Vizyon Tarihi : 25 Temmuz 2008
Süresi : 95 dk.
Yönetmen : Noam Murro
Tür : Dram / Komedi / Romantik
Senaryo : Mark Poirier
Görüntü Yön. : Toby Irwin
Müzik : Aaron Zigman
Yapım : 2008, ABD
Oyuncular : Ellen Page, Thomas Haden Church, Dennis Quaid, Sarah Jessica Parker, Ashton Holmes, Christine Lahti, David Denman, Camille Mana, Amanda Jane Cooper, Adam Kroloff, Robert Haley, Patrick Sebes, Kevin James Doyle, Paul Huber, Iva Jean Saraceni, Richard John Walters, Scott A. Martin, Rick Warner, Barret Hackney

Filmin Özeti

Başarılı bir profesör olan Lawrence,aşk ve aile hayatında kariyerindeki kadar çözüm üretebilen bir kişilik değildir.Oğlu James ona güvenmediği için hiçbir sırrını açmaz,kızı Vanessa ise okulunda üstün başarı gösteren ama herşeyden şikayet eden babasının yolunda ilerleyen,sivri dilli bir kızdır.Profesörün hiç anlaşamadığı üvey kardeşi Chuck ise hayatını özgürce yaşayan ,rahat bir karakterdir.

Lawrence hayattan beklediği tatları alamamakta ve orta yaş krizinin eşiğindedir.Ancak üvey kardeşinin aniden çıkıp gelmesi ve eski öğrencisi Janet ile tesadüfen karşılaşıp aralarında duygusal bir yakınlığın başlamasının aynı günlere denk gelmesiyle Lawrence'ın hayatı değişik bir hal alacaktır.

[dailymotion id=x4yzb7]

From the soundtrack of the movie Juno, this version was sung by Ellen Page and Michael Cera, who plays Juno and Bleeker.  Cool song.  Originally sung by Moldy Peaches.  I enjoyed the movie as well.

Movie details from Yahoo! Movies... 'Juno is a whip-smart teen confronting an unplanned pregnancy by her classmate Bleeker. With the help of her hot best friend Leah, Juno finds her unborn child a "perfect" set of parents: an affluent suburban couple, Mark and Vanessa, longing to adopt. Luckily, Juno has the total support of her parents as she faces some tough decisions, flirts with adulthood and ultimately figures out where she belongs.'

So, you made your splash (looking at the above image from Pulp Fiction, I'd say a splash of blood and semen), and then you started getting the big money. You rested on your laurels and put out rehashed unoriginal crap, culminating with Kill Bill. Its "originality" consisted of over-emphasized violence, tempered with big-budget effects used to make it stand out as something other than a rehash of literally hundreds of kick chop suey Hong Kong kung fu films.

But, there was a far more insidious scripted undercurrent to that film wasn't there: this twisted divisive version of feminism pushing the message that women can empower themselves by being more ruthless and more violent than men.

"Violence is one of the most fun things to watch."
--Quentin Tarantino

So, you've got a few perversions. You're probably a bit of a masochist, and I imagine you may enjoy having women walk on your testicles or something. Fine. Knock yourself out. Go ahead, indulge yourself. Really!

Unless your choices start impacting my life, I honestly couldn't care less what you do. For the moment, I only have two questions for you, one of which I'll save for later. Question #1: Just where, along the way, did you sell your soul?

As I've previously stated, I don't believe in the devil. But, I do believe that the process of selling one's soul, refers to the price that "celebrities" pay for fame and fortune. While there is no "devil" to speak of, there is the small group of ruling power elites degenerates that have complete control of all the media outlets.

Aside: Based on personal observation, I think a few out there will resort to the Pavlovian media-embedded "[player-]hater" phrase to dismiss anyone criticizing someone perceived as "successful." Just this past weekend, some young woman threw this accusation at me while I was discussing a related idea to her friend. Is a response even worthy of the precious space in this "aside?"

So, you want to be a "rock star?" You don't have any talent or skills? Well come kneel down before me for a few minutes (and let me gaze down on your the top of your pretty little head). We'll promote you. After you've spent some time on your knees, we'll make sure you get lots of screen-time and lots of air-play. Don't worry about "the public." They're so dumbed-down now, they don't even know what the word taste means anymore. We dictate their tastes to them.

But there's two ways to please the devil aren't there? {*2). Looking at you Quentin (you're no Tom Cruise), so I'm gonna guess the devil didn't ask you to fuck suck [Bill Hick's on topic]. But, they did ask you to be their servant, didn't they? Push our agendas on the minds of the ignorant and you'll be rewarded. You'll get laid all the time. You'll have wealth beyond your imagination (which is actually possible, considering how little imagination goes into most Hollywood films these days). The beast will be served:

• Manhunt after 'Tarantino-style' murder of students

And you're doing it all too willingly now aren't you? No longer making movies with references to torture. Now, you're making movies in which torture is the plot. And, here is the point where your "choices" run the risk of impacting my life.

I made the mistake of watching Hostel, and other than noting its referenced indirect effect on the public mind through subconscious imitation, I probably wouldn't have bothered writing this. That is, had I not watched Hostel II.

So, the difference between the second movie and the first, is that instead of three college-age white males in Europe, you have three college-age white females in Europe. Wow, that's like a whole new movie there! I got a free idea you're welcome to steal: three college-age black girls in Europe (Hostel III: Torture in da Hizzy).

But, let's not give ALL the credit for this piece-of-shit predictive programming exercise to Tarantino, without failing to recognize the other name so prominently displayed on the jackets, director Eli Roth. Having spent some time researching synchronisities in films, I'm arriving at the conclusion that the real power to shape, control, and implant symbols in films lies with the executive producer. Still, looking at Eli Roth's rap-sheet does produce some interesting items:

• "His father, Sheldon Roth, is a world renowned psychiatrist/psychoanalyst and a professor at the Harvard University medical school."
• "Is an expert on the relatively unknown scientist Nikola Tesla. Roth owns copies of every known letter Tesla ever wrote, including rare letters to Tesla's family and to financiers when his projects fell apart."
• "One of his favorite movies is The Wicker Man (1973)"
• "Gave an expert commentary on Troma's DVD release of The Incredible Torture Show"

The name "Roth," of course, implies Ashkenazi descent, and I'm sure would surprise no one to find yet another in Hollywood. Oddly, his father has written about "three types of trauma" (external, developmental and intrapsychic), was featured in book about "shadows of the holocaust", and said some "interesting" things about the impact of sonny's film. Whether or not the first image of Eli syncs with Ariel Toaff's Blood Passover: The Jews of Europe and Ritual Murder (book unavailable anywhere online, hence another perspective) is up to the reader.

The second image was found here ("Eli Roth has a big Devil-dick") and syncs with the theme of this article, along with another I wrote on torture and Satan (before I really understood synchromysticism). Though his phallus is prosthetic (click on the "serious" image at your own risk), I'm forced to wonder if it's somehow symbolic of young Eli subconsciously resenting the day his parents forcibly snipped his manhood? Wouldn't it have been much simpler to just buy a Porsche?

As for Toaff's work, there is much dispute over it. Looking at the utterly suspect wikipedia entry ("truth by consensus and political correctness"), does produce some revealing "truths." We see academia (i.e., the same group of useless accredited numskulls that preach Darwin's evolution, solid earth, and ahem, "fossil" fuels) lambasting the author. A couple of notes:

• The nefarious Greek character mentioned, "Mavrogonato," would literally translate to "black knee[s]."
• "A week after its publication, Ariel Toaff withdrew the book from circulation, in order to 're-edit the passages which comprised the basis of the distortions and falsehoods that have been published in the media.'"
• Most-telling: "A revised, second edition of his work appeared in February, 2008. Toaff now claims that the accusations of ritual murder, as a common jewish practice, were entirely Christian fabrications."

