La famosa modelo checa Petra Nemcova, rostro permanente en cada fiesta que se precie, fue fotografiada super borracha en una discoteca en el sur de Francia, pasando una noche de lo más divertida. Pero, además, se arrimó a un cualquiera con el que estuvo muy acaramelada, con besos, abrazos bailes, hasta que se dejo meter mano a la vista de todos los asistentes.

Parece que quiere hacer honor a su proclamación como la alegría de la fiesta, y es que Petra Nemcova, que saltó a la fama por su noviazgo con James Blunt y por estar en el lugar equivocado en el momento equivocado (resultó herida por el famoso tsunami en Tailandia en 2004), es habitual de las revistas. Mantiene buena amistad con numerosas celebrities y no se pierde una fiesta.

Before he became an overrated filmmaker, Cameron Crowe (Jerry Maguire) was a reporter for Rolling Stone who was so youthful looking that he could go undercover for a year at a California high school and write a book about it. He wrote the script for this film, based on that book, and it launched the careers of several young actors, including Jennifer Jason Leigh, Judge Reinhold, Phoebe Cates, and, above all, Sean Penn. The story line is episodic, dealing with the lives of iconic teen types: one of the school's cool kids, a nerd, a teen queen, and, most enjoyably, the class stoner (Penn), who finds himself at odds with a strict history teacher (a wonderfully spiky Ray Walston). This is not a great movie but very entertaining and, for a certain age group, a seminal movie experience. --Marshall Fine

Fast Times at Ridgemont High (Widescreen Special Edition) is available at Amazon for $8.99. To Order click here
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Other Products of Interest

• National Lampoon's Animal House (Widescreen Double Secret Probation Edition)
• Dazed & Confused (Widescreen Flashback Edition)
• Ferris Bueller's Day Off Bueller...Bueller... Edition (Special Collector's Edition)
• The Breakfast Club
• Sixteen Candles (High School Reunion Collection)

Chris McCandless is a college graduate who hates his life. He hates his family (except for his sister). He hates everything that society is. So in order to escape it all, he heads out on an adventure. He burns all of his money or gives it to charity, hops in his car and begins driving. He then dumps his car and begins to walk. And it is while he is walking that he becomes the man that he has always wanted to be.

So many times I watch a biographical movie and find myself wondering what the person might have been thinking while experiencing what he or she might be going through. In this movie, the annoying narrative kept telling me, so I didn't have to think about it. However, the narrative (done mostly by McCandless's sister (actress Jena Malone) through most of the film) is the only thing about this movie I didn't like. I thought the McCandless character was fascinating, and Emile Hirsch was very good (although not brilliant) as the main character. The supporting cast is also top notch (Catherin Keener, William Hurt, Marcia Gay Harden, Hal Holbrook and Kristen Stewart) and the cinematogrophy is fantastic, taking us from the wheat fields of Oklahoma to the barren wilderness of Alaska. Sean Penn directed and wrote the film, so it has his fingerprints all over it! And he did the content proud.

Overall I really enjoyed "Into The Wild". If anything, it made me want to read the book. If I had to complain, I would say it felt a little long and the narrative should been kept out. I don't really need to know every little detail of why this character is behaving the way he is. I understood his hatred for his families wealth and his parents' misguided attempts to make sure his life was perfect. I didn't need another character describing all of his feeling for me. Hirsch was doing a good enough job on his own! But that would be my only complaints.

Overall Rating: B

War Made Easy
How Presidents & Pundits Keep Spinning Us to Death
Featuring Norman Solomon
Narrated by Sean Penn
(2007)

Summary:

War Made Easy brings to the screen Norman Solomon's insightful analysis of the strategies used by administrations, both Democratic and Republican, to promote their agendas for war from Vietnam to Iraq. By familiarizing viewers with the techniques of war propaganda, War Made Easy encourages viewers to think critically about the messages put out by today's spin doctors - messages which are designed to promote and prolong a policy of militarism under the guise of the "war on terror." Based on the book by the same title..

[googlevideo=http://video.google.com/videoplay?docid=-8383084962209910782&q=war+made+easy&ei=sXF_SKvPH6CCqgPyupnwDQ&hl=en]

Por João Luís Almeida Machado

E os vencedores do Oscar Robert de Niro, Sean Connery, Nicholas Cage, Sean Penn e Cuba Godding Jr. ?

Todos possuem algum tipo de tatuagem, e o site Tatoos & Academy Awards mostra algumas delas:

http://www.vanishingtattoo.com/tattooed_academy_award_winners.htm

Após 38 dias, voltei. E com a mesma 'companhia' do post inicial deste blog.

