The Wedding Palace...Christine Yoo comedy hilarious! Cross-over market in the cards!

One of the highlights of the Los Angeles Asian Pacific Film Festival this year was a comedy feature – The Wedding Palace – which resonated with audiences from start to finish.

When the flick – directed by Christine Yoo - first sputtered to life on the wide-screen in the plush environs of the DGA on Sunset Boulevard in Hollywood, the rapt audience immediately settled in for a madcap night of zany comedy.

In the opening scenes, as the upbeat fast-paced story unfolded on the wide-screen, filmgoers learned that Jason (the lead character) was an advertising executive pining for love.

Aren't we all?

But, the handsome bachelor’s yearning to get hitched to the woman of his dreams is constantly thwarted by overzealous matchmaking parents, bent on pairing their handsome charismatic son with a suitable bride from a good family with a financially secure bakground.

Such is the Asian American tradition!

“You’ll learn to love each other over time,” his parents wisely counseled him about the ways of the world, when he voiced his disapproval over the young lady chosen by his parents to be betrothed to.

When an unsuitable bride sashays into the picture (from his family's point of view) and captures Jason heart, his conniving mother's plots to nix what appears to be an ominous union arising from an ancient curse on the family.

Oh yes, the young Lothario's parents are a superstitious lot!

The delightful love story– sparked with quite a bit of funny dialogue (and hilarious sight gags sprinkled in for good measure) - is vastly entertaining,

And, true to Hollywood filmmaking, ends happily.

But, not before a bumpy turn-of-events threatens to prevent Jason from finding true love.

At an informative Q &  A after the screening, Ms. Yoo noted that the film was a labor of love, and several years in the making.

Yoo is a petite pretty Asian American (refreshingly shy and down-to-earth) who was raised in the heartland of America.

Understandably, the first-time director's project has a lot of appeal for the Asian-American community.
..
However, because comedy is universal - as is the subject of love - filmgoers in the mainstream of American will find this well-crafted flick appealing, too.

“I was striving for a frothy dream-like quality in keeping with the theme,” the stylish beauty (with a bbeautiful flower headdress weaved into her lustrous locks) underscored in so many words when I quizzed her at the DGA about the cinematography which was outstanding.

Yoo achieved that goal in spades.

Although there were a couple of awkward amateurish moments onscreen – delivered up by a couple of hams in the cast – for the post part "The  Wedding Palace" cruised along without a hitch.

Until the young couple - through thick-and-thin - finally gets hitched, of course!

In spite of the fact the comedy is solid bill-of-fare, the director has yet to land a distribution deal.

I expect that technicality will pan out in the near future - at which point - Ms. Yoo's funny flick will be in a theatre near you soon!

Catch it if you can.

http://www.thetattler.biz



Sundance Film Festival...Robert Redford to screen flicks across pond in London! A gamble?

 



In a bid to spread the good word about the wonders of celluloid and Independent film (now a major U.S. export overseas) and its ability to touch and inspire the human spirit, officials at Robert Redford's "Sundance Film Festival" announced ambitious plans to launch a version of the Utah-based fest overseas in the heart of London.

The much-ballyhooed cultural reach is slated for an ceremonious unveiling next year (to run April 26th thru the 29th).

In addition to an eclectic string of thought-provoking insightful movies, Redford's "baby" is known for, there will be a stimulating calendar of events that range from live stage performances, to industry panels on a myriad of filmmaker topics, and insightful one-on-one interviews with high-profile celebs on the independent film landscape.

"It is our mutual goal to provide the U.K. with the very best in current American Independent Cinema, to introduce the artists responsible for it, and in essence help build a picture of our country that is broadly reflective of the diversity of voices not always seen in our cultural exports," the respected actor underscored in a press release in recent days.

Will there be as keen an interest in Sundance "picks" (which usually set filmmaking trends) across the big pond as there is on these shores?

News at 11!

http://www.thetattler.biz



From heartthrob to respected film director!

Source Code...Hitchcockian-style thriller! Jake Gyllenhaal excels!

 





This weekend, film buffs - and fans of actor Jake Gyllenhaal - will be scooting off to the local cinema to catch the sexy hunk's latest flick "Source Code".

If fans are anxious to feast on the stud's muscled bod once again - after getting an eyeful of his pumped flesh in one of  his last features with Anne Hathaway - they'll be SOL.

Uh-huh!

The star who broke into the International spotlight portraying a gay cowboy in Ang Lee's "Brokeback Mountain" - opposite Heath Ledger - may disappoint in that regard.

But, if movie-goers are intrigued by the idea of a thought-provoking cerebral thriller (prone to play havoc with the preconceived notions about fate, reality, and illusion), then this Hitchcockian-style mystery (mind-bender!) is worth the price of admission.

The plot moves along at a fast clip (without much fat), the cinematography is superb, and the special effects entertaining.

Jake, and his talented cast of supporting players, are at the top of their game here.

For the most part, the stylish well-crafted studio project has been garnering pretty positive reviews.

With one exception, however.

Critics tend to whine that the plot is a little convoluted, difficult to fathom - and, that the ending - is ambiguous.

Did those popcorn-loving movie reviewers stroll into the wrong theatre by accident?

In my mind's eye, the screenwriter struck the right balance, and delivered up a tight taut celluloid gem.

And, achieved the unthinkable, in the process.

Indeed, the studio turned out a feature that explored not only new territory, but managed to do so without losing any commercial appeal for a wide demographic around the country sure to snap up tickets over the next few weeks.

My only criticism?

It was not necessary to "tack" on the last two scenes - and thus - spoon feed the audience to "ensure" all the loose strings were tied up in a neat and tidy package.

With an intelligent offering like this, it was not necessary to treat the ticket-holders like they were stupid, in my estimation.

We got it! 

To go into details would only spoil it for 'ya.

'Til next time at the Movies!

http://www.thetattler.biz



May the Source Code bewitch you!

San Francisco Chamber Orchestra...standing ovation for composer Donald Sosin! Stavinski-inspired program wows!



