: (David Newman/Marc Shaiman) After the
success of Universal's coat adaptation of Dr. Seuss'
How the Grinch Boa
Christmas
in 2000, the studio added Seuss-associated attractions to its theme
parks and promised a series of live action films that would bring more of Theodor
Seuss Geisel's children's dream books to life. The second such suiting was
The Cat in the Hat
, the 1957 Edda take a mischievous feline in a hat
visiting two bored kids home alone on a rainy lifetime. The book remains an individual of the pre-eminent
selling hardcover children's books of all patch, and yet, anyone familiar with the
report of
The Cat in the Hat
could clearly wonder how the succinct story could
occupy an entire film. Leave it up to studios to flesh absent from these stories with
questionable filler corporeal, however, and much self-direction has been taken in expanding
the scope and characters of the tall tale. With Mike Myers acting in the just the same effective
receive-up that the Grinch required in the antecedent film,
The Cat in the Hat
has a genus of Tim Burton splash of coloration and wacky set target. Unfortunately,
the be on the cards of a lengthy franchise of Dr. Seuss films with Myers was kaput after
this 2003 account because a medley of factors. Gone from the series was James Horner,
and exchange for the music for this rainy day incident, children's covering warhorse David
Newman wrote a give someone a taste opposite a insufficient song contributions by nick and song-paragraphist
Marc Shaiman. Newman could easily division the distinction of genre chairwoman with John
Debney as a colleague of the bountiful tandem that scored the mass majority of major
studio children's films of this era. In the 2000's, Newman had been involved in
Ice Seniority
and
Scooby-Doo
, but unlike Debney, whose music often finds CD
shelves in either commercial or promotional aspect, Newman's breakneck speed of
output makes his scores a rare descry in any constitution. But in similar fashion to
Debney's styles for the genre, these Newman scores do begin to really logical alike
after a while. All of these scores are orchestrally rooted and instrumentally
creative, paying tribute to Carl Stalling and Raymond Scott's music of Warner
Brothers cartoons from yesteryear, and until now they don't often distinguish themselves
from project to layout.

			Learn more about supporting Filmtracks

Newman's rousing, slapstick orchestral score by reason of

The Cat in the
Hat

is no exception to this trend of generic children's music. In this case,
Newman works with a studio orchestra and without the support of any really
sui generis instruments (including the be of a choir). From the lengthy rift hint to
the finale, the score jumps at the overwhelming figure of the cat's luminary,
immediately thrilling from stem to stern a juggling of orchestral motifs to match the actions on
screen. A more half-hearted notion is established for the two kids at the start
of the layer, but the reckon of the non-stop topic changes in the film's release doesn't
allow during that (or any) theme to be developed beyond the position of the most root
motif. The cat's insistence on having skylarking jokingly is conveyed orchestrally by the docile
to barroom band instruments. Occasionally, a loungey throbbing purpose simple down the pace
of a reminder, but ten seconds later, the brass is ripping at the clip of a capture, and
ten seconds later, the woodwinds are performing a beautiful taste motif to the uninterrupted of
music coffer chimes. And five minutes later, the same rotation of ideas is recycled. A
important disappointment is the lack of truly unique instrumentation to represent
the cat's many ideas and methods of having fun. A ceremonious choo choo train whistle
can be heard hooting in "Rescuing Nevens," and furthermore, with the wild machinery
cleaning the organization in the falsehood, a particular would keep in view to hear more of this technique.
Newman does, to his credit, exhaust the percussion split in divers cues.
Shaiman, a humorist on the side, wrote a song (and its reprise of sorts) for the
cat's arrival, and suitable to its big fillet phraseology and unique headliner compared to the
same loved orchestral slapstick, this flap, "Fun, Fun, Rib," is a highlight of the
album. Even here, parents weight be horrified by lyrics that talk about castration
and asses; it's nowhere next to as vulgar as the lyrics in Shaiman's

South Park

songs, but it's conspicuous that the cat in the veil is even naughtier than the ditty in
the list. The Smash Mouth interpretation of the Beatles classic "Getting Better"
is an unfortunate deviation from the attitude of the rest of the album. Total,
Shaiman's material is affable (though short in length), but the predictable score
from Newman is simply more of the tired and not at all bad, but repetitive slapstick
material for cartoonish situations heard in countless compare favourably with pictures previously.
**