I have yet to read the book, and can assume that finding a copy would be quite a challenge, but I could deduce that Toaff was forced to recant after "friendly" intimidation by the ADL/JDL mafia (much like ["self-loathing"] Jewish Auschwitz researcher David Cole, but forget common sense). Am I going to start connecting Zionism to the idea of "Hostels?" No. Just, yet again, when you find clue after clue under every rock you turn over, you have to wonder if they've been planted there.

Back to the movie, if you want to call it that. Aside from the Eli/El sync, one of the villains in the movie is named axeLLe: a mirrored El sygil, combined with "John the Baptist" sync (said character's head is chopped of with an ax). That's about all the syncs you'll get out of me, watching this movie once was more than enough.

Is there revealing? The scene where an older aristocrat woman bathes in the blood of one of the "heroines" was doubtlessly inspired by Erzsébet Báthory. Is it real? Allegedly, it is "based on a true account of a Web site from Thailand that, for a price, offered to let a person shoot someone else in the head." I'm thinking yes. But, whether there is such a network, or the movie [intentionally or by chance] is disinformation to draw suspicions away from Talmudic Ashkenazis, the Black Nobility of Venice and Genoa, or the Merovingian bloodline, I can't say.

One has to wonder where the alleged 3000 children reported missing daily end up (or, if those numbers are a scare tactic, to instill fear into parents, so they'll keep their children from playing outside, locked up safe in front of the television). Less heard about are the alleged 3000 children lost by the Florida pedophile network known as the Department of Children and Families. {*3} Even less, about the model wanna-be's that get carted off to Saudi Arabia (regularly). And finally, a lot known, but very little done, about the 1000's of poor young women (usually from Eastern Europe) kidnapped by government sanctioned groups like Dyncorp and peddled as sex slaves in Tel Aviv (among other places).

But, Hostel's point wasn't to "expose" these things, was it? No, it's got an entirely different agenda. The rest is pure predictive programming. Aside from pushing the torture meme further into the psyche, it's also got to push material wealth as the great divider of status. In the beginning of the movie, the protagonist of the former Hostel, the average middle class American kid has to die (the torture network finds and beheads this "commoner").

The "protagonist" of this second film (and I say that begrudgingly, because of all the characters in this excuse for a movie, she was the one I was hoping would be offed soonest). She turns the tables on her torturer. The "network" catches her and she tries to buy her way out spewing out shite about how she could "buy and sell them ten times over" (people I've heard say things such as this, are usually the most pathetic of programmed robots posing as individuals ever encountered):

“No, motherfucker. It’s my money ... I have accounts in Switzerland, Luxembourg, and the Isle of Man.”

Ah, she's rich. OK then. She can live. But, she has to kill her torturer (whom she was already beginning to torture before they interrupted her) as a condition. Another agenda is embedded, that of divisive feminist propaganda. The kind that's reduced courting to a combat strategy. {*4} He [predictably] goads her: “You’re a stupid fucking cunt!” She grabs his penis and cuts it off [vividly displayed, even with close-ups], ripping out the remaining flesh and meat her scissors missed.

“Let him bleed to death,” she quips, throws his penis to the dogs, and sashays out the door. And I do mean "sashays." Head held high. The torturers stepping back to let her pass, all staring at her with dumbstruck awe. Teenage mind-fuck cumplete!

Aside: For any naive enough to believe the MPAA was ever created to "protect" one's children, instead of as a tool to stop political incorrectness or truth-telling [a worthwhile research topic], I ask you this: Why is that should you show a woman kissing or fondling a penis, you get an X-rating (as has been the case in some serious European art films that come over here and get edited down), but you graphically show one being held (for the purpose of emasculation), cut and ripped out of its living screaming victim, you get a friendly "R?"

Now, this "meme," which I think we can call it that, thanks to the media force feeding the [appropriately named] John Wayne Bobbitt story to us several years ago. Through a few other symbolic mediums (e.g., an end goal of women's lib movement being symbolic emasculation), the theme has been repeated [see Fight Club Revisited]. Kudos to another mind-fuck film (Beast with a Billion Backs), for depicting act in a clever and less graphic manner [see Crafty Tentacles of Love]:

I won't share Mr. Roth's depiction as it is far too graphic. [Arguably, Tarantino's. The latter seems so fascinated with the topic, he depicts himself losing his own genitalia in the movie Grindhouse.] But the Hostel scene, should one contemplate its potential for subliminal (arguably, superliminal) impact on the vacuous mind of the average brainwashed teenage [target audience] girl (who's media-programmed raison d'être is mindless mimicry) is disturbing to say the least.

The only thing missing from this scene was a chorus of black girls snapping their fingers and shouting "you go girl." It was like watching Molly Ringwald in Sixteen Candles (or Pretty in Pink, take your pick), after she tells off the "bad" guy and everybody starts clapping for her, having gained new respect for this "nobody."

Looking back on the "teen genre" of those days (with new eyes), I would be a fool not to consider whether we were being programmed also. It's incremental. You could not have put this penis removal out [in the mainstream] back then. Just looking at the posters for the two aforementioned Ringwald "coming of age" films, it should be pretty obvious what we were being sold. Though, it was disguised in the package of poor girl/ugly girl rises above. We were being sold one thing: sex.

Isn't she "pretty in" PINK? She is all in pink. Her virginal vagina is pink. Wouldn't it be PRETTY IN [pretty nice to be in] her soft wet pink spot? "We're in the pink!" Two lovers kiss over sixteen candles, all taking place inside her heart vagina. Oh, how many more ways can you sell us nubile underage women?

These "innocent" coming of age films, were far from it. She's ALL THAT? All what? Ah, all those personalities (three shadow alters behind her). Hm, her dad was a delusional traumatized Vietnam (¿Project Phoenix?) veteran. Even Not Another Teen Movie had to make fun of the premise a girl could go from ugly duckling to prom queen just by taking off her ponytail and glasses. That's because, Freddie (her "Disney" PrinZe Charming) was her trigger to switch personalities as well.

The Last American Virgin movie was at least a little more honest about what its "coming of age" film was about (though again, the poster is a little more direct). V as in Vagina. [¿V for Vendetta: confusing sex with violence?] V as in Virgin. V as in Vulva. "Don't you want some teenage pussy?" No, we didn't say that. What we meant was: "Boys and girls grow up and learn about life."

Aside: My research indicates Hollywood has always been, and was arguably, created for the purpose of social engineering. I'd surmise we must be approaching some dystopia (i.e, not utopia), as the ratio of "entertainment" to programming has gone form 80/20 to 20/80. To the credit of these older films, at least there was some creativity in them, (the reason for the decline of I've detailed before).

At least the below remake seems a little more honest about what they're selling us (albeit, an alternate "hole"). The original Fast Times just showed you the breaking of the virginity seal, built around an amusing story about stoners.

But, we've come a long way since those days of feigned innocence haven't we? Today's films are an all-out assault on the psyche. "Sex and violence," shout morally bankrupt do-gooders like Tipper Gore (trust me, their proposed rating system, like the MPAA, won't target Disney's superliminals). All the meanwhile, the real agenda is to further blur the line between sex and violence. That topic probably deserves a blog of its own, but the above (and below) images say plenty.

