“Like” if you like!
Pera-perahang Lata (Penny from the Tin Can)
Aninag (Light’s Play)
“Like” if you like!
Pera-perahang Lata (Penny from the Tin Can)
Aninag (Light’s Play)
It’s almost time for the pitch for our initial plans for our shorts. This includes the story, treatment and other key aspects of the production. Here’s my synopsis for the initial pitch…
“Project Bernardo Carpio” Synopsis:
Bernardo struggles to free himself from his chains, while he also duels with the powerful entity who led him to his demise under the mountains of Montalban. This character-driven story depicts a rivalry that unveils an account of Bernardo’s life and the story behind “The Legend of Bernardo Carpio.”
With many, many, many months of production to go, of course, it is not impossible to have certain changes as the project develops. But here’s to chronicling how those developments progress…
About the film’s title, still on the works… suggestions/recommendations/advice are welcome!!
Yup! This trailer is talking to you!
After a successful completion and launch of our second project, “Pasintabi” and “Lines to Life” educational series, we are now opening membership to anyone who is willing and wants to help create an Original Philippine Animation Industry.
Visit our website to find out more about us, http://www.tuldokanimation.com,and if you want to help out, go to the community section,http://tambayan.tuldokanimation.com, there you will do two things:
1. Fill up a quick questionnaire how you can help out
2. Register in the forum.
Only registered members with approved application forms will have access to the exclusive forums to exchange ideas, submit concept art, and contribute in their own special way.
See you at the Tambayan!
-Tuldok Animation Studios Team
Tuldok Animation Studios is a nonprofit organization whose goal is to bring Filipino Artists together to create an Original Filipino Animation Industry.
We are a virtual studio and our previous projects have been built up using community driven efforts inspired by our local custom of “Bayanihan”.
Original music: “The Call” by Pepe Manikan
Eclipse Continues to Suck Blood Out of Pop CultureBy Rianne Hill Soriano
Twilight Saga: Eclipse is a compelling sequel certain to enthrall die-hard fans.
Twilight is now a legendary brand famous for its teenage angst, pale make-up, and otherworldly love triangle. Now a historical movie franchise breaking box office records worldwide, this third installment clearly marathons every opportunity to please fans. While they ultimately deserve more, this movie successfully utilizes the right blood type to fuel all its bankable possibilities. And whatever critics and non-fans say, its hard-core followers ultimately back up this romantic fantasy flick as an ultimate cash cow.
Eclipse is dull, boring, and overly dramatic; unless the viewer finds it therapeutic, entertaining, or orgasmic to see perfectly pale and powerful vampires and perfectly chiseled, shirtless werewolves making a regular girl happy on the big screen. If just for those, this movie is a sure winner. The movie marathons to as much close-ups and beauty shots while the actors and actresses try to put life to their clichéd lines. Add up some action to boost things up in between the many drags, and that’s about it.
Its vampire boy-meets-ordinary girl-meets werewolf boy story can already be effectively told in a short movie, but of course, the studio needs to prolong it as much as it can. To keep up with the feature-length movie requirement, Eclipse incorporates many visceral set pieces, stylistic flashbacks, and impassioned sentiments to keep the viewers hanging on to its swoony tale of forbidden love.
There’s no middle ground with the Twilight Saga: Either the viewer surrenders to the value of this movie version of the Stephenie Meyer bestseller or the viewer walks out feeling lifeless in disappointment. One thing is for sure, this film confidently provides the commercial requirements to make fans satisfied.
In its own mediocre level, Eclipse’s good points are its pretty good make-up, atmospheric feel, and art direction setting the mood for a sort of emotional pornography for teenagers. The “melodramatic crush factor” works well for those craving for such inner adolescent fantasies. The marketing strategy establishing the vampire-wolf division “Team Edward” and “Team Jacob,” along with the “in-Bella’s shoes” girl fantasies, is developed pretty well throughout the movie. It validates its teen-friendly demeanor where words overcome sexual urges and where fight scenes are meant for viewers who are only concerned about the protagonists winning and looking so cool with it.
Kristen Stewart as Bella Swan, Robert Pattinson as Edward Cullen, and Taylor Lautner as Jacob Black embrace their own sense of camp in this movie about teenage uncertainty, emotional highs and lows, and impassioned teenage love. It is not the stunning locations, special effects, or the plot that “Twilighters” will keep in mind, it’s the characters and their relationships that they shall remember.
