EZTakes Movie Downloads Blog

Dahmer (2002) is, at first glance, a fairly run-of-the-mill bad guy biopic, tracing the exploits of serial killer Jeffrey Dahmer from late teenagerhood to just before his arrest, for a smorgasbord of crimes, at age 31. Jumping back and forth between the past and the present, the film fills in Dahmer’s personal history through frequent flashbacks, and paints a picture of him that turns out to be surprisingly—almost uncomfortably—compassionate. However, the flashbacks give the film a disjointed quality that makes it less effective as a thriller (or a horror film) than many of the more infamous serial-killer epics, such as those comprising the Silence of the Lambs oeuvre.

Ah, poor Juliette Binoche. Ten years after her triumph as the nurse in the English Patient. Six years after her signature role in Chocolat. Still lovely in her forties. What could be wrong? Well, I suspect that she must be horribly upset that she was cast as Sarah Palin in a movie that came out two years before anyone knew, probably least of all Juliette, who the heck Sarah Palin is. The physical resemblance would be uncanny, but Mademoiselle Binoche tops it off with glasses and makes it even more eerie. Her voice doesn’t carry the Western twang of La Palin, but other than that, sounds like her, Of course, it is surreal in that Juliette gets to play with guns, just like the pistol packin mama from Alaska.

“Why would I want to kill myself?” Tadanobu Asano’s Kenji asks towards the beginning of Pen-Ek Ratanaruang’s Last Life in the Universe. “I don’t know… I wouldn’t kill myself for the same reasons as other suicidal people.” The question becomes all the more urgent when we put together what we’re hearing with what we’re seeing: Kenji’s limp figure, swinging sickly to and fro above a pile of textbooks. “This could be me three hours from now.”

What do the movie Casablanca and the cartoon character Pepe Le Pew have in common? No, this is not a trick question. They were both influenced by Algiers. Pepe Le Pew is the amorous deep voiced skunk who is based on Pepe Le Moko, played by Charles Boyer in Algiers. The dark, smoldering Gallic lover is certainly more suave than the skunk.

If you were looking for a strong woman from the Twentieth Century, Hedy Lamarr was your gal. Held prisoner by her spouse in a castle, she escaped husband and native Austria by convincing him to allow her to attend a party with all of her valuable jewelry. With the help of the maid, her husband was drugged and she escaped the country with some assets, not the least of which was her mind.

Grovers Corners New Hampshire is a town that never existed. The question is, was it a real representation, or does it even matter? The life as lived may have little resonance with people now as the pace of the actions of the townspeople is so much slower than contemporary society. Maybe, it seems more real than our lives today because of it.

A Farewell to Arms could be a metaphor for its times. A story of World War I, the hero Lieutenant Frederic Henry, has to come to terms with the war he blithely entered. The country whose armed forces he is part of, Italy, was also blithe about going to war. Both pay for it in different ways.

This one’s tough even by Godard’s standards. He’s never been Hawks, but 1967’s La Chinoise makes Breathless look like Casablanca. Godard even pulls a neat trick; while satirizing the radicalism of the characters contained herein, he manages to enter the ranks of the “filmic radicals” by forsaking conventional narrative structure in favor of fragmented dialogues.

The movie, Conduct Unbecoming, deals with the British Colonial Army in 19th Century India. The code of honor is strict and transgressing it brings swift and unerring punishment, except when it doesn’t. What is clear cut in theory is murky in practice.

After ten years of struggling in the soulless cesspool known as Los Angeles, California, failed - yet remarkably talented - actor Paul Miller has decided to end it all. In lieu of a self-pitying suicide note, he enlists the help of his filmmaker friends to document the last two days of his life. Not believing Paul to be entirely serious, but wanting to be there at the zero hour just in case he is, controlling hipster co-director Stu jumps at the opportunity to be a part of the film and arrogantly invites along his USC film student friends to make a documentary of him making a documentary.