Breaking Dawn

In so many ways, Breaking Dawn, Part One is a remake of The Deer Hunter. The first half of the movie is a seemingly endless wedding sequence and the second half is all about horrible things happening horribly to people who can barely comprehend just how badly they're screwed. That wedding is between Bella and her creepy boyfriend Edward. Those horrible things happening horribly include vampire/human sex so brutal that beds are crushed flat (bringing Man of Steel, Woman of Kleenex to mind), the creation of a fast growing vampire baby whose womb kicks can break bones, a full-blown Werewolf vs. Vampire war over this vampire baby and, finally, somehow, a full-grown werewolf falling in love with said vampire baby. A surprising number of things happen in the second half of this film (after a first half that is typical for the series in that nothing much happens), but little tops the concept of a werewolf falling in love with a baby. Except for the scene where the werewolves have a group meeting and their psychic, English-language communications are dubbed over their growling. And the scene where Edward performs a cesarian section on his dying wife with his teeth. Have I mentioned that this movie is nuts?
This is the one where Bella and Edward tie the knot, but that does nothing to alleviate the rivalry between the two men in Bella's life. In fact, Jacob shows up to Bella's wedding and does his best to ruin her day because, you know, Edward is going to totally make her into a vampire and ruin her life. He's right, but crashing a woman's wedding and acting like a drama queen is just not cool, man. Like in Eclipse, Edward and Jacob are forced to team up to defend Bella, but their interactions are more hateful than usual this time around. With Bella dying thanks to his spawn totally wrecking her frail human body, Edward asks Jacob to kill him if Bella dies. Jacob refuses, not because he's a good guy, but because he'd want Edward to live with the crushing guilt. In the Twilight saga, spite is the name of the game. Glorious, painful spite. Both of these guys are awful.
Bill Condon, more than any other director involved in this series, knows exactly what kind of movie he's making here. This is not only the silliest film in the series, it's one of the silliest films I've ever seen, a collection of scenes so bizarre, off-putting and melodramatic that it has to be seen to be believed. Just direct your attention to the Hot Supernatural Action section if you don't believe me. To put it bluntly: this sh*t is nuts. Condon's direction is Douglas Sirk by way of David Cronenberg; big, shameless camp pushed through a thoroughly disgusting, morally depraved filter. Still, in true Twilight fashion, the film still plays it all as a straight, open-hearted romance. I'm glad I don't have to write a full review of this movie because I literally have no idea what to make of it. For better or for worse, Condon has crafted a film too stupid to live, too weird to ignore and too fascinating to not see and not talk about.
This was my first Twilight film seen in a theater and I cannot recommend this experience enough. The enthusiasm people have for this series is so infectious that it's easy to get swept up in it all, even though you're well aware of just how dumb all of it is. When Jacob rips off his shirt thirty seconds into the film, the (mostly female) audience erupted into cheers. When Jacob and Bella discussed the future of her child, a nearby audience member openly wept while I giggled like a sadistic madman. Never mind the increasingly creepy things going on in this series (a werewolf falling in love with a baby; Bella demanding that Edward have sex with her even though he's wrecking her body and literally destroying the bedroom). To the fans, this is bold, beautiful and epic. I've not hidden my belief that all of this is stupid, creepy and thoroughly uncinematic, but it's rare to see a film hold an audience in such a strong thrall. I'm pretty sure that watching these films alone would've been a mind-crushing experience, but seeing the first three amongst friends (with plenty of snark in the air) and seeing Breaking Dawn, Part One amongst devotees made all of this worth it. Now I have to see the last one.

'Martha Marcy May Marlene

I don't put a lot of stock in the Academy Awards. Oh sure, I love that we get a fancy awards show that spotlights movies, but the program comes with so much irritating baggage that I can't help but try and tune it out until Oscar night actually appears.
But I recently saw an excellent indie film that deserves mention for a variety of things, but most specifically for its masterful editing. The movie is called Martha Marcy May Marlene, and on the whole it is a powerfully impressive story about a young woman who escapes from a creepy cult, only to have a lot of trouble getting used to "normal life" with her estranged sister. This fantastic indie is not only one of the best films I've seen all year, and not only does it feature some truly excellent components, but it may be one of the most beautifully edited films I've ever seen.
First-time writer-director Sean Durkin and film editor Zachary Stuart-Pontier tackle this fascinating character study with an editorial approach that slips effortlessly between its two stories -- and every time the movie switches between alternating tales, the quiet, subtle, frankly brilliant editorial style offers the viewer another facet to the tragedy, another pointed comment on the drama, or another clue as to the internal struggle of our beleaguered lead character. The three leads -- Elizabeth Olsen, Sarah Paulson, and John Hawkes -- deliver flawless work, and Martha Marcy May Marlene is frequently bolstered by sharp dialogue, evocative music, and a palpable sense of quiet intimacy, but it's the editing that elevates the film into something truly special.
I took to the twitter pipes to share my thoughts on the movie in general and the editing in particular, but most of the Oscar gurus I know say that Martha Marcy May Marlene has no shot at getting nominated for Best Editing. If that is true, then the Oscars are truly a farce. I beseech any and all Academy members to sit down with this excellent film and see what they think. And please do pay close attention to the editing.

