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Take Me Out
A window into the broken soul of Bruce, battling long-term depression and the culmination of events leading up to the tipping point of his bottled up shame, guilt, and self-destruction.
|Studio :||New York Film Academy, Fritz the Mann Films,|
|Crew :||Assistant Camera, Director of Photography,|
not as good as all the hype
When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.
I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.
There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.
I'd feel remiss not to review these shows. Obviously Terra Jolé Odmark is the ring leader, getting credited and working closely with the shows Directors, Producers and casting directors. She receives the highest salary, with each passing show, along with the Atlanta, (most pathetic), Dallas and NY little people, the fights get worse, with Terra stirring the pot, obviously. The auditions were held in 2013/14, for these shows on Lifetime for Women Network. Unfortunately, they are not empowering "women" at all. In fact, it's not helping minorities or little people either. To gain respect you need to respect yourself first, but clearly that is not the case here, there's always a price. The viewers look forward to their fights, disappointments, rejections, etc, then hop on to Facebook where they continue to comment to total strangers, getting caught up in this silly drama even more. No one would continue to watch these shows if it was a "REAL" reality show or series, try watching PBS. Terra has made this group so out of control that it's an insult to women. (Before talking poorly about other cast member's husbands, she needs to take a look at her own husband first). These people can't afford to drop their responsibilities (especially the Moms), with trips to Alaska, Hawaii, etc, or doing all of the physical crazy activities, or arguing such private matters like fidelity in front of the world. These outings, trips and insurance are designed and paid for by the Network/Production Co., not the women, putting money, travel expenses and experiences in their pockets, laughing their way to the bank.The sad part is, since TV is not free any longer, the viewer's expense, who pays for cable streaming into their homes, along with the sponsors, are paying for these shows. It seems putting more money into their pockets makes them worse and to me, these shows, as a professional in the business, are an embarrassment. We have enough "unreality" reality shows, airing people's dirty laundry and mocking themselves indirectly, they are all the same. I would rather pay to watch real entertainment, with the real paid actors, scripts, directors, producers, production and crews to get my money's worth or read a book for goodness sake and learn something!
Ever since Ronald Colman raised the bar of expectation by his not so chance encounter with Shangri-La in the 1937 movie rendition of "Lost Horizon", we have been trying to find our way back. Thanks to movies like "Seven years in Tibet", we can focus on the real issues rather than paradise revisited.With the release of the movie version of Heinrich Harrer's "Seven Years in Tibet" we are presented with a different story - one less fairly tale...Jacque Annaud's...film allows us to move away from the fantasy created by "Lost Horizon"... Annaud succeeds in bringing Tibet to life, to make it more human, more real.As much as the story is Harrer's, it seems inevitable that the focus moves away from him and onto the Dalai Lama. The book reads like an outsider looking at things from the outside in. The focus of the book, is all Harrer. Luckily, film has an ability to visualize the books cannot ever provide - a real immediate feel. The movie is everything and it at times almost feels like it will slide into Indiana Jones. However, the power of Tibet saves it. It almost feel like Pitt and Thewlis are out of place. The real stars are the set, the landscape and the Nepalese extras. Filmed everywhere but Tibet, the film does give its western audience a real soft landing, one that they will not get with Scorsese's "Kundun"... Hollywood does need to supply a demand and we demand epic scenes, high priced talent, a sense of the exotic. As if east meets west and the fusion of the two is greater than the sum of the parts. For the attention to detail, I can't help but sing the praises. If you can stomach Pitt's fake Austrian accent, the film is a visual delight. It would be a tempting fantasy to hope that we can preserve it...
While I'm not going to be as harsh on the film as Frank L., this is a movie that has some great material to work with but was compromised by the director not following through.Characters started speaking English at times which seemed inappropriate (likely because the director thought that viewers would lose interest in reading subtitles through 80% of the film), story threads such as the conflict between the father and son seemed half-baked and not well-developed, etc. etc.And yes, Sandra Oh's inability to speak Cantonese (she flounces through 3 syllables at the beginning of the film, and reverts to English for the rest) puts her at odds with the rest of the characters in her group.In film productions, shots that are not up to standards are marked as CBB, for Could Be Better. This is a film that with more planning and a more coherent vision of how the story arc should work could have been great. Instead, it is marred by things which I'm sure someone winced at including in the final cut.
Be warned--I cannot discuss this film without SPOILERS--so, consider this your friendly:****SPOILER ALERT****I picked up the DVD of this film--translated "Fogi is a Bastard"--having never heard of it and knowing nothing about it short of the cover plot description. This is usually a recipe for disaster and confirms my late Grandmother's favorite saying--"A fool and his money soon parted." And after reading some of the previous user comments you would thing that would be the case. But I think some of these people are wrong, wrong, wrong about this one. "Fogi" is one of the most stunning, mesmerizing and sexy, yet profoundly disturbing films I have ever seen about all-encompassing, unrequited love. The fact its main character is a homosexual 16-year-old boy only adds to the power of the picture.Played by the youthful and disarmingly attractive Vincent Branchet, Beni is a young schoolboy who falls under the spell of Fogi (Frederic Andrau), the lead singer of a local Swiss rock band. After he writes Fogi a love/fan letter, Fogi invites Beni to his apartment where they begin a puppy love affair with terrific, mutually satisfying sex. For Fogi, of course, it's just a casual, fun fling with a groupie he knows will do anything for him. For Beni, it's the real thing, a love so strong with sex so powerful you can literally feel the love and devotion for this guy taking over this young boy's soul to the point that nothing else in life matters beyond being with Fogi, whether it's in bed or tending to his every need. Fogi returns the favor by getting the poor kid hooked on drugs, leaving him alone for days on end and abusing him emotionally and mentally. Things begin to spiral out of control in this dangerous relationship when the band's gigs dry up and Fogi leaves town to make money by selling drugs, leaving Beni to mope around the apartment like an abandoned housepet. When Fogi finally returns, Beni is ecstatic--think of a military wife welcoming her husband home from war--but something is terribly wrong with Fogi, who has become hopelessly addicted to heroin and becomes increasingly abusive and cruel to his young lover in an attempt to get him to leave--which Beni refuses to do. Fogi then begins to literally treat Beni like a dog--having him crawl around the apartment naked, wear a dog collar, eat like a dog, sleep curled up on the floor like a dog, being washed like a dog. When this doesn't get rid of the kid, Fogi figures he might as well make money off of him and starts pimping him out to old gay men in the neighborhood, which Beni gladly does since, after all, he's in love.All of this, of course, leads to an appropriately tragic ending for Fogi, but on a hopeful note for Beni. The real power of this film lies in the last bit of dialog, where Beni actually believes he didn't love this jerk enough to save him from the inevitable and literally apologizes for not doing enough to save him! "Fogi is a Bastard" is one of the most truthful and appropriate titles to a film I have ever seen. And I can't say enough about the actors, especially Vincent Branchet who is so brave an actor he puts his young American counterparts to shame. This is a role in which he could easily look foolish yet he pulls it off--you understand what he does because he shows the depth of his irrational love. And Frederic Andrau also shines as Fogi--who really is a bastard. Kudos to director Marcel Gisler, who films all this in an ultrarealistic manner and manages to make a nearly one-set film unclaustrophobic. Ironically, I watched this film the day after watching "Attack of the Clones," which was one of the most joyless and mindless mishmashes I have ever seen. There may not be much joy in "Fogi," but at least it will make you think, and may scare a few teens into thinking twice about getting involved in inappropriate relationships with adults. **** (out of *****)