Win Mean Streets Limited Edition Dual 4K Uhd and Blu-ray Box Set! Limited Edition Dual 4K Uhd and Blu-Ray Box Set & Standard Edition 4K and Blu-Ray Arrive 15th January 2024. We are giving away a Dual Edition Box Set to one lucky winner!
From the legendary director who needs no introduction – Martin Scorsese – comes his tour de force Mean Streets, the film that placed him firmly on the path to becoming one of the most-lauded filmmakers of his generation. This early work gave a glimpse of a true master at work and also showcased the fledgling careers of two Hollywood powerhouses Harvey Keitel and Robert De Niro, in their first ever movie appearance together.
Now to celebrate its 50th Anniversary Mean Streets gets a brand new 4K restoration supervised by Scorsese himself. It’s time to experience this seminal movie, like never seen before with a brand-new Limited Edition version from...
From the legendary director who needs no introduction – Martin Scorsese – comes his tour de force Mean Streets, the film that placed him firmly on the path to becoming one of the most-lauded filmmakers of his generation. This early work gave a glimpse of a true master at work and also showcased the fledgling careers of two Hollywood powerhouses Harvey Keitel and Robert De Niro, in their first ever movie appearance together.
Now to celebrate its 50th Anniversary Mean Streets gets a brand new 4K restoration supervised by Scorsese himself. It’s time to experience this seminal movie, like never seen before with a brand-new Limited Edition version from...
- 1/3/2024
- by Competitions
- HeyUGuys.co.uk
Actor Richard Romanus, who is known for his roles in ‘The Sopranos’ and ‘Mean Streets’, no more. He was 80. He died on December 23 in a hospital in Volos, Greece, his son, Robert Romanus, reports People magazine.
No cause of death was given. Romanus was known for his tough-guy roles including Michael Longo in 1973’s ‘Mean Streets’. In the Martin Scorsese-directed crime drama, Romanus played a loan shark who gets into a memorable confrontation with Johnny Civello (Robert De Niro).
Scorsese, 81, recalled the iconic bar scene in Andy Dougan’s Untouchable: Robert De Niro, according to The Hollywood Reporter. “Something had happened between Bobby and Richard because the animosity between them in that scene is real, and I played on it. They had gotten on each other’s nerves to the point where I think they really wanted to kill each other,” the writer-director recalled in the 2011 biography.
“I kept...
No cause of death was given. Romanus was known for his tough-guy roles including Michael Longo in 1973’s ‘Mean Streets’. In the Martin Scorsese-directed crime drama, Romanus played a loan shark who gets into a memorable confrontation with Johnny Civello (Robert De Niro).
Scorsese, 81, recalled the iconic bar scene in Andy Dougan’s Untouchable: Robert De Niro, according to The Hollywood Reporter. “Something had happened between Bobby and Richard because the animosity between them in that scene is real, and I played on it. They had gotten on each other’s nerves to the point where I think they really wanted to kill each other,” the writer-director recalled in the 2011 biography.
“I kept...
- 12/31/2023
- by Agency News Desk
- GlamSham
It’s sad to say, but death seems to be working overtime as we close out 2023. Following the news that beloved character actor Tom Wilkinson has passed away, come the passing of two more well-loved supporting players in TV and film. Richard Romanus, who played the role of loan shark Michael Longo in Mean Streets, passed away at the age of 80 on December 23rd. Meanwhile, Maurice Hines, the brother of Gregory Hines, has also passed away, also at 80.
Although Richard Romanus had a lengthy career that went back to the early ‘70s, it was his turn in Martin Scorsese’s Mean Streets that remained his most memorable performance. It was his character who, after a run-in with Robert De Niro’s Johnny Boy (who owed Michael money), manned the car that drove up alongside Johnny Boy and Harvey Keitel’s Charlie, leading to the shooting of the loose cannon.
Richard...
Although Richard Romanus had a lengthy career that went back to the early ‘70s, it was his turn in Martin Scorsese’s Mean Streets that remained his most memorable performance. It was his character who, after a run-in with Robert De Niro’s Johnny Boy (who owed Michael money), manned the car that drove up alongside Johnny Boy and Harvey Keitel’s Charlie, leading to the shooting of the loose cannon.
Richard...
- 12/30/2023
- by Mathew Plale
- JoBlo.com
Richard Romanus, who built his character acting career with a tough guy persona in film and television, has died at 80 at a hospital in Volos, Greece. No cause was given by his son, Robert.
Romanus had a string of memorable roles during his long career. He was Harry Canyon, the cab driver from Heavy Metal, and Richard Lapenna, the husband of Dr. Melfi, in “The Sopranos.” He was loanshark Michael Longo in Mean Streets.
His TV résumé includes Mission: Impossible, Starsky and Hutch, Hawaii Five-0, The Rockford Files, Kojak, Strike Force, and more across the ’70s.
In films, Romanus appeared in Sitting Ducks (1980), Protocol (1984), The Couch Trip (1988), Oscar (1991), Point of No Return (1993), Cops and Robbersons (1994), Nailed (2001) and The Young Black Stallion (2003).
In his later years, Romanus and his wife moved to the Greek town of Skiathos, and he wrote about the experience in Act III: A Small Island in the Aegean,...
Romanus had a string of memorable roles during his long career. He was Harry Canyon, the cab driver from Heavy Metal, and Richard Lapenna, the husband of Dr. Melfi, in “The Sopranos.” He was loanshark Michael Longo in Mean Streets.
His TV résumé includes Mission: Impossible, Starsky and Hutch, Hawaii Five-0, The Rockford Files, Kojak, Strike Force, and more across the ’70s.
In films, Romanus appeared in Sitting Ducks (1980), Protocol (1984), The Couch Trip (1988), Oscar (1991), Point of No Return (1993), Cops and Robbersons (1994), Nailed (2001) and The Young Black Stallion (2003).
In his later years, Romanus and his wife moved to the Greek town of Skiathos, and he wrote about the experience in Act III: A Small Island in the Aegean,...
- 12/30/2023
- by Bruce Haring
- Deadline Film + TV
Richard Romanus, who made memorable turns in Mean Streets and The Sopranos, has died at age 80. The actor passed away in a private hospital in Volos, Greece, on December 23, according to The Hollywood Reporter. In 1973’s Mean Streets, directed and co-written by Martin Scorsese, Romanus played Michael, the loan shark who clashed with ne’er-do-well Johnny Boy (Robert De Niro). In the Andy Dougan book Untouchable: Robert De Niro, Scorsese recalled filming the profanity-laden confrontation between Johnny and Michael. “Something had happened between Bobby and Richard because the animosity between them in that scene is real, and I played on it,” the director said, per THR. “They had gotten on each other’s nerves to the point where I think they really wanted to kill each other. I kept shooting take after take of Bobby yelling all these insults while the crew was getting very upset.” Two and a half decades later,...
- 12/30/2023
- TV Insider
Richard Romanus, the tough-guy character actor best known for his turn as Michael Longo, the Little Italy loan shark who gets into it with Robert De Niro’s Johnny Civello in Martin Scorsese’s Mean Streets, has died. He was 80.
Romanus died Dec. 23 in a private hospital in Volos, Greece, his son, Robert Romanus, told The Hollywood Reporter.
Romanus handled prominent voice roles for Ralph Bakshi in 1977’s Wizards (as the elf warrior Weehawk) and 1982’s Hey Good Lookin’ (as the leader of a 1950s greaser gang), and in between, he played the cab driver Harry Canyon in another animated film, Heavy Metal (1981).
He also appeared on four episodes of The Sopranos as Richard Lapenna, the on-again, off-again husband of Lorraine Bracco’s Jennifer Melfi, from 1999-2002.
In Mean Streets (1973), Romanus’ character is famously disrespected by Johnny when he leans on him for his money.
“You know, Michael, you make me laugh,...
Romanus died Dec. 23 in a private hospital in Volos, Greece, his son, Robert Romanus, told The Hollywood Reporter.
Romanus handled prominent voice roles for Ralph Bakshi in 1977’s Wizards (as the elf warrior Weehawk) and 1982’s Hey Good Lookin’ (as the leader of a 1950s greaser gang), and in between, he played the cab driver Harry Canyon in another animated film, Heavy Metal (1981).
He also appeared on four episodes of The Sopranos as Richard Lapenna, the on-again, off-again husband of Lorraine Bracco’s Jennifer Melfi, from 1999-2002.
In Mean Streets (1973), Romanus’ character is famously disrespected by Johnny when he leans on him for his money.
“You know, Michael, you make me laugh,...
- 12/30/2023
- by Mike Barnes
- The Hollywood Reporter - Movie News
The film-maker delved into his past for a vivid and thoughtful drama that set a course for a long and fruitful career
In one particularly funny sequence from Martin Scorsese’s Mean Streets – and Mean Streets is one of Scorsese’s funniest movies, even if it’s not understood as a comedy – two guys approach Michael (Richard Romanus), a half-competent loan shark, on a grimy corner of Little Italy, looking to buy illegal fireworks. Sniffing out a couple of suckers, Michael and an associate talk up a supply they don’t have. They set out to scam the buyers by taking the $40 in cash, dropping them off on another corner and driving off to their secret stash of nonexistent fireworks. But as they pull away, they realize their marks have stiffed them by only giving them $20. So they decide to clock out for the night and go to the movies.
In one particularly funny sequence from Martin Scorsese’s Mean Streets – and Mean Streets is one of Scorsese’s funniest movies, even if it’s not understood as a comedy – two guys approach Michael (Richard Romanus), a half-competent loan shark, on a grimy corner of Little Italy, looking to buy illegal fireworks. Sniffing out a couple of suckers, Michael and an associate talk up a supply they don’t have. They set out to scam the buyers by taking the $40 in cash, dropping them off on another corner and driving off to their secret stash of nonexistent fireworks. But as they pull away, they realize their marks have stiffed them by only giving them $20. So they decide to clock out for the night and go to the movies.
