Blur

2007, USA

Genres:

Drama | Horror | Mystery | Thriller

Actors:

Salvator Xuereb		Adrian
Michael Sorvino		James
Wendy Carter		Iliana
Jana Kolesarova		Isis
Nicole Rayburn		Allyssa
Caroline Barba		Michelle
Joanne Baron		Penelope
David Hodges		Party Guest
David Kneeream		Unlucky Party-Goer
Mark McCullough		Police Officer 1
Ivan Sanchez		Police Officer 2
Bill Sorvino		Card Dealer
Victor Velez		Colleague
Larissa Kohler		Party Guest
Elyssa Phillips		Party Guest

Directors:

Nick Briscoe |

Certification:

... show all

IMDB Rating:

3.80 out of 10 (241 votes)

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Storyline

Taglines:	1: Fear Thy Neighbor
Story Summary:	Artist Adrian Jonas toils in preparation for the biggest gallery opening of his career. The creative process takes Adrian deep into the depths of his mind, where he begins to experience premonitions of a terrible fate that awaits his beloved Iliana. Adrian grows to suspect that a mysterious neighbor is the phantom who means to harm his wife. Compounding the danger, a masquerade party planned for that evening allows unwanted guests to mingle unnoticed. As his premonitions begin to come true, Adrian races to interpret his visions while there is still time to cheat fate.
Keywords:	shot-in-the-chest \| neighbor \| sketch \| scream \| masquerade \| paranoia \| psychological-thriller \| hitchcockian \| breasts \| police \| mask \| drugs \| psychic \| low-budget \| marijuana \| corpse \| photograph \| gun \| painting \| suspense ... show all Complete list of certificates: hide shot-in-the-chest \| neighbor \| sketch \| scream \| masquerade \| paranoia \| psychological-thriller \| hitchcockian \| breasts \| police \| mask \| drugs \| psychic \| low-budget \| marijuana \| corpse \| photograph \| gun \| painting \| suspense \| premonition \| long-take \| philadelphia \| nudity \| cult-favorite \| hatchet \| chainsaw \| trance \| phantom \| artist \| female-nudity \| surreal \| shower \| murder \| stalker \| fear \| filmed-in-mirror \| telepathy \| party \| hot-tub \| ambulance \| female-frontal-nudity \| paranormal \| model \| alternative-reality \| rave \| pennsylvania \| extrasensory-perception \| independent-film \| twist-in-the-end \| surprise-ending

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Movie Reviews

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Title:	Movie Review - Adaptation - Hollywood Bitchslap
Original:	http://hollywoodbitchslap.com/review.php?movie=6436&reviewer=198

Summary:	Anyone who saw Being John Malkovich should know to expect just about anything when director Spike Jonze and screenwriter Charlie Kaufmann reunite for their follow-up. That film was a fanciful meditation on the individual�s quest to have their fifteen minutes while exploring what brings one towards love and lust. Several praised its originality and its ability to use a fantastical premise to dig deeper into the human foibles of relationships. It�s dark humor and surrealistic structure drew me in and then spit me out when its final act turned into �Cocoon. Their new concoction, �Adaptation�, however took me on a ride the whole way through, fifteen minutes and then some, and as the third act ended and the credits rolled I walked out and found myself thinking about a fourth, fifth and sixth act. Days after I saw it, I�ve lost count which number I�m on. The boundaries between reality and fantasy intersect at a crossroads of the minds of these two filmmakers. John Malkovich, obviously a real actor whom we�re all familiar with, was nevertheless playing himself but with a different middle name. Like Robert Zemeckis � first Back to the Future sequel, Jonze puts us back onto the set of Being John Malkovich where Charlie Kaufmann (as played by Nicolas Cage ) is moping about after we�ve been treated to an opening credits voiceover of self-loathing assuring us how �fat, ugly and repulsive� he thinks he is. Kaufmann is immediately hired to pen the screenplay of Susan Orlean �s novel, �The Orchid Thief� , an expansion of an article that she wrote for the New Yorker about a man named John Laroche who was once convicted of attempting to take the endangered flower from a Florida reserve. Kaufmann has no idea how to write it. It�s about flowers,� he says and by maintaining any sense of a film�s three-act system has zero headway into how to start the story. Until he decides to write about him writing the screenplay. What follows of Adaptation�s structure is a jumping back and forward of the time when Orlean (as played by Meryl Streep ) was researching the novel during time spent with Laroche himself (as played by Chris Cooper ) and Kaufmann�s attempt to translate it into a viable yarn. Kaufmann even has a twin brother, Donald (also played by Cage, who does NOT exist in real life ) who lives with him and in his absence of finding a job decides to take up screenwriting like the brother he admires. Donald�s insistence on using the most overused cliches in modern cinema ( serial killers and twist endings ), partly in thanks to real-life writing seminar guru Robert McKee (as played by Brian Cox ), doesn�t exactly mesh with Charlie�s aversion to even hearing words like �pitch� and �structure. . . . read all

Title:	Michael Clayton Movie Review, DVD Release - Filmcritic.com
Original:	http://www.filmcritic.com/misc/emporium.nsf/reviews/Michael-Clayton

