Movie Title: The Closet
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You may not know the name of French director Francis Veber, and his comic French comedy “The Dinner Game” (1999), but if you are fond of comedy, you might have seen the films like “Father’s Day” and “Birdcage.” Yes, the last two Hollywood outings are actually remakes of his works, and though not all of his films are masterpieces, “The Closet” alone would acquire you remember his name. This film is that humorous.

Daniel Auteuil is M. Pignon, who has been working for a condom factory as an accountant for 20 years, now he happens to learn that he is going to be fired. Alarmed by the news, he thinks of jumping from the window to extinguish himself when an venerable man living in the next room gives a tip; “pretend you’re jubilant.” For political reasons (and commercial ones too) the company cannot fire him as they are scared of being accused of having discriminating attitudes. It succeeds, and M. Pignon is gratified … for a while.

Because unexpected things happen like chain reaction; “sexual harrassment” from his elegant female boss (she has her contain reason), sexual arrive from his co-worker and rugby coach (he has his fill reason, too), and so on. The account goes on with twists and turns, finally leading to the confidence newly established in M. Pignon.

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Though the ending is not as helpful as it should be, and some parts are a bit unbelievable, the cast is so broad that those flaws are all ignored in the raze. Daniel Auteuil’s dead-pan humor is always effective, and funniest is his face when he is in a parade wearing a spacious tip of condom on his head. Also comic is Gerard Depardieu, whose character experiences a total transformation.

“The Closet” has some satire on our attitude about sexuality, but it doesn’t preach them. Rather, the film handles them with a lighter tough, which avoids the pitfall of being too dark or philosophical. The fact is, the film is too light for some; and clearly the director hesitates to push some intriguing points the film presents. But “The Closet” should be about M. Pignon, who, objective like the protagonist of the same name in “The Dinner Game,” is about Mr. Everyman. His slide to a current life is what we peek, and we indulge in watching. As such the film succeeds, and it is because of astonishing Daniel Auteuil.

Francis Veber, the King of French Farce, keeps cranking ‘em out at a rate that would boggle even the mind of Georges Feydeau. His latest, “The Closet,” features nebbishy accountant Francois–mocked by his colleagues, abandoned by his wife, dissed by his son and about to be fired–who schemes to support his job by pretending to be ecstatic. Francois’ happy psychologist neighbor advises him not to change anything about himself–what will change is other people’s perception of him. That’s not the only thing that changes in Veber’s smoothly written, surefire-as-clockwork farce. Francois’ life ends up changing in unforeseen ways, as do the lives of the people around him–particularly that of Santini, the homophobic personnel manager who must suddenly play up to Francois in order to hold his beget job. All sorts of crazy complications ensue, and the denouement is appropriately sunny. “The Closet” won’t change your life, but it will leave you feeling gratified, and you will marvel at the sheer star power lavished on this lightweight record. Daniel Auteuil and Gerard Depardieu, France’s respond to Kevin Spacey and Robert De Niro, play Francois and Santini; in the supporting cast are Thierry Lhermitte, Michel Aumont and Jean Rochefort, which is roughly equivalent to having Richard Gere, Gene Hackman and Michael Caine in the supporting cast of an English-language movie. These beneficial professionals know exactly what is required of them, and deny it gift-wrapped. As crazed as the comedy gets, it is the collected individual moments that will really leave you rolling in the aisles: whether it’s Auteuil’s sick embarrassment at sitting on a Pleased Pride float wearing a condom hat, or Depardieu’s blissed-out, zombie gawk as his world crumbles around him, you know that you are in the hands of master farceurs.
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Movie Title: I Am Legend
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“I Am Narrative” is not a film that sticks closely to it’s source material. While that is it’s biggest flaw, it is also where it shines. If you ha told me two years ago that I’d gather misty-eyed watching Will Smith protest “Three Diminutive Birds” in a stout budget motion report I’d have laughed myself funny, but this adaptation of Richard Mathson’s untouchable current that -while itself being a vampire story- inspired the entire zombie film genre as we know it takes the fable we all know whether we’ve read the book or not and turns it into an exceptionally personal affair for all of us. One man. One dog. A familiar metropolis deserted by day, but crawling with death by nightfall. This is our setting and it’s one that never gets obsolete for me.

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The plague that wipes out Robert Neville’s world is never fully explained, simply inferred to be the result of some sort of failed cure for cancer. Gone from the unusual and the unusual Vincent Note classic, The Last Man on Earth, is the long struggle of Neville to do his ill daughter, his wife’s tranformation, and the horrid actions of the US government to absorb the plague. What it left is simply one man, alone trying to acquire his sanity and hopelessly searching for a cure to a disease that has already wiped humanity off the face of the earth and left the “survivors” as rabid vampiric horrors. It’s dark, it’s pathetic, and it’s perfectly human. Will Smith has a penchant for picking awful, schmaltzy films to star in, but no one can stutter his talent and charisma as a leading man. Naturally, this is a film he must carry single-handedly and he does an awesome job of it; he’s dramatic, he’s relateable, and at times, he is amusing. The humor is that of the sad and snide kind, but in a world like his, that is all there is left.