Composer Donald Sosin garners standing ovation!



Last night, fans of the San Francisco Chamber Orchestra, jumped up spontaneously and gave a much-deserved thunderous round of applause - a standing ovation, actually - for up-and-coming music composer Donald Sosin.

"Bravo," they cried out from their seats in the packed house at the Herbst Theatre in downtown San Francisco.

The music-lovers were responding to a remarkable "World Premiere" performance of a composition that Mr. Sosin scored for a lesser-known Harold Lloyd flick - "Now or Never" - which screened as part of an unusual program which was ultimately a departure for the well-respected local music organization.

In fact, the dapper Artistic Director  - Benjamin Simon (clad in a stylish fashion ensemble consisting of red socks, navy slacks, patterned vest, and bow tie, sans jacket) - noted that the offering was a bit of a milestone.

"This is the first program in my nine seasons as music director that has no string players in it! As a violist, I'm entering dangerous and unfamiliar territory."

But, the end result was terrific, none-the-less.

If anything, the night's stellar program was in keeping with the mission of the company.

The San Francisco Chamber Orchestra is dedicated to the proposition that classical music not be boring, stuffy, expensive (last night's concert was gratis) or only for those with advanced degrees.

The evening's program attempted to accomplish that feat by virtue of a handful of powerful - and at times poignant pieces - that were uplifting with spirited nods to the works of Giovanni Gabrieli (Canzona per Sonare $4), Igor Stravinsky (Octet for Wind Instruments), Cindy Cox (Canon), and Donald Sosin (score for Harold Lloyd 1921 Silent Feature).

The concert was titled - "Now or Never" - and was inspired by a Stravinsky Octet.

The novel composition - by the somewhat-eccentric Stravinsky - singles out the unique sound variations of the clarinet, bassoon, trumpet, and trombone respectively.

In the notes, it was revealed that Stravinsky sought to discern the clarity of the timbre and texture - with the ultimate aim - of distancing himself from what he referred to as "emotionalism".

Apparently, Stravinsky instructed his musicians "not to interpret", but rather, to let the music speak for itself.

In a second "World Premiere" composition - Cindy Cox elaborated on that theme (and then some) in a musical composition that tended to be experimental in nature and not unlike an abstract painting in many respects.

For instance, Ms. Cox focused on the "colors" and the exquisite "tonal possibilities".

Ms. Cox appears to derive her musical language from - acoustics, innovations in technology, harmonic resonance, and poetic allusion - according to reviewers.

"Cox writes music that demonstrates an extremely refined and imaginative sense of instrumental color and texture. This is well-wrought, imaginative, and not easily classifiable music," asserted Robert Carl in Fanfare.

When I first approached Ms. Cox in the lobby, I was immediately struck by her warmth, and twinkling eyes!

To my ear, her music would lend itself well to the medium of film.

"Have you ever composed any scores for features," I quizzed.

The articulate soft-spoken woman was quick on-the-uptake.

"No. They tell me - "Opera" - but I would like to work in film."

Judging by the quality of the piece performed last night at the Herbst Theatre, I am predicting there will definitely be an assignment or two on the horizon for the talented artist, in that burgeoning musical market.

Donald Sosin's composition for the Harold Lloyd film score first took a bow in August (2010) after the culmination of a public performance at the Stephen Sondheim Center for the Performing Arts in Fairfield, Iowa.

The balance of the score was written at home in his studio.

"I sang ideas into my computer while driving and scribbled on scraps of paper, and gradually, the style and different themes of the score took shape."

The evening ended up being a tad synchronistic, too.

Before the concert on Saturday night, I took in an exhibition of a collection of art works by Miro, Chagall, and Alexander Calder at the Weinstein Gallery at Union Square.

Later, in the opulent environs of the Herbst Theatre, the in-house artist - Peggy Gyulia - noted that three paintings on display on stage were inspired by three of Stravinsky's contemporaries.

You've got it: Chagall, Miro, and Calder.

Uh-huh!

Shivers ran up and down my spine.

Once again, fate was whispering to me.

I was once-again on the path where the invisible hand of God was guiding me.

Amen!

Performances

*Members Reception
  (February 19th)
  St. Mark's Episcopal Church
  Palo Alto
*First Congressional Church
  (February 20th)
  Berkeley
*Empress Theatre
  (February 21st) 
  Vallejo

INFO:

WWW.SFCHAMBERORCHESTRA.COM
http://www.thetattler.biz



Scene from Harold Lloyd flick!

Composer Cindy Cox

Country Strong...Director Shana Feste & actor Garrett Hedlund @ screening! CW entertainment touches!

In one scene of a flick I took in last night at the Grove, a reporter asked one of the characters how he felt about the fact his career was going to change overnight.

Ironic that, because when "Country Strong" (produced by Toby MaGuire) is released next year on January 7th, Garrett Hedlund may find that fate has blessed his career with that very same surge upward into the glare of the heady stratosphere, too.

After all, Hedlund - who appeared with director Shana Feste in person at the sneak preview last evening - has a charismatic screen presence that jumps right out at the filmgoer.

In the role of a hopeful Country & Western Singer - the handsome actor excels - in a performance that is seamless, sexy, and downright magnetic.

Indeed!

The audience has a difficult time taking their eyes off the young stud, who steals every scene he appears in, I dare say.

Gwyneth Paltrow - the lead - fairs pretty well, too, in this refreshing down-to-earth tale about struggling (and established) Western-style pop stars trying to gain (and in the case of Paltrow's character "regain") a foothold in the topsy-turvy carnival-like atmosphere of the achy-breaky realms of Country & Western music.

Paltrow - who has left me hot (playing opposite Michael Douglas in a suspense-thriller) and cold (in the Tannenbaums) on occasion - manages to pull off a star-turn on the inviting Texas terrain here.

In fact, in the shell of a troubled C& W star (on the skids) - fighting to win back her reputation and fans - she holds her own.

