I think you are confusing "Days of Heaven" with Michael Cimino's infamous box-office disaster "Heaven's Gate" as a film that "became synonymous with long-delayed, over-budget works of art that bomb." "Days of Heaven" is best known for its beautiful cinematography.
They are so nice
please plut: www . 2kuu . com
They are so nice
please plut: www . yessoso . com
They are so nice
please plut: www . yessoso . com
I want to say how much I enjoyed the documentary of Chippewa Lake Park. It brought back very fond memories of a much simpler life, of all the smaller towns in Medina County. I lived my life in Litchfield until my husband and children moved to South Carolina in 1982 where we still live today. I have thought of the park often and how much fun we would have going there as children, such a nice peaceful atmoshere. I want to say I hope you make a DVD of everything you have on the park as I know my family still in Litchfield and Medina would buy one. My final thoughts are "Thanks For The Memories" Patricia Knipl Hajek
You Won't Miss Me plays Sun., at 1:30 pm, not Sat.
Hey JWest, your review screams of grumpy old man. Your probably from the same generation that hates films like Inception and Avatar, and want films made like they were "in the good old days". "Money Never Sleeps" had its downsides, but the benefits- a great performance by Michael Douglas, superb soundtrack/great scenes of New York City. Oliver Stone tried to touch on everything that happened during the rise and fall of the financial collapse of 2008, so definitely stretched the plot too thin, but take the movie for what it was. Also, Shia LaBeof is developing into a very good actor, give the guy some credit. Much like the 1st Wall Street, the scenarios are a bit ridiculous, but what you take away from a movie like this: some great lines, a timepiece of what was happening, and Oliver Stone's landscape of NYC.
Please add "Money Never Sleeps " as the "WORST " film of 2010.
Oliver Stone's missive of supposed greed masked as a vehicle for Michael Douglas. Too bad he was alone and had no film to star in. Bad dialogue, choppy script, lacking in any sense of reality. Has Oliver Stone ever been to Wall Street ? This movie goes nowhere. Many scenes of computer screens and traders dressed from 1980. Even a cameo from Charlie Sheen looks contrived and awkward. Shia Labeouf is miscast and cannot carry this film's lead. What is he 17 ?. I'm not giving this kid $100mm. and he is not swaying the equity market. His girlfriend played by Carey Mulligan was given a script that read "cry" , look "pouty " and nothing else. She pulls it off brilliantly !. Josh Brolin is the only saving grace.
Save your money. Money never sleeps is a waste of celluloid and a waste of my time.
And in case anyone's interested, here's the flip side of 2010 movies: my 10 Worst list.---Milan P.
“Cats & Dogs: The Revenge of Kitty Galore.” In a year rife with unwanted and profoundly unnecessary 3-D sequels (including “Saw 3-D,” “Resident Evil: Afterlife” and “Step Up 3-D”), “C&D” really took the cake. Or is that the “Kitty” litter?
“The Expendables.” This sickeningly, nihilistically violent offal was also the worst action flick of the year. I’m just grateful it wasn’t in 3-D.
“The Last Airbender.” A bad idea (a live-action version of an obscure cartoon series) atrociously executed, M. Night Shyamalan’s howlingly inept debacle also proved the grand folly of retro-fitting flat movies into 3-D just to make a few extra bucks.
“Grown-Ups.” Adam Sandler’s worst film since “The Water Boy” was also his biggest commercial hit in more than a decade. I guess P.T. Barnum was right.
“For Colored Girls.” For Movie Critics Who Have Considered Suicide/After Seeing Enuf Tyler Perry movies.
“Killers.” Katherine Heigl reunited with her “Ugly Truth” director Robert Luketic for another 10-worst-list-worthy rom-com. Some people never learn.
“Cop Out.” Where have you gone, Kevin Smith? A (Sundance) Nation turns its lonely eyes to you, woo-woo-woo.
“The A-Team.” We’ve seen lots of terrible movies based on old TV shows in recent years, but few were as eminently disposable--and instantly forgettable--as this deserving summer flop. And to think that “A” director Joe (“Narc,” “Smokin’ Aces”) Carnahan once evinced so much promise.
“Mao’s Last Dancer.” Aussie New Wave veteran Bruce Beresford has directed as many clunkers (the 1985 Richard Gere Biblical howler “King David” among them) as he has classics (“Tender Mercies,” “Driving Miss Daisy”). This indigestible slice of politically correct Velveeta just might be the worst Beresford of the bunch.
“Little Fockers.” The profligate waste of A-list talent (Robert DeNiro, Harvey Keitel, Ben Stiller, Dustin Hoffman, Barbra Streisand, Owen Wilson) on moldy Viagra and projectile vomiting jokes helped make this third “Fockers” go-round the most depressing (and desperate) studio comedy of the year.
