Movie
If you like action thriller type movies, then Two Hands, an Australian gangster movie starring Heath Ledger, is worth putting on your movie list. It is a dark comedy that manages to take a well-worn plot idea and turn it into something fresh and unpredictable. The ending is a surprise and ties the whole story together beautifully. I won't spoil the movie for you in this review, so you can read on.
The movie tagline reads: It seemed simple. Just deliver the cash.
Jimmy (played by Heath Ledger) makes only one mistake, but it was a big one. Jimmy seems to be about 18 or 19 years old but has the intelligence of a distracted teenager in lust. He seems more focused on the smaller picture rather than the big picture and also being a bit naive, doesn't realize the ramifications of burying an envelope of money on the beach while he goes for a short swim a few yards away. He thinks it is safe, but it isn't. By the time he is enlightened, it is too late and he is in a world of trouble. But hey, he wasn't too smart getting involved with criminal activity in the first place. Then again, Jimmy and his naiveté leads us to believe he really didn't think he was doing anything wrong. Now he has to either go on the run or figure out how to raise 10 thousand Australian Dollars in a hurry. Neither is easy and his panic sets the tone of making even more mistakes.
The movie is fairly fast paced and engaging. Although violent, it is not gory and the violence is not overdone like most American movies, it is balanced just enough for the viewer to realize the seriousness of consequences and the chain reaction it creates. Violence begets more violence and it's hard to think straight in the midst of it all. You'll have to be on your toes to catch all the Australian accented dialogue, but there are some powerful speaking lines and the acting is outstanding and impressive. The characters are quirky and realistic. Jimmy isn't the only one who makes some mistakes, but these gangsters make some doozies that will have you laughing at how STOOOOPID someone can be. It comes off believable and Two Hands has the unique twists and artistic telling that is reminds you of a Quentin Tarantino movie, in spirit. Gregor Jordan was both the director and writer, and it is clear he cleverly worked out the details of how the movie progressed and intensified. Australian Actor Bryan Brown, who plays the head gangster, performs brilliantly and the whole cast has the chemistry and energy that just works for this genre and this story.
Two Hands is adrenaline rush and comic relief and an enjoyable film all rolled up into one. The bank robbery scene in Two Hands is entertaining and fresh. I wouldn't call it a great movie, but I would call it memorable and worth watching. Heath Ledger appears to be a rising star. He impressed me in The Brothers GRIMM, A Knight's Tale, and was magnificent in Casanova, a movie that exceeded my expectations because I was expecting fluff. Two Hands has a Karmic ending and is filled with subtle ironies. The movie title has several meanings that connect with the story as well.
Add Two Hands to your DVD movie list if you haven't already. The actors shine.
Cast: Heath Ledger, Rose Byrne, Bryan Brown, David Field, Susie Porter, Tom Long, Tony Forrow, Mariel McClorey, Evan Sheaves, Steven Vidler
Director: Gregor Jordan
Producer: Marian MacGowan
Screenplay: Gregor Jordan
Cinematography: Malcolm McCulloch
Music: Chris Gough
Running time: 92 minutes
Australian theatrical release: July 29, 1999
Bryan Brown Filmography
http://www.imdb.com/name/nm0000986/
Heath Ledger Filmography
http://www.imdb.com/name/nm0005132/
Rose Byrne Filmography
http://www.imdb.com/name/nm0126284/
Two Hands Cast
http://www.imdb.com/title/tt0145547/
Movie
Thanks to merging interests of a Washington Heights resident and Coliseum Cinemas business owners, Northern Manhattanites get to view first-run, non-commercial art, documentary, and independent films close to home these days.
Together, Michael Kassin and the owners of the historic Coliseum Cinemas on 181st Street launched, against industry odds, the successful Coliseum Cinemas Movie Club on a cold January night in 2005 and will screen as their first club film of 2006, the Oscar-hopeful Johnny Cash story, “Walk the Line,” Thursday, January 26 at 8 p.m.
Kassin, husband and father of three-year-old twins, part-time screenwriter and full-time public relations partner, courts a full schedule and was looking for a way to streamline commitments when he approached Coliseum owners in late 2004 asking what it would take to get some of the movies he’s required to vote on for awards as a member of the Screenwriter’s Guild.
Co-owner Mark Burgios explained that he and his business partners Jesus Nova and Nick Guadagno who had recently purchased and renovated the theatre had already been considering the idea of devoting one of their screens to art movies when Kassin approached them, so it was a no-brainer to give a green light as long as he could attract enough interest to make it financially feasible.
Kassin proved the neighborhood was eager for this type of venue by bringing in 180 people for a screening of “Ray,” and the film club was off to an illustrious, red carpet start: They had to use two theatres that first night to accommodate everyone.
Since “Ray” the film club has screened at least one movie per month, often more. Burgio elaborates, “We don’t just show movies. We try to get one of the writers, directors, or one of the main actors to come speak.” When the club viewed “Mad, Hot, Ballroom,” the acclaimed 2005 documentary featuring Washington Heights school kids, the film’s director Marilyn Agrelo spoke and fielded questions from club members.
