Archive for March, 2013

Daily Index (March 29, 2013) #1 Movie

March 31st, 2013 - admin

‘G.I. Joe: Retaliation’, starring Dwayne Johnson, grossed a strong $15.5m on Good Friday to secure control of the North American box office.  Paramount’s action sequel has now taken $26m since its Thursday opening and should double that figure by Sunday night.


DreamWorks’ 3D animation, ‘The Croods’, had a very good second Friday hold with a return of $10.7m.  It represents a fall of just 8% and the prehistoric adventure is on course for a $29m weekend.


‘Tyler Perry’s Temptation’, starring Jurnee Smollett, was the second highest opener and exceeded expectations on $9.4m.  The bored housewife drama should take $22m over the three days.


The other wide opener, ‘The Host’, adapted from Twilight author Stephenie Meyer’s novel of the same name, grossed a disappointing $5.5m in fourth place.  The action adventure is heading for a lacklustre $13m weekend.


The specialist market saw ‘The Place Beyond the Pines’, starring Ryan Gosling and Bradley Cooper, grossing a strong $95,000 from four locations.  Derek Cianfrance’s follow-up to ‘Blue Valentine’ should finish the three days over $260k.sildalis canada buysildalis in usabuy sildalis usasildalis usa


March 30th, 2013 - admin

The final part of Pablo Larraín’s loose General Pinochet trilogy takes us to the end of the 1980s when dictatorships around the world were finding it increasingly difficult to resist the economic and political reality of globalisation.  Pinochet’s extreme form of nationalist quasi fascism was entering its final phase; still courting favour from the US on the back of a brutal anti-communist agenda but, with the Cold War drawing to a close, the threat of ‘reds under the beds’ was diminishing.  We join the action when Pinochet, no longer holding a trump card, responds to international demands for an elected government, fifteen years after the coup d’état that overthrew the democratically elected socialist, Salvador Allende.


Larraín keeps Pinochet out of sight for much of the film but we are aware of his presence in almost every scene, just as Chileans were accustomed to going about their ordinary lives under his ominous shadow, cast from a strangely modest Santiago residence; nowadays a controversial visitors attraction.  The party machine, on the other hand, is visible at every turn, servicing his wishes with a well oiled combination of propaganda and intimidation, which mutates into something far more sinister as needs must.  And for our part, we become shockingly desensitised to the dehumanising process, only responding to truly horrifying episodes, with the rest of it routinely slipping into the quotidian.  Perhaps it goes some way to explaining the otherwise baffling and complex political landscape with support for Pinochet extending beyond party insiders to those fearful of severing Chile’s economy from the US; almost – but not quite – oblivious to the beatings and disappearances.


Unsurprisingly, Pinochet’s notion of ‘democracy’ was of the kind that treats the election as a foregone conclusion with the military junta continuing exactly as before in everything but name.  We see some hardline revolutionaries – largely disaffected survivors of the deposed left – branding colleagues who refused to boycott the elections as selling out, giving legitimacy to a sham.  But it is other opponents that become the main focus of our attention, a multi-party alliance fighting the ‘No’ campaign of the film’s title and having a crack at removing the despot against the odds.


Larraín exercises some artistic license, drifting from reality with a fictionalised character, René Saavedra, being a composite of various ad men, a new breed who the ‘No’ coalition recruited to run their campaign.  Opening an interesting debate on the ethics of filmic shorthand, Gael García Bernal plays Saavedra with an apolitical cool inscrutability that strikes an obvious accord with a 21st century audience but raises doubts as to whether these early predecessors of today’s cynical spin doctors were quite so media savvy.


The real life campaign, nevertheless, was still daring stuff, ignoring the appalling human rights abuses and, instead, running TV ads as if selling an exciting new consumer product; overcoming the dilemma of putting the positive into ‘No’ but incurring the wrath of some of the coalition.  Larraín captures it deftly, blending the original ads and other archive footage with his new material shot onto a videotape with a broadly contemporaneous U-matic camera.  It lends an obvious authenticity to the unfolding action – it is sometimes difficult to distinguish between the old and new – with Larraín regular, Andrea Chignoli, doing a fine job as editor; perhaps so good that it seemingly passed unnoticed in some quarters, slipping beneath the awards radar.


