One of the strangest and most entertaining things I’ve seen so far in my life was Turkish Star Wars; it was so bad, it was nearly unwatchable but with good company and loads of heckling, it made for superbly entertaining material.
Bollywood has been known to take Hollywood films and add their own Indian spice to make something new but I’ve yet to see a full Bollywood version of an already popular film but I’ve found the first real candidate. It’s called Awaara Paagal Deewana and I’m not quite sure what the exact storyline is like, the one over at IMDb doesn’t seem to be for the same movie, (that or I’m in for a very big surprise) but I’m not dis swayed, I must have it.
Shout out to my Bollywood expert and buddy, Ramchandra who provided me with the ugly details. He’s issued a warning I refuse to accept so I’m officially on the search for this jewel. You can blame the whole think on this supremely fantastic clip.
So I get an email from Kurt this morning to a trailer I’d heard about but hadn’t checked out yet simply because I couldn’t quite make out what on earth it was. Before clicking on the link, I had to figure out what exactly “sweded” meant so I looked it up and honestly, I still have no idea what it means. According to the Urban Dictionary it’s “When one has blitz a bulldog or smiley down there trees then they may feel sweded.” Excuse me? Did anyone else miss that or am I just daft?
Regardless of what it means, it’s essentially a zero budget version of the Be Kind Rewind trailer starring Gondry himself playing every role. Makes for a pretty funny watch. The best part is the French accent.
Be Kind Rewind is scheduled for release on February 22nd.
It’s a bit surprising to me that some films no one wants to see get multiple DVD releases while good films are lucky to see the light of day after their initial release. Such is the case with Andrew Niccol’s directorial debut Gattaca. More than ten years after its initial release, the film is finally getting a Special Edition DVD in conjunction with its Blu-Ray release on March 11.
I don’t mind shelling out some cash for a fancy new version of a movie I love, particularly one I have never picked up (because it’s never in at my local haunt) but you figure for the added $10, they could throw in a few extra features. The only added bonuses to this edition are:
- “Welcome to Gattaca” Featurette
- “Do Not Altar?” Documentary
- Original EPK Featurette
- Deleted Scenes
- “Substance Test” Outtake
What a rip. I guess the search for the original release continues, especially when it’s only 1/2 the cost. Here’s hoping this one gets marked down quickly.
Here is a new picture from the upcoming Indiana Jones and the Kingdom of the Crystal Skull, courtesy of Empire. You get a look at Indy holding a bazooka, this time with his (possible) son Mutt and his mother and Indy’s old flame from Raiders of the Lost Ark, Marion Ravenwood. It’s looking like she might play a pretty pivotal role in the movie, which is more than fine by me.
Producer Frank Marshall says of the movie: “This picture is locked. Steven’s pretty much done editing. And we’re going into the phase with John Williams where he starts scoring the movie. He’s really writing now and then we’ll start scoring in February. … I would say it’s closest to the third one (Indiana Jones and the Last Crusade). It’s all adults. I mean, you have the sidekick in Shia (LaBeouf), but you don’t have a Short Round and I think the banter between the characters is as fun as it was in the third movie.”
The article also revealed that there will be an Indiana Jones Mr. Potato Head. Holy freaking crap.
You’ve seen them. I’ve seen them. Those made for tv biographies that set out to make movie stars, musicians and politicians seem like regular folk and which tend to outline how hard it was for them to overcome one problem or another to “make it”. I realize that everyone has faced some sort of adversity and I’m not knocking people that really had to work hard to get to where they are today but reading about ANVIL makes all of these folks on “Behind the Music” look like a bunch of pussies.
ANVIL is a Canadian heavy metal band which was formed in 1978 by a bunch of guys trying to make it to the big time. The band has had a steady stream of record labels and releases since the beginning but try as they might, they’ve never been “discovered”. One would figure that after nearly 30 years of working day jobs and playing gigs, they’d give up but ANVIL. These guys are don’t believe in throwing in the towel and they’re still rocking hard.
Anvil! The Story of Anvil, a documentary directed by former band roadie Sacha Gervasi, just premiered at Sundance to lots of love and positive buzz but sadly, apparently no distribution deals. It’s being toted as the real life This is Spinal Tap and I can sort of see why.
As of yet, there isn’t a real trailer for the film but there’s a great Sundace video which includes Robert Redford talking to a very shocked Gervasi about the film, the ANVIL guys being superstars and some footage from the documentary which will hopefully get some sort of release.