- 10/3/2023
- by Scott Tobias
- The Guardian - Film News
Sony Pictures Home Entertainment has released a New red band promotional trailer for its 4K Blu-ray release of Heavy Metal (1981), featuring the voices of John Candy, Richard Romanus, Joe Flaherty, Eugene Levy, and Harold Ramis.
The release is available for purchase now.
Studio description:
Based on the fantastical illustrated magazine Heavy Metal, producer Ivan Reitman enlists the help of some of Hollywood's animation masters to create the otherworldly tale of a glowing green orb from outer space that spreads destruction throughout the galaxy.
Only when encountered by its one true enemy, to whom it is inexplicably drawn, will goodness prevail throughout the universe.
Richly and lavishly drawn, the vignettes of the orb's dark vi...
The release is available for purchase now.
Studio description:
Based on the fantastical illustrated magazine Heavy Metal, producer Ivan Reitman enlists the help of some of Hollywood's animation masters to create the otherworldly tale of a glowing green orb from outer space that spreads destruction throughout the galaxy.
Only when encountered by its one true enemy, to whom it is inexplicably drawn, will goodness prevail throughout the universe.
Richly and lavishly drawn, the vignettes of the orb's dark vi...
- 4/20/2022
- QuietEarth.us
Sony Pictures Home Entertainment has officially announced that it will release on 4K Blu-ray Steelbook of Heavy Metal (1981), featuring the voices of John Candy, Richard Romanus, Joe Flaherty, Eugene Levy, and Harold Ramis.
The release is available to preorder now.
Studio description: Based on the fantastical illustrated magazine Heavy Metal, producer Ivan Reitman enlists the help of some of Hollywood's animation masters to create the otherworld...
The release is available to preorder now.
Studio description: Based on the fantastical illustrated magazine Heavy Metal, producer Ivan Reitman enlists the help of some of Hollywood's animation masters to create the otherworld...
- 2/14/2022
- QuietEarth.us
Hello, everyone! As we begin to look forward to a new month, we have one last round of home media releases coming our way to finish out the last few days of June first. Prospect, one of this writer’s favorite indie sci-fi films of the last few years, is getting the 4K treatment from Vinegar Syndrome and Gunpowder & Sky, and Scream Factory has put together a Limited Edition Steelbook for Battle Beyond the Stars. Other Blu-ray and DVD releases for June 29th include Night Terror (Aka Night Drive), Scare Us, and Night Things.
Battle Beyond the Stars: Limited Edition Steelbook
Seven mercenaries are recruited from throughout the galaxy to save a peaceful planet from the threat of an evil tyrant bent on dominating the entire universe. Among them are a lizard-like humanoid, a space cowboy, a female warrior and a brooding killer-for-hire.
Bonus Content:
2K Scan of the...
Battle Beyond the Stars: Limited Edition Steelbook
Seven mercenaries are recruited from throughout the galaxy to save a peaceful planet from the threat of an evil tyrant bent on dominating the entire universe. Among them are a lizard-like humanoid, a space cowboy, a female warrior and a brooding killer-for-hire.
Bonus Content:
2K Scan of the...
- 6/29/2021
- by Heather Wixson
- DailyDead
The dusty and evil 18-wheeler of Duel (1971) cast a large and ominous shadow across the TV landscape; some kid named Spielberg showed that the medium could come across as cinematic with even the simplest of stories: truck chases guy in car. Six years later the Valerie Harper vehicle Night Terror (1977) pulled up to a similar station; and while it’s no Duel, it is an effective thriller that manages to reach its destination before running out of gas.
Originally broadcast on February 7th, Night Terror was part of the NBC Monday Night at the Movies, and was roundly trounced by The ABC Monday Night Movie (and you can forget about The Sonny and Cher Show on CBS); no matter, those who stuck by the Peacock were treated to a suspense-filled show with Harper put through the wringer.
Flip open your faux TV Guide for more info:
Night Terror
A woman...
Originally broadcast on February 7th, Night Terror was part of the NBC Monday Night at the Movies, and was roundly trounced by The ABC Monday Night Movie (and you can forget about The Sonny and Cher Show on CBS); no matter, those who stuck by the Peacock were treated to a suspense-filled show with Harper put through the wringer.
Flip open your faux TV Guide for more info:
Night Terror
A woman...
- 9/23/2018
- by Scott Drebit
- DailyDead
Several years after unleashing clever zombies with an appetite for brains in The Return of the Living Dead, Dan O'Bannon turned his attention to H.P. Lovecraft with The Resurrected, coming to home media in high definition on September 12th, and we've been provided with three Blu-ray copies to give away to lucky Daily Dead readers.
---------
Prize Details: (3) Winners will receive (1) Blu-ray copy of The Resurrected.
How to Enter: We're giving Daily Dead readers multiple chances to enter and win:
1. Instagram: Following us on Instagram during the contest period will give you an automatic contest entry. Make sure to follow us at:
https://www.instagram.com/dailydead/
2. Email: For a chance to win via email, send an email to contest@dailydead.com with the subject “The Resurrected Contest”. Be sure to include your name and mailing address.
Entry Details: The contest will end at 12:01am Est on September 18th.
---------
Prize Details: (3) Winners will receive (1) Blu-ray copy of The Resurrected.
How to Enter: We're giving Daily Dead readers multiple chances to enter and win:
1. Instagram: Following us on Instagram during the contest period will give you an automatic contest entry. Make sure to follow us at:
https://www.instagram.com/dailydead/
2. Email: For a chance to win via email, send an email to contest@dailydead.com with the subject “The Resurrected Contest”. Be sure to include your name and mailing address.
Entry Details: The contest will end at 12:01am Est on September 18th.
- 9/11/2017
- by Derek Anderson
- DailyDead
Several years after unleashing clever zombies in The Return of the Living Dead, Dan O'Bannon turned his attention to H.P. Lovecraft with The Resurrected, coming to Blu-ray on September 12th with a final list of bonus features that have just been revealed by Scream Factory:
Press Release: Loyal fans of visionary writer/director Dan O’Bannon (The Return of the Living Dead) know well the terrifying thriller from his 1991 cult classic The Resurrected, based on the story by H.P. Lovecraft. The film stars John Terry (Zodiac, Full Metal Jacket), Jane Sibbett (Arrival II), Chris Sarandon (Fright Night), Laurie Briscoe (Breaking Point) and Robert Romanus (Fast Times at Ridgemont High). On September 12, 2017,Scream Factory™ Home Entertainment is proud to presentTHE Resurrected on home entertainment shelves. Available for the first time on Blu-ray™, this definitive release features new 2K transfer, interviews and revealing extras. A must-have for movie collectors, horror enthusiasts and loyal fans,...
Press Release: Loyal fans of visionary writer/director Dan O’Bannon (The Return of the Living Dead) know well the terrifying thriller from his 1991 cult classic The Resurrected, based on the story by H.P. Lovecraft. The film stars John Terry (Zodiac, Full Metal Jacket), Jane Sibbett (Arrival II), Chris Sarandon (Fright Night), Laurie Briscoe (Breaking Point) and Robert Romanus (Fast Times at Ridgemont High). On September 12, 2017,Scream Factory™ Home Entertainment is proud to presentTHE Resurrected on home entertainment shelves. Available for the first time on Blu-ray™, this definitive release features new 2K transfer, interviews and revealing extras. A must-have for movie collectors, horror enthusiasts and loyal fans,...
- 8/9/2017
- by Derek Anderson
- DailyDead
Welcome to the eighth installment of our summer trip through "The Sopranos" season 1. When I revisited early seasons of "The Wire," as well as the whole run of "Deadwood," I did separate versions of each review for newcomers and veterans, but over time realized that the newcomers weren't commenting much, if at all, and that it therefore made sense to simply do one review. Any significant spoilers for episodes beyond the one being reviewed will be contained in a separate section at the end of the review; so long as you avoid that, and the comments, you should be fine. Thoughts on the eighth episode, “The Legend of Tennessee Moltisanti," coming up just as soon as I devote my energies to the dignity of Connie Francis... "Where's my arc?" -Christopher And here we come to the meta — before it was even 100% meta. "The Sopranos" quickly became a hit for HBO...
- 7/22/2015
- by Alan Sepinwall
- Hitfix
Reviewed by Kevin Scott, MoreHorror.com
Heavy Metal (1981)
Director: Gerald Potterton
Writers: Daniel Goldberg, Len Blum, Dan O’Bannon, Richard Corben, Bernie Wrightson, Angus McKie, Jean Giraud
Voice talents: John Candy, Eugene Levy, Richard Romanus, Al Waxman, John Vernon
Soundtrack artists: Sammy Hagar, Journey, Riggs, Devo, Blue Oyster Cult, Cheap Trick, Don Felder, Donald Fagen, Nazareth, Grand Funk Railroad, Black Sabbath, Trust, Stevie Nicks
If you were a kid in a record store in the early 1980’s, you saw this poster. Our record store was poorly lit with carpet crawling up the walls where you could thumb through albums with provocative covers while your parents ran their errands. Ahh, innocence lost. I couldn’t recall an animated film like this before or since, but the most significant thing that I can remember about “Heavy Metal” is that it taught me that animation can have adult and horrific elements. This movie scared me a little.
Heavy Metal (1981)
Director: Gerald Potterton
Writers: Daniel Goldberg, Len Blum, Dan O’Bannon, Richard Corben, Bernie Wrightson, Angus McKie, Jean Giraud
Voice talents: John Candy, Eugene Levy, Richard Romanus, Al Waxman, John Vernon
Soundtrack artists: Sammy Hagar, Journey, Riggs, Devo, Blue Oyster Cult, Cheap Trick, Don Felder, Donald Fagen, Nazareth, Grand Funk Railroad, Black Sabbath, Trust, Stevie Nicks
If you were a kid in a record store in the early 1980’s, you saw this poster. Our record store was poorly lit with carpet crawling up the walls where you could thumb through albums with provocative covers while your parents ran their errands. Ahh, innocence lost. I couldn’t recall an animated film like this before or since, but the most significant thing that I can remember about “Heavy Metal” is that it taught me that animation can have adult and horrific elements. This movie scared me a little.
