A truly enjoy of film in our blog

Movie: Carnage (2011)
Release Date: 25 November 2011 (USA)
Directors: Roman Polanski
Writers: Roman Polanski (screenplay), Yasmina Reza
Genres: Comedy | Drama
For those that enjoy films that give us glimpses into people’s lives and let us be passersby to their experiences, then Carnage is an absorbing feature. Liking this film doesn’t make one snooty at all, some of us just don’t always require direct plot nor overwhelmingly “beautiful” people to be entertained. Like the brilliant 2001 film Bug, it connects different people to one incident, and how their lives interconnect even if they don’t realize it’s happened. Watch Carnage Movie Online
In this case, it’s the death of a bull after a bullfight. The bull is butchered and the different parts go out to people in different European countries. That part is really incidental, as the main concern is how these folks’ lives interconnect and lives are lost, saved, secrets revealed, and friendships made. I confess I was slightly confused by some of the conversations and revelations, but that did not wreck the experience for me, it just meant I had to go back and view it again at some point to absorb the story better.
The actors in Carnage were quite refreshing to see, they seemed like real people instead of pristine mega-stars. I must disagree strongly with a reviewer here who kept insisting, for instance, that the naked people in the primal scream therapy scenes were all fat and not ones you’d want to see naked. Take a closer look at that scene, buddy. Different shapes and sizes. Look around you and you’ll see 99% of people are not beautiful models, and to just have naked beautiful models in the pool would have made the entire scene unbelievable. These were intended to be REAL people, and frankly it’s real people that I find to be more attractive instead of fit, shaved “hotties!” Beauty is in the eye of the beholder…I’m sure there are plenty who found the folks in the pool just fine — Clovis Cornilla as Alexis and ‘Mr. Beard’ seemed quite masculine indeed, and the women were beautiful each in their own way. Those that criticise how these actors look should take a good look in the mirror at themselves and wake up.
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My only discomfort with Carnage are the scenes of the bullfighting. I abhor any abuse of animals, and seeing the poor bulls being slowly killed to the delight of a crowd upset me. I don’t know for certain if the bullfighting scenes were real in the manner that the bulls were actually harmed, but I have to understand the fact that this was considered a sport in Spain and I try to focus on the stories of the characters’ lives.
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It’s quite alright if you don’t find this film interesting enough. I agree it’s an acquired taste. But hey, if there weren’t all kinds of different films out there this world would be a boring place, and I enjoyed the lives I got to know in the realm of Carnage. It was an unsettling and beautiful place all at once in my eyes…
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The “Golden” chairman of Fox Filmed Entertainment

With thirty years of experience in all audiovisual media, the Greek origin Jim Gianopulos is now among the top executives of the entertainment industry, in media and new technologies. Chairman of the Board and CEO of Fox Filmed Entertainment, Mr. Gianopulos in recent years, oversees all film and television production of Fox studios as well as marketing and worldwide distribution of a wide variety of production at the company.
If there is anyone to doubt about his abilities, let’s read the titles below and which have given him the title of the “Golden man” in Hollywood. From the trilogy of “Star Wars” to the “Titanic” (the most profitable film of all time), the ” Die Hard 4″, “A Night at the Museum”, “The Simpsons: The Movie” ” Borat, ‘The next day, “” The Devil wears Prada »,« Walk the line »,« Minority Report »,« Moulin Rouge» and the series of «X-Men». Under his administration, the digital animation section of the Blue Sky Studios, filmed the “ice age”, while the three-dimensional film “Ice Age 3: Dawn of the Dinosaurs” was the most profitable animated film worldwide, exceeding 870 million dollars in Box Office!
He believes that for one to succeed, there is no great secret, “just hard work among the lucky opportunities and still to remain faithful to the commitments they have, both personal and professional”. “He does not deny that he is interested in issues directly film-related to Greece – which he describes his homeland – and its heritage, however, he clarifies that “to make films in remote locations is always difficult because the economic budget of a film is very appealing especially in the global financial crisis in which we are”.
