Movie Review: Seeking a Friend for the End of the World (2012)

An unending, melancholy tone permeates the entire film, once again demonstrating Steve Carell's knack for that typical, sad, lonely character he always assumes (when he's not the cocky, ignorant, inconsiderate "Michael Scott" persona). But unlike Dan in Real Life or Little Miss Sunshine, there are few ups and downs - the role isn't nearly dynamic enough for audiences to invest in the somber development that keeps his plight from being emotionally involving. Similarly, Keira Knightley goes through the motions of being an unlikely companion without a convincing connection that could warrant their cross-country pilgrimage to find meaning in a world coming undone.

Dodge Petersen (Steve Carell) still goes to work each day at Metropolitan Consolidated Life Insurance, even though a 70-mile-wide asteroid named "Matilda" has just annihilated space shuttle Deliverance, the last remaining hope for saving Earth from certain doom. The countdown has begun: 21 days before the world ends. Many resort to abandoning hope, participating in carefree orgies of food and sex, or spending their final hours with family and friends. Penny (Keira Knightley) has missed her last opportunity to fly home and so laments outside Dodge's window. The two strike up a friendship and decide to embark on an odyssey to reunite Dodge with his high school sweetheart - a reconciliation botched by Penny retaining a misdelivered letter for Dodge. They're also accompanied by a randomly deserted dog dubbed "Sorry" - a witty moniker never fully utilized.

It's sometimes touching and undeniably soothing to see the obvious counterparts come to a romantic fruition, even if the casting choices don't appear completely compatible. Perhaps it's the age difference, or the contrasting personalities, or witnessing brief, unfulfilling assemblies of Penny's past admirers that seem probable yet discordant. Or maybe it's Dodge's admirable yet clashing sacrifices for love that suggest contrivance and an expected resolution. Regardless, a deeper association with the lead duo is elusive, what with the pervasive reminiscing, brooding, and irrational behaviors that are never delirious enough to be funny. Serenity arises, but not as repeatedly as bewilderment from the scenario.

This setting, with citizens either rioting, killing, offing themselves, contradictorily mowing the lawn as if to forget, or stocking bomb shelters for apocalyptic survival, is both the most unique element and the film's undoing. Ceding appeasement for an eye-opening twist essentially ruins the normal romantic comedy hiding beneath the frantic premise. And it's toned down to a degree, materializing less anarchy and chaos than might be expected (infidelity, rape and theft become a casual joke) if the situation were real - yet the shock of suicide and death still work their way into the picture. Enlightenment, a day at the beach, and reconnecting with loved ones can't mask the nerve-wracking, spontaneous nature of encountering bizarre strangers and frequenting eerily abandoned houses. At times it's more disturbing than humorous or romantic. Why should this bleak device interfere so tragically with a simple tale of recognizing the importance of truly worthwhile relationships?

- The Massie Twins (GoneWithTheTwins.com) Providing articles, reviews and writings on movies online.

Silent Era's Bad Girls

Anita Page

Nineteen twenty-eight, Ann played by Anita Page. She chased men for their money and drank as much as she wanted too. In "Our Dancing Daughters" she starred along with Joan Crawford as Diana and Ben played by Johnny Mack Brown. At a time when, flamboyance was honored and women onscreen did what they pleased.

The movie also dealt with the conflict between the two women and Ben. As much as Diana loved him, she put him off with her inhibited dancing and flirting with other men. It was Ann that came to his side while Diana suffered watching the two of them together.

The movie offered the audiences then, an opening scene where a woman danced in her shimmy in front of a mirror. Also, it showed a passionate love scene at a beach. After all; it was the Jazz Age and the bad girls in movies. They enjoyed every minute of their freedom.

The movie had an interesting mix of background sound effects and recorded singing for a few of the scenes. It was still considered a silent film because the actors spoke no dialogue. A few years later, a production code limited the explicitness shown onscreen.

Gloria Swanson

Nineteen twenty-eight, Gloria Swanson starred in "Sadie Thompson." It was a compelling drama and for her a signature role. Lionel Barrymore played a reformer bent on teaching the islanders to repent their ways. It was Sadie that became his focus. In fact, he used whatever means he could to get her sent back to San Francisco.

The movie captured the idea of sin versus redemption, guilt or innocence, the temptation of lust and sincere heartfelt love. Also, the question of Sadie's past that haunted her future. But it was to Sadie's advantage that forced her to go along with the idea to repent.

She quit wearing heavy make-up, rid herself of her flashy clothes and jewelry. It was the plain Sadie that caused the reformer sleepless nights. The movie's end saw Sadie back to her old ways. However, she got what she wanted all along.

Even with the content and the threat of censorship, the silent movie was well received and Gloria Swanson became "Sadie" the bad girl making her a huge box-office star.

Greta Garbo

Nineteen twenty-eight, Greta Garbo starred in "A Woman Of Affairs." Indeed, she was. The story started out with three friends, Diana Merrick played by Garbo, Neville Holderness played by John Gilbert and David Furness played by Johnny Mack Brown. Her brother, Jeffery Merrick was played by Douglas Fairbanks, Jr.

When Neville's father sent him to Egypt in order to make money, Diana was distraught. She married David. When in Paris, he plunged out of their hotel window The question became how would such a happy man do such a thing? With her brother turning against her and also much of society, Diana spent her time getting involved in affairs with other men.