Less good is Saavedra’s fictional private life, a network of convenience, which all too neatly portrays social interactions playing out in opposition to political alliances.  This is a pity as Larraín convinces in capturing those many ‘shades of grey’ that are not always apparent to those of us following events from a safe distance, without the need for such contrived counterpoints.  Saavedra’s civilised relationship with his boss, Lucho Guzmán, who – yes – just happens to perform a similar service for Pinochet, pushes coincidence to its limits but, leaving that on one side, there is still much to admire in Alfred Castro’s characterisation of Guzmán, quietly embracing many contradictions; naturalising the unacceptable, almost imperceptibly.  No less blatant in its plotting by numbers is Saavedra’s close relationship with his former wife, Verónica Carvajal, a fanatical rabble-rousing revolutionary dead against the elections and, of course, his ad campaign.  And yet, experienced Chilean actress, Antonia Zegers, invests her with a genuine sense of maturity and responsibility that allows for a far more subtle portrayal than genre conventions would normally allow.


Like Ben Affleck’s ‘Argo’, the return to an era where all is not quite what it seems, is only a partial success.  We are left with an unfortunate sense that too much reality has fallen between the cracks amongst all this post modern knowingness.sildalis canada buysildalis in usabuy sildalis usasildalis usa

Affleck in negotiations for American Revolution drama

March 20th, 2013 - admin

American filmmakers’ current obsession with the past looks set to continue after it emerged that Ben Affleck was in negotiations for a big screen adaptation of Nathaniel Philbrick’s historical book, ‘Bunker Hill’.  It is likely to rival his Oscar- winning ‘Argo’ in the patriotism stakes and will be a full scale epic depicting the first battle of the American Revolution.  There is no news yet on whether Affleck will unite with ‘Argo’ screenwriter, Chris Terrio, but it seems only a matter of time.10mg fluoxetine for anxietyprozac 40 mg dailyfluoxetine 30 mg capsulesfluoxetine hcl caps

International box office (March 15-17, 2013)

March 19th, 2013 - admin

Sam Raimi’s Oz the Great and Powerful enjoyed a strong weekend at the international box office, only falling 43% for an easy win.  The Wizard of Oz’s 3D prequel grossed $46.6m over the three days, taking its running total to an early $136.8m.  After factoring in North America, it now stands at an impressive $281.8m worldwide, which virtually repays the films $200m budget and huge marketing costs.


A Good Day To Die Hard continued its strong international performance, adding a further $20.4m over the weekend.  John Moore’s action thriller eventually opened in China and returned a commanding $15.7m in the No 1 position.  The weekend haul takes the fifth instalment of the franchise over the $200m milestone internationally.10mg fluoxetine for anxietyprozac 40 mg dailyfluoxetine 30 mg capsulesfluoxetine hcl caps

Weekend Index (March 15-17, 2013)

March 19th, 2013 - admin

1 . Oz The Great And Powerful (Buena Vista) WDSMPI $42.2m ($145m) (1)
2. The Call (TriStar) Sierra/Affinity $17.1m (NE)
3. The Incredible Burt Wonderstone (Warner Bros) WBPI $10.3m (NE)
4. Jack The Giant Slayer (Warner Bros) WBPI $6.2m ($53.9m) (2)
5. Identity Thief (Universal) UPI $4.5m ($123.7m) (3)


Sam Raimi’s mega-budget ‘Oz the Great and Powerful’ easily won the North American weekend box office after grossing a decent $42.2m in line with expectations.  The Wizard of Oz’s 3D prequel has now returned $145m after two weekends in play.


Brad Anderson’s kidnap thriller, The Call, over performed in second place, taking $17.1m during its opening weekend. This is $6m more than the original forecast.


The same cannot be said for another opener, ‘The Incredible Burt Wonderstone’, which failed to improve on its poor Friday showing.  The Steve Carell/Jim Carrey vehicle struggled to $10.3m against a predicted $15m.