The club strives to make the film events social and community-oriented, often serving wine and cheese beforehand. Kassin remembers one of the couples who joined last year said the movie was their first night out since having a baby three months earlier and that they were excited that they could walk just a few blocks to get away for a date in their neighborhood.
The club creates a win-win situation for everyone. Burgio notes, “It exposes the theatre to people who wouldn’t necessarily be interested in Hollywood flicks.”
Kassin emphatically details the irony of the club’s success, “This club is everything Hollywood says you can’t do. Here you have people over twenty-five making advanced reservations to come to art films on a week night.”
And it is pretty remarkable considering also that movie theatres today usually show either commercial hits or art films, rarely daring to mix competing audiences as the Coliseum does.
Viewed in historical context it seems apt that Coliseum Cinemas should be experiencing stellar heights with their movie club. The once grand theatre opened in 1920 was then the second largest movie theatre seating-wise in New York City, second only to Madison Square Gardens. Though now the theatre is split into four theatres sporting stadium seating for 125-177, back then it sat nearly 4,000 and took up all the current adjacent ground floor business spaces. Today it is the only movie theatre in the city north of 125th Street and the only theatre showing art movies on the West side north of 66th Street.
The club’s future is bright. January and February the club will devote to their Oscar series. After January’s “Walk The Line” they will feature two or three club nights in February. March is slated for short documentaries and beyond that they are discussing a classics series. In the future Kassin hopes to have a whole year’s worth of club films scheduled, and a club website is currently in testing. Kassin excitedly reported that New Line Cinema approached the club and expressed interest in working with them.
You can join the Coliseum Cinemas Film Club for an annual fee of $25 per individual or $35 for couples and families. As a club member you receive discounted rates ($6 per person, $4 per senior) on films the club screenings. For more information or to join the club contact Michael Kassin at mkassin@stantoncrenshaw.com or call the Coliseum Cinemas at 212-740-1541.
Movie
Ever since the Zucker-Abrahams-Zucker team took a 1950s aircraft-in-peril movie titled Zero Hour and skewered its melodramatic excesses in the now-classic Airplane!, the “film parody” sub-genre of comedy films has spawned hit-and-miss efforts that encompass all kinds of Hollywood genres…action-adventure (Hot Shots!)…spy/war movies (Top Secret!)…teen sex comedies (Not Another Teen Movie)…and horror shlockers (Dracula: Dead and Loving It, Scary Movie 1-3).
Most of these parodies follow the same formula: take familiar character types and situations from the genre you are lampooning, cast popular and semi-popular actors to draw in viewers, then make as many visual or situational references to big films in the above-mentioned genre, adding as many ridiculous touches as you possibly can.
In an ideal situation, as in Airplane! or the older Blazing Saddles and Young Frankenstein, the trick is to have the actors play the roles as straight and seriously as possible while adding the funny dialogue or hilarious visual joke. The juxtaposition of the dry performances and the humorous detail is what makes a film parody work.
Unfortunately, the current batch of supposedly “loving comic tributes” to formula films (including the Scary Movies) tends to focus excessively on the jokes without even asking for performances from the actors. Instead of taking their cues from the ZAZ team or even Mel Brooks and telling the cast to not let audiences know that they are in on the jokes, Jason Friedman and Aaron Seltzer allow Allyson Hannigan, Adam Campbell, Sophie Monk, and their cast-mates to mug, wink-and-nod, and practically shout to the viewer, “Hey, we are making fun of My Big Fat Greek Wedding, Bridget Jones' Diary, Napoleon Dynamite, Shallow Hal, Wedding Crashers, Hitch, When Harry Met Sally, The Bachelor, and even Star Wars Episode III: Revenge of the Sith!”
The plot, if you want to call it that, centers on Julia Jones (Hannigan), a seriously overweight girl who falls for the handsome Grant Fockyerdoder (Campbell) when he stops for coffee at her parents' Greek restaurant. In a mish-mash of story points cribbed from Hitch, My Big Fat Greek Wedding, and every mediocre to bad romantic comedy ever made, Julia gets an extreme makeover in what looks like an auto paint and body shop and becomes a sexy slinky “babe” who, after getting engaged to Grant, meets his parents (a wasted Fred Willard and Jennifer Coolidge) and has to contend with his almost-ready-for-porn-movies ex-fiancee Andy (Monk).
And as viewers of any of the quickly disposable romantic comedies being “skewered” here can tell you, hilarity supposedly arises from a series of misunderstandings, comedic errors, and stereotypical situations where everything goes as predicted no matter what.
Grant Funkyerdoder: [voice-over reading his message to Julia] If you still love me the way I love you, meet me where Meg Ryan met Tom Hanks.
Julia Jones: On the Internet?
Grant Funkyerdoder: [still in voice-over] No, not in “You've Got Mail,” in “Sleepless in Seattle.”
However, director Seltzer makes the fatal error of focusing way too much on the visual jokes and references to other films and not on the actors' performances. He just takes entire sequences from other films and plops them into Date Movie willy-nilly, without taking any creative risks and adding more bite or naughtiness to them. It's as though he and his writing partner Friedman want to go for easy and cheap laughs without taking any chances.