Note: Sorry for this but due to technical difficulties my voice comes through with and echo for the majority of the podcast. I hope you are able to still listen as we cover some very good movies.
this episode
Row Three’s newest writer, Dave Becker joins me for a discussion about our picks for 10 movies from this decade that are worth watching. Of course we don’t just limit ourselves to the ten each. Dave first runs through his runner ups and I list off more than 10 Asian movies that would have likely replaced most of my list. We start off the discussion though with a look at what we have been watching.
Grindhouse was fantastic for any number of great reasons but I must admit one of opening moments got the crowd right into the action and that clip was the Restricted Cougar that had once graced the screenings of many an 80’s classic. I can’t recall exactly what clip they used but I do recall seeing it and that, in and of itself, made me a bit nostalgic.
I was paroozing about the web today and stumbled on the BC Film Classification Board’s website and clicking around in there, I found some interesting information. Turns out that the Restricted Cougar is a Canadian, and even better a British Columbia, icon.
The symbol was first used in BC on August 1, 1960 and was copyrighted on July 6, 1965. Shortly after it first appeared, the BC Film Classification Office launched a series of animated information trailers that played before the films and the cougar entered wide circulation. The cougar was shelved in January of 1997 when the classification rules changed and the restricted rating was largely replaced by 18A.
As much as I love a history lesson, the cool part is that the four short clips are all online and even available for download directly from the BCCPA website. Most folks will likely recall the most popular one titled “Bijou” but I’ve included all four for your viewing pleasure.
Over a year before people started talking about it after its spectacularly positive Sundance debut, Garth Jennings’ Son of Rambow is finally scheduled to open in limited release in May. The film stars two young new comers, Bill Milner and Will Poulter, as friends making their version of Rambo. Apparently, that’s the simplified version of the plot as it appears that the film also has friendship, girl and growing-up issues all stuffed in there for good measure.
The trailer plastered a smile on my face from the very first bit of dialog but I nearly lost it when one of the kids enters a room and yells “I’ve come to save you Rambo!” and then cut to Rambo…the best looking Rambo ever. FANTASTIC.
Looks like seriously good fun. I just hope it manages to open up here before the year is out!
Director: Frank A. Cappello (No Way Back, American Yakuza) Writer: Frank A. Cappello Producers: Michael Leahy Starring: Christian Slater, Elisha Cuthbert, William H. Macy MPAA Rating: R Running time: 95 min.
When I first saw the trailer for He Was a Quiet Man, I rubbed my head a bit trying to figure out who the lead was and when I read that the film starred Christian Slater, I couldn’t believe I hadn’t recognized him the first time around. Really, it should come as no surprise that he’s nearly unrecognizable. If I had to guess, I’d say that this is Slater’s attempt at making an important film, something which has more to say than Alone in the Dark and which folks will watch, shake their heads and say “Yes, he’s very talented” and hopefully, result in a flurry of prestigious film offers. Unfortunately, He Was A Quiet Man isn’t quite at that level though that’s not to say that Slater’s performance is lacking if anything, it’s the one great thing in a film that’s trying too hard.
Slater plays Bob, a “quiet man” living a fairly meaningless existence and working at a major corporation, pretty much just going through the gestures of living. He has no friends, no social life and is largely ignored at work until a workplace tragedy makes him the popular guy on the block. Another lonely dude at the office loses it, starts shooting people and mistakes Bob’s work fantasy, a beautiful woman named Vanessa, for someone else and shoots her. Bob steps up to the plate and shoots the killer, in the process saving Vanessa’s life and becoming a hero. The event completely changes Bob’s life and we’re led to believe that he’s changed as well but at as the film progresses, we start to see that he hasn’t changed, only his circumstances have.
Seeing the trailer for the upcoming Xbox 360 game Star Wars: The Force Unleashed has reminded me how much developers are tapping into the cinematic potential in the realm of video games. While the majority of games out there are mindless and the story is second to the gameplay, every once in a while you get a game where they put major focus on the story and bring on board some really talented storytellers and writers, and that’s when you get something special, something that can deliver a truly cinematic experience. Some would even argue that after 20+ hours of gameplay, you become pretty invested in the characters too, far more than a character in a two hour movie.
For instance, back in 2003, I played through and beat Star Wars: Knights of the Old Republic. Not only was it probably the most cinematic experience I ever had playing a video game, the story was on par with any of the best sci-fi or fantasy movies out there. Easily. And it tapped into an area of the Star Wars universe that had never been visited at the time, set thousands of years before the original movies. There are plenty of other games out there that are acclaimed for their excellent stories and cinematic experiences: Max Payne, Jade Empire, Mass Effect, The Elder Scrolls, Halo, Deus Ex, and Zelda all come to mind - they’re all games that are just at a higher level, where the story is essential and well-written and an entire world can be captured in a way that movies aren’t capable (or at least studios are generally not willing to shell out the cash to create).
