More Tales of Being a Troma Intern

I don't know who did this, but this is funny as hell!

My Days Interning at Troma Studios

Troma Intern Blog 1#:

The days working in the basement were fucking hell! But it was the best I time I ever had in my life. It was like the Walt Disney vault down there except that you won't see Jim Henson's body laying around. Everybody upstairs thought that getting that place done was gonna take the whole summer, we got it done in one and a half months. Ah yes, the basement. A treasure trove of lost forgotten Tromabilia, prints, reels, original art work, costumes and props all badly stored. Not only that but the place was unorganized to the degree of animation cells, poster art and reels were water damaged. Since Macdonalds moved next door there were rats that infested the area so good people upstairs spent a lot money in extermination. It worked, but every day was working in asbestos, rat poisoning and cockroaches...for free!

Troma Intern Blog 2#:

This piece is about Rob. A former intern who actually didn't enjoy it and Matt thought to interview him on his last days. Last I heard, the boy is out in the real world selling concert tickets on Ebay. Either way, I hope things are going good for Rob because he was funnier than shit.


Troma Intern Blog 3#:

This is the infamous interview starring me where after a month and a half of interning there I was granted an interview. We just got done with the basement and inventoried it and Matt(the one that works, not the one who conducts these interviews) was putting in his two weeks. Matt was pleased with the work I done with the rest of the interns in the basement and my work ethic that he called me up to see if I want to take his place. I was working at the Angelika Film Center ( and still am) when he called me and my sister has been hammering me to get a second job. I already knew how hectic the job is and also adding that to my job at the Angelika was quite a balance. I didn't refuse, but after I got the call I went to Battery park and to look at the sunset to clear my head and try to set things straight. It worked, but it took a whole evening to figure it out. I always wanted to work for Troma ever since I was kid and this was my opportunity. Matt said this would get your foot in the door in the film industry, which I knew was full of shit, but it closer to anything I ever came to. Shit man, and I was fucking 20. Anyway, I already knew the interview process from previous jobs and friends who have been interviewed by Michael Herz. Plus, not only I was being interviewed but Mike Uhlir( check Troma Intern Blog #5) who was a graphic intern and wanted the graphic design job...instead they gave it to someone else. So anyway, my interview was second to Mike, and all the stories I heard about Michael Herz's interview was pretty overrated. For some apparent reason he was telling me stuff I already knew and kept repeating himself and laughed at certain things I said. Not in a cruel way, but more like "Who fuck is this kid". He kept on telling me it's piss pay or low pay and a lot of responsibility, and I said I was cool with that. He siad the work is impossible(of course they always say that) and I said "I've been interning here for a month and half and you guys always say that and I'm like who the fuck finds this shit impossible. It's not impossible, it can be done its just a lot". And he started laughing. To tell you the truth it was good to see him crack a smile but I was serious and needed work at the time. But anyway, the process went okay and he like my somewhat of a resume and kept it...but in the end they gave it to Mike Uhlir. After sticking around and seeing Mike doing the job and suffering, I think Mr. Herz was right and was doing me a favor. I thank him for that!



Troma Intern Blog 4#:

This is the truth of countless low-budget filmmakers submitting their films to Troma and they put it through the test and let Interns watch them for tromatic elements like breast, gore and possibly a plot. But sometimes that never happens and we get mindless, hackfilled somewhat entertainment that no one else will pick up except for Troma. As bad as some acquisitions are, when I started their was some pretty good ones that they tried to acquire the rights to. Anyway, the majority is that most acquistions suck so always have low expectations and you might a gem.

Troma Intern Blog 5#:

This one features Mike Uhlir and the last of days for the creator of these wonderful shorts, Matt. Once Mike got the job and wanted to expand on his ideas of using the animation cells the interns found in the basement he also got interviewed. While working the second floor he never really got a chance to do anything with the animation cells and things went kind of horrible and he just decided to quit. But leaving a huge hole for me and Joe(new intern who will be featured and also got Mike's job), instead Mike is going to come in for free and do them, just like me. It sucks man, he was pretty cool dude and he was reason why I was so happy that I didn't get the job. I guess that saying from Luis Bunuel was right, never do anything for money that you would do for free, or else its slavery for money!

Ha-HA, I'm Back AGAIN! UP AT VIDEO VERITE!

Yeah, since so many people came last month now that we have been advertised in the Portland Mercury. After a breaking record number in a 19 seated room, 18 people showed for R. Kelly night(What the Hell). And people came for the Tony Jaa double feature and others. Now I'm back and haven't sat down to write anything for this site in a while but I have seen a whole lot of new releases and will be getting back to it shortly! For now let's check out the films I'm showing UP AT VIDEO VERITE, BITCHES!

April 1st, Saturday April Fool's Trey Parker Double Feature
7.00 Cannibal! The Musical
8.30 Orgazmo

April 5th, Wednesday Psychological Horror Night
8.00 PIN

April 8th, Saturday 80's Kid Flick Matinee
2.00 Flight of the Navigator
Stuart Gordon Night
9.00 The Re-Animator

April 12th, Wednesday Sergio Leone Night
8.00 Fistful of Dynamite AKA Duck You Sucker AKA Once Upon a Time In the Revolution
April 15th, Satruday Troma Double Feature
7.00 Toxic Avenger
8.30 Lollilove

April 19th, Wednesday Larry Clark Night
8.00 Ken Park

April 22nd, Satruday Ivan Dixon Blaxploitation Double
7.00 Trouble Man
8.45 The Spook Who sat by the Door

April 26th, Wednesday Sergio Leone Night
7.00 Once Upon A Time in the West

April 29, Saturday LAST NIGHT OF THE MONTH PARTY
EARLY 80's SOFT-CORE PORN DOUBLE FEATURE
7.00 THE FIRST TURN-ON
8.25 PRIVATE LESSONS

Yep, I have post-poned the Early 80's Soft-core porn double feature twice and if no one shows up(which I'm hoping) I'm putting that to rest and that will be the end of that. Next month I'm not gonna so much because I'm so burnt out by the last two months! BUT THIS IS IT! CHECK IT OUT!

The DIESEL is at it Again, With a Huge Straight-no-Chase Comeback from Sidney Lumet!

Unlike most people, I have nothing against VIn Diesel. Their is a huge part of me that feels he can carry a film wether it's mind-numbing(Fast and the Furious, Triple X) or at least thought provoking(Boiler Room, Pitch Black). Arrogance that matches his bite, he proves to be a connisseur of theatrics with his recent involvement with attaing the rights to "Guys and Dolls". A child raised on broadway musicals, he knows the score and can deliver, with a helmer as Sidney Lumet(fan-favorite) you can't go wrong. My infatuation with Vin Diesel came to me when I was in high school and "Fast and the Furious" came out. THe way Vin Diesel presented himself in that movie with really memorable one-liner had impersonating him in the high school locker room. "Ask any racer, any real racer. It's doesn't matter if you win by an inch or a mile. Winning is Winning", wow, that was pretty cool to some degree. Now here he is playing rambuctious in tone, but subtle in character, gangster in "Find me Guilty". THe true story of Jack DiNorscio, gangster who defended himself in a trial with 20 defendants and 4 prosecuters that led into a long, long ass trial. You get the sense of that while watching the endurance of what everybody had to goe through. I'm a big fan of courtroom dramas, two of my favorite sub-genres are "Post-apocalyptic" and "court-drama". I was sucker for this, but unlike most court room dramas this didn't play by the books, as it favored the usual bad guys as honorable good men and the prosecuter as sniveling tyrants. This had me howling at the screen and Lumet has made the most inventive film of the year. A courtoom drama with serious intent, but takes comedic turns. It's as if in the beginning of the violent opening turns into a Chaplin ordeal. It worked. Recently last year Lumet, won the Oscar for lifetime achievement and quoted Godard as a major influence. What way to show his appreciation by making this movie. Courtroom drama that isn't a courtroom drama, but a comedy about loyalty and not ratting on your friends!

Von Trier Experiment that Leads Towards Satirical Entertainment!

After the viewing of Von Trier's "Dogville" I was left disappointed and wasn't looking forward to his U.S.A. Trilogy. Supposely a trilogy steeped in controversy due to the fact that Von Trier criticizes the state yet he hasn't been due to "fear of flying. Nonetheless, the provacoteur and auteur is not without entertainment rights and its interesting to see what he has to say about the our red, white and blue. I had low expectations and came out surprise and really looking forward to the completion of this trilogy. It won't happen for another time now since Von Trier and put down "Washington"(The last in the trilogy) and did an office comedy "The Boss of IT All". Their is a camp of people who loved "Dogville" and hated this because of it's searing undermining lecture on democracy. Then their is the other side of people who hated "Dogville" and love this because of it's step forward and non-pandering to the masses. I'm one of those people. I don't believe that "Dogville" didn't pander to the anti-american masses, but just really thought it was a bad movie. For those with low expectations and hope, "Manderlay" is on the way.
A digital visual Beckett-esque that reaches out to the forage of Pasolini and Fassbinder. Pasolini because of it's moral storytelling political-cant. Fassbinder because of it's use of colors and feminist repertoire you see in the "Marriage of Maria Baun". I'm probably talking out of my ass, but this movie is that good where one can see these two connections. Von' Trier said in his book "Von Trier on Trier" of the influence of these two "homo-sexual" directors. He pointed out the fact of their lifestyle because somehow they had an understand of a female character.
Von Trier's understanding of these two artist is evident of Grace(Bryce-Dallas Howard) in "Manderlay".
Oh yes, the story. The story picks up exactly where the last one left with Grace back with her mobster dad after the massacre in "Dogville". They stop at a southern mansion that still practices slavery even though it has been abolish. Grace has taken upon herself to set these overseers right by capturing them with her father gang and switching the roles of slave and master. That's right cracker!!
It was a pleasant to watch, but a lot more complex to find out everyone's motive behind this experiment. Thus it's an experiment within an experiment, where Von Trier all on a sound stage here he adds a lot more props and cleaner transfer. Making it a lot more beautiful than "Dogville". Same experiment, but different motive.
Probably int he next installment it will be taken out of the soundstage and a lot more live props and shot on film. Who knows, maybe Von Trier might break his own rules and still make something original.

