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The story of a man caught in a whirlpool of grief and rage over the murder of his wife, Prayer to a Vengeful God is contemporary revenge drama, presented in an austere visual style, completely without



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The story of a man caught in a whirlpool of grief and rage over the murder of his wife, Prayer to a Vengeful God is contemporary revenge drama, presented in an austere visual style, completely without dialogue. John Krause (Dan Eberle) lives a successful life, but his wife wants a little something more, moonlighting in the world of sex and drugs. She makes a tragic mistake, and ends up a target of the local dealers. John becomes collateral damage, left for dead (but luckily only in a coma). Upon waking, he soon decides upon a course of revenge.

Eberle, who is also the writer and director, continues to blaze a trail of artistic genius. I had seen his previous film, "The Local", and was thoroughly impressed by his ability to make a low budget independent feature have the same level of style, quality and intensity as a Guy Ritchie crime drama. "Vengeful" is a different sort of film, perhaps more artistic, but the talent is equal to or better than that in "Local".

Besides Eberle, who is a skilled writer, director and actor, a few other stars stand out and should be given credit: first and foremost, the late Paul James Vasquez who plays the Transient. Vasquez has a way of combining a glamorous Fabio and a dirty, homeless thug into the same character.. and it works. It really, really works. Due to Vasquez's skills and physical stature, no one else could have filled this role, and Eberle is lucky to have a friend and teacher like this.

The other actor who stood out was Jillaine Gill, who played the Urchin. Her role is less defined -- no real name, no distinct alliances. Gill has called her role that of "guardian angel", which I think is appropriate, but what are her motivations and where does she come from? That Jillaine was able to play this part and make it so believably mysterious is a strong credit to her... I hope to see her in future Eberle productions and other films.

The making-of featurette (sent to me by Eberle, and I'm not sure where else this will be available) is a fifteen minute behind the scenes that refers to "power in silence". And I think that really sums up this film: it epitomizes the idea of less is more. By lacking dialogue, we are sucked in more, left to analyze more deeply on visuals and actions... and the varieties of interpretation come into play. There is a set narrative, but some aspects are ambiguous -- but this adds to, not takes away from, the film; you can watch it again and again.

I do not have the expertise to analyze and critique the technical merits of the film, but truly this is a professional film disguised as an independent one. Dan Eberle does what the big studios do without the aid of millions of dollars and A-list actors. But the fact of the matter is this: Eberle and crew do it better.