Months ago, he spoke in Thessaloniki (www.ellines.com) for the entire process of developing a film, while in Athens, he spoke about a subject that he considers a lot, to detect the influence of the Greeks in the development and storytelling of cinema ( a program called “Hellenism and Hollywood,” which seeks our country’s contribution, from the stories of Aristotle as the great directors and actors in Hollywood
. Another “wanna-do” project from Mr. Giannopoulos is a series of documentaries regarding Alexander the Great and his Hellenic origins. In times, where the FYROM government systematically tries to undermine the hellenic nationality of Alexander the Great, this documentary will inform the public on a global scale about the Alexanders true identity, which is Hellenic.Slavs -such are the people of FYROM-populated the northern Macedonia around 7th century ad, thus Alexander the Great was Greek.

TJ’s (Brochu) mother has recently died and he and his father aren’t coping with the trauma very well. TJ gets bullied every day at school while his father (Wilson) lies on the couch in a drunken stupor. TJ randomly becomes acquainted with Hesher (Gordon-Levitt), a socially-retarded, incompetent heavy metal fan who moves into their garage uninvited. Along the way, both TJ and Hesher fall for Nicole (Portman), a strapped-for-cash cashier at the local supermarket.
This is undoubtedly a depressing film. Its palette overflows with beige: TJ has a perma-scowl etched on his face, Nicole constantly moans about her life and Hesher swears a lot. Everybody’s just so angsty. Then again; this would have all been ok had the film not been so pretentious. Hesher has long dirty hair; chain smokes and owns a beat up old van where he blasts metal music as loud as he can.
He also enjoys blowing stuff up for no apparent reason and saying the most inappropriate things at the most inappropriate times. Everything about Hesher seems perfectly calculated to have him seem edgy, from the way he dresses to the things he says right down to his tattoos. He has two really crude tattoos, one on his back and the other on his chest. The former is a giant middle finger while the latter is a stick man blowing his brains out of his head. Do you get just how edgy this guy is? Hesher is a caricature of a 12-year-old’s concept of rebellion that honestly just comes across as kind of loco.
The actors do a good job for the most part but any acting attempts are wrecked by the script. Some of Portman’s lines in particular are mind-bogglingly awful. They just don’t sound like anything a human would say; especially one as awkward as the character that she plays. It’s interesting to see Gordon-Levitt play a character so far out of his comfort zone, and it’s to his credit that Hesher comes across as rather mentally unstable as opposed to solely a mash-up of everything that could possibly be construed as edgy.
A main problem here is that you don’t really have anybody that you can root for. Hesher is thoroughly unlikeable and Nicole just comes across as rather self-absorbed. TJ is the most sympathetic character because his situation is just so terrible; but at the same time there’s something rather repulsive about him. You pity him but that doesn’t mean that you can like him or root for him.
In addition, after setting up a certain tone, the film takes a jarring turn towards the end that results in Hesher and TJ’s dad undergoing character changes that seem very forced and artificial. Luckily, the soundtrack is the film’s saving grace; particularly if you happen to be a metal fan. The snippets of Motorhead and Metallica make it a little bit harder to completely dislike an already very disagreeable main character and by extension, the film itself.

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Now you can watch all your awaited movies at your home with your friends and family members whenever you want to. You don’t have to run to movie halls anymore and spend endlessly to get the entertainment. Huge numbers of site are available today that allow you to watch divx movies free of cost. You can each and every movie online these days at all such sites whether they were few years old or even a decade old. There may be some site where you need to pay some initial amount to watch these free films otherwise maximum of them offer you to watch them for free. You have to get yourself registered with them that take hardly five to ten minutes and after that you are free to watch them anytime you want. Some of the sites are their which allow you watch them for free but if you want to download them then they are chargeable so you can easily decide and make up your mind.
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Between the 1950s and ’70s 150,000 children in the protection of social services were methodically deported to Australia. There many of them underwent appalling abuse at orphanages sponsored by the British Government. This is the subject of Oranges and Sunshine: a title drawn from spurious promises given to the children on their departure. Director Jim Loach’s first film is based on the book by social worker Margaret Humphreys, who discovered and fought to expose this egregious policy during the late ’80s. Encountering resistance from the British government, facing threats from an Australian Catholic charity responsible for the most grievous abuse and under intense psychological pressure from hundreds of victims hoping to be reunited with their families in the UK, Emily Watson’s Margaret labours indefatigably to repair the damage of decades of incomprehensible suffering.
