Stream it now Dangerous Beauty Reset Status Want to Watch Already Watched Don't Want to Watch

This movie is based on a true story about Veronica Franco one of the most famous high-class courtesans in Venice in the sixteenth century. It tells how she became powerful and influential by prostituting herself to rich & noble men. This movie was good but it had the potential to be so much better. At the beginning I was so excited & thought this is so great but then there was a corny scene & suddenly it made the movie seem cheesy to me & then my excitement just kinda fizzled out as I watched the rest of the movie. Although I know its not truly historically accurate, the story itself is interesting. I just think this had the potential to be something so much more than it ended up being.

ho Thank you for sharing it

Whoever invented coffee was REALLY onto something. No, I'm not talking about the caffeine kick. After a while you don't feel the rush anyway (just like with cigarettes). I mean the flavor! Smokey, roasty, biting and utterly delicious. Entire subcultures and religions have been formed around the juices of that silly bean! If Juan Valdez ain't a gazillionaire he ought to sue!

Anyway...another day hunched in front of the puter picking through crappy job listings that I'm either terribly overqualified or nowhere near qualified for. Guess I'd try harder if I saw a point to the whole damned thing. I'm really beginning to question what sort of value I really have both in and out of the workplace...in and out of the homelife.

Maybe someone else knows.

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Saw that well-dressed, but altogether crappy "Dangerous Beauty". Don't get me wrong, I'm open-minded about "chick flicks", but over dressed tripe is still tripe. Here's the scoop: Woman has no future because the man she wants to marry is marrying someone else (jezus, isn't that what happens to most women anyway), woman becomes a high-paid whore to the court and senate of Venice because she can't have the man she loves, phuck$ the king of France in order to get military help against the Arabic onslaught and calls it her "duty" (she's a whore for christ sake...it's her job to get laid. Let's not make it into more than it is), gets accused by the Inquisition as a witch by a jealous man who couldn't afford her (you go, boy!) and nearly gets her put to death, woman is saved when every swinging d!ck in the court room stands up to say he slept with a whore, she and lover live happily ever after.

Sorry if I spoiled this for you, but I'd see it again for the nudity....lol.

Hey All,
I recently viewed the movie called, "Dangerous Beauty" and it was pretty good movie. It kept its audience watching. The plot of the movie is this young lady who becomes courtesan after her mother pushes her to the profession. During that time there wasn't a whole lot of work for women to choose from in all fairness to the mother. After charming Kings and noble men the young lady named Veronica is known as a poet. It all takes place before and during the Spanish inquisition. The DVD didn't have a ton of extra stuff but it was worth watching. The actors did a great job but it's not one that I would want to buy. This is only for adult audiences.
Fritz ;)

Best Picture
Alexander
The Aviator
Closer
Finding Neverland
Vanity Fair
Don't Count Out: Proof, The Life Aquatic, The Phantom of the Opera
At this point (you know, the point where we don't actually know much about the pictures) it would be stupid to say The Aviator isn't the best bet. It's a huge story of old Hollywood, and Oscar should love it. Advanced reviews of Closer say it's nothing short of incredible, and it may surpass Garden State as the biggest indie of the year. Alexander could be great or really suck (I have a feeling it may be the latter) but it's an historical epic, so I'm not counting it out at this point. The Finding Neverland trailer is pure oscar bait, and it's a biopic with a great cast. Vanity Fair, aside from having a great cast, is classic oscar fair. Proof could squeeze in there if it's really good, but advanced word is that it's not so great. If The Life Aquatic can overcome quirkiness and coast on Bill Murray's newfound star power, it could garner a nod. The Phantom of the Opera is following the recent musical craze at the oscars, but adaptaing something so well-loved is a gamble, and it's starring two stars who have yet to make it big.

Best Actor
Jim Carrey, Eternal Sunshine of the Spotless Mind
Johnny Depp, Finding Neverland
Leonardo DiCaprio, The Aviator
Jude Law, Closer
Bill Murray, The Life Aquatic
Don't Count Out: Tom Hanks, The Terminal; Tom Cruise, Collateral; Colin Farrel, A Home at the End of the World
Jim Carrey recieved rave reviews for his touching turn in Eternal Sunshine, and he's an actor who hasn't even recieved his due in nominations, so this is looking like his year to finally get some academy respect. Depp seems to be the fortrunner at this point. He's playing a loved writer in a biopic, and he has an accent. DiCaprio will ride The Aviator's success to nomination. Jude Law is supposedly fantastic in Closer, and it's a big year for him film-wise. Bill Murray will probably ride Oscar's love from last year to a nomination, but Oscar has shown time and time again that they aren't big on quirky comedy. Hanks has recieved great reviews recently for the Terminal, but it's summer release and less than glowing critical reception will hinder his chances. Cruise is always great when playing assholes, and Michael Mann always gets the best performances from his leading men, but the film doesn't look oscar-friendly. Colin Farrel will probably split his vote between his supposedly great performance in the supposedly less than great A Home at the End of the World and his epic portrayl of Alexander.