Unfortunately, Ms. Paltrow is more Hollywood than Country & Western to the film's overall detriment.

All the supporting players, on the other hand, stand-out in well-crafted fleshed-out characterizations that wink like little gems throughout (not a fake-looking rhinestone in the lot).

Kudos to Leighton Meester and Tim McGraw, for sure, for turning in performances that will undoubtedly result in turning points in their respective careers.

The director - Shana Feste - crafted a tight believable script and capably brought it to life in a celluloid offering that is thoroughly entertaining bill-of-fare.

Her palette is warm, inviting, and yummy to the senses.

The plot twists - with a big focus on the intrigues of the heart - keep the audience fully engaged and on the edge of their seats pining for a satisfying Hollywood-style end.

And, they're not disappointed, in the final analysis.

When the film is released early next year, I expect that Country & Western music fans (and a posse of others) will flock to movie theatres to catch this heart-warming flick.

The sneak preview was sponsored by KIIS FM.

4 stars!

http://www.thetattler.biz

Burlesque...angry mob storms into night! LA Weekly screening a fiasco!

Earlier this evening a posse of Cher fans were literally seeing red - when they were turned away from a Grove Theatre screening of her latest flick "Burlesque" - in spite of the fact they held precious invites in their greasy little palms!

Obviously - LA WEEKLY (a sponsor of the highly-publicized event) overbooked the ballyhooed sneak preview - in a concerted effort to ensure that all the plush seats were filled (if only to save face to industry execs at-large who have been predicting doom-and-gloom from the early development phase).

The guests (in the 18-to-30 demographic age-range) waited patiently for almost two hours - in a convoluted line that zig-zagged this way 'n that in a ridiculous fashion about the dismally-small lobby - before a rude insulting usher suddenly appeared from nowhere and shooed them away from the entrance to the screening room.

"The theatre is seated to capacity," he snapped at the startled filmgoers, without any explanation for the long wait, or even ounce of empathy or compassion for their plight.

Fans of the two lead stars (Cher and Christine Aguilera) were ready to burn their CDs - just betcha - in the horrendous aftermath that followed.

According to insider buzz, the bloated paltry offering, is about to be dubbed a gigantic commercial flop.

Uh-huh!

Cynics are joking that this ceremonial turkey is arriving just in time for the critics to carve it up into itsy-bitsy little pieces for the upcoming thanksgiving holiday next week.

Soon, it will be set adrift down the river, to DVD hell (or late-night boob-tube oblivion, whichever comes first), thank God!

Cher, heap-loads of botex injections won't be able to mask this disaster.

Amen!

http://www.thetattler.biz/




Bump & Grind Disaster flick!

Russell Crowe...The Next Three days a hit! Intense action thriller!

It was a toss up between  attending a Los Angeles Westside screening of "The Kids are Alright" at the Landmark Theatre (where Annette Bening was slated to appear at a much-anticipated Q &A Session afterward) or take in a sneak preview of Russell Crowe's newest feature flick "The Next Three Days".

The action-thriller starring Crowe was not only the most popular choice - but, obviously - the hottest ticket in town last night.

In fact, a raucous crowd of ecstatic fans braved a nasty night chill, to stand in line in hopes of securing a coveted seat (with no guarantee they'd be ushered inside or have the opportunity to drink up the mesmorizing - sometimes gritty - images about to splash across the wide screen).

Meanwhile, inside - the event (sponsored by KROQ rock and hosted by AMC Theatres) was packed to the rafters an hour before the feature was slated to commence.

And, the security was tight!

For starters, a posse of security guards - out-fitted in ubiquitous impeccably-tailored black suits - frisked the startled guests for cell phones - to ensure that no unauthorized clips would slip out onto the Internet before the auspicious premiere date.

In sum - "The Next Three Days" - is a taut action-thriller which starts off innocently enough.

Shortly after the audience is introduced to the main characters, the plot jolts to life, in a realistic believable fashion (much to its credit).

Suddenly, Crowe - who portrays a community college teacher - is plunged into a real-life drama when his wife is unexpectedly charged and convicted with murdering her boss.

After the legal process is exhausted, Crowe's character is forced to take the law into his own hands, with awesome results!

The big-budget studio offering is a film for the intelligent filmgoer, for sure.

But, manages to treat regular down-to-earth folks to a roller-coaster-rides of thrills and chills not soon to be forgotten by any discerning film buff.

Crowe is at the top of his game here in a role that not only challenges - but manages - to uplift and inspire.

Indeed!

When a common man is forced to fight the legal system - and risk all against the odds - the audience (no matter how moralistic or law-abiding) is inclined to root from below the flood-lights and egg him on to victory come-hell-or-high-water!

More popcorn, please!

http://www.thetattler.biz

Casino Jack...Kevn Spacey pays tribute at screening! Film sleazy potshot @ lobbyists!

My favorite scene in "Casino Jack" is when an FBI snitch quotes a line from the "Godfather" to Kevin Spacey's character near the end of the fast-paced political potboiler.

"I know it was you Alfredo. You broke my heart!"

The moral of the story was crystal clear at that juncture.

There is no honor among thieves.

The "Spacey" vehicle was launched last night amid a lot of frenzied fanfare at the exotic Mann's Chinese Theatre in Hollywood.

Sleek limousines purred at the curb, the paparazzi jockeyed for position, and celebrities trotted down the red carpet into the theatre with high expectations.

After all, "Casino Jack" has been garnering a lot of buzz in industry circles of late.

Inside, in the packed lobby - a bevy of bodacious babes and eager male suits - hovered about the fringes like moths to flame anxious to hob-nob with the tony elite.

Meanwhile, from my own perch on the sidelines, I was able to surreptitiously catch the scuttlebutt as it swirled all around me.

A few guests quibbled about the fact the ushers failed to seat them in the prestigious reserved section where they could pass themselves off as industry VIPs for appearances sake.

Tsk!  Tsk!

In another corner of the plush environs, a couple of seasoned pro's cynically advised their friends to gobble down a bit of popcorn during the screening,  before heading over to the Roosevelt for the chi-chi after-party.

