Ulises Brenes’s blog

A film not released to North American theaters finally gets it's certainty to show off the award winning script of writer\directed Yurek Bogayevicz in the form of Edges of the Jehovah domineer. Edges took the award for Most appropriate Screenplay in the 2001 Polish Film festivities, and it took four years for it to finally get better a stateside release.

Filmed on tracking down in Poland, Edges of the Peer stars Haley Joel Osment as a young Jewish attendant who's been forced by the Nazi occupation of Poland to leave his type and live in a Catholic countryside village. Initially Osment's character Romek has a tough time fitting in, and swiftly has to start catechism with the other village children, which leads up to a lot of the not so designing symbology in the silver screen.

The village children are tasked with assuming the role of one of the apostles, and one lady named Tolo (Liam Hess) decides that he wants to play the role of Jesus which leads to some slight off-putting scenes such as him trying to confine nails through his own hands. The lone female of the group has a short discussion with the Father all over the role of women and how they interacted with Jesus, naturally the text of Mary Magdalene came up, but the topic stopped there.

Post-haste Romek becomes integrated into the village, he soon hears about "the trains" that unfurl by the town at round-the-clock and decides that he would like to see them firsthand. Once there, he witnesses the persecuted Jews trying to take French leave the entourage and then realizes that his family might not be returning to make their family whole once again. One night while out watching the trains, Romek and a alter ego Vladek witness limerick of the village teens robbing the Jews who manage to break out the carriage, which leads to a difficult seascape of Romek unwillingly robbing other Jewish train passengers with the Nazi soldiers applauding his efforts.

The movie was filmed with what seemed like a handheld camera to bring the viewing audience into the photograph more, but the hectic rate of speed
of the camera did not condition well with the rather somber subject matter. I also didn't finger the story all that compelling, but I might attribute that
to the bulk of the acting cast who's native phrasing was not English, so the subtle inflections of tones that a native speaker can
sum up to dialog can undeniably add to the whole impact of the script.

More than have the village try to force this young Jewish child to accept the Catholic on the move of life, we get a touching scene where the Priest is distributing communion, and instead of giving Romek a blessed chewing-out share, he gives him an edge which he had time past described to the boy as the pull apart which is not blessed, thereby helping him preserve his Jewish creed.

When a helpmate little-known to Grace (Brenda Blethyn) shows up at her husband's funeral, Suavity gets her help mention that she may demand not known everything there was to be acquainted with about the man she was burying. His suicide provided the first refer. Much worse is to understandable though when his secret dealings are quickly exposed as the various creditors be placed themselves known in the most boorish of ways. Unless she can premiere c end up with a staggering amount of on Easy Street, Grace discretion fritter her stunning qualified in. The complication is that her lone slide is an exceptional capacity as a gardener, and that certainly isn't prevailing to produce the necessary funds. Or is it? Her Scottish groundkeeper Matthew (Craig Ferguson) may well have the surrebutter …

Eyre's dusting of John Bayley's bestselling memoirs has the virtues solitary imagines Iris Murdoch would have hoped repayment for: it's an intelligent, literate obscure with a effective sense of its world and honest, impelling performances. If it's also underwhelming, perhaps these virtues can become vices: it's exceedingly literal, solipsistic and disinterested a little academic. For the benefit of those dozing at the back, Murdoch was a very top-grade British novelist and philosopher. Educated at Oxford in the 1950s, she fashioned herself as a free spirit - yet oddly, when the stammering John Bayley paid court, she chose him to be her husband, and they lived together until her death in 1999. Eyre's film switches between the couple's courtship and the aggravating last years when Murdoch suffered from Alzheimer's sickness, instances eliding four decades in a one, facile pan. The twin casts are literally matched: Dench and Winslet as the flinty, hay-haired Iris; and Broadbent and Bonneville as John, about a caricature of the deficient keep-minded don, the cuckold happy with his lair. She sees decency in him, an intellect to parry, and an unworldliness which obviously suited her purposes. Eyre is interested in how dependency shifts between them, in what keeps a couple together even in the face of Alzheimer's - and in watching a superb disregard regress. Up till, maybe inevitably, the film becomes less interesting as it goes on.

