VIDEO PARADISO NEW RELEASES FOR SALE AND RENT 04.22.08
The first time the audience sees Texas congressman Charlie Wilson (Tom Hanks) in the early 1980s, he seems far from a model politician. Surrounded by strippers, a Playboy Playmate, and cocaine, the naked congressman lies in a hot tub at a party. Despite the distractions, the TV news catches Charlie's attention as Dan Rather reports from a war-torn Afghanistan. As Soviets invade the country, the Afghans lack the money and technology to defend themselves. Enter Joanne Herring (Julia Roberts), a wealthy Texan who champions the cause of Afghanistan and, by extension in the Cold War, America. Together with CIA Agent Gust Avrakotos (Philip Seymour Hoffman), Charlie begins a secret war where he must unite Israel, Pakistan, Egypt, and America to defeat the Soviets. Just as director Mike Nichols brought a sense of fun to what should have been dour proceedings in films such as THE GRADUATE and CLOSER, this comedy about the largest covert war to date never feels like a history lesson. Writer Aaron Sorkin's dialogue is as sharp as fans have come to expect, and it's delivered with impressive verve from the film's trio of Oscar winners. Hoffman is famous for transforming into various characters, and he's remarkable, but it's Hanks's turn that's the most surprising. Outwardly, Charlie could resemble many of Hanks's previous roles, but the actor adds layers to the character and changes without the aid of makeup or prosthetics. Based on a true story as written by George Crile, the script for CHARLIE WILSON'S WAR displays all the trademark wit of Sorkin's writing. As in Sorkin's other work, notably THE WEST WING and THE AMERICAN PRESIDENT, the characters in CHARLIE WILSON'S WAR display a fierce love of their country. The screenwriter's own politics often rise to the surface, but this smart comedy never feels preachy.
Director Matt Reeves (THE PALLBEARER) and producer J. J. Abrams (LOST, ALIAS) turn a mysterious monster loose in Manhattan in the disaster flick CLOVERFIELD. The movie begins at a party for Rob (Michael Stahl-David), who has accepted a promotion that will send him to Japan. Hud (T. J. Miller) is entrusted with the responsibility of videotaping the party--and as the trouble grows, he holds on to the camera, recording everything that happens. In fact, the entire movie is seen through the lens of his camera, reminiscent of THE BLAIR WITCH PROJECT. As terrified people in a post-9/11 New York City take to the streets, Rob decides to head uptown to try to save Beth (Odette Yustman), the woman he loves, though he's afraid to tell her so. Rob is joined by his brother Jason (Mike Vogel), Jason's girlfriend Lily (Jessica Lucas), Lily's friend Marlena (Lizzy Caplan), and Hud, who has a thing for Marlena. Rob is determined not to give up, even after almost being crushed by the Statue of Liberty's head and as the military shows up to force evacuation of the city. Reeves and first-time screenwriter Drew Goddard, who previously has written television episodes of such series as BUFFY THE VAMPIRE SLAYER, ANGEL, ALIAS, and LOST, focus in on the central aspect of the story: people trying to survive the monster attack. Very little else is explained, since the story is told completely through the video camera. And there is no additional score to heighten the drama; the only music is that which is picked up by Hud and the camera's microphone, including snippets of songs by Kings of Leon, Parliament Funkadelic, Of Montreal, and others. The anticipation of CLOVERFIELD's release was enhanced by a viral marketing campaign that included Web sites built around the main characters and even the fictional drink Slusho.
It might come as no surprise that the producer of the Spanish supernatural thriller THE ORPHANAGE is none other than Mexican director Guillermo Del Toro (PAN'S LABYRINTH, THE DEVIL'S BACKBONE), for his influence is felt greatly throughout the picture. Made by an entire crew of newcomers--director Juan Antonio Bayona, screenwriter Sergio G. Sanchez, director of photography Oscar Faura, composer Fernando Velazquez--THE ORPHANAGE is an extremely accomplished work. The story concerns Laura (Belen Rueda), who has returned with her husband Carlos (Fernando Cayo) and adopted child Simon (Roger Princep) to the large manor where she was raised in an orphanage as a child. Laura is determined to fix up the abandoned house and open it as a refuge for ill children. But from the moment she returns, the past begins to haunt her. It isn't long before she begins to see the children who she used to play with as a seven-year-old. And when Simon goes missing one afternoon, she's convinced that they have taken him hostage. What follows is a murky descent into Laura's mind, where she doesn't know what is real and what is a figment of her tortured imagination. Bayona brings Sanchez's complex script to life with the help of Faura's haunting imagery and Valazquez's atmospheric score. But what makes THE ORPHANAGE an even greater achievement is its insistence on being more than just a superficial scare-fest. Bayona and Sanchez are more interested in deeper themes of memory, loss, and grief, establishing Laura as a mother who feels guilt over not being able to protect her child from outside forces. The result is a film that is both unsettling and moving.
