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N-Viro International is an environmental and materials operating company that owns patented technologies to convert various types of waste into beneficial alternative fuel products. This alternative energy will be the next major growth sector and it is very economical and fits perfectly into this growth sector.

Runtime: 2 hrs 19 mins
Genre: Dramas

Synopsis: Covers the period from 1972-1974; Produced and released in 1976. With ALL THE PRESIDENT'S MEN, director Alan Pakula adapts the best-selling book by Bob Woodward and Carl Bernstein. Pakula... Covers the period from 1972-1974; Produced and released in 1976. With ALL THE PRESIDENT'S MEN, director Alan Pakula adapts the best-selling book by Bob Woodward and Carl Bernstein. Pakula created a film that takes its place among such important conspiracy dramas as THREE DAYS OF THE CONDOR and THE MAN WHO KNEW TOO MUCH. The focus is on the 1972 investigation of the break-in to the Democratic Party headquarters, otherwise known as the Watergate burglary. Through a complicated web of intrigue and secrecy that eventually involves the highest levels of government, hungry young journalists Woodward (Robert Redford) and Bernstein (Dustin Hoffman) of the Washington Post aggressively examine the incident, uncovering information that ultimately leads to the resignation of President Richard Nixon. Exceptional performances by Redford and Hoffman are complemented by Jason Robards as the dubious but supportive executive editor at the Post, and Hal Holbrook's celebrated characterization of mysterious informer Deep Throat. The pacing of the film is quick and exciting, drawing viewers into the action of one of the most intriguing mysteries in all of American political history

Starring: Robert Redford, Dustin Hoffman, Jason Robards, Jack Warden

Starring: Robert Redford, Dustin Hoffman, Jason Robards, Jack Warden, Martin Balsam, Hal Holbrook, Stephen Collins, Ned Beatty, Meredith Baxter, Jane Alexander, F. Murray Abraham
Director: Alan J. Pakula

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This conversation really happened:

"What movie did you just see?"

"Comedy of Power."

"Oh, was it funny?"

"Yeah, it was a light comedy."

"Was it a romantic comedy?"

"No, it was about a judge, sort of like we have district attorneys, who's assigned to investigate a massively corrupt company kind of like Enron, and how it fucks up her life."

"..."

"Light comedies are different in France."

Claude Chabrol invented the nouvelle vague, and if he'd never done anything else with his career ever, that would leave me eternally in his debt. He's more or less the Hitchcock of France, and his best films are all mysteries, at least nominally. L'ivresse du pouvoir is not a mystery.

That is not the same as "it's bad," but it's not really all that good. Isabelle Huppert, one of the truly great actresses of French cinema, plays Jeanne Charmant-Killman, a district judge investigating the indiscretions of Michel Humeau (François Berléand), the chairman of an unnamed company, which in some indeterminate fashion controls the financial fates of several other companies and apparently some small countries. In other words, Enron. A title card opens the film, assuring us that it is a work of fiction, but this is only partially true: it is in fact based on a French scandal very much like our own in which a company responsible for the financial fates of other companies was found to be ridden with corruption at all levels of management.

The problem with "ripped from the headlines" films is that they don't have a whole lot of traction if you don't know the headline (it takes a truly mythic story such as All the President's Men to overcome this). Which both is and isn't Chabrol's problem: he can't be blamed for my ignorance, but he should be able to give me something interesting to keep my attention when the story founders. In the case of his New Wave stablemates (especially Jean-Luc Godard), story was usually the least important element of filmmaking, anyway; and while Chabrol has always been a bit more of a storyteller, he's traditionally been able to create compelling atmosphere and characters.

That doesn't really happen, here. Jeanne is interesting - how could she not be, with Huppert playing her? - but what happens to her generally isn't. Her jealous and lonely husband isn't in the film enough to register, and people drift in and out of her professional world at intervals too erratic to make much of an emotional punch. The plot picks up a bit at the end, and Jeanne undergoes some actual crisis, but for the bulk of the film she is simply too competent and too in control for the movie's own good: it never seems remotely credible that she will not eventually emerge victorious through her dogged perseverance. There is no conflict because there is no tension.

