- This rock'n'roll adventure story tells of two unlikely lovers who accidentally double-cross the Detroit mob by stealing valuable contraband. Christian Slater and Patricia Arquette, flee to Los Angeles where they are sought by both gangsters and cops. Format: DVD MOVIE Genre:Â ACTION/ADVENTURE Rating:Â NR Age:Â 085391163275 UPC:Â 085391163275 Manufacturer No:Â 11632
Overlooked and underrated, "Goodbye Lover" is a tawdry, tasty film noir with a soft spot for its scheming antiheroine. With her platinum Lulu bob, a killer wardrobe, and a "Sound of Music" fetish that inspires her to "climb every mountain" of bad-girl ambition, Patricia Arquette is perfectly cast as Sandra, the sweet but lethal wife of Jake (Dermot Mulroney), who works in a top-drawer ad agency with his brother Ben (Don Johnson). Weary stud Ben falls prey to simultaneous affairs with Sandra and his devoted secretary (Mary-Louise Pa! rker), and the cynical Detective Pompano (Ellen DeGeneres) unravels the murder-for-insurance plot while her clueless Mormon partner (Ray McKinnon) tries to keep pace. Combining mordant humor and rampant depravity, this deliciously dark comedy starts fast and never lets up, liberating director Roland Joff?© ("The Killing Fields") from the sobriety of his previous work. The entire cast is great, but it's DeGeneres who makes this a recommended sleeper. "--Jeff Shannon"Overlooked and underrated,
Goodbye Lover is a tawdry, tasty film noir with a soft spot for its scheming antiheroine. With her platinum Lulu bob, a killer wardrobe, and a
Sound of Music fetish that inspires her to "climb every mountain" of bad-girl ambition, Patricia Arquette is perfectly cast as Sandra, the sweet but lethal wife of Jake (Dermot Mulroney), who works in a top-drawer ad agency with his brother Ben (Don Johnson). Weary stud Ben falls prey to simultaneous affairs with Sandra and his dev! oted secretary (Mary-Louise Parker), and the cynical Detective! Pompano (Ellen DeGeneres) unravels the murder-for-insurance plot while her clueless Mormon partner (Ray McKinnon) tries to keep pace. Combining mordant humor and rampant depravity, this deliciously dark comedy starts fast and never lets up, liberating director Roland Joffé (
The Killing Fields) from the sobriety of his previous work. The entire cast is great, but it's DeGeneres who makes this a recommended sleeper.
--Jeff Shannon A young San Francisco widow is swept into a political uprising in Burma after her sister reluctantly drags her on a Southeast Asia tour.Working at the top of his form, John Boorman is a director who can pursue the poetry of his personal obsessions within the framework of a dynamic thriller and not shortchange the film.
Beyond Rangoon involves a journey into unfamiliar territory: the rivers, jungles, and war-torn backcountry of Burma in 1988; But it also ventures into the mythic Arthurian terrain of such seemingly disparate films as
! Excalibur,
Point Blank, and
Deliverance. This time, uniquely in this director's work, the quester is a woman. American doctor Laura Bowman (Patricia Arquette) regards her life as having ended after the brutal murder of her husband and their little boy by home invaders. Her sister (Frances McDormand) has persuaded her to come along on a sightseeing tour of Burma. The trip leaves Laura numb until, impulsively venturing into the night alone, she becomes witness to a crisis moment in history: the beginning of the military dictatorship's violent crackdown on the rising democracy movement. The sight of Aung San Suu Kyi, the dissidents' inspirational leader, facing down a wall of armed soldiers with only the power of serene self-possession inspires Laura (an amazing scene--and it really did happen).