After seven years away, Diana returned to London. However, Neville married a woman named Constance. The story revolved around being so much in love while married to someone else. It was also doing the right thing for decency. At what price, they paid with their lives.

The movie was a hit only because of Garbo's portrayal of Diana. It was not so much about being bad as it was about being so much in love and what it drove her character to do. Providing articles, reviews and writings on movies online.

Auf Wiedersehen Pet Series 1

In 1983, a TV show was shown on ITV, that could have been a huge hit or a ratings disaster. Thankfully for all involved, Auf Wiedersehen Pet was a huge hit for viewers and critics alike.

The UK in the late 1970's and early 1980's was a place of national strikes and huge unemployment, especially in places such as the North East. Franc Roddam the creator of the show, came up with the idea, when on returning to his home town of Norton, Stockton on Tees, found that many of his friends in the construction trade had gone to work in Germany.

Franc Roddam created the series, and worked with the brilliant writing team of Ian la Frenais and Dick Clement, who had also written for shows such as The Likely Lads and Porridge. Six episodes were written, and then the rest of the series was written around the characters, as we watched them fall in and out of love, get into fights and also find some of them back in the UK unexpectedly.

The series was a huge success, and not only down to the great writing and superb performances of the cast. The series made huge names out of Jimmy Nail, Tim Spall, Tim Healy, Kevin Whately, Pat Roach and Gary Holton.

Viewers were drawn to the reality of what they were seeing on screen, and because of what was happening at that time in the UK, it was almost like watching a documentary for many people. The series struck a chord, and still does almost 30 years on from when it was first shown on British TV.

The series revolved around a group of seven men. Four bricklayers, a carpenter, a plasterer and an electrician. The timing of the show was perfect, and to think that this type of show would be such a hit in this modern world we live in, probably not.

The series was shown on ITV from the 11th of November 1983, through to the 10th of February 1984. Viewing figures for the first series were an average of 10 million, but this would almost double for the second series when that was aired in 1986.

There were many comparisons made to this first series, with many commenting on how it was very much like watching a WW2 film, as the lads all lived in a blue wooden hut on site. This was what made the series real and gritty, and the writers and creator knew how to connect with the British public at a time when there was nothing to look forward to, except rising unemployment figures. Providing articles, reviews and writings on movies online.

Movie Review: Prometheus (2012)

Director Ridley Scott originally intended on creating a prequel to his film Alien, but when the script writing began, he realized the wealth of material presented warranted its own separate tale (still set in the same universe, however). Such an undertaking led to copious speculation and extremely high expectations from fans for what would eventually become Prometheus. Yet for a film that supposedly merited severance from becoming a direct Alien precursor, the sequence of events in Prometheus are strikingly close to that of Scott's prior effort. In fact, certain segments seem designed specifically as a counterpart to the iconic moments now cemented in cinematic history. Unfortunately, none of these scenes come close to the shocking brilliance of those found in Alien, and while the atmospheric sets, awe-inspiring practical effects, and competent acting are present as they should be, don't expect to find the answers you're looking for - in either the notorious beasts' origins or the countless new questions raised that Scott clearly feels are better left unanswered.

When scientists Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green) discover clues on Earth that point to possible "engineers" of mankind, they partner with the powerful Weyland Corporation to launch an expedition into space to make contact with their creators. Governed by Weyland's stern attaché Meredith Vickers (Charlize Theron) and accompanied by geologists, mercenaries, and the cryptic android David (Michael Fassbender), the crew of the spaceship Prometheus is instructed not to interact with any life forms they may encounter. But once the group reaches their destination of the moon LV-233 and discovers the remains of the beings they set out to find, avoiding exposure becomes impossible. As a deadly infection rapidly spreads and mysterious creatures begin attacking the crew, Elizabeth realizes the horrifying truth and must fight for her own life as well as the very fate of mankind.

The usually capable director has bitten off a bit more than he could chew with Prometheus, which attempts at different moments to be a great many things. Expectations are particularly high, since Scott became famous for Alien in 1979, and this film marks his return to the genre. At the beginning, he ventures into contemplating alternatives to the evolution of humankind with predominantly science-fiction philosophies; in the middle, he explores favorite themes such as the assault on feeble human flesh, the invasion of orifices, and genetic mutation - essential elements of gore for the sake of horror; and toward the conclusion, he opts for action-oriented thrills, packed with impressive CG wizardry and massive destruction. Each shift in genre disorients the story from having a clear vision, and the result is a mess of unresolved ideas and poorly defined beings (especially regarding the capabilities and function of the Engineers, their cargo, and subsequent anomalies).

Brandywine Productions, David Giler and Walter Hill as producers, the title font, notations of "LV_223," talk of company jobs, an android, a monstrous ship full of lonely corridors, hypersleep sickness, hidden agendas, sabotage, H.R. Giger's artwork, and advanced technology all harken the return of a familiar atmosphere. But while the environment, heaped with humidity, high-pitched noises, black muck, and slithery critters, remains reminiscent of Scott's original masterpiece, the plot progresses slowly and formulaically. A crew awakes from hypersleep, a bypass surgery medical pod is inspected, Jackson claims he's there for security purposes and brandishes weaponry, ship and helmet cameras feed crackling, static-filled transmissions, allochthonous walls glisten with slime, and an unsuccessful quarantine allows something to be brought back aboard the command ship. None of it is notably original and the sense of foreboding and foreshadowing is jeeringly blatant. Suspense arrives too late, horror is handled clumsily, and the poignancy of physical pain, understanding the purpose of the structures, and digesting answers to the mysteries of life is sorely neglected. The "space jockey" creation from Alien sparked an interesting question of origin and ancestry, but the solution is mightily underwhelming.

