Friday, November 25, 2011

From Justin to Kelly

  • Widescreen
America's favorite "Idols" Justin Guarini and Kelly Clarkson make the leap to the big screen in this high-energy comedy set during spring break in Miami-where the music, dancing, and fun in the sun never stop. It's love at first splash when a shy singer (Clarkson) from Texas hooks up with a cute Pennsylvania college student (Guarini) at the ultimate beach party, but a series of mix-ups and misunderstandings may prevent their budding romance from reaching the final round!Kelly Clarkson's fresh-faced, small-town-girl charm--the charisma that led her to win the first season of American Idol--is on full display in From Justin to Kelly, a contemporary beach-party movie co-starring her former competition, Justin Guarini. The flimsy plot--Kelly and two gal pals go to the beach for spring break, where one of her friends gets jealous of Kelly and tries to ruin her budding roma! nce with Justin--is just an excuse for glossy pop musical numbers, in which Kelly, Justin, and the rest of the cast exercise their glossy throats with lots of white soul vocal stylings. The best musical numbers suggest a new kind of disco-fueled pop operetta, with everyone singing the story along; you may wish that Kelly and Justin sang their way through the entire movie, never speaking at all. Plenty of skin--from girls and boys--is on display, but the overall tone is squeaky clean. --Bret FetzerAmerica's favorite "Idols" Justin Guarini and Kelly Clarkson make the leap to the big screen in this high-energy comedy set during spring break in Miami-where the music, dancing, and fun in the sun never stop. It's love at first splash when a shy singer (Clarkson) from Texas hooks up with a cute Pennsylvania college student (Guarini) at the ultimate beach party, but a series of mix-ups and misunderstandings may prevent their budding romance from reaching the final round!Kell! y Clarkson's fresh-faced, small-town-girl charm--the charisma ! that led her to win the first season of American Idol--is on full display in From Justin to Kelly, a contemporary beach-party movie co-starring her former competition, Justin Guarini. The flimsy plot--Kelly and two gal pals go to the beach for spring break, where one of her friends gets jealous of Kelly and tries to ruin her budding romance with Justin--is just an excuse for glossy pop musical numbers, in which Kelly, Justin, and the rest of the cast exercise their glossy throats with lots of white soul vocal stylings. The best musical numbers suggest a new kind of disco-fueled pop operetta, with everyone singing the story along; you may wish that Kelly and Justin sang their way through the entire movie, never speaking at all. Plenty of skin--from girls and boys--is on display, but the overall tone is squeaky clean. --Bret FetzerDVD

Food, Inc.

  • In Food, Inc., filmmaker Robert Kenner lifts the veil on our nation's food industry, exposing the highly mechanized underbelly that's been hidden from the American consumer with the consent of our government's regulatory agencies, USDA and FDA. Our nation's food supply is now controlled by a handful of corporations that often put profit ahead of consumer health, the livelihood of the American farm
Studio: Sony Pictures Home Ent Release Date: 05/13/2008 Run time: 82 minutes Rating: PgGeorge, Dave, Ray, and Rodney. Not a singing group, but four real-life individuals dedicated to controlling the entities that don't take kindly to their efforts. George Mendonca is a topiary gardener who spends his time taming tendrils of plant life into animal shapes. Why? Because he can, and apparently it's no easy job. One slip of the clipper and a green and leafy body part can go bye-bye for years. Dave Hoo! ver takes on big cats under the big top. An admirer of the famous lion tamer, Clyde Beatty, Dave comes out of the lion ring covered with sweat. Not from working hard, but from hand-trembling fear. Ray Mendez, a mole-rat expert, waxes eloquently about the social structure of these sightless, hairless natural wonders who wear their teeth on the outside of their lips. But if you want to see a real wacko at work, watch Rodney Brooks, a robotics expert who is convinced our extinction will be the first step in a takeover of tin men.

