Reviews written by registered user
|67 reviews in total|
If you like dance movies, this is for you.
It's comparable to the best true-story dance movies like 'Mao's Last Dancer', 'Dancing Across Borders', and so on. If you liked those movies, you will love this.
It's well cast, well acted, well danced, and very interesting and dramatic.
I loved it!
Highly recommended for dance-movie fans.
The lead character is especially well cast, and he dances marvelously, with passion and beauty and skill, while also being an excellent actor.
To quote another reviewer, this film is a charming must-see.
* Unique indie film
* Cross-racial and inter-cultural romance
* Romance after all seems lost
* Top-rated stars (Roshan Seth and Carol Kane) at the top of their form
* Funny, charming, sad, bittersweet, meaningful, tongue-in-cheek all at once
What's not to like?
If you love hidden gems, then definitely watch this!
I guarantee you will not be disappointed. This is an intelligent, witty, heartfelt film that is unlike any other I've ever come across.
The Spanish Gardener is a quiet, beautifully emotional film. Dirk
Bogarde shines as a loving and convincingly Spanish gardener and
athlete in small-town Spain, where stuffed shirt Harrington Brande
(veteran British actor Michael Hordern) has been stationed as a
small-time diplomat. Brande's son Nicholas (young Jon Whiteley) is kept
out of school, out of the sun, and out of other children's company,
ever since his mother left the family. The possessive, stuffy single
father becomes repressive and protective of his only child when
Nicholas shows interest in the outdoors life of the gentle, loving
With a sub-plot somewhat similar to 'Captains Courageous' regarding the education of fathers, and excellent performances all around, this is a fine film for fans of classic films.
This BBC movie is fabulous.
It's a true story, based on the book of the same title.
Tom Hardy is Stuart Shorter, a gifted but troubled homeless man.
Benedict Cumberbatch is author Alexander Masters, who accidentally befriends him and finds him delightful company.
This is a must-see for fans of either of those actors.
Unexpected, real, quirky, funny, touching, and weird or occasionally disturbing, but not excessively so.
It's very well acted, and a moving film.
The film unfolds in a fascinating way, and is easy to follow and understand, while at the same time being very moving.
Definitely worth seeking out and viewing!
This classic from the classic 1961 children's novel by Roald Dahl
(Charlie and the Chocolate Factory) was created and directed by Henry
Selick (The Nightmare Before Christmas) in 1995, five years after
Dahl's death. Dahl had refused numerous film proposals for the book,
but his widow approved this one. Selick's plan was to make either the
insect companions or the entire film stop-motion animation, but due to
budgetary concerns, the film is approximately 1/3 live action
time-wise, and completely stop-motion animation during the peach
journey adventure, which works just fine.
Newcomer Paul Terry does a fine job as James, both in the live acting and the voice-work. However Joanna Lumley should definitely be indicted for and convicted of scene theft, if not film theft, as one of James's two vicious aunts.
The stop-motion insects are voiced by Simon Callow, Richard Dreyfuss, Jane Leeves, David Thewlis, and (my favorite) Susan Sarandon as a mysterious Spider. In the live-action part, Pete Postlethwaithe has an important role.
I have not read the original much-loved and much-revered (especially in the UK) novel, so I cannot comment on the film's faithfulness. However, as an adult I found the film cute, interesting, enjoyable, and entertaining -- and at 79 minutes it never palls. It's a film that can and will be enjoyed by viewers of all ages, so it's excellent for multiple generations and thus, for instance, holiday and other family gatherings.
Wow, flamenco is not what you thought it was! Watch this emotionally
raw and fascinating documentary and even if you know little or nothing
about flamenco, you will emerge an aficionado, if not an addict.
If you are looking for castanets, polka dots, and ruffles, and Hollywood-style dance moves, look elsewhere. You will not find a single castanet in 'Kumpanía: Flamenco Los Angeles', and if you see ruffles or polka dots they are quite the rare exception. What the extraordinarily talented and dedicated performers (singers, guitarists, and dancers) in this film are practicing and carefully upholding is 'flamenco puro' -- the style of flamenco that most closely reflects its origins among the oppressed Gypsies in southern Spain in the 1700s. Flamenco at its core is an expression of deepest emotional truth -- whether that is pain, isolation, loss, or celebration, or all of those. Done well and authentically (rare in the U.S.), it's absolutely mesmerizing.