- The Massie Twins (GoneWithTheTwins.com) Providing articles, reviews and writings on movies online.

Wes Anderson's Throwback 'Moonrise Kingdom' Brings Innocent Quirkiness to the Forefront

We've all been there. We've all felt detached at some point, with the need to make some sort of genuine connection. Whether it be as a child, feeling left out of the more popular kids' game of tag or as an on-the-go adult with very little personal time, let alone time to find some smidgeon of companionship with a partner. How about being a child, with multiple siblings, feeling total estrangement from your parents - who are both there, but really aren't? These are all themes explored by indie filmmaker Wes Anderson's latest little film; the quirky, cute and sometimes hilarious Moonrise Kingdom.

Despite being the supreme film buff that I am, it pains me to let you (indie film purists) know that I would be leading you astray, via a bold faced lie, if I sat here and claimed I feel Wes Anderson to be the GOD of all things cinematic. That's simply not true, in my very humble opinion of course. As sarcastic and dry as I can be, nor am I a big fan of his style of humor. However, I completely get it - and on occasion - he'll catch me off guard, having written lines (when delivered properly, by the right actor) that will come off in absolute gut-busting fashion. See Gene Hackman and Danny Glover's kitchen exchange in The Royal Tenenbaums for proof. Moonrise Kingdom is no exception to this rule. Anderson's uncomfortably longer-than-usual takes, awkward scene transitions and character interactions leave you feeling like you're seeing too much past what was originally intended. Like watching a neighbor walk through their front door, only to peek through the side window (not that we've ever done anything that sick...what are we, voyeurs?)...moving on.

In Moonrise Kingdom, we follow a 1965 New England Boy Scout Troup, headed by Scout Master Ward (played brilliantly simple by Edward Norton) as he sets out with his group of gangly boys to find young scout Sam (the talented Jared Gilman) who has apparently given up and gone AWOL, having fallen in love with little, eerily dark Suzy (Kara Hayward), with whom he feels a genuine enough connection to flee. Needless to say, on a small (but larger than you might think) island, two missing 11 year olds can be cause for panic, despite Sam's "commendable" scouting abilities. Ward and his khaki scouts, flanked by Suzy's worn down, together-for-the-kids, attorney parents (Bill Murray and Francis McDormand), Bruce Willis' subtly hilarious Captain Sharp and Tilda Swinton as Social Services, who is disturbingly hellbent on retrieving abandoned children, turn the small town upside down looking for the runaways.

At each and every turn, we find someone trying to make a connection with someone else. Either that, or fleeing any situation where a connection hasn't been or can't quite be made, in utter desperation. There is simply no denying Anderson has a phenomenal eye, using unconventional methods of cutting - as opposed to the 180 degree line when shooting two people in conversation - he'll shoot a medium angle of both subjects perpendicular to the action or cut back and forth, straight on, between the subjects and their interaction. It's completely awkward, but really allows the viewer to access the full emotional range given by the actors, who are all wonderful here. Particularly Gilmore and Hayward, who anchor the film in innocence.

Seeing the sense of urgency, created out of the burning desire to be wanted, reminds us of just how fast kids of today are growing up and becoming "old souls" too far ahead of their time. Let's face it, half of the technological breaches of the world, post 2000 have been accomplished by prepubescents who haven't stopped wetting the bed or watching Mighty Morphin Power Rangers. While most parents past 35 still don't know what "LOL" means. Kingdom also happens to come off as a call to parents to be more parental, taking more of an interest in their children and their need for that support structure, lest they run off and attempt to elope at the ripe age of 12...living in a tent on the rocky surface of some small, coastal New England town.

Despite stretches of some slow pacing (par for the course in Anderson's films), with a couple of pretty hilarious cameos from indie faves Harvey Keitel and Jason Schwartzman, as well as a great musical selection, Moonrise Kingdom is innocent fun with a good moral message for everyone. Having the film based in simpler time, where the very same issues being dealt with by people today don't really differ all that much, speaks to Anderson's brilliance as a filmmaker. The juxtaposition offers just enough contrast to make you really pay attention to the things that need tending to in your own life. While not quite as funny as some of his previous offerings, this is another solid character study, masked in a quirky innocence.

3/5 Taped Glasses. Providing articles, reviews and writings on movies online.

The Avengers Movie's Success

The Avengers is a film produced by the Marvel Studios and released in 2012. It is a superhero film based on the superhero team from the Marvel Comics. The screenplay was written by Joss Whedon and is distributed by Walt Disney Pictures. The cast of the Avengers film has famous actors such as Robert Downey Jr., Samuel L. Jackson, Scarlett Johansson and additional cast members: Cobie Smulders, Chris Hemsworth, Clark Gregg, Chris Evans, Tom Hiddleston and Jeremy Renner among others.