In Fast, Cheap & Out of Control, documentarian Errol Morris proves that the weird and obscure are just as interesting as the rich and famous. Morris tries to add depth to his subjects with his out-of-control editing technique, which after a while becomes an annoying distraction; these guys are fascinating enough all by themselves. The blare of the background music is also a bit much. Despite these shortcomings, though, if you like taking a! voyeuristic peek into other people's lives, Fast, Cheap & ! Out of C ontrol gives you plenty to look at. --Luanne BrownGeorge, Dave, Ray, and Rodney. Not a singing group, but four real-life individuals dedicated to controlling the entities that don't take kindly to their efforts. George Mendonca is a topiary gardener who spends his time taming tendrils of plant life into animal shapes. Why? Because he can, and apparently it's no easy job. One slip of the clipper and a green and leafy body part can go bye-bye for years. Dave Hoover takes on big cats under the big top. An admirer of the famous lion tamer, Clyde Beatty, Dave comes out of the lion ring covered with sweat. Not from working hard, but from hand-trembling fear. Ray Mendez, a mole-rat expert, waxes eloquently about the social structure of these sightless, hairless natural wonders who wear their teeth on the outside of their lips. But if you want to see a real wacko at work, watch Rodney Brooks, a robotics expert who is convinced our extinction will be the first step in a ta! keover of tin men.

In Fast, Cheap & Out of Control, documentarian Errol Morris proves that the weird and obscure are just as interesting as the rich and famous. Morris tries to add depth to his subjects with his out-of-control editing technique, which after a while becomes an annoying distraction; these guys are fascinating enough all by themselves. The blare of the background music is also a bit much. Despite these shortcomings, though, if you like taking a voyeuristic peek into other people's lives, Fast, Cheap & Out of Control gives you plenty to look at. --Luanne BrownFood, Inc. lifts the veil on our nation's food industry, exposing how our nation's food supply is now controlled by a handful of corporations that often put profit ahead of consumer health, the
livelihood of the American farmer, the safety of workers and our own environment. Food, Inc. reveals surprising and often shocking truths about what we eat, how it's produced and who w! e have become as a nation.

Q&A w ith Producer/Director Robert Kenner, Co-Producer/Food Expert Eric Schlosser, Food Expert Michael Pollan and Producer Elise Pearlstein

How did this film initially come about?
Kenner: Eric Schlosser and I had been wanting to do a documentary version of his book, Fast Food Nation.  And, for one reason or another, it didn't happen. By the time Food, Inc. started to come together, we began talking and realized that all food has become like fast food, and all food is being created in the same manner as fast food.

How has fast food changed the food we buy at the supermarket?
Schlosser: The enormous buying power of the fast food industry helped to transform the entire food production system of the United States.  So even when you purchase food at the supermarket, you’re likely to be getting products that came from factories, feedlots and suppliers tha! t emerged to serve the fast food chains.

How many years did it take to do this film and what were the challenges?
Kenner: From when Eric and I began talking, about 6 or 7 years.  The film itself about 2 ½ years.  It has taken a lot longer than we expected because we were denied access to so many places.

Pearlstein: When Robby brought me into the project, he was adamant about wanting to hear all sides of the story, but it was nearly impossible to gain access onto industrial farms and into large food corporations.  They just would not let us in.  It felt like it would have been easier to penetrate the Pentagon than to get into a company that makes breakfast cereal.  The legal challenges on this film were also unique.  We found it necessary to consult with a first amendment lawyer throughout the entire filming process.

Who or what influenced your film?
Kenner: This film was really influenced by Eric Schlosser and ! Fast Food Nation, but then as we were progressing and had actually gotten funding, it became very influenced as well by Michael Pollan and his book Omnivore’s Dilemma. 

And then, as we went out into the world, we became really incredibly influenced by a lot of the farmers we met.

What was the most surprising thing you learned?
Kenner: As we set out to find out how our food was made, I think the thing that really became most shocking is when we were talking to a woman, Barbara Kowalcyk, who had lost her son to eating a hamburger with E. coli, and she’s now dedicated her life to trying to make the food system safer. It’s the only way she can recover from the loss of her child. But when I asked her what she eats, she told me she couldn't tell me because she would be sued if she answered.