He also has no, repeat, no sense of comedic timing. In a bit supposedly inspired by Bruce Almighty and There's Something About Mary, the viewer is forced to endure an overly long vignette involving Jinxler the Cat and a toilet. Had it been a quick-and-dirty sort of thing, it might have been funny. However, Seltzer lingers lovingly on this rather off-putting bit for over two minutes of running time.
As much as I enjoy a silly comedy every now and then (Thou shalt not live on action-adventure alone is my moviegoer's motto), and as much as I love even an admittedly in-your-face “stupid humor” film, I'm not amused by most of Date Movie. It's a waste of even Carmen Electra's rather limited talent, and it's waste of time and money.
Alyson Hannigan …. Julia Jones
Adam Campbell …. Grant Fockyerdoder
Sophie Monk …. Andy
Eddie Griffin …. Frank Jones
Meera Simhan …. Linda Jones
Fred Willard …. Bernie Fockyerdoder
Jennifer Coolidge …. Roz Fockyerdoder
Marie Matiko …. Betty
Judah Friedlander …. Nicky
Carmen Electra …. Anne
Tony Cox …. Hitch
Mauricio Sanchez …. Eduardo/Housekeeper
Beverly Polcyn …. Old Cart Woman
Valery M. Ortiz …. Jell-O
Charlie Dell …. Justice of the Peace
Recommended:
No
Movie
Have you ever taken a second to think just what it means when you read the words A _______ ________ Movie, with the blanks being filled in by the director's first and last names? If you pick up a novel and read that it is A Stephen King Novel, aren't you pretty sure that just about everything word and idea in the book came from the mind of just one man, Stephen King? Do you ever stop to think that every word and idea in a movie came from the mind of the director?
Up until the late 50's and early 60's the average moviegoing American could probably name only one film director. That man was Alfred Hitchcock and many of those who could name him probably knew him better as the host of his own TV anthology show than as the director of one of their favorite movies. For the first 50 years of filmmaking the director was probably about as well known among most of his audiences as the cinematographer, editor or writer of his movies. This began to change in the late 50s and early 60s as a result of what came to be known as the auteur theory.
The auteur theory was born in France in the 50s as a collection of film critics began to rebel against the French view that the screenwriter was the author of the film. This was a literary view widely held among French critics of the time. The “new wave” of critics sought to establish that since film was a moving image, it was actually he who was in control of the image who was the real “author” of the film. They turned their attention to Hollywood and lauded such film directors as Alfred Hitchcock and Howard Hawks as true visionaries who were the authors of their film despite not having a hand in the actual screenwriting. The auteur theory was born in an attempt to establish the director as more than just another hired hand, but as the true guiding light behind the entire filmmaking enterprise. It should come as little surprise that these critics would move beyond mere criticism and actually become directors themselves.
How valid is their reasoning that the director should be called the one true author of a film? After all, most directors do not write their own scripts. Some never even have a hand in script development, coming onto the scene by the tenth rewrite of the original. Why is it not proper to credit the person who actually developed the idea and spent the hard work it takes it committing that idea to actual words on paper as the “author” of a film? The person who writes a novel is credited with being the author despite the fact that an editor may have played a major part in reshaping the ideas. The concept of a man who was hired to direct an already written script as being the one true author of the final film seems somewhat unfair and even ridiculous.
But what about the director who directs his own screenplay? Can Woody Allen and Ingmar Bergman, among others, truly be credited as the “author” of their films? Or is there still the question of whether a film can ever actually be called authored. After all, there are the actors to be considered. Actors play a huge role in shaping the final appearance of a film and they can certainly be said to “create” their characters despite those characters having actually been “created” by the writer. I am a huge Bergman film, but I would hesitate to call him the author of his movies. He is the writer, certainly, and he is the director, but his choice of actors plays a huge role. He is not the kind of director who single-mindedly develops the characters in the play. He allows his actors a huge amount of latitude in coming up with their characterizations. His cinematographers, most notably Sven Nykvist, also play a huge part in creating the final look of his films. His films do indeed have a certain look about them, but can this be located as resting on his shoulders or on Nykvist? It may be easier to say a writer-director is the author of his film and it may be closer to the truth than the hired hand director, but even there other aspects of filmmaking collaboration rise up to question the validity of sole authorship.
The two-time Oscar winning screenwriter William Goldman has written that he has never come across anyone in Hollywood who actually believes in the auteur theory. In his experience, people working on a film realize that it is a collaborative effort and that it would demean everyone involved-including the director-to say that the one true author of the film was the director. According to Goldman there are seven artists who are crucial to the making of a movie: the actor, the cameraman, the director, the editor, the producer, the production designer and the writer. All are under contract and all are being paid handsomely for their talents and what bean-counting studio executive is going to pay good money for any one of them unless they are, truly, crucial to the movie? To the best of my knowledge there doesn't now exist in Hollywood or even outside of Hollywood one single person who has taken on all seven of those roles and made a mainstream film all by himself. If he ever does, then yes we can say with certainty that that person is the one true author of his movie. But I don't think it's likely to happen.