The big story of the weekend, though, belonged to Harmony Korine’s crime comedy, ‘Spring Breakers’, starring James Franco and Selena Gomez.  The Venice title averaged a walloping $90K per screen average during its limited New York/Los Angeles three theatre opening.  All eyes will now be on next weekend when A24 expand the release nationwide.


Ginger and Rosa was another speciality opener that enjoyed a strong weekend.  Sally Potter’s coming-of-age drama, starring Elle Fanning and Alice Englert, secured a $15,000 per-screen average from three theatres.10mg fluoxetine for anxietyprozac 40 mg dailyfluoxetine 30 mg capsulesfluoxetine hcl caps
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South By Southwest Film Festival 2013 (March 8-17)

March 17th, 2013 - admin

Feature competition:


Awful Nice
Todd Sklar


Todd Sklar’s comedy, starring Alex Rennie and James Pumphrey, has two estranged brothers rebuilding the family home and a sibling relationship after the death of their father.  It is the follow-up to Sklar’s debut feature, ‘Box Elder’, which received a limited US release.



Carlos Puga


A father, who abandoned his terminally ill wife nine years earlier, unexpectedly reappears at a family reunion.  Carlos Puga is mainly known for his TV work (‘True Life’) but did make his theatrical debut eleven years ago with the comedy, ‘The S1gnificance of Se7enteen’.  Christopher Abbott (Martha Marcy May Marlene) stars alongside Gaby Hoffmann.



Improvement Club
Dayna Hanson


Dayna Hanson’s intriguing debut feature employs dance as an integral part of the storytelling.  Magge Brown and Dave Proscia star alongside Hanson in a musical drama that focuses on the challenges facing a politically motivated avant-garde performance group.



Jonathan Singer-Vine


After serving two years in the ‘Big House’ for a robbery gone wrong, a young offender must decide upon the future shape of his life.  Jonathan Singer-Vine’s feature debut has newcomer, Stanley “Doe” Hunt, playing the lead character, who goes by the enigmatic name ‘D’.



The Retrieval
Chris Eska


Chris Eska came to the fore with his festival hit, ‘August Evening’, which won multiple awards, including the Independent Spirit John Cassavetes’ prize.  After a six year wait, Eska returns with his follow-up, ‘The Retrieval’, a civil war bounty hunter drama, which will be very different from Quentin Tarantino’s ‘Django Unchained’.



Short Term 12
Destin Daniel Cretton


Destin Daniel Cretton’s ‘troubled adolescents facility’ short film, ‘Short Term 12’ won many awards on the festival circuit, including the coveted top prize at Sundance.  His latest feature of the same name, deals with similar territory and follows a young supervisor at a foster home as she faces demanding situations that extend beyond the day job.  In between, Cretton directed the indie music drama, ‘I Am Not a Hipster’.



Swim Little Fish Swim
Ruben Amar and  Lola Bessis


Ruben Amar has collaborated with writer/producer Lola Bessis on various shorts including festival favourite, ‘Checkpoint’.  The pair have now joined forces as co-directors of ‘Swim Little Fish Swim’, a surreal drama looking at an unconventional young couple with competing ideologies.



This Is Where We Live
Josh Barrett and Marc Menchaca


Local handyman forms bond with a boy suffering from cerebral palsy before becoming close to the boy’s mother in a complex domestic drama.  It is Josh Barrett and Marc Menchaca’s debut feature and stars CK McFarland.


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‘Short Term 12’ wins SXSW’s audience award

March 17th, 2013 - admin

Destin Daniel Cretton’s ‘Short Term 12’ completed its domination of the SXSW’s narrative feature competition yesterday, when it scooped the audience award.  The foster home drama, starring Brie Larson as a young supervisor, had already bagged the grand jury prize last Tuesday.