A verdade é que não consigo pôr em palavras o sentimento que tenho por essa obra de Sean Penn. Mais valiosa que a direção, as atuações (destaque absoluto pra Emile Hirsch), a fotografia, a trilha sonora (fantástica!), é a surpreendente e trágica estória de Christopher McCandless. E mesmo não concordando com boa parte de suas decisões, emociono-me pra valer (pasmem: como se o tivesse conhecido em algum momento da minha vida) a cada novo rumo de sua singular trajetória. Talvez por esse motivo, demorarei para assistir Into The Wild novamente.

Alejandro é o responsável por uma triologia de filmes que poucas pessoas imaginam que possa haver alguma relação. São filmes que que consistem em várias subnarrações relacionadas com o mesmo acontecimento.

O primeiro filme (e também o primeiro longa da carreira de Alejandro) é “Amores Brutos”, produção mexicana lançada em 2000 que catapultou para o sucesso ninguém menos que o astro Gael García Bernal (Diários de Motocicleta, Má Educação). O filme conta diversas histórias do cotidiano da Cidade do México, desde o jovem que ganha dinheiro com rinhas de cachorros, ao mendigo que é na verdade um assassino de aluguel até ao empresário que larga a família para viver com a amante. As histórias de cruzam de maneira supreendente e o filme, apesar de longo, tem uma trama magnifica e atuações memoráveis.

O segundo filme é “21 Gramas”, talvez o mais controverso, contado do avesso, do final para o começo. O filme narra a história de Paul (Sean Penn), Jack (Benício Del Toro) e Cristina (Naomi Watts), unidos por um acidente e reunidos pelo desejo de vingança e redenção. A trama não é tão simples de ser assimiliada, as histórias se confudem, assim como o sentimento dos personagens. O filme convence pelas atuações, sendo que Watts e Del Toro foram indicados ao Oscar de melhor atriz e ator coadjuvante respectivamente.

O terceiro e último filme, é o badalado Babel, de 2006. Já com status de estrela, Alejandro conta com um elenco de peso formado por Brad Pitt, Cate Blanchett e Gael García Bernal. A história se passa em diversos países do mundo, com núcleos nos EUA, México, Japão e Marrocos. O filme é o mais fraco dos três, talvez pois as histórias, por mais que interligadas, tenham ficado um pouco distantes demais. Um fato curioso é que o filme é falado em diversas línguas, cada núcleo conversa na linguagem local.

Curiosamente, esses três filmes representam quase toda filmografia do diretor mexicano, que produziu apenas mais 2 curtas e um documentário sobre 11 de Setembro. Vamos aguardar novidades do diretor que com certeza tem acertado nos poucos filmes que participou.

So, on to the letter.

Dear John Malkovich,

No. I realize that too many of us have left you with the impression that you are a stellar actor, but it is time that I speak up. I will give you Empire of the Sun, but let's not kid ourselves, Christian Bale stole that film and made it amazing. And I like Being John Malkovich because it is completely absurd, makes fun of my home New Jersey, and who the hell would ever want to be you anyway? (Again, that's why it's funny). Let's look at some other roles that have generally won you praise: Of Mice and Men. Personally, I get kind of annoyed when some actor is told they play retarded well. I like Sean Penn, but really? Is he really that memorable for I Am Sam? What about The Assassination of Richard Nixon? What about his directing? And I love What's Eating Gilbert Grape, but not because of Leonardo DiCaprio. I mean, he is good in it, but there's also the story that kinda carries the whole film, not to mention Johnny Depp.

Okay, you may also deserve some credit for In The Line of Fire. But you did play a psycho in that. And in Con-Air. You seem well-suited for those roles. That odd shaped head, somewhat sweet and thick voice with a hint of a high-pitch. Again, though, for Con-Air at least, someone else stole the show. In this case it was Steve Buscemi. The man played with Barbie dolls and talked about wearing a human head as a hat. And he wins the prize when it comes to funny looking. The Coen Brothers went with that.