"There isn't any food this year.The PR folks cut back."

Golly, how the mighty have fallen in these tough economic times.

Imagine that!

A powerful Hollywood studio scrimping on the Tinsel at a splashy World Premiere!

In due course, the lights were dimmed, signalling that the screening was about to get underway.

At this juncture, a posse of stragglers were hustled into their seats, just as Kevin Spacey was invited up to the podium to launch the premiere of the much-anticipated feature about a posse of smarmy lobbyists plying the hill in Washington D.C.

Unfortunately, there was sad news.

Director - George Hickenlooper - would not be attending the festivities because of his untimely death a couple of weeks ago.

The actor - recently bestowed with an honorary Commander of the "Order of the British Empire" (for his role in reviving London's Old Vic Theatre - proceeded to pay tribute to his good friend and business associate who he greatly admired.

Spacey - with a wide smile on his likable face - fondly recalled that he was cast for the role of the scoundrel - Jack Abramoff - on Facebook.

"Someone mentioned that I might be good for the part. So, George was poked," he chuckled with glee, looking back.

After flying over to London to meet with Spacey on location, the respected director signed the award-winning actor on for the five-week shoot.

"Casino Jack was well-received at the Toronto International Film Festival (TIFF)," Spacey proudly noted to the attentive filmgoers - obviously saddened - by the loss of Hickenlooper.

"In fact, for the first time, George was starting to receive long overdue rave reviews and accolades for his work," Spacey underscored to the rapt audience now hanging on every word.

"Thank you for coming and supporting the film and his family who are in attendance tonight," he finished up, with a touch of emotion in his voice.

The applause was stupdendous!

In a nutshell, "Casino Jack" is a dark political satire that takes a pot-shot at unscrupulous snake-oil salesmen lobbying for special interests (and in search of good favor) on Capitol Hill.

Kevin Spacey turns-in a remarkable bravado performance - one of his best - to date.

In fact, the celebrated thespian not only gets beneath the skin of the slime-ball character he is portraying, but breathes like into an unforgettable role that won't be soon forgotten.

For Spacey, the remarkable performance is a defining moment in both his personal life and professional career.

In reflecting on the film after the screening, I was inclined to recall a piece of advice my Art Professor once offered up on the subject of critiques.

"When viewing a work of art - whether it be a painting, a movie, or dance performance - the viewer must first stand back and fathom what just washed over them."

In the instant case of Casino Jack, the fast-paced dark farce about dirty politics, is so slick (well-written, acted to perfection, lushly produced) that it capably seduces filmgoers right out of the starter's gate before they are aware of what hit 'em.

Unfortunately, once the credits crawl to a close, there is a rude awakening.

I'll wager that once the initial potent power of the story-telling wears off, that - ten to one - a gaggle of filmgoers will ultimately feel like the innocents depicted in the film - that they have been taken.

But, if they're keen on a couple of hours of delicious raucous fun, all will be forgiven!

http://www.thetattler.biz

John Lovitz & Kevin Spacey turn in brilliant performances!

RED...Bruce Willis big budget bore! Turkey tasteless...

 


 

As far as spoofs go, it went badly.

Blame it on a poorly-developed idea (book adaptation), badly-written script, and a star past his prime - who lacked the good sense to quit - while he was ahead of the game.

Even the normally-formidable talents of elegant Helen Mirren and quirky John Malcovich couldn’t save a Die Hard star’s vanity vehicle intended to end a long drought.

Not much to crow about, Bruce.

Sight gags went awry, dialogue fell flat, and the old Willis screen charm - what there was of it - wore thin a few minutes into the lame flick.

Frankly, I dozed off half-the-way through this studio clunker, which was short on laughs - and thanks to Demi’s ex - too long in the tooth to rustle up any enthusiasm for its cardboard characters and muddled plot.

The basic premise - a posse of retired spies break into a secure Law Enforcement Agency to ferret out information on a hit - stunk to high heaven.

In fact, the writers must have been smoking some of the leafy green stuff at a rally for the legalization of marijuana in sunny Cal, when they tossed about this dumb scenario in the development phase.

I expect the box office receipts will be sobering when the word gets out.

In a nutshell?

Red is a overcooked turkey that causes the stomach to turn.

Excuse me, while I go and throw up!

http://www.thetattler.biz/



Bruce Willis infectious grin now a grimace!

The Social Network...Facebook & Nerd revenge! Tawdry tale about friends!

The idea is the thing.

And - for the creatively-minded - they tend to be a dime-a-dozen.

Such is the blessed curse bestowed on society's true artists and visionaries.

What to do, when there is no creative well, to draw on?

The unscrupulous steal the commodity, by diabolical means if necessary, natch.

And so, with this in mind, the tawdry tale of the Facebook phenomenon unfolds on the luminous silver screen in all its conivving, deceitful, under-handed, back-stabbing detail.

In this intense, well-written drama by Aaron Sorkin, the audience is treated to a modern-day tragedy where friends are just numbers, clicks all-powerful, and betrayal a sweet revenge in Silicon Valley best served up cold on an internet browser.

And what transpires along the insightful journey?

A celebrated nerd (Mark Zuckerberg) - once-lauded for allegedly drumming up the Facebook concept  - is exposed for the worm that he is and his worthy ethical-minded adversaries exonerated.

What a morality tale!

The Social Network is slick, powerful, and bang-on - particularly in respect to  its depiction of  the misguided (troubled) student body of this era - who crave recognition (and acceptance) from their peers at whatever cost.

For Zuckerberg it was a lesson in the ironies of life.

Although he would eventually rustle up 500 million facebook members on websites around the globe, he ended up a lonely billionaire, unable to fathom the true nature of friendship.

Undoubedly, that is why Facebook has turned out to be the most superficial social network on the Internet.

Zuckerberg & Napster creator!

http://www.thetattler.biz/

The Town...Ben Affleck pic entertains! Same old same old...