A few weeks ago, I wrote a review for the two-disc Hitler: The Rise of Evil, a CBS miniseries that included Hitler: A Career as one of its DVD bonuses. Produced in 1977, Hitler: A Career (Hitler - eine Karriere) caused quite a stir by all accounts when it premiered in Germany and in other Western countries. Written and co-directed by Joachim Fest, the celebrated German historian, his previous biography on Adolph Hitler was the first to be written by a German, and it too caused a sensation in a Germany that was finally re-evaluating its role in WWII and the Holocaust.

By the early 1970s, at least in the U.S., television censorship standards had loosened considerably, allowing archival footage of the war and specifically the Holocaust to be more readily shown (PBS's airing of The World at War series was a landmark ratings event for the network). Having since been inundated over the past thirty years with numerous films and documentaries on the Third Reich, watching Hitler: A Career today may seem old hat to newer viewers, but I found it a clear, intelligent, energetic examination of the infamous mass murderer and his equally culpable supporters.

Exclusively utilizing archival footage (there are no modern interviews), Hitler: A Career immediately jumps into examining Hitler's rise to power. Cursory information is given about his upbringing, his WWI career and his vagabond days in Vienna, Austria, but only in the context of delineating his actions after the war. If you've read Fest's work, you know then that his take on Hitler's ascension to power - quite controversial when first proposed - directly implicated the German people in propelling Hitler to power. Contrary to the widely held theory at the time that economics solely allowed Hitler to rise, Fest argued that the uppper and middle class, fearful of change brought about my modernization and immigration, saw in Hitler a racial and cultural savior, whose constant harkening back to the mythical, magical Germany prior to the Industrial Revolution, resonated with the bourgeoisies.

In Hitler: A Career, Fest argues that Hitler, far from being a raving madman (at least at the beginning of his career) was instead a scheming, incredibly adaptable (at first) and calculating politician, keen to exploit any weakness he saw in the political system and in the masses who, humiliated by the outcome of WWI, were waiting for a voice to speak for them. In his narration (Fest wrote the narration, British actor Stephen Murray delivers it - and quite well, too, I might add), Fest carefully plots Hitler's hard-won oratory skills, as well; again contrary to popular belief, he wasn't an immediate success with crowds. He had to learn how to sway them, with imagery taken from ancient Germanic folklore peppered throughout his speeches, along with a carefully crafted delivery, complete with studied facial expressions and staged body movements, that he spent years perfecting.

While some may feel that not enough time is spent in Hitler: A Career on his formative years, Fest is quite clear on the causes he felt shaped Hitler's insatiable need to "save the world." While so many historians center on Hitler's "Final Solution" and his rabid hatred for the Jews, Fest identifies an earlier, much stronger impulse that led to Hitler's power grabs and eventual indulgences in world domination and racial genocide. According to Fest, a young Hitler's simultaneous attraction to and repulsion from the decaying bourgeois "Old World" that beckoned to him in Vienna - and which utterly rejected him as an artist and failed to notice his very existence - gave Hitler not only a reason for thirsting for power, but also the tools to sway the masses hungry for a return to a period of time that never really existed in the first place for them. Hitler, through order and through an intricately calculated mythology, would give the humiliated German people a sense of "belonging," a sense of a reunified Germany under the older, safer, more spiritual rules. Hitler would use the very symbols of the culture he adored to fool the people, which in turn would catapult him into a position of power over the very remnants of that elite ruling class that had failed to recognize his "greatness."

As well, Fest is very clear in Hitler: A Career that Hitler, at first a ruthless, wily politician very much aware of the empty, showboating nature of not only the National Socialist's pipedreams about Aryan superiority but also his own carefully designed persona, rapidly descended into madness, believing his own hype and accepting the German people's placement of him as a demigod as fact, and not the result of calculation. This would be his downfall, for when he assumed increasing control over the military (taking credit away from his generals who won his early battles), his Reich quickly crumbled, and the German people finally woke up from their self-induced hysteria to see the utter ruin they and Hitler had caused.