It is an impossible task. Overburdened with vicarious agonies, her work ethic, which was never lethargic, becomes increasingly and neurotically frenzied. There are hints that she may be attempting to assuage her own conscience for separating mothers from their children in her capacity as social worker- the opening scene shows her doing just that- and perhaps overcompensating for the lengthy and frequent absences from her own children as she visits Australia. These psychodynamic connections are not however amply explored. The psychology of charity is extremely interesting and I would have liked to see Margaret’s motives more closely examined; though I understand why the filmmakers may have been reluctant to do so.
Oranges and Sunshine Movie 2011 Watch Online
Humphreys’ story has the features of a riveting narrative, driven by the patterned suspense of a detective drama and shifting gear to whistle-blowing conspiracy yarn. But sensitive to the actuality of the trauma it represents, you can see Oranges and Sunshine trying to foreground the distress of the victims, alongside Margaret’s dauntless work and her emotional overextension.
The pathos of her ceaseless altruism, and the moving gratitude of those she has helped, serves to balance these rightly upsetting accounts. Whether the balance tips too far towards the drama of Margaret’s psychological state is up for question; but the harmony of suffering and compassion is, as ever, irresistibly poignant. Given how gratifying it is to watch the spectacle of anguish answered by compassion, and moreover that the narrative shape of these events is so amenable to entertaining storytelling, the filmmakers here are presented with a problem: just how pleasurable should a movie about real cruelty and distress be? One can sense the predicament as the plot leaps and veers across genres, never quite committing to any. Director Loach and screenwriter Rona Munroe seem to ride the momentum of the crime and conspiracy narratives before pulling back from the brink of these storytelling conventions, anxious not to lose sight of the terrible reality.
There is a moment for example when Margaret summarises the enormity of the crime, apparently for her husband’s sake but really for the audience, uttering gravely: “You’re talking about the organised deportation of children in care…” It’s pure Hollywood in conspiracy/disaster mode. But in the next scene the tension produced by this convention is totally dissipated by refocusing on individual suffering. The result is quite disorienting; and whilst motivated by moral integrity, these choices compromise the formal integrity of the film. Along the same lines, Oranges and Sunshine sometimes makes the mistake of over-telling the story, embroidering it with emotional prompts we just don’t need: e.g. Margaret’s little boy has a nightmare that he couldn’t find his Mum, cueing up our sympathies for those who have. It’s too obvious to be effective, and the facts are quite distressing enough without recourse to this kind of trickery.
A breath-taking performance by Hugo Weaving (Mr. Smith from The Matrix no less) as the damaged but deeply honourable Jack often woke me from these kind of distant formal reflections. There were moments when I’m sure I could follow every twitch of thought and swell of feeling quiver through his tortured expression. The character development of fellow sufferer, Len (David Wenham), is psychologically complex and well used for the emotional pay-out, softening, as he does in his attitude to Margaret, from belligerent hostility to honesty and recognition.
Watson plays Margaret with inexhaustible self-denial and heroic tireless empathy. She is the wilting-eyed Madonna to the world’s miseries, peering timorously but defiantly out of a soul too much open to too much suffering. The self-martyring woman is an archetype that Watson is acquainted with, having made her debut as the pathologically self-abnegating Bess McNeil in Lars Von Trier’s Breaking the Waves; but I’m sorry to say I can’t quite get what she is doing here. Watson’s expression is plastered at moments of emotional intensity. Confronted with unfathomable pain her eyes are fixed, brimming with condescension and aloof, like a nurse whose compassion has been blunted by decades of exposure to pain, or a nursery teacher cooing inanely whilst tending to the grazed knee of a bawling infant.
The mad insensible piousness as Bess McNeil exists here in that slightly deranged look of compassion, though Von Trier’s work of fiction can allow for much more moral ambiguity than Oranges and Sunshine. Her performance is either an incisive critique of altruism, which would seem a rather callous distraction from the central matter of the film; or insincere. Maybe the impassivity is intended to anticipate her psychological deterioration; but if so, it isn’t obviously the case. The social realism characteristic of his award-winning father’s work hasn’t quite descended to Jim’s first outing, which features this strangely mannered acting and other examples, an exceptionally misjudged sex scene and a few moments of wince-inducing mawkishness. But make no mistake: it’s extremely difficult to make a civilized movie about real suffering. I did leave the cinema upset, outraged and disturbed; though just ever so slightly by the film itself, in addition to the incidents it depicts. It is however an thought-provoking attempt to engage with the ethical problems of representation. The effort to balance entertainment with moral commitment is to the detriment of both in this moving, heartfelt but uneven debut.