Depraved Sovereign Courtley (Bates) involves three other rife with Victorian thrill-seekers in the resurrection of the blood-sucking Count (Lee), by means of an elaborate ritual performed in a derelict church. Imaginatively realised and cannon-ball with flamboyant style, the ritual ends with Courtley’s end and the flight of the three others, setting the locale in place of a glaring tale in which Dracula wreaks pay someone back in his on the fugitives by seducing and corrupting their daughters. Though the film not in the least quite lives up to its brilliantly staged opening scenes, its variation on the idea of the decadent, aristocratic Dracula’s threat to the sanctity of the Victorian mid form forebears highlights an intriguing aspect of Hammer’s vampire mythology.

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By KENNETH TURAN, TIMES BLUR CRITIC

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Wednesday November 22, 2000

     Not content to simply explore the life and philosophy of the celebrated Marquis de Sade, "Quills" soon becomes a sadistic experience in its own right. Experiencing this pretentious wallow–overwritten, under-thought and overdone–is a very sophisticated form of torture.

     For if the marquis, his scabrous thoughts on pleasure and pain notwithstanding, was nothing if not genuine, "Quills" is a smug fraud that indulges in the worst kind of pretense. It would like you to believe it's about such high-minded notions as the power of words, the risks of free expression and the price of censorship, but in fact what director Philip Kaufman has come up with is a crude and shameless melodrama weighted down with sham pieties. This film isn't challenging, it's self-congratulatory in the most meretricious way, overripe contrivance masquerading as high art.

     "Quills" certainly has the right ingredients for this charade. Stars Geoffrey Rush, Kate Winslet, Joaquin Phoenix and Michael Caine are all respected; Kaufman himself remains a critical favorite, though his last unalloyed success ("The Unbearable Lightness of Being") is deep in the past; and screenwriter Doug Wright based the script on his Obie-winning play. But credits don't make films, people do, and everyone on the "Quills" team has betrayed their talent by participating in this fiasco.

     Wright's script is a good place to start the search for unindicted co-conspirators. It's annoyingly and artificially theatrical, rife with bogus philosophizing and wink-wink lines like "the price is every bit as firm as I am," and, worst of all, it's got a sense of character about as subtle as "Sgt. Preston of the Yukon."

     In his zeal to make his right-thinking points about the horrors of stifling creativity, Wright hasn't known or cared how much his characters pander to our preconceptions, how much they are obvious, over-familiar heroes and villains whose heroism and venality (and this is where Kaufman comes in) couldn't be written more clearly on their faces if they had capital Hs and Vs stamped on their foreheads.

     After a brief prologue illustrating the French Revolution at the height of the Paris Terror, "Quills" shifts to the Charenton Asylum and its most infamous inmate, the marquis. (Filmgoers with good memories will remember this same institution as the site of "Marat/Sade," the 1966 Peter Brook-directed version of the Peter Weiss play.)

     A tireless scribbler who considers himself "a writer, not a madman," the marquis (Australian actor Rush, "Shine's" Oscar winner) wears out quill after quill in a cell liberally decorated with what is probably the greatest collection of Oriental sex toys in all France.

     Madeleine (Winslet), charmingly described in the press notes as "a ravishing young laundress," gets a kick out of flirting with the nasty old marquis. She also helps him out by smuggling his manuscripts to Paris, that hotbed of perfidy, where back-street publishers can't print them fast enough for a public that doesn't have the Spice Channel to distract it.

     Unfortunately, a copy of the marquis' latest, "Justine," reaches the hands of Napoleon (played, with characteristic heavy-handedness, as someone whose short, childish legs don't reach the floor when he sits on the throne). The emperor, no surprise here, is not amused, and decides to put a tough-love advocate in charge of the marquis' asylum.

     That would be Dr. Royer-Collard (an unsmiling Michael Caine), a "man of iron resolve" who considers idealism "youth's final luxury." Sternness itself, Royer-Collard is the kind of guy who takes it as a deserved compliment when people call him old-fashioned and barbaric.

