The funniest take on "Double Rainbow" so far
(For the start of this double rainbow thingamie, look here.)
All the stuff I've watched, read, listened to, etc.
The funniest take on "Double Rainbow" so far
The plot isn’t a direct copy of Guess Who’s Coming to Dinner, preferring to take the gist of the concept and a few of the story beats and surround them with a bunch of Funny Situations. I won’t bother you with details; suffice to say, the film does manage the odd laugh or smile. The ending is suitably lovey-dovey, sentimental, and, I think many would add, hogwash.
Watching this Norwegian original after having seen Christopher Nolan’s American version, it feels like someone watched the remake then was asked to retell it: it hits most of the main plot beats and memorable sequences, but seems to gloss past the nuances and character.
Pale Rider is, in many ways, a pretty stock Western. The plot is likely to be familiar even to those who haven’t seen a great deal of the genre: in rides a mysterious stranger, sees injustice, climactic shoot-out, mysterious stranger rides into the sunset/from whence he came/forever on. Eastwood offers only one significant addition to this concept. The mysterious stranger is, on the one hand, a preacher — “surely a man of God is opposed to violence?”, etc. And on the other, is he even human?
Total Film 'Future Day' shenanigans cause Twitter chaosHa!
The British Film Institute has launched a search for 75 films which have disappeared from view.Here's a gallery of some of the Most Wanted.
it’s the kind of film that’s unremittingly daft, but it knows it is, and if one gets on board with that then it’s a very enjoyable experience... a mix of hilarious farce and fast-paced screwball comedy. It’s Agatha Christie meets Fawlty Towers.
It could easily have been a simplistic message movie — these people are liberal, these people are racist, etc — but instead there’s complexity at every turn... these characters could just become ciphers for the arguments and debates; but they’re not, they’re characters, having believable reactions, and from this comes the debate.
Actress Jessie Wallace, who played Kat in EastEnders, is to star in a drama about the birth of Coronation Street... The drama, being filmed in Manchester, will air on BBC Four later this year.Well that's just meta personified.
It’s a CGI-focused visually epic spectacular built on a story that lacks an original plot or real characterisation. Sounds familiar… Ah yes — Avatar. I’m sure those who loved Cameron’s Oscar-loser will get something from 2012 too.
very much “high concept” filmmaking — the concept being, in case you’ve somehow missed it, that a bunch of characters manage to dodge Death thanks to a premonition, so now Death’s out to settle the score — so the dodgier aspects, like the mediocre dialogue and performances, slide by because, well, they don’t matter that much.
"Rambo" has become a byword for violent excess. But the first film has marginally nobler aims: here, the not-yet-titular hero is a Vietnam vet dealing with a mixture of PTSD, unresolved service issues, and poor treatment from the 'folks back home'

looking to the US as a critical barometer, the film split journalists into two separate and very distinct camps... the important thing – and the thing the UK will miss – is that there is a debate to be had, and a DVD-only release will dull the potential coverage the film would have been assured from broadsheet critics.And, relatedly:
could someone not get the film a week’s run in a single cinema just so we’re able to get Daily Mail critic Chris Tookey’s take on things?He's always good for a laugh... albeit never one he intended.

"The mistake is thinking puppets can do all the work - you need a good script."
Mongrels is written by Daniel Peak and Jon Brown, who have previously worked on Two Pints of Lager and a Packet of Crisps and My Hero.
"you need a good script."
This script is by some guys who previously wrote some godawful shit.
Topless Robot is having a contest to see who can come up with the best tweets from the Death Star, and it's more than worth 5 minutes of your time to read through the submissions. We've picked out 20 of the best below, but there are dozens more.
It amuses me is how many reviews call this “a brainless action movie”. I’m not going to argue that it's actually a polemic on the evils of the media or modern violence-obsessed culture, but it has more to think about than the majority of action movies — meaning it’s neither brainless nor devoid of importance between action scenes.
it doesn’t bother to set out the rules, a major oversight in a fantasy movie such as this. The central conceit is that when Brendan Fraser’s character reads a novel aloud, what he’s reading enters our world — and, in exchange, some one or thing is sucked into the book. But how is it decided what comes out and what goes in? What can and can’t be read? Why not just write your own story to get you out of trouble?
it's an intriguing mystery. Arguably this conquers all. There are attempts at giving the characters depth, but these are more about giving them a reason to care about the plot. That’s not necessarily a problem — I’d suggest if you’re watching a film like Knowing with the intention of focusing on the characters rather than the mystery then you’ve got the wrong end of the stick.
The high-profile cast frequently belie what you’re watching. Most of the production has an amateurish feel. The look is like plain digital video, the choice of shots often obvious and lacking variety, the editing not as tight as it should be. The screenplay feels a draft or two away from completion, particularly dialogue.
“The result is a lot more than I was expecting,” Simon Nelson, controller of portfolio and multiplatform at BBC Vision told MCV.It came out on Mac earlier this week, so I can finally play it. I forgot that until today, which shows what revelations about the kind of game it was did for my initially-high excitement levels.
“We had set ourselves some fairly stretched targets on this and we’ve blown them away... This has been part of the Who planning process rather than just a bolt on at the end, which too many interactive things have been. I’m hoping that we have demonstrated to the TV and the games side that there is a marriage worth pursuing here... I like to think we’ve broken ground for the TV industry, games industry, the public service sector and hopefully even the commercial sector”
...the BBC is not resting on its laurels and is focused on making sure the rest of The Adventure Games are a success before looking ahead to future projects.
I didn't enjoy the environment and the culture that we, the cast and crew, had to work in. I thought if I stay in this job, I'm going to have to blind myself to certain things that I thought were wrong.mean? It gives his reasons better than before, but is still quite unclear -- what environment? What culture? Who imposed it? The show's producers? The BBC?
There is a 3D depth slider to choose a degree of 3D, to maximize or even turn it off entirely. ... two cameras on the outside. So you can take 3D photos. ... The 3DS can also play back 3D hollywood moviesTalk of what it's like to actually use here.
as two minor characters observe at the end, we’ve learnt nothing. There’s been a sporadically complex set of coincidences and accidents, some good laughs and some surprises too, but the end result is… what? But maybe that’s the point.
The high-concept at the film’s centre — that Ricky Gervais sees dead people and doesn’t want to — is neat enough. It largely sticks to its rules, it manages a few moments of humour, it doesn’t get too repetitive, it often plays the most obvious card
Most notable is an excellent siege sequence, a moderately epic extended battle that is certainly the film’s high point. The randomly hurled arrows and choreography-free sword fights may look a tad amateurish almost sixty years on, when we’re used to slickly staged and edited combat sequences, but the scale and rough excitement of the battle easily makes up for it.
The cast are adequate, even if Richard Greene’s no Errol Flynn and Peter Cushing’s no Alan Rickman (here at least). Terence Fisher’s direction is rather flat a lot of the time, though a few scenery shots, riding sequences and fights bring out a bit more dynamism.