Flushed Away

directed by David Bowers and Sam Fell :
* Hugh Jackman: Roddy St. James
* Kate Winslet: Rita Malone
* Ian McKellen: The Toad, local crime lord
* Andy Serkis: Spike Leslie, one of The Toad's henchmen
* Bill Nighy: Whitey, one of The Toad's henchmen
* Jean Reno: Le Frog, The Toad's cousin
* Shane Richie: Sid, a sewer rat who accidentally ends up in Roddy's house
* Kathy Burke: Mrs. Malone, Rita's mother
* David Suchet: Mr. Malone, Rita's father
* Miriam Margolyes: Granny Malone

This is the movie from 2 big animation producer, from America and English,Dreamworks Animation and Paramount Pictures decided to split with Aardman Studios. Aardman Studios took all their films with them during the split.Their exclusive partnership in creating animated films collaborated on three feature films: Chicken Run (2000), Wallace & Gromit: The Curse of the Were-Rabbit (2005), and Flushed Away (2006).

Non-US: $108,690,711 (as of Feb 7, 2007)managing only $63,722,310 (as of Feb 7, 2007) in the United States.

This is the rat story, with the rat city, that set like London, of course, in the rat scale, and rat building, cause the movie, made by English, all the english jokes, that sometimes, make you laugh with surprise, brilliant funny action just like mr.bean (famous comedian star from England).
Hugh Jackman with Kate Winslet(both Australian)played as Roody and Rita, used their English dialect, and Jean Reno, as Le Frog (used his French dialect), and of course British joke always make French people as a joke,but american action was take a place too, but this is completely British movie, you must see this, niche refreshing anime movie, not like another holywood anime movie, but had american character and picture.

Roody was a rat from high society apartment, he was life along in palace, with a lot of toys, as his friend, he lived a lonely life. Until Sid the bronx rat, unfortunately coming to Roody house, and he take away all of rudi life, he was flushed away by Sid, into the rat town,discovers a world very different to his own and it was the first time for Roody to life with the other rat, and their life so much different from his usually boring life, then he meet Rita, the adventure rat girl, they had an great adventure since they were take the cable from Le frog (the french frog bandit) that will be used to watch world cup final , actually football England team match, and Le frog hired all the gangs he have to took the cable back again.
Simple story, with a delightfull animated effect, and so many surprise joke, uniquely fresh from England.
The soundtracks, were good to, u will be heard JET,billy idol, tina turner,tom jones, fatboy slim,and special performance its characters, The Slugs . They even provide vocal support on Bobby McFerrin's mellow "Don't Worry Be Happy". "Ice Cold Rita", also featuring Hugh Jackman, who voices the primary rat, The slug is the most fun of the tiny tunes, beyond a few dozen moments in the film far better, it's funny to watch them come, in the moment that you will never think about, and the frog ninja,too, they are trully funny character, you must watch their french scene, with one of them as a cell phone..

This is one alternative animation movie for this year, hope you watch it,
enjoyy Plumbing Soon!!

The Fountain

Editor, RogerEbert.com

Cast & Credits
Tomas/Tommy/Tom Creo: Hugh Jackman
Isabel/Izzi Creo: Rachel Weisz
Dr. Lillian Guzetti: Ellen Burstyn
Father Avila: Mark Margolis
Grand Inquisitor: Stephen McHattie
Antonio: Sean Patrick Thomas


If Darren Aronofsky's "The Fountain" is an ambitious folly, that's hardly inappropriate because the movie itself is about one of humankind's most grandiose follies, the quest for eternal life.

Aronofsky, director of the relentless "Pi" and "Requiem for a Dream," dares to hurl himself, and his movie, way "out there" -- in three narrative directions at once. But unlike some other films that have divided critics this year, "The Fountain" springs from a passion to take risks, rather than from hedged bets (M. Night Shyamalan's tepid, jokey, incoherent "Lady in the Water") or stillborn multi-story conceits (the calculating "Babel"), where the various narrative threads are only tenuously connected to a core theme.

OK, if this sounds more like a defense of "The Fountain" than a straightforward review, so be it. The movie has already been damned as silly and praised as audacious at film festivals from Venice to Toronto -- and both those assessments are valid, in part because of the movie's biggest aesthetic gamble: its earnestness.

Well, death is a serious matter. And "The Fountain" isn't so much about the quest for eternal life as it is about the will to stave off death. It's one thing to fantasize about living forever; it's quite another to fight the cessation of earthly existence in the next moment, or next week, or next year. "The Fountain" is a science-fiction historical adventure-fantasy about a man's (or Man's) struggle to face the incontrovertible fact of death.