Or we see Carol possibly losing her chicken farm … or we see Moe, a seed cleaner who’s just being sued for am! ounts that there’s no way he can pay, even though he’s not guilty of anything.  Then we realized there’s something going on out there that supersedes foods. Our rights are being denied in ways that I had never imagined. And it was scary and shocking. And that was my biggest surprise.

So, what does our current industrialized food system say about our values as a nation?
Pollan:
It says we value cheap, fast and easy when it comes to food like so many other things, and we have lost any connection to where our food comes from.

Kenner: I met a cattle rancher and he said, you know, we used to be scared of the Soviet Union or we used to think we were so much better than the Soviet Union because we had many places to buy things.  And we had many choices.  We thought if we were ever taken over, we’d be dominated where we’d have to buy one thing from one company, and how that’s not the American way.  And he said y! ou look around now, and there’s like one or two companies do! minating everything in the food world. We’ve become what we were always terrified of.

And that just always haunted me â€" how could this happen in America?  It seems very un-American that we would be so dominated, and then so intimidated by the companies that are dominating this marketplace.

How has the revolving door relationship between giant food companies and Washington affected the food industry?
Pearlstein:
We discovered that the food industry has managed to shape a lot of laws in their favor.  For example, massive factory farms are not considered real factories, so they are exempt from emissions standards that other factories face.  A surprising degree of regulation is voluntary, not mandatory, which ends up favoring the industry. 

What have been the consequences for the American consumer?
Kenner:
Most American consumers think that we are being protected.  But that is not the case.  Right now the USDA! does not have the authority to shut down a plant that is producing contaminated meat.  The FDA and the USDA have had their inspectors cut back.  And it’s for these companies now to self-police, and what we’ve found is, when there’s a financial interest involved, these companies would rather make the money and be sued than correct it.  Self-policing has really just been a miserable failure.  And I think that's been really quite harmful to the American consumer and to the American worker. 

Pearlstein: The food industry has succeeded in keeping some very important information about their products hidden from consumers.  It’s outrageous that genetically modified foods don’t need to be labeled.  Today more than 70% of processed foods in the supermarket are genetically modified and we have absolutely no way of knowing.  Whatever your position, you should have the right to make informed choices, and we don’t.  Now the FDA is contempla! ting whether or not to label meat and milk from cloned cows. ! It seem s very basic that consumers should have the right to know if they’re eating a cloned steak.

Is it possible to feed a nation of millions without this kind of industrialized processing?
Pollan:
Yes.  There are alternative ways of producing food that could improve Americans’ health.  Quality matters as much as quantity and yield is not the measure of a healthy food system.  Quantity improves a population’s health up to a point; after that, quality and diversity matters more.  And it’s wrong to assume that the industrialized food system is feeding everyone well or keeping the population healthy.  It’s failing on both counts.

There is a section of the film that reveals how illegal immigrants are the faceless workers that help to bring food to our tables.  Can you give us a profile of the average worker?
Schlosser:
The typical farm worker is a young, Latino male who does not speak English and earns about $! 10,000 a year.  The typical meatpacking worker has a similar background but earns about twice that amount.  A very large proportion of the nation’s farm workers and meatpackers are illegal immigrants.

Why are there so many Spanish-speaking workers?
Kenner:
The same thing that created obesity in this country, which is large productions of cheap corn, has put farmers out of work in foreign countries, whether it’s Mexico, Latin America or around the world.  And those farmers can no longer grow food and compete with the U.S.’ subsidized food.  So a lot of these farmers needed jobs and ended up coming into this country to work in our food production.

And they have been here for a number of years.  But what’s happened is that we’ve decided that it’s no longer in the best interests of this country to have them here.  But yet, these companies still need these people and they’re desperate, so they work out deals where they ca! n have a few people arrested at a certain time so it doesn’t! affect production. But it affects people’s lives.  And these people are being deported, put in jail and sent away, but yet, the companies can go on and it really doesn’t affect their assembly line.  And what happens is that they are replaced by other, desperate immigrant groups.

