Today's News: three new Amazing Spidey pics (sort of)

Here's some old news I posted on MovieScene. Blame circumstances for not allowing me to find the time to update this blog more regularly at present.

http://www.moviescene.nl/p/151546/nieuwe_fotos_the_amazing_spider-man_2

Pretty teasy pics. Trying to get us more interested and even pre-hyped up for this reboot sequel. Apparently there's emotional friction between Peter (Andrew Garfield) and Gwen (Emma Stone), as there would be after the events of the previous installment, which witnessed a personal loss for the pair of them and a solemn promise suggested to be broken soon because of their continuing mutual love. I personally hope whatever is going on between them isn't going to cause Gwen to do something that gets herself killed, as is her fate. If you think you got spoilered now, don't blame me. Chances are good Gwen Stacy died in Spider-Man lore well before you were born, dear reader. However, I like Stone's Gwen, way more than I ever liked Mary Jane or Kirsten Dunst. I hope we'll stick to her for at least one more film.

Then there's a new picture of the movie's main villain, Electro (Jamie Foxx). I'm still not entirely happy with his look, but this is about as close as you can get to his look from the Ultimate Spider-Man line of comics without getting too ridiculous: plus, it certainly beats the goofy lightning bolt costume he wore in the regular Spidey-verse. Either way, Foxx is a solid actor, which for me is the main thing in this case.

Then there's the funny picture of Spider-Man playing fireman. A good chance he's squaring off against said antagonist in this scene, keeping in mind the natural dynamics between water and electricity. Of course, the hat isn't necessary, but it serves as a reminder of A: the fun aspect of the Spider-Man comics and movies, and B: the fact that Spider-Man has always had a tumultuous relationship with public service institutions like this. Remember his arduous affair with the police in the last film? Wearing this hat could help him improve his public image with the good people of NYC, while using a fire hose to save their city from an electric guy. After all, the Spider-Man movies, new and old, are rife with the matter of a vigilante protagonist who seeks to use his powers for good despite being disliked for it by government agencies, but still winning the love of the everyday people he protects and serves for all his valiant efforts. This shot hearkens back to the likes of the train scene in Spider-Man 2, the cheesy 'if you mess with one of us, you mess with all of us' line from a random passersby in Raimi's first Spider-Man, and the myriad examples of big-ass American flags in all of the Spidey movies to date. Like it or not, it comes with this particular red, white and blue hero's mythos. And let's face it: it's not nearly as in-your-face as a superhero wearing the American flag all over his costume!

Today's News: two powerhouses join forces for marvelous consequences

Quite the news flash was posted on MovieScene the other day, thanks to me:

http://www.moviescene.nl/p/151502/marvel_en_netflix_bundelen_krachten

So basically, what Marvel did on the big screen is being redone on the small screen. Though the originality has worn off, giving several TV shows the same treatment, simultaneously setting up a larger universe that leads to a new (mini)series is quite a novelty, not to matter risky business. But hey, the same thigng was said about Netflix itself, so it comes as no surprise that particular "network" opted to engage in this joint venture. At the same time, Marvel is still cooperating with a regular television network (ABC) on the currently running Agents of S.H.I.E.L.D. and a new show which has still to be revealed (but is probably that Agent Carter show which was suggested earlier these past few months). So Marvel is branching out on all platforms, being visibly active in theaters, on home cinemas and online. It's gonna be hard to miss the company it seems.

But will these TV shows be compelling enough for audiences? I foresee a few potential obstacles. First, there is name recognition. Daredevil people may be aware of, most likely through the 2003 Ben Affleck movie, which isn't a good thing since it wasn't a very good movie. But how many people outside the world of comic book readers are familiar with Iron Fist, Jessica Jones and Luke Cage? Getting people to embrace these could prove quite a challenge, so hopefully that Marvel brand alone is enough to pull in an audience for their shows. Secondly, there's the background of the characters, which in all four cases is rather similar. All four series will take place in the New York neighbourhood of Hell's Kitchen, so instead of battling outlandish super villains these heroes will fight more basic everyday evil, like drugs, corruption, organized crime and such. What's more, in terms of powers these characters aren't all that different either. Though there are some noticeable unique abilities, they mostly feature superhuman strength, speed and reflexes. At least their origins are rather different, but otherwise four shows dealing with the same subject matter seems somewhat redundant. Of course, the final Defenders climax could herald the end of one or more of these shows to balance things out more neatly, but so far it remains to be seen just how far Marvel and Netflix plan to take these shows. Each character gets 13 episodes, after that we'll have to wait and see where they go from there.

