CASE 39: Movie Review | Case 39 Movie Review | Hollywood Review Case 39 Movie | Rating of Case 39 Movie

Cast: Renee Zellweger, Jodelle Ferland, Ian Mcshane, Bradley Cooper
Direction: Christian Alvart
Genre: Horror/ Psychological Thriller
Rating:

Fear is a state of mind. Christian Alvart through his film Case 39 gives you ample reason to place your head between your hands and clench it tightly, hoping your head won’t ache owing to the film’s intense and gruelling nature.

What surprises you about the film is that in spite of the story being a tad too predictable it never fails to scare you. From being a psychological suspense thriller the film swiftly transforms into a horror film and though the transformation seems unrealistic, the director succeeds in sending chills down your spine throughout, for which Case 39 is definitely worth a watch.

Emily (Renee Zellweger) is a family services social worker who feels strongly for children who go through any form of mental or physical abuse. One such Case 39 leads her to a ten year old Lilith (Jodelle Ferland) who seems trapped in her own house with parents who plan to kill her by roasting her in the oven! Emily reaches just on time and rescues Lilith. Lilith’s parents go behind the bars and till Lilith gets adopted by a nice family, Emily lets Lilith stay in her own house. However, all hell breaks loose when Emily senses there is more to Lilith than meets the eye.

Like ‘Orphan’, ( ‘Orphan’ Movie Review ), CASE 39, too, is about a ‘child from hell’ who leaves no stone unturned to ensure a miserable life for those around her. You can’t get rid of her and you can’t let her stay alive, what do you do with an evil child like that?

A warning for all the faint hearted and children: Case 39 is a film that drains you mentally and hits you psychologically. So, staying away would be a good option. But all those who like psychological thrillers, this one’s bound to test your fear factors and leave you drained and exhausted mentally.

It’s not the plot that really works here but the cinematography, sound effects and performances. Child actor Jodelle Ferland is superb and plays her character with conviction. Renee Zellweger has always been a good actor and it’s refreshing to see her in a horror film after ages. She does a great job. We were done seeing her in romcoms. Renee’s real life beau and ‘Hangover’ star Bradley Cooper plays her reel life love interest in this film, but the pair has zero chemistry. Bradley’s role isn’t significant. He does what Martin Henderson did in ‘The Ring’, so you can’t really blame the actor for not making his presence felt in the film.

Case 39 has its twists and turns which keeps you on the edge of your seat. The film drags in bits and parts but never loses its grip. If you liked ‘The Others’, ‘Orphan’... you will like this film.

Do not fear to shell out some cash and watch this mentally tormenting film in theatre, provided you like its genre.

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Joanna Krupa Playboy 2009 Pictures | Joanna Krupa Playboy Wallpaper

Joanna Krupa Playboy Magazine | Joanna Krupa Wallpaper | Joanna Krupa Hot Playboy Wallpaper | Joanna Krupa Wallpaper | Joanna Krupa Images | Joanna Krupa Download | Playboy Magazine Released with Joanna Krupa Front Page | Joanna Krupa Hot Images | Joanna Krupa images | Joanna Krupa high quality wallpapers | Joanna Krupa latest images | joanna krupa online | Joanna Krupa hot images | Joanna Krupa Playboy 2009 wallpaper | playboy 2009 wallpaper online

Swimsuit model Joanna Krupa will feature on the Playboy magazines December 2009 cover. Joanna is stripping down for the magazine for the second time in four years.

When asked about people who feel that posing for ‘Playboy’ is degrading to women , Joanna Krupa said

“I think they suffer from lack of knowledge and tunnel vision. How many of those self-important, so-called ‘feminists’ have been on the set when a celebrity shot a Playboy spread? There you go. What is feminist about discriminating a photo shoot just because it involves female (partial) nudity that happens to give men pleasure? Pathetic.”

 

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Avatar Movie Review | Avatar Movie interview with James Cameron 2009

James Cameron interview for Avatar - Long before James Cameron shot a frame of Titanic
he was working on a movie so ambitious and futuristic that it would be another 14 years before technology caught up with him and he could film it the way he wanted to.


The long-planned and much-hyped £160 million 3D science-fiction extravaganza Avatar will finally be released around the world just before Christmas, 12 years after Titanic, which was 55‑year-old Cameron’s last feature film and remains the biggest box-office hit of all time.

That record could be overtaken by the visually astonishing Avatar, whose ground-breaking techniques and spectacular effects are likely to revolutionise filmmaking and will set standards for years to come.
Cameron, whose filmmaking has always been notable for its technological innovations, explained it simply: “I basically sat down and put everything in this that I ever wanted to see in a movie – and that’s why it’s such a grab-bag of visual concepts.”

With a cup of coffee in hand and looking relaxed and in a pair of jeans and casual shirt, he was talking in his private projection room after screening 30 minutes of Avatar to a small invited group. It is impossible not to be fascinated and enthralled by his action-filled 3D vision of adventure and battles in an iridescent jungle on an alien planet, where hideous, dragon-like creatures appear to leap off the screen, flora and fauna wave in the air and a heroic avatar does battle with a pterodactyl-like beast before subduing it and soaring off on its back.



