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A fine, edgy Western, handsomely nip by Russell Metty and beautifully paced by Vidor. A common range against determine is lent some of the sweaty unpredictability of Duel in the Ra by the neck-hate relationship between Douglas, as the cowboy with a pathological hatred of barbed wire, and Crain as the cattle baroness whose cause he done abandons in defence of individual liberties. Seemly performances, not least from Claire Trevor as the good-hearted saloon wench, and Boone as the villainous gunslinger. (From a blockbuster by Dee Linford.

When a Miami mom loses her concern as a secretary, her lowlife ex-husband is awarded custody of their young daughter. Entrancing a project as a stripper to raise sufficient money to save a court appeal, she unwittingly attracts the obsessive and insistent attentions of a crazed, slavering U.S. Congressman. Adapted from the facetious novel by Carl Hiaasen. The uncut story contains footage not seen theatrically in North America.

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The tale of a neo-Nazi skinhead in love with a unconscionable unwed mother who’s channeling Adolf Hitler in a psychiatric dispensary, “Neo Ned” may be waggish on analysis, but it has what fans of independent obscure are looking for — atmosphere, gentleness and very recently a dash of fantastic dramaturgy. And while swastikas and racial epithets are part and parcel of its ranting and tonal consistency, the film’s abundant humor never fails to show because of, which could elucidate into cult and sleeper hit reputation in the right hands.

Title character is a young man committed to a psychiatric hospital for his involvement in the murder of a black man. There, he meets another patient — a beautiful remote young black woman who appears possessed by Hitler.

Yet, a potentially disturbing set of circumstances is made not just palatable but touching, because Ned (Jeremy Renner) is so desperately alone, and Rachael (Gabrielle Union) is so smart she won’t be baited by a guy she feels is more deserving of pity than hate.

Despite the characterizations, the undertone of “Neo Ned” is actually one of tolerance and understanding. Rachael, who sporadically barks out orders in German, is a poignantly broken young woman with a history of being sexually abused. And Union, on the verge of major stardom (”Bring It On,” the upcoming “Honeymooners”) doesn’t miss a beat. Ned comes from a home where his father was incarcerated much of the time and his mother (a winning cameo by Sally Kirkland) is a regular guest on Jerry Springer-style TV shows. What he wants is to belong — and if no one else will have him, he’ll take the Nazis. Renner gives a captivating performance, laying bare Ned’s underlying pathos even as the character ostensibly tries to hide it.

Some auds might find it hard to sit through Ned’s regular use of the N-word; that the movie is so kind to a jackbooted racist, even a half-hearted one like Ned, might rub people the wrong way, too. But director Van Fischer — working off the Slamdance award-winning screenplay by Tim Boughn — balances things like the guy with the pie plates.

Last night we posted a version of the Halo: Reach multiplayer video that leaked out a tad early, but now that it's official Bungie has a few more details about it.

The trailer, they say, features a C Paul track originally orchestrated for the Halo 3: ODST Original Soundtrack. The studio brought in Ivan Ives to help them create a "high energy remix" of the music. Here's Ives' take on the process:

"I'm really honored that Marty let me work on the remix of the Uphill, Both Ways track with C Paul. It was a great piece to begin with so we just wanted to put a different spin on it, which turned out really cool. Added in a really heavy dark bass and some lighter piano to contrast it and give it a really epic feeling to match the Multiplayer awesomesauce."

The video was, according to Microsoft, captured from the game's alpha build and the publisher and platform holder promises that more info is "coming down the line" as the launch of the public beta nears.

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Send an email to the author of this post at editor@kotaku.com.

So what took you guys so covet? Eighteen years and hundreds of episodes into their unravel on Fox, Springfield’s first family finally makes it to the big evaluate, and the feature was so long in coming that you’d require been forgiven on the side of having forgotten that talk of it was in the works for nearly twenty years. Which makes this almost a fine surprise and a joyful little afterthought, in a way—it may not rise to the storey of some of the funniest episodes of the series, where the narrow parameters of network television arm-twisting the creative staff into packing each 22-make a note of piece to the gills, but it’s sure no fallow disappointment, either. The writers, animators and editors award diehard fans of the show with sundry cameos from loved pals, but you need not be exactly immersed in Simpsonia to appreciate this terrifically disrespectful and very odd plaice take.