Director David Slade taps into what Twilight fans want. He keeps it cold and lifeless in a way that the ultimate teenage fantasies about the characters become the full movie. The adolescents and the adolescents at heart don’t mind how characters shamelessly have their buttons pushed as long as they can relate to these characters’ own personal hurdles.
Eclipse manages to create a teen drama effectively utilizing its cheesy special effects to stage chaste, romantic tensions against the many scenic backdrops. It demonstrates adolescent longing and primal physical confrontations where the ultimate damsel in distress gets saved by not one but two “prince charmings,” not to mention their whole clans helping out.
For those seeking for a quality film offer, this 124-minute movie about convoluted passions and hormonal outrage cries out for life. It seeks for a life-saving blood transfusion. It is like watching two lovers looking at each other’s eyes and feeling the ultimate magic of being in love; while anyone not relating to it would most likely feel bored or apathetic.
With fans undoubtedly willing to get bitten, this third chapter in the Twilight Saga remains foremost a flick for devotees. Given the strength of this franchise, the least non-fans can wish for is for the next chapter/s to take the challenge of better quality over the shallowness of its comfort zone. If it continues to be this programmed and predictable, the only thing to remember it by is that it sucks the blood out of pop culture; while it leaves everybody else outside dead cold.July 11th, 2010 Posted by Rianne | Adaptation and Films with Related Inspirations from Lit, Fantasy, Film Review, Films, Flicks, Hollywood Films, Love Story, Melodrama, Religion/Mystical/Supernatural, Youth/Teenybopper | no comments
List of Filmmakers Who Can Replace Guillermo Del Toro as Director for The Hobbit
This list is not simply categorized according to how their filmographies made them who they are. in the industry now. These choices explore a number of complicated aspects, perspectives, and considerations about each director’s works.
Hellboy 2: The Golden Army Movie Review: High Fantasy Vs. Pop Culture Kitsch
Hellboy 2: The Golden Army is filled with visionary sense. It has a wide imagination and a heartfelt plea for environmental concern and cultural diversity. However, its spectacular sense of artistry could have worked much better…
Guillermo Del Toro Out of The Hobbit
After two years of buzz and confirmed news of filming the prequel to the legendary Lord of the Rings (LOTR) Trilogy, Guillermo del Toro is now officially out of the franchise.
Ninja Assassin Movie Review: Splatter On, Adrenaline Junkies’ Ninja Flick
Ninja Assassin is primarily committed to its bloodletting and cool fight scenes than to its story and characters. For those who are looking for a good story and script, it’s a big letdown. But for adrenaline junkies, this movie is going to be fun.
Angels and Demons Movie Review: The Suspenseful Novel Becomes an Audio-visual Flair
With the kind of plotting and the pretty good utilization of the medium for the novel, translating it into a two-hour audio-visual flair is really a tough path to take.
The Shining Movie Review: Stanley Kubrick’s Horror Masterpiece Shines for Many Generations
The Shining is a masterpiece of modern horror. With its remarkable visual panache and a keen sense of irony, it is a rare, chilling, majestic piece of cinematic fright benefiting repeated viewings.
The Time Traveler’s Wife Movie Review: “Time Warping” Love and Destiny
The Time Traveler’s Wife takes the story of a couple who is led into the grandeur and sadness of life and the mystery of time. With its own mix of drama, romance, and science-fiction, is it really worth your time?
Robin Hood Movie Review: Bull’s Eye Action but Miles of Missed Storytelling
Robin Hood is a sweeping epic complete with spectacle and pageantry; yet, it collapses into an epic cliché.
New Moon Movie Review: A Swoon Movie for the Fans
This second bite to the hugely popular Twilight saga can’t exactly do the same for the outsiders. It may not be good enough to seduce new fans, but it’s not bad enough to break off relentless infatuations from its very much anticipating target market.
Harry Potter and the Half-Blood Prince Movie Review: Masterful, Moody, and Magnificent
This sixth installment in the Harry Potter film franchise is of the right mix for the specific needs of the story. It is never dumb and yet it is not pretentiously profound. It is smart as it is honest. It is dark as it is funny.
Alice in Wonderland Movie Review: Overwhelming Visuals, Underwhelming Storytelling
Tim Burton’s individual stamp of masterful storytelling doesn’t seem to register here. And with its wavering tone, Burton and company should really dig a lot deeper if they soon decide to make a sequel.
