dougiesantarosa

Always appreciate watching reruns of this fine crime mystery series. Every episode is very well written, but there's always the ubiquitous harpy scene with Inspector Lewis' harridan Chief Superintendent Jean Innocent (Rebecca Front) browbeating him with the usual vitriol. Sometimes these 90 seconds of senseless bullying catch me by surprise and I fail to push the Mute button fast enough. Every show regardless of the teleplay, eventually there she appears with the same meaningless dressing-down of Inspector Lewis doggedly pursuing the perp. Still better than tolerating the ABC shows that never fail to include the usual shouting matches that're supposed to mean "high" dramatic emphasis but only remind us how simply idiotic our network shows really are.

My beloved wife, Kim, was taken before her time, after battling spina bifida. Then my dad wasted away following heart surgery. After that mom lasted seven years struggling with her grief. While attending the Toronto International Film Festival they showed this incredible movie. The Burning Man began with a dazzling pre-credit sequence. Once again Jonathan Teplitzky entertained me with a time of torment when a husband is forced to weather many personal challenges. Matthew Goode stars as the spouse grieving horribly over the loss of his wife through sex and anger. But, this isn't revealed until a quarter of the way through. Somehow I managed to accept the scattered, jigsaw structure employed by Teplitzky. Goode at first comes off as a class A idiot, a temperamental halfwit who can't drive and is unable to interact with anyone. Similar to my behavior after suffering through my tragedies. By the end of the film I simply wanted to give him a hug. Yet such is the power of this film. Every scene features a surprise and opinions often erroneous. As I adjusted to the fast cut rhythm and the vignettes start to come together, the film proves to be a drama which is crippling in its sadness, brazen in its humor and face-to-face in the nonchalant sex scenes. This is a film that never sugar coats the core subject: Death, and its effect on those of us left behind. The dark black cloud of deep sorrow enveloping this man and those who love him. Goode delivers the most powerful performance yet, helping me recover my self-worth and continue leading my efforts of living after loss. But it was Bojana Novakovic who will stay on my mind after delivering a sexy, vulnerable and tremendously heartfelt performance which is just what it was like for my loved ones living with a terminal disease, depicting the fear, the pain of knowing you have no chance in Hell of staying alive, and the sadness of losing those who are the most important ones. The devastating turn my life took and achieving some kind of successful emotional stability where I could face everyday existence without acting up or breaking down. During the Q & A that followed the film, Teplitzky said he didn't want to make a film that was sentimental. He hadn't seen anyone else make a film about losing a loved one that had "taken on the exhilaration and momentum of life." That's spot-on. Something this lively doesn't come around all that often, especially when they deal with death. I waited this long to write about it cuz now and then viewing it helps me continue coping.

So many times while picking up a bottle of wine, you will happen upon a chance encounter with a living/breathing Adonis. For those of you who rarely allow yourself an occasional night out at an iconic gay dance club where the denizens seem to resemble models/pornstars, the possibility of hooking up with one of them is less than zero. So, being led into the storeroom by the incredibly attractive helper at the convenience store and canoodling insanely while your business partner waits outside in the Alfa is going to send your senses into a mad tailspin. That's the kind of desire which overtakes a very good-looking Patrick Tatten. Then the very appealing Dale Dymkoski follows you outside to the car and Patrick Tatten tells the friend to give him the car keys and take a taxi and Dale begins a rolercoaster ride of codependency with enabler Patrick. Luckily, both survive the week in week out of some of the most abusive behavior imaginable, but along the way, we're treated to the best infomercial any kind of southern California addiction center could offer its patients. And the soft-porn wasn't terribly uncomfortable when Patrick Tatten and Dale Dymkoski are very entertaining.

First of all, The Minion never featured Steven Segal. What film were you watching? You wouldn't know Dolph Lundgren from a hole in the ground. Next time at least view the end credits before attempting to write a bad review. Also, the archiological (sp. archeological) "dig" was an improper "dig" therefore anything retrieved is bogus. Turn on your spellcheck, too.