Let me get to what prompted this letter in the first place: Knockaround Guys. Here is a movie, pretty bad mind you, about a group of mob kid friends who decide they want to join the family business. You, as you may or may not know, play the uncle of the main kid, played by Barry Pepper. To hear you attempt a Brooklyn accent and end up sounding like some kid whose just watched A Bronx Tale and is trying really hard to imitate what they assume to be the accent of everyone in this city, is beyond sad. Please, just...no. I have an idea, why not do what you have done in other movies that require an accent, don't do it. In The Messenger you kept your same old John Malkovich voice, despite the efforts of others to sound French. (Vincent Cassel is French, so don't even start the comparisons there). Even in Eragon, which I am admitting to seeing, despite the fact that it is one of the worst movies ever, you did not feel the need to use any accent. Then again, you really did not feel the need to act either. Did you know right away that you were going to treat that performance like practice for other crap roles? Did you just see it as some extra cash? Or were you fooled into thinking it would be good like those of us who shelled out $10 because, like us, you saw Rachel Weisz and Jeremy Irons in the cast and thought "hey, there is no way this can suck!" ? Is that what happened, John? You can be honest. You should know that a god cast does not mean a good film. The Messenger is a great example of that. And you should know that just because everyone says it is good, does not mean it is good. Gone Baby Gone, hello! That movie was a waste of my life. And I cannot get that time back.

Here's the thing, you are in some post-productions that I want to see, and I will see them. But I need you to know that my attending Burn After Reading has nothing to do with you, and everything to do with The Coen Brothers. And when I buy my ticket for The Mutant Chronicles it is because the futuristic movie is about a guy who fights NecroMutants.

-aman

The memoir based on Ciccone's life and 47 years of growing up with and working with his sister — Madonna— the most famous woman in the world, now has a cover.

The Sun reports the book will include Madonna's past lesbian flings (hint: Gwyneth, Britney Spears and Christina Aguilera mentioned), her rocky marriage to Hollywood actor Sean Penn and her rows with film director husband Ritchie.

The book will be available on July 15th

I have to admit I was a bit worried when I heard Channel 4 were making a film about Bobby Sands and the Maze hunger strike. Having sat through shite like Ken Loach and Rebecca O'Brien's 'The Wind that Shakes the Barley' I feared the worst. But 'Hunger', by Turner Prize winner Steve McQueen, is an artist's film of intense emotional impact and real insight. And it belongs on the big screen, its compositions and rhythms fill the space. That it is a London born film-maker, a black film-maker, that provides such insight into so fraught and sensitive an Irish story is all the more remarkable.

It was commissioned by my colleague Jan Younghusband, Commissioning Editor for Arts and Performance at Channel 4. She is a woman with a purist and committed approach to art, as I learned from working with her on projects like Big Art Project and 4mations. 'Hunger' was five years in the making and conception. Through her work on the Turner Prize Jan came into contact with McQueen, hooked up from time to time in a cafe on Old Compton Street and gradually homed in on this most demanding of subject-matter. Film 4, in the person of Peter Carlton (who I worked with last year on My Movie Mash-up/Faintheart, which amply demonstrated his ballsy approach) came in to back the film as a theatric offering. I have to say, having just emerged from a viewing of the finished film, I couldn't be prouder to be part of an organisation that creates a work like this.

I walk past Bobby Sands regularly in the form of a Christ-like statue of him in Newry, the town in County Down where my wife was born. She grew up in Northern Ireland in the 70s and early 80s - I can hardly imagine how she and her sisters will watch this film. Whatever you feel about the politics behind Bobby Sands (of which most of our (British) population is incredibly ignorant, and was so back in 1980 - as a suburban London teenager it was right off my radar beyond what I gleaned from Stiff Little Fingers) the portrayal of political conviction and of inhuman bigotry is as powerful as it comes. Thatcher's voice, heard in voice-over punctuating the film from time to time, comes across as truly monstrous. Everything about its coldness and stridency speaks of the huge cultural gulf between the Lincoln grocery and a family gathering in West Belfast or Gweedore, Donegal (where the key flashback scene of the film takes place) or pretty much anywhere in Ireland or an Irish home.

My wife recalls how her life and the lives of all around her were overshadowed by the hunger strike. A time punctuated by the staggered deaths (they deliberately spaced the starts of their hunger-strikes two weeks apart to maximise the impact of their sacrifice). Looking back from the last few years it is only now she truly recognises what a troubled, hard childhood she and her contemporaries lived through. A couple of years ago we were in the (old) Tate with the children. They were copying some of the pictures in the Pop Art rooms. As we emerged from the gallery I noticed my wife was really upset. I asked her what was up and it turned out walking through a room of Richard Hamilton images of soldiers on the streets of Belfast [The State 1993] had really disturbed her and awakened ghosts. (Richard Hamilton of course also portrayed Bobby Sands draped in blanket in his picture 'The Citizen' [1981-83].)