It begins with Tomas (Hugh Jackman, a boy a long way from Oz) as a 16th century Spanish conquistador exploring the land of the Mayans in search of the biblical Tree of Life at the behest of Queen Isabella (Rachel Weisz). The movie slips into the 21st century, where Tommy (Jackman) is a surgeon and research scientist desperate to discover a cure for the tumor in the brain of his wife, Izzi (Weisz), who is writing a fairy-tale book called The Fountain that includes the 16th century story.

Slipping forward another few millennia into the 26th century, the film finds Tom (Jackman) as a kind of zen astronaut hurtling through space in a big bubble with a dying tree and the ghost of 21st century Iz (Weisz) on their way into a mysterious nebula. The three stories flow into and out of one another.

Does that sound a little silly? Sure, and it's even sillier in synopsis.

The image of the tree -- the oldest living things on Earth, with their roots gripping the ancient soil and their branches reaching for the heavens -- is at the core of the movie, and the source of some of Aronofsky's most spine-tingling effects, from the tiny hairs on its trunk to its milky, essence-of-life sap.

Sap of a different kind inevitably seeps into the story, particularly the contemporary episodes, but Jackman and Weisz commit to their roles as deeply as Aronofsky does to his concept. Their gravity helps keep this Tilt-a-Whirl of a movie from completely flying apart.

Yes, "The Fountain" overreaches on every level, and that's exactly what I like about it. Big subject, big canvas, big ambitions. A young director's ungainly and overwrought folly? By all means, in the sense that Paul Thomas Anderson's "Magnolia" or Gus Van Sant's "My Own Private Idaho" or Martin Scorsese's "New York, New York" or Bernardo Bertolucci's "1900" are follies.

They're all bold attempts -- some more successful than others -- by passionate young filmmakers in their late 20s to mid-30s to sum up their own sensibilities and experience, to cram just about everything they know and feel, about life and about movies, on the screen at once.

That doesn't make for smooth, comfortable viewing, but I'd much rather watch somebody shoot for the moon when the stakes are sky-high than sit back while they play it safe.

Chromophobia

Directed by
Martha Fiennes

written by
Martha Fiennes

Credited cast:
Clive Carter .... Peter Soam

Ben Chaplin .... Trent

Penélope Cruz .... Gloria

Ralph Fiennes .... Stephen Tulloch
Robbie Gee .... Ricky
Michelle Gomez

Nicola Grier .... Sadie

Ian Holm .... Edward Aylesbury

Rhys Ifans .... Colin

Damian Lewis .... Marcus Aylesbury
Liam McKenna .... Gavin Mcteer
Al Palagonia .... Brian

Archie Panjabi
Nathalie Press .... Fiona

Jason Rayford .... Orderly
Michael Rispoli .... Max

Kristin Scott Thomas .... Iona Aylesbury
Hannah Stokely .... P.R Woman

Sam Talbot .... Young Journalist
Clem Tibber .... Orlando

Jason J. Tobin .... Fat Boy
Harriet Walter .... Penelope Aylesbury
(more)

As the film goes along, every individual's connection with each other becomes clear. Everything falls into place with time. Despite the slow pace, it does not seem boring at all. In fact, it gives us time to digest all the information that is given.

Acting by the cast is excellent, particularly Kristin Scott Thomas and Penelope Cruz. Kristin Scott Thomas is a frustrated mother who destresses herself by being a shopaholic. The minimalistic house she resides in also adds to the atmosphere that she is trapped in a bare castle. Penelope Cruz is a single mother who is battling with cancer. Her performance is also excellent.

I am also amazed by how the filmmakers actually got footage of a female breast being cut open for breast augmentation surgery. It looks too realistic to be fake!
What do you do when your wife Iona Aylesbury (Kristin Scott Thomas) can't tell the difference between a shrink and a shop, your eight year old son Orlando may have serious psychological problems, while his gay godfather Stephen (Ralph Fiennes) lies half beaten to death in an hospital?

Your boss is drawing you into a scam which could cost you your career, your father Edward Aylesbury expects more of you than you feel you can deliver and your stepmother Penelope's (Harriet Walter) bond with her dogs is your best role model of a loving relationship. And what could the secrets of streetwalker Gloria (Penelope Cruz) that her social worker Colin (Rhys Ifans) is digging up possibly have to do with you? Every family has secrets it hides behind the walls of its home - these are the dilemma and secrets of Marcus Aylesbury (damian Lewis).

When Marcus's old "friend" Trent (Ben Chaplin), an intelligent investigative journalist, gets wind of a story that might make him a media star the good old virtues of honesty, loyalty and friendship are sacrified to the new morality of success and celebrity. Pushed by his powerhouse editor, Trent is forced to bend his ideals of using journalism to make a difference - and instead focuses on writing "sexy stories that sell". This darkly comedic drama relentlessly pulls these characters into situations which threaten their stable place in a society where privilege and birth are no longer powerful enough to protect the fortunate few, and where the American values of money, beauty and success have become the cornerstones of contemporary London life.

