Cloris Leachman

When I first watched this film at a drive-in theatre I did not know the lead actors back then. It was the first western in color that I've ever watched. I find the song was modern (Raindrops Keep Falling on my Head) that it did'nt fit with the periodic times when music was different at the turn of the 20th century. The very ending of the movie was the sad part where both Butch and Sundance - when cornered - decided to choose suicide by bolting into the Bolivian Lawmen Posse's simultaneous gunfire which was memorable.

"Gorge Cassidy" (Paul Newman), a.k.a. "Butch Cassidy", and "Lonny Longbaugh" (Robert Redoford), a.k.a. "The Sundance Kid, are two of the greatest robbers in the history of the Old West. They pulled jobs on banks and trains with an expertise that made them famous from coast to coast. Now, years after being out of the business for about two decades, they decide to pull one last bank heist in Bolivia, with the help of a school teacher (Katharine Ross) with romantic ties to both men. I have to say that I am pretty disappointed in this film. I found it to be slow, with not enough action considering the topic of the movie. It dragged so much that I noticed spending more attention to my computer than watching the movie itself on cable television. One thing that stood out was the on-screen relationship between Newman and Redford. This is what carries the movie I believe, and most likely why this movie is called a classic now. You feel as if the two are not just partners in crime, but friends with the ribbing that they give one another. Another problem with this movie is the soundtrack. The only piece of music that is memorable is Raindrops Keep Fallin' on My Head by BJ Thomas, and that was a weird tune for a Western set in the Old West. If you ask me, the song was just an odd choice. I also barely enjoyed Ross as "Etta Place". Her character was barely developed if you asked me. It appeared that she was there as a romantic interest, and to help teach "Butch" and "Sundance" Spanish for their attempt at robbing the Bolivian bank. If you expect a lot of gunfights, you are mistaken on this one. Of what there is in the movie, they are short and well placed. The cinematography is hard for me to judge since Encore Westerns used a pan-and-scan format. I had to deal with only half of a scene when two people were talking to one another. But, from wide shots, I could see some spectacular scenery, including the famous scene when the title characters jump from a cliff into the water. Because it was declared a classic, I've been wanting to see this movie. I am highly disappointed in it.

Lots of bawdy humor makes this not for the kiddies, but it's a fast-paced laugh per minute farce in the same vein as the "Naked Gun" films for breakneck speed of the gags. Don't miss Moses parting the Red Sea & bringing down the *15* (yes, 15) Commandments from Mount Sinai.

To Read My Review of "You Again" - http://awesomebarnhart.wordpress.com/2011/02/13/you-again-2010/

Animated movies have long been looked down upon as a genre for kids, Director Brad Bird as always insisted that animation is not a genre of film making but a medium of storytelling, and with Iron Giant, he proves that animation is not simply a style choice, but a wonderful tool to tell an even more wonderful story. America is gripped by fear of the red menace; having recently launched the satellite sputnik has the entire nation on alert. Into this fearful land a giant iron man has fallen from space. Government Agent Mansley arrives from Washington to investigate reports of strange activity; enormous bites have been taken out of cars and metal structures, fearing a soviet device Agent Mansley hunts for the intruder The great metallic monstrosity is discovered by a young boy, who recues the iron man for certain death. A young boy unfortunately named Hogarth, having being raised by his mother, skipped ahead in school and left to his own imagination for company having tried squirrels and raccoons for companionship much to the dismay of his mother. The iron giant follows him home like a gigantic steel puppy. The two become fast friends, the giant having been damaged in his fall from stars, mimicking and learning from his human companion. The new friends find shelter at local scrap yard and home of beatnik artist Dean McCoppin; the three have great adventures and form a fast friendship. Hogarth has found the friends he always missed. Hiding beneath his childlike attitude, the giant conceals a great destructive power; he is an impressive weapon from another world. He does not stay hidden forever and soon the United States army arrives to stop the perceived Russian threat. There aggression awakens the great power within the steel monster, and in there rashness put them selves and the entire town at risk. Deep within the walking weapon, the goodness and heart imparted by Hogarth remains, the power of the human spirit fills the giant; he retains the lessons of his tiny friend. His nature is destruction but the heart and soul of a child has impacted his metallic mind. Seeing the town in danger the iron giant gives the greatest gift known to mankind, self sacrifice. A beautifully rendered colorful world, richly detailed and impressive crafted animation, a traditional style brought to life with incredible color and beauty, with computer effect peppered in for and astoundingly gorgeous film. Hogarth bounds with wonderful exuberance and the over active imagination of a child, Agent Mansley bumbles around with great comedic effect. Voice acting is top notch; Eli Marienthal is absolutely wonderful as Hogarth, capturing his energetic personality. A wonderfully warm and heartfelt film, it?s funny and exciting, imparting a clear well-meaning message of humanity. Brad Birds masterpiece will resonate with audiences for a long time, a classic story of the power of the human soul told with such magic and wonder in the medium of animation.