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The film dramatizes November 11, 1919- a crucial date in the battle for Latvian independence. A year after the end of the official hostilities of WWI, a renegade German general and troops remain outside the Latvian capital. Latvian riflemen, most of them inexperienced volunteers, somehow managed to defeat a larger, better-armed force of German and Russian mercenaries. Its not often the Latvians, like most of the smaller nations of the world, get to tell their side of the story and when they do the tendency is to make up for lost time. Aigars Grauba's Rigas Sargi (The Defenders of Riga) sets an ambitious agenda, the retelling of Latvia's 1919 war of Independence against the forces of Russian General Pavel Bermont-Avalov and German General Graf Rüdiger von der Goltz. Defenders focuses on the pivotal battle for Riga and the events leading up to it when Latvian forces, outnumbered 5 to 1, held on to Riga on November 11, 1919. The date is now celebrated as Lacplesa Diena (Bearslayer's Day), Latvia's equivalent of the USA's Veterans Day. Like Grauba's Baiga Vasara (Dangerous Summer) this is a big budget (at least by Latvian standards) crowd pleaser which doesn't aim for either subtlety or historical accuracy. It aims squarely at its primarily domestic audience and plays on some of their most firmly held mythology and themes and as such delivers on all accounts. Defenders to date is Latvia's highest domestically grossing film. The events of November 1919 are framed by a love story between Martins (Janis Reinis) and Elza (Elita Klavina). Janis, an idealistic everyman, leaves his Elza on their wedding date to answer the Tsar's call to defend the Russian empire (of which Latvia was a part of at the time) against German forces. As that war draws to a close Martins returns to Latvia, which by now has declared independence, and once again finds himself in the middle of a war. Elza unfortunately has gotten tired of waiting for him. While still retaining some strong feelings for him, her life, and she along with it, has changed and she's no longer sure of her love for the idealistic Martins, who once again is preparing to leave her behind to fight in a war which most likely can cost him his life. In Defenders Grauba again displays his talent for knowing his target audience and which emotional buttons to push. And push them he does none too subtly. The film's characters come across as two dimensional caricatures and the script sets the story in the starkest black and white, good v. bad, us against them, terms. The us are heroic and noble. The them are either murderous goons, incompetent buffoons or devious manipulators. This is not unusual in war films, but unfortunately, while extremely satisfying for the us portion of the audience, the film probably will not find much of an audience for those who have no emotional stake in either side. Having broken the box office domestically its highly unlikely that the film will find much of an audience outside of Latvia. Grauba, as in Vasara, certainly knows how to deliver a punch line, but the set up is unfortunately lacking. And it's the set up which makes punch lines most effective. His actors don't have much to work with, or perhaps its better to say that they have too much to work with. The script expects them to play to the last row in the house, and at that to the one person who sits in that row who is hard of hearing and near sighted, and play they do. The cast delivers as well as it can. There is real chemistry between the actors and when the script works, usually during its smaller moments which are unfortunately too few, the story comes alive and transcends its two dimensional themes. Overall, Defenders is a better film than Vasara and Grauba certainly shows promise. If not necessarily as a writer and director then perhaps as a producer. As a side note, it would be interesting to see Grauba working as a producer for such Latvian directors as Varis Brasla (Ziemassvetku Jampadracis) or Viesturs Kairiss (Leaving by the Way). By Latvian standards this is an epic film with a budget of $4 million and Grauba milks it for its worth. While by Hollywood's standards, where the average cost of a film can run over $50,000,000, this wouldn't qualify it even as a low budget indy, but by local standards its about as good as it can get. Too bad that once it leaves the friendly confines of its domestic market it will be lost on the global stage as a solid B film which international audiences wont find of much of interest since they have no emotional investment in the subject matter. Okay, it's not a perfect movie, so what? Very few are. This film attempts to tell its story from a point of view very rarely seen. Of course, it's not entirely accurate historically, but then I can't think of a single historical film from Hollywood that ever was either. Besides, it wasn't meant as a documentary, but as historical drama, where very often some liberties are taken with the facts in order to create a more personal story. However, where it is accurate is from the point of view of the people that participated in this historical time. I should know, because I'm an American of Latvian descent, and I heard these stories from my parents, grandparents and older relatives. In the greater context of this film, these events happened. I found many of the negative criticisms of this film unfounded and rather biased. Personally I think it's quite a good movie, and in the context of Latvian film, it is better than most. I did not find the characters as shallow as another reviewer did. They are all portrayed as human beings with aspirations, human strengths and weaknesses, doubts, etc. So what if certain clichés are used, like we are heroic and noble, and THEY are bad, cunning and manipulative. One reviewer accused the film of demonizing Germans and Russians. Correct me if I'm wrong, but hasn't Hollywood been demonizing them in films for many years? Besides, considering the fact that historically speaking, when the events of this film happened, The Russians ruled the country, and the German nobility owned the land, treating the indigenous population as serfs or slaves. There was no love for them, and in the context of history, why should they have felt it? Should a freed black slave love his white master? Why? This film accurately reflects the feeling in the country at the time, including the internal squabbling that did exist. Those that wanted independence and those that were afraid that there were powers greater than themselves that could destroy their dreams. The movie addresses this well. What's with the fistfight near the end between Martins and the one-eyed German? A reviewer complained about it. However, in the context of the scene, it fit. Martins disarms him of his bayonet, and what's left is their fists. If this was a Hollywood movie, there would be lengthy unrealistic overdone karate fights instead, but this was how men settled it then so I don't see the problem. Bottom line, it's a good movie and the fact that it portrays a time in history that most people know nothing about makes it even more interesting. I recommend it.