Children of Men

Alfonso Cuarón the director of Harry Potter, The Prisoner of Azkaban, y'tu mama tumbien, has make his latest shocking film, Children of Men, (with cinematographer Emmanuel Lubezki). This movie based on the atypical 1993 novel by British mystery writer P.D. James. Year 2029 in the future, where women can no longer have babies and mankind itself is fading into oblivion. With a fantastic set of dark city Cuarón creates a futuristic world that looks like the city of war conflict,terrorist battlezones of the future,with the big screen tv almost in everywhere, but There are no flying cars,just a depressed people, man hunter in the forest, chaotic world that is believable and eerily logical.But whether you see a work of fiction or a political statement, there is no denying that the environment in this film is what first grabs you.The soundtrack bring the dark effect, sometimes absurd to this film,i don't have a clue for the band who appears on this soundtrack.

It is a story that focuses on a jaded bureaucrat Theo (Clive Owen), the classic anti-hero. Theo are hopeless man, and like most of the rest of the world he is just waiting for the end. That is, until he is tapped by a secret organization (that called as a terrosist by the government)led by his ex-wife (Julianne Moore) to help them transport a young girl called Kee(Claire-Hope Ashitey) who has miraculously been the last pregnant woman. Seeing the girl as the last hope for all mankind, this group will stop at nothing to get her to the coast, where a group called The Human Project will take her into their care and keep her safe.Dangerous journey across a war-torn landscape as it is the story of this man, Theo, whose hope is restored as he realizes that it is his charge to get this girl to safety. Theo humanity has become a unknown hero, even when he seems just to be trying to distance himself from conflict. To complement Clive’s performance, Michael Caine pops up as Theo’s confidante Jasper, a former activist hippy hermit type who seems to bring out a more relaxed, conversational side of Theo.

One by one has died to fight for this baby born, our humanity was perfectly growing by this dark movie, the sound of baby cry is their last hope,and make the war stopped for a while, just for a second time, then the war atart again, but i don't seen any
simple explanation for, what this war about?, why the female cannot pregnant?,the location is in England, then on the mid time of this movie, i realize that's all question is lost the track, hidden by the one long shoot of every scene, with a dark surprises of continuously hunting scene for the Human Project, the plot look so real, you must seen this movie!, and don't ever ask the story, cause you will attracted by this movie,and feel like the actor, which play role in the chaos war, that geniously Alfonso Cuarón made for us!.

Nominations

* Black Reel Awards: Black Reel for Best Supporting Actress, Best Supporting Actor
* Online Film Critics Society Awards: OFCS Award for Best Picture, Best Director, Best Editing
* Venice Film Festival: Golden Lion
* Visual Effects Society Awards: VES Award for Outstanding Supporting Visual Effects in a Motion Picture, Best Single Visual Effect of the Year

CONFESSIONS OF A DANGEROUS MIND

CONFESSIONS OF A DANGEROUS MIND

Cast:
Sam Rockwell, Drew Barrymore, George Clooney, Julia Roberts

Director:
George Clooney

Producer:
Andrew Lazar

Screenwriter:
Charlie Kaufman

Music:
Alex Murman

Editor:
Stephen Mirrione

Chuck Barris (Sam Rockwell) recalls his life with much disgust. He realizes that everything he has done is rooted in his childhood of longing to be loved and appreciated. Back in 1955, as the television industry boomed with much promise, Chuck joined the bandwagon through conceptualizing reality-TV programs such as "The Dating Game," "The Newlywed Game" and "The Gong Show" that eventually marked his stardom as a host in American television. But he confesses that even before he got his big break in television, he was approached by a CIA recruiter Jim Byrd (George Clooney) to become a secret agent because he fitted the profile of one. Soon Chuck secretly became CIA assassin "Sunny Sixkiller," making hits in Mexico, and eventually in Helsinki and East Berlin while under the guise of chaperoning the game show contestants who had won vacation prizes. He lived his double life while he was with his girlfriend Penny (Drew Barrymore), who knew nothing about his secret life, also while associating with Patricia (Julia Roberts), the spy who gave him his assignments and "a little something extra."