Though story and power diversity may not be as strong, at least the characters are fairly different in make-up, which could appeal to a broader audience. You have your heroine to appeal to a female demographic, a black character and a character dabbling in Asian mysticism (but who's not actually Asian!) to get racial minorities interested and a blind guy to engage disabled folk (okay, that last one may be highly debatable, but you never know). In this regard, The Defenders would be far different from The Avengers, which is basically all white males. True, there's Black Widow as a female role model, but she still hasn't gotten a movie of her own, while Samuel L. Jackson's black Nick Fury is only a supporting character that isn't on the Avengers roster proper but mostly overseeing stuff and letting the white people do all the real work (kind of an reverse Black Pete, for Dutch people). The core members with their own films, Iron Man, Thor, Hulk and Captain America, are all white. Except for the Hulk occasionally, but there's no actual green people to be represented as far as I'm aware. In this light, the four Defenders can make quite a difference, even though they're otherwise not so different. Nice metaphor for humanity me thinks.

And if it doesn't work, Marvel can simply change the Defenders' roster and introduce new characters as they like. After all, the team went through quite a few iterations over the years, just like the Avengers did. As you can see on the picture above, none of the four Defenders you'll see on Netflix appeared in the original first issue. However, the Hulk did, so there's you first potential Defenders/Avengers crossover (even though using the Hulk as a character would probably be too expensive in terms of FX). And then there's the Sub-Mariner and Doctor Strange, both of which have been rumoured to get their own movies. Introducing them in these shows could be explained as testing the waters for a potential movie, or yet another TV series or miniseries. So many characters, so many possibilities and opportunities. One thing's for sure: whether on TV, in theaters or online, the future is gonna be marvelous.

The Lost World Series 1: Ground Tracker

Year of release: 1997

Accessories:

-Rotating gun turret with missile launcher (including three missiles)

-Dino damage hood

-Detachable electronic lights section

-Satellite dish

(Note: the reviewer is not an expert on cars, so any incorrect terms, or lack of detail, should be disregarded.)

Description: the most notable colouring of this vehicle is the bright green with dark grey spots in an asymmetrical pattern, giving it a distinct camouflage look. The front hood, including damage piece, sides and back of the car are painted in this fashion. The underside of the car, including the car’s interiors, like the seats, is painted dark grey, though in a lighter hue as the spots, adding some variation to the overall paint job. At the front of the car there’s a grey framework around the dino damage hood. At the back there are two more frames of the same colour on each side of the vehicle. All four wheels are black with bright green hub caps. The steering wheel is also black. There are two seats, and additionally one small platform on each side of the car next to the seats, providing room for two more figures.

In the back of the car various action features are installed. First there is the satellite dish in the right back of the car, which can be folded out creating more space for figures or accessories. The dish looks pretty complex with small technical details, but these don’t feature additional options. The dish and the platform it’s attached to are painted entirely in light grey. This is also the case with the removable lights section, which is placed right behind the seats and can be used separately from the car. This part of the vehicle is electronic: inserting two 1.5 Volt LR6/AA batteries (sold separately unfortunately) behind the black piece of plastic causes the two lights to shine when the small black button is switched. The lights section is adorned with one black antenna on each side, as well with black stickers sporting the TLW movie logo. Right behind the lights section, in the left back of the Ground Tracker there’s the gun turret. It can rotate in a full circle and move both forward and backward. The black platform the missile launcher is attached to can be raised to about double the usual height. The light grey launcher (same colour as the satellite dish and lights section) sports a small yellow lever on top and has room for either one of the three yellow missiles this car comes with. Pulling the lever causes the missile to be launched, with a range of about 60 centimetres. Right behind the turret there are two small holes, which can be used to store the other two missiles in, diminishing the risk of losing them.

Though most action features are located in the back of the car, there’s one at the front as well. There’s a large yellow button at the very nose of the car: pressing this causes the hood (adorned with a large sticker carrying the TLW movie logo) to be launched in the air with some force, exposing silver mechanic parts with a large yellow button in the middle. This system is put back in place by pressing the button and putting the hood back. It’s designed to make it appear the hood explodes when a ferocious dinosaur rams the front of the car, but it looks very artificial, and not much like genuine dino damage.

