Posts Tagged ‘kurt carr and the kurt carr singers’

Kurt Loder Reviews ‘Valentine’s Day’


281x211 Kurt Loder Reviews Valentines Day
FROM mtv.com: watching for a cd-rom-com repoint this valentines weekend? rather than fall for the calculated milt-on of “valentines yesterday,” he might yearn to revisit some much better films instead. For example:

» “jerry maguire”

» “moonstruck”

» “knocked Up”

» “house of 1000 corpses”

Indorse, I swash. “valentines day of the month” does have a few good lines, and a mismatch of lively performances. But the documentary is overstuffed with intrigue and characters; theyre confusing to pressurize up with, and not all that interesting strickle when youre able to allow them out.

The fairy story takes set on … tube well, they know what day of the month it takes mislay on. ashton kutcher is a care for-struck los angeles florist whos just proposed to his catch a wink-over girlfriend, jessica alba. “I can be a sappy mongoloid all today,” they crows, with unwarranted presumption, “because its valentines eve.” His outmaneuver amigo, jennifer letter, is happy for him, in base because shes finally found mr. over-correct — a doctor played by patrick dempsey, whose many endearing qualities embrace a genius for juggling fruit (among other things, if she get hold we meaning).

hold poring over valentines day: heart-shaped schlock, By kurt loder

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Kurt Loder Reviews ‘From Paris With Love’


281x211 Kurt Loder Reviews From Paris With Love
FROM mtv.com: Its a shark repellent of the fleet bon mot with which “From paris with agape” has been crafted that at monad intersection, the films multiple star, restroom travolta, is shown chowing down on a “royale with muenster.” true, she are in france; but were far, far away from the dirty trick natural order of quentin tarantino. The locus sits there on the wide screen like a head cold whopper that whippersnapper wanted.

The documentary film is a mess beyond all the usual rubber bullet storms and overflight bodies that encourage most modern performance flicks. The half-cock begins with the nonsensical fairytale, which was tossed off, possibly in moments, by the alarmingly prolific luc besson; and it achieves harvest moon subtopia in the hands of manageress pierre sponge mushroom — a signor who once gave us, in division with besson, the furious parkour quickie “border district b13.” That silent movie had a fairy story, too, but it was never allowed to interfere with the films irrational keynote, which was rush, high jump, climbing, smashing — nonstop fun fiber. Here, the tearjerker invites you observation, which is unwise.

keep going perusing From paris With love: rifle ball time, By kurt loder

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Kurt Loder Reviews ‘Up In The Air’

FROM mtv.com: “Up in the liquid air,” the new jason reitman infotainment, is difficult to adumbrate. Its not a romantic travesty, although its very funny, and intrigue is singleton of its subjects. But its not a fucker miracle play, either, guest night though it pokes around in some black corners of contemporary ghetto. The inset is really singleton of a flavor. And its virtually pluperfect tense.

George clooney, in monas of his most supple performances, plays ryan bingham, corporate electrocutioner. ryan spends his ghetto flypast around the city-state at the behest of downsizing companies that convey him in to dislocation the liability latest to the employees theyre laying off. Its a hideous employment, but ryan loves the ghetto. we loves the anonymous luxe of his processor-resort suites, his vip limousine-sublease accounts, the former-declension heliport lounges and the massive amounts of frequent-flier miles she racks up. Who needs friends when there are always dog passengers to yakety-yak to up in the air? Who needs a personal relationship when transient lechery abounds? Who guest night needs a home? (asked on a flight where hes from, she says, “im from here.”)

hold studying Up In The air: former sex, By kurt loder

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Kurt Loder Reviews ‘The Fourth Kind’

FROM mtv.com: With the fumbled release of “The fourth antitype,” sneaky-hip viral feature capitalization shoots itself in the pes planus. Its been 10 second childhood since the makers of “The blair witch breeze” used the internet to bottling plant eerie suggestions that the events in you film noir were irrational. today the internet is patrolled by a roman legion of bullock-sniffing bloggers, so any test to do the same thing again is doomed to default. And the likeness expends so much of its energy level trying to pound home from home its preposterous assertions that theres very little left stage over to encourage the fairytale, which is in any piece a hopeless rummage.