Based on the book by The Gong Show host Chuck Barris, Confessions of a Dangerous Mind is partly a biopic, a spy film, a satirical comedy and a love story. The film's crossing of different genres results in a successful and exciting initial attempt of George Clooney to direct a full-length feature film. Charlie Kaufman gave the movie a fresher outlook as he adapted the autobiography into film which tries to blur the lines between real life and fiction as he became playful with his non-linear approach to storytelling. The actors deliver effective performances. Sam Rockwell almost entirely embodies Chuck Barris and Drew Barrymore brings light and provocative shadows to Barris' loyal and patient Penny whom he eventually marries. George Clooney as the director may have the tendency to overdo some scenes but still, his intuitive style is able to capture into a unified whole what is seemingly a complex and absurd autobiography.

What are the dangers of hearing the Confessions of a Dangerous Mind? First there will be doubts of whether or not the confessions, are really confessions or just another strategy of attracting attention. But given the benefit of the doubt, the self-loathing Chuck Barris' stories may have some lessons in it as he looks back into his past with disgust although not necessarily with regret. According to him, he wrote "Confessions" to point out the absurdity of someone being crucified for trying to entertain people at the same time he's being decorated for killing people. Barris is the mind behind the most irritating programs into television history. He made money through underestimating the taste of the American public thus instilling much negative influence. As CIA assassin, he is responsible for murdering human beings. Both his acts "kill" in contrasting ways and make one ponder, which is the greater evil, to kill the minds of the public through long-term negative influences, or to kill enemies for a cause? Still, the movie has issues that are questionable because of its stance on sexuality, graphic violence and vulgar words.

Eternal Sunshine of the Spotless Mind

Three years in the making, because Kaufman had to continually sideline the project to pay the bills with more commercial ventures (he still came out with Adaptation and Confessions of a Dangerous Mind!?!?) Eternal Sunshine of the Spotless Mind poses the question: what would happen if you could erase someone from your memory? As always with Kaufman’s outthere approach to screenwriting it is essential to pack up your disbelief and leave it in the foyer. The film is essentially a love story told in reverse, beginning with the break up and ending with the first date. Taciturn loner Joel Barish (Jim Carrey/Nominated Golden Globe for Best Performance by an Actor in a Motion Picture - Musical or Comedy for: Eternal Sunshine of the Spotless Mind (2004)) discovers that after the recent break-up of their relationship his girlfriend Clementine (Kate Winslet with multicoloured hair) took the drastic step of having her memories of their time together erased, but more than a little curious about this pioneering new development in medical science (that’s the part that requires you to suspend your disbelief if you hadn’t already cottoned on) and still full of spite.

Dr Mierzwiak (Tom Wilkinson) and his team go to work on Joel the content of his mind, or at least the parts that are infected with a memory of Clementine, is laid bare but not easily removed. Joel relives his days with Clementine in his memories, beginning with the most recent,his body lies in bed comatose under the charge of Dr Mierzwiak’s two hapless assistants Stan (Mark Ruffalo) and Patrick (Elijah Wood). As Joel begins to see why he fell for Clem in the first place, the busy bees that buzz around his body begin to reveal some of their own tangled dysfunctionality.

It’s a romantic comedy with mind-expanding aspirations. Kaufman again underlines his status as a singularly innovative screenwriter in a place where innovation seems to be a dirty word. His characters are traced with sensitivity, his dialogue is snappy and poignant and his structure is… well, so convoluted that it’s not worth worrying about. He cleverly masks the debate over whether he can write a satisfying third act by reversing the narrative. By the time your head has stopped spinning from the sheer richness of it all you don’t care anymore.

As director, Michel Gondry does more than enough to stoke up the fires Kaufman has lit. His exceptional ability to manipulate screen space is the essential ingredient that sauces this movie up. Through a skilful combination of innovative set design and camera trickery Gondry puts the viewer in his protagonists’ shoes like no other film has ever done before, in fact through being in Joel Barish’s shoes you are essentially traipsing all over his brain! The transitions between scenes, that is between Joel’s’ memories, take place organically, gaining an increasingly frenetic pace as he attempts to manipulate the erasing procedure from inside his own mind (he quickly decides that there are some memories he’d rather keep). The action constantly shifts back and forth between many of the same scenarios, each time viewed from a different angle and thus providing an enhanced meaning. As the pieces of their relationship are moulded back together in the glue of Joel’s cerebral cortex, the details become increasingly important and the story unfolds. The resulting dreamscape that is created is a visually astounding way of exploring the formal boundaries of time and space onscreen, and provides a suitably perplexing compliment to Kaufman’s demented script.

The fantastical conceit at the heart of this movie envelopes an effective drama about relationships. There is enough emotional content, delivered through some touching performances, to win hearts and enough complexity to confuse minds. So, if you’re looking to blank someone out of your life, this engaging and ultimately optimistic film might make you think twice. It’s fine to wipe their number from your phone, stop replying to their e mails or even consider a court-endorsed restraining order if things turn nasty, but if you delve back into your memories you might just re-discover why you liked them in the first place.