So, then, can we say that the writer should be called the author of a movie before the director? Probably not. By the time the director says his final “cut” on the soundstage, the script has probably gone through countless rewrites and the original writer is probably already at home banging out what he hopes will be his next screenplay to actually get green-lighted by a studio. Hollywood is teeming with “script doctors.” Script doctors are writers who come in to punch up an already existing screenplay. Goldman himself is one of the most accomplished of script doctors. Therefore it is just as unjustifiable to say that the screenwriter is the author of the completed movie because many times his original words never even arrive on the screen.
The real question being asked is why the auteur theory at all? Why is it so important to pick out one person as being the author of the movie? Just because we can claim that one person wrote a book or one person wrote a song does that mean we have to allow that one person created a movie? The whole concept of the credit A ____ _____ Film seems unimportant. We know who the director was and we know who the producer was, as well as the actors and the editors. Everybody involved in a movie gets their full share of screen credit so why insist on calling the movie a film by one person? What is this need to tag just one person as the sole creator of a work of art? Is it borne strictly out of ego? Does the ego of the director inflate to the point where he can't accept simple screen credit for his job? Does the audience really believe that the director is solely responsible for what he's seeing up on the screen? Obviously not, even the most vapid of moviegoers realizes that what they've just witnessed is creation through collaboration. Take away any one component of the filmmaking process and the film falls apart. Without the director there can be no film. Similarly, without the actors or the cinematographer there can be no film. We must stop looking toward one person to whom we give the credit as it being their movie.
The auteur theory is outdated even in the words of one of its progenitors, Jean Luc Godard. In several interviews late in his life he admitted that the whole concept of the auteur theory was intended to draw attention to the film critics. The auteur theory is hurtful and harmful to the entire concept of moviemaking. It demeans everyone who is not the director and it even demeans the director by putting on his shoulders several jobs that he's not qualified to take credit for. This is not to say that there aren't several directors who take a hand in every aspect of their movies. And it's not mean to deflect the rightful attention they've gotten as the fabulous directors they are. But to say that the director alone is the author of a film is just not right. Was Victor Fleming really the author of Gone With the Wind? If anyone was the author of that movie it was its producer, David O. Selznick and even he can't really be called the author of it any more than Fleming.
Filmmaking is the most collaborative of all the arts and it should be known to the moviegoing public that this is the case. There are many talented editors and screenwriters and cinematographers who have never gotten proper credit for their part on the films they've worked. Michael Chapman and Thelma Schoonmaker deserve just as much credit for their work on Raging Bull as cinematographer and editor as Martin Scorsese has gotten for his work as director. And this is coming from a huge Martin Scorsese fan. So if I can admit that Scorsese isn't the author of Raging Bull, then anyone can.
Movie
Sometimes the easiest person on your list to buy for is that friend or family member who has fallen madly in love with the allure of the cinema. The movie lover can present both an ease in gift selection and a challenge during the holidays. This guide provides a list of the top ten holiday gifts sure to earn you a standing ovation from the movie lover on your holiday shopping list.
1. Gift Certificates to Movie Theatres. One of the best way to encourage your friend or family member's love of the movies is through certificates to their favorite theatres (such as AMC, Regal,CinemaCenter, Ritz, etc.). Certificates are usually available for purchase at the theatre, and often can be purchased either individually orinsets of five or more. Cost effective for both you and the recipient, these present a perfect gift that keeps on giving!
2. Gift Sets for Home Movie Nights. A classic gift set for home movie nights includes bags of popcorn, peanuts, and other typical movie-going favorites. This gift idea allows for a great deal of creativity on the gift giver's part. If you know the recipient's favorite movie snacks, put an ample supply of this snack in the basket or box. If you know there's a movie they've wanted to see, stick a copy of that inside! This gift can be as big or as limited as you like, but make sure to keep the recipient in mind when making your purchase!
3. Gift Cards to Entertainment Stores. No matter who the recipient is, people on the receiving end of a gift will probably always be grateful for the ability to pick out their gift on their own. For the movie lover, try a gift card to an entertainment store, be it F.Y.E., Suncoast Video, or even a bookstore like Barnes & Nobles with a good film department. Of course, you'll want to buy a gift card that will allow them to buy at least one good film; somewhere around $15 should be a good amount to get them one feature, and shops like F.Y.E. and even Blockbuster have used DVD and VHS sections to let that gift card stretch a little further!
4. DVD Burning Software. Be it for their computer or software to allow them to record their favorite television movies or VHS films to DVD, some DVD burning software is a must for the true movie lover. Good burning software can cost anywhere from $50 on up, sometimes even less.