As for the game in discussion, here is the plot of Star Wars: The Force Unleashed via Wikipedia: “The game takes place between Star Wars Episode III: Revenge of the Sith and Star Wars Episode IV: A New Hope and, according to Steve Sansweet, ‘has some incredible revelations.’ The player assumes the role of ‘Darth Vader’s secret apprentice’. The player is sent across the galaxy to destroy the remaining Jedi. The story is both a continuation of the prequel trilogy - exploring the aftermath of Emperor Palpatine’s order to exterminate the Jedi and focusing on the continued evolution of Darth Vader - and a direct bridge between original films.”
Cool. Who wouldn’t be interested in a powerful secret apprentice destroying Jedi under the command of Vader? Pssh. This will certainly quench the thirst of my inner-nerd, I have no problem admitting that. Everything in the story is passed by George Lucas and is approved too, which adds to the authenticity of it all. I haven’t been into gaming in years (I handed the Xbox over to my brother back in 2004 and just haven’t had the urge to get back into them since - probably a good thing), but this would definitely be a game worthy of investing time into.
I always moan and complain that Canadian film doesn’t get enough love and attention in Canada, never mind anywhere else in the world but it was a great year for film in general and a fantastic year for Canadian film (across the country and around the globe) and what better way to celebrate than with an awards show and party?
All the nominees below. The Genies will be broadcast on March 3rd. This year’s show should be a little more exciting than usual considering most folks have heard of, if not seen, a large number of the nominated films.
BEST MOTION PICTURE
L’ÂGE DES TÉNÈBRES / DAYS OF DARKNESS - Denise Robert, Daniel Louis
AWAY FROM HER - Daniel Iron, Simone Urdl, Jennifer Weiss
CONTINENTAL, UN FILM SANS FUSIL / CONTINENTAL, A FILM WITHOUT GUNS - Luc Déry, Kim McCraw
EASTERN PROMISES - Robert Lantos, Paul Webster
SHAKE HANDS WITH THE DEVIL - Laszlo Barna, Michael Donovan
ACHIEVEMENT IN DIRECTION
DENYS ARCAND - L’Âge des ténèbres / Days of Darkness
SARAH POLLEY - Away From Her
DAVID CRONENBERG - Eastern Promises
ROGER SPOTTISWOODE - Shake Hands With the Devil
BRUCE MCDONALD - The Tracey Fragments
PERFORMANCE BY AN ACTOR IN A LEADING ROLE
ROY DUPUIS - Shake Hands With the Devil
MARC LABRÈCHE - L’Âge des ténèbres / Days of Darkness
CLAUDE LEGAULT - Les 3 P’tits Cochons / The 3 Little Pigs
VIGGO MORTENSEN - Eastern Promises
GORDON PINSENT - Away From Her
PERFORMANCE BY AN ACTRESS IN A LEADING ROLE
ANNE-MARIE CADIEUX - Toi / You
JULIE CHRISTIE - Away From Her
ELLEN PAGE - The Tracey Fragments
MOLLY PARKER - Who Loves the Sun
BÉATRICE PICARD - Ma tante Aline / My Aunt Aline
PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE
DANNY GLOVER - Poor Boy’s Game
GUILLAUME LEMAY-THIVIERGE - Les 3 P’tits Cochons / The 3 Little Pigs
ARMIN MUELLER-STAHL - Eastern Promises
MICHEL ANGE NZOJIBWAMI - Shake Hands With the Devil
GILBERT SICOTTE - Continental, un film sans fusil / Continental, a Film Without Guns
PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE
MARIE-GINETTE GUAY - Continental, un film sans fusil / Continental, a Film Without Guns
VÉRONIQUE LE FLAGUAIS - Surviving My Mother / Comment survivre à sa mère
LAURENCE LEBOEUF - Ma fille mon ange
FANNY MALLETTE - Continental, un film sans fusil / Continental, a Film Without Guns
KRISTEN THOMPSON - Away From Her
BEST DOCUMENTARY
PANACHE / ANTLERS - André-Line Beauparlant, Danielle Leblanc
RADIANT CITY - Gary Burns, Jim Brown, Bonnie Thompson, Shirley Vercruysse
SHARKWATER - Robert Stewart
BEST LIVE ACTION SHORT DRAMA
APRÈS TOUT - Alexis Fortier Gauthier, Élaine Hébert
FAIRE CHALUIM MHIC LEÒID / THE WAKE OF CALUM MACLEOD - Marc Almon, Nona MacDermid
REGARDING SARAH - Michelle Porter, Amy Belling
SCREENING - Anthony Green, Philip Svoboda
THE TRAGIC STORY OF NLING - Jeffrey St. Jules, Larissa Giroux
BEST ANIMATED SHORT
HERE AND THERE - Diane Obomsawin, Marc Bertrand
JEU - Georges Schwizgebel, Michèle Bélanger, Marcel Jean
MADAME TUTLI-PUTLI - Maciek Szczerbowski, Chris Lavis, Marcy Page
Director: John August Writer: John August Producers: Dan Jinks, Dan Etheridge, Bruce Cohen Starring: Ryan Reynolds, Hope Davis, Melissa McCarthy, Elle Fanning MPAA Rating: R Running time: 99 min.
