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Noir, as a genre, tends toward fatalism and bleakness, and probably the bleakest and most fatalistic of all film noirs is Edgar G. I've written a lot about the decline of the "Father" in genre film--from tough WW2 vet to tough but loving 70s hedonist to needy, emasculated single dad of the 21st century, but nothing could have prepared me for the delightful KNOWING (2009) wherein Nicolas Cage plays perhaps the most unbearably clingy single father since, well, Greg Kinnear in the equally awful and contrived GODSEND (2004).
Can a filmmaker spend most of his or her artistic life recycling other peoplea€™s ideas and still be a true auteur?Sure. That's a line from "Hell's around the Corner," from Tricky's 1995 debut, MAXINQUAYE, one of the "key" albums of the then-emerging genre of trip hop. The recent Criterion release of MAGNIFICENT OBSESSION (1954) makes a good--not great, but still worthy--addition to our hotter younger sister collection. What with all the year-end lists wea€™ve been seeing lately, Ia€™ve been surprised at some of the omissions. If youa€™ve seen Quentin Tarantinoa€™s Death Proof (2007) a€“ either as part of the Grindhouse double bill or as a stand-alone feature a€“ and youa€™ve also seen Russ Meyera€™s grrrl power fantasy, Faster, Pussycat!
When FOF Staness Jonekos was 47 years old, she got engaged for the first time to the love of her life. At the Faboverfifty Beauty Bash, this October in NYC, Staness shared her top-10 menopause makeover strategies, live on the main stage. Good article, I have a blog too, I was thinking – Is there anything we could do to stop people plagarising your articles? Blog Topics{FOF Woman of The Week} (1) Aging Well (3) Aging Well (68) Allergies (3) Bladder (9) Brain (2) Cancer (9) Digestion (5) Environmental Toxins (14) Exercise (8) Eye Health (12) Flu (2) Food (21) Giveaway (15) Hearing (4) Heart Disease (11) Hormones (4) Menopause (34) Mental Health (1) Sex & Relationships (21) Skin (30) Sleep (8) Test This! After loosing weight with lap-band, I have lots of excess fat hanging from under arms, thighs and stomach. Buried in the mid-1990s time capsule here in the states (currently "played out" and awaiting retro chick excavation in 2011), it's heard on the TRANSPORTER 3 soundtrack in the love scene between Jason Statham and his package du jour, Natalya Rudikova. This 1954 Douglas Sirk soap was a big, big hit and it put Hudson on the map as a bona fide star; he's much prettier than his co-star Jane Wyman, who looks rather puffy and unstreamlined but is in fine form, acting-wise. Well, not all that surprised, since lists like these almost always neglect films released during the first three-quarters of the year in favor of movies released at the yeara€™s tail-end (Sweeney Todd, There Will Be Blood, Atonement), films that in many cases the moviegoing public hasna€™t even had the opportunity to see yet. Watch the video, here, or check out Staness’s cheat sheet for starting your own menopause makeover. If you have a lot of content on the net like you do, occasioinally you see it appearing elsewhere on the web. Among the most memorable aspects of this uncompromising low-budget masterpiece is the performance of its female lead, Ann Savage (pictured above with co-lead, Tom Neal).
