Michael Fassbender and Carey Mulligan give dynamite performances in Shame, a terrific second feature from the British artist Steve McQueen. Fassbender is Brandon, a sex-addicted corporate drone, directing a radioactive stare at random women across the aisle on the New York subway. Mulligan plays Sissy, his sister, who sings for her supper, self-harms for kicks and is surely pointed towards disaster. “We’re not bad people,” Sissy assures her sibling. “We just come from a bad place.”Specifically this place is Manhattan, which McQueen depicts as a hell of sterile offices, anonymous apartments and desperate pick-up joints, though it may conceivably refer to the world at large. Outwardly charming and confident, Brandon is soon exposed as a casualty of a bull-market culture where sex has been traded so heavily, so easily and in so many exotic flavours that the consumer has gorged himself sick. Brandon, for instance, appears to score about once a day but it’s not nearly enough because he’s immediately off to masturbate in the shower. He has a vast porn stash concealed behind his blank cupboard doors and still more buried on the hard-drive at work. “Anals, double-anals,” explains his bemused boss Dave (James Badge Dale), who has been charged with overseeing the investigation. “Cream pies … I don’t even know what that is, exactly.”
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Not that Dave is any kind of angel himself. Brandon’s boss cheerfully neglects his own family in order to hit on passing women and then promptly beds down with Sissy, who has recently landed at her brother’s apartment. Disgusted – and perhaps even excited – by the noise coming through the wall, Brandon escapes for a jog through the nocturnal streets. McQueen traces his huffing, puffing odyssey with one of the most mesmerising extended tracking shots since Touch of Evil.
Shame feels less formal, less rooted in the language of the art installation than McQueen’s previous film, Hunger, and is all the more satisfying for that. This is fluid, jordan high heels , rigorous, serious cinema; the best kind of adult movie. There are glimmers of American Gigolo to its pristine sheen and echoes of Midnight Cowboy to the scratchy, mutual dependence of the damaged duo at the core. For her big showstopper at a downtown nightclub, Sissy takes the stage to croon her way through a haunting, little-girl-lost rendition of New York, New York, slowing the pace and milking the pathos. Brandon sits at the back, his jaw locked, his eyes welling. In the song’s melting, dying fall, he catches a glimpse of the lie behind the tinsel and smells the inevitable death of all her dreams, and maybe his dreams as well.There is a shot early on in Steve McQueen’s Shame, a frame filling close-up on Carey Mulligan as she sings a desperate, melancholic version of Frank Sinatra’s “New York, New York” that is such pure cinema, air jordan heels , albeit in a highly stylized and perhaps melodramatic form, but it gets at truth. Mulligan portrays Sissy, the emotionally need sister to Michael Fassbender’s, intimacy challenged Brandon, and her song, performed in an upscale New York City club is one of only a couple fleeting moments that she gets through to him emotionally. Earlier, for a instant or two, you see Fassbender’s face slightly out of focus with low lighting, the visage of a skull, as if to imply he is a drug addict or dying or dead. Shame is a movie about unfulfillment in a time and age where anything is possible, instant gratification for a buck, at any time during the day, particularly in a city like New York.
Brandon has some sort of successful corporate job, and a solid relationship with his boss, David. Despite David’s established domestic life, a wife and two kids await at home, the two of them cruise the nightclubs with after work. David is all manic and eager to please as he tries to pick up, whereas Brandon is silent, mysterious, cool. Brandon has a lot more success at the bars, leading to a series of one night stands. In the mean time, a steady diet of internet pornography, the occasional stalking of an random attractive woman on a subway train. That scene, actually a pair of scenes which form narrative bookends for the film, is also telling. There is an instant, honest – if that is the right word – attraction between this married woman and Brandon, a glance that recalls Nicole Kidman’s speech about mental infidelity and lust Eyes Wide Shut. This woman flashes her wedding ring as if some kind of ward, and nonplussed, Brandon practically chases her up the platform. She escapes, if only narrowly. A tryst with a co-worker in the film further underscores the tug and push of Brandon’s particular condition, there is a hint that something intimate and real might come out of things, and that shuts him down. It must be terribly confusing for her, after they share a warm and charming evening of food and conversation the night before. The movie flits from the woods and incandescent lighting of street level New York clubs with the press of flesh and life, to Brandon’s stark black and white apartment, trapped and isolated on the umpteenth floor of a glass and steel condo. Displacement is further underscored when Brandon listens to a series of desperate answering machine messages which echo in the cold space.