Regardless of how many films I watch, I can never get over the initial shock of seeing a good, even great film that seems to have been buried. Such is the case with John August’s The Nines. The film was given a tiny distribution at the end of August and at its height, it played on 5 screens. I will concede that the film isn’t really easy to market, or even explain for that matter, but still. We get much more convoluted crappy stuff hit the 1,000+ screens but I’m digressing from the point at hand here: a great, unseen film ripe for discovery on DVD.
It starts with an actor having a breakdown. You get the sense that this guy is a recognizable TV star who just loses it. First it’s the accidental burning down of his house which leads to drinking and driving, buying crack, picking up a hooker to teach him how to use it and ultimately, the self destruction ends with a car crash and Gary, the actor, getting hauled off to jail. Released on bail, he’s given six weeks of house arrest which are monitored by the deliriously energetic PR lady, Margaret. And that’s just the first story.
Not much to say, other than here ya go. More awards to sink into. The TV awards are below the fold.
Outstanding Performance by a Cast in a Motion Picture
‘3:10 to Yuma’
‘American Gangster’
‘Hairspray’
‘Into the Wild’
‘No Country for Old Men’ –WINNER
Outstanding Performance by a Male Actor in a Leading Role
George Clooney, ‘Michael Clayton’
Daniel Day-Lewis, ‘There Will Be Blood’ –WINNER
Ryan Gosling, ‘Lars and the Real Girl’
Emile Hirsch, ‘Into the Wild’
Viggo Mortensen, ‘Eastern Promises’
Outstanding Performance by a Female Actor in a Leading Role
Cate Blanchett, ‘Elizabeth: The Golden Age’
Julie Christie, ‘Away From Her’ –WINNER
Marion Cotillard, ‘La Vie en Rose’
Angelina Jolie, ‘A Mighty Heart’
Ellen Page, ‘Juno’
Outstanding Performance by a Male Actor in a Supporting Role
Casey Affleck, ‘The Assassination of Jesse James by the Coward Robert Ford’
Javier Bardem, ‘No Country for Old Men’ –WINNER
Hal Holbrook, ‘Into the Wild’
Tommy Lee Jones, ‘No Country For Old Men’
Tom Wilkinson, ‘Michael Clayton’
Outstanding Performance by a Female Actor in a Supporting Role
Cate Blanchett, ‘I’m Not There’
Ruby Dee, ‘American Gangster’ –WINNER
Catherine Keener, ‘Into the Wild’
Amy Ryan, ‘Gone Baby Gone’
Tilda Swinton, ‘Michael Clayton’
Outstanding Performance by a Stunt Ensemble in a Motion Picture
‘300′
‘The Bourne Ultimatum’ –WINNER
‘I Am Legend’
‘The Kingdom’
‘Pirates of the Caribbean: At World’s End’
Directors: Vincent Paronnaud, Marjane Satrapi Graphic Novel: Marjane Satrapi Screenplay: Marjane Satrapi, Vincent Paronnaud Producers: Xavier Rigault, Marc-Antoine Robert Starring (voices): Chiara Mastroianni, Catherine Deneuve, Danielle Darrieux, Simon Abkarian MPAA Rating: PG-13 Running time: 95 min.
Of all the animated pictures released in 2007, Persepolis would easily be my pick for the best of the bunch. Going up against Ratatouille at the Oscars could prove a difficult battle, but there’s no doubt in my mind which should take home the trophy.
