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watch Evil Dead II videos

filmreview — Sat, 20 Sep 2008 12:37:07 +0000

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Evil Dead II
Evil Dead 2 is no doubt a great movie. The making of Evil Dead 2 just makes
it better. It gives you background information on the costumes/efx, some
cut
scenes, and everything else about the movie. It is a great addition for the
regular Evil Dead fan.

10/10

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filmreview — Thu, 18 Sep 2008 12:35:31 +0000

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Panic Room – *** (out of 5) (2002)

Cast: Jodie Foster, Forest Whitaker, Kristen Stewart, Dwight Yoakam, Jared Leto

Directed By David Fincher

PANIC ROOM would seem like a can’t miss thriller, especially given the talent involved and their respective track records. Jodie Foster starred in one of the best of the nineties (SILENCE OF THE LAMBS), director Fincher directed a few suspenser gems (SE7EN, THE GAME, FIGHT CLUB), and screenwriter David Koepp has been involved with some thrill-rides of his own (JURASSIC PARK, MISSION: IMPOSSIBLE). Put all three forces together and what do you get? A very intriguing, snappy thriller that just misses delivering all that it promises.

Foster plays a divorced mother who, along with her rambunctious daughter, decide to get back at the cheating husband by renting a very expensive NYC apartment, complete with "Panic Room". This room is a safe haven from intruders, seemingly impervious, decked out with it’s own phone line, surveillance cameras and food for weeks. Lo and behold, a trio of baddies come in to steal millions of dollars said to be kept in such a room, when the Foster holes herself up in the room. Unwilling to back out now, it’s cat and mouse between the mother/daughter combo vs. the hoodlums for who controls the room.

Credit Fincher for some sumptuous virtuoso camerawork, and a classic look to an old-fashioned style thriller, similar to the Bogart/Wyler classic, THE DESPERATE HOURS, but more modern and high-tech. However, there just wasn’t enough meat on this barebones plot to make a truly satisfying meal, and while the set-up is virtually flawless, once trouble ensues, the plotting sags and soon develops into predictable fare. Until then, there is just enough juice for the film to eke out a mild recommendation for lovers of unique thrillers with good performances. Foster performs as admirably as you’d expect, Whitaker as well, and country fans may enjoy an almost unrecognizable Dwight Yoakam as the baddest baddie of the three. Worth a rental if you’re in the mood of a well-made suspense flick.

Back to Qwipster’s Movie Reviews

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filmreview — Tue, 16 Sep 2008 12:36:02 +0000