Essentially, "The Town" (an unimaginative title, by the way) is a basic cops 'n robbers action adventure that entertains with a lot of heart-pumping chase scenes - but, in the final anaylsis - is just the same old same old.

Ben Affleck - Oscar-winner (Good Will Hunting / Best Screenplay) - helmed the project which he also stars in.

Indeed, there is nothing terrible original about this studio-backed flick (the celluloid reels slid into the can @ $37 mil), that sets it apart.

In fact, it appears that the screenwriters (of which Ben Affleck was one) lifted a few ideas from a handful of ground-breaking flicks of yesteryear that transformed the genre, in a sly effort to drum up a magic formula for commercial success.

Bank robbers in jarring masks, bold-faced smash-and-grab heists, and bloody high-speed get-a-aways are a bit played out - don't 'ya think - Ben?

Uh-huh!

The 2 1/2 hour plus tribute to Affleck's ego is a tad old-hat.

As a director, though, the Boston kid showed a lot of promise.

Frankly, I was - not only keen on the way he framed quite a few of the shots - but also blown away by the moods he managed to evoke with a confident brush that articulated his passions.

Once again, Jeremy Renner (who played a boyhood pal and street thug) dazzled audiences with a ballsy performance that was mesmerizing.

In fact, all the supporting players turned in stand-out portrayals that resonated on screen.

"The Town" is not thought-provoking high-brow art, but will undoubtedly rustle up quite a few ticket sales at box offices around the country.

Popcorn sells, after all!

http://www.thetattler.biz



Twilight...Jacob takes beating! Wedding Bells for Bella! Victoria bites dust!

Jacob took a beating, Bella - in true biting-the-upper-lip acting style - wrestled with doubts about her future, Victoria's revengeful nature got the best of her, and a slew of blood-thirsty characters signaled the Pacific Northwest is a trouble spot bound to trigger a sequel or two in the Twilight series.

At around 9:45, the AMC theatre was relatively empty - but then - a steady gaggle of giggling girls suddenly dashed through the door last-minute (make-up touches in the ladies's room?) and into their seats to prime themselves for the much-ballyhooed event.

A screening of the latest sequel in the Twilight Series, of course!

Eclipse.

Once the title page for the 3rd segment in the Vampire saga sprang to life on the widescreen there was an endless stream of screaming throughout - specially when gooey-eyed fans spied their favorite characters - when they sauntered on screen into spotlight.

OMG!

These passionate twi-hards even squealed when the credits for  Taylor Launter, Kristen Stuart, and Robert Pattison crawled along at the end of the flick on a mundane black background.

Probably the biggest uproar occurred when Victoria got her comeuppance.

The applause and cackles of approval were deafening to the ears!

In this sequel, there is a big focus on what amounted to - in human terms - teen angst.

Before you could say "fashionista" - the characters began to make their entrances on screen in a truckload of designer threads - sure to be the envy of any Abercrombie & Fitch aficianado.

The Vampy fashion smorgasbord was a feast for the eyes!

But, the style went far beyond that!

In this fantastical Vampire thriller, going in for the kill, was no idle matter.

Indeed, the filmmakers have the honed the "Art of the Kill" and refined it to perfection.

This time out, "Twilight" is more violent in nature - and for this reason - took a departure from the fluffly image that went before it.

Much to the relief of die-hard fans - who have no doubt been getting testy about the proliferation of "cold hard stares" with no follow thru - Eclipse goes for the jugular.

So, just as I was about to fall asleep amidst the adoring sweet young things in the packed theatre all around me, I was jolted wide awake and managed to coast through on adrenlin rushes half-way through the picture and on to the end of the flick.

There were  quite a few impressive fight scenes where snarling wolves - vicious-looking characters, indeed - fought ferociously with a posse of half-naked studs flexing big time here-and-there about the wild terrain.

I wonder what Freud would think of this mixed imagery?

For romantic twi-hards, Edward and Bella were set in a field of flowers at one juncture, where the pretty young lovers whispered sweet-nothings and discussed plans for their upcoming wedding.

In a heart-to-heart, Bella quelled Edward's fears that his headstrong future mate, may be giving up too much for his sake.

Not!

In one touching moment, Bella succinctly spilled the beans.

"I'm doing this for me," she softly confessed in so many words.

"Eclipse" is a visually-stunning feature that mesmerizes one moment (and stupifies the next).

In the final analysis, it's a "surface" flick, that speaks volumes about a culture.

All style, and no substance, is the bite that kills Twilight's "Eclipse".

http://www.julianayrs.com

Killers...Kutcher's buffed bod stars! Katherine Heigl steals flick...

Ashton hangs - um - tough!

Okay, so the script has some holes in it.

And, it doesn’t quite make the cut for the “Black’ comedy genre it was aiming for.

But, “Killers” does make the grade as an offbeat piece of comedy bill-of-fare, because it is backed up with solid acting performances - and quite a few side-splitting sight gags - that will keep audiences entertained from fast-paced beginning to predictable end.

I laughed out loud throughout.

Essentially, the dead-pan tale, is about a professional “Killer” (played adeptly by heartthrob Ashton Kutcher who has managed to survive dubious title of flavor of the month til now) who retires his hired gun after falling hard for the girl of his dreams (Katherine Hiegl).

The handsome couple settle down in the burbs in a bold-faced effort to close the door on his nefarious past.

Unfortunately, Kutcher’s character is forced out of hiding, when an odd-ball turn of events set him up as a moving target.

At this juncture, all hell breaks loose, and theatre-goers are thrust into a roller-coaster ride that keeps them on the edge of their seats.

Katherine Hegl delivers a stand-out performance that manages to capture the imagination of film buffs because of her impeccable comedic timing and a natural style of acting which resonates with a truth that is refreshing (and way beyond the capability of a bevy of bimbo babes striving for her lofty status in the show biz arena just now).

Tom Selleck (Magnum P.I.), likewise, turns in a solid stint of acting, and confirms he’s still at the top of his acting game.