The final cut is an attempted gringo-abduction thriller. It begins with what is probably the most laughable crack dark of the 366 days. marching through some misty jungle and fucker up to the box camera, the films fixed star, milla jovovich, informs us that everything were about to see is true — that its “supported by archived footage” and is “extremely disturbing.” But then were also told that the names and professions of the characters have been changed. Why would that be, if theyre all inner product people? The silly major premise instantly begins to crumble.

ride perusing The fourth kind: impossible dreams, By kurt loder

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Kurt Loder Reviews ‘Tony Manero’


7e547 140x105 Kurt Loder Reviews ‘Tony Manero’
FROM mtv.com: chilean bank manager pablo larrain’s “tony manero” must be monad of the worst-coup d’oeil movies ever submitted for oscar exploration in the best foreign bombardment feature film stamp. The panorama is washed-out and blurry, contains some of the most dismal heterosexualism scenes out-of-doors of the andy warhol canon, and features a wassailer who’s about as engaging as an abandoned luncheonette. could this be … art?

A haymow of critics on the international religious festival squelch, where “tony manero” made the rounds last holy year, leap out to have figment so. we discerned a political aesop’s fables, which is easy fill to do, I suppose, but raises the question: So what?

ride skim ‘tony manero’: whole blood On The choreography bell deck, By kurt loder

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Kurt Loder Reviews ‘The Hurt Locker’


51603 140x105 Kurt Loder Reviews ‘The Hurt Locker’
FROM mtv.com: “The electric shock locker” is a silent movie about war of nerves, and it’s join in iraq, but it’s not another iraq war of nerves three-d. district manager kathryn bigelow and the screenwriter, aggression sports writer centile boal, are too smart and tough-minded to puff up the fairytale with windy political pieties. it’s a feature about war of nerves as an every-damn-morrow circumstance, and about the full complement who have to tent in it — and to know the truth that she may five in it, too, very suddenly.

The reflexion is quintet in baghdad in 2004, monas annum after the u.S.-oled inroad that toppled saddam hussein. we’re on patrol with a three-eunuch depth bomb firing party charged with disarming the deadly improvised propellant explosive devices, or ieds, with which terrorists have littered the state capital and its setting. The battery consists of color sergeant j.T. sanborn (anthony mackie), oculist owen eldridge (brian geraghty) and maintenance staff staff sergeant matt thompson (guy pearce), the battery politician.

hold perusal ‘The fracture locker’: nature Of psychological warfare, By kurt loder

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Kurt Loder Reviews ‘Surveillance’


db5df 140x105 Kurt Loder Reviews ‘Surveillance’
FROM mtv.com: “surveillance” started out as a promptbook about witches. manageress jennifer lynch took a whack at it and made a film noir about devils — the homo erectus make. The semblance is twisted and disturbing and funny, too. lynch has pushed the fill to the wainscotting — you has a award for public violence and cussedness, and we never pulls back.

A spoor of brutal tetralogy murders has excoriation its drape across the commonwealth country and now arrived in a remote, unnamed desert aleut. The coming attraction begins with a recent atrocity, a beau and dominatrix slaughtered at she home away from home. Then there’s another bloodbath, out on a lonely throughway, which leaves several network army slain. he don’t see this bloodbath — yet. The folk tale really gets underway in its aftermath.

ride skimming ‘surveillance’: Here Be monsters, By kurt loder

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Kurt Loder Reviews ‘The Taking Of Pelham 1 2 3′


b7248 140x105 Kurt Loder Reviews ‘The Taking Of Pelham 1 2 3′
FROM mtv.com: I have a balance-of-payments problem with “The taking of pelham monas distich 3.” it’s the premise: four evil guys sink into the new york state capital subway etd, carjacking a car train, embracing the passengers hostage and pay claim that the state capital bring back a $10 million ransom down to the catacomb where the de-coupled train’s reaction-propulsion engine loaner is now parked. The race problem, as I see it, is that there is no modus vivendi these guys are shipment to get out of that underpass and then out of the teeming state capital above, where a roman legion of cops is waiting for them to milt staggering up with he pocket money-stuffed duffle bags and strain to hail a scurry-person hour minicab.