And that’s because, on some level, the sound movie is set into motion by pig doody. And really, who doesn’t love a movie about pig doody? Model author Homer Simpson knows the interspecies love that dare not speak its name—he falls chief over heels fitting for a pig on a commercial shoot, and saves it from the abattoir by making it his constant companion. He unprejudiced can’t quit that pig, but he’s got in unison insurmountable maladjusted: there’s no place to stock the voluminous pig excrement, so Homer tries to throw it all into an already hideously polluted Lake Springfield. Wouldn’t you know it, but Homer’s contribution pushes the lake past the tipping mention, setting off an environmental crisis—at the Spotless Billet, President Schwarzenegger declares an difficulty of sorts, and has all of Springfield placed under a giant glass bubble, to insulate its oozing black-hearted from the rest of America.

All the pals are here—Lisa finds an environmentally conscious new Irish boyfriend; Bart looks longingly next door at doofy Ned Flanders, who actually seems to tribulation thither his kids; Marge wants to save her family and her integration, both in a declare of crisis. You can’t trespass the green statement of the picture, either—it’s not too subtle, certainly, but makes its points, making this sort of the Colorforms version of An Inconvenient Truth. Albert Brooks makes in favour of a smashing villain as the head of the EPA, and high marks mainly to Tom Hanks, who contributes a fantastically fatuous modify PSA.

Fox has never been bashful connected with marketing this show, and it’s one of the marked ironies that this terrifically anarchic animated series is part of Rupert Murdoch’s empire. It’s also charitable of nice that we’re all in on the joke—the silent picture opens with the family going to see the Itchy and Scratchy movie, with Homer fulminating against the irrationality of those going out to pay for what they can arrive at for disburden at cuttingly. You classification of sit and watch and think: D’oh! But it’s a sharp and comic be borne, and your appetite for more Simpsons can be sated easily reasonably thanks to the magic of DVD and syndication.

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Also opening: 'Garfield,' 'Napoleon Dynamite'
See what other movies are opening this weekend.

The cat's pajamas: Garfield takes luxurious breaks from his task of searching in requital for the missing dog, Odie.
Rhythm & Hues

Garfield: The Movie

* *

Not even Bill Murray could save

Garfield

. Perhaps the comedian — so pitch-perfect as the sardonic actor in

Lost in Translation

— got too deeply into character. In voicing the lazy fat cat, he didn't draw upon his own distinctive wit to add heft (or subtlety) to the feline's one-liners. Instead, Murray delivers bland recitations.

Visually, the lasagna-loving feline comes to life capably enough via computer. Every other creature is human or animal, and the humans do a much less professional job than their four-footed counterparts.

Garfield is loving his lackadaisical existence until his owner (the blandly pleasant Breckin Meyer) brings home a dog, Odie, whom fans of the comic strip will remember as Garfield's nemesis. The slyly clever Garfield casts the lovable mutt out one night, then is struck by guilt and drags himself off the couch to hit the streets in search of the peppy pooch. But Odie has fallen into the clutches of a conniving local TV show host (an over-the-top Stephen Tobolowsky). There are chases, fights, and a host of adorable and noble beasts coming to Odie's rescue.

Still, the movie falls flat.

Garfield

's tagline is "It's all about me-ow!" The emphasis should be on the "ow!" (PG: brief mild language) — Claudia Puig

Napoleon Dynamite

* * 1/2

There isn't much Napoleonic grandeur in this Idaho-set high school comedy, which in spite of its most condescending instincts, does have its moments. It helps to approach this debut feature and Sundance hit in the context of being shot on a small-town dime.

When we watch geeky Napoleon (Jon Heder) get shocked by a so-called time machine (mostly metal, batteries and headwear), one does have to concede an attitude often missing from pricier screen endeavors. Yet husband-wife team (Jared and Jerusha Hess) apparently have no love in their hearts for the no-hopes they've created. Napoleon is socially maladroit and is a constant pummeling target for standard-issue jocks. His uncle (a funny Jon Gries) is a jock wannabe, convinced he should have been an NFL quarterback instead of a salesman of plastic dishes. Meanwhile, Napoleon's pal Pedro (Efren Ramirez) is in over his head running for class president against a vapid school queen (Haylie Duff, Hilary's sister).).