Analysis: this is a dam fun vehicle with a wide variety of features. Though the bright green part of the paint job is a bit aggressive, the overall paint job is not at all bad. Personally I would have preferred a darker shade of green, but I guess this will provide for decent camouflage in a jungle setting. The grey parts are a bit dull and could have used some more detail. Of course you wouldn’t want this toy just for the paint job, but for the range of action options it comes with.

The action feature that provides for the most fun is the exploding hood. Though it’s a bit noisy it works really well and launches the hood with force, usually making it spinning in the air. This is an original take on the good old dino damage theme, though it looks too “man made” and not random enough for dino damage. The hood is too symmetrical, there’s no bite marks or anything, like the classic JPS1 Jungle Explorer’s dino damage featured. However, the exploding part makes it all worthwhile. When the hood is off, the yellow button can also be used to launch other things, like small figures. I can’t recall how many times I made Dieter Stark’s Compsognathus figure flying through the air, but it sure was a lot.

The gun turret also gives a new look to a classic action feature. Most cars of the various toy lines come with missile launchers, but few of them can rotate in any direction or tilt up and down and back and forth. This gun however isn’t detachable, like is often the case with missile launchers. Though it can be pulled off, I don’t think that was part of the intended design. Another downside: when there’s a figure on the platform to which the gun is attached, it’s out of balance. The gun and the figure just lean forward then, looking a bit silly. This can be fixed by having the gun resting on top of the lights system, but then it can’t rotate anymore. So unfortunately this original gun turret system is not without flaws. The launcher works fine though; a missile can be fired a good 50 or 60 centimetres with relative force, usually enough to knock over smaller dinosaurs and hatchlings. It’s a good thing there’s room to store the other two missiles, because they’re really the sort of parts people tend to misplace. Very considerate on the designers’ part.

The lights are also an interesting addition. The button activating them can easily be pushed, even when the satellite dish behind it is folded in. The lights work fine (of course depending on the batteries as well), but only in the dark. And I don’t think too many people play with their figures in the dark. Even though they’re hardly noticeable in daylight, the lights are still a fresh option. And though a regular flashlight provides better lighting, it always comes in handy when needed, so it’s a good thing the lights can be removed from the vehicle and used separately.

Lastly, there’s the satellite dish. Though it doesn’t really provide for any action, it’s still a fun addition to the car, and especially useful when you need more room to store vehicles or accessories. The same thing can also be said for the small platforms on either side of the vehicle, providing space for more figures.

Playability: quite high, due to the wide range of action features. Even though some features have their downsides, this car still provides for ample playability options, and is a worthy opponent for any dinosaur figure. Of course, keep in mind this car sports electronic lights, so if you want to keep them working don’t play too rough with this vehicle. Or remove the lights section.

Realism: this is undoubtedly supposed to be the toy equivalent of the Tracker vehicle used by Malcolm’s team in the TLW movie. The Tracker cars (there were two of them) weren’t seen much in the film, apart from Eddie’s death scene, in which he uses one in an attempt to save his friends from falling over the cliff. That car did not feature a rotating turret, but the lights and satellite dish aren’t unrealistic touches given Eddie’s affinity for technology. The colours are also off somewhat, since the Trackers featured a darker tone of green. But other than that, this car is at least a good reference to the ones seen in the movie.

Repaint: no. This vehicle would not be repainted for following toy lines either.

Overall rating: 8/10. A good toy vehicle with a lot of fun actions, even though there are downsides to some of them. Though it’s not really rare, it may prove more difficult and/or expensive to find a complete and/or MIB Ground Tracker, but it’s well worth the money.

The Lost World Series 1: Net Trapper Off-Road Vehicle

Year of release: 1997

Accessories:

-Detachable missile launcher (including missile)

-Dino damage piece

-Net

(Note: the reviewer is not an expert on cars, so any incorrect terminology, or lack of detail, should be disregarded.)

