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A London publisher’s publicist, Bridget Jones (Renée Zellweger) is thirty-two,
plump, single and determined to substitute her life. She decides to nurture a chronicle, lose some
rig and chance that impalpable Mr Right. While her dotty mother (Gemma Jones) attempts to
set her up with suitable bachelor Mark Darcy (Colin Firth), Bridget fantasises about
intrigue with her attractive and enigmatic boss Daniel Cleaver (Hugh Grant). With best
friends Tom (James Callis), Jude (Shirley Henderson) and Shazza (Sally Phillips) offering
their often wayward counsel, Bridget becomes entangled first with Daniel and then Mark
before discovering that the two men share a embittered rivalry from the former. In the midst of
pandemonium, crossed wires and too profuse vodkas, can Bridget make quickness of the madness and
find true happiness?

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Sadly, this mongrel-over to the screen of an acclaimed stage-manage production by Adrian Noble, the Royal Shakespeare Company’s artistic director, is a nightmare. What impressed here the original was the loyalties and spirit. Here, the colours are chocolate-box Brummagem. The women seem to be refugees from the wedding-gift table at Peter Jones, and the men look comparable to waiters in a haplessly themed King’s Road restaurant. An attempt has been made to open the play out (and unify it) by letting loose a schoolboy in the action. The result’s a baffling mix that leaves the action panting behind prankish cinematic references to everything from Peter Pan and The Wizard of Oz to ET.

The Limey

Artisan Divertissement

88 mins. · R

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Subtitles

English

Extras

2 Commentary tracks, Isloated music score, Trailer and TV Spots, Production Notes

Starring

Terence Stamp, Peter Fonda, Lesley Ann Warren

Review by

The Limey
Hardly recognized, "The Limey" is a thriller by director Steven Soderbergh that saw one a limited theatrical release. Now, Artisan Pleasure has prepared a DVD for the big and proves for good occasionally again that sometimes incomparable films fall utterly the cracks undeservedly.

A British ex-con, Wilson (Terence Stamp) is arriving in Los Angeles to avenge the death of his daughter. He is convinced that her passenger car "accident" was scarcely accidental at all and sets his sights on his daughter?s boyfriend, the on Easy Street, guarded music promoter Terry Valentine (Peter Fonda). Against all odds and precautions, Wilson manages to have in mind within striking distance of Valentine unnoticed, and begins to boot-lick a artifice with the unsuspecting hippie-of-time-worn. One by at one he takes out his men to cause sure he will be qualified to have a final face quiet man-to-man with the darbies who killed his lone daughter. With notorious precision he closes in on his object.
While "The Limey" offers petite surprises in terms of the yarn, it is the film?s story that is rather intoxicating. The plot has still enough twist to keep viewers engaged, but it is ultimately director Soderbergh?s unconventional use of the camera, angles, lighting and editing that gives "The Limey" its signature. Scenes where Wilson is losing himself in thoughts while he is in fact talking, scenes where the viewer becomes Wilson?s eyes as he sees himself, and numerous other provocative devices insinuate steady the viewer is at no time losing interest in the character and the development of the story. It gives the shoot somewhat of an

artsy

dash but not in a million years to the point that it becomes artificial or distracting. The camera simply captures more of Wilson?s character than the contemplate can glom.
The title "Limey" actually comes from the fact that Wilson is British, and during the in disagreement, British soldiers were given limes to to snack to get their commonplace dosage of vitamins. Since then the terms merely stuck within non-fluctuating circles.
A numeral of other supplements can be found on the disc, such as trailers, fling and gang biographies and production notes. Some of the most informative extras can be found in the "Technical Information" section. It is an unexpected feature that gives you a lot of insight into the development process of the DVD. A very cool kinship that allows you to scene a unusual murkiness segment in a 16×9 presentation and a standard letterbox version alternatively gives viewers the chance to judge for themselves how much of a difference 16×9 enhancements make on their belittling gang-ups. Unfortunately the feature doesn?t allow to instantly switch from one to the other due to technical limitations inherent in the DVD organization. Nonetheless, I am sure many viewers whim in the service of the first heyday be able to make a real kinship of the two offering formats and hopefully make up their own minds when they know – or don?t see – the differences. The technical slice covers many more aspects and you should indulge unfaltering not to miss out on this unsuspecting addition to this issue.
"The Limey" has a piece of an Arthaus oomph, but nonetheless makes a great thriller. The portrayal of the tense deep Wilson is facing is word for word portrayed through Terence Hallmark?s massive performance and more importantly thanks to Soderbergh?s visionary use of the camera and editing techniques. Artisan has given this rather unknown silent picture a stunning treatment on this DVD. With extras and commentaries galore, this DVD is the perfect release for any film undergraduate or anyone who is interested in the process of making movies with a twist. While "Unconfined Of Sight" was Soderbergh at his most ultra-modern, "The Limey" is Soderbergh at his most experimental, and both films work be partial to charms.

The Boulting Brothers’ end [from the novel by Alan Hackney] is British factory life, trade unionism and the familiar possibility that everybody is working for one person – himself.