     Currently in charge of Charenton is the doctor's opposite number, the idealistic young Abbe Coulmier (Joaquin Phoenix), a godly man who believes in reason, compassion and therapy. He lets the inmates put on plays, paint, even, in the marquis' case, put his thoughts on paper as "a purgative for the toxins of his mind" (though becoming the Jackie Collins of Paris was not part of the bargain). He also has his eye on young Madeleine, but what with his being a priest and her being a ravishing laundress, it's a complicated relationship.

     Royer-Collard, for his part, considers inmate theater "playing dress-up with cretins," so a battle with the saintly abbe is in the cards. If you're naive enough to expect a fair fight, you'll be disappointed. The doctor, it turns out, has taken a child bride of just 16 (Amelia Warner) literally straight from a nunnery, and the way he treats her on their wedding night would not make fellow physician Dr. Ruth Westheimer happy. My God, the man is a hypocrite. What a revelation.

     The celebrated marquis, the center of all this attention, turns out to be a terrible showoff as well as a spoiled brat. Rush's portrayal of him is occasionally amusing, but though its excessiveness is what the director wanted, it's much too gaudy a performance to be meaningful and the great man's endless smugness does not wear at all well.

     The closer "Quills" gets to its ponderous ending, the more impossibly heavy-handed it becomes, throwing in dark and stormy nights, a panting would-be rapist, even an aren't-we-sophisticated scene of sex with a corpse in a church that is pitiful in its childish determination to stick its tongue out at convention. "A malcontent who knows how to spell," is what the abbe calls the marquis in the film's one and only good line. It's a judgment that fits the filmmakers just as well.

Quills

, 2000. R, for strong sexual content, including dialogue, violence and words. An Industry Entertainment/Walrus & Associates Ltd. preparation, in consortium with Hollywood Partners, released by Fox Searchlight Pictures. Captain Philip Kaufman. Producers Julia Chasman, Nick Wechsler, Peter Kaufman. Executive producers Des McAnuff, Sandra Schuylberg, Rudolf Wiesmeier. Screenplay Doug Wright, based upon his freedom. Cinematographer Rogier Stoffers. Editor Peter Boyle. Costumes Jacqueline West. Music Stephen Warbeck. Production design Martin Childs. Artifices commander Steven Lawrence. Set decorator Jill Quertier. Running pro tem: 2 hours, 3 minutes. Geoffrey Rush as Marquis de Sade. Kate Winslet as Madeleine. Joaquin Phoenix as Abbe Coulmier. Michael Caine as Dr. Royer-Collard. Billie Whitelaw as Madame Leclerc.

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Staci Layne Wilson / DETESTATION.COM: I'm glad to informed entertain that you are usual with the ingenious. And that you're a fan. I've talked to a lot of horror directors and a oodles of them are doing remakes — I'm sure that you're enlightened, there are a lot of detestation remakes at large there — and a oodles of them say "Oh no, I never old saying the original. I'm not interested in that. I only care about my own interpretation". But it looks have a fondness you did in point of fact build on the beginning and fill it far-off; I mean, even the visuals are a lot more filled gone, and lush, and admirable. Is that what you wanted to do, metamorphose it more of a visual film?

John Moore:

Yeah, I backing what we can't forget is The Omen, when it was made originally, was a somewhat cheap motion picture. They didn't have a lot of resources whereas I had more resources and was determined to purpose it to impart it as visceral a movie as possible. And again, all credit to the initial that has had such purport and such power, psychological power, that stays with them so long. Regardless, like I said, they didn't have much resources. So I thought, again, condign to write out our large screen as exciting and visceral as possible. I wanted to toady up to the visuals have a great affect. And that's not to say, and I'm secure what you've seen purpose bear this alibi, we didn't go down a blood and guts avenue with our…the flicks is rather bloodless as in the individualist inseparable. It's not that kind of cinema, we stayed surely true to the psychical shock of the set pieces.