The first film may as well say "Tarantino" on the cover (whether they were inspired by him, or put the movie out before he could steal the idea, is anyone's guess). The middle image (a) should force one to ask why emphasize the breasts in the poster and (b) syncs with a great article from Pseudo-Occult Media, "Britney Losing her Mind Trapped inside an Elevator" (incidentally, read same day I found the pic).

The last image is from the Saw series of trauma-based mass-mind control (or social engineering). I "saw" the first two, but couldn't stomach my way through the latter two. I tried to make en effort as part of my "embedded cinema" research, but had to turn them both off. A case could be made the penis resonant "i" and the vagina resonant "v" combined with violence adhere to the agenda I mentioned above.

Back to influencing today's teens, let's look at everyone's favourite new innocent movie sweetheart, Ellen Page. Again, the eLLe sygil. Again, brainwashing agendas posing as "slice of life" or "good girl takes on bad guy" stories. I will argue that Hard Candy and Juno, are basically the same movie. As the images below demonstrate, should one watch them with their eyes "open," it's hard to see the line where one ends and the other begins:

In the former movie, she entraps and drugs a suspected pedophile, then coldly prepares him for castration (safe to assume she's had no surgical training). But, then she has a change of heart and instead talks him into suicide. While the film feigns noble purpose, shouldn't a rational mind find the thought of some bubble headed MTV-viewing gender-confused emotionally-unstable 14 year old girl declaring herself judge, jury and executioner more than "a little" disturbing?

INLINE FEEDBACK: If this movie were "really" an anti-pedophilia statement, than why not have the alleged victim's family seek retribution? Think critically dammit! Why have some disconnected underage girl strip, fondle and "torture" the guy? Because it's wanking material for pedophiles, masochists and submissives. Ugh!

Despite all the hoopla (and its hard-to-resist charm and cutting-edge soundtrack), the Juno film only continues the Hard Candy theme with a back-pack full of additional social engineering agendas. A teenager (whose mental age is far from being anywhere near the intellectual level and depth of her scripted words), gets herself pregnant by some guy who can barely tie his own shoes together, and somehow seduces an older man by proving herself to be more of his intellectual and spriritual equivalent than his pathetic materialistic feminist wife.

Is anyone with a functioning brain actually supposed to digest the script? Alas, she "chooses" the mental equivalent of an eight year old. At least, in the 80's teen film Lucas (a reverse about a 16yo boy with body of an 8yo, but a mature mind), the "the girl," while breaking Lucas' heart, remained true to herself. The feminist, starts her own life, with her new baby, and no useless man around.

Note: If this "Juno" character is so "smart," what is she doing feeding her baby a toxic chemical stew of junk food and Coca-Cola? Cause she's a clueless consumer!

The only true "rebel" in the whole film, the one trying to get off the hamster-wheel, rediscover his soul and turn his back on media-programmed societal mores (i.e., be a good corporate robot slave, become indentured to the banks for a lifestyle you can't afford, live with a soulless woman who doesn't even care to know who "you" are), while guilty of bad judgment (were we to believe the impossible dialogue) is demonized and [symbolically] castrated. This film should only be shown on airplanes, where a vomit bag is readily available. [¡Note undies color and wait!]

On the positive side, those who tenuously hang-on to the notion the Oscars are rewards for some kind of artistic endeavor ... between Juno winning "Best Original Screenplay" and Al Gore's last bowel movement, An Inconvenient Truth, winning "Best Documentary" ... will have to confront reality; the Oscars are given to the best propaganda pieces of their time and the most convincing social engineering roles. The hidden masters know what worthless baubles to reward their minions with (on occasion, the recipients confess what made them so deserving).

Others have written on the topic of Ellen Page syncs. I'd recommend the following:

• Following Hugh Jackman Through the Atlantean Stargate (The Blob)
• Juno It's all in the Stars (Atlantean Times)

Worth a note (not necessarily a full read) are two subconscious mainstream syncs:

• In Ellen Page is the next Molly Ringwald. And the next Johnny Depp, too she's quoted, “I was obsessive about getting this role." Yes, that's how mind controlled people feel after they're programming is "triggered."
• I am the Octopus: Ellen Page on “The Breakfast Club” says "Juno is stylized realism." "Real" because Teen Vogue said [above]? Where's that vomit bag?

The images below [+ the above two] say plenty about themes discussed within this article. Little red riding hood: references to the clitoris and the Virgin Mary. {*5} Temptation combined with danger warnings. Hints at duality (the stripes) combined with the red bow (arguably, the hymen, ready to be broken [unraveled] and bleed). Pink covered with swirls of red and white? [¡Ew!] More blood and semen. Heath Ledger! Finally: androgyny (¿doesn't it look like her lower torso's been reversed?).

Debatably, paedophilia and androgyny go hand in hand. Sensible psychological evaluations of pedophiles are concluding their desires are rooted in repressed homosexuality. Reading Nabokov's Lolita (instead of allowing some director's modernized vision or some talking head's interpretation form your opinion) one could infer that what attracts these wolves is the lack of feminine, combined with suppressed masculine features (e.g., look at the Catholic Church's biggest recurring [and rerecurring] problem). Coincidentally, her next film is entitled Peacock (syncs with two previous musings: "From the Mouths of Dolls" and "Mo[o]re Cock").

Now I've done it, here I am deep in the rabbit hole, a journey I previously tried to avoid. This article wasn't meant to be about 80's movies, teenage she-males, or priests buggering young boys. It is about emasculation (a theme with which Ellen strongly resonates, forcing a reverse symbolic sync with another Ellen [Barkin] in the gender blending Switch) and its presenter de jour: Quentin Tarantino. He is obviously trying really really hard to endear himself to the powers that be:

Ah, a little trauma based reminder of the Church's Christian Crucifixion of the Savior theme. Could you guys have included perhaps a few more hammers [triggers] in the scene? {*6} Speaking of which, I had not grasped the [deep] impact of the Crucifixion meme on the minds of [previously innocent] children until I dropped in on some Christian neighbors watching the Gibson snuff-film extraordinaire The Passion. The mother came to the door guffawing and sobbing uncontrollably.

I nearly panicked. "What's wrong? Are the children OK?" Oh, never mind. They were gathered around the television watching Mel Gibson's tale of inspiration and hope. Since that night, I've grown speculative of the "Gibson versus the Jews" narrative. Whether little Eli or Quentin staged the above scene seems moot. Executive producers ultimately decide what gets added to or stays in ANY film.

So, Question #2 for you Tarantino is, have you endeared yourself to your masters after all your hard work? Did you get invited to the Davos Conference alongside rock stars Al Gore and Bono? Didn't think so. While a useful tool, you're still not allowed to sit at the big table. Per chance, have you bothered looking at [real] history to learn what happens to master's faithful servants once his agenda succeeds?

Since you've been kind enough to show me what mankind's future may hold (after the predictive programming effects of your movies start to shape the public mind, leading to all sorts of intentional and unintended consequences), I'll return the favor. Let me be kind enough to show you yours:

But, what do I know? All I do is look at patterns, especially recurring ones, meanwhile casting off all the programming (false history and identity, as dictated by television, movies, and indoctrination disguised as education). What's certain is that those who help put corrupt regimes into power, are ALWAYS expendable and ALWAYS considered a liability (they know too much). The Night of the Long Knives and the Bolshevik [bull-shit-vik] Purges are but two examples.