The filmmakers do a wonderful job of storytelling here, moving from 18th-century Spain to modern Los Angeles, modern Madrid and Saville, and even Japan -- deftly intertwining stories and performances; opinions and emotions and history and deep life changes; singing and dance and guitar. There's just the right mix of live performance footage, heartfelt interviews, and informative historical information. For instance one of the main singers of the film, the great Antonio de Jerez, insists that unlike flamenco dancers and guitarists, a flamenco singer must be born in Spain, because the precise soulful accent required cannot be learned.
All in all, this is a great arts and performance documentary. While in fact flamenco is an inextricable combination of singing, guitar, and dance, I have to comment that this is one of the very best dance documentaries I have ever seen, capturing the soul and spirit not only of dance and dancers, but in this case the musicians involved as well. Very well and artistically and informatively done. I've watched the film four times -- it is that enthralling!
Performances (singing, dance, guitar): all intricate, all heartfelt, all exceptional, all deliciously absorbing and often goosebump-inducing. While these dozen or so performers currently based in Los Angeles may not be familiar to a wide U.S. audience -- with the possible exception of the sexy Timo Nunez who has been a guest performer on "So You Think You Can Dance" and in other television and film -- by the end of 'Kumpanía' you will feel like you know them intimately. That is certainly the mark of a very well done documentary.
By the way, the film is viewable on Hulu, Amazon Instant, Amazon Prime Instant, YouTube, and Rhovit.
Jake Shimabukuro is not a "ukulele player" -- he's a world-renowned
musical virtuoso who blows away anyone who hears his music. He is in
the same pantheon as Jimi Hendrix, Eric Clapton, Bela Fleck, and even
great classical musicians such as Yo-Yo Ma and Hilary Hahn. Jake, more
than any musician I know of, transcends his instrument and creates pure
music, touching the souls of his listeners.
A well-kept (though award-winning) Hawaiian and Japanese secret until 2006, Jake burst upon the world stage when someone posted the now-famous video of him playing "While My Guitar Gently Weeps" on YouTube. The video instantly went viral, and Jake became a international star, receiving concert requests from around the world, and playing with and opening for such stars as Jimmy Buffett, Bela Fleck, Ziggy Marley, and Bette Midler, and being produced by Alan Parsons.
All while retaining his youthful humility and disarming openness and lack of pretense. This movie is a lovely look into his life, both for Jake fans, and for those who have never heard of him. The film is by turns fascinating, jaw-dropping, inspiring, funny, touching, and moving. It's a well-rounded and expertly done piece of cinema by a very experienced Japanese-American documentarian, who strives to bring the human touch to his work. The film should appeal to anyone, regardless of age, nationality, or musical interest (or lack thereof). Jake's life alone is fascinating, never mind his brilliant music (which we are given glorious exposure to).
Jake has a special connection with Japan, both through his heritage and because his longtime manager is from Japan. Thus, he's an even bigger star in Japan than in the U.S. Hopefully, this wonderful film will open the eyes of further music lovers in the U.S. and elsewhere around the world.
By the way, this hour-long documentary is viewable for free until August 8, 2013 on the PBS site. Go to their Video page, and click the drop-down Progams menu (or access it directly here: http://goo.gl/cDN0T or http://video.pbs.org/video/2365004338).
This 9-hour presentation, hosted by the illustrious Michael Wood,
covers 2500 years of Western art, architecture, and sculpture,
beginning with its indelible foundations in ancient Greece and Rome.
The series took four years to produce, and and it visits 150 locations
in 8 countries. From Greece and Rome, the series continues through the
Middle Ages (the Romanesque and Gothic periods), the Renaissance, the
Baroque, Age of Reason, and Rococo, and then the Impressionists,
Post-Impressionists, and all of Modern Art including Cubism, Dada,
Surrealism, Art Nouveau, Art Deco, etc., and Post-Modernism through the
This series is meant for any and all levels of knowledge from beginner to master, and even the confirmed art student cannot fail to learn a lot. I was most impressed with the earliest episodes -- I was unable to watch them without frequently exclaiming "Incredible!" "Extraordinary!" "Amazing!"
As the series approaches modern times, the choice of what to include and what to exclude becomes much wider, and it's possible that a viewer may disagree about what was excluded, so the latest episodes could possibly seem to some viewers somewhat sketchier or less well thought out. Still, learning opportunities abound, and doors are constantly opened to new levels of understanding and exploration. And the historical information that accompanies the series is flawless.
