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Confessions of a Ex-Doofus-ItchyFooted Mutha
Don't worry: We will never post to Twitter or Facebook without your permission. Search movies, people, lists Featured Browse. Create a list. One is primed, then, for a battle of the charismatic crooks, in which Sergio falls in with Silvio—a melodramatic hook that Sorrentino leaves dangling as the film devolves into a series of disconnected sketches. It bears mentioning that this minute cut was edited down from a much longer one.
Instead, Loro switches protagonists, homing in on Silvio as he attempts to become prime minister again after the leftist party has ousted him. At a certain point in the film, Silvio decides to flip six leftist senators over to his side so that he can regain power, a potentially fascinating process that Sorrentino reduces to one vivid scene and a montage.
L oud, chaotic, and borderline nonsensical, Promare is the logical result of anime studio Trigger creating what amounts to a feature-length extension of its prior work. Set in a future where high-tech firefighters clash with pyrokinetic humans called the Burnish, the film pays explicit tribute to anime series like Gurren Lagann , Kill la Kill , and others in everything from names to character and robot designs to basic personality types.
His long-held truth, that the world is neatly divided into firefighters and Burnish terrorists, is shaken over the course of the film as he fights the slender, melon-green-haired Lio Fotia Taichi Saotome , who leads the rebel Burnish. Promare is immediately striking to look at, with a style that favors a cool color palette, minimalist backgrounds, and abstract geometric shapes; fire, for one, is frequently rendered as purple triangles.
The characters are drawn in pleasantly smooth lines, and they pilot chunky, ice-shooting robots whose siren lights send out solid beams of red and blue. The camera tracks each action scene, every zoom through the scenery and every collision of a fist with a face, in roving close-ups with thrilling precision. All the same, its loudly repeated message remains clear: Rather than douse a fire, sometimes you need to let it burn as bright as possible.
Leaving such a character as the hero in Promare exemplifies its rather straightforward trajectory. T he early s brought us two thrillers with all of the following elements: an estranged couple mourning the tragic death of a daughter; a grief-stricken sex scene crosscut with glimpses of its doleful aftermath; a series of murders occurring against the backdrop of Venice in the offseason; and a canal-bound funeral in a black-draped barge.
Since violence against children is exceedingly rare in the giallo, even by the bloody standards of the genre, this is an especially shocking set piece. Doubtless this coincidence has something to do with the shifting moral climate in Italy at the time, with the recent legalization of divorce and an increasing permissiveness toward depictions of sex and violence in popular culture.
Who Saw Her Die?
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- Confessionsofa Ex-Doofus-ItchyFooted Mutha!
Lado introduces us to two of his main characters through a clever bit of visual trickery. We first see Franco Serpieri George Lazenby as he waits to greet someone among a group of arriving plane passengers. The camera picks up a pretty brunette woman, and crosscuts between the two as Franco proffers a heartfelt greeting. Only then do we hear an unexpectedly girlish voice in response, as the woman continues on, and Franco stoops down to hoist his daughter, Roberta Nicoletta Elmi , into shot.
Throughout the first act, Lado uses his wintry Venetian locations to optimum atmospheric effect. He continually frames Roberta against eerie, nearly empty streets, bridges, and squares.
Lado shoots this whirling rondeau with a dizzying verve that would make Brian De Palma proud. Female protagonists usually must battle against some sort of attempted gaslighting.
Because Franco is a struggling sculptor, most of the list of suspects happen to be members of his inner circle. The standout killing, via a pair of scissors, takes place against the sterile white preserves of an indoor aviary. And Lado even goes in for a bit of meta filmmaking when one potential eyewitness is garroted in a darkened movie theater. Only a producer-imposed final line of dialogue serves to blunt the impact of this chilly, surprisingly elegiac giallo film.
The Blu-ray image reveals more information on the right-hand side, appears darker overall, with less harsh whites, and displays far greater depth and clarity of detail. For the first time on domestic home video, the Italian-language track has been included. Howarth also extensively covers the careers of the principal cast and crew. When it comes to What Saw Her Die? Elmi relates an amusing anecdote about working with Dario Argento on Deep Red , decries the need for censorship with regard to the themes of Who Saw Her Die?
Grief is the unifying thread of I Was at Home, But… , though Schanalec gives us the lingering air of despondency well before identifying its source. Later, Schanelec grants Astrid redemption in the heartbreakingly tender image of the woman holding Flo in an empty locker room after a swim practice, their damp bodies intermingled as one. The depiction of their journey across 3, miles does more than humanize the plight of refugees, so easily spoken of in the terms of mass demographics in the political discourse of Europe and America.
Despite the nocturnal intrigue implied by its title, Midnight Traveler takes place mostly during the day, and focuses less on tension than on texture.
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The first-person camera takes in the details of a life indefinitely in suspense, the transitory homes the family fashions out of goat-inhabited basements in Afghanistan, shady enclaves in the Bulgarian woods, and the squalid rooms of a refugee camp in Sofia. A memorable scene has the bespectacled Nargis standing on the rocky shore of the Bosporus Strait in Istanbul, reacting giddily to the cool water splashing against her feet.
Nargis weeps as she recounts witnessing right-wing Bulgarians pelt rocks at a group of refugees that includes her mother; in a lighter moment, Fatima tells the story of how she, an artist and filmmaker in her own right, turned Fazili, the son of a mullah, into an open-minded, secular man. Dreary boredom accompanies a sense of dread as the family waits for over a year to hear whether their application will even be reviewed.
Committed to his project, Fazili shoots everything, not even putting down the camera throughout an argument he and Fatima have over his compliment of another female refugee. All the same, Fazili professes to struggling with applying his artistic ambitions to his family: When his youngest daughter, Zahra, goes missing in Serbia, he admits in voiceover that he considered recording as he searched for her through bushes, half expecting to find her dead body. Glimpses at the outside world are oblique, perhaps sometimes intentionally vague: Faces of fellow refugees are blurred, and Midnight Traveler never zooms out to give us a sense of the grand, sheer sprawl of Istanbul or Sofia.
That NATO now forces refugees from the destabilized region into legal limbo—that seeking help from the U. Our preview section is your best, most complete guide for all the films, big and small, coming your way soon. Connect with us.
THE OBENSON REPORT: Confessions Of A Ex-Doofus-ItchyFooted Mutha
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