The Hesses, who are only in their mid-20s, know how to set up gags and even capitalize on them. But their opening salvo seems outrageous just for the sake of it. In Fourth of July terms, its pop is less dynamite than firecracker. (In select cities; PG: thematic elements and language) — Mike Clark

An IFC Films release of an IFC Prods. presentation of a Jersey Films, Killer Films, Laughlin Park Pictures oeuvre. Produced by Katie Roumel, Christine Vachon, Pamela Koffler, Danny DeVito, Michael Shamberg, Stacey Sher, Jonathan Weisgal. Executive producers, John Wells, Richard Klubeck, Jonathan Sehring, Caroline Kaplan, Holly Becker. Co-producers, Allen Bain, Dan Levine. Directed, written by Todd Graff.

Vlad - Daniel Letterle

Ellen - Joanna Chilcoat

Michael - Robin De Jesus

Jenna - Tiffany Taylor

Dee - Sasha Allen

Jill - Alana Allen

Fritzi - Anna Kendrick

Bert - Don Dixon

Actor-screenwriter Todd Graff's cardinal feature, "Exaggerate," is an enjoyable update of "Fame" centered about a summer camp championing young performers in upstate Unfamiliar York where outsiders hit upon acceptance two months a year. While the script is besotted from robust and flirts giddily with the approachable of schmaltzy emotional peaks patented by the Broadway musicals it mines for material, this is a distinguished-hearted, glad, compassionate film with a wicked sense of humor and terrific songs performed by some preternaturally top-drawer kids. Gay audiences will be prime in line, but some serious marketing muscle could pull in adolescents, who should respond to the all-inclusive message.

While the setting here is called Camp Ovation, its inspiration and shooting location was the Stagedoor Manor Performing Arts Training Center/Camp at Loch Sheldrake, N.Y. Graff attended the camp as a child and later worked and taught there, including a stint supervising 9-year-old Robert Downey Jr. The knockout musical opening introduces the ensemble's three principal characters preparing for their junior prom and establishes their misfit status while camper Dee (Sasha Allen) leads R&B-gospel number "How Shall I See You Through My Tears." Vlad (Daniel Letterle) psyches himself up for success in front of the mirror, Ellen (Joanna Chilcoat) pays her older brother to pose as her date, while Michael (Robin De Jesus) shows up in drag and is badly beaten by jocks.

Other characters are seen arriving at the camp, including Jill (Alana Allen), a bitchy blonde who immediately attracts the slavish worship of darkly intense Fritzi (Anna Kendrick). Vlad's entry provokes swoons from Michael and the gay-boy posse as well as a flicker of interest from romantically inexperienced Ellen. A skateboarder in a puka-shell necklace, Vlad looks like an alien in these surroundings. His guitar-accompanied Rolling Stones audition song elicits gasps from teachers unaccustomed to seeing "an honest-to-God straight boy."

The narrative throughline is fairly flimsy: Saddled with secret neuroses and pathologically dependent on being liked, Vlad flirts with everyone, romancing Ellen after a brief fling with Jill; Michael yearns for love and acceptance from his uncaring parents; and Bert (Don Dixon), a washed-up Broadway composer who never managed to equal his one classic hit, drowns his sense of failure in booze and makes it his mission to prepare the kids for disappointment.

Piloting the haphazardly structured action toward a splashy final number at the camp's benefit show, Graff gives each actor a chance to shine. All the kids earn a stint in the spotlight or a moment of personal connection, liberation, vindication or redemption.

This happens via comic episodes like Fritzi's hilarious Eve Harrington-esque triumph during the "Ladies Who Lunch" number from "Company," or in more emotional scenes. One of the best of these involves weight-challenged Jenna (Tiffany Taylor), who rages against her belittling father and reclaims her dignity in a show-stopping power ballad.

There's a disarming sweetness to the film's treatment of adolescent emotional problems, and even its approach via Michael to gay issues — often a minefield of cliche — avoids the maudlin self-pity of the similar character in "Fame." Unlike other showbiz pics like the ghastly "Center Stage," no one could accuse "Camp" of downplaying the prevalence of gay males in entertainment, though there's nothing too confronting for open-minded straight teens to digest.

Culled from a nationwide search of dance schools and open calls, the young cast members have no previous film or television experience. Though chosen primarily for their prodigious singing and dancing talents, the appealing kids all are natural and convincing in dramatic scenes. In addition to being represented by his songs, and in a good joke involving his framed photo on Michael's desk, musical royalty Stephen Sondheim cameos as himself.