Some [¿perhaps you?] may argue that I'm overreacting, or perhaps just turned off by the "horror" genre, and they'd be wrong on both counts. There are masters of the genre, who films use "horror and gore" as a cover for social commentary. John Carpenter comes to mind (to a certain extent). The term "master" could definitely be applied to George Romero, someone I plan to devote serious blog space to.

Note: Perhaps, sooner. I'd recommend his latest, "Diary of the Dead;" one of the most honest and illuminating films put out over the last few years. Do need to start refocusing on the positive after the last three forays. There's good in exposing, but I don't wish to get mired in reactive mode. Plus, I'm really tired of crawling through rabbit holes filled with shite.

But, this crap? Trauma-based social engineering disguised as gross-out teenage horror. This is just pathetic. If the MPAA wasn't so agenda-driven, this latest Hostel film would have received the only rating appropriate: "This film shouldn't be viewed by anyone."

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*1: Reservoir Dogs is arguably a remake of City on Fire. Tarantino's trail of bread crumbs leads to the French New Wave is a very gentle treatment of his "homage" and "borrowing." But, even going so far, with all the scripts out there, to steal your latest from students seeking your help? "I steal from every movie ever made," you say? What about those yet to be made? [LB]

*2: I didn't want to side-track, but as I've been discussing recently, there is one other path to stardom. Being born into it (not that it will save you from the knee-pads if you're cute). But, as others and I are surmising as of late, they likely fall under Fritz Springmeier's Formula for Creating an Undetectable Mind-Control Slave. For the uninitiated: an excellent mind-control primer.

Of recent news Corey Haim (of Lucas, mentioned herein) and co-megastar of the time Corey Feldman. Both Jewish (see "4" below). This linked article, like most media who know nothing of mind control, fails to make the obvious link that Corey's "assistant" was likely his "handler." [LB]

*3: I think I've uncovered another strange, yet revealing sync. Googling "3000" plus your pick of telling phrase reveals just the tip of a massive synchromystic ice-berg: [LB]

• 3000 children go missing daily in USA.
• Florida DCF loses 3000 children in its care.
• Hawaii puts out a press release looking for 3000 children.
• Local Marines say 3000 dead [is] 'price of freedom'
• 3000 children become addicted to tobacco every day.
• 3000 children in Africa die from malaria every day.
• Moses [Akhenaton] sacrificing 3000 Israelites after the [ahem] exodus.
• Mystery Theater 3000: The Final Sacrifice
• 3000 migrants dead: Does anyone care?
• How can 3000 goats be sacrificed in a temple??

*4: A relative has a bizarre fascination for watching Lifetime, WE, and Oxygen. Spend just a little time watching those channels, and see men portrayed as one-dimensional rapists, con-artists and [god-forbid] cheaters! Rather then look at complex interpersonal arrangements and programmed unrealistic expectations, we get divisive bullshit, and the resulting effects on our [and, even my] sex lives. Probably worthy of an entire article.

*5: OK, wasn't even looking for this. Wondered if Ellen Page was Jewish. Yes, she is. Molly Ringwald is also, obviously. So, a little research later, turns out Rachel Leigh Cook and Jennifer Jason Leigh are too. So's Ally Sheedy (exemplary 80's teen movie queen mentioned in one of the fluff articles). Is every single one of the female leads from every single teen movie discussed in this article Jewish? What are the odds of that? [I'm beginning to surmise 100%."] The only one left, is Beth Franklin (from LAV). I would guess so. Seeing that most Jews in the world are Ashkenazi, we could surmise that too. Lift a rock. Find a Jew. Lift a rock. Find a Jew. [LB]

*6: It must be hammer-time. Let me share with you a little sync-filled day in the life with yours truly. As I'm sitting on the lap-top, my sister comes by asking what I'm doing (I showed her the referenced picture). "That's weird," she says, "my ex was just telling me a story about some guy in his town who killed all these people with a hammer." A few hours later, some neighbor stopped by the house to ask if he could "borrow a hammer." Back at my house, getting ready to retire for the night, was spending some time watching that propaganda-filled materialistic piece of crap film called "21," and caught a scene where someone [Tarantino's made-man, SamuEL EL Jackson] threatens the lead, that they'll "crush his cheekbone with a little ball-pin hammer."

A friend mentioned the "The Hebrew Hammer" cartoon character and wondered was it yet another subliminal little "fuck you" directed at Christians? Maybe Sarah Silverman can enlighten us? I had touched on the "character" in a prior blog, but failed to make the connection. Probably, because it wasn't "hammer-time" yet. :-)

Afterthoughts: the Soviet hammer [and sickle] used to suppress Christianity, meanwhile wiping out between 20 to 80 million Christians (linked article is on the low side, but an honest admission from a Jewish source) during its reign of terror. If you listened to the included Bill Hicks rant, one of Satan's "suckers" was, in fact, MC Hammer. [LB]

IMDB: http://www.imdb.com/title/tt0858479/

This review may contain minor spoilers

I'll admit that my main motivation for seeing this film was because it had Ellen Page in it. The trailers looked pretty funny but nothing amazing, and I do not enjoy Sarah Jessica Parker's acting at all so if it weren't for Page I probably would have skipped it. Which would have been a shame since it was pretty funny and had well crafted dialogue. It was not an amazing film, it had plenty of faults but I enjoyed watching it so I would say that it ranks above average somewhere. Not that bad for a movie where I don't like half the cast and the writing jumps from amazing to subpar.

This movie, really, had to two sides, there was the great acting and writing of the Page and Church story arc, and there was the annoying acting and writing of the Quaid and Parker arc. They definetly felt like the same movie and it moved well between the two, but I had very different opinions about each. I think if they cut out the love interest (Parker) entirely and had the film solely about the disfunctional, everyday lives of the family it would have been so much more enjoyable.

Ellen Page is one of my favorite actors and I think she did an excellent job here, playing a role which was not very similar to her previous work (this was really only her second comedy and it is not at all like Juno). She brought the role to life and was surprisingly versatile in an otherwise structured role. Her interactions with Thomas Haden Church were hilarious and relatable, and definetly the highlight of the film. Church himself was amazing and did a great job of stealing the majority of the scenes.

The writing was at some points inspired - some of the dialogue showed a level of wit not often seen in film - and at others spotty at best. There were alot of great lines, and some interesting scenes but the film was also speckled with some poor choices, and almost cliches. On the plus side, it had a pretty decent soundtrack, which can always help pass the time during the less than good scenes.

I enjoyed the writing, for the most part, and Page and Church were both amazing so all in all I'd say it was a pretty decent film. I would recommend it to anyone who likes dry and witty humour, or those who like Page's acting.

SINOPSIS: Basada en la historia de Gertrude Baniszewski, una ama de casa de los suburbios que, en los años sesenta, secuestró y mantuvo a una niña encerrada en el sótano en su casa de Indiana. Allí la sometió a todo tipo de torturas, e incluso instó a sus seis hijos y a varios vecinos a que participaran de este juego macabro.

Es una pena que grandes películas como esta se pasen sin pena ni gloria por las carteleras españolas. Es cierto que hay películas mucho más taquilleras que esta y que llaman mucho más la atención, lo cual no quiere decir que sean mejores.

An American Crime es una de estas películas que siendo grandes obras, pasan desapercibidas para la mayoría del público. A pesar de contar en el reparto con la genial Ellen Page, con una espectacular Catherine Keener y con James Franco.

