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Anna is working as an art teacher in the city, however she fails in the big city, and is given a job to teach a young girl by the name of Flora. In the movie though it appeared that Anna played the role of the nanny and the art teacher. I’m not really sure, it was too boring to figure it out fully, and too lame to want to rewind to get all of the answers.

In A Dark Place seemed like an interesting movie, solely because I based it on the DVD’s box cover. It looked like a gruesome horror movie surrounding children. Usually there is nothing creepier than evil kids.

Once I popped the movie in though, In A Dark Place, just dragged on and on, and nothing made much sense.

In the beginning Anna begins to sense that their is something deeply wrong with Flora. Only I never sensed it, or were given any examples of why she was labeled a disturbed child by Anna. So the kid doesn’t think finger paint is lady like. What’s so wrong about that?

Shortly after establishing a relationship with Flora, Anna gets a letter from some private school that Miles (Flora’s brother) is expelled from the school. When Anna goes to pick him up, she asks why he is expelled, but is not given a reason.
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Following in the footsteps of the Death Wish movies and this year’s earlier Death Sentence, Neil Jordan’s The Brave One tries with every bit of skill and talent it’s got to bring more complexity to the themes of vigilance and revenge. Instead of merely attempting to make the viewers complicit in the enjoyment of watching the wronged protagonists stepping outside the legal system and taking matters into their own hands, it uses a great actress like Jodie Foster to see the conflicted emotions such actions can yield. Ultimately, however, even this story loses its worth as it cowers from examining the real social consequences involved.

Like the first Death Wish, the movie sets itself in New York City where we meet radio personality Erica Bain (Jodie Foster) who happily lives with her fianc

Having never seen the stage version of Sweeney Todd: The Demon Barber of Fleet Street, I can’t speak to the fidelity the film shares with the play. That said, let there be no doubt that Tim Burton has crafted a true piece of musical cinema from Stephen Sondheim’s bloody masterpiece. To their discredit, early previews have hedged a bit regarding the singing in the film. In them we only see Johnny Depp canting some recitative as he prowls the streets of London. While this scene is certainly in the movie, it’s barely representative of the actual film which contains at least a dozen fully-staged numbers and only intermittent dialogue.

As the former Benjamin Barker, Depp is magnificent as Todd. His voice may lack the thunder that would be expected on stage, but on the big screen it’s more than suitable. Purists may find it a little ragged and flat at times–Michael Crawford needn’t worry about Depp–but it’s an ideal manifestation of the corrupting anger and rotting vengeance that fill Todd’s soul. The same can be said for Helena Bonham Carter as the fiendish Mrs. Lovett. Sure she will occasionally descend into something approaching a hectoring screech, but consider for a moment that she’s a baker who grinds people into meat and serves them up in piping hot pies!

Voices aside, both actors deliver rich, complex performances. The focus and intensity that Depp brings to his role is riveting. Within minutes of the film’s opening there is no doubt that Depp will have his revenge and have it with gusto. Taking a step back from the film, realize that Todd is a thoroughly despicable character. He often kills indiscriminately, but Depp is so powerful as Todd that you eventually begin to relish his countless murders. Carter’s Mrs. Lovett is, perhaps, even more of a psychopath. Slicing a throat is one thing. Butchering a man and then serving him up for dinner is quite another. Nevertheless, you delight in her, too.

As for the killings, Burton stages them in spectacularly gory fashion. The phrase ‘geysers of blood’ is often used casually when describing a violent film. In Sweeney Todd the phrase is explicitly correct. Depp is often obscured under the high-powered jets of plasma that repeatedly erupt from his customer’s necks. Amazingly, these scenes aren’t even the most disturbing. Once Todd finishes giving a ‘shave’, he dumps the corpse down a hole where it cracks loudly at the bottom as the skull splinters and the neck breaks cleanly. It’s all completely over the top and, of course, wonderful, hilarious, inspired.
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Southland Tales. As in Tales from Southern California, but a different California, where Dwayne “The Rock” Johnson is an action star turned prophet, Justin Timberlake is a veteran of Iraq, Sean-William Scott is actually a pair of twins, and Sarah Michelle-Gellar is a porn star named Krysta Now. “No-one rocks the cock like Krysta Now.” Or so we’re told. You never actually see her rocking the cock, and she is more than welcome.

But the film doesn’t try and pander to the type of audience who want to see a flash of tits. Actually, it doesn’t pander to anyone. It is by far and away the most experimental film to come out of Hollywood recently, if you discount David Lynch.

First of all, the film version of Southland Tales is actually chapters four, five and six. Hey if Star Wars did it… The first three chapters are found in the Southland Tales graphic novel, which actually makes more sense in itself and of the film as a whole, explaining the various theories behind the film, whereas the film itself drops the audience in the middle of a world that is far removed from the one we live in.

There is wi-fi energy known as Fluid Karma, a screenplay written while under the influence of drugs that foretells the End Of Days, and some freaky time travelling. So, everything you would expect from the brains behind Donnie Darko.
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