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tt0070917 | The Wicker Man | Sergeant Neil Howie of the West Highland Police receives an anonymous letter requesting his presence on Summerisle, a remote Hebridean island famed for its popular and unusually abundant fruit produce. A young girl named Rowan Morrison has been missing for a number of months and her mother is being uncooperative with enquiries. Due to the island's isolation it is unlikely she could have left by herself, abduction is suspected.Howie, a devout and celibate Christian, travels by seaplane to the island and is profoundly disturbed to find a society that worships the old pagan, Celtic gods of their ancestors. Couples copulate openly in the fields, children are taught in school of the phallic importance of the maypole, toads are placed in the mouth to cure whooping cough, and the island has no Christian ministers or priests. Its church and graveyards have long been deconsecrated and are now used for the idiosyncratic burial rituals of the locals, who believe in re-incarnation.In the course of his investigation, Howie encounters difficulty in extracting information from the islanders, who claim never to have heard of Rowan, and whose own mother insists does not exist. Rooming at The Green Man Inn, where he is introduced to the beautiful young daughter of the landlord, Willow, Howie notices a series of photographs celebrating the island's annual harvests adorning the wall of the bar with each photograph featuring a young girl, the May Queen. The latest photograph is missing due to it being "broken". No negative exists.After discovering a grave bearing Rowan Morrison's name in the cemetery, Howie's search eventually brings him into contact with the island's community leader, Laird and de facto figurehead Lord Summerisle, who explains to Howie the island's recent history and culture. Summerisle's grandfather, a distinguished Victorian scientist, developed several new strains of fruit that he believed could prosper in Scotland's climate given the proper conditions. Drawn to Summerisle's unique combination of fertile, volcanic soil and local waters heated by the Gulf Stream, he inculcated in the local populace a belief that the old gods were real and worshipping them by farming the new crop strains would deliver them from their meagre livelihood. The crops bore fruit and the island's Christian clergy were driven away, with the population now embracing pagan teachings wholesale. Enraged by Summerisle's glib comment that the Christian god is "dead", Howie demands permission to exhume Rowan's body, which Lord Summerisle subsequently grants, confident in the belief that such a deeply religious community as his is incapabale of murder. Howie's exhumation of the grave reveals only the body of a hare. He angrily confronts Summerisle once more, declaring that he believes that Rowan Morrison was murdered as part of a pagan sacrifice and that he intends to bring the full weight of the law upon the inhabitants of the island.Breaking into the local chemist's shop, Howie discovers that a negative of last year's harvest photograph does in fact exist. It shows Rowan standing amidst a meagre, pathetic group of boxes, indicating that last year's harvest was a poor one and that the crops the island's only means of income had failed. Struck by his recollection of an offhand remark made by Lord Summerisle about appeasing the old gods "when necessary" and by research that indicates pagan societies offer up a human sacrifice in the event of crop failure, Howie deduces that Rowan is in fact still alive and that she is being kept hidden until she can be sacrificed as part of the May Day celebrations to ensure a plentiful harvest for the coming year.Howie spends another night at the Inn where, in the room next to his, Willow sings to him and openly attempts to seduce him. The next morning, discovering that his plane has been sabotaged and is unable to take off, Howie elects to search the island for Rowan himself ahead of the impending May Day parade. Howie ties up the innkeeper and assumes his place as Punch, a principal character of the May Day festival. Disguised, he joins the procession of islanders as they cavort through the town and perform harmless sacrifices to the various lesser gods. Then Lord Summerisle announces that a grimmer sacrifice awaits them, and Rowan is finally revealed, tied to a post. Howie cuts her free and flees through a cave but after a brief chase emerges at another entrance on a precipice where Summerisle and his followers stand waiting for them. Howie is shocked to see Rowan merrily embrace her captors and then notices that he is being surrounded.Lord Summerisle explains to Howie that, after painstaking research on their behalf, he specifically was lured to Summerisle by the islanders, who have been successful in a conspiracy to lead him to believe that a missing girl was being held captive against her will, and confirms to him that last year's harvest failed disastrously, threatening the inhabitants with a return to their previously desperate existence and that they have no intention of allowing that to happen. Their religion calls for a sacrifice to be made to the Sun god as Lord Summerisle explains that, "animals are fine, but their acceptibility is limited. A young child is even better, but not nearly as effective as the right kind of adult." Howie's devout Christian lifestyle and his livelihood as a policeman mean that he meets the outstanding criteria for a human that is to be sacrificed to appease the gods he has come of his own free will, with the power of a king and he is a virgin. In spite of his protestations that the crops failed because fruit was not meant to grow on these islands and that next year the sacrifice of Lord Summerisle himself will be called for, Howie is stripped bare, then dressed in ceremonial robes and led to the summit of a cliff with his hands tied. He is horrified to find a giant, hollow wicker man statue which he is then locked inside. The statue is soon set afire. As the islanders surround the burning wicker man and sing the Middle English folk-song "Sumer Is Icumen In", a terrified Howie curses them and recites Psalm 23 as he prays to God for accession to Heaven. The film ends as the burning head of the wicker man falls from its shoulders, as the sun sets in a blood-red sky. | comedy, mystery, murder, cult, atmospheric, flashback | train | imdb | null |
tt0104009 | Cool World | In 1945, World War II veteran Frank Harris returns to his mother in Las Vegas. Riding a motorcycle that he won in Italy, Frank and his mother are struck by a drunk couple. Frank survives, but his mother dies. As an ambulance takes her away, Frank is transported to Cool World, an animated city of weird landscapes and random cartoon violence. He was inadvertently teleported by Dr. Vincent Whiskers, a doctor who created a "spike" that was supposed to take him to the real world, but brought Frank to Cool World instead. Whiskers finds Frank useful enough to run things in the Cool World while he is gone to the real world.
Forty seven years later, Jack Deebs, a cartoonist, is detained after murdering a man he found in bed with his wife. He creates the highly acclaimed comic book series Cool World, which features the femme fatale Holli Would. On the night before his release, Holli summons Jack into the Cool World, and he sees Holli dance in the local dance club. After he sees her dance, Jack is teleported back to the real world. It turns out that Holli wants to enter the real world, but is forbidden to do so by Frank, who is now a detective for the Cool World Police Department.
After he is released, Jack is transported to the Cool World once again and meets Holli and her goons Slash, Mash, Bash, and Bob. They have been encouraging his misled beliefs that he himself created the Cool World. In reality, Holli has simply been bringing him there, and Jack created his comic book series on what he's seen there, which he initially believed were his own dreams. Meanwhile, Frank is about to go on a date with his longtime girlfriend Lonette when his partner Nails the Spider tells him about Jack's presence. Holli and the Goons take Jack to the local Slash Club where Mash uses his motives persuade the bouncer Chico to let Jack into the club. While in the club, Jack is then confronted by Frank who puts him against the wall as Jack claims he has no knowledge of "drawing" Frank. While confiscating his fountain pen and stating that he is with the Cool World Police Department, Frank informs Jack that his fountain pen is a dangerous weapon in the Cool World. Frank then tells Jack the truth: Cool World has existed long before he created the comic series and forewarns him that "noids", real humans from the real world, are not allowed to have sex with "doodles", the cartoon inhabitants of the Cool World. He further advises Jack not to get involved with Holli before Jack returns to the real world.
Holli brings Jack back into the Cool World, where he is taken to Holli's apartment. Holli and Jack have sex, transforming Holli into a real human. While Frank attempts to mend his relationship with Lonette, he temporarily leaves detective duties to Nails. Nails receives a call from an informant named Sparks, who tells him that Jack and Holli have had sex and are leaving for the real world. Nails decides that he can do this on his own and goes off to stop Holli. Nails attempts to stop her from leaving the Cool World, but Holli uses Jack's fountain pen to suck Nails in. Jack and Holli return to the real world, where Holli sings "Let's Make Love" at a nightclub with Frank Sinatra, Jr.. Frank discovers that Nails is gone and decides to venture into the real world to pursue Jack and Holli. Meanwhile, Jack and Holli have started to flicker between real and doodle states. While contemplating their situation, Holli tells Jack about the "Spike of Power", an artifact placed on the top of the Union Plaza Hotel by a doodle who crossed into the real world. When Jack displays skepticism about Holli and the idea, Holli abandons him to search for the spike on her own.
Frank meets up with Jack later on, explaining that the flickering both Jack and Holli have been experiencing is the disappearance of both worlds. They decide to team up and stop Holli from removing the spike. They get Jennifer, the daughter of Jack's neighbor to drive them to the casino. On the way, Frank explains that it was Doc Whiskers who crossed worlds and put the spike on the top of the hotel and if it were removed, it could potentially destroy both the real world and the Cool World.
Holli is escorted out of the casino for not spending any money, all the while asking about Vegas Vinnie, which is the alias of Doc Whiskers. When she spots the Doc, she tells him that she could not find him. When she starts to flicker between real human and doodle state again, she begins to become suspicious and starts to see through Doc's disguise and shakes him out of it, revealing his identity. Doc tries to convince Holli not to get the Spike of Power, but Holli becomes enraged and threatens Doc Whiskers with the fountain pen. When Frank, Jack, and Jennifer get to the destination, Frank pursues Holli on the casino, while Jack and Jennifer put Doc Whiskers back together after being popped by Holli's pen. Frank chases after Holli throughout the hotel, while she's still flickering from real to doodle state. While in doodle form, Holli pushes Frank off the building to his death.
Holli finds and takes the Spike of Power, transforming her, Jack, and everyone in Vegas into doodles and opening a gateway between the two worlds, releasing numerous monstrous doodles. When Jack is transformed into a superhero doodle called Super Jack, he gets a hold of the spike. Holli tries to seduce it away from Super Jack. Instead, he returns the Spike of Power to its place trapping him, Holli, and the rest of the doodles in Cool World.
Meanwhile, Nails escapes from Holli's pen as he and Doc Whiskers return Frank's body to Cool World. Lonette discovers that Holli was a doodle when she killed Frank. She explains when a noid is killed by a doodle, he is reborn in Cool World as a doodle. Frank is then revived as a doodle, allowing him to pursue his relationship with Lonette. Meanwhile, Super Jack and Holli are last seen together in the panels of a comic book. Super Jack is planning out how they will live, much to Holli's dismay. | cult, alternate reality, psychedelic | train | wikipedia | null |
tt1783732 | John Dies at the End | David Wong recalls confronting a zombie skinhead whom he beheaded one year prior and wonders whether an axe that had its handle and head replaced over time is still the same axe. This is a play on the classic problem in philosophy and metaphysics known as the Ship of Theseus. He sits in a restaurant and recounts his story to reporter Arnie Blondestone.
David is at a party with his friend John. He and Fred Chu witness Justin White teasing Amy Sullivan, who has an amputated hand. David learns that Amy's dog, Bark Lee, has gone missing after biting a drug dealer named Robert Marley. As he leaves the party, David sees Bark next to his car, then suddenly feels sick and drives home. That night, David receives a frantic call from John, who seems delusional. At John's apartment, David recovers a syringe containing a black substance, oblivious to a bizarre creature only John can see. John tells David that the drug "Soy Sauce", given to him by Marley, causes him to slip in and out of the timeline and lets him perceive alternate dimensions. David then receives a call from John of the past.
As they drive off, David is accidentally stabbed by the syringe. The drug, which David notices is quivering like an organism, causes severe hallucination. An alien, Roger North, appears in the backseat, but retreats when David threatens him. Detective Lawrence Appleton takes John and David to the police station. As he is interrogated, David realizes that he can somehow predict Appleton's questions. Appleton reveals that John and White are the only survivors of a drug party at Marley's trailer. After being called out of the room, Appleton tells David that John has died and leaves. Arnie interrupts Dave's story, expressing his skepticism about the events. Dave then takes Arnie out to his car and shows him an empty cage in the back seat. When glimpsing at the cage from the corner of his eye, Arnie is able to see the same bizarre creature from John's apartment inside the cage. Dave convinces Arnie to listen to the rest of the story without his veil of skepticism clouding his judgement.
John telepathically talks to David, instructing him to escape and retrieve the Soy Sauce. In Marley's trailer, some of the drug forces itself into David, who falls unconscious. He wakes up to see Appleton preparing to burn down the trailer. Appleton tells David that John's body has disappeared, and that he believes evil things are happening because of the drug. Appleton shoots David, who survives by time-traveling and tampering with the round he was shot with. Bark, apparently controlled by John, drives David's car through the wall, allowing him to escape the burning trailer. In his house, David is subdued by a possessed White.
White kidnaps David, Fred, Amy, Bark and John, takes them to an abandoned mall and reveals a "ghost door". John manipulates White into going outside, where Appleton kills him. Appleton's body then explodes into a swarm of white flying insects, which enter Fred and possess him. David reluctantly kills Fred. Amy opens the ghost door with her phantom limb, then John and David go through it. They meet North and Albert Marconi, a celebrity psychic and exorcist. They have teamed up against Korrok, an evil organic supercomputer. Marconi gives David and John a bomb containing a hallucinogenic capable of crippling Korrok. The two step through a portal to an alternate Earth. Disciples of Korrok greet them and present a brutal utilitarian society under Korrok's merciless rule. The duo are brought before Korrok, who plans to devour them, absorb their knowledge to conquer their dimension. John activates the bomb, but fails to complete the sequence. Bark, who secretly follows them, successfully does, sacrificing himself.
Upon escaping, David and John meet Marconi and learn that Bark was meant to defeat Korrok all along. After biting Marley, the dog had Soy Sauce in his blood and became connected to Marconi and North. Amy becomes David's girlfriend. David and John begin working as exorcists and demon hunters. They occasionally request help from Marconi, who gave them his personal number.
When David concludes the story, Arnie decides to publish it, despite how it might harm his career. He recalls a story to David, which makes David realize that Arnie is only a figment of his imagination. The real Arnie was killed several days ago by people not wanting the story published. David reluctantly forces "Arnie" out of existence. During the end credits, David and John travel to another dimension and decline a request to save it. | comedy, paranormal, cult, alternate reality, violence, atmospheric, psychedelic | train | wikipedia | I had not read the book previously and knew nearly nothing about the story, but if you've seen the trailer, that is pretty much adequate preparation for the strangeness you subject yourself to as you watch this movie.
If you have a hard time with a story that goes to unexpected places and keeps you on your toes, you may not enjoy "John Dies," but if you appreciate absolutely unfettered creativity and a willingness to include everything but the kitchen sink, then you should run to see this movie.
This film reminded me a lot of Naked Lunch crossed with Bill And Ted's Excellent Adventure in some ways (if you've seen all three of these movies you'll know what I mean).
and a huge tip of the hat to Paul Giamatti for having such a faith in genre film, i love knowing that the people on the screen weren't just collecting a pay check, but truly wanted to be there.
I saw about a dozen new films at the festival, but only one came close to being as wonderfully insane as John Dies at the End. I'm not going to throw spoilers, but if you can, try to see this in a cinema with a big sound system.
A very knowing work of art.As with Bubba Ho-Tep, this film takes a mindbendingly outlandish premise, which through the course of events, and some wonderfully obtuse lateral thinking, persuades the audience that it's perfectly likely to be true.
Chase Williamson is great as Dave, Rob Mayes plays a good, aloof John (although he looks tougher than I expected), and Clancy Brown is great as Dr. Albert Marconi.Many things have changed from the book, but that's not necessarily a bad thing.
Things happen very suddenly at the end, and while some of the changes from the book are fun, it still feels incomplete.Despite a rushed plot, John Dies at the End was still a terrific movie for people who like slightly cheesy sci-fi or horror films.
I'm not even sure where to start with a movie like JOHN DIES AT THE END.
JOHN DIES AT THE END (written by senior Cracked editor David Wong) is on my shortlist of novels I'm planning on buying from Amazon, but I was excited to find out that a movie would be released in the meantime and that it would be directed by Don Coscarelli.
The ultimate reality: it falls short of being the movie I wanted, but it has inspired me to move a little faster on picking up the novel.To start, and you'll probably hear this from anyone who's seen the movie but not read the novel, JOHN DIES AT THE END doesn't make a whole lot of sense.
The best way to describe JOHN DIES AT THE END is this: it feels like a 100-minute trailer for a really awesome six-hour movie.
Chase Williamson is pretty decent as David Wong and Rob Hayes did a great job, but I think a lot of fans of Cracked might agree that this movie would've been exponentially funnier if Daniel O'Brien and Michael Swaim had been cast in the lead roles.
John Dies At The End is an adaptation of David Wong's book of the same name written and directed by Don Coscarelli (Phantasm, Bubba Ho-Tep).
While not familiar with the book, the bizarre and surreal story does seem like a perfect fit for Coscarelli as his films have alway had a touch of both the surreal and a bit of offbeat whimsy.
John Dies is a very strange yet amusing head trip of a movie that won't appeal to everyone but, under Coscarelli's guidance, will entertain those who like a movie that isn't afraid to be weird and unconventional.
Veering wildly between inspired and tedious, it ultimately comes off like a (very) strange mish-mash of better and more coherent films like 'Ghostbusters', 'Dude, where's my car?', 'Bill & Ted's Excellent Adenture', 'Big Trouble in Little China' and the TV show 'Supernatural'.Director Don Coscarelli ('Phantasm', 'The Beastmaster', 'Bubba Ho-Tep') is the king of quirky cult cinema, and he's certainly in his element here.
But the increasingly odd plot mechanics at play in 'John' are beyond even his skill to corral into something approaching entertainment.'John Dies at the End' is not a good film, but it's so *odd* that I feel I have to recommend it for the experience alone..
Giamatti is a good actor, yet he shines in this and using him as the measuring tool, one can see the two male leads as very community theater-ish.If you like 'stoner films' I would assume you'll love this, if you are looking for something unique, this isn't it.
Paul Giamatti was his usual, solid self and everyone else either died quick enough or had their character lobotomized so much, that their performances didn't really matter.The film also did a great job of harnessing the bodily humor and slacker hi-jinx that made JDaTE such a hilarious novel.
Coscarelli stayed almost 100% faithful to the source material, but just lifted different scenes from each segment of the story and patchwork it into one nearly nonsensical film (this is a very apparent problem, since once the movie deviates from the order of the book, things start to really go down the tube.)Being a fan of the book, I have to wonder why Coscarelli didn't just stick to the first "story" that ends in Las Vegas.
Coscarelli has a real knack for oddball humor and along with the source material from David Wong's book, he delivers a comical, cross-dimension, alien-fighting, time travel buddy film that draws recollections to Men in Black 3, Big Trouble in Little China, and Bill & Ted's Excellent Adventure.Coscarelli has had his opportunities to join "big budget" Hollywood, but has always chosen to remain true to his roots in horror/fantasy for his loyal followers, resulting in many cult films and midnight movie favorites.
In this newest story, Dave (Chase Williamson) and John (Rob Mayes) are slacker buddies who end up feeling the effects of a new street drug called soy sauce.
I almost wish they'd changed even more stuff (Bark-Lee and Amy NotHerLastName were a good start) and just totally disassociated it with the book - they honestly wouldn't have had to go much further with it and I could still dream of a real JDaTE movie getting made..
when i first saw it with little knowledge of what it was about i was taken back to that feeling of watching something you know is great like a favorite movie.
It is like a roller-coaster through the entire movie and I didn't even mind going up any hill because even those parts of the movie were entertaining, It was very exhilarating to stumble onto a movie like this, It will become one of the cult-classics I don't have any problem wanting to watch again and at random times right up there with Fear and Loathing In Las Vegas...
The book is like a little bit of Stephen King mixed with a whole lot of Douglas Adams.I was cynical about a screen adaptation mostly because I knew so many of the fantastical beasts and incidents that people the novel were going to be given literal shape in the movie, and the tangible can never compete with the imagined.
I can't even begin to imagine what someone unfamiliar with the source material would take away from this film's finale.I knew we were in trouble from the get go, when our pair of protagonists go to battle against a supernatural being made out of meat, and the result is a scene that in the book was hilarious and in the movie is just...well...stupid.
I do love how the script translated well and made it to the movie but I also hate the fact that so much of the story and the plot got lost trying to make it quirky instead of hilariously gritty like the read through.
The main characters casting and acting was perfect, but the plot I feel like was thrown to the dogs with the meat of the story for gimmicks that were sometimes awesome sometimes over done, and was definitely under budget.
Sorry, I feel that I'm more venting that reviewing, so here it is: If you like strange, then watch the film and probably enjoy it, and THEN go read the book and really enjoy.
I'll start by saying I haven't read the book, but I haven't enjoyed a movie like this in a while.
This makes it even strange to see how John Dies At The End doesn't feel like it's at the hands of an experienced expert.It's way more independent and low budget than I expected, but the cheap moments don't come from the quality of production but from hokey script moments and poor cinematography and editing decisions.
Take Sliders, the white Castle crappy movies and some other ideas from "pothead" movies, mix em up a bit and have the characters babble some none-sense bull-sh..t in a "cool-way", blah,blah,blah and you have an another wanna be cult-movie with same-old-sh..t they serve you since the last 2-3 decadesLong Story short - watch it only if you want be bored to death and pray it might come hard & fast before you are to much into the minutes of this boring piece..
John Dies at the EndThe worst part of a title telling you when a character's going to die is that you can't go on the Internet and spoil it for everyone.However, the heading of this horror/comedy is a misnomer.David (Chase Williamson) recants for a writer (Paul Giamatti) a bizarre escapade with his friend John (Rob Mayes) that involves a hallucinogenic drug that sends users on trans- dimensional journeys.The two burnouts, however, turn out to be two anomalies that can travel between parallel universes without returning as monsters.Their ability to accomplish this feat attracts the Lovecraftian leviathan Korrok, who wishes to absorb their powers through mastication.Based on the cult novel, John Dies at the End doesn't translate well to the screen: its leads are lifeless, its storyline convoluted and its humour cornball at best.Besides, every reality in the multiverse has the same stuff in it - it's just a different colour.Red Lightvidiotreviews.blogspot.ca.
Dave starts to tell his story.He leads off with an odd tale about a young woman who seeks David and his best friend John's (Rob Mayes) aid, but it ends up them fighting a meat monster.
Director Don Coscarelli attempts to bring together several disparate movie elements that are difficult to blend successfully, including an overarching narrative of flashbacks that ultimately result in two definitive story lines, then incorporating various unusual out of this world experiences that supposedly the audience isn't normally prepared for as well as a heavy dose of punk humor and younger generation nonchalance that is somewhat out of sink with the older set.
Beware the soy sauce in John Dies At The End. Director Don Coscarelli has become one of those directors that are known to deliver some strange yet fun films.
John Dies At The End follows two college dropouts who can barely keep jobs that are forced to try and stop the oncoming horror thanks to Soy Sauce, a drug that promises an out-of-body experience.
Being totally unfamiliar with the book upon which this movie was based, I have absolutely no preconceived notions about what the movie "should've" been: I know only that it's great fun in the spirit of the PHANTASM films and that the lead does an incredible job- the movie wouldn't've been half as good without him (OR his sidekick).
I've watched this a couple of times (with a longish break between) just to make sure, and it's now without a doubt one of my favourite films.It's like Jos Whedon when he was still edgy (you know, before Buffy nose dived into disaster).I won't mention Bubba Ho-tep, by the same director...
For those who were not fans - this film is nothing like Bubba Ho-tep, excepting the level of insanity.At times this movie reminded me of one of Philip K Dick's really good, reality-bending, "I don't think it's what we thought it was.." type novels.The comedy is very funny, the performances rock, the plot is clever, and there are a few spine-tingling creepy bits (just like, in fact, a good Philip K Dick novel!)Can't recommend highly enough!!.
For entertainment, you will be taken into another dimension and you will stick with the film just to see how the whole thing panes out, but it's definitely one of the strangest movies that I have seen this year.Budget: N/A Worldwide Gross: $145,000 (Terrible!)I recommend this movie to people who are into there comedy/horror movies about a couple of teenagers fighting against a town who have taken a mysterious drug.
The basic premise of the movie is that there's a drug that lets you see beyond to other dimensions, demons etc and that alone should tell you whether or not you'll enjoy this film.It's a bit disjointed and could be hard to follow for some people.
It's hard to say much more without giving the plot away, but if you like cheap thrills, exploding heads and saving the universe from an enemy that is never properly explained then this film is for you.John Dies at the End probably won't win any awards but it has already won a place in cult film history.
And I suspect you might be able to do that!John Dies at The End starts with great thrills, horror and comedy but as it advances with the story unfolding between Dave & Paul Giammati, things start getting worse.
This is a highly entertaining movie with engaging story and so much FUN to offer, if you like a fantasy/sci-fi/comedy/action/horror genre smashed up sort of film.
The only film I've seen previously by the director, Don Coscarelli, was the (IMHO) overrated Bubba Ho-Tep, and his earlier film don't sound appealing to me (nor do his next couple, yet another Phantasm movie and a Bubba sequel), but I sincerely hope he's optioning the sequel to John Dies at the End because I would love to see something similar to this..
John Dies at the End is the long-awaited latest film from Don Coscarelli; the man behind the likes of the Phantasm series and the excellent Bubba Ho-Tep. Since 2002′s Bubba Ho-Tep, Coscarelli has mainly kept a low profile, with his only work of note coming on the Masters of Horror TV series.
Those expecting amazing, modern special effects will be disappointed, but anybody that is familiar with this type of film should lap up the slightly cliché, slightly kitsch effects work on show.Based on the book of the same name by David Wong, John Dies at the End is as unique as they come.
Others may find John Dies at the End hard to follow or a bit too much at times, but I cannot recommend the film enough.
There are many movies that attempt to achieve what John Dies At The End effectively does: weird you out and at the same time draw you in, in a desperate attempt to understand the surreal, to somehow comprehend why the actors act or react the way they do.
"Who would have thought my friend John would have helped bring about the end of the world." When a new drug that allows the users to move across time and dimensions comes along people's lives begin to change.
It all kicks off when best buds Dave (Chase Williamson) and trouble magnet John (Rob Mayes, pretty much a late 20's version of Rob Lowe) decide to try a dubious wonder-drug amusingly nicknamed 'soy sauce', a narcotic known for its space/time/dimension altering powers, and pretty much a surefire way to descend into hellish but very funny chaos where nothing makes sense and the story takes a dime store turn into bizarre schlock worthy of a Troma special.
David tells the story about his friend John(Rob Mayes) and how one night after his band performs in the park, things get a little crazy, and people start to die due to "the sauce".
"John Dies at the End" is without a doubt one of the most original movies I've ever seen and has enough dark humor and tripped up supernatural themes to make you want to try "the sauce" yourself.
I highly suggest you to see "John Dies at the End", especially if you like Coscarelli's work and love sci-fi and horror films.
Helplessly battered by unseen forces, Dave, John, N Company have to adjust to the new reality that nobody will likely ever believe another word they say.Watch this movie, before or after you READ THIS BOOK!
I really don't know what to make of it this, I just found to me really odd strange, weird and very bizarre.The movie took no time and went straight into the craziness in a good way.
John Dies at the End (2012) David's Wong (
so is John Wite?) It's unusual to have seen a book and then the movie and to feel that it would've been better had you seen the film first.
It would have been interesting to see "John Dies at the End" emulate these films and then develop an original concept.The movie itself was decently cool.
- "John Dies at the End" plays like a bad acid-trip caught on film.
'JOHN DIES AT THE END': Four and a Half Stars (Out of Five) Don Coscarelli (the writer/director behind such popular cult classics as 1979's 'PHANTASM', it's three sequels, 1982's 'THE BEASTMASTER' and 2002's 'BUBBA HO-TEP') wrote and directed this 'soon to be cult classic' horror comedy film (his first feature in over a decade!).
Overall, the movie was alright but in all fairness, the book was just amazing so it's kind of hard to make the film as great with a low budget and less than 4 hours of time. |
tt0075765 | Black Sunday | Dahlia Iyad, an operative from the Palestinian terrorist group Black September, arrives in Beirut where she meets with Black September operatives in a safe house outside the city where she informs them about her plan for the upcoming "operation" in the USA to be carried out in two months the following year in the month of January. That same evening, a group of Israeli Mossad counter-terrorist commandos under the command of Major David Kabakov, arrives in Beirut from an Israeli spy ship and travel to raid the safe house. They kill most of the Black September operatives, but Kabakov backs down from shooting Dahlia when he finds her in a bathroom shower, mistakenly thinking that she might be an innocent call-girl. The Israelis take many files as well as an audio tape that Dahlia just made accepting responsibility for an upcoming attack in America at the start of the next year. Kabakov and the commandos set explosive charges around the house and detonate them before retreating back to their ship. Dahlia and a few operatives manage to escape.The film then switches to Los Angeles, several weeks later where Michael Lander is introduced. Lander is a pilot who flies the Goodyear Blimp over National Football League games to film them for network television. Secretly deranged by years of torture as a prisoner of war in Vietnam, he had a bitter court martial on his return and a failed marriage. He longs to commit suicide and to take with him as many as possible of the cheerful, carefree American civilians he sees from his blimp each weekend. Dahlia arrives in Los Angeles where it is revealed that she is his handler who has conspired with him to launch a suicide attack using a bomb composed of plastique and a quarter million steel flechettes, housed on the underside of the gondola of the blimp, which they will detonate over the Miami Orange Bowl during Super Bowl X. Dahlia and Black September, in turn, intend the attack as a wake-up call for the American people, to turn their attention and the world's to the plight of the Palestinians.Meanwhile, agent David Kabakov travels to Washington DC where he meets with Federal Bureau of Investigation agent Sam Corley, where they race to prevent the catastrophe. After discovering the audio recording Dahlia made, meant to be played after the attack, Kabakov and Corley try to piece together the path of the explosives into the country, and Dahlia's own movements.Lander and Dahlia don masks and travel to a cargo ship in Long Beach harbor where they pick up the shipment of plastic explosives that they intend to use to detonate the bomb and flee from the harbor police after a wild chase. Kabakov and Corley arrive in Los Angeles after learning about the incident and Kabakov questions the captain from the cargo ship who tells them about an unknown man and woman purchasing the explosives. However, the ship's captain is killed by a bomb left behind by Lander in which Kabakov is wounded. At the hospital, Dahlia arrives where she attempts to murder Kabakov but is forced to retreat after she kills Kabakov's friend and Mossad agent, Robert Moshevsky, who attempts to stop her.After recovering, Kabakov questions Muzi, a dockside owner, about the movements of the cargo ship's origins from Libya to Hong Kong. Kabakov then travels back to Washington where he secretly meets with a Russian KGB informant, named Colonel Riat, who researches and gives him the history and identity of Dahlia.Back in California, Dahlia and Lander travel by plane to a remote desert airfield where Lander conducts a "dry run" of the plan by detonating a small explosive device to test the steel darts and killing a park ranger who happens by. Lander's giddy reaction to the destructive force of the darts effectiveness unnerves Dahlia, but she says nothing.Dahlia drives the completed bomb from Los Angeles to Miami where she hides it in a storage facility by disguising it as a small motorboat and leaves it there before driving back to Los Angeles. When she learns from Lander that her identity has been discovered, she considers calling off the plan. But Lander persuades her to continue it by rambling about his determination to carry it out.When Dahlia was spotted in Miami during her brief stay there, Kabakov and Corley fly out to Miami where they attempt to arrest a certain Mohammed Fasil whom Dahlia met to discuss the final stages of the attack. Kabakov attempts to arrest Fasil but he runs and guns down several policemen forcing Kabakov to kill him. A search of Fasil's hotel room leads Kabakov to finally realize that the upcoming Super Bowl is the target for the Black September attack. At the same time, Dahlia and Lander arrive in Miami and easily evade the lax police screenings to set up the final stages of the plan. When Lander discovers that he has been replaced as the pilot of the blimp, Dahlia murders the pilot in his hotel room so that Lander can take his place.On the day of the Super Bowl, Kabakov and Corley survey with the local security detail in the Orange Bowl stadium as the football game gets underway. Lander arrives at the airfield where he tells the blimp crew (whom already know him) that he has been hired as the replacement pilot. Taking the blimp up and circling the stadium as usual, Lander starts a fire in one of the blimp's engines forcing it to return to the airfield for repairs. At the same time, Dahlia picks up the bomb from the storage docks and drives it to the airfield. At the Orange Bowl, Kabakov learns over his radio about the police finding the dead body of the blimp pilot in his hotel room. He frantically races to locate the blimp which flies off and finally figures out that the replacement pilot, Lander, is the terrorist collaborator with Dahlia.When the blimp returns to the airfield, Dahlia arrives with the bomb where, in the confusion, Lander tricks the ground crew into hooking up the bomb to the underside of the blimp's gondola. Lander is forced to kill the ground foreman who receives a phone call from the police who tell him to detain Lander. Dahlia and Lander are forced to hijack the blimp by opening fire with sub-machine guns at the ground crew and the police. After throwing out all the camera equipment from the overweight blimp so they can take off, Lander and Dahlia set off just as Kabakov and Corley arrive at the airfield to see the blimp flying away. Kabakov and Corley commandeer a civilian UH-1 Huey helicopter to chase the bomb-carrying blimp as it approaches the stadium. With Lander flying the blimp, Dahlia provides covering gunfire as she fires and shoots down a police helicopter and damages the helicopter carrying Kabakov and Corley who is slightly wounded. By ordering the chopper pilot to make some evasive moves, Kabakov then opens fire on the blimp gondola, killing Dahlia, mortally wounding Lander, destroying the detonator and damaging one of the blimp's engines. But Lander defiantly continues to fly the blimp and prepares a backup fuse to detonate the bomb.Kabakov lowers himself from the helicopter onto the blimp's tail just as it crashes into the stadium creating panic and chaos just as Lander lights the backup fuse. Kabakov manages to hook up the blimp's tail to the lowered cable wire and the helicopter literally hauls the heavy blimp out of the stadium and over Miami Bay. Kabakov releases the blimp and hoists himself back on the tow wire where the helicopter safely flies away with him seconds before the blimp blows up, and the thousands of steel darts harmlessly rain into the water. | suspenseful, murder, violence, cult, insanity, revenge | train | imdb | There are a number of good things going for this film, among them two things you learn right from the opening credits: (1) John Frankenheimer is the director and (2) it's based on a book by Thomas Harris, the man who created "Hannibal Lechter." Throw in two intense always-interesting actors, Bruce Dern and Marthe Keller, and you now have a good, no-nonsense story translated to the screen.
By that, I mean that when people are shot, that's it, no questions asked, no stupid talking.Even the football scenes were real-life with actual footage of the Cowboys and Steelers playing in a past Super Bowl.The suspense was done well, although a bit hokey at the very end (can't say more without spoiling it) but it can't take away from the previous two-plus hours of credibility.Dern also makes for a good "psycho" (he's almost made a career of it) and Keller is convincing as a villain, too, as she was in a film from the previous year: Marathon Man. Two other consistently- good actors also help make this an interesting film: Robert Shaw and Fritz Weaver.It was nice to see this film on a widescreen DVD but the picture was a bit grainy.
I read the book in 1976 and actually believed that cunning terrorists might be able to think up a really spectacular way of killing a whole lot of people at one time, but we'd be able to see it coming and stop them, just like in the book.
I remember being so excited about the movie--it had Bruce Dern and Robert Shaw and that gorgeous woman from Marathon Man, Marthe Keller.
The movie felt real, even with, as a I mentioned before, some special effects cheese that, for its time, couldn't be avoided.In January 1977 I had not seen The Manchurian Candidate--I didn't even know who Frankenheimer was; the only directors I knew were Don Siegel (because I loved Dirty Harry) and Roman Polanski (because of--my chronology might be off here--his little dust up with an underage girl at Jack Nicholson's house, or something like that).
Yet, Black Sunday is truly an action movie; its relation to The Manchurian Candidate stops as the bombs and bullets start tearing up the place.Finally, it's strange to say that casting Bruce Dern as a psychologically damaged former carrier pilot was inspired--the man got rich and famous off playing wackadoodles--but Dern is more tortured, more pathetic than anything I ever saw him in.
Dern was born to play parts like this and it's a reminder of how terrific an actor he is and how sad it is that he doesn't work as much as he used to.The final 40 minutes is intercut between the game (actually shot during the real Cowboys-Steelers Super Bowl game of 76) and the unfolding of the final stages of the plot.
It's tense and exciting as Shaw and cohorts commandeer helicopters to try to catch the blimp heading to the big game to unleash its deadly attack.Kudos to director John Frankheimer for keeping the pacing on this 2 hour 25 minute thriller moving.
The editing is first rate and the music score by John Williams is one of his best though it is never mentioned when his name comes up.If you like a good thriller that is never boring and will keep you on the edge of your seat, I highly recommend "Black Sunday.".
Instead of going for non-stop pyrotechnics, John Frankenheimer and Ernest Lehman serve up a tense, exciting build-up with interesting characters along the way that culminates in a grand finale that was partly filmed during Super Bowl X between Dallas and Pittsburgh.
Robert Shaw, at long last given the chance to play the hero in a movie, is quite good as the weary Israeli agent and Bruce Dern is at his psychotic best as the deranged blimp pilot..
The late John Frankenheimer was one of our greatest movie directors and Black Sunday was one of his greatest films that showed him as a true master of suspense.
He took another opportunity to change to the big screen , collaborating with Burt Lancaster in The Young Savages (1961) and Birdman of Alcatraz(62) ending up becoming a successful director well-known by his skills with actors and expressing on movies his views on important social deeds and philosophical events and film-making some classics as ¨The Manchurian candidate, Seven days of May and The Train¨.
An ex-Navy pilot and prisoner of war(Bruce Dern) teams with a devout member(Marthe Keller) of the Black September terrorist group to hijack/fly the Goodyear blimp and shoot a quarter million rifle darts into the Orange Bowl.
The point being that terrorists are never born but made .BLACK SUNDAY is a very good political thriller full of good but often violent action scenes which means it`s not a film for everyone .
Robert Shaw plays Israeli agent Kabokov, who learns that a terrorist organization named Black September is planning an attack on the United States, which involves a known woman terrorist named Dahlia(played by Marthe Keller) who has enlisted the services of disgruntled Vietnam Veteran Michael Lander(played by Bruce Dern) to fly a Good Year blimp in the next Super Bowl, crashing its bomb-laden body into the stadium, killing thousands, all on national television.
Kabokov races against time to stop this plan before it is too late...Exciting and provocative film(especially today) has an interesting story, good action, and fine acting, which never lags despite its nearly Two & a half hour length.Based on the Thomas Harris novel, and directed by John Frankenheimer..
John Frankenheimer was one of the cinema's best and most talented directors, yet for some reason he rarely achieved the same status of respect as, say, Martin Scorsese, Alfred Hitchcock, or even Brian De Palma."Black Sunday" is based on the novel by Thomas Harris ("Silence of the Lambs"), and is one of four books he's written that does not deal with the character of Hannibal Lecter.
Robert Shaw plays an FBI agent who stumbles upon plans by a demented war veteran (Bruce Dern, "The 'burbs") to attack the US Superbowl with the help of Iraeli conspirators.You may remember this in another film a few years back named "The Sum of All Fears" (2002).
(It's not the first time he's been accused of "stealing" from other authors - Elmore Leonard accused him of having stolen the name Jack Ryan from a mystery thriller he wrote named "The Big Bounce").Shaw and Dern both give good, solid performances but in the end it is Frankenheimer's thrilling, paranoid direction that makes this worth seeing.
One of the reasons attributed to BS not making a lot more money was because Two Minute Warning which was a horrible film from Universal came out three months before it.Black Sunday was a perfect child of seventies movie-making - believable characters thrown into an unbelievable situation.
This is a film where the obvious villain, played by a colorful Bruce Dern, is the central character driving the story, and Robert Shaw's underplayed hero somewhat of an antagonist getting in the way.
who longs to commit suicide and take as many people as possible with him, so he conspires with an operative from a Palestinian terrorist group known as Black September, to launch a massive suicide bombing on American soil, the inspiration of the story coming from the Black September attack on Israeli athletes at the 1972 Olympics.It is hard to say, given the later malfunctions of Frankenheimer's filmography and the gallows cynicism of Harris' said other work, whether or not Black Sunday was almost meant as a more abstract reflection of the heightened mass awareness of foreign policy after the Vietnam War. I'm in no position to discuss the Isreal-Palestine conflict, but Palestinian movie characters are almost thoroughly portrayed as evil terrorists mostly through the 1980s with films like Red Dawn.
What he is doing and with whom he is doing it, the Black September woman played by an effectively cold Marthe Keller, is monstrous, but he is such a pathetic and wronged shell of a man and she is a virile, militant, calculating, by all means persuasive killer.Robert Shaw puts on the Stoic Man With a Mission, just like From Russia With Love and The Sting, but comes off differently here as the hero merely by the way he is stingy with betraying his reactions.
That's the kind of thoughts that director John Frankenheimer plants in your mind with a viewing of Black Sunday.Black September the Palestinian terrorist organization of the day and the ones responsible for the slaughter of Israeli Olympic athletes in Munich have something special in mind for America at one of our major sporting events.
The Combination of Real Life Super Bowl Footage and Iconic Goodyear Blimp Familism the Film is Disturbing as well as Melodramatic.It may be a Tad too Long but it Never seems Stagnant or Boring with Bruce Dern and Robert Shaw Dueling it out in a Landscape of Americana.
There is a Pulse-Pounding Score and the Production Looks Great, Except for a Few Dated SFX that are Noticeable but Forgivable, because the Movie is such a Fantastic Film that Really Resonates.Not the Best of John Frankenheimer Films but one Worthy of a Watch for those Seeking Action and Thrills in a Seventies kind of way.
in"Black Sunday" a terrorist plot to blow up the stadium during the Super Bowl in Miami is discovered.the only problem is,only the terrorists know how it will be done.it becomes a race against time to find out and stop the plot.i liked this movie quite a bit.i did think however,that there was too much information on the terrorist group and the motivation for the plot.for me,the movie dragged a bit in some of these scenes.i think the idea was to give the terrorists a more human face and make them more sympathetic.i could see their side of things,but i could also see the other side's view.if you have strong political views,this movie might bother you,as it has its own slant on things.this kind of thing doesn't really bother me that much.there have been many movies that portray both he Israeli's and the Palestinians in good and bad lites.the ending of the film is a real down to the wire nail biter,which for me,makes up for the slower parts."Black Sunday" is an 8/10 for me..
Black Sunday (1977) From the novel by Hanibal Lecter scribe Thomas Harris, is an expertly directed thriller from the always reliable John Frankenheimer, Marthe Keller, plays the deadly 'Dahlia' who work's for the terrorism outfit PLO(Palestinain Liberation Oragnziation,) with the help of embittered Vietnam vet Bruce Dern,Who is now a pilot of the Goodyear blimp, plan to strike the United State's with an elaborate and deadly terrorist attack, Robert Shaw, is Colonel David Kabakov, an Iserali commando who with his reliable sidekick attempt to thwart the elaborate plan, Finally arriving on DVD In restored 2.35:1 widescreen aspect ratio,it's great to see this classic, which has NEVER been available in Ireland, only once!
Stunning Marthe Keller is dynamite as a ruthless terrorist planning to blow up a football stadium during the Super Bowl via the Good Year blimp.
Bruce Dern also gives a great performance as a disturbed Vietnam Vet turned blimp pilot who becomes an aid for the terrorist plot on the Super Bowl.
For a film of this genre, "Black Sunday" is unique because it fleshes out the characters of the terrorists (Bruce Dern and Marthe Keller).
The producers also got permission to use the Goodyear blimp and actual Super Bowl game footage, adding some much-needed realism to the film.Soon, Paramount Pictures will begin production on "The Sum of All Fears," based on the Tom Clancy book about a terrorist plot to nuke the Super Bowl.
he did a great job here with Robert Shaw, in one of his last films, as the Israeli agent trying to catch the terrorists, American Bruce Dern and Palestinian Marthe Keller.Dern is always fun to watch as the heavy, and he plays a crazy ex-Navy pilot to the max.
Michael Lander, a former prisoner of war in Vietnam, plans a bomb attack to a NFL game with Dahlia Iyad.She's an operative of Palestinian terrorist group Black September.85000 spectators + president Jimmy Carter would be at risk of losing their lives.Israeli David Kabakov does everything he can to prevent the act from happening.Black Sunday (1977) is directed by John Frankenheimer and it's based on a novel by Thomas Harris.Ernest Lehman was among those writing the screenplay.Robert Shaw does excellent job as Kabakov.Bruce Dern is excellent as Lander.Dahlia is played by Marthe Keller, and she's very good.Fritz Weaver is superb as FBI Agent Sam Corley.Steven Keats is terrific as Moshevsky.Great job by Bekim Fehmiu, who plays Fasil.Michadel V.
Gazzo is fantastic as Muzi.William Daniels does marvelous work as Pugh.Walter Gotell is magnificent as Colonel Riat.Also Clyde Kusatsu's portrayal of Freighter Captain is very good.Terry Bradshaw appears as himself.The movie has many incredible scenes.The speed boat chase is great for those who are hungry for action.The last minutes of this film are most intense.The Goodyear Blimp with a bomb is heading towards the Super Bowl stadium.Most entertaining thriller by Frankenheimer..
This movie, of course is ficticious, but to demonstrate their cause, the Palestinians, with the help of a deranged Vietnam War veteran (played exquisitely by Bruce Dern), decide to show America that they (the Americans) can be quite vulnerable to a terrorist attack--the attack taking place at the Super Bowl.With the aid of the Israeli intelligence (played by Robert Shaw), the attack is thwarted.This movie shows all of the intelligence work behind the scenes so that we can "feel" safe.
Bruce Dern is at his best as the deranged blimp piolt who masterminds the plot, and Robert Shaw is also great as the agent out to stop him.
This movie, based on a book by Thomas Harris ("Silence of the Lambs" and "Red Dragon") is a terrific action-thriller about a terrorist plot to inflict mass casualties upon attendees at a Super Bowl game.
If you want to see Robert Shaw, watch "The Taking of Pelham One, Two, Three." If you want a good nutcase, watch "The Caine Mutiny." If you want a Frankenheimer conspiracy film, look for "The Manchurian Candidate." But if want you want is a thriller with an absurd premise, a limping and at times inexplicable plot, and a by-the-numbers John Williams score, watch "Black Sunday." "Black Sunday" is interesting in its early appreciation (for America) of the justness of the Palestinian cause, but that political savvy is undercut by a terrorist plan that reminds me of Steve Martin's joke about cat juggling: attack the Superbowl with a Blimp that fires DARTS?
Airtight story (based on "Silence of the Lambs", "Red Dragon" and "Hannibal" author Thomas Harris' book) about a terrorist plot to commit a mass murder.Robert Shaw and Fritz Weaver are the head Mossad and FBI agents assigned to prevent it, Bruce Dern and Marthe Keller are the two terrorists assigned to carry it out.This movie doesn't drag - there are no unnecessary scenes, and the ending is fantastic..
This adaptation of Thomas Harris' bestseller concerns a terrorist group that plots to bomb the Super Bowl and enlists the aid of an unhinged Vietnam vet (are there any others in the movies?), played by Bruce Dern, to carry out the dirty deed.
Classical thriller material and quite enjoyable to watch.Unfortunately by the time we come to the ending it appears like the classical Hollywood I-do-not-have-clue-but-lets-throw-in-some-action people took over and it drags down an otherwise fairly well-made movie.
Shaw carries this entertaining adaptation of Thomas Harris' shocking novel about an Israeli agent trying to thwart a plot to drop a bomb from the Goodyear blimp onto 80,000 Super Bowl spectators.
But there was little good about him and especially not his ruthless sidekick Moshevsky (Steven Yeats).If there was anyone who actually came off as a bit of a good guy it was the FBI agent Sam Corley (Fritz Weaver).My one complaint about the film was turning Robert Shaw into a latter day James Bond with his phony heroics to hook up the blimp to the helicopter to drag it away from the Super Bowl before it blows up.
John Frankenheimer, who explored the Cold War in the early 1960s with masterpieces such as THE MANCHURIAN CANDIDATE and SEVEN DAYS IN MAY, came into the 1970s suspense genre with this lengthy but rarely boring 1977 thriller, based on Thomas Harris' first novel.A deranged Vietnam vet (Bruce Dern) and a Black September terrorist member (Marthe Keller) plot to strike back at America for its support of Israel by skyjacking the Goodyear blimp on Super Bowl Sunday in Miami, and loading it with a quarter of a million steel-rifle darts.
Black Sunday is the story of a Black September terrorist group attempting to blow up a Goodyear blimp hovering over the Super Bowl stadium with 80,000 people and the President of the United States in attendance.
Enjoyable and relatively thoughtful action flick, with Bruce Dern as an ex Navy aviator driven mad by six years as a Vietnam POW, Marthe Keller as a Black September operative on whom he is as dependent as a child, and Robert Shaw as the grim, chisel-jawed Israeli major who is on their trail as they try to fly the Goodyear blimp into a Miami stadium and explode it, killing 80,000 people, including the president of the USA.John Frankenheimer, the director, gets the job done effectively, without any artsy tricks.
The story is about an Israeli intelligence agent who is trying to stop a terrorist plot by Black September to blow up the Super Bowl using a Goodyear blimp.The good parts. |
tt0978764 | Sucker Punch | In the 1960s, a young woman nicknamed Babydoll (Emily Browning) is institutionalized by her abusive widowed stepfather (Gerard Plunkett) at the fictional Lennox House for the Mentally Insane in Brattleboro, Vermont, after she is blamed for her younger sister's death. The stepfather bribes Blue Jones (Oscar Isaac), an asylum orderly, into forging the signature of the asylum's psychiatrist, Dr. Vera Gorski (Carla Gugino), to have Babydoll lobotomized so she cannot inform the authorities of the true circumstances leading to her sister's death. During her admission to the institution, Babydoll takes note of four items that she would need to attempt an escape.