Apparently there was some mix-up in the placement of these lists.
Here's how my top 10 really stacked up.---Milan Paurich
The 10 Best:
(1). “The Kids Are All Right” (Lisa Cholodenko); “Please Give” (Nicole Holofcener); “Somewhere” (Sofia Coppola). While 2010 was hardly a banner year for movies, it was a fantastic year for women directors (see above). It’s starting to look like Kathryn Bigelow’s Oscar win last year for “The Hurt Locker” was less of a fluke than a bellwether.
“Carlos” (Olivier Assayas). Edgar Ramirez gave the performance of the year in this five-and-a-half-hour epic about notorious Venezuelan revolutionary/ terrorist Ilich Ramirez Sanchez (aka “Carlos the Jackal”). The chameleonic Assayas (“Summer Hours,” “Les Destinees”) just might be the greatest working director in films today.
“The Social Network” (David Fincher). Who could have guessed that a movie about the creation of Facebook would turn out to be the best studio release of 2010? Time Magazine for starters. They recently named Facebook major domo Mark Zuckerberg their “Person of the Year.”
“Greenberg” (Noah Baumbach). Ben Stiller gave his bravest performance to date in this extraordinarily nuanced, emotionally acute dramedy that, tragically, almost nobody saw.
“Vincere” (Marco Bellocchio). I’ve run hot and cold on veteran Italian director Bellocchio for more decades than I care to remember, but his Mussolini-as-a-young-man biopic was the most accessible--and possibly finest--film of his career.
“The Ghost Writer” (Roman Polanski). This crackerjack thriller about a Tony Blair-like British politician and his unwitting ghost writer was as effortlessly elegant and rigorously crafted as vintage Hitchcock.
“Inception” (Christopher Nolan). Turn on, tune in, drop out: the grooviest head trip since ”2001: A Space Odyssey.”
“I Am Love” (Luca Guadagnino). Luchino Visconti may be long gone--and Bernardo Bertolucci hasn’t made a movie in years--but Guadagnino’s rapturously beautiful, intoxicatingly sensual arthouse smash recalled both Italian maestros in peak form.
“Another Year” (Mike Leigh). Another year; another Leigh masterpiece. The British director’s most satisfying film since 1999’s “Topsy Turvy” told the story of a year in the life of a family and their maddeningly needy best friend (the brilliant Lesley Manville).
“Tiny Furniture” (Lena Dunham). The malaise of post-collegiate life has rarely been captured with as much insight, honesty and humor as it was in this remarkable first effort by 24-year-old Dunham (who also stars).
Gallucci, you are a bitch.
This is terrible! We need more people's Help solving the crimes by studying criminal justice search online for "United Forensic College"
"Holiday" is also being shown in association with Kent State University Museum's regional film series MOVIE DATE WITH KATE and its exhibit "Katharine Hepburn: Dressed for Stage and Screen,"offers a $3 discount to anyone with a KSU ID or a supporter of the museum. The Sunday showing also features an introduction by James Harris who has created supporting programing for the exhibit on "Cukor, Cary and Kate."
"Holiday" is also being shown in association with Kent State University Museum's regional film series MOVIE DATE WITH KATE and its exhibit "Katharine Hepburn: Dressed for Stage and Screen,"offers a $3 discount to anyone with a KSU ID or a supporter of the museum. The Sunday showing also features an introductory talk by James Harris who has created supporting programing for the exhibit on "Cukor, Cary and Kate."
Action rules to live by. I notice also that the super villians have hench-hos, too.
Who the hell is policing these comments? Askimet, anyone?
Anyway... I love Angel Heart. That is all.
R U ON SOMETHING?:)
Robert Kurtzman fans will enjoy his debut reality webisodes 'Creature Corps' airing next Friday, August 13th. You can view the FX Digital Reel below:
I just watched UP IN THE AIR. I know just the feeling of being discovered alone by yourself. Not lonely, just flying auto pilot.
This writing observation of what happens to our souls when we as a society become to involved in the machine and less in one another is so evident. Bravo.
I was specially pleased with the moment of realization that Jason's family sees him as non-existent as a simple result of his survival in a world of competition took him away from them as a soldier to a battlefield in which he found himself accomodated by escape after the heavy actions of life.
Okay, I get it. If you like movies you're a stupid and annoying 'hipster'. Thanks for the tip, Scene.
© 2013 Cleveland Scene:
1468 West Ninth Street, Suite 805, Cleveland, OH 44113, (216) 241-7550
Logos and trademarks on this site are property of their respective owners.
Website powered by Foundation