Director Tamara Jenkins made audiences sit for nearly a decade for her follow-up to the hilarious dark comedy SLUMS OF BEVERLY HILLS, but it's been worth the wait. Like her previous film, THE SAVAGES is a sometimes-funny, sometimes-sad look at family dynamics, but this time around the sense of humor is more wry than riotous. Laura Linney and Philip Seymour Hoffman play Wendy and Jon Savage, a pair of siblings on the cusp of middle age. She's earning money in New York City as a temp as she writes an autobiographical play about their childhood, while he lives in Buffalo, teaching college and finishing a book on Bertolt Brecht. Their estranged father (Philip Bosco) lives across the country, but the Savages reluctantly rush to see him when they learn that he may not be able to take care of himself any longer. Jon and Wendy bicker over problems old and new as they try to figure out what's best for a man they barely know. Like Noah Baumbach in THE SQUID AND THE WHALE and MARGOT AT THE WEDDING, writer-director Jenkins knows how to mine family dysfunction for both comedy and drama. Jon and Wendy tear into each other as only people connected by blood can, but their fighting feels entirely genuine, largely thanks to the performances of Linney and Hoffman. Though they'll get most of the buzz for their roles, character actor Bosco is heartbreaking as their aging father. Though his decline is difficult to watch, the actor's performance is absolutely mesmerizing.
Tim Heidecker and Eric Wareheim, creators of TOM GOES TO THE MAYOR, are the hosts for this bizarre comedy show that finds its muse by scouring the debris of televised culture. Late-night commercials, instructional videos, and peppy infomercials are but a few of the targets for the 11-minute series' skewed sensibility. With plenty of cheesy video graphics, the show's whimsical sketches descend into the nether regions of television hell as they promote helpful products like the B'ougar (a cross between a bear and a cougar) and educates viewer in toilet use with jaw-dropping musical interludes. Bad taste has never been so wickedly entertaining in this Adult Swim series that features appearances by Weird Al Yankovic, Zach Galifianakis, Bob Odenkirk, John C. Reilly, and many others.
VIDEO PARADISO NEW RELEASES FOR SALE AND RENT 04.15.08
ALIEN VS. PREDATOR relegated its intergalactic grudge match to Antarctica, keeping most of humankind gleefully ignorant. This time around, though, the destruction takes place in suburban America, and those who have been waiting for it finally get to witness facehuggers, alien hybrids, and the dreadlocked Predator wreak some homeland havoc. Directors Colin and Greg Strause (billed as "The Brothers Strause") don't seem concerned with achieving the tension of the original ALIEN and PREDATOR films, instead using their visual effects backgrounds to create a steady stream of monsters, gore, and goo. Picking up where AVP ended, REQUIEM sees Predator on a homebound spacecraft when a baby alien/Predator hybrid bursts from his chest, causing the ship to crash in the Colorado woods. Several facehugger specimens escape, planting eggs down the throats of a hunter and his son. Soon, baby aliens emerge from their bodies and head for town, where ex-con Dallas (Steven Pasquale), Iraq War vet Kelly (Reiko Aylesworth), pizza delivery boy Ricky (Johnny Lewis), high school heartthrob Jesse (Kristen Hager), and sheriff Morales (John Ortiz) have their own separate encounters with the creatures. The dead Predator's home planet receives a transmission of the alien outbreak, and a fellow denizen of his world is dispatched to clean up the multiplying aliens, eventually causing enough death and destruction for government intervention. This is essentially a slasher film (or FREDDY VS. JASON with aliens), and the characters in REQUIEM are secondary to the creature effects. Fans of the comic books and videogames will appreciate the Strauses‘ adherence to the lore of the series, but others will probably just find thrills in the copious special effects, which are frequent and well-done (if often occurring in darkness). There is also a significant amount of indiscriminant gore in this rightfully R-rated film. A government conspiracy plot thread and an ambiguous ending ensure that this battle isn't over yet.
From the creators of FAMILY GUY comes another outrageous and over-the-top take on the American nuclear family. With his doting wife, Francine, at his side, Stan Smith--CIA agent, anti-terror operative, and upstanding citizen--runs a household that includes his ultra-liberal daughter, Hayley; his dweeb son, Steve; a sarcastic alien named Roger; and a lascivious German goldfish, Klaus. The third volume contains 19 episodes.