Babydoll slips into a fantasy world in which she is newly arrived in a brothel owned by Blue, whom she envisions as a mobster, where she and the other patients are sex slaves. In this realm, she befriends four other dancers – Amber (Jamie Chung), Blondie (Vanessa Hudgens), Rocket (Jena Malone), and Rocket's sister and "star of the show", Sweet Pea (Abbie Cornish). Dr. Gorski is envisioned as the girls' dance instructor. Blue informs Babydoll that her virginity will be sold to a client known as the High Roller (Jon Hamm), who is actually the doctor scheduled to perform the lobotomy. Gorski encourages Babydoll to perform an erotic dance, during which Babydoll further fantasizes she is in feudal Japan, meeting the Wise Man (Scott Glenn). After she expresses her desire to "escape", the Wise Man presents Babydoll with weapons and tells her that she would need to collect five items: a map, fire, a knife, a key, and a fifth, unrevealed item that would require "a deep sacrifice" but bring a "perfect victory". She then fights three samurai giants. As her fantasy ends, she finds herself back in the brothel, her dance having impressed Blue and other onlookers.
Babydoll convinces the four girls to join her in preparing an escape. She plans to use her dances as a distraction while the other girls obtain the necessary tools. During her dances, she imagines fantastic adventures that mirror the escape efforts. These adventures include infiltrating a bunker protected by steampunk-inspired World War I German soldiers to gain a map (mirrored by Sweet Pea copying a map of the brothel/institution from Blue's office); storming an Orc-infested castle to retrieve two fire-producing crystals from inside a baby dragon (mirrored by Amber stealing a lighter from the mayor's pocket); and boarding a train and fighting robotic guards to disarm a bomb (mirrored by Sweet Pea stealing a kitchen knife from the Cook's belt). During the last fantasy, Rocket sacrifices herself to save Sweet Pea and is killed when the bomb detonates, which is paralleled by the Cook fatally stabbing Rocket while she tries to protect her sister.
Blue overhears Blondie relaying Babydoll's plan to Gorski, confirming his suspicions that something is amiss. He has Sweet Pea locked in a utility closet and confronts the other girls backstage. He shoots Amber and Blondie and attempts to rape Babydoll, but she stabs him with the kitchen knife and steals his master key. Babydoll frees Sweet Pea and starts a fire to keep the orderlies occupied while they look for an exit. They escape into the courtyard, where they find a throng of men blocking their way. Babydoll deduces that the fifth item needed for the escape is in fact her own sacrifice. She concludes that this is actually Sweet Pea's story. Despite Sweet Pea's protests, she insists on revealing herself to the visitors, thus distracting them long enough to allow her friend to slip away unnoticed.
Back in the asylum, the surgeon has just performed Babydoll's lobotomy. Gorski notes earlier that the girl, during her short stay, stabbed an orderly, started a fire, and helped another girl escape the asylum. The surgeon is baffled by Babydoll's expression, and asks Gorski why she authorized the procedure. Gorski realizes that Blue has forged her signature and summons the police, who apprehend Blue as he attempts to sexually assault a lobotomized Babydoll. While being led away, Blue also incriminates the stepfather. Babydoll is shown smiling serenely, having apparently found freedom within her own inner "Paradise".
At a bus station, Sweet Pea is stopped by police as she tries to get on a bus to Fort Wayne, but she is rescued by the bus driver (the Wise Man), who misleads the police and allows her to board. Sweet Pea thanks the Driver, who tells her they have "a very long way to go".
During the end credits, Dr. Gorski and Blue perform "Love Is the Drug" in a glitzy musical sequence that includes all five female leads. | murder, stupid, cult, alternate reality, violence, flashback, insanity, psychedelic, satire, tragedy, sci-fi | train | wikipedia | Nearly every review you read for this film will say the same thing, it's a 'love or hate' movie, and there's a very good reason for this.
After absorbing myself in the world of Zach Snyder's "Sucker Punch" for a while, including one viewing at IMAX, one in my local theater, and multiple listens to the soundtrack, I felt the unusual calling to dump my thoughts out regarding this haunting, beautiful, polarizing, and brilliant film.From the first trailer I saw, I'd been anticipating the release.
You may not make it out alive, but all-that-is will benefit from your efforts.Sucker Punch wasn't a mind-blower like The Matrix, but it was an entertaining, well-made action film with an intellectual layer and depth, for those who were prepared to receive it.
Some people might not like CGI, some women might be offended that this film is very shallow, violent, and very degrading towards women.This is definitely the type of movie you'll either love or hate.My only problem with the movie is that the story doesn't seem fully realized
If you want to keep me interested you will need a lot more than 20 minutes of fantasy CGI sequences sprinkled throughout a 120 minute trek However go in this movie expecting to have a lot of fun!
A glorious pastiche of colour, CGI and kinesis, "Sucker Punch" even through its obvious flaws, has set a new bar for graphic storytelling that attempts to transplant the purity of imagination onto the cinema screen.Essentially cohering around a simple premise -- hot chicks kicking ass and taking names, the film's bravura opening charts Baby Doll's (Emily Browning) institutionalisation by a wicked stepfather after her mother's death and her introduction to the asylum where damaged young women are sent to be kept away from society.
She meets the people-in-charge, Blue (Oscar Isaac) and Dr. Gorski (Carla Gugino) as well as the other girls in the institute: Rocket (Jena Malone) and her sister Sweet Pea (Abbie Cornish), Amber (Jamie Chung) and Blondie (Vanessa Hudgens).The story that follows Baby Doll reveals a larger canvas of a clever narrative conceit that coincides three realities together ("Inception" comparisons, tread lightly); the first being the asylum, the second is a burlesque brothel run by Blue and trained by Gorski and the final and most resplendent one is Baby Doll's hyper reverie focused on destroying the forces of evil -- be it shogun titans, zombie Nazis or killer androids.
What is likely to be the most underrated movie experience of the year, Zack Snyder's barrage of girls, gun and giant samurai is a misunderstood effort from the man behind 2009's excellent adaptation of Watchmen.
It should be said at this point that this review is coming from someone who openly loathes the style over substance limbo of an era in which we live, what with CGI and 3D being used as an excuse for anything considered a showcase for this technology.Sucker Punch boasted a similar exercise course of stylish nonsense yet the finished result left this reviewer in a state of pleasant surprise; the concept was highly original – though sprinkled with an influx of other influences which ultimately could have been the films downfall had the context they been used in feel more of a parody than a series of dream sequences.
A visually dazzling collage of mental insanity taken to the extreme with a fairly interesting premise that looks promising on the surface, but never truly lets you sink your teeth into the inner workings of the main character.Emily Browning plays Babydoll, a blond bombshell who is placed in a mental institution by her cold stepfather, and is then seen trying to persuade the orderlies into lobotomizing her to keep her from giving details surrounding a tragedy in her life.
However, Babydoll begins to create a dreamworld in which not only to pass the time, but to figure a way out of the asylum.As if that makes any sense whatsoever, here are the main problems with Sucker Punch that's been plaguing modern cinema; no plot and character development.
It just goes thru the motions and despite having a nice premise to go on, the film feels like a half-ass-ed attempt to be something new and fresh.Sucker Punch has some merits.
Watching it is sort of like looking at a silent film on steroids but minus the heart and soul of that bygone era.The incredible aesthetic beauty and action choreography are a lot impressive than Snyder's 300.
But the problem with Sucker Punch is that even in a fantasy film, or any action film for that matter, you have to put effort into making the audience care for your characters no matter how good looking the action and special effects are.
The girls have five days to see through their plan before Babydoll is lobotomized.Okay, this movie is no Inception but I can see why some may think of it when watching Sucker Punch.
To escape her unfortunate reality Babydoll escapes into a dream world set up like a high class brothel which she uses dance to escape into other branches/levels of reality where the girls fight fantasy creatures in search of the five items they need to escape.Well this is a Zack Snyder movie, so if you will complain about anything in this movie it shouldn't be the graphics.
The movie had several twists and turns that will hit you like a "Sucker Punch." You won't expect some things.
Listening to Emily Browning's adaptation of Eurythmics's Sweet Dreams, i must say i found some decisions in the movie-making process very bizarre, decisions made mainly by Zack Snyder, coming right out of the blue.For example, he wrote the script directly as a PG-13 movie, something very untypical for him.In an interview, he stated, that the movie was already to cruel and the story itself was too hard on viewers for him to make it an R-rated movie.So he did it directly for PG-13.When does that ever stopped him to do it.In Watchmen, there were some pretty intense and gross, so to say, scenes, that it was hard to bear.And in Sucker Punch, the opening scene was intense, full of emotions, so was the ending as well, but that's not a reason for Zack no to do what he's best at.So that was a sucker punch for the audience, and as well a reason for the movie not to fit in to the frame of most Zack Snyder movies.Even his remake of Romero's Dawn of the Dead was performing better at the domestic box office in it's start, not to mention Watchmen and 300.Besides that, there are some plot holes to be seen here or there, acting to be improved and some other details, that need to be touched to be perfect.So saying all that, i shall explain why i'll rather give the movie the full note than apply those weaknesses to the note.Zack Snyder has those skills, i personally think no other director has.He has the ability to speak to the audience with his style with what we see on screen, combined with the powerful soundtracks and songs he and Tyler Bates, the composer, use.He lets his visually rich and upgraded style speak for himself, and that's very unique for him and for the movies he make.There literary is no dialogue in the first few minutes of the movie, he allows the viewer to see and be a part of the experience, of those frames.The feeling in the viewer is stronger when it's all shown, rather than spoken of.Actions are stronger than words.And Zack Snyder knows that.With him words are not necessary for the strenght of a movie.And that he makes perfect good use of.That's what's impressive with his work, and that's why i'll give the full note to the movie, as i did to 300 and Watchmen despite some flaws and holes.Otherwise, the CGI was great, the movie as a whole is a visual masterpiece and people will see that a lot of effort and commitment is sacrificed for the quality, the movie has.The crystal clear shots, made a little 60s like, are great and the fight sequences and than the train and castle sequences in the imaginary world, that Babydoll's in are great.So there can't be any complaints about that.The acting was something that could've been up a little bit.Emily Browning is very lovable and convincing in her role as Babydoll, a young girl, who experienced the death of her mother and sister, and her stepfather, involved in it.He institutionalizes her and she reprises this part of her role almost perfect.She has the needed experience from her last movie, The Uninvited, where the role is very similar to this one, at least most of it.Shid did a perfect job with the other part of her role as well, being a somewhat silent but very skillful and good looking deadly warrior, killing everything in her way to survive in the imaginary world she creates, in the brothel and in the mental institution she's at.Abbie Cornish was also solid in her role as one of the girls in the facility.Vera Gorski and Blue Jones, played by Carla Gugino and Oscar Isaac were good as well, although his role is very unpleasant so to say.So the acting was good and it's obvious, that the cast had a great time together.That's mainly because of another great choice Zack Snyder and Tyler Bates've made.They let Emily Browning, who, aside from her acting skills, is obviously a talented singer as well, perform some of the songs, for example Sweet Dreams and Asleep, both of witch were reprised and remade perfectly for the film.The voices of the other actresses can be heard in the background of the songs.So that made a great bond between the actors and what helped to improve the movie.So with some great decisions from the team and some great performances from the cast (mainly Emily Browning pulling the movie forward), the movie ended up as a very entertaining movie-going experience, sad and intense at moments, breathtaking and cool in others.All in all, it could've been better but i liked it like that as well and in order to get some things straight, i'm ready to see it once more.I liked it, one of the first movies a really liked this year, and although this wasn't Zack Snyder's best effort financially, the movie definitely has it's fans, and so it marks the true beginning of the movie season.Not Zack Snyder's best, but i'll give it the full note anyway.Bring on Superman:Man of Steel!10/10 P.S.There are tributes to some classics in the movie, classics such as LOTR, i'm sure you'll notice them :).
An impressive and inspiring fantasy movie with impressive visuals and impressive cast, a fascinating movie that tried to speak to you outside of reality, a movie that inspires you to dream, to live in a reality where you can control everything, a movie that deserves to be called a masterpiece, a movie that teaches you that it doesn't matter where you are the mind will always be our home sweet home.Strong and solid performances in the movie, worth to mention Emily Browning as the lead character that connects with the audience and Abbie Cornish as the fascinating strong headed deuteragonist, Carla Gugino outshined half of the cast with her solid performance as Dr. Vera Gorski, but Scott Glenn and Abbie Cornish are the ones that truly shine in this fascinating movie with strong and solid Golden Globe worthy performances..
Jena Malone isn't even required to do any of these things, but because she has actual experience as an actress, bothered to create a character and reflect an emotional state during the 'story.' Everyone else just showed up, put on the costumes, and talked until the director said 'cut.' Vanessa Hudgens should have been a clue.Even if the story is awful, unmemorable, or predictable (Suckerpunch is all three), other Hollywood movies may rely on memorable action sequences or visuals.
Wooden acting, one-dimensional characters, awful writing, boring and repetitive action sequences, a plot which is predictable in it's journey to no-where, a lack of meta-story, a horrible degradation of well-loved songs, evidently bad editing (which is a rare one)...
I guess that some people are looking so hard for deeper meaning that they miss the simple and obvious.If you've never seen Sucker Punch, please give it a try, and as you watch it, simply let it play out before you without trying to analyse.
Snyder clearly doesn't know how to construct a visually disinteresting shot, but it all doesn't matter because the film trips over its own feet constantly.Sucker Punch is told from the point-of-view of Babydoll (Emily Browning), a young girl who is sent to an asylum by her father after she accidentally kills her sister in the bravado opening sequence.
Furthermore, the choreography of each fight is exactly what one might expect; there isn't a single thing that excites or creates any sort of reaction.Zack Snyder has clearly stated that Sucker Punch was supposed to be 18 minutes longer with an alternate ending.
I'll admit right now that i'm in love with this movie not because of the chicks and the action but holy crap whatta bad ass movie.OK so this troubled girl (baby doll) is locked up from what seemed to be by her psycho step dad that tried to rape her or something then like always we see the main character's (Baby Doll's) struggle being locked up in a mental asylum.Hmm you're bound to be living in hell, no peace, no alone time, prison fights, just that constant clamor of feeling like you're in a small box or better yet a cardboard box without any room to think, now desperately finding a way out of a hell hole into freedom, and doing that seemed like suicide, she finds away to escape the blacked world of the cold war of a building by letting her mind do the cool part.Man its almost like inception but is not, she's in a world of her own trying to find these keys out of the asylum and along the way she meets 5 other hot babes to join along on their journey.Its has fantastic visuals i mean if this movie was in 3-D i'd watch it like 17 times its F#cking beautiful, as the movie goes into the climax you will be surprised how much hot babes can think of, slashing, dashing, shooting, hitting,you name its in the movie.In my honest opinion this movie has everything and of coarse f#cking critics are gonna hate it why?
The movie has everything a geek loves - there's Steampunk, there's Fantasy and there's Sci-Fi. Running through all this are the lead girls-with-big- guns-and-swords and the amazing fight sequences.
Here Snyder creates entertaining action sequences in the backdrop of his graphic effects and has a little help from Jena Malone and Scott Glenn's performances."Sucker Punch" is synonymous with a rolling ball of flaws attributed to a variety of different shortcomings.
It's just a mess."Sucker Punch" is like "Scott Pilgrim The Movie" in a bad way.
The perfect example of this is the doctor that lobotomizes her, having to repeat the "there was a creepy look in her eyes" speech like 5 times to make the audience believe it.It's sad that all those good action scenes fell flat for the lack of story.
if I had this one action scene alone at the end after a great movie with good characters I'd been totally happy.
Go watch the movie with this expectation and it will still blow your mind.Okay, my conscience wants me to say something more, but feel free not to read this - makes no difference.Emily Browning's deadpan expressions are a slight drawback, but then with Cornish, Hudgens, Zepplins, Monsters, Katanas and the rest on screen, you barely get to notice Browning's shortcomings..
you know a film is pretty bad when you look at the run time and think you have had your fill way before the halfway point,glad this didn't cost me anything to watch,otherwise I would be absolutely furious.
One of those "new classics" for me is Sucker Punch - a movie which promotes fighting girls (a year before Hunger Games and the inflation of men beating up girls and women hit the screen), it has stunning visuals and a story - if you care - that gives you a lot of material to think about, on top you get a certain tone of melancholia which is just superb.
Zack Snyder got at least three masterworks in his line: his version of the classic Dawn of the Dead, 300, and Sucker Punch - these movies beat easy everything Hollywood calls nowadays Blockbuster and tries to sell us - 2016 and till now 2017 are filled with disappointing bad or at most mediocre and certainly redundant outputs of the once called dream-factory: Hollywood needs to learn to dream again, and what I mean is not dreaming about making big easy cash with generic and bloodless products and big names, whose emptiness is disguised by the CGI-department (which is the only part of the filming industry that seems to make a - positive - progress).
SUCKER PUNCH is definitely one of the best presented mindless action in years, but something stopped me from really enjoying the movie like I wanted to.
The budget of this film was spent solely on special effects and did not, apparently, leave any room for pants for the women to wear.Though I thoroughly detested 'Sucker Punch' from beginning to end, it became apparent to me that the rest of the theatre actually found themselves enjoying it.So I suppose, if you are looking for some late night, 14A, fun filled with pretty colours, women, guns, and explosions, but do not care for plot, respect towards women, intelligence, and good writing or direction, this is the movie for you!.
Zack Snyder's Watchmen was an amazing movie that really developed the characters while still retaining a great plot structure and fantastic visuals and directing style. |
tt0093629 | A Nightmare on Elm Street 3: Dream Warriors | The story begins with a young girl, Kristen Parker, creating a papier Mache model of 1428 Elm Street. The house, originally inhabited by Nancy and Jesse from the preceding Nightmare on Elm Street movies has been haunting her dreams. As she works Kristen blasts loud music, eats coffee from the jar and swigs Cola in an attempt to stay awake.Kristen's mother bursts in, annoyed that her daughter is still awake and reveals that Kristen has been seeing a therapist for her nightmares. Mum is accompanied by a guy she has met and is in a hurry to return to him. She tucks Kristen in and goes downstairs leaving Kristen to fall asleep.Kristen awakes in her dream, to find her bed is in front of the Elm street house. Children play outside, singing the infamous "Freddy" rhyme as they jump rope. A little girl on a red tricycle waits on the porch of the house as Kristen approaches cautiously. Kristen speaks to the little girl. We hear Freddy's blades scrape and the little girl turns and rides inside. Kristen follows her, pleading with her not to go in to the house."This is where he takes us!" the little girl announces as a boiler bursts into life. "Freddy's Home!!" Kristen grabs the girl and rushes towards the door, becoming trapped as the floor melts. Freddy chases her as she runs round the corner into hanging bodies. "Put me down, you're hurting me!" the little girl asks. Kristen looks down to see that she is clutching a dead and rotting body. She screams and "wakes" in her bed.Kristen goes to the bathroom, unsettled by her nightmare. She goes to turn on the tap but it turns into a hand, grapping her and holding her in place, before she sees the image of Freddy Krueger appear in the mirror. The second tap also turns into a hand, with tiny blades at the end, like Freddy's claw. Freddy slices across Kristen's wrist, her screams finally bringing her mum. As Kristen's mum bursts into the bathroom Kristen wakes properly to find herself clutching a razorblade, blood oozing from her wrist and passes out.The next scene takes us to Weston Hills psychiatric hospital. Max, the orderly and Dr. Gordon discuss a rash of teen suicides which have swept the area. They meet Taryn, a girl not sleeping, and Jennifer, a girl who has been self-harming, putting cigarettes out on her arms. He looks in on another boy in solitary for his violent outbursts. Dr Simms approaches and they talk about a new member of staff who has just left grad school, but has been making lots of progress with "pattern nightmares." Dr. Gordon is not keen on someone using "his kids" to further their own career.At that moment an emergency message asks for both doctors to go to the examination rooms. Screaming can be heard as Elaine Parker discusses with a nurse her daughters attention seeking behaviour. As the doctors enter the room we see Kristen fighting and screaming hysterically as doctors try to sedate her. She grabs a scalpel begins to recite the rhyme: "1, 2 Freddy's coming for you, 3, 4 Better lock you door, 5, 6, Grab your crucifix, 7, 8 Better stay up late, 9, 10.... Never go to sleep again." She can't bring herself to speak the last line. Someone completes the last line, "Never sleep again" and everyone turns to see Nancy standing in the doorway. Nancy walks in and calmly takes the scalpel from Kristen before pulling her into a hug.Nancy asks Dr. Gordon about the kids who all suffer from sleep disorders, including insomnia, narcolepsy and bed-wetting but all have nightmares in common. He believes they share a "group delusion" of a boogey man, which scares them so much they will do anything not to sleep. He elaborates with the story of a young boy who used razor blades to cut off his own eyelids to stop him sleeping. He praises her dealing with Kristen, and she reveals that she has had some experience with pattern nightmares. As she leaves, she drops her handbag and we see that Nancy is taking medication. He recommends she speak to Max and watches her leave. As he turns Dr. Gordon sees a nun dressed all in white who seems to then disappear.Max shows Nancy to an office she can use and introduces her to some of the patients. First is Phillip, nicknamed the Walker because he sleep walks and who makes puppets. He shares a room with Kincade, the boy who was in solitary. Max jokes that Nancy should memorize his face as Kincade spends so much time in solitary she won't see much of him. Another patient Joey leaves his room to help a young nurse pick up towels which has fallen from her trolley.Kristens mother, Elaine, and Nancy meet at their house to discuss her nightmares. Elaine is very dismissive, believing Kristen is just acting out and looking for attention. She tells Nancy she has packed a suitcase of Kristens belongings and directs Nancy to her room to get them. Nancy sees the model of her old house which Kristen had been working on.Dr. Gordon looks up Hypnocil, the medication he had seen in Nancy's bag, to find that the drug is used to treat night terrors. We return to Kristen who is in bed drawing the Elm Street house. As she begins to doze the door to her room creaks open and a red tricycle wheels in before melting on the floor. She edges out of the room and finds herself back in the house. A stale barbequed pig with an apple in its mouth is on the table and flies buzz around before it leaps out at her.Kristen explores, as a lump appears under the carpet and gashes in the walls. A huge snake with Freddy's face bursts out of the floor and begins to eat it's way up Kristen's body. She screams for Nancy and we see Nancy startled from her sleep. She looks at Kristen's model which she has taken home with her and hears Kristen scream again. Nancy passes out and falls through the chair to find herself in Kristen's dream. Nancy grabs a shard of broken mirror and stabs it into the eye of the snake, causing it to drop Kristen."YOU!" Freddy hisses. Unable to believe it Nancy grabs Kristen and begs her to run. They hide behind a door and Nancy tells Kristen to get them back out. They disappear as Freddy crashes through the door and Nancy awakes, back in her chair, with a cut on her hand from the mirror.The next morning Nancy brings the model to Kristen, telling her it is where she used to live. She asks if she has ever pulled anyone into her dream the way she did. Kristen confides that when she was a child she would pull her Dad into her dreams if they were scary, allowing him to believe that they were his dreams instead. After her parents divorced it stopped and after a while Kristen thought she had simply imagined the whole thing. Kristen asks about the man in her dreams and Nancy assures her "he is real."At group, Dr. Gordon tells the kids that it is "straight talk only" and then he and Dr. Simms introduce Nancy to the rest of the patients. Will Stanton is the first to introduce himself. He tells Nancy he had an accident, gesturing to the wheel chair he is sitting in. Taryn reveals though that he was injured in a suicide jump, not an accident. Kincade jumps to Wills defence and reveals that Taryn was a junkie, injecting into her arms. Jennifer Caulfield shares that she wants to be an actress on TV when she leaves the hospital. Jennifer goes on to introduce Joey who doesn't speak.Taryn White is the next to introduce herself. She admits she is going through "some very strange shit" with her dreams and that the hospital is a better alternative to Juvie hall. Phillip interrupts, to say that the doctors all believe their dreams are group psychosis, despite the fact they all dreamt about Freddy before they had met and as a result just seem to go around in circles. Dr. Simms tells him they will not make any progress until the teens can accept the dreams as "By products of guilt; psychological scars stemming from moral conflicts and overt sexuality."Taryn, Will and Joey play dungeons and dragons until Max comes to tell them that it is lights out. After Max and Taryn leave it is revealed that the boys take shifts to sleep. Nancy and Neil Gordon are getting coffee. He asks about Nancy's parents. She says her mum "Died in her sleep" and that she and her father don't have a good relationship. She tells Neil that the teens are in real physical danger from their dreams and he asks her about the Hypnocil she has been taking. He seems shocked that Nancy wants him to prescribe the drug to the kids. She confides she used to be like them, and tells Neil that their survival depends on it but he refuses.One of Phillips puppets comes to life, morphing into a mini Krueger. Making it's way to Phillip's bed it turns into Freddy. Freddy cuts the veins in Phillip's arms and legs, creating puppet strings. Kincade sees Phillip being manipulated out of the room but thinking he is sleepwalking doesn't wake him. Freddy makes Phillip walk out of the ward and up the hospital tower. Joey sees Phillip standing at the edge of the ledge, waking Will and carrying him to the window. Joey tries to get help, banging a tray as he runs along the corridor to wake people. Will shouts from the window trying to wake Phillip. The group gathers to see Phillip fall to his death as Freddy cuts his strings.In group the next morning the kids are all upset. Kincade is annoyed, blaming Phillips death on his weakness. Dr Gordon tries to tell them that it was suicide, which the others do not believe. Taryn says it was murder. Dr Simms tells the teens that to prevent a reoccurrence all rooms will be locked at night and they will be sedated. This freaks Kincade out, and as he gets irate Dr Simms beeps for security and he is sent to isolation once more. He is dragged away and despite Nancy's protests Simms says she is going to begin sedation that night. Neil decides to prescribe Hypnocil, despite Simms reservations.Kincade is locked in the quiet room struggling to sleep. Jennifer is watching TV as research in the common room. Max tries to make her go back to her room but seeing she is upset allows her to stay so she doesn't sleep. Taryn has been showering and is accosted by an orderly who offers her, the keys to the dispensary. She says that she doesn't do that anymore and goes to her room. Jennifer finds a cigarette, lights it and then burns her hand to keep herself awake. She flicks through the channels, stopping on The Dick Cavett Show, which has Zsa Zsa Gabor as the guest. After a few minutes, Cavett suddenly turns into Freddy and attacks Gabor, after which the signal cuts out. Screams and the rhyme can be heard as Jennifer goes over to the TV. Arms burst out of the side of the television and grab Jennifer, before Freddy's head emerges from the top. Freddy shouts "Welcome to Prime-Time, bitch!" before fatally ramming Jennifer's head through the screen.Neil watches at her funeral from a distance. The nun he saw earlier approaches him and asks him about his faith. He tells her that he saw her before and asks if Sister Mary-Helena does volunteer work at the hospital. She says she does from time to time, "When needed," and tells him that the only way to save the children is to put the unquiet spirit to rest. Nancy approaches and when he turns around the nun has disappeared.Neil and Nancy share a meal and he sees Nancy's Malaysian dream doll which s supposed to bring good dreams. He is worried about the kids and doesn't know what to do. He can't make sense of it. Nancy wonders if he is ready to hear the truth, telling him to put everything else aside and just trust her.In group, unofficially, Neil allows Nancy to tell the kids about Freddy. Although skeptical at first when she describes his dirty brown hat, his burnt face and the razors on his right hand they believe her. She tells them that the man is Freddy Krueger, a child murderer before he died and after something much worse. She shares the fact that six years ago he had killed her friends and almost killed her as revenge for his death. Their parents had burnt him alive after a mistake with a search warrant leading to his arrest caused all charges to be dropped and Krueger to go free.Although unable to believe it at first the kids do believe it. Nancy reveals Kristens gift and tells the others that she is the key but that they all have their own inner strengths they can harness in the dream world. Neil tells them they are going to try a little group hypnosis. He gets them to relax and follow a pendulum as Nancy tells Kristen to take them to the dream world.At first, little seems to have changed; they are in the same room and decide to take a break before trying again. Joey wanders out of the room, spotting the young nurse he helped previously. She tells him that she wanted to talk to him alone as she really likes him. She claims that she makes up excuses to come into the ward as he is soooo cute.Dr Gordon sets off a perpetual motion device and the ball bearings break away and float around the room, revealing that they are actually dreaming, despite initial appearances. Neil struggles to believe till Will stands up. In his dreams he can walk, and is "The Wizard Master" which he demonstrates by turning a ball bearing into a butterfly. Kristen is able to back flip and somersault in her dreams, Kincade is super strong, Taryn is "beautiful and bad", but in the fill she looks the ugliest punk girl you could ever imagine!Joey is in the room with the nurse. She asks him to unzip her uniform, revealing she is topless underneath. Asking if he likes her body Joey nods enthusiastically. She pushes him back on the bed and kisses him, before biting his tongue and pulling it from his mouth. Tongues are used to bind Joeys wrists and ankles and the nurse is revealed to be Krueger. "Feeling tongue-tied?" he asks. The mattress disappears to reveal a hell pit.At this moment the others realize that Freddy is close and he has Joey. The room morphs into a boiler room, despite Kincades attempts to stop it. The screams alert Dr. Simms who is not happy. Joey is on the floor, seemingly in a coma. This is blamed on the Hypnocil Dr. Gordon has prescribed and both he and Nancy are suspended. As he clears out his stuff Neil looks at a photograph and is then distracted by Sister Mary-Helena in the tower. The door is locked but Neil breaks in and climbs the tower.The nun is at the top of the tower. She reveals that the room was once used to house the most dangerous, criminally insane patients at the hospital. The wing was closed in the forties after a young girl was locked in the wing over the holidays. The inmates kept her hidden for days, raping her hundreds of times. When she was found she was barely alive and was most unfortunately impregnated. The girl was Amanda Krueger, Freddy's mum. She tells Neil that the only way to stop Freddy is to find his remains and then bury them in hallowed ground.Nancy visits with Joey. She demands that Freddy releases him. The words "Come and Get him Bitch" appear carved on his chest. Nancy wants to go into the dream realm and fight Freddy but Neil tells her they have another option. She agrees to try and she tells him that only one man will know the whereabouts of the remains. Kristen fights against staff as it is revealed that Nancy has been suspended. She is taken to the quiet room and sedated for her outburst, screaming that Dr Simms is killing them!The man Nancy referred to is revealed to be her Dad. They meet him in a bar and he is clearly drunk and although initially pleased to see her when Nancy reveals the reason for the visit is less happy. He insists Nancy just needs to let it go because Krueger is dead. Despite Nancy's pleas he refuses to reveal where the bones are and dismisses her. Nancy is very upset.Taryn pages Dr Gordon, informing him that Kristen has been sedated and locked in the quiet room. He urges Nancy to go to the hospital and to convince Dr Simms what is happening is real. He tells her he will speak to her father and make him tell the location of Freddy's remains. He goes back into the bar, introduces himself and then throws Lt. Donald Thompson against the wall. Neil says that he cares if Nancy lives or dies even if her father doesn't and so they are going on a scavenger hunt.Neil drives them to a church, takes the keys and leaving Donald outside goes to get holy water and a crucifix. He is stopped by a priest and leaves his driving license in return for the things he needs, promising to return them. Nancy arrives at the hospital and Max prevents her from seeing Kristen but reluctantly agrees to let her see the others. She finds them in the TV room and takes them for a last group session. Neil and Nancy's dad pull up at The Penny Bros Auto Salvage yard, the hiding place of Freddy's remains. Going inside, Neil is directed to the heart of the place.Nancy tells Kincade, Will and Taryn that Joey and Kristen need them. She assures them nobody has to go in, warning them if they die in the dream world then they die for real. They all want in so urging them to stick together they imagine themselves in the quiet room with Kristen. When Nancy counts back from five they are there in the room with Kristen who is delighted to see them. Kristen says that Joey needs them. Nancy asks where he is and at that moment the padded walls are ripped to shreds by Freddy's claws. Terrified the group huddles in the centre of the room, padding showering them.As the padding clears, Kristen is back in her bedroom, working on the model house as she was the night of her "suicide attempt." She is surprised as her mum bursts in, and the night repeats itself. She gives her mum a huge hug, telling her she has had a terrible dream. She asks her mum to stay with her but her mum has a guest. This time it turns out to be Freddy, who rips Elaine's head off and the decapitated head admonishes Kristen for her attention seeking behaviour. Freddy tries to stab Kristen but she uses her gymnastic skills to evade him. She jumps out the window but instead of landing outside finds herself in the Elm Street house, rolling down the stairs.Getting to her feet Kristen calls for Nancy. She is heard by Taryn who tries to find her, instead finding herself in an alley. A wall appears behind her, with Taryn and Freddy in a heart sprayed on it, trapping her. Taryn is shocked by Freddy who say's "Welcome Home....Look familiar?" Taryn uses flick knives to fight Freddy, stabbing him in the stomach. Freddy asks why they are fighting when they are old friends and holds his hands up to reveal syringes of blue liquid instead of blades. Taryn backs away, as the injection marks on her arm begin to suck. Freddy plunges both sets of syringes into Taryn, throwing her aside, dead. "What a rush!" he declares.Will finds himself in a long passage way. He calls out for the others, hearing Freddy laugh. He turns to find a wheelchair. Freddy invites him to sit, reminding him he will be back in it when he wakes up. The chair chases Will causing him to fall. He calls on his "Wizard Master" powers. Rising to his feet, Will shouts, "In the name of Lowrek, Prince of Elves, demon begone" and blasts Freddy with green light. He runs towards Freddy who grabs him. Saying he doesn't believe in fairy tales he plunges his blades into Wills chest, killing him too.Kristen continues her search for the others, finally finding Nancy. The wall to the room begins to break and Kincade is revealed, using his super strength to reunite them. They embrace and Kincade shouts for Freddy. A door to the boiler room appears behind them. Nancy leads the way down a spiral staircase to search for Freddy.Meanwhile, Neil and Donald finally reach the centre of the salvage yard. Donald directs Neil to a red caddy. After a struggle he opens the boot to reveal the remains of Fred Krueger rapped in a sack. Donald tries to escape but Neil has the keys and tells him he is going to attend a funeral, "one that is long overdue." He throws him a spade.Nancy and the others reach the bottom of the staircase to find Joey suspended over a hell pit. Freddy appears and when Nancy tells him to let Joey go, he undoes the tongue bindings. Nancy reaches Joey just in time to stop him falling. Kristen attacks Freddy as Kincade pulls Nancy and Joey to safety. He strikes Freddy with a length of pipe and when Freddy grabs him by the throat Nancy drives a thin lead pipe through him. His shock quickly turns to a sinister smile and still holding Kincade by the throat he pulls it out, discarding it.Nancy can not believe how strong Freddy has become. He informs her that the souls of the children make him strong, pulling aside his jumper to reveal the faces of screaming children on his torso. Then he disappears.....causing Kincade to fall to the floor.In the real world at the salvage yard, Neil and Nancy's father have dug a grave. They stop when Neil hears noises and after Donald assures him that they are alone all the cars come to life, lights flashing, boots and doors flapping and horns blasting. Donald screams "Bury the fucking thing!" but as Neil approaches the remains the skeleton reanimates, taking swipes at him with his bladed hand. Donald stands, shocked. "It's really you....I killed you once before you son of a bitch!" Donald attacks, but ends up impaled on a spike of metal. Neil attempts to fight Freddy but is hit with the spade and knocked into the grave. Freddy begins to shovel dirt onto him, as he lies unconscious.Laughing, the skeleton collapses and Freddy returns to the dream realm. Nancy, Kristen, Kincade and Joey are walking along a corridor, papered in red and decorated with mirrors. A large mirror appears, blocking their path and then Freddy appears. He apologizes for keeping them waiting and says "If only there was more of me to go around?!" his image then appears, laughing in all of the mirrors. Joey backs into a corner, clearly scared. The Freddy's grab the others, dragging them into the mirrors. Joey stands and screams "NO!!" All the mirrors smash, freeing the others. They believe it to be over.Nancy's father appears, telling her he has crossed over but couldn't go without telling her that he was sorry for all the things he had done, and that he loves her. Nancy embraces her father then gasps as her father turns into Freddy and plunges his claws into her stomach. "Die!" he snarls as he pushes the blades in deeper. Neil finally awakens, semi buried in the grave.Kristen screams and Freddy causes the door behind her to close, separating her from Kincade and Joey. "You're mine now, little piggy!" He tosses Nancy aside and knocks Kristen to the floor. Holding his arm back, he is about to stab her when Nancy grabs him, forcing his blades into himself instead.Neil climbs out of the grave, kicks in the bones of Krueger and splashes them with holy water. As he does, rays of holy/spiritual light appear on Freddy's torso. Nancy is once more tossed aside, landing by Kristen. Neil continues to splash holy water, "Ashes to ashes, dust to dust, I lay this spirit to rest." He places the crucifix on his head, causing Freddy to spin and explode in a ball of golden light, a cross of light on his forehead.Kristen sobs as Kincade breaks down the door. Kristen says she won't let Nancy die and will instead dream her into a beautiful dream. Kristen holds Nancy's dead body.Kincade, Joey, Kristen and Neil all attend Nancy's funeral, Neil with a sling on his arm. He turns to see the nun, Sister Mary-Helena walking through the graveyard. He follows her but before he can speak to her she disappears. he looks down at the grave he is standing on to see it is Amanda Kruegers and also bears the name Sister Mary-Helena, revealing the nun to be the ghost of Freddy Krueger's mother.Neil sleeps as the shot reveals that he is now in possession of the Malaysian dream doll and Kristens model of 1428 Elm Street. As he sleeps, the bedroom light in the model comes on.... hinting Freddy may be back after all! | fantasy, murder, cult, violence, horror, insanity | train | imdb | A Nightmare on Elm Street 3: Dream Warriors (1987) is definitely the best sequel horror slasher film in the series franchise!
I love this horror slasher film to death it is very imaginative, entertaining, a good set of characters, some fun catchphrases/dialogue, a great Dokken song aka Dream Warriors...a lot of awesome stuff is in this one.
A Nightmare on Elm Street 3: Dream Warriors, Freddy Krueger (Robert Englund) who invades the minds of a new group of teens -- and the nightmares begin again.
But Nancy knows that Freddy is up to his old ways and wants to help Kirsten along with the other teenagers at the hospital that Freddy is after, but hopefully she can do it before it's too late.A Nightmare on Elm Street 3: Dream Warriors has one of my favorite nightmare sequences.
Outstanding third entry in the Elm Street movies is definitely the best of the sequels and well lives up to the excitement of the original film.Nancy is now a psychiatrist who must help some troubled youths that are in danger of being sliced by murderous Freddy!It's not surprising that this sequel was written by 'Elm Street creator Wes Craven, who chose to leave the directing to Chuck Russell for this movie.
Nancy and Dr. Neil Gordon (Craig Wasson) are helping the teens to fight Freddy back with their dream powers and their help.Directed by Chuck Russell (The Blob-1988, Eraser, The Mask) made an excellent scary sequel, which is closer to the spirit of the original Nightmare.
This movie has good clever plot twists and it has the best cast from the series, including:Jennifer Rubin (Screamers), Bradley Gregg (Fire in the Sky), Rodney Eastman (The Caveman's Valentine), Laurence Fishburne (The Matrix Trilogy), John Saxon (Enter the Dragon) and Priscilla Pointer (Carrie).DVD has an strong anamorphic Widescreen (1.85:1) transfer (also in Pan & Scan) and an excellent digitally remastered-Dolby Digital 5.1 Surround Sound.
Six Years has passed since the events of the first movie, a beautiful blonde girl named Kirsten (Patrica Arquette) had a nightmare involving Freddy Krueger (Robert Englund) which almost leads her to suicide as she ends up in a psychiatric ward with the other kids of Elm Street named Joey (Rodney Eastman), Taryn (Jennifer Rubin), Philip (Bradley Gregg), Jennifer (Penelope Sudrow), Will (Ira Heiden) and Kincaid (Ken Sagoes).
Greg Cannom and Kevin Yagher did a nice job on the make-up and gore effects for this production, the film also gives us a nice look into the mythology of "Nightmare on Elm Street" with some nice twists and turns even by the ending.This is one sequel that still holds up and rocks!
Meanwhile Dr. Gordon meets Sister Mary Helena (Nan Martin) that tells him who is Freddy Krueger and how to destroy the evil character forever."A Nightmare on Elm Street 3: Dream Warriors" is my favorite sequel of Freddy Krueger's franchise.
Nowadays, a teens(Patricia Arquette, Jennifer Rubin, Eastman, Gregg, among them) jailed into a psychiatric hospital start to be haunted in their nightmares by scar-faced and dream-hunting Freddy Krueger(Robert Englund), a kind of spectre with horrible burns and large knives.
All of these teens have one thing in common, their dreams are being invaded by someone Nancy knows only too well, Freddy Krueger.After the abomination bore that was A Nightmare on Elm Street Part 2: Freddy's Revenge, New Line Cinema set about making a better and more truer sequel to 1984's excellent A Nightmare on Elm Street.
With more budget to hand and Craven aided in the writing by Frank Darabont, Chuck Russell and Bruce Wagner, the end result is arguably the best sequel of what was to become a money spinning franchise.With a sharp elaborate story focusing on troubled kids, and dealing in themes such as teen suicide, heroin addiction and dream suppressant drugs, all that was needed was authentic location work and the skill to formulate horror sequences worthy of the name.
I never saw this film in my childhood only the first 2 movies and Freddy's Dead I saw as a kid.It has a lot of dream sequences in the story, so many great things, great one liners by Robert Englund.
Big Freddy snake try's to eat Kristen, a lot good stuff in this movie.A Nightmare on Elm Street 3: Dream Warriors (1987) is a really good slasher horror movie, it come out the same year as The lost Boys.
Craig Wasson as Neil Gordon psychiatrist finds Fred's remains on a junk yard with help from Lt. Donald Thompson (John Saxon) the junk yard is my favorite sequence in the movie.A Nightmare on Elm Street 3: Dream Warriors (1987) is my second favorite goriest slasher ever.
The story has Nancy Thompson from the first Elm Street film now an adult and working at a psychiatric hospital where teenage patients are being stalked in their dreams by Freddy Krueger.
A Nightmare On Elm Street 3:Dream Warriors is easily one of the best films in the Elm Street series,an excellent sequel that's filled with wonderful,atmospheric direction,great characters,haunting imagery and great special effects.
It's not only one of my favorites in Elm Street series and one of my favorite Horror movie sequels,but one of my favorite sequels in general.Set six years after the first film,Dream Warriors tells the story about a group of troubled teenagers who are patients at psychiatric hospital who are all having nightmares and are being stalked by dream demon Freddy Krueger(Robert England).
Now with the help of Nancy Thompson(Heather Langenkamp,survivor of the first film)and Dr. Neil Gordon(Craig Wasson)the teens are going to figure out how to stop Freddy and get rid of him once and for all.I think one of the reasons Dream Warriors is an excellent sequel is because this takes the concept of Wes Craven's(who co-wrote the script for this film)brilliant,groundbreaking first film and takes a step further with this film.
'A Nightmare on Elm Street 3 - Dream Warriors' was the first Freddy-film I saw many years ago, and what a great start.The main characters from the first film, Heather Langenkamp and John Saxon, are back with a troop of great actors including Patricia Arquette and Lawrence Fishburne.
By all rights, after the the last scene of 'A Nightmare on Elm St' (1) the lead character of Nancy should be dead, but here she comes back as a psychologist to mentor a bunch of haunted kids in a mental asylum to become "dream warriors" and fight Freddy.
But how do you kill something that is already dead ?(Well you can't, being that it was very profitable) Nightmare On Elm Street 3:Dream Warriors in many ways is the best of the series, it is the most fun of the series although it's not quite as suspenseful as the first movie.
Of course it's not as good as the first, mostly because of the reason that it doesn't has the same originality and freshness over it but the movie remains a perfectly watchable one.I have always liked "A Nightmare on Elm Street 3: Dream Warriors".
This movie is awesome,I honestly didn't see any flaws with it,but Heather Langenkamp did seem a bit monotone.So,I'll talk about the good,the tone,it keeps the seriousness from the original and actually deals with real issues,like drug addiction.The characters,they feel realistic and are well acted.The film is very creative,the dream sequences are fantastic.I love the kills,and the effects are great.Bringing Nancy back was awesome.Freddy was great,even though this is the beginning of the jokey version of him,and i like how we get to know a bit of his backstory involving his mother.Dream Warriors is great and the perfect sequel.
We know from part 3 (this movie) that Nancy was off at college during the time of part 2 so what was wrong with showing what was happening back on Elm Street with a new cast of characters?In any case, practically the entire story in "Dream Warriors" takes place in or around the psychiatric hospital, and you really get the feeling that the staff and patients are real people.
Despite the negative critical reaction that "Freddy's Revenge" got, the movie was a financial success and in 1987, Wes Craven returned to write "A Nightmare on Elm Street 3: Dream Warriors", which was the second sequel in the Nightmare on Elm Street film franchise.In the second sequel, Freddy Krueger is systematically killing the last of the Elm Street children.
Despite the negative critical reaction that "Freddy's Revenge" got, the movie was a financial success and in 1987, Wes Craven returned to write "A Nightmare on Elm Street 3: Dream Warriors", which was the second sequel in the Nightmare on Elm Street film franchise.In the second sequel, Freddy Krueger is systematically killing the last of the Elm Street children.
As he sleeps, the bedroom light in the model comes on, revealing that Freddy is still alive and setting up a new installment.I had to say I almost did not watch this film because I thought it was just a rip-off of the previous film, "Freddy's Revenge", but after watching the trailer for the film in 2010, I actually really wanted to see how this would turn and finally in 2013, I got to see this movie and it was one of the best viewing experiences ever.Unlike other franchises like The Texas Chainsaw Massacre, this franchise along Halloween and Friday the 13th knows how to stay true to it's source material and this was the 80's and still today.
As he sleeps, the bedroom light in the model comes on, revealing that Freddy is still alive and setting up a new installment.I had to say I almost did not watch this film because I thought it was just a rip-off of the previous film, "Freddy's Revenge", but after watching the trailer for the film in 2010, I actually really wanted to see how this would turn and finally in 2013, I got to see this movie and it was one of the best viewing experiences ever.Unlike other franchises like The Texas Chainsaw Massacre, this franchise along Halloween and Friday the 13th knows how to stay true to it's source material and this was the 80's and still today.
This was the movie that changed Freddy Krueger turned from just creepy to creepy and funny at the same time.This film has the old cast with a new set of character and that works for a movie like this.
This was the movie that changed Freddy Krueger turned from just creepy to creepy and funny at the same time.This film has the old cast with a new set of character and that works for a movie like this.
The dreams are as creepy and intense and just like the first film, they build up to each other with suspense.The cast is really strong here and we can tell that they care about their characters that they are playing, especially Heather Langenkamp and John Saxon, who says that this is their favorite film and also had the best roles in the original 1984 classic film, "A Nightmare on Elm Street".Patricia Arquette is really amazing as Kristen and she did a damn good job making her performance believable as I thought she would.The only person that I was not expecting to be in "A Nightmare on Elm Street" film was Laurence Fishburne, who is known as Ike Turner in "What's Love Got to Do With It" and as Morpheus in "The Matrix" trilogy.
The dreams are as creepy and intense and just like the first film, they build up to each other with suspense.The cast is really strong here and we can tell that they care about their characters that they are playing, especially Heather Langenkamp and John Saxon, who says that this is their favorite film and also had the best roles in the original 1984 classic film, "A Nightmare on Elm Street".Patricia Arquette is really amazing as Kristen and she did a damn good job making her performance believable as I thought she would.The only person that I was not expecting to be in "A Nightmare on Elm Street" film was Laurence Fishburne, who is known as Ike Turner in "What's Love Got to Do With It" and as Morpheus in "The Matrix" trilogy.
Really cool and really amazing casting choices.It's a good scary movie flick where the characters actually fight between the dream controller and the ending may have you crying because Nancy dies, but it also makes you really get scared of the way it ends.
Really cool and really amazing casting choices.It's a good scary movie flick where the characters actually fight between the dream controller and the ending may have you crying because Nancy dies, but it also makes you really get scared of the way it ends.
He is still scary, still creepy, but can also get very comedic at points, especially in the TV nightmare sequence where he tells the girl, "Welcome to prime time, girl!" and that is one of the best lines ever written for an iconic horror movie character.This film is just spectacular.
He is still scary, still creepy, but can also get very comedic at points, especially in the TV nightmare sequence where he tells the girl, "Welcome to prime time, girl!" and that is one of the best lines ever written for an iconic horror movie character.This film is just spectacular.
From the music to the acting to the effects to the incredible performance of Robert Englund as Freddy Krueger, you will find an incredible experience in seeing this film.Overall, there may be a couple of flaws, but it is easy to see why people watches this one second instead of "A Nightmare on Elm Street 2: Freddy's Revenge".
From the music to the acting to the effects to the incredible performance of Robert Englund as Freddy Krueger, you will find an incredible experience in seeing this film.Overall, there may be a couple of flaws, but it is easy to see why people watches this one second instead of "A Nightmare on Elm Street 2: Freddy's Revenge".
With a somewhat intelligent plot, some amazing special effects, its own theme song, and some good actors, Dream Warriors sees the remaining kids of Elm Street banding together in a hospital setting to battle and defeat Freddy Kreuger.
"A Nightmare on Elm Street 3: Dream Warriors" has some new victims for Freddy Krueger (the eternal Robert Englund) and some old ones too.
Departed serial killer Freddy Krueger returns to pick off the remaining teenagers of Elm Street who are housed in Westin Hills, a psychiatric hospital for the disturbed.After the oddly toned second outing, Wes Craven and co-writer Bruce Wagner bring the dreamlike horror back to series with an interesting premise that reunites Heather Langenkamp (Nancy) and Robert Englund (Freddy Krueger) respectively.