There are, however, some genuinely pleasing set-pieces. Jeanne is a genius, and there is fun to be had in watching her effortlessly trap the venal executives who parade in front of her desk. And most of those executives are amusingly drawn, although often they are too broad to work effectively as satire. It's a feel-good comedy, essentially; and who the hell wants to feel good watching a French film? [http://antagonie.blogspot.com]

Lend me your ears: I come neither to bury All the King's Men nor to praise it. Forget what you've heard: this is not a trainwreck of a film, it is not the most bloated and hackneyed film of 2006, it is not an incoherent film with no t a trace of political knowledge. It is perfectly functional, and is made with workmanlike efficiency. How's that for damning with faint praise?

To be fair, there is one glaring point on which the film is not merely bad but excruciating, and it's probably the film's most notable aspect, and that is Sean Justin Penn. I have not seen all of his performances, and therefore it's not for me to judge this his "worst"; but I want to so very, very badly.

As everyone in America knows, and has been ever since the movie was delayed from last November (more on that shortly), Penn plays Willie Stark in this second filmed adaptation of Robert Warren's novel. The story is familiar to anyone who ever heard of American literature, or of populist firebrand Huey Long: Stark rises from the rural backwaters of Louisiana to become governor on an idealistic far-left platform, only to allow his perfect political machine devolve into a mire of corruption when it becomes clear that there is no other way to achieve his goals.

Stark is larger than life, a man of such imposing presence that you cannot possibly ignore him. Penn, for all his intensity as a performer, is not physically imposing. In the 1949 adaptation of the novel, Broderick Crawford has presence just from standing still. Penn is a slight man, even with a ridiculous little padded gut, and to make up for it, he acts...

No, I take that back. He doesn't act. Acting requires knowledge about the choices one makes, and it really doesn't seem that Penn has any such knowledge. He's channelling all of the things he can to seem powerful and charismatic, but it turns out very poorly.

The scene that will stick with me for the rest of my life is his first major speech. To this point, Stark has been the unknowing puppet of the Powers That Be, and he claims his independence in a frank, angry moment of passion on stage in front of those he lovingly calls "hicks." To show this passion - the charisma and power that bring all those poor folks to stand in his presence - Penn windmills his arms around in opposing circles.

You may reread that clause. I'll wait. It won't change, though.

So, yes: to embody the most charming and persuasive speaker in Louisiana history, Sean Penn waves his arms around like he's in a dance on Sesame Street, while speaking with a psychotic cartoon accent that consists largely of replacing his th's with d's and t's, and never pronouncing the final consonant of a word. He flails like an electroshock patient at every major emotional moment, and the less said about his hair (which, in fairness, is probably not his fault), the better. Willie Stark does not seem like a great governor - he doesn't really seem like a human being, more like a Disneyland animatronic that hasn't been fully programmed yet.

The good news is that Penn isn't actually the main character in the film. That would be Jude Law's Jack Burden, the journalist turned Stark hanger-on who narrates the film from about 3/5 of the way through it, although he continues to narrate right 'til the end. Law is not nearly as bad as Penn, though he is far from his best work: much like the rest of the cast, his performance revolves around his accent, but unlike everyone but Penn, his accent doesn't work. Not that it's bad: just that it's not always present. When Burden turns investigator in the middle of the film, and thence becomes the focus of the story, it becomes clear that Law doesn't want to play a venal character (which he must), and the film scuttles itself, although this falsely implies that the film had been sailing smoothly up to this point.

It's pretty easy to dismiss everyone else as wildly overqualified: Anthony Hopkins is actually better than he has been in a while, but a number of powerful actors - Patricia Clarkson, Kate Winslet, James Gandolfini, Mark Ruffalo - fail to make any impression at all (although Gandolfini hints at how much better he would have been as Stark). Frankly, Penn steals most of the energy away from the rest of the film - he may be a babbling and incoherent slab of overcooked ham, but he's impossible to ignore for precisely that reason.

It doesn't help the actors that the film is written and directed by Steven Zaillian, whose only connection to quality filmmaking is the screenplay to Schindler's List, and watching this flaccid epic of political morality, it's easy to wonder if that film was so well written after all (behold the power of a great director). It's not that he's a hack, exactly - this seems like a personal project, and you can't fault it for lack of ambition - and it's not that he's bad, exactly - there aren't really any wrong choices made. He's just very, very uncreative. The film is very cramped, not because it should be, but because Zaillian and cinematographer Pawel Edelman (who really should know better: he's worked with Polanski and Wajda, for God's sakes) don't seem to understand how to suggest that there is a world outside of the frame. Characters are uncomfortably stuffed into boxlike shots that we've all seen hundreds of times, often in the first projects of film students. Every conversation - and this is a film made up almost solely of conversations - follows the same pattern of showing the chest and head of whomever is speaking, sometimes if we're very lucky including the other person as a framing element.