Have you ever wondered about your soulmate and whether or not he or she existed? If so, it's not too surprising to find you're here watching this Soulmates. Did you know that the average person is going to meet their soulmate before turning 21 years old? If not, then now you do! Most people are led to believe that their soulmate is going to change their lives completely, when in reality, no one can do that but themself. If you've been waiting to meet your soulmate, then you should probably stop, as life tends to work in unexpected and non-clinical ways.

Do you currently have a crush on someone? If so, you might be hoping to find out that they're the one for you. While this t-v series would love to help you with this, it can only offer you some common and mainstream insight. In other words, the only thing you'll devise from watching is if you've already met your soulmate or not.

When you hear the word soulmate, does your mind automatically jump to a specific person or type? If so, it might be time for you to make a move or at least show that you're interested. In the end, if they are your soulmate, they won't let you get away so easily this time. This "Test" on Soulmates is based solely on finding the "perfect" match not measuring the content of who is your perfect match. You and only you can truly "know" if that person is your "real" soulmate.

QUESTION 1 Do you still live in your hometown? QUESTION 2 Are you still friends with the people you grew up with? QUESTION 3 Did you date anyone in high school? QUESTION 4 Do you still have feelings for an ex? QUESTION 5 Do you currently have a crush? QUESTION 6 How long was your last relationship? QUESTION 7 Why did your last relationship end? QUESTION 8 Are you interested in any of your friends? QUESTION 9 Do you have a best friend at work? QUESTION 10 Are your parents still married? QUESTION 11 Would you ever get back with one of your exes? QUESTION 12 How many people have you dated in your lifetime? QUESTION 13 Do you believe in love at first sight? QUESTION 14 Do you ever dream about your ex lovers? QUESTION 15 Do you regret how you left things off with your ex? QUESTION 16 Have any of your friends ever had a crush on you? QUESTION 17 If you needed help, who would you call? QUESTION 18 Do you get jealous when your friends get into relationships? QUESTION 19 Your friend is getting married and you need a date to the wedding. Who do you ask to accompany you? QUESTION 20 Who did you go to prom with? QUESTION 21 Who did you 'lose it' to? QUESTION 22 Did your parents like your last partner? QUESTION 23 Are you still in contact with any of your exes? QUESTION 24 Who do you think about when you go to sleep? QUESTION 25 Have you ever had your heart broken? QUESTION 26 Which TV sitcom couple do you like best? QUESTION 27 Do you believe in soulmates? QUESTION 28 Have you ever X'd anyone out of your life? QUESTION 29 Do you hold grudges? QUESTION 30 True or false: If you love them, let them go. QUESTION 31 How important are looks to you? QUESTION 32 Would you ever date a friend's ex? QUESTION 33 Have you ever had a crush on a 'forbidden' person? QUESTION 34 Do you have children? QUESTION 35 What are your views on online dating?

Hats off to Cerina Vincent (Jen) when she gives us a really great look behind the curtain and shows us the real personality of Kim Kartrashian. Too bad Kris Jenner beat her too it and built a billion-dollar cash cow on primetime.

One of my top ten baseball movies along with Major League, etc. Altho I've never written a review for this, rewatching it again if you stop-action the final at bat against Vic Morrow's "Yankees" and Walter Matthau loads the bases. So, he sends in Kelly Leak (Jackie Earle Haley) to hit a homerun, but Vic Morrow instructs his pitcher to walk him then Walter Matthau gives Jackie Earle Haley the go-ahead and hit it out of the strike zone anyway and he does it. In the ensuing runners coming in to tie up the game on the last at bat of the final out, stop the action as Jackie Earle Haley is sliding into home plate and you'll see that the "Yankees" catcher is off the plate, catches the ball and touches Jackie Earle Haley's stomach AFTER Jackie Earle Haley's foot touches the plate. So, when Tatum O'Neal asks Walter Matthau as he hands out bottle of Hires Root Beer to the team "What're we celebrated for?" And he replies "Cuz ya' did a good job." He actually means the actually tied the "Yankees" but Walter Matthau didn't protest it because he taught the kids the real essence of Little League (it's the experience of being a part of a team).