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When Leonidas, King of Sparta, was asked for military aid, or so David Mamet says the story goes, his regard for his own troops was such that he was prone to sending just one man. A man, no doubt, very much like Robert Scott, the protagonist of the writer-director’s new film, “Spartan.” As played by Val Kilmer, an actor not known for cuddly characterizations, Scott is an implacable, unstoppable, military machine. A humorless member of an unnamed elite American combat force much given to gnomic pronouncements, he’s able to routinely break grown men like they were toy soldiers. When he says “give me all your magazines,” he’s not talking about Vogue and House and Garden. ADVERTISEMENT Though the works Mamet’s written for others (”The Untouchables,” “The Verdict,” “Wag the Dog”) have had more visibility than his own, the filmmaker has managed over the years to direct nine features. He’s established himself as a Woody Allen/Spike Lee kind of niche player, a cost-effective brand name studios like to associate themselves with for prestige reasons. Having someone like Scott as the protagonist of a Mamet film is not exactly a change of pace. From the writer-director’s Pulitzer Prize-winning play “Glengarry Glen Ross” through pictures like “House of Games” and “Homicide,” men being intensely masculine and doing whatever it is men do has always been one of his core preoccupations. In “Spartan,” that continuing concern is joined to the kind of conventional thriller plot involving a president’s missing daughter, white slavery and political chicanery that would not be out of place on an airport paperback rack. It’s an intriguing combination but far from a compelling one. Mamet has a sharp, unconventional mind and the ability to write dialogue of the “you want to gossip or you want to shoot somebody” variety. So his films, whether they ultimately succeed or not, have more intrinsic interest than the output of the usual studio apparatchiks. Unfortunately, like many of the works he directs, “Spartan” does not feel like Mamet at the top of his game. Its wheels-within-wheels plot, unable to decide between steeliness and sentiment, ends up rolling off the tracks, and Mamet’s trademark dialogue starts to sound too self-conscious for its own good. Though a more interesting film seems to be in the offing at moments when the plot throws even our hero a curve, they don’t last long enough to add up to anything. Scott, who refers to himself more than once as “just a worker bee,” is introduced helping run a war games exercise and keeping his distance from the young soldiers who idolize him, possibly because he can afford a custom leather jacket so special it gets its own mention in the credits. “If I want camaraderie,” he tells them, “I’ll join the Masons.” No sooner do the games wind down than a helicopter materializes to ferry Scott to a late-breaking emergency. Laura Newton (Kristen Bell), the president’s blithe spirit daughter, has apparently been kidnapped, quite possibly by white slavers who don’t yet know who she is. With just about every macho player on the government payroll rushing hither and yon in honest bewilderment, Scott gets the call from White House operatives Burch and Stoddard (Mamet regulars Ed O’Neill and William H. Macy) to “go off the meter” and do whatever it takes to get Laura Newton back. He’s joined by Curtis (Derek Luke), a kid so new on the block he has to be told to “keep your mouth shut and your eyes open.” Mamet knows his way around written dialogue, but he’s often had unusual ideas about how it should be spoken. He allowed his actors to recite the words naturally in “State and Main,” with delicious results, but here he backslides to a system that has his speeches read in a stylized way. The result is language that sounds unhappily artificial and characters who behave like they are less than real. That artificiality spills over into “Spartan’s” already far-flung plot and makes it seem even more unlikely, removing any sense of genuine jeopardy from a story that never had an abundance of the stuff in the first place. The risk of having a nonstandard guy try to tell a standard story is that his style works against plausibility — he may not be able to do enough to make us believe. King Leonidas’ Spartans may have been tough, but, as the famous losing Battle of Thermopylae proved, even they couldn’t do the impossible. ‘Spartan‘ MPAA rating: R, for violence and language Times guidelines: Violence is not lingered over. Val Kilmer…Robert Scott Derek Luke…Curtis William H. Macy…Stoddard Ed O’Neill…Burch Kristen Bell…Laura Newton Warner Bros. Pictures and Franchise Pictures presents an Apollo Media/Apollo Promedia/Quality International co-production, in association with Signature Pictures, released by Warner Bros. Director David Mamet. Producers Art Linson, Moshe Diamant, Elie Samaha, David Bergstein. Executive producers Frank Huebner, Tracee Stanley, James Holt. Screenplay by David Mamet. Cinematographer Juan Ruiz Anchia. Editor Barbara Tulliver. Costume designer Shay Cunliffe. Music Mark Isham. Production designer Gemma Jackson. Art director Christopher Tandon. Set decorator Susan Emshwiller. Running time: 1 hour, 46 minutes. In general release.
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filmreview — Sat, 13 Sep 2008 12:37:17 +0000

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The only thing I didn’t like about this documentary was that I wish
there was more of it. It starts out telling us a lot of things we
already know just from watching the movie, such as that Forrest retains
some of his childhood innocence into adulthood because he’s not very
smart, how we are able to watch a tapestry of American history through
his experiences, etc. We already know all of this, but the documentary
expands into the themes and interests of the movie, giving wonderful
insight into the intentions that went into its production. Besides, I’m
always the first to jump at any chance to see behind the scenes of
making a movie, especially one that I loved as much as Forrest Gump.

There are things explained about the movie, such as the fact that
Forrest only believes in three things – God, his Momma, and Jenny, and
everything else in the world that he experiences has to be filtered
through those three things. It explains how the movie is not about
anything that happens in American history that we see in the movie
(from the racism that he encounters in his early college days to the
Vietnam war). There’s no bad guy, there’s no overarching quest, it’s
simply about the spirit of Forrest Gump.

