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John Cusack plays Lloyd Dobler–an for the most part gyrate with a penchant for kickboxing–in Cameron Crowe's (SINGLES, JERRY MAGUIRE) word go integument. There is only a man thing that all-around punctilious guy Lloyd wants for his intoxicated school graduation: a date with beautiful valedictorian Diane Court (Ione Skye). Lloyd's dream comes true when Diane accepts his invitation to a graduation party. Diane falls for Lloyd, whose goal is to spend as much time with her as possible. Their budding glamour is gormandize to the evaluate when Diane has to choose between pursuing her ivory-tower dreams and spending time with him. John Mahoney is first-rate as Diane's father, a single parent who wants only the A-one for his resourceful daughter but who harbors a serious secret that the IRS is investigating. Like John Hughes's classic films of the 1980s (PRETTY IN PINK, THE BREAKFAST CLUB) that dealt with the trials and tribulations of being a teenager, Crowe's intelligent hand and film cut into done with stereotypes and portray teenagers as real people rather than caricatures.

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2006 - 71m.

Canada

In the last five years or so independent Canadian actor-director Brett Kelly has been making a minor name for himself with such efforts as

The Feral Man

,

The Bonesetter

(and it?s sequel), and his latest: the flesh eating horror-comedy

My Dead Girlfriend

.

Having never seen any of his efforts, I wasn?t quite sure what to expect from this as a good majority of indie flicks suffer from budgetary restraints, sloppy production, and amateurish acting. While I can?t deny the fact that a few of the actors here fail to make much of an impression (even Kelly who gives himself the lead role is merely a so-so actor, even if he has an okay grasp on the visuals),

My Dead Girlfriend

manages to deliver enough okay chuckles and gets a lot of mileage out of Caitlin Delaney?s performance that it manages to make for a watchable seventy-one minutes.

Kelly plays teacher Steve who is planning on moving in with girlfriend (and one-time student) Amy (Delaney). Despite warnings from his slacker friend, Carl (scripter John Muggleton), Steve decides it?s about time he purposed to her.

It?s too bad then that he accidentally ends-up backing his car over her and ends-up bloodshed her. But things aren?t as shocking as they could be as Steve decides to test out Amy?s interests in black magic by performing a ritual that manages to bring her back from the dead as a pale skinned zombie who?s always, to quote his newly undead honey, ?Hunnngrrryyy??

After trying unsuccessfully to transaction with Amy?s untrained condition (Delaney does a flagrant calling here acting adulate a stiff rag doll and chewing on anything, and the whole shooting match, in sight), Steve decides they should veil off in a haughty ally?s compartment until he can figure obsolete what to do. But that diagram doesn?t work when Carl and a couple of his other friends arrive owing a weekend of partying.

My Dead Girlfriend

is Kelly?s attempt to make a dopey zombie comedy that piles on the puns as well as a little bit of bloodshed, and in some ways he?s succeeded. The set-up and early scenes of Amy as a zombie work rather well only for the movie to stumble a little bit when Kelly and Muggleton cut off their cast by placing them in the middle of nowhere. That?s too bad because the scene where Steve?s attempting to hide Amy from the superintendent with wacky results could?ve been a jump-off point for all sorts of ?fish out of water? zombie goodness as Amy stumbles around town trying to eat everyone while Steve fumbles after her ? but, alas, it?s not to be.

Still, the finished product here does manage to be somewhat entertaining and it certainly looks better than a lot of indie stuff that?s out there, but the most positive things

My Dead Girlfriend

has to offer is a strong musical score by Howard Sonnenburg and lead actress Delaney ? she?s good enough to make me want to see more of her in the near future.

Up next for Kelly is a remake of the 1991 no-budgeter,

Kingdom Of The Vampires

, which lately so happens to be the in front movie directed by J.R. Bookwalter, the employer honcho of Tempe Video who distribute all of Kelly's flicks.
(Chris Hartley, 12/5/06)

Directed By:

Brett Kelly.

Written By:

John Muggleton.

Starring:

Brett Kelly, Caitlin Delaney, John Muggleton, Anastasia Kimmett.

DVD INFORMATION

Tempe - October 24, 2006

Picture Ratio:

Full State.

Picture Eminence:

Considering the budget au courant with here there is some mild fuzziness to the picture at times (mostly during darker shots), but at least it's free of any debris and is rather watchable.