Could the American food industry exist without illegal immigrants?
Schlosser:
The food industry would not only survive, but it would have a much more stable workforce.  We would have much less rural poverty.  And the annual food bill of the typical American family would barely increase.  Doubling the hourly wage of every farm worker in this country might add $50 at most to a family’s annual food bill.

What are scientists doing to our food and is it about helping food companies’ bottom line or about feeding a growing population?
Schlosser:
Some scientists are trying to produce foods that are healthier, easier to grow, and better for the! environment.  But most of the food scientists are trying to create things that will taste good and can be made cheaply without any regard to their social or environmental consequences.

I am not opposed to food science.  What matters is how that science is used … and for whose benefit.

Can a person eat a healthy diet from things they buy in the supermarket if they are not buying organic? If so, how?
Pollan:
Yes, the supermarkets still carry real food.  The key is to shop the perimeter of the store and stay out of the middle where most of the processed food lurks.

How are low-income families impacted at the supermarket?
Kenner:
Things are really stacked against low-income families in this country.  There is a definite desire of the food companies to sell more product to these people because they have less time, they’re working really hard and they have fewer hours in their day to cook.  And the fast! food is very reasonably priced.  Coke is selling for less th! an water .  So when these things are happening, it’s easier for low-income families sometimes to just go in and have a quick meal if they don’t get home until 10 o’clock at night.  At the moment, our food is unfairly priced towards bad food.

And, in the same way that tobacco companies went after low-income people because they were heavy users, food companies are going after low-income people because they can market to them, they can make it look very appealing.

What can low-income families do to eat healthier?
Schlosser:
As much as possible, they can avoid cheap, processed foods and fast foods.  It’s possible to eat well and inexpensively.  But it takes more time and effort to do so, and that’s not easy when you’re working two jobs and trying to just to keep your head above water.  The sad thing is that these cheap foods are ultimately much more expensive when you factor in the costs of all the health problems that come later.

Pollan: It’s possible to eat healthy food on a budget but it takes a greater investment of time.  If you are willing to cook and plan ahead, you can eat local, sustainable food on a budget.

If someone wanted to get involved and help change the system, what would you suggest they do?
Pearlstein:
I hope people will want to be more engaged in the process of eating and shopping for food.  We have learned that there are a lot of different fronts to fight on this one, and people can see what most resonates with them.  Maybe it’s really just “voting with their forks” â€" eating less meat, buying different food, buying from companies they feel good about, going to farmers markets.

People can try to find a CSA â€" community supported agriculture â€" where you buy a share in a farm and get local food all year.  That really helps support farmers and you get fresh, seasonal food.  On the local political level, p! eople can work on food access issues, like getting more market! s into l ow income communities, getting better lunch programs in schools, trying to get sodas out of schools.  And on a national level, we’ve learned that reforming the Farm Bill would have a huge influence on our food system. It requires some education, but it is something we should care about.

What do you hope people take away from this film?
Schlosser:
I hope it opens their eyes.

Kenner: That things can change in this country. It changed against the big tobacco companies.  We have to influence the government and readjust these scales back into the interests of the consumer.  We did it before, and we can do it again.

Pollan: A deeper knowledge of where their food comes from and a sense of outrage over how their food is being produced and a sense of hope and possibility of the alternatives springing up around the country.  Food, Inc. is the most important and powerful film about our food s! ystem in a generation.

For most Americans, the ideal meal is fast, cheap, and tasty. Food, Inc. examines the costs of putting value and convenience over nutrition and environmental impact. Director Robert Kenner explores the subject from all angles, talking to authors, advocates, farmers, and CEOs, like co-producer Eric Schlosser (Fast Food Nation), Michael Pollan (The Omnivore's Dilemma), Gary Hirschberg (Stonyfield Farms), and Barbara Kowalcyk, who's been lobbying for more rigorous standards since E. coli claimed the life of her two-year-old son. The filmmaker takes his camera into slaughterhouses and factory farms where chickens grow too fast to walk properly, cows eat feed pumped with toxic chemicals, and illegal immigrants risk life and limb to bring these products to market at an affordable cost. If eco-docs tends to preach to the converted, Kenner presents his findings in such an engaging fashion that Food, Inc. may well reach the very ! viewers who could benefit from it the most: harried workers wh! o don't have the time or income to read every book and eat non-genetically modified produce every day. Though he covers some of the same ground as Super-Size Me and King Corn, Food Inc. presents a broader picture of the problem, and if Kenner takes an understandably tough stance on particular politicians and corporations, he's just as quick to praise those who are trying to be responsible--even Wal-Mart, which now carries organic products. That development may have more to do with economics than empathy, but the consumer still benefits, and every little bit counts. --Kathleen C. Fennessy