1. Main Documentation of ownership – The Kids (8:07)

2. Getting Recovered
- performed by Smash Mouth
(2:24)

3. The Cat (3:50)
4. Two Things/Couch Jumping/Leaky Crate (5:16)
5. Military Academy Seduction (3:02)

6. Mrs. Kwan – Mom Leaves (2:12)

7. Surfer Cat – The Phunometer (2:23)

8. Fun, Fun, Fun
- composed by Marc Shaiman/performed by Mike Myers
(2:38)

9. The Corrugate (1:53)

10. Oven Explodes – Clean Up This Get involved in (1:36)

11. Things Wreck the House (2:52)
12. Larry the Slob (3:10)
13. Birthday Helper (2:11)

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14. S.L.O.W. Aggressiveness (2:32)
15. Rescuing Nevens (4:27)
16. Clean Up
- composed by Marc Shaiman/performed by Mike Myers

A superbly malevolent modification of Jack London’s story about two fugitives (Garfield and Lupino) who come together on a deliver, only to come across themselves trapped as witnesses to a demonic battle of wits between Robinson’s psychopathic captain (a Bligh in sadism, an Ahab in driven obsession) and an altruistic writer (Knox) attempting to assert intellectual rule with no other weapon but his understanding. Given Robert Rossen’s strikingly literate arrange, Sol Polito’s wonderfully eerie camerawork, and Robinson’s terrific portrayal – all pulling together to elaborate the Luciferian motto borrowed from Milton by which the captain lives, ‘Better to reign in hell than to of use in heaven’ – this is a man of Curtiz’s best movies.

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Net posted on: Wednesday, October 21, 1998 11:16:02 AM EDT

From Reviewer Paul Clinton

(CNN) — "Apt Pupil" gets pretty spooky, and more than a bit strange. But this should come as no surprise since it's adapted from a novella by Stephen King. Brad Renfro plays Todd Bowden, a 16-year-old high school student who is just a
little too smart, and a little too curious for his own good. Ian McKellen
plays Kurt Dussander, a Nazi war criminal in hiding.

Todd is fascinated with the Holocaust. After his history class briefly studies
that period, he sets out on his own to find out more about that terrible time
in history. He spends hours researching the atrocities. Then, one day on a
bus, he sees a man who looks familiar, and he suddenly realizes he's looking at
Dussander, a notorious Nazi wanted for crimes against humanity.

Paul's Pix: "Apt Pupil"

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Theatrical vernissage for "Apt Pupil"
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Clip: "He felt safe"

Video clip:

3Mb QuickTime

Rather than turn the old man in to the authorities, he strikes a deal with
him. In a weird twist, Todd forces the old man to relive his days as an S.S.
Officer, and tell him every detail about the death camps — all the things they
don't teach you school. They then set off on a dangerous relationship that
reveals horrible emotions, painful memories, and awakens a terrible evil
within them both.

McKellen Oscar-worthy

McKellen plays Dussander as a seemingly meek old man, minding his own business,
and living out his lonely life in isolation. So when we discover his horrific
deeds from the past our reaction is intensified upon learning that such an
ordinary looking man could have done such extraordinarily evil things.

If Sir Ian McKellen (he was knighted in 1991) doesn't get an Oscar nomination
next year I'm gonna … I'm gonna — Well there's not much I can do but I'm not going to be happy. His work in "Apt Pupil," and the upcoming movie "Gods And Monsters," is outstanding and his brilliant career should be recognized.

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Renfro is also very believable in his role as the young boy. But I must admit
that at times his acting style gets on my nerves. He appears to be a believer
in the Ethan Hawkes' school of acting. Whenever he wants to convey deep
feelings — such as rage — he tucks in his chin, lowers his head and turns his eyes upwards. Then he delivers his lines through clenched teeth. We get it, Brad. We get it.

The usual Singer

This is the third feature film by 31-year-old director Brian Singer. His
second effort won two Academy Awards. In 1995 "The Usual Suspects" grabbed
the Oscar for Best Original Screenplay and Kevin Spacey went home with the Best
Supporting Actor award. In "Apt Pupil," Singer once again uses tension and mystery to great effect. The film isn't a mystery in the same way that "The Usual Suspects" was, but there are still many surprises, and you're never quite sure what's going to happen next.

This is a grim film with disturbing subject matter, but it's also a fascinating
character study in psychological warfare between the old man and the young
boy. This is a story about control. First the boy is in control. Then the old
man. Finally they both become overwhelmned as events take on a life of their
own and neither one of them are in control.

"Apt Pupil" addresses the question of evil and how absolute evil can corrupt
absolutely. I doubt if this film will have the broad appeal that "The Usual
Suspects" enjoyed, but this peek at the nasty side of human nature is
compelling and worth seeing.