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Far away from Blanket Strike prison protest and unconventional biopic essayed in Hunger, Shame feels like a significant step up. This may be a case specific to myself, for as much as I admired the disciplined and virtuoso style filmmaking there, the case of Bobby Sands and his commitment to the IRA and its political status remained walled off, perhaps too mannered. Maybe it was the excessive use of low depth macro lenses in that one, or the first act focus on the prison guard. Either way, I admired it a lot, but there was little to grasp for me beyond the visceral. The malaise that affects Brandon has far more ‘ins’ emotionally. Fassbender gives a naked (figuratively and literally) performance that is all big emoting and subtle stillness in service of making a character that is not realistic per se, but quite interesting as multidimensional embodiment of type. He is the ‘ultimate sex addict, ralph lauren polo ,’ an uber-distillation of the themes and ideas that McQueen wants to get up on screen. He is also utterly magnetic and completely convincing. Still the surprise here is Mulligan, whom as Brandon’s sister it is intimated, in a single line of dialogue, that they had a rough childhood (possibly even incestuous.) This line of dialogue is hardly necessary when the emotional and often physical mess of Sissy is in such plain sight. She fucks Brandon’s boss practically right in front of her brother. She begs and pleads for Brandon’s couch to crash on to get her life together. Her proximity to her family, and desperate need for an intimate or emotional cushion to the world, is the crux of the film. These characters and their inability to find some lasting solution to what ails them is a powerful and fitting interrogation of modern western society through a very specific human lens.
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Watch Politics of Love movie Online Free
Politics of Love is a comedy romance inspired by the slew of publicly documented election love stories that sprung up during Obama’s Presidential push. The plot follows the fortunes of a campaign team caught up in a whirlwind of euphoric romances.
Politics makes strange bedfellows, but never stranger than when a month before the 2008 U.S. Presidential election, a beautiful, idealistic local Obama volunteer coordinator reluctantly falls for her Republican counterpart: a , savvy, African American conservative.
Sparks fly, tempers flares, heads turn, and romance blossoms for this mismatched pair of campaigners in the frantic and intoxicating days leading up to Election Day. Can the politics of love conquer all?
A comedy romance inspired by the slew of publicly documented election love stories that sprung up during Obama’s Presidential push. The plot follows the fortunes of a campaign team caught up in a whirlwind of euphoric romances. The world’s hottest election just got much hotter… Politics has never been this … She was swift-boated by -tape! – Politics makes strange bedfellows, but never stranger than when, a month before the 2008 U.S. Presidential election, Kyle Franklin, a , savvy, African American conservative falls for his Democrat counterpart, Aretha Gupta, a beautiful, idealistic local Obama volunteer coordinator. Sparks fly, tempers flares coach handbags outlet , heads turn, and romance blossoms for this mismatched pair of campaigners in the frantic and intoxicating days leading up to Election Day. Can the politics of love conquer all?
POLITICS OF LOVE via Video On Demand (VOD) beginning September 1, 2011. This platform provides film properties with a unique means to capture massive viewing audiences in more than 100 million homes. The film will be in the VOD space for a two week window before heading to DVD on September 20, 2011.
As the U.S. election campaigns get underway, POLITICS OF LOVE is a whimsical reminder of the historic 2008 season in which Barack Obama and John McCain faced off in a heated battle for the hearts and minds of America. Watch Politics of Love Movie Online
Wildly popular Bollywood actress Mallika Sherawat shines as Aretha Gupta, an Indian- American woman returning home to work in her parents’ restaurant after a career disappointment, only to find herself caught up in the fervor of a local Obama campaign. A staunch Democrat, she finds herself falling for handsome campaign manager Kyle Franklin (Brian White, Stomp the Yard, TNT’s Men of a Certain Age) with just as much passion for the election as she does. The catch? He is the leader of the local Republican Party. As she reconciles her beliefs with her heart, the social and cultural debate rages around her and her family.