Ian Carmichael plays an ex-university type who wants to get an executive job in industry. Instead, he is given a job as a factory worker by his uncle who wants him in as a stooge for a secret, dirty financial deal. Carmichael becomes the unwitting cause of a factory strike that swells to nationwide proportions. Gradually he begins to realize that he has been taken for a ride.

Carmichael slides smoothly through his performance, but it is Peter Sellers, as the chairman of the factory’s union works committee, who makes the film. With a makeup that subtly suggests Hitler, he brings rare humor and an occasional touch of pathos to the role. Sellers’ strength is that he does not deliberately play for laughs. He produces them from the situations and sharp dialog.

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Dennis Price and Richard Attenborough as shady employers and Terry-Thomas as a bewildered personnel manager also provide rich roles.

“Joyeux Noel,” or “Merry Christmas,” tells the true story of a spontaneous truce during the first winter of World War I, when German, French and Scottish troops laid down their arms and spent Christmas singing carols, exchanging tobacco and whiskey, playing the odd game of soccer and otherwise briefly subverting the forces of war that inexorably raged above them.

Writer-director Christian Carion tells the story through three officers, whose duties — military, filial, moral — converge on Christmas eve, when they’re faced with the radical decision to stop fighting. Lt. Audebert (Guillaume Canet) is under pressure from his father, a general, to keep up the family tradition; a Scottish chaplain named Palmer (Gary Lewis) grapples with Antigone-like questions regarding authority; and a German lieutenant, Horstmayer (Daniel Bruhl), eventually reveals his own painfully ironic reasons for seeking peace but finally fighting loyally for the Kaiser.

The first two-thirds of “Joyeux Noel” are strangely inert, as Carion establishes his characters and the historical context of the early days of the war, but the film ends with a moving and surprisingly sophisticated meditation on the definition of moral duty.

The Silent picture:

If you’ve seen Wes Craven’s Last House On The Left, then you’ve pretty much seen David DeFalco’s Chaos. Although Wes Craven and Sean Cunningham’s script isn’t credited anywhere in the movie credits, the source of inspiration for this film is obvious from the start to the point where this film is almost a remake (ironic considering that Last House On The Left itself was a remake of Ingmar Bergman’s The Virgin Spring and that Craven has recently approved and will be producing a big budget version of his original film soon enough – truly genre cinema is cannibalizing itself!).

The story revolves around three guys – Chaos (Kevin Gage), Frankie (Stephen Wozniak) and Swan (Sage Stallone) who use their pal Daisy (Kelly Quann) to trick motorists into stopping to help her – the fact that Daisy isn’t afraid to use her feminine charm to her advantage in this regard ensures that there’s a fairly steady stream of people willing to ‘help’ whenever she needs them there. Of course, once they stop, Chaos, Frankie and Swan inevitably drag them off into the woods where they are robbed of whatever valuables and/or drugs they might have on them and left there, sometimes dead, sometimes not. The cops know who Chaos is, he’s the ringleader and they’re aware of him which mean’s he’s a wanted man, but that doesn’t stop him from doing his thing anyway.

Enter two pretty young woman, Angelica (Maya Barovich) and Emily (Chantal Degroat) who have left college for the weekend to take a weekend camping trip out in the woods. When the two ladies spot Swan wandering around they figure he can hook them up with some ecstasy and so they make the mistake of approaching him and the even bigger mistake of going back to his cabin where Chaos and the rest of this motley crew are waiting for them. It doesn’t take a genius to figure out what happens next, but in case you’re oblivious, they’re beaten and raped (and no, that’s no more of a spoiler than anything that the PR guys from Razor have written on the back of the packaging for this DVD).

Chaos is a tough movie to get a grip on. On the surface it’s an ugly, vile piece of work with absolutely no socially redeeming qualities whatsoever. It’s shameless in its graphic portrayal of sexual violence and it pulls no punches in showing you exactly what you think it will show you. On the other hand, there’s no denying that this film will at least make you feel something, even if it’s nothing more than pity for the two girls who are unfortunate enough to trust a stranger in the woods. DeFalco prefaces the movie with a text scrawl that states that Chaos is a cautionary tale, a warning in hopes that it will prevent crimes like the ones depicted in the film from happening in real life. While this motive is certainly questionable (in fact it’s probably a load of crap) it follows the tradition of similar introductions like the one at the beginning of Tobe Hooper’s The Texas Chainsaw Massacre and puts us in the frame of mind where it’s not that difficult to imagine these types of events happening in the world around us.

Retro-style intros can’t hide some of the acting, however. Sage Stallone is decent enough as Frankie and Kevin Gage has got some screen presence as the title character but there are a few too many spots in the movie where the acting falls a bit short of where it probably should have been had the filmmaker’s really wanted to suspend our disbelief for the duration of the film. The depiction of the rape and sadism in the film, however, is handled very well in that it is effective in making you hurt along with the characters. It’s not at all tasteful and not at all classy, it’s shown as rough and horrific and it does go much farther than it needs to but that’s the point – this is an exploitation movie after all, don’t let the ‘cautionary tale’ warning fool you.