Extras:

We get a trailer (plus trailers for 3 of Kelly's other movies and 4 Tempe releases), a blooper reel, two deleted scenes (including the original ending, which needed cutting), cast and crew interviews, Kelly's short film The Pretty Lie and a commentary keep up with with Kelly, composer Sonnenburg, effects guy Ralph Gething and co-farmer Jodi Pittman.

Visit

Tempe Video

or

Brett Kelly

for more info.

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ing Arthur," which opens today nationwide, claims to be "the untold true story that inspired the legend." In the name of accuracy, apparently, some familiar legendary elements have been altered or dropped altogether. Merlin (Stephen Dillane), it turns out, was not a magician but the shadowy leader of the Woads, a guerrilla army of Pictish freedom fighters with stringy hair, blue faces and tattooed bodies. Since the knights of the Round Table are stubbornly pagan (and skeptical of their leader's Christianity, which is wobbly at best), they are not about to go off in search of the Holy Grail. And though Lancelot (Ioan Gruffudd) at one point casts a smoldering glance in the direction of Guinevere (Keira Knightley), nothing more comes of the mythic triangle of king, queen and knight. Lancelot, in any case, is more of a fighter than a lover, and so, in spite of an obligatory cuddle with Arthur on the night before the big battle, is Guinevere.

Historians will debate the veracity of all this, assuming they have nothing better to do. But it will be clear to most moviegoers that this true story, far from being untold, was inspired by at least a half-dozen previous movies, from "The Seven Samurai" to "Braveheart."

David Franzoni, the screenwriter, also wrote "Gladiator," and Clive Owen's Arthur, like Russell Crowe's Maximus, both faithfully serves the Roman empire and turns against its authoritarian abuses. He and his knights are sent on a rescue mission that recalls the one undertaken by Bruce Willis in "Tears of the Sun," the previous movie directed by Antoine Fuqua, who directed "King Arthur."

Really, though, originality is not the point of this movie, any more than historical verisimilitude is. It is a blunt, glowering B picture, shot in murky fog and battlefield smoke, full of silly-sounding pomposity and swollen music (courtesy of the prolifically bombastic Hans Zimmer). The combat scenes, though boisterous and brutal, are no more coherent than the story, which requires almost as much exposition as the last "Star Wars" movie. Luckily there is an element of broad, brawny camp that prevents "King Arthur" from being a complete drag.

In this version Arthur's knights are a ragged band of foreign conscripts stationed in the shadow of Hadrian's Wall, where they fight an occasional skirmish with the pesky Woads, who gyre and gimble in the wabe. Arthur's mixed parentage — he is half Roman and half British — results in an identity crisis as he simultaneously grows disillusioned with the corruption and cruelty of Rome and succumbs to Guinevere's Woady charms.

Arthur's men, for reasons efficiently explained in the first 10 minutes of the movie, are required to serve the empire for 15 years. They complain about the English weather, which was even drearier back in the fifth century, but their devotion to Arthur is absolute. Although they have earned their freedom, the knights are sent off on one last mission, which acquaints them with both the evils committed in the name of Rome and its church, and with the threat of the Saxon invaders, who are waging a vicious war of conquest with armor-piercing arrows and the scariest blond hair extensions since "White Chicks."

Cerdic, the Saxon leader, is played by Stellan Skarsgard, whose halting, throaty delivery and gleefully hammy villainy confirm his stature as the Swedish Christopher Walken. Cerdic's lieutenant is his son Cynric (Til Schweiger), who sports a spiffy plaited soul patch and a slightly different accent, and who leads the Saxons into a battle on the ice that is the film's most original and satisfying set piece. The rest of it is mostly grunting, roaring and hacking, conducted by some fine, cheerfully slumming actors, notably Ray Winstone (as a lusty, cantankerous knight named Bors) and Mads Mikkelsen (as the enigmatic Tristan).

Arthur, who will somehow establish freedom for England by being declared its king, is a worrier as well as a warrior, and Mr. Owen brings a certain wariness to the role, as if he were, like his character, reluctant to commit the full force of his charisma to a cause he doesn't quite understand. Ms. Knightley, on the other hand, throws herself bodily into every scene, sighing her way through the gauzy love-making montage and appearing at the climactic battle the next morning in face paint and a smashing leather combat brassiere, hurling herself at the Saxon invaders with full-throated Woad rage.

"King Arthur" is rated PG-13. Its brutal battle scenes have been carefully edited to minimize gore, and its lone sex scene does not reveal too much skin.