Best Actress
Joan Allen, The Upside of Anger
Gwenyth Paltrow, Proof
Kate Winslet, Finding Neverland
Reese Witherspoon, Vanity Fair
Naomi Watts, We Don't Live Here Anymore
Don't Count Out: Renee Zellweger, Bridget Jones: The Edge of Reason; Nicole Kidman, Dogville; Samantha Morton, The Libertine
Oscar likes Joan Allen, if the movie turns out even halfway good, she should get recognition. Paltrow is apparently the best thing about Proof. Winslet will be coming off a huge year with both Neverland and Sunshine, and the Academy won't be able to ignore her. She'll probably nab the nod for the more oscar-friendly film, and since she's wya overdue, she'll probably win this year, finally. Reese Witherspoon will hopefully put her talent to good use in a serious turn in Vanity Fair. She looks great in the trailer. Watts will hopefully ride last year's oscar love to another nom for another little film. Buzz from Sundance was that she was great, but she's also got a lot of films coming out, so she may get a nom in supporting for Stay or The Assassination of Richard Nixon. Zellweger should be in the race, considering The Edge of Reason is even goofier than the first. Kidman has been getting early oscar buzz for Dogville, but it had such an early release and was met with such mixed reactions I'm not betting on a nomination. Morton may surprise again if The Libertine actually gets released this year.

Best Supporting Actor
Jim Broadbent, Vanity Fair
Morgan Freeman, An Unfinished Life
Ryan Gosling, Stay
Anthony Hopkins, Proof
Clive Owen, Closer
Don't Count Out: Peter Sarsgaard, Garden State; Don Cheadle, Crash; Willem Dafoe, The Life Aquatic
Vanity Fair's supporting cast is so huge it could be anybody. I think VF will definitely score a nomination in this category, but I really don't know who for. If James Purefoy is as good as he looks in the trailer, he could nab it instead of oscar veteran Broadbent. Morgan Freeman has been so overlooked that it seems impossible he won't get it for this much buzzed about film. Gosling is one of the finest young actors working, and apparently his work in The Notebook is great, and even though that film probably won't get oscar love, it may help his chances for Stay. Hopkins could split it between Alexander and Proof. If he has great father-daughter chemistry with Paltrow, he'll get it for Proof. Clive Owen apparently owns Closer. I find it hard to believe the Academy will ovelook Garden State in the major categories, and Sarsgaard just seems the most likely nominee. The trailer montage for Crash was great, and Cheadle is so under rated, that hopefull he'll find himself in the race. I have no idea how big Dafoe's role in Aquatic is, but come on. It's WILLEM DAFOE.

Best Supporting Actress
Cate Blanchett, The Aviator
Hope Davis, Proof
Laura Dern, We Don't Live Here Anymore
Laura Linney, Kinsey
Natalie Portman, Closer
Don't Count Out: Thandie Newton, Crash; Anjelica Huston, The Life Aquatic; Evan Rachel Wood, The Upside of Anger; Naomi Watts, Stay
Blanchett is playing a loved Hollywood icon, and from the few clips we see of her in the trailers, she looks great. Plus, she's overdue for a win. Hope Davis was a hopeful last year for American Splendor, and hopefull that breakout role will help her get a nomination for Proof. There was strong buzz for Dern at Sundance, and it's been years since she's had an acclaimed performance. Oscar loves a comeback. Linney is alwso an often overlooked actress, and this juicy role may get her another nod. Portman's looking to have a great year with Closer and Garden State, but Closer is apparently a surprising change of pace for Portman, and the buzz for her is great. Newton looked fantastic in the Crash montage. I'm not sure about the roles in Aquatic, but one should never count out Anjelica Huston. Evan Rachel Wood came so close to getting a nod last year (damn you, Keisha Castle Hughes) and if she's half as good in Upside of Anger as she was in Thirteen, she'll definitely be in the race.

Best Director
Michael Mann, Collateral
Mira Nair, Vanity Fair
Mike Nichols, Closer
Martin Scorsese, The Aviator
Oliver Stone, Alexander
Don't Count Out: Zach Braff, Garden State; John Madden, Proof; Paul Haggis, Crash; Wes Anderson, The Life Aquatic
This is probably the category that Collateral will get some love in. Vanity Fair is a huge production, and I just don't see how Nair woulnd't get a nom. Mike Nichols should ride the Closer high to a nod. But it's looking like it going to be Scorsese's year. He's never won an oscar, and this film looks fantastic. It should finally win him his gold. I'm not sure how long I'm going to keep Stone on the list, because, like I said, I have a gut feeling that Alexander is going to suck. Braff could get indie love for Garden State. If Proof is good, Madden could get his first nom since Shakespeare in Love, but advanced word isn't so hot. If Crash get good reviews Haggis could be looking at a breakthrough nomination. Anderson is always a possibility, but it seems that Aquatic will get more love for it's screenplay