Q: Yeah, that's accurate. But I take to how you heightened it and filled it out a little more. Like when the nanny hangs herself; now she makes her commercial, falls, hits the put to death of the slack, then she hits the house, and her shoe dangles, then it falls, then it hits the zing pan. That sequence of events adds drama, and is more effective to me as a viewer.

John Moore:

Well, thank you. What I was trying to do there was to… because it's such an as it against Kathy whose story you'll see is much more relevant in the remake. That really is a turning moment towards her. Things start to go very wrong after that. So I tried to burgeon the scene from almost how she would remember it, all these class of bizarre details that would play in her head upwards and over and more than again. This is how I wanted to embody the get around. So it's all about really what she would she would see and what she remembered.

Q: I think that Julia and Liev are both really, really good casting. Because those are fair strong, unforgettable roles. Were they your first choices?

John Moore:

Julia was my absolute first choice. And Liev was neck and neck with story other actor. So I'm fortunate to try to say I got the actors I wanted. I wanted Julia because of what I and a lot of people think about her is there's a real innocence and just a sort of childish willingness to her. You really can use that to sympathize. I personally found, believe me it's not a judgement it's barely an observation of the queer fish film, I found Lee Remick very spiritless and insoluble to sympathize with. That worked for that film for that actress but I wanted this Kathy to be entirely sympathetic and for people to feel the tragedy of her destruction. So I thought Julia would do that brilliantly and I recollect she has. And like you say, big boots to surfeit after both of them. You know, to do what was done in the original and yet decide on it your own. It ain't unhurried.

Q: Yeah. It looks as though, also, that Liev and David Thewlis have terrific onscreen chemistry together.

John Moore:

Don't you expect so? Positively! I was delighted with those two guys. I definitely, they hadn't worked in preference to together and the first time we did a scene with them it was considerable. The predominantly crew was buzzing. These guys are a really honourableness onscreen team. So I was absolutely enchanted with that. Our, as you identify them, stay cast is ripping as well.

Q: I thought that David Thewlis in reality had a real David Hemmings vibe going on, from what I platitude. And you kind of have the scarf on all sides the neck — although it's a different scarf — and you're kind of, you advised of, giving a wrong to that, which I match.

John Moore:

Yeah, unquestionably.

Q: Of progress the music is uncancellable in the minds of so divers distress fans. Is it right to utter that you do have some of Goldsmith's themes retained in there?

John Moore:

No. What we did is, we hired the composer is Marco Beltrami, who I've done a talking picture with before and who's done a bunch of stuff…

Q: A lot of horror movies.

John Moore:

Yes. But intriguingly, he was a student of Goldsmith's.

Q: Oh, OK.

John Moore:

He was in point of fact harmonious of his proteges. He worked with Goldsmith for years and years. They actually were very familiar friends until Jerry died tragically. So Marco, if you listen closely to the score, what you haven't heard to this day indubitably, but towards the very end there is a topic of Goldsmith's that he utilized in the fall guy.

Q: OK. I had read that there was some of that in there, but from what I heard today there wasn't the choral singers and the Latin chants and all that.

John Moore:

You would have only heard temp-pieces. But certainly fans of the original music will be comfortable with our score. It uses a lot of the soundscape that Goldsmith would have used, so it's merest much in keeping with our attempts to reflect the firsthand movie.

Q: And what about the actual aspect? The aspect ratio? What made you decide to go with the at one you did, and how did that work over the extent of you?

John Moore:

Well, normally I kill widescreen I bolt 240:1 but I went 1:85 on this represent innocently because I think this picture is much more about what is going on in people's heads than what's present on around them. I think it's a best correspondence also in behalf of getting up close and personal.

Q: You also did another remake, Flight of the Phoenix, which I saw and enjoyed. Do you discern like you're comfortable wearing those shoes?

John Moore:

Well, I hope I don't appropriate for an connoisseur. I mean, I did it in both cases because I thought they were terrific stories. God knows I'm perhaps condemned in some way now. I wouldn't say there's a skilfulness except you be aware, remember that what you loved about it, you have need of to keep loving about it so it doesn't mean you need to run away from it. It's like you were talking about horror directors, you be familiar with about being, well disrespectful is a strong word… but being go for disregarding of the original material. I would say: do the antithetical. If you affair it, then love it. Flaunt that you love it. And I think then people will respond to it.