Description: this vehicle is a basic four wheel jeep used for catching dinosaurs in ‘high speed chases’. It has a slight military look to it, given the largely beige paint job with dark green frameworks and a large gun on top. It has two detachable orange sets of lights, one on the top of the front windshield and another on the upper green frames, as well as two lights on the front left and right of the car and two red ones on the back end. The green framework provides a sort of roof for the car and figures can hold on to it. An additional detachable piece of framework runs on the front, also making up part of the windshield. The inside of the jeep, seats and console, are coloured in the same dark green as the frames. The wheels are black as is the missile launcher, while the rest of the car sports a beige paint job with orange highlighting (lamps, net frame and arm, button on the missile launcher and missile, inner parts of the driving section).

The car provides room for three action figures, two in the seats, and one in the back holding on to the gun. The right seat is retractable and can move outward, making potential room for a fourth figure. On the right front part of the vehicle, a small piece of dino damage is located, though other parts of the car can come loose as well, creating additional dino damage. The gun is detachable too, and can also be attached to other parts of the framework. Pressing the orange button on the gun causes the missile to be fired, with a relatively short firing distance of about 40-50 centimetres. On the right side of the jeep an orange crane arm is positioned, with a large black net held together by an orange framework attached to it. The net can be rotated in both directions, and is big enough to trap most small and even medium sized dinosaur figures. On both sides of the jeep a sticker is found with the TLW movie logo on it.

Analysis: this is a fine addition to the range of vehicles of the JP toy lines. It’s somewhat smaller than most cars, roughly the same size as the JPS1 Bush Devil Tracker. The paint job is quite good, though not very detailed. The orange highlights conflict somewhat with the more natural colours used for this car; it would have been better looking had they used a different colour. Still, it looks butch and even realistic by toy standards (apart from the slightly goofy net sticking out of its right side).

The Net Trapper provides for a decent range of playability options, most of them unfortunately used before on other vehicles (and used again for later toy lines too). First of all, there’s the missile launcher, which seems to be an obligatory part of any JP vehicle. Though it looks good, and can be detached and rotated 360 degrees, its firing range is quite limited: usually about 30 centimetres, 50 at best. Also, it’s not fired with much force, so it does little damage on impact. Still, it’ll knock over most hatchlings and even smaller dinosaur figures if you’re lucky

Second of all, there’s the dino damage piece, also found on almost every vehicle. Compared to the other pieces of dino damage in the TLW toy line, this one is more random and gritty: it appears a dinosaur really took a chunk out of the car, instead of looking far too artificial like it’s just a part designed to be removed (like with the Ground Tracker and the Mobile Command Center dino damage). It’s a pretty small piece, but other parts can be removed as well (lights, parts of the framework), which provides for additional damage.

Third of all, there’s the retractable seat, a feature also included on the JPS1 Bush Devil Tracker. It works fine and can easily be pushed back in. It has no action feature to it, like the snare its JPS1 counterpart came with. However, since the large net is located right behind it, it’s logical to assume this option was designed to lure a (probably carnivorous) dinosaur to the chair, hoping to get a snack, after which it gets caught in the net when the seat is quickly tracked back in. However, in a ‘high speed chase’ it only seems to be an obstacle.

Of course the most noteworthy part of the jeep is the net; it’s called Net Trapper after all. The net is about 12 centimetres long and nine centimetres high, making it capable of trapping about any smaller dinosaur figure (like the TLWS1 Velociraptor illustrated on the box) and even some medium sized dinosaurs, like the Chasmosaurus or Spinosaurus of this toy line. The net is attached to a crane arm on the side of the jeep and can swivel back and forth, increasing its range of action. It works fine, but it really looks a bit silly. It would have been more realistic to have this car include a net launcher instead, but I guess that would be more difficult to design and put on the jeep. And since this is a toy, and a nice one too, the designers got away with it.

Playability: this car provides for plenty of playability options. Its various action features (net, missile launcher, retractable seat and dino damage) are all in decent working order. There’s enough room for figures, though it’s not always easy to position a figure in the back next to the gun, since they mostly fall off. Figures can clamp to the framework or the gun with some difficulty though.

Realism: this car is relatively realistic for a toy, apart from the funky net. It resembles the off-road jeeps the InGen hunters used in the TLW movie, though it’s less detailed since it’s first and foremost a toy vehicle and not meant to be a perfectly accurate representation of the movie vehicles. The retractable seat was a feature seen on one of the jeeps in the movie, and is thus a nice reference (while at the same time harking back to the JPS1 Bush Devil Tracker as well). The hunters didn’t use missile launchers like the one this car comes with, but it’s still a good addition to any vehicle used on an island filled with hungry dinosaurs.