5. A Movie Rental Subscription. So the movie lover in your life doesn't like spending a lot of money to own movies? Or maybe they don't like the clutter of having a bunch of DVDs or VHSs lying around the house. A good way to meet their needs and satisfy their preference for movie viewing would be a subscription to a movie rental store or service. Two great examples are Blockbuster and Netflix. Of course, in purchasing a rental subscription, you'll want to make sure you specify the fact that the purchase is a gift for someone else, and also watch out for online rental scams. Be sure to do some in depth background checking before you commit to any one company, particularly if you plan on making your purchase online.
6. Get the Recipient Started on a Personal Home Theatre. Another gift your movie lover will be sure to appreciate is anything that will get them started on creating their own home entertainment system and personal theatre. Be it a state-of-the-art DVD player, a personal movie projector and screen, a surround sound speaker system, or just a nice comfy chair in which to view their favorite flicks, any move toward having that personalized theatre touch could make the perfect gift (Note: you'll want to make sure that whatever you plan on purchasing for this gift idea isn't something the recipient already owns, unless you know they're looking to replace or add another one of the item).
7. A Portable DVD Player. Does your movie lover hate having to stop their film in the middle to take a trip, or get bored on long train or car rides, or enjoy spending time in the park but hate having to leave their movies behind? To alleviate these problems, consider investing in a portable DVD player. Check out Sony, Panasonic, Toshiba, or Phillips for some great deals and highly-rated items.
8. Subscription to Entertainment Magazine(s). If your movie lover loves being kept up to date for all the latest and upcoming films, consider going in on a subscription to an entertainment magazine. Check out some of these film-focused magazines: Boxoffice, Cinescape, Film Journal, Premiere, iF Magazine (for the independent film lover), or Movieline Magazine. Several of these magazines have the advantage of having online offerings as well; but nothing proves more charming for the movie-fan than receiving the latest in movie news right at their own front door. Subscriptions to these magazines can cost anywhere from around $12 and up a year (anywhere from 10-12 issues, typically).
9. Boxed Sets. This gift works best if you know some of the films your favorite movie lover is a big fan of, and if they're not so big a fan that they've gone and bought them all already! Even if they are quite the collector of boxed sets, there's sure to be something new and different out there for you to choose. Boxed sets are more than just one particular film series boxed (such as the Godfather trilogy); they also include boxed sets of actors-like Steve McQueen or Jimmy Stewart-film genres such as Westerns, Horror, et cetera, and other sets put together for a wide variety of interests. There's really no limit to what you can find; and if all else fails, you can always put together a collection of your own (i.e., films connected by a variety of actors, themes, and so on) that you're sure your film-buff will love!
10. Movie Posters, Tees, or Other Accessories. If your favorite movie viewer has a personal room in which they bunker down to watch films all the time, consider helping them deck out their personal quarters by providing them with all the posters, collectibles, and other movie-related accessories you can think of. Be creative; gifts like these can range from a framed T-shirt, a life-sized cut out of a favorite movie actor or character, or even a personalized director's chair!
Whatever you choose for the movie lover in your life, always be sure to choose the gift based on the recipient's loves and interests, not your own! Choose themes and gifts based on what you already know about the person, or get someone to do some Sam Spade-ing or James Bond-ing for you (make them an offer they can't refuse . . .) to find out all the confidential facts about the person you're buying for. If you have a general idea of some gifts he or she would like or genres that make their heart skip a beat, round up the usual suspects and choose from among them; you'll be sure to find the perfect gift somewhere in there!
Movie
The Omen, Directed by John Moore, a 20th Century Fox film, was greatly anticipated by movie fans who had their appetite for film narratives based on religious legends reawakened by The Da Vinci Code several weeks prior to 6-6-06 release of the remake of the 1976 thriller. Julia Stiles and Liev Schreiber are the parents of Damien, Seamus Davey-Fitzpatrick who is in the care of nanny Mia Farrow. Could the angelic face of this boy be that of the modern Anti-Christ?
What is the backstory of the Anti-christ? In 64 A.D. the Roman Empire was ruled by Nero, a ruler not wise in his utilization of the total powers he had over the Roman populace and the many subject peoples that they exerted control over. During the long-hot summer the city of Rome had caught fire and burned for a week. Somebody must be blamed and that troublesome group that had spread their doctrine from the provinces to the glorious capital of the Caesars itself, the Christians were available. Blaming the Christians would shift the blame for the once-greatest city in the world not having any resources ready to deal with one of the two common hazards of the time (floods being the other-volcanos errupting were spectacular disasters and capable of wiping out towns situated at their base, but very rare.)
The Christians were becoming more troublesome (and numerous) as time went on. They were prostelyizing the Roman citizens as well as the many slaves they owned. (It has been estimated that there were three times as many slaves as there were Romans.) Caesar Nero had other problems as well, empires have to have a constant infusion of wealth from new conquests to keep the economic system functioning and the citizens content with their rulers.
So Nero transformed the arena into a circus with the rounded-up Christians being mauled by wild beasts. This required that a group of men were designated to go into the forest and capture bears, boars, lions and wolves, bring them back to Rome and keep them alive and in good shape for the exhibition. Christian-baiting became a very popular entertainment with the Romans and diverted their attention from the crumbling empire.