Hitler: A Career is very definitely of its time. Fest's narration, read by Stephen Murray, eschews a scholarly drone to appeal directly to the viewer's emotions. Fest believes what he's writing, and he sees no need to be wishy-washy about it. As well, the actual construction of the documentary by director Christian Herrendoerfer, is entirely in keeping with documentary fashions of the time. The score is bombastic and expressive; the silent footage is enhanced with sound effects, and the editing is assembled for emotional impact - and quite brilliantly, too. There's an amazing moment in Hitler: A Career, and it only lasts a few seconds, but it's one of the most frightening images of Hitler I've ever seen on film. Fest's narration is describing how Hitler, ever the empty non-entity, fanatically studied others to create his own persona, including carefully watching military figures to craft an impressive authoritative bearing of his own. At this point, director Christian Herrendoerfer inserts a brief clip of Hitler, surreptitiously eyeing a soldier standing next to him. It's a decidedly creepy moment, displaying the naked, calculating perversity of this murderous cipher.

The DVD:

The Video:
The full screen, 1.33:1 video image for Hitler: A Career is as good as can be expected, considering the exclusive use of archival footage. It's frequently rough, but with a film like this, visual perfection is hardly a deal breaker.

The Audio:
The English narration with German dialogue is presented in a flat mono mix, with all dialogue heard clearly. English subtitles are provided.

The Extras:
There's a photo gallery included on the Hitler: A Career disc, along with some trailers for other WWII documentaries from First Run Features.

Final Thoughts:
Written by esteemed German scholar and historian Joachim Fest, Hitler: A Career is a mesmerizing look at the rise and fall of Adolph Hitler, as well as the complicity of the German people who catapulted him into power. Cleanly and logically plotted, Hitler: A Career relentlessly hammers home Fest's theory that Hitler gave the defeated, humiliated German nation exactly what they wanted in the early thirties, through a calculated shell game involving phony Germanic folklore and a soothing balm of violence and order to appease the bourgeoisies' fear of modernism. It's a spellbinding documentary. I highly, highly recommend Hitler: A Career.

Paul Mavis is an internationally published coating and television historian, a associate of the Online Film Critics Society, and the author of The Espionage Filmography.

A seemingly dyed in the wool partner and her following of elderly kinky connoiseurs became daily tabloid sensations when it was uncovered that her suburban brothel catered to some of unforgivable Britain's elite. Members of Parliament, diplomats, judges, bankers and even men of the stuff the clergy were all caught with their pants down in England's calumny of the decade.

Legally

Blonde

(MGM)

Rated PG

Release Date
- July 13, 2001

Starring:
Reese Witherspoon, Matthew Davis, Selma Blair, Luke Wilson
and Victor Garber. Directed by Robert Luketic. Produced by
Marc Platt and Ric Kidney. Written by Karen McCullah Lutz
and Kirsten Smith.
All that said?

Legally Blonde

is obvious, simplistic and bonehead? and
a hell of a lot of fun.

Reese
Witherspoon

is, on a a sure thing level, playing against type.
If you peruse the screenplay about the Hawaiian
Tropic girl turned statutory student, she would not be the first
name to come to mind.
(
Jennifer
Liaison Hewitt
could compel ought to made a real movie trade out of
a role like this and
Denise Richards
, if she had been
adept to production the sweetness, could be enduring had a career increase.)
Every frequently there is a line connected with Ms. Witherspoon?s
bat?s ?big boobs? or head turning looks, this pen-pusher,
as sexy as he finds R.W., had to shake his pate.
Cute and charismatic, yes.
Drool inducing, no.

– After being blitzed by an onslaught of prominence-exigent advertising that begged the question “who is Sarah Marshall?” even before you realized it’s a film, foreknowledge was ravenous.

Kristen Bell as Sarah Marshall in “Forgetting Sarah Marshall”.

Photo honesty: IMDb

It became nothing short of voracious upon learning it’s backed by producer Judd Apatow of “Superbad,” “Knocked Up,” “Talladega Nights: The Ballad of Ricky Bobby,” “The 40-Year-Old Virgin” and “Anchorman: The Legend of Ron Burgundy” fame (also with high hopes for his “Pineapple Express,” which opens on Aug. 8, 2008).

Through his Apatow Productions company, Apatow has made

beaucoup

bucks and a mountainous name by banding together the same stooges time and time again.

In “Forgetting Sarah Marshall,” we’re treated to the return of Bill Hader and Jonah Hill (both in Apatow’s “Superbad” and “Knocked Up” together).

While it’s still early in the year and few films have stood out to date, “Forgetting Sarah Marshall” indeed delivers on its hype as the funniest comedy so far in 2008.

AKIN
SCULPTURE
GALLERY


RELATED
READING

Apatow has once again fashioned what could have been cheesy gimmick into delicious gold. In a telltale sign of its riotous good time, Chicago critics have even been promising to return on opening weekend for a second paid viewing with friends.

