Has anyone else noticed that Kevin Smith
Archive for March, 2003
EMTV is now available online in Radio Format. This week, the hot new DC Band, Netfrit El – Or is live in the studio!!!! Crispin Glover is on the show. We take you behind the Scene of “”Tears of The Sun”” with appearances by Bruce Willis, Antoine Fuca, and more. Hot Game News, we review Bringing Down the House and Willard, and did we mention Netfrit El – Or is in thehouse, performing live!!!???
Since the Windows Media Stream was so annoying and frankly crappy, we decided to create a radio version so that everyone can have access to the show!!!! [url=http://www.eclipsemagazine.com/tvshow/emtv41ab.wma]CLICK HERE TO LISTEN TO THE RADIO SHOW!!![/url]
He’s back; he’s better, and bigger than ever. Harry Potter (Daniel Radcliffe) returns to the silver screen in the second of what promises to be seven outings. Hermione (Emma Watson (II)), Ron (Rupert Grint), Dumbledore (Richard Harris) and the rest of the gang are back on the big screen in “”Harry Potter and The Chamber of Secrets”” the second book in wildly popular JK Rowling’s series of books about an abused boy who discovers he’s a Wizard.
Director, Christopher Columbus has assumed that everyone who walks into a theater to see “”Chamber of Secrets,”” has already seen last year’s wildly successful first film, or has read the books. It’s a fairly good assumption as the books have sold almost 100 million copies worldwide, and the first film is the second highest grossest film of all time. COS doesn’t mess around and forgoes any exposition or character development and jumps right into the meat of the plot. The movie begins with a strange little creature named Dobby (an house-elf) warning Harry that danger awaits him if he attends Hogwarts for his second year. When faced with the possibility of going back to school and danger or being forced to remain a virtual prisoner in at his abusive Aunt and Uncle’s home, he obviously chooses to take his chances at Hogwarts. Dobby does everything in his power to try and keep Harry from attending Hogwarts, including ruining his muggle (non-magic folk) relatives dinner party, to blocking the barrier to platform 9 3/4. One of my main concerns with COS was how Dobby would come across on the big screen, he was easily the most annoying part of the book, and to compare him to Jar Jar Binks is certainly fair, fortunately on the big screen, Dobby looks amazing! The CGI work is brilliantly realized and you just sit there and marvel at how lifelike he truly seemed. Columbus also cut Dobby’s moments down to a tolerable level, he’s on the screen just long enough for you to marvel at the technical accomplishment, but not long enough for him to truly become irritating. Danielle Radcliffe’s acting, while improves as the film progresses, in the early Dobby scenes he was just laughably bad, and seemed to have a real problem with acting to a blue-screen.When the trio finally reaches Hogwarts School of Witchcraft and Wizards, they find themselves facing a multitude of challenges, including a narcissistic, preening, primping, Defense of The Dark Arts Teacher, Gilderoy Lockhart played with great relish and joy by Kenneth Branagh. The scenes with Lockhart and Professor Snape (played by the great Alan Rickman), Rickman’s small facial expressions and ticks were truly classic.In addition to Lockhart, the trio faces a multi-layered mystery that focuses on a mysterious chamber and the monster contained within it; the chamber was built by one of the founders of Hogwarts. It seems one of the founders wanted to “”purify”” the school and rid it of “”mudbloods”” (wizards born to “”muggles””) and keep the school and magical training for “”purebloods.”” When the chamber is opened an unknown creature starts attacking all the muggle board wizards. The film’s dark tone and plot, and really some of the set designs, reminds you of the darker part of our history and the racial bigotry that’s exhibited in the real world, is also at the heart of the battle between the light and dark side in Harry Potter’s world. It’s pretty heady stuff for children to take in. Unfortunately the movie waters down the significance of this from the book. But the message is still pretty powerful on the screen, one of the changes from the book, that makes this crystal clear is when Hermione explains to Harry the significance and meaning of the word “”mudblood.”” Emma Watson brings passion and power to this one brief moment you can feel her pain and empathize with her. At times the film is so dark, that one would wonder why anyone would want to be part of this school or world.While the first Potter film’s slow pacing left a lot to be desired for some, COS goes in the opposite direction