Documentaries
It is a movie about dinosaurs killing other dinosaurs and the reptiles that were alive in the prehistoric times. It is a wildlife documentary. The dinosaurs and their world is mostly computer animated but everything looks real. The stars of the film a
Walking With Dinosaurs
Documentary
I would recommend this movie! People who are 14 years and older could watch this movie. There is some violence with the dinosaur killing which may upset younger children. It is aimed at people who like to learn about our world. I give it 7/10 stars.
A New Documentary Film About Aisling: The Performance Art Sport for Grocery Shopping.
Imagine a world where the competitive nature of Americans, the freedom of self-expression and our grocery list meld into one; this is Aisling. It is not anywhere near what some may know "Aisling" to be, which is the
traditional vision poems of Ireland from the 18th century. Instead, American's will come to know Aisling as a poetic sport where claustrophobic grocery aisles become a boundless arena of shopping cart antics. Being introduced to Aisling from the heartwarming mocumentary, American Shopper, one might recall Margaret Mead's wisdom to "never doubt that s small group of thoughtful, committed citizens can change the world..."
Please read my full review here: http://www.associatedcontent.com/article/5642042/aisling_the_american_shopper_experience.html?cat=14
Very Boring Film
Very Young Girls is a documentry about how in New York pimps use drugs,vilonce,and sex to keep girls forced into prostitution at very young ages(usalluy 13-15)to keep them working. It interviews some girls,but focuses less on the prostitution itself. It's boring and a waste of time. It is thought provoking,but bland.
A decent high score.
The King of Kong is a documentry about Steve Wiebe trying to break the record for the 1981 arcade classic Donkey Kong. However,the score he submits is denied by Twin Galaxies,and he goes to challenge the record holder,Billy Mitchell. The movie mentions other related stuff,such as Billy Mitchell,Steve,and split-screens. However it's too short(around 84 minutes)and is loaded with interviews(too much of them). However I urge you to eatch this flick,retronut or not. It's worth just 84 minutes.
A documentary about the industrializing of the food business and its effects.
More a recitation of the myriad crimes of agribusiness than a particularly well organized criticism, Food, Inc. is one of those agitprop documentaries that is as predictable as a Sandy Bullock picture, but operates so keenly aware of the gravity of its subject matter it succeeds nonetheless at achieving most of its goals, which of course are entirely political and not at all cinematic. You’ll groan at the bluesy, reflective score and its desperation to make us pine for simpler times in the heartland, you’ll wonder why they didn’t just superimpose a halo above the head of the organic chicken farmer who’s in it for all the right reasons, and, despite these misgivings, 90 minutes later as the closing credits roll you’ll do all the filmmakers want you to do and agree with them that most of what you have just witnessed was some pretty fucked up shit.
There’s a fascinating statistic at the heart of the film provided by one of its chief inspirations, The Omnivore’s Dilemma author Michael Pollan: food production has changed more in the past 50 years than it did in the previous 10,000. At first blush, I’m thinking “Hooray, Industrial Revolution!” At second blush, I’m thinking “Do I want to eat my car?”
The film thoroughly recounts the Industrial Revolution’s takeover of the food industry, its streamlining of processes and equipment. The story is a fascinating yet scattershot one. Director Robert Kenner is not a prosecutor looking to prove agribusiness guilty of one specific crime, he’s the muckraker out to make sure you know how loudly to boo when it walks into the courtroom. (Spoiler Alert: Really loud.) Every shortcut taken has its weeping mother whose son died because of a contaminated food supply. Every new bending of the law to favor the super-monster-mega-farmers has an old-timer in overalls bemoaning how hard it’s become for an honest man to make an honest living.