The Disney Company decided to change the title of the film in the United Kingdom. Instead of Marvel's Avengers it was released as Marvel's Avengers Assemble. This is because the company did not want the public to confuse the film with a TV series in the UK that has the same name. The film had its world premiere on April 11th 2012, at the El Capitan Theatre in California. The film broke many box office records immediately after its release on that day. The Avengers film made a record $207,438,708 during its first weekend at the theaters. This is a noteworthy record because Harry Potter and the Deathly Hallows Part 2 managed to acquire $169.2 million in its first weekend after the premiere. In its first week, the film broke the Dark Knight's 2008 record of $238.6 million by bringing in $270.019 million in ticket sales.

The Avenger's film received positive reviews by many notable critics. For example, the film got a 93% rating from the Rotten Tomatoes, which is a review aggregator website. It also obtained an average 8.1 points on 10 from the overall 267 reviews. CinemaScore gave the film an A+ grade based on the audience reviews. Another review from Metacritic showed the film received a score of 69 out of 100, due to the aggregation of 43 reviews.

The factors that contribute to the success of the movie are the stars, careful planning, as well as the original content. The stars of the film were all main characters in their various films and Marvel Comic books. When they came together, the fans wanted to know what would happen in the film, making the film a box office hit. The directors and producers of the film took the time to plan the film and released several teasers and one commercial spot in the Super Bowl. These actions increased the hype of the film, and many people looked forward to the premiere of the film.

The film did not make any changes to the characters, and they appeared just as they did in their previous films and comic books. The only character who underwent some changes was the Hulk. He was greener in the first Hulk film released in 2003, and the 2008 Hulk was too masculine. The film director decided to reduce the Hulk's green color and minimize his muscled appearance in the Avengers Film. The actors also showed their professionalism and dedication, by bringing out all the emotions required, despite the fact that it is an action film.

In the film, there was no main character because all the characters worked as a team and each of them had their own moment to shine. The film's special effects, as well as the action, proved worth watching and increased the film's appreciation by the audience. Another important factor in the success of the Avengers is the dedication of the director/ producer Joss Whedon. He developed the story from the comic characters and did not try to create a completely new story that deviated from the comic characters.

The character of Bruce Banner enhanced the success of the film. Mark Ruffalo played the roles of the brilliant, yet cynical Dr. Banner and the Hulk in the film. He brought out the characters in such a marvellous way, enhancing the film's reception. He brought out the Hulk's character well by refreshing the character. He also brought out the geeky and irritated character of Dr. Banner in a spectacular way. Many critics appreciated the film's plot in addition to the character's dialogues. Providing articles, reviews and writings on movies online.

Famous Bollywood Actresses With Seductive Eyes

Eyes are considered the most delicate part of the human body and a woman's eyes are said to depict her elegance and beauty. A woman can even kill a man with her bold and graceful eyes. Bollywood actresses are known for their beautiful eyes and many people often fall into the hypnotic and enticing waterfall of their eyes. Almost all the actresses in bollywood are blessed with lovely eyes; Aishwarya Rai, Rani Mukherjee, Madhuri Dixit and Kajol - to name a few. Bollywood actresses play with the expressions of their eyes to attract the viewers. We shall now have a glimpse at some of the famous bollywood actresses who have seductive eyes.

• Aishwarya Rai: She was born on 1st November 1973 and in 1994 she won the Miss World pageant. She has worked in blockbuster movies like Jodhaa Akbar, Provoked and Guru. She was honoured with Padma Shri and is one of the leading actresses of Hindi cinema. Her lovely eyes are counted among the top most beautiful eyes throughout the world. This adorable blue eyed woman has millions of fans not only in India but all over the world.

• Sridevi: A south Indian actress born on 13th august 1963 has won many hearts with her stunning eyes in Bollywood. She makes such naughty expressions with her eyes that viewers couldn't take off their gaze from her. She gave her marvelous performances in Chaalbaaz and Mr. India and has even won Nandi Award for her acting. Her eyes are believed to be the sexiest in the Bollywood.

• Madhuri Dixit: This dancing queen was born on 15th May 1967, and is considered one of the best actresses of Bollywood till date. She has given many romantic hits like Dil to pagal hai, Hum aapke hain kaun, Devdas and Saajan. She can make people dance to her expressions through her lustrous eyes. Her fans' heartbeat can't stop beating fast after looking at her dazzling and wide eyes which has made her one of the most expressive divas of Bollywood.

• Rani Mukherjee: This Bengali beauty was born on 21st march 1978. Her mesmerising eyes have taken her a long way when she spoke through her eyes in the movie Black, where she played a character of a blind and deaf girl. She seduces the entire world with her sensational sexy black eyes; fans go gaga over her wonderful eyes and her audiences go out of control.

• Vidya Balan: A Malyali girl born on 1st January 1978, she has made the whole world go speechless with her hot and bold eyes in the movie 'The dirty picture'. She gave many successful hits in several languages such as Hindi, Bengali and Malayalam. Paa, Ishqiya and Kahaani are some of her successful movies where she has given outstanding performances. Her stunning and smoky wide eyes have turned many heads in the Bollywood.

There is a never ending list of actresses with seductive eyes in Bollywood; the above mentioned were just a few top actresses from the list. Providing articles, reviews and writings on movies online.

