, lots of fancy images, not much substance.
  Also the score during the opening credits should put you off. Please relax on the trademark music. You won't make a bigger and badder terminator film just because you add volume, bass, instruments and whatnot. If anyone tries to be better than the terminator, the motherfucker's gonna terminate you! End of story!
  
  No. 4: The opening scene. If there hasen't been 5 minutes before someone says "so that's what death taste like you just know the dialogue is gonna be filled with lame shit like this.
  Also in the opening scene. Helena Carter talks to a human Sam Worthington. Apparently she has cancer. You can tell by her bandana on her her head (and the dialogue) but for all the goddamn retards all the way furthest back in the multiplex, she has to wear that bandana halfway up her scalp so it only covers half her head. Wow, thank god they showed she has no hair because I can't put two and two together and reach a conclusion on my own! Fuckass!
  
  No 5: The women. As you'd expect from a post apocalyptic setting, things are dirty. Things and humans. It looks kinda cool actually. They have bad teeth, greasy hair, dirt in their face (the big disgrace). Can you guess the exeption? Yeah, I'm sure you can. Like another Bale flick with dragons, the women of the future, where civilization has ended they still manufacture lipgloss, facial peel, head and shoulders and a rich cocofuckingnut full body scrub that will make you soft as a baby's ass. Just because it's armageddon, doesn't mean you can't look good, eh? BS!
  When Sam/Marcus rescues this elite fighter pilot, head of class, several badges of recommendations, practically a veteran already, that has been shot down, ejected from a plane that was basically one big fireball already, dropped a mile in a parachute and got stuck in a tree, and the helmet comes off to reveal a 21ish girl with immaculate hair, freshly peeled eyebrows and a bikiniwax I just wanted to ARGHARGHARGHFUCKFUCKAAAAAARGH! scream.
  
  No. 6: The Marcus character. Half machine, half human. Who knows if he's good or bad? Uh-oh. I'm so excited!! All through the movie where "we don't know" whats going on with him, every terminator dick and jane tries to kill him. They spot him, they shoot. Then later when he knows that he's machine, he has to get access to skynet and he just walks in the front door. All the other machines suddenly recognizes him and grants him free passage. Nothing has changed. He hasen't "uploaded" anything or something similar. The termintaors just suddenly recognizes him!
  And when I say "walk in the frontdoor to skynet" I mean it. Because in this film skynet is more of a city than a program. Whaddayaknow!
  
  No. 7: The machines. So ok. You're making a terminator film set in the future. It's cool you invent new terminator types. But please. Mototerminators and Hydroterminators. You know there are other word in the english language than "terminator". But if that weren't enough, why the hell did you come up with such lame machines. The Mototerminators, the bike kinda ones I'm sure you seen in the trailer, they just chase you. The one time one actually catches up with our heroes the best thing it can do is jump off a ledge, land on the windscreen of the car to limit said heroes visibility. Thats it!
  And the hydroterminators, what the hell? Some eel kinda robot that swims around in a river waiting for, uhm, lets say if an helicopter should accidentally crash in the water, and the pilot should miracously live the crash, then they would really come in handy. What do they do in the meantime? Terminate fish? Please!
  
  More points to come. I'm tired of typing.

  zembie

  Pardon my french in that review.
  By the way, if any of you think I missed any signs let me know, and I'll add them. We can make this a joint community review!
  
  By the way, I'm not sure if the review is gonna be too compact on the text chat, but if it is, go to the movie page and read it. Should be easier on the eyes.

  posted 21 days ago
• 
  I recommend you see...

  Martyrs

  by Serdar

  It brings nothing new to the horror genre but it stands out among torture movies. Some good twists (a new movie begins when you think it's over), interesting characters (do French horrors tend to have lesbian characters?), decent plot (creative reason to torture) and some decent gore. I liked the very annoying if not disturbing fade ins and outs at the end to show us the torture routines.

  rebell22

  Decent contribution to torture movies..

  posted 23 days ago
• 
  I recommend you see...

  Four Rooms

  by M.A.R.S.

  Tarantino, Rodriguez, and Co. collaborate on one hilarious movie of an overworked bellhop on New Year's Eve.

  ifeels1ck

  Hey, you should really see this!

  posted 28 days ago

In Theaters

• H2: Halloween 2
• Zombieland
• Drag Me to Hell
• Séraphine

On Dvd

• Twin Peaks: Fire Walk With Me
• Såsom i en Spegel (Through A Glass Darkly)
• Jungfrukällan (The Virgin Spring)
• Some Like It Hot
• The Long Riders
• Slumdog Millionaire

Lists Darick's Created

• My Favorite Movies (54 movies)
• Childhood Favorites (12 movies)
• The Best of Cyberpunk (20 movies)

Lists Darick's favorited

• A Beginner's Guide to Takashi Miike
• Hammer time!!!

• ***Flixster News***

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