Cretton is no stranger to festival success following his earlier short of the same name.  Dealing with similar subject matter, it won multiple awards on the circuit, including the coveted top prize at Sundance.10mg fluoxetine for anxietyprozac 40 mg dailyfluoxetine 30 mg capsulesfluoxetine hcl caps

Daily Index (March 15, 2013) #1 Movie

March 16th, 2013 - admin

Sam Raimi’s Oz the Great and Powerful continued to dominate the North American box office on Friday, grossing a solid but unexceptional $11.4m.  The Wizard of Oz’s 3D prequel is set to finish its second weekend in the region of $42m.


The Call, starring Halle Berry, comfortably exceeded expectations after returning $6.2m from 2,507 theatres.  Brad Anderson’s thriller was Friday’s highest opener and should exceed $16m over the three days for an easy second place.


It was a disastrous Friday for another opener, The Incredible Burt Wonderstone.  The Steve Carell/Jim Carrey vehicle could only muster $3.7m, including late Thursday screenings, and will have to settle for a $10m weekend.


High budget under performer, Jack the Giant Slayer, only fell by 31% in the No 4 spot but from a very low base.  Bryan Singer’s action fantasy grossed $1.7m and should go on to take $7m during its third weekend in play.


Harmony Korine’s crime comedy ‘Spring Breakers’, starring James Franco, provided the main talking point.  The Venice title enjoyed a whopping $32,000 per screen average during Friday’s limited New York/Los Angeles three theatre opening, ahead of next weekend’s expansion.10mg fluoxetine for anxietyprozac 40 mg dailyfluoxetine 30 mg capsulesfluoxetine hcl caps

Fincher moving closer to ‘Gone Girl’ adaptation

March 16th, 2013 - admin

The prospect of David Fincher adapting Gillian Flynn’s bestselling novel ‘Gone Girl’ is becoming increasingly likely as negotiations reach an advanced stage.  Fincher, who is often at his most effective when handling ambiguous material, would be particularly well suited to this unusual disappearance mystery with conflicting narrators.  Reese Witherspoon is amongst the producers but is unlikely to appear in the film.10mg fluoxetine for anxietyprozac 40 mg dailyfluoxetine 30 mg capsulesfluoxetine hcl caps
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Pay Someone To Write My Research Paper

March 13th, 2013 - admin

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Cannes opener announced

March 13th, 2013 - admin

Baz Luhrmann’s 3D adaptation of ‘The Great Gatsby’, starring Leonardo DiCaprio and Tobey Maguire, will open this year’s Cannes Film Festival out of competition.  It is the fourth cinematic version of F Scott Fitzgerald’s classic and arrives two years after Woody Allen featured the author in another Cannes opener, ‘Midnight in Paris’.  Luhrmann is no stranger to the Cannes red carpet treatment after his ‘Moulin Rouge’ opened the 2001 edition with a massive splash.10mg fluoxetine for anxietyprozac 40 mg dailyfluoxetine 30 mg capsulesfluoxetine hcl caps

International box office (March 8-10, 2013)

March 11th, 2013 - admin

Sam Raimi’s Oz the Great and Powerful dominated the international weekend box office, grossing $69.9m on its launch from 46 territories.  After factoring in North America, The Wizard of Oz’s 3D prequel earned $150.2m worldwide, a healthy first instalment towards repaying its $200m production budget and whopping marking costs.  Russia was easily its most successful international market with a return of $15m.


Hansel And Gretel: Witch Hunters grossed a further $11.2m in second place, taking its overall tally to $142.5m.  Paramount’s fairy tale adaptation opened in France and finished third after returning $2.6m.


A Good Day To Die Hard was still active in 67 markets, adding another $9.1m over the three days.  The action thriller now stands at a healthy $177.9m with China still to come.10mg fluoxetine for anxietyprozac 40 mg dailyfluoxetine 30 mg capsulesfluoxetine hcl caps

Amy Ryan and Andrea Riseborough come on board Iñárritu’s ‘Birdman’