Thank-you Poppy. This film is very well done and allows a glimpse into a world where practice of self-affirmation, dignity, equality, and increased visibility of LGBT people produces Pride in yourself. San Francisco Fog Rugby Football Club (RFC), known as "The Fog", is a rugby union football club here in San Francisco. It is the first such team in the western U.S. established specifically to actively reach out to traditionally under-represented groups in rugby; such as people of color, gay men and women (though players who do not fit into these categories are not excluded). The club founded the Bingham Cup tournament in 2002 in honor of Fog player Mark Bingham, who died on Flight 93 in the 9/11 attacks on the United States, after trying to thwart the hijackers along with others on board. The men's side competes seasonally in Division III of the Northern California Rugby Football Union (NCRFU), a division of USA Rugby. It also competes in the International Gay Rugby Association and Board (IGRAB) season. Within IGRAB, the club competes every two years for the Bingham Cup, winning the first two tournaments in 2002 and 2004. Other tournaments the team competes in include Scrum by the Sea, Seattle Magnitude XVs, and the Wild West Rugby Fest.

A film that showed me slash fiction and the whole nerd course teen women take to find "acceptable" ways of exploring sexual feelings whether producing or consuming it, and how it is important that parents should fully provide a beneficial support; whereas many male teens are able to explore their feelings from mainstream to Victoria's Secret catalogues without penalty. The film also inserts scenes of popular notions of what the majority thinks of teen culture and exploring sexuality from Julia's sex-obsessed friends and Neil's oddly normal parents. At least his older sister challenges gender assumptions and social ideas about masculinity and femininity. Very good performance from Teen Wolf alum Michael Johnston and Hannah Marks from Dirk Gently's Holistic Detective Agency. This is a smart, compassionate coming of age story, as LA Times writer Katie Walsh says "The nerd-sexy tale the Internet age so desperately needs." Its a delightful feature from writer-director Clay Liford (Earthling) with a oft-misunderstood high school student who thinks he's the only one to pen online homoerotic vignettes that center on his favorite character from a sci-fi series and a titillating classmate who treats him with enthusiasm that's so infectious. Also, Michael Ian Black in a memorable cameo graciously defending Neil at the Houston Comic Con's Rabbit Hole when he's exposed as under-age while reading an excerpt. It grabs me in my gut occasionally but it's infectious with much-needed counterpoint to the view that fanficcers are nothing but talentless deviants.

They tried to create a suspenseful thriller. But they gave us a superb piece of trash chock full of mindless laughingstock garbage. My quota for watching stupidity has been fulfilled for a long, long time. This stupid teleplay that ended up a simple grab for a pile of cash while trashing the object of hatred that pulled the plug years earlier and sent you to prison is truly the ultimate Lifetime movie foolishness. Many times at happy hour parties when conversation focuses on what would you do if your child was abducted (i.e. Madeline McCann) and 99.9% of the time the response is "I'd be devastated totally." But when I suggest injecting a Digital Angel (Verachip microchip) underneath the armpit no bigger than a small grain of rice to GPS track your child's whereabouts, I get ranting, hue and cry "How could I ever justify doing that to my baby." So, those of you who don't really care enough to protect your child should sit down and watch this "My Daughter's Ransom."