Back Again at the Video Verite Showing Movies. It's My Birthday Month and soon this site will Be Called "20 year-old cinephile"!

Here is the New Listing for the Month of March, and I'm Only doing Twice a week because I'm so burnt out from last Month!
March 1st, Wednesday-Bernardo Bertolucci Night
7.50 Intro
8.00 The Conformists
March 4th, Saturday Aliye’s Birthday Party WOOORRRD! I’m turning 20
Saved By the Bell Party
7.50 Intro
8.00 Saved by the Bell
March 8th, Wednesday Luis Bunuel Night
7.50 Intro
8.00 Los Olvidados
March 11th, Saturday- Tony Jaa Double Feature
6.50 Intro
7.00 Ong-Bak
8.45 Tom-Yun Goong
March 15th, Wednesday Pier Paolo Passolini Night
7.50 Intro
8.00 Salo: 120 Days in Sodom
March 18th, Saturday R. Kelly Tribute Night
7.50 Intro
8.00 Two Music Videos
R.Kelly “Down Low”
R. Kelly “Feelin’ on Yo Booty”
R. Kelly’s Magnum Opus “Trapped in the Closet”
March 22nd, Wednesday Luis Bunuel Night Again
7.50 Intro
8.00 The Exterminating Angel
March 25th, Saturday Ilsa Double Feature(Great Euro-Sleaze Entertainment! If You want to be sick to your stomach)
6.50 Intro
7.00 Ilsa: She Wolf of the SS
8.36 Ilsa: Harem Keeper of the Oil Sheiks
March 29th, Wednesday Last Night of the Month On Aliye’s Top Ten Films of All Time
6.50 Intro
7.00 Emir Kustrica’s Underground
Yep, Mark wanted me back again. You can bring beer, and on my birthday I'm gonna bring cake. The first Month was such a fluke month that I know what days work and what movies work! So come check it out, you'll have a blast!

FOR THOSE WHO DON"T KNOW........

B.E.T. has a white owner! Nah, just kidding but it's true. For those 1 and a half people who visit this site, I have postponed "EARLY 80's SOFT-CORE PORN DOUBLE FEATURE" Next Sunday due to horrible weather and the PIFF( whose kidding me, no one didn't want to watch those films anytime of the day). Instead on that night I went, of course, to the Portland International Film Festival and got my "Sympathy for Lady Vengeance". I went to other screenings this weekend and will be posting up reviews for them later this week. STAY TUNED PLAYER HATERS!

Review for "Tsotsi", part of the Portland international Film Festival!

Just went down to the Portland International film festival, and realized I screwed my self out of a deal to go see as many movies as possible. Thinking that it was going to happen in spring, before I got the whole "Video Verite Bargain Basement Theatre" situated and flyers printed out. The guy at kinkos announced to me a week before I was hosting at the "Basement Theatre" saying,"Man, you're really competing with the Portland International Film Festival",I'm like,"What are you talking about man, that happens in spring,"he replies," Nah it's happening on Feb. 10th", and once again I'm like", What, you tell me now". He goes off on me saying," Fool I don't even know you", and that conversation ended. So I'm going to try to get as many people who have free time to go to the PIFF and write reviews for me. Until then, I will try to find time and finally did. On Sunday I went over there to watch a South African film called 'Tsotsi" directed by Gavin hood.

Seeing a trailer for this recently in theatres at the Fox Tower insinuates that it is coming out soon, but I guess you can say I got a sneak peek and looking at this year roster for the PIFF I really screwed myself out by doing this theatre thing. They got the new Lars Von Trier "Manderlay", the third in the revenge trilogy of Chan-wook Park called "Lady Vengeance". The latest film from Terry Zwigoff call "Art School Confidential" and the second film apart of Yoji Yamada's samurai trilogy called "Hidden Blade". Also the Palm D'Or winner at last years Cannes film festival the latest from the Dardenne brothers(The Son, La Promese, Rosetta). Yep, I screwed myself for sure!

Anyway, on with the review of a film that I got my hands on last Sunday called "Tsotsi". Rarely, African films are distributed to America because I'm still waiting on the release for a film I saw 2 years ago called "Moolade". Now I got to see another African film, and there is still some on my list that I have not yet checked out. "Tsotsi" the latest opus from Gavin about a gangsters living Johannesburg, not taking on the violent element in recent fares like "City of God" and Altman eradicated storytelling. It's truly a story about redemption of oneself, but not really conscious about it and doesn't turn out to be a fable. The main gangster that is named after the title of the film "Tsotsi" is played a young South African Presley Chweneyagae. A rapid opening that might enlist as another gangster film from another country showing true poverty, but it doesn't take its toll on that. Instead, opening up with an awesome South African rap soundtrack and handling the the violent apparitions by these kids is like Luis Bunuel in "Los Olvidados". It takes a sort of surreal turn into a story about redemption, that doesn't eschew a sentimental gesture.

The story about a hood named Tsotsi, who leads a pack with three other homies that run the night and steal, kill and gamble there way. Tsosti is portrayed as cold-blooded killer, and from the start of the film it felt another entertaining glorification of gangster life in another country. Even when it feels that way, it still gives more humanity in its more violent scenes as to its most cherish ones. It still doesn't make Tsotsi look soft though. Of course the leader of the pack isn't nice to the rest of his crew and mistreats them and they all accept it. You always get the one who isn't going to take it and when he does step up to the plate he gets his ass knock down, even as not so meaningless the action is, it still does not come to bite Tsotsi in the ass. After leaving his neighborhood to go to township and rob from rich people. He comes by to an African woman who rolls up to her mansion and ask her husband to open the gate. This allowing Tsotsi to come up and while her keys are in the car and rob her. With a gun pointed on her, she stays still but something in her comes and chases Tsotsi while he stealing the car. Once how our hood can get more dangerous, Tsotsi shoots the woman in the belly and drives away.

How can a man redeem himself from that, the movies proves succeeds with good character development and exhibition and it prides itself from not restraining from harsh subjects. It's not extreme, but not mean-spirited. As Tsotsi is driving he finds out that her baby is in the backseat. Now we got a gangster with a baby. Is this fool so cold-blooded that he will kill a baby? No, but he takes it with him. Leaving no choice but to take care of him, but all the wrong ways. He takes the baby back to his place in the slum, in a shopping bag with food and clothes. He takes care of the baby in a way that is some what laughable, to down right harsh. I'm not saying he gets abusive or anything, but this is a gangster trying to play the role of a father. While all these tribulations happen, Tsotsi looks to woman nearby to breast feed the baby and show him how to clean him.

While all this happen we get an insight into Tsotsi's childhood and coming to grips to the wrongs he has to make rights. A premise that could have been a after school special and handled cheesy is actually done with flair and but excessive on style. The movie invokes the spirit of South Africa as not just a back drop but a culture with a cool South African rap music. It's blend the bleak with the colorful, but doesn't sugar coat it, that allows the audience question Tsotsi's own redemption. It doesn't speak of redemption from one end to the next, but it allows it to unfold through the eyes of Tsotsi. Eh is the main focuses, but the film seems to somewhat rely(not saying it is a bad thing) on how Tsotsi development effects those around him and the rest of his crew, not to the extent of hating him but just moving on.

This Aliye Nyoka saying "SEE YOU LATER MASTURBATER!"

I'm Hosting and Screening at Video Verite, 3 Nights a Week!

Yeah, Mark Mohan writer for "Beyond the Multiplex" is letting me present movies at his basement theater in Video Verite. Mark owns Video Verite and is happy with the selection I chose and I will be giving 10 minutes intros to films that are my favorites from my personal collection and some not from personal collectin. I will have themed nights of arthouse films, exploitaion flicks, spaghetti westerns, soft-core porns and just films you can hang out with a crowd! Come check it out! If you miss a screening, come talk to me and I'll try and see if I can show it again personally! Here is the list(with commentary)! Others will be presenting too...like Joe Dixon and Scott Binkley. They will be doing Tuesdays!