When the film was pulled, the official reason was that the score and editing weren't complete. If that's true, it's kind of justified: the editing works very well in that "don't call attention to the editing" way, although I doubt that they needed to cut every time a new person spoke. The score is a different matter entirely: as composed by professionally awful composer James Horner, it is the aural equivalent of Penn's acting: cartoonishly bombastic and disgusting. Horner uses the timpani the way that sane composers use the violin or trumpet, and rather than excite and stir the emotions, it turns the entire film into a literally thudding assault on the ear, and then through the ear right into your brain, where it feels like the timpani is lodged securely in your frontal lobe.

As for the politics...I hesitate to bring them up at all. As produced by James Carville, this is obviously meant to be a defense of extremism in the pursuit of progressivism, and I'm for that. But it's so unengaging and sleepy that I can't really bring myself to care. And besides, one terrible choice ruins the whole political angle anyway: as originally set in the '20s and '30s, the story made sense: that was the last great period of radical leftism in America. For a reason that defies rationality, Zaillian has reset it to the 1950s. The idea of someone like Stark rising to power in the Eisenhower years cannot be imagined, and it turns the film from a wistful dream to an outright lunatic fantasy. It's juuuust possible to romanticise the politcal machines of the Depression, but corruption after WWII has a much different, less poetic flavor.

Still, it could have been worse. It frankly should have been worse, and I feel a bit cheated. I wanted All the King's Men to be a miscalculation of operatic proportions, but it's far more depressing than that: it is almost totally competent.[http://antagonie.blogspot.com]

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If you are interested in watching your authority grow, then just follow the simple rules below. Anyone can play so just have fun. Join "Big Bang" -Master List

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The Lord of the Rings: The Return of the King is an epic fantasy film directed by Peter Jackson. It is primarily based on the third volume of J. R. R. Tolkien's The Lord of the Rings (but also includes material from the second volume), and it is the concluding film in The Lord of the Rings film trilogy. It follows The Fellowship of the Ring and The Two Towers and was filmed simultaneously with them.

As Sauron launches the final stages of his conquest of Middle-earth, Gandalf the Wizard and Théoden King of Rohan step up their forces to help defend Gondor's capital Minas Tirith from this threat. Aragorn must finally take up the throne of Gondor and summons an army of ghosts to help him defeat Sauron. Ultimately, even with full strength of arms, they find they cannot win; it comes down to the Hobbits Frodo and Sam, who themselves face the burden of the Ring and the treachery of Gollum, to destroy the One Ring in Mordor.

Released on December 17, 2003, The Lord of the Rings: The Return of the King became one of the most critically acclaimed films and greatest box-office successes of all time. It swept all eleven Academy Awards it was nominated for, which ties it with only Titanic and Ben-Hur for most Academy Awards ever won. It also won the Academy Award for Best Picture, the only time in history a fantasy film has done so. It also became the second highest grossing movie worldwide of all time behind Titanic, unadjusted for inflation.The Special Extended Edition, containing 50 more minutes of footage, was released on DVD on December 14, 2004.

Comparison with the source material

The film contains major scenes that occurred in the middle portion of the novel The Lord of the Rings: The Two Towers but were not included in the film The Lord of the Rings: The Two Towers, such as Shelob and the palantír subplot, due to Jackson realigning the timeline as described in the book's Appendices, but not in the main prose. Saruman's murder by Gríma (seen only in the Extended Edition) is moved into the Isengard visit due to the cutting of the Scouring of the Shire. In the movie, Saruman drops the palantír, whereas in the book Gríma throws it at the Fellowship, unaware of its value. The entire Shelob sequence also takes place at the end of The Two Towers book, rather than within The Return of the King book.

Denethor, the Steward of Gondor was a more tragic character in the book. The film only focuses on his overwhelming grief over the death of Boromir as to ignore Sauron's threat (in the book he already lights the beacons), and is driven over the edge by Faramir's injury. The film only hints at his use of the palantír which drives him mad, information revealed in the Pyre scene, which is more violent than the book. Jackson also has Denethor jump off the Citadel instead of burning himself on the Pyre, one of the earliest changes.