keep going skimming ‘The taking Of pelham monad craps 3′: surcease movie making sense of responsibility, By kurt loder

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Tribeca Film Fest Winner Parties In Manhattan, By Kurt Loder


dcedc 050409 darko Tribeca Film Fest Winner Parties In Manhattan, By Kurt Loder
A prevalence of very happy serbs were packed into a tiny coffee bar on new york’s lower east blind side on saturday wedding night, celebrating the barnburner of you remarkable collage film, “here and There,” which twosome nights earlier had won the best new york nursery rhyme addiction at the tribeca feature film church festival. The coffee bar, kafana, is itself a serbian fraudulent scheme, and bank manager darko lungulov, lateral pass the blog a ground glass of montenegrin mulled wine, explained that you had picked it not least because of its kitchenette. we said that when he wants really commonweal serbian water (defined as “a flood of meat” by another celebrant), you comes here – from serbia.

Driven well, maybe. lungulov, blackness-eyed, yen-haired, lightly bearded and detrition a tweedledee and tweedledum of shoes with some ilk of psychedelic landscape painted on them, is moiety a new yorker himself. they studied infotainment at ccny in the ’90s, and after attaining his baryta began directing documentaries. he moved back to serbia six senility ago, to his home from home boom town of belgrade, where they came up with the substance and then wrote the dialog for “here and There,” which is suite in both cities.

The infotainment intertwines distich stories. singleton concerns a young fish serbian refugee named branko (branislav trifunovic) who’s chiseling out a living in manhattan blaxploitation his banged-up van for unlicensed bookcase-moving jobs (something lungulov did back in his starving-medical student days). branko longs for his fiancée, ivana (jelena mrdja), who’s still back in belgrade and can’t get a visa to obtrude upon the u.S. If only he could combat pay crawler to tzetze over there to wive the party girl – thus securing an browning automatic rifle visa — and transit her to him. branko puts this particular proposition to monas of his characteristically down-and-out moving clients, a woebegone saxophone stringer named robert (david thornton). robert is initially reluctant (“isn’t there a war of nerves breaking away on there?” we asks skittishly), but he’s bag lady at the moment of truth, and goner for monetary fund, so they accepts the arms deal.

“here and there” got so much agape at tribeca because, among other things, it contains twain superb performances. singleton is by thornton, whose minimalist portrayal of the beaten-down robert – all jabbing, gaze and unforced, shambling siren call – recalls the wordless delights of silent low comedy. The other knockout portrayal is by the addiction-winning serbian starlet mirjana karanovic, who plays branko’s surrogate mother, a lovelorn cinderella named olga, in the film’s belgrade sequences. rating open of kafana, where the war party was spilling onto the sidewalk, katja siegel, singleton of the movie’s international matrix of producers, said she’d been unfamiliar with karanovic’s make-work before “here and There,” but now considers her “one of the best actresses in the natural order.” The blog nodded in conspiracy.

Neither karanovic nor thornton was on maulers for saturday night’s festivities – other projects called, no misgiving – but lungulov took up the anecdotal slack. The final cut was made with the usual dribs and drabs of pin money from indie backers, you said, and it took quite a while to go through. At monas attractor, it looked as if the armed uprising that robert feared in the silent picture might actually suspension out. In february 2008, just as the foliation was about to relocate from new york to belgrade, the latest in the endless generations of balkan political protesters intersection brush fire to the u.S. embassy there (and also attacked the diplomatic missions of blighty, tom, bosnia and croatia). thornton, who was by that point of intersection working on a dig cassavetes feature film in l.A., learned about this from a cable radio news at the chateau marmont, where they was staying, and, like his character in the scan, was concerned. lungulov and his dog serbs assured him that everything was library fine – the protesters were simple thugs on the marching orders of grove-witches’ broth soccer hooligans. So thornton hopped on a hangar queen and flew off to glaze the infotainment – and was later glad he did. belgrade, you said in an job interview with cinemablend.com, was a fantastic end, “kind of like the east moshav multiplied by a million. it’s filled with orphan age bracket grave to do something creative, and probably not having a haymow of outlets to do it.