"First of tha Month, Wake up, Wake Up",Feb. 1st, Wednesday
Charles Bronson Double Feature Night!
6.50-10 minute intro

7.00 Violent City-dir. Sergio Sollima

8.40 The Mechanic-dir. Michael Winner

10.20 5-minute outro

Feb. 3rd, Friday

David Mamet Double Feature

6.50 10 minute intro

7.00 House of Games

8.42 Homicide

10.24 4-minute outro

Feb. 4th, Saturday

Crazy ASS DOUBLE FEATURE

6.50 10-minute intro

7.00 Alejandro Jodorowsky's Santa Sangre

8.32 Ken Russell's The Devils

10.32 2-minute outro

Feb. 8th, Wednesday

Dogme '95 Night

7.50 10-minute intro

8.00 Lars Von Trier's The Idiots

9.57 3-minute outro

Feb. 10th, Friday

Sergio Corbucci Spaghetti Westen Night

7.50 Intro

8.00 Django

9.30 Hellbenders

Feb. 11th, Saturday

Ivan Dixon Blaxploitation Double Feature

6.50 Intro

7.00 Trouble Man

8.40 The Spook Who Sat by the Door

10.22 Outro

Feb. 15th, Wednesday

Krzystof Kieslowski

7.50 Intro

8.00 Short FIlm About Love

9.26 4-minute outro

Feb. 17th, Friday

Early 80's Soft-Core Porn Night

7.50 Intro

8.00 The First Turn-On-dir. Lloyd Kaufman & Michael Herz

9.30 Private Lessons-dir. Alan Myerson

10.57 Outro

Feb. 18th, Saturday

Classic Soft-Core Porn Night

7.50 Intro

8.00 Emmanuelle-dir.Just Jaeckin

9.45 House of Love-dir.Tom Lazarus

Feb. 22nd, Wednesday

Top 10 on Aliye's list of All Time Favorites

7.50 intro

8.00 Le Jour Se Leve-dir. Marcel Carne

9.32 Outro

Feb. 24th, Friday

Sergio Leone

7.50 Intro

8.00 Fistful of Dynamite

10.38 Outro

Last Night for the month of February

Feb. 25th, Saturday

80's Musical Night

7.50 Intro

8.00-Xanadu-dir.Robert Greenwald

9.32 The Apple-dir.Menahem Golan

11.00 outro PARTY FOOLS!

Reflective, Small, Quiant Masterpiece Courtesy of Steven Soderbergh!

Top: Steven Soderbergh bottom: A Creepy ass Doll Head












Another crowd pleaser from a man that pushes the boundary for cinema from a small scale to a big Hollywood epic scale. Either way you really don't notice and could care less, because Soderbergh is a man finding a level for cinema. Is latest as been said to be "daring" and "innovative". A movie that is being banned from certain theatres because the way it is being released. It's giving the option of the audience to choose the way it wants to be seen. A movie released simultaneously in theaters and HDnet. On the web and later released on DVD. I rather like the ideas that are behind it, but if the movie is good. While surpassing it's innovation on releases it has done the same in film, story and character. After signing to a deal for directing 6 movies for HDnet, he begins with "Bubble" and carries the responsibility of doing it his own way.

All shot on digital, but not meek shaky handi-cam but with really drawn out cinematography. Mostly used with natural lighting, it's like a "Dogme 95" but without the "Dogme". Soderbergh uses non-professional actors that are neither bad or good but hits their mark for what Soderbergh was going for. The notion of using non-professional actors and the seemingly digital photography is that of a New Wave Robert Bresson. Running on 76 minutes, it's not overlong or too short but right on the nose where it wants to be. It is small masterpiece!

The movie takes place in a small town in Ohio where three people work in a doll factory. Martha(played by unknown Debbie Roechener), the oldest worker, as a fond crush on one of her fellow young co-workers Kyle(played by Dustin Ashley). Soderbergh looks like he was going for realism that later turns poetic. While not having any condensation towards these characters and no small detailed humor to point at their small town existence. Soderbergh doesn't go for those conventions, but instead shows it as is! Kind of like a cinema verite style driven piece, but takes an unexpected turn into a murder mystery.

During Martha's work relationship between somewhat develops, Rose a new girl comes into work who is more Kyle's age. You see Martha's eyes flare, but not to extremities for her actions towards her are for you to decide. Rose played by another unknown Misty Wilkins gives small sinister depth to her character but to the point of taking advantage of people. The main focus isn't on these three but mostly on Martha, before and after a murder investigation piles up when Rose is found dead in her apartment. Before, it shows Martha going through her daily tasks while taking care of her sick old father that is not used for sentimental cliche or sympathy, but rather depth to Martha but no piece into her actions. If you watch the extra features and watch the deleted scenes that Soderbergh took out, there is a scene that gives an answer. I think Soderbergh didn't want that, but rather gave a question and a true mysterious ending.

The other thing I noticed hen I watching it with my mom(yeah, that's pretty sad), she pointed out that through the montages with Robert Pollard's score in the background and shows Martha having a dense stare into the camera with a blue lime light surrounding her. My noticed that she looks like the dolls she makes in the factory. Rather not dull or bland and lifeless like the dolls, those orchestrated montages give depth to Martha that is neither creepy or relentless. Through the end of the movie Soderbergh shoots another closing montage of sculptures for baby dolls that is quite creepy. After the murder, Martha is still consistent that she was not involved in the murder even having evidence proving she did. Even when she is jail, we still don't know if she does believe or not....we are left another question and more!
This is Aliye Nyoka saying "PEACE OUT, PLAYA!"

A Hidden Creepiness that allows you to endure it, not just let it pass by!

Top: Michael Haneke. Bottom: Danny Auteuil and Juliette Binoche.












Caught a Sneak peek of Michael Haneke's latest psychological
Terror!


Not as in "your face" as Haneke's previous films like "The Piano Teacher", "Time of the Wolf","Code Unknown" and the dubiously great "Funny Games". It still carries those tones that Haneke expresses in his films. While not as overt as those films are, it still isn't as subtle as other people say. I really shouldn't and couldn't compare this film to his others. Haneke doesn't consist of terror that is in your face or let alone visceral but really psychological. Other will just pass it off as being a spectacle and not really getting under your skin, but it really does! He doesn't play the numbers as a thriller where you know where it gonna go because you really don't know where it's gonna turn. It is a movie not told through a single narrative, not even a non-linear narrative but rather a loose narrative implied though random shots. It's a pure chapter in mise en scene. It's not a movie you wait for the jump moments and its not consistent of just having moments of pure shock. Even in its moments when it is displayed as "quiet" leaves you in suspension. Each scene and dialogue is not plot motivated because the film is not worried about plot, but their not wasted only to add more to the momentum to the film. It is not minimalistic, that's one thing for sure or buried in detail because it shows a grand picture throughout the whole movie. Nothing against minimalism, but it doesn't have the tone as Wim Wenders but one of Polanski!

Let's begin about the movie, let's start with the opening shot that instills the movie's display of physiological horror. Then we I will begin with the plot of the movie. The opening title card is a continuous shot on digital video, you see the a house and a street and you watch the title cards go in a row and afterwards its just goes on for about a while. This shot here is the fore front of what this movie represents and more...As our days of the French New Wave of Claude Chabrol, Jean-Luc Godard and Francois Truffaut heavily influenced the use of long takes for other directors to come like Scorsese. Others don't extend those point of views and instead tend to copy and imitate it for their use to be somewhat cocky and pretentious. Others use it to prolong a scene and add sense of quietness and not do anything with the long take. It's like when you watch a movie and you know when a director uses the "long take" and you know it. Here Haneke takes it to a another level, rather having the audience knowing you are using it the audience is somehow involved and doesn't notice! He also plays around with it and rather than the camera being the voyeur its the character's point of view looking at the tape that enables the film to have this "long take".

The other note to consider of this opening scene is that one of Haneke's favorite films is by Michelangelo Antonioni. The choice is eminent in his influence for this opening title card but not a mere imitation. It instills fear and creepiness but also beauty within its location. While it is not as minimalistic as Antonioni films are, this movie may have a slow preparation for scene to display visceral shock. But the movie is not all about that. Haneke uses the long takes after a scene of mutilation has happen to allow the actors breakdown! Now that I have talked a plethora about the opening shot let's get on with the movie! It unfolds into overt narration told from the characters point of view and their reaction to watching this tape that is taken in front of there house.

The story about a family getting mysterious videotapes sent to them via on there doorstep. They all appear nameless but are covered around a paper with a picture of weird images of a chicken or human being mutilated. Their all hand drawned like from a little kid and the couple can't seem to find where the camera is being placed and who is sending these tapes. The husband played by Danny Auteuil from the great "Girl on the Bridge", gives great performance same goes for the fine Juliette Binoche who also collaborated with Haneke on "The Code Unknown" and also gives a bleak performance as with that one. As that previous effort was use of the long take, here it gives to Binoche and Auteuil to just break down in front of the camera and it sometimes feels like it was improvised. As the movie progresses it digs deep into Georges(Auteuil's character) past and his growing up with a boy who is Algerian. A kid during his youth that he despised and starts thinking of him only when these tapes start appearing. Is it something that he regrets? It's not like I'm lazy and don't want to give the details into the plot, but I feel if the less you know the more it won't disrupt the experience. That is me being lazy and probably a lame excuse to not give a huge detailed explanation of a one note premise that unfolds into a realm of unpredictability. It's not a huge twist like in a M. Night Shymalan film that I'm giving away, but I feel better if you don't know what turns it takes. "Cache" gives no correct answer or a resolution but just more questions. Only leaving another last long take that leaves you to stay during the credits and engraves a creepy voyeur in your brain. I can see why Haneke won the best director award at the Cannes film festival, because his craft for macabre and keeping the audience suspended is something that has to be seen!
This Aliye Nyoka saying "PEACE OUT!"

Review of Masters of Horror 12 (Last Episode of the Season): John McNaughton's "Haeckel's Tale"

Holy Crap! A Zombie Orgy! Literally.
The picture and headline for this review should give you an insight into the latest and last entry to "Masters of Horror" season 1. Don't worry they gonna come back again in later this fall will some old directors line-up and possible some new ones. Originally they were gonna show the Takashi Miike's short called 'Imprint", but of course I was like that will be awesome. It was to be Miike first English language film and another venue to get him into the homes of America by the great people at cable. Well Showtime didn't give in, and we all know why. Miike's short was disturbing and deemed inaccessible for even cable's standards. I some what knew this would happen, but was so excited to see it. Instead they made John McNaughton's short the last and end of this season, and what an ending this one has. Probably not as gruesome or more shocking as Miike, but you got make due with what you got. Miike's short will be released by Anchor Bay, as so the rest of the shorts will be released through Anchor Bay, but for Miike's film it will be hard unrated special edition! Awesome!