Summary:	Slowly but surely, George Clooney is venerating different decades from Hollywood's storied past. His Ocean's larks with Steven Soderbergh are throwbacks to the swinging '60s. He resurrected the paranoia of 1950s McCarthyism in his directorial effort Good Night, and Good Luck , then recreated a sinister, post-World War II film noir in The Good German (also with Soderbergh). Confessions of a Dangerous Mind paid goofy tribute to '70s small-screen icon Chuck Barris. Later this year, Clooney will crib comedic styles from Cary Grant's 1940s romper-stompers for the romantic farce Leatherheads . And then there is Michael Clayton , a gripping and complicated thriller with hush-hush undertones that would fit comfortably alongside similar films from the 1970s - think of Francis Ford Coppola's The Conversation or Alan J. Pakula The Parallax View , because Clayton writer-director Tony Gilroy certainly had pictures of this fabric in mind. The suspicious Clayton moves like a '70s picture but has roots in modern industrial problems such as corporate deception and greed. North used despite knowing it was hazardous to people's health. Pay little attention to the details, though, because this plot is one of the largest MacGuffins we've seen in years. The story is about the lawsuit without really being about the lawsuit, if that makes sense. Kenner, Bach & Ledeen. His weight is felt when Edens' guilty conscience catapults him over the edge of sanity. As a writer, Gilroy adequately balanced tension and plot in three Bourne movies and Proof of Life . His iron-clad Clayton script improves his storytelling skills. He has a solid grasp on a muddy morality mess - not an easy task. This multi-layered character study requires audience patience as it constructs the tiers, but rewards us with surprising discoveries. Clooney and Gilroy keep character details in the shadows. They both comprehend when and where to shine a metaphorical light, though, unraveling the plot and revealing another piece to this complicated individual. . . . read all

Title:	'Ratatouille' - MOVIE REVIEW - Los Angeles Times - calendarlive.com
Original:	http://www.calendarlive.com/movies/reviews/cl-et-ratatouille29jun29,0,6235436.story

Summary:	That's somewhat ironic, because as his new "Ratatouille" demonstrates, what makes Bird so unusual is that he doesn't really think of himself as an animator at all. From his exceptional previous features ("The Iron Giant" and "The Incredibles") through this one, Bird has refused to ghettoize himself, refused to back off from his passion to make movies whose animated surface doesn't stop them from touching the same emotional bases as live-action fare. When Pixar executive producer John Lasseter says, "There's a level of depth, complexity and humor to this film that I don't think any Pixar film has had before," he's not giving in to hyperbole, he's getting at the heart of Bird's concerns. "Ratatouille" is as audacious as they come. It takes risks and goes places other films wouldn't dare, and it ends up putting rival imaginations in the shade. Whereas the tendency in so much of today's animation is to be glib and on the surface, "Ratatouille" and its Pixar brethren have carved out a place for themselves by being genuinely smart and sophisticated in ways that please audiences as much as critics. "Ratatouille" also takes full advantage of what the medium of computer animation offers. As much as story, director Bird and his team love great chases, wild rides and wacky adventures, and setting this film both in a breathtakingly beautiful Paris and the unnerving sewers beneath the city offers ample opportunity for all manner of visual play. Although mice have been members in good standing of the animation community at least since Ub Iwerks drew Mickey Mouse in 1928, the idea (which started with animator Jan Pinkava, who shares a story credit) of making a rat the hero of a major motion picture is a lot nervier than having penguins or other cuddly folk in the first position. And, to its credit, "Ratatouille" is surprisingly candid about letting rats be rats. Yes, our hero Remy walks on his hind legs (the better to keep his front paws clean for eating) and has a face as expressive as that of a Yiddish theater actor, but his fellow rats swarm in such realistic packs it is a real gut-check to see them scurrying about. And asking audiences to accept them as heroes is a riskier gambit still. . . . read all

Title:	Movie Review - Saw IV - Hollywood Bitchslap
Original:	http://hollywoodbitchslap.com/review.php?movie=16773&reviewer=404

Summary:	When we last left the �Saw� franchise, Jigsaw was revealed to be a victim of a broken heart (awwwwww), and the producers bent over backwards to cram new, outlandish twists into this head-slappingly dreadful franchise, hopeful to extend the profit trail long enough before horror fans start to realize they�re being taken advantage of. After four of these harebrained features, I�m starting to think the audience enjoys the violation. With Jigsaw (Tobin Bell) and Amanda (Shawnee Smith) dead, two FBI profilers (Scott Patterson and Athena Karkanis) are called in to assist Detective Hoffman (Costas Mandylor) with his investigation of the homicides and elaborate torture devices Jigsaw left behind. When SWAT Commander Rigg (Lyriq Bent) is kidnapped and set off on game giving him 90 minutes to survive a series of traps, the cops are in close pursuit, leading them to the doorstep of Jigsaw�s former ladylove Jill (Betsy Russell), where a few answers about Jigsaw�s macabre modus operandi are provided, along with chilling plans for the future. There�s a built-in audience for the �Saw� films at this point in the game. What I find more confusing about this phenomenon is the adoration of such amateurish filmmaking and feverishly corner-cutting, logic-be-damned screenwriting. Halloween staple, now in its fourth year of bloodshed production. The previous entries in the franchise have been laughably acted, frightfully directed exercises in voyeurism, somehow equating the salivating display of blunt ultraviolence and fountains of gore with a social message on appreciating the brevity of life. Would it be shocking if I wrote that �Saw IV� is simply another serving of the same stale soup? There�s really no reason to shake up the series at this point, since prior �Saw� sequels have been rewarded with bewilderingly ardent fans and impressive (if not blockbuster) box office returns. Saw IV� is only trying to reheat the Jigsaw myth into pliable form to stretch the material for two more planned sequels after this, and for that goal alone, the latest round of sadistic traps and melodramatic tribulations is a great success. As for elements like �acting� and �suspense,� the latest �Saw� feature still leaves a lot to be desired. . . . read all

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Blur (Video Preview).avi	25.01 MB	download

Type	Resolution	Codec	Bitrate	Audio Channels
Language: English	48 kHz	Dolby AC3	192 kbps	2

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Blur.avi	700.03 MB

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Blur (Video Preview).MP4	5.98 MB	download

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Language: English	44.1 kHz	ISO/IEC 14496-3 AAC	128 kbps	2

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