"Apt Pupil" opens nationwide on Friday, October 23rd and is rated "R" (due to subject matter and violence) with a running time of 100 minutes.

Related stories:


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T
his film is a given of director John Ford’s masterpieces. It’s one of the few Westerns I enjoyed watching. No lovemaking, no nudity, mild wording, and mild violence make this videotape okay for teen-agers, however, there are racist undertones in the film that may fill up it inappropriate for younger children.

Ethan Edwards (John Wayne) is a Civilian War practised who fought in the course of the Confederates. He lives with his sister and an adopted young servant in America in the late 19th century. A moment, a band of wild Indians comes to their to the heart, burns it, killing most of Ethan’s family and kidnapping his niece.

Ethan and Martin Pawley (Jeffery Hunter), the young man who was adopted into the family set out to find Ethan’s young niece, accompanied by a few other men, including a pastor (Ward Bond). They encounter several setbacks along their journey involving love, injustices, prejudices, and, of course, Indians.

I saw this film for a paper I was writing for a history paper and it is quite clean as far as violence, language, and sex/nudity go. As mentioned earlier, this film does contain racist undertones. Ethan describes Indians as uncivilized and wild. It is quite clear that he is prejudiced against Native Americans. Martin, who is one-eighth Indian, is called “half breed” or “blanket head” by Ethan. A pastor is depicted in the film as a pessimistic, uncaring person who is also prejudiced against Native Americans, which is not how a pastor should act. A pastor is a servant of Christ who is to be an example of Christ to others.

The film isn’t all bad. It shows how devoted Ethan is to his family and how his love of his family set him off on a quest to find his missing niece. The “friendship” between Martin and Ethan becomes better and better as Ethan sees Martin more as a human being than a “half breed.”

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This kind of material should not be shown to younger children due to possible misconceptions of Native Americans that they might develop. This film should be appropriate for mature teens aged 13 and up.

Violence: Mild | Profanity: Minor | Sex/Nudity: None

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Getting sympathy for a pimp is a tricky
task for a movie, but not an unthinkable rhyme; that the pattern character of ‘Hustle
& Flow’ is violent, misogynistic, exploitative and self-absorbed is less of
a problem than the film’s exaltation of those attributes as the principle of an
admirable familiar alteration. Hats off, then, to Terrence Howard’s central
portrayal: as Memphis hustler DJay, fending in error a midlife emergency by taking a
shot at a onto hop livelihood, he creates a have of palpable frustration, then
recklessness appropriate for something advance than writer-director Craig Brewer’s script can
offer.

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Brewer gives a convincingly frayed prefer to
the impoverished Southern venue, from the cast’s uniform gloss of sweat to the
egg-carton sound insulation of the peaceful studio DJay sets up with an old flatmate
(Anthony Anderson) and a skinny white church boy (DJ Qualls). The crunk tunes
they produce there are pretty catchy too – hooks match ‘it’s hard out there because of
a pimp’, ‘whoop that trick’ and ‘stomp that ho’ despite that.

But the music’s
creation confirms rather than challenges DJay’s meretricious worldview: he
bullies one of his girls into singing a catchy chorus (the highlight of her
being, she later blubs) and pimps another out to get a larger mic (a tactic she
later embraces to ballyhoo his music). The action builds as a help to a tensely shot
gin-mill-room apex with a hip dance star (played by Ludacris), a hometown boy made
good whom DJay determines to affect. The aftermath should be the final wake-up
call to a character mired in destructive egotism; instead it proves the
springboard to a gangsta’s fantasy of triumph.

Waddington’s deliciously surprising second feature starts out incredibly bleakly, with its no one-too-lovely teeming diva (Casé) leaving her cursing mother’s home in the arid wastelands of north eastern Brazil, only to repayment with her son to find the old hand-to-hand encounter-axe dead, her elderly landlord proposing marriage and turning out to be an idle tyrant. Then gradually the movie mutates into an unsentimental but uplifting comedy celebrating Casé’s rise to power greater than not one but three husbands, all living comprised in the same roof. Inspired by a true story, the film subtly observes how the woman plays on her suitors’ jealousy, insecurity and pride, using her patience, good coddle and ribald sexuality to mortify them in unlikely, unspoken but acutely unfeigned competition with each other. Heading a extraordinary cast, Casé is simply surprising; Gilberto Gil’s music is both lovely and unqualifiedly in keeping with the film’s shifting moods; and Breno Silveira’s ‘Scope camerawork is both admirably to the point and visually sublime. A study.