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KING ARTHUR

Directed by Antoine Fuqua; written by David Franzoni; director of photography, Slawomir Idziak; edited by Conrad Buff and Jamie Pearson; music by Hans Zimmer; production designer, Dan Weil; produced by Jerry Bruckheimer; released by Touchstone Pictures/Jerry Bruckheimer Films. Running time: 130 minutes. This film is rated PG-13.

WITH: Clive Owen (Arthur), Ioan Gruffudd (Lancelot), Mads Mikkelsen (Tristan), Joel Edgerton (Gawain), Hugh Dancy (Galahad), Ray Winstone (Bors), Ray Stevenson (Dagonet), Keira Knightley (Guinevere), Stephen Dillane (Merlin), Stellan Skarsgard (Cerdic) and Til Schweiger (Cynric).

Poppy (Sally Hawkins) is an irrepressibly cheerful primary State school teacher who won’t let anyone or anything fit out her down. Even when her bicycle, which she so happily rides through the busy streets of London, is stolen, her first thought is at most: "I didn’t unbroken get a chance to announce ‘ goodbye." Living with her flatmate Zoe (Alexis Zegerman), Poppy has a gift for making the most of person. Determined to learn to drive, she finds herself matched with Scott (Eddie Marsan), an uptight driving instructor who is everything she is not.

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THE ROOKIE
A video review by Steve Rhodes
Copyright 2002 Steve Rhodes
RATING (0 TO ****): ***

Disney's THE ROOKIE is that rare cinematic treat, a G-rated family film that
really is good for all ages, not just the youngsters. It is also quite
surprising since it is a slow-paced movie that, nevertheless, has had great box
office results even among the heavily-prone-to-fidget set and their parents.

The story's draw is obvious, being a true story that speaks to everyone. It
concerns a middle age guy named Jimmy Morris, who, in the span of a few months,
went from teaching high school science at a small, dusty West Texas town to
pitching in the major leagues. It is the sort of tale that would be ridiculed
as hopeless hokum were it not true.

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While the film's casting is quite good, none is better than Dennis Quaid as
Jimmy Morris. Quaid's athletic skills are convincing, and he makes it easy to
vicariously experience his aches and pains, both physical and mental. Rachel
Griffiths, as his wife, does a lot with a very underwritten role. Angus T.
Jones is adorable and funny as Jimmy's 8-year-old son and his number one fan.
Brian Cox, as Jim Morris, Sr., is chillingly effective as the father who is too
busy for his son and never even tries to understand his son's dreams. Jim Sr.
is full of advice, all bad. In one of these typical homilies he tells his son,
"There is more to life than baseball. The sooner you find that out, the better."
This thought for the day comes when young Jimmy has just lost his most
treasured possession, his baseball glove.

The story concerns a coach who, on a lark, makes a pact with his players.
Morris, when he isn't teaching science, coaches a high school baseball team that
has won only three games in the last three years. When the team finds out that
their coach has a fast ball that lights up catchers' gloves, they make him a
deal. If they win district — What chance could there be of that? — then he
has to agree to try out for the pros. You guessed it. They go on to win
district, and he gets a professional baseball job. (So you expect Disney to
green light a project about a middle age guy who tries and fails?)

Director John Lee Hancock and cinematographer John Schwartzman paint their story
by focusing on the eyes. Especially in the baseball games, the camera lingers
on the eyes, which express determination and longing better than any other part
of the body. Your eyes, too, will be affected by the movie. Even though you
know where the story is headed, it is nearly impossible not to shed a few tears
when it gets there.

The movie goes through several sections that are somewhat surprising. One of
the more unusual occurs when Jimmy grinds away in the minor leagues. This
section might be titled something like, "Be careful what you wish for." If we
didn't know the ending, we might begin to suspect the movie was going to evolve
into a major downer. But, not to despair, success will eventually be at hand
and you'll be cheering with joy for Jimmy just like everyone from his
hometown.

THE ROOKIE runs 2:09. It is rated G and would be a great choice for all ages.

My son Jeffrey, age 13, gave it *** 1/2. He liked it all from the casting to
the story itself. He thought the editing of the baseball sequences was
particularly effective.

The film is playing in nationwide release now in the United States. In the
Silicon Valley, it is showing at the AMC and the Century theaters.