Craven's inventive use of shadows, his focus more on characters and story rather than gore and special effects, and blending of dreams and reality made "A Nightmare on Elm Street" a new standard for the slasher genre in the early '80s.Wes Craven parted way with the series after the 1984 original, but had some hand in writing the screenplay for 1987's "A Nightmare on Elm Street 3: Dream Warriors"; some other notable future talents also had a hand in developing this film's script, one of whom was none other than Frank Darabont (director of "The Shawshank Redemption," "The Green Mile").
Director Chuck Russell would also make "The Mask" (1994) and "Eraser" (1996).All in all, "A Nightmare on Elm Street 3: Dream Warriors" is not a bad film, nor a bad horror sequel.
I think Freddy Krueger makes a good serial killer,and the since the 'Nightmare On Elm Street'movies have a fantasy element to it,they're actually pretty cool to watch,even though I haven't seen the fourth or fifth film yet.But this one doesn't have much energy to it.Some scenes of the movie are so ridiculous that you can't help but laugh.The movie starts out OK,but then it falls into the so-so area where you might think about watching a different movie.The director tries to give fans what they want,but instead he disappoints them.Robert Englund does a great job at playing Freddy Krueger,but even he can't save this movie.It's not that bad,but compared to other great horror films,this movie disappoints.I have to give credits to some of the special effects.Sorry,Freddy..
The special effects are state of the art for the time and still hold up, the acting is superb from patricia arquette and the movie is the most entertaining from start to finish compared to the other nightmare installments, excellent and creative ways used to kill the children of elm street in this one, with a killer soundtrack by Dokken, great piece of nostalgia from the killer 80's metal era.
She tells teenagers why Freddy is going after them in the nightmare.The deaths scene in this movie were really good some, of them were really nasty and scary at the time,When the teenagers have the nightmare were really creepy and made Freddy really scary again.The acting from Heather Langenkamp, Patricia Arquette and Robert Englund were outstanding and rest of cast did great Job too..
Like the kids in the original "Nightmare," this group shares a dream but are united when a maverick doctor, who just happens to be our heroine, Nancy, from the first film, helps them unite and face Freddy.
And of all "Freddy Krueger"-films, the best sequel is without a doubt this film over here: "A nightmare on Elm Street 3".Seeing as how the second Freddy Krueger-film was a pretty bad movie, the third one had to be a good one again in order to keep this otherwise unique series from dying off.
His performance is once again spot-on!In short: "A nightmare on Elm Street 3" is easily the best of all Freddy Krueger-sequels!
This is basically the plot of 'A Nightmare on Elm Street 3: Dream Warriors', which is a very entertaining horror film, although not too scary for the connoisseur. |
tt1478338 | Bridesmaids | Annie Walker (Kristen Wiig) is a single woman in her late 30s. Following the failure of her bakery, she lost her boyfriend and her savings, forcing her to take a job as a sales clerk in a jewelry store and to share an apartment with an obnoxious roommate Gil (Matt Lucas) and his sister Brynn (Rebel Wilson). Her business's failure was so painful that she has given up baking entirely. She has a no-strings-attached sexual relationship with the self-absorbed Ted (Jon Hamm) but hopes for something more from him. Her best friend, Lillian (Maya Rudolph), is virtually her only source of happiness.
Lillian becomes engaged and asks Annie to be her Maid of Honor. At the engagement party, Annie meets Lillian's bridesmaids: cynical cousin Rita (Wendi McLendon-Covey); idealistic friend Becca (Ellie Kemper); the groom's raunchy sister Megan (Melissa McCarthy); and Helen (Rose Byrne), the rich and beautiful wife of the groom's boss. Helen and Annie, who are jealous of each other's friendship with Lillian, take an instant dislike to each other, but Lillian persuades them to spend time together.
Annie takes Lillian and the bridesmaids to a Brazilian steak restaurant for lunch before going to a chic bridal shop. Helen uses her influence to gain entry to the shop because Annie didn't make a reservation. While trying on gowns, the whole party— with the exception of Helen, who chose not to eat before the fitting —becomes sick from food poisoning. Later, Annie's suggestion of a bachelorette party at Lillian's parents' lake house is overruled in favor of a trip to Las Vegas planned by Helen. Worried about her finances and too proud to accept a ticket paid for by Helen, Annie books a ticket in coach although the rest of the party flies first-class. The trip is cut short by an outburst from Annie, who had accepted a sedative from Helen because of her fear of flying. The plane makes an emergency landing in Casper, Wyoming; and the party takes a bus back home. Annie apologizes, but Lillian decides she wants Helen to take over planning the shower and the wedding.
Annie continues to hope for a relationship with Ted, but Officer Nathan Rhodes (Chris O'Dowd), a friendly State Patrol officer who had earlier let her off without a ticket for broken tail lights, begins flirting with her. Nathan encourages her to open a new bakery, but Annie refuses. Following a night together, Nathan buys baking supplies for Annie to start baking again. Offended and overwhelmed, Annie leaves. Annie is later fired for being rude to a customer and kicked out of her apartment by her roommates, forcing her to move in with her mother (Jill Clayburgh).
Annie travels to Helen's home in Chicago for the bridal shower, which has become a Parisian-themed event, an idea that Annie previously came up with but Helen turned down. Helen also upstages Annie's heartfelt, handmade shower gift by giving Lillian a trip to Paris, an idea Helen stole from Annie. Enraged that Helen has taken credit for the Parisian theme, Annie throws a tantrum. Lillian kicks her out of the shower and the wedding. On her way home, Annie is involved in a car accident due to her still-broken tail lights, but the other driver flees the scene. Officer Rhodes is the responding officer, and he admonishes her for not fixing her tail lights and taking responsibility for her life. He storms off when Ted arrives to give Annie a ride. On the ride home, Ted asks Annie to perform oral sex on him. Angered, she breaks off the relationship and walks home.
Annie becomes reclusive, refusing to leave her mother's house and obsessively watching television. Eventually, Megan arrives and gives Annie a pep talk, telling Annie that she must stop blaming the world for her problems and take control of her life. Annie realizes her errors and begins to repair her life, beginning to bake again and getting her car fixed. She tries to make amends with Nathan, but he ignores her. On the day of the wedding, Helen appears at Annie's doorstep distraught; Lillian has disappeared, and Helen begs for Annie's help in finding her. While driving, Helen apologizes to Annie and opens up to her, revealing that people only involve her in their lives because she is good at planning events, but she does not have any true female friends, leading to a reconciliation between them. The two enlist Officer Rhodes to help, and he grudgingly agrees. The group finds Lillian at her own apartment, discovering that she ran from her wedding because of Helen's extravagant planning and from fear of leaving her life in Milwaukee. After reconciling, Annie helps Lillian prepare for her wedding.
Annie resumes her place as Maid of Honor. After the wedding, which Annie agrees with Helen is "perfect", Helen again apologizes to Annie and states her hope that they can be friends in the future. Realizing that Annie and Officer Rhodes were falling in love, Helen also arranged for him to pick up Annie after the wedding. Officer Rhodes and Annie reconcile and the pair ride away in his police car. | comedy, depressing, adult comedy, psychedelic, humor, prank | train | wikipedia | Quite a few plot holes, and there were many scenes where I caught myself rolling my eyes, thinking, "really?" The greatest movies develop their characters so much that you literally feel for their outcomes.
The plot was so weak and rushed for the next pointless comedy spiel, that they didn't give the characters any depth, except maybe the lead of "Annie." I can think of 2 memorable scenes right now from this film, and I saw it last night.
There were some sweet moments in the movie, that for me, held the film from turning into a complete waste of money.
I saw the previews for this movie and thought to myself, wow this seems like the female version of the HangOver.
There is a bit chick flick element to it between the main character and a guy, but it is such a small part of the movie that I would say it's about 85% comedy and 15% romance/chick flick.
I think this was a great movie for female humor, because I have long thought that comedy was dominated by male actors and I am just waiting for some women to jump in there and start paving the way.
Ultimately, I went into the theater with modest expectations, hoping to get a few good laughs out of it.By the time we came out of the theater, my three friends and I had smiles plastered across our faces, and we couldn't stop talking about the film for the next couple hours.
Like all of Apatow's productions, there are admittedly scenes that arguably go a little too far or a little too long, but that's a small criticism when the film successfully fires on so many other cylinders.To start with, the film is hilarious, and I think the comedy far exceeds the standalone bits shown in the trailer.
Not only is she consistently and uniquely funny, but her character is surprisingly well-developed, and Wiig brings the character to vibrant and dynamic life on-screen.And this brings me to my next point about Bridesmaids: the film has a surprising amount of depth that completely caught me off guard.
Bridesmaids isn't a quickie 80-minute gag fest by any stretch of the imagination; it's actually a leisurely paced 2-hour character-driven comedy that takes time to develop its characters and establish the various relationships and resultant conflicts between them.
the anti-chick flick "chick flick" if you will.What I loved about this movie is that although you get a sense of the heart and charm, it's not afraid to pull any punches just because the characters are female (the scene in the bridal shop will be the topic of much discussion, I assure you).
This is like a big slap in the face to all the lame chick flicks out there as of now and a breakthrough, star making leading role for the brilliant and hilarious Kristen Wiig.
I have never seen a comedy in a long time that was as consistently funny and I mean laugh on the ground with tears coming down your face funny as well as touching and for once genuine characters that you can relate to and have an instant, believable, bond and chemistry on screen that makes the ongoing crazy shenanigans all the more effective and hysterical.
The movie goes through typical issues from the average chick flick like jealousy, insecurities, narcissism, cat fights, self-doubt, self-pity, self-destruction you name it but it deals with those is a more honest, realistic non sugar-coated way that was refreshing and smart from the norm and raises the bar so high for chick flicks (which is more anti of that anyways) and comedies in general that I personally can't see any comedy this year or in the future surpassing its comedy greatness, it's golden!!!
We haven't laughed out loud so much in a long time, but you do feel Kristen's pain throughout the movie.
However, on the up side, the trailer doesn't show the funniest jokes in the film like most trailers for comedies do these days (don't you hate it when that happens?).And no.
O'Dowd did a good job playing Wiig's love interest (and you can pretty much see where this is going...), and Hamm did well for the limited amount of screen time he had.Sure, BRIDESMAIDS is predictable as hell but so are 99.9% of other modern comedies.
I guess this film is considered a great "advance" in the field, because now these horrendous script writers and directors have shown that the girls can fart, defecate, curse and inflict "funny" pain just as well as the boys.When will this idiocracy we live in finally get sick of "humor" that would have been considered immature for 12 year old boys as recently as twenty years ago?
Big screen comedies basically have been taken over by the pathetic alumni from SNL and the just as sordidly horrific "talent" emanating from the stable of Judd Apatow.I wonder if Maya Rudolph-yet another ex-SNL cast member-can appreciate the irony of her appearing in a work of "art" like this, considering that she was one of the stars of Idiocracy.
Meanwhile the police officer Nathan Rhodes (Chris O'Dowd) feels attracted to Annie."Bridesmaid" is an overrated comedy with a terrible story, scatological jokes and an envious lead character that takes the most despicable attitudes in the party of her best friend due to her envy.
Last week I was blackmailed into sitting through this chick flick which I'd heard (from guys and girls I thought I trusted) was "hilarious", but the fact that the opening scene almost made me hurl my face off, paved the way for yet another predictably awful cinema experience.
I sat through the movie secretly making notes on my Android, got home, sat down to write this review and thought "where do I start?" and that's when I realised, "when suddenly it becomes difficult to write a review on a movie I hated, I know I've hit an all time favourite" (or not, as it may seem).The story basically follows a bride and her bridesmaids as they try and make it from engagement to marriage and for one reason or another "things don't pan out the way you'd expect" (but actually they do).
The trailers do a good job making this squashed bike wreck look funny – I smile even now as I watch it again – oops – but believe me when I say those are the only funny moments in the movie.There's an uncomfortable silent-but-violent odour of "the hangover" all the way through the movie, the character profiles are roughly the same (the frustrated married one, the sensible one, the crazy one and the weird permed one) but throw in rich-lonely-bimbo and closet lesbian and you basically have 99% of womanhood represented in the movie.
And for writers who understand that good comedy uses humour, subtlety, satire and wit rather than a sledgehammer to get a point across!) This film sets out to shock and that is, in fact, the only area in which it succeeds.The women in it are (mostly) so awful that if you were a guy you'd choose to be gay, and as a woman you would choose to elope!
Bridesmaids will be the surprising film of the year and could very well even be the comedy of the year, topping films like The Hangover II and 30 Minutes Or Less.
Nearly all the scenes featuring her are laugh out loud funny.The writing also shines here as it's Apatowian comedy comes through.
Much in the way that Knocked Up and Superbad worked for their relative stories, Bridesmaids is a rare comedy that has an all female cast, yet can appeal to anyone.I guess that's the biggest surprise here, that this is a film that can work for everyone.
The sex scene is just gross.The only reason I can think of anyone would want to watch this movie is schadenfreude.
I did like Kristen Wiig's character and wouldn't mind seeing her in a romantic comedy.
Let's be honest: when we saw the first trailer for Bridesmaids, who among us didn't think it looked like a dismal rehash of The Hangover (only this one, of course, features a "ratpack" of women)?
But one thing is for sure: Kristen Wiig has proved her worth as a female lead with a serious amount of comedic clout.The story isn't revolutionary: one of two best friends is getting married, and everything involved with said nuptials is threatening to tear their lifelong friendship apart.
Bridesmaids is also peppered with the sort of humor that made movies like Superbad and Knocked Up so funny—it's observant and kitschy in that it rightly jabs several other films that have braved similar issues.
This ends up being a perfectly welcome curve ball, though, as screenwriters Wiig and Mumolo brilliantly utilize the length of the plane trip to said destination to further flesh out their characters and create an impressively humorous string of in-flight mishaps.There are a number of other contributors who make Bridesmaids work extraordinarily well, but, as is the case with any solid piece of cinema, it's best if you set aside some time to take in the whole thing in one fell swoop and let it unravel of its own volition.
I loved Hangover, Superbad, The Office, Blades of Glory, etc, but this movie was not that funny.The whole movie is about a loser character being jealous and petty about her best friend's wedding.
Kristen Wig not funny, Maya Rudolph dumb, Jessica St. Clair dumb, Melissa McCarthy obnoxious at best along with every other actor in this movie.
I thought the acting was outstanding, the writing was superb - funniest movie I've seen in a long time.
Bridesmaids must be the best comedy movie of the year so far, and one of the funniest chick flick comedies ever.First goes to the actors.
The rest of the cast did a great job to this film.Bridesmaids is not as generic as the other female comedies existing.
The performances plus the hilarious humor, this film is easily one of the funniest female comedies ever although it's unnecessarily long but it's undeniably enjoyable(even if you're a guy)..
This movie was so bad, I doubt it can make it into a cult classic selection for horrible films.I've seen comparisons to other films, like Wedding Crashers, Dumb and Dumber, and the Hangover.
What really really annoyed me in the movie was the part in the engagement party where the two women were gushing over each other to speak, they changed places like a gazillion times, and kept talking, and talking, until the slightest humor of the occasion was completely gone.
Instead, we got this disgusting and terrible movie which is a total waste of money and time and an insult to the common sense, after all.
I thought this movie is very funny and well written.I like Kristen Wiig but sometimes on SNL I think she misses the mark but this movie she co-wrote and stared in is a home run.We laughed through out the whole movie and the crowd in the theater reacted the same way.
The rest of the cast was also very good.For a comedy this also had a good storyline and plot with some substance other than slapstick.I would recommend this movie it is what we need in this day and age we are living in.Bravo I hope we see more of this from these women in the near future.I hope it does well at the box office!.
The whole movie is one bad scene after another and seems only to rely on gross out toilet jokes and other disgusting humor that makes me want to wretch at the thought.
However, the stand out performance and the best performance of an actress this year so far comes from Kristen Wiig's multidimensional melding of comedy and drama.How do you complain about a movie as unique as Bridesmaids?
Even so, the only real problem with the film is its song and dance happy ending, undermining what could have been a great finale.Comedies bordering the two-hour mark usually have a hard time engrossing the audience as the jokes run thin and the drama ensues, however, Bridesmaids' comedy becomes smarter and smarter giving each of the bridesmaids a matrimonial purpose in Wiig's fasttrack to the A-List..
Seriously, I really wanted this movie to make me laugh and I tried to participate, until the very last minute of what I kept hoping for that never materialized...funny entertainment..
But this movie doesn't know what it wants to be, and so suffers from the same malaise that afflicts the lead character, Annie: drift.I believe Kristen Wiig has better material in her future.
But it got SO much positive hype, Roger Ebert gave it 3.5 stars (and I usually agree with him), I really like Melissa McCarthy in Mike and Molly, and it even snagged a few major award nominations(!), so I thought I'd give it a go.The subject matter (sleeping around, dysfunctional marriages, and emotional insecurity) was aimed at adults, while the humor (stupidity, farting, vomiting, defecating, fat "jokes", and getting drunk) was aimed at 7 year old boys!
So I was pretty interested in seeing this movie, in the past I've been a big Judd Apatow fan and I like the idea of a female-centered comedy.
I like Rose Byrne but the lines she had weren't funny at all.I can understand there is a need for a ladies version of the Hangover type comedy but this one is just so badly written.
Lillian (Maya Rudolph) picks Annie (Kristen Wiig) as her Maid of Honor, but Helen (Rose Byrne) vies for the job anyway and things get way out of control.This could have been a nice movie regarding friendships if the inappropriate and disgusting parts were eliminated.
Kristen Wiig is untalented and not funny (like her characters on SNL).
I personally prefer most romantic comedies to this movie, girl fights are just terrible to watch on screen.
Yes, I realize that everyone's sense of humor is different, but I do not understand how anyone in their right mind could think this movie was even the slightest bit funny.
I'm not prude and some of the jokes made me feel uncomfortable, and I found myself thinking: "Were the people who wrote this script on crack?" One of the worst movies I have ever seen.
They would consist of a couple jokes that stretched on and on, It constantly got to the point where if a scene started and I was laughing or interested by the end I was just left wondering how long this movie was and when somethings going to happen.
Went to watch this with my girlfriend, I expected this to be good.The only funny/fitting character in this movie the the large girl.
There really is no story line here, its quite predictably trying to implement a female version of 'The hangover' and failing.I found it hard to understand why some people were laughing for some bits of this movie, I believe it may be tuned to a very American sense of humor.I can't remember the last time I paid to see such bad acting.
That's this movie for me.Something I've noticed in reviews for this film is that the word "funny" keeps popping up.
I love watching movies, and all kinds at that, but to sit through this one was nothing short of torture.I like Kristen Wiig.
While it's good to see a female-driven comedy written by women (though produced and directed by men), it would be nice if the movie had some actual humor in it.
And believe me, our little group likes a good laugh and have enjoyed some great funny films.
It sure did feel like you were a cup!Now I'm not bent on using this kind of language, but I have never seen a movie that has made me want to travel back in time, to commit suicide drastically, just so that I would never have to accidentally see this mentally and emotionally challenged crap of a movie.Now even atheists have reason to believe that there is truly a hell to watch out for.
Aside from the lack of comedy aspect of the movie, another reason why it wasn't very good was because there were so many plot holes left in the end.
and only for my girlfriend.So, NPR and other reviewers, stop the subterfuge by comparing a REAL comedy like Hangover with a total chick flick that makes poor attempts at humor...
I have seen funny comedy based films centered around women and this is not one of them.
I might be the odd ball in the bunch, but this movie is not as funny or entertaining like people have been putting it to be.I can count only one scene that grabbed a few jiggles out of me, but the film as a whole, it does not deliver enough comedy to keep me entertained.
Yes a few films will grab the attention of most females and some men, but appealing to the masses, I just don't think women comedy movies can do that.
This movie plays out like a two hour long SNL skit presented by Kristen Wiig and her bunch of humorousness friends.
There are maybe two laughs the whole time and the rest of the movie you're cringing at the ridiculous things the main character does and the stupid way she ruins all the good things in her life.
I kept thinking, as I watched this movie it must be going to get better, it never did and when it finally ended I couldn't believe that anyone would think that this might be construed as a comedy!
I really cant believe that people found this movie hilarious or funny.
If your looking for a good laugh and want a feel good viewing time then please watch "Bridesmaids" it's one comedy film that most any would enjoy it's got a blend of emotion and drama to fill any viewer's taste. |
tt0065724 | Five Easy Pieces | Bobby Dupea (Jack Nicholson) works in a California oil field (shot in and around the city of Taft in the San Joaquin Valley) with his friend Elton (Billy "Green" Bush), who has a wife and baby son. Bobby spends most of his time with his waitress girlfriend, Rayette (Karen Black), who has dreams of singing country music, or in the company of Elton, with whom he bowls, gets drunk, and has sex with other women. Bobby has evidently not told Elton that he is a former classical pianist who comes from an upper-class family of musicians.
Rayette gets pregnant and Elton is arrested for having robbed a gas station a year earlier. Bobby quits his job and leaves for Los Angeles where his sister, Partita (Lois Smith), also a pianist, is making a recording. Partita informs him that their father, from whom Bobby is estranged, has suffered two strokes. She urges Bobby to return to the family home in Washington state, to visit their father.
Rayette threatens to kill herself if Bobby leaves her, so he reluctantly asks her along. Driving north, they pick up two women headed for Alaska, one of whom is obsessed with "filth". The four of them are thrown out of a restaurant when Bobby gets into an argument with a waitress who refuses to accommodate his special order. Reaching his destination, Bobby, embarrassed by Rayette's lack of polish, registers her in a motel before proceeding to his family home on an island in Puget Sound.
He finds Partita giving their father a haircut, but the old man seems completely oblivious to him. At dinner, Bobby meets Catherine Van Oost (Susan Anspach), a young pianist engaged to his brother, Carl (Ralph Waite), a violinist. Despite personality differences, Catherine and Bobby are immediately attracted to one another and make love in her room.
Rayette runs out of money at the motel and comes to the Dupea estate unannounced. Her presence creates an awkward situation, but when Samia, a pompous family friend, ridicules her, Bobby comes to her defense. Storming from the room in search of Catherine, he discovers his father's male nurse giving Partita a massage. Now more agitated, he picks a senseless fight with the nurse, who knocks him to the floor.
Bobby tries to persuade Catherine to go away with him, but she declines, believing he does not love himself, or indeed anything at all. After trying to talk to his unresponsive father, Bobby leaves with Rayette, who makes a playful sexual advance that he angrily rejects. When Rayette goes in for some coffee at a gas station, he gives her his wallet and then abandons her, hitching a ride on a truck headed north. | cult, romantic | train | wikipedia | Of course the storyline of an alienated young man (Jack Nicholson as Robert Dupea), walking away from all that is expected of him, and indeed walking away --if not running away-- from his prodigious gifts, and doing it all with a cocky attitude, no longer resonates quite the way it did in 1970.
Or, as Jenny, Ali McGraw's character in Love Story (also a 1970 film) put it, "Love means never having to say you're sorry." Meanwhile, unfolding alongside the Dupea character, was Karen Black's tour de force performance as the big-haired clingy-dependent waitress girlfriend, Rayette, and doing it to a medley of apropos Tammy Wynette tunes.
The one I feel that stands out and symbolizes the essence of the film is where Jack plays Chopin in the piano room while Rafelson's camera does a slow 360 around the room, glancing at pictures of his life before he fled from it.
Robert contains many of them, but has generally abandoned creating anything.I would first like to comment on why I feel the film received the title, "Five Easy Pieces".
There is a scene near the end of the film where Robert is speaking with his father and in a way apologizing for his own life and not living up to the expectations of the family.
It was the film that showed audiences what Jack Nicholson could do, after having worked for many years in movies that were seen only by real cinephiles, but not by a wider audiences.
The only thing is the copy we saw was not anamorphic in format, which on key scenes almost shows a blank screen while the characters talk off camera!Bob Rafelson and Carole Eastman created a screen play that dealt with existential themes, a rarity in the American cinema.
Mr. Rafelson was at the height of his creative period, something that later projects seem to contradict the promise he showed at the time.Bobby Dupea, the main character of the story, is a complex individual who has left a life of privilege and culture behind to become an oil rig worker and getting away from his previous life.
That contrast comes more obvious when Bobby goes back home and meets Catherine, his brother's fiancée, who is a musician and seem to be more attuned with Bobby than the simple minded Rayette."Five Easy Pieces" was a film that showcased the enormously talented Jack Nicholson doing some interesting work.
In a way, we have seen all along the film how restless Bobby has become and it's clear that in spite of his being with Rayette, she will never understands how to make him happy at all.The reason for watching "Five Easy Pieces" is Jack Nicholson.
Everybody and their dog always raves about the chicken salad sandwich diner scene and the dialogue between the main character and his invalid father but for my money the money shot is when Bobby first tells Rayette he has to visit his family ALONE and as he tries to leave without her (which wouldve ended up being the most humane thing he does in the film!!) he finds his car wont start at the crucial moment and he completely loses it in his car cursing a lotta four letter words under his breath.
Based partly on the life of eccentric Canadian concert pianist Glenn Gould, this is a wonderful character study of Bobby Dupea (Nicholson) who seems to have everything: musical talent, education, supportive family - but who, as the by-line says "is never satisfied".
His father's illness forces him to return to the family home on Puget Sound, bringing his girlfriend Rayette (beautifully played by Karen Black).
Not even the fact that Dupea is played by the great Jack Nicholson can mask the truth that the movie which tells his story is downright dull.
And this is still a boring movie.Jack Nicholson is certainly one of our finest actors and he does the best he can here but this film just isn't salvageable.
But he doesn't live the piano man's life and I guess there is supposed to be some conflict, but many people have talents they don't take to the next level, etc.This movie was nothing special, if you ask me, other than a highly recommended and lengthy waste of time..
And I know the arguments about 'life not always being coherent or logical', but I think films can be.I also remember rave reviews 30+ years ago concerning the performance of Helen Kallianiotes, playing a hitchhiker.
But in 1970, Nicholson took on a role that would propel him not only toward the Academy Awards, but to movie audiences again with his leading role in Five Easy Pieces.In Five Easy Pieces, Nicholson plays Robert "Bobby" Dupea, a man who's a oil rigger at day and a free-wheeler at night.
The director or even the screenwriters would've thought that by casting an younger actor into this picture might make the audience identify with this person.There's one classic scene that explains entirely the attitude of Nicholson's character.
He is a actor that will do things differently and opposite and as soon as he changes the game, he can be satisfied with what he wants.Besides Nicholson, Karen Black does a terrific job, playing Nicholoson's dim-witted waitress girlfriend.
Even after watching this movie for the first time, I got a sense that the running theme of loneliness that applies directly toward the Karen Black's character.
Five Easy Pieces stands out thanks to a great performance from Jack Nicholson and Karen Black, as well as a great screenplay that refines the rebellious ideas of the times that were prevalent in movies such as Easy Rider.
The film is build as a road movie around Bobby Dupea, a middle-class intellectual turned truck driver and working in the oil fields.
Playing a once promising pianist (his full name is Robert "Eroica" Dupea - he was named after Ludwig van Beethoven's Symphony No. 3, Op. 55, The Eroica Symphony - no more, no less) who chose to abandon his musical family ("Five Easy Pieces" refers to five pieces by Chopin), Jack Nicholson has rarely been better.
The film stars Jack Nicholson, with Karen Black, Susan Anspach, Ralph Waite, and Sally Struthers in supporting roles.The film tells the story of a surly oil rig worker, Bobby Dupea, whose blue-collar existence belies his privileged youth as a child prodigy.
The film was selected to be preserved by the Library of Congress in the National Film Registry in 2000.Summary: Classical pianist Robert Dupea (Nicholson), who comes from a family of musicians, works in a California oil field.
"Five Easy Pieces" is a very unusual film because the star (Jack Nicholson) plays an incredibly unlikable guy.
They are about as unlike him as possible.If a psychotherapist watched this film and wanted to form a diagnosis of the two main characters, they would probably see Robert as a relatively high functioning antisocial personality (meaning, his violations of laws and norms are usually NOT the sort to get him imprisoned) and Rayette as a Dependent Personality.
Five Easy Pieces (1970)Watching this movie, there is no lingering question about whether the studio era of film-making had anything left.
All I saw was Jack Nicholson playing an extremely depressed man, Karen Black dressed up to be made to sexy as his dumb girlfriend and then there was the rest of the cast.
Jack's character, Bobby, is a skilled musician from an upscale musical family who turns his back on all of this to work on an oil rig.
Dupea runs from job to job, woman to woman, town to town.I thought that the movie may have redeemed itself when Dupea visits his sick father, but unfortunately the father couldn't speak, which made for a somewhat one-sided reconciliation.A high point of the film is the classic "chicken salad" scene, about getting what you want.I've enjoyed other movies like Easy Rider and Withnail and I which were also set in the late sixties/early seventies, but both of these movies had a strong rock soundtrack to help them along.
In Five Easy Pieces we mainly have classical and country music.It has been said that Dupea is an archetypal non-conformist character which Nicholson used as a steppingstone to later roles.
We first see Robert Dupea, Jack Nicholson, working on an oil rig and spending his free time with his waitress girlfriend Rayette, Karen Black, at the local bowling alley.
Getting an earful by his relatives about how a great pianist he could have been Robert tries to get away from them, like the dozen or so jobs that he held over the last three years, and ends up between the sheets with family friend Catherine Van Oost, Susan Anspach.
Jack Nicholson's first staring role in a major picture, after being in B-type films for 12 years, and he showed there in the move "Five Easy Pieces" as Robert Dupea.
Jack Nicholson's talented anti-hero and Karen Black's gum-chewing waitress girlfriend lead an outstanding cast in this moving study of unfulfilled lives.
Bob decides to quit his job and travel to Washington state to visit his family, something he hasn't done in years, taking Rayette along with him, expecting virtually nothing from those he hasn't seen or shown much love for in his recent years.Five Easy Pieces explores the uglier side of humans through various characters that lack the ability to see the bigger picture or the perception of those they love.
He defies everything we've presumably learned about treating others with respect and gratitude, and Nicholson, an actor known for rebellious roles and his large personality in films throughout the beginning of his career, is convincing in embodying such a role.Five Easy Pieces comes at a time during in American cinema known as the "New Hollywood" era, when the star system was being put into effect, films were becoming large-scale investments for studios (this particular film cost $1 million to make, a surprising feat at the time), and directors, particularly young ones, were beginning to forge names for themselves.
Not only is the subject matter weightier than what was expected from Hollywood at the time, it's also much more honest and cuts deeper than may mainstream films ever did at the time.Starring: Jack Nicholson, Karen Black, Billy Bush, Lois Smith, and Ralph Waite.
Then after about thirty to forty minutes the film takes a change as we find out that Bobby left a family behind who were all musicians, that's found out during the scene when he meets his sister in the recording studio.
Really all in all the movie is beautiful from the scenes of Jack the way his character is so direct, and his screen time with both Black and Anspach are nice treats.
When I watch Five Easy Pieces, I always am reminded of another classic work of fiction, that of J.D. Salinger's The Catcher in The Rye, I think that Jack Nicholson's character Bobby is similar to a would-be, grown-up Holden Caulfield, if Holden Caulfield was a classically trained musician that is.
Jack Nicholson's character plays an unhappy man working at an oil rig.
This is when the film got my attention.Robert Dupea (the main character) is a man looking for an answer to the questions that plague all of us.
But also, when he leaves that family, he still finds no meaning.People looking for the typical contrived cliches found in movies, such as a likeable main character and a happy ending should avoid this film but if you're looking for an interesting philisophical film then pick this up at the video store..
"Five Easy Pieces" is the best of the six Bob Rafelson pictures that Jack Nicholson has appeared in, and his performance confirmed his star status, laying the basis for the roles of his maturity.
The problem was the main character Bobby Eroica Dupea played by Jack Nicholson.
Nicholson gives a measured and emotional performance as a man who gives off an aura of 'existence precedes essence', rootless and raw.There is a powerful moment in the film where Bobby and his simple and naive girlfriend Rayette pick up two women, one of them (a mesmerising performance by Helena Kallianiotes) completely disillusioned with Western society.
Jack Nicholson is of course known as one of the best actors of his generations and one of the first films to show case his talents was the drama Five Easy Pieces, which earned him his first Oscar nomination.Bobby (Nicholson) is a talented pianist who is running from his past.
Even the house of Bobby's wealthy family was tight and cramped.Looking at director Bob Rafelson's filmography it is clear that Five Easy Pieces is his best film.
There is a good cinematography as it shows off the landscapes or using hand-held cameras when needed.Five Easy Pieces works as a personal drama with a man falling up he his own selfishness and self-destruction, a film looking at family relationships and the differences with class and education, a man's attempting to escape and as a road movie exploring different parts and different elements of America..
In the film's first half hour, Dupea seems like a simpleton who works in the California oil fields, and then comes home and mistreats his girlfriend while downing beers.
Five Easy Pieces is one of American cinema's essential character studies, a brilliant and fascinating look at the life of a young man who sometimes lashes out with a blinding rage at the world and the people who love and care for him.
Bobby (Jack Nicholson) has left behind his talent of playing classical music to become an oil field worker.
Jack Nicholson delivers a wonderful performance -- back when he was still playing characters other than Jack Nicholson -- in this well done but awfully gloomy film from Bob Rafelson.Nicholson plays Bobby Dupea, a worker on an oil rig with decidedly anti-social tendencies, who returns home to make peace with his dying father.
Once there, he's confronted with the cushy, privileged life he left behind, and we learn that he turned away from a promising career as a concert pianist.What I like most about "Five Easy Pieces" is its ambivalence toward its main character.
"Five Easy Pieces" is the story of Robert Dupea, a directionless man who gave up an upper class life with great potential as a classical pianist to work on an oil rig.
His pregnant girlfriend Rayette (Karen Black), comes with him.The strength of this movie is entirely in the main character.
It's an amazing character story: Not feeling comfortable with his elite and artsy family, Robert Dupea (Jack Nicholson) leaves home and starts working as a blue collar worker in search of adventure.
Jack plays Bobby Dupea in this movie, a seemingly tough but sentimental character.
Anyway Five Easy Pieces = Great Movie, Great Story, Jack Nicholson.
"Five Easy Pieces" (1970) is a well-known drama about Robert Dupea (Jack Nicholson) who leaves behind his high society upbringing in preference to being a drifter, working on oil fields and so on.
Bob Rafelson directs this unique character study of Robert Dupea(Jack Nicholson, superb and complex performance) who is a gifted pianist who nonetheless works in an oil field with his troubled friend.
Bobby Dupea (Jack Nicholson) has run away from his promising upscale past living on an idyllic Northwest island as part of a talented family of musicians to work the oil fields of Texas and take up with the trailer park set.
The supporting cast led by Black's Rayette, Billy Bush Green and Lois Smith is outstanding with special mention to some scene stealing moments by Helena Kalliontios as a neurotic environmentalist.Five Easy Pieces is one of the many excellent works that contributed to American Film's last golden age when the play was the thing, speaking to an age of discontent and confusion with ignoble and flawed characters trying to sort out the American Dream on their terms.
The film reflects a moment of transition in American movie-making, looking backward to a decade of experimentation and forward toward the disillusioned, downbeat, post-Watergate '70s, with Jack Nicholson, in one of his definitive early roles, playing the vagabond black sheep in a family of classical musicians, blessed with talent but not with the emotion to interpret it.
Watching it again -- really the best film of Jack Nicholson's career -- makes me realize why: what a great movie!It's interesting to compare Jack Nicholson in this movie with his role in "About Schmidt." Can't you imagine a character like Bobby Dupea getting too old to continue working as an oil rigger in Alaska?
It is fascinating and, ultimately, depressing to witness the greatness of Jack Nicholson's performance in "Five Easy Pieces".
Nicholson seems hopelessly inseparable from the repressed and volatile character he is playing in this film, and thus makes this piece of acting one of his finest.
This movie is a great character study, exploring where Robert came from and how he wound up living such an empty life.
Jack Nicholson and Karen Black star in this movie about a man who feels inadequate and out of place in his life and in his family.
(But I don't know what has been said, as I make it a rule to not read other reviews and not be influenced.) But, as "Five Easy Pieces" is a 1970s classic film, it was on my short list of movies to see and I loved it.
Brilliant.The heart and soul of the film is Jack Nicholson's Bobby.
"Five Easy Pieces" revolves around Jack Nicholson's character Robert Dupea and his relationships with those around him.
In "Five Easy Pieces", Jack Nicholson plays a California oil rig worker, Bobby Dupea, who becomes disenchanted with his job, his closest friend and his girlfriend.
Rafelson's character study about an oil rigger(Nicholson) who returns to his hometown to comfort his dying father, while bringing his waitress girlfriend (Black) along with him while he confronts his rich family.
Nicholson does very well in his portrayal of the character in this Oscar-nominated role, while Karen Black was also very good in this film. |
tt0443676 | Undisputed II: Last Man Standing | Visiting the Russian Federation for a series of boxing matches, George "Iceman" Chambers is subsequently framed for possession of cocaine and sent to prison. There, he discovers a series of illegal full-contact Mixed Martial Arts matches dominated by inmate Yuri Boyka. The prison officials arrange these fights and place large side-bets to make a personal profit, often at the expense of the fighters.Once inside, the warden and legal adviser for Chambers state that if he fights Yuri in the ring, he will likely get an expedited appeal and early release. He initially refuses, but after spending time in demeaning physical labor in the prison's sewer system and experiencing firsthand the brutality of the guards, he reluctantly agrees. He is rescued from both forms of humiliation by a crippled inmate, Crot (Eli Danker). Both fighters train hard for the match, though Chambers still relies on his boxing background while Boyka prepares a series of deadly kicks, throws, and grappling combinations designed to humiliate his opponent in the ring. Prior to the fight however, Boyka's friends force George's cellmate, Steven, who is acting as his cornerman, to spike his water with a light sedative during the fight.During the fight, Chambers is somewhat taken by surprise at the flurry and variety of Boyka's attacks, but manages to hold his own through the first round by keeping his distance, staying calm, and dealing out painful punching combinations whenever possible. At the end of the first round, Steven slips the drugged water into Chambers' mouth and he takes a few sips. During the second round, he starts to lose his focus and begins taking more and more punishment until Boyka knocks him out with a devastating flying kick. Following the fight, Steven kills himself out of guilt.After the fight, Chambers (having learnt of the truth from Crot) confronts Boyka, believing that he was responsible for drugging him, and the warden, for going back on the deal. Boyka coldly tells him that he does not need drugs to win, and the warden denies knowledge of the deal. Upon learning of the truth, Boyka is furious, believing himself to be the first practitioner of the "ultimate fighting form,". Chambers asks for a rematch mainly to ensure his release. He makes a bet that he can defeat Boyka to win his freedom, though the officials also offer a substantial cash incentive to make sure that Chambers trains hard.Chambers seeks help from Crot, who then reveals that he helped train Boyka in his fighting style. Crot is actually a former soldier and martial arts expert who committed murder in order to protect his family. However, he feels this guilt so acutely, as well as a feeling of alienation from his family, that he has resigned himself to permanent confinement. Even so, his desire to see justice for both Chambers and Boyka inspires him to reeducate Chambers in mixed martial arts techniques. Working together, the two practice grapples, holds, and kicks which stretch Chambers' abilities. As the training continues and Chambers improves, the two begin to form a bond and relate their individual philosophy of fighting. Chambers begins to extend his mental discipline from the ring into his private life, while Crot begins catching some of Chambers' ambition, specifically the narrow and slim hope that he might one day be released and reconcile with his family.Near the end of the training, Crot teaches Chambers a devious leg Joint lock designed to end the fight. He somberly instructs Chambers to use it to its full effectiveness if he gets the opportunity. Since Boyka enjoys brutalizing his opponents and other inmates with a passion that borderlines on sadism, and his mixture of personal pride and high tolerance for pain make it unlikely that he will submit, Crot instructs Chambers not to hesitate and to break Boyka's leg to end the fight if he gets the chance. Chambers agrees, but privately believes that he can fight Boyka to a knock-out.Once the fight begins it is apparent to all the viewers that the combatants are much more evenly matched and Chambers is much more impressive in his style. The fight is long and intense, with flurries of combinations, grapples, and throws traded between the two. Eventually, Chambers realizes that Boyka will not lose consciousness, will not submit, and will likely knock him out if the fight goes on too long. Chambers alters his strategy and manages to get Boyka in the joint lock and ends the fight by breaking Boyka's leg, proving that he is the undisputed new champion of the prison.Shortly thereafter, Chambers is released from prison and uses his winnings to buy Crot's freedom as well. In a final scene, he wheels Crot, who is now cleaned up and in possession of several gifts, to a train station to meet with his estranged niece in a happy reunion. Crot thanks Chambers for giving him the remainder of the winnings to start his life again, while Chambers expresses his gratitude for the help and training. Crot then meets with his niece and the two embrace for the first time. | cult, violence | train | imdb | The execution of the fight scenes, the action and stunt sequences are choreograph very nice and hard hitting.The story is not that new to movie-watchers, though there's some twist but still its some kind of a stereotype story...
But if you want hard hitting, bone breaking action entertainment, this one is a must see!The cast especially actors Michael Jai White and Scott Adkins Kicks Ass!
As a martial art practitioner I want to assure the audience that the movie will like to those of you who expect to see a really tough fight!
Even this time the creators made the fight scenes even more interesting, mainly because this time you will see not only clear boxing (as the previous "Undisputed"), but also you'll see very exciting moves by kicks, knees and even grappling.
This time Chambers, unlike, the previous part, will have to face much more devastating opponent in the person of the Russian prisoner Yurii Boika, whose character will take your attention from the beginning of the movie with his splendid moves on the ring.
Those of you who'll watch the movie, expecting something as good as the first part, wont be disappointed at all just because the director presents one well known of the audience Jorge Chambers.
White does a very good acting as well as fighting scenes , while the other character (Boyka) assures the spectacular.
The film will appeal to the masses due to its charismatic leads, impressive fight sequences and its varying plays on the audience's emotions.Regarding Isaac's choice for the lead players: Scott Adkins has the potential to become the next big thing for action movies.
He has the moves, the has the looks and the build and on top of all of that he can act!This film, I think, shows Isaac at his best and I was very impressed!
Michael Jai White was pretty good as the protagonist (certainly uses the expression "F you" a lot), the bad guy was pretty standard but fun, and the Russian inmates were more than just cardboard cutouts.
The other delight about this film is that the the acting was very good, and the ending was a real surprise that elevated the movie from a macho martial arts movie to one that had real emotion and humanity that anyone who still has a beating heart inside of him can relate to.
I did not just like it because I am a martial artist and the fights scenes were superb, I liked it because I was taken in and I began to care about the people and the characters.So many martial arts flicks lack this kind of substance and richness.
Michael Jai White stars as George "the Ice Man" Chambers, played in the original by Ving Rhames.
He's not playing the Wesley Snipes character as we might have assumed, considering White has been rumoured to be replacement Blade for Snipes, and after all Snipes and White are both martial arts demon's.Anyway director Isaac Florentine has always shown a knack for filming fight scenes, without ever really getting the rest particularly right.
Ken Lerner too makes a welcome appearance playing a role we've seen many times before from him, and he of course he'll always be remembered as the agent, Arnold stabs in the back with a pen, in Running Man. Eli Danker is also superb.However the real star of this piece is Scott Adkins, the British born, Kickboxer/Gymnast, here playing a Russian prison tournament champ.
They feel unique too, much down to Adkin's himself but also the great photography, dolly and steadi-cam work.This may have a plot that could have been written on the back of a match box, probably reading something along the lines of "Michael Jai White is forced to fight Scott Adkin's, twice!" However the film looks polished thanks to Ross Clarkson's photography, while Florentine is allowed to show some auterism that many DTV directors for hire aren't allowed to.
Thankfully the cast are good enough to rise above the trite situations which is why it's important in these films to include guys like Ben Cross, who can act.Overall this is a film that will no doubt gain cult status amongst martial arts fan's.
Former heavyweight champion, George 'The Iceman' Chambers (Micheal Jai White, taking over for Ving Rhames) is sent to a Russian gulag on trumped-up charges where he must fight.
Over The Top. Florentine is an absolute genius.This is the best movie he has ever done and if you miss seeing this film you will kick yourself 1000 times over.
Lets just hope you don't kick yourself like this kid Scott Adkins does to Michael Jay White.If you like fights that are totally out of control and awesome this is the film for you.But hold on ladies this one is for you as well.
Undisputed 2 could be one of the best action movies that you never seen.
Micheal is a excellent martial artist and he is a OK actor, I mean he sure is a best action star than those Van Damme and Segal guys and he should be better known.
Scott Adkins is really a excellent fighter and he does have the look and the acting chops to be the next big thing, I mean really there is not really a big action star out there in the USA, I mean Jackie and Jet are getting older and Van Damme and Segal are other there making some movies somewhere and there is Jason Statham who other making some action movies.
The plot deals with Micheal J White character plays George Chambers a ex champion boxer( George Chambers was played by Ving Rhames in the original) who is in other country down on his luck making cheap commercials and going know where in his life and gets convicted of a crime and goes to jail( wow what a day).
Scott Adkins plays Yuri Boyka a Russian mix martial artist fighter who is the champion of the underground fighting ring and soon enough George and Yuri will have to do battle.
Isaac Florentine makes sure the action is shot well and we see all the fights in all their glory and the movie mixes good martial arts and boxing and just good direction (the fight choreographer is J.J.
On my last point why is this director Issac Florentine not better known, I mean i know this director and i know that all his films are lower budget than Hollywood movies are and maybe they suffer from some acting problems and some other issues but they deliver the good with great martial arts and gun battles and Issac is one of the only director in Hollywood that knows how to shoot action ( no camera just jumping around YOU HEAR THAT Micheal BAY).
I hope his next movie which looks freaking awesome will be great and it also stars Scott Adkins which should if all things go right could be his big break through.
His one scene in Special Forces, his first collaboration with Florentine, had more impact.The action is decent and J.J. Perry's choreography is very good.
I know that my muted reaction to the film has a lot to do with coming to the film with too much expectation from the hype, but fights excluded it just isn't very appealing.With notable similarities to Van Damme's In Hell (same prison set, similar themes and scenes)Undisputed 2 doesn't give us enough that's new.
It lacks the stare power of "Undisputed" but the story is just as powerful, though it largely resembles the plot of the original, and the fight sequences give you the rush of the original "rocky" films.
Both Michael Jai White and Scott Adkins have shown their ability to adapt their martial arts background into very believable choreographed fight scenes.
At times I wanted more from the film and in turn, I sometimes the film went beyond its believability, however, all and all, I thoroughly enjoyed "Undisputed II" and I look forward to seeing more from Michael Jai White and Scott Adkins..
Michael White takes over from Ving Rhames in 2002's UNDISPUTED, to play a former boxing champ, "Iceman" Chambers, who finds himself locked up in a Russian prison on phony charges.
The purpose is to get Chambers to fight the prison's undisputed champ, a big bully of a guy named Uri Boyka (impressively played by Brit thesp Scott Adkins).
This film, like the original, is heavily padded with sporadic fight scenes and other bits of business like Chambers ending up in solitary with rats for cell mates and later being staked out in the bitter-cold prison yard.
I absolutely love every film Scott Adkins has a major role in and i thought Micheal Jai White was fantastic as Spawn so i was definitely satisfied with this well made low budget martial arts film.Where many feel the martial arts films of the 1970's and 1980's was the prime age of karate movies i disagree and believe the newer martial arts films are far better.Look at Ong-Bak, Fearless, The Protector, Unleashed, Kung Fu Hustle, The Transporter, Transporter 2, and this film Undisputed:Last Man Standing.While i'm not an enormous fan of martial arts movies i do watch them a lot due to my karate obsessed friend.Today he and I watched Undisputed:Last Man standing and I'm surprised at the quality work put into this low budget movie.The storyline makes you root for Micheal Jai White as he's framed and put into a Russian prison, there he is forced to fight a dangerous man in a mafia run UFC for prison inmates.This film focuses on the morality of selflessly helping others in need even without gaining anything but that feeling that you've done good, it's overall a very uplifting movie that is more than pointless violence.The fight sequences are amazing as Scott Adkins shows off his stuntman skills with fast paced grappling, punches, and of course his signature spin kick.The actual fight scenes are shot at normal speed but when a punch or kick connects it freeze frames just as the shot connects and returns to normal speed a very exciting film technique that shows off some great karate moves.The dialog is solid and the lines that are meant for comic relief are actually funny (a rarity with any film today)not to mention the very British Scott Adkins putting on a very believable Russian accent and playing his character to perfection, in fat all the actors played there characters to perfection.If Undisputed:Last Man Standing received a theatrical release it could probably hold it's own against big budget martial arts films like The Transporter or Dead Or Alive.The flaws are in the pacing and a few of Micheal Jai Whites fight scenes without Scott Adkins as his attacks look very phony and the reactions are far too over the top but overall this is another good martial arts film that the year 2006 has to offer I now await the next martial arts movie Rogue..
As a fan of the (TV) martial arts skills of Wesley Snipes in his previous roles, the first instalment of this franchise was good, but not great.Add Scott Adkins with his (real) martial arts skills and (real) scary persona, and you have a great second instalment to this franchise!Everything about this film was top notch, the action, suspense, directing, writing, and of course the outstanding martial arts choreography.Undisputed 2 has set a new modern standard for bad-as* martial-arts films!A perfect 10/10!.
Martial arts movies like this had it's glory in the late 80's and 90's, with tons of titles of both great, good, mediocre, bad and terrible quality.
The first "Undisputed" movie starred Wesley Snipes and was a straight up boxing film.
"Undisputed II" is more of a mixed martial arts film even though Michael Jai White plays an American boxing champion.