This is a remake of the scummy sleazy 70s psycho-sexual B movie "Death Game," where Sondra Locke and Colleen Camp portray nutso lesbians who put a smug Seymour Cassell through Hell. For a while, this version "Knock, Knock" is O-k as Genesis (Lorenza Izzo) and Bel (Ana de Armas) - soaking wet skanks in hot pants and heels - show up at the front door, claiming to have gotten lost on their way to a party. They worm their way inside. Architect Evan Webber (Keanu Reeves) playfully tries to resist their slimy slutty seducing give-and-take. Evan has to work, thats why he stayed behind in an empty house while wifey and kids go ahead to the beachhouse. Curious inquiries turn into flattery, flattery turns into light physical contact, light physical contact turns into rubbing up and erstwhile embraces. Throughout, Evan tries to politely navigate the situation, bobbing from chair to chair, trying to avoid these girls' clear advances. But he doesn't exactly kick them out, either. Here's a narcissistic guy approaching middle age, with a family, his days as a hard-partying DJ long behind him; surely he can't resist all this willing female flesh, can he? Eli Roth, who actually has a talent for comedy, expertly choreographs this game of sexually loaded musical chairs, all the while keeping us guessing as to Evan's true desires - even as the man seems to be playing everything by the rules. That's the good part of the movie. The girls lure Evan into the bathroom where he gives in and schtups the two flirty sirens, and things go downhill from there, as the film degenerates into a kind of torture-revenge comedy designed to punish Evan for fooling around. That's not exactly unexpected, of course. But the film collapses, because it doesn't convince us on a basic level: The characters are driven by convenience, not behavior, and their actions seem like they've been manhandled into place to make the plot work. Roth also never captures the dangerous tone required to make us feel in any way invested in what's happening onscreen. Even at their worst, those grindhouse movies he loves and references had an unhinged quality that made it seem like anything was possible, like in watching them we'd entered a world without any rules. Knock Knock, by contrast, is a disaster and inane. At no point do Genesis or Bel feel like actual human beings; they are unhinged one-dimensional lascivious cartoons with ridiculous, belly-laughing motivation. As soon as the morning comes, Genesis and Bel have transformed from seductive and coy young adults to infantilized and highly sexualized bratty teenage harlots. Our reintroduction involves both ladies filling the kitchen with breakfast supplies and throwing food around, laughing obnoxiously, and practically bouncing off the walls. Their initial disgust includes mooning Evan while he's on a Skype call and drawing penises on his wife's art. When a concerned neighbor stops by I was hoping for something a little more serious and dangerous, but they can't even do that, which is what makes their late turn into would-be murderers to be completely unbelievable and forced. It's so forced that Reeve's sputtering monologue of incredulity pretty much sums up the point of view of any rational viewer. They play dress up and appear to have some psychosexual daddy issues, possibly resulting from childhood abuse or molestation, but at no point do they come across as a credible menace. Then there's the conclusion and justification for their so-called act of payback and it's so lame and uninspired and a copout that you wish Roth would go back to American Horror Story or Cabin Fever.

All while watching Victoria & Abdul "There but for the grace of the God." kept roaring through my brain. Glad to have never been a member of that bunch. A fine film very revealing too. When she has the Durbar Room built with elaborate carvings and a carpet from Agra, hanging portraits of Indians around the House, she tells the household she wants to give Abdul a knighthood. That starts Bertie, the Prime Minister, the court physician, Lady Churchill, et. al. to find a way to get rid of Abdul. They present Victoria with a dossier that shows he's ordinary and poor. When she asks the doctor to examine Abdul to find out why his wife hasn't become pregnant, he tells her that Abdul has gonorrhea hoping she'll get rid of Abdul to dismiss him in disgust. But, Victoria remains loyal to Abdul and tells her courtiers to stop plotting against Abdul. Bertie tries to certify Victoria as insane. Then Lady Churchill gets the household to tell Victoria if she doesn't get rid of Abdul, they'll resign. When she is told, she angrily summons the whole bunch of 'em and demands that if anyone wants to resign step forward. Of course, they all stand there with their thumbs up their asses, so she tells them Abdul is staying and instead of knighthood he'll be on her next list as a Commander of the Royal Victorian Order. As she ages and falls ill, she tries to get Abdul to go back to India because she knows what Bertie will do to him. She warns him that after she's gone, they'll turn on him. Abdul says he's not leaving. When she dies, Bertie takes charge as Edward VII. He burns all of the gifts and papers Abdul received from Victoria, sends him and his family back to India. It is revealed that Abdul lived in India until his death in 1909. By the way the scene where Abdul tells Victoria that the Indian "mutiny" (rebellion) in the 1850s was caused by resentment of the British behavior, including racist intolerance, Brit-style social rules, harsh land taxes, treatment of some rich landowners and princes - think South Africa apartheid and the horrific treatment of blacks in southern U.S. - it was accurate. Many Indians rose up against the British, but many others fought for the British, and the rest obeyed the British rules. So, when Victoria reminded the Prime Minister and Bertie what Abdul told her, she was correct and they were misinformed. There was exceptional cruelty inflicted on both sides. British officers and civilians (including women and children) inflicted intense beatings and killings on the rebels and their supporters (sometimes including entire villages) but the rebellion proved to bring an important change in Indian and British history leading to the end of East India Company in charge of India, and forcing the British to reorganize the army, the financial system, and the whole administration. In 1858 Victoria issued a proclamation. Even though lacking the authority of a constitutional provision, it promised rights similar to British subjects. In the following decades, when these rights were threatened again not always forthcoming, Indians pointedly referred to the her proclamation and a new nationalism.