But that's only the beginning of Laura’s movement toward enlightenment, and back to life. Beyond Rangoon abounds in memorable encounters--with individual! s variously supportive and terrifying, and with locations and ! situatio ns where hope and catastrophe trade off like valences of the same energy. As critic Kathleen Murphy has noted, "It's as though the fabric of reality shivers like water, racking focus into a new, altered pattern of experience." (Case in point: the startling image of a car's rear window star-shattered by a pursuer's bullet as Laura drives down an almost nonexistent jungle road--the pursuit car sharply irised in the bullet hole.) Boorman makes us feel the total chaos of a spectacularly beautiful land that is not only at the mercy of a brutal regime but utterly cut off from an outside world that doesn't, can't, know what's happening there. In this, Boorman's movie immeasurably increased awareness of Burma's tragedy, but it hasn't prevented the government of what's now called Myanmar from keeping Aung San Suu Kyi under house arrest more than 20 years later. --Richard T. JamesonFrom the creators of Being John Malkovich and starring Tim Robbins and Patricia Arquette comes a ! deliciously twisted film with biting dialogue wild twists and plenty of comic turns.Running Time: 96 min.Format: DVD MOVIE Genre: COMEDY UPC: 794043572623This fascinating comedy questions what we mean when we use words like "nature" and "civilization." Lila (Patricia Arquette, Lost Highway, True Romance), a nature writer who grows hair all over her body, falls in love with Nathan (Tim Robbins, The Player, The Hudsucker Proxy), a scientist attempting to teach table manners to mice. While hiking in the woods, they discover Puff (Rhys Ifans, Notting Hill), a man raised in the wild since childhood, whom Nathan seizes as a test subject for his experiments--and soon these three, along with Nathan's French lab assistant (Miranda Otto) are embroiled in criss-crossed love affairs as they (and the audience) attempt to figure out what it means to be true to one's own nature. Though Human Nature isn't as surefooted as Being John Malkovich (which was also written by distinctive screenwriter Charli! e Kaufma n), it has moments of startling comic genius. --Bret FetzerStudio: Paramount Home Video Release Date: 06/21/2011 Run time: 563 minutesA lost soul has just received the wounds of Christ and a shocking message that will alter history. Stunning performances from Patricia Arquette (True Romance), Gabriel Byrne (The Usual Suspects) and Jonathan Pryce (Ronin) and a cutting edge score by Billy Corgan of The SmashingPumpkins and Elia Cmiral make Stigmata a visual and visceral feast (Entertainment Today). Frankie Paige (Arquette) has absolutely no faith in God. All of that changes when she suddenly begins to suffer the Stigmatathe living wounds of the crucified Christ. Frankie's miraculous bleeding comes to the attention of the Vatican's top investigator, Father Kiernan (Byrne). But when Cardinal Houseman (Pryce), discovers that Frankie is actually channeling an extraordinary and provocative message that could destroy the Church, he's convinced that she - and the force p! ossessing hermust be forever silenced. Determined to stop this deadly conspiracy, Kiernan risks his faithandhis lifeto save her and the message that will change the destiny of mankind forever!Gabriel Byrne plays Father Kiernan, a young Jesuit priest whose degree in chemistry makes him a sort of priest/detective as he investigates weeping Marys and the like around the world. Meanwhile, Frankie (Patricia Arquette), a rave-generation Pittsburgher, is afflicted with the stigmata--holes that appear in her wrists, resembling the wounds of Christ. The young woman's symptoms filter back to the Vatican and Father Kiernan is assigned to the case. The priest is puzzled by Frankie's atheism; usually the stigmata only appear on the devout (hence the age-old controversy of miracles vs. hysteria). Other manifestations appear on Frankie, and the priest's cardinal (Jonathan Pryce) is brought in, leading to political maneuvering within the Church hierarchy. The film owes a large and obv! ious debt to The Exorcist (at one point, Frankie's bed ! scoots a cross the room and she levitates into a crucifix position), but to term it an Exorcist rip-off would be to shortchange Stigmata. The premise and screenplay are more cerebral than in the l973 film, and the source of the phenomenon is coming from a completely different place.
Unfortunately, amid Stigmata's high-octane editing and slick technique, the chills of The Exorcist aren't there, giving the movie a sort of identity crisis: horror movie or intellectual thriller? Several elements of the film challenge basic tenets of the Catholic faith, hence the brief furor that erupted at the time of the film's release; if nothing else, the internal workings of the Church are shown in a very unflattering light indeed. Byrne excels as the skeptical priest, as does Arquette as the tortured young woman. All told, Stigmata is a rather uneven effort, but one with a thought-provoking combination of theology and thrills served up in a thoroughly modern! , stylish package. Fans of TV's Ally McBeal will recognize Portia DeRossi in a supporting role. --Jerry RenshawMuseum Quality Oil-on-Canvas Reproduction. Custom painted to your size and specifications. All our reproductions are 100% hand painted using oil-on-canvas. We do not use any printing or digital techniques at all. You will receive an original handmade oil painting created just for you. Satisfaction Guaranteed! We are so confident in the quality of our work that we will refund your money if you are not completely satisfied. No questions asked. FREE Shipping Worldwide! We will ship your painting anywhere in the world for FREE. Your artwork will be delivered unframed in a protective shipping tube, typically within 21 days. Own an original masterpiece today!Director Diane Keaton brings a tender touch to Wildflower, a Lifetime cable-TV movie showcasing early-career excellence from Reese Witherspoon and Patricia Arquette. Witherspoon's big-screen debu! t in The Man in the Moon had premiered shortly before t! his movi e's original broadcast in 1991, and a year earlier, Arquette had starred in a Keaton-directed CBS Schoolbreak Special, The Boy with the Crazy Brother. These rising talents are well served by Sara Flanigan's teleplay, closely adapted from her popular juvenile novel Alice. Set in the mid-1930s, the story follows two compassionate teens (Witherspoon, William McNamara) who discover and essentially adopt a partially deaf epileptic (Arquette) who'd been locked away by her psychotically abusive father. Beau Bridges and Susan Blakely provide different parental perspectives, and while Keaton doesn't always avoid Flanigan's tear-jerking sentiment, she handles it with delicate grace. Aiding her are a gifted cast and the fine cinematography of Janusz Kaminski, who would soon begin an enduring collaboration with Steven Spielberg. --Jeff ShannonA young San Francisco widow is swept into a political uprising in Burma after her sister reluctantly drags her on a Southeast! Asia tour.Working at the top of his form, John Boorman is a director who can pursue the poetry of his personal obsessions within the framework of a dynamic thriller and not shortchange the film. Beyond Rangoon involves a journey into unfamiliar territory: the rivers, jungles, and war-torn backcountry of Burma in 1988; But it also ventures into the mythic Arthurian terrain of such seemingly disparate films as Excalibur, Point Blank, and Deliverance. This time, uniquely in this director's work, the quester is a woman. American doctor Laura Bowman (Patricia Arquette) regards her life as having ended after the brutal murder of her husband and their little boy by home invaders. Her sister (Frances McDormand) has persuaded her to come along on a sightseeing tour of Burma. The trip leaves Laura numb until, impulsively venturing into the night alone, she becomes witness to a crisis moment in history: the beginning of the military dictatorship's violent ! crackdown on the rising democracy movement. The sight of Aung ! San Suu Kyi, the dissidents' inspirational leader, facing down a wall of armed soldiers with only the power of serene self-possession inspires Laura (an amazing scene--and it really did happen).