Famous Bollywood Actresses With Seductive Eyes

Eyes are considered the most delicate part of the human body and a woman's eyes are said to depict her elegance and beauty. A woman can even kill a man with her bold and graceful eyes. Bollywood actresses are known for their beautiful eyes and many people often fall into the hypnotic and enticing waterfall of their eyes. Almost all the actresses in bollywood are blessed with lovely eyes; Aishwarya Rai, Rani Mukherjee, Madhuri Dixit and Kajol - to name a few. Bollywood actresses play with the expressions of their eyes to attract the viewers. We shall now have a glimpse at some of the famous bollywood actresses who have seductive eyes.

• Aishwarya Rai: She was born on 1st November 1973 and in 1994 she won the Miss World pageant. She has worked in blockbuster movies like Jodhaa Akbar, Provoked and Guru. She was honoured with Padma Shri and is one of the leading actresses of Hindi cinema. Her lovely eyes are counted among the top most beautiful eyes throughout the world. This adorable blue eyed woman has millions of fans not only in India but all over the world.

• Sridevi: A south Indian actress born on 13th august 1963 has won many hearts with her stunning eyes in Bollywood. She makes such naughty expressions with her eyes that viewers couldn't take off their gaze from her. She gave her marvelous performances in Chaalbaaz and Mr. India and has even won Nandi Award for her acting. Her eyes are believed to be the sexiest in the Bollywood.

• Madhuri Dixit: This dancing queen was born on 15th May 1967, and is considered one of the best actresses of Bollywood till date. She has given many romantic hits like Dil to pagal hai, Hum aapke hain kaun, Devdas and Saajan. She can make people dance to her expressions through her lustrous eyes. Her fans' heartbeat can't stop beating fast after looking at her dazzling and wide eyes which has made her one of the most expressive divas of Bollywood.

• Rani Mukherjee: This Bengali beauty was born on 21st march 1978. Her mesmerising eyes have taken her a long way when she spoke through her eyes in the movie Black, where she played a character of a blind and deaf girl. She seduces the entire world with her sensational sexy black eyes; fans go gaga over her wonderful eyes and her audiences go out of control.

• Vidya Balan: A Malyali girl born on 1st January 1978, she has made the whole world go speechless with her hot and bold eyes in the movie 'The dirty picture'. She gave many successful hits in several languages such as Hindi, Bengali and Malayalam. Paa, Ishqiya and Kahaani are some of her successful movies where she has given outstanding performances. Her stunning and smoky wide eyes have turned many heads in the Bollywood.

There is a never ending list of actresses with seductive eyes in Bollywood; the above mentioned were just a few top actresses from the list. Providing articles, reviews and writings on movies online.

Movie Review: Seeking a Friend for the End of the World (2012)

An unending, melancholy tone permeates the entire film, once again demonstrating Steve Carell's knack for that typical, sad, lonely character he always assumes (when he's not the cocky, ignorant, inconsiderate "Michael Scott" persona). But unlike Dan in Real Life or Little Miss Sunshine, there are few ups and downs - the role isn't nearly dynamic enough for audiences to invest in the somber development that keeps his plight from being emotionally involving. Similarly, Keira Knightley goes through the motions of being an unlikely companion without a convincing connection that could warrant their cross-country pilgrimage to find meaning in a world coming undone.

Dodge Petersen (Steve Carell) still goes to work each day at Metropolitan Consolidated Life Insurance, even though a 70-mile-wide asteroid named "Matilda" has just annihilated space shuttle Deliverance, the last remaining hope for saving Earth from certain doom. The countdown has begun: 21 days before the world ends. Many resort to abandoning hope, participating in carefree orgies of food and sex, or spending their final hours with family and friends. Penny (Keira Knightley) has missed her last opportunity to fly home and so laments outside Dodge's window. The two strike up a friendship and decide to embark on an odyssey to reunite Dodge with his high school sweetheart - a reconciliation botched by Penny retaining a misdelivered letter for Dodge. They're also accompanied by a randomly deserted dog dubbed "Sorry" - a witty moniker never fully utilized.

It's sometimes touching and undeniably soothing to see the obvious counterparts come to a romantic fruition, even if the casting choices don't appear completely compatible. Perhaps it's the age difference, or the contrasting personalities, or witnessing brief, unfulfilling assemblies of Penny's past admirers that seem probable yet discordant. Or maybe it's Dodge's admirable yet clashing sacrifices for love that suggest contrivance and an expected resolution. Regardless, a deeper association with the lead duo is elusive, what with the pervasive reminiscing, brooding, and irrational behaviors that are never delirious enough to be funny. Serenity arises, but not as repeatedly as bewilderment from the scenario.

This setting, with citizens either rioting, killing, offing themselves, contradictorily mowing the lawn as if to forget, or stocking bomb shelters for apocalyptic survival, is both the most unique element and the film's undoing. Ceding appeasement for an eye-opening twist essentially ruins the normal romantic comedy hiding beneath the frantic premise. And it's toned down to a degree, materializing less anarchy and chaos than might be expected (infidelity, rape and theft become a casual joke) if the situation were real - yet the shock of suicide and death still work their way into the picture. Enlightenment, a day at the beach, and reconnecting with loved ones can't mask the nerve-wracking, spontaneous nature of encountering bizarre strangers and frequenting eerily abandoned houses. At times it's more disturbing than humorous or romantic. Why should this bleak device interfere so tragically with a simple tale of recognizing the importance of truly worthwhile relationships?