and goes into over drive, it doesn’t linger on any scene for more than five minutes, and there’s a major action sequence seemingly every ten minutes. The child leads really seem to be growing into their roles you can believe them as Harry, Ron, and Hermione. It seems like the three have really grown to be close friends off camera and their chemistry shines through on the screen. My only gripe would be with Grint’s facial expression when he was scared, at times seemed a little forced and too fake. Sure, I have my quibbles, and gripes, but the film moves at such a fast pace that it doesn’t give you time to dwell on things that you don’t like, and Columbus actually knew when to end scenes before they went long in the tooth, or you figured out how horrendous the acting was in certain spots. For instance, I thoroughly disliked the woman who played Mrs. Weasley (Julie Walters), I was disappointed in the way “”The Burrow”” looked, and the Flying Anglia didn’t do much for me. Thanks to the quick pacing of the film, these scenes were not on screen long enough for me to really dwell on how much I disliked them. John William’s musical score was just rehashed from last year, but it was actually toned down and blended in with the film. Unlike last year where they beat you over the head with musical cues, Columbus seemed a lot more sure about his direction, vision, and the material this time out to let the images tell the story and set the tone and not the music.I would be remiss if I did not mention the performance of Tom Felton who played the bullying, spoiled, “”neo-nazi like”” Draco Malfoy who everyone suspects as being responsible for opening the Chamber and the late Richard Harris as the kindly old school headmaster, Albus Dumbledore.The movie’s pacing may be a problem for folks who haven’t read the books, as this one forgoes a lot of “”internal”” characterization and goes straight for the action and mystery elements of the book. There were several moments in this film where I said “”WOW!”” out loud; I LOVED Moaning Myrtle, the Whomping Willow, Aragog, The Spiders, Quidditch were all excellently done, and the floo powder at the beginning was amazingly cool!! Everything about COS is just bigger and better than the first film, and is probably the best purely exciting big budget popcorn flick of the year. The film’s 161 minutes just fly by and I only checked my watch once. It’s definitely one of the year’s MUST SEE flicks. Final Grade Areview by Michelle AlexandriaNovember 15, 2002——————————————————————————–DVD REVIEWAfter watching the movie again on DVD, I have to say that HP COS, simply doesn
The fine folks at Disney/Touchstone pictures have given us some DVDs to give away. Instead of doing two separate contests, we’re going to give you guys the opportunity to win a double feature of both “”The Osbourne’s Season One DVD”” (The Uncensored Version!) and the way cool two disc “”Who Framed Roger Rabbit DVD, Vista Print Edition!!!!!!”” To Win read the release below, and follow the instructions.
WHO FRAMED ROGER RABBIT15th Anniversary of Landmark Film Loaded With Fun Bonus Features Newly Restored With Digital Sound, Available March 25 BURBANK, Calif., October 17, 2002 – A milestone of film innovation and the recipient of four Academy Awards,* the live-action/animated film WHO FRAMED ROGER RABBIT gets the lavish treatment it deserves with a deluxe VISTA Series 2-disc DVD set (in both widescreen and full frame formats) and an Exclusive Video Bonus Edition, from Touchstone Home Entertainment on March 25, 2003. Suggested retail price: $29.99 DVD; $19.99 VHS.The VISTA edition of WHO FRAMED ROGER RABBIT has been designed to present this groundbreaking film in the most complete edition possible, with something for every viewer. Created in concert with the filmmakers, the VISTA DVD of WHO FRAMED ROGER RABBIT is presented in 5.1 Dolby Digital Surround Sound with the most pristine digital presentation of the film available. The DVD includes loads of bonus features that go behind the scenes and provides a new look at the movie that broke the rules of live action and animated films.The VISTA DVD of WHO FRAMED ROGER RABBIT includes:DISC ONE: FAMILY FRIENDLYFull-frame version of the filmThree Roger Rabbit Shorts
[b]Lisa Marie Talks About Michael and Nick Cage In Rolling Stone[/b]
Opening up for the first time about her mid-’90s marriage to Michael Jackson, Lisa Marie Presley says she really did love him but still wonders if he was just using her for publicity. In an interview in the upcoming issue of Rolling Stone magazine, she says, ”I can’t tell you what his intentions were, but I can tell you I absolutely fell in love with him and fell into this whole thing which I’m not proud of now.”