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Get on the bio-fueled bus with actor and activist Woody Harrelson and his band of "Merry Hempsters" as they embark on a 1,300-mile road trip from Seattle to Santa Barbara to promote environmental awareness and "Simple Organic Living." Pop and counter-culture documentarian Ron Mann (Grass, Comic Book Confidential, Twist) chronicles every leg of Harrelson’s journey, from college campus appearances! and encounters with curious onlookers, to a visit with 1960s icon Ken Kesey. With his fellow travelers, including one confessed junk food addict, Harrelson is determined to change hearts and minds, one hemp burger and sweet avocado chocolate mousse pie at a time. Featuring the music of Natalie Merchant, Bob Weir, Anthony Kiedis and Dave Matthews. "It’s all good, dude."In Natural Born Killers, Woody Harrelson played a mass murderer on a road trip killing spree. In Go Further, Harrelson has returned to the road, this time as himself, and this time he’s out to save the earth. The film documents a trip down the Pacific coast Harrelson and assorted friends took in the summer of 2001 in a bio-diesel and hemp oil-fueled bus. Along the way they tackled various stretches by bike, did a lot of yoga, spoke in front of college crowds about environmental awareness, ate avocado-based delicacies prepared by the on-board raw foods chef, and encountered rock stars like Bo! b Weir, Natalie Merchant, and Anthony Kiedis. Your run of the ! mill roa d trip, in other words. Harrelson’s buddy, the junk food addict Steve Clark emerges as the star, if stardom means the ability to expound on the evils of non-organic milk at length. Herein lies the conundrum. For all its earnestness, or maybe because of it, Go Further drags. It’s a movie with its heart in the right place, but that seems unwilling to preach to anyone outside the choir. The best bits are those in which Harrelson and the crew encounter folks who don't share their point of view--inhalant-addicted teens in Oregon, small town folks who sneeringly refer to Harrelson as "Woody Allen." Opportunities for confrontation are eschewed lest anyone's vibe gets harshed. One almost wishes Michael Moore had been hitchhiking along US Route 1 that summer. --Ryan BoudinotActor Woody Harrelson, along with his friends from the 2003 Toronto Film Festival hit, Go Further, directed by Ron Mann, encourages people to "walk on the earth with a lighter footprint" in How T! o Go Further: A Guide to Simple Organic Living.

Covering a wide range of topicsâ€"such as organic food, alternative energy, yoga, and political activismâ€"the book has its roots in 2001's "Simple Organic Living (SOL) Tour." The tour saw Woody and his companionsâ€"including a yoga teacher, a raw food chef, and a confessed "junk food junkie"â€"biking down the Pacific coast and talking to people about how to lead a happier, healthier life while using less of the world's resources.

The book also features writing from some of the tour's other participants, as well as from well-known activists such as John Schaeffer, founder and president of Real Goods, a company devoted to creating alternative energy options, and Howard "Twilly" Cannon, former skipper of Greenpeace's Rainbow Warrior.Hypermiling: How to Make Your Car Go Further with Less Gas

Table of Contents

Chapter 1
Introduction page 4

Chapter 2
What is Hypermiling? Page! 7

Chapter 3
Why has Hypermiling become so Pop! ular Rec ently? Page 9

Chapter 4
Drive more Fuel Efficiently page 11

Chapter 5
Keep your Vehicle in Good Working Condition page 14

Chapter 6
What can you Remove to Make your Vehicle Lighter? Page 18

Chapter 7
Is it Time to get a New Vehicle? Page 20

Chapter 8
Additional Tips that can Help your Car go Further with Less Gas page 22

Chapter 9
Evaluating the Results of your Efforts page 24

Chapter 10
Conclusion page 26

Gas-saving Devices: Fuel Saver or
Consumer Scam?