Best Original Screenplay
The Aviator
Eternal Sunshine of the Spotless Mind
Garden State
I Heart Huckabees
The Life Aquatic
Don't Count Out: Stay, Crash, Collateral, Spanglish
The Aviator will probably get a nod just for being the Best Picture frontrunner. Eternal Sunshine not only had a fantastic screenplay, but also a huge amount of critical love. This should be Kaufman's year. Garden State was THE Sundance hit, but with Closer looking to be the indie fave this year, Garden State will probably get it's love here. It also has a rather large chance of beating out Sunshine. I Heart Huckabees should be just weird enough to get what "look, we're hip" nomination. Wes Anderson is brilliant. How could Aquatic not get some love. I took Stay off the list because I got weary do to the script for Troy. But Benioff's brilliant 25th Hour keeps Stay in the running. Crash seems to be the character drama of the year. Collateral is a possibility, just judging by the dialogue in the trailer. And the lighthearted Spanglish will probably be in the running, too.

Best Adapted Screenplay
Closer
Finding Neverland
Proof
Vanity Fair
We Don't Live Here Anymore
Don't Count Out: A Home at the End of the World, Phantom of the Opera, Ladies in Lavender
With Closer looking to be the indie darling, this should be an easy win. Finding Neverland will probably nab a nod if it gets a BP nod. Proof will probably land a nod here even if the movie is mediocre, just because of the pedigree of the talent. Vanity Fair is a classic novel and if it's any good at all it's should be a guarenteed nomination. We Don't Live Here Anymore will hopefull follow in the footsteps of In the Bedroom and grab a nomination. A Home at the Endof the World's buzz isn't so hot. Phantom of the Opera is a risky move, and Ladies in Lavender's buzz dropped fast.

DVD: Blockbuster Online Rental Trial
Research: none
1st viewing (w/ wife)

Ratings:
Plotline 3/4
Replay 3/4
Cinematography 3/4
Score 2.5/4
Acting 3/4

I often enjoy period dramas, but feel that they can become bogged down in inconsequence if the story doesn't resonate on other levels than historical reproduction. This film takes the period aspects to a nice level, but adds the strength of an excellent love story as well. This catapulted the film to the higher echelon for me, although the amazing beauty of Catherine McCormack did not hurt in the least.

Friday night was girl's night out with some old friends. We chose to stay in, make dinner, enjoy some good converstation and watch a movie. It was a delightful evening. I was in charge of the movie selection and chose, Dangerous Beauty, a movie I own and have seen many times. The main character, Victoria, is a 16th century Venetian poet and courtesan. This period drama is about her life. In the telling, viewers will find poetic dialog and beautiful scenery.

Every time I watch this film, the feminist in me is reminded how harsh life was for women back then. My sex had very few options in life, the nunnery, prostitution, hard labor, or marriage (if your parents could afford a dowry). Women were viewed as either a financial burden or a temptation to sin. Despite all world's troubles today, I am glad to be liv'in in the 21st century.

I'm watching vh1 driven about Tyra Banks. The more I learn about her the more I want to know.. shes a very diverse person.. shes not just a beautiful model.. shes smart.. shes not a tiny crack addicted stick.. shes very inspiring.. even as a model.. even for a white girl.. lol.

I've been so very negative, my reviews, brutal. But am I to blame? Would you feel friendly after the Fates shoved a rectal thermometer up your ass after dipping it in a bowl of wasabi? Nononono, I doooon't think so! Well that's what the last two weeks at the movies have felt like.

I just want to stand naked on the top of Mount Olympus and cry to the gods, "Is there no cinema that might slake my accursed thirst?! I stand before you, naked, vulnerable, desiring only the sweetness of quality theatre!"

This is when angry clouds swell and Zeus's visage emerges. "We have brought the epic of Troy to your television! Did this not satisfy?"

"Nay!"

"We have brought the greatness of Travolta and Thurman to you? Did this not satisfy?"

"Nay, goddammit!"

"We have given you the comedies of Asgard and of Loki and his amusing mask! Does this not satisfy?"

"Is there a gas leak out here?! I said 'nay'!"

"Ah, very well, then, how do two period dramas strike you?"

"They strike me true, sweet Zeus!"

"Good. Now get dressed, you filthy unich, and get off my mountain!"

"Uni...? Hey that's shrinkage! SHRINKAGE! It's cold up here!"

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Two short critiques DANGEROUS BEAUTY and LUTHER

DANGEROUS BEAUTY's dialogue is bold and elegant. Catherine McCormack's portrayal of a young courtesan in Venice, Italy is touching. The production design is pretty good too, but I highly doubt the peasants looked that clean. Also, I really hate it when American actors are cast and refuse to try and carry an accent which might assist the audience's suspension of disbelief. American accents are sinfully ridiculous in European period films. At the end of the day, a decent film, though a tad overblown at times. Oliver Platt. Puleez.

A wonderous story about love and power, and how the former rules the latter.