- 5/24/2014
- by admin
- MoreHorror
Ultimate Gangster Collection — Contemporary
Mean Streets
The Untouchables
Goodfellas
Heat
The Departed
Due Out: May 21, 2013
The “Ultimate Gangster Collection: Classics“ and “Ultimate Gangster Collection: Contemporary” are available on Blu-ray 5/21
Who’S It For?
My wife hasn’t seen Mean Streets, The Untouchables, Goodfellas or Heat. So while I would normally say this is the perfect gift for guys on Father’s Day, it’s really perfect for my wife. These are movies that must be seen by every adult. Not only to they showcase how the ugly side of society has evolved, but it’s also the evolution of gangster crime. Every one of these films is brilliant, and yes, I’m including The Departed. Jack Nicholson’s performance has someone gotten a bad rap. I’m convinced if it wasn’t for Martin Scorsese zooming in on the rat at the very end, everyone would still worship this film.
Mean Streets
The Untouchables
Goodfellas
Heat
The Departed
Due Out: May 21, 2013
The “Ultimate Gangster Collection: Classics“ and “Ultimate Gangster Collection: Contemporary” are available on Blu-ray 5/21
Who’S It For?
My wife hasn’t seen Mean Streets, The Untouchables, Goodfellas or Heat. So while I would normally say this is the perfect gift for guys on Father’s Day, it’s really perfect for my wife. These are movies that must be seen by every adult. Not only to they showcase how the ugly side of society has evolved, but it’s also the evolution of gangster crime. Every one of these films is brilliant, and yes, I’m including The Departed. Jack Nicholson’s performance has someone gotten a bad rap. I’m convinced if it wasn’t for Martin Scorsese zooming in on the rat at the very end, everyone would still worship this film.
- 5/21/2013
- by Jeff Bayer
- The Scorecard Review
With Father’s Day coming up, it makes perfect sense for Warner Bros. to look to the past, and release two impressive Blu-ray collections. Ultimate Gangster Collection Classic and Ultimate Gangster Collection Contemporary should make plenty of men happy*.
*Women are also allowed to be happy by this news.
Here is the news release…
Burbank, Calif., March 11, 2013 – As part of the studio’s 90th Anniversary celebration, eight of Warner Bros. Pictures’ greatest gangster films – from Edward G. Robinson’s 1931 classic Little Caesar to Martin Scorsese’s Oscar-winning masterpiece The Departed– will now be available in two Blu-ray sets May 21. Released to coincide with Father’s Day gift-giving, the WB genre greats, along with one of Paramount’s best gangster films, will be offered in the Ultimate Gangster Collection: Classic and Ultimate Gangster Collection: Contemporary.
The four films in the Classic Collection have been remastered for their Blu-ray debuts. They include...
*Women are also allowed to be happy by this news.
Here is the news release…
Burbank, Calif., March 11, 2013 – As part of the studio’s 90th Anniversary celebration, eight of Warner Bros. Pictures’ greatest gangster films – from Edward G. Robinson’s 1931 classic Little Caesar to Martin Scorsese’s Oscar-winning masterpiece The Departed– will now be available in two Blu-ray sets May 21. Released to coincide with Father’s Day gift-giving, the WB genre greats, along with one of Paramount’s best gangster films, will be offered in the Ultimate Gangster Collection: Classic and Ultimate Gangster Collection: Contemporary.
The four films in the Classic Collection have been remastered for their Blu-ray debuts. They include...
- 3/11/2013
- by Jeff Bayer
- The Scorecard Review
A Planet Fury-approved selection of notable genre releases for July.
Twins of Evil (1971) Synapse Blu-ray/DVD combo Available Now
One of the greatest Hammer horror films ever made. This stylish, sexy vampire tale revolves around two orphaned twin sisters (Playboy centerfold models Mary and Madeleine Collinson) who are sent to live with their uncle (Peter Cushing), the leader of a witch-hunting sect. When one of the twins is turned into a vampire by a devil-worshipping Count (Damien Thomas), she attempts to keep her new life a secret from her sister and their puritanical uncle. Directed by John Hough (whose eclectic genre career included Disney's Escape to Witch Mountain), Twins of Evil showcases Hammer at its "R-rated" best. This new Synapse release features an all-new 1080p high definition transfer and several exclusive extras, including:
*The Flesh and the Fury: X-Posing the Twins of Evil (84 min.) – A feature length documentary on the making of Twins of Evil.
Twins of Evil (1971) Synapse Blu-ray/DVD combo Available Now
One of the greatest Hammer horror films ever made. This stylish, sexy vampire tale revolves around two orphaned twin sisters (Playboy centerfold models Mary and Madeleine Collinson) who are sent to live with their uncle (Peter Cushing), the leader of a witch-hunting sect. When one of the twins is turned into a vampire by a devil-worshipping Count (Damien Thomas), she attempts to keep her new life a secret from her sister and their puritanical uncle. Directed by John Hough (whose eclectic genre career included Disney's Escape to Witch Mountain), Twins of Evil showcases Hammer at its "R-rated" best. This new Synapse release features an all-new 1080p high definition transfer and several exclusive extras, including:
*The Flesh and the Fury: X-Posing the Twins of Evil (84 min.) – A feature length documentary on the making of Twins of Evil.
- 7/16/2012
- by Bradley Harding
- Planet Fury
DVD Playhouse—April 2012
By Allen Gardner
Extremely Loud & Incredibly Close (Warner Bros.) An eleven year-old boy (newcomer Thomas Horn, in an incredible debut) discovers a mysterious key amongst the possessions of his late father (Tom Hanks) who perished in 9/11. Determined to find the lock it matches, the boy embarks on a Picaresque odyssey across New York City. Director Stephen Daldry and screenwriter Eric Roth have fashioned a film both grand and intimate, beautifully-adapted from Jonathan Safran Foer’s novel, thought by most who read it to be unfilmable. Fine support from Jeffrey Wright, Sandra Bullock, John Goodman, Viola Davis and the great Max von Sydow. Also available on Blu-ray disc. Bonuses: Featurettes. Widescreen. Dolby and DTS-hd 5.1 surround.
Battle Royale: The Complete Collection (Anchor Bay) Adapted from Koushun Takami’s polarizing novel (compared by champions and detractors alike as a 21st century version of A Clockwork Orange) and set in a futuristic Japan,...
By Allen Gardner
Extremely Loud & Incredibly Close (Warner Bros.) An eleven year-old boy (newcomer Thomas Horn, in an incredible debut) discovers a mysterious key amongst the possessions of his late father (Tom Hanks) who perished in 9/11. Determined to find the lock it matches, the boy embarks on a Picaresque odyssey across New York City. Director Stephen Daldry and screenwriter Eric Roth have fashioned a film both grand and intimate, beautifully-adapted from Jonathan Safran Foer’s novel, thought by most who read it to be unfilmable. Fine support from Jeffrey Wright, Sandra Bullock, John Goodman, Viola Davis and the great Max von Sydow. Also available on Blu-ray disc. Bonuses: Featurettes. Widescreen. Dolby and DTS-hd 5.1 surround.
Battle Royale: The Complete Collection (Anchor Bay) Adapted from Koushun Takami’s polarizing novel (compared by champions and detractors alike as a 21st century version of A Clockwork Orange) and set in a futuristic Japan,...
- 4/13/2012
- by The Hollywood Interview.com
- The Hollywood Interview
While guys like Steven Spielberg, Francis Ford Coppola and George Lucas spent the 1970s reinventing live action moviemaking, animation had just one lone figure toiling away. Ralph Bakshi, trained on Terrytoons and involved in 1960s television animation, began exploring the possibilities of animated features in the shadow of Walt Disney’s death. His Fritz the Cat made people sit up and take notice, followed by Heavy Traffic, and Coonskin – urban, funky, raw tales set in a familiar world.
After that, he set his sights on something fantastic and gave us, in 1976, Wizards. I’ve been waiting for this film to be restored, cleaned up, and released on Blu-ray given its visual artistry and fun story. Finally, 20th Century Home Entertainment has released it for the film’s 35th Anniversary and they’ve given it a handsome treatment. Encased in a hardcover case with a 24-page booklet, the Blu-ray is striking to watch.
After that, he set his sights on something fantastic and gave us, in 1976, Wizards. I’ve been waiting for this film to be restored, cleaned up, and released on Blu-ray given its visual artistry and fun story. Finally, 20th Century Home Entertainment has released it for the film’s 35th Anniversary and they’ve given it a handsome treatment. Encased in a hardcover case with a 24-page booklet, the Blu-ray is striking to watch.
- 3/21/2012
- by Robert Greenberger
- Comicmix.com
Hitting movie theaters this weekend:
The Green Lantern – Ryan Reynolds, Blake Lively, Peter Sarsgaard
Mr. Popper’s Penguins – Jim Carrey, Carla Gugino, Angela Lansbury
Movie of the Week
The Green Lantern
The Stars: Ryan Reynolds, Blake Lively, Peter Sarsgaard
The Plot: A test pilot (Reynolds) is granted a mystical green ring that bestows him with otherworldly powers, as well as membership into an intergalactic squadron tasked with keeping peace within the universe.
The Buzz: Just slightly to the right of the “kill me now” column (see Mr. Popper’s Penguins) lies DC’s feeble attempt to answer Marvel’s mighty Thor. I am stupefied at how nerdy Reynolds looks throughout all of The Green Lantern’s marketing efforts. I can’t get over it really, and I’ve never really enjoyed Reynolds at all. Blake Lively is lovely and Peter Sarsgaard is a solid heavyweight, but I just don’t...
The Green Lantern – Ryan Reynolds, Blake Lively, Peter Sarsgaard
Mr. Popper’s Penguins – Jim Carrey, Carla Gugino, Angela Lansbury
Movie of the Week
The Green Lantern
The Stars: Ryan Reynolds, Blake Lively, Peter Sarsgaard
The Plot: A test pilot (Reynolds) is granted a mystical green ring that bestows him with otherworldly powers, as well as membership into an intergalactic squadron tasked with keeping peace within the universe.