- The Massie Twins (GoneWithTheTwins.com) Providing articles, reviews and writings on movies online.

Silent Era's Bad Girls

Anita Page

Nineteen twenty-eight, Ann played by Anita Page. She chased men for their money and drank as much as she wanted too. In "Our Dancing Daughters" she starred along with Joan Crawford as Diana and Ben played by Johnny Mack Brown. At a time when, flamboyance was honored and women onscreen did what they pleased.

The movie also dealt with the conflict between the two women and Ben. As much as Diana loved him, she put him off with her inhibited dancing and flirting with other men. It was Ann that came to his side while Diana suffered watching the two of them together.

The movie offered the audiences then, an opening scene where a woman danced in her shimmy in front of a mirror. Also, it showed a passionate love scene at a beach. After all; it was the Jazz Age and the bad girls in movies. They enjoyed every minute of their freedom.

The movie had an interesting mix of background sound effects and recorded singing for a few of the scenes. It was still considered a silent film because the actors spoke no dialogue. A few years later, a production code limited the explicitness shown onscreen.

Gloria Swanson

Nineteen twenty-eight, Gloria Swanson starred in "Sadie Thompson." It was a compelling drama and for her a signature role. Lionel Barrymore played a reformer bent on teaching the islanders to repent their ways. It was Sadie that became his focus. In fact, he used whatever means he could to get her sent back to San Francisco.

The movie captured the idea of sin versus redemption, guilt or innocence, the temptation of lust and sincere heartfelt love. Also, the question of Sadie's past that haunted her future. But it was to Sadie's advantage that forced her to go along with the idea to repent.

She quit wearing heavy make-up, rid herself of her flashy clothes and jewelry. It was the plain Sadie that caused the reformer sleepless nights. The movie's end saw Sadie back to her old ways. However, she got what she wanted all along.

Even with the content and the threat of censorship, the silent movie was well received and Gloria Swanson became "Sadie" the bad girl making her a huge box-office star.

Greta Garbo

Nineteen twenty-eight, Greta Garbo starred in "A Woman Of Affairs." Indeed, she was. The story started out with three friends, Diana Merrick played by Garbo, Neville Holderness played by John Gilbert and David Furness played by Johnny Mack Brown. Her brother, Jeffery Merrick was played by Douglas Fairbanks, Jr.

When Neville's father sent him to Egypt in order to make money, Diana was distraught. She married David. When in Paris, he plunged out of their hotel window The question became how would such a happy man do such a thing? With her brother turning against her and also much of society, Diana spent her time getting involved in affairs with other men.

After seven years away, Diana returned to London. However, Neville married a woman named Constance. The story revolved around being so much in love while married to someone else. It was also doing the right thing for decency. At what price, they paid with their lives.

The movie was a hit only because of Garbo's portrayal of Diana. It was not so much about being bad as it was about being so much in love and what it drove her character to do. Providing articles, reviews and writings on movies online.

Wes Anderson's Throwback 'Moonrise Kingdom' Brings Innocent Quirkiness to the Forefront

We've all been there. We've all felt detached at some point, with the need to make some sort of genuine connection. Whether it be as a child, feeling left out of the more popular kids' game of tag or as an on-the-go adult with very little personal time, let alone time to find some smidgeon of companionship with a partner. How about being a child, with multiple siblings, feeling total estrangement from your parents - who are both there, but really aren't? These are all themes explored by indie filmmaker Wes Anderson's latest little film; the quirky, cute and sometimes hilarious Moonrise Kingdom.

Despite being the supreme film buff that I am, it pains me to let you (indie film purists) know that I would be leading you astray, via a bold faced lie, if I sat here and claimed I feel Wes Anderson to be the GOD of all things cinematic. That's simply not true, in my very humble opinion of course. As sarcastic and dry as I can be, nor am I a big fan of his style of humor. However, I completely get it - and on occasion - he'll catch me off guard, having written lines (when delivered properly, by the right actor) that will come off in absolute gut-busting fashion. See Gene Hackman and Danny Glover's kitchen exchange in The Royal Tenenbaums for proof. Moonrise Kingdom is no exception to this rule. Anderson's uncomfortably longer-than-usual takes, awkward scene transitions and character interactions leave you feeling like you're seeing too much past what was originally intended. Like watching a neighbor walk through their front door, only to peek through the side window (not that we've ever done anything that sick...what are we, voyeurs?)...moving on.

In Moonrise Kingdom, we follow a 1965 New England Boy Scout Troup, headed by Scout Master Ward (played brilliantly simple by Edward Norton) as he sets out with his group of gangly boys to find young scout Sam (the talented Jared Gilman) who has apparently given up and gone AWOL, having fallen in love with little, eerily dark Suzy (Kara Hayward), with whom he feels a genuine enough connection to flee. Needless to say, on a small (but larger than you might think) island, two missing 11 year olds can be cause for panic, despite Sam's "commendable" scouting abilities. Ward and his khaki scouts, flanked by Suzy's worn down, together-for-the-kids, attorney parents (Bill Murray and Francis McDormand), Bruce Willis' subtly hilarious Captain Sharp and Tilda Swinton as Social Services, who is disturbingly hellbent on retrieving abandoned children, turn the small town upside down looking for the runaways.