Introduction Of The Film Noir Scale

When I, or likely most people, think of film noir, there’s no real tangibility to what is visualised. With westerns, it’s pretty easy to rattle off cowboys-n’-indians, cacti, deserts, horseback riding and gunslinging, and so as a genre it’s rather concrete. Same with period dramas; elaborate costumes, archaic language, sweeping soundtracks, constant subtextual comparisons with the modern day. Action or adventure movies don’t have as much of an absolute visual or thematic code, but there are still some fairly reliable constants, mostly involving explosions, macho-yet-flawed male protagonists (or, in clearly lampshaded subversions, sexy-yet-deadly female leads), a sense of the underdog going up against the big-bad, and any number of set-piece conflicts.
Science fiction is even harder to pin down, to the point where almost any piece of weird fiction that doesn’t readily subscribe to magic (or, in other words, pretends that its events exist in some kind of scientifically sound universe) can be placed within the genre. Finding similarities between Star Wars and Children of Men is a tricky matter, yet both are arguably science fiction; on the contrary, classifying No Country For Old Men as a revisionist western is possible not because the film strays from traditional western codes, but because it subscribes to enough of them to differentiate it from typical thrillers, etc. Westerns are obvious because their signifiers are so absolute; science fiction films are identified as such merely because they appear to be self-evidently science fiction films.
So we come to film noir, which is even harder to really pin down as a genre. Its storylines vary wildly, and usually function merely as mysteries or thrillers without the trappings that classic film noir (by classic film noir, I am generally talking about the good old black-and-whites from the forties and fifties) dresses itself within. It is these trappings, however, that make up my scale. Some of them are pretty well-defined, the most iconic of which is the femme fatale. This female character is a beautiful, promiscuous woman who seeks personal gain or advantage through the seduction and manipulation of men; the other variation on the femme fatale theme is she who the male protagonist can’t resist, yet who ultimately leads him to encounter great danger, often life-threatening. She often dies at the end, or at least suffers great physical or emotional damage as the film rolls on; within the text of the movie she gets repeatedly ‘punished’ for her transgressive behaviour. After the male lead, she is the main character, and storylines frequently revolve almost entirely around her. Think Phyllis Dietrichson (Barbara Stanwyck) in Double Indemnity for an archetypal fatale; then bounce off to Vera (Ann Savage) in Detour, Vivian Rutledge (Lauren Bacall) in The Big Sleep or, for an interesting play on the manners of seduction, Norma Desmond (Gloria Swanson) in Sunset Boulevard.

Download movies

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A Variety Of Movie Reviews

   Everyone has a viewpoint, however , you might not necessarily care about what everybody says. After       all,individuals each have their very own set of preferences. As you appreciate romantic comedies, an additionalreviewer may prefer to watch horror movies. With such opposite tastes in movie genres, how can your reviews often be good for each other?  Surprisingly, movie reviews are incredibly useful even though you have a variety of private biases involved. The key is to know how to comprehend the movie reviews you read. By taking note of what are the most of reviews say in regards to a movie, you could save your self from sitting through a pointless film that you won't appreciate. However, you might read lots of positive reviews in regards to a movie you would not usually appreciate. This might help you think about watching a film that you wouldn't usually think about. You might find a new favorite that you would have missed otherwise.
   The internet has dozens of movie news web sites that also boast movie reviews. You can find movie reviews compiled by professional movie critics who've extensive knowledge of the film business. These critiques in many cases are much more formal and therefore are written with the population as a whole in your mind, instead of any one particular demographic. You can also find the general public's reviews in forum kind web sites. While you're reading these movie reviews, attempt to consider the movie reviews as a whole. If most of the reviews say a movie is terrible, then its not likely a good film. However, if the majority says a movie is great, you probably won't regret going to view it.
    Movie news may also be helpful in your pursuit to savor the theater. You'll find out release dates for that upcoming films. If you prefer to watch movies in your own home on DVD instead of in additional costly cinemas, you can watch for DVD release dates on movie news too. You can keep tabs on your favorite actors and actresses with movie news. Numerous sites may even give you a filming schedule and website info. Movie news opens your vision to a entirely unique a part of filming. You'll begin to know very well what goes into making a movie and you will appreciate the films you see with an entirely new level.One of the most exciting parts of movie reviews is giving your own opinions in the forums. After you visit  a film, be sure you contribute your own thoughts about it by going to message boards. If you read positive reviews and thought the movie was horrible, be sure you say some thing about this on these forums! This can be a fantastic considerate thing to do for other movie goers also it can be fun to engage in discussions about why you enjoyed or hated a movie. Movie reviews could save you time and money as you grow much more selective