The Buzz: Just slightly to the right of the “kill me now” column (see Mr. Popper’s Penguins) lies DC’s feeble attempt to answer Marvel’s mighty Thor. I am stupefied at how nerdy Reynolds looks throughout all of The Green Lantern’s marketing efforts. I can’t get over it really, and I’ve never really enjoyed Reynolds at all. Blake Lively is lovely and Peter Sarsgaard is a solid heavyweight, but I just don’t...
- 6/15/2011
- by Aaron Ruffcorn
- The Scorecard Review
Welcome to The Ultimate Silver Screen Mixtape, a collection of many all time best musical moments in cinema. Before we get into the thick of it, let me lay down a little bit of background and ground rules. This feature was inspired by one Martin Scorsese, who’s use of particularly choiced soundtrack cuts has led to some of the most indelible scenes in film history. That’s another way of saying that the conventional soundtrack is out for this listing – no disrespect to the masters of movie music.
I’m sure many of you will recognize several of my picks as obvious – and many have received lengthy coverage in the past. What I’m striving for here is an overhaul of moments that are elevated, punctuated or immortalized by the soundtrack. That said; let’s jump right in!
I thought it fitting to start off with one of Scorsese...
I’m sure many of you will recognize several of my picks as obvious – and many have received lengthy coverage in the past. What I’m striving for here is an overhaul of moments that are elevated, punctuated or immortalized by the soundtrack. That said; let’s jump right in!
I thought it fitting to start off with one of Scorsese...
- 5/14/2011
- by Mark Zhuravsky
- Obsessed with Film
If you have Netflix and are a horror fan in need of something to watch this Labor Day weekend, one look at this gargantuan list I compiled of the new terror titles Netflix has added for instant streaming in just the first three days of this month should keep you busy until Labor Day next year. You'll find something for everyone, from older titles to recent releases, famous to obscure, classic to not-so-classic, monsters to maniacs - you name it.
For the record, I considered compiling this list in alphabetical order or by year of the film's release, but then I realized I had already spent well over an hour just sorting through the massive catalogue of titles Netflix has now made available for instant streaming and realized Labor Day would be over by the time I finished arranging this list in any kind of order. Ready? Here you go.
For the record, I considered compiling this list in alphabetical order or by year of the film's release, but then I realized I had already spent well over an hour just sorting through the massive catalogue of titles Netflix has now made available for instant streaming and realized Labor Day would be over by the time I finished arranging this list in any kind of order. Ready? Here you go.
- 9/3/2010
- by Foywonder
- DreadCentral.com
Starring: Harvey Keitel, Robert De Niro, David Proval, Amy Robinson, Richard Romanus, Cesare Danova
Directed by: Martin Scorsese
“It’s all bullshit except the pain. The pain of hell. The burn from a lighted match increased a million times. Infinite. Now, ya don’t fuck around with the infinite. There’s no way you do that. The pain in hell has two sides. The kind you can touch with your hand; the kind you can feel in your heart… your soul, the spiritual side. And ya know…...
(more...)...
Directed by: Martin Scorsese
“It’s all bullshit except the pain. The pain of hell. The burn from a lighted match increased a million times. Infinite. Now, ya don’t fuck around with the infinite. There’s no way you do that. The pain in hell has two sides. The kind you can touch with your hand; the kind you can feel in your heart… your soul, the spiritual side. And ya know…...
(more...)...
- 9/6/2008
- by John
- ReelSuave.com
NEW YORK -- A Filipino variation on such Hollywood films about noble teachers as "To Sir, With Love", "Dead Poets' Society" and "Voices From the Heart", this unassuming feature by independent director Gil M. Portes is unfamiliar and exotic only in its setting and language.
But the film manages to recycle its cliches in an appealing fashion, and this tale of a young schoolteacher trying to rally her students by entering them in a singing competition is ultimately a low-key charmer. "Small Voices" is the official Philippine submission to the 2003 Academy Awards and Golden Globes.
it turns out that the family doesn't have enough money for two uniforms.
In an effort to motivate her charges, Melinda enlists them in a regional singing contest, despite general opposition from both her co-workers and the parents. Needless to say, everyone eventually rallies to the cause, with the children ultimately discovering their self-worth through the competition.
Despite its inherent predictability, the film nonetheless succeeds in its modest aims, thanks in large part to the director's fresh approach to his timeworn themes and to de Rossi's engaging performance as the committed teacher. Unlike many of its inspirations, "Small Voices" also manages to inject some social commentary into the proceedings, with the result that it displays intelligence as well as schmaltz. ere.
Noiret is a highly credible as the lovable rogue Rene. He shuffles and shambles through the action scenes, throwing in the odd wry comment where needed. L'Hermitte is excellent as the uptight Francois, who seems lost without his inscrutable partner of years gone by.the end of World War II, a young girl named Neera (Biana G. Tamimi) gets separated from her caravan when it is set upon by raiders. (Who these raiders are and what happens to the rest of the caravan are never explained.) The same raiding party then goes after a mare and her newborn colt. The colt escapes and is discovered wandering alone in the desert by Neera.
She names the horse Shetan, and without too much difficulty the two "orphans" somehow find their way to the casbah of Neera's grandfather (Richard Romanus). How do they find their way? What do they eat? How is Neera able to make a fire? The filmmakers show no interest in the story of their survival.
Once Neera reaches her grandfather's place, Shetan runs off only to return a year later as a magnificent stallion. Without even a moment to break in the stallion, Neera simply climbs on Shetan's back and gallops off. Within a matter of minutes and against her grandfather's wishes, she enters Shetan into a desert horse race against several powerful mares that furnishes the movie's climax.
As one can see from this synopsis, characters and story are woefully thin. Even the villains (Gerard Rudolf, Ali Al Ameri) do little more than furrow their brows. The movie exists for its splendid vistas and the final horse race. These elements do justify "Stallion", but if the Mouse wants to pursue Imax features, much more dramatic meat will have to go into the storytelling.
Young Tamini, who has ridden horses virtually all her life, makes a credible heroine even though little is asked of her as an actress. The other actors are stranded by the weak dramatic material.
Production designer Paul Peters and costume designer Jo Katsaras give the film a Moroccan feel. William Ross' score also is a plus, though it contains more than a hint of Maurice Jarre's musical themes from "Lawrence of Arabia".
THE YOUNG BLACK STALLION
Buena Vista Pictures
Walt Disney Pictures
Credits:
Director: Simon Wincer
Screenwriter: Jeanne Rosenberg
Based on the book by: Walter Farley and Steven Farley
Producers: Fred Roos, Frank Marshall
Executive producers: Jeanne Rosenberg, Kathleen Kennedy
Director of photography: Reed Smoot
Production designer: Paul Peters
Music: William Ross
Costume designer: Jo Katsaras
Editors: Bud Smith, Terry Blythe
Cast:
Neera: Biana G. Tamimi
Ben Ishak: Richard Romanus
Aden: Patrick Elyas
Rhamon: Gerard Rudolf
Mansoor: Ali Al Ameri
Kadir: Andries Rossouw
MPAA rating: G
Running time -- 51 minutesG-13>Emma: Dina Waters
Michael: Marc John Jefferies
Megan: Aree Davis
Running time -- 88 minutes
MPAA rating: PG...
But the film manages to recycle its cliches in an appealing fashion, and this tale of a young schoolteacher trying to rally her students by entering them in a singing competition is ultimately a low-key charmer. "Small Voices" is the official Philippine submission to the 2003 Academy Awards and Golden Globes.
it turns out that the family doesn't have enough money for two uniforms.
In an effort to motivate her charges, Melinda enlists them in a regional singing contest, despite general opposition from both her co-workers and the parents. Needless to say, everyone eventually rallies to the cause, with the children ultimately discovering their self-worth through the competition.
Despite its inherent predictability, the film nonetheless succeeds in its modest aims, thanks in large part to the director's fresh approach to his timeworn themes and to de Rossi's engaging performance as the committed teacher. Unlike many of its inspirations, "Small Voices" also manages to inject some social commentary into the proceedings, with the result that it displays intelligence as well as schmaltz. ere.
Noiret is a highly credible as the lovable rogue Rene. He shuffles and shambles through the action scenes, throwing in the odd wry comment where needed. L'Hermitte is excellent as the uptight Francois, who seems lost without his inscrutable partner of years gone by.the end of World War II, a young girl named Neera (Biana G. Tamimi) gets separated from her caravan when it is set upon by raiders. (Who these raiders are and what happens to the rest of the caravan are never explained.) The same raiding party then goes after a mare and her newborn colt. The colt escapes and is discovered wandering alone in the desert by Neera.
She names the horse Shetan, and without too much difficulty the two "orphans" somehow find their way to the casbah of Neera's grandfather (Richard Romanus). How do they find their way? What do they eat? How is Neera able to make a fire? The filmmakers show no interest in the story of their survival.
Once Neera reaches her grandfather's place, Shetan runs off only to return a year later as a magnificent stallion. Without even a moment to break in the stallion, Neera simply climbs on Shetan's back and gallops off. Within a matter of minutes and against her grandfather's wishes, she enters Shetan into a desert horse race against several powerful mares that furnishes the movie's climax.
As one can see from this synopsis, characters and story are woefully thin. Even the villains (Gerard Rudolf, Ali Al Ameri) do little more than furrow their brows. The movie exists for its splendid vistas and the final horse race. These elements do justify "Stallion", but if the Mouse wants to pursue Imax features, much more dramatic meat will have to go into the storytelling.
Young Tamini, who has ridden horses virtually all her life, makes a credible heroine even though little is asked of her as an actress. The other actors are stranded by the weak dramatic material.
Production designer Paul Peters and costume designer Jo Katsaras give the film a Moroccan feel. William Ross' score also is a plus, though it contains more than a hint of Maurice Jarre's musical themes from "Lawrence of Arabia".
