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OceanWorld 3D (Oceans 3D: Into the Deep) English Movie Genre:Documentary Cast: Jean-Jacques Mantello, Jean-Michel Cousteau Directed by:Howard Hall Music by: Danny Elfman, Deborah Lurie Produced by: Toni Myers, Michele Hall Release date:18 November 2009
OceanWorld 3D (Oceans 3D: Into the Deep) English Movie Reviews
Deep Sea 3D is an extremely colourful and briskly paced film ostensibly meant to address the plight of deep sea creatures threatened by nasty ocean floor trawling by commercial fishers, but really it’s more of a watery travelogue with a familiar mix of cute underwater creatures, chomping carnivores, and weird organisms seemingly inspired by sci-fi pulp novels and imaginative CGI artists.
The bizarre jellyfish, like every creature in the film, are quite real, and Howard Hall’s cinematography captured some very candid behavioural moments from barracuda, shark, Right whales, and three stages within the oceanic food chain - small fish eaten by medium fish eaten by bigger fish.
Even though Warner Bros.’ DVD contains flat 16×9 widescreen and full screen versions, the transfers are sufficiently vivid to impress what elements originally drifted towards audiences in 3D.
The down side of the DVD transfer is that to accommodate the two flat versions (the 16×9 has more side room, whereas the 1:33:1 clips the sides in favour of more top/bottom space) as well as trailers, the video compression runs high, so many low-light scenes are affected by weak grey, dark blue, and black levels, noticeably in the sequences where coral spawn after dusk, the manta ray feeding frenzy, and the squid munching on fish & taking pokes at the IMAX camera.
The sound mix is vivid, but where the film runs into problems is the finale – the message of people being part of the ocean world feels tacked on and facile – and the narration, which has been split up between Johnny Depp (who’s fine), and Kate Winslet (who sounds like a snotty school teacher, carefully enunciating works like “sym-bi-o-sis,” as though the audience had suffered a bit of pre-screening head trauma). Efforts at humour are variable, and one gets a sense the dual stars were brought in to give the film some box office boosting instead of fulfilling the movie’s creative needs.
The reworking of Danny Elfman’s “Serenada Schizophrana” and Deborah Lurie’s bridge material works, but the film score runs into trouble when Elfman’s patented shoulder-shaking chorals are overused, and inevitably takes attention away from the movie.
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Genre:Comedy | Drama Writers Gianni Di Gregorio (story) &Simone Riccardini Director::Gianni Di Gregorio Release Date:18 November 2009 Cast: Gianni Di Gregorio, Valeria De Franciscis, Marina Cacciotti, Maria Calì, Grazia Cesarini Sforza, Alfonso Santagata, Luigi Marchetti, Marcello Ottolenghi, Petre Rosu
Mid-August Lunch hollywood movie Reviews Gianni is a middle-aged man living in Rome with his imposing and demanding elderly mother I recently had the pleasure and privilege of presenting a prize for the best first film shown in the 2008 London film festival to Gianni Di Gregorio. It was a pleasure because I greatly admire his gentle, perceptive comedy Mid-August Lunch (aka Pranzo di Ferragosto), and a privilege because the prize is presented by the Satyajit Ray Foundation in memory of the director I revere beyond all others. The Satyajit Ray Award has been given every year since 1996 to a film “which best captures the artistry expressed in Ray’s own vision” and Di Gregorio could not have been a more appropriate recipient. Almost 60 years ago, early in 1950, the newly married Ray, then working for an advertising agency in Calcutta, made his first visit to Europe to spend some months at the parent company’s headquarters in London. “Within three days of arriving in London, I saw De Sica’s Bicycle Thieves,” he later wrote. “I knew immediately that if I ever made Pather Panchali – and the idea had been at the back of my mind for some time – I would make it in the same way, using natural locations and unknown actors.” On his return home, he wrote an article on “Some Italian Films I Have Seen” for the Indian Film Society Bulletin, which concluded: “For a popular medium, the best kind of inspiration should derive from life and its roots in it. No amount of technical polish can make up for artificiality of theme and dishonesty of treatment. The Indian film-maker must turn to life, to reality. De Sica and not DeMille should be his ideal.” The 60-year-old Di Gregorio is best known to us as the screenwriter on Gomorrah, Matteo Garrone’s expansive, multilayered film about the terrible hold that organised crime has on Naples. His directorial debut, which Garrone has produced, is on a quite different scale. Partly autobiographical, shot entirely on location (mostly in Di Gregorio’s old family apartment) with a non-professional cast for a budget of under £430,000, Mid-August Lunch seems to meet all of Ray’s requirements.