La historia, basada en un hecho real, nos muestra de nuevo como la crueldad humana no tiene límites y de que modo una mente enferma y desesperada puede hacer cosas que nunca nos podríamos imaginar. La tortura, la humillación, esto se observa perfectamente en esta magnífica película, con escenas muy al estilo Haneke (Funny Games).

Volviendo a las interpretaciones, las dos estrellas que más brillan son Ellen Page, en la que se refleja la inocencia de una chiquilla de 15 años, que sin hacer nada se encuentra torturada y despreciada por todos, espero que no tardando mucho consiga un Oscar, esta chica se lo merece. Por otro lado está Catherine Keener, una mujer con graves problemas de dinero, con 6 hijos a sus espaldas y que de un día para otro la locura y la desesperación la llevan a cometer un terrible crimen contra una joven muchacha.

Los colores de la obra se notan con un tono anaranjado en la mayoría de las escenas, sobre todo en el interior de la casa, lo que le da un toque triste y desamparado.

Inocencia y crueldad, desesperación, locura...muerte.  Hasta aquí llega An American Crime. Una película que pasará desapercibida, siendo una gran obra.

Who's in it?
Ellen Page in the title role, Jennifer Garner, Jason Bateman, Allison Janney, J.K. Simmons, and others (including Rainn Wilson [Dwight from The Office]).

What's it about?
A high school junior dealing with her unplanned pregnancy.  Wait!  Let me finish.

My thoughts?
Surprisingly, this movie did NOT suck.  It was was very well acted, quirky, interesting, funny, sweet, endearing, original, and not a bad way to spend 96 minutes.  The music did suck but since the movie had this whole offbeat thing going on anyway, it was bearable.  Go rent Juno.  If you're not sure, rent it on an off night when you're not doing anything anyway.  You won't be sorry.  And if you are, that's what you get for taking movie advice from some random blog.

Official Website
IMDB Entry

PORQUE TU ERES LA SALSA DE MI TACO

Juno MacGuff/ JUNO

Wallpaper de JUNO: Descarga

[audio="http://www.goear.com/files/sst4/135513660f0fc297e8b0fc7e4de7807c.mp3"]

All you need is rock: "Descargala"

"Anyone Else But You"
The Moldy Peaches
Interprete: The Moldy Peaches
Album: JUNO Soundtrack

y esta es la versión de Page y Cera

[audio="http://www.goear.com/files/sst4/92ebfc4deca00e0487ae7e6378d7281f.mp3"]

All you need is rock: "Descargala"

"Anyone Else But You"
The Moldy Peaches
Interprete: Ellen Page y Michael Cera
Album: JUNO Soundtrack

Aunque suene a perogrullada, “An American Crime” (2007) es una prueba más de hasta dónde es capaz de llegar la crueldad humana. No importa que estemos desgraciadamente acostumbrados a la saturación de horrores a la que nos tienen sometidos los medios de comunicación, siempre aparece un nuevo caso que consigue ponernos los pelos de punta y éste lo logra.

Tal y como Kitano nos avanzaba en su post (incluye tráiler), la película de Tommy O’Harver se sitúa en la Indianápolis de 1965 y recrea la terrible historia real de Sylvia Likens y de Gertrude Baniszewski.

Sylvia de 16 años y su hermana Jenny Likens de 15 quedan al cuidado de Gertrude ya que sus padres, feriantes de profesión, aprovechan una oferta de trabajo para realizar una gira de tres meses. Gertrude aquejada de asma (y fumadora empedernida), madre de siete hijos (el último de ellos un bebé fruto de su relación con un muchacho más joven que ella, James “Duende Verde Jr.” Franco), aplastada por graves problemas económicos y emocionales, acepta cuidar de las niñas a cambio de 20 dólares semanales.

Sin embargo, Gertrude acabará volcando su soledad y sus frustraciones en el cuerpo de Sylvia a la que inflingirá todo tipo de torturas y vejaciones que van desde quemarla con cigarrillos, golpearla, obligarla a introducirse una botella en la vagina o a comer sus propios excrementos hasta “tatuarle” la frase “Soy una prostituta y estoy orgullosa de ello” con un alambre al rojo vivo.

Los hijos más mayores de Gertrude (de entre 10 y 17 años), que habían aceptado a las nuevas habitantes de la casa (sobre todo Paula que se había hecho amiga de Sylvia), acabarán participando de forma activa en los “castigos” a los que la joven Likens fue sometida, alentados por su madre. Y no sólo ellos, sino que vecinos y amigos de los Baniszewski también visitarán esa casa de los horrores para “divertirse” con el cuerpo maltrecho de la muchacha. Entre ellos se encuentra Ricky Hobbs (compañero de instituto de Sylvia de la que está enamorado) y Coy Hubbard, novio de Stephanie, una de las hijas de Gertrude.

Encerrada en el sótano de la casa y alimentada sólo con agua y galletas saladas, Sylvia vivió su particular infierno sin que nadie moviera un dedo para ayudarla, ni siquiera los vecinos de Gertrude que cerraron ojos y oídos ante lo que intuían estaba sucediendo.

Las paranoias de la señora Baniszewski, que creía firmemente que Sylvia era una puta y que su presencia podía corromper a sus hijos, se trasladan a toda la familia que termina por convertirse en jauría de monstruos entre los que el pequeño Johnny de 12 años sobresale por su crueldad.

El 26 de octubre de 1965 el magullado cuerpo de Sylvia Likens no resistió más y fue hallado sin vida por los agentes de policía que habían sido alertados por Ricky Hobbs.

Tommy O’Haver toma como escenario central el juicio que se celebró contra toda la familia Baniszewski, Ricky Hobbs y Coy Hubbard para ir desgranando, a través de flashbacks, lo que sucedió a partir de las declaraciones de acusados y testigos. Aunque hubiera resultado sencillo caer en lo gore, O’Harver realiza una recreación bastante comedida en la que muchas de las vejaciones que sufrió la víctima no son mostradas (las más desagradables ni siquiera aparecen) lo que no impide que sintamos lo espeluznante de la situación.

Otro acierto que aplaudirle a O’Haver es el retratar de forma tan convincente el carácter atormentado (esa especie de montaña rusa emocional) de Gertrude (una espléndida Catherine Keener) y lograr una actuación más que notable y mesurada de la habitualmente irritante Ellen Page, protagonista de las sobrevaloradas (y aún más irritantes) “Hard Candy” (2005) de David Slade y “Juno” (2007) de Jason Reitman.

Lo único que hay que reprocharle a “An American Crime” es esa estúpida y tramposa escena en la que, a través de un sueño, Sylvia consigue escapar de su encarcelamiento ayudada por Paula.

La historia de Sylvia Likens también ha inspirado la novela “La chica de al lado” de Jack Ketchum que el director Gregory Wilson adaptó en la película "Jack Ketchum's the Girl Next Door", también de 2007.

Para ver la ficha de la película, pincha aquí

Briony  

This one definitely slipped by me, I had no idea it even existed. Ellen Page stars in this film, it was released December 2007. It was directed by Tommy O'Haver and written by T. O"Haver and Irene Turner. T. O'Haver previous works includes Get Over It and Ella Enchated, he has not done much and the films he has done are not mainstream. It looks like An American Crime I think is his best work and I am surprised he has not got any more work lined up.