So McNauhgton("Henry:Portrait of a Serial Killer","Mad Dog and Glory", "Wild Things") is the last on the roster and what a conclusion. Originally for George Romero and Roger Corman, but both dropped out on the last minute and McNaughton was a replacement. And Why Not? He deserves to be on that roster as much as anyone. Based off a short story from the weird Clive Barker and written teleplay from "Masters of Horror" creator Mick Garris. The short starts out with "In Association with George A. Romero", like it was some kind of disclaimer. I can see why, because it wasn't a rip-off or homage to him, but McNaughton taking Romero ideas and Barker's and giving his all.

The story is simple. A tale set in old England where church belief and science was still debated openly and ran the democracy of scientist tryin to have test on dead bodies. McNaughton has worked with this actor on ABC short lived one-hour show that was scripted and produced by Ben Affleck. The show being "Push, Nevada" starring Derek Cecil, McNaughton used him to play the role of the budding scientist Ernest Haeckel who has an interest of re-animating the dead and the magic that is used by a local merchant called Montesquino. Played by none other than the seemingly character actor Jon Polito who shows Haeckel his magic and is still unimpressed. After learning that his father is dying from a illness he is set to travel and visit him on his death bed. He is later stopped by and old man who offers him shelter and is introduced to his young wife who he makes a move on.

The whole trappings with a set design that echoes a Hammer films and a smoke machine on a grave site. The dialogue is fare on the English wording that eschews a B-movie late night horror film, but the performances are really good especially the woman who plays the wife of the farmer. As the atmosphere gives you that tingle you wonder how this old man got such a young woman. The movie goes more into at what she does at night to be pleasured since she can't by the old farmer. Haeckel, of course, is a curious young chap and wants to know the answers to everything since he is an arrogant scientist saying goes of curiosity killing the cat, cliche it may be, but the proof is in the twist! I saw it coming, but didn't think they were actually gonna do it.

Haeckel try to find answers and is sworn by the old man to stay in the house, no matter what noises you hear. He later ask the old man what's going on and why is the miss out side making all those noises. He finds out that she had a husband who died and she visits the site periodically!YEAAHHH! We all know where that's going to. SO he follows the voices all the way to the grave site and sees Montesquino(of course) resurrecting the dead. What he also sees is the old man's wife having sex with her dead husband, but not just him. Their is just a slew of zombies all waiting their turn to have sex with her. It's necrophilia to the max! It's like a gang-bang zombie orgy, I was sitting there in the house just saying "I can't wait to die!" it was true horror erotica!

Haeckel tries to stop this madness, what a fool, and accidentally kills a few people in the process. The ending or twist which is predictable but such a crowd pleaser, I won't give away but all I can say is "Zombie Baby". Throughout all the mayhem that played out like "Children Shouldn't Play With Dead Things", directed by Bob Clark, it just fades out with a "THE END". Like that's it, that's the whole season, like it was a whole 12-Hour movie with different narratives but one true passion for horror. I gotta say it was a great way to the season, it was the 'Decalogue" for horror fans. If it ended with Miike's short that would have been a great ending, but McNaughton beat him to the punch and he knew what he was doing!

I'm gonna keep this one short and just give an actual criticism, that McNaughton displayed a treatment of macabre that was eminent in a lot of Hammer and Amicus films and daring as a Pasolini film. McNaughton say he doesn't work in any genre and it is true at his work because this movie is rather not horror, comedy, transcendental genre mixing, erotica or even a zombie film. It's just a true master executing a unique story without being mere excess and shockability. It's true macabre and McNaughton knows what the hell he's doing(the Same with rest of the directors who are enlisted with the series)! This is Aliye Nyoka saying "See You Next Season for Masters of Horror, until then PEACE!"

Not A Movie You'll Find Comedy In, But It's There!

Bottom: Kevin Zegers and Felicity Huffman in "Trans America".

A movie that treads in hard subject and dark territory that it still finds a sense of humor throughout the whole ordeal. Not talking about being a transexual and trying to get an operation, not that whole factor. But discovering you have a son whose mother you had a long time fling with back in college who died and left a boy out on the streets and ended up tricking for a living. Then you're gender confused and realize you want to a woman and suddenly find out you have a son and not tell him you're his actual father until the time was right. As a concept that could have played out as a melo-drama or serious dram for that matter instead Duncan plays with it and makes sweet road comedy. He doesn't tiptoe around those facts but finds some sort of laid back humor that is found in a road comedy. It's road movie with re-awakening characters that you find in a Wim Wenders movie except without the minimalism.

I have nothing against transexual, let alone their culture related to cinema. Regularly I'm use to them as cliche's in an after school special type movie about the favored that wants to be a woman. That's pretty sad, but I don't go out and check out a lot of movies relating transexuals. As serious this movie gets with harsh subject matter, that isn't all that bad, but for the characters because you end up liking them. You don't pity them, but want them to get better. That's the trapping for a road movie and it consist of running into trouble and crazy characters and finding oneself. This whole is not just a road comedy, but can be looked at that way. Instead it's just pure character study.

Felicity Huffman gives a great performance, being a human playing man who wants to be a woman. A lot actresses wouldn't touch this role, let alone an actor who wants to play a man trying to be woman. Well actually, their would be some male actors to take that challenge, but instead they went a woman. Who cares of the actual gender of the actor, Felicity Huffman fills this persons shoes. It is a daring role and she gives it with great detail that it looks real.

The story of transexual of Bree who is undergoing psychiatry to get a finalize okay on a operation to turn him into a woman. He gets the okay(it's funny I'm calling Bree "he") but then a egg drops on him and discovers through social services that he has a son. Bree later takes the boy and tries to get some answers out of him and leaves out the fact that he is the father and a transexual. Bree discovers that his son is living under a rut and is tricking out on the street and wants to be an aspiring gay porn actor. Kevin Zegers plays Toby, and gives straight forward performance that isn't outlandish and exploitive given the facts of Toby. He literally does a good job. He gives Toby more realism than a trite cliche, given his background some would know how his character was going to play out. Duncan Tucker doesn't go that way and instead let's Toby make his choices that doesn't give him pity but reason.

The movie goes from Bree taking a cross country from New York to Los Angelos to get her operation and to find a place for Toby. Possibly his old town, since he learns Toby has a step father. That doesn't go as planned and they go all over the country when Toby discovers the truth about Bree. He doesn't discover Bree is his father, but that he is man.

Through their cross country adventure I like when they stop by so-called "stealth" transexual's house referred by Bree's psychiatrist. They happen to stop by when their having indoor transexual party celebrating peers' operations. Toby stops and talks to a couple of transexuals(still under the impression that Bree is a nun), real transexuals that had complete operations and look like the real deal. They even fooled me! Nah, I'm joking I could tell. Actually I didn't! One of the transexuals he was talking to was woman who became a man giving his philosophy of trans gender and how it is praised in many cultures and could be the stepping evolution to mankind. Toby stops and ask"You use to be a woman. I thought you were a real guy". He actually did look like a real, he was probably an actor, but if he was they did good job. The guy had more facial hair than I did. Hurt my manhood! Nah, just kidding. I like his reply to Toby's comment, he looks at him and just says"We walk among you!" That's some scary stuff, and kind of cool!

That philosophy isn't expanded throughout the whole movie because it tackles more quaint subjects and gives a whose new aspect to a father and son relationship. Toy doesn't fully accept Bree as a father, but still does not look her/him...Whatever. It's not a sugar coated happy ending, but one with almost sick twist that still as a resolution. The other thing about this growing road movie is on the characters they meet on their journey. Bree falls in love with a man and doesn't tell him her secret but by the looks of it he wouldn't mind. After their car is stole they are invited and greeted by a Native American Calvin played by the type-cast underrated Native American actor Graham Greene("Christmas in the Clouds","ThunderHeart"). I love that actor, but in this one he gets to display more of his acting chops than the usual cliche Native American character he plays. He is a good actor and Duncan Tucker allows him to expand Calvin than just a crazy character Bree meets on this adventure. He turns up being the real deal and nice man.

I really liked this movie and just know that Huffman will be passed on a Oscar nod, then again who cares. She deserves at least a little recognition for a good performance. That may sound cliche, as I have been using that word as a cliche, but as you watch the movie you'll believe me! A concept that could have turn dark and into a serious drama was road movie that didn't fall prey to the trappings of a road movie and played with it's concepts to literally have a good time no matter what your opinion stands on transexuals! This is Aliye Nyoka saying 'Catch Y'all On the Flip Side!"

Damn...Kate Beckinsdale looks fine in that leather!

Left Top: Kate Beckinsdale looking all fine. Left bottom: Same thing!



































Cooler, Gorier, Sexier and better than the first one!

I don't think you have to watch the first one to understand the second one. I enjoyed and own the first "Underworld" and found it entertaining and was really slick but dragged at some parts. While the second one helmed by the first director, Len Wisemen who is also married by the star Kate Beckinsdale(lucky bastard!). This is good old fashioned Friday night hard-R entertainment that doesn't insult you and pits cinema's greatest monsters against each other in an aging battle. The bourgeois Vampires versus the hard working werewolves. I'm more of a werewolf fan, I thought vampires were cool but looking in cinema lately its like vampires are fools that just want to control everything and know what's best for society. They enslave and oppress werewolves and expect them not to fight back and have a war. Like you the hell are you to come and try take away my right to be a werewolf, what the hell makes you so special. Oh, you got fangs, likes that scary. The vampires enjoy the more finer things in life and expect everything on a silver platter. I would rather be a werewolf anytime of the day if I had a choice. OKAY, now moving on the stage is set for the battle of the century.

