During the presidential election of 1988, a teenager named Donnie Darko sleepwalks out of his house one night, and sees a giant, demonic-looking rabbit named Frank, who tells him the world will end in 28 days, 6 hours, 42 minutes, and 12 seconds. He returns home the next morning to find that a jet engine has crashed through his bedroom. As he tries to figure out why he survived and tries to deal with people in his town, like the school bully, his conservative health teacher, and a self-help guru, Frank continues to turn up in Donnie’s mind, causing him to commit acts of vandalism and worse.

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Sexual jolts disrupt Manhattan physician Bill Harford’s equilibrium. At an elegant Christmas party, two “models” hit on him, he watches a Lothario try to pick up his tipsy wife, he aids a woman sprawled naked in a bathroom after an overdose. The next night, his wife reveals sexual fantasies with a stranger; a dead patient’s daughter throws herself at him; as he walks, brooding, six teen boys hurl homophobic insults at him; a streetwalker takes him to her flat; he interrupts men having a sex party with a girl barely in her teens. His odyssey, which next takes him into a world of wealthy sex play at a masked ball of hedonism, threatens his life, his self-respect, and his marriage.

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New York 2095. In a strange pyramid floating in the sky, the gods of ancient Egypt are judging Horus. In the city, a young women with blue hair and tears is arrested, but she has a secret power, even to herself… http://rapidshare.com/files/5157642/Immortel.part1.rar

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An enigmatic tale of four people whose lives are intertwined by destiny are subject to the laws of fate. They discover that luck is something they cannot afford to be without as they gamble with the highest stakes possible in a deadly game from which only one of them will emerge intact.

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Two sisters who, after spending time in a mental institution, return to the home of their father and cruel stepmother. Once there, in addition to dealing with their stepmother’s obsessive and unbalanced ways, an interfering ghost also affects their recovery.

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Requiem for a Dream exposes four paralleled individuals and their menacing addiction to heroin, cocaine, and diet pills (speed). Taking place in Brooklyn amidst the waning Coney Island, the drugs are very easily obtained and keep each main character in its cycle of dependence. The protagonist Harry Goldfarb is your typical heroin junky with an ambitious plan of “Getting off hard knocks,” with help from his cocaine crazed girlfriend Marion and his long time friend Tyrone. Meanwhile his widowed mother is obsessed with the glamor of television and eventually finds her way to a dietitian who pushes her into the cycle of drug induced enslavement.

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 Audio: Dolby AC3 48000Hz 5ch
Released ……… 07/02/07 Video Format ……… XviD
Store Date US ……… N/A Video Bitrate ……… 927
Genre .Crime/Thriller/Drama Video Resolution .. 608×256
Runtime ………. 141 mins Aspect …………. 2.35:1
Frame Rate …… 25.00 fps Subtitles ………….. NO
Audio Format …… CBR AC3 IMDB …. 7.4/10 7223 votes
Audio Bitrate ….. 448 kbs Archives …….. 7 x 100MB x 2 cd

If Stanley Kubrick and Ken Russell had decided one day to team up and co-direct a film together, the results probably would have looked a lot like “Perfume: The Story of a Murder,” the singularly odd screen adaptation of the best-selling Patrick Suskind novel. It fuses the magisterial visual style and sardonic humor of Kubrick’s “Barry Lyndon” with the screw-loose audaciousness of any number of Russell’s 1970′s epics and the result is a work that is decidedly uneven–how could it not be?–and which will probably be dismissed by many as little more than an expensive chunk of lurid trash. Make no mistake–it is lurid trash but it is lurid trash of such a high caliber that I found myself delighting in it throughout despite, or possibly because of, its joyful excesses.
Set in 18th century Paris, “Perfume” opens in the jail cell of Jean-Baptiste Grenouille (Ben Whishaw), a young man who sits calmly even as the sounds of a mob thirsting for his blood grow louder and louder. Most of the film is a flashback that charts how Grenouille wound up in that cell, starting with his birth in the midst of Paris’s most squalid slum. A freakish-looking baby, he is presumed dead until he is revived by the smells filling his nose. It turns out that he has been blessed with a honker that can savor and discern practically every single scent, even those not obvious to normal people. Sold into virtual slavery as a child, his entire world view is changed when, while making deliveries in the heart of the city, he comes across a perfume shop and is overwhelmed by the beauty he inhales. Eventually, he encounters Baldini (Dustin Hoffman) a down-on-his-luck Italian perfume dealer, and goes to work in his shop where he copies popular scents and invents new ones in exchange for learning all the tricks of the trade, especially the ability to preserve the scent of a living thing.