The towering stud is as charismatic and handsome as ever, too!

Unfortunately, Catherine O'Hara (Selleck's wife in this 3-star feature) falls a little short in her role due to a flawed script.

The jabs at alcoholism - which amounted to a one-trick pony during the course of the film - played itself out in the first ten minutes or so.

Boring!

Kutcher - who rustled up quite a few catcalls and whistles in the opening scenes where his buffed half-naked bod was played up for maximum exploitative value by the producers - essentially played a dimension of himself (which has been captured on screen on more than one occasion ad nauseam).

Who’s punkin’ who?

But, Demi’s hubby is so lovable and sexy and cute that film fans are inclined to forgive.

The exquisite European landscape, stunning cinematography, and delightful opening credits - seduced the rapt audience - too.

There is nothing earth-shattering or thought-provoking in "Killers".

But, it is definitely a flick to catch on date night with that special squeeze.

 
http://www.julianayrs.com/
 

Karate Kid...kicks a**! Justin Bieber soundtrack bootstraps up mood!

Beiber music sets mood!

Filmgoers keen on sitting ringside while teens kick the bejesus out of each other will be snapping up tickets for the remake of Karate Kid this weekend.

And rooting for the underdog a short while later when the predicatable plotline - after a few short introductory scenes - sends the "Kid" headlong to meet his destiny as he - subsequently -uncovers the meaning of honor along the way.

In this chapter, Jackie Chan takes on the role of King Fu "Master" and fills the shoes of respected actor Pat Morita (previously cast in the role) quite admirably.

Jaden Smith turns in a stellar performance in the part that propelled Ralph Macchio into superstar status on the Hollywood scene when he took a stab at it.

Justin Bieber's soundtrack works well with this material and signals a future in film scoring in the event it is a career endeavour the young Pop Icon is intrigued about pursuing.

Even still, this time out, Karate Kid - though vastly entertaining - can't come close to the original.

A classic now, the martial arts film, remains untouchable having stood the test of time.

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Letters to Juliete...yawn! Tired idea poorly executed...

Over the years, writers have toyed with the intriguing idea of an undelivered communication, in a myriad of ways.

In the case of "Letters to Juliete" - a letter gone astray and acted upon long after it was originally posted by the sender - falls short by a country mile.

Part of the problem is execution.

In this glorious picture-postcard tribute to the Italian countryside, the director and actors  struggle to injest much-needed zest to the slick glossy project - but because the script is so poorly-written and ill-conceivded it can't help but fail.

In a nutshell, the plot goes something like this.

A young woman stumbles on a crumpled dog-eared letter behind a brick in a wall - and on the spur of the moment - is inspired to contact the individual mentioned in the hand-written scroll in a bold-faced effort to uncover a long-standing mystery.

In response, a young English man gets in touch with "Sophie" (Amanda Seyfried) - the sickly-sweet main character in this soppy romance genre flick - on behalf of his grandmother (played coyingly by respected English actress Vanessa Redgrave who is wasting her talents here) who was once in love with the author of the found letter.

The adventurous threesome strike out to locate Claire's long-lost love with the express hope of closing a door on the past and possibly opening a new one into the future.

Unfortunately, the journey is a big yawn - a road best not taken - in this overblown piece of pap that fails to strike a chord of truth from the get-go.

Part of the problem relates to realism.

Every character that trots across the screen in "Letters to Juliet" rings hollow.

The directing is pedestrian, painful, and unimaginative.

In essence, this film is not unlike a ceremonial barge, drifting aimlessly down the stream of life without a rudder.

When all the loose ends have finally been tied up and presented in a neat and tidy package, it becomes apparent that the studio's stab at formula filmmaking, missed the mark because of the lack of one vital element.

Originality!

Nonetheless, young women have been inclined to swarm local theatres - with boxes of tissue and and mouth-watering bonbons in and - to slurp up every soapy melodramatic moment.

Go figure!

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Prince of Persia...Jake Gyllenhaal hunk material! Ben Kingsley stellar acting...

I was under the impression that "Prince of Persia" was a historical saga.

Boy, was I wrong.

Pleasantly so!

In the first fast-paced scenes, the audience is swept up into the intriguing Persian culture - in part due - to an enchanting musical score and the broad lush strokes the skilled director (a Bruckheimer Production) has used to paint his larger-than-life canvas.

The cinematography is exquisite - breathtaking in fact - but I was more drawn to the sets which captured the distinctive arcitectural style of the era.

In a nutshell, the tale is about a tribe habitating in the wilds of Persia, who suddenly feel threatened by a neighbouring clan, a confidant alleges are crafting weapons for an ally.

A decision is made to attack the sacred Temple where their  High Priests practise a mysterious religion rife with a lot of hokus-pokus and ritual.

Once the city is stormed, one of the Princes - who just earned the title of "Lion" for his ferocious staying-power in the battle - is gifted with a unique ornate dagger with a glass case brimming with sand crystals.

As it turns out, the knife has mystical powers.

Now there is a ongoing struggle by to snatch the coveted religious artifact - with the ultimate aim of using its potent power - to rule the world.

Along the way - a cast of conniving diabolical characters - rev up the screen.

Throughout, the theatre-goer is treated to two-dozen or so spectacular fight scenes that  keep 'em on the edge of their plush seats at the theatre.

Unfortunately, the film is a tad long - so about thirty minutes prior to the screen fading to black - filmgoers tend to be squirm in their seats and glance down at their watches.

Will this movie ever end?

Nothwithstanding, I expect fans of the genre (and others) will gobble up every precious moment of this romantic action-adventure drama into summer.

Talk about a hybrid!

Of course, Jack Gyllenhaal's muscled bod - and puppy dog eyes - are worth the price of admission.

Jake, that  accent was killing me!

As usual, Ben Kingsley turned  in a stellar performance that was seamless and perfect in every way.

The supporting players also bolster the "Prince of Persia" up in a myriad of entertaining ways (making the feature truly an ensemble piece).

