I LOVE this Noko Mashaba dude. Kudos to RamsComics. Go on and subscribe to this YouTube Channel.
I LOVE this Noko Mashaba dude. Kudos to RamsComics. Go on and subscribe to this YouTube Channel.
The place Beyond The Pines.
The film’s first part centers on Luke Glanton (Ryan Gosling), a charismatic biker doing a dangerous wall-of-death stunt act at a travelling fair. He’s a strutting, chain-smoking, much tattooed drifter who is transformed by the discovery that he’s the father of Jason, the six-month-old son of Romina (Eva Mendes), a waitress in a suburban Schenectady cafe. In order to be near his son he gives up his transient life and takes a poorly paid job with a rural car repair shop run by the roughneck Robin (Ben Mendelsohn). He remains in touch with the world of reckless speed, and to supplement his income he agrees to rob local banks using his remarkable skills as a biker and drifts into petty crime. The film catches the romance of speed but doesn’t glamorise crime. Romina has found a new, more dependable partner, and Luke remains violent, wilful and lawless. He’s redeemed in the eyes of the audience, but not in those of society, by the way he tries to assume paternal responsibilities.
Gosling gives a moving, unsentimental performance in what is in effect a reworking of Ferenc Molnár’s play Liliom, now principally known as the basis of Rodgers and Hammerstein’s Carousel. In the film’s second part, the limelight switches from Gosling to Bradley Cooper, an actor with the same compelling gaze as Gosling’s; both seem to be simultaneously interrogating us and examining themselves. He’s Avery Cross, a complementary figure: a college-educated uniformed cop and son of a well respected ex-judge. He too has a small son. Suddenly he becomes a police hero in somewhat dubious circumstances. Riddled with guilt, he’s drawn into a web of corruption and professional intrigue that wraps itself around the local criminal justice system. Three crooked colleagues (one played by the menacing Ray Liotta, American cinema’s prime exponent of bent coppers) bring his life into collision with those of the working-class Romina and Jason on the other side of the tracks.
Driven by a confused combination of ambition, honesty and guilt, Avery decides to shop the conspirators who seek to draw him into the shady underworld where law enforcers and outlaws mingle. This is Sidney Lumet’s stamping ground (though less intense), and the movie immediately brings to mind Lumet’s Serpico and Prince of the City. It’s an ironic tale that closely parallels the first one about the biker in its moral ambiguity.
For the third part of the triptych, Cianfrance leaps forward 15 years. By then, Avery (for reasons we can easily infer) has broken up with his adoring wife, moved into his distinguished father’s modest mansion and is running for the high office of attorney general of New York. At this point the focus shifts to Luke’s son, Jason, and Avery’s son, AJ, their circumstances unknown to each other and both highly disturbed. In a contrived and perfunctory way they suddenly become high-school classmates in their senior year, and the sins of the fathers are visited on them when they’re in trouble with the authorities as consumers and dealers of drugs. This is the least interesting and the least convincing part of the story. But it is obviously significant to Cianfrance and his co-writers in the way it draws together the themes of masculinity, fatherhood, personal responsibility, inheritance and fate that underlie their merging of American family epic and Greek tragedy. Not for nothing are the sons called Jason and AJ (presumably Ajax), and before they meet AJ has been languishing in the nearby New York township of Troy.
The Place Beyond the Pines is an engrossing, extremely well designed and acted film. It’s subtly photographed by the American-born British cinematographer Sean Bobbitt, who did such an immaculate job on Steve McQueen’s Hunger and Shame, and here he gives each of the sections an appropriately distinctive look.
Before you can blink, it seems, the first part of The Pines is over. In fact, Gosling is only onscreen for the first third of the film. For the second act, the focus switches to Avery (Bradley Cooper), a rookie cop, husband to a lonely wife and father to a son he has little interest in. Avery’s sole focus is to leave a legacy, aside from being the good cop. A law school-dropout, Avery wants nothing to do with his father’s legacy, a well-respected former judge, but prefers to climb his way to the top in the police force.
While Avery’s complex character sees what is right and seems to want to do it, his motives are as gray as Luke’s in his attempts to make a name for himself. Though keenly aware of his own faults as a father and at one point openly discussing with a therapist his difficulty to look his son in the face, Avery knows he’s not the father he could be. Soon faced with the tangled mess of corrupt law forces, in which the most appropriately-cast Ray Liotta fits like a glove, Avery makes an ultimate decision that will haunt him.