But that's only the beginning of Laura’s movement toward enlightenment, and back to life. Beyond Rangoon abounds in memorable encounters--with individuals variously supportive and terrifying, and with locations and situations where hope and catastrophe trade off like valences of the same energy. As critic Kathleen Murphy has noted, "It's as though the fabric of reality shivers like water, racking focus into a new, altered pattern of experience." (Case in point: the startling image of a car's rear window star-shattered by a pursuer's bullet as Laura drives down an almost nonexistent jungle road--the pursuit car sharply irised in the bullet hole.) Boorman makes us feel the total chaos of a spectacularly beautiful land that is not only at the mercy of a brutal regime but utterly cu! t off from an outside world that doesn't, can't, know what's happening there. In this, Boorman's movie immeasurably increased awareness of Burma's tragedy, but it hasn't prevented the government of what's now called Myanmar from keeping Aung San Suu Kyi under house arrest more than 20 years later. --Richard T. JamesonThis psychological thriller combines murder, mystery and deception as only David Lynch, the critically acclaimed director and writer of Blue Velvet and Dune, can. Lost Highway will keep viewers on the edge of their seats up until the explosive, unforgettable ending!Plot is a meaningless term when trying to describe Lost Highway. Here, more or less, is what happens: A noise-jazz saxophonist (Bill Pullman) suspects his wife (Patricia Arquette) of infidelity. Meanwhile, someone is breaking into their house and videotaping them while they sleep. The wife is murdered and Pullman is convicted of the crime. Then, in prison, he tran! smogrifies into a young mechanic (Balthazar Getty) who is subs! equently released, since, after all, he's not the guy they convicted. Getty goes back to his life and meets a local gangster's moll, who happens to be played by Patricia Arquette... but none of this has much to do with what the movie is really about. Dreams are what intrigues director David Lynch. Not friendly, happy dreams; his dreams whisper that what we think is real is just something we made up, something to keep ourselves from falling into chaos. Characters are fragments. Events happen not because they make sense, but because deep down we want these things to happen. Of course, in Lynch's dreams, as in our waking lives, getting what we want is not always pleasant. In the movie's best moments, you really have no idea what you're seeing. The screen is a big rectangle of color and shadow, but what it represents, well, it could be anything. And yet, in those moments, you've been given just enough hints of place, character, and story that these elusive images elicit a genuine dread,! a sense that you might not want to see this, yet you can't look away; a sense that we are living on borrowed time, that something is fiercely askew in our psyches. As a whole, Lost Highway is a failure: much of it is padded, gratuitous, and indulgent and pointless cameos bog down an already sluggish narrative. Yet within that failure are moments worth more than the entirety of most successful movies. --Bret FetzerBADGE - DVD MovieTRUE ROMANCE - DVD MovieIt was directed with energetic skill by Top Gun Tony Scott, but this breathtaking 1993 thriller (think of it as an adolescent crime fantasy on steroids) has Quentin Tarantino written all over it. True Romance is really part of a loose trilogy that includes Reservoir Dogs and Pulp Fiction, with a crackling Tarantino screenplay that rides a fine line between raucous comedy and violent excess. Christian Slater plays Clarence, the comic-book lover who meets a beguiling prostitute named ! Alabama (Patricia Arquette), confronts her vicious pimp (Gary ! Oldman), and embarks on a cross-country odyssey with $5 million worth of Mafia cocaine. Mayhem ensues, culminating in a favorite Tarantino climax--the "Mexican standoff"--in which a roomful of guys are pointing guns at each other, waiting to see who shoots first. Brutal, profane, and totally outrageous, True Romance is not for everyone, but with a supporting cast that includes Dennis Hopper, Christopher Walken, Brad Pitt, and Val Kilmer (as the ghost of Elvis!), you can be sure this movie will never be boring. --Jeff Shannon