THE YOUNG BLACK STALLION
Buena Vista Pictures
Walt Disney Pictures
Credits:
Director: Simon Wincer
Screenwriter: Jeanne Rosenberg
Based on the book by: Walter Farley and Steven Farley
Producers: Fred Roos, Frank Marshall
Executive producers: Jeanne Rosenberg, Kathleen Kennedy
Director of photography: Reed Smoot
Production designer: Paul Peters
Music: William Ross
Costume designer: Jo Katsaras
Editors: Bud Smith, Terry Blythe
Cast:
Neera: Biana G. Tamimi
Ben Ishak: Richard Romanus
Aden: Patrick Elyas
Rhamon: Gerard Rudolf
Mansoor: Ali Al Ameri
Kadir: Andries Rossouw
MPAA rating: G
Running time -- 51 minutesG-13>Emma: Dina Waters
Michael: Marc John Jefferies
Megan: Aree Davis
Running time -- 88 minutes
MPAA rating: PG...
Gaumont Buena Vista International
PARIS -- "Les Ripoux3" is the latest in a series of films that director Claude Zidi began shooting back in the early 1980s. The first two films were a great success in France, but it's difficult to see how this one, which amounts to an old-fashioned cop film, will appeal to anyone other than hard-core fans.
Philippe Noiret picks up his role as Rene Boirond, a corrupt, retired police officer who spends his days betting on horses and avoiding creditors. His former partner Francois (Thierry Lhermitte)' has been promoted to head of the anti-crime squad in Paris. The two ex-colleagues have not seen each other for years until Rene becomes involved with the Chinese mafia under surveillance by Francois' squad. The two are now on opposite sides of the fence, and Francois must choose between helping his old friend out of a tight spot or remaining on the right side of the law.
What starts as a simple story is muddied by a string of subplots and secondary characters. Mistaken identity, a long-lost daughter and a drawn-out bank heist stretch the action too thinly. The main characters never have the chance to dig into their roles as the film flicks from one scene to another. This is a real loss as the relationship between Rene and Francois is the true heart of the film. Instead, the plot laboriously twists and turns, and the comedy wrung from the first two movies is sadly lacking here.
Noiret is a highly credible as the lovable rogue Rene. He shuffles and shambles through the action scenes, throwing in the odd wry comment where needed. L'Hermitte is excellent as the uptight Francois, who seems lost without his inscrutable partner of years gone by.the end of World War II, a young girl named Neera (Biana G. Tamimi) gets separated from her caravan when it is set upon by raiders. (Who these raiders are and what happens to the rest of the caravan are never explained.) The same raiding party then goes after a mare and her newborn colt. The colt escapes and is discovered wandering alone in the desert by Neera.
She names the horse Shetan, and without too much difficulty the two "orphans" somehow find their way to the casbah of Neera's grandfather (Richard Romanus). How do they find their way? What do they eat? How is Neera able to make a fire? The filmmakers show no interest in the story of their survival.
Once Neera reaches her grandfather's place, Shetan runs off only to return a year later as a magnificent stallion. Without even a moment to break in the stallion, Neera simply climbs on Shetan's back and gallops off. Within a matter of minutes and against her grandfather's wishes, she enters Shetan into a desert horse race against several powerful mares that furnishes the movie's climax.
As one can see from this synopsis, characters and story are woefully thin. Even the villains (Gerard Rudolf, Ali Al Ameri) do little more than furrow their brows. The movie exists for its splendid vistas and the final horse race. These elements do justify "Stallion", but if the Mouse wants to pursue Imax features, much more dramatic meat will have to go into the storytelling.
Young Tamini, who has ridden horses virtually all her life, makes a credible heroine even though little is asked of her as an actress. The other actors are stranded by the weak dramatic material.
Production designer Paul Peters and costume designer Jo Katsaras give the film a Moroccan feel. William Ross' score also is a plus, though it contains more than a hint of Maurice Jarre's musical themes from "Lawrence of Arabia".
THE YOUNG BLACK STALLION
Buena Vista Pictures
Walt Disney Pictures
Credits:
Director: Simon Wincer
Screenwriter: Jeanne Rosenberg
Based on the book by: Walter Farley and Steven Farley
Producers: Fred Roos, Frank Marshall
Executive producers: Jeanne Rosenberg, Kathleen Kennedy
Director of photography: Reed Smoot
Production designer: Paul Peters
Music: William Ross
Costume designer: Jo Katsaras
Editors: Bud Smith, Terry Blythe
Cast:
Neera: Biana G. Tamimi
Ben Ishak: Richard Romanus
Aden: Patrick Elyas
Rhamon: Gerard Rudolf
Mansoor: Ali Al Ameri
Kadir: Andries Rossouw
MPAA rating: G
Running time -- 51 minutesG-13>Emma: Dina Waters
Michael: Marc John Jefferies
Megan: Aree Davis
Running time -- 88 minutes
MPAA rating: PG...
PARIS -- "Les Ripoux3" is the latest in a series of films that director Claude Zidi began shooting back in the early 1980s. The first two films were a great success in France, but it's difficult to see how this one, which amounts to an old-fashioned cop film, will appeal to anyone other than hard-core fans.
Philippe Noiret picks up his role as Rene Boirond, a corrupt, retired police officer who spends his days betting on horses and avoiding creditors. His former partner Francois (Thierry Lhermitte)' has been promoted to head of the anti-crime squad in Paris. The two ex-colleagues have not seen each other for years until Rene becomes involved with the Chinese mafia under surveillance by Francois' squad. The two are now on opposite sides of the fence, and Francois must choose between helping his old friend out of a tight spot or remaining on the right side of the law.
What starts as a simple story is muddied by a string of subplots and secondary characters. Mistaken identity, a long-lost daughter and a drawn-out bank heist stretch the action too thinly. The main characters never have the chance to dig into their roles as the film flicks from one scene to another. This is a real loss as the relationship between Rene and Francois is the true heart of the film. Instead, the plot laboriously twists and turns, and the comedy wrung from the first two movies is sadly lacking here.
Noiret is a highly credible as the lovable rogue Rene. He shuffles and shambles through the action scenes, throwing in the odd wry comment where needed. L'Hermitte is excellent as the uptight Francois, who seems lost without his inscrutable partner of years gone by.the end of World War II, a young girl named Neera (Biana G. Tamimi) gets separated from her caravan when it is set upon by raiders. (Who these raiders are and what happens to the rest of the caravan are never explained.) The same raiding party then goes after a mare and her newborn colt. The colt escapes and is discovered wandering alone in the desert by Neera.
She names the horse Shetan, and without too much difficulty the two "orphans" somehow find their way to the casbah of Neera's grandfather (Richard Romanus). How do they find their way? What do they eat? How is Neera able to make a fire? The filmmakers show no interest in the story of their survival.
Once Neera reaches her grandfather's place, Shetan runs off only to return a year later as a magnificent stallion. Without even a moment to break in the stallion, Neera simply climbs on Shetan's back and gallops off. Within a matter of minutes and against her grandfather's wishes, she enters Shetan into a desert horse race against several powerful mares that furnishes the movie's climax.
As one can see from this synopsis, characters and story are woefully thin. Even the villains (Gerard Rudolf, Ali Al Ameri) do little more than furrow their brows. The movie exists for its splendid vistas and the final horse race. These elements do justify "Stallion", but if the Mouse wants to pursue Imax features, much more dramatic meat will have to go into the storytelling.
Young Tamini, who has ridden horses virtually all her life, makes a credible heroine even though little is asked of her as an actress. The other actors are stranded by the weak dramatic material.
Production designer Paul Peters and costume designer Jo Katsaras give the film a Moroccan feel. William Ross' score also is a plus, though it contains more than a hint of Maurice Jarre's musical themes from "Lawrence of Arabia".
THE YOUNG BLACK STALLION
Buena Vista Pictures
Walt Disney Pictures
Credits:
Director: Simon Wincer
Screenwriter: Jeanne Rosenberg
Based on the book by: Walter Farley and Steven Farley
Producers: Fred Roos, Frank Marshall
Executive producers: Jeanne Rosenberg, Kathleen Kennedy
Director of photography: Reed Smoot
Production designer: Paul Peters
Music: William Ross
Costume designer: Jo Katsaras
Editors: Bud Smith, Terry Blythe
Cast:
Neera: Biana G. Tamimi
Ben Ishak: Richard Romanus
Aden: Patrick Elyas
Rhamon: Gerard Rudolf
Mansoor: Ali Al Ameri
Kadir: Andries Rossouw
MPAA rating: G
Running time -- 51 minutesG-13>Emma: Dina Waters
Michael: Marc John Jefferies
Megan: Aree Davis
Running time -- 88 minutes
MPAA rating: PG...
Opens
Thursday, Dec. 25
"The Young Black Stallion" represents the Walt Disney Co.'s first dramatic movie made expressly for Imax's giant screens. While the movie helps advance the case for more large-screen dramatic films, it weighs in at a mere 51 minutes, making it a throwback to the B-movie programrs of the '30s and '40s that usually ran an hour or so. "Stallion" is designed to maximize the visual opportunities for Imax's cameras even as it minimizes the dramatic conflicts that make for a satisfying moviegoing experience.
The project was created by the writer and producer of the 1979 classic film "The Black Stallion", Jeanne Rosenberg and Fred Roos (along with producers Frank Marshall and Kathleen Kennedy), from the final book of Walter Farley's "Black Stallion" series, which told about the horse's days in Arabia as a colt. This was then entrusted to director Simon Wincer, himself no stranger to horse movies, having helmed "Lonesome Dove", "Phar Lap" and "The Lighthorsemen".
Veteran Imax cinematographer Reed Smoot gets the most out of the spectacular African locations along the Namibian Skeleton Coast, the Spitzkoppe and South Africa's Drakensberg mountain range with tracking and helicopter shots that make this very much a motion picture. Sometimes the sheer size of the screen almost defeats the movie's dramatic purpose. In one shot where a young girl must climb an outlook and gaze at the colt in the distance, it takes awhile for a viewer to pick out the two figures in so vast a landscape.