Persepolis tells the tale of one young girl’s struggle to fit in and survive through the wars, revolutions and fascist regimes that plagued her country of Iran throughout her lifetime. Starting as just a child, the film spans two decades of Marjane’s life as she struggles to cope with all of the difficulties that come with adolescence, the teenage years and early adulthood; coupled with the strife of her nation.
First and foremost is the unique brand of animation we get here. Based on the work from the original graphic novel, the style is nearly identical and works wonders. While sort of reminiscent of early B&W cartoon shorts of the 1920s and 30s, the style isn’t anything really new, but compared to the overly realistic CGI that Hollywood has rammed down our throats for the past 10-15 years, this is a welcome change.
While not particularly detailed and devoid of color, the animation is surprisingly able to convey emotion far more effectively than the aforementioned CGI animation of recent years. Whether this is due to the nature of the ability to empathize with the story itself or the fact that because the animation is so simple it has to overcompensate remains to be seen, but either way, this animation style is highly effective, unique to this generation and engrossing.
Back before Paul Newman announced he was retiring from acting, he and old pal Robert Redford, who starred together in the classics Butch Cassidy and the Sundance Kid and The Sting, were set to reunite for an adaptation of the Bill Bryson autobiographical book A Walk in the Woods. In it, Redford was the play Bryson, a man who while going through a midlife crisis, decides to hike across the American wilderness with his doughnut-addicted friend, Stephen Katz (who was to be played by Newman), by his side.
Well, it turns out that despite the setback, Redford is still on board, according to Coming Soon, and Barry Levinson (Rain Man, The Natural) is in talks to direct the picture (if you’ve been following this movie, Chris Columbus was actually SIGNED ON for this before Newman announced his retirement).
There is no mention of who will co-star alongside Redford, which makes me wonder, was Redford able to talk his old buddy out of retirement, for one final hurrah? I am probably just setting myself up for disappointment by even wondering this, but I can’t help but notice how they didn’t even mention the sidekick whatsoever in the press release. And it just makes me wonder. Newman is an acting god to me, the absolute epitome of American actors, so obviously this is something I want to see.
If not Newman though, who would you like to see as the aging, doughnut-addicted friend? My vote would go to Bob Hoskins. I love watching him playing Americans and am always left blown away by his flawless mastery of the American accent. Then there is Dustin Hoffman, who has worked with Levinson in the past and he and Redford could definitely play off of each other well. Just throwing those names out there in case the casting folks need a few ideas.
UPDATE: Cinematical has a Redford quote on the project: “It’ll be fun. I don’t know when I’ve read a book that I laughed so loud. Also, it’s a chance to take a look at the country… The backdrop is pretty terrific, if you stop to think of all the visuals that are possible as they go along that trail.”
Director: Sylvester Stallone (Rocky 2-6, Staying Alive) Writer: Sylvester Stallone Producers: John Thompson, Avi Lerner, Kevin King, Sylvester Stallone Starring: Sylvester Stallone, Julie Benz, Paul Schulze, Matthew Marsden, Graham McTavish MPAA Rating: R Running time: 93 min.
What to expect from a Rambo movie: cheese, explosions, preposterousness and a big guy with a red bandana and gigantic machine gun. In other words, generally a characature from the original character in First Blood. A film that truly had something to say and was a well-made, “un-cheesy” action picture of the 80s. So does the newest chapter in the franchise, simply entitled “Rambo,” capitalize on the slightly higher caliber story-telling of the first film, or is it more ridiculous explosions and guys flying though the air (ala “A-Team” style) of Rambos 2 and 3? Well, neither really. This is an excuse to see the internal organs of about 500 people in about 500 different ways.
John Rambo, trying to leave all of his courageous but brutal past behind him, now lives in a quiet village in Thailand, capturing snakes and fishing for the locals. He is now a man of peace and tranquility; until one day a church missionary group shows up asking for his help in getting passage into burma, where they believe they can help aide the victims and refugees of a mass genocide that is occurring there. Depsite Rambo’s pleadings, they convince him to help. He leads them to their destination and then he heads for home. Weeks later, he’s informed that the missionaries have gone missing and having taken a liking to the young girl leading the expedition, he decides to head into Burma with some mercenaries and rescue the captured missionaries.
Taking the reigns himself on this one, Stallone does do a decent job with the directing of the story. Unfortunately he also penned the screenplay which is, to give it a considerate term, “lacking” in just about every aspect a screenplay could have going for it. Rambo himself has about ten lines of dialogue and most of those are about three word sentences. Still, like I said, it does look nice and the action sequences are well choreographed and have a fun style.