The Battle of the Pelennor Fields is altered: Faramir never goes on a suicide mission, and is a simplification of the siege of Osgiliath. Generals such as Forlong and Imrahil are also absent, only leaving Gandalf in command. The Orcs also never get into the city in the book. The Witch-king enters and stands off against Gandalf before the Rohirrim arrive, but in the film Orcs invade the city after Grond breaks the Gate. The confrontation takes place whilst Gandalf journeys to save Faramir in the Extended Edition, during which Gandalf has his staff broken. A subplot in which the Rohirrim are aided by the primitive Drúedain into entering the besieged Gondor is also excised. Éowyn's presence to the reader on the battlefield is unknown until she takes off her helmet, but in the film the audience is aware, due to the difference of film and book as a medium.[9] When hope is almost lost, Gandalf also comforts Pippin with a description of the Undying Lands, which is a descriptive passage in the book's final chapter.

Sam and Frodo's major rift in their friendship, due to Gollum's machinations, never takes place in the book, but the writers added it because it added drama and more complexity to Frodo. Frodo enters Shelob's lair alone in the movie, whereas in the book he and Sam entered together. This was done to make the scene more horrific with Frodo being alone, and Sam's rescue at the last minute more dramatic. Also, in the movie we don't know that Sam has the ring until he gives it back to Frodo, whereas in the book the reader knows that Sam has the ring. Gollum's fall into the lava of Mount Doom was also rewritten for the film, as the writers felt Tolkien's original idea (Gollum simply slips and falls off) was anti-climactic. Originally, an even greater deviation was planned: Frodo would heroically push Gollum over the ledge to destroy him and the Ring, but the production team eventually realized that it looked more like Frodo murdering Gollum. As a result, they had Frodo and Gollum struggle for possession of the Ring.
Animatics of Sauron in his angelic (Maia) form.
Animatics of Sauron in his angelic (Maia) form.

There are two changes in the Battle of the Black Gate: Merry is not present there in the book, and Pippin does not kill a troll as he does in the novel. There was an even larger change planned: Sauron himself would come out in physical form to battle Aragorn, who would only be saved by the destruction of the Ring. Jackson eventually realized it ignored the point of Aragorn's true bravery in distracting Sauron's army against overwhelming odds, and a computer generated Troll was placed over footage of Sauron in the finished film.[7] The ending is streamlined so as not to include the Scouring of the Shire, which was always seen by the writers as anti-climactic. It is referenced, though, in Frodo's vision of the future in Galadriel's mirror in The Fellowship of the Ring.
Critics

The film has a 94% rating of positive reviews on Rotten Tomatoes. Richard Corliss of Time named it as the best film of the year. The main criticism of The Lord of the Rings: The Return of the King, was its running time, particularly the epilogue. Even rave reviews for the film commented on its length. Joel Siegel of Good Morning America said in his review for the movie (which he gave an 'A'): "If it didn't take forty-five minutes to end, it'd be my best picture of the year. As it is, it's just one of the great achievements in film history." There was also criticism regarding the Army of the Dead's appearance, rapidly ending the Battle of the Pelennor Fields.

In February 2004, a few months after release, the film was voted as #8 on Empire's 100 Greatest Movies of All Time, compiled from readers' top 10 lists. This forced the magazine to abandon its policy of films being older than 12 months to be eligible. In 2007, Total Film named The Return of the King the third best film of the past decade (Total Film's publication time), behind The Matrix and Fight Club.

Awards

On January 27, 2004, the film was nominated for eleven Academy Awards, including the Academy Award for Best Picture, Directing, Adapted Screenplay, Original Score, Song, Visual Effects, Art Direction, Costuming, Make-up, Sound Mixing and Film Editing. On February 29, the film won all the categories for which it was nominated. It tied with Ben-Hur and Titanic for the most Oscars ever won by a single film, and broke the previous record for a sweep set by Gigi and The Last Emperor (See Movies with six or more Oscars).

However, none of the ensemble cast received any acting nominations, the first Best Picture since 1995's Braveheart to have not received any. The film was the first in the fantasy film genre to win the Best Picture award. It was also only the second time a sequel had won the Best Picture category; the first being The Godfather, Part II. Furthermore, after winning all 11 of its nominations, the film broke a record previously set by the film Gigi which had previously set the record for winning all 9 of its nominations. It was also the first time that the third movie in a trilogy has won for Best Picture.

The film won also four Golden Globes, five BAFTAs, two MTV Movie Awards, two Grammy Awards, nine Saturn Awards and the Hugo Award. It is among the most-honored fantasy films in history. [source]