“I felt like throwing up,” said Sudie Raulet, emerging from the film theater.

“I’m sorry I took her to see it,” said her boyfriend, Guy Palmer, “but I’m glad I saw it because it’s so different. It’s not something you’re going to see — ”

“Thank God,” interjected Raulet as they paused on the sidewalk, lighting up Merits and eyeing one another.

“It’s not something you’ll see made in America,” Palmer continued. “There’s too much homogeneity in Hollywood.”

“It just grossed me out,” she said.

And off they went into the night, two souls who, joined by 51 others for the 7 p.m. show Monday, had entered the Cineplex Odeon Avalon (capacity: 660) to view a movie by British director Peter Greenaway called “The Cook, the Thief, His Wife & Her Lover.”

The film contains scenes of human degradation — coprophagy, cannibalism, torture — so unrelieved that the Motion Picture Association of America rated it X and denied an appeal by the producers, who then decided to release it without a rating. A spokeswoman for the distributor, Miramax, said they were told by the association that the rating resulted from the “overall tone” of the movie and that “there’s no one scene they {the producers} could delete in order to get an R.”

Opinions Monday night varied on what, if any, is the moral point of the movie.

For Palmer, a computer analyst with the federal government, it was “an extraordinary lesson in the importance of manners. … Grotesque and disturbing. … I can’t believe that {Greenaway} and his backers would spend all that money if his message was just to disturb and upset people.” He said he was impressed by the “opulence and luxury” of the costumes and sets.

For Raulet, an administrator with a private company, there was no moral point. “It wasn’t uplifting, it was just so horrible.”

Anton Parker, a movie buff who owns a second-hand furniture store, thought the movie was “great” and “different,” adding later: “Let’s face it, it was a sick movie, for sick people, in a sick world. In one way, it depicts the closest one would want to get to hell.”

Why did he go? “I love things that are different. I’m like a little boy — when you’re told you shouldn’t do something, I make it my business to do it.”

His wife, Kathryn, who works in the Montgomery County courthouse, found the movie “fascinating.”

“It was brutal. During the more brutal scenes, I looked down — torturing the child, the murder of the lover. The rest of it was lush. I felt I was gorging on the sets.”

Freeman Fisher, publicity director for Cineplex Odeon in the Washington area, said the movie’s release here last Friday on the threshold of Passover and Holy Week wouldn’t hurt its chances. “That wasn’t a consideration,” he said. “It’s more that it’s spring break, college is out, and it’s a very popular film with the college kids.” Monday’s 7 p.m. audience, however, appeared to contain few persons of college age.

Fisher said the movie grossed about $30,000 over the weekend at the Avalon and the Cineplex Odeon Dupont Circle 5 — a good amount. He said it would “probably run for quite a while, at least six to eight weeks.”

Doree Huneven, a violin teacher, said she “loved” the movie “as an interpretation of gross materialism and commercialism and Thatcherism and Reaganism versus the finer things in life, such as intellectual activities, reading, thinking, writing, dining. … I think ‘The Texas Chainsaw Massacre’ and ‘RoboCop’ were 10 times worse. People’s sensibilities may be offended only because they weren’t sophisticated.”

Christine Swanson, a cancer researcher at the National Institutes of Health, said that although “it’s certainly not for everybody, I thought it was a good film. The subject is the moral decay of our society.”

She added, however, “I came close to getting physically ill at one point.”

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One local college professor who had entered the theater saying, “I think it’s supposed to be a comedy,” slipped away from a reporter, after the show, without comment.

Produced by Cooper himself, this comedy Western typecasts him as a mild-hifalutin wandering cowboy, given to bursts of inexpensively and hopelessly butter-fingered with a gun, who is mistaken for a hazardous the law (Duryea). Tickled by the respect that now attends him, Cooper soon finds himself in impregnated, being manipulated by Duryea’s childhood sweetheart (Young) until she has a change of spirit, while assorted people examine to still him, bring him to justice, or beat him up in the fancy of hijacking his loot. Scripted by Nunnally Johnson from a original by Alan LeMay, the coat demonstrates Johnson’s security that the man of letters is the auteur in cinema (the title even announces ‘Nunnally Johnson’s Along Came Jones’). Alas for illusions, but Stuart Heisler is absolutely hamstrung by having to adhere to a muddled script which cries out for pruning, with more visualisation and less verbiage. The three stars do their instrument adequately, but their supposed emotional cross-purposes come to come apart on the strictly two-dimensional characterisations. Frequent resource to upon someone-projected landscapes doesn’t help, either.

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