I think the reason Sam Peckinpah is my favorite director is that his films are so very personal, reflecting in equal parts the varying components that made up the man’s personality. In life, Sam Peckinpah was a complex individual. A descendant of pioneers and settlers, he was taught to hunt, ride a horse and herd cattle in his youth, leading to a love of the western frontier he would carry with him the rest of his life. Yet Peckinpah also had a creative side, which was nurtured by his mother (In David Weddle’s Peckinpah biography, “If They Move, Kill ‘em”, Peckinpah’s sister, Fern Lea, says she believes her brother’s creativity was a source of embarrassment for him, because, as she mockingly put it, “in our family, ‘by God, the men were men’!”). A man in turmoil, Peckinpah would continually struggle with these conflicting facets of his personality. It was machismo vs. art, and both usually found their way into his films.
To set the scene up: Pat Garrett (James Coburn) has been hired to hunt down his old friend, Billy the Kid (Kris Kristofferson). His search has taken him many places, and pitted him against many people who love and admire The Kid. Recently, he’s learned where a former member of The Kid’s gang, Black Harris (played by Peckinpah regular L.Q. Jones), is shacked up. Before riding out to confront Harris, Garrett enlists the help of the local sheriff, Colin Baker (Slim Pickens), whose wife (Katy Jurado) serves as his deputy. Knowing Harris’ reputation, they ride out heavily armed, ready for a gunfight. The rest you’ll see for yourself.
Pat Garrett and Billy the Kid is far from a perfect film, yet it does contain one perfect scene. Shifting from violence to deep emotion within its 3 and a half minute runtime, the following does more than carry its story forward; it reflects the complex personality of the man who created it.
The trailer for Smart People is one I can dig, if not just for the use of Spoon’s “Don’t Make Me a Target” playing during the first half. That makes me happy. Personal musical preferences aside, it’s kind of tricky trying to figure out the tone of this movie by this trailer, especially coming from a first time director, but I’m getting somewhat of a more mainstream-friendly The Squid and the Whale vibe out of it, although that’s not exactly right either. It doesn’t matter though, because it stars Ellen Page, easily one of the hottest young stars at the moment (that Oscar nod probably helps) and I’m enjoying following her career. It also has Thomas Hayden Church, Dennis Quaid (who is just a likable actor, despite all of the crap he does - yeah, I even love Dragonheart… oh, I said it), and Sarah Jessica Parker.
I won’t waste words telling you what it’s about, because you can get the jist of it from the trailer below. Intelligent folk will check out Smart People when it hits theatres on April 11.
Two movies I’m really looking forward to, The Time Traveller’s Wife and Choke, have finally received their release dates, I just found out over at Obsessed With Film, the latter because it was picked up by Fox Searchlight for $5 million this past week at Sundance.
The Time Traveller’s Wife will be the first one to hit theatres, opening up on June 6th, taking a slight risk and putting it up against Adam Sandler’s You Don’t Mess With the Zohan. If it is anything like Sandler’s other recent comedies, like Click or The Longest Yard, it will be insultingly bad, but will pull in an unbelievable amount of cash. This will be a good alternative for those tired of Sandler’s shtick.
Sadly with Choke, we’re going to have to wait a while longer to see what Sam Rockwell can do with some Chuck Palahniuk material, but I’m confident it will be worth the wait, as Fox Searchlight is going to release it on August 1st, pitting it up against the third movie in The Mummy franchise, another movie that will probably undeservedly make an unbelievable amount of cash.
Anyone catch the image in which diesel fuel costs $123/gallon? Whoa.
Middle of the Row Episode 3 [141:30m]: 
For instance, back in 2003, I played through and beat 
It starts with an actor having a breakdown. You get the sense that this guy is a recognizable TV star who just loses it. First it’s the accidental burning down of his house which leads to drinking and driving, buying crack, picking up a hooker to teach him how to use it and ultimately, the self destruction ends with a car crash and Gary, the actor, getting hauled off to jail. Released on bail, he’s given six weeks of house arrest which are monitored by the deliriously energetic PR lady, Margaret. And that’s just the first story.
Persepolis tells the tale of one young girl’s struggle to fit in and survive through the wars, revolutions and fascist regimes that plagued her country of Iran throughout her lifetime. Starting as just a child, the film spans two decades of Marjane’s life as she struggles to cope with all of the difficulties that come with adolescence, the teenage years and early adulthood; coupled with the strife of her nation.