“It came from all the science-fiction books I read when I was a kid and it just gestated over time,” he said. “I did a lot of fantasy art and I had drawers full of drawings of creatures, characters, robots, spaceships and all that sort of thing. So for me I was just going back to my roots.”

As a teenager Cameron was so astounded at Stanley Kubrick’s 2001: A Space Odyssey that he saw it 10 times and became inspired to experiment with 16mm filmmaking and model-building. From his earliest filmmaking days – he first gained recognition for writing and directing The Terminator in 1984 – he has been a leading science-fiction auteur and special-effects visionary. Aliens, which he wrote and directed, snared seven Oscar nominations but he developed a reputation for making extreme demands on cast and crew; and The Abyss, which won an Oscar for best visual effects, was a notoriously difficult shoot.
While making Titanic he frequently clashed with studio bosses and the film was delayed because of his use of painstaking state-of-the-art special-effects technology. By his own account it was not an easy or pleasurable film to make, but it went on to receive 14 Oscar nominations, winning 11 including best picture and best director.

As Avatar’s star, Cameron chose the up-and-coming Australian actor Sam Worthington as Jake Sully, an ex Marine who has been wounded and paralysed from the waist down. He agrees to travel to Pandora, an Earthlike-planet with a lush rainforest environment, trees a thousand feet tall, floating mountains and an abundance of life forms, some beautiful and some terrifying. There he becomes an avatar, a human-hybrid who falls in love with a Na’vi, a young native woman who is 10ft tall, blue-skinned and played by Zoe Saldana, from Star Trek.

As he becomes increasingly involved with her and her clan he finds himself caught between the military industrial forces of Earth and the Na’vi, who are increasingly threatened by the human expansion on Pandora.

“We’re telling the story of what happens when a technologically superior culture comes into a place with a technologically inferior indigenous culture and there are resources there that they want,” said Cameron. “It never ends well.
“It’s also a love story about an awakening of perception through the other person. That person must teach him something and there has to be a greater reason for him to be in love with her other than she’s a hot blue alien chick.”
The Canadian-born Cameron and his staff have been experimenting for years with seamlessly blending live action footage with computer-generated techniques, including motion-capture CG that can record an actor’s facial expressions and a virtual camera system that allows Cameron to see in real time the way his actor-based CG characters interact with their virtual worlds.

“It’s fine to say, 'Hey, we did all this unprecedented stuff’, but you have to be willing to go through the painful steps of creating those things and going from an idea to a prototype to a production-ready toolset in a very, very rapid timeframe,” he said. “Avatar was driven by the maturation of the new technology.”

Cameron, who has always used his films as experimental sounding-boards for future projects, explained: “We had taken technology and pushed it a little bit further and got fluid computer-generated creatures on to the screen with The Abyss and we did the same thing again, pushing technology further, with Terminator 2.”

But it was not until he saw how Peter Jackson had created the Gollum character in Lord of the Rings that he felt it would be possible to make Avatar – although, he said: “We were going significantly beyond anything he had done because we had all sorts of different characters based on different actors.”

He went to New Zealand to meet Jackson, toured his special-effects workshop and hired Jackson’s Weta company to work on Avatar.

Cameron explained his methods as he took me on a tour of the offices of his Lightstorm company in an unobtrusive, three-storey building on a busy street in the centre of Santa Monica. It is there, in offices lined with movie posters and rooms containing models of outlandish-looking creatures, that his staff of 60 artists, writers, production assistants and computer experts work on bringing his sometimes impossible‑seeming ideas to the screen.
The first 18 months of the four years he spent working on Avatar were devoted to creating the plants, costumes, vehicles, weapons, and, of course the creatures. One room is filled with models of creatures he and his staff created for Avatar – the Leonopteryx, the Stingbat, the Direhorse, the Sturmbeest, the Hellfire Wasp and many others that didn’t make it into the movie.

The actors had to learn Na’vi, a language that a linguistics professor spent a year creating for the movie, and Worthington, who was previously in Terminator Salvation and will be seen in next year’s Clash of the Titans, spent 13 months rehearsing and filming his scenes. “I’ve never had a guy push me like that,” he recalled later.

Cameron hasn’t yet decided on the exact length of Avatar, although he says: “It’s much shorter than Titanic. Let me put it this way – it’s an epic and a full experience and the only reason it’s not longer is because it’s a 3D experience and we don’t know what people’s threshold is for that, so we’re erring a little bit on the conservative side.”

With plenty of story material left over and the creatures and technology in place it would seem that an Avatar sequel is inevitable, but Cameron is not so sure.
“I honestly don’t know how I feel about a sequel right now. I’d love for us to be successful enough to warrant it, but I don’t know if I actually want to spend another three years making one.”
The filmmaker, who spent a lot of time in deep-diving submarines for Titanic and his documentary Ghosts of the Abyss, added, laughing: “It’s pretty simple. I like to be an explorer and I like to be an artist. I find those two things most fulfilling and after Avatar is done and I’ve hopefully made a little money off it I can go and do some more exploring.”

'Avatar’ will be released on Dec 17.

Source - http://www.telegraph.co.uk/culture/film/6720156/James-Cameron-interview-for-Avatar.html

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