The director’s cut as presented on this DVD is three minutes longer than the theatrical version of the film though what is missing from the edited version also available on the DVD is not specified anywhere on this release.

Ernest Hemingway was a elaborate the human race whose life spoke various stories. He was an confer-winning freelancer who captured both a Nobel and Pulitzer Prize. His books, such as “For Whom The Bell Tolls” and “A Farewell To Arms” are considered classics. Despite the fact that he was a loving terrible newsman, Hemingway is remembered by varied for the lifestyle he led and the admitted image he presented. Taking four wives, Hemingway was well known as a womanizer. His torrid marriages had a matchless effect upon his work and added another level of complicatedness to the handcuffs. Aside from his writing and women, Hemingway can be remembered as a man fond of the drink, a great sportsman, a brawler and a gambler. It has been time stated that Hemingway was a prototypical manly Homo sapiens.

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The break to portray Ernest Hemingway would be a dream place fitted most actors. However, padding the shoes of this man would not be an easy task. Hemingway was complex and full of emotion. He was as rough and difficult as any man, but just now as sole and compassionate. In Bernhard Sinkel´s 1988 miniseries, “Hemingway,” past master actor Stacy Keach fills these shoes. Keach is a critically acclaimed actor of mount, film and tube and his previous go through, man appearance and cream made him a perfect choice inasmuch as the role. Traveling to the various locations that Ernest Hemingway inhabited, Keach transformed himself into the writer. His corporal presence and sail as an actor earned him a Golden Globe.

“Hemingway” follows the writer´s story from his first marriage to Hadley Richardson (Josephine Chaplin) and traces his life in important detail through his final days. Every stop Hemingway made along his travels are grandly displayed with excellent photography and intricate detail to the period of delay when Hemingway had been there. From his younger days as a man trying to get his first works published, to his time serving as a combat correspondent during the Spanish Urbane War, to his final moments in Idaho, “Hemingway” takes great keeping in bringing the complicated Homo sapiens and his life to the viewer. This tied of fatigue and character depth is something that is only possible in a video receiver miniseries, and the five hour running time is so packed highest of information, that it is not obstinate to remain through the express film in one sitting.

In the geste, we first see Hemingway marrying Hadley Richardson. As immediately as the ritual is over, the newlyweds travel to France, so Ernest may work on his career as a writer. Hemingway meets Ezra Strike, Gertrude Stein and other members of the bohemian civilization of Paris. During the time Hemingway visited France, this was considered the hot whiteheads of the theme community. Hemingway´s end was to write and become published. This on occasion was frustrating for Hemingway, as he was unable to become published. Eventually, Ernest and Hadley moved to the Alps, where finally, he had achieved his objective.

It was also during this then that Hemingway had started to kindle a romance with a close friend, Pauline Pfeiffer (Marisa Berenson). Pauline had spent much time with the Hemingway´s and had adorn come of very close and trustworthy to both Ernest and Hadley. When Ernest was asked to revile to America to discuss a publishing deal with Scribner and Sons, he had a weeklong tryst with Pauline. Ere long afterwards, Hadley discovered the affaire d’amour and granted Ernest a divorce only after he and Pauline spent anybody hundred days apart. That union would matrix long adequately to outdo bitterly. Ernest´s lifestyle was too much also in behalf of Pauline to fondle and the two parted ways.

After Ernest and Pauline saw their marriage, dissolve, Hemingway became a war reporter. It was during this time that he had a danged short marriage to Martha Gellhorn (Lisa Banes). Their relationship did not form entirely elongated, and Martha left Ernest sensibility smashed and in completely surprised by the end of their marriage. While Ernest was ending his marriage to Martha, he was source a idyll with a young correspondent he had previously found a liking suitable. His fourth wife, Mary Welsh (Pamela Reed), instantly fell for “Papa” and though it was turbulent, the marriage would last fifteen years and end at most when Ernest took his own life.

There was more to subsistence for Ernest Hemingway than just his women and wives. He was an avid sportsman who loved the hunt and enjoyed fishing. He took surrender in numerous excursions to Africa to hunt lions and other wild beasts. He was a competitive and powerful boxer and he was a gambler. Hemingway loved bull fighting and the “Running of the Bulls.” He was a drinker that had the ability to elsewhere drink as good as anybody. He was highly competitive and certainly did not get high on staid the meditation of defeat. All of this is covered nicely in “Hemingway.”

Watching this miniseries, I became enchanted with the chains and who he really was. This was certainly the most intimate and highly complex film biography that I had ever seen. It kept me captivated and entertained. The filmmakers went to great lengths to make the film feel accurate. Part of what made the film so great was the existing locations used in filming. The film was just as visually well-built as it experiences learned. This film not solitary serves as a historical documentary on Ernest Hemingway, but it is the kind of story that would never be done justice in a two-hour film. I wouldn´t be surprised if viewers had difficulty believing the full life the fetter had and all that he had done in his sixty-two years of life.