Going too in-depth into the story of this film will give too much away of the story. The film is filled with suspense and tension, sometimes watching this film feels horrifying. O'Haver style in this film reminds me a bit of the style used to make Funny Games directed by Michael Haneke. You never see the violents acts going on but hear the reactions and it makes you cringe almost everytime. In my opinion the style was used very well in this film, it was not better than Haneke's but it is as equally as effective. It makes you think the scene will change but no, you have to sit and endure the sounds made. Thankfully in this film it does not last long but it still makes you feel empathy for the character. When you watch the first few minutes you immediately realise this film is a recollection of events that have occured, they are being recollected in a courtthouse.

The film layout was done in segments so, a lawyer would ask a question and then an event that occured will be shown. Although this is very easy watching, some people have said that it does not allow you to get a real connection with the characters. In my opinion I thought it was fine the way it was done, it made no difference I could still identify with all characters. This film was based on a true story, In the 50s and the 60s Sylvia Marie was tortured by Gertrude Baniszewski and her children. Sylvia's parents were carnival workers so she they her and her sister with Mrs. Baniszweski for 3 months.

Ellen Page played Sylvie Likens I think she did a brilliant job, Ellen Page has also recently starred in Juno, Stone Angel and Smart People. I thought for 2007 this was here best performance, I felt sorry for through out the whole time. She showed true emotion and you almost thought that is the kind of emotion you would expect from this kind of victimisation. Hayley McFarland who plays Sylvia's sister is excellent as the emotional and concerning sister. She has big eyes so the emotion pulls through very easily and you can always tell what she is feeling. The first time they are abused you can tell that she will not be able to handle the pain and ellen page's character is more strong and hopes everyday that their pain will end.

Paula Baniszewski who is played by Ari Graynor, is a very interesting character. She is the cause of the abuse of Sylvia Likens, but I think there will be mixed opinions whether there is any empathy felt for this character. This is because although she is the cause of the abuse she wanted only revenge and her life is not the best with a boyfriend who is married and with a baby on the way. She then realises her mistake and is forced to witness the harrowing acts of her mother. Her relationship with her mother starts to detioriate and you start to feel sorry for her (but this is very late on in the film).

Gertrude Baniszewski is played by Catherine Keener who is a very successful actor, featuring in films like 40 Old Virgin, Into the Wild and Capote. She was very convincing throughout the film, the first thing you find out about her is that she likes men younger than her and has 4 children with different fathers. The family in general is not doing too good with money so she relies on her eldest daughter to bring in funds. She starts to abouse Sylvia when she finds out that Sylvia's parents have not paid Ms. Baniszewski for looking after their children.  She is then unreliably informed by her daughter that Sylvia is spreading lies, so it then continues from there and she is abused horrifically. Catherine Keener did a good job and it was important her role came across well too.

All in all i think this film is brilliant but it does challenge you emotionally and it makes you wonder. Sylvia's  torture was described by the prosecutor in Baniszewski’s trial as “the most terrible crime ever committed in the state of Indiana. In the film you could also tell, also for its time I think it was unheard of because the sheer torment the girl went through. Must see movie.

A quienes no la conozcan, es la "chavita de Juno" y fué Kitty Pryde en X-men 3. Lo se, no es Scarlett Johansson, pero es linda y tiene un aire como de girl next door, de ahora en adelante seguiré su carrera...

Este final de semana, mais precisamente no sábado de madrugada, em uma das minhas viagens com o controle remoto pelos infinitos canais da tevê por assinatura, me deparei com um filme, no Telecine, intitulado Menina Má.com. A sinopse propunha um suspense com Ellen Page, ela mesmo, a protagonista do aclamado Juno, um dos concorrentes ao Oscar 2008.

Como o sono não vinha, comecei a assistir junto com a minha namorada. No começo parecia um filme morno, sem sal, mas aos poucos, a trama começou a se desenrolar e o thriller trouxe um tema bem atual e presente na sociedade mundial: a Pedofilia.

Ellen Page representa uma menina de 14 anos que marca um encontro com um homem de 32 anos, um fotógrafo, suposto aproveitador de adolescentes. Com um ar de inocência, mesclado com uma sensualidade juvenil, a inteligente menina seduz o homem e o coloca em uma armadilha. Ela o droga, amarra, tortura, ameaça uma cirurgia de castração e mostra uma frieza imensa ao dizer que representa todas as jovens que ele violentou.

O suspense psicológico conta com apenas quatro atores, com maior ênfase para diálogos e aparições de Page e do pedófilo. A filmagem tem um ar de amadorismo, com imagens trêmulas e perda de foco, criando um ambiente menos hollywoodiano e aproximando o espectador da história.

Vale a pena assistir ao filme e ver que a menina prodígio de Juno já era uma excelente atriz, talvez, com menos reconhecimento. Quem sabe, se Menina Má.com tivesse sido uma obra mais comercial, o Oscar que Ellen Page concorreu este ano não teria vindo há três anos.

Garden Party

Are you young, sexually confused, just trying to get by?

Do you sing, dance or possess some other talent?

Welcome to the world of GARDEN PARTY.

At the center of the story is 15-year-old April (Willa Holland). She is running from one bad situation into another, hoping to find an answer that doesn't involve taking off her clothes. As April navigates Los Angeles, she falls in with a group of confused kids struggling to chase their dreams.(IMDb)




The Stone Angel

Based on the best-selling novel by Margaret Laurence, The Stone Angel is the story of feisty firecracker Hagar Shipley (Christine Horne, Ellen Burstyn).

Her passionate heart has always ruled her head and her choices have put her at odds with family and friends.

With her life nearly behind her, she sets out in search of a way to reconcile herself to her turbulent past.

Through her reflections we come to know a passionate and rebellious young bride, her love for her two sons, the freedoms she claimed, and the joys she denied herself.(youtube)





Hace ya un buen rato, con Cherry, renté esta película solo porque no había nada mas que rentar y porque era de Lionsgate.

En fin, pese al pésimo título en español, que puede hacer que la gente la rente esperando ver una de las pelís de la Higareda, la película es bastante buena. Como había mencionado, su casa productora es Lionsgate. Digamos que no es tan popular como Warner, Sony, Paramout, etc. pero son responsables de películas bastante buenas, ejemplos: Saw, Hostel, Crank…. bueno, tal vez no hayas oído de ellas nunca, aquí las conoces como “El juego del miedo” (uy!), “Hostal Asesino” (bwahaha) y la última dudo que siquiera haya salido por aqui.

Es complicado hablar de la historia sin darte spoilers, pero lo voy a intentar. Trata de un tipo de alrededor de 35 años que conoce a una chava de 14 por intenet. El wey es fotógrafo y parece que su portafolio no nada mas incluye paisajes y modelos, sino algo mas… Todo comienza, el día que deciden conocerse… y vaya que las cosas van a cambiar a partir de ese momento.

La fotografía es bastante buena, jugando con colores muy vivos, mientras juega con un escenario bastante reducido. Toda la acción se lleva a cabo dentro de la casa de él. Por lo que es fácil familiarizarse con la ambientación.

Las actuaciones son excelentes, sobre todo la de ella, Ellen Page en el papel de Hayley, yendo desde la mas tierna inocencia hasta el mayor sadismo. Mientras, que Patrick Wilson, en el papel de Jeff, te hace sentir mal por una persona por la que normalmente sentirías asco.

La mejor escena: Ella lo tortura a él… *spoilers*castrándolo*spoilers*… WTF!!!