There is also some excellent coverage of the filming of specific
scenes, such as the Dr. Pepper scene (which had Tom hanks drinking a
massive amount of Dr. Pepper – it reminded me of how Charlie Chaplin
ate so many licorice boots in the famous scene in The Gold Rush that he
had to have his stomach pumped), as well as the scene where Forrest
shakes John F. Kennedy’s hand. I loved seeing how they managed to do
that, although I wish they would have expanded it a little, at least
enough to show how they managed to get JFK to say, "I believe he said
he has to go pee!" I tend to doubt that they actually found historical
stock footage of Kennedy saying that!

Another thing that I felt should have been in this documentary was how
they managed to portray Gary Sinise without legs, because it is one of
the more memorable digital effects that were achieved for the film,
although this is explained elsewhere on the DVD, and is probably why it
was not included in this documentary, which I believe was made after
the release of the original DVD. Much time is spent on how they did the
feather at the beginning of the movie, although that is pretty
important since the feather embodies the theme of the entire film.

There is some great explanations of characterization in the movie, like
how Forrest and Bubba became close friends because Forrest was the only
person who would listen to Bubba talking endlessly about shrimp.
Forrest accepted Bubba unconditionally, just like Jenny did for him.

Also interesting is the commentary made about Vietnam being in the
movie. Just like the theme of the movie being about Forrest and not
about the world in which he lives, there is no comment made about
Vietnam, how bad it was, etc, it just is. It’s simply another
experience that Forrest goes through, and it is there to enhance what
we know about Forrest, not to make any comment about the meaning of the
war itself. This is also why it is shown only through the eyes of
Forrest Gump, we see only what he sees. That this theme permeates the
rest of the movie is not surprising. It may have had something to do
with the title of this documentary.

There were other interesting things shown about making the movie, such
as the fact that they did the storm scene late in the film using an
actual jet engine, which I don’t think had ever been done on a movie
set before. But they used a real boat in real water and had people on
each side pulling on huge poles that stuck off the sides of the boat
like wings so that it would rock realistically, while water cannons and
a jet engine were trained on it to create the effect of a terrible
storm. So while this documentary doesn’t explain how a few things were
done, it does explain a tremendous amount of things, and delivers what
it promises. Very good.

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filmreview — Thu, 11 Sep 2008 12:40:29 +0000

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Last Drop, The Reviewed By David Cornelius Posted 04/18/06 07:48:08

"No Maxwell House jokes, please." (Pretty Bad)

Take out the unnecessary humor, ditch a handful of characters, streamline the plot, and

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filmreview — Wed, 10 Sep 2008 12:55:05 +0000

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Boondock Saints, The
In Boston, two brothers of Irish descent, Connor (Flanery, Suicide Kings) and Murphy (Reedus, Blade II), see themselves as the "saints" meant to rid the town of evildoers once they off some Russian hoods. The people of the city aren’t all that dismayed at seeing them rid the city of crime, while the cops who are on their trail, headed by eccentric FBI agent Smecker (Dafoe, Spider-Man), are conflicted in wanting to nab the vigilantes or to side with them.

The Boondock Saints is yet another recent entry in the Pulp Fiction clones, where huge doses of violence are mixed in with irreverently funny scenes of cleverness that entertain even if they are basically needless to the overall plot. If you aren’t squeamish about some gen
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filmreview — Tue, 09 Sep 2008 12:35:44 +0000

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The only thing more depressing than the idea that someone thought there was an audience for “Larry the Cable Guy: Health Inspector” is that there may actually be an audience for “Larry the Cable Guy: Health Inspector.” Hereafter to be referred to as “Larry” (he’d like it that way), the film makes brutal fun of the very people it seems to be aimed at. But no one, we hope, will be thinking about it all that deeply. Sometimes known as Dan Whitney, Larry the Cable Guy is a comic well known to fans of “Blue Collar TV” and a character grounded in the nonregion-specific comedy tradition of Al Bundy and Homer Simpson — albeit with the gross-out aspects taken to new heights. Or, rather, depths. ADVERTISEMENT “He’s gross, he’s rude,” says his long-suffering and unfortunately named partner, Amy Butlin (Iris Bahr), “and he urinated in a Thermos on the way to an inspection.” Offered sushi in a Japanese restaurant, our public servant says, “I’d rather dip french fries in my grandmother’s bed sores.” After that, even Larry’s kidney-rattling flatulence seems merciful. “Larry” isn’t an evil movie, but it is a symptom of the problems inherent in gross-out humor. As with the horror genre — which has become reliant largely on people figuratively jumping out of closets — films such as “Larry” have to continually raise the ante, lest they risk being considered tame. At the same time, you have to be a bit of an arrested adolescent to think “Larry” is funny, because there’s really nothing new about jokes of the fart, boob or crotch variety. What “Larry” is, in a sense, is a reworking of the old “Pink Panther” routine, with Larry the Cable Guy as a smarter (really) Inspector Clouseau. When someone is suspected of poisoning local restaurants, only Larry can solve the case, even by accident. His quick-to-boil-over boss, Tatlock (Thomas F. Wilson), plays the Herbert Lom role quite well, and Megyn Price plays the love interest, Jane, who seems to be a woman of many fine qualities. All of which are rendered null and void by her attraction to our hero.
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filmreview — Mon, 08 Sep 2008 12:38:45 +0000