Presley, who is promoting her debut album, ”To Whom It May Concern” (due in stores in two weeks), says Jackson befriended her while she was married to her first husband, musician Danny Keough, and showed her a side of himself the public hasn’t seen. ”I was always telling him, ‘People wouldn’t think I was so crazy [for marrying Jackson] if they saw who the hell you really are; that you sit around and you drink and you curse and you’re f—ing funny, and you have a bad mouth and you don’t have that high voice all the time.”
Presley said their two-year marriage included sex ”for a while. And then it became ‘Def Con 2,’ It just got really ugly at the end.” She said she participated in publicity stunts, like the famed smooch at the MTV Video Music Awards, out of a naive desire to protect him from bad publicity. ”I was really in this lioness thing with him — I wanted to protect him. Naive as hell. I never thought for a moment someone like him could actually use me.” The last straw came when Jackson gave an interview to TV Guide claiming that she’d told him Elvis had had a nose job, ”which is absolute bulls—,” she says. (This from the guy who claims he’s had only two nose jobs.) She promptly filed for divorce.
Presley also discussed her brief marriage last year to ”hothead” Nicolas Cage, saying: ”We’re both so dramatic and dynamic that when it was good, it was unbelievably good, and when it was bad, it was just a f—ing bloody nightmare for everybody.” She concludes, ”If you lined up all the men I’ve been with in a row, you’d think that I was completely psychotic.” No word on what Jackson or Cage think of her comments.
[size=medium]Polanski Victim Says Judge Oscar Favorite on Merit[/size]
[i]LOS ANGELES (Reuters) -[/i] The woman at the heart of a 1970s sex scandal that derailed the career of Roman Polanski said she had no “hard feelings” toward the director and that his actions 25 years ago should not color whether he wins an Oscar next month.
Polanski became a surprise front-runner for next month’s Oscars by winning best film and best director with The Pianist at Britain’s Bafta annual film awards Sunday. But Polanski, who fled to France in 1978 as he was about to be sentenced for having sex with a minor, still faces arrest the moment he steps foot in the United States.
In a bylined editorial published Sunday in the Los Angeles Times, Samantha Geimer, the victim of a 25-year-old statutory rape case against Polanski, said that his actions toward her in 1977, while “creepy” and “scarey” at the time should not color whether he wins an Oscar this year or not.
“I don’t really have any hard feelings toward him, or any sympathy, either. He is a stranger to me,” wrote Geimer, who was 13 at the time of the incident but now is a happily married mother of three, living in Hawaii.
“I believe that Mr. Polanski and his film should be honored according to the quality of the work. What he does for a living and how good he is at it have nothing to do with me or what he did to me.”
Polanski, now 69, is now a French citizen and is not expected to return to the United States for the awards ceremony, his Los Angeles-based agent, Jeff Berg, said, because the legal issues surrounding the case are unresolved and he faces arrest the moment he sets foot in the United States.
His film, made in Poland and Germany, garnered a total of seven Oscar nominations and was voted best film at Cannes last spring. It is based on the 1946 memoir of pianist Wladyslaw Szpilman, a Polish Jew who survived Nazi-occupied Warsaw. But Polanski drew heavily on his childhood Holocaust experiences, including his memory of his father telling him, “Walk, don’t run,” as he escaped a roundup of Jews sent to Auschwitz.
Polanski, who first made his mark on Hollywood with “Rosemary’s Baby and “Chinatown,” has also earned a measure of sympathy in Tinseltown for having lived through several personal tragedies. In addition to his traumatic childhood, his pregnant wife, 26-year-old Sharon Tate, was murdered in 1969 by followers of Charles Manson.
In her article, Geimer fell short of excusing Polanski’s actions but seemed sympathetic as she described the incident for which he pleaded guilty 25 years ago. She said it occurred after Polanski set up a photo shoot of her for a magazine at the Hollywood home of actor Jack Nicholson. Polanski gave her champagne and a quaalude and “took advantage of me.”
“It was not consensual sex by any means. I said no, repeatedly, but he wouldn’t take no for an answer. I was alone and I didn’t know what to do. It was scarey and, looking back, very creepy,” she wrote.
Polanski pleaded guilty, a plea bargain was agreed to by attorneys for both parties, as well as the Los Angeles district attorney. But at the last minute, she said, the judge refused to honor the deal. Worried that he would have to spend 50 years in prison, Polanski fled to France.