The plot is sheer fantasy.

But, the newly-released flick, is a delicious escape that hits the spot, for filmgoers seeking a respite for it all (if only for a couple of hours).

3 Stars!

Ben Kingsley as Gandhi

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Robin Hood...I liked it! A lot to Crowe about...

A posse of filmgoers (including moi) chatted each other up in the street, as we waited for management to swing open the doors to the theatre, and grant passage to the latest Ridley Scott helmer starring blustery Academy Award-winner Russell Crowe.

When you consider the gist of the scuttlebutt, sane folks catching snippets of the dialogue as they passed by, might have been mystified as to why we were waiting in line to catch the flick.

"I heard it sucks," one forty-something male hissed to all within earshot in attendance with his wife.

"Russell Crowe stormed out of an interview in Cannes yesterday when a journalist probed a little too far in respect to the legitimacy of his accent," I snickered.

"Well, that's Russell Crowe," another sniped.

"At least Crowe didn't toss a phone at him," I laughed back.

Yes, there has also been a lot of negative ink spilling out from the perches of major film reviewers around the country, which piqued my own curiosity.

In view of the comments that have been offered up in recent days - it became evident to me that Crowe's "Robin Hood" - was not going to turn out to be your run-of-the-mill band-of-merry-men action-adventure.

Thus, die-hard film buffs would have to come to grips with the novel hybrid, in their own way artistically (and cerebrally).

For example, film fans expecting opening scenes that dive into familiar territory - with Robin and his gang of thieves stealing from the rich and giving to the poor right-off-the-bat - may be a bit confused by the opening scenes.

In what amounts to a sort-of prequel - Ridley Scott has back-tracked - and laid  the groundwork for an obvious sequel while squaring away precious details that have any bearing on the current epic on tap at a Theatre near you.

For example, when the flick lights up the silver screen, Robin Hood (and his loyal men) are archers in the King's army during a ten-year crusade in Ye old England.

When the King is murdered during a ferocious battle in the field, Robin is assigned the task of informing the Queen, at which point the heir to the throne (King John) is installed in his Royal stead.

In a final battle against the French, Hood ends up playing a significant role in the successful defeat of the enemy, at a crucial point in English history.

At a time when the military is divided against the unpopular King, Robin rises to the occasion when he promises to smooth the waters over with the King's men  provided there is a "Charter of Rights" for all citizens.

"You want a castle for every man?" King John mocked in disgust.

"No. Every man's home is his castle."

There is a roar of approval from the soldiers in the rank and file.

"We only ask for liberty."

The persuasive Hood manages to influence the King with the noble notion.

"I swear on my Mother's grave that you shall have it."

Of course, the King turns out to be a snibbling little weasle, with no backbone.

Once the battle is won, King John burns the Charter, and denounces Robin Hood as an enemy of the state.

Now, the legend as we know it, begins!

There is a lot to like about this film - the superb acting - for example.

Both Russel Crowe and Kate Blanchett inhabit the skin of their characters seamlessly.

All the supporting players have been ably cast, too, in roles that suit them.

The script was well-crafted - with a delightful balance - between the dramatic and the humorous.

On occasion, the spoken word rises up and resonates, earmarking the film as a potential classic.

Although the soundtrack echos the Gladiator theme on occasion - for the most part - the original music buttresses up the emotions and intensifies the drama to a level where it can't help but drive the filmgoer to the edge of their seat rooting for their heroe (or - anti-hero - whichever the case may be).

Yes, even the villains are so well-fleshed out, that it is difficult not to applaud them, their delicious machinations are so diabolical.

The costumes are beautifully-crafted.

Likewise, the cinematography, is visually-stunning.

And, of course, Ridley Scott is at the top of his game.

Long live Robin Hood!

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Ajumma! Are you crazy? Light-hearted spoof on K-drama phenomenon! Hawaii offering...

Recently, a series of shorts shot in Hawaii - by emerging filmmakers - screened locally to a packed house at the DGA.

One of the stand-out projects - in the comedy genre - was a hilarious tale about middle-age women (known as Ajummas) in hot pursuit of a soap star who lands in their backyard on a promotional tour for a popular TV soap.

"Ajumma! Are you crazy?" is well-crafted little gem - which suffers occasionally due to poor production values (the restraints of a low-budget, I expect) - but it’s easy to overlook those ragged edges because at the heart of the robust flick is a joyous celebration of life that resonates - and subsequently - touches.

Director Brent Anbe struck gold when he lined up three of the female leads (actresses Thea Matsuda, Tessie Magaoay & Cari Mizumoto) to camp it up in this amusing little yarn that leaves audiences exiting the theatre with a smile on their face.

The actor inhabiting the role of the studly heartthrob also turns in a finely-tuned performance which signals he’s ripe to be elevated to loftier status in mainstream feature-film releases of a more commercial nature with more widespread appeal.

The handsome Asian actor - Michael Park - has great screen presence!

Although this film is flawed, and appeals to a limited audience, I expect the director to land future projects (no problem) because he has demonstrated in Ajumma! that he is a capable craftsman with oodles of potential.

The entertaining spoof on the "K-drama Phenomenon" and the soap fantasy dream factory is a delightful way to wile away an hour or so.

Director Brent Anbe 

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The People I've Slept With...Archie Kao stars in gay-themed comedy! Raunchy sex & underlying potent message...

Throngs of excited fans of the comedy genre braved a long queue on Saturday afternoon that snaked out the front door of the DGA (and beyond) to the curb at the old Virgin Records headquarters.

Light-hearted director, Quentin Lee, was screening his much-anticipated quirky sex romp, aptly titled:  "The People I've Slept With".

To bide the time, strangers actually chatted each other up on the street, as they kept their eye on the front door and continued to  check their watches in frustation.

A joke I offered up triggered a guffaw or two.

"Gosh," I chuckled, "If they were going to do a bio of my sex life, it would have to be a mini-series!"

The response was encouraging for a struggling stand-up comic.

A rarity in the mean streets of LA LA LAND.