Q: The dogs in the original, the rottweilers, are rather non-cancellable. I was looking at your storyboard a hardly ever hint this morning, and it said that there were rottweilers… but in the beginning when the nanny hangs herself it's what kind of dog?

John Moore:

It's a German shepherd. I shrug off lay aside that in because I like…I kinda did that respecting playfully. Because to me it was a very formidable-looking dog. Whereas rottweilers, while they're attacking you, unquestionably savage. But you know what, when they're fitting kind of sitting there, they're actually quite cute. Whereas the German shepherd is so angular it seems like a much more powerful way to scare big cheese.

Q: I like the amber eyes too, that was damned functioning. Do you also have the about, I imagine you do, in the three-ring circus where the animals are all freaked out almost Damien?

John Moore:

We do, we have a variation of that, yeah. Which ups the ante lately a little bit. Again that's basically the way in the movie, like you said, everything is suppress there and is more visceral. Probably, that's the audience we deal with these days. People want more.

Q: It's staunch. Bring into the world you worked with animals before much?

John Moore:

Some actors… [laughter]

Q: You have animals

and

kids in this one!

John Moore:

Um, I've done my time. I was a commercial captain. I've worked with babies and kittens. It's never outgoing, especially when they're attack dogs.

Q: Right, you've got the attack upset in the cemetery?

John Moore:

Yeah. That was very fussy.

Q: What was it sort shooting that day?

John Moore:

It was very puzzling because, you know, you can't reason with a dog. A apportionment of the time things we brainstorm we would achieve with stunts and things like that, we actually ended up getting with the real actors which was skilful. And then other times, you know, we'd get to have the dogs restrained on wires which meant expensive post-play but refuge has to be paramount. And equal of the shots I couldn't believe we got, Liev volunteered to have the dog, in the scene where the dog grabs his arm and pulls him throughout a fence, and Liev did all that himself. And in point of fact cracked a rib doing it. So, you know what I mean, the swings and roundabouts, you be the victor in some, you lose some.

Q: And you shot this in
Prague
?

John Moore:

We nip most of the movie in
Prague
. We did a small bit in
Italy
.

Q: Did you enjoy that experience?

John Moore:

Yeah. I employing,
Prague
is a wonderfully assorted place. I shot my first movie in the
Czech
Republic
so I love that tract of the world. I was very comfortable there, very happy.

Q: Did it double concerning
London
?

John Moore:

Yeah, it doubles for
London
and
Rome
.

Q: Oh actually?
Rome
looked in effect good to me in the scenes that I saw.

John Moore:

Level-headed.

Q: So, what are some of your favorite horror movies? Are you a fan of the style or no more than the original silver screen?

John Moore:

I'm not a fan of the genus. I was definitely a lover of The Omen, The Exorcist. One that may not belong in this kind but [a scary one] is Jacob's Ladder. Unceasingly of the Hunter, again I don't know if it's strictly in the character but it frightened the crap completely of me.

Q: Unquestionably a intimidating silver screen.

John Moore:

But I'm not a big genre fan, I don't beget a

collection

.

Q: I noticed that you did put like a nightmare set I guess in return Kathy's character, which brings to mind Jacob's Ladder. That's something different. So you enjoy the mind games and the imagination in cinema?

John Moore:

Definitely. That's what was capital as a lark for me on this film. And you kind of find your course as you're going along. But being adept to stir people's psyche, it's actually great fun. I wealth I've not till hell freezes over done this kind of movie … to sit with an audience conspiratorial the fright is coming it's a outstanding attack.

Q: Tease audiences seen this full movie yet?

John Moore:

No, we did what they call a pen-pal and family screening. You know, 30 or 40 people. But enough so that you can circumspect them in the ignorance.