Any idea, theme, style, or attitude if repeated frequently or obsessively enough can constitute an artistic signature a€“ something that immediately identifies a particular movie as un film de [insert name here]. An early sci-fi version of this plotline is Edgar Rice Burroughsa€™ A Princess of Mars (1917)in which Civil War veteran, John Carter, is mysteriously transported to the planet Mars, where he gains abilities beyond those of mortal earthmen (thanks to Marsa€™ lesser gravity) and - naturally - ends up marrying the local Princess.The concept of an "avatar," as such, is familiar to almost anyone who has joined Facebook or played a videogame. While I cana€™t really argue with all the love showered on the cast of No Country for Old Men, Cate Blanchett in Ia€™m Not There, and other favorites, here are a couple of supporting performances that have been unjustly overlooked.Kurt Russell as "Stuntman Mike" in Death Proof - Death Proof, the Quentin Tarantino-directed half of Grindhouse, reminded me more than anything else of Howard Hawksa€™ Hatari, a film which consists mainly of characters sitting around gabbing, interspersed with occasional sequences of vehicular action. When we’re young, the cells of our skin rejuvenate every 28 days, but as we age, it slows down, leaving little fine lines and uneven skin texture. In stark contrast to the male fantasies of glamourous evil embodied by Ava Gardner in Robert Siodmaka€™s The Killers or Jane Greer in Jacques Tourneura€™s Out of the Past, Ann Savagea€™s young Vera is a completely credible femme fatale, whose bitterness and utter lack of scruples arise from a lifetime of poverty and hard luck.
In cinema we can see the key linchpin of this change in the figure of Richard Dreyfuss in Spielberg's CLOSE ENCOUNTERS OF THE THIRD KIND (1977), practically shoving kids out of the way in order to be first in line for the saucer ride and culminating in the over-protective hysterics of Nicolas Cage in KNOWING. I heard of a guy who was fired just because a girl got too into sitting on his lap, or something. It is so much a part of popular culture that it was used - with a minimum of explanation or fuss - by Terry Gilliam in The Imaginarium of Dr. If that’s not enough, consider standardized black cohosh (work with your doctor to make sure you get the right kind) and acupuncture, which has just been proven to help women with hot flashes. We all want something natural, and “bio-identical” sounds nice, but the most important thing is finding the product the works for you. You’ve been taking care of your husband and kids for a long time—now’s the time to say “who am I? Feel gratitude that you’re healthy, because if you are healthy now, your odds of reaching your 80s are 75%.  That’s a lot to be grateful for.
Reflecting the filma€™s grim attitude, she is dying of tuberculosis even before we meet her, hitchhiking on the road to nowhere.Long absent from the screen (she had no major film roles apart from Detour), Ann Savage is performing once again as the mother of Canadian filmmaker Guy Maddin - or rather, his on-screen alter ego - in Maddina€™s latest experimental feature, Brand Upon the Brain! Playing one of the most unbelievable MIT professors in cinema history, Cage is so out of it his science classes consist of elementary film school plot exposition like "Sharon, what can you tell me about the sun?" Still grieving the loss of his wife some years before, he drinks like a fish and won't let his son have any friends because he's the only friend his son needs even as he ignores him or misunderstands him continually.
His approach to film production - the enormous amounts of time and money he spends to realize his projects - is legendary.But does Cameron have a consistent personal theme? Parnassus (a film released at almost the same time as Avatar) to explain why whenever Heath Ledger steps into Dr. I mention Bosch and brilliantly allude to THE TIN DRUM because what this Soviet horrorshow is all about is the kind of "Scream" moment which Francis Ford Coppola was getting at with his script for PATTON and then couldn't quite "nail" by the end of APOCALYPSE NOW. The principle exception is Kurt Russella€™s Stuntman Mike, who also happens to be the villain of the piece.
This is particularly true of Death Proofa€™s triumphant final reel, in the course of which ZoA« Bell, Rosario Dawson, et al. Eating a combination of low-to-medium glycemic carbs with lean proteins makes all the difference. For women who have it really bad, there’s a new product called Vagifem, an estradiol tablet.

Able through an elaborate and rather labored series of plot devices to predict future disasters, Cage runs hither and yon, yelling at SWAT teams like they're incompetent student aids, and chasing possible terrorists around on subway platforms. Avatar confirms that he does, and that theme is a€“THE ARTIFICIAL BODYIn Avatar, the wheel-chair bound hero (Sam Worthington) has his mind "jacked into" the artificial body of a 10-foot tall extraterrestrial created for him in a laboratory tank.