Once inside, and comfortably ensconced in our plush seats, the campy hi-jinks commenced.

For instance, filmgoers were asked to locate the number on their seats, so they could determine if they were the big prize-winners for an impromptu raffle which featured sex toys and party favors from Pleasure Chest.

A posse of folks then proceeded to dash up to the mic - to promote an upcoming event or fundraising gala - which stretched the wait to epic proportions.

I guess we were all in for the long haul, like it or not!

Finally, the lights were extinguished and the bemused audience was suddenly face-to-face - "this-close" -  with a pretty young lady talking into camera.

From the gist of the dialogue, it became evident that the character was pregnant, and had come up with the novel idea of capturing some thoughts on video to share with her young one upon coming of age.

Within minutes - the audience was  treated to a bird's eye view of a smattering of provocative (and on occasion) risque raunchy sexual encounters - as the mother recalled  the careless behaviour that led to her dilemma (pregnancy out of wedlock).

At this point, the plot twists moved along quickly, as the main characters sauntered into the landcape.

Right-off-the-bat, Mr. Lee struck  a chord with his rapt audience,  and managed  to tickle their funny bone along the way.

The witty - at times insightful - quips triggered gales of laughter from the filmgoers throughout the course of the film, in fact.

There's never a dull moment in this low-budget, well-crafted,  gay-themed flick.

Uh-huh.

Cheung's best bud is a foot-loose and fancy-free - hot-to-trot - "out" gay male.

"The People I've Slept With" amounts to a porn cable version of the popular TV sitcom - "Will &  Grace".

Indeed!

On the red carpet Mr. Lee proudly beamed that the titillating film is slated to broadcast on Logo in the near future.

In spite of Mr. Lee's preoccupation with - "sex" "sex" "sex" - beneath the sensuous flesh of this slick celluloid offering lies a potent message.

When it comes to a commitment in a relationship, honesty is the key to laying a strong foundation for any loving couple.

Like most big-budget Hollywood romantic sex comedies, there is a happy ending, too.

As we have learned in recent months from the ongoing Federal court case dragging on in San Francisco - gays - like most  normal warm-blooded individuals - pine to ride off into the romantic sunset with Prince Charming.

Thumbs up for entertaining bill-of-fare with an R rating.

Archie Kao stars with Karin Anna Cheung!

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Habana Eva...Director Fina Torres & actress Prakriti Maduro @ glittering screening!

Torres @ the helm!

By 7 o'clock in the evening - a long line of filmgoers had formed in front of the Majestic Crest Theatre - anxious to catch the Fina Torres flick "Habana Eva"

Once inside the historical Art Deco theatre on Westwood, film buffs  were treated to Wine & and a delectable assortment of tasty cheeses, and the opportunity to mingle with the Ms. Torres and pretty actress Prakriti Maduro.

Torres and Maduro did not disappoint!

The Director of "Woman on Top" (starring Penlope Cruz) was a whirlwind of energy - meeting and greeting fans graciously - and posing for frenzied potographers anxious to land some publicity stills for posterity.

Actress Prakriti Maduro was stunning in a elegant cocktail dress in an eye-catching shade of red that accented her delicate features.

An hour afer the doors originally swung open to the press and celebrated guests, other VIP's were still straining to get into the lobby to bask in the glow of the high-profile event.

I spied a smattering of local celebrities decked out in their heavy artillery (jewels & dazzling gowns), in addition to Yeni Alvarez (PR), and close friends of the Director and film crew there for support.

In some cases, I crossed paths with a couple of actresses, who brought me up to date on this 'n that.

Lorielle New, who I met last year at the start of a project she was just commencing at that time, informed me that her horror (remake)  flick - "The Pit and the Pendalum" - was released just a few weeks ago and is doing well in DVD sales.

"Unfortunately, the economy bottomed-out, and the producers didn't have enough money to toss a premiere party. But, friends back East told me that fans have been snapping up DVD's on the Internet."

I laughed heartily when she noted that her DVD was actually being boot-legged.

Very flattering, in an odd sort-of-way!

The buzz in the air was deafening - right up until curtain was called - and all the excited guests finally plunked down in their seats to relax into the foreign film with subtitles.

Sold out!

Ms. Torres is a competent director with her own individual style.

In particular, her set-ups" (master shots, two-shots, close-ups) appealed  to my own artistic sensibilities.

Also, I was swept away by her keen ability to know - when and where - to lay in a potent soundtrack, whimsical piece of music, or danceable tune to get the filmgoers juices flowing.

Torres demonstrated that it is not always necessary to cram a film with stimulating melodious sounds and slick visuals to entertain or slyly manipulate the audience.

Silence on occasion is golden.

Unfortunately, I personally found the film too long.

When you're close to a project - and it is a labor of love (as was the case here) - it is obviously difficult to take a hard-line approach from a commercial standpoint.

Ms. Torres (a romantic) strays too far to one end of the spectrum in favor of artistic license, when she should have been going the other way if she is sincerely interested in landing distribution in the mainstream in the U.S. (and abroad).

A bit of judicious editing (pruning) would satisfy that need without hurting the integrity of the movie.

Torres was bang-on in the casting end, by the way.

Prakriti Maduro - a charmer - turns in a enchanting performance.

If I was forced to compare her to an American actress, Julia Roberts would come to mind, immediately.

Like Ms. Roberts, Maduro is capable of stepping into a plain-Jane role (sans make-up), and captivating movie audiences with a naturalness and innocence that is hard to top.

Juan Carlos Garia - in the romantic lead - proved to be charismatic and ripe with promise for stardom on these shores.

Yuliet Cruz almost stole the show out from everyone!

Although the Latino hooker with a heart-of-gold is a bit of a cliche characterization, this young lady's comedic timing, flare for the ridiculous, and basic talent can't help but bowl audiences over.

Other minor cast members turned in quality performances as well.

If the film comes to a theatre near you, catch it, it certainly is worth the price of admision.

Prakriti Maduro


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