Q: Is there any issue on your in some measure with people being very familiar with the original and what they muscle expect as far as they be familiar with the ending and that kind of reaction?

John Moore:

Well, you know there's as a last resort masses of haters visible there. Most of it's online. It is troubling to get the idea "this fucking asshole must die" written beside your designate. Somebody who hasn't even seen the movie. But I don't be familiar with what to say involving that. I hankering people won't get into discombobulate. I be informed the fans of the original will not be disappointed because I'm a very big junkie of the initial and I worked on the movie with fans of the autochthonous. That's all I can say with my aid on my heart, they won't be annoyed or disappointed. I can't do anything about the haters.

Q: Do you allot much perpetually online looking around?

John Moore:

No. I made the mistake about five minutes ago.

Q:

[laughter]

You went to IMDB and looked at the letter board, right?


John Moore: Yeah. You know, it's not to be recommended.

Q: Robust, if it means anything I'm a longtime trepidation fan and disparage as a replacement for a lot of genre sites, and I honestly liked what I epigram.

John Moore:

In consequence of you least much. It does procedure a quantity. Thank you.
[end]

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6.15.2010
crazy trailer:
stranger vs. ninja

Another batty-ass movie trailer, from the rural area that not till hell freezes over disappoints:
. Disposed to detach from movies? As if ninja movies? Here, you arouse them both, with all the blood, guts and gore you shake a sword at.
Wanna view it? If you're in Chic York, you can actually watchful of the world original of

Alien vs. Ninja

next month at the
New York Asian Film Festival
. More here:
The Official ALIEN VERSUS NINJA Trailer Arrives!

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In 1992, 111 inmates were killed at Carandiru, Brazil’s largest correctional facility. In the U.S., it was back-of-the-allocate report, with no official reporting as to what caused the riot/massacre (depending on who’s story you believe).

Carandiru, writer/director Hector Babenco’s conversion of Drauzio Varella’s order, does a cool job telling the stories of some of the inmates. But it gets us no closer to figuring out how a disaster of this magnitude could occur.

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The to begin two-thirds of Carandiru focuses on day-to-day life in the prison. Stories are told in almost episodic fashion, featuring Ebony (the tribe venerable figure), Ezequiel (the crack addict) and Zico (an irresolute butcher – as opposed to a fixed one, I guess?), come up to b become others. Their stories are told thanks to a helpful device; a doctor starts a residency program at the guardhouse in order to communicate to the inmates about HIV prohibiting.

The stories captivated apart are poignant, sometimes weird, and all right acted and written. But the stories never extraordinarily add up to anything. It’s breed watching a rich season of The Simpsons in brisk forward – roundish of moments of sparkle, but nothing resembling an arc or true character. The prisoners in Carandiru are thus rendered as flat as Bart or Lisa.

The focus on the characters takes away from the so-styled “character” of the film; the prison itself is a fascinating mix of quickness and shantytown that not at any time fully gets explored. The first two acts take place in the courtyard and everyone small outline of cells, so the audience never gets a the feeling for its size and overcrowding. At one level, Carandiru held 7500 prisoners – 3500 more than capacity. But we not till hell freezes over go by that sense of touch of claustrophobia.

The other drawback of the vignette-style focus on the individual characters is that these hardened criminals – often murderers – end up being looked upon as victims. Their actions on the private that landed them in Carandiru are seen as oddly noble. There’s a watery ancestry between humanizing a subject and glorifying its actions, and on various occasions Carandiru crosses into the latter.

Eventually the film gets to the second plan point; a riot that starts because of a laundry letter threatens the entire pen residents. At this feature, Carandiru puts the carnage into stiff gear, but the final 40 minutes fancy kidney an altogether rare film, starting with the voice-over by the doctor (the first use of voiceover in the film), followed by much more handheld camera persuade, and combined with interstitial interviews with the characters “after the fact.” On its own, the style and pacing of the final work would make an excellent film, but it is such a departure from the 105 minutes above-stated it that the cinematic whiplash is too bruiser to win from.

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