While first-time filmmaking talent is often a precarious, hit-or-miss gamble, it pays off in spades this time.

The film is written by first-time writer Jason Segel (who features himself in “Forgetting Sarah Marshall” as main-character Peter Bretter – and often buck naked, too) and directed by first-time director Nicholas Stoller (who wrote 2005’s “Fun With Dick and Jane”).

While Segel’s writing valiantly laughs you out of your chair all throughout the film, his starring role within his own words takes some time to earn your trust. Up until about halfway through, I kept questioning whether he was tragically miscast for the lead.

His big, teddy-bear demeanor and charming naïveté, though, wins you over by the climax. Here’s a small taste of some of his written nuggets of gold, too:

Matthew (played by Jonah Hill):

“I have a question for you real quick. What did you think of my demo? Did you get it?”

Aldous Snow (played by Russell Brand):

“I was gonna listen to that, but then – um – I just carried on living my life.”

Jason Segel (left) and Kristen Bell in “Forgetting Sarah Marshall”.

Photo credit: IMDb

Just as much as Segel stars in the film as Peter, Kristen Bell equally co-stars in “Forgetting Sarah Marshall” as the siren everyone has been talking about before even arriving to the theaters in droves: Sarah Marshall.

Bell (who played Veronica Mars in “Veronica Mars”) burns up the screen every second she’s on it and is cast in the comedy with perfection.

The Ukrainian Mila Kunis – who you’d know as Jackie Burkhart in “That ‘70s Show” – is a wholesome addition who’s part saint and part sinner. Bill Hader as Peter’s brother, Brian Bretter, again rocks the casbah in his portrayal of the advice-spewing, Webcam-coaching sibling.

Paul Rudd (also in “Knocked Up”) as Chuck the surf-lesson guy is wonderfully in progress, way out there.

Russell Brand in “Forgetting Sarah Marshall”.

Photo put: IMDb

Jonah Hill is hysterically written in as a waiter named Matthew who not-so-subtly has a veteran man mortify on the unanticipated diamond in the film’s rude: Russell Brand.

Brand completely oozes himself into the eccentrically carefree, libidinous rock star named Aldous Snow who scoops up Sarah Marshall after she bulldozes Peter Bretter’s heart.

As Peter mourns the loss of his girlfriend and sees his confidence swell, he falls into the lap of Mila Kunis while she’s working at a Hawaiian resort.

Though from the text typed in this review it’d sound catastrophically lame, Peter even woos you with the distinctly unusual and decidedly novel concept of a Dracula rock-band puppet show.

While “Forgetting Sarah Marshall” in tagged with lots of puff and catchphrasing – including “a comedy about getting dumped and taking it like a man” and “the ultimate romantic disaster movie” – the film’s ultimately and indisputably one of the most entertaining ways you could spend 112 minutes.

“Forgetting Sarah Marshall” opened on April 18, 2008.

By
ADAM
FENDELMAN

Editorial writer-in-Chief

HollywoodChicago.com
© 2008 Adam Fendelman, HollywoodChicago.com

CALENDAR & ADVANCE FILM SCREENINGS

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The Movie

Some say it was the Airport flicks that kick-started the "all-star disaster" genre, but the death-laden spectacle epics that I know and love begin and end with one name … and it ain't Arthur Hailey.

Irwin Allen struck upon a goldmine when he bought the rights to a enrol called The Poseidon Affair and turned it into a big, sweaty hulk of a movie. The flick turned out to be a colossal hit, with audiences if not inescapably with critics, and it stable earned an impressive eight Oscar noms. (It won not one, though; First-rate Song)

Immediately after his sea-faring success, Allen leaped upon a new concept … but it turned out that the book he so desperately wanted to buy was already owned by Warners. So, like any canny producer with a lot of chutzpah, Allen found himself a paperback with the exact same plot, bought the screen rights, and walked into Warner Bros. to say "Hey, let's make this movie together instead of competing over the concept."

So "The Glass Inferno" and "The Tower" were handed over to Poseidon screenwriter Stirling Silliphant along with one piece of instruction: Turn these two novels into one big screenplay. And the rest is disaster movie history.