It ain’t fair, it ain’t balanced, and it sure as shit ain’t great, but Food, Inc.’s assurance of its own righteousness is ultimately becoming. One can very reasonably wish it were a more focused examination of the business practices, the science, and especially the politics that have shaped our current food situation, but one can’t deny that its simplistic, rambling structure serves its own motives well. The film’s goal is a pulling back of the veil that hides the product on the supermarket shelf from how it got there. Its ambitions aren’t artistic but sociopolitical. Its goal isn’t the fawning of cineastes, it’s a more educated and therefore rationally angry consumer.
Like those Sandy Bullock pictures, Food, Inc. presents two distinct options, one of unerring virtue, the other of uncontrollable douchetude. The merits of a film like this are to be determined by how strongly it can stir your support for the white-hatted small-time farmers in their fight against the agri-giants with their Nazi tattoo pornography fetishes. Food Inc., despite its significant shortcomings in other respects, does this quite well.
Worse than 9/11....
The one thing in my mind that I can't shake off during the film is how STUPID the plot is. Yes,it was Vouge's biggest issue,but nearly 3 years after it was made? You don't see Highlights making a movie! But,thats the only downside.
It Might Get Boring...
It Might Get Loud is a 90 min documenterie showcasing 3 guitar gods(The Edge,Jimmy Page,and Jack White)talking about the guitar. The movie is actually quite boring and the artists sometimes don't even talk about guitars. It's only a hour and a half,but it feels like 3 long wasted hours. Something to watch once and only once.
Both inspiring and heartbreaking, Ostergaard’s documentary about the Burmese underground media is a powerful reminder to us all of how we take our freedoms for granted and the bravery of those who speak for the voiceless. Essential.
Political documentaries aren’t easy for western filmmakers. Whilst informing, educating and provoking thought, the past 15 years have seen the genre develop a hunger to entertain that leads to the filmmaker being as integral as the subject and the need for that being filmed to have something of the freakish and unusual about it. Though Michael Moore manages to entwine all these threads successfully, many don’t and seem either too throwaway in subject to consider deeply or too specialist (often read ‘boring’) to gain mass interest. Making a documentary that can offer interest and appeal to a wide audience about something that really matters without diluting the issues too much is hard.
Thankfully that isn’t the case with ‘Burma VJ’. Regardless of your level of interest in global politics, you NEED to see this…it’s more important then you could ever imagine.
Some of you may remember the stories that came out of Burma during August and September 2007 as news programmes around the world showed shaky handheld footage of marches, demos and peaceful protests against the military regime that has now been in power there for 2 decades with reporters providing commentary or pieces to camera about the events unfolding. Events which, for them and us, were hundreds of miles away due to Burmese reporting restrictions and which seemed to fade away as ‘just another news story’ after a while, lost in a sea of other human tragedies which the Western media find far easier to cover.
‘Burma VJ’ uses the footage filmed by the Burmese underground media ‘DVB’ (‘Democratic Voice for Burma’) alongside recorded calls, a voiceover commentary from DVB reporter Joshua and some necessary dramatic reconstruction to tell the full story of what happened throughout that 6 week period, starting with signs of civil unrest and Joshua’s relocation to Thailand due to fears for his safety and culminating in the courageous marching of Burmese monks, students and the general populace against the ruling military junta and the tragic consequences that resulted.
The effect is one of the most moving pieces of film I’ve seen in years and certainly the most powerful documentary in terms of emotional affect, depth of feeling and strength of message. The subtle narrative presence of Joshua aside, the flow of caught footage builds a pace and power most works of fiction would be hard-pressed to match and the knowledge that such extraordinary events really happened only adds to the sense of human drama and tragedy contained within. The palpable sense of risk to everything the DVB reporters do throughout is nerve-shredding, made even more affecting by their sense of duty to both their country and the notion of free speech. As someone living in a country that regards such a thing as a given, to see it denied elsewhere in a present-day setting is deeply disturbing and something I know I never quite grasped the significance of as much as I do now.
Yet the thing that will stay with me the longest – and I suspect of all those who watch it – will be the actions of the Buddhist monks in the film. Their bravery and nobility of spirit throughout, their willingness to stand up for those around them knowing what the consequences could be, their dedication to peace…all left me in unashamed tears of awe and with a feeling of profound respect for them and the people they stood up for.
