A Blue Automobile
Aoi Kuruma (A Blue Automobile) focuses on such a character - a part-time DJ and record-store employee named Richio (Arata). With his spiky yellow hair, wrap-around shades and pale mask of a face, Richio would seem to be an icy moon circling the distant planet of his own regard. But as Okuhara shows us from the first scene, Richio has been traumatized by a boyhood horror - and still bears the physical scars on one eye, the emotional scars in dreams and visions he can neither escape nor explain away. The sunglasses and mask are there for a reason, the pain and rage are real. At the same time, he has a straightforwardness that verges on the cruel - but this is also one of his most appealing qualities.
- Stars:Arata Iura, Aoi Miyazaki, Kumiko Asô, Tomorowo Taguchi, Kenji Mizuhashi, Chiaki Ohta, Takeshi Yamamoto,
- Director:Hiroshi Okuhara,
- Writer:Yoshitomo Yoshimoto (comic), Hiroshi Okuhara (screenplay), Kôsuke Mukai (screenplay)
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A Blue Automobile torrent reviews
(br) wrote: A really well made Canadian film about two teens on a journey of self discovery. Not quite children anymore and not yet truly adults; it is a transitional period that is raw and most importantly - real. Excellent job by the first time actors.
(br) wrote: Considering the talented cast of Bill Hader, Kristen Wiig, Martin Star, Ryan Reynolds and Jessie Eisenberg, I hoped for a funnier movie. There are scattered laughs along the way, but this is primarily a coming of age romantic and drama. The story is about a high-school senior forced by his parents into getting a summer job. He goes to work for the local amusement park. Working there is no fun, but the staff forms a unique mixed community of teenagers floating through their summer. Once there he meets a girl he likes, but he unknowingly gets into a complicated situation. It is messy and lifelike; each character has their own dreams, insecurities and struggles. Nothing is perfect and there is not a storybook finish, but it is good-natured. The characters and story seem real and honest. Jessie Eisenberg and Kristen Stewart capture what is like to be a confused teen full of nerves, lacking self-esteem, and excited for attention and potential love. An uneventful story does not do it any favors; it relies solely on the dialogue and interactions between the characters. Using the comedic talents of the cast could greatly improve this movie, but it chooses a quieter subtle approach. The amusement park setting has more potential to influence the story, but it is merely incidental, for the most part. At least, it is from the heart and not full of blatant clichs.
(ag) wrote: Great movie. John Stamos is awesome both in acting and singing!
(ag) wrote: Enjoyed the sets, but that was about it. I personally do not believe that this movie really captured the magic of the nancy drew series.
(it) wrote: I remember reading about it in Entertainment Weekly, but I can't remember if they gave it a good review or not. It sounds fascinating, though.
(mx) wrote: A super movie for Jakie fans
(jp) wrote: Cool 80s action film with Tommy Lee Jones (The Fugitive) and Linda Hamilton (The Terminator), story by John Carpenter (Halloween, Escape From New York) which makes the film more worth watching.
(ru) wrote: I'm used to having discrepencies on the year of release of a film between the imdb and the rt database, but [i]Still Life[/i] is a bit of a stretch. RT lists it as 1993, when the video was released, but the IMDb shows 1988 as the production date, which means either the IMDb is way off or this thing sat on the shelf for five years before getting dumped to video. Always a good sign. It's possible that the rights holders of the film were simply waiting for the triumphant return to fame of star Jason Gedrick. You remember Jason Gedrick, don't you? The kid from [i]Iron Eagle[/i] and [i]The Heavenly Kid[/i]? For a second in the mid-'80s, Gedrick looked like he was going to be another Tom Cruise, or at least another Jason Patric. Unfortunately for him, the movies he kept showing up in got less and less attention--only someone as film-crazed as I am remembers [i]Power 98[/i], [i]The Force[/i] or [i]Crossing the Bridge[/i]. And then there's [i]Still Life[/i], which stars Gedrick as a bohemian New York musician who makes fourth-rate Art of Nosie knock-offs in his huge loft apartment. [i]Still Life[/i] has an idea that's been used before, but seems to work well--the homicidal artist. It seems someone calling himself the "Art Killer" (or A.K.) has been bumping off homeless people and turnign their corpses into macabre works of non-performance art. Gedrick and his girlfriend Nellie (Jessica Ambrose) are at the center of it, and the killer seems to be framing him. There's a few different ways to go about a film involving a serial killer. You could make it into a police procedural, as the cops (or whoever) track down the killer, a la [i]Silence of the Lambs[/i]. You could focus on the killer themself, which allows for lots of acting on the part of the actor playing the murderer, a la [i]Badlands[/i]. Or you could show how one person is being harassed and surrounded by the killer in a psychological freak-out, a la [i]Apartment Zero[/i]. The problem with this last option is that you need to have solid, interesting characters and a fair share of people that could logically be suspects. Still Life has exactly one developed character outside of the main couple, so the identity of the Art Killer is obvious about ten minutes in. In fact, for much of the film, the Art Killer's presence is barely a factor at all, as it all focusses