Humans fear of wild beasts was well founded and one of the reasons that the earliest villages were established (thus the birth of civilization); banding together in groups, especially at night, helped provide for safer living conditions. While villagers slept, those standing watch would feed the other great human innovation: the fire. Children wandering into the bushes were often only seen again as picked-over skeletons in the forest. Adult humans alone in the woods were no match for a bear or a pack of wolves.
Many cultural traditions have legendary tales of manbeasts: The Minotaur dwelt in the Labyrinth on the Greek island of Crete and was part of the oral tradition in 2000 B.C. The Minoan's described him having the body of a man and the head and tail of a bull.
Ancient apocalyptic tales had been told by preceeding generations and transmitted along with olives and wine along the trade routes of the Roman Empire. As a comet appeared over Rome during Nero's reign it was the Seventh Sign that signaled the arrival of the Anti-Christ. Prophecy had foretold the Christians persecution by the Romans and it had come to pass in 64 A.D.
Rev 3:18 This calls for wisdom, if anyone has insight, let him calculate the number of the beast, for it is man's number, his number is666. Revelation is written in Greek, and the cultural traditions of those people in that era are reflected in it's phrasing. Nero was then associated with the wild beasts set upon the early Christians by their survivors. Rules of numerology derived from the Gematria assigned the numerals 666 to Nero's name. So his well deserved reputation for cruelity and inept rule of the Roman empire was recorded and transcribed for future generations to ponder.
Rev 13:3One of the heads of the beast seemed to have had a fatal wound, but the wound had been healed. The whole world was astonished and followed the beast. Nero had slit his own throat in 68 A.D.
Rev 13:16He causeth all, both small and great, rich and poor, free and bound, to receive a mark in their right hand, or on their foreheads. A boy was born on June 6, 1966 who had a birthmark suggesting 3 sixes on his forehead, he was named Damien.
Director Richard Donner's vision of Damien was told in 1976's The Omen, 20th Century Fox and is available on DVD. Gregory Peck and Lee Remick played the parents of Damien, who was portrayed by Harvey Stephens.
The sequel was Damien: Omen II, 1978, a continuation of the story. The Final Conflict was released in 2000. This is why I titled this article: Omenous Future for the World's Movie Goers, with the heightened interest in religious subjects by audiences world-wide, sequels in the Omen's tale are sure to be told.
Movie
While Americans were celebrating the Fourth of July this summer, the English were celebrating another British Invasion. A British Invasion of Los Angeles, that is.
The English chose Independence Day 2006 to kick off the eighth annual “Mods & Rockers” summer film festival at Hollywood’s elaborate Egyptian Theatre. The date marked the 40th anniversary of the British Invasion of pop music upon American shores. The American Cinematheque, a film group dedicated to the preservation and screening of rare and classic movies, opened the festivities by showing a time capsule gem titled “Go-Go Mania!” Way, way before MTV, this music revue featured made-for-broadcast performances by British groups like The Animals, Herman’s Hermits, Peter and Gordon, Billy J. Kramer and The Dakotas, The Fourmost and The Spencer Davis Group.
In lieu of American celebratory fireworks, the Brits spiced up the screening with a live concert in the theatre courtyard featuring Spencer Davis and Gordon Waller (of Peter and Gordon fame) backed up by The Ravers. The Spencer Davis Group was one of the British Invasion bands that grabbed hold of blues styles. They had international hits with “Gimme Some Lovin” (1966) and “I’m A Man” (1967). Peter and Gordon were often compared to the Everly Brothers and had great success with ballads written for them by Paul McCartney and John Lennon. They scored on the charts with “A World Without Love” in 1964.
Joining Davis and Waller on stage was American songwriter Stephen Bishop, best known for the ballad “On and On” and the theme song for the film “Tootsie.” Bishop ad libbed a wicked imitation of John Lennon trying to explain the colossally misunderstood Jesus Christ comment in his best Liverpudlian. A surprise guest for the evening was Rod Stewart’s bassist, Phil Chen, who has played with Donovan, Jeff Beck, Jackson Browne and Pete Townshend.
When all four of the rockers were waling away on their guitars deep into an improvised version of “I’m A Man,” they blew out the power on the courtyard stage. After a few jokes about Yankee sabotage, American ingenuity soon got the musicians plugged back in for more music.
The British also reveled in another 40th anniversary by celebrating the 1966 World Cup victory of the English football team. The achievement was honored with the screening of the award winning documentary titled “Goal! World Cup 1966.” Just imagine it. Swinging London was in full bloom. The British Invasion of music and fashion was at its zenith. England was hosting the World Cup games for the first time ever. To top it off, England beats Germany in a harrowing overtime championship game attended by Queen Elizabeth. Hail, Britannia.
The American Cinematheque continues the “Mods & Rockers” festival of rare, goofy and cult films from the 1960s in two theatres in the Los Angeles area throughout August.
Movie
Are you hosting a pre-teen or young teen's slumber party sometime soon? After the nail polish, gossip and chocolate candies run out, those gals will want to chill. They will need a few movies on hand to satisfy whatever mood they may be in at midnight. Here is a breakdown of movies. Do they want to be scared, but not too scared? Would they rather go Ga Ga over the latest screen idol? Or, maybe they want some girl power. Your local video store will have it all!