Web:

http://www.InternetReviews.com

Email:

Steve.Rhodes@InternetReviews.com

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==========
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X-Language: en
X-RT-ReviewID: 308927
X-RT-TitleID: 1112954
X-RT-SourceID: 703
X-RT-AuthorID: 1271
X-RT-RatingText: 3/4

Reviewed by Dennis Schwartz

“Human Nature” plays as a sophomoric exercise in the art of satire.
When this satire about the differences between civilized and uncivilized
behavior doesn’t work, which is for most of the film, it really stinks
up the joint. Screenwriter Charlie Kaufman who got it right in “Being John
Malkovich” tries another goofy screenplay, but has no such luck. Just about
everything goes wrong, as the laughs are merely from throwaway lines, the
characters play to their clichés and try to be too cute for the
viewer to engender any real concern for them, and the script gets reduced
to silly prattle and is never able to have an edge. If going ape for just
the sake of going ape is your idea of returning to nature, and if you find
it delightfully absurd that one of the main characters who believes he’s
an ape-man can go before Congress and deliver an erudite speech encouraging
the lawmakers to pass a law bringing people back to nature (something that
is obviously impossible to ever enforce), then as absurd a satire as “Human
Nature” is it still might agree with you more than it did with me. It tries
to throw in whatever it could to get a laugh, even a dwarf (Dinklage) is
awkwardly fitted into the story. Its attempt to study human behavior as
compared to animal behavior is ludicrous. It goes overboard with its undeveloped
theme to explain man’s evolutionary gains at the expense of losing the
thrust of his animal instincts. A motto to explain modern man’s troubling
sexual behavior is exclaimed by the film’s repressed scientist: “When in
doubt, don’t ever do what you really want to do.”

Human Nature is directed by Michel Gondry in his feature debut. He’s
the music video specialist who is best known as a commercial director for
several Levi’s ads, and has worked with the singer Bjork. What he’s trying
to sell here is a film that is too slight, and though the talented cast
tries its hardest to make something out of the one-note script — it’s
all in vain.

The film starts from its conclusion and in flashback tells how an
anal affected research scientist, whose special federally funded project
is to teach table manners to mice, Nathan Bronfman (Tim Robbins), was murdered
in the woods. Lila (Patricia Arquette) confesses to the crime, even though
she didn’t do it, because she has an ulterior motive. The story then gets
told from the point of view of each of the three main characters involved:
Nathan, Lila, and Puff (Rhys Ifans). Nathan apologetically tells his side
of events from the otherworld, and explains how his adoptive parents (Robert
Forster and Mary Kay Place) brought him up to reject his natural instincts
and suffocated him with their warnings about the evils of natural life:
“Never wallow in the filth of instinct”.

The film opens showing that Lila has retreated to the woods at the
age of 20 because of an hormonal defect that left her body entirely covered
with hair. She becomes a noted reclusive best-selling nature writer and
prances around nude in the woods (covered with a veiled body shirt of hair,
which makes it hard to see her completely nude), but is happy to be among
the wild animals because they are nonjudgmental of her appearance. But
she becomes frustrated for sex and comes into town to get electrolysis
from Louisa (Perez), and hopes she can have all her body hair removed so
that she can meet an intelligent man who will accept her for what she is.
Louise gets her a blind date with the scholarly 35-year-old virgin Nathan,
whom she says won’t notice her hair problem because he’s too worried about
his small penis. She knows all this about him from her therapist brother
Wendal (Sandoval), who is treating Nathan.

The two misfits compromise their extreme opposite beliefs about nature
so that they can have a relationship, but she goes even further and eventually
compromises all her cherished nature and feminist principles just to keep
him. On a hike in the woods, they discover a naked feral man prancing around
like an ape because he thinks he is an ape. His mentally ill father thought
of himself as an ape and raised him that way also in the wilderness to
be in a pure state of nature, after he snatched him from his mother. Nathan
takes him back to his lab as a subject and places him in a Plexiglas cage
and trains him by electric-shock-driven behavior modification, and soon
subdues his aggressive sex drive and turns him into a properly cultivated
man who reads Yeats. Figuring this will get him recognition in the scientific
community, Nathan doesn’t concern himself that his subject is a human being
and not a mouse. Nathan’s slinky sexy French lab assistant Gabrielle names
the ‘nature boy’ Puff.