When I first visited Newry in 1986 I was greeted by the most surreal of experiences - walking down the high street I watched British troops, armed with machine guns and equipped with radios, ducking in and out of shop doorways between little old ladies struggling along with their shopping bags. Nothing in my North London childhood had given me the slightest clue that such dark comedy was to be had on the streets of 'my country'.

On my way out of the screening I met a woman who looked pretty shaken by the experience (naturally enough). It turned out her daughter works at the Channel and she comes from Crossmaglen, Co. Armagh. Needless to say she knew the one family I know in Crossmaglen, as that is the way of Ireland. I knew the hospital she was born in in Newry, Daisyhill aka Crazyhill, as my wife was born there too. I knew her school in Kilkeel as my wife went there too. It's a small, connected place. In her family home this woman I got talking to has some of the tiny notes smuggled out of the Maze - that's how connected it is.

I thought the starvation in Sean Penn's 'Into the Wild' was painful to watch and moving but it goes nowhere near the forensic observation of this film. The skeletal bodies are resonant of Auschwitz - and the crucifixion. And yet the film captures something incredible, something transcendent about the human spirit and will.

Towards the end of the film we see a flashback of the Belfast boy on a coach traveling over the border into Donegal to attend a cross-country race put on by the Christian Brothers (purveyors, as Pete McCarthy amusingly put it, of "the carrot and stick method of Education - only without the carrot"). Behind the face of the young Bobby is a blurred swoosh of gold, low sunlight on the ferns and bogland. It represents a paradise to the starving man.

Recalling when I first went to that place - Gweedore - brings a smile to my lips. I'd followed the roadmap and came to what I thought was not far from Gweedore. I stopped at a junction, reminiscent of where Cary Grant gets off the bus in 'North-by-Northwest' and gets attacked by a crop-spraying plane. There was a small shop at the junction, outside of which stood an old fella in a flat cap. I wound down the window and asked him where Gweedore was. You're in it. Where? All around. He was trying to explain the concept of a 'townland' which was foreign to me. 'Town' I get. 'Land' and 'country' I get. But this was something in-between, half way to the imagination, between the word on the map and the ground beneath me was a cultural gap and an imaginative leap. 'Dhun na nGall' (Donegal) means 'fort of the foreigners' - foreigners have given the people there a tough time since way back - from the marauding Vikings (who probably explain my wife's love of the battle and fighting scenes in 'Gladiator') to the screws beating the living shit out of Bobby Sands and fellow prisoners with their truncheons and tattooed knuckles. The same shit these men smeared on the walls of their cells in an astonishing act of defiance for over 4 years, the shit McQueen turns into a kind of circular abstract painting in one scene. The ability of people to survive that kind of degradation and brutality for the sake of an idea is ultimately uplifting. The ability to inflict that kind of degradation and brutality is to be the subject of one of my next posts (bet you can't wait ;-) inspired by Philippe Sands' recent book Torture Team about torture in Iraq, where Steve McQueen served as a war artist in 2003.) So shifting Sands from Bobby to Philippe - not easy subjects but then 7/7 isn't an easy day...

I'm taking several of my greatest passions and I'm going to attempt to marry them. Music, Stories (or my experiences), Books, and God. First of all, that is extremely vague and I know that. I'm going to explain how I find God in daily life, where I have felt Him, and how I find him in my (some would say) obscure taste in music.

My passion for music lies in hardcore, metal, and indie music and all of their subgenres. I'm addicted to the energy and experience I receive while listening to and watching them. Bands might include Underoath, Norma Jean, Oh, Sleeper, Living Sacrifice, Project 86, As Cities Burn, and Sinai Beach. Even the less-well-known bands such as For Today, With Blood Comes Cleansing, and The Glorious Unseen (which actually isn't metal or hardcore, but a more ambient/atmospheric worship band). If you don't like the music, thats awesome! I plan on talking about books I've read too. Some of my favorite authors include John Eldredge, and Rob Bell.

My intentions are to show where I find God in all of this.

Did I lose anyone?

I'm sure I did. You'll get the hang of it though.

I'll leave you with two quotes.

"When everything is answered, it's fake. The mystery is the truth" -Sean Penn

"God has spoken and the rest is commentary, right?" -Rob Bell

This week's edition: Songs and scores made for one film, then used for another film to create an unnerving experience in its new setting.

De Usuahia a la Quiaca/Pajaros - Gustavo Santaolalla

The Motorcycle Diaries (starts at 3:36)

My Blueberry Nights

Save Me - Aimee Mann

Magnolia (music video)

The Jane Austen Book Club ( starts at 6:58 )