Where the last one left us with the so fine Kate Beckinsdale wearing leather and killing werewolves for the sake of the cause. She was pronounced as a "Death Dealer", an assassin for the vampire war but fell in love with a werewolf. Well not exactly a werewolf, the last one ended with Selene(Beckinsdale) betrayed by her fellow men and united with a new breed. A vampire and werewolf, as she is now known as an outcast and hunted by the vampire cause with Michael(Scott Speedman), the vampire/werewolf hybrid. As these known fugitives seek refuge, meanwhile the leader of the Death Dealers who betrayed her and the vampires by giving information to the werewolves is still in power...but not for long.

"Underworld 2" wasn't screened for critics, but I just had to see it because I loved the first one. I will not compare the two, but just criticize this one and actually leave you to watch these films back to back as a double feature at home. This one goes more into the lineage of the war between lycans and vampires and their never ending battle that goes into honor, betrayal and whole lot of blood. The story goes by so rapid fast and is executed with stylized gore and fight sequences that it deserves a clap. When I say its gory, it is definitely gory as hell.

Those are just icing on the cake as you literally care for the waging feud between horror's greatest monsters trying to end it with a truce. It doesn't end all happy, but it has a resolution. Len Wiseman has a slick direction and really enjoys seeing his wife wearing tight leather all day on the set. Kate Beckinsdale does a really good job maintaining a role with a premise that could be used for camp, but is really handle serious. It doesn't take talent, but she is a good actress and gives the movie some soul. Not saying the role doesn't require much, but she supplies it with beauty and viciousness. I mean you get enthralled in the war between these two and her betrayal from the crappy vampire league. The movie is told epic scope with a great production design that gives the atmosphere of a Hammer film. All yeah, plus Kate Beckinsdale has a sex scene but doesn't bare all but just enough. That's sad, but who cares!

The other aspect of it is that it is big budget R-rated entertainment rendered in artificial fantasy and CGI. They use a lot of the CGI, but not a whole lot, especially for what I like that gives it the a "Howling" effect with the werewolves. The make-up on the werewolves has more character than the vampires will ever have. It works with a hybrid of CGI and animatronics that looks cool!

As for the gore, its not sick or disgusting for that matter but typical stylized action gore that is pure bubble gum pop for the mind. It's just another movie to hang out with all your cousins or close friends and sit back and just enjoy really fine entertainment. Entertainment it may be, it still may have a importance in the history of cinema. I'm gonna keep this one short, because a movie like this is just a joy and to chill. Or you could look at it as serious cinema. I sure do! It's a movie that is told through mythic story telling that doesn't have the usage of good vs. evil. In the end, we don't know if the battle will truly draw its conclusion!This is Aliye Nyoka saying "Peace Out"

Review of Masters of Horror 11: Larry Cohen's "Pick Me Up"

Bottom: The Great Michael Moriarty!

The second to the last of the 'Masters of Horror", because Showtime didn't want the Takashi Miike('Gozu","Ichi the Killer") episode titled 'Imprint" was deemed too extreme for Showtime. I'm not surprised and they probably feel that American audiences can't handle it, either way I love his work and really want to watch it. Since that will be released through Anchor Bay, we have the latest from auteur writer-director Larry Cohen. Who is an inspiration for me in screenwriting, and an auteur second because he can venture outside an exploitation market and succeed in mainstream films.
Actually he is a weird director, doing arthouse flicks, exploitation genre based films, horror and screenwriting for Hollywood flicks like "PhoneBooth" and "Cellular". He is good writer, but he didn't write this one he only directed this and a fine execution I might say. It feels like looking at his resume, that he writes for films that are already in the confine of a small budget. It's not a bad thing, or probably I'm just articulating it and just those are the films that he is interested in. The whole movie 'Phone Booth" was a whole character development out of one spot and carefully plotted. Different for "Cellular", where I was guy that went around jumping from place to place to find a kidnapped woman. Enough about his mainstream movies, let's talk about his first beautifully dialogue written-directed movie "Bone". A movie that is advertised for the market of exploitation films, but feels more like an arthouse films. Not saying the exploitation market isn't arthouse, but that movie more than it was advertised. A movie that examined racism through a three cushion pin dialogue stage play that was on the screen.

Now let's talk about his latest entry in the "Master of Horror" entry called 'Pick Me Up". A easy premise that fits the running time with a lot of old school and familiar faces. The premise is about a serial killer who picks up hitch hikers and kills them against a hitch hiker serial killer. Another Larry Cohen regular who I haven't seen in long time the awesomely underrated Michael Moriarty(TV's "Law & Order" and "Q:the Winged Serpent"). Its good thing Cohen gave him a call because I haven't seen that collaboration in a long time. Michael Moriarty plays the truck driver who picks up hitch hikers and kills them. He doesn't go over the top, but just hits its mark right on it and is just a joy to watch. The guy who plays the serial killer hitch hiker is newcomer Warren Cole, who doesn't seem to steal show from Moriarty but develops his own style that is also enjoyable.
This short is provided by a teleplay by David J. Schow, who keeps the movie filled with memorable lines and dialogue especially for Moriarty's character "Wheeler". It sometime feels that Moriarty was ad libbing at some parts because their moments that felt like it was his own.

The short starts out with a grey hound bus with a few people breaks down and Wheeler picks up a couple passengers. The other two people who left behind, including the bus driver are spotted by Warren Kole's character who kills them. Wheeler kills the people he picked up and later comes back to the site of the bus to kill again. Kole's character named Walker, during a midst of torturing one of the left behinders then comes in Wheeler who doesn't help the person but instead kills her. Walker notices and realize that he has competition, the same with Wheeler as he picks up the sight of bodies left behind from Walker. Now I forgot to mention that when the bus broke down a woman left the site hitch hiking, played the also lovely and enjoyable and the "I haven't seen in a long ass time" Faruiza Balk("WitchCraft","American History X"). I love that girl was a seminal part of childhood from watching 'Return to Oz" a lot as a kid. I somewhat had a crush on her, and plus that was a weird ass movie. Other than that she plays the prey that the two serial killers will be hunting for to see who is the better man or killer(my money is on Moriarty)!

An ingenious premise that fills it's running time and that's it, but Cohen gets a lot of use out of it and somewhat develops character especially Balk's character. The short doesn't explain her past but gives a little insight into being a divorcee and going cross country to get away from her old life. Moriarty of course gives some tremendous depth to it that is just refreshing and funny to look. The same with Warren Kole, and I can see why Cohen picked him, he is like a young Moriarty but has a whole different style. I'm sweating on Moriarty, because he is just great in this and is like survivalist hunter who says crazy Christopher Walken stuff, except not impersonating or ripping off him. He clearly develops a tutorial acting chop that young thespians can relate and learn. He's genius.
I would like to see Cohen do a short directing his own screenplay, but he did good doing another persons' screenplay and felt like he added more touches to it. I don't know, probably he left it the way it is and made due with what he got. By the looks of it he definitely enjoyed doing it supplying a pure tension for visceral gore that doesn't leave you in a slough of despair and sick but lets go into the mind of these serial killers. Either way you start rooting for one of them! This Is Aliye Nyoka saying "PEACE!"

Woody Allen is still back in the Game! He is a PIMP!

Left: Scarlett Johansson with the old ass Woody
Allen.
Definitely not a typical Woody Allen film, but still showcases his cynicism on relationships. A movie that tackles so many issues in record time and formalistic study that it is just told in an operatic scale. Given the movies references to Dostoesvsky and the opera is the true solace of what this movie represents.

One thing I can say is my love for Woody Allen and how he is typically hit and miss and is rarely on it most of the times. Other disregard and just think he is a self-indulgent hack, but I can't deny my love for him and I enjoy some of his films. To me out of all the horror films, kung fu films and exploitation films I write about how cinematically cunning and endearing those films are. And yet I say that to me Woody Allen is the true guilty pleasure, and he is. I can't relate to him. I'm not Jewish and live in New York and have manic and weird relationships that barter on the public. He is a talented writer and director at the same time. He is not a writer second and director first, he is both at the same time. I love "Deconstructing Harry,"Small Time Crooks", "Stardust Memories" and definitely "Crimes and Misdemeanors". His movies are still in the void of Wood Allen universe that people tend to disconnect to, but this one definitely shows he can push cinema outside his universe.

The setting being London and not New York, he still is not out of his element. His trademarks that Allen is known for may not be present for some, but is still there. His typical Jewish humor isn't there, but his humor is. As the movie takes over dramatic turn is doesn't really take itself too serious and has a dark, cynical humor towards it. "Match Point" is not a dark comedy!

Now for the story, starring the actually pretty good Jonathan Rhys-Meyers who plays Chris Wilton who is a kid that is unsure of himself. His plans of being a pro-tennis player that didn't come into plan is not truly explained why he didn't full fill that dream. It probably is explained but I 've probably missed it and for me felt like a blimp in the air. Cause he is just a guy that doesn't know what he wants and wonders into a relationship with the sister of a rich friend of his played by Matthew Goode. Her name Chloe, played by the underrated Emily Mortimer(Dear Frankie), who takes a liking to Chris and decides to build relationship. Chris then meets the family and is well received by the rich parents and is groomed by Chloe and her dad to work under him at his firm and supply him with a house and a job.