Harry Potter and the Goblet of Fire Movie Review: A Dark, Adolescent Potter Film
Darker, a little more mature, and a little less magical, Harry Potter and the Goblet of Fire deals primarily with rejection and hormones as Harry and his friends struggle through the transition from childhood to young adulthood.
Watchmen: Deconstructing the Film in Reference to the Graphic Novel
The film Watchmen is no doubt a love letter to those who have been waiting for the graphic novel’s cinematic rendition for the last two decades.
Corpse Bride Movie Review: A Charming Grave Fairy Tale
Behind its eerie theme, Tim Burton’s Corpse Bride is fun, genial, expressive and charming. This semi-musical stop-motion animation celluloid baby is set at death’s door and salutes the liberating power of true love and sacrifice.
King Kong Movie Review: A Beastly Adventure
Jackson’s King Kong proves to be an enduring part of film history and legacy all over the world. If LOTR is a magical classic in complete greatness, King Kong is a monstrous adventure flick with mainstream feel.
Ong-bak Movie Review: No Doubles, No Strings, No CGIs
Ong-bak presents the art of Muay Thai in a contemporary setting. Yet, it is very much inspired by the people’s carried on traditions and culture and their ancient fighting spirit.
Brothers Grimm Movie Review: A Grim for Brothers Grimm
Brothers Grimm is shallow, bland and disappointing. There have been a few sparks of promise, but the muddled plot messes up its very intensity.
Sherlock Homes Movie Review: Sherlock Holmes Takes a Modern Slant
Sherlock Holmes is a visually stylish rush of adrenaline. Irreverent and yet true to the spirit as it is, this movie is both fun and numb, enjoyable and exhausting.
2012 Movie Review: A Spectacular Disaster
2012 is totally not credible especially with its unequivocally cheesy, ridiculous story; and yet, this cinematic popcorn is hugely engaging with its mind-boggling visual effects.
The Top 5 Worst 3D Movies List
There are actually many movies (both animation and live action offers) that are made into 3D flicks for the heck. And not all stories or film style or cinematic treatment are best suited for the 3D medium.
Behind the Making of Louis Leterrier’s Clash of the Titans
Louis Leterrier (Transporter 2 and Incredible Hulk) directs this motion picture based on the 1981 film of the same title.
Zemeckis’ Beowulf Movie Review: Making a Statement
Beowulf takes tremendous artistic license to blend CGI and motion capture technology, then renders it in IMAX 3D to bring a level of hyperreality for the audience to savor.
A Trippy Imaginarium
By Rianne Hill Soriano
“The Imaginarium of Doctor Parnassus” has a vaudevillian spirit. It flirts with acid-laced visuals and spins circles around the viewers’ heads. The dizzy spell of visual fantasy and the rickety plotting both impresses and bores.
This send-off film for the late Heath Ledger (technically speaking, though personally, I think it’s his Joker in “The Dark Knight” that is his real great send-off) is a highly imaginative mess shot with boldness and extravagance. It works more like a cobbled collection of ideas rather than being a precious stand-alone story.
Though the visual flare is there, things don’t really hold together well. And this issue already gives consideration to the fact that Ledger only finished half of his work on cam – not to say that the other three guys who finished the work for him are of no good value. It’s just that the film, as a whole, clutters with artsy stuff – than mainly putting enough value to characterization. “The Imaginarium of Doctor Parnassus” is visually packed with grandeur, but the story mishmash makes it tiring to watch many scenes. There is that feeling of being overdone. And at some point, it’s like eating too much of a well-garnished meal that’s out of nutritional value. The film’s storytelling can’t keep up with the trippy elements just packed together to create a full-length movie. It’s fitting more like a series of eye-popping music videos spliced together.
When looking at the film separately into scenes of fantastical spins, it’s generally fine. The anachronistic artistry of director Terry Gilliam makes visually splendid slices of brilliant madness. Rife with hyperbolic displays, it is grounded in a fantasy world rendered through an enigmatic odyssey of graphic invention. Yet, a film should put its various elements as a whole body of work. And in this case, “Parnassus” meanders around confused rhythms that make it more like rambling chunks of effects-filled magic that are mostly self-indulgent and gambling. Though it promises something fanciful at times, this doesn’t really quite add up to one grand sight. It teases with magnificently tantalizing moments, but the resulting film looks more like an outlandish jugging act that both dazzles and bums.