15 years down the road and the third segment of the film arrives. Avery and Luke’s sons paths cross, taking the last lengthy remainder of this film down this long, windy road. Though it attempts a lot of “clever” twists and turns, the last half hour feels like a Lifetime movie for men.
This story is original and connects all characters through 16 lengthy years, each vignette is like a different film, with different angles, rhythms of dialogue and even different rushes of music. While the first part feels like an east-bound regurgitation of another lost boy with a gift for speed, the second a present-day Good-fellas meets the police force.
Director Cianfrances clear motives in this film are commendable, focused solely on a man’s choices, consequences and legacy. Actually, he has described this effort as a “biblical film”, a movie he’s made to capture the sanctity of the “eternity of every moment.”
Time out – 7 Psychopaths.
Writer’s block can be a pain in the backside – or a bullet to the head. Marty is a boozy Irish writer in Hollywood who complains to his livewire pal Billy (Sam Rockwell) that he needs inspiration to write a script called ‘Seven Psychopaths’. The result is more blood on the carpet than ink on paper.
Billy is partly a psychopath magnet, partly a writer’s dangerous inner voice made real. He and his cravat-sporting older pal Hans (Christopher Walken) are petty thieves who kidnap a shih tzu dog from a Mafia boss (Woody Harrelson) who wants his pup back – and Marty gets dragged into the whole violent affair. Meanwhile, Billy tries to help Marty by putting an ad in the paper for psychos; and they end up with a disturbed ageing killer (Tom Waits) on the doorstep.
Sundry nutters come and go (look out for a cameo from the legendary Harry Dean Stanton) as Marty finds himself at the centre of exactly the sort of bloody, macho melodrama he’d rather not be writing. Head-in-hands becomes Marty’s default position, and Farrell offers a good line in manic despair and passive exasperation.
There’s something a little turn-of-the-century about ‘Seven Psychopaths’, with its comic approach to violence, movie-in-a-movie navel-gazing and ample backstreet LA locations. The films of Quentin Tarantino (‘Pulp Fiction’) and Charlie Kaufman (‘Adaptation’) inevitably come to mind – but McDonagh is less saturated in film and pop culture than Tarantino and less prone than Kaufman to disappear down story wormholes.
What saves ‘Seven Psychopaths’ from being po-faced or tedious is its sharp-as-knives humour, energetic pacing, knack for surprising asides and fun performances from a cast that has a certain wow factor when piled up together. It’s undoubtedly a very male enterprise, and McDonagh acknowledges this, even if he doesn’t explain it: ‘Your women characters are awful,’ is Hans’s reproach to Marty at one point. The nods to bungled creativity and winks at questions of screen violence offer something to chew on. But above all, this is violent, seedy farce, pure and simple, and it’s McDonagh’s zippy script that keeps it ticking over until all the trousers have been dropped at knifepoint and the custard pies been lobbed with malice.
7 Psychopaths Movie Trailer.
I wasn’t aware that this movie hadn’t been released in cinemas yet when I watched it a month or so ago but it can’t be too late to go to it’s opening screening this weekend. Thing is I LOVE this movie. It’s out in cinemas nationwide on 12 April 2013. Run.
Now, personally I dug ‘Kill Bill’ maybe because it’s apparently, allegedly taken from some really great movies. Coincidence, or done intentionally by Quentin Tarantino? Does it really matter? Would it be less of an ill motion picture if it was nipped and tucked?
Cool work by everythingisaremix.info yet again.
Bruce Willis will return to ‘Sin City’.
The Hollywood heavyweight is set to reprise his role as John Hartigan in ‘Sin City: A Dame To Kill For’, the sequel to 2005’s dark thriller.
Director Robert Rodriguez – who will co-helm the film with Frank Miller – confirmed: “Bruce is back, so you’ll be seeing him.”
Meanwhile, the director dropped further hints about ‘Inception’ star Joseph Gordon-Levitt’s new part in the film noir-inspired feature.
Robert said: “It’s a new character. He plays a gambler, a very cocky gambler, who comes in and tries to beat the biggest villain in Sin City at his own game.
“The story’s called ‘The Long, Bad Night’. He beats the wrong guy in a game and bad stuff happens to him.”
This news follows the announcement that ‘Entourage’ actor Jeremy Piven, ‘Killer Joe’ beauty Juno Temple and ‘Goodfellas’ star Ray Liotta have all joined the cast, which already includes Josh Brolin, Christopher Meloni and Dennis Haysbert.