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This
latest retrospective from the WWE pays tribute to Mark Calaway aka the
Undertaker who gained popularity during the WWF’s transitional period between
the Hulk
Hogan/Cyndi Lauper era and the
“Attitude” era. After the WCW decided not to renew his contract, he
signed with the WWF and made his debut during 1990’s “Survivor Series”
as a teammate of Ted DiBiase’s “Million Dollar Team” (a match that
isn’t on this set). From there, he got himself a new “manager”
(Paul Bearer) and made an impression at WrestleMania VII where he defeated Jimmy
Snuka (another match not included). These days, it seems as if championship belts change
hands faster than Paris Hilton’s home movie costars, yet it took Undertaker one
whole year to become
Heavyweight Champ by defeating Hulk Hogan (this match IS included!).

From there, “the Phenom” took the WWF by storm and
racked up a number of achievements. During a feud with “the Heartbreak
Kid” Shawn Michaels, he took part in the company’s first-ever “Hell In
A Cell” match and the following year, he wrestled Mankind in another
“Hell In A Cell” match, clips of which are still shown to this day. In
addition, he has an impressive record-setting 13-0 streak at WrestleMania.

Since I had stopped watching wrestling in the late 80’s,
all of the content on discs one and two were new to me. Disc one features seven
matches against people like Hulk Hogan, Bret Hart and Yokozuna. It was great
seeing these early matches for the first time and I was quite surprised that the
old “WWF” logo was on display in the majority of the matches. However,
there’s no rhyme or reason to when the “WWF” logo is blurred or not.
For example; during his “Hell In A Cell” match against Michaels, the
“WWF” logo is all over the place - even in the corner of the screen!
Yet, during his “Cell” match with Mankind, the WWE logo is in the
corner and the “WWF” logos on the ring posts are blurred. Weird, I
know.

Disc
two features the previously mentioned classic “Hell In A Cell” matches, one against
Mankind and the other against Shawn Michaels which also introduced his
“brother” Kane. Unfortunately, I thought
disc three was the least interesting. I’m not
sure if it was due to the Undertaker’s reemergence as the “American Bad
Ass” (in essence, a biker complete with leather, tatts and headband) or the quality of matches against such “wrestlers” as Brock
Lesnar and John Cena. However, I did enjoy his match against Stone Cold (one of
his last before adopting the “Bad Ass” persona) and his Undisputed
Championship match against Kurt Angle.

Here are the matches included:

Disc 1

WWE Championship Match vs. Hulk Hogan [Survivor
Series 11/27/91]

WWE Championship Casket Match vs. Yokozuna [Royal
Rumble 1/22/94]

vs. Diesel [WrestleMania XII]

Buried Alive Match vs. Mankind [In Your House:
Buried Alive 10/20/96]

WWE Championship Match vs. Bret Hart [SummerSlam
8/3/97]

Undertaker Attacks Hulk Hogan At the Funeral
Parlor [Superstars 11/16/91]

Undertaker Builds A Casket For Yokozuna
[Superstars 12/18/93]

Undertaker In the Graveyard Talks About Diesel
[Superstars 3/23/96]

Undertaker In the Graveyard Talks About Mankind
[Superstars 9/23/96]

Undertaker Interrupts Mankind’s Interview [Raw
9/23/96]