Repaint: no. This vehicle would not be repainted for later toy lines either.

Overall rating: 8/10. It’s a good car with some fun action features (most of them seen on other vehicles too though, so no points for originality here). It sports a good look and is an adequate match for any smaller ferocious predator. Though this vehicle isn’t really rare, complete or MIB ones are not that easy to find. Still, it should be worth any collector’s while, even at somewhat higher prices.

Today's News: Elves, Elves everywhere but not a dragon to see

I'm way behind on posting my latest MS news due to lack of time - yes, really! - but fortunately the last two items both revolved around the same film so I merged them into this one blog update. Call it laziness or call it intelligence and a desire not to feel repetitive. I much prefer the latter.

http://www.moviescene.nl/p/151404/nieuwe_posters_the_hobbit_the_desolation_of_smaug

http://www.moviescene.nl/p/151464/nieuwe_poster_en_trailer_voor_the_hobbit_the_desolation_of_smaug

Neat new sneak peek (extended trailer really, but that sounds less appealing) and solid new batch of posters. Only seven new character posters this time instead of the 16 released for An Unexpected Journey. Makes sense, considering most of the Dwarves featured in Bilbo's fellowship aren't of enough import to warrant additional posters of their own, while the new characters, mostly Elves (and the girlbait/boybait actors portraying them, Orlando Bloom and Evangeline Lily (*swoon*: it works! And she bugs the Tolkien purists too, what more could you want?), are in need of audience attention. The timing for the increase of material in The Hobbit's marketing campaign is nothing short of impeccable, considering the release of the big budget (and naturally overhyped, but no doubt still thoroughly enjoyable) fall blockbusters Thor: The Dark World (seen it, liked it well enough) and The Hunger Games: Catching Fire. All those vast legions of cinema-goers will be treated to just the right amount of footage to get them warmed up for another epic fantasy fest during the upcoming Holidays. And it comes as no surprise that we still see little of that overgrown hotheaded lizard that is so eminently part of the title, but only briefly glimpsed and overheard in this new trailer. If we want to see what it looks like, we need to buy ourselves a movie ticket. That's how marketing works, and the people providing such for The Hobbit: The Desolation of Smaug understand this all too well.

Today's Mini-Review: Dial M for Murder 3D

Dial M for Murder 3D: ****/*****, or 8/10

If you think the contemporary 3D craze is a new phenomenon, think again. Though the current output of 3D movies far surpasses those of bygone eras, there have been two previous waves in cinema featuring the addition of a third dimension to draw audiences away from their television sets – first from the sets themselves, the second time from the choices offered by VCR technology: these days it's a combination of high quality television production, the relatively large size of the home cinema screen and the ease in digital technology for users to watch whatever they fancy that threatens audience attendance – the previous one during the Eighties, the very first one in the Fifties. Then, like today, some high profile directors, fascinated by the narrative and visual possibilities offered by the three-dimensional aspect, tinkered with the technology to see what it could accomplish and add to the overall viewing experience. During the short lived fad of the Fifties, the most notable director to explore the new dimension was Alfred Hitchcock, who used it only once, for his 1954 crime thriller Dial M for Murder. Though its 3D release was almost as brief as the interest in 3D technology itself in that decade, it cannot be denied the 3D version of this classic film still makes for a fascinating watch, both with regards to the use of the third dimension and the story itself. Thanks to the EYE Filmmuseum in Amsterdam, I got the opportunity to experience this film as Hitchcock shot it, in a beautifully restored print that utilizes the modern 3D techniques, which also benefits the vividly rich Fifties' colour palette that would have been absent in the original 3D print with its notorious red & green glasses.

