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Girl In Gold Boots YIFY



I'll cut to the chase. "A Cat of Paris" was Oscar-nominated in one of the worst years in recent memories for the category of Best Animated Feature. Considering that the mediocre (at best) film "Rango" won and films like "Puss 'n Boots" and "Kung Fu Panda 2" were also nominated, I think I can rest my case. "A Cat of Paris" is really no better and is a film I could have skipped.The movie is told using a very simple looking animation style and looks a bit like another nominee that year, "Chico and Rita". The drawings appear a bit crude and the film has a very non-Hollywood look. Some might like it--I just thought it looked less than Oscar- worthy. Now it it NOT because I expect all animated films to look like Disney, Pixar or Dreamworks films--but I would have expected for with an Oscar nominee.The story is about a cat who spends its days living with a mute little girl. However, at night when she sleeps, it slips out and hangs with a thief with a heart of gold (a bad cliché, I admit). Later, when the child is caught up with a vicious group of gangsters, the thief and cat come to her rescue.I found myself only moderately interested in the film. It's not bad but it wasn't particularly inspired. I think had it NOT been nominated, I actually would have enjoyed it more, as my expectations were awfully high but the film couldn't match them. Additionally, I was a bit surprised how nasty and scary the gangsters were, as it seems a bit too much for younger viewers--which is unusual for a cartoon.




Girl in Gold Boots YIFY


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A remarkable example of cinematic alchemy at work, with a trite'n'turgid lump of lead script (penned by numbingly mediocre Hollywood hack nonpareil Jole Schumacher, no less) being magically converted into a choice chunk of exquisitely gleaming 24-carat musical drama gold thanks to brisk direction, fresh, engaging performances, spot-on production values, a flavorsome recreation of 50's era New York, an infectiously effervescent roll-with-the-punches tone, and a truly wondrous rhythm and blues score by the great Curtis Mayfield.The story, loosely based on the real life exploits of the Supremes, prosaically documents the arduous rags-to-riches climb of three bright-eyed, impoverished black teenage girl singers who desperately yearn to escape their ratty, unrewarding ghetto plight and make it big in the razzle-dazzle world of commercial R&B music. All the obvious pratfalls of instant wealth and success -- egos run destructively amok, drugs, corruption, fighting to retain your integrity, and so on -- are predictably paraded forth, but luckily the uniformly excellent work evident in the film's other departments almost completely cancels out Schumacher's flat, uninspired plotting. The first-rate acting helps out a lot. Irene Cara, Lonette McKee, and Dwan Smith are sensationally sexy, vibrant and appealing leads -- and great singers to boot. Comparably fine performances are also turned in by a charmingly boyish pre-"Miami Vice" Philip Michael Thomas as the group's patient, gentlemanly manager, Dorian Harewood as McKee's venal, aggressively amorous hound dog boyfriend, and perennial blaxploitation baddie Tony ("Hell Up in Harlem," "Bucktown") King as a dangerously seductive, smooth operating, stone cold nasty gangster. The tone dips and dovetails from funny and poignant to melancholy and blithesome without ever skipping a beat, deftly evolving into a glowing, uplifting ode to the human spirit's extraordinary ability to effectively surmount extremely difficult and intimidating odds.Veteran editor Sam O'Stern acquits himself superbly in his directorial debut. Bruce Surtees' luminescent cinematography and Gordon Scott's expert editing are both flawless. O'Stern's firm grasp of period atmosphere, keen eye for tiny, but telling little details, and unerring sense of busy, unbroken pace are just as impressive. No fooling about Curtis Mayfield's impeccable soundtrack contributions, either. "Jump," "What Can I Do With This Feeling," "Givin' Up," "Take My Hand Precious Lord," "Lovin' You Baby," and "Look Into Your Heart" are all terrifically tuneful, soulful, almost unbelievably fantastic songs, with the sweetly sultry love jones number "Something He Can Feel," which was later covered by both Aretha Franklin and En Vogue, clearly copping top musical honors as the best-ever song in the entire movie. The net result of all these above cited outstanding attributes persuasively illustrates that sometimes it's not the screenplay so much as what's done with said script which in turn determines a film's overall sterling quality.


Robert Redford was in his prime as David Chappellet, a taciturn loner from Colorado, who competes with an underdog American team for Olympic gold in Europe. Gene Hackman co-stars as the coach who tries to temper Chappellet's narcissistic and reckless drive for glory."Downhill Racer" came out late in 1969 hot on the heels of Redford's success with "Butch Cassidy and the Sundance Kid." Unfortunately it wasn't marketed properly and failed at the box office, but don't let that deter you 'cause this is a great film well worthy of your time.Although the movie is from '69 and therefore has obvious dated aspects, "Downhill Racer" was very innovative in it's time and holds up well to this day. In fact, aside from the ski paraphernalia & styles, I don't find the film dated at all. It somehow has a fresh quality and plays out like a docudrama similar to, say, "Saving Private Ryan," which was made nigh three decades later(!)."Downhill Racer" is reminiscent of 1966's "The Blue Max" in that both films are about an unlikable loner who is ruthlessly ambitious in his area of skill and functions as a fish out of water in the social circles to which he's thrust. It goes without saying that if you liked "The Blue Max" you'll probably like this one too. Both rank with my favorite films of all time.Downhill racing is an insanely hazardous sport in that the skier can reach speeds of 80-90 mph(!). Needless to say, one bad fall could take you out for life. Downhill is also an extremely individualistic sport, which is well pointed out in the story when a teammate criticizes Chappellet for not being a team player and another guy responds, "Well, it isn't exactly a team sport, is it?" Needless to say, it takes a very certain kind of individual to be successful at downhill -- someone who's ultra-daring and bold; someone with a wild, reckless edge balanced by the necessary discipline to train and compete.Redford effectively plays such a person here. He rises up in the ranks to become the American team's only true hopeful; the coach attempts to somewhat keep him under reigns and criticizes his individualism and recklessness even while he knows these are the very qualities that makes him a winner. Throughout the picture Chappellet and the coach act like they don't like each other at all, and it's true because Chappellet is a loner in the truest sense, but ultimately the coach is squarely on the young racer's side: When it comes time for the vital Olympic run the coach looks into Chappellet's eyes and confidently states, "You can win this."Take note of the stark contrast of Chappellet's plain hometown in Colorado and the glitz of the European ski resorts where he races. Also contrasted is Chappellet's throw-away hometown girl ("Do ya have some more of that gum") and the glamorous self-absorbed babe he hooks up with in Europe (Camilla Sparv of "Mackenna's Gold" fame); she gives him a good taste of his own bad self, if you know what I mean. Also of interest is his 'relationship' with his distant father, a simple country man who doesn't understand his son's preoccupation with skiing and the lack of financial gain thereof.While watching, I couldn't help but think of Bill Johnson, the unlikely downhill gold medal winner for the USA in the '84 Olympics. Like Chappellet he was cocky & reckless and irked the European snobs with his bold predictions of Olympic victory. I have no doubt that "Downhill Racer" was one of Bill's favorite films. Unfortunately Mr. Johnson staged an improbable comeback bid for the 2002 Olympics that ended abruptly with a horrible downhill crash in March, 2001, leaving him permanently brain-damaged and in need of constant care. How the mighty have fallen!One cavil I have with "Downhill Racer" is that Redford is playing a person in his early 20s while he was 32 years-old during filming and looks it. But this is just nitpicking. Besides, Redford looks great at 32 or any age (and I say that with a staunch record of heterosexuality).The film runs 1 hour, 41 minutes. 041b061a72


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