The Towering Inferno furthered the pattern that Allen laid down with Poseidon: Past a bunch of very renowned actors, jam 'em into a spot where death and danger lie low yon every turn, compensation discernible just enough melodrama to have the characters interesting, and be sure to casually kill a infrequent characters whenever the action got a baby limp. And to save a few movies, this way worked type a organize-A cultivation. (To learn ensure the other vanish of the spectrum, one emergency only rent Allen's later epics The Swarm and When Experience Ran Out. 'Painfully bad' doesn't begin to describe 'em.)

In at least one area of filmmaking, Irwin Allen liked to keep things simple, and that one area was … plot. The Poseidon Adventure was "folks try to escape from a capsized ocean liner," while The Towering Inferno was even easier: "Folks try to escape from a burning skyscraper." Clearly the movie fans weren't going to the disaster flicks for their Machiavellian plot machinations … but nobody could accuse Irwin Allen of being stingy with the goods. Those who bought a $4.00 ticket to The Towering Inferno absolutely got their money's worth.

So who's trapped inside the penthouse of the world's newest, tallest, and shiniest skyscraper — while a massive fire rages down on the 81st floor? We've got a heroic fire chief (Steve McQueen), the conflicted architect and his semi-estranged girlfriend (Paul Newman & Faye Dunaway), a lovable old grifter (Fred Astaire), a guilt-ridden construction tycoon (William Holden), his frustrated daughter (Susan Blakely), and his sniveling son-in-law (Richard Chamberlain). Throw in a mayor (Jack Collins), a senator (Robert Vaughn), a cheat (Robert Wagner), and a widow (Jennifer Jones), and you've got an eclectic enough mix to start throwing a few of 'em off a roof.

But for all its spectacle and pyrotechnical magic, its the actors and the characters that make the Inferno one of the (very few) greats of the disaster genre. For all its shallow dialogue and predictable plot-twists, The Towering Inferno still delivers a whole lot of bank for the buck, and it's not just the explosions that keep fans coming back. Heck, how often do you get to see Steve McQueen, Paul Newman, William Holden, and Faye Dunaway in the same scene? Plus the flick's got two or three of the most memorable 'surprise demises' ever tossed onto a screen. (Jennifer Jones' final scene always creeps me out, and Chamberlain's is a whole lot of fun.)

On the side of unmarred big-budget blow-opportunity spectacle, the short lean begins (and basically ends) with The Poseidon Occurrence and The Unparalleled Inferno. They're term-capsule species classics that just never get old.

1988 - 85m.

Deputy sheriff Frank Luz looking for a missing woman finds a ghost town and has to try and free the spirit residents from an evil undead gunslinger.

Good idea just doesn't get the treatment it deserves. This is too slow to really work.

Directed By:

Richard Governor.

Written By:

Duke Sandefur.
Starring:
Franc Luz, Catherine Hickland, Jimmie F. Skaggs, Penelope Windust.

"He´s got a physical purty freshness on him, don´t he?" and "I´m gonna make you squeal like a pig." are two quotes that can send shivers down a man´s spine. At least for those unreserved with the 1972 Burt Reynolds´ film "Deliverance." Watching Ned Beatty wriggle in every direction in his whitey tighties is frightening. Watching some toothless hick eye up Jon Voight´s pronounce reminds a given of his performance in "Midnight Cowboy," but not in a large way. For years, "Deliverance" has been a punch cortege in requital for those looking to down fun of male-raping rednecks. I´m sure many people should prefer to heard a joke or two about "Deliverance" or meditating of dueling banjos while drifting down a creek or rush in a canoe. It is a cult prototype that is memorable pro those that obtain seen it, but ignored by many who not till hell freezes over has.

I myself have made "Deliverance" references while kayaking with my associate down the Swatara Creek or Susquehanna River with my older associate Butch. He is a mountain handcuffs and spends most of his summer at his camp in the mountains. He finds humor in the film and has echoed his own quotes regarding the archetypal picture when we´ve paddled days of yore a few infringed down redneck abodes in Central Pennsylvania. The film debuted before I was born, but I grew up cordial with the film and from the time I was unfledged I was familiar with "Dueling Banjos" and knew that squealing much the same as a piggie was a apologetic thing. I grew up knowing that Burt Reynolds was the Bandit and he drove a fast furious Pontiac Trans Am to Texarkana. He was in "Cannonball Run" and "The Longest Yard." Growing up I thoughtfulness "The Best Little Whorehouse in Texas" was hot. When I finally watched "Deliverance," I didn´t know how to feel about the mist. It seemed virtuous wrong.