The movie business has never quite been the same since that former video-clerk geek and genre-loving movie maven Quentin Tarantino exploded on the scene with Reservoir Dogs. If you go strictly by the coming attractions, Inglourious Basterds might confound your expectations. Yes, Brad Pitt leads a group of Jewish soldiers who murder and scalp Nazis all over France. However, the actual graphic Nazi-killing is just the first chapter to a more conventional WWII espionage thriller. Tarantino presents a rollicking, wish-fulfillment revenge fantasy about getting Hitler that is presented with a graphic novel ambiance punctuated with moments of brilliant and far-from-cartoonish tension. The latter is most gloriously on display when Tarantino presents a bar rendezvous with three of the Basterds, the spy and a bunch of German soldiers. This is the moment when Tarantino presents one of his genre favorites, the ?Mexican standoff.? Did I mention that this movie is often hilarious? The Nazi killing scenes are designed to make you laugh and turn your head away cringing at the same time. In Tarantino terms, this movie is restrained; it hits us with the bloodletting and head bashing in small doses. It is the story, the development of the characters and the quality of the dialogue that makes Inglourious Basterds a wonderfully intriguing cinematic adventure. The most accomplished acting emanates from the urbane matter-of-fact evil presented by the amazing Waltz.

Tarantino has done a brilliant job of crafting one of the most suspenseful movies I have ever seen. I love how pieces of the puzzle throughout come together in different sequences ultimately leaving you with a feeling that everything is complete in the end. This is definitely a movie worth watching again and again. All thumbs up!!!

A long-winded and cartoony yet very compelling film. Some chapters felt plodding and maybe too dialogue laced but I was never bored. Tarantino certainly re-writes history and takes many shortcuts through reality but he does it with flare. This is a hard movie to define or summarize but I'd call it an interesting experimental cross between Pulp Fiction, The Diary of Ann Frank and some depraved Looney Tunes.

Nice movie

Ponyo, written and directed by Hayao Miyazaki, is a little tale that speaks of respect for the ocean, respect for humans young and old, and respect for cultural differences. It is a new tale of a little goldfish wishing to be a girl, rather than a retelling of Disney?s Little Mermaid. Miyazaki has animated by hand, a whimsical, magical film for the young and the young-at-heart. The film begins with a slow undulating blue-green palette of sea anemones, jellyfish, and scores of little fanciful goldfish with childlike faces. There isn?t any need for narrative, the motion of the creatures and the music of Jo Hisaiahi tell the beginning. The fanciful little goldfish, Brunhild, leaves her ocean home on a jellyfish. Upon reaching the surface she is caught up in a fishing net full of other fish, garbage, and sludge. She is propelled into a jar, which is rolled to shore where five-year-old Sosuke (voice by Frankie Jonas) retrieves it. He cuts his hand when breaking the jar open to free the little goldfish. Brunhild tastes his blood, which heals Sosuke?s cut, and puts in motion her transformation to a human, at the same time throwing nature out of balance. Sosuke puts the little goldfish in a green pail and names her Ponyo (Noah Cyrus). Sosuke?s mother, Lisa (Tina Fey), lets him take Ponyo to school, which is right next door to the nursing home where she works. Lisa?s crazy driving down the picturesque winding road, past a dry dock, through the bustling fishing town, and up a tree-lined road to the nursing home is representative of Miyazaki?s wonderful sequence of action, and illustrates perfectly a parent?s hectic morning. Miyazaki has created another strong, independent, female character in Lisa. Making her a loving, sensible, modern mother both to Sosuke and Ponyo. Lisa?s telephone conversation with the not-coming-home-again husband, Kiochi (Matt Damon) because the ship he captains must make another run, is a typical wife?s reaction. Ponyo?s wizard father, Fujimoto (Liam Neeson) reminiscent of Howl?s Moving Castle, arrives to take Ponyo back to her ocean home. Fujimoto uses one of his elixirs to try and put nature back in balance, but magical little Ponyo escapes again upsetting more elixir in the process, and causing a tsunami. Running on the backs of giant dolphins to get to Sosuke, this redheaded, little girl reminds the audience of the stubborn, adventurous little Mei in My Neighbor Totoro. Ponyo is just as adventurous and curious as Mei. When Fujimoto realizes what Ponyo has done he calls for Gran Mamare (Kate Blanchett), the Goddess of the ocean, to help with the situation. This wise, calming Goddess arrives in a blue flowing garment that never ends. She has a private talk with Lisa discussing the future of the young children, which helps the audience understand Sosuke and Ponyo?s relationship is not that of lovers, but of brother and sister. The life-goes-on quiet simple ending is typical of Miyazaki films leaving the audience full of hope.