I promise that this review will be very little since there is not much to say about the latest Wayans Brothers short film "Little Man". OK, so maybe it is not that short in running time but it does fall short on witticism. Marlon Wayans stars as Calvin, the midget convict who pretends to be a baby to a married couple that inadvertently possesses a jewel which he wants to seize. Shawn Wayans & Kerry Washington play the gullible couple. Director Keenan Ivory Wayans does size "Little Man' up a bit with a few "ga-ga" gag scenes featuring pseudo-baby Calvin, but not enough for "Little Man" to stand tall as a favorable comedy. *** Average
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I don't know why people hate this movie this movie was childhood and very funny I watch this movie a lot in my life this is one of my top 10 favorite movies ever I still don't know why people dislike this movie.
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A man cries in the opening scene of Pedro Almodovar's "Talk to Her," but although unspeakably sad things are to happen later in the movie, these tears are shed during a theater performance. Onstage, a woman wanders as if blind or dazed, and a man scurries to move obstacles out of her way--chairs, tables. Sometimes she blunders into the wall.
"Talk to Her" is a film with many themes; it ranges in tone from a soap opera to a tragedy. One theme is that men can possess attributes usually described as feminine. They can devote their lives to a patient in a coma, they can live their emotional lives through someone else, they can gain deep satisfaction from bathing, tending, cleaning up, taking care. The bond that eventually unites the two men in "Talk to Her" is that they share these abilities. For much of the movie, what they have in common is that they wait by the bedsides of women who have suffered brain damage and are never expected to recover.
That seems to be the case with Benigno, whose woman becomes most real to him now that she is helpless and his life is devoted to caring for her. Marco's motivation is more complex, but both men seem happy to devote their lives to women who do not, and may never, know of their devotion. There is something selfless in their dedication, but something selfish, too, because what they are doing is for their own benefit; the patients would be equally unaware of treatment whether it was kind or careless. Almodovar treads a very delicate path here. He accepts the obsessions of the two men, and respects them, but as a director whose films have always revealed a familiarity with the stranger possibilities of human sexual expression, he hints, too, that there is something a little creepy about their devotion. The startling outcome of one of the cases, which I will not reveal, sets an almost insoluble moral dilemma for us. Conventional morality requires us to disapprove of actions that in fact may have been inspired by love and hope.
By Almodovar's standards, this is an almost conventional film; certainly it doesn't involve itself in the sexual revolving doors of many of his movies. But there is a special effects sequence of outrageous audacity, a short silent film fantasy in which a little man attempts to please a woman with what can only be described as total commitment. Almodovar has a way of evoking sincere responses from material which, if it were revolved only slightly, would present a face of sheer irony. "Talk to Her" combines improbable melodrama (gored bullfighters, comatose ballerinas) with subtly kinky bedside vigils and sensational denouements, and yet at the end, we are undeniably touched. No director since Fassbinder has been able to evoke such complex emotions with such problematic material.
The recordings are a strange mixture. Alternately hilarious and sad and profoundly human, they capture a raw, visceral, often horrifying scene. Peter, in a snarky, nasal tone pushes and pushes at Raymond, who responds with hate-filled vitriol, running off a string of hate-filled rants. They are the oddest of odd couples, a gay man and an angry bigot. Though somehow they were able to coexist, not only as roommates and friends, but possibly as lovers. The true nature of their relationship is the great mystery of Shut Up Little Man!, and the search for the answer is the real, though underlying, narrative force in the movie.
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Head Coach Gary Kubiak (on if there are any updates on the injuries from yesterday's practice) "No, we're good. (OLB) Sam Montgomery did not practice this morning. He's got a sore ankle. We thought he could go and he ended up not going. Other than that, we're back at it. Had a good cool morning to work. The rain helped out a little bit, so good day."
(on if there was good energy at practice on the second day) "Yeah, usually it takes about three days to work into it and they get pretty worn out and sore, and they start to revive a little bit, but I thought it was good. It was very competitive. We've added a few different periods to our practice form a competitive standpoint and I like our young guys and the way they're competing I thought it was a good day."
(on if anything has stood out through two days so far) "No, I like the way we're working. I like the competition on the field. We've got some issues at linebacker and tackle now from a numbers standpoint. (T) Nick Mondek did not practice today. I failed to mention him. So we're dealing with that, but that's part of training camp. I like our start and now we'll start to get a little more physical and put the pads on."
(on frustration with being injured) "I wasn't extremely frustrated. I think I was frustrated for probably about an hour or two hours, then I got over it because this is life. You've got to react to it. There's nothing I can do about it, I was injured so I was going to make the best of that situation. I actually feel like I got a little bit better because of it, honestly. I got a little more extra time to continue training and getting everything as healthy as possible. I'm excited about this season."
(on how he improved after his injury) "That's why I said I think you kind of have to reinvent yourself as an athlete. Sometimes you can kind of plateau with doing the same things over and over again. When something goes wrong with the machine, your body has to compensate for it. It starts compensating for it, so you have to train different muscles around you and do different things with your body to get it back on in the right direction. Then you kind of find out new things about yourself and reinvent yourself. That's where I found myself this offseason, I found out a little bit more about my body."
(on getting RB Ben Tate back) "I have said it all the time. I have been saying it since I first got here. Ben Tate is a starter in this league. He can go to other teams and start, easily. He is a very, very talented running back. We have long talks and I always tell him, 'be patient, you're time is going to come whether it's here or somewhere else.' He deserves it, he works hard so it's fun to see him get a little bit of burn when I'm not in there. He knows how this league goes and I know how this league goes, so he is very patient and his opportunity is going to come whether it's here or somewhere else."
(on being in the movie "Draft Day") "You're trying to promote that right now. Draft Day is a movie. They asked me about this, I didn't bring it up. Draft Day is a movie that is an opportunity that my manager called me and said, 'You have an opportunity to audition,' and they asked me to audition. I sent the audition film and the director liked it. He wanted to see me do another thing, so I did another thing. He liked it again and they offered me a part in the movie. I just thought it would be a fun little opportunity to be a part of."
(on turning down a chance to be in a movie for football) "It was this part. There was a significant scheduling conflict, so I told them no initially. But they were very lenient with the schedule, so they moved some things around and let me be a part of it. Y'all are killing me."
(on walking across the stage with Commissioner Roger Goodell for the movie) "It was fake, man. You know what I mean? It wasn't genuine. It was acting. It wasn't like any vindication or anything like that. It was fun, I guess. I already know him. It was a joke though. I finally got drafted five years into the league."
(on getting part for acting ability) "That's probably what was the most gratifying thing for me, they didn't say 'Hey, you want to be in a movie cause you're an actual running back. They had me audition, so I had to audition. My audition tape was up against 100 other audition tapes and they felt like I was the best guy for the part. The director, Ivan Reitman, is a legend in the game. He directed Animal House, Ghostbusters. He directed some classics, so for him to look at my audition tape and say, 'He is the best guy for the part.' I was humbled so I came in prepared." 2ff7e9595c
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