Ray, I think, would have admired the film for its humanity, its concern for family and the elderly and for the way Di Gregorio suffers fools gladly. In addition to writing and directing, Di Gregorio plays the central character, also called Gianni, a bachelor in his late 50s, unemployed because he’s the full-time carer for his 90-year-old widowed mother. They live in a well-furnished, somewhat shabby fourth-floor flat in the charming old Roman district of Trastevere. Inside, it’s dark, outside blindingly bright, and the time is the height of summer on the eve of Ferragosto. That’s the annual celebration on 15 August of the ascension of the Virgin Mary into Heaven and it empties the city. Older moviegoers will recall Luciano Emmer’s Sunday in August, an art house staple of the early 50s in which Marcello Mastroianni made one of his earliest screen appearances as a young cop in a white uniform patrolling the empty streets of a shimmering Rome. Gianni is cash-strapped, slightly depressed, but cheerful in the company of his cantankerous mother (to whom he’s reading The Three Musketeers), his raffish chum, Viking, and the storekeeper who gives him wine on tick. In a very amusing confrontation with Alfredo, the accountant who administers the apartment block, Gianni is persuaded to take in Alfredo’s mother for Ferragosto in exchange for the postponement of rent arrears and utility bills, being relieved of his contribution to essential repairs and, the cherry on the cake, given a key to the shared lift. When Alfredo delivers his mother, Marina, he also drops off his even older aunt, Maria, whose kids have gone elsewhere for the holidays. Looking down at Alfredo’s convertible parked in the street below, Gianni sees that the accountant’s companion for a supposed trip to a health resort is a lissom young blonde, the one little gesture towards Berlusconi’s Italy. As Gianni goes about his three principal activities – smoking, drinking and cooking, often simultaneously – his doctor turns up and, after examining both son and mother, makes an offer that due to the accompanying financial inducement can’t be refused. So Gianni agrees to extend his hospitality to the doctor’s elderly mother, Grazia, who arrives with a list of dietary requirements and pills that would challenge a trained nurse. At this point, as Gianni deals with the elderly widows, all demanding in different ways, in a cramped flat, the film resembles the cabin sequence in A Night at the Opera, but is played as polite comedy instead of farce. Initially tensions build up. Gianni’s mother wants to be alone. Maria attempts to take over in the kitchen. Grazia takes forbidden macaroni casserole from the fridge at night. Marina, after locking herself in her room, slips out of the house to a nearby trattoria. But Gianni, considerate as ever, smooths things over, settles disputes over the TV, resists a drunken Marina’s attempts at seduction. Then the women start to bond, reading palms, discussing their lives and loves. The atmosphere becomes joyful and Gianni takes a back seat. It’s a wonderfully patient, delicately observed film; warm, generous, never for a moment sentimental or patronising, never exploiting dottiness and eccentricity. The performances of the old ladies are pitch-perfect and by the end, Di Gregorio’s casting of himself as Gianni seems both essential and inevitable. The final credits are accompanied by what looks like home movie footage of an improvised dance and, thinking about it afterwards, one can’t be sure whether this is the host dancing with his mother and their guests or the director celebrating with his cast at a wrap party.
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Ten9Eight: Shoot for the Moon hollywood: movie: Genre:Documentary Directed by: Mary Mazzio Produced by: Mary Mazzio Release Date:19 November 2009 Cast: Tatyana Blackwell, Jessica Cervantes, Huong Cheng, Gabriel Echoles, Rodney Walker
Ten9Eight: Shoot for the Moon hollywood movie Reviews In America, a kid drops out of high school every 9 seconds. Imagine if they didn’t. This is the question behind award-winning filmmaker Mary Mazzio’s newest project “Ten9Eight,” a film which tells the inspirational stories of several inner city teens (of differing race, religion and ethnicity) from Harlem to Compton and all points in between, as they compete in an annual business plan competition run by the Network for Teaching Entrepreneurship (NFTE). A variety of inner-city kids from all backgrounds and ethnicities participate in the annual business plan competition held by the Network for Teaching Entrepreneurship (NFTE). Every nine seconds — somewhere in America — a teen drops out of high school. But not all teens are willing to become a statistic; many are willing to strive for greatness, but simply lack the basic tools and foundation to do so. In this documentary, filmmaker Mary Mazzio follows several underprivileged teens as they draw up business plans in an effort to beat the odds and realize their dreams of success. The competition comes to a head in New York City, where 35 of the 24,000 students who’ve entered vie for the 10,000-dollar prize that will allow them to launch their own business. Interactions with USA Network founder Kay Koplovitz, Home Depot founder Arthur Blank, and Boston Celtics owner Wyc Grousbeck, among others, help the contestants to realize that living the dream is possible for those willing to put in the hours and make the sacrifices. Like Art & Copy, Doug Pray’s ecstatic recent celebration of the advertising industry and the ad wizards who make our lives better through their selfless dedication to their craft, Ten9Eight: Shoot For The Moon suggests the emergence of a terrifying new documentary subgenre: capitalism porn. Ten9Eight will induce shivers of excitement in free-market proponents who get off on watching ambitious, money-minded young people pull themselves up by their bootstraps and set out to become future titans of industry. Also like Art & Copy, Ten9Eight is blindingly slick, with a glossy visual aesthetic more rooted in music videos and commercials than cinéma vérité.