March 10th, 2013 - admin

Alejandro González Iñárritu (Amores Perros, Babel) is moving through the gears with the casting for his new feature, ‘Birdman’, which commences filming next month.  Amy Ryan (‘Gone Baby Gone’) and Andrea Riseborough (‘Shadow Dancer’) are the latest recruits and they join an already stellar cast, including Michael Keaton, Naomi Watts and Edward Norton.  Marking Iñárritu’s first foray into comedy, an actor looks to rebuild his career by staging a play based on a Raymond Chandler short story, after making his name playing a viagra online ukcheap viagra 100mgbuy viagra online canadaviagra 100mg price

Daily Index (March 8, 2013) #1 Movie

March 10th, 2013 - admin

Sam Raimi’s ‘Oz the Great and Powerful’, starring James Franco, Michelle Williams and Rachel Weisz, made a solid start at the North American box office, grossing $24.1m on Friday.  The 3D prequel to ‘The Wizard of Oz’ will perform stronger over the weekend when it plays at times more suitable for family viewing.  Disney will be hoping for a weekend return in excess of $80m but a lukewarm critical reaction may impact on word of mouth.


Things didn’t get any better for the high budget under-performer, ‘Jack the Giant Slayer’, which fell be a massive 67% from last week’s opening.  Bryan Singer’s action fantasy grossed $2.5m on Friday and could struggle to cross the $10m mark at the end of the three days.


Another Friday opener, ‘Dead Man Down’ starring Colin Farrell and Noomi Rapace, returned an abysmal $1.8m.  Niels Arden Oplev’s crime thriller seems set for a weekend tally of $5m.


‘Identity Thief’ continued its strong run for Universal, grossing a further $1.7m in fourth  place.  Seth Gordon’s crime comedy, starring Melissa McCarthy and Jason Bateman, should finish its fifth weekend around the $6.5m mark ahead of ‘Dead Man Down’.buy viagra online ukcheap viagra 100mgbuy viagra online canadaviagra 100mg price
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Isabelle Adjani withdraws from Abel Ferrara’s latest

March 8th, 2013 - admin

Isabelle Adjani has rocked Abel Ferrara’s biopic on Dominique Strauss-Kahn by withdrawing as co-star ahead filming next month.  Strauss-Kahn, who resigned as Managing Director of the IMF after sexual assault claims, is now back in the headlines following new ‘kiss and tell’ allegations.  Adjani has expressed concern that it was no longer possible to provide an accurate portrayal without a lapse of time for proper reflection.  Kristin Scott Thomas is amongst the actresses being considered as a possible viagra online ukcheap viagra 100mgbuy viagra online canadaviagra 100mg price
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Rebecca Hall to star in Wally Pfister’s debut feature

March 6th, 2013 - admin

Rebecca Hall will star alongside Johnny Depp in ‘Transcendence’, the keenly awaited debut feature of acclaimed cinematographer, Wally Pfister.  Best known for his work with Christopher Nolan, including his Oscar winning photography on ‘Inception’, Pfister will be on familiar ground with his planned sc-fi brain teaser.  Nolan is amongst the executive viagra online ukcheap viagra 100mgbuy viagra online canadaviagra 100mg price

International box office (March 1-3, 2013)

March 4th, 2013 - admin

‘A Good Day To Die Hard’ retained top position at the international weekend box office after grossing a further $18.3m during its third weekend in play.  The fifth instalment of the franchise was active in 67 territories with its highest return being $3.5m in France.


Blockbuster, ‘Jack the Giant Slayer’ opened in ten Asian markets day-and-date with North America and earned $13.7m over the three days.  Bryan Singer’s action fantasy claimed the No. 1 spot in seven of the territories, including a $4.9m haul in South Korea.  After a lacklustre debut in North America, it will be relying heavily on the international markets to recoup the huge budget.


The session saw Peter Jackson’s ‘The Hobbit: An Unexpected Journey’ cross the  $1bn mark worldwide.  The international markets have contributed over $700m to the running viagra online ukcheap viagra 100mgbuy viagra online canadaviagra 100mg price

Weekend Index (March 1-3, 2013)

March 4th, 2013 - admin

1. Jack The Giant Slayer (Warner Bros) WBPI $28m (NE)
2. Identity Thief (Universal) UPI $9.7m ($107.4m) (1)
3. 21 And Over (Relativity) FilmNation $9m (NE)
4. The Last Exorcism Part II (CBS) StudioCanal $8m (NE)
5. Snitch (Summit Entertainment) Exclusive Media $7.7m ($24.4m) (2)


The first tentpole of the year, ‘Jack the Giant Slayer’, failed to justify its  mega-budget when returning a lacklustre $28m during the film’s opening weekend at the North American box office.  A No 1 position was feeble consolation, and Bryan Singer’s action fantasy will now rely heavily on the international market to avoid a loss.