The only film that begs a second viewing to catch all the nuances and fully interpret the twisted perversion of the perpetrator. And I must compliment Tomas Alfredson for a brilliant film adaptation of Jo Nesbo's work. Although the book's conclusion is twisted in another direction, the finale explains what happens when married women have illicit sex with a lover while their adolescent children wait in the car outside; the victims' children have different fathers from the men they believe to be their father. Even Harry Hole's son, Oleg, is ignorant of who his real father is because his mother Rakel, Harry's ex-girlfriend, believes the boy isn't ready to accept the answer. Enjoy this movie, and look forward to the Son by Jo Nesbo that's about a young man in prison confessing to the crimes of others, but he breaks out to avenge his murdered father. It stars Jake Gyllenhaal.

So it sucks when you're lonely and insecure. It's not always going to be perfect when you're torn between being content with your singlehood or going downstairs and confront him. She needs to change things on her end and truly recognize, consciously and subconsciously, why she's still single. Her relationship is over, and it's hard that he's living underneath her. But all that's doing is preventing her from giving someone new a fair shot. Accept the fact that there's a reason things ended - she let him get away, and did't even bother dating anyone else. Nothing's ever going to happen for her if all she does is think about the ex. Keeping the ex around as a friend isn't normal. So many I know get into a serious relationship, and realize being close friends with your ex is just weird. Diana makes her fear of commitment ruin her chance at falling in love. Bad gut feelings lead to fear. They're not the same. Gut feelings are meant to be followed, and fear is meant to be conquered. While Ben moves on with a new girlfriend, Diana can't enter a real adult relationship because of confusing fear for a feeling that things won't work out. She'll never know the answer unless she takes the plunge. Eventually she realizes nothing has really worked out for her in getting over Ben, but instead of believing nothing will work out in the future she puts up a guard and sees only possible red flags. And I'm glad the film didn't end up as many Lifetime movies and they fall into each other's arms. She grows some common sense, tosses away all those fears and opens up to a potentially great relationship with Ben and opens up to a potentially great relationship.

Amy Adams, art gallery owner, receives a proof of manuscript of her ex-husband Edward and an invitation for dinner during Edward's upcoming visit to Los Angeles. Amy is in a deteriorating second marriage to an unfaithful, so she becomes consumed by Edward's novel that is dedicated to her. The film switches to a teleplay of Edward's novel. Tony, a peaceful man, during a road trip through West Texas with his wife and daughter, accidentally rearends three rural redneck 20-somethings – and the self involved brat daughter stupidly flips the bird at them – the dirtbags force Tony, his wife and daughter in their late model Mercedes off the road, flattens their tire, beats Tony molests his wife and daughter. Then kidnaps his wife and daughter and leaves him with Lou, one of the young rednecks. He makes Lou drive the rednecks car to the end of a dirt road where he gets away. Tony manages to evade them goes to a dingy farmhouse and calls the police. With a detective, Tony, discovers the bodies of his mutilated, dead wife and daughter in the wilderness, raped and murdered. Tony is beyond pain feeling guilty for not protecting them. A year later he's asked to identify one of the rednecks, who is charged as an accomplice in the murders. The other one was fatally shot in a botched robbery, and the last one is brought to justice, but ultimately released due to circumstantial evidence. Faced with terminal lung cancer, the detective, with Tony's help, takes matters into his own hands and abducts the dirtbags and shoots one of them, but the other one gets away. Then Tony tracks him down on his own to the shack where his wife and daughter were killed and the dirtbag admits to raping and murdering Tony's wife and daughter, calling him weak. So he shoots and kills him, but is blinded when the dirtbag hits him on the head with an iron bar. Tony stumbles outside, succumbing to to a brain hemorrhage, and dies after falling on his gun, shooting himself in the stomach.