This is important to him because during his earlier wanderings through the streets of Paris, he discovered the most intoxicating aroma in the world–the innocence and purity of a young lass of virtue true. Alas, this aroma disappears once the lass in question expires (something else that Grenouille discovered that night) and the ability to somehow capture it forever becomes his obsession. When he does figure out how to do it (after several unsuccessful and icky experiments, one involving a cat), Grenouille begins to pick off a number of young women in order to make the ultimate perfume. Although local bigwig Antoine Richis (Alan Rickman) tries to warn the townspeople early on that a predator with a taste for nubile lovelies is in their midst–a significant worry for him since his beloved daughter, Laura (Rachel Hurd-Wood), is the most lovely and nubile of them all (and may I just state at this time how much I love the word ‘nubile’)–they refuse to close the metaphorical beaches until Grenouille racks up a significant body and scent count (in every sense of the word) that he hopes to culminate with Laura. Eventually Grenouille is captured, in a most ironic manner, but he still has one more trick up, leading to the kind of you-gotta-see-this! climax that all but assures that this film will never appear on commercial television.

Ever since it was published in 1984, Suskind’s novel has obsessed a number of filmmakers–Kubrick was said to have been interested in adapting it and Ridley Scott flirted with it for years–but it never got made, possibly because they had no idea of how to approach material this seemingly kinky and depraved and possibly because they couldn’t figure out how to cinematically tell a story that relies so heavily on a sense that cannot be conveyed in cinematic terms unless they went the John Waters route and handed out scratch-n-sniff cards with every ticket. (Apparently no one pointed out to them that the book didn’t have any actual smells to it and that absence didn’t seem to hurt it a bit.) In bringing the story to the screen, director Tom Tykwer, the man behind the 1998 pop-art masterpiece “Run Lola Run,” has made the correct decision to embrace the lurid tone of the piece–especially in its ambivalent portrayal of the murderous Grenouille–instead of trying to tap-dance around it. The film is a riot of heaving bosoms, lush visuals and weirdo behavior and Tykwer, perhaps happy to be cutting loose after such somber recent efforts as “The Princess and the Warrior” and “Heaven,” is clearly reveling in every over-the-top moment of it. (At times, Tykwer’s approach reminded me of the similar take that Scott used in bringing his incredibly underrated adaptation of “Hannibal” to life in all its Grand Guignol glory.) He even manages to overcome the problem regarding the lack of actual scents by creating such an overwhelmingly palpable sense of atmosphere in every scene–be it a repellent fish market or a lush garden maze (one of the many Kubrick homages on display here)–that you hardly need the actual aroma to get the point. As a result, “Perfume” is the rare period film that creates a world that feels real and lived in instead of a glorified museum exhibit that the characters tiptoe through as if they were afraid of breaking something.

Usually in a film of this type, the actors tend to contribute a collection of uniformly mannered performances that, aside from the occasional hambone, are so concerned with enunciating everything in a proper and non-modern manner that they wind up sucking most of the fun out of the room. Here, we are given a sampler of a number of wildly different performance styles that wind up complementing each other instead of clashing. Rickman goes for a naturalistic portrayal as the lone voice of reason that may come as a surprise for those expecting the overly ripe line readings we know he is capable of. Dustin Hoffman, on the other hand, gleefully chomps the scenery as Grenouille’s mentor with an accent so broad and bewildering that it makes Chico Marx sound like a model of linguistic fidelity by comparison. Of course, Grenouille is the trickiest role in the entire piece–the part is most non-verbal and for it to work, we have to find a way to like and sympathize with him even as we recoil from his sordid actions–and relative newcomer Whishaw is quite good at simultaneously suggesting both of these aspects of his personality while hardly saying a word.