Whatever Farley's original story was -- it was completed by his son Stephen following his death -- not much winds up in this sketchy movie. In North Africa at the end of World War II, a young girl named Neera (Biana G. Tamimi) gets separated from her caravan when it is set upon by raiders. (Who these raiders are and what happens to the rest of the caravan are never explained.) The same raiding party then goes after a mare and her newborn colt. The colt escapes and is discovered wandering alone in the desert by Neera.
She names the horse Shetan, and without too much difficulty the two "orphans" somehow find their way to the casbah of Neera's grandfather (Richard Romanus). How do they find their way? What do they eat? How is Neera able to make a fire? The filmmakers show no interest in the story of their survival.
Once Neera reaches her grandfather's place, Shetan runs off only to return a year later as a magnificent stallion. Without even a moment to break in the stallion, Neera simply climbs on Shetan's back and gallops off. Within a matter of minutes and against her grandfather's wishes, she enters Shetan into a desert horse race against several powerful mares that furnishes the movie's climax.
As one can see from this synopsis, characters and story are woefully thin. Even the villains (Gerard Rudolf, Ali Al Ameri) do little more than furrow their brows. The movie exists for its splendid vistas and the final horse race. These elements do justify "Stallion", but if the Mouse wants to pursue Imax features, much more dramatic meat will have to go into the storytelling.
Young Tamini, who has ridden horses virtually all her life, makes a credible heroine even though little is asked of her as an actress. The other actors are stranded by the weak dramatic material.
Production designer Paul Peters and costume designer Jo Katsaras give the film a Moroccan feel. William Ross' score also is a plus, though it contains more than a hint of Maurice Jarre's musical themes from "Lawrence of Arabia".
THE YOUNG BLACK STALLION
Buena Vista Pictures
Walt Disney Pictures
Credits:
Director: Simon Wincer
Screenwriter: Jeanne Rosenberg
Based on the book by: Walter Farley and Steven Farley
Producers: Fred Roos, Frank Marshall
Executive producers: Jeanne Rosenberg, Kathleen Kennedy
Director of photography: Reed Smoot
Production designer: Paul Peters
Music: William Ross
Costume designer: Jo Katsaras
Editors: Bud Smith, Terry Blythe
Cast:
Neera: Biana G. Tamimi
Ben Ishak: Richard Romanus
Aden: Patrick Elyas
Rhamon: Gerard Rudolf
Mansoor: Ali Al Ameri
Kadir: Andries Rossouw
MPAA rating: G
Running time -- 51 minutesG-13>Emma: Dina Waters
Michael: Marc John Jefferies
Megan: Aree Davis
Running time -- 88 minutes
MPAA rating: PG...
Thursday, Dec. 25
"The Young Black Stallion" represents the Walt Disney Co.'s first dramatic movie made expressly for Imax's giant screens. While the movie helps advance the case for more large-screen dramatic films, it weighs in at a mere 51 minutes, making it a throwback to the B-movie programrs of the '30s and '40s that usually ran an hour or so. "Stallion" is designed to maximize the visual opportunities for Imax's cameras even as it minimizes the dramatic conflicts that make for a satisfying moviegoing experience.
The project was created by the writer and producer of the 1979 classic film "The Black Stallion", Jeanne Rosenberg and Fred Roos (along with producers Frank Marshall and Kathleen Kennedy), from the final book of Walter Farley's "Black Stallion" series, which told about the horse's days in Arabia as a colt. This was then entrusted to director Simon Wincer, himself no stranger to horse movies, having helmed "Lonesome Dove", "Phar Lap" and "The Lighthorsemen".
Veteran Imax cinematographer Reed Smoot gets the most out of the spectacular African locations along the Namibian Skeleton Coast, the Spitzkoppe and South Africa's Drakensberg mountain range with tracking and helicopter shots that make this very much a motion picture. Sometimes the sheer size of the screen almost defeats the movie's dramatic purpose. In one shot where a young girl must climb an outlook and gaze at the colt in the distance, it takes awhile for a viewer to pick out the two figures in so vast a landscape.
Whatever Farley's original story was -- it was completed by his son Stephen following his death -- not much winds up in this sketchy movie. In North Africa at the end of World War II, a young girl named Neera (Biana G. Tamimi) gets separated from her caravan when it is set upon by raiders. (Who these raiders are and what happens to the rest of the caravan are never explained.) The same raiding party then goes after a mare and her newborn colt. The colt escapes and is discovered wandering alone in the desert by Neera.
She names the horse Shetan, and without too much difficulty the two "orphans" somehow find their way to the casbah of Neera's grandfather (Richard Romanus). How do they find their way? What do they eat? How is Neera able to make a fire? The filmmakers show no interest in the story of their survival.
Once Neera reaches her grandfather's place, Shetan runs off only to return a year later as a magnificent stallion. Without even a moment to break in the stallion, Neera simply climbs on Shetan's back and gallops off. Within a matter of minutes and against her grandfather's wishes, she enters Shetan into a desert horse race against several powerful mares that furnishes the movie's climax.
As one can see from this synopsis, characters and story are woefully thin. Even the villains (Gerard Rudolf, Ali Al Ameri) do little more than furrow their brows. The movie exists for its splendid vistas and the final horse race. These elements do justify "Stallion", but if the Mouse wants to pursue Imax features, much more dramatic meat will have to go into the storytelling.
Young Tamini, who has ridden horses virtually all her life, makes a credible heroine even though little is asked of her as an actress. The other actors are stranded by the weak dramatic material.
Production designer Paul Peters and costume designer Jo Katsaras give the film a Moroccan feel. William Ross' score also is a plus, though it contains more than a hint of Maurice Jarre's musical themes from "Lawrence of Arabia".
THE YOUNG BLACK STALLION
Buena Vista Pictures
Walt Disney Pictures
Credits:
Director: Simon Wincer
Screenwriter: Jeanne Rosenberg
Based on the book by: Walter Farley and Steven Farley
Producers: Fred Roos, Frank Marshall
Executive producers: Jeanne Rosenberg, Kathleen Kennedy
Director of photography: Reed Smoot
Production designer: Paul Peters
Music: William Ross
Costume designer: Jo Katsaras
Editors: Bud Smith, Terry Blythe
Cast:
Neera: Biana G. Tamimi
Ben Ishak: Richard Romanus
Aden: Patrick Elyas
Rhamon: Gerard Rudolf
Mansoor: Ali Al Ameri
Kadir: Andries Rossouw
MPAA rating: G
Running time -- 51 minutesG-13>Emma: Dina Waters
Michael: Marc John Jefferies
Megan: Aree Davis
Running time -- 88 minutes
MPAA rating: PG...
NEW YORK -- A Filipino variation on such Hollywood films about noble teachers as "To Sir, With Love", "Dead Poets' Society" and "Voices From the Heart", this unassuming feature by independent director Gil M. Portes is unfamiliar and exotic only in its setting and language.
But the film manages to recycle its cliches in an appealing fashion, and this tale of a young schoolteacher trying to rally her students by entering them in a singing competition is ultimately a low-key charmer. "Small Voices" is the official Philippine submission to the 2003 Academy Awards and Golden Globes.
it turns out that the family doesn't have enough money for two uniforms.
In an effort to motivate her charges, Melinda enlists them in a regional singing contest, despite general opposition from both her co-workers and the parents. Needless to say, everyone eventually rallies to the cause, with the children ultimately discovering their self-worth through the competition.
Despite its inherent predictability, the film nonetheless succeeds in its modest aims, thanks in large part to the director's fresh approach to his timeworn themes and to de Rossi's engaging performance as the committed teacher. Unlike many of its inspirations, "Small Voices" also manages to inject some social commentary into the proceedings, with the result that it displays intelligence as well as schmaltz. ere.
Noiret is a highly credible as the lovable rogue Rene. He shuffles and shambles through the action scenes, throwing in the odd wry comment where needed. L'Hermitte is excellent as the uptight Francois, who seems lost without his inscrutable partner of years gone by.the end of World War II, a young girl named Neera (Biana G. Tamimi) gets separated from her caravan when it is set upon by raiders. (Who these raiders are and what happens to the rest of the caravan are never explained.) The same raiding party then goes after a mare and her newborn colt. The colt escapes and is discovered wandering alone in the desert by Neera.
She names the horse Shetan, and without too much difficulty the two "orphans" somehow find their way to the casbah of Neera's grandfather (Richard Romanus). How do they find their way? What do they eat? How is Neera able to make a fire? The filmmakers show no interest in the story of their survival.
Once Neera reaches her grandfather's place, Shetan runs off only to return a year later as a magnificent stallion. Without even a moment to break in the stallion, Neera simply climbs on Shetan's back and gallops off. Within a matter of minutes and against her grandfather's wishes, she enters Shetan into a desert horse race against several powerful mares that furnishes the movie's climax.
As one can see from this synopsis, characters and story are woefully thin. Even the villains (Gerard Rudolf, Ali Al Ameri) do little more than furrow their brows. The movie exists for its splendid vistas and the final horse race. These elements do justify "Stallion", but if the Mouse wants to pursue Imax features, much more dramatic meat will have to go into the storytelling.
Young Tamini, who has ridden horses virtually all her life, makes a credible heroine even though little is asked of her as an actress. The other actors are stranded by the weak dramatic material.
Production designer Paul Peters and costume designer Jo Katsaras give the film a Moroccan feel. William Ross' score also is a plus, though it contains more than a hint of Maurice Jarre's musical themes from "Lawrence of Arabia".