“I know there is a price to pay for running. But who wouldn’t think about running when facing a 50-year sentence from a judge who was clearly more interested in his own reputation than a fair judgment or even the well-being of the victim? … Sometimes I feel like we both got a life sentence,” Geimer wrote, referring to years of media attention she has faced since the incident.
I don’t want the forums to get cluttered with every little Oscar Tidbit or bit of gossip. So anything Oscar related please post it here. I don’t want 10 or 20 Oscar threads that all essentially have the same comments.
It took a single preview to hook me right into Spun, MTV-bred director Jonas Akerlund’s fisheye view of life amongst methamphetamine addicts. While I am proudly jaded concerning the effect previews have on me. I am nearly always capable of convincing myself that I can walk away whenever I want.
That went out the window when I saw Mickey Rourke, a leathery, weathered version but still obviously the same psychotic, sly baboon from “”Angel Heart,”” “”The Pope of Greenwich Village”” and, oh yeah, “”9 1/2 Weeks,”” decked out like a chef on the set of a Food Network cooking show gleefully giving a step-by-step on how to cook up a hearty batch of crystal meth. As high concept marketing goes, this was the indie equivalent of the Independence Day trailer series wherein the spectral shadow of the invading UFOs crept over various national landmarks. Indeed, the power of Spun’s addictive teaser (which, as a rock in the pyramid of disappointment raised over the film’s course of two hours, never appears in the film itself) was likewise derived from this somehow iconic image that lingered in the brain, as opposed to any narrative tidbits ladled out for consumption. Sadly, after about an hour into the film itself, I came to the crashing realization that there wasn’t much of a narrative to sell. As a friend pointed out, you could go more than twelve deep into Spun’s cast list and still see names that caught your interest. “”Oh, Debbie Harry’s still acting? Cool. Eric Roberts on board? Fair enough. Ron Jeremy plays a bartender? Sign me on. Larry Drake as a veterinarian? Paging Dr. Giggles. Tony Kaye as a strip club DJ? It’s the part he was born to play! There’s even the presence of an Arquette (it’s Alexis, who is still waiting patiently in line for his 15 minutes) and a smashed pumpkin (Billy Corgan, whose music gives the film its sense of acoustic pathos). Mena Suvari is on hand, apparently determined to deglamorize herself in the same spirit as Cameron Diaz in “”Being John Malkovitch,”” but overshoots it by an unhealthy margin; when coupled with her wordless constipated struggle on the toilet, her mouthful of Elizabethan-era teeth make for a lethal overdose of heavy-handed characterization. The frontmen in this ensemble are likewise possessed of the requisite elements of hipness and tragedy to continue to formula. Brittany Murphy, John Leguizamo, Jason Schwartzman and Patrick Fugit all swing in great, staggering orbits about Rourke’s sun. And herein lieth the problem. As written, there’s not much of a center to this mess. What’s more, it is painfully clear that the screenwriters wanted to give their tale the elements of a traditional narrative but simply could not deliver. We are presented with arguments that Schwartzman’s character Ross is struggling to claw out of the downward spiral that his life’s become and that, in spite of utterly inexplicable acts of extreme misogyny and sadism on his part, we should be rooting for him to do so. What Ackerlund fails to address is Schwartzman’s innate quality of spoiled egocentricity–a quality that Wes Anderson actively exploited in “”Rushmore”” several years ago. This quality fights his character’s call for sympathy at every turn. We are much more inclined to feel for Patrick Fugit’s Frisbee, a willowy wreck of a goth loser with a wonderfully volcanic complexion and a mammoth, insatiable juggernaut of a trailer-dwelling meth-addicted mother. The sub-plot involving his acquisition by the police and subsequent role as the worst informant ever in the history of narcotics is engagingly hilarious; it is easy to see why Ackerlund chose to steer the focus away from this very traditional plot thread, but he offers up little in its place. To pass the time we get many scenes with Rourke–too many. He is the Hannibal Lector of the film, and as such the power of his presence hinges on it being administered in sparing doses. But, utilizing the theory than any good idea should be seized and throttled into the red zone, we are soon OD’d on Rourke’s character. Referred to only as The Cook, he is given a nice buildup before we are allowed to fully see him.
Finding your soul mate is difficult. Finding them at the place and time where both of you are ready for a lifetime commitment is impossible. At least, that