Since this movie has been out for a little while I'll spare you the plot details and just tell you that Scott Adkins is awesome; you won't believe some of the kicks he pulls off in this.
Michael Jai White is awesome; one of the most underrated martial artists in the movies today.
And "Undisputed II" is one of the best martial arts movies I've seen in recent years.
The fight scenes are very well done and it's obvious that a martial artist directed this movie.
It's got two incredible lead performances from both Michael Jai White and Scott Adkins, a great plot that moves along quickly, and the fight sequences are out of this world.Scott Adkins was born to play Boyka, and he is absolutely amazing to watch in action.
Michael Jai White is also in tip top form in this movie and although he does have to reign in his kicking skills (he's just a boxer in this film), he still shines right alongside Adkins.A brilliant martial arts film and one of my all time favorites.
As for the acting, it's decent, not award winning, but gets the job done.To sum up: Undisputed II is a pretty entertaining prison/fighting-movie.
Looking forward to watch Undisputed 3 - redemption soon.Plot is brilliant and really impressed with Michael Jai White and Scott Adkins acting.
It has more bone-crunching fights.The plot: Heavy-weight boxing champion George "The Iceman" Chambers (White) is once again thrown in prison after being framed.
It had a great cast, an excellent story, and first-rate editing, definitely one of the better boxing movies in my opinion.
Great Mixed Martial Arts - this movie has some great features in the fights, quick camera shots some awesome details on the hits.
The actors was well picked, Scott Adkins as Boyka that man has potential for other great movies.
All the fights scenes were brilliant and none of them used wires, which was good to see because most films use them now a days.
Michael Jai Whte and Scott Adkins produce some amazing fights scenes, show some amazing moves and both act very well.
This film is great to watch with it's amazing fights scenes which will keep you amazed through out the whole of the film and it is the perfect film for people that love martial arts and fighting..
Undisputed II: Last Man Standing is the best fight film I've seen since "Fight Club".
These two characters played their roles marvolously, both knowing that they are bad mofo's, the only difference is that "Boyka" has a need to be viewed as the best fighter ever so he can be the top dog in the prison earning him power and respect; Whereas "Iceman" truly lives up to his name and believe me when I say I don't think there was one point in the movie that he ever doubts the fact that he doesn't give a "F" who you are or how tough you act because this guy would have made Mike Tyson crap himself in his prime.
Although the title role of Iceman is changed, I felt Michael Jai White's performance was excellent for this film.
This sequel has everything from the fight sequences to the characters done much better than the first "Undisputed".
I just don't get why they had to use the character George "Iceman" Chambers from the first movie in this one who was first played by Ving Rhames.
Now I am not a big fan of this actor but I liked his presence in some of his past action movies.
Michael Jai White and Scott Adkins produce some amazing fights scenes, show some amazing moves and both act very well.
The second of the UNDISPUTED franchise, LAST MAN STANDING sees B-movie action specialist Isaac Florentine taking over from Walter Hill for what is a very different beast to the first.
Gone are that film's cast, with Michael Jai White playing the hulking hero and taking over from Ving Rhames who played the same character in the first.
Jai White is okay as the hero, although his character is perhaps a bit too hard to be very sympathetic, but then-newcomer Scott Adkins is the stand-out as his opponent, the Russian beast Boyka.
The first thing this film did right was replace Ving Rhames a non professionally trained fighter with Michael Jae White an actual actor trained to fight.The second was to change the fighting from just boxing to MMA instead, this allows for more variety and for it to stop it being rocky in prison.The Third was casting Scott Adkins as the Yuri "the most complete fighter in the world" Boyka, Adkins fights the role being an MMA trained fighter.The story is better, the Characters are more developed and the fighting is more real than the first, the shots are held and look if not are genuine.The Plot shows George Chambers going to prison again, but this time it's more clear why he's going to jail and that he's innocent, he stirs trouble when he's challenge by Yuri Boyka, of course he refuses to fight,but is forced to, otherwise he stays in jail, losing his cell mate who he becomes friends with in the process after he was forced to betray him, joining forces with a Russian prisoner bound to a wheelchair who you become attached to as he tells his story of giving his life for his brother, and that he doesn't want his niece to know of his existence.Not as good as Undisputed 3 but still holds its own as a great film..
Michael Jai White is very good as Chambers.
The fights between Adkins and Jai White deliver in a big way.
Martial art fans or people who just love fights will enjoy this one.7.5/10.
Michael Jai White, if you like his role in this movie you love all of his previous action movies,because he's always mad,narcissistic and boring and this is no different.I really think the writers did a great job in copying the movie (in hell), because both main characters are wrongfully get thrown in a Russian prison both are forced to fight and both refuse and are tied to a post in the snow for refusing.....wow, really good copying. |
tt2333784 | The Expendables 3 | An armored train is taking a fugitive to the Denzali prison. Hot on their trail are 'The Expendables', flying in a chopper piloted by leader Barney Ross (Sylvester Stallone). The gang has set up a wire a few miles down the track. Lee Christmas (Jason Statham), Gunner Jensen (Dolph Lundgren), and Toll Road (Randy Couture) start shooting at the guards, who fire back. The three of them hop on the roof and start fighting with the guards, when Christmas goes inside the train and retrieves the prisoner, a man they call Doctor Death (Wesley Snipes). Christmas frees him and tries to get him out, but Doc stops to stare at a portrait of a general. They get to the roof of the train again, but Doc has other plans. He runs to the front of the train, killing every guard in his path, and he steers the train directly into the prison, killing the general and blowing up the whole place.Doc happens to be a former Expendable, as he tells Gunner and Road. He killed a whole mess of people, but he was imprisoned for tax evasion (an allusion to Wesley Snipes's legal problems). Gunner hands him his knife so that Doc can shave himself. He then walks to the cockpit to talk to Barney. Even though Doc is eager to go home, Barney informs him that he and the team need to locate an arms dealer named Victor Min, who is unloading a shipment of bombs. To persuade Doc to join, Barney hands him a bag of knives, which all belong to him. Doc is pleased.The Expendables arrive in Somalia, meeting up with Hale Caesar (Terry Crews). Together, they sneak through the docks to find their target, shooting at the thugs they come across. They spot a chopper coming down, and out steps a man named Conrad Stonebanks (Mel Gibson). Barney and Doc are shocked to see him, as he was believed to have been dead, and they begin to open fire without warning. Stonebanks and the thugs fire back, leading to a chase through the docks and a warehouse. Road, Caesar, and Gunner shoot at the thugs, who chase them with bigger firearms, including a grenade launcher. The team manages to evade the pirates, but Stonebanks gets away on his chopper, flying over the warehouse. Stonebanks aims his rifle at Barney, but then moves to Caesar, shooting him in the leg and then in the back. He then drops a bomb down on them, forcing the team to jump into the river as the bomb goes off.The team tries to tend to Caesar's wounds, but can't do much for him. They take him to the hospital, where Barney leaves him with his lucky ring. The rest of the guys go to a bar, where Barney decides he has to leave his friends behind so that they don't get hurt. He leaves the bar, with Christmas running off to convince him otherwise, but Barney's mind is made up.Barney goes to Las Vegas to meet with an old friend, Bonaparte (Kelsey Grammer) with the intention of recruiting new, younger team members for The Expendables. Bonaparte agrees after learning that Stonebanks is alive. Their first stop is in Wyoming, where they meet Thorn (Glen Powell), who has good computer hacking skills. He is introduced when he is seen climbing rocks, and then jumps off with his parachute. Barney and Bonaparte then head to New York and go to a nightclub and meet the hostess, Luna (Ronda Rousey). Barney witnesses her in action when she beats the crap out of a few guys causing trouble. The next guy is named Galgo (Antonio Banderas), who faked his resume to get in. Bonaparte rejects him after hearing that his last team let him go, despite Galgo pleading and insisting he has exceptional combat and weapons skills. Barney and Bonaparte continue at an air base in California, meeting Mars (Victor Ortiz). He's good with weapons, and Barney instantly likes him. The last guy on their list is found fighting in Mexico. His name is John Smilee (Kellan Lutz). He's got a hothead attitude and doesn't care to listen to what Barney has to offer him, but then decides to join. Barney gathers the new recruits and shows them off to his old friends before departing with them to get Stonebanks. The old team sees the young guys (and lady) as amateurs.Drummer informs Barney that the CIA wants Stonebanks alive for him to be tried in court at The Hague. With Trench, Barney flies with the young recruits to locate Stonebanks. Smilee asks Barney why they're hunting Stonebanks down. Barney hands him a folder that depicts the number of war crimes and atrocities committed by Stonebanks. The team drops down in Romania and spends time spying on Stonebanks during his trips to make art purchases, learning that he is planning to make a deal with another arms trader.Thorn comes up with a carefully orchestrated plan in which the team would take out security and surveillance before getting Stonebanks, which is a better plan than what Barney would have come up with. The team infiltrates a warehouse where the trade is going down. They shoot through any thug standing in their way before they capture Stonebanks. They take him away in a van, where he admits to being rather surprised at the new team's work. It is revealed that Stonebanks was a co-founder of The Expendables with Barney, but he went bad after deciding he wasn't satisfied with the jobs he and Barney took on, deciding to make better money by doing dirty deeds. Stonebanks eggs Barney on to try and kill him, knowing he won't do it. Outside, his thugs come down from a helicopter and shoot a grenade at the van, causing it to crash and throwing everybody out of the van. Barney gets up and reaches for a gun to kill Stonebanks, but one of the thugs fires another grenade, throwing Barney off the bridge and down into the ravine. The thugs almost execute the rest of the team, but Stonebanks wants them alive.Barney meets up with Trench and is shown a video sent by Stonebanks of Thorn, Mars, Luna, and Smilee all captured. He taunts Barney, knowing he will try to come and get them back. As Barney plots his rescue mission, he is found by Galgo, who somehow managed to locate him. Barney allows him to come along, and is then joined by Christmas, Road, Doc, and Gunner, since they are the only ones crazy enough to follow him into this mess. On their trip, Barney learns from Galgo that his team did not drop him, but they were killed on their last mission.The team finds the building where the recruits are being kept. They find them and cut them loose easily, but as Conrad had anticipated this, he wires the whole place with C4 explosives to go off in 45 seconds. Thorn uses a battery-powered device to bug the signal, stopping the clock at 9 seconds. They head out to find Stonebanks, but Gunner and Road continue to antagonize the recruits. Barney tells them to shut up because this type of conflict is exactly what Stonebanks is expecting. They resolve to work together and fight back.And so, another round of ass-kicking and gunfights occurs. From outside the building, Trench shoots from a helicopter with Drummer flying it, along with returning Expendable Yin Yang (Jet Li) shooting at the thugs as well. Smilee beats up some thugs and takes their motorcycle. Luna fights off and shoots thugs, impressing Galgo, who starts flirting with her. Even Galgo himself proves his worth by shooting thugs. Everybody else has their hand in killing every last man in the place. The Expendables and recruits make it out to the chopper (complete with Trench shouting the famous "GET TO DA CHOPPA" line). And then, it all comes down to Barney and Stonebanks, facing off for the last time. The two engage in hand-to-hand combat, before Barney manages to shoot Stonebanks dead for good.The battery on the device drops to 0%, causing all the explosives to start going off. Barney races to the roof to catch the chopper, as the whole building starts blowing up beneath him. With mere seconds left, Barney leaps off the roof and grabs onto a rope hanging from the chopper, and everyone cheers.Later on, Caesar has made a full recovery and rejoins his friends at a bar. The four recruits are made official members of The Expendables, along with Galgo, who is ecstatic. Luna goes over to kiss Barney on the cheek for caring for them, and Smilee has a bit of banter going on with Barney, suggesting he may become the next leader. Barney tells him to keep dreaming. Christmas and Doc throw knives at the dartboard to see who's better. They both hit the bullseye, but Doc's knife falls off. The four recruits then go up onstage and sing karaoke to Neil Young's "Old Man". Barney watches them, which Christmas says looks like a "proud demented father." He jokes that it's a compliment. | murder, revenge, humor, comedy, violence | train | imdb | null |
tt1564585 | Skyline | As the film opens we see falling blue lights, like flares, raining down on Los Angeles at night time, evenly spaced over the terrain. Then we see young couple Jarrod (Eric Balfour) and Elaine (Scottie Thompson) being woken by blue lights outside the window shining through the slates in the blinds. Elaine thinks it is morning, and she gets up and goes to the bathroom to throw up. When she returns to bed the room starts shaking and Jarrod goes to the window to lift the blinds and find out what the ruckus is. An anguished shout from the next room stops him, and Jarrod goes out to find Denise (Crystal Reed) crying that the lights took Ray (Neil Hopkins). The blinds are up here, and the door is open, and as Jarrod looks at the blue light shining in the room blue/black veins start to grow all over his eyes, cheekbones and shoulders, and his eyes go mottled-opaque. Terry (Donald Faison) and Candice (Brittany Daniel) are also woken, and go into the living room where the lights are. Jarrod starts to move mindlessly towards the light.15 hours earlier. Jarrod and Elaine arrive by plane from New York to visit Terry, who is a childhood friend of Jarrod and is now doing extremely well for himself by working for a special effects company, for his birthday. Terry has them met at the airport by a limo and once they arrive at the apartment Terry shows them their room, introduces them to Candice, his girlfriend and Denise his PA (personal assistant), shows them around, and they go to the building swimming pool to party and get drunk. Elaine, Candice and Denise look on at their men getting drunk and acting crazy like two overgrown teenagers. They notice Homeland Security helicopters flying over their building and across the nearby marina. Terry checks the news on his portable iPad but it appears there is nothing out of the ordinary.That evening, everyone celebrates Terry's birthday by holding a big party at his penthouse apartment. At one point the building manager, Oliver (David Zayas), comes and asks them to keep the noise down as there have been complaints.Ray, a business associate of Terry's, lets the cat out of the bag that Terry wants Jarrod to move to Los Angeles and work with him, doing visual effects. Jarrod does not seem keen but Elaine is angry and upset. Later on, she tells Jarrod that she is pregnant, upsetting him; he says that he is not ready for that and she agrees. After they make up, Jarrod and Elaine find out that Terry is cheating on Candice with Denise. Elaine wants to tell Candice, but Jarrod, wanting to protect his friend, tells her to stay silent.Day 1: 4:27 a.m. Opening where the movie began, we see the blue lights falling from the sky, one of them landing in the courtyard outside the high-rise apartment building, and Ray being taken, this time from Denise's point of view. After they drag Jarrod away from the lights the veins go away, although that's clearly a painful process, and he can't see properly while it's dissipating. Then, the blue flares take off back into the night sky.Terry and Jarrod go up to the roof to see what is going on. Terry takes his revolver and Jarrod takes his camera. They meet Terry's elderly neighbor Walt (Robin Gammell) in the hall with his dog, and tell him to return to his apartment. Back in the apartment, the ladies try to find information to what is going on, but all the TV channels have no signal, and all news stations show empty studio sets. Elaine tries calling her mother in New York, but only gets her voice mail.On the roof, Jarrod lets the security door close behind him so the guys are trapped on the roof. It is dawn, and they see huge clouds rolling in to Los Angeles, with flickers of blue lightning, and the blue flare lights return back to the ground. Then, descending from the clouds is an armada of large alien spaceships of various shapes and sizes, all over the city. The spaceships suck up clouds of dust, and Jarrod uses his Canon EOS camera to shoot pics; they realize the 'clouds' are actually thousands of screaming humans being sucked into each ship by a vacuum in the blue lights. Then they see dozens of smaller flying alien drones emerging from the ships and flying all over the city. A flying alien drone appears over the edge of the roof and the guys are nearly caught by it's ray-like blue light. Terry shoots the door handle so they can get back into the building, to no avail, but Elaine arrives and opens it from the inside and saves the guys. Elaine looks in the blue light from the flying drone alien and gets veiny, but Jarrod carries her back to the apartment with Terry.Everyone looks at the images and is horrified. Candice looks at the rest of the images on the camera, and someone has taken shots of Terry and Denise having sex. She is pissed off, but stays silent.Looking through the telescope, the crew sees that there are no lights, ships or aliens over the ocean. Terry's plan is to drive to the marina, get in his boat, and get away from the city. Elaine tries to persuade everyone to stay in the apartment and wait until someone comes, but she soon relents and agrees to go with Terry's plan.Terry goes to Walt's apartment to get his keys so they can have two cars. While talking to Walt, a flying alien drone hovers outside the window and sends tentacles in to search the room. Walt's persistently barking dog gives Walt and Terry away, and Walt (and the dog) are grabbed and sucked up by the flying drone. Terry gets away, with the Mercedes keys. He gets the others from his apartment and they all take the elevator to the underground parking garage.Terry and Denise take Terry's Ferrari, while Candice drives Elaine and Jarrod in Walt's Merc. On the way out they meet a bickering couple, Colin (J. Paul Boehmer) and Jen (Tanya Newbould), packing their car and also attempting to flee the building. Terry leaves the car park first, but the car crushed by a stomping alien standing over 20-feet tall. Denise is killed, but Terry falls out of the car and tries to get away, ineffectively shooting the "stompy" tanker alien with his weapon. Jarrod leaps out and pulls Terry to safety, but the stomping tanker shoots out a long multi-tongued appendage and sucks Terry back to it's grasping claws and seemingly consumes/eats him. Elaine pulls Jarrod back in to the car, and Candice backs it up while stomping alien tries to get in to the car park. While fleeing back into the garage they encounter a multi-blue eyed, squid-like alien life form (resembling a cross between the aliens in 'Independence Day' and the bio-mechanical flying robots from the 'Matrix' movies). It takes Colin into its tentacles after paralyzing him with its own blue light. It corners the rest of the group and affects Jarrod with its blue light. Then suddenly the building manager, Oliver, slams into it with an SUV. Oliver and Jen pull Colin out covered in black goo and gasping for air. However the squid alien is not dead, and a tentacle sucks onto Colin's head and pulls out his brain, brain stem, and part of his spinal column and puts the brain into its own head... as if recharging itself with the human brain like a new battery. Oliver has the keys to the building so he hurriedly opens an internal security door and the rest escape through it.The group runs out of the garage and past the swimming pool, making for the back gate entrance of the building. But the two-legged alien stomper ambushes them, shooting three sticky tongue-things at them and stomping everywhere. He snags Jen and engulfs her. The rest discover a second stomping tanker heading from the other side of the building. Trapped between the two alien tankers, Oliver breaks a glass door and they head back inside and climb back up the fire stairs to Terry's apartment to regroup.The trembling and immature Jarrod is upset that he let Terry go and didn't save him. Elaine is upset that no one listened to her and they made a pointless effort to escape from the building that cost lives. Candice takes the time to light herself a cigarette, but Elaine asks Candice not to smoke, because she is pregnant. Elaine is worried that the veiny-thing blue-light has permanently affected their bodies and what that might do to her baby. Jarrod pulls up his shirt and sees that he has veiny-things on his abdomen that aren't going away. Oliver and Jarrod barricade the front door and keep watch while the women sleep. They hang out there a for the rest of the day. That evening, through the telescope, the crew see the military begin to fight back in the streets with tanker and hydra aliens. A few hours later, the water is cut off.The next morning (Day 2), the four survivors (Jarrod, Elaine, Oliver, and Candice) debate over what to do next. Jarrod wants to make another attempt to get to the marina to find Terry's motorboat to escape. Oliver is against this as is Elaine and Candice, reminding him that even if they did get to the boat and escape from Los Angeles, they ask Jarrod where would they go for they must consider that this alien invasion is happening all over the world since there has been no news on the TV, radio, or Internet since yesterday morning. Jarrod stubbornly doesn't seem to care and just wants to get out of the building and away from there... despite no plan at how to get away or where to go.The group's debate is interrupted when they hear the sound of flying jets overhead. Looking out of the window, with Oliver manning the telescope and the rest watching on the flat-screen TV set, they see that all of the other alien ships have departed, save for one big one hovering over downtown L.A. The US Air Force has launched a counter-attack against the aliens. They watch a large squadron of several dozen unmanned Predator drones, armed with air-to-air sidewinder missiles, escorting a handful of unmanned Stealth bomber drones, flying towards the large hovering alien spaceship which is presumably the mother ship. Hundreds of alien drones fly out of the alien ship and engage the Predator and Stealth drones in a huge aerial battle (resembling hornets or wasps protecting their hive from a enemy swarm of other insects). Many Predator, Stealth and alien drones are destroyed; the group notices that the flying alien 'Matrix-esq' drones do not appear to have any weapons such as laser cannons or missiles, but they seem to crash themselves into the unmanned aircraft with little or no regard for their own well being.Most of the Predator drones and Stealth bomber drones are destroyed in the dogfight, until a single surviving Stealth bomber gets through the carnage and fires a missile at the alien ship before it is destroyed as well. The missile hits and explodes inside the large alien ship.... in a massive nuclear explosion, creating a massive shock wave. Out of the mushroom cloud, the alien ship is blown apart and crashes into the ground. Everyone hugs and laughs with joy at the burning hulk. Then... looking through the telescope, Jarrod sees the ruins of the ship as it glows with a blue light. Thousands of drone, tanker, and squid aliens crawl out and begin to swarm all over the city. As the smoke from the mushroom cloud clears, the group watches with disbelief as the alien spaceship slowly rises back into the air and all of the broken-off pieces rise with it and slowly re-attach themselves... self-regenerating. A couple of the blinds fall down and Oliver and Candice tape up sheets over the windows with duct tape so the blue lights from the alien ship will not affect them.Then, the group see a military helicopter deposit soldiers on a nearby building rooftop. Jarrod decides to take Elaine and go to the roof and get rescued by the military. Oliver tries to stop them but Jarrod gets very violent and veiny: he says he feels powerful from the light, and he will not leave without his family. Elaine says she trusts him, and they leave.Candice sees the blue light of the large regenerating ship through the telescope and goes veiny. She opens the door and walks out and gets taken by a squid alien that is climbing up the side of the building. Oliver tries to stop her, but fails, and barely escapes himself. The squid alien that consumes Candice is blown apart by a rocket fired by the soldiers on the roof of the nearby building.On the roof, Jarrod and Elaine see that the soldiers are from a U.S. Navy fleet that has arrived off-shore. In the distance near the ruins of downtown L.A., the alien spaceship, surrounded by blue light, continues to slowly repair itself. They witness another huge aerial battle as U.S. Navy jet fighters appear and battle stomping tankers and flying alien drones, with little success. A military helicopter that Jarrod and Elaine try to wave down gets tongued and destroyed by another tanker alien that scales the other building. The tanker is blown down from the building by a rocket fired by the soldiers, but it gets back up and begins to climb up the side of the building towards the apartment.With the windows and shades now blown out and nowhere to run or hide, Oliver gives it all up as hopeless. He turns on the gas stove and lets it accumulate. When the tanker alien reaches the apartment and tries to tentacle him, he flicks a lighter and blows himself and the alien up.When Jarrod and Elaine see Oliver's fireball from the rooftop, they realize it's clear and hopeless as the aliens are unstoppable.Jarrod and Elaine turn around to go back downstairs, but there is a squid alien in the stairwell blocking their path which bursts through the fire door at them. Jarrod tries to fight it off with a fire axe while Elaine escapes. When Jarrod chops off one of the squid alien's tentacles, it picks the severed piece up and re-attaches it. The squid alien stabs Jarrod in his right leg which enables it to try hook another one of it's tentacles to his head as it apparently prepares to consume his brain too. As he writhes on the rooftop, Elaine grabs the axe and hacks the alien's brain out. But even without it's brain, the squid alien still won't die and it turns to concentrate on her; while it is distracted Jarrod bashes its head in with a cinder-block, then his fists, then he starts pulling black gooey brain matter and membrane out with his bare hands in slow-motion apparently killing it for good.Elaine and Jarrod are still on the rooftop surrounded by more flying drones, squid and hulking tanker aliens and they climb higher trying to find any safe place. They are confronted by a burned tanker alien (the same one that Oliver attempted to destroy by blowing up the apartment), burned to a crisp. Just then, a F-22 fighter jet, hit by another flying alien drone, crashes into the tanker and takes it out just before it gets Jarrod and Elaine, who end up lying on the helipad at the very top of the building as the large alien ship, now having completely repaired itself, slowly cruises over the building. Many more alien ships return and begin releasing their blue lights and vacuuming up the few surviving people in the city. Exhausted and seeing that the aliens have totally defeated the military and all of the U.S. Navy ships off shore are on fire and sinking, Elaine and Jarrod can run no longer. Giving up as hopeless, they both look up at the hovering spaceship and go veiny. They kiss and hold each other as they are sucked up into the ship.Next, there is a montage of shots of global cites all in ruins with alien ships over them (New York, London, Hong Kong, Los Angeles, etc.). There appears to be no way of stopping the alien invasion. It is very clear at this point that humanity is doomed. The aliens have won.Day 3. Elaine wakes up in the alien ship inside a dark chamber, covered in black tarry goo. There are dead people and tentacles everywhere, the former having their brains sucked out by the latter. The brains move through tubes further into the craft. The headless bodies are dropped into a pool of liquid far below. Elaine crawls through bloodied and gooey dead human bodies looking for Jarrod. Just as she finds him his brain is sucked out by a tentacled machine. She is upset. As she is about to have her brain sucked out a tentacle realizes Elaine is pregnant. She is sucked into a larger tube.The sucked-out brains come to a place where new, sloth-like creatures are made; they're just waiting for a human brain. Most brains are blue-green colored, but one arrives that is orange/red (from the timing we are led to believe this is Jarrod's). The alien entity which receives it convulses and is overtaken with Jarrod's consciousness. It is upset at being an alien in a world of goo and rampages a bit.Elaine is spat out into a different chamber full of other pregnant women and is covered with tentacles which are presumably going to do unspeakably horrid things to her, as the other women are screaming in terror. Jarrod-alien hears Elaine's voice and crashes through the wall, fighting off the tentacles and saving her. He touches her stomach, we hear a rapid heartbeat, he strokes her face with his new, three fingered paw. Elaine recognizes the alien as Jarrod. Jarrod-Alien rises up triumphantly, standing guard over his love. He picks her up and holds her as more alien tentacles converge on him.On this cliffhanger note, the movie ends with a series of still images between the closing credits that depict the new "Jarrod" protecting Elaine and their unborn child from other aliens. Eventually alien "Jarrod" defeats them, picks his wife up, and runs off with her into the bowels of the alien spaceship. | psychedelic, suspenseful, action, boring | train | imdb | null |
tt0259446 | My Big Fat Greek Wedding | 30-year-old Fotoula "Toula" Portokalos (Nia Vardalos) feels that she is the only woman in her family who has "failed" at being a typical Greek girl. Her family expects her to be more like her 33-year-old sister Athena (Stavroula Logothettis) and marry a Greek boy, make Greek babies, and "feed everyone until the day she dies." Instead, Toula is stuck working in the family restaurant in Chicago, "Dancing Zorba's." Frumpy and cynical, she fears that she is doomed to be stuck with her life. One day while at the restaurant, Toula briefly becomes enamored with and embarrasses herself in front of Ian Miller (John Corbett), a handsome school teacher.
An argument with her overly nationalistic father Gus (Michael Constantine), who wants his daughter to marry and settle down with another Greek or man of Greek origin rather than pursue a career, causes Toula to want her own life away from the restaurant and her intrusive family. Gus refers to anybody who is non-Greek as "Xenos". After some persuasion by his wife, Maria (Lainie Kazan), Gus reluctantly permits Toula to begin taking computer classes at a community college. Toula trades her glasses for contact lenses, curls her hair, and begins to wear make-up, improving her confidence, mood, and self-esteem. Armed with her skills, Toula convinces her mother and her Aunt Voula (Andrea Martin) to get Gus to allow her to work at Voula's travel agency instead of the restaurant.
Toula does better in her new job, catching the eye of Ian, who is smitten with her. Despite Toula being shy whenever she sees Ian, they introduce themselves, date, and fall in love. Toula tries to keep the relationship secret from her family, until Gus finds out due to the closeness of the Greek-American community. He throws a fit because Ian is not an ethnic Greek, and he orders Toula to end the relationship and tries to set her up on dates with Greek men, but Ian and Toula continue to see each other, against Gus's wishes. Ian proposes to her, and Toula accepts. Gus is hurt and infuriated, feeling that his daughter has betrayed him. Ian, wanting to be with Toula, agrees to be baptized in the Greek Orthodox Church, an act which earns Gus's grudging respect and the acceptance of the rest of the family.
Obstacles start to occur during the planning of the wedding, as Toula's numerous relatives "helpfully" interfere by imposing their ideas into her planning. The situation reaches its head when Gus and Maria invite the entire family to what was meant to be a "quiet" introductory dinner with Ian's demure and private parents, and the evening is a failure.
The wedding day dawns, and though Toula is nervous, the traditional Greek wedding goes without a hitch. At the reception, Gus gives a speech accepting Ian and the Millers as his new family. As his wedding gift, he presents the newlyweds with a deed to a new home. Following the reception, Toula and Ian drive away to begin their married life.
An epilogue shows the couple's life six years later. They have a daughter, who complains that she would prefer not to go to Greek school. Toula placates her by assuring her that when the time comes, she can marry whomever she wants. As they walk towards Greek school, it is revealed that their home is next door to that of Toula's parents. | comedy, humor, entertaining, romantic, flashback | train | wikipedia | This film is a celebration of life steeped in tradition, family, love and just the joy of living; and it invites you to come in and participate in that celebration, rather than leaving you on the outside looking in, as it were, merely as an observer.
A film that seemingly welcomes and passionately embraces all that is good and worthwhile in the world, `My Big Fat Greek Wedding,' directed by Joel Zwick, will make you laugh and make you cry, but most importantly, it will make you `feel.' It's one of those rare cinematic experiences that afterwards makes the sky seem bluer, your step a bit lighter and a smile easier to come by; and when a film can do all of that, you know you've come across a bona fide treasure that you're going to hang onto for a long, long time in your memory.
Toula Portokalos (Nia Vardalos) is thirty years old, lives with her parents in Chicago and works in the family restaurant, `Dancing Zorbas.' Every facet of her life is imbued with all things `Greek,' and by proclamation long since issued by her father, Gus (Michael Constantine), Toula is bound by all that is `holy' (read: `Greek') to marry a Greek, live a Greek life and bear many Greek children.
For her to even think of doing otherwise would be unfathomable, unthinkable, unimaginable and, well...'UN-Greek.' So it becomes something of a conundrum for Toula when she meets and becomes interested in a man named Ian Miller (John Corbett), a guy who is decidedly NOT Greek in any way, shape or form.
And Zwick sets it all in motion by establishing a pace that will sweep you along with the story; a carousel ride that will keep you involved and smiling all the way to the end.Nia Vardalos certainly captures the essence of all that is `Greek' with her story, and with her affecting performance as Toula.
This is a young woman you get attached to very quickly; there's something of Benny, from `Circle of Friends' about her, as well as Muriel, from `Muriel's Wedding.' It's a character your heart goes out to immediately, one to whom you wish all good things will come.
Of all the actors in this wonderful cast, however, the one who absolutely steals `My Big Fat Greek Wedding,' is Michael Constantine, who has the role of his career in Gus, and without question, makes the most of it.
From his overabundance of Greek pride to his many and varied personal peccadilloes (like his ever-present bottle of Windex, which he is convinced can cure everything from a minor scrape to the common cold), he simply gives the performance of a lifetime; and if there is any justice in the whole `Greek' world, Constantine-- and this film-- will be duly remembered at Oscar time.
I think people who gave this move bad reviews just didn't get it, because, they are not around or live inside the world of a Greek family.
My Big Fat Greek Wedding is a very simple, funny romance story that would probably be most appreciated by female audiences.
Nia Vardalos (the film's writer and star) is Toula Portokalos, a quiet young woman from a zany Greek family.
Toula's upbringing has only allowed her to look forward to one thing at this point in her life: get married to a nice Greek boy and have lots of babies.
She stops working at her family's resturaunts and starts taking computer classes at the local college, which lead her not only to a better appreciation for herself, but leads to a job at her aunt's travel agency where she meets Ian Miller (Jon Corbet), and that is where our story begins.Toula and Ian are in love, really very much so.
Everyone was fantastic in this film, especially Lainie Kazan as Toula's mom, Michael Constantine as her father, and the wonderfully hilarious Andrea Martin as Toula's Aunt Voula.I don't know the reason for so many negative reviews for this movie.
I would say it was probably the best movie I saw in 2002, and one that I have seen many times since just because it a lovely little (and funny) story about a girl in love..
"My Big Fat Greek Wedding" happened due to good timing and lots of luck.
Easily one of the most successful films of all time financially speaking (based upon the bargain basement cost and the astronomical showing at the box office), "My Big Fat Greek Wedding" is a wholesome film that the whole family can enjoy.
My Big Fat Greek Wedding has to be one of the best written and best acted comedies I think I have seen in a long time.
While the concept of making a movie about weddings is not unique, I believe that those of us who either have gone through planning a wedding or have experiences with family having too much influence in our lives will relate to this movie better than other wedding movies.This movie is about an ordinary rather plain looking thirty something unmarried woman who comes from a large extended Greek family.
All Greek women are expected to go to Greek school, find a good Greek man, marry him and have lots of Greek babies according to the narrator who is also the main character in the movie.
This simple premise is what sets us off in almost two hours of raucous humor centered around planning a wedding where a couple coming from completely different backgrounds has to deal with all the external pressures that happen when two people decide to go down the aisle together.This movie has several very heartwarming and somewhat emotional scenes in it so don't expect it is just a funny movie.
It turned out that I needed some of the Windex, the father of the bride uses for everything, to clear my eyes and enjoy the film.Nia Vardalos has written from the heart this story of a crazy Greek family with all the stereotypes in it for us to savor and enjoy what has come out under the firm direction of Joel Zwick.
*Nice romantic-comedy about a Greek-American girl which has to fight against her family's strict traditions in order to marry a non-Greek boy.
I think that, for the Greek people, this movie must be full of topics and stereotypes, but for the ones who don't know about Greek ways of life is pretty funny.
'My Big Fat Greek Wedding' is a lovely film.
Unfortunately for her family she falls in love with Ian Miller (John Corbett), definitely not a Greek.
Although Toula doesn't like her family is Greek in every single way, and is too proud of it, she does love her family.'My Big Fat Greek Wedding' is a very enjoyable film, with a lot of funny moments.
As in David & Layla directed by Jalal Jonroy, My big fat Greek Wedding too celebrates the love and cultural differences.
My Big Fat Greek Weddeing brings people from different background closer and shows how important to accept the 'other' as other in order to be just happy!
Ok, there are a few funny moments, but the characters are very cliché and we all had the feeling that we had seen the movie hundreds of times before.
When a movie's highest moment of tension comes from a wedding morning zit (a problem solved minutes later by a stick of cover up) you know you're dealing with a limp excuse for a film.
My Big Fat Greek Wedding is a hilarious and sweet film about a Greek woman, waiting for her life to take off.
My Big Fat Greek Wedding was an independent smash starting with a budget of barely $5 million and in the end, grossing over $200 million at the box office.
My Big Fat Greek Wedding makes up for what it lacks in plot with a cast of amusing, lovable characters.
The dynamics between the overwhelmingly extroverted Portokolos family and the reserved parents of the groom provide some amusing moments.My Big Fat Greek Wedding had potential to be an exceptional film.
You expect to fall in love with and root for the main character especially in a comedy like this, but I was halfway through the movie and didn't care whether she was happy in the end or what happened to her.
A lot of people have been saying that you will not find this movie funny unless you have lived with, or are part of a Greek family.
I am neither of these cases, and I really enjoyed the film.The plot line was genius, and gave people a real insight to Greek families, and put a hilarious spin on weddings in general, especially when the two families don't get along.The acting was...okay, however.
Only watched My Big Fat Greek Wedding as it was nominated for an Oscar for Best Screenplay most likely for being a box office smash.
it also surprised me to see that most of the negative reviews of this film talked about how they were 'bored' by this movie, or how nia vardalos is 'ugly', or how this film is only for 'women' or 'old people'.granted, this movie has very little sex, violence, or MTV editing, but it does what most movies try to do and fail at doing; creates an engaging story with interesting characters.
even though, when it comes down to it, this is just a "better" romantic comedy which stays in the box for much of the time, it IS, indeed, better than most movie fare out there and its popularity gives me hope that the "boring" movies with "ugly" people may have a chance with the jaded tards of middle america..
But, anyway, it is a good date movie, especially for older couples, and those who might know greeks more will be in on the in-jokes it makes from time to time (although it leaves out that old stereotype of, um, well, it is PG-13 so I shouldn't mention it here).
B. My Big Fat Greek Experience With This Film!.
but the flow of the story and the emotionalism of it all certainly makes the film a formula piece.The WASP family members of the groom were also classically clichéd.It was boring, and predictable with comedy that came out of a can, but it was sweet enough to pour on your pancakes..
Possibly the most amusing movie I've ever seen, it's all about Greeks and more Greeks and I can relate to this movie because most of my school life I grew up with kids of European descent, so I knew what they were all about.Okay the movie was straight forward, we have Toula (cue Nia Vardalos), a thirty year old woman who yearns for more than just her Greek-bred life, then one day she meets Ian (cue John Corbett and dreamy sighs) who comes and changes her life for the good.
However her parents don't know about her little romantic romp, but since she's Greek, good news gets around quickly in their big community.
But, there's no stopping true love...A cute, quirky movie that's just light enough and clean enough you can watch it with your kids, and still laugh whole-heartily at all the jokes and mishaps of the crazy clan Tula calls her family.I give this movie a 10 out of 10 and tonight is the third time I've seen it.
but I do know that MY BIG FAT GREEK WEDDING is a great movie.
The whole slant on the greek family traditions and way of life are very funny.
She, too, begged to go to college, and used Anglocized variations of her name.Maybe you have to be Greek to appreciate this movie fully.Toula's father says to her, "you look so old--when will you get married?", and when her brother--just a year younger--says "I'll get married, too, dad" the father smiles and says, "Oh, Nicky, you have plenty of time!".Did you catch her eating a sandwich on plain white bread with the "in" girls in college?
This particular Greek background family loved the movie, so it must ring true.Of course the story revolves around a shy 30 year old woman named Toula, trapped in her job at her Greek family's restaurant, Dancing Zorba's.
However, she really blossoms when she falls in love with a very unsuitable (according to her father) non-Greek WASP teacher named Ian. The story chronicles the culture clash as Toula must persuade her very traditional, opinionated father to accept Ian, and also introduce poor Ian to the Greek traditions and all her Big Fat Greek Family.Toula's blooming is remarkable (great actress in the role) and the very heart of the story.
As the saying goes, you can't choose your relatives...My favorite character is Toula's father, Gus. He makes this movie with his hilarious Windex obsession, his insistence that things be done HIS way.
'My Big Fat Greek Wedding' is one of the most over-rated films ever made.
The family was over-the-top, and I found my interest gradually decreasing as time went on.One thing that I did like in 'Wedding' was Nia Vardalos.
It is, instead, a testament to the stupid complacency of American culture that we saw this movie (many of us more than once), while we let great films like HUMAN NATURE, DAS EXPERIMENT and THE GREY ZONE go relatively unnoticed..
Nia Vardalos does not appeal to me nor the WHACKY Greek antics...which by the way..are the worst attempt at comedy in a movie I have yet to see..
This movie is not funny in any possible or Awkward way...I find it very irritating that this morbid looking Greek would be cast in the leading actress role...while, Rita Wilson on the other hand could have suited the role quite nicely.
I agree with the person on the message board who said that, given all the challenging, mesmerizing independent fare out there, it's upsetting filmgoers have made My Big Fat Greek Wedding the most successful independent movie of all time by a huge margin.
MY BIG FAT Greek WEDDING was a beautifully mounted romantic and family comedy that was a do or die project for its star, Nia Vardolos, who also wrote the screenplay.
"My Big Fat Greek Wedding" is only original in the fact that all of the main characters are Greek (duh!), and that these Greeks have different superstitions, which cooks up a lot of problems in the film.
My Big Fat Greek Wedding (2002) Nia Vardalos, John Corbett, Lainie Kazan, Michael Constantine, Gia Carides, Louis Mandylor, Joey Fatone, Bruce Gray, D: Joel Zwick.
Vardalos' one-woman show counteracts this undemanding but warm and enjoyable heritage-comedy with her as a 30-year-old Greek woman, working at her family restaurant in Chicago, who finally meets the man she loves, a WASP, which might not go with Dad's customs when him and the entire family finds out.
As far as comedy goes, it surprised me: almost all other comedy movies recently produced have a couple of good laughs, yet My Big Fat Greek Wedding left me with the impression there were almost no 15 seconds breaks without laughing out loud the entire length of the movie.
Most of the romantic comedies I have seen in the last five years have this aspect (that doesn't mean that they all suck {I love Chasing Amy and My Best Friend's Wedding}) but it was a change of pace and that isn't always a bad thing.
You don't have to be Greek to love this movie..
My Big Fat Greek Wedding is one of the funniest films I have ever seen.
I seriously don't think My Big Fat Greek Wedding was meant to be an art film.
By the time this goes to press My Big Fat Greek Wedding will have set a box-office record for an independent film.
This is the central problem in My Big Fat Greek Wedding.Nia Vardalos, the author of the play on which the movie is based, plays Toula Portokalos, a 30-year old "seating hostess" at the family restaurant.
This film reminded me of two other romantic comedies, While You Were Sleeping and Return to Me. But this film manages the same humor and charm without resorting to plot devices like rescuing a man thrown on the train tracks or finding out that your new love has your dead wife's heart.Like those stories, much of the charm comes from the quirky family and friends.
The characters seem like real people, and while the situations seem strange at points, they are close enough to possible that the viewer is easily caught up in the tale.In an era of special effects razzle-dazzle and movie spectaculars, I enjoyed this small film with a big heart.
Toula, played by Nia Vardalos, who also wrote the film, is a 30-year-old woman whose family fears will become an eternal spinster.
They fall in love and want to get married, but have to deal with the wrath of her family--mostly her father, played by Michael Constantine.The cast is perfect--especially Constantine, who we are often times convinced is Vardalos' actual father playing himself.The humor is mostly made of inside jokes from Greek culture.
And added to this is her crazy Greek family that makes us all laugh.Well I have seen in some reviews people saying that there are many movies about such ethnic wedding but I can't think of any other, which is maybe why I did like the movie.I wouldn't care for the main plot, it is pretty much nonexistent.
I think that the Greek theme makes this movie work.
I know a few Greek people and watching this movie was like sitting beside them at their house.And the filming was done in Toronto my favorite city in the world...What more is there for a great movie?.
My Big Fat Greek Wedding is not what i expected it to be at all.
"My Big Fat Greek Wedding " is not half as good.
My Big Fat Greek Overrated Formulaic Romantic Comedy.
There was no way that a movie that had this much good word of mouth could be anything but a lovely, endearing film. |
tt0879225 | Cannibal Taboo | Explorer Cliff Hendricks rescues the beautiful young Janet from her primitive African jungle where she was born, a land rife with savagery and devil worship that lured her parents into an early death. Back in America, she becomes a ravishing woman before Cliffs eyes. They fall passionately in love and marry, and she bears him four children: Luke, Matthew, Paul and Rebecca. Cliff later learns that he's contracted a rare African virus from his travels to Africa, one that deprives him of his virility and turns him into an invalid.Janet takes on the responsibility of raising their offspring and caring for Cliff, although her ways are seen as quite peculiar -- even untamed -- in modern day Los Angeles her children live a sheltered life, and are schooled at home. Her son Paul rarely leaves the house and daughter Rebecca reluctantly only leaves when she is required to go to work. Luke, the eldest, is the only one of the four to strike out on his own. Everyone believes that Matthew ran away years ago to escape his mother's prison; no one has seen him since his twenty first birthday.Paul's 21st birthday is cause for celebration and Luke is invited home for the festivities. Although his mothers behavior is unnatural to Luke, he deeply loves his father and siblings, and reluctantly agrees to return to Janet's home.Luke finds that much has changed since he left. His room is now Janets office where she has taken up the lucrative career of selling tribal art on the internet. Paul is even more reclusive, and his only friends are some marionettes he made as a child. Rebecca, has become more outgoing and experimental with her sexuality, and she even tries to seduce Luke despite appearing as a naive and loving sister. Meanwhile, Cliffs health is deteriorating faster than anyone expected. His mind is fraught with delusions, and he suffers severe memory gaps. Most shocking is Janet's callous attitude towards Cliff. He lives like a caged animal under the auspices of the malicious Janet.Things turn stranger in the Hendricks house when a number of objects d'art take on lifelike characteristics. Luke suspects that Janet's art may actually be human remains from the jungle of her past. Her faithfulness to Cliff, too, seems to be increasingly deceptive and sinister. Pauls childhood fascination with puppet storytelling hints of a tribal-based discipline, and Rebeccas love for her brother Luke appears to be more than just incestuous sentiments. And perhaps Matthew didnt run away after all. An investigative reporter who crops up on the scene suspects that some of the family members may be involved in serial murders or ritual killings. She's right, but she'll never get a chance to uncover the real secret.What began as a happy occasion for Cliff and his newfound love erodes into a pit of darkness, a satanic feast of the flesh, an unspeakable act of twisted humanity, an unthinkable nightmare of carnality, and an apocalyptic journey into the realm of diseased minds. Discover a world of forbidden pleasures and moral decadence. Discover the Cannibal Taboo. | pornographic, cult, murder, violence | train | imdb | null |
tt0127536 | Elizabeth | In 1558, Catholic Queen Mary dies of a uterine tumour. Mary's Protestant half-sister, Elizabeth, under house arrest for conspiracy charges, is freed and crowned the Queen of England.
As briefed by her adviser William Cecil, Elizabeth inherits a distressed England besieged by debts, crumbling infrastructure, hostile neighbours and treasonous nobles within her administration, chief among them the Duke of Norfolk. Cecil advises Elizabeth to marry, produce an heir, and secure her rule. Unimpressed with her suitors, Elizabeth delays her decision and continues her secret affair with Lord Robert Dudley while Cecil appoints Francis Walsingham, a Protestant exile returned from France, to act as Elizabeth's bodyguard and adviser.
Mary of Guise lands an additional 4,000 French troops in neighbouring Scotland. Unfamiliar with military strategy and browbeaten by Norfolk at the war council, Elizabeth orders a military response, which proves disastrous when the younger, ill-trained English forces are defeated by the professional French soldiers. Walsingham tells Elizabeth that Catholic lords and priests intentionally deprived Elizabeth's army of proper soldiers and used their defeat to argue for Elizabeth's removal. Realizing the depth of the conspiracy against her and her dwindling options, Elizabeth accepts Mary of Guise's conditions, to consider marrying her nephew Henry of France.
To stabilize her rule and heal England's religious divisions, Elizabeth proposes the Act of Uniformity, which unites English Christians under the Church of England and severs their connection to the Vatican. In response to the Act's passage, the Vatican sends a priest to England to aid Norfolk and his cohorts in their growing plot to overthrow Elizabeth. Unaware of the plot, Elizabeth meets Henry of France but ignores his advances in favour of Lord Robert. William Cecil confronts Elizabeth over her indecisiveness about marrying and reveals Lord Robert is married to another woman. Elizabeth rejects Henry's marriage proposal when she discovers he is a cross-dresser and confronts Lord Robert about his secrets, fracturing their idyllic affair and banishing him from her private residence.
Elizabeth survives an assassination attempt, whose evidence implicates Mary of Guise. Elizabeth sends Walsingham to secretly meet with Mary in Scotland, under the guise of once again planning to marry Henry. Instead, Walsingham assassinates Guise, inciting French enmity against Elizabeth. When William Cecil orders her to solidify relations with the Spanish, Elizabeth dismisses him from her service, choosing instead to follow her own counsel.
Walsingham warns of another plot to kill Elizabeth, spearheaded by the priest from Rome carrying letters of conspiracy. Under Elizabeth's orders, Walsingham apprehends the priest, from whom he learns the names of the conspirators and a Vatican agreement to elevate Norfolk to the English crown if he weds Mary, Queen of Scots. Walsingham arrests Norfolk, and executes him and every conspirator except Lord Robert, whom Elizabeth allows to live, as a reminder to never be blinded by romance again.
Drawing inspiration from the divine, Elizabeth cuts her hair and models her appearance after the Virgin Mary. Proclaiming herself married to England, she ascends the throne as "the Virgin Queen". | murder, violence, intrigue, flashback, romantic, historical | train | wikipedia | The Academy Awards ceremony of 1999 angered many people: Shakespeare in Love, albeit a very smart and funny film, robbed the superior Saving Private Ryan of the Best Picture Oscar; Roberto Benigni beat Edward Norton in the Best Actor category (though it was the Italian star's behavior, rather than his performance, that irritated those attending the event); and Gwyneth Paltrow, who wasn't actually bad in Shakespeare, walked away with the Best Actress award, depriving Cate Blanchett of the recognition she should have received for her revelatory work in Elizabeth.This film, the first in what the director hopes will be a trilogy (the second installment was released in 2007), covers the early years of Elizabeth I's reign, from her harsh upbringing to the decision to call herself "the Virgin Queen".
And what a story: the thriller aspect aims to please viewers who find the genre a bit lacking in the tension department, whereas the Queen's doomed love affair with Joseph Fiennes' Earl of Leicester (a plot element to which the BBC miniseries from 2005, starring Helen Mirren and Jeremy Irons, is a sort of sequel) is the polar opposite of the sanitized, passionless romantic tales that tend to feature in other period films.Good-looking technique and strong storytelling would, however, be useless if the title role wasn't played by an equally great actress, and Pakur found the perfect Elizabeth in Blanchett: an odd choice she may have seemed (she was a complete unknown in Hollywood prior to being cast in this movie), but the performance she delivers is nothing short of astonishing.
