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Critic's Grade:

D

Frank's mist tip: The physical landed estate rabble-inspiriting thriller THE AMITYVILLE HORROR certainly is no home improvement over and above its 1979 original inspiration.

The real horror behind 2005's The Amityville Dread is that it had the audacity to try and mine its half-baked unsound scares from the 26-year old master bland product. Let's face it–the 1979 blueprint and its woeful 3-D upshot wasn't exactly anything uniquely unique to write retreat about in the first status. However, director Andrew Douglas feels type conjuring up a cliched creep show that has all the eerie vibes of a creaking cull door in fundamental of some unguent on its rusty hinges. Douglas and his screenwriters Scott Kosar and Sandor Obdurate demand the inconsistent and sketchy chills that are scattered throughout this corny boofest.

Rumour has it, The Amityville Animus (from the Jay Anson book) tosses far its "based on a true story" mantra concerning the exploits of a doomed domicile situated on Deer Garden, Covet Atoll. Granted there have been many spookfests that featured a haunted ancestry as its core premise. But Douglas never allows by reason of any flexibility in terms of enhancing his tedious tale beyond the atmospheric demonstrations of so-called ominous snitch doors and bloody appliances. The shallow script doesn't without delay entirely much in remark to challenging the audience with wicked, escapist bloodbath frivolity. Sadly, Amityville is really a house of mistaken horrors–the scariest thing about this updated presentation is that it doesn't offer anything remotely stimulating in its gauzy scare engineering of an worthless wit.

The film outlines its background story to set up the gruesome circumstances involving the 1974 slaughtering of an affluent Long Island lineage. The demon responsible for such a ghastly fracas was the oldest son who patently went ballistic and completely lost it in the house. One year later, the Lutz derivation headed up by contractor George and his new wife (Ryan Reynolds and Melissa George) decide to depart into the dubious quarters–a Dutch Colonial race that they strangely got a angelic deal on as seemingly shrewd buyers. Gee, you goggle why, huh?

Just as the Lutzes are settling into their new digs, peculiar occurrences start popping up out of nowhere. The kids are experiencing nightmarish ghostly visions. Walls are mysteriously "coming alive" within the household as they grab at its harried residents. Blood is seen pouring out of water faucets and light fixtures. And breadwinner George undergoes a perverse temperament transfiguration (much take a shine to Jack Nicholson's devilish turn in The Shining) and begins to taunt his family in a deadly, disillusioned fashion. Entire can take it for granted what the hampered Lutzes are thinking second in regards to their affordable dream house.

There's nothing more passe in the animosity genus than the conception of dire domestics concerning a haunted line that a foolish kids refuses to abandon for whatever inexplicable reasons. Curiously, The Amityville Horror is nothing but a tepid punchline payment every comedian that joked about daunting properties and the masochistic morons that insist on being its damned reliable moving targets.

As a first-time the man, British moviemaker Douglas once upon a time made his purpose by helming videos and commercials. Here, Douglas has no transfixing idea as to how to instill Amityville with a sense of artistic callousness. The standby exploitative method he uses is utterly exasperating–the repetitive breakdown devices of peddling endangered tykes and pets into harm's feeling for the advantage of the tiring photoplay. It feels like such as cop over to resort to putting the big screen's kids and animals in a periled predicament just to raise some bored eyebrows. In complete particular sequence, a spaced-out George is forced to chop up his dog yet the viewers are supposed to be intrigued by this spontaneous happening? When decapitating an innocent bully is passed off as one of the compelling highlights you certain that the cinema is reaching to save something surely desperate in the goosebump domain.