WWE Championship Match vs. Bret Hart [One Night
Only 9/20/97]

Disc 2

vs. Shawn Michaels [In Your House: Ground Zero
9/7/97]

Hell In A Cell Match vs. Shawn Michaels [In
Your House: Badd Blood 10/3/97]

vs. Kane [WrestleMania XIV]

Inferno Match vs. Kane [Unforgiven 4/26/98]

Hell In A Cell Match vs. Mankind [King Of the Ring
6/27/99]

WWE Championship Match vs. the Rock [King Of the
Ring 6/27/99]

Undertaker Interview About Shawn Michaels [Raw
8/4/97]

Undertaker Talking To His Parents’ Tombstone [Raw
4/6/98]

Undertaker Breaks Into Paul Bearer’s House And
Mauls Him [Raw 6/22/98]

Disc 3

WWE Championship First Blood Match vs. Stone Cold
[Fully Loaded 7/25/99]

vs. Triple H [WrestleMania XVII]

WWE Undisputed Championship Match vs. Hulk Hogan
[Judgment Day 5/19/02]

WWE Championship Hell In A Cell Match vs. Brock
Lesnar [No Mercy 10/20/02]

vs. John Cena [Vengeance 7/27/03]

Buried Alive Match vs. Mr. McMahon [Survivor
Series 11/16/03]

vs. Kane [WrestleMania XX]

Undertaker Interview About Triple H [Raw 3/26/01]

Undertaker Promo On Hulk Hogan [Raw 4/29/02]

Undertaker Talks About Hell In A Cell [Sunday
Night Heat 10/20/02]

Undertaker In the Graveyard Promo On Mr. McMahon [SmackDown!
11/13/03]

WWE Undisputed Championship Match vs. Kurt Angle [SmackDown!
9/3/03]

Video:
As usual, this one is presented in the full frame 1.33:1 ratio and, while there
is some slight differences in the textures of the video (depending on its age),
it was a pretty attractive transfer considering the amount of content on each
disc.

Audio: The Dolby Digital 5.1 sound was crystal clear and enveloped my
living room while I was watching it. There’s also an option of watching
the disc in Spanish.

Packaging: I feel it’s my duty to comment on the packaging for this set. While I
do appreciate the WWE taking my shelf space into account and using a standard
size DVD case, they’ve chosen to use one that has one hub and you place the
three discs one on top of the other. Frankly, this is a pretty boneheaded move
since it would’ve been just as easy to use which has a flap in the middle to
hold two disc securely, while the third attaches to the standard hub. I’ve read
stories about fans opening theirs to find one disc scratched thanks to the hub
not being strong enough to hold all three discs. In fact, the review copy I
received was the same way.

Conclusion: Since I had stopped watching wrestling in the late 80’s
and resumed late in 2002, I was only familiar with the Undertaker as a bandana
and sunglass wearing “American Bad Ass” covered in tatts and sporting a
buzz cut. And let me tell you, he was far from impressive. However, after
watching the matches and skits on the first two discs, I gained a new appreciation for the
Undertaker as a character and Mark as a wrestler. Though, in doing research into
the Undertaker’s history, I see that there’s a lot the WWE has left out. I
realize it might be hard to condense close to fifteen years of history on three discs, but
judging by the pop he gets, i’m sure there are plenty ‘Taker fans that wouldn’t be that upset if this
was the first volume dedicated to the Undertaker. Perhaps if sales of this set
are strong enough, it just might be. Recommended.

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filmreview — Sun, 07 Sep 2008 12:37:16 +0000