And Elizabeth did whisper Robert Dudley's name on her deathbed
The movie is an imaginative interpretation of the way that things could have been
Shekhar Kapur's film explores the instabilities of her reign, and the absolute horror and terror that surrounded the early part of her royal office without neglecting her relationship with her terminally ill sister
So it's a glimpse of her girlhood into statehood, and the shedding that occurs, with the people who expended in her life along the way
The film shows Elizabeth growing up in an incredibly unstable, tumultuous environment
But she's an absolute survivor...
Someone who has got no solid ground on which she walks
So one minute she's a bastard, the next minute she's a princess, then one moment she's an illegitimate daughter, then she's a queen
And it's a very relevant period of her life, because she was 25 when she became a female monarch
There are four men in Elizabeth's life and all have quite different influences on what it means for a young woman to run the country so young, given that she comes to the throne under very difficult political circumstances
There's Sir Cecil (Attenborough) who's from an older regime giving her the traditions and the conventions that are the most orthodox; Sir Francis (Geoffrey Rush) Elizabeth's great spy master, very astute, almost puritanical and rather dry bureaucrat; Robert Dudley (Fiennes) with whom the film suggests that she has quite a passionate, private relationship; and Norfolk (Eccleston), a major rival who doesn't regard that she is suitable to rule his England
The motion picture succeeds in developing Elizabeth's change and, basically, locks off parts of herself, and dehumanizes herself in order to wield her power among men.
Pure Pacino.If you shimmy past the slightly silly inclusions of the likes of Eric Cantona (the IKEA School of Acting) and Angus Deayton, and the fact that Dickie Attenborough (plays a fussy sidekick who sniffs the Queen's bedsheets and claims, "her body belongs to the State") is starting to resemble an Ewok, the acting is otherwise splendid.Cate Blanchett not only resembles the great lady, but imparts her with enormous affection (her love of Lord Dudley, played by Fiennes, is tenderly dealt with) and delivers her lines with a steely intelligence, "I do not see why a woman must marry at all" and "I'm no man's Elizabeth" .
Certainly acknowledged by the Oscars garnering 7 nominations, Shekhar Kapur's intimate portrait of a young Elizabeth further expands the modern view on a distant monarch, whose maturing reign as well as taming nature continued to dazzle the 20th century viewers.Presented here by a superb cast led by Golden-Globe winner Cate Blanchett, early Elizabethean era turmoil and upheaval are captured brilliantly.
Yet just as England learns to wake up from the medieval dream, Elizabeth learns the bitterness of betrayal as she looks to Sir Francis Walsingham (Jeffrey Rush)'s counsel.Focusing on Elizabeth's subtle changes of phase from fire to ice at a distant in the midst of a grander panorama beautifully shot, the audience gradually distinguishes her footsteps from the shedding of innocence to a tough ruler that dares to strike first against her enemies, to ultimately become the Virgin Queen to reign above all men..
She should have won the Oscar in 1998.Terrific performances from the other principal actors, excellent costume/art direction and cinematography, a good script (if you can relax any standards of strict historiography you might have, if any) and well-paced direction and editing make for a terrific period piece.I loved this movie and raved about it for weeks afterward..
Cecil was not the milksop portrayed in the movie.Third, many of the cast looked like members of a 1990's Los Angeles street gang instead of characters from 16th century England.I believe the high overall ratings given the film are a result of ignorance of history..
I think that trying to catch the conscience of a queen, to make an illustrious historic figure come to life is far more difficult than playing William Shakespeare's (fictitious) love interest.It was my humble opinion, and I wanted to share it with other IMDB users..
This is one of the worst films I have ever seen and one of only three ever that I have almost walked out of!Shekar Kapur's Bollywood style may be ideal for an Indian story like Bandit Queen, but here it comes across as pulling out all the lighting and camera cliches in the business.Elizabeth has one of the most fantastic casts ever assembled - and they're all awful (with the possible exception of Cate Blanchett and John Gielgud - who in any case only has a 30 second non-speaking part)!
While, the evil Duke of Norfolk plots to put himself and Mary, Queen of Scots on the English throne, Elizabeth's supporters rush around trying to find her a suitable international king.The crux comes when she declares she is only interested in her English lover, Lord Robert Dudley.
Some curious casting decisions undermine a few of the characters - working class mainstay Kathy Burke moves to the opposite end of the social spectrum to play Queen Mary, Brit comic Angus Deayton has an unnecessary cameo, while Eric Cantona seems an odd choice, although his performance seems adequate.As to the main characters, Elizabeth (Cate Blanchett) is well charted from gamboling youth to ice-hard queen.
I felt like reaching into the screen and asking why certain scenes were portrayed in the fashion that they were, the disconnected plot and movable characters defeat the purpose of telling a story about perhaps the most formidable monarch in English history.Cate Blanchett is an exceptional young actress, who can be appreciated for her portrayal of Elizabeth, a woman who was confronted with suitors and questions regarding her faith.
The Duke of Norfolk's service to Mary Tudor and intrigues to overthrow Elizabeth are well portrayed by the commanding presence of Christopher Eccleston, who in the end signs away his life trying to take Elizabeth's.After reading all of the praises I have for the acting in the movie, we must return to the reality that the film could have been better if told by a different director and with a different script.
Even more grievous, in my view, is the makers' apparent assumption that their audience would know no better.The film's conclusion that ER I devoted herself to the rule of England only after she had been betrayed by her lover, Essex, was both a disgusting stereotype of women (that they abandon sex and men after men behave as they will) and gross distortion through oversimplification of the immensely complex political, social, and religious on domestic and international levels that Elizabeth found herself thrust into.In truth, ER was an adept student and observer of her father, Henry VIII, and, in that respect, a more than worthy successor to the transformation of the political map of Europe from the quasi-theocracy of the Middle Ages to secular government by sovereigns that understood that they had obligations to the land and people over whom they ruled.
"Elizabeth" missed this point entirely and in so doing, dishonored one of the truly great people of world history and insulted and disserved movie audiences at the moment of embarking on a new millennium, when we need all of the insights and perspective that we can get..
A biopic of the Virgin Queen Elizabeth's rise to power in England showing the corruption in her court with assassinations, unsuitable suitors, political marriages and treachery.This is very much a historical costume drama for those that dislike the dry, lifeless drama of other period dramas such as Merchant & Ivory etc.
It is good to watch a period drama that is so very vibrant and colourful.Cate Blanchett is great as Elisabeth but the supporting cast are roundly fantastic - Joseph Fiennes, Geoffrey Rush, Christopher Eccleston the list of quality actors goes on goes on.
This excellent historic drama recreates the wars , loves , turmoil and struggle for power by Robert Dudley , Earl of Leicester (Joseph Fiennes) whom the Queen Elizabeth I both loved and feared , and whose downfall she ultimately invoked .
This elaborate , colorful costumer drama packs outstanding performances from Cate Blanchet as an impulsive queen , Joseph Fiennes as a dashing and arrogant Earl , besides a top-notch support cast giving strong acting , such as the charismatic Geoffrey Rush as Sir Francis Walsingham , Richard Attenborough as Sir William Cecil , Christopher Eccleston as Duke of Norfolk , Jamie Foreman as Earl of Sussex , Fanny Ardant as Mary of Guise , Vincent Cassel as Duc d'Anjou , Kelly MacDonald , James Frain , Emily Mortimer , Amanda Ryan , among them .
The motion picture was rightly written by by Michael Hirst (The Tudor) and finely directed by Shakar Kapur , an Indian director , costumer expert (Elizabeth I and II , Bandit Queen , Four feathers).Other renditions about this known Queen are the following : ¨Elizabeth : The golden age¨ with Cate Blanchett , Jordi Molla , Joseph Fiennes, Geoffrey Rush directed by Shekar Kapur ; ¨Elizabeth R¨ directed by Herbert Wise (72, TV) with Bette Davis ; ¨Elizabeth the Queen¨ (68, TV) with Judith Anderson and Charlton Heston ; and classic version , ¨The Queen Virgin¨ by George Sidney with Jean Simmons and Stewart Granger and ¨The private lives of Elizabeth and Essex¨ by Michael Curtiz with Bette Davis and Errol Flynn , among others.
The performances were flawless; Cate Blanchett was above mesmerising as Elizabeth, and she is supported by an outstanding cast that include Geoffrey Rush, Joseph Fiennes, Christopher Ecceleston and Richard Attenborough.
Queen Elizabeth was perhaps the most powerful woman in history, so I find it hard to accept this film's portrayal of her as hesitant, dithering, and totally indebted to her advisers for her success.
It's painful to watch this movie, because the overpowering beauty of the locations, the cinematography, and the cast (mainly Cate Blanchett) is used in the service of an almost unbelievably shallow, smug, and cynical reading of English history.
It's a strange coincidence that today I was finally struck with the proper motivation to sit down and watch Shekhar Kapur's Elizabeth, because this is the rare biopic that does exactly that.The film focuses on Queen Elizabeth I of England, but instead of trying to detail her entire life, Michael Hirst's script centers on when Elizabeth first takes the throne and the tribulations that she encountered upon coming into power; tribulations seems far too meager a word though, for what she had to face.
Elizabeth I has always been one of my all-time favorite historical characters.While this film is visually stunning the historical accuracy rates a Less Than Zero.Cate Blanchett was amazing as Elizabeth -- truly an amazing performance; and the FACES -- the casting director had a field day -- (almost) everyone looked just the way I thought they should look.The sole exception was Sir Richard Attenborough...
the acting - the performance of Sir John Gielgud in a small role is a good example -, the costumes, the cinematography - few memorable scenes -, the realistic transformation of a young girl in the great queen.
Joseph Fiennes is only adequate as Elizabeth's controversial love interest while Vincent Cassel plays his role as a cross-dressing suitor with such an inappropriately comic edge that he feels like part of an entirely different film.
This is a complex topic to try and do in a film and it shows.We are taken through all the main points of Elizabeth's rise to power but there simply isn't enough time to explain the character's actions, particularly those that oppose her, and this leaves certain scenes seeming pointless even though they probably had huge significance, the biggest instance of this is when she wins a vote and we aren't really told why we should care.The performances are good, Blanchett is superb, but few characters are given a chance to perform.
Eccleston is particularly wasted as her main opponent, the Duke of Norfolk, he delivers some menace while on screen but has so few lines it is hard to know, or care, what his motivation really is.I suppose the slight writing for the other characters can be forgiven to some extent since the film is about Elizabeth and focuses on her love life and it's impact on politics and vice versa but as Queen her actions were driven by the powerful people around her and by not giving them a voice the film seems pointless and shallow.It is supposed to be an historical film and the lack of detail leaves you confused as to the significance of events and people and that in turns leaves you feeling a little cheated, it's as if there is a great film there somewhere but you aren't being shown it.
Christopher Eccleston is spot-on as the villainous Norfolk just doing what he believes is best for his nation; Joseph Fiennes is good as Lord Robert, however at times seems a bit too theatric; Richard Attenborough brings a nice turn as the Queen's closest adviser, wrestling with his belief in her at the expense of his thoughts that she is just a woman; and then we have the numerous cameos from the likes of Emily Mortimer, Kelly MacDonald, Daniel Craig, James Frain (also starring in the Tudors), and a gem of comedy to lighten the mood from Vincent Cassel.
I have seen this film again over the weekend on a German broadcast network.I must admit, I still loved it, even though that I definitely know more about history nowadays than I knew when it came up.It doesn't matter if it is 100 % historically accurate or not, but it follows the events rather closely, and there is no liberty in the script to make things look more dramatic than they actually were.
Although I enjoyed the acting (Cate Blanchett was brilliant as Elizabeth) and the art direction very much, there were severe historical inaccuracies throughout the movie, even at the near beginning.....When Elizabeth was not making love with Robert Dudley when she was arrested for suspicion in the Thomas Wyatt rebellion of 1554.
Cate Blanchett is a stunning Elizabeth, although I feel the insistence of the film to focus on the early part of her reign is a little disappointing.
The costumes and scenography are well done, most of the cast is good and Geoffrey Rush (from "Shine") is great as the queen's ruthless adviser.But Cate Blanchett simply is not up to it.
The performance in this movie is really the big reason to watch it because she does a great job portraying a younger Queen Elizabeth.
And the film does portrait the political game of the fifteenth century very well, with some dramatization and simplification here and there in order for the common viewer to keep track of the event ,but with out losing the essence of the story.As for the queen herself, Cate Blanchett gave a great performance of the character and she showed very well how difficult and at times heartbreaking was for her to adapt to a court divided in which who you like and who you trust doesn't always mean the same person.
This is an good historical film, which depicts the initial period of Elizabeth I of England's reign, and how she tried to hold on to power before her enemies.
A reunion, of sorts, for Shakespeare in Love actors Geoffrey Rush and Joseph Fiennes, Shekhar Kapur's 1998 epic combines their talents along with Cate Blanchett's in the film Elizabeth.
Telling the story of the turbulent events leading to Queen Elizabeth's rise to power and outlining the origin of the Catholic against Protestant war in Europe, Kapur's film brings to life the beginning of the Golden Age of England.
Yet this is nonsense – in Elizabeth's case the history is fascinating and with great actors such as Cate Blanchett, Geoffrey Rush, Christopher Ecclestone and Sir Richard Attenborough, a true and accurate film about Elizabeth's reign would have been quite enough.Having said this, if you can ignore the multitude of historical inaccuracies and take the film on its own merits, the movie is well produced with great acting performances.
Geoffrey Rush's portrayal as Francis Walsingham, however, is the stand out performance for me.The film is actually a doomed love story surrounding the friendship between Dudley and the Queen.
An interesting fact – Dudley played host to the Queen at Kenilworth Castle where, as part of the pomp, fireworks were used for the very first time in England.So to sum up, Elizabeth is a great film but chunks of it are not true. |
tt1142977 | Frankenweenie | Young filmmaker and scientist Victor Frankenstein (Charlie Tahan) lives with his parents, Edward (Martin Short) and Susan Frankenstein (Catherine O'Hara), and his beloved Bull Terrier dog, Sparky, in the quiet town of New Holland. Victor's intelligence is recognized by his classmates at school, his somber next-door neighbor, Elsa Van Helsing (Winona Ryder), mischievous, Igor-like Edgar "E" Gore (Atticus Shaffer), obese and gullible Bob (Robert Capron), overconfident Toshiaki (James Hiroyuki Liao), creepy Nassor, and an eccentric girl nicknamed Weird Girl, but communicates little with them due to his relationship with his dog. Concerned with his son's isolation, Victor's father encourages him to take up baseball and make achievements outside of science. Victor hits a home run at his first game, but Sparky, pursuing the ball, is struck by a car and killed.
Inspired by his science teacher Mr. Rzykruski's (Martin Landau) demonstration of the effect of electricity on dead frogs, a depressed Victor digs up Sparky's corpse, brings him to his makeshift laboratory in the attic and successfully reanimates him with lightning. Seeing Weird Girl's living cat, Mr. Whiskers, the undead Sparky escapes from the attic and explores the neighborhood. He is recognized by Edgar, who blackmails Victor into teaching him how to raise the dead. The two reanimate a dead goldfish, which turns invisible due to an error with the experiment. Edgar brags about the undead fish to Toshiaki and Bob, which, in panic of losing the upcoming science fair, inspires them to make a rocket out of soda bottles, which causes Bob to break his arm and Mr. Rzykruski to be blamed and fired due to his accused influencing and reviling the townsfolk for questioning his methods when he steps up for self-defense. So, the gym teacher replaces Mr. Rzykruski.
Eventually, Edgar's fish disappears when he tries to show it to a skeptical Nassor (who was told by Toshiaki), and when Edgar is confronted by Toshiaki, Nassor and Bob on the baseball field at school, he accidentally reveals Victor's actions, inspiring them to try reanimation themselves. Victor's parents discover Sparky in the attic and are frightened, causing the dog to flee. Victor and his parents search for Sparky while the classmates invade the lab, discovering Victor's reanimation formula. The classmates separately perform their experiments, which go awry and turn the dead animals into monsters — Mr. Whiskers holds a dead bat while it is electrocuted, resulting in him fusing with it and becoming a monstrous bat-cat with wings and fangs. Edgar turns a dead rat he found in the garbage into a wererat, Nassor revives his mummified hamster Colossus and Toshiaki's turtle Shelley is covered in Miracle Gro and turns into a giant Gamera-like monster. Bob's Sea-Monkeys grow into amphibious humanoids. The monsters break loose into the town fair where they wreak havoc.
After finding Sparky at the town's pet cemetery, Victor sees the monsters heading to the fair and goes with his classmates to help deal with them — the Sea-Monkeys explode after eating salt-covered popcorn, and Colossus is stepped on by Shelley, while the rat and Shelley are returned to their original, deceased forms after both being electrocuted. During the chaos, Persephone, Elsa's pet poodle, is grabbed by Mr. Whiskers and carried to the town windmill with Elsa and Victor chasing after. The townsfolk blame Sparky for Elsa's disappearance and chase him to the windmill, which Mayor Burgermeister accidentally ignites with his torch. Victor and Sparky enter the burning windmill and rescue Elsa and Persephone, but Victor is trapped inside. Sparky rescues Victor, only to be dragged back inside by Mr. Whiskers. A final confrontation ensues, and just as Mr. Whiskers has Sparky cornered, a flaming piece of wood breaks off and impales Mr. Whiskers, killing him. The windmill then collapses on Sparky, killing him again. To reward him for his bravery and saving Victor, the townsfolk gather to revive Sparky with their car batteries, reanimating him once more. Persephone, who has a hairstyle similar to Elsa Lanchester's Bride of Frankenstein, comes to Sparky as the two dogs share their love and kiss. | cute, horror, boring, home movie | train | wikipedia | It's also - and this is to be expected from any Tim Burton movie - really good looking, with stylish black and white animation and a cast of creepy looking kids.As someone familiar with the original movies, I appreciate the way it pays tribute to its source material.
And naked enough (no Depp, no Hollywood excess) to see the wirings and so appreciate what he loves about his work.As you flip through this sketchbook, you will find the following:The film opens with footage of a young Ed Wood's homemovie shot in his backyard—a giant monster movie, the kind that a kid (who we can presume is Burton) growing up in the 1950's can be expected to admire.A teacher who looks like Vincent Price and inspires him to perfect his 'science', in the film it is supposed to be real science, but is actually viewed in the context of 1930's horror and Shelley before, a kind of cinematic magic.This kicks off the Frankenstein story proper with the dog, which includes additional references to both Bride and Son, Mummy and Invisible Man, and the fiery windmill conclusion of the Karloff original.
(also reused in Sleepy Hollows)Eventually, this leads to an actual giant monster movie, where different classmates, essentially using the same 'science' of cinematic magic, bring to life different monsters: one is a Godzilla-type creature (kaiju fans will know it is really Gamera), there are Gremlin- type critters, and a cat-bat creature that I couldn't pinpoint.So, there you have it: 1930's Universal horror, 1950's sci-fi, 1980's pop Hollywood, all of it sketched here that influenced the man's career.Typical for Burton: the story goes nowhere, the ending is Disneyfied like the first time, it is fun in short spurts, and he has nicely sketched the world of his childhood, which is my favorite bit here—a clean and modernistic 1950's suburbia as was advertised to housewives of the time, it is amazing some of the textures and light they managed to capture.
Stop-motion trumps cg animation in my mind, physical presence carries energy into the eye—this looks so real, it feels like it is taking place down the street from Ed Wood.Overall, I don't know if releasing this confirms the nagging suspicion that Burton is over and done with as a creative voice and is really scrapping for material, but it is nice to watch, and reminds why he was at one time an interesting guy.
With its cute, yet, decidedly creepy-looking characters, and all, I thought that Frankenweenie was a pretty darn good "Mad Scientist" story that's sure to be a hit with audiences of all ages.Containing some very nice touches of warped humor, grotesque horror and several arousing moments of pathos (cleverly injected into its weird, but oddly wonderful, little tale), Frankenweenie has proved, once again, that director Tim Burton still has the master's touch when it comes to making stop-motion, animated films that seem to emerge from the very depths of the dark-side.If nothing else, Frankenweenie certainly turned out to be a lovingly-charged homage to a variety of classic horror, monster, and Sci-Fi pictures from those glorious days of yesteryear.All-in-all, Frankenweenie certainly had its share of flaws, but, just the same, I certainly hadn't expected to enjoy this film as much as I did.Appropriately filmed in b&w, thank goodness that it didn't contain any musical numbers..
When the town is invaded by the monsters, Victor and Sparky are the last chance to rescue the girl Elsa van Helsing from the claws of Mr. Whiskers."Frankenweenie" is another stop-motion animation by Tim Burton in black and white with a great tribute to Mary Shelley's Frankenstein with a happy ending.
True, he was still using all of the unique little devices that made us love him, but his heart was not in the movies, and they all turned out commercialized and soulless, the cool "Tim Burton-ambiance" mocking us by hinting at how good he used to be.I'm glad to say now that has all changed."Frankenweenie" starts by showing the audience the ordinary life of an extraordinary kid called Victor, a young boy with no friends, but a burning passion for his specialist subjects (horror movies, film making and science), a childhood that will surely resonate with both Tim Burton and the majority of his fans.
From that moment, everything gets deliciously out of hand and grows into a classic "there is an imminent problem at hand that we need someone to deal with before this all goes down the toilet"-movie that we all love.While the movie does not really develop its characters deeply and sometimes drops certain plot lines we would have liked to see more of, it makes up for it tenfold with the thing that Tim Burton has more of than anybody else: imagination.
And yes, I don't think this film is suitable for children, more like teenagers and adults, containing some scenes that may disturb children.It's the story of Victor Frankenstein (voiced by Charlie Tahan), who, after losing his beloved dog Sparky, tries to revive him using lightning.
It has all the classic Tim Burton qualities - the extraordinarily weird characters (which are just plainly weird, with no extra explanation), some black humor, dark atmosphere, great music (courtesy of Danny Elfman) and artistic touch; yet it lacks of that certain something that makes movies out-stand.I must additionally comment on the fact that the movie is filmed in black and white technique - although I understand the reasons behind this, and generally approve of such ideas, I don't think this was as essential to this movie; in fact perhaps it would have been better if it were in color.
The movie is charming and a good children's creature film but it lacks the energy and cinematic style that made Burton's previous film efforts so memorable.The story revolves around a boy named Victor Frankenstein (Tahan) and his dog Sparky.
Victor then has to prove to his family and the town that Sparky is not a monster in order to save his resurrected dog once again.The film is an effective kids movie and if I had seen it as a kid I'd probably have enjoyed it a lot more.
I think what makes this one so special are the various homages to earlier horror movies like BRIDE OF FRANKENSTEIN, FRANKENSTEIN and there's no question that the scientist here is a homage to Vincent Price and we even got a great way to show off Christopher Lee. The entire look of the film is excellent as well because you really do feel as if you're watching a horror movie from their Golden Age because the sets are incredible, the humans are wonderful and once the animals start to come back at the end you can't help but smile.
Although a little generic in places Frankenweenie is a really unique cinematic experience a film that doesn't really cater to a specific audience but is a thing all it's own much like in the vein of Burtons best work Bettlejuice and Edward Scissorhands.
A classic love story between a boy and his dog that also pays homage to the creature horror classics of old, this animation is one of Tim Burton's most moving films.
That short has been expanded to feature-length proportions here – thanks to frequent Burton collaborator/ screenwriter John August – and this classic love story between a boy and his dog loses none of its Burton- esque charm in the process.August retains the concept of Burton's earlier short in the first half of the movie, where we are introduced to Victor Frankenstein (voiced by Charlie Tahan), a shy, socially awkward but brilliant geek whose best friend is his faithful bull terrier named Sparky.
The only child of Mr and Mrs Frankenstein (Martin Short and Catherine O'Hara respectively), Victor lives with his parents in the perfect American suburb of New Holland, where in his free time he makes Super 8 films with his toys, improvised props and of course Sparky.His life is turned upside down one day when Sparky dies in an auto accident while chasing his baseball down a street - and just as in the short, Sparky is buried under a large tombstone at the top of the hill in a creepy cemetery.
Moulded in the signature Burton style of 'The Nightmare Before Christmas' and 'Corpse Bride', they have stick-thin limbs atop elongated egg-shaped faces with golf-ball like eyes, and in their uniquely weird and wonderful looks are not only differentiated from each other but given a unique personality.But Burton's visual achievement here goes way beyond the character design – for the first time, he has chosen to adopt a monochrome palette for the movie, a stylistic choice that might seem alienating at first for the modern-day audience so accustomed to stories told in rich dynamic colours but really an artistically inspired one that accentuates the very telling of the tale.
Director Tim Burton returns to his visceral dark roots with Frankenweenie, a animated film that features all the dark, brooding themes he is famous for, in what would seem like an opportunity for the story teller to deal with all his favourite, classical horror elements all in one fall swoop.
With Disney's backing, Burton crafts a somewhat charming little film inspired primarily by Frankenstein, dealing with the artificial creation of life and how this whacks nature out of balance, although one can almost feel that his direction probably got superseded in the final moments to toe the line, given that mass market merchandising, or the lack thereof, is probably the compromise reached.Face it, the characters here aren't really plush toy material, even though they are grotesquely beautiful to look at, with physical flaws that seem perfect.
Being in black, white and grey, it provides that old school look and hopefully elevated this film to that nostalgic status of old, ringing with the air of familiarity for elements that you've probably experienced especially if you're a classic horror movie fan.As the story would have already been suggested by its trailer, it centers around a boy, Vincent Frankenstein (Charlie Tahan) whose dog Sparky had passed away, only for Vincent, a smart boy with scientist potential, emulating his namesake to resurrect his pet dog, and succeeding.
We have a Disney presentation by Tim Burton, where a much loved childhood pet is killed by a car, buried, later disinterred and then subsequently re-animated in a child's pastiche of Frankenstein.Leaving irony trembling at the cemetery gates, we have a children's tale that is beautifully animated in black and white stop motion.
He does have his pet dog "Sparky" and his film making which reassures his parents, Mr & Mrs Frankenstein (Martin Short and Catherine O'Hara - voices) that maybe he is okay and happy in his own way.Viktor does interact a little with his neighbour Elsa Van Hesling (Ryder) and her pet poodle which adds some emotional depth, especially between the pets before the trouble begins.All is well in a slightly, "I am in the attic conducting weird experiments and making movies by myself" sort of way.
Made with love and attention to detail, striving for but arguably missing out on capturing the true essence of the story.Not as good as "Coraline" but in the somewhat limited market of stop motion re-animated children's horror movies, far better than average in every way.http://julesmoviereviews.blogspot.co.nz/.
Or, see one of Tim Burton's good stop-motion films, like "A Nightmare Before Christmas" or "The Corpse Bride".By the way, you might wonder why I even watched this film.
I also chuckled at the science teacher calling the parents "stupid," but, otherwise, "Frankenweenie" isn't as funny or as clever as it's movie-reference-laden, stop-motion animation family fare may imply.In the beginning, it's mostly a pastiche of the 1930s Universal Frankenstein films.
I'm sure there are more.Moreover, the monstrous climax and the stop-motion animation of "Frankenweenie" itself is alluded to in a film-within-the-digital movie made by Victor and starring Sparky as the hero.
It tells the gruesome, little story of young Victor Frankenstein who conducts a daring and amazing scientific experiment in hopes of bringing his beloved dog, Sparky, back to life.With the successful re-animation of Sparky, Victor soon finds that he (as well as many others) must now face some unforeseen and monstrous consequences.All-in-all, Frankenweenie certainly had its fair share of flaws, but, just the same, I really hadn't expected to enjoy this film as much as I did.Appropriately filmed in b&w - Thank goodness that this picture didn't contain any musical numbers..
But when Victor's schoolmates learn of his success, they also try to reanimate some deceased animals, unleashing several monstrous beasts on the community (including a giant tortoise that looks like Gamera and a group of mischievous mutated sea monkeys).Tim Burton expands his 1984 short movie of the same name into a full length feature, delivering impeccable black and white stop-motion animation but failing to connect on an emotional level.
So to the main story Victor Frankenstein here is a boy in a small town, he is opposed with science and he only real friend is his dog Sparky ,but after a car accident which killed the K9 ,Victor tries to bring him back to life, but his actions create ,of course, problem that he has to face.OK the story and some of the character, like Victor's parents, are by the numbers for a children film and this is its only drawback, because when the person who for cry out loud make the slender man likable, a film like that seems to low for him.
It's Tim Burton's film version of one of the early shorts he did in his career; a tribute to Universal's FRANKENSTEIN, in which an imaginative young boy brings his dead dog back to life in the time-honoured tradition.I'm sure that FRANKENWEENIE worked very well as a short but as a feature-length movie it shows some evidence of padding.
In 1984, when Tim Burton worked for Disney made a short film called Frankenweenie, which tells the story of Victor, a boy who after losing his dog Sparky in an accident decides to bring him back to life in the purest Frankenstein style, without considering the consequences this may cause.
This work helps us to understand the basics of Burton's thematic and visual style, which became his trademark over the years: dark worlds with isolated and/or solitary characters faced to the reality of the world that confronts or rejects them.It is almost 30 years later and a streak of quite irregular films that Burton returns to his roots and decided to resume the story of Frankenweenie to make an animated feature making use of the stop- motion technique, with which he created some of his best works such as the Nightmare Before Christmas and Corpse Bride, and Frankenweenie is no exception, as it represents a return to the best films of Burton.On this occasion the original story remains intact and makes a bigger emphasis on the impact of the resurrection of Sparky among Victor's friends and as they'll try to emulate the feat with catastrophic results for the small town they live in.
And the film itself is a homage to this cinema being filmed in black and white and with music in perfect tone by Danny Elfman (Burton's closest collaborator).An innate quality of Burton is the skill to create endearing characters out of the dark and grotesque and the best example of it is Sparky, a little dog now part of the most adorable creations on the burtonian universe, and that somehow reflects many of elements or themes that have remained constant in most of Burton's filmography: childhood, loneliness, friendship and a strange fixation with death and what happens after this.Excepting the end that seems to betray the original concept, it is safe to say that Burton needs to do more films like Frankenweenie and much less like Alice in Wonderland..
The Elementary School is populated by strange characters, Victor (Charlie Tahan), an intelligent boy more interested in science and filmmaking, Elsa (Winona Ryder), a depressed goth girl, Edgar "E" Gore, a creepy hunchback kid and "Weird Girl" (Catherine O'Hara), a girl who is obsessed with her cat's psychic visions.Frankenweenie is a fantastically animated film: Burton brings out a creepy look: the characters are deliberately exaggerated as it tells a story most people can relate to when we have suffered some sort of lost.
As is typical of boys his age, Victor loves his dog and even uses Sparky as the protagonist in his home-made stop motion animated films.
Shot in black n white, brought to life through stop-motion animation and homaging various horror classics of the past, Frankenweenie is an expertly crafted, wonderfully animated & heartwarmingly told comedy from Tim Burton that may not rank amongst his finest works but that doesn't mean it isn't an enjoyable ride.A remake of Burton's own 1984 short film of the same name, Frankenweenie tells the story of a young boy named Victor and covers his relationship with his deceased pet dog whom he reanimates through the means of science.
The latest animated feature from auteur Tim Burton, the black and white "Frankenweenie" is, on its surface, a classic "boy and his dog" story.
But eye-popping state of the art stop motion animation, combined with a loving homage to the great movie monsters of the past century, makes this film a unique joy to watch.
This full-length version was co-written by John August and Burton, who directs and produces."Frankenweenie" opens with a "film within a film" as the Frankensteins watch appropriately cheesy home movies of son Victor (the voice of Charlie Tahan) and their devoted dog Sparky.
Tim Burton shows his class again with this black and white animated film inspired by famous horror classic Frankenstein.
Unfortunately, some of the better gags were ruined by the preview.Frankenweenie definitely felt and looked like a Tim Burton movie, a nostalgic throwback to his previous works in several ways, an homage to classic horror films in others.
That, plus my love for dogs, Disney, and Tim Burton's stop motion animation, had me all set for this movie. |
tt0042369 | D.O.A. | Frank Bigelow (Edmond O'Brien) begins his tale by walking into a Los Angeles police station and telling a detective "I want to report a murder... mine." Oddly, the police almost seem to have been expecting him and already know who he is since there has been an APB on him since yesterday.A flashback begins with Bigelow in his hometown of Banning, California where he is an accountant and notary public. He decides to take a one-week vacation in San Francisco, but this does not sit well with Paula Gibson (Pamela Britton), his confidential secretary and girlfriend, as he does not want her to accompany him.Bigelow meets and accompanies a group of randy men from a sales convention on a night on the town. At a "jive" nightclub called "The Fisherman", unnoticed by Bigelow, a stranger swaps his drink for another. (The nightclub scene includes one of the earliest depictions of the Beat sub-culture). The next morning, Bigelow feels ill. He visits a doctor at the general hospital, where tests reveal he swallowed a poison called "luminous toxin" for which there is no antidote. A second opinion confirms the grim diagnosis, and the other doctor implies that the poisoning must have been deliberate. Bigelow remembers his drink tasted strange. He flees from the hospital in a panic, wondering who poisoned him and why.With just a day or two to live at most, Bigelow sets out to untangle the events behind his impending death, interrupted occasionally by phone calls from Paula, whom never finds out about the predicament that he is in. Paula provides the first clue: a man named Eugene Philips who had urgently been trying to contact Bigelow by phone for the past two days has died, purportedly a suicide. Bigelow travels to Philips' import-export company in Los Angeles, meeting a variety of suspicious characters. He first meets Miss Foster (Beverly Garland), Philips' secretary; then Mr. Halliday (William Ching), the company's comptroller, who tells him that Eugene Philips committed suicide after jumping out of a window from his apartment the previous day, but he cannot offer Bigelow any information on why Philips was attempting to contact him or why. From there, Bigelow follows a lead to Philips' widow (Lynn Baggett) (whom is strangely distraught to meet Bigelow despite the fact that they have never met before). Bigelow also meets Philips' younger brother Stanley (Henry Hart) whom also claims not to know what Philips was wanting to speak with Bigelow for.The key to the mystery is a bill of sale for what turns out to be a shipment of stolen iridium. Stanley tells Bigelow that Philips was arrested two days before he died for selling the iridium to a gangster named Majak. During another phone talk with Paula, Bigelow learns that he had unknowingly notarized the bill of sale document of the iridium for Eugene Philips six months earlier on the behest of Philips' friend George Reynolds. Bigelow meets with Mrs. Philips again who tells him about Reynolds who had went missing two months earlier and who may have been responsible for the theft of the stolen iridium. Bigelow then goes back to Miss Foster who tells him that Philips had been having an affair with a fashion model and that Mrs. Philips knew about it.Bigelow meets with Philips' mistress, Marla Rakubian (Laurette Luez) demanding what she knows about Philips and Reynolds as well as the sale of the iridium, but she pulls out a gun and attempts to kill him. He subdues her and takes her gun. He demands to know what she knows, but she claims not to have seen George Reynolds for months. Bigelow takes a photo she has of Reynolds and goes to a photo studio where the photo was taken where the manager and photographer claim that the photo was taken over a year ago, but that Reynolds used a different name. While leaving the studio, an unseen sniper attempts to shoot Bigelow as he gets into his rental car. After a chase through a nearby warehouse, the unseen sniper gets away, allowing Bigelow to go free.That evening, Bigelow is captured outside his hotel by a group of gangsters whom take him to Majak (Luther Adler), a powerful crime lord whom is Marla's real lover after she had called him about Bigelow making inquires. After Majak questions Bigelow over what he knows and "what Philips may have told him over the phone". Majak sees that the ignorant Bigelow indeed did not talk at all to Philips in the past two days, but Bigelow has learned too much about Majak buying the stolen iridium from Philips so that Majak could re-sell it on the black market, plus George Reynolds was in fact murdered by Majak to cover up loose ends. Majak orders his psychotic chief henchman Chester (Neville Brand) to take Bigelow out of the city and kill him (none of the gangsters seem to be aware that Bigelow has been poisoned). However, Bigelow manages to escape when he stops the car that Chester is driving through the city and runs out. Chester pulls out a gun and gives chase, attemping to shoot Bigelow on the busy sidewalk. Bigelow runs into a pinball arcade where the police show up and shoot Chester dead, allowing Bigelow to slip away.Bigelow thinks Stanley and Miss Foster are his killers but when he confronts them at Philips' office, he finds Stanley has been poisoned too - after having dinner with Mrs. Philips. He tells them to call an ambulance and what poison has been ingested so that (in Stanley's case at least) prompt treatment may save his life. Stanley tells Bigelow he found evidence that Halliday and Mrs. Philips were having an affair. Bigelow realizes that the theft of the iridium by Majak was merely a diversion. Philips discovered the affair and Halliday killed him.Bigelow then confronts Mrs. Philips at her house where she tells him that she and Halliday used the investigation of the iridium as a cover for their crime, making it seem that Eugene Philips had killed himself out of shame. However, when they discovered that there was evidence of his innocence in the notarized bill of sale, Halliday murdered anyone who had knowledge of the bill of sale.After leaving Mrs. Philips apartment building, Bigelow is jumped by several of Majak's henchmen who try to kill him. Bigelow manages to outrun them and boards a local bus, but the gangsters, led by Majak himself, follow the bus in a car. When the bus stops at a local stop, one of the henchmen attempts to board, but Bigelow disembarks and sees a policeman standing at the street corner and stands close to him. Seeing that Majak and his henchmen will not attempt to capture or kill Bigelow with the cop standing close by, they drive away, allowing Bigelow to escape again.Bigelow tracks Halliday down to an office where he confronts him and finally sees that Halliday was the stranger who poisoned his drink the previous night. When Halliday attempts to run, Bigelow shoots him to death in an exchange of gunfire.The flashback comes to an end. Bigelow finishes telling his story at the police station and dies, his last word being "Paula..." The police detective taking down the report instructs that his file on Bigelow's death be marked as dead on arrival, or "D.O.A." | cult, mystery, murder, sadist, flashback | train | imdb | Edmond O'Brien had one of the best roles of his career in D.O.A., and he took full advantage, though few critics give his performance much credit for the film's success.O'Brien, a classically trained actor, plays a small-time Southern California businessman living his ordinary little life, minding his own business, regularly boffing his secretary (this was implied rather than made explicit; after all, this was 1949), and avoiding her whiney entreaties that they tie the knot, as he's been promising her he would do for ever so long.You can't help liking O'Brien in part precisely because of his human flaws.
(Hitchcock picked up on that real quick; watch Vertigo again to see how he saw the eerie side to that town, with its creepy deserted streets, little ghostlike fog-blown urban hills, and other abandoned places suggestive of loneliness and soullessness.)From here one great noir scene follows another in astonishing succession: the smoky, crowded jazz bar where the sweaty black musicians are blowing up a storm (to an all-white 1949 audience of course), while a murder is silently committed with a switched drink.
Edmond O'Brien, a great character actor who was in everything from the classic rock'n'roll movie 'The Girl Can't Help It' to Peckinpah's western masterpiece 'The Wild Bunch' (he played the old coot, you probably won't recognize him here), is the "hero" who is told he has been poisoned and has days, maybe even hours to live.
The reason that he was poisoned had to do with him notarizing a bill of sale for a shipment of iridium that was stolen and could put the person who shipped it behind bars for at least five years!It took a while for Bigelow to realize that he had a fatal dose of luminous toxin in his system and by the time he did it was too late to save his life.
While not as 'dark' as other film-noir pictures, it still ranks very high in it storytelling, having a potent enough story to tell, and a slew of actors just pushing the limits of the B-movie style.Edmond O'Brien is at his absolute best as the worried Frank Bigelow, worried because he's in a rotten predicament: poisoned by a random drop of 'luminous poison' at a jazz club, with no chances of survival.
Several are good, and a few are stand-out; Luther Adler as Majack gives some worth in his scenes, and especially a small but very memorable part for a nasty character, Chester, done to a T by Neville Brand (the little dialog scenes between them are as shamelessly pulp as any other film like this, but compelling and very entertaining).Aside from the merits of most of the cast, and Matte's visual approach (much of the outside running scenes and chase bits are shot right on location, like in a pre-guerrilla style of film-making), there's the aspect of the script.
Finding a good print is hard, although I finally got a decent one with this Killer Classic DVD set that includes this movie.The story, like the print, is not always easy to follow, either, even though the premise is very simple.
Great B-movie film noir, played as if his life depended on it (and it does) by Edmond O'Brien as a small-town notary who pays a big price for signing the wrong document at the wrong time, turning what should have been a pleasure trip to the west coast into a murderous affair altogether.It starts with a bang, O'Brien staggering into the local homicide unit to tell the cops that there's been a murder - his, before launching into the massive flash-back which takes up pretty much the rest of the movie.
The action from there on is hectic and as convoluted as all the best noirs are as O'Brien, infected by a deadly poison, races against the clock to track down his own killer and the reason behind it.The film makes fine use of actual San Francisco and Los Angeles locations as well as authentically depicting the hot and steamy atmosphere at a Frisco jazz club.
The director, Rudolph Mate, had a real insider joke with that shot.And that long tracking shot, by the way, was an excellent example of how to use fast camera work and great editing.On another level, the movie very much fits the times vis-à-vis the portrayal of evil and where it leads: retribution is always just around the corner for those who transgress society, even if you think you're justified.
When you see this movie, you'll know what I mean.And, for the times, the acting was good, with a standout performance from Edmond O'Brien, and ably supported by the ever-competent Luther Adler (as Majak, the sharp dealer in stolen goods), and Neville Brand, as the psychopathic Chester.
What was the director thinking of...?That aside, it's a good, fast-paced action mystery that helped to keep the film noir genre very much alive.
This is probably Rudolph Maté's peak.When a B-movie reaches such heights,it should be called nothing but classic.The movie starts slowly,after a brilliant opening,then picks up speed and ends up leaving the spectator panting for breath.Like every film noir -why do they use a French expression for a typically American genre?-,it's very hard to catch up with the very complicated plot,although the cause for the fighting is laughable(a bill of sale).There are a lot of characters,male and female,but the scenarists manage to preserve cohesion.This film noir recalls the Greek tragedy,because we learn in the very first scene that the hero has been irremediably poisoned .
Some scenes are particularly brilliant:the killer sadistically smiling,as he tells the hero he's going to kill him slowly,very slowly(the irony lies in the fact that he does not know his prisoner is really slowly dying);the short-lived reunion with his girlfriend;the funeral urn.The last line is the very title of the film.There have been very harsh words about the remake("color me dead"(1988)),featuring Dennis Quaid and Meg Ryan.Probably unfair.It's no longer a film noir,but rather a whodunit,the plot -only the initial situation is the same- multiplies the wrong tracks .Quaid is a college professor and Ryan a student.So do not try to compare it with its highly superior predecessor,and you'll be able to enjoy it ..
There's no doubt that "D.O.A." grabs your attention right from the opening scene, as the camera follows Frank Bigelow (Edmond O'Brien) walking into a local police station to report a murder - his own!
Nevertheless this movie is not boring at all, with a decent running time as well it whizzes by quite nicely and the whole plot wraps itself up in just over 80 minutes.It stars Edmond O'Brien as Frank Bigelow the man who has been poisoned, he has no idea why because he has no obvious enemies and he doesn't even know where he was poisoned.
I just felt at certain points when the script throws up some quite dramatic part, the actors kind of go a bit over the top with what they've got, no one fails in this film but it is only some scenes are ruined by none believable acting though.Rudolph Maté uses the script from Russell Rouse and Clarence Greene to make a very fast yet efficient film, it never gets too bogged down in its own story and although it can open up too many avenues of investigation, it still comes to a conclusion that makes sense.
I also liked the bad people or person(could be either,no spoilers) in this, of course I will not claim who they are so I do not ruin for possible readers of this but although they are not superbly evil, they definitely have a ruthless streak waiting to come out.I would recommend this to anyone who enjoys well film noir, I still don't think many will find this near being a masterpiece although I am sure some will enjoy it massively more than I did.
Ask anyone to name a film noir movie or two and D.O.A is likely to mentioned simply because it has had a long TV life and so many generations of people have seen this.
The second time, I watched it for the little period details; the now 'retro' neckties; the goateed hepcat at the bar where O'Brien gets 'the drink'; the street scenes of a vanished San Francisco.Ever notice how many great movies were shot in San Francisco?
I recently watched D.O.A. and found it very gripping in parts.Frank Bigelow goes on a week long break to San Francisco but during this, he is poisoned with a luminous toxin by somebody for no apparent reason.
At the end (and beginning as the story is told mostly in flashback) as he arrives at a police station, he drops dead.The movie has some good location photography and a rather haunting music score.The cast includes an excellent performance by Edmond O'Brien (White Heat) as Bigelow, Pamela Britton as his fiancée, Beverly Garland (It Conquered the World), Luther Alder and Neville Brand.D.O.A. was remade in 1988, although I don't think it is so good as this version according to reviews I have read.
In it, a man must discover the person responsible for his own murder, a plot point realised thanks to the presence of a slow-acting poison that gives him only a day or two to live.D.O.A. presents a bleak and icy narrative that has a strong degree of pessimism to it, thanks to that excellent premise.
Frank Bigelow walks into a police station and talks about his own death.He has been poisoned by luminous toxin in San Francisco and only has a short time to live.Rudolph Maté's D.O.A.(1950) is a brilliant film-noir about a man searching for his own murderer.Edmond O'Brien is a perfect man in the lead.Other players are great as well.Pamela Britton plays Paula GibsonLuther Adler is Majak.Beverly Garland is Miss Foster.The movie has many brilliant scenes.It's a fantastic sequence when Frank has just found out he's going to die and goes running in the streets.This is a cynical movie that is not intended to entertain you.D.O.A. is classic of the film-noir genre..
Turns out it was just one of those unfortunate deals of being in the wrong place at the wrong time, but he is dead anyway.Pamela Britton, who would find later acclaim as Blondie and a regular on "My Favorite Martin" gave a passionate performance as his ditsy girlfriend.This was classic film noir and the score was terrific.
Frank Bigelow is in San Francisco for a break away from his fiancée, after a night on the town he wakes up and feels a bit under the weather, after consulting a doctor he is told he has been poisoned by a luminous toxin and only has a few days to live.
I don't think D.O.A. is film noir, as it seems to be almost a parody of film noir (notice how deliberately hard-boiled all the characters are (well, except loving, loyal, sweet Pamela Britton as his true love, though he doesn't know it yet) and call O'Brien's character always by his last name, Bigelow, even the less than diplomatic doctor who, coming out of his lab to confirm luminous poisoning and holding up the vial, says, "Yeah, you got it, Bigelow".
Businessman Edmond O'Brien, traveling from his small California town to San Francisco for a meeting, is given a slow-acting poison which will mean his eventual demise; he attempts to finger his own murderer before dying.
Even so, these two are not really the parties involved in O'Brien's poisoning and, in fact, the plot is a little too convoluted along the way until one gets all the threads sorted out towards the end.The character of O'Brien's secretary/girlfriend is quite one-dimensional and gets a bit annoying as a result, but it is relevant to the plot nevertheless; besides, the whistling on the soundtrack every time a good-looking girl passed O'Brien by during the early stages of the film was rather corny.
Edmond O'Brien plays Frank Bigelow an everyman type who enjoys his vacation away from work and girl-friend when he gets poisoned with some sort of luminescent toxic substance in a jazz club in San Francisco.
The opening scene - a long tracking shot of Bigelow entering police HQ and announcing to a homicide detective that he has a murder to report, "who was murdered?"/ "I was..." - truly matches the idea behind DOA in terms of originality and is surely one for the ages in the film noir universe.
O'Brien is right on the money on his role as the determined, gruff, doomed hero and most of the cast turn in good performances...Gripping, fatalistic, with moments of pure noir brilliance, DOA is well worth checking out for genre fans, even as flawed as it is..
The excellent Edmond O'Brien stars in this nifty story as Frank Bigelow, a small town tax accountant who goes on vacation in San Francisco.
Frank goes to the police station, where the following exchange occurs: "I want to report a murder." "Who was murdered?" "I was." From then on, you know you're going to have a fun time with this briskly directed (by Rudolph Mate) and paced film.
There seemed to be so much over-the-top scenery chewing taking place, especially by Edmond O'Brien, as Frank Bigelow, that I began to view this gravely solemn Crime/Drama as something of a cartoon-style comedy.There were a number of times when I actually burst out laughing when the situation was clearly meant to be taken with the utmost solemn seriousness.Told in a series of continual flashbacks, D.O.A.'s story concerns Frank Bigelow, a small-town accountant, who, after living-it-up in San Francisco one weekend, finds out that he has been poisoned by a "luminous toxin" (which had been, unknowingly, poured into his drink).With there being no antidote, Bigelow is told by the doctor that he has, at the most, a week to live.
(It is never explained why this poison didn't make him violently ill) Not knowing who did this to him or why, Bigelow embarks on a desperate journey to try to find out the identity of his murderer.Directed by Rudolph Mate', D.O.A., filmed in b&w, had a running time of only 83 minutes..
A Film Noir Gem. The Plot: Small-town accountant Frank Bigelow goes to San Francisco for a week's fun prior to settling down with fiancée Paula.
Not knowing who did it or why, Bigelow embarks on a frantic odyssey to find his own murderer.They don't make film noir like this no more.
The Great Opening Premise, the Scene at the Jive Bar, on the Street Locations, the Blistering Pace, Neville Brand's Sadistic Psycho, Tough Talk, and a rather Intricate Interwoven Plot are some of the Things that make this one of the Great B-Movies and an Essential Entry in the Noir Canon.Symbolism (the "Life" magazines), Post Nuclear Paranoia (radiation poisoning), Odd Camera Work, and a Conflicted Every-Man literally Doomed by Circumstance ("All I did was Notarize a Bill of Sale."), are some others.
A man (beautifully played by Edmond O'Brien) finds out he's been given a slow acting poison and has only a few days to live.