on Gedrick and Ambrose's relationship (yawn) and how depressed he is about his music career. For those who love scenes were musicians look determined and create music at a keyboard, [i]Still Life[/i] is your movie. Of course, you'll still have to put up with the crappy mid-'80s mediocre electronica. There's so many interesting ideas in [i]Still Life[/i] that it becomes frustrating to see none of them developed fully. First-time director Graeme Campbell doesn't bother with caring about sub-plots like the public's obsession with the Art Killer that views him as an artistic hero, or the killer's sending Gedrick videotapes that verge on being avant-garde performance pieces demanding that he compose him a theme song or else he'll kill his girlfriend. No, Campbell's direction is hopelessly bland for a movie about the New York art scene, and the flatlining performances don't help either. There's a couple of bright spots, like Stephen Shellen's supporting role as Gedrick's best friend, but it's really just a bunch of missed opportunities. I'd been holding on to this screener for a long time (since 1993, apparently) under the impression that it might be some sort of unseen gem, but it's sadly just the dullest movie based around an artistically inclined serial killer I've ever seen. Gary Farmer appears briefly as an Art Killer fan, but if you blink, you'll miss him. Gedrick and Steen are reunited (!) this year for the upcoming TV movie [i]Rapid Fire[/i]. Woo. (The cover of [i]Still Life[/i] pictures an apparently nude woman as the victim of the killer. The film itself contains only old, homeless victims, and no nudity whatsoever. Classy.)
(jp) wrote: Shot in 1969 and released in 1970, Valerie and Her Week of Wonders marks the end of The Czech New Wave. Watching Jaromil Jire' bizarre movie within the context of the 21st Century is challenging from several different angles. Based on Vt?zslav Nezval 1930's Surrealist novel. Nezval was key member of the Czech Surrealist Movement. The movie most definitely utilizes his dialogue and adheres his core aesthetics. The entire production is almost drenched in Gothica. But it would be impossible to not see the strong tie of the film to Pohdka or the Czechoslovakian concept of "fairy tales" which is more than a little different from our perceptions of parables. The plot is deceptively simple: a beautiful 13 year old orphaned girl has her first period and as she starts her path to womanhood is confronted with a series of horrify and menacing people and situations. In what may or may not be a world strictly limited to her imagination. Her ghostly Grandmother begins to form into a sinister threat. Other female family members enter her world her bear her Grandmother's same face -- each one offering a new level of terror. Her yearning to know who her parents were takes on an odd level of horror. Before long poor Valerie is finding herself among vampires, ghouls, evil priests, angry villagers intent on burning her at the stake and possible familial connections seemed loaded with incestual desires. All the while Jires fills her world with symbolic colors and alternating tones. From beginning to end the movie is a just a total trip into oddness. The strange appearances of the actors and Jan Curk's stunning cinematography make it almost impossible to look away. The major problem viewers face in viewing this film is regarding the casting of its lead actress. The part of Valerie was played by 6th grade age girl, Jaroslava Schallerov. The movie has no problem in sexualizing this child. Filmed in what can best be described as "dewey erotic lighting", often semi or nude and constantly being pulled into sexual intended kisses and caresses. The film veers into the realm of the inappropriate in the way this child actor was filmed. The current view of Film Scholars is that Jires did not film the girl as a "sex object" but more as a "symbol of innocence" in a world filled with sexual desires and threats. I'm not able to agree with this attitude. That being stated this film does not ever approach any level of "pornography" but it does go too far. The actress now in her early 50's has always been very proud of her fleeting moment of fame. Her mother was present for the entirety of the shoot. Even still, audiences should be warned that this envelope is pushed. Despite this ethically questionable aspect, I can't help but love the artistry and the film itself. It is a highly effective surrealist attempt to capture the human psychological and emotional experience of gaining a mature understanding of the world that will very quickly become your own. In many respects the morphing of the familiar into the unknown or monstrous is resonating. Of course this lies at the heart of many fairy tales. In addition, the film is edited and shot in ways that allow the viewer to constantly find new ideas or points with each viewing. It applies a circular sort of logic which invites multiple interpretations. It is a totally unique cinematic experience.
(fr) wrote: So funny and memorable!
(ca) wrote: I really enjoyed it. It was an excellent film. There wasn't quite as much action that I would of liked in the end but it was still giod
(ag) wrote: Entertaining feel-good flick. Not as epic or emotional Rudy, but it is well worth watching.
(gb) wrote: An incredible movie with amazing performances. This is my first time watching a Katherine Hepburn movie and boy am I excited to see her others. She really stands strong in this as well as Peter Fonda. Jane is great as well but it is not her career best. The son is great as well. The writing is stellar and the music and cinematography are great.