At each and every turn, we find someone trying to make a connection with someone else. Either that, or fleeing any situation where a connection hasn't been or can't quite be made, in utter desperation. There is simply no denying Anderson has a phenomenal eye, using unconventional methods of cutting - as opposed to the 180 degree line when shooting two people in conversation - he'll shoot a medium angle of both subjects perpendicular to the action or cut back and forth, straight on, between the subjects and their interaction. It's completely awkward, but really allows the viewer to access the full emotional range given by the actors, who are all wonderful here. Particularly Gilmore and Hayward, who anchor the film in innocence.

Seeing the sense of urgency, created out of the burning desire to be wanted, reminds us of just how fast kids of today are growing up and becoming "old souls" too far ahead of their time. Let's face it, half of the technological breaches of the world, post 2000 have been accomplished by prepubescents who haven't stopped wetting the bed or watching Mighty Morphin Power Rangers. While most parents past 35 still don't know what "LOL" means. Kingdom also happens to come off as a call to parents to be more parental, taking more of an interest in their children and their need for that support structure, lest they run off and attempt to elope at the ripe age of 12...living in a tent on the rocky surface of some small, coastal New England town.

Despite stretches of some slow pacing (par for the course in Anderson's films), with a couple of pretty hilarious cameos from indie faves Harvey Keitel and Jason Schwartzman, as well as a great musical selection, Moonrise Kingdom is innocent fun with a good moral message for everyone. Having the film based in simpler time, where the very same issues being dealt with by people today don't really differ all that much, speaks to Anderson's brilliance as a filmmaker. The juxtaposition offers just enough contrast to make you really pay attention to the things that need tending to in your own life. While not quite as funny as some of his previous offerings, this is another solid character study, masked in a quirky innocence.

3/5 Taped Glasses. Providing articles, reviews and writings on movies online.

Auf Wiedersehen Pet Series 1

In 1983, a TV show was shown on ITV, that could have been a huge hit or a ratings disaster. Thankfully for all involved, Auf Wiedersehen Pet was a huge hit for viewers and critics alike.

The UK in the late 1970's and early 1980's was a place of national strikes and huge unemployment, especially in places such as the North East. Franc Roddam the creator of the show, came up with the idea, when on returning to his home town of Norton, Stockton on Tees, found that many of his friends in the construction trade had gone to work in Germany.

Franc Roddam created the series, and worked with the brilliant writing team of Ian la Frenais and Dick Clement, who had also written for shows such as The Likely Lads and Porridge. Six episodes were written, and then the rest of the series was written around the characters, as we watched them fall in and out of love, get into fights and also find some of them back in the UK unexpectedly.

The series was a huge success, and not only down to the great writing and superb performances of the cast. The series made huge names out of Jimmy Nail, Tim Spall, Tim Healy, Kevin Whately, Pat Roach and Gary Holton.

Viewers were drawn to the reality of what they were seeing on screen, and because of what was happening at that time in the UK, it was almost like watching a documentary for many people. The series struck a chord, and still does almost 30 years on from when it was first shown on British TV.

The series revolved around a group of seven men. Four bricklayers, a carpenter, a plasterer and an electrician. The timing of the show was perfect, and to think that this type of show would be such a hit in this modern world we live in, probably not.

The series was shown on ITV from the 11th of November 1983, through to the 10th of February 1984. Viewing figures for the first series were an average of 10 million, but this would almost double for the second series when that was aired in 1986.

There were many comparisons made to this first series, with many commenting on how it was very much like watching a WW2 film, as the lads all lived in a blue wooden hut on site. This was what made the series real and gritty, and the writers and creator knew how to connect with the British public at a time when there was nothing to look forward to, except rising unemployment figures. Providing articles, reviews and writings on movies online.

Movie Review: Prometheus (2012)

Director Ridley Scott originally intended on creating a prequel to his film Alien, but when the script writing began, he realized the wealth of material presented warranted its own separate tale (still set in the same universe, however). Such an undertaking led to copious speculation and extremely high expectations from fans for what would eventually become Prometheus. Yet for a film that supposedly merited severance from becoming a direct Alien precursor, the sequence of events in Prometheus are strikingly close to that of Scott's prior effort. In fact, certain segments seem designed specifically as a counterpart to the iconic moments now cemented in cinematic history. Unfortunately, none of these scenes come close to the shocking brilliance of those found in Alien, and while the atmospheric sets, awe-inspiring practical effects, and competent acting are present as they should be, don't expect to find the answers you're looking for - in either the notorious beasts' origins or the countless new questions raised that Scott clearly feels are better left unanswered.

When scientists Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green) discover clues on Earth that point to possible "engineers" of mankind, they partner with the powerful Weyland Corporation to launch an expedition into space to make contact with their creators. Governed by Weyland's stern attaché Meredith Vickers (Charlize Theron) and accompanied by geologists, mercenaries, and the cryptic android David (Michael Fassbender), the crew of the spaceship Prometheus is instructed not to interact with any life forms they may encounter. But once the group reaches their destination of the moon LV-233 and discovers the remains of the beings they set out to find, avoiding exposure becomes impossible. As a deadly infection rapidly spreads and mysterious creatures begin attacking the crew, Elizabeth realizes the horrifying truth and must fight for her own life as well as the very fate of mankind.