THE YOUNG BLACK STALLION
Buena Vista Pictures
Walt Disney Pictures
Credits:
Director: Simon Wincer
Screenwriter: Jeanne Rosenberg
Based on the book by: Walter Farley and Steven Farley
Producers: Fred Roos, Frank Marshall
Executive producers: Jeanne Rosenberg, Kathleen Kennedy
Director of photography: Reed Smoot
Production designer: Paul Peters
Music: William Ross
Costume designer: Jo Katsaras
Editors: Bud Smith, Terry Blythe
Cast:
Neera: Biana G. Tamimi
Ben Ishak: Richard Romanus
Aden: Patrick Elyas
Rhamon: Gerard Rudolf
Mansoor: Ali Al Ameri
Kadir: Andries Rossouw
MPAA rating: G
Running time -- 51 minutesG-13>Emma: Dina Waters
Michael: Marc John Jefferies
Megan: Aree Davis
Running time -- 88 minutes
MPAA rating: PG...
But the film manages to recycle its cliches in an appealing fashion, and this tale of a young schoolteacher trying to rally her students by entering them in a singing competition is ultimately a low-key charmer. "Small Voices" is the official Philippine submission to the 2003 Academy Awards and Golden Globes.
it turns out that the family doesn't have enough money for two uniforms.
In an effort to motivate her charges, Melinda enlists them in a regional singing contest, despite general opposition from both her co-workers and the parents. Needless to say, everyone eventually rallies to the cause, with the children ultimately discovering their self-worth through the competition.
Despite its inherent predictability, the film nonetheless succeeds in its modest aims, thanks in large part to the director's fresh approach to his timeworn themes and to de Rossi's engaging performance as the committed teacher. Unlike many of its inspirations, "Small Voices" also manages to inject some social commentary into the proceedings, with the result that it displays intelligence as well as schmaltz. ere.
Noiret is a highly credible as the lovable rogue Rene. He shuffles and shambles through the action scenes, throwing in the odd wry comment where needed. L'Hermitte is excellent as the uptight Francois, who seems lost without his inscrutable partner of years gone by.the end of World War II, a young girl named Neera (Biana G. Tamimi) gets separated from her caravan when it is set upon by raiders. (Who these raiders are and what happens to the rest of the caravan are never explained.) The same raiding party then goes after a mare and her newborn colt. The colt escapes and is discovered wandering alone in the desert by Neera.
She names the horse Shetan, and without too much difficulty the two "orphans" somehow find their way to the casbah of Neera's grandfather (Richard Romanus). How do they find their way? What do they eat? How is Neera able to make a fire? The filmmakers show no interest in the story of their survival.
Once Neera reaches her grandfather's place, Shetan runs off only to return a year later as a magnificent stallion. Without even a moment to break in the stallion, Neera simply climbs on Shetan's back and gallops off. Within a matter of minutes and against her grandfather's wishes, she enters Shetan into a desert horse race against several powerful mares that furnishes the movie's climax.
As one can see from this synopsis, characters and story are woefully thin. Even the villains (Gerard Rudolf, Ali Al Ameri) do little more than furrow their brows. The movie exists for its splendid vistas and the final horse race. These elements do justify "Stallion", but if the Mouse wants to pursue Imax features, much more dramatic meat will have to go into the storytelling.
Young Tamini, who has ridden horses virtually all her life, makes a credible heroine even though little is asked of her as an actress. The other actors are stranded by the weak dramatic material.
Production designer Paul Peters and costume designer Jo Katsaras give the film a Moroccan feel. William Ross' score also is a plus, though it contains more than a hint of Maurice Jarre's musical themes from "Lawrence of Arabia".
THE YOUNG BLACK STALLION
Buena Vista Pictures
Walt Disney Pictures
Credits:
Director: Simon Wincer
Screenwriter: Jeanne Rosenberg
Based on the book by: Walter Farley and Steven Farley
Producers: Fred Roos, Frank Marshall
Executive producers: Jeanne Rosenberg, Kathleen Kennedy
Director of photography: Reed Smoot
Production designer: Paul Peters
Music: William Ross
Costume designer: Jo Katsaras
Editors: Bud Smith, Terry Blythe
Cast:
Neera: Biana G. Tamimi
Ben Ishak: Richard Romanus
Aden: Patrick Elyas
Rhamon: Gerard Rudolf
Mansoor: Ali Al Ameri
Kadir: Andries Rossouw
MPAA rating: G
Running time -- 51 minutesG-13>Emma: Dina Waters
Michael: Marc John Jefferies
Megan: Aree Davis
Running time -- 88 minutes
MPAA rating: PG...
- 12/29/2003
- The Hollywood Reporter - Movie News
Gaumont Buena Vista International
PARIS -- "Les Ripoux3" is the latest in a series of films that director Claude Zidi began shooting back in the early 1980s. The first two films were a great success in France, but it's difficult to see how this one, which amounts to an old-fashioned cop film, will appeal to anyone other than hard-core fans.
Philippe Noiret picks up his role as Rene Boirond, a corrupt, retired police officer who spends his days betting on horses and avoiding creditors. His former partner Francois (Thierry Lhermitte)' has been promoted to head of the anti-crime squad in Paris. The two ex-colleagues have not seen each other for years until Rene becomes involved with the Chinese mafia under surveillance by Francois' squad. The two are now on opposite sides of the fence, and Francois must choose between helping his old friend out of a tight spot or remaining on the right side of the law.
What starts as a simple story is muddied by a string of subplots and secondary characters. Mistaken identity, a long-lost daughter and a drawn-out bank heist stretch the action too thinly. The main characters never have the chance to dig into their roles as the film flicks from one scene to another. This is a real loss as the relationship between Rene and Francois is the true heart of the film. Instead, the plot laboriously twists and turns, and the comedy wrung from the first two movies is sadly lacking here.
Noiret is a highly credible as the lovable rogue Rene. He shuffles and shambles through the action scenes, throwing in the odd wry comment where needed. L'Hermitte is excellent as the uptight Francois, who seems lost without his inscrutable partner of years gone by.the end of World War II, a young girl named Neera (Biana G. Tamimi) gets separated from her caravan when it is set upon by raiders. (Who these raiders are and what happens to the rest of the caravan are never explained.) The same raiding party then goes after a mare and her newborn colt. The colt escapes and is discovered wandering alone in the desert by Neera.
She names the horse Shetan, and without too much difficulty the two "orphans" somehow find their way to the casbah of Neera's grandfather (Richard Romanus). How do they find their way? What do they eat? How is Neera able to make a fire? The filmmakers show no interest in the story of their survival.
Once Neera reaches her grandfather's place, Shetan runs off only to return a year later as a magnificent stallion. Without even a moment to break in the stallion, Neera simply climbs on Shetan's back and gallops off. Within a matter of minutes and against her grandfather's wishes, she enters Shetan into a desert horse race against several powerful mares that furnishes the movie's climax.
As one can see from this synopsis, characters and story are woefully thin. Even the villains (Gerard Rudolf, Ali Al Ameri) do little more than furrow their brows. The movie exists for its splendid vistas and the final horse race. These elements do justify "Stallion", but if the Mouse wants to pursue Imax features, much more dramatic meat will have to go into the storytelling.
Young Tamini, who has ridden horses virtually all her life, makes a credible heroine even though little is asked of her as an actress. The other actors are stranded by the weak dramatic material.
Production designer Paul Peters and costume designer Jo Katsaras give the film a Moroccan feel. William Ross' score also is a plus, though it contains more than a hint of Maurice Jarre's musical themes from "Lawrence of Arabia".
THE YOUNG BLACK STALLION
Buena Vista Pictures
Walt Disney Pictures
Credits:
Director: Simon Wincer
Screenwriter: Jeanne Rosenberg
Based on the book by: Walter Farley and Steven Farley
Producers: Fred Roos, Frank Marshall
Executive producers: Jeanne Rosenberg, Kathleen Kennedy
Director of photography: Reed Smoot
Production designer: Paul Peters
Music: William Ross
Costume designer: Jo Katsaras
Editors: Bud Smith, Terry Blythe
Cast:
Neera: Biana G. Tamimi
Ben Ishak: Richard Romanus
Aden: Patrick Elyas
Rhamon: Gerard Rudolf
Mansoor: Ali Al Ameri
Kadir: Andries Rossouw
MPAA rating: G
Running time -- 51 minutesG-13>Emma: Dina Waters
Michael: Marc John Jefferies
Megan: Aree Davis
Running time -- 88 minutes
MPAA rating: PG...
PARIS -- "Les Ripoux3" is the latest in a series of films that director Claude Zidi began shooting back in the early 1980s. The first two films were a great success in France, but it's difficult to see how this one, which amounts to an old-fashioned cop film, will appeal to anyone other than hard-core fans.
Philippe Noiret picks up his role as Rene Boirond, a corrupt, retired police officer who spends his days betting on horses and avoiding creditors. His former partner Francois (Thierry Lhermitte)' has been promoted to head of the anti-crime squad in Paris. The two ex-colleagues have not seen each other for years until Rene becomes involved with the Chinese mafia under surveillance by Francois' squad. The two are now on opposite sides of the fence, and Francois must choose between helping his old friend out of a tight spot or remaining on the right side of the law.
What starts as a simple story is muddied by a string of subplots and secondary characters. Mistaken identity, a long-lost daughter and a drawn-out bank heist stretch the action too thinly. The main characters never have the chance to dig into their roles as the film flicks from one scene to another. This is a real loss as the relationship between Rene and Francois is the true heart of the film. Instead, the plot laboriously twists and turns, and the comedy wrung from the first two movies is sadly lacking here.
Noiret is a highly credible as the lovable rogue Rene. He shuffles and shambles through the action scenes, throwing in the odd wry comment where needed. L'Hermitte is excellent as the uptight Francois, who seems lost without his inscrutable partner of years gone by.the end of World War II, a young girl named Neera (Biana G. Tamimi) gets separated from her caravan when it is set upon by raiders. (Who these raiders are and what happens to the rest of the caravan are never explained.) The same raiding party then goes after a mare and her newborn colt. The colt escapes and is discovered wandering alone in the desert by Neera.
She names the horse Shetan, and without too much difficulty the two "orphans" somehow find their way to the casbah of Neera's grandfather (Richard Romanus). How do they find their way? What do they eat? How is Neera able to make a fire? The filmmakers show no interest in the story of their survival.
