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Rating History

Paper Heart
Paper Heart (2009)
8 years ago via Flixster

This Micheal Cera film beats "year one" by a land slide..
I hope its makes some monye

Taking Woodstock
8 years ago via Flixster

I saw an early look of Taking Woodstock --

Its doesn't have that Ang Lee feel - yet its still such a good film.. but my gut feeling is that it won't be on screens long this summer ..

This is really an excuse to list the films i am looking forward to see in 2009
some good films should be released this year - many remakes -- darn
and the potter film has been held up == KEEP IT THAT WAY..


Fanboys -- a film about film nerds
Benicio Del Toro as The Wolf Man
D Darko squeal - not sure but its on my list of hopes from the remakes
Robert Downy in Sherlock Holmes -
Colin Firth - In Dorian Gray
Ridley Scotts - Robin Hood
Che Part II
Stevens Sobrbergh's - The Informant
Scorsese - Shutter Island
Mike Cera's - Youth in Revolt and the Year One
Bill Hadder - Adventureland
Coen Brothers - A serious Man
wes andersons - The Fantasic Mr Fox
Eastwoods - The Human Factor
Diablo Cody and Amy Sedaris - Jennifers Body
James Franco as Allen Ginsberg - in Howl
Emile Hirsh and Paul Dano - Taking Woodstock
Sean Penn - Crossing over
Gael Bernal - Rudo y Cursi
Paul Dano - The Goodheart
De Niro - Everybodies Fine

Could be a waste for 2009 - Tarantinos - Inglorious Basterds Christian Bale in Public Enemies and James Camerons - Avatar -- and a slew of remakes ,, including the star trek prequel..

I know FanBoys is pushing it for me..
But its a guilty pleasure since deep down we are all FANBOYS - cheers to 2009 film season,,,

Vmedia Berkeley

Sin Nombre
Sin Nombre (2009)
8 years ago via Flixster

As April 29th 2009 - this is the best film of the year.
The Oscar-winning "Slumdog Millionaire" was all about contrasts. Its love story and fable-like story elements alternated with scenes that were underscored with real-world nastiness.

In some respects, "Sin Nombre" is even nastier than that other film. Yet this movie, which has a few similar story elements, also feels more honest.

In fact, this vivid, emotionally charged, Spanish-language drama really sticks with you.

Solid performances from its fresh-faced cast certainly don't hurt, either.

Edgar Flores stars as Willy, aka "Casper," a Mexican gang member who's tiring of "thug life."

He'd rather spend his time with his girlfriend, Martha (Diana Garcia). Unfortunately, the gang leadership won't let him.

Sayra (Paulina Gaitan) is a Honduran refugee who's trying to make her way through Mexico and then to the United States.

But the train that Sayra, her uncle (Guillermo Villegas) and her father (Gerardo Taracena) have hopped aboard has three other, unwanted "passengers": Casper, his young protege "Smiley" (Kristian Ferrer) and vicious gang leader Lil Mago (Tenoch Muerta).

You might think you know where these characters are going, and how the various plot threads will be tied up. But you'd be wrong.

Let the Right One In
8 years ago via Flixster

Teen Vampire films - I guess arrive in pairs. Twilight was a Harry Potter with fangs pre teen romp - with some tooley fog sfx and youtube acting.

But this second Tween vampire film wins 100% not only a strong teen annexed story, but a tight plausible script.

author John Ajvide Lindqvist wrote the screen play and book. The casting of the two pre teens is perfect and the solid white snow setting really baring out the red in this metaphor.

Forced to attend, many fans of Twilight would doubtless spend the entire running time of Let the Right One In text-messaging their BFF about the boring movie they're presently enduring, while many admirers of Let the Right One In would doubtless flash their presumed intellectual superiority by openly scoffing as Twilight unspoiled before their jaded eyes

This is an arthouse meditation on the vampire genre, and it works out pretty well. The relationship between the two kids is sweet and tender, but there is also a sense of impending doom. LET THE RIGHT ONE IN is a welcome addition to the horror genre. One that I think will get better with age, like a fine wine.

In the final analysis, Let the Right One In is superior to Twilight, although in the annals of vampire cinema -- a rich vein that has already produced definitive flicks with Bela Lugosi and Christopher Lee, two wondrous Nosferatu masterworks, and even a bloodsucking ballet (Dracula: Pages from a Virgin's Diary) -- it would be a stretch to claim that it ranks in the highest echelons of the genre. But it comes closer than one would rightly suspect.

A Swedish import that uses its frozen environment to great advantage, this picture, like Twilight, shows the effect that a vampire can have on the social life of a school-age loner. Here, the central kid is Oskar (Kare Hedebrant), a 12-year-old boy who has no friends and who's the constant target of the school bully and his sycophants. One night while hanging around his apartment complex, he meets his new neighbor: Eli (Lina Leandersson), a mysterious 12-year-old girl. Eli tells Oskar right off the bat that they can't be friends; what she doesn't tell him is that it's because she's a vampire. But Eli is every bit as lonely as Oskar, so the two end up spending a lot of time together. Oskar doesn't always understand Eli's behavior -- for example, why eating candy makes her violently ill -- but he accepts every aspect of their friendship in a matter-of-fact manner. Meanwhile, her empty stomach continues to rumble, and the other neighbors are looking mighty tasty.

From the Frankenstein creature to the wolf man, the movies have frequently given us sympathetic monsters. There have even been pitiable vampires, yet it's possible that little Eli is the most tragic of all. With no backstory on hand, we have no idea what led to her present situation, but it's poignant when she tells Oskar, "I'm 12. But I've been 12 for a long time." Her craving for blood can't be helped, yet it's still chilling to watch the manner in which she descends upon one of her victims (almost as chilling as the later scene in which the victim, now tainted by vampire blood, is attacked by a roomful of frenzied cats). But it's Eli's friendship with Oskar that redeems her, and helmer Tomas Alfredson, working from an astute screenplay by John Ajvide Linqvist (adapting his own novel), emphasizes this connection with a lovely directorial touch: During the bloody climax, he focuses not on Eli's blood-splattered mouth but on her twinkling eyes, ones that wrinkle slightly as she stares approvingly at the best friend a vampire ever had.