The usually capable director has bitten off a bit more than he could chew with Prometheus, which attempts at different moments to be a great many things. Expectations are particularly high, since Scott became famous for Alien in 1979, and this film marks his return to the genre. At the beginning, he ventures into contemplating alternatives to the evolution of humankind with predominantly science-fiction philosophies; in the middle, he explores favorite themes such as the assault on feeble human flesh, the invasion of orifices, and genetic mutation - essential elements of gore for the sake of horror; and toward the conclusion, he opts for action-oriented thrills, packed with impressive CG wizardry and massive destruction. Each shift in genre disorients the story from having a clear vision, and the result is a mess of unresolved ideas and poorly defined beings (especially regarding the capabilities and function of the Engineers, their cargo, and subsequent anomalies).

Brandywine Productions, David Giler and Walter Hill as producers, the title font, notations of "LV_223," talk of company jobs, an android, a monstrous ship full of lonely corridors, hypersleep sickness, hidden agendas, sabotage, H.R. Giger's artwork, and advanced technology all harken the return of a familiar atmosphere. But while the environment, heaped with humidity, high-pitched noises, black muck, and slithery critters, remains reminiscent of Scott's original masterpiece, the plot progresses slowly and formulaically. A crew awakes from hypersleep, a bypass surgery medical pod is inspected, Jackson claims he's there for security purposes and brandishes weaponry, ship and helmet cameras feed crackling, static-filled transmissions, allochthonous walls glisten with slime, and an unsuccessful quarantine allows something to be brought back aboard the command ship. None of it is notably original and the sense of foreboding and foreshadowing is jeeringly blatant. Suspense arrives too late, horror is handled clumsily, and the poignancy of physical pain, understanding the purpose of the structures, and digesting answers to the mysteries of life is sorely neglected. The "space jockey" creation from Alien sparked an interesting question of origin and ancestry, but the solution is mightily underwhelming.

- The Massie Twins (GoneWithTheTwins.com) Providing articles, reviews and writings on movies online.

The Avengers Movie's Success

The Avengers is a film produced by the Marvel Studios and released in 2012. It is a superhero film based on the superhero team from the Marvel Comics. The screenplay was written by Joss Whedon and is distributed by Walt Disney Pictures. The cast of the Avengers film has famous actors such as Robert Downey Jr., Samuel L. Jackson, Scarlett Johansson and additional cast members: Cobie Smulders, Chris Hemsworth, Clark Gregg, Chris Evans, Tom Hiddleston and Jeremy Renner among others.

The Disney Company decided to change the title of the film in the United Kingdom. Instead of Marvel's Avengers it was released as Marvel's Avengers Assemble. This is because the company did not want the public to confuse the film with a TV series in the UK that has the same name. The film had its world premiere on April 11th 2012, at the El Capitan Theatre in California. The film broke many box office records immediately after its release on that day. The Avengers film made a record $207,438,708 during its first weekend at the theaters. This is a noteworthy record because Harry Potter and the Deathly Hallows Part 2 managed to acquire $169.2 million in its first weekend after the premiere. In its first week, the film broke the Dark Knight's 2008 record of $238.6 million by bringing in $270.019 million in ticket sales.

The Avenger's film received positive reviews by many notable critics. For example, the film got a 93% rating from the Rotten Tomatoes, which is a review aggregator website. It also obtained an average 8.1 points on 10 from the overall 267 reviews. CinemaScore gave the film an A+ grade based on the audience reviews. Another review from Metacritic showed the film received a score of 69 out of 100, due to the aggregation of 43 reviews.

The factors that contribute to the success of the movie are the stars, careful planning, as well as the original content. The stars of the film were all main characters in their various films and Marvel Comic books. When they came together, the fans wanted to know what would happen in the film, making the film a box office hit. The directors and producers of the film took the time to plan the film and released several teasers and one commercial spot in the Super Bowl. These actions increased the hype of the film, and many people looked forward to the premiere of the film.

The film did not make any changes to the characters, and they appeared just as they did in their previous films and comic books. The only character who underwent some changes was the Hulk. He was greener in the first Hulk film released in 2003, and the 2008 Hulk was too masculine. The film director decided to reduce the Hulk's green color and minimize his muscled appearance in the Avengers Film. The actors also showed their professionalism and dedication, by bringing out all the emotions required, despite the fact that it is an action film.

In the film, there was no main character because all the characters worked as a team and each of them had their own moment to shine. The film's special effects, as well as the action, proved worth watching and increased the film's appreciation by the audience. Another important factor in the success of the Avengers is the dedication of the director/ producer Joss Whedon. He developed the story from the comic characters and did not try to create a completely new story that deviated from the comic characters.

The character of Bruce Banner enhanced the success of the film. Mark Ruffalo played the roles of the brilliant, yet cynical Dr. Banner and the Hulk in the film. He brought out the characters in such a marvellous way, enhancing the film's reception. He brought out the Hulk's character well by refreshing the character. He also brought out the geeky and irritated character of Dr. Banner in a spectacular way. Many critics appreciated the film's plot in addition to the character's dialogues. Providing articles, reviews and writings on movies online.