Paragons of virtue and good taste–cinematic and otherwise–will no doubt describe “Perfume” as silly and vulgar trash. Actually, I would have no problem in using those words to describe it as well but when I say “silly and vulgar trash” with a sense of giddy admiration instead of offended distaste. Alternately haunting, hilarious (there is an especially inspired running gag that chronicles the fates of those who took in Grenouille after he leaves them) and always compelling–if only just to see how much further Tykwer and Co. can possibly push things–“Perfume” is a compulsively entertaining bit of luridness that, when compared to many of the self-consciously profound films of the season, comes up smelling like a rose by comparison.

by Peter Sobczynski

CD 1: 

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CD 2:

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Rar Pass:

turkey-rocks

It’s a good thing that the stridency of Tim Robbins’ political views is matched by his talent as an actor. Thanks to the wonderfully nuanced performances that both he and Derek Luke (“Antoine Fisher”) give, “Catch a Fire,” a look at the evils of Apartheid-era South Africa, manages to be more nail-biting and thoughtful than didactic.

The film recounts how a black refinery foreman named Patrick Chamusso (Luke) ran afoul of the law for bombing he didn’t commit.

During the 1980s, Patrick, as depicted in the film, stays as far away from politics as he can. He even demands that his mother-in-law stop listening to illegal radio broadcasts from the African National Congress (ANC).

Despite a promising career and a rewarding pastime as a youth soccer coach, the anti-terrorist squads believe he’s the prime suspect and torture him. Supervising the harsh interrogations is Colonel Nick Vos (Robbins), who plays a masterful good cop while his subordinates administer the beatings.

As played by Robbins, Nick is creepy without resorting to a lot of eye-rolls and other stereotypical villain tics. Robbins’ towering frame and eerie confidence make Nick most frightening when he’s trying to seem benign.

This fellow even takes Patrick home with him to have dinner with the cop’s family in hopes of breaking the suspect. But before you think he’s recognized Patrick’s innocence, his men brutalize Patrick’s wife Precious (Bonnie Henna) to the point where Patrick makes a false confession.

Nick finally recognizes that he and his crew have punished the wrong man, but when the release Patrick, he quickly becomes the menace they feared. He joins the ANC’s armed wing and eagerly takes on a chance to get back at the society that endangered his family.

I was expecting a much more simplistic depiction Chamusso’s life when I discovered that it was written by Shawn Slovo and produced by Robyn Slovo. They’re the daughters of anti-Apartheid activists Joe Slovo and Ruth First (who’s played by Robyn in the film).

Thankfully, both have gone to the trouble of making Patrick Chamusso and Nick Vos convincingly three-dimensional. Chamusso is a good worker, a caring coach and loving husband, but he’s also a philanderer. And his extramarital activity inadvertently leads to his arrest.

Vos honestly believes the dirty business he’s involved in is all that’s saving South Africa from Soviet domination, and you can see how the job is slowly tearing up his soul and his family.

Some of the sensitivity from Nick’s “good cop” act is genuine, so he becomes an oddly sympathetic, if still contemptible, figure in the end.

Luke proves a solid anchor for the film, convincingly aging ten years both physically and psychologically. It’s fascinating watching him go from an eager innocent to a vengeful guerilla.

Australian director Phillip Noyce has helmed a pair of Tom Clancy adaptations after making an international sensation with “Dead Calm.” Here he makes a film that as thrilling as anything he made in Hollywood but has characters that are a lot more interesting.

The real Patrick Chamusso appears at the end and brings us up to speed on his life. The one-time terrorist is now the jovial head of an orphanage. Noyce and Shawn Slovo might have benefited from explaining how Chamusso was able to overcome his hatred, but “Catch a Fire” is proof that revenge may be a dish that’s best not served at all.