This is a dark, cynical noir -- O'Brien is dead from the moment he ingests the poison, and his actions for the rest of the movie are those of a drowning man frantically trying to save himself because he doesn't know what else to do with his final moments on Earth."D.O.A." looks like it was made for about five bucks, but it nevertheless managed to line up some formidable talent behind the screen.
Classic film noir about a man (Edmond O'Brien) who finds out he's been poisoned.
This movie is about a man named Frank Bigelow, who finds out he has been murdered by slow poisoning which there is no cure for, and he attempts to find out who did it.
Neville Brand plays an over-the-top sociopath Chester.Pamela Britton, as O'Brien's girlfriend is rather weak.Overall, a fun movie to watch, especially for film noir buffs..
Not only the script but the masterful direction by Rudolph Mate and the absolutely "no letup" Performance by Edmond O'Brien as Frank Bigelow, the central character.Kudos to Neville Brand as the giggling, sadistic, psycho.They just don't make 'em like this anymore.
Neville Brand plays the psychotic, hotheaded goon to perfection (also with humor as well as malice) the kind of role for which this character actor was perfect.The scene where his hotel room is adjacent to convention revelers, with the married lady trying to seduce him, is hilarious, These folks looked like, say, a group of small-town convenience store owners, loose for the first time in the big city.I've been to the "Bay Area" on extended visits a few times, and while the traffic and overall bustle might have been a bit less in this film than I encountered in later years -- from my experience in this crowded, busy city, it would have taken Edmund's character about two weeks to have done all the hurrying and scurrying, and visiting all his many destinations, whereas he accomplished all of this in a matter of hours in this story.Still, a very entertaining movie, with these features adding to the enjoyment of its story..
Average man Frank Bigelow(Edmond O'Brien) leaves on a little trip to San Francisco and then fate steps in.
A wonderful performance by Edmond O'Brien as Frank Bigelow, a man with only a few days to live.
This has to be one of the better film noir stories out there, and certainly among the best of its time.
(1950) *** 1/2 (out of 4) Exciting, fast and tense film noir has Edmond O'Brien mysteriously poisoned and slowly dying so it's a race against time for him to find out who did it and why.
Original for the 1950's but a little bit overused for younger generations the theme of a man running against the clock to find the truth behind the lies on matters of life and death is the main premise of "D.O.A." a classic film noir starring Edmond O'Brien playing Frank Bigelow, a man who tries to catch the person who poisoned him with a lethal substance during a trip in San Francisco. |
tt0059744 | Spaceflight IC-1: An Adventure in Space | The opening narrative is given by a man in a high ranking military uniform. He tells us the film is set 50 years into the future, when an overcrowded Earth will begin looking for other Earths. Flights will be made taking 25 to 50 years. This film is the story of one such flight IC 1 (Interstellar Colony ship One) It is a Noahs Ark of space, 8 couples with their children will travel to Earth 2 well beyond our Solar System
We are then introduced to the couples who make up the crew. First is the Captain, Mead Ralston, (Bill Williams) his wife and educator Jan Ralston (Norma West) The medical team are doctors Steven Thomas (John Cairney) and his wife Helen Thomas (Linda Marlowe) Aside from the health of the crew, the doctors are involved in an experiment in suspended animation. Two men and two women to be revived when they reach Earth 2The next couple is engineer John Saunders (Jeremy Longhurst) and his wife biologist Kate Saunders (Kathleen Breck) The crews computer experts are Karl Walcott (Donald Churchill) and his wife Joyce Walcott (Margo McLennan) The final member of the crew is the most unusual. A synthetic man called Doctor Garth (John Lee) is the operations commander. His body replicates every action of a normal human body.The film begins on the first anniversary of the ship's departure from Earth. Captain Ralston is speaking to reporters back home as news of the flight is released. It is a joint mission of Great Britain, Canada and the United States. All seems to be going well, the crew's morale is high and the children are growing normally.Ralston reports the ship is operating better than expected. Garth interrupts the interview to ask if he can speak to Captain Ralston explains that is against regulations, Garth acts with a little annoyance at the reply.After the contact is broken, Ralston speaks to his wife (much younger than he) about their inability to conceive children. She assures him no one, especially her, is concerned about the issue. She argues they have only been married a year, there is plenty of time to have children. Ralston still seems disgusted and is convinced the whole world thinks he is a failureIn another part of the ship, plans are being made for a surprise party to celebrate the first year in space. Someone asks if the Captain is aware of the event, the answer is no, that]s the surprise. A number of the crew seem nervous about the plans and beg offIn another area of the ship, Kate is teaching the children. Their lessons over, she puts them to bed in a communal bedroom. The children choose a story to end their day. Ho Ho The Holographic Clown (Max Kirby) begins to entertain the children as Kate slips away to the party.John Saunders plays the clown as he serves the crew water and a small pill mimicking the flavor of various alcoholic drinks. Ralston joins the party and immediately breaks it up, declaring that the ship could have been in danger while everyone was having a good time. Dr Thomas and his wife plead with the captain to allow the crew some recreation time. He responds by ordering all the capsules brought to his cabin so he can keep control of them.Steven Thomas goes to the control room to check Dr Garth. He is happy in a melancholy way. Saunders asked Garth if he knows of any plans given to Ralston for the coming year. Dr Garth admits he could not answer even if he wanted to.The Thomases are checking on the crew in suspended animation when Helen suddenly feels faint. Her husband asked what the results of the last tests were and she admits she never took the exam. Steven decides he needs to get that rectified immediatelyThe Saunders talk over the events of the night and Ralston's behavior. Kate is disgruntled and tries to goad her husband into a fight. The next morning during breakfast tension is running very high; the bland algae diet is getting one everyone's nerves. Kate defends herself, saying she has very limited resources with which to work. Saunders brings up the question of what is to happen during the second year regarding children. Ralston becomes defensive and tells the crew he will tell them what concerns them.Ralston sends Helen to find Steve, he wants a meeting. In the lab Steve is going over Helen's results and it is not good news. It appears Helen has a pancreatic infection, and the prognosis is not good. As a doctor she understands the seriousness of the situation.Steven believes the only way to save Helen is to return to Earth, she argues Ralston will never agree to the return. Steven approaches the crew explains the situation. Ralston immediately rejects the option, claiming he has no choice.Steven reports back to Helen that Ralston reacted exactly how she expected. He wants to force Ralston to turn around but Helen argues otherwise. The future of their son is at stake. She wants the chance for the boy to have a new future.Steven arranges a grievance committee to see how much support he may have among the balance of the crew. Jan puts together a lesson plan for the children, of which her husband disapproves. She is concerned her husband is spying on her and reviewing all the information being taught to the kids. In particular, she is bothered by the style of government and organization, called RULE, introduced. Mead admits he is a member of the organization and has been before the couple married.Mrs. Ralston criticizes her husband for having changed. She says the rest of the crew has also seen the change and dislikes itSteven and Helen talk about the future; at best she has three years. Steven still wants to return but Helen argues against it. Better to have three good years than to be stuck on an overcrowded, over-controlled Earth. She does tell him she wants to have a little sister for her son. She does not want to ask Ralston, simply do it and let him deal with the future.Ralston contacts the couple, admonishes Steven for not being at his post, then requests a meeting with Helen. At the meeting Ralston speaks of the regrets he has for Helen. He then warns Helen that Steven needs to tone down his attitude and questions Steven has about the Captain. She then asks the Ralston for permission to have a second child. Ralston tells her it is not his choice, the mission profile does not allow her a second child and he is going to stand by that. Steven speaks with Saunders about the growing friction with Ralston. Saunders explains he is very frustrated with the situation and wants to do something.Later, Steven goes to get Helen for dinner. She is dead in bed, leaving a suicide note explaining that Ralston refusing to allow a child was more than she can take. Steven finds Ralston and challenges him over his behavior and knocks him out. With the help of Saunders, they take him to his cabin and lock him inside. Effectively they have staged a mutiny. Finally Saunders shows Stevens the special key to set off a self destruct sequence to destroy the ship.Later, Ralston discusses the situation with his wife, according to the regulations he only has one course of action, to execute Thomas.In their cabin, the Saunders discusses the situation. John speaks to his wife about his involvement in putting Ralston in restraints, he does not feel like a hero, and is worried that he cannot justify his actions. Trying to stay practical, his wife discusses what will happen regarding the funeral. John tells her the regulations say she will be buried in space.Saunders leads the funeral service in the absence of the captain. Everyone is deeply distressed as Helen's body is ejected from the ship. Later the Saunders and Thomas call a meeting to elect a new captain. Steven Thomas is the only nomination.He expresses regret over what occurred on the ship, and really does not want the nomination unless the crew gives him their full support, and continues to do their jobs as before. All agree with the exception of Karl, who still supports the captain, but realizes he is in the minority.On Earth we see Captain Burnett dictating a memo to the RULE council. He advises the council that he has lost contact with the spacecraft, and if contact is not re-established within 2 days the ship will be presumed lost.
Steven talks to Garth about the situation. Should he tell them about the coup or press on in total silence. Steven tells Garth that he's explained the orders for year two, and the crew is allowed to try and have children.Later, Saunders confides in Steve that Kate is pregnant. Joyce interrupts the news to tell Steven she and Karl have had another argument. Steven thinks the source of her problems are caused by the continuing situation with the Captain, Joyce tells him she's never really loved Karl and the problems date long before the mission beganSteven finds Jan and asks for her help about what to do with the captain. He asks Jan to try and talk to the captain to see if some resolution can be found. Jan warns Steven that if the captain get out he is going to kill Steven because the captain believes Steven's actions were mutiny. Steven assures her everything will be fine
Karl finds the keys to unlock the room the captain is in and releases him before he can correct the situation. Ralston jumps him from behind and knocks him out, retaking command of the ship. The captain tells the crew they will be locked in their rooms until further notice.He then tells Steven about his execution. Before he does, he orders Thomas to awaken Dr Griffiths so that there is a medical person after Thomas is executed.Jan Ralston talks to Garth about the location of weapons on-board. Garth tells her they are stored with the rest of the survival gear needed once the ship reaches Earth 2. He cautions the weapons are inaccessible until the ship lands.Thomas approaches Ralston again pleading not to awaken Griffiths, Steven argues conditions are too unstable and he can't guarantee the results. Ralston warns Thomas, any treachery will cause him to set off the self destruct system on the shipSteven goes to his quarters and finds Kate. She asks Steven pointedly does he think the captain is insane. Steven doesn't thinks so, he believes Ralston is simply suffering the pressure of command. Steven begins to process of waking Dr Griffiths, it will take at least 18 hours to warm him enough to begin revival.Karl speaks to Thomas and apologizes for siding with the Captain, he did not think Ralston would go through with his plan to execute Steven after he got free. Steven dismisses the apology and tells Karl he is not his consciousBack in the medical area, Dr Griffiths (Tony Doonan) breaks free of his container. He seems disorientated and unsure of his surroundings. He leaves the medical bay and begins exploring the ship. He comes across Kate asleep in the nursery and knocks her out. Ralston thinks he hears something and goes to investigate. Ralston finds Griffiths. In his confused state, Griffiths kills him immediately.Karl discovers what has happened and slugs Griffiths, knocking him out. Thomas arrives on the scene and checks to see if the captain may still be alive. Karl and Steven take Griffith back to the medical bay but he dies.Steven explains it was the temperature differential that caused Griffith to fall apart from the inside.At the funeral for the two men, Steven and Kate quietly hold hands during the service, the inference being they may be starting a relationship | murder | train | imdb | null |
tt0084602 | Rocky III | 'Rocky III' begins with the ending of the 15th round of the rematch between Rocky and Apollo Creed in Rocky II, with Rocky Balboa becoming the new heavyweight champion of the world. This is followed by an opening montage of scenes that explain what happened in the time between Rocky II and Rocky III: in the five years since winning the heavyweight title from Apollo (1976-1981), Rocky has a string of 10 successful title defenses. As his winning streak grows, so does his fame, wealth and celebrity, and soon Rocky is seen everywhere, from magazine covers to TV show guest star appearances. Rocky is also heavily merchandised, sponsoring varied products and services. At the same time, a ferocious new boxer named James "Clubber" Lang (Mr. T) is climbing the ranks, rapidly becoming the number one contender for Rocky's title.Rocky's brother-in-law Paulie (Burt Young) has grown jealous of Rocky's accomplishments. After a night of heavy drinking, Paulie stumbles into a video arcade, hurls an empty whiskey bottle through a ROCKY pinball machine in a rage and is arrested. Rocky bails him out of jail and, on the way to Rocky's car to ride home, Paulie begins berating Rocky for forgetting him on his climb to the top. Paulie swallows his pride and asks Rocky for a job, which Rocky grants him.Rocky agrees to a charity match with wrestling champion Thunderlips (Hulk Hogan). While Rocky treats the match as a light-hearted exhibition, Thunderlips seems to be taking it seriously, body-slamming Rocky and throwing him out of the ring. Rocky shouts to Paulie (his new ringman) "Cut my gloves off!" The gloves come off and Rocky fights back, even managing to throw Thunderlips out of the ring himself. Just as the match is about to degenerate into a type of shoot fight, the bell rings and the match is declared a draw. Thunderlips calms down, and it's clear that his aggression earlier was just for show. Rocky asks: "Why'd you get so crazy on me out there?" Thunderlips: "That's the name of the game." A now smiling Thunderlips has his picture taken with Rocky's wife and kid.Rocky has a statue of himself unveiled at the steps of the Philadelphia Museum of Art and reveals his plans to retire from boxing. The crowd of Rocky fans disapprove of his decision. Clubber Lang, who is in attendance at the ceremony, publicly challenges Rocky, this time criticizing Rockys title defenses as being intentional set-ups against weak, over-matched "bums." Lang also berates the politics of boxing, the reason Lang feels he hasn't been awarded a title shot. Furthermore, he harasses Adrian. Angered by a sexually suggestive remark Lang makes towards Adrian, Rocky agrees to the fight, but Mickey, his trainer, wants no part of it. Returning home, Rocky argues with Mickey. Mickey admits to Rocky that the fighters he defended his title against were good fighters but "hand-picked", only because Rocky received such a bad beating in his win over Creed that Mickey took it upon himself to make sure Rocky remained successful and healthy. He also tells Rocky that Lang is a young, hungry "wrecking machine" and that Rocky has no chance of beating him, as he hasn't retained his edge as a fighter. Rocky manages to convince Mickey to train him regardless, but his Las Vegas-style training camp is filled with distractions and Rocky clearly does not take the challenge seriously (similar to Creed in the first Rocky movie). Clubber's relentless training regimen of working out by himself in a derelict building with whatever objects he has and running through city alleys clearly shows that he is taking his preparation for the bout far more seriously. (similar to Rocky in the first film)Lang and Rocky meet at Philadelphia's Spectrum. During a melee before the fight, Mickey is shoved out of the way by Lang and suffers a heart attack. A now distraught Rocky wants to call the fight off, but Mickey angrily urges him on while he stays in the dressing room. By the time of the fight, Rocky is both enraged and severely distracted by his mentor's condition. At ringside, Rocky's old nemesis Apollo Creed is on hand to do commentary. While shaking hands with both fighters, Creed is insulted and rebuffed by Lang and encourages Rocky to win. The fight begins: Rocky starts by pounding Lang with several huge blows, going for an early knockout, but the stronger and better-prepared Lang is unfazed and quickly takes charge, dominating Rocky and knocking him out in the second round. Beaten, Rocky makes his way back to the dressing room and to the dying Mickey. Kneeling at his side, Rocky speaks to his friend, telling him that the fight ended in the second by a knockout, which Mickey misinterprets as a win for Rocky, as he passes away. Following the funeral, Rocky faces a depression mixed with anger and hopelessness.Stopping by Mickey's closed gym, Rocky is confronted by Apollo Creed, who offers to help train him. Previously, Creed had been insulted to his face by Lang, who mocked Creed as a "has-been" and refused to shake his hand at the match with Rocky. Apollo makes a pitch to snap Rocky out of his funk and get him back on the winning track. He vows to train Rocky to fight Lang again, the way Apollo thinks he should be fought. He slowly convinces him that he can regain the fire Rocky thrived on in his earlier days, and tells him he must again have the "eye of the tiger", his fighting spirit, mainly by starting from scratch. Apollo takes Rocky to the slums of Los Angeles so that Rocky can get back to basics. The duo also meet up with Creed's old manager, Tony "Duke" Evers, who has enthusiastically agreed to assist Creed in training Rocky. At first, Rocky is too demoralized to put forth his best efforts, which repeatedly frustrates Apollo. However, after admitting to Adrian that he's afraid, that his previous post-Apollo fights were set-ups and that he feels responsible for Mickey's death, she tells Rocky he has no right to feel guilty over Mickey, who was a grown man and made his own choices. She also tells him to fight for himself and no one else. Rocky is then able to pull himself together to train as hard as he can, adding some of Apollo's speed and skill to his own style of fighting. During his training, Rocky forges a deep bond with both Duke and (especially) Apollo, their relationship evolving from former adversaries to close friends.The rematch is held at Madison Square Garden in New York City. At the start of the fight, Rocky sprints from his corner, fighting with a level of skill and spirit that no one, including Lang, expected. As a result Rocky completely dominates the first round, demonstrating his new-found speed. After the bell, Clubber, who is in a fit of rage over what has just happened, has to be restrained by his trainers. In the second round, Lang gains the upper hand, and Rocky adopts an entirely different strategy that bewilders Apollo; he intentionally takes a beating from Lang, (he gets knocked down at one point but manages to get up before he's counted out) whilst taunting him for being unable to knock him out.In Round 3, Lang, who is used to winning fights swiftly with knockouts in the early rounds, becomes increasingly angry and quickly exhausts his energy trying to finish Rocky off with repeated knockout blows, most of which miss the newly-agile Rocky entirely. Rocky taunts Lang in order to psyche him out, with taunts such as, "My mother can hit harder than that'", and, "You ain't so bad, you ain't so bad, you ain't nothing". The quick-tempered Clubber is infuriated. He attacks even harder, walking right into Balboa's trap. The tide turns, and Rocky is able to overpower the winded and outfoxed Lang, landing blow after blow and dodging Lang's attempted punches before knocking him out. Rocky is declared the winner and his title as Heavyweight Champion is restored.Soon afterwards, Rocky and Apollo return to Mickey's gym, with Apollo revealing the price of his training: a third fight with Rocky. However, this time it would only be a sparring match between two new friends, which Rocky accepts. The film ends with Rocky and Apollo in the ring both throwing punches at each other as the screen freezes and song 'Eye of the Tiger' by Survivor plays. | comedy, bleak, violence, cult, flashback, romantic, revenge | train | imdb | null |
tt0032143 | The Women | Based on the 1936 play by Clare Boothe Luce, The Women follows the lives of a handful of wealthy Manhattan women, focusing in particular on Mary Haines (Norma Shearer), the cheerful, contented wife of Stephen and mother of Little Mary. After a bit of gossip flies around the salon these wealthy women visit, Mary's friend and cousin Sylvia Fowler (Rosalind Russell) learns from a manicurist, Olga (Dennie Moore), that Mary's husband has been having an affair with a predatory perfume counter girl named Crystal Allen (Joan Crawford). A notorious gossip, Sylvia delights in sharing the news with Mary's other friends, and sets up Mary with an appointment with Olga so that she hears the same rumor about Stephen's infidelity. While Mary's mother, Mrs. Morehead (Lucile Watson), urges her to ignore the gossip concerning the affair and continue on as if nothing has happened, Mary begins to have her own suspicions about her husband's increasingly frequent claims that he needs to work late, and decides to travel to Bermuda with her mother to think about the situation and hope that the affair and the rumors surrounding it will fade. Upon her return from Bermuda a few weeks later, feeling well-rested and more sure of herself, Mary heads out to a fashion show at a high-end clothing store and learns that Crystal is in attendance, trying on clothes from the show in a dressing room across the hall. Sylvia joins Mary and baits her into storming into Crystal's dressing room and confronting her about the affair. Crystal is completely unapologetic about her ongoing affair with Stephen and is satisfied with her "meal ticket," but does reveal that Stephen's strong feelings of sentiment prevents him from seeking a divorce from Mary in order to marry her. Heartbroken and humiliated by the revelation of the affair, Mary leaves quickly. The meeting will not fade from gossip circles, however, and the situation is only exacerbated by Sylvia, who manages to turn the whole affair into a tabloid scandal by recounting, with physical embellishment, the entire confrontation story to a notorious gossip columnist, Dolly Dupuyester (Hedda Hopper). To save her own pride, Mary chooses to divorce her husband despite his efforts to convince her to stay. Mary explains the divorce to her daughter Little Mary (Virginia Weidler), and the household prepares for Mary's departure.Leaving on a train to Reno where she will spend the necessary weeks until their divorce is legal, Mary meets several women with the same destination and purpose: the dramatic, extravagant Countess De Lave (Mary Boland); Miriam Aarons (Paulette Goddard), the tough cookie chorus girl; and, to her surprise, her good friend Peggy Day (Joan Fontaine), a sweet, shy girl. Upon reaching Reno, Mary and her new friends settle in at a ranch to await their final divorces, and are given plenty of advice by Lucy (Marjorie Main), the plain-spoken and gruffly warm-hearted woman who runs the ranch. Time passes at the ranch, and the women discuss their marriages and impending divorces; the Countess tells tales of her multiple husbands and seems to have found another in Reno, a young cowboy named Buck Winston, whom she will marry shortly; Miriam reveals she has been having an affair with Sylvia Fowler's husband and is in Reno to get a divorce from her current husband so that she can marry him; and the women convince Peggy, who has discovered that she is pregnant, to surrender her pride, call her husband, resolve their misunderstanding and end the divorce proceedings, which she successfully does. During this time, Sylvia Fowler arrives at the ranch, since her husband has requested a divorce. When Sylvia discovers that Miriam is set to become the new Mrs. Fowler, a catfight ensues. Mary succeeds in breaking the fight up, ending with Miriam convincing her that she, too, should forget her pride, and her newly awarded divorce, and call her husband and try to patch things up. Just then, the phone rings. The call is from Stephen who informs Mary that he and Crystal have just been married.Eighteen months pass, and the story picks up in Stephen Haines' apartment, where Crystal, the new Mrs. Haines, is taking a bubble bath and talking on the phone to a new lover. Little Mary enters the bathroom and overhears the conversation, before being shooed away by Crystal, who has no time or patience for her. Through Crystal's interaction with Little Mary and the phone conversation, it becomes clear that Stephen has grown weary of Crystal, but seems to be sticking with her since he has no other options. Sylvia Fowler, who is now friends with Crystal, visits during this time, too, and figures out with whom Crystal has been speaking and having an affair. It is Buck Winston, now wed to Countess De Lave, and now a successful singing radio star. Still an unrelenting gossip, Sylvia tucks this information away for use later. Meanwhile, Mary hosts a dinner for all of her Reno friends, to celebrate the two-year anniversary of her divorce and their time together in Reno. When the dinner concludes, the other women head on to Casino Roof, a nightclub, for the second phase of Mary's party. But Mary suddenly begs off and decides to stay home. Upon leaving, one of the ladies mentions to Mary she would have run into Stephen, Crystal and Sylvia who will be dining together at Casino Roof. While getting ready for bed, she chats with Little Mary, who inadvertently reveals how unhappy Stephen is, as well as mentioning that Crystal is being "lovey-dovey" with someone else. This news changes Mary's mind, who decides to get out of bed, dress up and rejoin the party at Casino Roof, intent on fighting to get her ex-husband back.At the nightclub, Mary is seen lurking in the grand powder room. Sylvia and Crystal soon enter together, and Mary makes a casual statement that Sylvia will overhear so she will return to the powder room alone and Mary can fish information out of her. Mary makes sure that gossip columnist, Dolly Dupuyster learns the whole story of Crystal's affair and will make it known by everyone at the nightclub. Mary manages to pit Sylvia and Crystal against each other. Crystal, however, doesn't care about Stephen's lack of affection since she'll now have Buck Winston to support her. The humiliated Countess reveals that she has been funding Buck's radio career and that without her he will be penniless and out of a job. This leaves Crystal resigned to the fact that she'll be heading back to the perfume counter to support herself, while Mary, completely triumphant, heads out the door to win back Stephen, who is waiting for her. | revenge, home movie | train | imdb | Director George Cukor sent Crawford home early when she caused a distraction by loudly clicking her knitting needles off camera as Shearer tried to do her close-ups.Crawford was proved right in taking the movie, it's one of her most memorable and, finally for once, villainous roles.
Roz gives the strongest performance of the film as the viciously catty Sylvia Fowler, and I don't think Shearer or Crawford knew what hit them.As for the long-suffering, hair-clutching, heavy-sighing Norma Shearer, even she was able to make the difficult role of noble Mary Haines memorable.
The female of the species goes jungle red in tooth and claw in this brilliant screen adaptation of Claire Boothe Luce's famous Broadway play--a wickedly funny portrait of 1930s society women whose lives revolve around beauty treatments, luncheons, fashion shows, and each other's men.
but when her husband steps out on her with a gold-digging perfume counter sales clerk, Mary's so-called friends dish enough dirt to make divorce inevitable whether Mary wants it or not.The script is wickedly, mercilessly funny, fast paced, razor sharp and filled with such memorable invective that you'll be quoting it for weeks and months afterward: "He says he'd like to do Sylvia's nails right down to the wrist with a buzz-saw;" "Why that old gasoline truck, she's sixty if she's a minute;" "Gimme a bromide--and put some gin in it!" And the all-female cast, which includes every one from Cora Witherspoon to Butterfly McQueen to Hedda Hopper, plays it with tremendous spark.This was the last significant starring role for Norma Shearer, one of MGM's greatest stars of the 1930s, and she acquits herself very well as the much-wronged Mary Haines.
Joan Crawford is truly astonishing as Crystal Allen, the shop girl who leads Mary's husband astray, and Rosalind Russell gives an outrageously funny performance as the back-biting gossip whose nasty comments precipitate Mary's divorce.
Even the smallest bit parts score with one-liners that have the impact of a slap in the face, and director George Cukor does an incredible job of keeping everything and every one in sharp focus.Perhaps one of the most interesting things about THE WOMEN is the way in which director Cukor ties the behavior of its characters to their social status.
Cukor allows us to sympathize with Mary (Shearer) and laugh at Sylvia (Russell), but he also requires us to pity them--and indirectly encourages grudging admiration for the devious Crystal (Crawford) and the savvy Miriam (Goddard), characters who are considerably more self-reliant.
Had it been done today, it would have been done entirely different and the excellent text by Ms. Luce would have probably been thrown away to satisfy the taste of contemporary audiences.Norma Shearer was excellent as Mary Haines, the suffering wife, who has no clue of how her husband has fallen to the charms of Crystal Allen, beautifully played by Joan Crawford.
Rosalind Russell, Mary Boland, Paulette Goddard, Joan Fontaine and the rest of the cast seem to be having a lot of fun while playing these women.
Norma Shearer is just outstanding; this is my favorite movie of hers.It also shows the values and thinking about women's roles at that time; but challenges them at the same time.
This movie has one of the best casts ever - Joan Crawford, Norma Shearer, Paulette Goddard, Rosalind Russell, Mary Boland, Joan Fontaine, Hedda Hopper and Virginia Weilder just to make a few.
I think she did an excellent job especially when she had the crying scene on the sofa (I don't think I have ever seen anybody cry that well before).Mary Haines (Norma Shearer) discovers that her husband is having an affair with money-hungry perfume sales girl Chrystal Allen (Joan Crawford).
I found the fashion show a bit dragging and too long, but it was still fun looking at all the wonderful classy fashions of that era.This hilarious comedy about women and their men can appeal to people who are not necessarily fans of old movies.
But make no mistake about it, the real villain here is Joan Crawford, shop girl, working class, and I've got no doubt is a Democrat.Norma Shearer is her opposite, tasteful, refined, and unfortunately getting a little stale with age.
Definitely not as good as the characters that Clare Boothe Luce created in this play.My favorite in the cast is Rosalind Russell.
That led to a lot of resentment around MGM.Among the supporting cast look for good performances from Joan Fontaine as the young and shy divorcée, Mary Boland as the scatterbrained Zsa Zsa Gabor of the day, Paulette Goddard who gets Russell's goat, her man, and the best of her in a chick fight and Marjorie Main as the wisecracking owner of a Reno dude ranch where the women stay when they're shedding their mates.Within two years Norma Shearer would retire from the screen and Joan Crawford in four years would leave MGM.
A classic chick flick!And, most remarkable in that there are no male actors in the movie -- yet you feel their presence throughout.The young Joan Crawford is perfectly cast as the gold digging "other woman." Norma Shearer, while not a beauty in any sense of the word, does a fine job as the beleaguered wife.
Though I think it might have been better cast with someone lovelier in the lead role.But it is Rosalind Russell though who absolutely steals the movie.
Once the novelty of an all-female cast wears off (there' nary a male extra in the backgrounds either), the movie crackles along as a small group of society women present a kaleidoscopic view of relations with men so that while men are absent physically they're ever-present in the dialogue and thoughts of this contrasting set of women-folk.
As good as Crawford and Shearer are, in their contrasting roles, it's Rosalind Russell as the treacherous, waspish Mrs Fowler, who steals the show and gets many of the best situations (her cat fight with Goddard is priceless!) and lines.
This typically uncinematic George Cukor movie may possibly be the very pinnacle of his work on screen because he had the intelligence to film it straight knowing the material and the cast would speak for themselves.
It is the zenith of the all the smart-assed, hard-boiled women's pictures of the thirties.Adapted by Anita Loos and Jane Murfin from Clare Booth Luce's hit play it's about how 'Mrs Stephen Haines', (Shearer at her very best), loses her husband to Crystal Allen, (Joan Crawford before she went all serious on us), with more than a little help from her so-called 'friends', in particular catty Rosalind Russell, (terrific), before winning him back thanks to some new-found friends, (Paulette Goddard and Mary Boland among them).
Male director George Cukor takes on an all female cast in this classic "rumor has it" film of women chasing after men, and then each other's men!
A classic to watch, will definitely go back one day, the story was brilliant and being an old soul, I love the look of the classic women and times where quarrels were settled with elegance..
The Women is a fast paced, witty and amusing "Chick Flick" Very forward thinking for its time and the relations and gossip within the women is timeless (still true to todays "Women") I thoroughly enjoyed this film from its dialogue, character development, story, cinematography.
Although this is obviously not a story of average women (this movie is set in high society New York) it is interesting to see the Salon and the subtle lavishness Fifth avenue shopping.
However, everybody is given the perfect opportunity to shine; you even (kind of) feel sorry for Joan Crawford at the end when she's received her come-uppance (but you still can't resist the urge to point at her and go "neener neener neener, ha, ha, you lost!") Norma Shearer starts out a little slowly, but that's only part of her character.One of those perfectly cast films you'd hate to see remade.
Plus, like all great classic films, there is a brilliant supporting cast that provides even more laughs and never a dull moment.
The acting of this movie was typical to the time period but great among the cast of actors is one of the greats Joan Crawford.
A 5 year old can see that the original film's success was largely a result of director Cukor's male adoration approach to the camera-work, a peak into the forbidden world of women, a la Degas.
I first saw this film on AMC; I was killing time & thought a movie with Joan Crawford would be a great way to spend a bit of time.
I absolutely love Joan Crawford and Rosalind Russell, but despite their impeccable abilities to act I did not enjoy the movie.
Norma Shearer,( Mrs. Stephen Haines), losses her husband to a sexy Joan Crawford, (Crystall Allen), who is a dame that has been around the city block a few TIMES.
Rosalind Russell, (Mrs. Howard Fowler), is a so called friend of Mrs. Haines, (Mary) however, she loves to gossip behind her back a long with quite a few other ladies in the Beauty Salon, where all kinds of Catty things are talked about and Enjoyed.
At the same time men are recurrently the focus of their airy banter and take part in important functions of the action on screen, they are no more than characters mentioned but never seen.Norma Shearer plays a fashionable wife and mother who learns by way of hearsay that her husband is having an affair and leaves him.
This loss of cynical edge causes one to feel that the film's criticisms are ones that it merits itself, that every single character acts as if her function in life is defined by men, and that we are intended to ponder these childish and high-strung women who think about and act upon nothing more than the battle of the sexes..
And this opinion is coming from a woman who found nothing offensive about it and accepted the extremities of how females are portrayed, so am not sure where the ignorant allegations of those liking the film hating women have come from.So great a film 'The Women' was, that it was for me easy to overlook any minor reservations about the start being slightly cloying (had no problem with the animal-representing-characters scene and found it interesting) and a few silent film mannerisms creeping in occasionally in Norma Shearer's performance.That minor reservation aside, Shearer is a likeable and beguiling presence, very difficult to dislike.
Of course it's all exaggerated, and even fairly retrograde by today's standards, but I encourage everyone to muffle those feminist sensibilities for two hours and allow yourselves to have fun here.Norma Shearer plays the goody-goody heroine, Joan Crawford plays the deliciously malevolent villainess, and Rosalind Russell steals every scene she's in as a brassy society lady with far too much time on her hands.
It would almost be worth watching just to see how the experiment with an all-female cast works out, but besides being unique, "The Women" is also an entertaining movie that features a strong cast.
But the notable character for me in this movie is none other than Rosalind Russell, who portrays the everso picture perfect campy vixen wannabe, Sylvia Fowler, out to tell all about her high society friends.
I enjoyed this movie much more than I thought and I especially liked the end scene where all the women go at it.
A colorful cast keeps the movie lively with some lovely ladies leading the line, (there's an alliteration for ya) and keeping it interesting the whole time.
Mary Haines (Norma Shearer) treasures the company of her loving husband, but the wool is rather roughly pulled from her eyes and she is left to discover he's been stepping out with shopgirl Crystal Allen (Joan Crawford).What makes "The Women" great?
Even Goddard, more pretty than talented in roles I've seen of hers, crafts an effective identity as a Crystal-like character who winds up one of Mary Haines' sisters-in-arms.The more I see "The Women", the tougher time I have identifying anything really not good about it.
(and the irony of Joan Crawford making little Mary call her "auntie crystal"...much like "mommie dearest" in real life...) Hedda Hopper, Norma Shearer, Paulette Goddard.
Norma Shearer, in the lovable role of naive Mary Haines is great, but as the studio queen, gets her moments of silent film glory.
Over 130 women surround this trio, including a gallery of memorable characters embodied by an impressive bevy of studio-era actresses from Mary Boland's over-the-top Countess DeLave to a young pre-Hitchcock Joan Fontaine as irritatingly demure Peggy to Paulette Goddard's no-nonsense Miriam to Lucile Watson as Mary's worldly wise mother to Marjorie Main as the loud Reno dude ranch operator.Even with the inclusion of a knockdown catfight between Russell and Goddard, the film gets overly dramatic at times, highlighting Shearer's penchant for grand lady mannerisms, and there is a completely excisable ten-minute fashion show shot in early Technicolor to show off Adrian's extravagant costume designs.
Shearer was a good film actor and her slight "star" affectations (see the final shot of "The Women") suit her character.
But not here."The Women" demonstrates an interesting fact about Crawford in relation to the other actors in the picture and to film history itself.Crawford and Russell were on their way "up." Shearer was about to retire.
And Russell proved the most versatile actor of the three, over many film and stage performances.Yet in "The Women," one is constantly aware that both Russell and Shearer are "acting." As wonderful and impressive as their performances are, one keeps thinking, "Damn, she's good." With Crawford, on the other hand, one forgets about the actor (her) until long after the picture's over, so convincingly does she inhabit Crystal.The same is true with "Grand Hotel," where one keeps admiring Garbo and John Barrymore's "technique," yet forgets that Flaemmchen is actually being played by Crawford until after "The End." That Flaemmchen and Kringelein (Lionel Barrymore) affectingly walk off "into the sunset" together at the conclusion of "Grand Hotel" seems fitting.
Not only were their characters meant for each other at that moment in their lives, but they were by far the two best actors on the screen.So it is with "The Women." Rosalind Russell is wonderful.
With the final scene, all her good work in "The Women" is erased in what looks like a vanity closeup with arms outstretched and Shearer's face overemoting as she rushes to welcome her errant (off-camera) ex-husband back.Not that it's a bad ending.
To remake this movie today would be a crime against humanity, especially if the director went completely insane and added men to the cast.I have to wonder, though, what the actresses thought of that opening credits where they were compared to animals.
The acting from this cast was amazing and hilarious from Shearer, Crawford, and of course Rosalind Russell.
Little Mary, although not seen in more than a handful of scenes, was an interesting piece to the story and Weidler did a great job playing her part, especially when she told off the character Crystal.
There is quite a bit to enjoy, the tight and often times witty dialogue, along with solid performances by an overall wonderful cast are definitely to this films credit.
This movie also got around many of the requirements of films at the time (there are scenes like when the women are in bubble baths suggesting nudity) by focusing on the situations with other characters.
An overall very funny comedy with a well put together all-star cast of female actors who all did an incredible job with this film..
Rosalind Russell and Joan Crawford are my favorite actresses in this time period and it was amazing seeing the two be so funny in this cute film.
I really liked this film because of the all women cast.
It was interesting to watch a film with an all-female cast, and each actress gave a superb performance.
Norma Shearer is perfect as Mary Haines, and Joan Crawford is a wonderfully devious Crystal.
The cinematography in Mary's (Norma Shearer) dressing room during the scene when Sylvia (Rosalind Russell) convinces her to confront Crystal (Joan Crawford) across the hall was some of my favorite work in the film.
Mary Haines was played by Norma Shearer who is the most level headed character in the whole film besides her young daughter.
It was interesting to see a film from this time period that focused mainly on women as the main characters.
This movie has the best screenplay for a chick flick I have ever had the pleasure to watch.Brilliantly written and superbly acted by a stellar cast of some of the best actresses in 1930's Hollywood who you can tell are relishing their one liners.Norma Shearer is likable as Mary Haines and gives her warmth and feeling so the audience is with her,Joan Crawford IS Crystal Allen and you feel the role is a walk in the park for her.Joan Fontaine plays the young Peggy as the innocent she is and Paulette Goddard is loving the part of Miriam the chorus girl.Rosalind Russell is brilliantly cast as Sylvia Fowler the town gossip and she gives the role her all.I also love Lucile Watson as Mary's mother,Marjorie Main as Lucy and Mary Boland as the Countess.A brilliant movie and a must see for anyone who loves great films..
Rosalind Russell is the sharp-tongued Sylvia Fowler and these three women as well as their friends all go through some of the most incredible relationship trouble I have ever seen for a few people.What makes this movie a classic has to be the cast, but also the sharp and witty dialog that is written.
Not many movies have brought so many of the great classic film actresses together.
One incorrect comment about "This Women" is that Crawford and Shearer had "only one scene together." I watched the film again today. |
tt0488120 | Fracture | Theodore "Ted" Crawford (Anthony Hopkins), a wealthy and talented Irish aeronautical engineer in Los Angeles, discovers that his wife Jennifer (Embeth Davidtz) is having an affair with police detective Robert Nunally (Billy Burke). After confronting his wife, Crawford shoots her, seriously wounding her. Police arrive on the scene, including Nunally. Nunally enters the house and convinces Crawford that they should both put down their guns and Crawford confesses he shot his wife.
Crawford engages in a battle of wits with rising star deputy district attorney William "Willy" Beachum (Ryan Gosling), who considers this an open-and-shut matter and agrees to go to trial immediately. Beachum is busy making preparations for his transition from criminal law to corporate attorney for Wooton & Simms, a well-known law firm, and begins a romantic relationship with his future boss, Nikki Gardner (Rosamund Pike).
At the trial, Crawford acts as his own attorney, thereby matching up a star prosecutor against a supposedly untrained litigant. Crawford reveals that the arresting officer (Nunally) was having an affair with his wife, assaulted him during his arrest, and was present during his interrogation. Crawford's confession is ruled to be inadmissible as evidence, as it was fruit of the poisonous tree. Beachum discovers that Crawford's handgun was not used to shoot his wife because it had never been fired and did not match the shell casings at the crime scene. As the house was under surveillance the entire time from the shooting to Crawford's arrest, the police are baffled.
Beachum is tempted by Nunally's scheme to plant false evidence to implicate Crawford but decides against it at the last minute. With no new evidence to present to the jury, Beachum is forced to concede the trial, and Crawford is acquitted. The disgraced Nunally commits suicide outside the courtroom.
After the trial, Beachum's future with the prestigious firm is in tatters. However, he also begins to see his job as a D.A. as a means of fighting injustice for those like Crawford's wife. Crawford himself observes this change, joking scathingly that Beachum has "found God". This motivates Beachum to continue searching for evidence almost obsessively. Realizing that Crawford's plan is to dispose of the only eyewitness to the crime, Beachum obtains a court order to keep Jennifer on life support. Beachum arrives at the hospital but is unable to prevent staff turning off Jennifer's life support.
A mix-up of cell phones causes Beachum to realize that both Nunally and Crawford used the same type of gun, a .45 caliber Glock 21. He figures out that before the crime Crawford switched his gun with Nunally's in a hotel room where Jennifer and Nunally secretly met. Crawford shot his wife with Nunally's gun, and then reloaded it. The detective arrived on the scene carrying Crawford's gun, and both Crawford and Nunally laid their weapons down as a preliminary move in hostage negotiations. When Nunally became aware of who the shooting victim was, and tried to revive Jennifer, Crawford switched the guns, retrieving his own unused gun. When Crawford appeared in the room brandishing his gun, Nunally tackles and assaulted him before Crawford's arrest. Nunally unwittingly holstered the murder weapon, letting the unused gun be taken as evidence.
Beachum confronts Crawford with his new evidence. Since she has now died, the bullet lodged in Jennifer's head can now be retrieved and matched with Nunally's gun. Crawford confesses, assuming himself to be protected under the Double Jeopardy Clause. However, Beachum reveals that by allowing his wife to die, Crawford can now be prosecuted for murder, having previously been tried merely for attempted murder. Since he had taken Jennifer off life support, new charges can be filed against Crawford and a new trial can be set. Crawford is arrested by the waiting police.
The film ends with a new trial about to begin, where Beachum prosecutes and Crawford is surrounded by a group of high-priced defense attorneys of Wooton & Simms. | suspenseful, neo noir, murder, violence, plot twist, action, romantic, revenge | train | wikipedia | "Fracture" (2007) is directed by Gregory Hoblit who has also made "Frequency" (2000), "Fallen" (1998) both of which I like and "Primal Fear" (1996) - his feature debut that I love.Crime /Thriller/Mystery /Court Drama are among my favorite genres and as long as the combination of these genres is clever, gripping, atmospheric, well acted, keeps me guessing and entertains me, I am happy.
Besides being an entertaining crime movie, the most interesting element of "Fracture" is a struggle of wills and intellects between two main characters, self-made inventor - millionaire Ted Crawford (Anthony Hopkins) who shot his unfaithful wife in the face and put her in a coma and young, successful and smart assistant D.A. Willy Beachum (Ryan Gosling), who has a 97% conviction rate and is assigned to prosecute Crawford just when he is ready to accept a lucrative offer from the prestigious LA law firm.
The game of cat and mouse that highly intelligent and malevolent Crawford plays with Beachum makes the film interesting and the scenes between Hopkins (in his "playful Dr. Lector" mode) and Gosling (whose character does change as he realizes what he is dealing with from the unsympathetic self-centered hot shot to the man who becomes obsessed by the case, vows to put the murderer behind the bars and makes it his priority) - riveting and joy to watch.
When the police arrive, he confesses and hands in his weapon, and the case is passed on to hotshot DDA Willy Beachum (Gosling), who sees this, his final public service trial before he moves onwards and upwards, to be a slam-dunk case; but alas, thanks to Crawford's mind games, things are not what they seem and the case undergoes a series of twists and turns as Crawford and Beachum engage in a tense battle of wits.The most obviously noticeable thing about Fracture is the how well-polished it all is.
While the Hopkins-Gosling clashes make the movie, they are ably supported by David Straitharn, Rosamund Pike, and Billy Burke, who all inject a bit more life and background into the film.While the ride is comfortable for the most part, Fracture slips a gear towards the end; the shift from murder mystery to moral crusade feels a little bumpy, but nonetheless, strong performances and great artistic direction make Fracture a stylish, clever and enjoyable thriller that's definitely worth a look..
Very elaborate and detailed production design contributes a sense of authenticity to this story, set in Los Angeles, about a highly intelligent and wealthy older man named Ted Crawford (Anthony Hopkins) who kills his unfaithful wife.
But, if you don't pay too much attention to these annoying little details, the plot does roll merrily along with some good drama and suspense.Anthony Hopkins is well cast as Crawford, and gives a predictably adroit performance.
When Willy's boss talks with him about being taken off the case, Willy responds: "Even if I find new evidence?" To which his boss retorts: "From where, the evidence store?"Despite a seriously flawed script, "Fracture" is a highly absorbing movie, thanks largely to meticulous production values, and to shrewd performances from Anthony Hopkins and Ryan Gosling..
Blessed with a smart script, stylish direction and first-rate performances by Anthony Hopkins and Ryan Gosling, "Fracture" emerges as more than just the "Silence of the Lambs" knock-off it would appear to be on the surface.In a role reminiscent of a somewhat toned-down (i.e. non-cannabilistic) Hannibal Lecter, Hopkins plays Ted Crawford, a wealthy L.A. businessman who shoots his wife when he discovers she's having an affair with a hostage negotiator.
Beachum gets more than he bargained for, however, when the creepy and unnerving Crawford begins to play the legal system for all it's worth, tweaking the hotshot lawyer by outthinking him and continually knocking him off his game.In less capable hands, "Fracture" could easily have been a standard-issue, twist-and-turn courtroom drama, but thanks to the talents involved, it transcends the limitations of its genre.
Moreover, the film has a nice L.A. feel to it, as it takes us to various interesting sites around town, including the ultra-modern, near-surrealistic Disney Concert Hall located in the heart of the city.There is strong supporting work by David Straitharn ("Good Night, and Good Luck"), Billy Burke, Rosamund Pike and Fiona Shaw ("Mountains of the Moon"), among others, but it is Hopkins and Gosling, locked in a life-or-death battle of acumen and wits, who make "Fracture" a perpetually compelling and watchable courtroom thriller..
While it might not be possible in real life, it worked magic on the big screen and transformed into an excellent film almost within the first few minutes.Even though Sir Anthony Hopkins played a role almost exactly identical to that of his previous Hannibal Lecter, it was still great to see him back in this form because that's what I always thought he was best at: the maniacal genius.
Only once, I think, have I ever proclaimed something "best movie of the year" and all that, because it's all too subjective and also a cliché but that's how I feel about this movie unless something better comes along the last few months of 2007.This is just a fabulous movie with Anthony Hopkins and Ryan Gosling playing battling characters who engage in a battle of wits.
Sir Anthony Hopkins, Ryan Gosling, David Strathairn, and Rosamund Pike star in "Fracture," a 2007 film directed by Gregory Hobbitt.I only have one complaint about this film, which is that I had eye strain because it was so dark throughout.
Desperate, Willy begs his boss (Strathairn) to see it through.Great story, very clever, with Hopkins and Gosling playing an effective cat and mouse game throughout.
With both men, it's almost as if one can read his thoughts as Hopkins gives a half smile and Gosling stares and sets his jaw.Though this story is about the conflict between two massive egos who always win, the underlying mystery is excellent as well.If you like this kind of film, and I do, don't miss this one..
So save for some scenes with Gosling and Hopkins, the audience gets to watch a bland story unfold without any real sense of interest.Luckily, the casting director did a great job and the performances were able to save the film.
Anthony Hopkins was playing a familiar character yet it was still great to watch him on screen and he was the best part about the movie.
Shall we grant him retrospective absolution for his technical sins in so many earlier films?) Ryan Gosling is, I suppose, very good at playing his unsympathetic and arrogant character, and it works, but just by a whisker.
When it looks like he's won, Willy has to do everything in his power to really let him sink his teeth in.Fracture is a thriller that's been getting some pretty rave reviews, and it's by no means an awful film, maybe just somewhat over-rated.
It's a clever idea for a film, and it works out quite interestingly, but a little far fetched and unbelievable (i.e. Hopkins drawing attention in court to his wife having an affair, giving him a great motive for killing her.) Because the plot is so slovenly, the narrative flow is really lost by the end and it's all got a little boring.On the performances front, Hopkins just regurgitates his Hannibal Lecter routine over again, his character coming off as a little autistic.
When DDA Willy Beachum (Ryan Gosling)finds out the gun Ted Crawford (Anthony Hopkins) used to shoot his wife Jennifer Crawford (Embeth Davidtz)does not match the gun recovered at the crime scene it's very interesting.
The gardener Ciro (Carlos Cervantes) calls the police and the negotiator Rob, who does not know the last name of his lover, gets the murder weapon and a confession from Ted.Meanwhile, the young and efficient but arrogant prosecutor Willy Beachum (Ryan Gosling) is resigning his position in the low-pay public service work to join the private civil-law firm Wooton Sims but decides to accept the case, which is his assessment is easily resolved.
But sooner the winner Willy learns that the evidences can not be accepted in the trial and despite knowing that Ted is the killer, the murder weapon is missing and he needs to get new evidences otherwise he will lose the case and Ted will be a free man.I bought "Fracture" on DVD a couple of years ago and I did not see this film until yesterday: my bad.
The duel between Anthony Hopkins, in one of his best recent works in the role of a manipulative and cold blood killer, and Ryan Gosling, in the role of an ambitious but human lawyer, is excellent.Films of trial are usually attractive, at least for me.
He plays a wealthy man who shoots his wife but has a devious plan to get away with murder.Now whilst some of the plot actions may play loose with the reality of the law profession and practice, at the same time there are lots of twists and turns in the movie that ring true about the workings of the legal system.All the cast give excellent performances and add to that a clever script, then,this picture merits:8/10..