Now back in the real world, Amy Adams is so shocked by the raw emotion of her ex husband's new novel, reminisces about meeting him in college and falling for him, but (done better by Ryan Godling and Rachel McAdams in 2004 The Notebook) Amy's domineering mother objects to him, claiming that he's unworthy of Amy's affections and that he's too romantic and worldly, lacking the drive to actually achieve his goals She ignores her mother and ultimately marries Edward.

Of course, She has a troubled marriage with Edward, who cannot handle her frustration with his fledgling career and her dismissive attitude towards his literary aspirations, and so she cheats on him with another man ultimately divorcing Edward to marry the man. Edward attempts to repair their relationship, but ultimately cuts the cord with Amy when he learns she's pregnant with his child but secretly had an abortion to ensure the divorce would proceed. So, after reading Edward's new novel she arranges a meeting with Edward at a restaurant, but Edward doesn't show up, as he stand's her up for revenge. So she realizes he's a good writer after all and she's stuck in a sham and unhappy with her life. Michael Shannon (pre General Zod in Man of Steel) is incredible as a terminally ill Texas detective. And Prince of Persia Jake Gyllenhaal is way better than anything I've seen him in lately - thank Jesus he shaved off the gross facial hair for the flashbacks. And Amy Adams plays typical lovelorn damsel as always. But I realize Tom Ford lives in this luxurious world of Gucci and Yves Saint Laurent, with beautiful faces and bodies. But its no excuse to occasionally throw in pointless gratuitous nudity - Jake in steamy shower scenes and Aaron Taylor Johnson outside on a toilet. I'll still be grateful for Tom Ford's A Single Man. Amazing how Nocturnal Animals is his next film 7 years later.

Hey everyone... Dug Up will finally get you to appreciate what so many halfbaked overblown cable shows never accomplish. This one portrays the ridiculousness of 'zombie' films as they should be done. Over the top campy, hammy glory, and you won't be disappointed. If you like throw backs to the 70's, 80's and 90's camp horror films & comedy's then you'll love this. Great performances and redneck humor at its best. The final conflict with "Dukes of Hazard" stylized knock 'em dead and William Shockley channeling Kristofferson from "Blade" is hilarious.

Paul Greengrass returns to guide Matt Damon in this 5th installment of the Jason Bourne series and the sequel to The Bourne Ultimatum. Damon plays the main character, ex CIA assassin and psychogenic amnesiac quite well. My only problem was at the end Heather Lee convinces Intelligence Director Edwin Russell that Tommy Lee Jones methods are outdated and offers herself as his replacement as CIA Director and Russell's eyes and ears within the Agency. She outlines her plan to use Bourne's trust to bring him back in, then tells Russell she's even prepared to kill Bourne if he refuses. Then she meets with Bourne, promising him that the CIA will become what he thought it was when he joined. Bourne asks for time to consider the offer and walks away. She returns to her car and finds a recording of the conversation she had with Russell about what she'd do to Bourne. For 30+ years stuck in Federal Government work at the cabinet level I continuously warned my staff about NEVER boasting or speaking out-of-school because what is said or texted WILL come back to hurt you - as Malcolm X said "The chickens do come home to roost". So, when Heather Lee allows herself to tell Director Russell what she'll do to Bourne I was deeply troubled that someone of her status would actually say such a thing since she of all people should know about surveillance.

This film pretty much mirrors my own experiences in Pittsburgh prior to leaving and only returning years later to bury mom. At a party, Art meets the attractive Jane, whose boyfriend, Cleveland, is both friendly and strange. These two mess with Art's mental state. Although Jane doesn't mean to, but Cleveland is a twisted manipulator. The first little "joke" Cleveland plays on Art should have sent Art running as far from Cleveland as he could get. But Art is pathological pushover.

As with my own complications, the fractured relationship with the gangster father. Art's possessive girlfriend. Jane's ambivalence. Cleveland's weird manipulation and emotional, if not attempting a sexual menage a trois. Art, as I did, cannot see how Cleveland is using him to get out of a bad criminal situation - then the climactic ending arriving out of thin air involving Art as the summer ends as mine did on a very small world.