TaraMarks

Deserves recognition as an interesting misunderstanding of the hallucination generation, 20 January 2007　　Author TimothyFarrell from Worcester, MA　　Wild in the Streets comes from the same school of film making that spawned other attempts to connect to the counterculture such as Skidoo and Candy. The difference between this and the aforementioned films is that Wild in the Streets is reasonably clever and well-made. It isn't sympathetic to the counterculture and will likely offend those with fond memories of the time. Surprisingly, it was a big hit when released and appealed to the youth whom it ridiculed so much. Unlike The Trip and Psych-Out (two other AIP films), its not an accurate representation of the movement at all. However it does work as social satire.　　The direction by Barry Shear is good and makes innovative use of split screen photography. Plus, he keeps everything moving at a quick pace. In its funny moments, the film works well. In its attempts at drama, its helplessly dated and just as funny as the humorous moments. Christopher Jones underplays his role and Shelly Winters overacts. Hal Holbrook offers the best performance and Diane Varsi achieves the right note of grooviness. The script by Robert Thom has its moments, especially the ending (easily the most ingenious part of the film). Wild in the Streets isn't perfect, but deserves recognition as an interesting misunderstanding of the hallucination generation. Those into this kind of kitsch will enjoy it the most. I'd rather watch The Trip or Psych-Out however. (610)　　-from imdb

Sparks fly when a dog walker with hidden artistic talent becomes the subject of an art history professor's plans to Impress her employers at an art exhibition.

Fatherwhoisoutofwork,motherwhoworksatthekitchenforconstructionworkersandthereisa14-year-oldgirl,Se-juwhotellsthestory.Whentheprodigalson,Se-ju’sbrothercomesbacktothefamilywithlive-ingirlfriend,thefamilyfacesanothercrisis.

In this very late 60's irreverent, almost anarchic low-budget film, Brian De Palma defines more of his strange, given Hitchcock-like fascination of voyeurism, and attacks the issues of the day. The most prominent of which, both cringe-inducing and just plain funny, is when he focuses on the black-power movement (a black woman handing out fliers asking white people 'do you know what it's like to be black'), which is something that could only work for that time and place, not before or now.　　But one of the key things to the interest in the film is 27 year old Robert De Niro (not his first or last film with the director), who plays this character who sits in a room looking out through his telescope at women in their rooms, setting up phony deals, and in the end basically throwing bombs. Those who have said that De Niro can't act and just is himself in every movie should see this movie, if only out of some minor curiosity. A couple of times in the film it's actually not funny, as when there's a disturbance in a black-power meeting (filmed in a grainer, rougher style than the rest of the film).　　In the end it's capped off with a rambling monologue in an interview that tops De Niro's in King of Comedy. It's pretty obvious where De Palma's career would go after this, into slightly more mainstream Hollywood territory, but all of his trademarks are here; the dark, almost nail-biting comedy, the perfectly timed style of voyeurism, and interesting usage of locals. Think if De Palma and De Niro did a Monty Python film, only even more low-budget and in its New York way just as off-the-hinges, and you got Hi, Mom! It also contains an eccentric and funny soundtrack.　　imdb comment

　Michael, a Danish gangster, takes his girlfriend, Sascha, and his extended criminal family on a luxury vacation in a fancy villa in gorgeous Bodrum, Turkey. Shopping, waterparks, barbecuing, and hardcore partying fill their days and nights. Having little regard for anything or anybody outside their world, they exist in a bubble of excess that is governed by Michael’s rules—and if the code is broken, they all know that violence will follow. But when Sascha befriends a Dutchman with romantic designs on her, she toys with Michael’s authority and creates a situation that cannot end well.　　In a breakthrough performance, Victoria Carmen Sonne fully commits as Sascha, the complex young moll that eludes assumptions and expectations. First-time writer/director Isabella Eklöf has a dynamic visual touch and a flair for dark comedy and creates a destabilizing discord as she elaborately fills the frame with colorful, seductive images while telling a disturbing, graphic tale of brutality and power. Holiday provokes, challenges—and even implicates—the viewer in its unsettling reflection of our times.

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「OL」是一部艾美奖提名,掉掉落金球奖与英国电视学院奖的一部英国电视笑剧,由Ricky Gervais与Stephen Merchant创作!制造并指点,Gervais担纲主演,并于2001年9月在BBC 2台首播。剧集的内容重要环绕虚拟的Wernham-Hogg 纸业公司Berkshire（英国西北部温莎公爵堡地点的农村）,Slough分部的OL员工的一样平常生涯开展。固然是虚拟的脚本,剧集的情势倒是记录片,剧中人物都明白地晓得摄像机的地位。　　本剧连续了两季,每季6集,并附加了两个45分钟的圣诞节特殊版。该剧不只经由过程BBC寰球电台如BBC主台,BBC美国台与BBC加拿大台在全天下播放,还将播映权卖给了寰球逾80个国度的郭伯电视台,如澳大利亚ABC,新西兰TVNZ,跟全亚洲卫星频道STAR World（基站在香港）。　　本剧与稍候由Ricky Gervais与Stephen Merchant创作的社会讽剧「Extras」共享主题,Extras,意为社会简陋面,上演人类生涯的琐事：自我中央主义,傲慢,潦倒,掉望与声誉。

　　Julian is a 12-year-old boy whose family is just scraping by in the Ruhr industrial region of Germany in the early 1960s . When his mother and younger sister go away for a while, he is left mostly alone in the apartment while his father works in the coal mine. He has to confront the confusing world of adults and older boys and the older girl next door on his own. Finally events build up and threaten to tear the family apart.

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