Most of these are suitable for girls older than 9. But that all depends on your standards. The best precaution is to view part or all of the film before your daughter does. Or, you can research critic reviews about one that piques your interest.
Scare me (but just a little) – face it, what's a slumber party without shrieks and screams? These three hold a little more weight in their story-lines than just fright. Still, you might want to view them first. Afterall, you don't want to be awoken at 2 a.m. with a roomful of little girls who can't get to sleep. Only for the strong!
1939: “The Wizard of Oz” – a great story about the power of believing in yourself and going after what you really want. Some adults probably still hide behind their hands at the sight of the wicked witch and those terrifying monkeys.
1976: “Carrie” – definitely for the older girls, this creepy, yet realistic film introduces us to a teen (Sissy Spacek) with psychic powers. She doesn't quite fit in at school. Some adolescent teasing goes too far, and Carrie takes revenge.
1999: “The Sixth Sense” – a little boy (Haley Joel Osment) is spooked by his unknowing ability to speak with those beyond the grave – most don't know they're dead. Probably for those over 11.
Oh, baby, baby! – your girls might want to drool over some eye-candy. Well, give them some movies with a bit of substance. These not only feature hunky young stars but offer good scripts, too.
1986: “Stand By Me” – Wil Wheaton and River Phoenix stars in this coming of age drama about four boys who go looking for the killer; based on a story by Stephen King so it has it's shining moments!
1989: “Say Anything” – who can resist the endearing persistence of John Cusack and that sweet smile?
1990: “Edward Scissorhands” – Johnny Depp, gothic outfits, crazy hands, and a love story. What else do we need?
You go girl! – looking for some girls who know how to take charge. These are only a start. You can search the web for “chick flicks” and find plenty, from “Thelma and Louise” to “Legally Blonde”. But, these three are perfect for a slumber party!
1984: “Sixteen Candles” – Molly Ringwald changes her world and everyone's she touches in this fun high school flick. Enjoy the 80s soundtrack!
2002: “Bend it Like Beckham” – an East Indian girl needs to choose between her parents' traditional path and her own love of Soccer.
2006: “She's the Man” – Amanda Bynes, who once starred in her own Nickelodeon show, is all grown up in this girl-power high school soccer flick with a twist – she plays her brother to make the team, then falls for the star, who is also her roommate.
Outasight! (and the U.S.) – how about a film from far away? Here are a few from across the oceans that will not only entertain your girls but empower them to dream, be themselves and be proud of being a girl.
1979: “A Little Romance” – if you have never seen this French/American film, you might want to watch it with the girls. This sweet story lets us watch as a young Diane Lane discovers first love.
2001: “Amelie” – Audrey Tatou (currently starring in “The DaVinci Code”) is a young Parisian out to help others and perhaps fall in love.
2002: “Whale Rider” – this New Zealand flick shows a young tribal girl work hard to prove to her grandfather that girls can be leaders, too. Beautiful scenery.
Movie
My most recent installment into the Rainy Day Hall of Fame is Mr. & Mrs. Smith. Why, you ask? Well, from the time I heard about this movie's premise, I knew right away I wouldn't like it. It seemed too safe, too predictable for the likes of these two major stars. I have always been a fan of Brad Pitt. I have to admit, I haven't seem too many of Angelina Jolie's movies except for Girl, Interrupted which was awesome.
Her acting could not have been done better and she definitely deserved all the praise and the award for it. However, ever since then, any other movie she has been in has made me wonder why she would do it. You have to pay the bills somehow, I suppose. In any case, when I sat down to watch Mr. & Mrs. Smith, I was rooting for it. I was hoping that my opinions of it were absolutely wrong. I was hoping to watch a movie that had humor, great action and believable storyline.
I was hoping for a guilty pleasure but all I got was a dull movie with such a predictable storyline. Don't get me wrong – I can enjoy a blockbuster movie knowing it was made solely for the purpose of raking in the revenue. But to completely disregard character build-up or perhaps a more believeable storyline is to make, well, Mr. & Mrs. Smith.
For those of you that have not yet viewed this movie, the storyline is as follows: John and Jane Smith (Pitt and Jolie, respectively) are professional assassins who happen to be married to each other. They have been married for a few years and have managed to keep their occupation a secret from the other. The movie gives enough information about the two characters in the sense of, where they work, who they normally associate with and how they keep their occupation a secret.
Now, what you have to understand is that there are way too many signs that lead to this “secret” and as smart as they are supposed to be, how could they not know? All right, all right. That's supposed to be the premise of the entire movie. I get it. But how could either of them not know that each of them kept an entire arsenal of weaponry at their home?!
The beginning parts of the movie did not do much in the way of character development. I found myself wanting more and wishing they gave a better background story to their history as a couple. Personally, I felt it was a bit choppy and the audience is expected to believe everything that was shown on screen.