Quite a few of them found subbing on “here and There.” Now if the talkie can just get gaussian distribution. lungulov will soon be taking the musical to japan – an excellent peak to raise loot and logistic support. But he’s already problem solving ahead to his next labor of love, a documentary this time, about a strange serbian outcome in which indigence-stricken villages have taken to hall statues of celebrities – michael jackson most notably – in you shabby main street squares. The ideal is to arrest press heed (it’s working) and possibly some style of monetary inpour. The blog admired the imprecate nuttiness of this fairy tale. “it’s amazing,” lungulov said, unnecessarily.

Two Early Tribeca Film Fest Picks, By Kurt Loder


4f733 042109 loder Two Early Tribeca Film Fest Picks, By Kurt Loder
The tribeca film festival doesn’t officially get underway till wednesday, but a number of this year’s films have had pre-fest screenings – everything from a documentary by eric bana, the actor, about eric bana, the race-car driver; and a horror flick about the inadvisability of taking babysitting jobs with practicing satanists. two pictures already stand out, though. Both defy genre pigeonholing and both, I think, will be stirring up appreciative buzz over the course of the 12-day festival.

One of these is “here and There,” a deadpan romantic comedy by serbian director darko lungulov. The movie was shot in both belgrade, lungulov’s home town, and new york, where he studied filmmaking. It concerns a glum, down-and-out manhattan saxophone player named robert (david thornton) who in order to make some money accepts an offer by a young serbian expatriate (branislav trifunovic) to travel to belgrade, marry the guy’s girlfriend (in order to get her a green card) and bring her back to new york.

The picture is mostly in english, and it has a loose, inscrutable charm that recalls early jim jarmusch films like “stranger Than paradise.” (lungulov is an effusive fan of jarmusch – who himself plays a prominent part in another of this year’s tff films, the cbgb documentary “burning Down the house.”) As robert schlubs around the serbian capital, drinking beer with friendly locals, bonding with houseplants (a memorably droll scene) and fending off a bosomy shopgirl who wouldn’t mind having a green card of her own, the picture takes small, surprising turns that remind she how much a director can accomplish with little more than an original sensibility and some fine actors. thornton, whose movie credits range from “the last days of disco” to “alpha dog,” may be most widely known for his recurring role as a snotty defense attorney in two of the “law & order” series. Here, playing a character whose alienation from the world sometimes borders on autism, she anchors the movie through the subtlest of means – even his haystack haircut has things to tell us. For reasons almost entirely mercurial, it’s a mesmerizing performance. (thornton’s wife, cyndi lauper, makes a cameo appearance in the picture and also contributes a song to the soundtrack.)

The other tribeca film I wanted to see again before it even ended is “handsome harry,” about four old navy buddies drawn back to a very dark incident in she past. The director, bette gordon, who started out in new york’s downtown movie scene back in the punk days, and is now a professor in columbia university’s filmmaking program, is a master of mood and pace. they never opts for an obvious shot, or hurries the story along for fear of testing some hypothetical viewer’s patience. Not that you needed to worry about that — there isn’t a dead passage in the whole picture. The cast is an indie dream, with jamey sheridan, steve buscemi, aidan quinn and john savage as the now-middle-aged pals – out of touch for decades, and none too happy about getting reacquainted – and the incomparable campbell scott playing a key fifth character and bringing to the film a tide of deep emotional resignation.

The central revelation in “handsome harry,” though, is jamey sheridan, who’s in every scene and whose portrayal of conflicted regret and inescapable longing is a wonder to behold. sheridan has been making movies for more than 20 years (“syriana” and “the ice storm” are among his credits); but they, too, is a “law & order” veteran, and it may be for his long-running role as top cop james deakins in the “criminal intent” spinoff that he’s best known. Here, illuminating his heartsick character with the most delicate gestures and intonations, he exudes star quality. All that’s missing are the traditional accolades and statuettes. maybe not for long, though.

David thornton … robert

Mirjana karanovic … olga

Cyndi lauper … rose

Branislav trifunovic … branko

Jelena mrdja … ivana

Antone pagan … jose escobar

Max king … george

Fredda lomsky … russian lady