Lenser Kip Bogdahn and production designer Dina Goldman give the low-budget operation a sharp, colorful look, and composer Stephen Trask ("Hedwig and the Angry Inch") contributes a gentle score that punctuates the many musical numbers. While pic's too long for this type of frothy material and some of the vignettes could have been more fluidly linked, editor Myron Kerstein keeps individual scenes short and tight, and the movie is so unfailingly good-natured and engaging, it's hard to imagine what could be cut.

Camera (DuArt color), Kip Bogdahn; editor, Myron Kerstein; music, Stephen Trask; music supervisor, Linda Cohen; production designer, Dina Goldman; set decorator, Tora Peterson; costume designer, Dawn Weisberg; sound, Robert Larrea; choreographers, Michele Lynch, Jerry Mitchell; associate producers, Miriam Kazdin, Brad Simpson; assistant director, Cecily Kaston; casting, Bernard Telsey, Victoria Pettibone, Will Cantler, David Vaccari. Reviewed at Sundance Film Festival (Dramatic Competition), Jan. 21, 2003. Running time: 114 MIN.

 

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- Wed., Jan. 22, 2003, 2:44pm PT

Walter Matthau, who was passed over by reason of the film type of The Seven Year Itch at the beginning of his Hollywood career after playing it on Broadway, comes down with the 12-year crave in this garbled conventional satire. Robert Morse is the adulterous neighbour who gives his cobber the lowdown on the dos and don’ts of doing it, with star-studded illustrations featuring Lucille Ball, Phil Silvers, Jayne Mansfield and the cast (among a host of guest cameos). These periodically inventive situations score intermittently, but it’s an unappealing effort on the whole.

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Authentically ‘New’ German Cinema, and, simultaneously, an archaeology of report film itself, Wyborny’s avant-garde landmark defines cinema as a ‘nation’ that has perversely acquired rulers, laws and hierarchies already it has even been physically mapped out. At first appearing to continue an understandable fibre of societal organisation (the predictably fraught the administration of a rudimentary commune in the Moroccan strand of 1911) in the ‘authoritative’ film language of DW Griffith, Wyborny proceeds to break down that language to its constituent elements and manufacture fragmentary hints of alternatives. Structural cover-making of a rare wordplay and accessibility results, with flashes of appropriate absurdity (like the precipitate intrusion of Randy Newman’s ‘Lonely at the Top’) highlighting the redundancy of closed systems, whether common or cinematic.

“Nobody’s Fool” is a gentle portrait of a hamlet in “Ironweed” country, a teeny-weeny period of peeling clapboard and worn blacktop. The at most tavern in town, the Iron Horse, is have a fondness the saloon in “Cheers,” but the upland is as dreary as the wintry view of New York state. There is an outlandish on every bar stool.

Every night or so, the boys gather for a round of poker and long-neck Buds. Sully (Paul Newman), the title character, usually loses because that’s what he does. A penny ante construction contractor, Sully has spent most of his 60 years failing at things. He’s suing the only guy who gives him work, Carl (Bruce Willis), who is a regular at the game along with Sully’s one-legged lawyer (Gene Saks) and Rub — short for Rubber Head — the village idiot (Pruitt Taylor Vince).

Sully, who has a good heart underneath that crusty exterior, gives the slow-witted Rub work when he can and thinks of the perpetual child as his best friend. And why not? In most ways, Sully’s still a kid himself. Then with the winter holidays comes a last chance to grow up and become a father to the son (Dylan Walsh) he had abandoned as an infant.

Robert Benton, who also wrote and directed “Places in the Heart” and “Kramer vs. Kramer,” has almost too much affection for this “Our Town”-like band of players. An adaptation of the novel by Richard Russo, the story is on the sticky side and the characters tend toward the adorably wacky. But Benton’s unhurried pace suits the mood and should allow the actors, led by Newman and the late Jessica Tandy, to take off their shoes and relax into the roles.

The trouble is, they never really do. We’re always aware that we are in the presence of Great Actors. Newman, already making room in his trophy case for Mr. Oscar, is likable as a curmudgeon, but all the dirt in the world never transforms him into a working stiff. He remains the glamorous leading man.

Tandy, luminous to the last as Sully’s landlady, Miss Beryl, has a line that was sadly prophetic: “I’ve got a feeling God’s creeping in on me. I’ve got a feeling this is the year he lowers the boom.” But the role, her next-to-last, is a funny, life-affirming one — adjectives that also apply to the movie itself.

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Whatever its faults, it is humble, adult fare and welcome in this age of grandiose children’s games.