Once Neera reaches her grandfather's place, Shetan runs off only to return a year later as a magnificent stallion. Without even a moment to break in the stallion, Neera simply climbs on Shetan's back and gallops off. Within a matter of minutes and against her grandfather's wishes, she enters Shetan into a desert horse race against several powerful mares that furnishes the movie's climax.
As one can see from this synopsis, characters and story are woefully thin. Even the villains (Gerard Rudolf, Ali Al Ameri) do little more than furrow their brows. The movie exists for its splendid vistas and the final horse race. These elements do justify "Stallion", but if the Mouse wants to pursue Imax features, much more dramatic meat will have to go into the storytelling.
Young Tamini, who has ridden horses virtually all her life, makes a credible heroine even though little is asked of her as an actress. The other actors are stranded by the weak dramatic material.
Production designer Paul Peters and costume designer Jo Katsaras give the film a Moroccan feel. William Ross' score also is a plus, though it contains more than a hint of Maurice Jarre's musical themes from "Lawrence of Arabia".
THE YOUNG BLACK STALLION
Buena Vista Pictures
Walt Disney Pictures
Credits:
Director: Simon Wincer
Screenwriter: Jeanne Rosenberg
Based on the book by: Walter Farley and Steven Farley
Producers: Fred Roos, Frank Marshall
Executive producers: Jeanne Rosenberg, Kathleen Kennedy
Director of photography: Reed Smoot
Production designer: Paul Peters
Music: William Ross
Costume designer: Jo Katsaras
Editors: Bud Smith, Terry Blythe
Cast:
Neera: Biana G. Tamimi
Ben Ishak: Richard Romanus
Aden: Patrick Elyas
Rhamon: Gerard Rudolf
Mansoor: Ali Al Ameri
Kadir: Andries Rossouw
MPAA rating: G
Running time -- 51 minutesG-13>Emma: Dina Waters
Michael: Marc John Jefferies
Megan: Aree Davis
Running time -- 88 minutes
MPAA rating: PG...
- 12/29/2003
- The Hollywood Reporter - Movie News
Opens
Thursday, Dec. 25
"The Young Black Stallion" represents the Walt Disney Co.'s first dramatic movie made expressly for Imax's giant screens. While the movie helps advance the case for more large-screen dramatic films, it weighs in at a mere 51 minutes, making it a throwback to the B-movie programrs of the '30s and '40s that usually ran an hour or so. "Stallion" is designed to maximize the visual opportunities for Imax's cameras even as it minimizes the dramatic conflicts that make for a satisfying moviegoing experience.
The project was created by the writer and producer of the 1979 classic film "The Black Stallion", Jeanne Rosenberg and Fred Roos (along with producers Frank Marshall and Kathleen Kennedy), from the final book of Walter Farley's "Black Stallion" series, which told about the horse's days in Arabia as a colt. This was then entrusted to director Simon Wincer, himself no stranger to horse movies, having helmed "Lonesome Dove", "Phar Lap" and "The Lighthorsemen".
Veteran Imax cinematographer Reed Smoot gets the most out of the spectacular African locations along the Namibian Skeleton Coast, the Spitzkoppe and South Africa's Drakensberg mountain range with tracking and helicopter shots that make this very much a motion picture. Sometimes the sheer size of the screen almost defeats the movie's dramatic purpose. In one shot where a young girl must climb an outlook and gaze at the colt in the distance, it takes awhile for a viewer to pick out the two figures in so vast a landscape.
Whatever Farley's original story was -- it was completed by his son Stephen following his death -- not much winds up in this sketchy movie. In North Africa at the end of World War II, a young girl named Neera (Biana G. Tamimi) gets separated from her caravan when it is set upon by raiders. (Who these raiders are and what happens to the rest of the caravan are never explained.) The same raiding party then goes after a mare and her newborn colt. The colt escapes and is discovered wandering alone in the desert by Neera.
She names the horse Shetan, and without too much difficulty the two "orphans" somehow find their way to the casbah of Neera's grandfather (Richard Romanus). How do they find their way? What do they eat? How is Neera able to make a fire? The filmmakers show no interest in the story of their survival.
Once Neera reaches her grandfather's place, Shetan runs off only to return a year later as a magnificent stallion. Without even a moment to break in the stallion, Neera simply climbs on Shetan's back and gallops off. Within a matter of minutes and against her grandfather's wishes, she enters Shetan into a desert horse race against several powerful mares that furnishes the movie's climax.
As one can see from this synopsis, characters and story are woefully thin. Even the villains (Gerard Rudolf, Ali Al Ameri) do little more than furrow their brows. The movie exists for its splendid vistas and the final horse race. These elements do justify "Stallion", but if the Mouse wants to pursue Imax features, much more dramatic meat will have to go into the storytelling.
Young Tamini, who has ridden horses virtually all her life, makes a credible heroine even though little is asked of her as an actress. The other actors are stranded by the weak dramatic material.
Production designer Paul Peters and costume designer Jo Katsaras give the film a Moroccan feel. William Ross' score also is a plus, though it contains more than a hint of Maurice Jarre's musical themes from "Lawrence of Arabia".
THE YOUNG BLACK STALLION
Buena Vista Pictures
Walt Disney Pictures
Credits:
Director: Simon Wincer
Screenwriter: Jeanne Rosenberg
Based on the book by: Walter Farley and Steven Farley
Producers: Fred Roos, Frank Marshall
Executive producers: Jeanne Rosenberg, Kathleen Kennedy
Director of photography: Reed Smoot
Production designer: Paul Peters
Music: William Ross
Costume designer: Jo Katsaras
Editors: Bud Smith, Terry Blythe
Cast:
Neera: Biana G. Tamimi
Ben Ishak: Richard Romanus
Aden: Patrick Elyas
Rhamon: Gerard Rudolf
Mansoor: Ali Al Ameri
Kadir: Andries Rossouw
MPAA rating: G
Running time -- 51 minutesG-13>Emma: Dina Waters
Michael: Marc John Jefferies
Megan: Aree Davis
Running time -- 88 minutes
MPAA rating: PG...
Thursday, Dec. 25
"The Young Black Stallion" represents the Walt Disney Co.'s first dramatic movie made expressly for Imax's giant screens. While the movie helps advance the case for more large-screen dramatic films, it weighs in at a mere 51 minutes, making it a throwback to the B-movie programrs of the '30s and '40s that usually ran an hour or so. "Stallion" is designed to maximize the visual opportunities for Imax's cameras even as it minimizes the dramatic conflicts that make for a satisfying moviegoing experience.
The project was created by the writer and producer of the 1979 classic film "The Black Stallion", Jeanne Rosenberg and Fred Roos (along with producers Frank Marshall and Kathleen Kennedy), from the final book of Walter Farley's "Black Stallion" series, which told about the horse's days in Arabia as a colt. This was then entrusted to director Simon Wincer, himself no stranger to horse movies, having helmed "Lonesome Dove", "Phar Lap" and "The Lighthorsemen".
Veteran Imax cinematographer Reed Smoot gets the most out of the spectacular African locations along the Namibian Skeleton Coast, the Spitzkoppe and South Africa's Drakensberg mountain range with tracking and helicopter shots that make this very much a motion picture. Sometimes the sheer size of the screen almost defeats the movie's dramatic purpose. In one shot where a young girl must climb an outlook and gaze at the colt in the distance, it takes awhile for a viewer to pick out the two figures in so vast a landscape.
Whatever Farley's original story was -- it was completed by his son Stephen following his death -- not much winds up in this sketchy movie. In North Africa at the end of World War II, a young girl named Neera (Biana G. Tamimi) gets separated from her caravan when it is set upon by raiders. (Who these raiders are and what happens to the rest of the caravan are never explained.) The same raiding party then goes after a mare and her newborn colt. The colt escapes and is discovered wandering alone in the desert by Neera.
She names the horse Shetan, and without too much difficulty the two "orphans" somehow find their way to the casbah of Neera's grandfather (Richard Romanus). How do they find their way? What do they eat? How is Neera able to make a fire? The filmmakers show no interest in the story of their survival.
Once Neera reaches her grandfather's place, Shetan runs off only to return a year later as a magnificent stallion. Without even a moment to break in the stallion, Neera simply climbs on Shetan's back and gallops off. Within a matter of minutes and against her grandfather's wishes, she enters Shetan into a desert horse race against several powerful mares that furnishes the movie's climax.
As one can see from this synopsis, characters and story are woefully thin. Even the villains (Gerard Rudolf, Ali Al Ameri) do little more than furrow their brows. The movie exists for its splendid vistas and the final horse race. These elements do justify "Stallion", but if the Mouse wants to pursue Imax features, much more dramatic meat will have to go into the storytelling.
Young Tamini, who has ridden horses virtually all her life, makes a credible heroine even though little is asked of her as an actress. The other actors are stranded by the weak dramatic material.
Production designer Paul Peters and costume designer Jo Katsaras give the film a Moroccan feel. William Ross' score also is a plus, though it contains more than a hint of Maurice Jarre's musical themes from "Lawrence of Arabia".
THE YOUNG BLACK STALLION
Buena Vista Pictures
Walt Disney Pictures
Credits:
Director: Simon Wincer
Screenwriter: Jeanne Rosenberg
Based on the book by: Walter Farley and Steven Farley
Producers: Fred Roos, Frank Marshall
Executive producers: Jeanne Rosenberg, Kathleen Kennedy
Director of photography: Reed Smoot
Production designer: Paul Peters
Music: William Ross
Costume designer: Jo Katsaras
Editors: Bud Smith, Terry Blythe
Cast:
Neera: Biana G. Tamimi
Ben Ishak: Richard Romanus
Aden: Patrick Elyas
Rhamon: Gerard Rudolf
Mansoor: Ali Al Ameri
Kadir: Andries Rossouw
MPAA rating: G
Running time -- 51 minutesG-13>Emma: Dina Waters
Michael: Marc John Jefferies
Megan: Aree Davis
Running time -- 88 minutes
MPAA rating: PG...
- 12/24/2003
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.