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Nearly as unwatchable as it is unpronounceable, the gangster comedy “Gigli” arrives in theaters amid a public relations tempest. As anyone within reach of the worldwide flack-net knows, the film stars real-life paramours Ben Affleck and Jennifer Lopez, who, stung by bad publicity about the feature, have vowed never to work with each other again. First, though, the pair should reconsider working with anyone who thought well of a movie hinged on jokes about the disabled, switch-hitting lesbians, and the sight of a dead man’s brain splattered across an aquarium. So forget the hype — this movie would stink even without its big-ticket stars, which isn’t to say that either is entirely blameless. Affleck plays a low-level Los Angeles hood whose surname rhymes with “really” and Lopez plays Ricki, an underworld contractor brought in to ensure that he doesn’t screw up a job. Gigli’s immediate boss, Louis (Lenny Venito), has ordered his reluctant minion to kidnap the mentally handicapped Brian (newcomer Justin Bartha), the young brother of a federal prosecutor who’s causing them business trouble. After luring the kid out of his group home, Gigli retreats to his bachelor’s pad, whereupon he, Brian and Ricki become the spurious misfit family so beloved of contemporary Hollywood while the movie grinds to a thudding stop. ADVERTISEMENT For the next 40 minutes or so, Gigli and Ricki swap stale banter as the actors feign animosity and Bartha sneaks off with the movie by channeling Dustin Hoffman’s “Rain Man” shtick. Throughout the strained repartee, the jokes keep coming and bombing, but it’s not as if the movie is devoid of humor. It’s fairly risible when Ricki quotes Sun Tzu by heart and equally gag-worthy when, without a shred of conviction, she declares she’s a lesbian just before snuggling in bed next to Gigli. A protracted scene in which the camera and Gigli both leer at Ricki’s wobbly yoga moves as she sings the praises of the female anatomy has irrefutable camp value, as does an inevitable seduction capped by the memorable line “it’s turkey time — gobble, gobble.” Yes, it certainly is. After a well-regarded student movie and a couple of misses, Brest hit it big as a director by staying out of Eddie Murphy’s way in “Beverly Hills Cop.” He subsequently scored with “Midnight Run,” which he followed with the more serious “Scent of a Woman” and “Meet Joe Black,” both studio-slick and strictly impersonal. The new film marks a return to a more overtly comic register for Brest — this is the first movie he’s taken a writing credit on since his 1979 caper “Going in Style” — which, in keeping with movie-comedy fashion, mostly involve forced stabs at ostensible “politically incorrect” waggery. The insults about Brian being a “half-wit” are crudely unfunny and made all the more painful by Brest’s steady attempts to reduce his stings with sentimentalism. Unlike the Farrelly brothers, Brest doesn’t embrace his bad taste — he flees from it. Every time Gigli hurls another insult at Brian, Brest and his team cue up a syrupy riff just to let us know that no one on board really thinks the kid is stupid. The frantic backpedaling seems a bid to put the thug into a better light, but it doesn’t. Gigli weighs in as such an insufferable lunkhead that it’s difficult to think of an actor who could pull him off without shifting the whole movie into pure caricature. A passable actor but a lousy star — the bigger the movie, the worse he comes across — Affleck doesn’t have the chops or the charm to maneuver around (or past) bad material, and unlike his co-star he can’t coast on looks alone. If Lopez fares somewhat better it’s only because her lines aren’t as egregious and her beauty affords its own pleasurable dividends. She’s as badly miscast as her sapphic warrior is ludicrously conceived, but because her well-manicured persona carries so much extra-added value — Puffy! The Rump! Ben and Jen! — Lopez ends up being a welcome distraction, a voluptuary of attractions. That’s especially true once the characters hit the street and the story spirals ever further south. Much like Christopher Walken and Al Pacino, both of whom stop by for a pair of resplendently eccentric, too-brief appearances, Lopez proves her big-screen worth mainly by making you forget the movie. When you’re this fabulous it just doesn’t matter if you’re any good. ‘Gigli‘ MPAA rating: R, for sexual content, pervasive language and brief strong violence Times guidelines: The language is raw, the sex is tame and the violence certainly isn’t brief. Ben Affleck … Larry Gigli Jennifer Lopez … Ricki Justin Bartha … Brian Al Pacino … Starkman Christopher Walken … Jacobellis Revolution Studios presents a City Light Films/Casey Silver Production, released by Columbia Pictures. Director and writer Martin Brest. Producers Casey Silver, Martin Brest. Director of photography Robert Elswit. Production designer Gary Frutkoff. Editors Billy Weber, Julie Monroe. Music John Powell. Costume designer Michael Kaplan. Casting Ellen Lewis. Running time: 2 hours, 4 minutes. In general release.
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Cry_Wolf dvd download

filmreview — Sat, 06 Sep 2008 12:35:56 +0000

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