From the unexpectedly graphic opening shot, director Sidney Lumet proves he hasn't lost any of his bite with age. BEFORE THE DEVIL KNOWS YOU'RE DEAD is a riveting suspense thriller that retains the director's classic approach to storytelling while updating it at the same time. Working from an intense, expertly woven script by playwright-turned-screenwriter Kelly Masterson, Lumet establishes his tragic tone immediately. The story concerns a New York family with a roiling undercurrent of dysfunction. The eldest son, Andy (Philip Seymour Hoffman), is a frustrated, drug-abusing stockbroker who is unable to satisfy his gorgeous wife (Marisa Tomei). The youngest son, Hank (Ethan Hawke), is passive and struggles to make alimony payments. Their parents (Albert Finney and Rosemary Harris) live in Westchester and operate a small jewelry store. Their lives begin to unravel when Andy approaches Hank about pulling off a heist that will seemingly solve all of their monetary problems. Everything about this idea is risky, yet Andy convinces his timid younger brother that this is his only way out of his current situation. Naturally, their plan falls apart, resulting in a series of tragedies that they never could have predicted. BEFORE THE DEVIL KNOWS YOU'RE DEAD belongs beside such Lumet classics as DOG DAY AFTERNOON, NETWORK, and SERPICO. The cinematography and editing and score are all excellent, but the performances are what launch the film into the stratosphere. Oscar-winner Hoffman (CAPOTE) and Finney have never been better, and the rest of the cast--Hawke, Tomei, Michael Shannon--rise to the occasion with unforgettable results.
The word "quirky" has become the quick and easy way to describe films such as LITTLE MISS SUNSHINE and LARS AND THE REAL GIRL that straddle the lines between indie and studio films and comedy and drama. While JUNO fits into that same category, this distinctive dramedy is in a class all its own. Ellen Page (X-MEN: THE LAST STAND) stars as Juno, a witty teenage girl whose boredom doesn't lead her to the mall. Instead, she makes a one-time trip into the arms of her best friend Paulie Bleeker (Michael Cera). When Juno discovers that she's pregnant, she's forced to grow up fast as she tries to find adoptive parents for her quickly growing child. JUNO might have a lot of strengths--Page's award-worthy performance, a pitch-perfect soundtrack, excellent direction from Jason Reitman--but it's the screenwriting debut of writer Cody Diablo that makes this such a winning film. Famous for her blog and her book CANDY GIRL: A YEAR IN THE LIFE OF AN UNLIKELY STRIPPER, Diablo has a unique voice and an incredible ear for dialogue. But even the nearly perfect script wouldn't sound so good if it weren't for the talents of these actors, particularly Page. She won raves for her first major role in HARD CANDY, but this performance proves it wasn't a fluke. The rest of the cast, especially J.K. Simmons as Juno's dad, is just as worthy of attention. JUNO continues Cera's cinematic ascent after his success with the hit comedy SUPERBAD, and his ARRESTED DEVELOPMENT costar Jason Bateman uses his dry delivery to great effect as a potential parent for Juno's baby. Songs from Kimya Dawson perfectly capture the film's tone with the music's sweet, smart, and funny sounds.
As the title character, Ryan Gosling is a strange but likeable young man who manages to keep down a job but keeps mostly to himself. He only leaves the garage where he lives when his older brother Gus (Paul Schneider) and loving sister-in-law Karin (Emily Mortimer) drag him to their house next door for dinner. Lars doesn't take well to questioning, so the disturbing level of his isolation is never openly discussed. It's only when he announces he has a girlfriend in the form of an anatomically correct doll he purchased via the Internet that everyone must admit his precarious mental state. No one quite knows how to help Lars, so they play along, careful not to do anything that might push him or Bianca (his plastic fiancée) over the edge. The results are touching efforts on the part of all those who love him to help Lars through what his psychologist (Patricia Clarkson) assures them may be only a stage. Kelli Garner shines as Margo, the real, live girl who Lars seems incapable of seeing. Despite being ignored, Margo hangs in there, hopeful Lars will come around to sanity and to her. Craig Gillespie's LARS AND THE REAL GIRL is a sweet love story and a film which deals with mental illness in surprisingly subtle ways. With a formula that could easily have manipulated for cheap laughs, the film achieves quirky humor in parts but mostly touching observations about the nature of delusions themselves. The film's talented cast gathers around Lars, a sensitive character who the film respects and who Gosling (THE NOTEBOOK, HALF NELSON) brings fully to life.
This documentary follows the homecoming of guitarist Eugene Hutz (EVERYTHING IS ILLUMINATED), member of the folk-punk band Gogol Bordello, as he travels through Ukraine in search of the origins of gypsy music.
No two ways about it, Tila Tequila is hot! And speaking of ways, she goes both. In this totally out-of-control, libido-driven bisexual dating show anyone can get lucky. So who will it be? Which of the male or female contestants will get a shot at being with the former Maxim model? Sixteen men and sixteen women enter and will all do their best to impress--and what they are willing to put themselves through rivals anything the reality TV genre has seen before. Now every wild moment is available here, completely uncensored. If fans thought what they saw was nuts before, they're not going to be able to tear their eyes from the screen. There are reality dating shows and then there's A SHOT AT LOVE, taking the format to the next level of outrageous behavior.
