Here’s one…
Yours Mine & Ours.
Rated PG. A 2005 remake of the 1968 classic that starred Henry Fonda and Lucille Ball, and the story is basically the same: Widowed man with eight children meets widowed woman with 10 children. Eventually, all 18 kids learn to live as one big happy family, but not before driving their respective stepparents and each other to the brink of crazy. The rest are here.
EDIT – I placed a pic of the original, because it’s better.
Review by JayFantana.
Richard Ayoade’s directorial debut’s premise pretty much encapsulates every man that had to drag themselves through puberty. The outline is as simple as the 15 year old’s we once were’s agenda in life. Oliver Tate (Welcoming Craig Roberts to celluloid) wants to lose his virginity before his 16th birthday. He also wants to stop his mother from having a sexual encounter with Paddy Considine’s new age mystic and destroying his parents relationship, which admittedly may not be as relatable to the teenager inside you.
What is simple in story is certainly not true in tone. Submarine beautifully captures the heightened feelings we produce as youngsters. That moment you lock eyes with the girl in the playground and fall in love with her without either ever saying a word; the feeling you’re going to die because she wasn’t in school that day; and the ultimate thrill when, despite the whole world being against you, you finally get that first kiss with the girl you will defiantly spend the rest of your life with. The highly stylised camera work aligns with Oliver’s feelings as it floats through the scenery, tracking romantically past his love interest Jordana (Yasmin Paige), giving that visual sense of what my mother could only describe as ‘Oliver’s hormones whooshing around inside’. All highly dramatic. In fact I think Ayoade would have a hard time denying his love of French new wave and influence of Wes Anderson that didn’t so much creep into the film, but whimsically crashed the party and drunk all the Sauvignon Blanc.
You can see the Wes Anderson connection through every highly poetic scene, awash with melodrama, which is fitting really as the adaption is indeed written by the Welsh poet Joe Dunthorne. Sharp, quirky and always delivered deadly straight by the talented ensemble you can easily question whether the tear from your eye is of laughter or sympathy for the characters hardships.
As the film wrapped up it did not matter a jot whether Oliver got the girl, or whether his mother jumped into a van with the new age mystic. It was for me a perfect encapsulation of that time when every one of our senses was heightened a thousand times before we grow up, beautifully captured both visually and audibly. Something must have been done right if I’m contemplating comparing Ayoade’s Barry Island with Truffet’s Paris surely?
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Review by Epock.
Reading ‘The scariest killer since Hannibal Lecter’ put me in high spirits as I settled in to watch the latest contribution from independent American film-maker Robert A. Masciantonio. Having made a suitably successful tour of the film festival circuit in 2009 Neighbor has been praised for diverging from the general realms of violent pornography common with these style films and depicting something far more smart and edgy. This warm praise for Neighbor however turned out to be completely without foundation and my hopeful spirits were swiftly put aside to be replaced with a sense of foreboding that this was going to be the longest ninety minutes of my life.
What little plot can be found in this film tells of a callous killer on a psychopathic jaunt through suburbia. Throughout her trip America Olivo’s imaginatively named ‘The Girl’ employs her seemingly in-exhaustive imagination to use mundane household items to inflict pointless and violent acts of sadism on her innocent victims. With so many films exploring similar themes it becomes apparent that Neighbor spends most of its time searching for innovative ways to inflict pain including a particularly brutal, albeit novel, application of a glass stirrer to a gentleman – Singapore Slings will never be the same again.
Much of the time spent watching Neighbor is simply in anticipation of plot progression, character development or guiltily attempting to guess the next act of wanton violence (a ninety-percent hit rate I hasten to add so we can tack predictability onto the end of the con list). The rest of the viewing time is spent is attempting to unravel what is happening; what is imagination and when in the shuffled time line this is, or isn’t, happening. Confused? Get used to it. Unlike similarly non-linear productions like Pulp Fiction or Memento, Neighbor fails to ever really explain itself, leading the viewer deeper into the pointless and sadistic plot. The complete lack of any compelling story line totally fails to justify the abundant gratuitous violence. From start to finish Neighbor is devoid of any intelligence or particularly interesting stylistic attributes. It is at best, sadistic and bloody pornography; not for your everyday voyeur.
The usual unrealistic and medically misrepresented gore along with some unconvincing Z-list screaming and some admittedly nifty blood-squirting gadgetry puts Neighbor easily among the ranks of C-movie gore-fests churned out bi-weekly with little or no marketing campaign. If this is what you like then Neighbor is probably one of the more imaginatively sadistic films you could choose from this genre, otherwise I would give this one a wide berth and under absolutely no circumstances watch it with Grandma.
Dominic Cooper, Dan Stevens and Emily Browning star in the passionate and tragic true story of love amongst the artists.
CrossDay Productions/Apart Films’ Summer In February begins seven weeks of principal photography on Sunday 15th January, on locations in Cornwall, Oxfordshire and London.
Dominic Cooper (The Devil’s Double) stars as AJ (later Sir Alfred) Munnings, with Dan Stevens (Downton Abbey) as Gilbert Evans and Emily Browning (Sucker Punch) as Florence Carter-Wood, in the colourful story of an Edwardian scandal at the heart of the bohemian Lamorna Group of artists in Cornwall, shortly before the start of the First World War.
Adapted from his own novel by Jonathan Smith, Summer In February, is directed by Christopher Menaul (Prime Suspect) and produced by CrossDay’s Pippa Cross and Janette Day (Vanity Fair) and Apart Films’ Jeremy Cowdrey, with Dan Stevens as executive producer.
Hattie Morahan (The Bank Job) also stars as impressionist painter (Dame) Laura Knight, with Shaun Dingwall (Above Suspicion) as her husband Harold, stage actress Mia Austen as vivacious model Dolly, Max Deacon (Flashbacks of a Fool) as Florence’s brother Joey Carter-Wood, Michael Maloney (Babel) as Col. Paynter, owner of the Lamorna Estate and Nicholas Farrell (The Iron Lady) as Florence and Joey’s father.
Here’s one, Regina George in Mean Girls.
Boys may use physical bullying more than girls do, but there is no greater hell than the one that can be created by mean teenage girls. Regina George is beautiful and always gets her way, and yet still feels the need to bad-mouth every girl in her high school. She even starts rumors about former friends, like her middle-school best friend, Janis, whom Regina labeled as a lesbian. Most girls know, whether popular or not, that high school is a minefield for girls as they try to win over boys and pretty friends, often at the expense of other girls. Regina might be the Queen Bee and ultimate bully of the school, but the movie, available through Comcast also shows how girls within the same group of friends tend to torture each other.