Table of Contents

Chapter 1
Introduction Page 4

Chapter 2
Oil and Gas Additives Page 7

Chapter 3
Magnetic Devices Page 10

Chapter 4
Air Injection Products Page 12

Chapter 5
Be Wary of the Testimonials that a Product Offers Page 15

Chapter 6
Gas Saving Devices and Products that can Work Page 17!

Chapter 7
Save Money on Gas with Hypermiling Strategies Page 21

Chapter 8
Conclusion Page 25

Scooters, Mopeds, and Other Fuel Efficient Vehicles

Chapter 1
Introduction Page 4

Chapter 2
Types of Fuel Efficient Vehicles Page 5

Chapter 3
Motorcycles Page 6

Chapter 4
Mopeds Page 9

Chapter 5
Scooters Page 11

Chapter 6
Hybrids Page 12

Chapter 7
Bio-Diesel Power Page 17

Chapter 8
Top Gas Powered Cars that are Fuel Efficient Page 20

Chapter 9
Conclusion Page 24



Hypermiling: How to Make Your Car Go Further with Less Gas

Table of Contents

Chapter 1
Introduction page 4

Chapter 2
What is Hypermiling? Page 7

Chapter 3
Why has Hypermiling become so Popular Recently? Page 9

Chapter 4
Drive more Fuel Efficiently page 11

Chapter 5!
Keep your Vehicle in Good Working Condition page 14
Chapter 6
What can you Remove to Make your Vehicle Lighter? Page 18

Chapter 7
Is it Time to get a New Vehicle? Page 20

Chapter 8
Additional Tips that can Help your Car go Further with Less Gas page 22

Chapter 9
Evaluating the Results of your Efforts page 24

Chapter 10
Conclusion page 26

Gas-saving Devices: Fuel Saver or
Consumer Scam?

Table of Contents

Chapter 1
Introduction Page 4

Chapter 2
Oil and Gas Additives Page 7

Chapter 3
Magnetic Devices Page 10

Chapter 4
Air Injection Products Page 12

Chapter 5
Be Wary of the Testimonials that a Product Offers Page 15

Chapter 6
Gas Saving Devices and Products that can Work Page 17

Chapter 7
Save Money on Gas with Hypermiling Strategies Page 21

Chapter 8
Conclusion Page 25

Scooters, Mopeds, and Other Fuel Efficient Vehicles

Chapter 1
Introduction Page 4

Chapter 2
Types of Fu! el Efficient Vehicles Page 5

Chapter 3
Motorcycles Page 6

Chapter 4
Mopeds Page 9

Chapter 5
Scooters Page 11

Chapter 6
Hybrids Page 12

Chapter 7
Bio-Diesel Power Page 17

Chapter 8
Top Gas Powered Cars that are Fuel Efficient Page 20

Chapter 9
Conclusion Page 24



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The Brothers Bloom Poster Movie B 11x17 Adrien Brody Mark Ruffalo Rachel Weisz Rinko Kikuchi