You wonder, why the hell am I following this rich, not working, asking a hand from father in-law punk. It so happens that you actually, and this mean guilty pleasurely, start rooting for him and not care for him but is happy for him. Chris seems fulfilled with all the options that are giving to him through this relationship but of course he is looking for more. After a rendevous at the mansion of the father played by Brian Cox, who seems to be in a lot movies these days randomly after "L.I.E."(check out that movie if you haven't seen it). As Chris is in the mansion and walks into the recreation room with a female playing ping-pong for money. Chris takes a love-at-first-sight note and makes his careful move and realizes that its the fiance to the soon to be brother-in-law. That still doesn't stop him and is sought after for Nola, played by the oh so fine Scarlet Johansson. She is the temptress, well not exactly the temptress but the lust to Chris' loins. The whole stage is set, and might their add for their first sex scene as cliche and cheesy it was for some reason it was still perfectly set-up by Woody Allen. It's like he was making fun of that cliche and no one didn't get it.

The whole build-up is set and enlist certain turns that Allen seems conscious on taking and does it masterfully. Like the movie goes from certain cinematic genre from another accomplishing and covering a lot of issues without being preachy first quarter of the movie feels like a romance between Chloe and Chris, then it goes into Harold Pinter-esque("he Homecoming") dialogue that fuels the English accents that Allen seems to not be familiar with. It takes that tone then goes into some late-night cinemax fare like a soft-core porn "Dangerous Liaisons". It does that for while with a sex scene between Rhys-Meyer ripping Johansson's shirt off like a G!!!!!! It's so awesome, I was the only fool rooting in the theatre. Then the film goes into some twisted dialogue people hurting people emotionally with words that seems to be eminent in Neil Labute's("In the Company of Men") work. Except, its not a rip-off and has a lot more subtle humor than Labute's in-your-face humor that hits you like a brick. Allen's subtleness hit you, long after the incidents are portrayed and will continue to, long after the movie is over. I'm still recovering and think about this film at this moment(since I'm writing this) and probably tomorrow. Then it transitions into a murder mystery that build ups with long shots and subtle tension that invokes Claude Chabrol("La Ceremonie"), even with the same wry humor Chabrol has! This movie did it all!

Allen's use of cinematography doesn't help much with the location(Not saying London isn't beautiful), but still adds beauty on its portrayal. He consists of long takes of two characters sharing dialogue, hell even three people. It's like a three cushion dialogue seminar that isn't plot motivated but isn't a waste and gives new meaning to actually share Chris' pain. I also like how Allen pans the camera slowly, not for when a another person is talking but showcase another persons' emotions. He usually keeps the camera on a person while another person is talking to them, and sometimes he zooms out to show the two talking. He seems that he is not interested in cuts, but gives as seminal cinema verite style that isn't all that judgmental. But with the panning of the close up when some plot point is about to made it somewhat quos Chabrol.

Throughout all the ins and outs that Chris chooses you start to feel happy for his fate in the end. Then you know his guilt that he has to live with. Allen did real great job and is his best movie to date in a long ass time. I enjoy some of his recent work, but none of them will hit me as hard as this one did! I remember Win, a friend/co-worker said,"I rather watch a mediocre Woody Allen than a mainstream Hollywood anytime of the day". Well this my friend is not mediocre and could be summed up in the words of my English homies,"A Bloody Good Show, Ol' Chap!" Alright that was lame, but who cares its a celebration bitches for WOODY ALLEN!
This Aliye Nyoka saying "See You Later, Masturbater!"

Something You Can Sink Your Teeth Into!

Left: Q'orianka Kilcher as Pocahontas or Rebecca.












A True Definition of "Visual Poetry"


Rather not for the typical entertaining crowd, a movie that may be shrouded for people with an acquired taste. I feel you don't have to have an acquired taste to like Terrance Malick(Badlands, Days of Heaven, Thin Red Line). Others may find him boring, but there is really no denying his beauty. If you could look past his visuals and see a great movie with poetic meaning. A lot people will hate it and just call it boring, and I have nothing against that I don't go after those people and impose my will on them and tell them why they should like this movie. I could care less about those people, because I don't think Malick is a director you can get or not get. To really enjoy this movie is you gotta go to the biggest theatre in your area, albeit the Lloyd Cinemas outside auditorium with the big screen(For you Portlanders). Relax. Sit up close, kick back and have a soda because this movie may feel long to sum of saying two and a half hours. To me it felt under that and just went by so quick, and left me wanting for more. That may sound a lot work for one movie, but it helps and it is so worth it. Now we got you to just watch the movie and literally have a good time. Now its time for the review.


Summing up Malick's career and resume will take mere seconds, well not having a huge roster to his name doesn't mean his movie are unimportant. He has supplied cinema's greatest achievements and "The New World", being his fourth film to date is no exception. While I was waiting for this one to come out for about a year, I realized the wait is over and finally got a chance to see it. Originally two and half hours but cut 15 minutes shorter upon it initial world wide release because Malick is such a perfectionist(and it shows) like Wong-Kar Wai. A frantic paranoid he may be from hearing rumors of him not offering anyone for an interview does not give the director much depth and his influences. Then again who cares, I hope he's just like his films because their so unique.


Now let's get on with the criticism and enough with this preface, pin-pointers on watching it and history. I loved this movie and I have always loved Malick's style, while others may find tiresome of his style during this long movie and some will fall asleep you still won't miss it. Because to me getting warped into Malick's films is something different. Malick's style is something you can sleep to, even with your eyes closed you can still feel it. For real. If you sit up really close like I did you start feeling the trees and wind for some apparent reason.


The story is something that is famous in American history and has watered down to a cliche from Hollywood to Disney. The story of John Smith and Pocahontas, which is giving a neutral realism to it. If anything Malick's influences are unknown, but he might take note from Robert Bresson(A Man Escaped, PickPocket) because each scene is like a painting. It's all like a moving painting. It as it doesn't go into the typical Hollywood cliche's that are displayed into the story of Pocahontas and John Smith, it avoids those by just telling the story of Pocahontas.


The movie uses voice narration but the type that tells you the story and jumps from each character voice narration giving their side of this "New World". But its still not the voice-over that tells you the story, instead as always Malick uses it over beautiful montages overplayed by a score from James Horner. it gives a new use of voice over and also proves my point of the "visual poetry" aspect. His montages go on randomly and are just enthralling to look at. He just have to sit up close for it. The beautiful scenes goes perfect with the score and narration that you left with your mouth dropping.


I am not a huge Colin Farrell fan and I think he was somewhat miscast but doesn't distract from the movie. The real moments are handle by young newcomer Q'Orianka Filcher who is the real voice of the movie and holds together. Its like Malick knew what he wanted and found it in her. Displaying Pocahontas as a real 15year-old, the same age as Q'Orianka, the love between Farrell's Smith is handled maturely and not creepy...let alone erotic. It was like he was just showing the mentally of 1607 and surpassed that factor and just show the love unfold into a triangle of some sorts. Historians will not find it accurate, but in history of cinema I think it was the most accurate portrayal of Pocahontas. Malick went balls out epic on this one and went for accuracy and hired some real Native Americans and not some Puerto Ricans playing Native Americans. The set design is awesome and sheds some dreariness to the atmosphere that Malick turns to beauty. Like I said, it's like he knew what he wanted. Without all the Native American actors, you can't have the typically great Wes Studi(Heat, Mystery Men, Last of the Mohicans, Geronimo) up in there giving a good performance.


The movie doesn't go into one dimension display of the settlers portrayed as evil white men that are arrogant or the Native Americans as righteous savages. It doesn't sugar coat the portrayal but gives it more understanding realism to it, and actually shows the settlers trying to stay within their own colony and trying to survive on their own in the wooden fortress they built. The effect is society ridden with starving kids and men dying left and right. It doesn't show them as evil invaders, but doesn't give them bad light or good light. The whole movie is in a grey zone about how this country was founded.


When I talk about a love triangle the movie unfolds into a one with John Smith out of the picture and Pocahontas falling in love with a new English men. After believing John Smith died she meets John Role played by the great Christian Bale. uses also shares the voice over narration into another montage that traces back and forth to his new born and his wife Pocahontas who is now named Rebecca. They both have baby and for awhile the movie switches gear from old America to old town England where they live in a farm and are welcomed by the king and queen. After learning that Smith is still alive she tries to find him and decide whether to stay and have a family with Rolfe or go with John Smith. The whole movie I won't give away but once you leave the theatre you leave with beautiful scenes that you can't get out of your head. It's a journey through literally a "New World", the whole movie is a journey that embeds and scars your brain with a visualized masterpiece. As Malick was editing till release date, I could have stayed for more(that's just me), but the print I saw would come close to perfection! I loved it! This is Aliye Nyoka saying "Go See It!"