The vampires/zombies/infected in this are all CG and more than a bit reminiscent of Gollum from The Lord of the Rings. I’m not a fan of these kind of effects when practical would have been more effective and was acutely aware of the fact that I watching computer-generated monsters, but they worked nonetheless. The infected explain to be grisly foes for Neville to face, combining suprising cunning, inhuman strength, and impossible agility (hence the CG) . Their only weakness is that sunlight kills them almost instantly. Neville plays a game of cat-and-mouse with them, gathering supplies, researching cure, and searching for survivors by day while making positive to score aid to his fortified apartment before nightfall when the creatures near out to hunt for his hiding site. More than a few shades of 28 Days Later are reveal in this film, which is silly considering the book and it’s film offspring are largely what provided the elements of that film. So I guess the genre has officially advance chubby circle now.

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Ultimately, it’s the personal touches that do “I Am Myth” such a treat. Bob Marley provides both the soundtrack to Robert Neville’s day and the inspiration for his work, which is both ironic and uplifting at times. This may sound curious for a panic flick, but if you are a fan of Marley (himself a Anecdote) it makes all the sense in the world as you leer. Watching Neville attempt to interact with mannequins he’s status up as he returns the movies he rents (in alphabetical order, one at a time) and seeing him snap when one of the figures is moved is both silly and, at times, intensely disturbing. When relief finally comes, Neville finds he has lost the ability to interact with other humans at all and is relegated to performing lines from “Shrek”, which is playing on his television at the time. The ending is a complete 180 from the book which is disappointing, but not as corny as it could have been. The current I Am Record has one of the most shiny and darkly ironic endings ever set on paper, but director Francis Lawrence didn’t destroy it by go for the jubilant ending either. The result is a compromise between the pitch blackness of the book and the cloying cheese that many Will Smith fans like. It turns out a bittersweet and hopeful conclsion that should satisfy both while not thrilling either. But I left the theater with “Redemption Song” quiet ringing in my ears and a overjoyed feeling. If only every movie could do that for me.

“I Am Record” fails to adapt the book of the same name to the large hide, but succeeds in so many other ways. I can’t give it a perfect pick up, but I will give it a very hearty recommendation to fans of Will Smith, zombies, vampires, and Bob Marley. Savor.

I Am Narrative can’t pick up a shapely shake. This Will Smith-led production is the third attempt Hollywood has made to adapt the sparkling original. None of the adaptions have truly done the new justice (which is a shame), but this version has near the closest.

Here we have a shiny beginning; footage of a scientist (played beautifully by Emma Thompson) saying humbly that she’s discovered a blueprint to cure cancer. Rapidly forward a few years, and Novel York is utterly devoid of human life, set for Robert Neville (Will Smith) . As the first half of the film progresses, we learn about his meager living, spending the day harvesting and trying to notice a cure, even now, while spending the night huddled in his protected home as creatures prowl.

His only companion, a amazing dog named Sam, protects Neville as Neville protects him. They have a friendship based on loneliness and the human need for someone or something to beget onto. Sam is Neville’s only connection to the past and the only map to report what diminutive humanity is left, either in the world or Neville himself. This period in the movie is pitch perfect, puncuated by one or two plain sequences that instill great anxiety.

Unfortunately, the last half of the film deteriorates into an action movie that completely changes the meaning of the words “I Am Account.” Don’t accumulate me inferior, it’s mostly done really well. Constantine director Francis Lawrence has a qualified handle on the action and delivers some estimable scenes. But, it becomes muddled and veers off completely from the fresh. My biggest complaint, though, is the utilize of CGI. Instead of using loyal flesh and blood actors, all of the creatures are created with CG and they explore incredibly fraudulent when lined up next to steady people. In the beginning, it’s not a spot but as you watch more of them (and you will) it’s glaringly positive. And annoying.

All of this I was expecting going in, though. Considering that the film was co-written by Akiva Goldsman who also wrote I, Robot, I knew this version would stray from the source material impartial as I, Robot did. As a movie, it’s genuinely thrilling and creates the perfect balance of tension and action through most of its entirety. And, surprisingly, Will Smith shows that he’s a really favorable actor as he has to not only tackle many conflicting emotions during the two hour bustle time but he also has to do so without having powerful of anyone to react to. Spending a advantageous hour or so without another single actor for Will Smith to work with was a gamble and it paid off.

Your enjoyment of the film is entirely based on what you bring to the table. If you’re coming to this film expecting to look the book near to life you’ll be sorely disappointed. However, if you’re looking for a friendly action movie that actually has a salubrious yarn and a human aspect, you’ll be hard-pressed to salvage one as thrilling recently.
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