There are lots of other things to love in TRANSPORTER 3 as well, including a daffy kidnapping plot involving toxic waste dumping rights and explosive SPEED-style trick handcuffs.
Basically it's pre-code era frankness in post-war late 1940s Berlin as a combination LAST SEDUCTION meets BABY FACE uberfemme negotiates her way from despair as a widow of a German soldier to mad riches!
If you’re not a candidate for hormone therapy, you may be helped by the right anti-depressants. Savage: "I thought maybe the universe would rip in half if those two forces came together."Dona€™t expect to see Brand Upon the Brain! This is a guy who probably cries and freaks out over every single death he sees on the news.
If one artificial body werena€™t enough, the filma€™s villain (Stephen Lang) gets an artificial body of his own, a giant mechanical exoskeleton a€“ just like the giant exoskeletons in Camerona€™s first big-budget film, Aliens.As for the personal aspect of the artificial body motif, Cameron himself has suggested on more than one occasion that his dreams "of horrific and fantastic phantasmagorical things, giant waves, levitation" are a direct response to his having been a teenage geek bullied by high school jocks. And also some genuine romantic contact (as in "connection") between Rudikova and lead action star Jason Statham.Statham may have become the self-made laddish Bond of modern action cinema. Brechtian sociopolitical satire turns out to blend brilliantly with Almodovar-esque steaminess. You can imagine him calling up Haiti and demanding something be done about the earthquake, the guy who has to butt into every accident he passes on the highway in case me misses a chance to cradle a dying child's head in his lap and scream "Noooo!" in pitch-shifted slow motion. He carries it like a champ and one wonders if Daniel Craig didn't glean just a little of his Bond's cobra-stillness and wounded dove intensity from Jason. I don't think it's ever been more poetically done.Coppola's problem is that you probably have to be invaded to convey this vivid a sense of mind-warping trauma, at least if you want to snap a complacent viewing audience out of the stupor and give them a whiff of true prolonged terror. Rush's hotness doesn't quite reach out and grab you (that would be Shane's dept.) but it's there when you need it and makes one think well of Jane Wyman as a star.
However, beyond his easy charm, what makes Stuntman Mike interesting is his vulnerability, his chagrin when none of the women he talks to have heard of any of the television series he appeared in, his howls of pain when his would-be victims turn into aggressors.T. March wrote the songa€™s English lyrics.Hence, the appropriateness of recombining Gainsbourga€™s & Marcha€™s song with Meyera€™s original Faster, Pussycat! It sends a good message to women too, as if Braun's father might have been the same German intellectual who advises Barbara Stanwyck, "Use men!" A+2. It is a completely silent film, meant to be shown with live orchestral accompaniment and sound effects, and with a live narrator who may be Isabella Rossellini, Joan Chen, Laurie Anderson, Eli Wallach or Lou Reed, depending on where and when you see it.
His constant underplaying--which I originally found a burden in films like GHOSTS OF MARS--has become charming, even intoxicating, with age. As Americans, we can understand that Germans pillaged and burned 628 Belarusse villages to the ground, slaughtered millions of Russian men, women and children, and did far worse to any remotely attractive young woman who caught their eye, but we can't really grasp it in "real" time without a movie like this to guide us, showing the invading Germans in gigantic chaotic crowd scenes, herding and torching and bullying as they travel from town to town like a drunken band of marauding circus folk. Maddina€™s hybrid road show presentation will be staged in several major cities, including San Francisco, New York, and Los Angeles. Carpio as "Prudence" in Across the Universe - I liked Julie Taymora€™s Across the Universe right from the start, the female lead dancing to the Beatlesa€™ "Hold Me Tight" at a pastel-colored American high school hop, intercut with the male lead dancing to the same song in a dark Cavern-like club in Liverpool. Ullll)Sexy German youth never looked better than in late 1960s swinger outfits with machine guns in hand.
I've seen and heard about this effect from my new father friends, and frankly it sounds terrifying.