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The film tries to answer the question if there’s a middle ground
between natural impulses and the restrictions imposed by civilization.
It does it in a screwball comedy manner, as the three manage to get involved
in a very civilized menage a trois that makes Nathan’s simplistic experiment
all the more complicated. And to add a little more of a splash, you can
throw the sexually driven lab assistant into the menage a trois mixture.
But after this setup comes to fruition, Gondry seems to be clueness on
how to expand the story and take it somewhere. The film gets lost in the
woods and in the process loses its comic timing, its purpose, and the ready
mood it had set for a controlled craziness. It all seemed forced, as the
film just had no finely tuned aesthetic rhythm to carry out its madness.

After jointly pushing the Turks defeat from the Steppes in the at cock crow 16th century, the Poles burst forth their ahead and value the Cossacks into the hills. Cossack Colonel Taras Bulba (Yul Brynner), raises his son, Andrei Bulba (Tony Curtis) to learn the ways of the Poles so he can one day defeat them in battle. However, Andrei falls in get a kick from with Natalie (Christine Kaufmann) the daughter of a Improve Nobleman, triggering danger and disagree of loyalties by reason of all.

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Grave School physics geek Casey Carlyle (Michelle Trachtenberg) is a science whiz whose love of ice skating leads here to develop a special “how to” computer program to appertain to the sport in the hope of landing an illustrious scholarship to Harvard University. Combining her own accepted skating capacity with the green-found procedure, Casey becomes good enough to compete at a subject knock down, much to the chagrin of her over-bearing, academically minded mam (Joan Cusack) and adjoining ice skating school owner Tina (Kim Cattrall) whose own daughter Gen (Hayden Panettiere) competes on the same circuit.

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Reviewed by Dennis Schwartz

This slight B-Western with an A-caliber cast re-teamed Charlton Heston
with his Ten Commandments co-star Anne Baxter. Both give poor performances,
as their hammy acting made this Western soap far roo soapy. Rudolph Maté
(”The Far Horizons”/”The Barbarians”/”D.O.A.”) never can do much with this
unappealing character driven Western set in the post-Civil War Texas. It’s
based on a story by Leonard Praskins & Barney Slater and written by
James Edward Grant. 

Haughty, hot-headed, humorless, hero Confederate officer Capt. Colt
Saunders (Charlton Heston) returns after four years at war to his hometown
and the cattle baron finds there’s a corrupt provisional government that
curries favor to lowlife Yankee carpetbaggers, Southerners are openly insulted
in the street by the carpetbaggers and that there’s a garrison of Union
soldiers stationed in town. Before you can say meeting-on-the-cute, Colt
falls for a Southern belle named Lorna Hunter (Anne Baxter) who just arrived
by stagecoach. She suckers the wealthy gallant Reb into marrying her after
he’s fooled into thinking she saved his $900 in gold coins when he was
knocked cold in a street brawl with carpetbaggers while defending her honor. 

The wealthy Bar S rancher soon learns from one of the carpetbaggers,
Lorna’s former customer from St. Louis, that his pregnant wife is a prostitute
and he realizes that he’s been duped into the marriage and the macho man
has to deal with that blow to his pride. If that wasn’t enough, Colt learns
from Innocencio (Gilbert Roland), his loyal Mexican-American foreman, that
few of the ranch’s cattle remain as they were taken by the carpetbaggers.
Furthermore the murderous crooked commissioner (Bruce Bennett) wants $16,000
due on unjust taxes for the ranch, as they are intent on stealing his land.
This leads to Colt uniting with the surviving Texas ranchers against the
land grabbing carpetbaggers. There’s even more bad news, as Colt learns
that his prodigal brother Beauregard, better known as Cinch (Tom Tryon),
an embittered man, has also returned home though disinherited by his grandfather.
Cinch is offered a share in the ranch by Colt, who stills feels guilty
about a childhood accident in which his younger brother lost his right
arm in which he heroically performed the amputation. But the misguided
Cinch is so filled with hatred and envy that he sides with the carpetbaggers
and joins forces with the commissioner’s deputy, a ruthless gunslinger
named Cable (Forrest Tucker). 

The climax has brother against brother until Cinch at the last moment
is double-crossed by the commissioner, and the brothers turn on the ruthless
carpetbaggers as everything gets put back in order in the action-packed
gun-duel ending. But the whole thing seems as worthless as Confederate
money. By the way, your guess is as good as mine as to who the third violent
character from the title is after Heston and Tryon–especially since so
many of the lesser characters are violent and the assumed third party Roland
(a warm-hearted family man with five sons) is tough but not necessarily
violent.