Definitivamente no es para cualquier auditorio, porque la crudeza de algunas de sus escenas puede resultar ofensiva o nauseabunda, sin embargo si te gusta un poco el cine suspenso y medio gore, esta puede ser una de tus preferidas. Consideralá para esa tarde aburrida de martes en la que no tienes nada mas que hacer que salir a hacer mas tráfico.

CALIFICACIÓN FINAL: ****

I will tell you that I want Seamus to be the anti-Juno. Now, he's smart in his own right-brain sort of way. His vocabulary is a little more advanced than your average 15-year-old's. He's even perceptive and precocious. But he's naive and bewildered by the world around him, unlike in-crowd teenybopper Juno, who talks and acts like she's been around more blocks than most merchant marines.

(I'm still working out my grudge against Ellen Page in therapy. I first saw her when Hard Candy came out in theaters in 2005. Her Little Miss Smarty-Pants routine was so obnoxious, I walked out of the Angelika halfway through the movie. Then I decided that wasn't very Buddhist of me, so I rented it on DVD, hoping I wouldn't hate her so much on that go-round. Nope! Didn't work that time either. Kept wanting her to get killed. Juno was even worse. If you ever want to torture me to death, tie me to a chair, just like she did with that guy in Hard Candy, and put a bunch of teenage girls in front of me who talk just like her. Suffice it to say, my beautiful Seamus will NOT talk like Ellen Page.)

But Seamus is a character whom Stevo in SLC Punk! would call a poseur and might even try beating up. See, Seamus isn't into punk because he loves hard-core. He's into it because he's angry and dejected and it's one of the closest things to English culture his green little anglophile mind can conceive. Stevo has no love for limies or any American who acts like them.

Set in January 1989, two days after the inauguration of George Herbert Walker Bush, Seamus rails against Reagan, Bush and America in ways that will keep me (his creator) out of the White House for life. Good! I don't want the job. And I give Obama all the credit in the world for standing up under all this heat. There's no inhumanity too base for Fox News and its proponents to commit. (After all the lies and deceits of the past 8 years, does anyone still regard them as a credible news source?) I was punching holes in my office walls after I saw the video (see above) that moveon.org sent around yesterday about how Fox is treating Michelle. Then I had to ask myself, "Are you surprised?"

Rather than ruining my own knuckles and health over the racist, fear-mongering trash Fox's been talking since its inception, I now choose to instead put my hands together and bow to Obama like I do to my statue of the Buddha. He has been an aikido master throughout his whole campaign, letting his opponents' every jab ram straight into the emptiness from whence it came. I wish I had that much cool. Some of my best moments each day are when I click on to RealClearPolitics and find that Barack is still ahead in the polls.

Last night over pizza at Two Boots, Julius told me, "I'd hate to say it, but, if Barack does become the next president, I don't think it'll be so much because he won the election but because McCain lost the election." I knew what he meant. If the Bush administration hadn't been such a dismal, sociopathic failure, would the country that reelected a war criminal in 2004 elect a black humanitarian in 2008? Methinks the answer would be, no. But, either way, the important thing is that he does become our next president. He will do so much to repair our international relations, race relations, our collapsing economy, and other domestic discords.

Is Obama perfect? No. I'm still pissed that he capitulated with the rest of the democrats on warrantless wiretapping. (That was the last capitulation I would stand from those side-with-and-then-blame-Bush wimps. I withdrew my Democrat status at that moment and became an independent.) Even though Barack is in favor of civil unions and gay rights, he maintains that, "Marriage is between a man and a woman." (He declared that like it was law and did not elaborate.) To which I respond, "Not when it's a gay marriage." Why does he feel the need to defend these benighted and exclusionary definitions? All that aside, he's an amazing man, an amazing writer, an amazing speaker, and I'm sure he'll prove to be an amazing president. If we elect Barack, for the first time in his life, Seamus would be proud of his country. (I mean, if he weren't a fictional character, that is.)

Another thing I fear about 85A is that readers might take Seamus' statements about race the wrong way. He wants racial unity and racial harmony with all his soul, but he comes from a racist home and a racist neighborhood in a segregated city and, at 15, he has yet to unlearn a lot of his preconceptions about immigrants, gays and non-whites. However, his best friend Tressa - a black teen prodigy and theater artist - does a lot to help him dismantle that mentality and see more things than he'd ever see without her.

So, anyway, 85A is coming along and, I'm happy to report, so is Barack.

Directed by Bruce McDonald and adapted by Maureen Medved from her novel, The Tracey Fragments uses split screens to convey the fragmented consciousness of its traumatized and guilt-ridden 15 year old protagonist (Ellen Page), who is first seen wrapped in a shower curtain riding the back of a bus in Winnipeg, searching for her missing 9 year old brother. Though split screens originally became popular in slick 60's Hollywood films like The Thomas Crown Affair, they are probably now mostly associated with the TV thriller 24. In this movie, however, they are used in a self-consciously arty fashion as a means of opening up Tracey's racing thoughts to audience as she reviews the events of the past couple of days in a disjointed, distorted and non-linear fashion, true to how many people might think about these things, especially under extreme duress. The story itself is simple to the point of being a bit threadbare, but then the movie is more about the manner in which Tracey responds to the events, rather than about the events themselves. Towards this end, the movie is intermittently successful, sometimes funny, sometimes deeply affecting, with a lot of the credit going to Page, who works hard to transform a character that's largely unlikeable in the state that she's in into someone sympathetic. The movie's style often overwhelms her performance, however, burying it in a flurry of screens, which can number up to twenty at certain points. The conclusion is also unsatisfying, not because it leaves some things open ended, but because it just sort of concludes, as if the filmmakers couldn't come up with anything better. The Tracey Fragments is definitely a flawed work, but I give it credit for taking a risky approach to its difficult subject matter, and for Page's performance, which has flaws of its own, but nevertheless carries the movie. Recommended mostly for fans of the experimental.

MONKEY RATING: TWO MONKEYS

(For a brief explanation of the Monkey Review rating system, click here.)

Love the soundtrack and the movie........................

i can't help hearing the OST.. and also the almost adopted songs.......... keep repeating it again and again..

Juno Ost:

Belle & Sebastian - Piazza, New York Catcher [mp3]

Antsy Pants - Vampire [mp3]

Antsy Pants - Treehugger [mp3]

Kimya Dawson - So nice So Smart

Ellen Page & Michael Cera - Anyone Else

Só que depois de anos interpretando songas-mongas, desajustadas, psicopatas, louquinhas e afins ela resolveu largar o cinema para se jogar na vida de punk-rock star. E para o terceiro álbum da Juliette and the Licks ela convida ninguém menos do que Dave Grohl para assumir as baquetas e esmurrar a bateria (eu não sou invejosa, eu não sou invejosa, eu não sou invejosa...). Eu perderia váááááááários minutos com ele! Na verdade com todos os homens mencionados nesse post. Fala sério, Dave Grohl só é o cara mais fodástico da música e amigo do Anthony, aí íamos todos sair juntos e.... ok, foco, Vivs, foco!

A banda passou pelo Brasil e arrastou um monte de fãs com penas na cabeça para o Tim Festival do ano passado. Só de lembrar eu fico cansada... o show foi catártico e, sinceramente, eu curti mais do que Arctic Monkeys e Killers. A Juliette é simpatissíssima e conversou o tempo todo com o público. Nada de diva ou egomaniac. E olha que ela tem motivos. Se eu tivesse namorado Brad Pitt estava até hoje me gabando disso e usando como desculpa para pedir 500 toalhas brancas lavadas com água mineral e 4 gotas de Chanel N˚5 para os produtores dos shows colocarem no camarim.