As a big-budget pageantry of shifting CGI canvases and frenetic elements, the big deal effects overpowers the story instead of just serving to spice up and backup the storytelling. It looks overburdened with ideas, visions, and concepts while becoming disappointingly moody at times. They are insisted with too much force and urgency that they are more off-putting than entrancing; more exhausting than exhilarating.
“Parnassus” is like a crammed artist’s mind traversing a shaky framework. Sometimes, the magic works and it’s blissful in its own right. But most of the time, it piles on glitter, grunge, and some mumbo jumbo puffs. It really needs a more coherent storytelling to pack every idea about art and imagination as insinuated in its theme. It seems to have passionate intentions about the contradictions of good and evil as played out in the hearts and minds of its characters. It is an ardent morality tale about the consequences of making deals with the devil. It provides a thematically potent sympathy moving freely to the people’s subconscious. And it feels through the artist’s life journey of pleasure and pain.
Heath Ledger’s Tony boosts the film’s value in his fine performance. It’s a chance to see him acting one last time before resting for good. On a lighter note, he will always be remembered with the great characters in his filmography. And the film is appropriately labeled as coming from Heath Ledger and friends.
Talented as he is (evidently with a number of good films under his belt), Christopher Plummer as Doctor Parnassus unfortunately lacks the intensity to make his character work here. His Imaginarium overpowers the film’s crucial element of characterization – although this issue is more a concern with the direction than what the actor can really deliver for what he is told to do. In fact, Lily Cole as Valentina, Andrew Garfield as Anton, and Verne Troyer as Percy have better characterizations than him. Despite the very tricky material, these three, along with Tom Waits who delivers a fine enough performance as Mr. Nick put some value to let the audience willingly ride along further the Imaginarium path.
The retrofitting of Ledger’s role works well on its own. Johnny Depp, Colin Farrell, and Jude Law as the “Imaginarium Tony guys” even make more sense than what the clunks of the story make for the film’s entirety.
“The Imaginarium of Doctor Parnassus” is primarily a visual spectacle. While the film is not entirely successful, it certainly qualifies as a glorious mess of exploring the imagination. Abandoning oneself to the occasionally uneven but visually stimulating images is the best way to enjoy it. And for those who are willing, it is a hollow, shambling, lovable mess of a movie to watch with a popcorn and soda.January 27th, 2010 Posted by Rianne | Fantasy, Film Review, Films, Hollywood Films, Religion/Mystical/Supernatural, Surreal | no comments
A Swoon Movie for the Fans
By Rianne Hill Soriano
“New Moon” knows what it should be. It’s clearly meant to be a teen flick that makes fans swoon and quench. This second bite to the hugely popular “Twilight” saga can’t exactly do the same for the outsiders though. It may not be good enough to seduce new fans, but it’s not bad enough to break off relentless infatuations from its very much anticipating target market.
This installment is more of a teen-focused soap opera rendered for the big screen. It manages to shine for those willing to buy in its central romance about the love between a human and a vampire with an adolescent level of audience consummation. Its moments of hotness flirt with various lingering glances, teenybopper kisses, and de-shirting. And it works well in providing reasons for uncontrollable giggles from the willing fans. It manages to shine for those romantic hearts yearning for an enjoyable teen escapism with pretty girl faces and shirtless hunky boys. Add up the fancy look and coolness of pale make-up with red lips, cool cars, magical powers, teen angst, shapeshifting abilities, and raging hormones, then mix them according to the demands of the willing to be bitten fans, then you got that big bowl of adolescent romantic mush garnished with horror-lite action scenes, forest cat-and-mouse chases, and crazy road trip resulting to a showcase of supernatural gifts.
This Stephenie Meyer adaptation lurches from the sublime to the ridiculous – and what makes it work for its expected audience is the well-kept mood that signals moments of candor and romanticism. It has a generally unappealing formula, but it is oddly effective. It offers some juicy, go-for-broke romantic pleasures the way its predecessor did. The eye candy formula is definitely present to cater to the fans craving for two glossy hours of hotties strutting their stuff. The fans will definitely care, but the casual viewers won’t give as much enthusiasm.