Davidtz is adequate for the few scenes she is in, but Pike, as the bitchy barrister who pursues Beachum, does not rise above the mundane material written for her character.The film's style helps create a sense of menace, especially the outdoor, wide-angle shots that come from nowhere but remind us that things are more distorted than they seem.The best reason to see this movie is a suspenseful battle between two compelling characters, played by two impressive actors..
The story is how he manipulates the system and the people working in it for his own ends.Hopkins's wife is having an affair with homicide detective Billy Burke and we know that also right at the beginning.
My favorite in the film however is Billy Burke as the tragic detective in the story.Recommended for fans of Anthony Hopkins and Ryan Gosling..
The characters who cheat on their spouses are portrayed as normal people, while a husband who kills his wife for cheating is portrayed as a coldblooded killer.Anthony Hopkins was as usual enjoyable to watch, but the other actors just annoyed me throughout the film.
Also, what seemed pointless or at least questionable was Nikki's character and her relationship with Willy; this arc didn't seem to be useful or to add any depth to the scenario.The characters were well developed, but Gosling felt a bit a miscast whereas Hopkins was fascinating and did a great job.As for the direction, it was very good as was the photography/lighting, a bit Fincher like.All in all it's a solid movie, a bit lengthy at moments, that could have been truly great with a few tweaks..
A young prosecutor (Ryan Gosling) tries to climb the ladder of success by getting involved in a case surrounding a conniving defendant (Anthony Hopkins) and the attempted murder of his wife, whom he shot after she was spotted having an affair with a man revealed to be the arresting officer at the scene.
The plot at times felt very weak and towards they end you begin to loose concentration on what they whole thing is about.Ryan Gosling for me looked out of his depth, he at times delivered a pretty good performance, but for they most part you could see that he lacked they on screen presence that is needed in a film of this genre.
The rest of the film centrers around Ryan Gosling's character trying to prove the crime after various things happen to collapse the case.This could have been a very good movie.
But despite this the movie suffers from a script that fails to keep that secret that would make the story work: most viewers will be able to figure out the 'mystery' far before its discovery poses the end of the film.Ted Crawford (Anthony Hopkins) is an older wealthy man married for a year to a younger beauty (Embeth Davidtz) and happens to spy on her with her current paramour, detective Rob Nunally (Billy Burke), confronts her at home and shoots her in the face with the intention of killing her.
Meanwhile a young lawyer Willy Beachum (Ryan Gosling) while working for the District Attorney office with Joe Labruto (David Strathairn) sniffs that all is not right with the case while at the same time vying his career choices with transferring to a law firm under the eye of Nikki Gardner (Rosamund Pike).
The remainder of the story is how Willy solves the case and while most people will have figured it out, revealing it in a review robs potential viewers from the cat and mouse game the film is supposed to be.Both Hopkins and Gosling are superb, even with a script that is weak, and simply watching them perform is reason enough to see the film.
From the first frame until the last, Anthony Hopkins brings to the screen a performance as powerful as SILENCE OF THE LAMBS with a "fractured" character that is a perfect foil for the brilliance of Ryan Gosling, on his own journey to find his true legal calling.The locations, sets, directing and the writing all come together in FRACTURE in a chilling tale which keeps you glued to your seat until the end.
Ryan Gosling is developing into such a strong presence on the screen, along with the enormous power of Anthony Hopkins, that with FRACTURE you hope to see both of them paired again in a future film.
Ryan Gosling is the absolute pits as an actor and why he has been chosen for this role is beyond me and once again we have Anthony Hopkins with his usual know it all attitude which he seems to carry into every movie after Silence of the lambs.
In spite of his long and distinguished career in movies and in the theatre,Anthony Hopkins was,is and will be remembered for his amazing performance of Hannibal Lecter.His filmography includes every genre but he frequently appears on a movie which suggests mystery to compare him with his performance in The Silence of the Lambs.But,sometimes,the result is not too good,as we can see in Fracture,a good but mediocre movie.First,I'm going to mention the good elements this film has:Hopkins has an excellent performance in here but I also have to mention Ryan Gosling,who has a really brilliant performance in this movie.What is more,the scenes in which these two actors are together are tense and exciting.Having said that,I have to mention Fracture is a little boring in some parts and I also found it frequently absurd.Nobody expects realism in one of these legal dramas,but I would have preferred more logical arguments(specially,at the end of the movie).Also,the screenplay is inflated for too much sub-plots which land nowhere.For example,Willy Beachum(Gosling's character)decides to solve quickly the case to accept a very attractive job in a particular company and his conflicts(and possible romance)with his future boss are irrelevant.I mean,this sub-plot does not reach anything to the story.Director Gregory Hoblit does not show too much artistic zeal in this movie.This sounds as a negative commentary,but I have to say that,except for some parts,Fracture kept me fun.But the film is mediocre and,with Hopkins and Gosling in the cast,the film could have been much better..
First off, Anthony Hopkins and Ryan Gosling acted superbly in this film.
It's one of the best, most enjoyable recent films from Hollywood; "could have been a contender" to be called great if only it went beyond pure entertainment, if it left the viewer with some lasting thoughts or feelings beyond the fun of watching it - which is nothing to sneeze at.Starring the most seductive evil-doer in all cinema, Anthony Hopkins, "Fracture" is an upside-down, Hitchcockian thriller.
i think this was billed as a legal thriller.trouble is,it's not really thrilling.it sort of plods along to the inevitable end.plus,in my opinion,Anthony Hopkins(the bad guy),appears to be doing a lighter variation of Hannibal Lector.i also felt Ryan Gosling,as the main good guy,was a bit too young for the character he portrayed.but there are some bright spots in the movie.one of them is David Strathairn,who i feel is a very underrated actor and not utilized enough.and i thought the ending was a refreshing change from most movies of the genre.anyway,the movie wasn't boring enough to quit watching,but before the end credits had rolled,i had only become half interested.Gregory Hoblit directed this movie,and he also directed Primal Fear,which in my mind is a much superior thriller.you might want to check it out.as for Fracture,i give it a 6/10.
Hopkins and Gosling star as 2 men on opposite sides when one tries to kill his wife, the other having to prosecute.Ryan Gosling is a hot shot attorney who is on his way to the big time with a major private company, but one last case to be added to his 95% rate of wins seduces him into taking it on given its open and closed nature.Problem is, it is anything but closed, and the seemingly amiable Ted, charged with attempted murder of his wife, is anything but a silly old man with no idea what he is doing in the courtroom without a clue how to defend himself.When he pulls a rabbit out of the hat, Gosling's Willy (no pun intended) realises he isn't just going to walk out of that court with another win and a high flying job at the private firm.This movie is, in short, a total delight.
Gosling is Willy Beachum, a smug young lawyer on his way to a bright career in the private sector who ends up playing a cat and mouse game he could do without.Crawford shots his wife Jennifer, because she has an affair with Lt. Nunally, and Homicide cop and then sets a crazy plan in motion.
At the beginning of the film we see Ted Crawford - beautifully played by Anthony Hopkins - who is obviously a brilliant man.
The film drags whenever he is not on the screen."Fracture" is not a great movie, but Anthony Hopkins makes it enjoyable.. |
tt0068699 | High Plains Drifter | A distant figure on horseback rides through shimmering, midday heat. He's nearer now, a bearded man in a dark cowboy hat and long dusty overcoat--the Stranger (Clint Eastwood).The Stranger enters the tiny western town of Lago and rides slowly down the main street. The townspeople stop and watch him pass. Freighter Jake Ross (John Quade) cracks a bullwhip to wake his team of horses. The Stranger, startled, snaps his head around at the source before riding on.The Stranger leaves his horse at the livery stable and walks to the saloon. On the front porch three armed, tough-looking men watch him enter: Bill Borders (Scott Walker), Tommy Morris (James Gosa), and Fred Short (Russ McCubbin). The Stranger exchanges looks with Borders and enters the saloon.From the end of the bar farthest from some locals, he orders a "beer and a bottle" from saloon keeper Lutie Naylor (Paul Brinegar). The three men who were on the porch enter and take positions around him. Borders says, "Flea-bitten range bums don't usually stop in Lago. Life here's a little too quick for 'em. Maybe you think you're fast enough to keep up with us, huh?" Everyone freezes, waiting for the Stranger's reaction. He suddenly reaches for the whiskey bottle, scattering the local town folk, and causing the three tough men to tense. As he leaves, he whispers, "I'm faster than you'll ever live to be,"He walks across the street to the barber shop, whiskey bottle in hand, and pays for a shave and a hot bath. He hangs his overcoat and gun belt on a coat rack. The barber (William O'Connell) seats him, drapes him with a smock, and nervously applies shaving cream to his face. The three toughs enter and resume taunting him. The Stranger ignores them, irritating Borders, who suddenly spins the chair. The Stranger shoots Borders in the forehead with a gun hidden under the smock. He then shoots Morris and Short before they can react.He stands and removes the shaving cream with the smock. He puts on his gun belt, replacing a wooden gun stock in the holster with his smoking gun. He steps outside, where the stunned townspeople are creeping over to view the carnage. A dwarf, Mordecai (Billy Curtis), gives him a cigar and offers a light, asking, "What did you say your name was, again?" The Stranger replies, "I didn't."The Stranger walks toward the stable. Callie Travers (Mariana Hill), a young woman of unknown background, purposefully collides with him. The shoulder of her sleeve is ripped, and she berates him for it. He tells her there's no reason to make a fuss, that she could have asked if she wanted to get acquainted. She angrily insults and repeatedly provokes him. He tries to leave, but she grabs him and insults him again. He returns her insults. She tells him he has "the manners of a goat" and slaps the cigar from his mouth. Pushed too far, he tells her, "You're the one that could use a lesson in manners," and drags her, screaming, into the stable. He throws her onto the loose hay and rapes her.The Stranger walks back past the barber shop where townsmen remove the dead bodies left by the stranger and clean up the barbers shop. They stop and watch him pass. He enters "Belding's Hotel" and finds the owner, Lewis Belding (Ted Hartley), at the desk. The Stranger says, "Room." Belding gives him a key, reminding him to sign the register. The stranger merely looks at him and goes upstairs to his room. In the room, he wedges a chair under the doorknob, takes a gulp of whiskey, and lays down to sleep.In a dream, a bloodied man (Buddy Van Horn) lays in the same position as the sleeping Stranger. The man who is wearing a badge is being whipped in the street by three men. It is dark, but the silhouettes of those watching are clearly the townspeople. The three men whipping him are not shown. The bloody man asks the townspeople for help, but receives none. As he passes out, he says, "Damn you all to hell." The stranger wakes from the dream.The next morning, the Stranger wakes and goes to the barber shop. He asks for his bath which the barber, instantly nervous, orders Mordecai to prepare in the back room. The trembling barber nicks the man he is shaving, Sheriff Sam Shaw (Walter Barnes), shoos him away. Sam waits until the Stranger has settled into his bath, then asks if he can sit down to talk. Trapped, the Stranger reluctantly gestures that Sam may join him. Sam says that Borders was not a loved man and there will be no charges filed.Callie Travers, who The Stranger had raped in the stable, enters the tub room with a revolver, says "You dirty bastard!," and shoots at the Stranger, who slides under the water. Sam wrestles her for the gun and, as he drags her out, instructs Mordecai to tell the Stranger not to leave town until Sam talks to him. After they're gone, the Stranger comes up for air and says, "I wonder why it took her so long to get mad." Mordecai, who witnessed the rape, responds, "Because maybe you didn't go back for more."In a backroom of the mining office, the prominent men in town are meeting: Mayor Hobart (Stefan Gierasch) of the general store, Dave Drake (Mitchell Ryan) and Morgan Allen (Jack Ging) of the mining company, the undertaker (Richard Bull), the gunsmith (Reed Cruikshanks), hotelier Belding, saloonkeeper Naylor, freighter Ross, and the preacher (Robert Donner). They have learned that Stacey Bridges and his cousins, the Carlin brothers, are to be released from prison that day. These three have sworn to burn the town to the ground. The group was counting on the mining company's hired gunfighters--Borders, Morris, and Short--to defend the town, but The Stranger killed them. Now, they are considering hiring the Stranger. Belding and the preacher don't like it, but the rest are in favor.The meeting is interrupted by Sam entering with still angry Callie in tow. Sam tells them about Callie's shooting outburst. Morgan Allen, her lover, tells her to be patient. Callie says, "Isn't forcible rape in broad daylight a misdemeanor in this town?" Allen tells her they need to avoid hysterics. She refers to hysterics not too long ago and spits on him, loudly questioning the manhood of the townsmen.Sam finds the Stranger eating at the hotel and tries to persuade him to defend the town. He says Bridges and the Carlins were troubleshooters for the mining company who were bullying townspeople before being convicted of stealing gold from the mining office. The Stranger suggests they were railroaded, and Sam admits that's why they are mad at the town. The Stranger says Sam can handle it. Sam replies, "I'm no law man", adding that his predecessor, Marshal Jim Duncan, was whipped to death in the street by outsiders. More pleading, then Sam says, "This is a God-fearing town. These are God-fearing people." The Stranger replies, "You like 'em. You save 'em." Desperate, Sam says, "Look, what if we offered you anything you want?" The Stranger stops in his tracks, turns, and asks, "Anything?"In Hobart's store, the mayor and Sam explain that the Stranger "has a free hand in this town," that he can have anything he wants in the town, "even if it's a squaw or a Mex to keep your bed warm at night," and that, as far as preparing the ambush, everyone is ready to follow his orders. The Stranger pockets a handful of cigars. He gives two Indian children each a jar of candy and gives a stack of blankets to an old Indian man Hobart has just scolded for touching the merchandise. On the way out, he encounters Sarah Belding (Verna Bloom), Lewis's wife, who served his meal earlier and caught his eye. He repeats, "Anything I want."The Stranger visits the boot maker (John Hillerman) and takes many items, for which Sam says there is "no charge." He does the same at the leather maker (Jack Kosslyn's) shop. A number of townsmen follow him, carrying his booty. He leads them to the saloon where he orders a round on the house for everyone who's following him. When Naylor complains, Sam delights in saying "Everyone's got to put something in the kitty." Hearing this, The Stranger removes Sam's badge and pins it on Mordecai. Mayor Hobart snickers. The Stranger removes Hobart's hat and puts it on Mordecai's head, making him both sheriff and mayor. Mordecai is thrilled.At the gunsmith shop, Mordecai selects a huge revolver since he "can't be sheriff without a gun." The Stranger informs the townsmen they are now part of the "City of Lago Volunteers", tells the gunsmith to give each man a rifle, and orders everyone to report to the street for drills.At the territorial prison, Stacey Bridges (Geoffrey Lewis), Dan Carlin (Dan Vadis), and Cole Carlin (Anthony James) are released, and their gun belts returned. The jailer claims their horses were used for food, so they face a long walk. Dan says, "Drake and Allen don't seem to have remembered." Stacey replies, "One way or another, they'll remember."In Lago, the "volunteer" townsmen take shooting positions on the roofs of the taller buildings, while the Stranger watches from a central walkway. Sam and Mordecai gallop through town on Ross's wagon, pulling a trailer loaded with three stuffed dummies on saw horses. The townsmen rain gunfire on the dummies, but score no hits. The Stranger mutters, "Shit."Ross approaches the Stranger from behind, holding a knife, and says, "I don't remember lending my wagons to be shot up." Without looking back, the Stranger says, "You're gonna look pretty silly with that knife sticking up your ass." He draws and fires four shots, beheading each dummy and knocking off Mordecai's hat. He holsters his gun and says, "You still here?" Ross replies, "No, I was just going." Sam and Mordecai are excited about the shooting display, Sam saying, "This is going to be a picnic." The Stranger tells them to keep the men practicing.The Stranger asks two Mexican laborers to use lumber from Belding's barn to build picnic tables. When Naylor, who overheard, questions the picnic, he's told he is furnishing the beer and whiskey. Belding arrives. The Stranger overrules his objection to his barn being torn down, and tells him to provide 35 bedsheets for the picnic. Mordecai, the Stranger's new sidekick, says they also need someone to provide a barbecued steer and 200 gallons of red paint. Finally, the Stranger orders Belding to get everyone out of his hotel. Flabbergasted, Belding asks where his live-ins are supposed to go. The Stranger replies, "Out."Bridges and the Carlins come across three men camping. They shoot them and steal their horses and clothes. Now, instead of walking, they are riding at full gallop.At the mining office, Allen and Belding suggest to Drake that hiring the Stranger was a mistake. They argue that convicts always threaten revenge but rarely carry through, and complain that the Stranger's crazy orders have the townspeople turning on one another. Drake wants to wait a few days to be sure. The discussion is heated, and reveals that the townspeople, in addition to Bridges and the Carlins, had a hand in Marshal Duncan's death, or as Drake puts it, "One hang, we all hang." Drake refuses to budge and Allen storms out.At the hotel, the evicted guests are leaving, and Belding and the preacher are outraged. The preacher complains to the Stranger but gets nowhere. Sarah reports the readiness of the Stranger's connecting rooms, "The best in the hotel. One for entertaining and one for sleeping...if your conscience lets you sleep." The Stranger replies, "I sleep just fine, Ma'am. Care to see for yourself?" Sarah leaves in a huff. The Stranger tells Belding he wants fried chicken for dinner with the best bottle of wine in town, then leaves. Mordecai giggles and, when the angry Belding swipes at him, dives under the raised walkway.Under the walkway, Mordecai has a flashback to the night of Marshal Duncan's whipping which he viewed from this same position. The whippers are Bridges and the Carlins. As in the Stranger's dream, the townspeople just watch. The exception is Sarah, who tries to stop it, but is restrained by Lewis.In Callie's bedroom, the Stranger enters while Callie is brushing her hair. She gets a gun from the dresser, but he grabs her wrist and controls it. He tells her he wants her company at dinner. She calls him an animal and says she doesn't eat with dogs. He says, "You might if it's the dog that runs the pack." She lets him kiss her and take the gun. She says she needs half an hour to get ready. He returns the gun and leaves.At the hotel, Sarah is serving Callie and the Stranger dinner. She asks, "Do you have any special request for dessert?" The Stranger looks at Callie and says, "No, I've already taken care of that." Callie smiles. Sarah leaves, disgusted.In the hills, Cole's horse has come up lame, and he suggests they're pushing too hard. This angers Stacey, who says maybe they should leave Cole. Dan tries to calm Stacey, saying Cole can ride double with him. Stacey says, "When they find those bodies back there, they'll be a hunting party out for us, and I want time to take one year of my life out of Lago before we move on." They shoot the lame horse and ride on, slower now.Allen and Ross meet Mordecai walking at night. He's been drinking. Allen knocks him cold with a left hook. They look up and watch the light go out in the Stranger's hotel room.In the church, Belding speaks to the church-goers, including Drake. He complains that good people have been thrown out of his hotel, which is now being used for "fornication and sins of the flesh." He and Sam argue over who should step in. It gets caustic, and the preacher says, "Gentlemen, please! Look what's happening to us." Belding agrees, adding "It couldn't be worse if the devil himself had ridden right into Lago."In his hotel room, the Stranger sleeps while Callie sneaks out of bed and gets dressed. Outside, Morgan Allen, Jake Ross, and three henchmen carefully ascend the hotel stairs, which creak anyway. Callie leaves the room and shuts the door, just as the men arrive. The men enter the room and beat the covered figure in bed with axe handles. The Stranger, on a ledge outside the window, lights a stick of dynamite and throws it onto the bed. The attackers see it and rush for the door, but only three escape before the room explodes.Outside, the Stranger shoots two attackers as they retreat down the stairs, leaving only Allen, who ducks into the hotel lobby. The Stranger follows and finds Allen holding Sarah in front of him as a shield. As Allen backs away, the Stranger shoots his exposed shoulder. Allen falls backward to the floor, pulling Sarah down with him. Bleeding badly, he releases Sarah, and scrambles out the back door toward the barn.In the barn, Allen mounts a horse and rides out. Callie pleads with him to take her with him, but he brushes her off and rides on. The Stranger has an easy shot at Callie, but lowers his gun, and she runs away into the darkness.The townspeople arrive, having heard the blast. Upset at the damage to his hotel, Belding lets it slip that he knew about the attack. The Stranger hears and is unhappy. He orders the townsmen to begin digging graves, in the dark, for the four men killed. Drake assures the Stranger he had nothing to do with the attack and offers him a bonus to stick with the agreement. The Stranger doubles it, Drake agrees, and the Stranger turns and steps away. Belding whispers to Drake, questioning the large bonus. Drake whispers back, "Promising's one thing, paying's another. He might just catch a bullet." The Stranger says, "Oh, you and Lewis can grab shovels too."The Stranger turns to Sarah, who says "I don't know where you're going to sleep now. All the rooms are ruined, except for our room." The Stranger looks at her and smirks. Sarah backs away, shaking her head. The Stranger takes her elbow and leads her into the hotel. She calls to Lewis for help. Lewis hears, but does not respond.In the Belding's bedroom, Sarah grabs a pair of shears and backs into a corner. The Stranger lays on the bed, and asks what she is doing. She says she's defending herself, citing Callie's rape. The Stranger plays with her, recalling Callie enjoyed it, and acting as if Sarah wants the same. He says, "I'd like to oblige you, but a man's got to get his rest sometime." Sarah, angry at the suggestion, attacks him. He controls her, and forces her to kiss. She stops fighting and submits.The next morning, they are relaxed with each other, Sarah in bed and the Stranger getting dressed. Sarah asks if he has heard of Jim Duncan, who lies in an unmarked grave, adding, "They say the dead don't rest without a marker." As he's leaving, she says, "Be careful. You're a man who makes people afraid and that's dangerous." He replies, "It's what people know about themselves, inside, that make them afraid."At the cemetery, the townsmen are finishing up the four graves. The Stranger is painting something unseen on a sign. At the Strangers behest, Mordecai orders everyone to begin painting the town red. There is grumbling and disbelief, but no dissent. Naylor says, "I'll paint if you say we got to, but when we get done this place is gonna look like Hell." As the tired men tote their tools back to town, the sign is revealed. "Hell", in red, covers "Lago".Lewis enters the Belding bedroom and tells Sarah there is an important meeting they should attend. She refuses, saying the neighbors make her sick. While defending the neighbors, Lewis reveals that Duncan was killed because he had discovered the mine was on government property and was determined to report it. The mine would be closed, ruining the town. He sees the murder as "the price of progress", but Sarah can't live with that anymore. She says, "I'm packing to leave, Lewis. I won't be coming back."In the hills outside town, Bridges and the Carlins see Allen, near collapse, fall from his horse. Bridges sits him up and tries to persuade him to reveal the combination to the safe in the mining office. He promises that, in return, he'll move Allen into the shade and give him water. Allen curses him. Bridges threatens with a pointed stick, but Allen remains defiant. Bridges drives the stick into his neck, and says "Two sticks of dynamite will take care of that iron box. We don't need him."A rifle shot ricochets near Dan's feet, and the three dive behind barely adequate cover. Unbeknownst to them, it's the Stranger, who had been tracking Allen by his blood droplets. Hidden on a ridge above, the Stranger lights a stick of dynamite, leaves it, and changes position. The dynamite explodes while Stacey is firing blindly up the hill, confusing the three, and showering them with debris. Then, from another direction, the Stranger shoots Cole's ear, and the three must hurriedly shift positions. Stacey figures it must be Drake and shouts out, seeking a parley. Getting no response, he fires more shots blindly, and there is another explosion, much closer this time. The three are shook up, filthy, and scratched from the blast. As they listen to the Stranger ride away, still unseen, Stacey screams, "I'll kill every man in Lago."The Stranger rides back to Lago which is now completely red. He tells Mordecai, "The guests are on their way to the party." Mordecai runs down the street, lined with picnic tables, telling everyone to get ready. He finds the prominent men drinking in the saloon. They are scared and all need one more drink before reluctantly moving outside. The Stranger ties up at the hotel, and on his way in, tells the livery boy to get up in the church tower and ring the bell at the first sign of dust.Bridges and the Carlins ride toward the town, down out of the hills now.The Stranger exits the hotel, having retrieved his overcoat. He walks to the saloon and gets a drink. Sam and Naylor are anxious, wanting him to get ready outside, but he tells them there's plenty of time. Mordecai asks "What about after we do it? What do we do then?" The Stranger says, "Then you live with it."They walk into the street and watch everyone take their positions. A "Welcome Home Boys" banner has been raised at the town's entrance. Mordecai asks, "When are you going to give the signal?" The Stranger replies, "I'm not. You are." The church bell begins ringing. The Stranger mounts his horse and rides calmly down the back road out of town. The townspeople watch in horror.Bridges and the Carlins arrive, pausing when they see the banner. They draw their guns and gallop down the main street, whooping, shooting, and roping tables. Mordecai yells, "Fire!", but they all freeze or panic. Sam is roped and dragged over a collapsing table. Several rooftop gunners are shot or knocked back by splintering wood. The livery boy is shot out of the tower. Stacey catches Drake sneaking out of the mining office, backs him into the lake, and shoots him dead.Later, after dark, the town is ablaze. The battered townspeople are in the saloon being roughed up by Stacey and Dan. Stacey beats Sam back onto a table, yelling, "A party?" Cole enters with Callie and throws her to the floor. She tries to convince Stacey she always loved him, but he's not buying it. Cole wants to know who ambushed them, and Stacey says, "We're going to find out right now." Then, a whip flies in over the swinging doors, wraps around Cole's neck, and drags him out, choking. The Stranger whips Cole to death in the street while Stacey, Dan, and the townspeople remain inside, stupefied by what they hear. Finally, the bloody whip is thrown into the saloon.Stacey orders everyone out into the street where they gather around Cole's body. Stacey and Dan look for the whipper but see no one. Two sticks with lit fuses fly from behind a building and land near the body. The townspeople scatter, screaming "Dynamite!" When the fuses burn out, Stacey examines them and sees they are just sticks of wood. Dan tells Stacey the horses are gone. Stacey and Dan move down opposite sides of the street, guns drawn, searching for the whipper. A whip from above wraps around Dan's neck, lifts him, and hangs him dead from a balcony.While Stacey is looking at Dan's body, a lantern is thrown into the street. Spooked, Stacey fires three times. While Stacey reloads, the Stranger's voice is heard whispering, "Help me, help me." The Stranger steps out in front of a burning building behind Stacey, who turns and sees only his silhouette. Stacey takes aim, but the Stranger draws and shoots Stacey's gun from his hand. Stacey yells, "Who are you?", and the Stranger shoots him dead.Belding steps out from between buildings and aims a shotgun at the Stranger's back. A shot is fired and Belding falls over dead. Mordecai is revealed, holding his huge revolver. The Stranger nods and walks away.The next morning, the Stranger rides down the smoldering street. Sarah, well dressed, is climbing aboard a buckboard. She and the Stranger exchange nods. The Stranger rides out to the cemetery where Mordecai is carving a grave marker. Mordecai says, "I never did know your name." The Stranger replies, "Yes, you do. Take care." As Mordecai watches him ride away, the marker is revealed-- "Marshall Jim Duncan, Rest In Peace."In the distance, the Stranger disappears into the heat shimmer. | dark, suspenseful, mystery, murder, bleak, western, violence, cult, flashback, psychedelic, revenge | train | imdb | Despite being a respected actor, nobody could have imagined that his talent as director was even superior to his acting skills, and after a fairly good debut in 1971 (the thriller "Play Misty for Me"), he crafted his first masterpiece in 1973 as a tribute to his own artistic mentors: the haunting western "High Plains Drifter"."High Plains Drifter" is the story of a small mining town named "Lago" which is constantly troubled by outlaws and gunfighters.
Written by Ernest Tidyman, this is a dark tale that explores the ambiguous morality of people and the concepts of justice and revenge.Eastwood's second directorial effort is a powerful movie that brilliantly combines the elements of Western with those of suspense and thriller.
The rest of the cast are quite forgettable and lesser known names, which adds credibility to this movie, making it a film to be taken seriously and not just a gathering of famous faces.This film's perhaps strongest asset is the excellent screenplay by Ernest Tidyman, the Oscar-winner for "French Connection" and it is probably the best screenplay ever written for an Eastwood-directed western.
This is Clint Eastwood's first Western film that he directed, and it's clear and evident that the guy not only loves the genre that made his name, he also knows what makes it work.
As is often the case with a Clint Eastwood western, High Plains Drifter is rather good.The usual scenario opens, with Eastwood (playing an unnamed character again) riding into a small mining town, Lagos, where a small group of thugs unsuccessfully try to kill him.This small act serves as an introduction to the local townsfolk: small-minded cowards who are all talk and no action.
They also bear a horrifying secret.Eastwood is eventually approached to help them fend off an upcoming attack from three criminals who have just been released from prison.He also suffers from a recurring nightmare, which I will leave to you to find out.Needless to say, all of the pieces come together by the end, and those of you not astute enough to have noticed will be saying, "of course!"A good story combines with Eastwood's anti-heroic personality (he never really played a good guy, did he?) and a good supporting cast to produce one of the best westerns of the 1970s.
Some of the scenes in this are extremely funny, but are balanced by some harshly violent moments, of which Eastwood's nightmares are a prime example.1985's Pale Rider bears similarity to High Plains Drifter in certain areas, but you'll have to watch that yourself to find out where..
High Plains Drifter looks and feels like a deconstruction of the language of the Western.A brilliant mix of psychological and macabre, and in places even quite bizarre, it is an investigation of what is created when weakness and desire meet the man driven half to madness (Eastwood) yet seems sane: he is pathological, but is he the only standard of true sanity as a protagonist here?
Having being so wronged his revenge is more complex than simply killing: it demands retribution, and retribution demands the whole town pays.More existential than even Once upon A time in the West, or, the Good, the Bad, and the Ugly it is about the nihilism and the circle of violence that must be closed.The filming is supremely confident for a second film: real silences and pauses, laugh out loud lines and situations and cold, cold chills: the language of film is expressed explicitly and implicitly.
Bad traditional Western: it is more like Kurosawa's Yojimbo though here the bad guys are few and the townsfolk are by implication as guilty as the rest because they let evil thrive and let it break a good man.Never answering it's own questions: like Lago itself it is a world created in isolation and as such is a unique and powerful testament to Eastwood's continuing expression of the darker psyche of the cost of opening up the cowboy image and getting to a colder, starker, realism that defined 70s films.Compulsive viewing and an important film..
A mysteriously callous stranger (Clint Eastwood) rides out of the desert into a small town called Lago and terrifies the locals by raping a lady and treading over the townsfolk, but when he kills three cowboys who wanted to make something out of nothing.
The anti-hero with no name--Clint Eastwood, of course, a throwback to his days making spaghetti westerns in Italy with Sergio Leone--comes riding tall in the saddle down into a valley with a mining town by a lake.
Clint Eastwood revives his signature role as "The Man with no Name" as he seems to come out of nowhere from the distant prairie and descends upon the sleepy little town of Largo and after that things there will never be the same again for the people who live there.A film that has a lot more to it then what you see at first with Eastwood not being that mysterious and having a past which is seen in flashback every so often in the movie.
It's really a character driven story set against a western backdrop with Clint as the avenger who rides into town presumably to avenge the murder of a man whipped to death while the townspeople shrank back in the shadows merely watching.We learn later that the whipped man threatened to expose a secret about the town's mine that they were hiding and his name was Marshall Duncan, the man responsible for turning in the outlaws who served prison time and came back for their own brand of revenge.It's a grim story with some clever plotting and a relentlessly suspenseful tone that keeps you glued to your seat until the final acts of revenge have been executed.I know none of the players other than Eastwood, but VERNA BLOOM (who reminds me a little of Vera Miles facially), is excellent as the only halfway decent person who recognizes the mission Eastwood is on.
He plays the role with his usual grim sense of humor and sarcasm, riding off into the hills after most of the bad guys are disposed of.The final scene is set up so that he never actually gives his name, but he tells the sheriff inquiring "What's your name?" that he should know to whom he's speaking and the camera pans to the grave marker of Marshal Duncan, indicating perhaps that Clint is the brother of the murdered man.
Although Clint Eastwood's horror-western is undoubtedly a very nice little story, it lacks the epic vision of the classic Leone films and so can't be considered in the same divine category that it could have been if it was.
"High Plains Drifter" was the second film directed by Clint Eastwood (after "Play Misty for Me"), and the first Western.
The theme- the efforts of a small mining town to defend itself against a gang of criminals with the help of a mysterious outsider- is very similar to that of a later Eastwood Western, "Pale Rider".
(Like a number of Eastwood's other films- "The Beguiled", "Play Misty for Me" and "The Gauntlet" come to mind- this one has a misogynistic streak running through it).By the time "Pale Rider" was made in the Reagan era of the mid-eighties, America's self-confidence was reviving, and although very few Westerns were being made during that period the old moral certainties were being revived in other genres, with movies like the "Star Wars", "Superman" and "Indiana Jones" franchises.
There is a much sharper moral distinction between the miners and their villainous adversaries and the mysterious gunfighter who comes to their aid is much more unambiguously heroic.Both films have supernatural overtones, with a suggestion that the characters played by Eastwood are ghosts returned from the dead to seek revenge on those who wronged them in their lifetimes.
No direct suggestion is made in "Pale Rider" as to who The Preacher might have been in his lifetime, but in "High Plains Drifter" The Stranger is identified with Jim Duncan, the former Marshal of Lago who was whipped to death to prevent him from revealing that the mine upon which the town's prosperity depends had been illegally sunk on Government land.
We'll both be better off.High Plains Drifter (1973) is in my opinion Clint Eastwood's best pulse-pounding climax classic western masterpiece!
This is Clint Eastwood's second film as a director finds the celebrated action star returning to his familiar Old West stomping grounds and his internationally acclaimed role of "The Man With No Name." This time, The Stranger (Eastwood) mysteriously appears out of the heat waves of the desert and rides into the lawless, sin-ridden town of Lago.
The Stranger quickly proceeds to paint the entire town bright red, rename it "Hell," and supply divine retribution in the fiery, pulse-pounding climax of this acclaimed western shoot-em-up.Plot: A drifter with no name (Clint Eastwood) wanders into a small town, where his gun-slinging abilities are in high demand.
It is different than For a Few Dollars More but is still pretty good western flick.Like is said I think for a western flick that Clint Eastwood directed is probably his best western movie he directed.
It's not exactly feel good fare like I said and darker than you'd maybe expect but It's not without a sense of humor and Eastwood expertly directs it, keeping it well paced and relatively short at an hour and 45 minutes long.Overall: I seriously love this film to death!
High Plains Drifter is a 1973 American supernatural western film produced by Robert Daley for Malpaso Company and Universal Studios, directed by and starring Clint Eastwood, and written by Ernest Tidyman (who also wrote the novelization).10/10 Grade: Bad Ass Seal Of Approval Studio: The Malpaso Company, Universal Studios Starring: Clint Eastwood, Verna Bloom, Mariana Hill, Billy Curtis, Mitchell Ryan, Buddy Van Horn, Jack Ging, Stefan Gierasch, Ted Hartley, Geoffrey Lewis, Dan Vadis, Anthony James, John Hillerman Director: Clint Eastwood Producer: Robert Daley Screenplay: Ernest Tidyman Rated: R Running Time: 1 Hr. 45 Mins.
"High Plains Drifter" of 1973 is a gritty, dark and exceptional Western which proves that Clint Eastwood is doubtlessly one of the most memorable individuals ever in cinema, both as a brilliant actor and great director.
Several years after embodying the Western anti-hero, the 'Man With No Name' in Sergio Leone's brilliant Dollar-trilogy, which culminated in the matchless masterpiece "The Good, The Bad and The Ugly" of 1966 (the all-time greatest Western, and, in my opinion, one of the greatest films ever made), Eastwood reprises the role of the nameless stranger - and creates an antihero incomparably more ruthless than the role he owes his fame to.
It were the Italian Westerns which made the Genre gritty and turned its heroes into antiheroes, and "High Plains Drifter" epitomizes these aspects.A nameless stranger (Eastwood) comes to a small lakeside town in the West called Lago.
"High Plains Drifter" may well be called Eastwood's first masterpiece as a director, and if I don't give it the full rating, it is just due to the superiority of Leone's films (especially "The Good, The Bad And The Ugly") to which it cannot quite compare - but that, no other film can.
Overall, "High Plains Drifter" is a sublime first Western directed by Clint Eastwood, and along with films like "The Outlaw Josey Wales" and "Unforgiven" it stands among his greatest directorial works.
The Stranger is a spooky cat, a guy who rides into a town, 'gets rid' of some bad dudes, and then demands that his services be met to get rid of some more that they need, without letting the town know he's really out for a whole other kind of revenge.There's a sensibility here that reveals Eastwood as a stylist, not merely the simplistic storyteller he's been pegged by some critics (albeit many have now come around following what could also be argued as showy strokes in Million Dollar Baby and his Iwo Jima movies).
High Plains Drifter is a bleak, ugly film that's unlike anything Clint Eastwood has made since.
High Planes Drifter (1973)Plot In A Paragraph: A stranger (Eastwood) comes to the small town of Lago and is hired to bring the townsfolk together in an attempt to hold off three outlaws who are on their way.Following on from Magnum Force, Clint was back in the saddle again, directing himself in the western genre for the first time!!
Fearful of three recently released outlaws who murdered their previous sheriff, the citizens of a small Old West town hire a mysterious gunslinger to protect them, but the stranger knows more than he lets on this offbeat western with a 'Twilight Zone' style twist.
Clint Eastwood plays the part well with a quiet charisma, but even as an antihero, he is a bit too dislikeable (making light of a violent rape; destroying buildings) for one to root for him - and given how despicable all of the townsfolk are shown to be, 'High Plains Drifter' is a film without a single likable character in sight.
The finale, while technically interesting – being mostly at night – does not have the force of a story like Shane, for example, and certainly not Sergio Leone's Once Upon a Time in The West (1968), arguably the best attempt to date to show vengeance and retribution.Eastwood gives his usual stolid performance as a Man With No Name.
I wouldn't rank this film in a list of all-time great Westerns, however.The most striking feature is the natural setting, startling in its beauty and an excellent contrast to the dirty little brown town full of dirty little people, the last perhaps being the reason the story fails, ultimately, to deliver any truly worthwhile message: we all know death comes as the end, but none of us would want to identify with any character in that Hell of a town, and certainly not with The Stranger on a pale horse.Maybe that's why, after also doing another story about vengeance with The Outlaw Josey Wales (1976), Eastwood went on to produce and direct Pale Rider (1985), an unashamed remake of the Shane story, in yet another attempt to get it right?
Other than that it's hard to find anything wrong with this film.This is a notch below some of Clint Eastwood's more notable westerns, but is the best of his "second tier." Although it may only appeal to Eastwood fans, "Drifter" is a great movie that really makes you appreciate Westerns in general.
I highly recommend you watch some of Clint's other westerns to truly appreciate "High Plains Drifter.".
On his second film both in front of and behind the camera, following the success of PLAY MISTY FOR ME in 1971, Clint Eastwood decided more or less to resurrect the mysterious Man With No Name persona of the spaghetti westerns he made in the 1960s with director Sergio Leone that made him an international star.
But in the end, Eastwood has a surprise for all concerned...including the audience.Although sometimes thought of as a parody of the Man With No Name films, HIGH PLAINS DRIFTER is more of a Gothic and even supernatural extension of that persona, heightened by elements of black humor, particularly involving the town midget (Billy Curtis) who is basically an outcast of the piece.
Innovative, provocative, and uncompromising, High Plains Drifter was way ahead of its time for its filming technique, treatment of the anti-hero and the forerunner of many "revisionist" Westerns to come..
His first Western as a director was the very dark, morally bleak High Plains Drifter.Eastwood stars as a mysterious stranger who comes to the small desert town of Lago.
This is a film that is very open to interpretation, particularly the ending.Eastwood does have some ambitious shots for the top, using hand-held cameras to great effect to follow the actions, including during the assault on the town and a quick moment of seeing some shooting in the first person.High Plains Drifter is one a more artistic effort from Eastwood, showing a world of moral greys, being revisionist to the Western genre.
There are similarities - He is again the nameless stranger with a character similar to that played in the Dollars westerns and his dialogue is threatening yet highly amusing.However there is a supernatural quality about this film, the score is brilliantly haunting and the desolate setting - the mining town of Lago - seems almost ghostly.
High Plains Drifter(1972) is Clint Eastwood's tribute to the Speghetti Westerns of Sergio Leone.
High Plains Drifter(1972) is Clint Eastwood's tribute to the Speghetti Westerns of Sergio Leone.
Clint Eastwood would play a ghost again in Pale Rider but without the same viciousness he displays in High Plains Drifter(1972).
Clint Eastwood would play a ghost again in Pale Rider but without the same viciousness he displays in High Plains Drifter(1972).
High Noon, with a similar tale of villains released from prison hell bent to shoot up a town, did it much better.Clint has done better things with Dirty Harry, The Outlaw Josie Wales and The Unforgiven where he plays the same Eastwood avenging character.The film had some good one-liners and moody photography especially towards the end when the town was burning.The music conveyed a sense of impending menace but the town of Lago really did look like an artificial film-set.Not one of the best Westerns but I've seen it several times now and have not fallen asleep - which is indeed a recommendation!.
Clint Eastwood is perfect as the "anti-hero" - a ghost or spirit in human form who comes to a small western town to wreak vengeance on those who brutally killed a US Marshal *AND* those who let it happen.
In fact there's not another Clint Eastwood movie let alone western film where the supernatural comes in.
Clint Eastwood directs and stars as the title character, a drifter who arrives in the small mining town of Lago, where he is soon confronted by three strangers who threaten and ridicule him. |
tt0074802 | Lipstick | Twenty-one year-old Chris McCormick (Margaux Hemingway) is a top model for a company selling lipstick. McCormick has responsibility for her 14 year-old sister Kathy (Mariel Hemingway) as their parents were killed in a car crash. They share an apartment and Kathy attends a private, Catholic school.Kathy invites her handsome, young music teacher, Gordon Stuart (Chris Sarandon) to come to one of Chris's photo shoots along the ocean because she wants her older sister to hear his somewhat avant garde musical compositions. The shoot runs long, so Chris does not have a chance to hear it, but arrangements are made for him to stop by her apartment the next day to play it for her.The next day, Stuart arrives at the apartment, but Chris has forgotten the appointment and this causes her to greet him fresh out of the shower dressed in nothing but a robe. Stuart obviously hopes that if she likes his music she might be able to use some of her musical connections to help him. While he is playing a selection from his tape recorder (the composition uses a lot of environmental sounds with electronic synthesizers) Chris is interrupted with a phone call from her boyfriend Steve Edison (Perry King) and retreats to her bedroom.The interruption and Chris's apparent apathy toward his music enrages Stuart and he enters her bedroom smashing things and hitting her. He then throws her naked across her four poster bed and secures her spread-eagle on her stomach with silk scarves to the posts and sodomizes her.Toward the end of the rape Chris has stopped struggling so when little sister Kathy arrives home from school she enters the apartment and hears nothing amiss. She walks into Chris's bedroom via a connecting balcony and sees the scene, but does not realize that Chris is being forced against her will, so she leaves quietly, shutting the patio door behind her.Chris hears the patio door shut and realizes that Kathy must be home and begs Stuart to release her. After half-jokingly suggesting they make it "threesome," he does, noting that Kathy must think "her sister just made it with her favorite teacher." Stuart leaves and a crying Chris stumbles to Kathy who finally realizes that something is wrong.The police arrive and gather evidence while Chris talks to a rape-crisis counselor. Later that night the police pick up Stuart and take him to jail.A few days later Chris, Edison and Chris's priest/brother, Martin (John Bennett Perry) meet with district attorney Carla Bondi (Anne Bancroft). Bondi warns Chris that getting a conviction under these circumstances (she invited him to her apartment) will not be easy. Edison also has his doubts about pressing charges as he fears it may damage Chris's career. Chris makes it clear that she want to go ahead, however.Stuart's attorney Nathan Cartright (Robin Gammell) does everything he can to raise doubt in the jury's mind about whether the encounter was consentual even bringing in Chris's sexy pictures from the photo shoot in an attempt to besmirch her reputation. However, in the end it is Chris's own sister's testimony that gets Stuart off the hook: despite Kathy's protests that she believes her sister's story, it is clear that the afternoon of the attack Kathy's failure to call the police after seeing them together in the bedroom is a clear indication that she did not think at the time that her sister was being raped. The jury acquits Stuart.Chris tries to go back to work, but it is clear that she cannot focus her attention on her modeling and the lipstick company decides to suspend her contract. Kathy switches schools as it looks like Stuart may get his old job back.Kathy is watching her older sister at one final shoot being done at a partly completed mall complex and gets bored. She starts exploring the empty mall and stumbles across Stuart and some of her former classmates preparing a dance performance to his music. When the classmates leave, Stuart sees her and invites her to help him with the final mixing of his composition. She approaches and lets him place a contact microphone on her chest to record her heartbeat to add to the music. We hear her heartbeat suddenly speed up as Kathy realizes that Stuart is making sexual advances toward her. She runs and he chases her through the empty mall until he catches her in a sub-basement tunnel. There we see him start to tear her clothes off....Kathy stumbles back to the part of the mall where the photo shoot is going on. She crying and her clothes are torn. Chris asks what happened. At first Kathy tells her nothing, but then admits she ran into Stuart and he attacked her.Chris races to the window and sees Stuart leaving the building. She runs down to her truck and gets a rifle she has in the back and shoots Stuart as he is driving from the parking lot. He crashes his car, then climbs out, but is shot again and again by Chris, including a shot to his genitals. She continues to try and pump bullets into his dead body even after he has stopped moving and the gun is empty. The police arrive and arrest Chris who is in a state of shock. As the camera pulls away from the scene we hear Bondi, who has apparently left the D.A's office to defend Chris, tell the jury during Chris' murder trial that justice can only be served if they acquit Chris of Stuart's murder. | revenge, cult, murder, violence | train | imdb | That was to show the audience that even a top fashion model who's used to exposing her body to the public and is anything but a Mother Teresa in her social life has as much right as a Cloister Nun to say no when she's put upon by someone and should have the same protection from the law and court system as well.Margaux Hemingway, Chris McCormick, is a top world fashion model who's little sister Kathy, Mariel Hemingway, is infatuated with her music teacher Gordon Stuart, Chris Sarandon.
Gordon thinking that Chris is easy and loose and from the photos in her apartment of her with a number of movie stars and other well known personalities feels that she made out with all of them so why not with him.
Before you know it Gordon with very little urging on his part brutally attacks and rapes her.As Gordon has Chris tied down on her bed her sister Kathy enters the apartment and sees what's happening and gets sicken by it.
Even though at the time it looked like Chris was not fighting Gordon off, she was too exhausted by then, Kathy believed her sister when she told her that he raped her.
That negative opinion of his musical talent on Chris' part somehow made Gordon feel insulted and set him off.Chris hurt and humiliated as well as having to have her little sister Kathy see what happened to her goes to woman advocate lawyer Caria Bondi, Anne Bancroft, to help in the state's case against the man who raped her Gordon Stuart.
Caria is more then honest with Chris by telling her that if the case against Gordon is prosecuted by the state that Chris can expect to be raped all over again by Gordon's lawyer but this time in public not in private like she was raped by Gordon; and even after all that the odds of getting Gordon convicted is 98% against her.
Even though the movie has a very contrived ending when the rapist who got away with raping Chris and later also rapes her sister Kathy getting just whats coming to him.
Later in the movie her lawyer Claria Bondi evens thing out in court by getting Chris off for shooting him on a temporary insanity plea.
Manipulative drama about a glamorous model (Margaux Hemingway) who is raped by a geeky but unbalanced musician (Chris Sarandon) – to whom she had been introduced by her younger sister (played by real-life sibling Mariel), whose music teacher he is.
While the central courtroom action holds the attention – thanks largely to a commanding performance by Anne Bancroft as Hemingway’s lawyer – the film is too often merely glossy, but also dramatically unconvincing: the jury ostensibly takes the musician’s side because a) the girl invited assault due to the sensuous nature of her profession and b) she was offering no resistance to her presumed aggressor when her sister arrived at the apartment and inadvertently saw the couple in bed together.
The second half of the film – involving Sarandon’s rape of the sister, which curiously anticipates IRREVERSIBLE (2002) by occurring in a tunnel – is rather contrived: Mariel’s character should have known better than to trust Sarandon after what he did to her sister, but Margaux herself foolishly reprises the line of work which had indirectly led to her humiliating experience almost immediately!
The climax – in which Sarandon gets his just desserts, with Margaux turning suddenly into a fearless and resourceful vigilante – is, however, a crowd-pleaser in the style of DEATH WISH (1974); incidentally, ubiquitous Italian movie mogul Dino De Laurentiis was behind both films.It’s worth noting how the two Hemingway sisters’ lives took wildly different turns (this was the film debut of both): Margaux’s career never took off (despite her undeniable good looks and commendable participation here) – while Mariel would soon receive an Oscar nomination for Woody Allen’s MANHATTAN (1979) and, interestingly, would herself play a glamorous victim of raging violence when essaying the role of real-life “Playboy” centerfold Dorothy Stratten in Bob Fosse’s STAR 80 (1983).
Chris Sarandon had just been Oscar-nominated for "Dog Day Afternoon" and I wanted to see all his movies, and I was interested in seeing the Hemingway sisters.
Chris Sarandon is competent as the psycho rapist, as is the always great Anne Bancroft, but Perry King, then a pretty big star, has a worthless role as Margaux's boyfriend.