But back to the storyline. John and Jane are each given assignments that end up being the exact same target location in the desert, where they are to await the arrival of their target. Missing their target, they end up realizing that there are two people on this job and begin to attack one another. Jane retreats to her office where she reviews the tape of her intruding assassin and figures out his identity is in fact her husband's. Thus, begins the meat of the movie where you wonder how are each of them going to figure it out and how many bombs can actually explode in one movie?
I just had too many problems with this movie that I could not enjoy it in its entirety. The movie quickly shifts gears from the introduction to the two assassins and into their suburban home. Their mundane lifestyle seemed to be a bit too mundane and began to reach the levels of absurdity.
During one of their conversations at the dinner table, I was practically yelling off the seat of my couch for them to laugh it off already and get to the part where one of them chuckles and says, “Oh, honey, by the way, did I tell you I'm a professional assassin?” And don't even get me started on the sex scenes. I guess it's true what they say, real-life couples have no chemistry on screen. Those scenes definitely seemed to be forced.
I was pleased to find Vince Vaughn in the movie. He's one of the many actors of present day Hollywood that is always good for a laugh. He provided a much needed comic relief in the midst of cliched one-liners and extremely unrealistic situations. Am I being a bit too hard on this movie or am I just not buying into the whole Brangelina item? Although I do prefer Jennifer Aniston to Angelina Jolie, I'm not bragging about Aniston though – her acting in movies has proven to be just so-so. As she awaits her breakthrough performance, I would have to say that I would choose her movies over this one any day.
I would give this movie a 2.5 out of 5. Although I probably won't ever see this movie again, my justification for this movie is that the writing and storyline were way too weak and when you don't have material, there's nothing that stars even as big as Jolie and Pitt can do about it.
Stay tuned to future Rainy Day reviews – because everyone can use a rainy day!
Movie
Are you hosting a pre-teen or young teen's slumber party sometime soon? After the nail polish, gossip and chocolate candies run out, those gals will want to chill. They will need a few movies on hand to satisfy whatever mood they may be in at midnight. Here is a breakdown of movies. Do they want to be scared, but not too scared? Would they rather go Ga Ga over the latest screen idol? Or, maybe they want some girl power. Your local video store will have it all!
Most of these are suitable for girls older than 9. But that all depends on your standards. The best precaution is to view part or all of the film before your daughter does. Or, you can research critic reviews about one that piques your interest.
Scare me (but just a little) – face it, what's a slumber party without shrieks and screams? These three hold a little more weight in their story-lines than just fright. Still, you might want to view them first. Afterall, you don't want to be awoken at 2 a.m. with a roomful of little girls who can't get to sleep. Only for the strong!
1939: “The Wizard of Oz” – a great story about the power of believing in yourself and going after what you really want. Some adults probably still hide behind their hands at the sight of the wicked witch and those terrifying monkeys.
1976: “Carrie” – definitely for the older girls, this creepy, yet realistic film introduces us to a teen (Sissy Spacek) with psychic powers. She doesn't quite fit in at school. Some adolescent teasing goes too far, and Carrie takes revenge.
1999: “The Sixth Sense” – a little boy (Haley Joel Osment) is spooked by his unknowing ability to speak with those beyond the grave – most don't know they're dead. Probably for those over 11.
Oh, baby, baby! – your girls might want to drool over some eye-candy. Well, give them some movies with a bit of substance. These not only feature hunky young stars but offer good scripts, too.
1986: “Stand By Me” – Wil Wheaton and River Phoenix stars in this coming of age drama about four boys who go looking for the killer; based on a story by Stephen King so it has it's shining moments!
1989: “Say Anything” – who can resist the endearing persistence of John Cusack and that sweet smile?
1990: “Edward Scissorhands” – Johnny Depp, gothic outfits, crazy hands, and a love story. What else do we need?
You go girl! – looking for some girls who know how to take charge. These are only a start. You can search the web for “chick flicks” and find plenty, from “Thelma and Louise” to “Legally Blonde”. But, these three are perfect for a slumber party!
1984: “Sixteen Candles” – Molly Ringwald changes her world and everyone's she touches in this fun high school flick. Enjoy the 80s soundtrack!
2002: “Bend it Like Beckham” – an East Indian girl needs to choose between her parents' traditional path and her own love of Soccer.
2006: “She's the Man” – Amanda Bynes, who once starred in her own Nickelodeon show, is all grown up in this girl-power high school soccer flick with a twist – she plays her brother to make the team, then falls for the star, who is also her roommate.
Outasight! (and the U.S.) – how about a film from far away? Here are a few from across the oceans that will not only entertain your girls but empower them to dream, be themselves and be proud of being a girl.
1979: “A Little Romance” – if you have never seen this French/American film, you might want to watch it with the girls. This sweet story lets us watch as a young Diane Lane discovers first love.
2001: “Amelie” – Audrey Tatou (currently starring in “The DaVinci Code”) is a young Parisian out to help others and perhaps fall in love.
2002: “Whale Rider” – this New Zealand flick shows a young tribal girl work hard to prove to her grandfather that girls can be leaders, too. Beautiful scenery.
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