  • Approx. Size: 11 x 17 Inches - 28cm x 44cm
  • Size is provided by the manufacturer and may not be exact
  • The Amazon image in this listing is a digital scan of the poster that you will receive
  • The Brothers Bloom 11 x 17 Inches Style B Mini Poster
  • Packaged with care and shipped in sturdy reinforced packing material
All their lives, brothers Stephen (Ruffalo) and Bloom (Brody) have perfected the fine art of the con. Now they’re ready for one last spectacular scoreâ€"luring Penelope (Weisz), an eccentric heiress, into an elaborate scheme that takes them around the world. Watch as writer/director Rian Johnson’s (Brick) caper unravels in this brilliant, comedic tale.Writer-director Rian Johnson’s The Brothers Bloom has a lot going for it, like an excellent cast doing good work, fabulous locations, a sumptuou! s look, and some interesting ideas in a genre that’s rife with possibilities. Somehow, though, the film is a whole that’s less than the sum of its parts. We meet siblings Stephen and Bloom, the products of numerous foster homes, at ages 13 and 10, respectively, as they’re starting to develop the skills and savvy that will help them become the full-blown scam-meisters they are when we meet up with them in their thirties (with Mark Ruffalo taking over as Stephen and Adrien Brody as Bloom). It seems Bloom wants to pack it in and live "an unwritten life" free of his brother’s elaborate schemes. But Stephen, who is now accompanied by a sidekick named Bang Bang (Babel’s Rinko Kikuchi, in an amusing, mostly silent performance as what Stephen refers to as "our fifth Beatle"), convinces his younger brother to take part in one last swindle, this one targeting the filthy rich Penelope Stamp (Rachel Weisz), who lives alone in what’s described as the biggest house on ! the eastern seaboard. Penelope’s an oddball, to say the leas! t, havin g overcome a sickly childhood and become a master hobbyist whose skills rage from origami and playing six or eight instruments to riding a unicycle while balancing two chainsaws. Posing as antiquities dealers, the brothers pull her into a scheme that takes the trio all over the world (Greece, Prague, Montenegro, St. Petersburg, Mexico). Needless to say, complications ensue. Penelope turns out to be pretty good at the con game herself; what’s more, we know from the moment Stephen warns Bloom not to fall in love with her that he’ll quickly do exactly that. For sure, The Brothers Bloom has its high points, with surreal touches and amusing moments that help counterbalance its fairly arch overall tone. But in the end, it feels as if Johnson is trying too hard, sacrificing character for cleverness, and it’s the audience--even those who enjoy and are adept at sorting through the various clues and red herrings to figure out what’s supposedly really happening--that fee! ls conned, or at least finds it difficult to care. --Sam GrahamStudio: Uni Dist Corp. (summit) Release Date: 09/29/2009 Rating: Pg13Writer-director Rian Johnson’s The Brothers Bloom has a lot going for it, like an excellent cast doing good work, fabulous locations, a sumptuous look, and some interesting ideas in a genre that’s rife with possibilities. Somehow, though, the film is a whole that’s less than the sum of its parts. We meet siblings Stephen and Bloom, the products of numerous foster homes, at ages 13 and 10, respectively, as they’re starting to develop the skills and savvy that will help them become the full-blown scam-meisters they are when we meet up with them in their thirties (with Mark Ruffalo taking over as Stephen and Adrien Brody as Bloom). It seems Bloom wants to pack it in and live "an unwritten life" free of his brother’s elaborate schemes. But Stephen, who is now accompanied by a sidekick named Bang Bang (Babel’s Rink! o Kikuchi, in an amusing, mostly silent performance as what St! ephen re fers to as "our fifth Beatle"), convinces his younger brother to take part in one last swindle, this one targeting the filthy rich Penelope Stamp (Rachel Weisz), who lives alone in what’s described as the biggest house on the eastern seaboard. Penelope’s an oddball, to say the least, having overcome a sickly childhood and become a master hobbyist whose skills rage from origami and playing six or eight instruments to riding a unicycle while balancing two chainsaws. Posing as antiquities dealers, the brothers pull her into a scheme that takes the trio all over the world (Greece, Prague, Montenegro, St. Petersburg, Mexico). Needless to say, complications ensue. Penelope turns out to be pretty good at the con game herself; what’s more, we know from the moment Stephen warns Bloom not to fall in love with her that he’ll quickly do exactly that. For sure, The Brothers Bloom has its high points, with surreal touches and amusing moments that help counterbalance its fai! rly arch overall tone. But in the end, it feels as if Johnson is trying too hard, sacrificing character for cleverness, and it’s the audience--even those who enjoy and are adept at sorting through the various clues and red herrings to figure out what’s supposedly really happening--that feels conned, or at least finds it difficult to care. --Sam GrahamA collection of critical essays on Shakespeare's problematical comedy "Measure for Measure" arranged in chronological order of publication.The Brothers Bloom reproduction Approx. Size: 11 x 17 Inches - 28cm x 44cm Style B mini poster print

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