More on my own thoughts about "Deliverance" later, but the film revolves around a group of friends who resolve to swipe joke last canoeing trip down the Cahulawassee River one more space formerly it is flooded from a damming project. Lewis Medlock (Burt Reynolds) is the chairperson of the group and the most outgoing. He is joined by Ed Gentry (Jon Voight), Drew Ballinger (Ronny Cox) and the overweight Bobby Trippe (Ned Beatty). Not everybody agrees with Lewis´ ideas, but they are all game for this final lapse down the river. The four men hire some locals to conduct their vehicles to a meeting point downstream. The locals are noticeably folk that typify the stereotype of inbred rednecks and they are offended when the men interfere gag at their simple nature and lifestyle. An exceptional encounter between Drew and a puerile and awkward looking dear boy results in the iconic "Dueling Banjos" and the anything else indication that the involvement with the realm folk may not be easy.

After some time, Ed and Bobby are left behind by Lewis and Drew. They are approached by a pair of armed rednecks who are indecent, toothless and looking for a little male love. The quotes I mentioned at the dawn of my criticize are spewed by the revolting wilderness folk and Bobby is raped by one of the men, while another keeps Ed at a shotgun´s length. Before Ed is violated by the cover shackles who admires his purty mouth, Drew and Lewis amends and Lewis kills one of the men with a lower and arrow. The other man flees and the four men are hand to stock with what has happened to both Bobby and the dead control. They upon to bury the rapist and not citation to the authorities what has happened. They are leery about the man who has escaped, but decide to continue on to their end.

While continuing on down river, something happens to Drew and it appears that he has been spot. Perhaps by the hillbilly who is seeking take an eye for an eye and a tooth for a tooth for his dead friend. They are unable to recover Drew and he is carried away by quick rapids. An blunder between the canoes results in one of them being destroyed and Lewis left with a serious leg injury. With Lewis injured and having health problems and Bobby having subconscious problems with his swine impersonation, Ed is left to arrangement with the man that perhaps swig Drew. Ed eventually comes face-to-face with an armed clap in irons and they each fire shots at each other. Ed strikes the armed confine in the throat and falls on his own arrow in the process. The redneck wears bogus front teeth and throws into conviction the belief that he was the man that had in days gone by tried to force Ed into oral sex. They slip away the body and continue downstream, where they also unearth Drew´s assemblage and dive him to the duff of the learned body of unsound. They eventually reach their destination and must handle with the events of their canoeing set off down the river.

Burt Reynolds and Jon Voight were accurately stars of the Seventies. Voight is second known most for speck parts in films such as "Mission Impossible" and "Tomb Raider" and perhaps known more for being the father of Angelina Jolie. Reynolds is a caricature of his previous self, but has found some redemption in some more up to date pictures. However, when "Deliverance" pulled home its gold statues, these men were two of the biggest stars in Hollywood and two barest brilliant actors. They excel in their roles in "Deliverance" and are certainly reason for this film´s accolades. Ned Beatty and Ronny Cox are two more forward names and they are crammed in their supporting roles. The actors did not earn any gold for their performances, but director John Boorman and Editor Tom Priestley did. This is an expertly crafted film that has stood the test of time and is as pertinent thirty five years later as it was when it debuted.

I enjoy "Deliverance" and agree that it is a crucial film. The film does not flinch and depicts a dark and rickety anecdote that looks at man´s innermost fears and ability to turn to indefatigable instances of violence in order to subject to. The four Atlanta men are professional men who perhaps kill an innocent man when they fear they are being tracked by a rapist who violated their friend and humiliated him. The defile scene itself was something that audiences were not truly ready-made concerning in 1972 and aside from "Cheap Fiction," it is a subject that has rarely been repeated in modern cinema. In "Deliverance," Ed and Lewis are both victims and villains. Lewis wears the black colors and sports the suntanned demeanor that is typical of a movie villain. Ed is nearly raped, but escapes and at bottom kills what appears to be an beginner human beings. So tons years after "Deliverance" won its Oscar for Best Picture, the sheet is just as unsettling and thought provoking as ever. Its look at man´s darkest nature is conscientious, unflinching and not something to take off for lightly.