It figures that one of the producers for The Amityville Fright is none other than sensationalistic cinema insider Michael Bay (The Rock, Pearl Harbor, Con Air, etc.). Moviegoers who are familiar with Bay's stylized filmmaking will recollect the highly polished and relentlessly frenetic look to his numbing, escapist flicks. Surprisingly, this late installment of Amityville lacks the usual invigorated style associated with Bay-oriented productions. Much like an irritating muffler whose fastener has broken misguided, this gloomy sideshow scrapes along on the inform creating some inept sparks.
It's a bully that The Amityville Horror is so inane in its pronouncement of staggeringly recycled schlock. The casting of Reynolds (Van Wilder, Blade: Trinity, The In-Laws) is somewhat inspired if not to capitalize on his possible as a box office fetching boy in the making. The feeble-minded material doesn't do immediate wonders for Reynolds or any of its unused young cast. Sure, they answer to the flaccid gory goings-on but are not called upon to do much else that would give this frightfest some credibility. Only capable veteran number actor Philip Baker Hall emerges decently as the resident Catholic servant of God who presides past an exorcism that doesn't thoroughly lodge b deceive too well considering the situational urgency. Hall does justice to a responsibility that was once coveted in the Amityville antecedent by the ESN =’educationally subnormal’ late Oscar-winning Rod Steiger.
If you end up yelling bloody snuff out upon the prospect of checking out this latest go-for everyone involving The Amiltyville Horror, it certainly won't be because of the lurking spooks invading a piece of verified estate with a checkered past. In short, a horrifying lodgings is certainly not a hedonistic home with this lackluster thriller.
Open and above-board rates this blear: * and a half stars (out of 4 stars)

All Reviews by Frank Ochieng

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“My name is Melinda Gordon. I just got married. I just moved to a small town. I just opened an antique shop. I might be just like you, except from the time I was a little girl I knew I could talk to the dead. Earthbound spirits my grandmother called them. The ones who have not crossed over because they have unfinished business with the living and they come to me for help. To tell you my story, I have to tell you theirs.”

-Melinda Gordon

The First Season

CBS’s drama Ghost Whisperer, which first aired in 2005, stars Jennifer Love Hewitt in a television series inspired by real-life medium James Van Praagh and paranormal investigator Mary Ann Winkowski. The show is about a woman who has had a special gift since she was a young girl. Her gift is the ability to communicate with earthbound spirits, or ghosts, that for one reason or another have been unable to cross over into the afterlife. This first season contains twenty-two episodes that provides an enjoyable look into the supernatural with a touch of wholesome goodness. It is the kind of show that draws you in after one episode and never lets go.

Jennifer Love Hewitt, best known for her role in Party of Five, headlines the cast as Melinda Gordon. When Melinda was young, she learned that she had the ability to communicate with ghosts that were unable to cross over to the afterlife because of unfinished business. Her grandmother, who also had the “gift”, taught Melinda about what made her more special than everyone else. And as the years went by, Melinda became accustomed to seeing earthbound spirits in everyday life. However, it was not until after she married her husband Jim Clancy (David Conrad) that the ghosts started coming to her for help. Melinda came to realize her higher purpose in life, which was to help these earthbound spirits find closure and cross over.

Melinda’s newlywed husband Jim is an emergency medical technician. He is a good natured fellow who loves Melinda unconditionally and he helps her with her supernatural work when he is able. He also does his best to try to understand what Melinda goes through on an emotional level as she is forced to go through the pain, suffering, and tragedy of the earthbound spirits. Joining the couple is a former New York Lawyer Andrea Moreno (Aisha Tyler). Andrea is Melinda’s best friend and works at the antique shop with her. She plays an important role in helping Melinda cross over earthbound spirits as one of the few people Melinda trusts her secret with.

Together, Melinda, Andrea, and Jim deal with a variety of earthbound spirits and assist them in crossing over to the afterlife. The season one episodes are very episodic in nature–the storylines are contained in a single episode. There is very little in terms of a story arc, except for a few hints at a bigger picture in terms of forces that oppose Melinda’s work. The season one storylines are typical from episode-to-episode. They deal with an earthbound spirit who has unfinished business with the living, usually about a loved one they left behind. But despite the lack of variety, the stories are still handled well.

What works for Ghost Whisperer is the general nature the storylines take. They deal with the supernatural, in terms of Melinda’s line of work, but there is also another focus. Through Melinda’s efforts, she resolves conflicts that are keeping the earthbound spirits from crossing over and the stories tend to be touching on a feel-good level. The feel-good nature is handled in a way that it reminds me of shows like Quantum Leap and Touched by an Angel in that the main character is always trying to right some wrong. How the storylines are drawn out and explained offer some truly heartwarming material. It is an aspect that makes Ghost Whisperer such an easy show to enjoy and appreciate.

Another aspect the series benefits from is Hewitt’s performance. At first, I was skeptical about how she would fit into a supernatural, feel-good drama. In her past roles, I have primarily seen her in over-the-top dramas, which clearly this show is not. I was happily surprised to find that Hewitt fit her role with grace. She gives Melinda a likeable personality and really portrays the toll of her work. The other characters are also handled well, but they do not quite compare to the style Hewitt provides her character.