Review of Masters of Horror 10: Lucky McKee's "Sick Girl"

Top:Lucky Mckee on the set of "Sick Girl". Bottom: Angela Bettis(May) and the lovely Misty Mundae(Listed as Erin Brown)

















WOW! This movie has it all and McKee sure knows how to capture it. While some of us hard-core fans of McKee's debut film "May" , were waiting for his next feature that is always getting pushed back. His next feature is a film with Bruce Campbell, Agnes Bruckner(Blue Car) and the wonderful Patricia Clarkson. Its still finding it hold on a release date, but its been finished for quite awhile. McKee doesn't fret, but while that is still in limbo we can watch is latest from the "Masters Of Horror". Its called "Sick Girl", for a reason, back working with "May's " star the awesome Angela Bettis. She plays a lesbian(what more do I have to say) who is an entomologist at a lab for an important institute. The movie first starts out with an eye level camera view of a little insect getting shipped off to her apartment. All that is just subplot, because McKee intentionally lets a relationship unfold in front of the camera between Angela Bettis and Misty Mundae, listed as Erin Brown on the credits but I know her and respect her as Misty Mundae. I think the main reason she was listed as Erin Brown, because her character is also named Misty. Either way, I always found Misty Mundae to actually be a great talent from her Seduction cinema soft-core porn spoofs. She is much known for that, but I always watched her films knowing that any given day she could give a compelling performance(whose to say that 'Play-Mate of the Apes" isn't compelling, that movie rules). Misty Mundae jump started Seduction cinema and productions, not saying it would be anywhere without her but she surely has opened a market for it. I don't think the role she plays here is any different the stuff she does in Seduction Cinema(she does soft-core porns, horror, Nick Phillip remakes...you name it) but it feels like she was meant to play this role.
Of course as I stated its Angela Bettis playing a lesbian who feels like a timid, shy and insecure girl version of me. Her name is Ida Teeter who has a love for insects that are complications in her love life and also a problem for the landlady. After several funny conversations with her lab partner whose a guy that enjoys talking to Ida about and getting chicks which is pretty funny dialogue. Ida notices a girl every time she goes to work in the lobby whose face is covered by her hair. After mustering up the courage to talk to her played by the lovely lesbian Misty Mundae(AKA Erin Brown), they realize that they a lot in common and sparks funny dialogue and a weird relationship. Throughtout the movie Ida discovers that Misty(Erin Brown's character name) is a true oddball and she finds out that she has an interest in insects too. The love is in the air, but back o the bug that was delivered to her doorstep from a professor in Brazil. Through the course of that conversation sharing their love of insects, Ida also finds out that the professor is actually Misty's father. Not plot point that turns to horrifying, but involves the mystery of the bug that was sent to her and supposedly eats mammals. The movie doesn't go into the sub-plot of the bug on the loose, but focuses more on the relationship of Ida and Misty. And I gotta say that's way more interesting, nah I'm jut playing but it opens the door for psychological horror and old fashioned animatronics. I think Godard said that all you have to do to make cinema is "a girl" and another girl. I don't think he said nothing about a gun, nah I'm just playing, but the movie has that tone.
Its not typical soft-core lesbian sex that Misty Mundae is usually in, but focuses on these characters lesbian relationship. The movie feels like an unconscious social commentary on lesbianism. It's like Lucky wasn't aware, but just had a love for these characters to put them in horrifying situations. The movie feels like it had undermining social commentary on lesbians and discrimination and them having the right to bear children and take of them. Well, at least in the ending. Now the intention of focusing on the characters over the insect that is on the loose, which is not waste, was marked by Mckee himself. He read the script by Sean Hood and rewrote to reflect more on the lesbian misadventures of Ida and Misty. I could see why he did it, because we all seen the typical "prey on the loose" movie. It wasn't a critique on that sub-genre but rather a love for it. That turned its ear to supply great character development.
As for Angela Bettis, she's great in this playing a manic woman looking for love with precise detail. The way she deepens her voice when she talks to her insects is just brilliant. Their is a relationship between the landlady's grand daughter and Ida that Angela Bettis a lot to work with to show humanistic value to Ida. Other being a somewhat repressed lesbian nerd, she felt like a girl version of me. Misty Mundae(or Erin Brown) is also great and I was hoping for her to be and she beat my expectation through the roof. When you watch her films for Seduction, she seems like a girl that has fun on the set and supply wry sense of humor to the soft-core porn spoofs that Seductions venues. "Sick Girl" is no exception. She really hams it up with care as she goes crazy scene after scene that exceeds most people perception of her just being "eye candy". Misty Mundae is cute girl, but she sure can hold a performance.
The whole ends with a sweet, happy ending...in a horrifying way but actually turns out pretty nice between Ida and Misty. I loved this piece and can't wait for McKee's "The Woods". I just read an interview with him and he says that 'The Woods" may by in a release date hold but I'm still doing another project. It's like nothing will stop him and he always looks forward to doing anything just to keep moving. "Sick Girl" feels like a short with momentum that showcases McKee's future and me looking forward to the next thing he does!
This is Aliye Nyoka saying "I'll See You on the Flip Side!"

Surprisingly a Great Movie! A Good Example of Friendship...Word!

I was so surprised at how good this was, how it took a single concept and give it so much depth and characters that we can care about. Its an epic movie with a small scope between dialogue and character development. Its not minimalists, but very humanistic at its approach. The story is about a hitman that is doing an assignment on his birthday. Its funny, because Pierce Brosnan nearly steals the whole show. Actually he does. Rather than playing a suave British man, the movie gives Brosnan to explore his Irish and get all loose. He is backward Irish hitman with contempt to screw anything that moves. His taste is mainly young girls, and he is also a drinker. Its some rare moment that we actually fall in love with him as the movie unfolds and start rooting for him. Then comes the traveling salesman that comes to Mexico city to where Jules(Brosnan character) is doing his assignment on his birthday played by the hit-and-miss Greg Kinear. He plays Danny the straight laced guy that for no apparent reason just happens to talk to Jules and they start a friendly conversation that ends with more drinking and funny one-liners. The conversation goes well until Jules breaks the ice, masterfully overlapped dialogue by Pierce that leads Danny to leave. Jules feels sorry for him and starts to make it up to him, because somehow he is lonely hitman on his birthday. The movie goes to a day where Jules gets really buddy buddy with him and asked if he can help him with a job. The right there breaks the ice between them two...But not exactly because after messing up an assignment he comes to Danny's house with his wife(played by Hope Davis) on Christmas Eve for a hide out. Watch all the wackiness ensue. It doesn't take cheap physical comedy, but with good dialogue and a sensible story that makes Jules more redeeming.
The movie doesn't go into the tired cliche of the hitman teaching the straight lace guy everything about life and what's wrong with his. Instead it involves a friendship and the reverse of that cliche about the hit man learning from the straight lace guy. It doesn't go into sentimentality, well for a little bit but relaxes itself into funny one-liners. The way I'm describing it makes it sound like a sweet movie, but its not. It felt like an after-school special on friendship, but didn't get to preachy. In a way it is a sweet movie, but in a whole different way. Originally this films was slated for an NC-17 for sex(which there is a lot of) and a little bit of violence. It was cut down to R, but didn't change the feel of the whole movie. It skates on thin ice with vulgarity, but has a high morale for it.
Examining the whole hitman being the purveyor of everything that is right for the straight lace guy. It first goes into it with Jules telling Danny what he does for a living at bullfight and showing him by using a fake target and how to actually assemble a kill. The rush goes on and cuts back to a bull fight and looks like something out of a Budd Boetticher film, and executed well done that leaves a smile on your face. Then the movie goes where Jules actually envies what Danny has and respects the fact that he is good guy. Hope Davis does a wonderful job playing Bean, Danny's wife also supplied with good one-liners. The whole movie isn't conveyed in one-liners but really memorable dialogue that will have you laughing and reminiscing about it through out the night. Richard Shepard did an awesome job and I would be looking forward into his career. He's done some other stuff that I'll be taking a peek, but this might showcase his true talents. This is Aliye Nyoka saying "Peace Out"

Aliye's Top Ten of 2005

Ahhhhh! Its finally here, like anyone cares. Since you read all my colleague's opinion on the best films of last year. Now let's hear mine, it's gonna suck! In no particular order, except for # 1, that's my favorite of the year.
1. Turtles Can Fly-Dir.Bhaman Ghobadi
I don't know man, but this stuck with me for awhile. Rarely seen Kurdish cinema that doesn't infuse American politics in the mix, but shows out it is. Although filmed in 2004 and released in very limited release in 2005, its now out on DVD and is worth it. If you like this check out the other director's "Time of Drunken Horses".
2. Mysterious Skin-Dir.Greg Arraki
It was the year for gay cinema as "Brokeback Mountain" pushed it to be mainstream. As I liked that film, but found it to be "Hollywood", I think "Mysterious Skin" was better. It was truly a movie that will stick with after you've watch it. Arraki is usually regulated as "guilty pleasure"...to just plain awful, but his style is really cool. As he handles dark subjects, this is by far his darkest. He doesn't go into the void of melo-drama or sentimentality. He is the New Wave Pasolini! His best film to date.
3.Serenity-Joss Whedon
Others will consider it as sci-fi fluff or just overrated, but I found it to be underrated and always admired Joss Whedon's writing. The movie is like John Ford and David Mamet(without the cussing) in space. The movie isn't spent on technological advancements but resolved in good dialogue and an unfolding story. The movie is fair on the look, but if you close your eyes and listen to the dialogue its like poetry. Plus, Chiwetel Ejiofor(The "Nigerian Homie" from "Dirty Pretty Things") is in it and plays one suave bad guy.
4. Hustle & Flow-Dir. Craig Brewer
Word...What can I say? Terrence Howard does it again, another movie to showcase his talents and co-star Ludacris. WOW, and the music is off the hook. While the character is hard to relate to, you'll still find yourself following him and understanding his pain...through some dope ass music. It doesn't goe into the trappings of urban films or doesn't kid itself of being an art film. All in all its just a great film with a purpose and a great performance!
5. Palindromes-Todd Solondz
As absurd and twisted the film may be, it was a guilty pleasure and really funny. I pushed people to watch it for I talk to them about it and it sparks some amazing conversations. I enjoyed Solondz last film, "Story-Telling" but this just knocked it out of the ball park.
6.Me, You and Everyone We Know-Dir.Miranda July
For a Portland filmmaker, this movie didn't suck. I loved it and think Miranda July is a really cute girl. WOW...That's my review of the movie. It was a really enjoyable film!
7.Where the Truth Lies-Atom Egoyan
Man this was a true guilty pleasure. It's never a guilty pleasure to admire Atom Egoyan, but this movie was so entertaining. It was like a Brian De Palma film, but out did him in some way!
8.Thumbsucker-Dir. Mike Mills
Another film based in Oregon, that actually didn't suck and will make me look forward to Mike Mills career. There wasn't anything impressive, but it wasn't forgettable. I could really relate to the kid because I was on those medications during high school(for a damn good reason). The soundtrack is amazing and almost steals the movie!
9.OldBoy-Dir.Chan-Wook Park
Nominated for the Cannes Jury prize of 2004, but got a slow release date till 2005. Its a great movie. I saw it twice and took my mom the second time. I love Korean cinema and this is at the fore front of the Korean New Wave. If you get the twist and watch it again, its still enjoyable again and again. I believe so!
10.Crash-Dir.Paul Haggis
Its so typical of me to have this on my top ten list, but it actually got to me. It was like Spike Lee directing a Robert Altman film. I think I'm the only that has to say it but here it goes...LUDACRIS NEEDS AN OSCAR!