The above may sound very emotional but I defy anyone to watch this film without feeling a sense of passion about the events that unfolded in Burma and an angry determination for such events not to pass by unnoticed and unheard. Thankfully the DVD gives out plenty of information about how to get more involved and I’d urge everyone to do so. A visit to the Burma VJ website offers more information about how to get involved, including a link to a letter you can send to the UN as part of an ongoing protest. Trust me – you’ll want to.
So there you have it. ‘Burma VJ’ should surely have won the Oscar for best documentary simply because no other documentary ('The Cove' included) has been so powerful over the past 12 months and may prove to be so important for as many over the months to come as its cause (hopefully) spreads.
"The legend of an unfinished film"
Hell is the title, the movie illusion.
Inside the man’s brain (Serge Reggiani’s) overwhelmed with jealousy, insane and paranoid, spying on his wife (Romy Schneider) and leaving reality for delusion. Distorted images, jerky sounds, the same meaningless words repeated again and again, staining the screen, spoiling the soundtrack: this is Hell, this is Henri-Georges Clouzot’s little shop of mirages. Shooting date: 1964. Release date: never.
It was intended to be a revolution, a new way of filming, working on pictures, on sounds, a mix of kinetic art and electro acoustic music; an avant-garde film. However, it was never finished. Despite an award-winning director, two famous leading roles, 150 technicians, and an unlimited budget from Columbia Pictures, the film was abandoned after a few weeks of shooting. Dispute between Reggiani and Clouzot, a lack of coordination between camera crews, and finally Clouzot’s heart attack and hospitalisation entirely wrecked the project.
It remains of this adventure fifteen hours of silent rushes, fragments of dialogues, experimental soundtrack, and recorded noises; a gold mine for Serge Bromberg. From this bric-a-brac Bromberg makes a dark and brilliant documentary, both re-creating Clouzot’s film and telling the story of the disaster. Consisting of found scenes with original dialogues read by actors and interviews of cast and crew members, this 94 minute documentary eventually wins its risky bet: bringing Clouzot’s Hell back to life. Fascinating and almost hypnotizing, this movie lets the viewer into the secret of this unknown piece of art, a secret full of grace and tragedy;a worthwhile secret.
A Very British Gangster gathers all the ingredients to manage a good thriller: a dangerous godfather in the mafia whose brother is a professional killer, a city poisoned by poverty and violence where the population is under the control of gangsters and where the state and its representatives are powerless. But A Very British Gangster is not a thriller. Everything is forlornly real in this movie. Nothing is made up: there are no actors, no set, and no script. A Very British Gangster is a documentary directed by the famous British investigative journalist Donal MacIntyre.
Donal MacIntyre draws a detailed portrait of Dominic Noonan, nicknamed “Lattlay Fottloy”, a forty years old gangster who spent twenty-two years in jail. The journalist, who followed Dominic Noonan for three years, shows us the complex and paradoxical personality of a well-dressed gangster, homosexual and father of two boys, proud of his criminal activities and supporter of his nephew’s singer ambitions (the boy wants to win the
British reality competition “The X-Factor”!). Dominic Noonan is not only a famous hold-up man, he also plays a central social role in Manchester inhabitants’ life. He tackles social issues by giving money to an indebted friend, organizing fireworks for poor children, intervening to bring back a baby to its mother. When there have a problem, people turn to Dominic Noonan, not to the police or the legal system. Through this documentary, the journalist denounces the social and political factors that led to Dominic Noonan’s ascendancy over Manchester and particularly the state’s weakness and blank.
The documentary is not always technically perfect but its strength comes from the way the journalist deals with a difficult topic without lapsing into morality. Donal MacIntyre never judges Dominic Noonan’s behavior or personality but he does not hide any side of his personality either. The result is disturbing, neither black nor white, just real, as balanced and bitter as reality can be.