POLITICS OF LOVE also features the luminous Ruby Dee (American Gangster), and Loretta Devine (Jumping the Broom) as Aretha’s loving and outspoken step-mother and grandmother.
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Politics makes strange bedfellows, but never stranger than when a beautiful Indian-American Obama campaign volunteer reluctantly falls for her Republican counterpart, a , savvy, African- American conservative. Sparks fly, tempers flare, heads turn, and romance blossoms for this mismatched pair of lovers in the frantic and intoxicating days leading up to Election Day. Can the politics of love conquer all?
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In India almost all the states make movies in their own languages. Apart from the Bollywood pictures every state has its own legacy and specific type of telling stories. Though the mainstream movies are popular all over the states of India, different types of movies are made in India due to commercial appeals and innovations of new cinematographic professionalism. In India Telugu film industry is notable for making movies of great varieties and it ranks third when making movies in a calendar year comes to the forefront. Telugu films, generally commercial in style, are released almost every month and in the festive seasons the numbers of release make almost everyone interested in Indian cinema awe struck.
Telugu movies produced and made in the Indian state Andhra Pradesh have gained popularity as Tollywood movies, though some cine crazy people call the films made in West Bengal, particularly at the studios of Tollygunge Tollywood pictures. Anyway, the films of Andhra Pradesh are made in the Telugu language and every year we notice the release of galore of movies. In the earlier period Madras, now Chennai was the central location of producing Telugu movies. But as the craze for Telugu movies became rampant the production of the Telugu pictures was shifted in Andhra Pradesh. Right now when movies of big banners are made the total shooting or partial shooting is scheduled in different notable studios of Tamil Nadu.
The specific cause of taking shots in different studios of Chennai is that the low budget Telugu films can not be shot at foreign locations owing to stipulated budget; hence the multi faceted studios of Tamil Nadu come to this aid. Another special trend of the Telugu movies is that most of the movies where eminent stars are cast release on festive occasions like Dussera, Sankrnthi, Ugadi etc that are always regarded auspicious to the directors and producers of the Telugu movies.
Telugu movies generally depict social stories packed with enough commercial treats. Once upon a time the movies were based on mythology or religious issues but a big shift was noted after independence and Telugu pictures got a momentum catching notes of human emotions. It has also been noted that most of the super hit Telugu movies are remade in other regional languages or totally copied. Though the movies never care for art films or parallel movies they carry on a trend of their own that is absolutely unmatched.
Some personalities like S.P. Balasubramanyam, Dr. Brahmanandam oakley sunglasses outlet , Vijaya Nirmala, Dr. D. Ramanaidu associated with the Telugu movies have the honor to become the part of Guinness World Record for their expertise in respective fields too.
Rise of the Planet of the Apes Movie Download
Cast: James Franco, Freida Pinto, Tom Felton, Brian Cox, John Lithgow Andy Serkis
Director: Rupert Wyatt
Modern day San Francisco and Will Rodman (Franco) is a troubled scientist, working on a cure for Alzheimers disease and using chimps as well as illegally using his father (Lithgow) to see if the ALZ 112 cure works.
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When one of the chimps which is showing signs of growing intelligence thanks to the trials in the lab breaks out and is killed, Rodman discovers she’s protecting a baby – whom Rodman promptly takes home and raises as his own test subject.
Three years later and Caesar the test subject is also showing signs of inherited intelligence and has learned sign language – however, when Caesar attacks a neighbour protecting Rodman’s dad, he’s locked up in a primate sanctuary.
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But it’s not long before Caesar’s plotting a break out from the chimpanarium his human captors have imprisoned him in…
A reboot of the Apes franchise was in no way on my radar after the somewhat messy Tim Burton/ Mark Wahlberg attempt back in 2001 – but quite frankly, this reboot is perhaps one of the best of the series – and one of the best reboots of a flagging franchise I’ve ever witnessed.
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That’s mainly, it has to be said, due to the work done by WETA in creating the chimps and Andy Serkis’ motion capture suit work as the lead Caesar. We’ve now reached an age where digital technology can do pretty much anything and can do it astoundingly well.