Robert also revealed the gritty drama – set for release in October 2013 – would be tapping into 3D technology in an innovative way.
He explained: “We’re really playing with stuff because that’s a very two-dimensional world and to see that stylisation in 3D, it’ll blow people’s minds. 3D hasn’t been used like this yet.” – Complex.
Man, the first one was REALLY cool. Release date for South Africa pending. COME ON!
Tony Stark has designed a version of the suit that can latch onto him in individual pieces anytime, anywhere. As he starts to realize, it’s basically because he doesn’t want to be out of the suit: He’s seen a lot of things in ‘Avengers’ and has encountered a lot of powerful people, much more powerful than he is. – Marvel Studios’ President of Production Kevin Feige.
‘Iron Man 3’ is scheduled for release in South Africa on the 3rd of May 2013.
Looking forward to it.
Television commercials just get cooler and cooler man…
Like “Liefling” I’d rather not miss this Afrikaans movie. I happen to think they’re SO cute. Ncoa, this video reminds me of “Grease” and it just so happens that I remain a “Grease” fan until this day.
23rd November 2012
Starring: STEVE HOFMEYR, Mrlee Van Der Merwe, Eugene Jensen, Marno Van Der Merwe, Lizelle de Klerk, Sanet Ackerman
Frank (Marno van der Merwe) has an eye for the girls and he believed that Serah is his. But when Serah meets Dawid de Wit (Eugene Jensen), the son of a local farmer, they are immediately attracted to one-another. Frank is not happy about this at all, and the battle for her heart begins.
Major pop star Eddie Elektriek (Steve Hofmeyr), who returns to Pretville for the first time in 25 years, meets up with his old flame Emily and it’s clear that they still have feelings for one-another. But will it last this time?
Grieta Geeverniet (Lizelle de Klerk) is pregnant, and everyone in the town wants to know who the baby’s father is.
Roeda Regyt (Rina Nienaber) is a perfectionist who always insists on things being done properly, which means she’s not very popular with the other townsfolk. She’s also a bit of a hypochondriac and is always suffering from some new ailment.
Candy storeowner Lollie le Roux (Lizz Meiring) is mad about all the young men in the town and she flirts all the time. But will she ever find true love?
There’s always something going on in Pretville. If the townsfolk aren’t rocking and rolling on a Saturday night, then they’re celebrating and partying in style.
Pretville opens in cinemas countrywide on 23 November 2012.
Director: Linda Korsten
Producers: Paul Kruger, Linda Korsten
Cute. Now go watch.
Looking forward to this motion picture based on the music score, then the story, then the cast.
Les Misérables [Novel] is an 1862 French novel by author Victor Hugo that is widely considered one of the greatest novels of the nineteenth century. The title is variously translated from the French as The Miserable, The Wretched, The Poor Ones,The Wretched Poor, or The Victims. Beginning in 1815 and culminating in the 1832 June Rebellion, the novel follows the lives and interactions of several characters, focusing on the struggles of ex-convict Jean Valjean and his experience of redemption.
Examining the nature of law and grace, the novel elaborates upon the history of France, architecture of Paris, politics, moral philosophy, antimonarchism, justice, religion, and the types and nature of romantic and familial love. The story is historical fiction because it contains factual and historic events.
Les Misérables is known to many through its numerous stage and screen adaptations, most notably the stage musical of the same name.
The music was composed by Claude-Michel Schönberg, and the lyrics were written by Alain Boublil and Jean-Marc Natel, with an English-language libretto by Herbert Kretzmer. Set in early 19th-century France, the plot follows the stories of many characters as they struggle for redemption and revolution. An ensemble that includes prostitutes, student revolutionaries, factory workers, and others joins the lead characters.
The musical opened at the Barbican Centre in London, England on 8 October 1985. It is the second longest-running musical in the world after The Fantasticks, the second longest-running West End show after The Mousetrap, and the third longest-running show in Broadway history. It is currently the longest-running musical on West End followed by The Phantom of the Opera. In January 2010, it played its ten-thousandth performance in London, at Queen’s Theatre in London’s West End. On 3 October 2010, the show celebrated its 25th anniversary with three productions running in the same city: the original show at the Queen’s Theatre in London’s West End; the Twenty-Fifth Anniversary touring production at the original home of the show, the Barbican Centre; and the Twenty-Fifth Anniversary concert at London’s O2 Arena.