It's clear upon watching the film Hitchcock made ample use of the added layers of depth 3D offered, as we get a clear sense of persons and objects in the foreground, the middle and the background of the frame, the depth perception shifting as another person or object moves into frame prominently on a closer layer. Considering most of this Kammerspiel type film takes place in a single room, 3D actually comes in quite handy to make the environment feel more alive and diverse than it otherwise would have felt. Especially notable is the scene where two characters are in mid-conversation and a vase enters the shot, basically right in our faces as we see the two men continue to talk behind it, though separated (both visually and in terms of their narrative interests) by the vase which is positioned in the middle of the shot composition. Of course, a few more typical in-your-face shots are also present, and these work far better than the ones we have grown used to, outstretched arms feeling almost tangible as they seem to hover right in front of us. Also charming to behold is the blue matte lines that appear around characters as they are in motion: the modern 'high frame rate' technology might have been of benefit to avoid such visual oddities, but in this case it makes the movie feel even more historically intriguing from a technological viewpoint. Nevertheless, after the first hour it seems Hitchcock was running out of ideas as no particularly noteworthy new use of 3D is witnessed and the novelty of its sensations wears off. Until that point, this film makes some of the finest use of 3D to this day. The incomparable Grace Kelly never looked more beautiful than she does in all three dimensions in this remastered 3D print.

In terms of story Dial M for Murder is simply a little outdated, through no fault of its own. The problem is it has been emulated, copied and parodied for almost sixty years. Though Hitchcock's famous mastery of suspense and the delivery and timing of his actors' dialogue is still of the highest order, it cannot help but make the movie feel like its dragging its feet just a little too long. The moment police inspector Hubbard (John Williams; not that one) enters the crime scene and displays just how brilliantly deductive the mind of a British inspector works as he spends the next 30 minutes explaining the details of the murder attempt for longer than we care to hear it (we got the point!), while occasionally touching his moustache in every conceivable clichéd manner, the movie drones on a little too much. Until that time though, the exciting plot offered by a man (Ray Milland) who means to murder his wife (Kelly) by blackmailing a former schoolmate who has fallen on hard times (Anthony Dawson), only to have the assassination gone horribly awry, makes for s striking crime drama of the highest order, good for many a scene of emotional tension like only Hitchcock managed to deliver. 1954 proved a good year for Hitchcock, as the celebrated director released his even more highly acclaimed (and superior) suspense masterpiece Rear Window – also starring Grace Kelly – only a few months later.

Today's Mini-Review: Jeune & Jolie

Jeune & Jolie: ***/*****, or 6/10

François Ozon paints a titillating but rather illogical coming-of-age portrait of the seventeen year old Isabelle (Marine Vacth) who explores her sexuality over the course of a year, told in four episodes over the four seasons. In summer we witness the nubile French girl's defloration by a German boy whilst on vacation with her parents. It's not a very fulfilling first time to say the least, as the young man humps her in a rather unflattering way (though alcohol is partially to blame). In the next season Isabelle chooses a secret life of prostitution, the suggested notion being to seek out other sexual options with men of various ages and preferences to really find out what she likes and desires herself. The exact reason for opting for such a drastic measure to discover her own sexual nature Ozon regrettably leaves in the dark, a rather cowardly move on his part as a writer, since it requires quite a leap of faith to take this decision for granted, one most spectators will have difficulty with. Vacth (actual age 23) nevertheless exhibits a brave performance in her role as hooker, as she is seen nude throughout the film on a regular basis throughout many a steaming sex scene, some exerting a genuine sense of tenderness and even playfulness, but others falling into a category of either unpleasant to watch to the point of debasing, or just awkward redundancy as we fully understood she was a prostitute at that point in the story. Despite all the intercourse she partakes in, the only real connection Isabelle experiences is with an old man who actually seems to care about her as a person too, instead of simply as a body for hire. Unfortunately she proves too much for his weak heart which expires as they have sex one time too many, after which Isabelle's hidden profession comes to light to the police, and ultimately her parents. Over the next two seasons, the girl must cope with her double life, her mother even more so, and come to terms with the reason why she chose such a dangerous and desperate path for her self-exploration. A clear answer is sadly never provided, so we are led to believe that any girl whose first time isn't pretty could easily go down the same route. Isabelle, however, must also deal with the death of a man, especially when she meets his widow (Charlotte Rampling) in spring, who seeks answers of her own regarding his demise. An overly mutually understanding confrontation follows, which further adds to the plot's credibility being stretched further than it ought to be. With Jeune & Jolie Ozon doesn't penetrate the realm of female sexuality for the first time (e.g. Swimming Pool for example), but he does so in his least convincing film to date. Nevertheless, thanks to strong performances by the cast overall and Vacth in particular, as well as genuinely compelling emotions being stirred in the various revelations (not answers, mind you) of the details of Isabelle's life, Jeune & Jolie is still a far cry from the mindless sensational soft-erotic drivel it would otherwise have become.