While the early digital realisation of the baby chimps is something akin to a Mogwai/Ape cross and a little creaky, when Caesar ages and comes into his own, it’s really an astonishingly good cinematic moment (even if early shots of him careering around a home are unnecessary and feel shoehorned in as if to show off what the tech can do) as the ape rises up and begins to emote. There’s so much feeling conveyed in Caesar’s eyes that you can’t help but connect with the primate and his kin and for that, those involved in this film really do need huge kudos as it’s never easy to get an audience to empathise with digitally created creatures.
Most of the humans are really confined to second fiddle in this to be honest and some pretty unsurprising stereotypes are rolled out as well; the boss of the genetic research company rolls out such clichés as “I run a business – not a petting zoo” and “You make history – and I make money”. Coupled with Tom Felton’s cruel cage master, that side of the story is somewhat predictable, clunky and a little jarring. Plus when you throw in a couple of plot holes – convenient lapses of security aid some of the narrative but will irritate some, there’s clearly some further evolution of the script needed.
That said, director Rupert Wyatt (who did the superb The Escapist) is in need of praise for helming this origin story, which tips a hat to the mythology as well (if you’re an Apes fan, there’s some pretty sly and cool nods to the franchise in the past – look out for them, you won’t be disappointed) but also for helming a terrifically well paced and reined in blockbuster. The final set piece is also to be commended as it breaks some of the conventions of Hollywood blockbusters and dials down the action which actually adds to the tension and suspense of the film.
All in all, Rise of the Planet of the Apes is one of the best blockbusters of the season; it’s a thrilling, emotion filled and intelligent ride which reinvigorates the franchise and has got me salivating for a potential sequel.
Published August 2nd, 2011
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Watch The Autobiography of Nicolae Ceausescu Online free movie
The Autobiography of Nicolae Ceau?escu is a vast methodical fragment, spanning 25 years of Romanian ideological dictatorship. Assembled form thousands of hours of archival footage this 3 hour pseudo-documentary is as impressive as it is mundane to the contextually unaware.
Impeccably maintained newsreel footage mixes with consumer hand-held documentation and protocol congress recordings to create an absorbing narrative of Ceau?escu’s rule. The construction contains no narration of any kind; original audio recordings and the occasional produced audio cue lead the audience through a personal recollection of the titular leader. Watching the footage leads to an understanding of the man unobtainable in historical texts, a manufactured autobiography that shows more pomp than trepidation.
Context is a tough thing to come by without narration. With 25 odd years to cover the film briskly moves through time, our only hints of epoch the occasional foreign administrator or political speech. Newsreels don’t have the privilege of going behind the ceremony very often, the lack of which leaves a loss of political action; the rallies, and parades a show of socialist support lacking in details.
A magnificent accomplishment in terms of editing, the unanimous use of archival footage brings an immediacy missing from other historical document. As recording devices become more prevalent the repository for historical fiction will grow and I can only hope we see more filmmakers with this type of ambition creating new forms of documentary.
The Autobiography of Nicolae Ceau?escu, which had its world premiere at Cannes last month and will be turning up at other film festivals this fall, is an example of what the radical Soviet documentarian Dziga Vertov called a “film object.” Watch The Autobiography of Nicolae Ceausescu Movie Online
Culled from a thousand hours of archival footage and four years in the making, this unconventional documentary assembled by the émigré Romanian film-essayist Andrei Ujic? is a three-hour immersion in a totalitarian leader’s official reality. Ceau?escu’s Romania, the Eastern bloc’s most brutally destructive regime, is remembered for its systematic repression, its failed industrialization, and its pervasive police state–including a disastrous ban on contraception that produced a culture of clandestine abortions and horrific orphanages. None of this appears explicitly in the film. Instead, Ujic? shows Ceau?escu’s public image as fabricated by (and for) the dictator himself during the course of his catastrophic 25-year reign.
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Much of the material was shot without sound–only the speeches included an audio component–and Ujic? shows the footage largely as found, often in the form of unedited rushes, in Romania’s National Film and National Television archives. There’s neither annotation nor voiceover commentary, although the filmmaker does intermittently add naturalistic sound effects–and, at one point, a slyly-chosen pop song, so that a gaggle of fashionable young Romanians can be seen dancing the Twist to the 1965 rockabilly hit “I Fought the Law and the Law Won.”
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