As it settles into a somewhat predictable groove, the occasional longeurs tend to suck life out of the story. There are tedious, long-winded parts. There is that turn off for its slow pace, relentlessly downcast tone, and even its excessive length. Gimmicky and worn out aspects appear here and there. Yet, this sequel is clearly effective with its focus on the gratuitous sex appeal of its two lead male stars – which can be readily proven by the shrieking fans surrounding every theater in the city every time they appear or do something romantic or cool in teenage language terms. From the moody teenager girl who can’t stop whining about how her boyfriend dumped her to the shirtless wolf-men flexing their muscles to the suicidal impulses and fantasies for skin paleness and lip redness, this second chapter on this successful popcorn flick is commendably a good example of contemporary low budget cinema in the middle of the recession hitting the blockbuster mark as if there is no economic crisis, just rising teenage hormones.
The technical parts are quite interesting to dig into. Overall, production values are still on the range of just a decently budgeted Hollywood project, but it considerably works for its bearing – and yes, it’s absolutely reaping much more money than the initial capital for it.
This slickly packaged entertainment has that kind of old-fashioned look. It has dark and moody cinematography that indulges well with its own creepy vision of teenage sexuality. The production design keeps up with its tragic-romantic motif. The nominal special effects provide harmless fun. Director Chris Weitz makes it stronger on dream logic than plot; yet the mediocre performances and dumbed down screenplay still make the film shallow, vapid, and cheesy – an observation out of the bias from the already given fan base whom the producers know will never let them down whatever kind of story they offer to the franchise, as long as the established characters are there for their romantic escapades.
This romance relying on the appeal of fangs and paws primarily survives because of the already esteemed lead characters from the movie’s first installment. The romance between the danger-attractive mortal Bella Swan (Kristen Stewart) and the drop-dead gorgeous vampire Edward Cullen (Robert Pattinson) delves deeper into the darkness and mysteries of the supernatural. And driving the story into their deeper emotions becomes a priority in the storytelling. At the same time, another character gets inside their circle through the buffed Jacob Black (Taylor Lautner), a wolf-teen who establishes a budding relationship with Bella. However, the film suffers on the usual sequel syndrome with symptoms including a laborious establishing of forced conflicts, a general air of drift and pointlessness, and a lack of clear direction. Meanwhile, the cliffhanger ending effectively teases and is clearly intended to make fans hungry for more.
“New Moon” gives fans what they’re looking for – which isn’t to say it’s actually great, only that it’s basically successful in achieving the low end goals it sets for itself through enough fantasy and romance to satisfy its devotees; while everyone else outside the “Twilight” circle will just shrug and move on.December 1st, 2009 Posted by Rianne | Adaptation and Films with Related Inspirations from Lit, Fantasy, Film Review, Films, Flicks, Hollywood Films, Love Story, Melodrama, Religion/Mystical/Supernatural, Youth/Teenybopper | no comments
Time Warping Love and Destiny
By Rianne Hill Soriano
“The Time Traveler’s Wife,” an across-the-years love story transcending space and time, takes a couple into the grandeur and sadness of life and the mystery of time in a combination of drama, romance, and science-fiction. Is it really worth your time or travel?
The very first thing to do is suspend the disbelief. It’s a sci-fi date flick where the nature of its illogical plot is essential to its very own provisions about the exploration of relationships in such a genre fiction offer. It can either be a picturesque, emotional journey working out as an elegy to love, fate, loss, and free will. Or it can be a trying hard romantic melodrama that will disappear from the viewer’s mind before too long. It’s actually dependent on mood, taste, and preference.
This film adaptation from an Audrey Niffenegger best-selling novel obeys no dramatic rules or narrative logic. It has some psychological dissonances that can only make things work if the illogical nature of the plot heaving away at space/time conundrums finds its wavelength through the right audience – those who can find a charming, if mildly depressing fantasy, and consider it a full experience that tugs at the heartstrings beyond the preposterousness of its story. It seems to peg around the combining elements of sweepingly romantic time travel movies like “Somewhere in Time” and the supernatural swoon of “Ghost.” Add up its old-fashioned treatment with a fairytale-ish glow, this thought-provoking melodramatic fantasy about what it takes for two people to overcome all the obstacles in their path together mainly works around the heavy emotional tones to create a deeper texture on its life, love, and destiny questions.