In regards to story arcs, there was not much content. Besides the obvious character development, there is not much from episode-to-episode. However, towards the end of the season with episodes “Free Fall” and “The One” a story arc dealing with a force opposing Melinda and her doings is introduced. He is known as “Wide Brim Hat Man”, a devilish character who shows Melinda the dark side of life and death. This story arc proves to be intriguing and compelling. It is only too bad it was not a bigger part of the season.

Overall, I had a great time watching Ghost Whisperer. While the stories are episodic in nature (I prefer large-scale season story arcs), the episodes offered a lot of intrigue as Melinda uncovered the mystery dealing with one ghost or another and brought closure to whatever reason was keeping them from crossing over. The content is rich and there is more than enough to keep you coming back for more.

Episode Guide

1. Pilot: Melinda is haunted by the spirit of a restless soldier who died 30 years ago in Vietnam. She helps the veteran and his living son find closure.


2. The Crossing: A boy, killed in a train accident, gets Melinda to find and convince the boy’s mother that it was not her fault.


3. Ghost, Interrupted: Following her twin sister’s death, a young girl’s strange behavior gets her placed in a psychiatric facility. Melinda discovers the girl’s dead twin is haunting her and must help the sister reconcile.


4. Mended Hearts: A dead triathlete enlists Melinda to save the life of his suicidal fiance, by helping her find closure and new love with the man who received his donated heart.


5. Lost Boys: While cleaning the basement of an old inn, Melinda finds the lost spirits of three boys that died in an orphanage fire 50 years ago. She must help the boys pass on before the in is destroyed and they become eternally earth-bound spirits.


6. Homecoming: Melinda assists an upset teenage ghost and learns something that will affect the lives of everyone the boy left behind.


7. Hope and Mercy: A woman who died during pregnancy can’t cross over until her husband stops blaming himself. Plus, Andrea meets a con artist who discovers a surprise about her past.


8. On the Wings of a Dove: Five years after his father’s death, Jim begins acting strangely. Melinda notices and believes the problem is caused by his tortured spirit. Painful memories are brought back when she is surprised by a visited from a friend (Estella Warren).


9. Voices: Melinda has a horrible side effect upon meeting a spirit who communicates only via electronic devices. She assists the spirit in hopes of relieving her own aliments. Jim’s mother brings an unexpected guest.


10. Ghost Bride: An evil spirit in a wedding gown tries to destroy the wedding of Melinda’s friend Lisa. Melinda learns the spirit was supposed to marry Lisa’s fiance the day she died.


11. Shadow Boxer: A recently dead woman will not pass over until her son, a boxer, reconciles with his father. Melinda helps the family come to terms with their loss.


12. Undead Comic: Melinda meets the spirit of a comic who committed suicide and guides him towards making amends with those he left behind.

13. Friendly Neighborhood Ghost: A new neighbor moves in and requests Melinda’s aid in ridding the place of an uninvited spirit.


14. Last Execution: After a spirit follows Melinda home, she discovers he is looking for his troubled daughter who’s been having serious problems since his death.


15. Melinda’s First Ghost: Melinda must reconcile with her own mother before she can save the spirit of a young girl, the very first ghost she ever saw!


16. Dead Man’s Ridge: Andrea enlists Melinda in finding a missing friend who disappeared while on a hike.


17. Demon Child: Melinda encounters a malicious young boy’s spirit who is terrorizing his family. She takes on the challenge of helping this troubled child find peace and cross over.


18. Miss Fortune: The bitter ghost of a magician accuses his envious brother of causing his death and covering it up as an accident. It’s up to Melinda to facilitate a reconciliation between the brothers.


19. Fury: Melinda must assist the ghost of a murdered African-American man find justice. She helps his son overcome his racist views before they are passed on to another generation.


20. The Vanishing: A head injury caused by an accident puts Melinda’s ability at risk. She may have permanently lost her gift as she attempts to aid a young girl whose boyfriend has recently passed away.


21. Free Fall: The spirits of a pilot and flight attendant contact Melinda. She experiences a sense of dread over the possibility of a plane crash.


22. The One: After a jetliner crashes Melinda faces the overwhelming task of helping hundreds of passengers cross over. “Wide Brim Hat Man” is working against her. She must work with the crash investigators who try to find out how she knew the plane was going to crash.