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 http://www.imdb.com/title/tt0433963/

Nearly a decade after two young girls are brutally murdered, the monstrous killer, Jonah, escapes from a mental institution and returns to his familiar killing ground, the theme park attraction “Dark Ride.” His unfortunate victims this time are a group of college kids on a road trip that inevitably leads them to the Dark Ride where their night of youthful fun becomes a nightmare. The killer, who is mimicking the sets within the attraction, makes sure this is a “ride” audiences will never forget.

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Pass

SiD

My heart goes out to Douglas McGrath. The writer, director and occasional actor was hard at work on “Infamous,” telling the story of how Truman Capote researched “In Cold Blood,” when he learned someone else was making a movie on the same subject. A movie called “Capote.” A movie that would go on to win one Oscar and be nominated for four others, including Best Picture.

Even if “Infamous” turned out to be an outstanding motion picture, it could not possibly compare with “Capote.” Coming out a year later and covering the same material, it would look like a copycat. Worse, the public wouldn’t be interested. One Truman Capote biopic is enough, thank you very much.

So I feel bad for Douglas McGrath that his movie is overshadowed by “Capote.” I feel bad also that even without the comparisons, “Infamous” is not particularly good. Turns out its runner-up status is deserved, regardless of timing.

We begin with an inexplicable scene. It’s 1959, and author/celebrity/bon vivant Truman Capote (Toby Jones) is in a swanky nightclub surrounded by other swanky famous types. The singer is called Kitty Dean, though clearly she is meant to be Peggy Lee. She is played by Gwyneth Paltrow. She sings Cole Porter’s “What Is This Thing Called Love?,” at first enthusiastically and then suddenly having some sort of emotional turmoil in the middle of it. She stops, clearly distressed, falters a moment, then hops back into the song as though nothing ever happened. Paltrow’s performance is riveting. But here’s the thing: The scene has nothing to do with the rest of the movie. The singer’s torment is not explained. She is never seen or referred to again.

My best guess is that the incident foreshadows the inner turmoil Truman will face over the course of the film. The fey, diminutive gay man — often mistaken for a woman, in one of the movie’s running jokes — heads to rural Kansas after a gruesome quadruple homicide there, angling for a story for The New Yorker about how such a grisly crime affects a small town. Accompanied by best friend Nelle Harper Lee (Sandra Bullock), whose “To Kill a Mockingbird” is just being released, Truman becomes friendly with the imprisoned killers, publicly declaring his devotion to the truth while privately rewriting quotations and manipulating facts to make his book spicier.

This is an angle “Capote” didn’t really explore: How much of “In Cold Blood” is accurate and how much is exaggerated? “Infamous” shows Truman recounting his interviews with the killers to his prissy New York socialite pals, reveling in how aghast they are to hear the details, and changing the wording of the murderers’ quotations every time. For the book, he chooses the one that sounds best.

He displays a similarly cavalier attitude toward the facts when he gossips with his friends about other friends. Everybody loves him, but does anyone trust him?

This is an intriguing facet of Truman’s personality, but the irony is that Truman doesn’t seem very conflicted about it. It’s just what he does. There’s certainly nothing to indicate introspection like Paltrow shows in that opening number.

Toby Jones looks enough like Truman Capote, but his voice sounds like an impersonation, not a performance. It’s impossible not to compare: Philip Seymour Hoffman imitated the voice, too, but fleshed out the performance so well that it seemed natural. Hoffman could have not done the voice at all and the character still would have seemed fully realized. With Jones, the voice is all he has.

Far more compelling is the supporting cast, which is impressive in its size and scope. There’s Sigourney Weaver, Hope Davis, Isabella Rossellini, Juliet Stevenson and Peter Bogdanovich, all playing Truman’s wealthy New York friends. Jeff Daniels is endearingly even-keeled as the Kansas sheriff Truman must befriend in order to get access to the killers, and Lee Pace and Daniel Craig are solid as the villains themselves.

The best thing about the movie? Sandra Bullock, believe it or not. Her Harper Lee is intelligent, friendly, full of common sense and gracious manners, instantly likable to all she meets. There are several tantalizing lines about her “next book,” which we all know never came to be; “Mockingbird” was it. Bullock’s warm portrayal of the reclusive author back before she was a recluse makes me think I’d rather be watching a different movie: a biopic of Harper Lee.

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