It was another good weekend for the former No 1, ‘Identity Thief’, grossing a further $9.7m in second place.  Universal’s crime comedy now stands at $107m after four weekends in play.


Two other openers, ’21 and Over’ and ‘Last Exorcism, Part 2’, grossed $9m and $8m respectively.  Both films were neck and neck on Friday but the horror sequel proved the more front loaded.


Park Chan-wook’s ‘Stoker’, starring Nicole Kidman and  Mia Wasikowska, caught the eye in the limited release market.  The South Korean auteur’s first English language film debuted with an outstanding $22,686 per-site average from seven viagra online ukcheap viagra 100mgbuy viagra online canadaviagra 100mg price

Lucia Puenzo develops Tina Modotti biopic

March 4th, 2013 - admin

Argentinian New Wave filmmaker, Lucia Puenzo (‘XXY’) will switch from one end of the ideological spectrum to the other with her fourth feature, ‘A Timeless Woman’ (‘La Mujer Infinita’).  Based on José Ignacio Valenzuela’s novel of the same name, Leonor Varela will play the intriguing real life actress, photographer and anti-fascist revolutionary, Tina Modotti.  It will follow Puenzo’s keenly awaited ‘Wakolda’, a dramatisation of the former Nazi concentration camp physician, Josef Mengele, whose wife did not know his true identity.  ‘Wakolda’ is currently in post production and ‘A Timeless Woman’ will start filming at the end of the viagra online ukcheap viagra 100mgbuy viagra online canadaviagra 100mg price
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Django Unchained

March 3rd, 2013 - admin

As America’s future position on the world stage becomes increasingly uncertain, some of its prominent filmmakers have retreated to the country’s past with high budget epics, which have been major players in this year’s award season but, at the same time, given rise to controversy.  Kathryn Bigelow tackled America’s recent history in ‘Zero Dark Thirty’ with the dramatisation of the ten year manhunt for Osama bin Laden and provoked absurd allegations that sickening scenes of human degradation somehow glamorise torture.  Just as John Ford turned to Abraham Lincoln for a timely biopic when America was under pressure internationally at the outset of the Second World War, Steven Spielberg has given us a portrayal of the 16th President during these troubled times, which has prompted a debate on artistic interpretation/fictionalised elements in history filmmaking.  Quentin Tarantino’s revisionist western, ‘Django Unchained’, notionally starts one year before ‘Lincoln’ and two years from the start of the American Civil War and makes no attempt at historical verisimilitude but like, ‘Zero Dark Thirty’, has caused outrage in its presentation of the unacceptable; this time slavery.


Tarantino makes his intentions clear in the film’s title, a very specific reference to the brutal revenge hero of Sergio Corbucci’s cult spaghetti western, ‘Django’, which spawned one official sequel and over thirty others and received outright bans in the UK and Sweden.  It places us firmly within Tarantino’s territory; extreme violence, irreverence and plenty of outrageous myth making and post modern posturing that tests the patience of film censors but somehow remains on the right side of the line.


Jamie Foxx plays Tarantino’s reincarnated Django, now taking the form of a black slave on a chain gang in the Deep South, whose fortunes change dramatically when he encounters another Tarantino genre-twisting amalgam, Dr King Schultz, a German dentist- turned bounty hunter.  Christoph Waltz, who received an Academy Award for his portrayal of Col. Hands Landa in Inglourious Basterds, returns as Schultz and excels playing the human extermination machine but one with charm, elegance and a delicious moral compass of the twisted kind.