However, the moment when the film really took off for me was when we were introduced for the first time to Prudence the gay Asian cheerleader, sitting in the bleachers singing "I Want to Hold Your Hand," while gazing longingly at one of her fellow cheerleaders practicing below. This is boldly ambiguous in its side; the terrorists aren't painted in any particular brush, and the result is the same kind of thrill ride of awakening, transgression, guilt, death, and all the time! Call it a draw.Tornado costume only part of class thata€™s a "blow-off"Electromagnetic wave not safe for sporting eventsNotes?
Most fathers  manage to sidestep the suffocation tactics employed by parents in movies these days, so please remember I'm not attacking real parents here (each one different as a snowflake!) I'm attacking the parents of our alternate cinematic reality, our warped mirror double. The artificial body theme appears in the form of the giant exoskeletons operated by Sigourney Weaver and others. All I "know" is if the dad played by Nicolas Cage in KNOWING showed up in the 1960s, the Jaycees would have beaten the crap out of him. The Last Days of World War Two (documentary series, History Channel)Also on Netflix intant streamin', the scars of Okinawa are slow to heal, meanwhile Russian troops inflict incredible punishment on the beleagured city of Berlin. Get your French insults right.Need not understand "pedagogic" to appreciate smack talkGoofy laugh? Closely connected is the intensely protective relationship between Weavera€™s strong maternal character and a little girl who becomes a kind of daughter substitute for her. I mentioned Tricky above because it's indicative of the difference between European and American musical mentality.
I love this war because it's the last one wherein we had a clear, unshakably firm purpose as human beings, to defeat Nazism. They tend to damn it all to hell, drinking, cursing out the FBI agent in their living room, and ultimately taking matters into their own hands.
When you think Russia + Von Sternberg you think SCARLET EMPRESS, but what about this unjustly maligned 1957 Howard Hughes produced sexcapade?  The film has its flaws, but Wayne as the gruff Yank and Janet Leigh as the hot, defecting Soviet pilot give it a good go, cramming as much lust into their censor-restricted gazes as the law will allow.
The horror of the concentration camps is beyond even the Russians' parameters of acceptable inhumanity. Of course Arnolds can always go psycho when losing a toddler, as in Extreme Measures, but unlike the standard Revenge flick, the typical "privileged grief" entry focuses more on martyring the suffering than celebrating the vengeance.

The characters in Strange Days get their kicks by using an electronic device called a SQUID to plug their consciousnesses into the bodies and sensual experiences of others.Even Titanic (1997) presents a variation on the artificial body theme. For us, any music we once loved becomes something we're "Sick of" - we overdo it and it has to lie buried until it's exhumed as nostalgia, until it makes us recall the memories we associate with the few months we listened to it all the time.
When Bush calls Iran part of the Axis of Evil he's showing he doesn't know what he's talking about. And no, the FBI agent can't, and subsequently we in the theater are also put in the inferior position of "not knowing what it's like" (unless of course we've lost kids of our own). Trains, planes, and automobiles - any shell that transports us from one place to another is a kind of artificial body.
And the attempt of a pair of lovers from opposite sides to escape their respective ideologies and just get it on, alone, for a few hours, illuminates the disparate polarities' lack of ultimate difference: when her family cockblocks, it's because of proletarian group living conditions, when his family cockblocks, it's because of a temporary housing shortage.
Thus we have to let the privileged grieving parent rant and rave, unable to judge or stop or comfort them due to the fact that we are shut out of their private temple of grief, unable to "know" their pain.
The nature of defection--on both sides--was a cause for much filming and consternation in the early Cold War. The German (and Japanese) disregard for human life, their ability to switch off compassion at will, is not unique, of course, but damn do they look good doing it (See Baader Meinhof Complex).
As with Gibson's Passion of the Christ (2003) we must kneel and watch in reverent awe as they squirm under the lash of loss.
We could understand what lured commies to the states (shopping!) but what could motivate U.S.