Mary Mazzio’s love letter to free enterprise follows a group of teenage businesspeople as they compete in a nationwide contest for young entrepreneurs with a $10,000 grand prize run by the Network For Teaching Entrepreneurship (NFTE). The competitors include a goofy-looking 14-year-old prodigy pimping a line of custom guitars, a polite young woman selling cake on a cookie stick, and a silver-tongued young man with a company that provides original music for wedding videos. Mazzio’s take on her subjects regularly veers into hagiography, depicting the competition as half Olympics-style human-interest story, half Horatio Alger-type triumph over adversity.
Ten9Eight follows the template of crowd-pleasing documentaries like Spellbound and Wordplay, but rather than highlighting the differences between the contenders, Mazzio turns them all into weirdly interchangeable exemplars of the American can-do spirit. This one-size-fits-all glorification/deification becomes oppressive as Mazzio piles on the fake uplift with a manipulative score, alarming statistics, and extensive use of still photographs that show the teen would-be tycoons at their noblest. Ten9Eight ends by asserting that everyone in the contest is a winner. It isn’t lying: Beyond whatever life lessons they’ve learned, they all scored an MTV-ready feature-length infomercial for themselves and their nascent businesses. That’s one hell of a consolation prize, even if the result feels more like advertising or propaganda than cinema.
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CAST & CREW: Release Date: 04 Dec 2009 Genre: Family Language: Telugu Certification: U/A Director: Madan Producer: Indukuri Ganapathi Raju Music Director: M.M. Keeravani
MOVIE REVIEW: Sashi Kumar’s character is interesting. He’s straight, no love letters and no hesitation when he proposes to Sailaja. He even explains to her that there is nothing such as love and that it is hormones that attract two living things, it is the society that has created certain mores and customs to control the animal instinct and has given it a legal status called marriage to cohabit. Love could arise anytime or there could be no love at all. Sailaja finds the explanation unsettling and cannot imagine a relationship without love and finds the hero’s character full of hypocricy.
The Story : Pravarakyudu is made on the character MCP-Male Chauvinist Pig is referred to a person who hates women and anything related to females.
The movie is about a man, who is reluctant to the proximity of females. If he joins in a college as a lecturer what happened from there is all about the movie. Jagapati Babu is playing the role of a lecturer in this film.
Priyamani is acting in a different role in this flick. The movie is a matured romantic comedy entertainer.
The Cast and Crew Ajay,Madhulika, Ramya Nambushan and others Music : Sree Sai Cinematography : Vishwa Art : Satya Editor : Kotagiri Venkateshwara Rao Action : Ram Laxman Producer : P.R.K.Rao Director : D.S.Kannan The Rating 1.5 out of 5
The Film Sarai Veerraju is a routine mainstream revenge film. The Synopsis Saarai Veerraju Telugu Movie Review Veerraju (Ajay) and Dhana Lakshmi (Ramya Nambushan) are orphans and grow up together in a village. Vishnu, Tambi Dorai, Ramanath, Narayana and Raghupathi operate a chit fund company and cheat Veerraju. They also rape Dhana Lakshmi and kill her. All this is shown in a flashback.
The film opens with Ajay preparing to go to Dubai. He goes there and kills Vishnu. While coming back, he meets airhostess Preethi (Madhulika), falls in love with her and stays in her house in Hyderabad. The rest of the story deals with how Veerraju kills the remaining four villains.
The Performances With no scope for any drama and a weak storyline, Ajay did not have much of Saarai Veerraju Telugu Movie Review an opportunity to showcase his acting talent. Ditto for Ramya and Madhulika. The less said about the others, the better. The Techniques DS Kannan, an erstwhile associate of Puri Jagannath tried to present stylishly a weak story and a routine theme of revenge. The technical values are good but the poor screenplay is a big minus forthe film. Music is average. Saarai Veerraju Telugu Movie Review The Verdict Better leave Sarai Veerraju alone without you giving any company in any theatre.