All in all, this is a magnificent document and a must-see for any art or architecture lover or anyone wanting to become more knowledgeable. It's available on DVD in the consolidated 9-episode U.S. version (rather than the 18-episode UK version of the same length), and also viewable online on Amazon streaming. It's possible to locate it elsewhere online, but the video quality will be very very poor (and after all, you're viewing it for the details of art), so stick to the DVD or Amazon streaming.
Please do check this out if you love art or long to appreciate it. You will not be disappointed.
Sounds interesting on the surface, but within five minutes you realize
this show is scripted. The Hutterites shown are acting, and are reading
lines off a cue card -- very badly and awkwardly at that.
But that's just the tip of the iceberg. Jeff Collins, a schlock reality TV producer, used the National Geographic Channel, which is owned by Rupert Murdoch's criminally convicted News Corp, and got an "in" with a former Hutterite whom a Hutterite colony trusted by flashing the stellar reputation of the unrelated National Geographic MAGAZINE, and thereby contracted the colony for $100,000 to produce a documentary about Hutterites. Once the ink was dry, the tables were quickly turned: Collins scrapped the documentary, switched to the "reality show" format, told the Hutterites they were too boring, and convinced several of the naive young teens to act out various (and increasingly outrageous and preposterous) scripted skits, which they filmed. The excitement of being on-camera and being in the spotlight led many young people to join in (remember, these are isolated people with little social life), and they were sitting ducks.
The level of preposterousness of the staged scripted scenarios was amped up to the point where: events were staged nearby and said to take place hundreds of miles away; fist-fights, heart attacks, and buildings burning down were blatantly fabricated and staged; teens were taken to an isolated spot in Canada and plied with alcohol under the promise of no cameras; a pregnancy scare was fabricated and staged; and on and on. And of course what was told to the young people versus what the snippets were edited to become was drastically different as well.
Well, you say, how did the adult Hutterites who participated get roped in? There are signed statements confirming that producer Jeff Collins threatened them with lawsuits if they did not do as they were told, since they had been paid.
The result is a patently fake, wooden, yet defamatory scripted "reality show" which not only is stupid, boring, and ridiculous, but which also grossly misrepresents the colony and the Hutterites, and has also created great conflict in the Hutterite community and shame for the colony that was filmed.
If you want the full details and facts: http://societymatters.org/hutterites
This 1980 Philip Glass opera is about Gandhi, but not all of Gandhi's
life. Instead, it covers, or rather symbolizes, Gandhi's 20 years in
The singing is good, and Richard Croft as Gandhi is wonderful and evocative.
Beyond that, the opera and production have a ton of problems, though.
Firstly, it is sung entirely in Sanskrit. And we are not given subtitles. Or rather, the Met has chosen to give us subtitles for maybe 5% at most of what is sung.
Secondly, aside from Gandhi, we don't know who anybody is. There are eight principal soloists besides Gandhi, who are onstage a lot and who sing a lot, but except for someone blue who appears to be Krishna, we have no idea who anybody is or why they are there or what they are doing.
Thirdly, nothing really happens. Or rather, over the course of three hours, maybe four or five actual discernible events seem to happen (at least symbolically), but we have no idea really what they are, where we are or what is going on because it's all in very slow motion if at all, and as mentioned, no indications are given and no subtitles explain them.
Fourthly, the production is filled instead with virtually meaningless "skill performers" who do a sort of very slow-motion Cirque de Soleil routine through some parts. This may distract us from the fact that we are watching three hours filled with nothing comprehensible, but it can't for long because even mimes and puppets get boring quickly if you don't know what they represent or why.
Fifth, the opera is way to long. It's three hours long, and doesn't have enough action or even words to fill even 20 minutes. It would have been quite good at 90 minutes (provided subtitles and explanations and identifications were included), but no longer. This is Philip Glass's problem. He needs an editor. The music is endlessly, endlessly repetitive. And most of it is instrumental -- not sung. I have to say the final vocal motif, which is repeated a few times, is good and haunting, but the entire opera needs a very firm hand and a razor to cut out half of it. It's just unnecessary, tiresome, irritating, and frustrating -- a deterrent to something that in a truncated form could have been a brilliant opera..
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