What a superb set-up this is?  The pair team-up against the odds, roaming around ‘Searchers’ style but there is none of Ethan’s conflicted racism.  This is two men on a mission interpreting ‘wanted dead or alive’ as ‘dead with serious bloodshed’, and united in making a stand against the Klan and repugnant Southern Fascism.  Joyfully playing with genre conventions, Schultz becomes the German liberal – geometrically opposed to Col. Hands – who brings Django’s innate ingenuity to the fore but, thankfully, without overdoing the teacher/pupil bit that can so easily replace one form of superiority with another.


Things come to a head when the ‘partners’ arrive at the feared Candyland, the cruelest plantation in the South.  They search for Django’s lost wife, Broomhilda, a German speaking black slave, making the most of an absurd Mel Brooks style cross cultural irony, blatantly playing with Wagnerian connotations of proto-Nazism.  Django raises the ante when arriving on horseback – unheard of in these parts – fully dandified in blue silk, jubilantly mocking the grand dress code of the Southern elite.  Foxx pulls it off to a tee, giving Django a knowing stare and a fearless menace that simultaneously fascinates and appals Calvin Candie, the repulsive plantation owner.


Leonardo DiCaprio, working with Tarantino for the first time, serves up a mesmerising blend of Southern chivalry and controlled sadism in a chilling portrayal of Candie, who gets his kicks from bare-knuckle slave fights to the death.  The appalling spectacle resembles a dog fight but any link to slavery is a pure cultural invention, given mythological currency in Richard Fleischer’s controversial ‘Mandingo’ almost forty years ago.  It’s just the kind of post modern concoction that appeals to Tarantino, of course, bordering on the gratuitous and, yet, taking on a potent symbolism, which, ultimately, makes a point.


But it’s the characterisation of Candie’s trusty head servant, Stephen, that has put the cat amongst the pigeons.  Tarantino favourite, Samuel L Jackson, is outstanding as the demonic ‘Uncle Tom’, who is not only wholly subservient to Candie but hell bent on preserving the absolute oppression of the black population.  It gives rise to obvious and uncomfortable questions of responsibility and leading black filmmaker, Spike Lee, has led the chorus of protests, even refusing to watch the film.  This is a controversy that will remain unresolved, inevitably, but when viewed as a whole, it is difficult not to see Stephen as anything other than a symptom of the abominable excesses of the dominant group.  Although Tarantino was pushing his luck with this typically daring provocation, white oppressors always come across as odious and detestable cowards, fully deserving of the treatment that Django dishes viagra online ukcheap viagra 100mgbuy viagra online canadaviagra 100mg price
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Daily Index (March 1, 2013) #1 Movie

March 3rd, 2013 - admin

‘Jack the Giant Slayer’ disappointed on its North American opening Friday but still had enough to claim the box office’s top spot.  Bryan Singer’s action fantasy grossed $8m and seems set for a weekend tally of approximately $25m.


Another new release, Jon Lucas’ and Scott Moore’s ’21 and Over’, came in second after returning a modest $3.3m.  Relativity’s comedy is likely to fall away slightly over the weekend and should finish between $8-9m.


A third opener, ‘Last Exorcism, Part 2’, starring Ashley Bell, was just behind on $3.2m.  CBS’s horror thriller is likely to be even more front loaded, though, giving a three day tally in the region of $8m.


Last week’s No 1, ‘Identity Thief’, continued its strong performance grossing a further $2.7m on Friday.  Universal’s crime comedy has a shot at hitting $10m over its fourth weekend in viagra online ukcheap viagra 100mgbuy viagra online canadaviagra 100mg price

Panorama Media boards ‘Pride and Prejudice and Zombies’

March 2nd, 2013 - admin

Panorama Media will finance and co-produce the big screen adaptation of Seth Grahame-Smith’s best-selling satirical novel, ‘Pride and Prejudice and Zombies’.  An already quirky combo/mash-up that fuses Jane Austen’s classic and the zombie cult could take on an even more idiosyncratic direction with David O. Russell providing the screenplay.  There is no news yet on the viagra online ukcheap viagra 100mgbuy viagra online canadaviagra 100mg price
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