Well that's my list of 2005, its here PLAYA! As for this year, 2006 seem to be promising and I can't wait.

ATTENTION TO ALL YOU SUCKAS!

It's been a huge delay during the Christmas break, but I doubt I have people that actually follow this site. If so, for thos 2 people I apologize and now I'm back with a vengeace and will posting daily and I will have my Top 10 List of 2005 tomorrow. Hell, I'll probably review "Bloodrayne". I promised writings from other colleauges besides me and I'll give you that. After all, IT'S A CELEBRATION BITCHES!

Nick Bruno's Top Ten List 2005

Nick Bruno is another cineaste I met on my journeys and he works at Video Verite in North Portland. I met him while working at Video-Rama and recommended him and hired him, and we been talking about films ever since every chance we get while we go to old revival houses. He is a really cool and very open minded and let me borrow his Krzysztof Kieslowski's "The Decalogue" on DVD...There was really no point saying that, but he knows his stuff. Here's his top 10 of 2005 in on particular order(except for #1 thats his favorite of the year), along with his own commentary.
1. Grizzly Man-Dir. Werner Herzog
Herzog seem to think it was depiction of Man vs. Nature and chaos inherent of nature, but it seem to me to be a completely realistic portrayal of mental illness and disputant. Surrounding and being rejected from society. Really funny at times and incredibly frightening and haunting at other times.
2. Me and You and Everyone we Know-Dir. Miranda July
I didn't find it at least bit pretentious and a really interesting way surrounding its subject matter around dialogue and not plot points.
3.Oldboy-Dir.Chan-Wook Park
Pure kinetic energy, just forward momentum and an awesome twist at the end.
4.Broken Flowers-Dir. Jim Jarmusch
For me a return to form from Jarmusch. He had some shaky ground with "Coffee and Cigarettes", took him a long time from "Ghost Dog". But came back strong with "Broken Flowers", feels like a Jim Jarmusch film and Bill Murray is great in it.
5.Wild Parrots at Telegraph Hill-Dir. Judy Irving
Really interesting story about a man that was homeless staying at a man's guest house and found a kinship with a flock of parrots.
6. Eros-Dir.Wong Kar-Wai/Steven Soderbergh/(but not the Antonioni)
I loved about 2/3's of it were fantastic, the Wong Kar-Wai has to be the most beautiful thing hes ever done. It even exceeded the "2046". The Soderbergh short was really clever and knew it was and flaunted it and really gambled at it's own flashiness.
7.2046-Dir. Wong Kar-Wai
It's just really gorgeous, it doesn't matter if the story doesn't stick together. Every bit of it is just candy for the eyes. It was just about beauty, unrequited love and lost.
8.Palindromes-Dir.Todd Solondz
I gotta say even though it is about child abuse it has to be about the sweetest movie Todd Solondz has ever done. Really senti-mental, also really clever usage of 13-actors playing one character. It really held together more than his last film "Story-Telling".
9.Junebug-Dir.Phil Morrison
Just a sweet simple story of real people that felt really good to see and something that small accomplished such goals by portraying real people.
10.Where the Truth Lies-Dir. Atom Egoyan
I think I'm probably the only person that I met that has defended that movie. I actually loved that movie and love everything that Atom Egoyan does.

Win's List of Films of 2005

Win (short for Winfield) is another cinephile/friend/co-worker that is really cool to talk to about films. He is basically the three C's of life that I never got along with until I met him. The three C's are "Clean-Cut Caucasian Conservatives", I like them but they don't seem to like me...except for Win. I will persuade him to write reviews for this site because he is a good writer and has an extended vocabulary than I do. He doesn't use words like "savage", or "dope-ass", or "sweet", or "DYNO-MITE". That last one was made up. He knows his stuff and loves films and has a collection of 1400(I think higher) DVD's and out-of-print Laserdics. His collection is more than mine and Kyle's(you can see his top ten down below) combined. I"ll promise to get this man's voice heard through my site, because he has voice...or something!

Win's Top Ten of 2005
1. Batman Begins
2. Mysterious Skin
3. The Squid and the Whale
4. In Her Shoes
5. Sisterhood of the Traveling Pants
6. Good Night, and Good Luck.
7. Syriana
8. Thumbsucker
9. This Divided State
10. Bee Season


Win's Bottom Ten (Worst Films of 2005)
1. The Producers
2.Rent
3.Elizabeth Town
4.ChumScrubber
5.House of D.......DEEZ NUTZ!
6.Be Cool
7.November
8.Catarina in the Big City
9.War of the Worlds
10.The Jacket

Kyle's Top 10 of 2005

Well, 2005 has brought many different films, most of which were much crappier than they were amazing, but oh well. Here are the ones that stand out most to me. Now, my top ten list may not be the most exciting or the most original, but deal with it.
1. King Kong
Now, I know that King Kong is a B-movie disguised with a lot of talent and a huge budget, but I loved it. I felt that Peter Jackson nailed every aspect needed with amazing special effects, poignant moments blended with some of the most entertaining action sequences, and a great cast to boot. Within every scene of this movie, so much work and perfection were put forth to make it as beautiful and amazing as possible. Peter Jackson rules and Naomi Watts did an amazing job acting off of a "pretend" character. Hopefully this movie will boost her already decent career.
2. Mysterious Skin
Although this movie slid under the radar, not being recognized at all during the awards season, I feel that this has got to be one of the most unique and well-done films this year. Joseph Gordon-Levitt truly shows his talent as an actor and is supported by an amazing cast. The script and story of this film are very dark and creative and director Gregg Araki makes this whole viewing experience very challenging and engrossing.
3. Walk the Line
The main reason why this film is on my list is not only because it is very well-crafted in every aspect, but it also has some of the most memorable and amazing performances of the year by Joaquin Phoenix and Reese Witherspoon. I was not a big fan of the movie Ray, and I feel that Walk the Line truly captures every element that Ray left out. An all around great film!!!
4. Crash
With this film, I feel that Paul Haggis took a controversial idea and turned it into a somewhat melodramatic soap opera of people's intertwining lives. I feel that Crash has a purpose and it truly impacts in all of the right areas. The musical score and flow of the film are close to perfect, and the ensemble cast involved in this film are simply amazing. Special recognition goes to Matt Dillon and Sandra Bullock for their performances. An overall powerful and movie film.
5. In Her Shoes
This film is simply a piece that focuses on the importance of family and the ways in which people can impact and change your life. At first, I was worried about the idea of Cameron Diaz being in this movie, but director Curtis Hanson knew what he was doing when he cast her. Her performance was very honest and vulnerable. Along with her, Toni Collette and Shirley MaClaine were very perfect as well. This was a very simple story but done to perfection.
6. Sin City
With an amazing visual style, top-notch cast, and cool characters, what's not to love about this film? Overall, this film is a hip masterpiece from beginning to finish. Enough said.
7. Batman Begins
Where is Joel Schumacher? Gone, praise the Lord. This movie stands alone from all of the other Batman films by being dark and realistic while containing a great story and script and very notable performances from the entire cast. Christopher Nolan truly knows how to create atmosphere and does so perfectly in this film. If you did not enjoy this film for what it is, then you suck.
8. Brokeback Mountain
With this film, Ang Lee crafted a subtle, yet powerful and moving film that is exploding with emotion and grace. Every actor in this film is amazing, most notable Heath Ledger and Michelle Williams. There is so much honesty and truthfulness within every camera shot of this film, that it is practically impossible not to get sucked in to this world. Great film!!!
9. History of Violence
A cool story, great cast, and David Cronenberg's uniqueness make this film close to perfect. Not much more to say about it other than that it grabbed hold of the viewer and did not let go until the very last frame. Awesome movie! I love Maria Bello!!!
10. Memoirs of a Geisha
The reason that this film is on my top ten list is not because of the story which is not perfect by any means, but due to beautiful direction by Rob Marshall who manages to capture every color and every mood, and also due to stellar performances from a diverse cast of people. Not perfect, but very enjoyable and exremely elegant.

Top Ten of 2005 by Aliye's Abercrombie and Fitch Sidekick, KYLE