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In the distant future, humans are declared "illegal residents" and hunted to near extinction by murderous robots. One day, a group of human scavengers come across a strange man named Killy, who may be the key to humanity's survival. In the distant technological future, civilization has reached its ultimate Net-based form. An "infection" in the past caused the automated systems to spiral out of order, resulting in a multi-leveled city structure that replicates itself infinitely in all directions. Now humanity has lost access to the city's controls, and is hunted down and purged by the defense system known as the Safeguard. In a tiny corner of the city, a little enclave known as the Electro-Fishers is facing eventual extinction, trapped between the threat of the Safeguard and dwindling food supplies. A girl named Zuru goes on a journey to find food for her village, only to inadvertently cause doom when an observation tower senses her and summons a Safeguard pack to eliminate the threat. With her companions dead and all escape routes blocked, the only thing that can save her now is the sudden arrival of Kiri the Wanderer, on his quest for the Net Terminal Genes, the key to restoring order to the world. Oh boy. As a long-time fan of Nihei's manga, I have been dying to see the Netflix anime adaption. It is not a bad movie, but it might be disappointing for fans of the original work.

To start positively, the animation is great, the character and world designs are spot-on, and the action is awesome. This movie LOOKS the way it should, which is really its strongest point. Past that, though, it just doesn't capture the insanity of the manga, and resorts to endless clichés that are just unnecessary in a Blame! movie.

The opening sequence was great and immediately drew me in After that, we get to sit through an HOUR of exposition and walking. Literally, an hour. The manga would have maybe ten words in an entire chapter and still keep your attention, as it told its story through actions, events, and interactions rather than extended dialogue. This is honestly the biggest sin the movie committed, having its characters standing around telling each other stuff that should already be common sense to them.

I guess the pacing is its weakest point, because once the action kicks back in, its great, and the final fight is worth watching for. However, don't feel bad fast- forwarding through the tedious parts, because they really do go on forever about nothing. If they had broken up the conversations a bit more with some action or even a chance of scenery, it would have benefited greatly. Instead, it makes getting to the good parts a chore, which is a shame.

If you've never heard of Blame! you should enjoy this movie, but if you're a fan of the originals don't get too excited. This is an "accessible" version that removes all the mystery, intrigue, and viciousness of the manga and replaces it with classroom lecturing, locker-room shower talk, and clichés aplenty. The result is a pretty but watered-down version of one of my favorite stories, but the fact that it's Blame! is enough to keep it from being bad. The manga is honestly Nihei's best work to date and it deserves way more recognition, and hopefully an improved sequel. It was visually stunning and the concept of it was very interesting to me, but the overall pacing and rather two dimensional characters disappointed me. I've never read the comics so I have nothing to compare to, but I really felt the characters needed to be better developed because as it is makes it just so hard to care about them at all and therefore made it hard to care about what was happening to them. Plus I gained like 5000 questions and got absolutely none of them answered. Which is always infuriating to me lol.

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In 1965, as America prepares to send its troops into South Vietnam's green Central Highlands, the devoted commander and seasoned paratrooper, Lieutenant Colonel Harold Moore, prepares to lead the young men of the First Battalion of the Seventh Air Cavalry into the war's first major ground battle. Hopelessly outnumbered, four hundred soldiers against a North Vietnamese infantry division of two thousand men, Moore's soldiers will fight in Ia Drang Valley, or the Valley of Death, during three days of inferno. This movie displays the courage and the dignity of few men on the fierce battlefield, as well as the pain and suffering of all those who were left behind alive but, nonetheless, wounded. The story of the first major battle of the American phase of the Vietnam War, and the soldiers on both sides that fought it, while their wives wait nervously and anxiously at home for the good news or the bad news. If you ever want to compare and contrast two movies of similar content for differences in direction, watch "We Were Soldiers" and "Black Hawk Down". Randall Wallace is so out of his depth in trying to convey dimension and depth to both the story and the characters that it's often painful to watch. The cliched and stereotypical scenes in the movie scream of amateurish direction. (Two scenes in particular: the wives' get-together with the "Whites Only" reference to the laundromat, and the "Tell my wife I love her" line so badly delivered that I laughed in spite of myself.)

Keep in mind: I love war movies. I do not love them for their action. I don't even love them for the strategy and intelligence depicted in the arena of conflict. I love them because, when they're done correctly, these films show us the sacrifice and unreasonable commitment soldiers bring to the aforementioned arena. I genuinely feel for the soldiers when I see just what they are subjected to in combat. "Black Hawk Down" left me wanting to know more about the brave rangers. "Patton" left me wanting to learn more about the courage of General Patton's army. "We Were Soldiers" almost didn't do that because of inept directing. Randall Wallace needs to hone his craft before he takes on such projects.

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