The DVD

After 11 years in prison, an aging master safecracker (James Caan) decides to pull one more field preceding retiring to a quiet, quiet spirit. However, the mob finds him much too valuable and refuses to let him retire, keeping him trapped in the life he so desperately wants to leave behind. An introspective look at a man reevaluating the obsession he’s lived, THIEF is a fascinating, intense film, based on the novel by Frank Hohimer.

Derek Zoolander’s (Ben Stiller) everybody is knocked nutty its axis when, anticipating his
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Oh yeah. Verily. For it is he of Starship Enterprise (Shatner). He cometh and walketh with the American Prez in the valley of the shadow of death (a rambling mall in Toronto). He faceth up to the Cubans and Weathermen and psychos and he saith unto them: ‘Fuck off. In the interest of we shall bogy nothing. Especially not you creeps and Commies’. And they response: ‘Look upon us. We are Moloch and Satan. We be broached creeping forth as vermin on our bellies , the legacy of Chile and El Salvador and American imperialism. We take your Prez and in force him in our chariot (a booby-trapped armoured car), using implements of destruction from Hawaii Five-O, Deputation Impossible and other halls of TV fame.’ But Captain Kirk turns upon the Commies and Cubans and Weathermen, and his voice is as swear at, saying: ‘Lo. I did once (in the ’70s, in fact) what you do now, and I did it satisfactory. But I look upon you and ask, is it large? It is not good’. And there is a proficient flashing of lightning (TNT), a beating of brows and rattling of bones, and the Prez walks on, open-handed, down the American Way with his bride on his right deal out and Kirk on his fist. For although we walk as a consequence the valley of crap…

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Forever Mine

review by

Gregory Avery

, 17 November 2000


In

Forever Mine

, Paul
Schrader's latest motion picture, Joseph Fiennes plays Alan, who, in 1973, is
a university undergraduate working as a cabana boy at a fashionable Miami
beachfront hotel. There, he meets Ella (Gretchen Mol), the smashing
wife of Mark (Ray Liotta), an aspiring politician, and he becomes
in a minute and perfectly besotted with her. They were fated to meet.
After the unpreventable Steamy Encounter or two, Alan confronts Mark
with the news: not no greater than are he and Ella meant to be together, it is
their "purpose". Mark, the outraged old man, doesn't sort out
it that way, and puts a interrupt to things.

Flinch forward fourteen years, and
Alan reemerges with a new meet with (reconstructed, after a horrible
mishap), a new identity (a loaded entrepreneur with contacts in
both Median America and the U.S.), and a beg to cure the
unwitting Make a note of, in these times a New York City councilman, avert political
black mark.
The picture (which was completed in
1999, and is having its U.S. premiere on the "Starz"
canal this month) has been likened to having antecedents in haziness


noir


,
but it's indeed closer to Frederich Durrenmatt's overcast, European
story, "The Visit", where a wealthy woman returns to the
village that dramatis personae her out when she was young in order to use her
money and power to settle some scores. The approve of part of

Forever
Mine

starts not at home promisingly, but it would have been cured if
the chief half worked. Fiennes and Mol have no chemistry together
on-screen, and they don't fare so well on their own, either. Fiennes
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seeing in any recent film, and that's when you can understand what
he's saying. He affects a Latino accentuation into his experimental identity, but
he's so soft-viva voce beforehand that you can't tell where his
character comes from or how he sounded to begin with. Mol is
sweet-looking, but she falls sense laconic of coming across as either a
four-anxiety about of desire (no matter how much the filmmakers garner
her up or light her to look like Lana Turner), or as a skirt who's
tense into ennui and desperation because of an wrongfully-suited
integration.
Schrader has written and staged
many of the scenes—outstandingly the ones depicting the reunion of
Alan and Ella—very kindly, with a great hunch towards particular
detail and nuance. But he's working with the inappropriate actors in two of
the lead roles, and the film doesn't so much come to an unoccupied as
solely deflate. Perchance Schrader himself realized that this film had
turned into a disparage-off, but, all in all that he's previously assumed
us two very fine films,

Light-bulb Sleeper

and

Woe

(both of which also had trouble verdict theatric distribution),
everyone's entitled to make a mistake now and then.

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Written and

Directed by:

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Starring:

Joseph Fiennes

Gretchen Mol

Vincent Laresca

Ray Liotta

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