Time travel is an interesting and intriguing plot device. The characters’ unusual circumstances enable quite a bit of humor and mystery while surrendering to a far-fetched concept to reward the audience with a lush, high-gloss weepie by its end. The film stars Eric Bana as the Chicago librarian Henry DeTamble, a man suffering from gene anomaly that causes him to involuntarily time travel. And yet, the defective gene doesn’t prevent him from meeting his wife played by Rachel McAdams as Clare Abshire – with the two living the supposedly ideal marriage of genuine lovers. The complications his time travels create for his marriage is what emerges as a story of living such a life of stolen instances and valued moments.
“The Time Traveler’s Wife” tries to play itself out as a serious and heart-rending love story filling the emotional suitcase with pseudo-poetic significance. The film moves fast, as though to distract the audience from the convoluted storyline’s shortcomings and the nearly total absence of logic in its plot, and such make the viewer ask about the actual story making sense or not. The loose ends are even left untied that making the film really work is more than just the audience embracing the magic of its concept and its escapist date fare value; it should mainly deliver as an engaging cinematic offer with first-rate treatment and spellbinding storytelling than just merely prioritizing its commercial value above everything else.
The strength of the film is the emotional bearing that makes it more moving by its latter half. It could have benefited well if director Robert Schwentke gets to further explore the romantic elements and level up the story development to more imaginative heights. The picturesque look and fairytale sound makes it a pretty interesting escapist fare on the surface. And for viewers aching for a romantic drama that leaves them emotionally, honorably exhausted, this escapist offer can hold themselves towards the flick’s enveloping emotional grasp until its tear-jerking conclusion. Moreover, the soundtrack also adds a great deal to the film. Furthermore, it’s interesting to note that it’s already quite rare to see such an intimate love story with old fashioned treatment outside the demands for cinematic themes as comics, graphic novels, superheroes, spoofs, historical highlights, futuristic ideas, apocalyptic situations, sell-out gags, and “what if” issues, nowadays – which adds to its kind of charm for its preferred audience at this very moment.
This flick moves with a sort of a stately but confusing pace and era that its “bound by realism storyline flourished with fantastic elements” still depicts an unimpressive stature in its tone and actuality. And this reflects on the acting performances which become a combination of oblivious, touching, and confused. In its choice of decisions about what to keep and what to leave out from the book, it seems to cram too much into the runtime and it loses the elegance of the novel along the way – not to say that I have read the novel already, but it just shows in the way the storytelling flows in it’s kind of choppy plotpoints. And more than just the insights about love, destiny, and time, the audience finds it hard to directly relate to the film’s characters and situations amidst the suspension of disbelief. Many of the long spans of time passing between lines seem to have been inexpertly translated that they almost make sense but not quite. And with such little regard for establishing character or letting a moment play itself out, the movie gets weaker as it becomes even more convoluted and far-fetched by the last third of the story. Perhaps, the book fills in the blanks in emotional beats and plotting as the story strives for meaning in its affecting allegory about love that persists beyond the mundane timeline.
At first, I felt like Bana as the man with the time-traveling gene is a miscast. But after a while, I have then started to accept him for the role. He and McAdams grow to become easy enough on the eyes to distract from the script’s many plot holes and somehow compensate on the vague level of emotional investment to make the film still work on a certain light. Though not consistent all throughout, they still develop some charmingly emotional moments together in order to make a great looking couple with characters able to genuinely care about each other at times. There are also notably touching scenes including the one where Henry sees his mother at the subway. The climax scene of Henry’s life with his loving family going to the fireworks and hunting scenes are well-mounted. The sell-out treatment on the ending is a bummer. The romance is then deprived of an ending that feels earned.
While the film makes a decent enough date movie, this could have been a much better film. Nevertheless, it’s still a decent escapist romance for its particularly chosen market. It’s best not to overthink things to make it a more acceptable time filler. And maybe die-hard romantics won’t really mind… But those seeking a higher level of viewing experience would feel like they rather disappear and time travel somewhere else than sit through it.
Overall, “The Time Traveler’s Wife” is not something to rush out to see right away. Yet, it still something to consider watching during some free time when on the mood – and by then, it could be something worth renting.August 29th, 2009 Posted by Rianne | Adaptation and Films with Related Inspirations from Lit, Film Review, Films, Flicks, Hollywood Films, Love Story, Melodrama, Religion/Mystical/Supernatural, Sci Fi/Cyberspace, Surreal | no comments
You can view my other works at my Youtube account.
Check out my film and travel articles in Yahoo! Movies and other Yahoo! sites
Check out my film articles as an Examiner
Need a production house? Colorwheel Media Studios.