Acidemic 04)And now, here comes Mel Gibson with yet another "You can't know what it's like to lose a child" film, EDGE OF DARKNESS! Yet in keeping with the mythic grandeur of this artificial body, the ship has an Achillesa€™ heel a€“ it is vulnerable to icebergs. The nutty optimism of Europe is enthralling for us left too long in WATCHMEN swamps of national self-loathing.
Want to bet he drinks a lot and watches videotapes of his child (or dead wife) playing and smiling at the camera, over and over again? The sinking of the Titanic dramatizes another recurring Cameron motif a€“ the feelings of anxiety clustered around the destruction of the artificial body. We look up from our concrete cell floors in awe as Rudikova busts moves on our Jason, bullying him into even performing a strip tease. We also get this in connection with the destruction of the cyborgs played by Schwarzenegger and Robert Patrick in the Terminator films. But Luc does the switch and instead we get an actual love affair as she zeroes in on his inability to open up and he's so damn cool he even melts a bit just for her, because he knows a true warrior isn't afraid of anything, even turning weak in the arms of a woman. In lesser hands it might not work, but where MAX PAYNE feared to tread (he threw Olga Kurlyenko right out of bed), Statham gets right up close and human-personal in a way that makes me think, of all people, Kris Kristofferson!
In the Terminator series, technology itself is the enemy and will lead to the destruction of all mankind if not stopped. The goofball stunts in TRANSPORTER 3 conjure 1970s Burt Reynolds movies and Jackie Chan acrobatics alike in an even better way than the American Xtreme sports of Vin Diesel and Tyrese. Avatar tells us that simple nature-loving tribal people are good, while a technologically advanced imperial culture is fundamentally evil. There's not many guns with Burt Reynolds either, it's all good-natured saloon fights, with everyone buying each other drinks later and swapping wives. Yet the director telling us this is one of the most technology-obsessed people making films today.
She thinks he's defecting mainly to get away from her, and myopic as she is, that's probably partially true, as that kind of clingy insecurity is always a self-fulfilling prophecy. If you want your romance to last longer than a few happy picnics, you're much better off with Sirk peeping elsewhere; freak accidents follow his camera like the the furies of Aeschylus! One has the feeling that if in real life Cameron was caught between two warring cultures, he would join with whatever side had the coolest gadgets.Of course, just because a director has a consistent style, themes, or attitude doesna€™t necessarily mean that he or she is good. But his real mission is to steal anti-missile formula from an old man at an East Berlin school blackboard, and Andrews is just in the way.Andrews finally snaps out of it and helps her man do his dirty work by flirting with his distracted Soviet handler, allowing Newman access to the professor and his secrets (in other words, Russia is easily seduced, starved for glitter and empty promise). One can read into this that Russians are fools and women are tramps, but Hitchcock is not placing any more value on womanly seduction than he is on schoolyard math contests, aside from their worth as MacGuffins.
In the famous murder of Gromek scene, it is the peasant woman (Carolyn Conwell) who is the most pragmatic, dragging Gromek's head into the oven, i.e. But when Otto Kruger tells us in his aerodynamically honeyed tones, we listen, hypnotized, like Mike Mazurki (pictured) in MURDER MY SWEET.
It's a damned hard role to put off, without seeming Ned Flandersish, but Kruger does a hella good job. Maybe, like so many happy singles, he's got plans to die old and alone chained to a tenement radiator, but maybe, just maybe he's even one step ahead of Rush and has a lover of his own, so far to the side that even Sirk's clever camera can't sniff out a whiff of subtext in his angelic aura. Real holocaust and slaughter will never end as long as people believe images and language more than the tactile real of other people--living, breathing soul-organisms--right in front of them. In this sense then, the defector from the US can be read as someone who rejects capitalism's seduction, who wants to live in a world free of TV commercials. Thus when our wandering boy in COME AND SEE finally shoots his rifle, it's at a picture of Hitler.

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