Depois do Tim a banda continuou com a turnê, portanto nada de novidades além disso sobre o quinteto. Vamos combinar que fora do eixo indie do rock, Juliette and the Licks não é uma banda que vá gerar muito reboliço se tirarmos o fato da vocalista ser quem é. Infelizmente, por que as músicas são realmente boas. Ah, quantas vezes eu não ouvi Purgatory Blues em repeat...

Mas dona Julieta achou que era hora de dar um update para os fãs e colocou esse vídeo no YouTube contando as boas novas. E fofa como é, também aproveitou para agradecer os parabéns que recebeu pelo aniversário. Fala sério, cancerianas rule!

Resumé: tem álbum E filme novos vindo por aí. Errr, ano que vem na verdade.

Sobre o filme, tudo que foi possível recolher de informações após exaustiva pesquisa jornalística é que se trata de uma tragicomédia (é tão mais legal falar dramedy) dirigido pela Drew Barrymore. Se levarmos em conta que ela já produziu Donnie Darko (AMO!) tenho a impressão que ela vai se sair bem como diretora. O papel principal é da Ellen "Juno" Page. Em Whip it!, Juno Bliss Cavendar é uma apaixonada por indie rock presa em uma cidadezinha pacata do Texas. A vida dela sai do ostracismo quando ela fica grávida descobre um grupo de roller derby em Austin. E nossa querida Mrs. Knox joga roller derby (é, ela continua com os papéis de pessoas desequilibradas).

Ha! E é agora que finalmente vou usar uma informação adquirida assistindo o programa do Anthony Bourdain. Roller derby é um "esporte" americano (é claro! Isso só podia ter saído da mente de um americano) que mistura corrida, luta, pega-pega, patinação e basquete futebol algum esporte com bola. O Anthony Bourdain entra na história por que no episódio sobre L.A. ele foi assisir uma partida (ou sei lá como devo chamar) de roller derby.

Chega! Já falei escrevi demasiadamente. Muitos links pipocando e eu só queria postar o video update da Juliette Lewis.

PS: Assistindo o vídeo de novo percebi uma coisa... OMFG, her house is a fucking mess! /o\
PS2: High five rules! Ok, now I'm done! I'm gonna go over there and enjoy a hangover. Get me drunk and enjoy the show, né? Peloamor! Tira o computador de mim!

Título: Long road out of here, Juliette and the Licks

I dare you to watch the entire thing with the sound on.

The advantage of anonymity in Internet chat rooms has, as any concerned parent will tell you, a downside, There may be relatively few incidents of paedophile stalkers on message boards but any that crop up get a high media profile. The risk for a film maker is to add to this flame fanning and raise the fear factor up a notch.

David Slade's first feature puts a twist on the tale to guarantee word of mouth endorsements or misgivings - either way it becomes a movie to see to make up your own mind about (or if you're lazy you could just read a synopsis on Wikipedia).

The extensive use of close ups, jump cuts and unusual camera angles have a deliberately disorientating effect - adding to the ambiguity of the character's motives. Ellen Page as the 14 year old Hayley Stark is an impressive discovery - you're left wondering if she is rebellious and daring or repellent and insane.

Slade is obviously a bold new talent too but I strongly suspect that here he is merely taking the low common denominator of sensationalism to make a name for himself.

The story makes for a gripping drama but it left me feeling that the movie exploits the grey areas of a topical issue for manipulative ends rather than to pose any serious moral questions and in this respect must go down as a missed opportunity.

Overview

• Titolo originale: Hard Candy
• Titolo alternativo: Hard Candy
• Anno: 2005
• Genere: Drammatico
• Regista:David Slade
• Cast: Ellen Page, Patrick Wilson, Sandra Oh
• Paese di produzione: USA
• Lingua: Inglese, Italiano
• Durata: 103 minuti
• Link: IMDb

Trama

Jeff è un fotografo trentenne. Hayley una ragazzina di quattordici anni ma molto, molto più sveglia di quanto la sua età potrebbe far credere. I due, dopo lunghe sessioni di chat in internet decidono di incontrarsi. Dopo un drink e una fetta di torta si recano a casa di Jeff, ma quella che poteva diventare una giornata allegra e piacevole si trasforma per il fotografo in un incubo senza fine…

Trailer

Recensione

Inquietante e teso, Hard Candy rovescia la favola di Cappuccetto Rosso: stavolta a subire è il lupo, mentre la potenziale vittima si palesa come il più feroce dei carnefici. Tanta la carne al fuoco in questo splendido thriller che procede di minuto in minuto come un equilibrista in bilico sul filo che rischia di cadere a ogni istante. Lo script rivela poco a poco le ragioni che portano l’altrimenti innocente Hayley a torturare e mutilare Jeff, sospetto pedofilo, permettendo allo spettatore di scoprire un pezzo alla volta il puzzle ordito dall’inquietante teenager. La messa in scena minimalista, con la macchina da presa che insiste sistematicamente sui volti dei protagonisti, l’ambiente colorato ma al tempo stesso asettico che funge da sinistro teatro dell’orrore per questo duello fisico e psicologico, caratterizzano un film teso e vibrante che in certi frangenti lascia davvero senza fiato. Strepitosi i due protagonisti, Ellen Page, già vista nell’ultimo episodio degli "X-Men" e Patrick Wilson: per loro, se continueranno su questa strada, si preannuncia un radioso futuro.

Considerazioni finali

Una casa, due ottimi attori ed il mestiere di tenere su la tensione senza dover mostrare nulla. Lo script è di una semplicità quasi "infantile" e nonostante questo, basandosi su lunghi, complessi ed intelligenti dialoghi, riesce a rapire lo spettatore per l'intera durata del film. Da vedere.

Just thought I'd mention that when I'm not watching bombastic movies such as Cloverfield, Rambo and Fight Club, I like to settle down to a big-hearted comedy such as Juno.

Yes, I saw it and Yes I loved it. The film is stacked high with loveable characters who genuinely care about one another. A solid contrast to the action flick, where everyone is out to save themselves
and ultimately survive the movie.

Juno is a film about a sixteen year old girl who falls pregnant on losing her virginity. It doesn't sound like anything new on paper, but what makes this fresh is the characterisation. Juno herself is an idiosyncratic anomaly unlike any young teen character you may have seen before. Her boyfriend isn't the usual care-free Jock who denies responsibility, bit is, in fact, the school geek(Micheal Cera, Superbad) and is in deeply love with her.

Written by ex-stripper Diablo Cody, the comedy is something akin to Judd Apatow's Knocked up. The story doesn't make way for the jokes, but instead drives the humour, making for an honest wholesome comedy.

There's also no Hollywood ending in sight here. Juno considers abortion in the first instance, but can't stand the smell in the waiting room so she leaves. Opting instead to give the child up for adoption to a young couple who advertise in the local newspaper, played by Jennifer Garner and Jason Batemen.

The supporting cast is excellent too. Look out for JK Simmons as Juno's concerned dad. "I'm going to punch that boy in the wiener".

All in all, one of my favourite movies this year so far. A deserved Oscar nod for Ellen Page in the titular role. If you're looking for a break from explosions and big bangs then go and see this movie.

I'd like to finish by giving an honorable mention to the soundtrack. It's just superb. Each track galvanises the scene it represents. Especially the final duet between our main characters, 'Anyone Else but you'. I wouldn't be surprised to see it in the singles chart before long.

Peace out,
Kev