The scripts and characterisations had to be good because this was pre special effects, they actually shot films outdoors in real life settings, not just studio caverns.This is a beautifully made film and we can appreciate the freshness of the Hemingway sisters , as well as understand the difficulties a disturbed young man faces when his desires get the better of him.The revenge aspect would make the viewer feel good as they see justice as being done.Though in the end no one wins, expect viewers who are treated to almost 2 hours of suspense , escapism and possibly voyeurism as the girls are so attractive.I am tired of the franchise films of today, the TV remakes, the special effects-making actors and writers redundant when good scripts and real life locations are needed to help us identify with the situation..
The cast, headed by Margeaux and Mariel Hemingway, Chris Sarandon and Anne Bancroft, all invest deep emotion into their roles.
Chris Sarandon is excellent as a school teacher who rapes fashion model Margeaux Hemingway.
There is lots of tension before the rape and we really see Chris as a big time weirdo who plays really bad music while poor Margeaux tries to make an excuse to leave the room.
Just viewed this film and found it fantastic, there was no mention in the horrible rape case about DNA, no such thing existed.
This film showed exactly what a woman goes through when she is raped, it needs to be viewed and observed by appreciative fans of Margaux Hemingway, who gave a wonderful performance..
He was a very successful singer/songwriter and had written music for numerous movies, many of these were hits.The music he specifically composed for "Lipstick" was a statement and I regret that it was not recognized as such.He still lives in the US and occasionally "comes back" to his fans who always were there waiting and until now were never disappointed.They are still hoping for a real true come back in good old France though.LOEMOEMBA.
This is another lurid entry into the misbegotten "rape-revenge" genre, but it manages to be even more sleazy than usual because it was backed by a major studio and it features two of Ernest Hemingway's granddaughters (only one of whom was talented), sisters Margeaux and Mariel Hemingway.The late model-actress (or, more accurately, model-bad actress)Margeaux Hemingway plays an, um, model (at least she doesn't stretch herself too much) who lets her younger sister's middle-school music teacher (Chris Sarandon) into her house to listen to his weird avante-garde music.
So he ties her to the bed and violently sodomizes her(!) in a highly exploitative scene that involves Margeaux being butt-naked and tied up for nearly ten minutes (Strangely, Mariel Hemingway ended up in exactly the same position some years later at the end of the otherwise much better Dorothy Stratten bio "Star 80").
Without giving too much away, Sarandon's character (who even for a middle-school music teacher is ridiculously evil) sets his sights on the younger Mariel and has to face the wrath of the vengeful Margeaux.Margeaux Hemingway was not much of an actress and she has one of the most annoying voices in the history of cinema.
Even in her first role, Mariel Hemingway is far better as the troubled teen who isn't sure if she saw her favorite teacher raping her sister or her slutty sister seducing him.
Chris Sarandon is also pretty good, and he no doubt had a hard time living this role down, but he would go on to "The Sentinel" and "Fright Night".
I somehow missed this sleazy piece of trash back in the 70's (but I guess I was only seven at the time), but I saw it recently completely by accident while trying to find an even more obscure (and much better) Italian film with the same name.
Fashion model is raped by her kid sister's music teacher and hopes to have her day in court, but the creep turns out to be a convincing actor on the witness stand.
However one views this picture, there was absolutely no reason to frame certain shots of the rape sequence with close-ups of Margaux Hemingway's bare breasts or buttocks.
I don't think there's yet been a way to stage a rape scene for a dramatic film and not have it come off as some pervert's fantasy.
Once you get passed that, however, there are some good bits and pieces: pre-teen Mariel Hemingway sticking up for Margaux in court ("Not my sister!
"Lipstick" focuses on Chris (Margaux Hemingway), a Los Angeles model working for a lipstick company, who ends up being brutalized and raped in her apartment by her little sister's deranged music teacher/avant-garde composer (Chris Sarandon).
After a feisty attorney (Anne Bancroft) fails to get a conviction, Chris takes is later forced to take matters into her own hands.Decried as one of the worst films of the '70s, "Lipstick" has been condemned as everything from exploitative trash to a shameless vehicle for the Hemingway sisters.
I'm going to play the devil's advocate here and say that, while, yes, the film does edge into the territory of the exploitation film (think 1973's "Thriller"), and yes, a lot of the legal jargon is dumbed down and the script set-up is at times completely arbitrary, this is not nearly as terrible a film as many would lead you to believe.Lamont Johnson, who previously directed the superb Patty Duke thriller "You'll Like My Mother" in 1972, is behind the camera here, and the film is very stylishly shot.
Margaux Hemingway and little sister Mariel play on screen siblings very nicely, both demonstrating considerably acting capability.
Anne Bancroft plays the no- nonsense attorney perfectly, while Perry King appears briefly in a relatively pointless role as Hemingway's boyfriend/photographer.The film's second-to-last scene is the real dynamite here, and the reason it's remembered above anything else, although it again is a bit awkwardly paced, and seems to arrive too late to the party.
It's no masterpiece, but it is a mildly thrilling, entertaining revenge film, and Margaux Hemingway and Bancroft's performances lend it some serious backbone.
The performances are somewhat uneven but for her first film Margaux gives a pretty good performance, especially in the rape and courtroom scenes.
The striking thing about this film is that 35 years later our legal system and the way it treats women has not changed much, most rapes still go unreported and few perps are convicted.The movie has its flaws but it never fails to entertain and it is much better than most films released today.
Chris McCormick (Margaux Hemingway) is a high fashion model.
Gordon Stuart (Chris Sarandon) is her little sister Kathy (Mariel Hemingway)'s music teacher.
Gordon is found not guilty in a trial.The Hemingway sisters have never been mistaken for good actresses.
The court section does work but the movie can't overcome Margaux's bad acting..
The movie instead focuses on the rape of a lipstick model by a weirdo music teacher and no one believing that she was raped.
Chris Sarandon is excellent as the rapist creep (it's hard to believe he also played Al Pacino's transvestite lover in Dog Day Afternoon), Margeaux Hemingway is ok as the victim.
Young Mariel Hemingway is excellent playing real-life sister Margeaux's sister in the movie.
I then saw it again earlier this year and was once again horrified.I am not a zealot or one to say what others should and should not see but I did take great offense to the way in which something as horrible as rape was dealt with in this movie.
The film is well phased(even though the revenge action takes place pretty late in the movie) and quite entertaining even though its not your typical I Spit on Your Grave type rape/revenge flick but more of a crime-thriller drama.
Its well acted and nicely shot and genuinely a well made film, but I wouldn't recommend it for everyone.Its not gory or horribly violent or anything and thats kind of the downfall of the movie, its nothing special so you don't miss much if you haven't seen this.
I've never heard or seen what the late Margaux Hemingway thought of her decision to star in this classic Dino Delaurentis "anything for a buck" hack fest, but I'd guess it's regret.If you subtract the horribly slapped together courtroom denouement, tighten up the sometimes hackneyed, over-melodramatic, cliché-ridden script, you're left with a harsh examination of rape and the judicial realities (circa 1976 anyway) of the crime's aftermath.Providing the movie was of a slightly higher grade (it's really not THAT bad a film if you look at it strictly in a technical sense), an established actress who was put through the paces Margaux is here would probably garner an Oscar nomination (think Jodie Foster's performance as a hard-edged working-class girl in "The Accused" --- was that any less graphic and sleazy?).
Unfortunately, it's much easier to beat up (no pun intended) on a model with no acting experience.Frankly, I've never thought Margaux's delivery here was bad --- it's natural, and her exchanges with her sister Mariel are believable and touching.
Chris Sarandon, though suitably hateful, brings a creepy realism to his wacko music teacher/rapist role, and Anne Bancroft is solid as usual.The biggest problem I've had with this film is it's unequivocal equation of electronic/avant-garde music with a deviant, unbalanced mind.
I beg to differ about 1 Hemingway sister being better then the other-BOTH were equally powerful and the movie was fantastically acted.
A fashion model(notable for a popular lipstick campaign)is sexually assaulted and humiliated by her sister's disturbed music teacher.
With Chris(Margaux Hemingway) bound to bedposts, her sister Cathy(Mariel Hemingway) finds him over her body in a sexual position.
With all the masterful work Carla is able to accomplish in turning Gordon into a nervy, bumbling mess on the stand, the flawed testimony of Cathy lends him the much needed support to get out of his sticky situation.The trial takes up the middle of the film and is certain to leave a bad taste in the mouths of many viewers.
Yeah, it just so happens that in the same building that Chris is performing for her final model shoot, Gordon has a hall for his work.To be perfectly honest, LIPSTICK is the kind of film that will probably require a shower after it is over because of just how repulsive Mr. Stewart is.
While I'm familiar obviously with Mariel Hemingway, this is the first film I've seen with her sister Margaux who left quite an impression.
That, and just recalling the name of the film, there's a picture in my mind's eye of Margaux Hemingway holding a rifle.Too bad the film was marketed this way because it cheapened the product.This is a tense, psychological thriller; it's a great courtroom drama; and it's a showcase for great acting.
Neither one of the Hemingway women can act here (although Mariel HAS improved over the years), Anne Bancroft offers the only touch of class as a prosecuting attorney, and Chris Sarandon is by turns pathetic and unintentionally hilarious as the smirking, smarmy bad guy of the piece.Veteran director Lamont Johnson can't make a silk purse out of this sow's ear of a script, which is stuffed to bursting with howlingly bad dialogue and outlandish situations.
"Kathy McCormick" (Mariel Hemingway) is a young 13-year old who has a crush on her music teacher, "Gordon Stuart" (Chris Sarandon).
She lives with her older sister, "Chris McCormick" (Margaux Hemingway) who is a beautiful fashion model.
I, however, need to differ on these views; 'Lipstick' is no masterwork and clings to the sensationalism of its time, but it can still be a relevant piece of film-making.Margaux Hemingway, the first model in world history to a sign a million-dollar contract, plays her debut film role as Chris McCormick, a (guess what?) Los Angeles model who is looking after her young sister Kathy (played by real-life sister Mariel).
While shooting photos for a lipstick campaign, Chris is introduced to Gordon Stuart (Chris Sarandon), a grammar school music teacher and composer to whom Kathy has taken an innocent shine.
'Lipstick' has also been condemned as exploitation, but that is perhaps only true in the film's second half when David Rayfiel's script begins to fall apart.
An odd thing happens in the later trial scenes, when Kathy is again called to the stand; defense attorney Nathan Cartright (Robin Gammell) instills reasonable doubt in the jury by showing that Kathy was not distressed from seeing Chris and Gordon in bed.
While this is highly possible, Rayfiel's script and Lamont Johnson's direction fail to make it convincing; the movie is fairing superbly until this point.Plot conveniences really take over, such as Chris allowing Kathy to walk around an empty office complex that is somehow visited that day by Gordon Stuart(!) The film ends with Carla Bondi 'leaving' the district attorney's office(!) to defend Chris after she shoots Gordon dead with a hunting rifle.
The supporting cast is fairly good, although Chris Sarandon and Anne Bancroft have their moments of chewing up the set.
Model Chris McCormack (Margaux Hemingway) is brutally raped by a teacher (Chris Sarandon) of her sister Kathy (Mariel Hemingway).
And the movie just went too far when 15 year old Mariel is raped (thankfully that wasn't shown).
"Lipstick" uses a slightly - but only slightly - more subtle form of propaganda; a top fashion model is the victim of a brutal rape in her own apartment by a man she has invited in for reasons totally unrelated to sex. |
tt1172571 | The Children | The film begins with a family of five, mother Elaine (Eva Birthistle), father Jonah (Stephen Campbell Moore), teenage daughter Casey (Hannah Tointon), and the two younger children Miranda (Eva Sayer) and Paulie (William Howes) heading up to a large house to spend New Year with some relatives. When they arrive, they are greeted by Elaine's sister Chloe (Rachel Shelley), her husband Robbie (Jeremy Sheffield), and their two children; Leah (Raffiella Brooks) and Nicky (Jake Hathaway).Paulie, who has been feeling unwell for the journey is sick outside the house, so Elaine sees to him. While she looks after him, she tells Casey to carry the bags into the house and Casey asks her if she has heard of contraception. Inside, the children are enjoying themselves, except for Casey, who is annoyed that she didn't get to go to her friend's party. Chloe then gets annoyed because Nicky is playing with a toy gun that Casey got him for Christmas. She then continues moaning about her mother, who called at 11pm wanting to speak to the children, and tells them that she hasn't invited her mother over for New Year. Paulie climbs up on to the table, calling for Elaine, and when Jonah picks him up, he hits him in the face.Later, when putting the children to bed, Chloe discusses the MMR jabs with Elaine as Jonah tells Robbie about his job. Casey then asks Robbie where she can get reception for her phone, and Robbie shows her because he is glad to escape the conversation. Miranda mentions that Casey isn't supposed to talk to her friends because Jonah has grounded her. Casey makes a remark about him, calling him Jonah, rather than Dad. Chloe tells the family about how she is home schooling the kids, and Jonah mentions that he is teaching Miranda to speak Mandarin.Leah shows up and tells Chloe that Paulie scares her, and Miranda agrees to take her back to bed. Robbie takes Casey outside, and she leaves her friend a message on the phone, asking her to pick her up the next day. Casey hears the cat, and walks around to look for it, but she can't find it, so she re-enters the house. Robbie locks the door when she gets back in. Later on, Leah coughs something up and wipes it on her pillow, meanwhile, Paulie appears at the foot of his parents' bed, silently watching them.The next day, everyone has a snowball fight, while Casey talks to her friend. She arrives back and asks Robbie if he has seen the cat, and he says it might be in the woods. She walks past a tent, where Miranda refuses to let her in. Inside, the cat's collar is hanging up, indicating that the children have done something to it. More of the sick that Paulie had earlier is seen on the floor, indicating that Nicky is sick too.Later, Paulie is playing with a sledge, and it falls down the hill, hitting Chloe in the leg, causing her to drop a tray and spill hot tea over Jonah. Jonah gets mad at Paulie, and spanks him, with Robbie telling him not to hit children. He then shouts at Casey for not looking after the children, even though it was not her responsibility. The children go to the bedroom, and Miranda tells Chloe that she doesn't want to be there. When Chloe leaves, Miranda tells the others to stop staring at her.Robbie is smoking in the greenhouse, when Casey comes in, and shows him her tattoo. Chloe arrives, sees her with her shirt lifted up and glares at her. During dinner, Chloe deliberately causes an argument by mentioning Casey's tattoo, but Miranda starts screaming at everyone and all the children go mad, so Casey and Robbie go outside to look after them. While there, she goes to the to the other side of the hill to meet her friend, but falls down the hill and hits her head. The kids put Robbie on the sledge, but it crashes, tearing skin off his head.Inside the house, Jonah tries to get Paulie to go upstairs, but Paulie stabs him in the arm with a kitchen knife, before running away. Chloe finds Robbie, dead and shrieks at Casey to find her children, so Elaine heads out into the woods to find them, and bumps into Casey. Casey tells her she went to meet her friend when the accident happened, but she came back. Her friend texts her, but she sees Leah in the woods. She goes to find Leah, but trips over into some more sick and screams.Elaine takes Chloe back into the house, then goes outside to find Robbie's body missing, finding it inside the tent. She sees Paulie on the climbing frame, and climbs up to rescue him, but her high heel slips and she falls, breaking her leg. Casey rescues her and drags her into the greenhouse, but the children begin throwing stones through the windows. Casey makes her a splint to help her walk, but then they hear Paulie trying to get inside. He crawls in, and attacks them, but Casey pushes a shelving unit on to him, before grabbing a knife to defend herself. Elaine tells her to stop, as Chloe comes outside. Elaine tells Casey not to let Chloe inside the tent, but Casey initially refuses to leave her mother to save her hated aunt.Chloe enters the tent, but Leah (who is inside) runs past her, and begins to cut at the tent. Casey opens it up and rescues Chloe, but the evil bitch blames her for everything going on, and locks her outside. She enters the greenhouse, and tackles her brother to the ground. He picks up a pair of scissors and tries to stab her, but Elaine grabs him and he falls on to a shard of glass. Jonah enters to find Paulie dead.Inside the house, Elaine tells Jonah what happened, and he blames her for the accident. Chloe calls Elaine and Casey monsters. Chloe tries to get out to find her children, and Casey tries to stop her. Jonah grabs Casey and throws her on to the sofa. Chloe tells Jonah that Casey needs to stay away from her family. Casey tells Elaine that it wasn't her fault, and the sickness is making the children go mad.In the woods, Chloe moans and rants at Jonah that Casey is in the house and if the kids go back there, she will abuse them. Casey blocks the doors up and locks the windows, so no one can get in. Chloe then finds her children, who kill her by stabbing her in the eye with a crayon. Meanwhile, Casey finds Miranda upstairs, sabotaging the phone lines, and tries to strangle her. Jonah arrives, pulls her off and hits her with a toy phonebox before locking her in. Casey shouts for him, calling him Dad. Miranda runs downstairs and tells Elaine that Casey was hurting her, and Jonah leaves her on the sofa, before getting into Chloe's car with Miranda and driving away.Casey shouts for Elaine to lock the back door, so the kids don't get in, and she locks it before climbing the stairs, but they get in through the cat flap. She tries to break down the door, but she can't. As Elaine gets outside the door, the children arrive, and she can't defend herself against them because they are children. Casey manages to kick a hole in the door, and grabs Nicky's head, impaling it on a piece of wood. As she is about to stab Leah, Elaine tells her not to.Elaine starts her car and drives down the street, until she sees Chloe's car parked at the side of the road. Casey gets out to investigate and finds a hole in the windscreen. She walks around the car and finds Jonah buried under some snow, and starts to be sick. Suddenly, Elaine sees Miranda rushing towards Casey and urges her to move. Elaine accelerates towards her younger daughter, and hits her, killing her instantly. Casey gets back into the car, and they drive away, as other infected children, including Leah, appear in the woods, and the film ends with us wondering whether Casey now has the infection. | violence, murder | train | imdb | Music is by Stephen Hilton and cinematography by Nanu Segal.A Christmas holiday at a remote country home turns into a fight for survival when the children suddenly start to turn on the adults.....Could you kill your own kid?
Added kicker in the writing is that the only character in the set-up who grasps what is going on is the troubled teenager (Tointon excellent), a nice twist for it is so often the case in horror movies that we bemoan dumb teens doing even dumber things.With the makers unfolding the drama amongst a virginal snowy setting, there's much thought gone into crafting more than just a standard gory shocker.
Well, other than 15 year olds who can't appreciate a horror film with *shock horror* time spent on genuine character development, a decent script and people behaving in a believable manner when confronted and confused by the horror they're confronted with.The Children is great because it's a rare oasis in the desert of generic (mainly US) horror, these are parents who understandably find it difficult to accept their own children have become killers and are obviously not too enamoured with the idea of killing their own offspring (which explains to certain 15 year old fools why the adults are so easily overcome).
Written and directed by Tom Shankland (who made WAZ), and based on a story from Paul Andrew Williams (who made the recent horror The Cottage), The Children is a very well made movie.One of the main reasons I enjoyed it was that it never explains why the children are doing what they are doing.
Too many movies try to explain what is going on, but the better horror movies leave it open and I think this approach works better, as it does here.The cast are all pretty good, with special mention given to Eva Sayer as one of the children, and Hannah Tointon as Casey the only teen in the group.One of the clever things about this movie, and there are many things to like about it,is how the adults react as events get out of control.
During the holidays, a family reunion turns into a madness when children become increasingly disturbed, due to what looks like a mysterious illness."Creepy kids" have been done a number of times in cinema but what separates this latest entry from many that came before it is the feeling that these kids are still kids.
There is still fear and fragility, which makes them a lot scarier for viewers, especially parents.Adding to the horror is that when the parents stand up for themselves against the kids, these acts of resistance are "unsatisfying" to us, unlike other movies of the genre.
I was surprised that Tom Shankland would direct something like this after his previous work, the polished horror/thriller Waz. A low budget plus a lot of kid actors mean that corners were cut.
Director Tom Shankland ekes the maximum value out of a single setting, and small cast, wringing every ounce out of an interesting idea.Two related smug middle class couples spend the new year in the English Countryside with their children when something makes "good children go bad".
In fact, the evil "possessed" children were acting in a more understandable way than the apparently normal adults.You can't excuse the way the adults in the film act by simply believing they are operating under extreme circumstances the way you can in movies like "Eden Lake".
The people that got on to give this one a low score obviously know nothing about the genre and need to go rate movies like High school musical or Paul Blart the Mall Cop. Official Chickencow post unaffiliated with any Film Company.
Elaine (Eva Birthistle), her second husband husband Jonah (Stephen Campbell Moore), her teenage daughter Casey (Hannah Tointon) and her children Miranda (Eva Sayer) and Paulie (William Howes) travel to the isolated house of her sister Chloe (Rachel Shelley) to spend the New Year with her family.
The Good Son, Devil Times Five, Bloody Birthday, Children of the Corn, Who Could Kill A Child?, Wicked Little Things, Village of the Damned, The Bad Seed, The Omen II: there are many films that have presented kids as malevolent killers, but the really effective 'scary children' movies can easily be counted on the fingers of one hand and The Children is not one of them.Although the brats in this film are undoubtedly wicked, casually offing their parents with a variety of sharp implements, they lack the genuine sense of menace essential for a really effective 'evil child' shocker, their diminutive stature and unconvincing blank stares unlikely to send a shiver up the spine of even the most timid of movie-goers.
The adults in the film do their best to convince us otherwise, looking absolutely terrified when confronted by a three foot tall moppet and screaming their lungs out at every available opportunity, but all the histrionics in the world ain't going to turn these tiny tykes into the bogeyman.Furthermore, the film suffers from editing that is more far more diabolical than any of its murderous children, making certain scenes virtually impossible to follow, and the script is hampered by both contrivance and ambiguity: I'm not one of those people that needs everything spelt out for me to enjoy a movie, but The Children's lack of exposition feels suspiciously like a cop-out—as though the writers just couldn't be bothered to come up with a convincing reason for the kids' startling behaviour.I appreciate the fact that director Tom Shankland (who was also responsible for the disappointing WAZ) doesn't shy away from depicting the violence in graphic detail, particularly when the grown-ups start to fight back (showing a kiddy meeting a grisly fate is still considered a step too far by many); and I appreciate even more that hot Hollyoaks babe Hannah Tointon gets to prance around for the whole film in an insanely short mini-skirt and over-the-knee stockings (and her mum ain't bad either); but even those elements do not come close to compensating for the film's crappier qualities.Quite how The Children has garnered so many positive comments and an average rating of 6.4 here on IMDb is beyond me, but I'm giving it a scathing review and a score of 2/10 in order to try and redress the balance..
The slow burning suspense of this movie is flawless as it sloowwwly makes the audience truly begin fearing these kids and are put in a constant anticipated state, wondering with giddy delight (if your a horror freak like me), or possibly biting ur nails to see what they'll do next.Unlike "The Ring" where the stupid damn kid is supposed to be soooo scary and yet she just a dirty little dead girl -- if that girl came out of the television and sloowly started crawling toward me-- Ide kick her in the face and not think twice!
So while it staggers through the finish line with a limp, The Children is nevertheless a good example of horror done adequately, but nowhere near perfectly.Telling the story of a New Years family get together out in a secluded part of the wilderness, The Children is a foreboding change of focus for the genre in that the movie's antagonists are around three foot tall and cry for their mommy.
This in turn makes the movie's rather predictable middle act a little more sustainable thanks to the domestic overtone to all the violence and horror, and the result is more likely to have you wince rather than groan.
Combined with the erratic and often disorientating score penned by Stephen Hilton and the derivative but effective photography of Nanu Segal, The Children makes for a convincingly tense movie that makes up for its lacking script with fine aesthetics and implementation.As a horror movie, The Children does well, specifically during its opening and closing acts; establishing characters that feel like more than maniac fodder whilst avoiding bringing too much focus on the somewhat shaky premise, and instead shifting towards the atmosphere involved, and the character's reactions to this.
'The Children' is a horror movie about a couple of yuppie families, coming together to celebrate new year's eve in a nice, out-of-the-way mansion (one of those with no mobile phone signal just when you need them).
However, bear in mind that those being hunted are the children's parents, therefore they may find it hard to defend themselves against a little person they've spent their life bringing up.The Children isn't a perfect movie, but if you like horror, you should find it fun.Of course if the parents had done what the rest of us adults do when our kids get out of hand, i.e. put on Cbeebies at the first sign of unrest, then none of the bad stuff in the film would have happened.
The family pet soon goes missing and the parents offspring start exhibiting peculiar behavior, such as staring into space like those experiencing heavenly visions.The show turns very bloody and violent with a series of unfortunate mutilations and deaths at the hands of the juvenile delinquents and the mothers and fathers, who are used to ordering time outs for their loved ones, don't know quite what to do to correct the misbehaving youth revolt.
A very effective indie horror with a very common plot (children turning evil) but take my word The Children is the best in the lot of such kind of movies.
If you are a parent or an adult who spends a lot of time with children and who has a true empathy and understanding of them, I would advise caution before you decide to watch this film.
One development at the end of the movie was also a little contrived and illogical but that is really the only valid criticism of the story that I can make and to me it didn't detract from the overall experience at all.However, once the main premise of the film kicks in the pace is relentless and I think that the progress of events and the actions of the main characters are completely natural and believable given the circumstances.
So a warning - if a parent, guardian or any other person with deep emotional connection and understanding of children is thinking of watching this movie make sure that you feel up to it.
Of course, the actors playing the kids are all very good too: understated and creepy all the way through.It goes without saying that much of the film is familiar – there are only so many ways of shooting a death scene, and they've all been covered a million times before – but nevertheless it has a fresh feel to it.
and oh, yeah, the children have become possessed killers who want to leave no adult left to celebrate the New Year.Tom Shankland, a new name on the horror scene, delivers one of the best horror films in recent years to get missed by the big screen.
"As if" 4, 6 year old children could murder 6 adults.The person who wrote this must have a phobia of children to think this material is scary/thriller or psychologically "anything".It's like me be afraid of "hot cross buns" and then making a very poor movie about it and expecting every one else to share my fear of them.
I actually laughed So hard when one character finally hysterically shouted "MOM JUST SAY SOMETHING!!!" just to even get some acknowledgement of SOMETHING pertaining to the unfolding situation at hand through the door she was trapped behind only to be met with "*gasp whimper sob sputter* waaah, mumble, blubber." instead of ya know "Yes, the children are killing people they're coming into the house.".Basically what drives the vast majority of the movie is that fact that kids are trying to kill adults, and adults are blaming it on people that aren't kids, because said adults that got attacked are too stupid to say "Something is wrong with the kids." Basically that is awful writing and awful film making.Avoid this one..
i won't spoil anything, but the message that the film harbors in it's poorly written core is as follows; "what would happen if your kids went insane and you were too stupid to punish them like normal people do?" in addition to having an impossibly stupid plot, the acting is completely second rate, now granted that opinion may be biased due to my dislike of British jargon, the dialogue is pointless, and backed by virtually no preexisting plot that could even be interpreted as interesting or with contributing factors to the story itself, if anything it was filler content to skip harshly into the unfulfilling horror experience that was to follow shortly after.
"The Children" took me by surprise.It's effectively brutal and supremely moody horror film that managed to unsettle me.Christmas vacation turns into bloody nightmare of screams and murder,when the children of two families become merciless killers.The children begin showing flu-like symptoms including sniffing noses and vomiting.Their stares become cold and soon the blood of their parents begins to flow..."The Children" is surprisingly grisly and terrifying horror film from Tom Shankland.The child actors are extremely believable as aggressive sociopaths.The emotional impact of a parent faced with possibly having to kill their own child has just as much impact in the film as the children plotting the murder of their parents.There are some very disturbing scenes in "The Children" including three nasty child deaths.The first half of the film is pretty slow-moving,but the last act certainly delivers the goods.One of the best in the killer kid genre,compared only to marvelous "Who Can Kill a Child?" when it comes to sheer intensity.9 out of 10..
I don't know how in the world this film has a 6.8 rating at my time of viewing.It's not your average formulaic flick of the genre so I gave it a chance.The bottom line is that a group of children come down with some illness and begin killing their parents.There is no method to the madness and the one time a woman should have screamed in a "horror" movie, she didn't...go figure.Granted I didn't watch the final credits roll, so I might have only lost 82 minutes that would otherwise have been spent in some other non-constructive manner, like trying to get someone else to avoid this mess.If there had at least been a brief breast shot, it might have accrued a 2.1 rating..
Not only is this film well shot, well directed and well acted by both adults and children it has a great script which delivers a good story.
Killer children have popped up a handful of times in horror cinema; from the classic Village of the Damned, to more obscure films such as Bloody Birthday and Who Can Kill a Child.
Not much of a story here; more like a fantasy horror scenario of "what if one day all children became murderous creatures for no reason?".The movie plays off that premise and while it leads to many stupid situations, I can't say that real parents would do any different in such a situation.
Oh, and said virus makes kids turn on their parents-violently.Easily the best of the Ghost House Underground releases so far, "The Children" (not to be confused with the 1980 film of the same name) is a case study in tension and dread.
And unlike most horror films people don't do "stupid movie stuff." The characters are motivated into harms way by the most realistic thing of all: love.I will not talk about the plot but lets just say families come together and then things go terribly wrong.Shankland is a terrific filmmaker and everything, right down to the creepy music, was thought through.I dare you to watch this film them go to a kid's "fun restaurant" and not soil your pants.10/10 Stars..
First of all, let me just state I had neither high nor low expectations, I was just looking for some mediocre horror, reminiscent of Children of the Corn but with better special effects.And I must say I was very pleasantly surprised, the film gripped me immediately and I especially liked the minimalistic setting.
Because the first half is so saturated with the incessant screaming of pre-pubescent little bastards, that it is beyond annoying.However, that is done with intention, as to put you on edge (and I'm sure this is much more effective with people who are actual parents...although parents might be endowed with a certain tolerance, from their years of exposure, that I lack).Either way, by the end, it had completely won me over with it's overt creepiness, realistic gore, and general atmosphere of tension.It starts off with a couple families of best friends getting together to spend the Christmas holidays together.Everything starts off relatively banal, until the children contract an illness while playing out in the woods- when things start to take a darker turn.Tantrums, and what could be attributed to an accidental death...quickly develop into full fledged murder...What the children lack in stature and strength; they make up for with wit and utter remorselessness.Leaving what ensues, one of the most realistic, and plausible, sequence of events that you can expect to find in a gory tension filled slasher.The end is eerily similar to that of Vinyan, which was also released in 2008, and would qualify as being part of the same oeuvre.Making this, not wholly original, but really quite effective.Notable, particularly, for it's realism...it is definitely worth a watch!!!
The children start to kill off the adults in torturous and malicious ways, that will surely make you squirm at times.The acting is really good, especially from the actress who plays Casey(Hannah Tointon), and the plot is excellent also, with enough suspense to keep you at the edge of your seat and enough horror to make you want to leave the lights on.
The theme and idea starts well and with real potential: virus gets children turn into killer maniacs, there is real promises for suspense with the slide scene, we easily imagine parallel plots with a post-teen character and a child who does not seem affected at first.But this is really all there is: hopes for a good horror movie. |
tt1878841 | The Darkness | The film begins with a family of four being on vacation and having a cookout with some friends. While the parents talk about life and how fast their kids grow up and enjoy the food, Andrew (the teen son of the other two parents) decides to explore the canyon with Stephanie and Michael (the teen daughter and the young son of the main parents). All the parents then talk about Bear Grylls for a good minute after cautioning their children to be careful.The three children then explore and say that the place could be scary. Andrew then tells Mikey about how the Grand Canyon was haunted and legend told of guardians of the spirit world once lived in the trees and would come back eventually and end the world. Andrew and Stephanie then decide to explore further, with Andrew giving Mikey his watch after Mikey gets scared from the story. While just sitting there, Mikey drops Andrew's watch and jumps down a rock to get it, only to be sent falling inside the Grand Canyon. Inside, an unharmed Mikey finds several black rocks with symbols in the middle and pockets them into his backpack without anyone noticing.Both families then go home. The next day, Mikey's parents (Kevin Bacon and Radha Mitchell) attempt to have sex, but are interrupted by a random door banging and a dog barking. When the mom goes downstairs, she sees that the tap is on. She thinks it's Mikey, but when she asks him, he claims "Jenny" did it and not him. When she asks who Jenny is, Mikey claims it's his friend in the walls. She then tries to talk to her daughter, but Stephanie just freaks out at her mom 'invading her privacy' (even though all she did was look in the mirror) and closes the door. When the mom then goes back to find Mikey having breakfast, the tap is open again. The dad and Stephanie then decide to go off to work and school, but when the dad tries to touch Mikey's backpack (with the rocks), Mikey freaks out and just tells his dad and sister to go. Mikey then plays hide and seek with his mom by hiding in plain sight under a blanket and jump-scares his mom when she finds him.Mikey and his mom then go grocery shopping and Mikey goes off to the balloon section and "worries his mom sick". Mikey then gets two balloons, and they head home. At home, while Mikey is coloring and his mom is on her laptop, she hears thumping in the attic. She then goes up and gets jump-scared by Mikey. When she asks Mikey how he got up, he claims Jenny taught him how to. The light bulb then pops, and she goes down with Mikey.At work, Mikey's dad is working and talks with a new employee (who is then later implied to be having an affair with him despite only appearing once). Mikey's dad and Stephanie then get back home. Later that night, Mikey's mom overhears the dad talking about work and then walks around the house. Stephanie, who is taking a shower, is suddenly surprised by handprints appearing on her mirror. Thinking it's Mikey, she storms off to his room and threatens to ruin his toys. Mikey then claims that it was Jenny and the two fight. The fight is broken up by Mikey's mom and comforts Mikey. Mikey's dad talks to Stephanie, and we find out Mikey is autistic. Stephanie tells him to get out. Later that night, Stephanie wakes up to find black handprints on her blanket. Ignoring it, she goes down to get a snack and gets surprised by something banging the microwave. In fear, Stephanie goes to her parent's room and sleeps there instead.The next day, the dog continues to bark, and we find out it's the neighbor's dog and Mikey's mom finds a black handmark on Stephanie's blanket and disinfects the air in the room. Stephanie then has a container in her room where she vomits into (because of anorexia) and freaks out when she sees her mom watching. When Mikey's dad gets home, a crow lands on his car, and he shoos it. Inside, he breaks up a fight between Mikey's mom and Stephanie and puts Stephanie out of the room. We then find out that her anorexia has caused multiple containers of vomit under her bed. Mikey's dad then takes her to a therapist to get help.The next day, Mikey's mom dumps him at his grandma's house while she decides to go to the hospital for Stephanie. At his grandma's, Mikey tries to follow her pet cat to the living room. The door then jump-scares Mikey's grandma and the water turns on. When she shuts off the tap, a snake is suddenly on the kitchen counter. We then see Mikey's parents running to the hospital where we learn that no one was harmed, but Mikey tried to kill his grandma's cat.Later at home, Mikey is sitting alone in his room feeling the rocks in his backpack. His mom, who is checking herself in the mirror, suddenly sees a blanket with a figure in it. Thinking it is Mikey, she touches it, and it sinks into the floor. The fire alarm then goes off (and the figure in the blanket rises again), and she sees a fire in Mikey's room, while Mikey is in the hallway holding a box of matches.When Mikey's dad Peter gets home, Mikey gets scared and runs up to his tree house. Mikey's dad is fed up with Mikey's autism, saying he is now dangerous. We then hear something coming from the big scorched part of Mikey's room.Later that night, Peter is talking to someone on the phone for business and hears a weird noise in the garage. There, the garage door is open. He closes it. He then goes back inside and sees the office door is open. He closes it. The TV then jump-scares him and he turns it off. We then see Mikey in his room aligning the rocks and hearing something from the scorched wall. Mikey's mom (who is taking a bath) is also jump-scared when something suddenly thumps while she's in the bathtub.The next day, Peter and Mikey's mom talk about the strange events. Mikey's mom then googles and finds out about Anasazi Indians. These Indians believed that demons were bound to rocks and that if taken, they would connect to young children who would trigger 'The Darkness'. The only way to get rid of it is to put the rocks back to where it was, but by someone who was not afraid of the events. She then sends the video to Peter and Peter sees a news article about how evil beings latch to autistic children. Peter's boss then jumpscares him by walking into the office during the "Let's go on the Internet and find answers" montage. Mikey's mom then goes to the supermarket and buys vodka along with some toys for Mikey.Mikey's mom Bronny, and Peter then go out for dinner with Peter's boss and his wife. They have small talk about business, and then the boss's wife talks about the supernatural before being cut off, and Peter is visibly embarrassed when his wife indulges her. Meanwhile at home, Mikey walks off somewhere while his sister is listening to music and plays with the rocks while looking at the burn stain.When Bronny and Peter get home, they fight over his embarrassment over her. When Bronny finds Mikey, he is covered with black handmarks and foams blood from his mouth. Peter checks Mikey, but Mikey is alright. Later that night, Bronny wakes up and hears Mikey counting. She then walks down the hallway and finds their family picture from the Grand Canyon shattered. She then sees Mikey with his back facing her counting after being led there by a wolf silhouette. Inside, she asks Mikey who he's talking to. He claims it's the Sky People. She asks where they are. He says it's behind her. Bronny screams and wakes up since it was a dream. She wakes up, and so does Peter. Mikey also wakes up, and so does Stephanie. But the neighbor's dog is there and attacks Stephanie. Peter runs out and screams at his neighbor (who is also somewhat awake late at night) about the dog. They then take Stephanie to the hospital and Mikey watches a movie with things exploding and is entranced by it.When Peter gets home, the neighbor's dog is now muzzled. Later that night, Mikey is still playing with his rocks. Hands then come out of the big scorched stain on his wall after he asks if Jenny is there. Bronny and Peter then have an argument, and she cries and confronts him about an affair. Peter then packs his things and asks for time off from his boss, telling him about the weird things at home. His boss then suggests Teresa, a woman who performs spiritual healings.Peter then continues to research over the supernatural beings and rewatches the video Bronny sent him (but this time the footage is extended to provide more backstory over the haunting) and finds out that the hauntings cause rifts amongst loved ones and the whole story of the haunting. He then emails his boss for contact details about the spiritual healer.At home, Bronny gets drunk and looks at family photos while crying.Peter then comes home and hears noises coming from the tree house and arms himself with a badminton racket. In Mikey's room, two figures rise from sheets, and he asks if it is Jenny. Stephanie then notices her bathroom door open before the black hand marks appear all over her body and begin choking her. Peter then gets jump-scared by a coyote which then runs into the house. Bronny then notices a figure behind them in the Grand Canyon photo. Peter storms into Stephanie's room and gets her out. He then sees Mikey in the bathroom with him smiling and the ceiling being covered with red handprints instead of black.Peter then takes his entire family and go to a hotel (where they buy the presidential suite out of desperation since only one room is left) where Bronny and Peter then reconcile and pledge to stop the haunting together. The next day, they find Teresa and Gloria (her translator). They talk about the hauntings, and they begin to do a spiritual clearing of the house. Upon arriving in Mikey's room, they note that it's where the real evil is. They then begin chanting but the demonic forces attack and drop a chandelier. Mikey then gets away from them and tries to enter the portal. After some more supposedly scary moments, Peter runs up to Mikey's room and locks the door.He sees Mikey walking into the portal with the demons. To stop them, Peter tries to bring the stones in, but he's afraid. He decides to swap with Mikey and begins walking away with the demons, but Mikey picks up the stones and claims that he's not afraid. The demons then all leave and Peter/Mikey jump out of the portal together. After everything is normal and the house is cleansed.Everyone is happy, and the family then has a picnic in the final shot. | haunting | train | imdb | I really don't know why people are writing comments slating this film.It is not a 'hardcore; horror that is likely to make you seek therapy for the rest of your life, but it is not dull or unwatchable either.The production is good, the acting is good, and it is the kind of film you can watch when you just fancy a 'movie night' with friends or family.The story is engaging enough to make it interesting.All these pseudo-intellectual ramblings criticising the film are just that - pseudo-intellectual.It is probably not the best film you will watch in your life but is it also very far from the worst..
Clearly everyone has different expectations when it comes to horrors, and for me personally, movies like Insidious, Paranormal Activity, Sinister and Dark Skies etc tick the box.
Then, about once a year, the stars align, Wes Craven rolls in his grave, and a movie like The Darkness limps into theaters, a horror flick that's so inept at everything it tries to accomplish that it only triggers catcalls from the audience.
In The Darkness, the whitest family I've ever seen goes on a family trip to the Grand Canyon, and by some ridiculous series of events, the son brings back five rocks that have Native American demons inside them.
His performance helps lift this film and is complimented by a capable cast who generally share good chemistry.The family dynamic, in particular, is very believable in a middle aged, kind of yuppie-ish way.I give The Darkness a six out of ten.
I actually enjoyed this supernatural thriller.i found it very suspenseful and eerie at times.the music was great.and the acting was good all around.Kevin Bacon Plays Peter Taylor.Radha Mitchell plays his wife Bronny.Lucy Fry plays their daughter Stephanie,and David Mazouz plays their son Michael.Mazous is a stand out here.the plot is basically this.Peter Taylor(Bacon) and his family return from a camping trip at the grand canyon.almost from the moment they arrive home,strange things begin to happen.little things at first,which slowly escalate to more serious events.the low rating here(4.2/10)is unjustified,in my opinion.while I wouldn't call it a masterpiece,i think it was still effective.for me,The Darkness is 7.6/10.
The Darkness is generic all the way down to its title - can you imagine the faces lit up when the actors (who did get paid anyway so whatever) are told they'll be in a new horror movie produced by Jason Blum (whatever you think of Blumhouse they made Whiplash so points there for that), and then comes a script called 'The Darkness' and those faces fall a little - and its laziness comes largely in execution.These aren't all necessarily bad actors really; Kevin Bacon, Radha Mitchell, even Paul Reiser I've seen do excellent work in major films for major artists.
Here, it's slumming in a story that feels like its grafted plot points and character beats from a Lifetime movie; the mother/wife who's an alcoholic; the philandering husband/father who can't keep it in his pants (until he decides to not to that so much due to the crazy s*** at home); the daughter who has bulimia since, you know, she has to be given something to do.
And of course the son who is autistic (though we don't see that at the start of the movie, set at the Grand Canyon where he happens to plop into a hole and find some spooky rocks, woo rocks, scary), and the filmmakers use the autism more to keep things in the first half suspicious.So in other words, it's not taking autism really seriously aside from it being a crutch to hold on to: there's some weird things going on in the house like (gasp) hand-prints and prints on a mirror during a shower, well you can blame it on the autistic kid Mikey, right?
And it all leads up to a conclusion that we've seen a thousand times with these possessed-house movies - and for some reason even though I believe the Anasazi are Native American in heritage the "healers" are Mexican because maybe they couldn't afford to hire Native American actors (and having actors speaking Spanish makes things more, uh, 'authentic' or scary).This is weak by way of building up family drama (also it feels confused as if on the one hand the family had these problems before this phantom menace so to speak arrived, but on the other hand it's also meant to be like the ghosts make them more effed up, which is it) and by the numbers (plus logic stuff, simple things, like is the movie so cheap that they couldn't show the boy at a school - the actor playing him doesn't look too young to be in school as autistic kids *do* attend), and yet its laziness causes it to be borderline offensive.
So this kid with Autism is more accessible to the preternatural and disturbs evil native American spirits that decide to disturb him and his family back.It Reminds me of Stir of Echoes, which also star Keven Bacon, but is nowhere near as good as that movie.
They change one or two elements on the script but in the end it is the same type of reheated and recycled haunting story.If they had, at least, included some gratuitous nudity or sex to make things a little more interesting or less soporific the film could be watchable.
As it is, The Darkness is boring as it can possibly be, without any scares, and in the final act, the introduction of the healers and their magic feather is painfully ridiculous.I wonder what forced Kevin Bacon to star in such drivel.....
Well, coming to think of it, Kevin Bacon is the only actor in the movie that wasn't terrible, because he is the Bacon.The only scary thing I can say about this is that I got to see the preview of the upcoming horror film "Don't Breathe".
When I saw the darkness, I felt like I needed to take out a ghost movie checklist and start listing everything I had seen before.
It's an awful mess of lame ideas copied shamelessly from genre classics and mixed together into a superficial esoteric story convoluted by unbelievable family drama.Why did actors like Bacon and Mitchell do this job?
Besides people "acting like you and me" by sitting in dark rooms intentionally while weird sounds come from the attic, the movie constantly rubbed everything in the face of the audience.
Horror doesn't mean blood, but come on - those demons were as evil and frightening as an old hag on the street.You don't need to be a cineast or a professional film critic to know that this movie was crap.
It may annoy people with me saying this a lot recently, but it is hard to not say anything when wastes of good ideas and talent is a bugbear of mine and something that has featured rather too heavily in my recent film viewings.Kevin Bacon and Radha Mitchell are reasonable leads and David Mazouz is more than up to their level.
In Blumhouse Productions' 2016 film 'The Darkness,' we see what happens when ancient spirits worshiped by the Anasazi Native Americans are awakened and terrorize a run-of-the-mill family from LA.Basically, what happens is the Taylor family is vacationing in the Grand Canyon when young son Michael (David Mazouz), who is Autistic, stumbles upon ancient stones that were used by the natives who inhabited the land to trap evil spirits who terrorized them.
It instead comes across as a a messy compilation of creepy happenings and a lot of family drama.'The Darkness' showed signs of being a promising low-budget supernatural thriller but unfortunately never gets off the ground, which explains why it was shelved and ultimately dumped into theaters when it was..
But if you are a hardcore Horror fan then this movie isn't going to get a rise out of you in the least bit, but the usual fan base for Kevin and Rhada which consists of my mom and company will probably enjoy this light thriller.
then go back and watch Friday the 13th again, because this one isn't worth much.Family (of fully clichéd stereotypes: hard-working father who is too busy to notice what is happening around him, specifically his wife's drinking problem, his daughter's anorexia, and his autistic son's new invisible "friend", and his new rock collection) finds themselves being followed by vaguely defined spirits after a trip to the Grand Canyon.
They want their rocks back.Kevin Bacon does as well with the material as he could, and the film does have a couple of eerie visuals, like the coyote casually walking through the house (which turns out to be only a dream, which provoked me to shout " Oh, **** off!" at the screen)Film contradicts itself several times: Bacon is furious at his son for setting his room on fire, but in the next scene, he casually acts as though it is no big deal.
The opening sequence in the Grand Canyon had a couple of times when it was difficult to tell where people were standing in relation to each other, the first scene of Kevin Bacon and his wife in bed had something obviously edited out, and the closing credits stop shortly after beginning, and have a brief shot of the rocks again, in what appear to be a post credits scene set-up for a sequel, but even that scene is cut short.
This film started quite well then after the second act slowly got worse and worse, the acting was moderate but the final execution very poor.Why does Hollywood keep putting very average horror films out there will they ever learn ( doubt it) A few good scares but all been done before.I say see this if your really bored or have a couple of hours to spare otherwise don't bother.Average score and cinematography but not enough to make a cinema release.You will get frustrated by the hour mark and want your money back and save it for VOD..
A drama, a family trip, a horror and a psychological film all in one.I wish they had spent more time on the story than trying to be scary.
Hollywood script writers have obviously run out of genuine and original ideas so they can only recycle the same old fashioned demon stories we have seen in hundreds of horror films ever since cinema was born.
A good thriller or horror movie may use "fiction" (the world of ghosts and spirits)as the background of its story, but unless it takes it to a further level giving a realistic ending or solution given the fiction it is about, it makes no sense anymore.This is the case of "the darkness".
The CGI moments were also quite amateur, so he has a long way to go before he hits the big time.Budget: $4million Worldwide Gross: $10.9millionI recommend this movie to people who are into their horror/thrillers, starring Kevin Bacon, Radha Mitchell, Lucy Fry, Jennifer Morrison, Paul Reiser, Parker Mack and Matt Walsh.
Been watching horror/suspense/thrillers for over *cough* 40 years.However, it's a decent movie if you look at it from the point of view of a younger person, like a child or teen.The movie doesn't have very much gore at all.
Like most Kevin Bacon "movies" (and Radha Mitchell, for that matter), this indigestible tripe is a half baked mess of every horror movie cliche mixed with phoned in performances and ridiculously implausible character actions.You cannot connect with any of the characters; the daughter aside they are thoroughly unsympathetic and, dare I say, mentally challenged, as evidenced by their stupid decisions.It is hard to tell if this is an intentional device or simply bad writing, and I don't really care enough to find out..
And the movie never stepping outside of any horror clichés.Then it doesn't even help that you have competent actors like Kevin Bacon and Rhada Mitchell in the lead, even if Kevin kinda phoned in his performance this time..
Following a family trip to the Grand Canyon, they realize that the mysterious incidents and behavior they've been experiencing since returning are the cause of a dangerous malevolent spirit that's returned with them and must cleanse the house to be safe.Overall, this one wasn't all that bad of a supernatural effort.
The Darkness had good intentions but with an overplayed story and felt like many other movies that audiences have already seen..
The conflicts between characters outside of the main story line are supposed to add depth and build connections with the audience however in The Darkness those conflicts feel forced and are quite frankly rather unimaginative.Riddled with clichés at every turn, The Darkness offers nothing remotely original or thought provoking and the story line was so unbelievably convenient, I rolled my eyes into the back of my head more often than their cliché teen daughter.Often I'll recommend movies to friends even if I don't really enjoy it by saying something like, "If you have a an hour or so to kill, it may be worth a watch", but I cannot say that here, folks.Save your time or just re-watch The Poltergeist, that's what this film was trying to be anyway...
A supernatural force terrorizes a couple and their two children after the young son brings home some mysterious rocks from the Grand Canyon.Reading that description, it had my attention but I wondered how good can a horror movie be that's about a kid bringing home some rocks that are haunted?
After watching it.....Wow, what a GREAT movie.If you like Horror movies that aren't all guts & gore & full of special effects then you might like The Darkness.I had my doubts at the start but after it was over, I was surprised I even liked it in the 1st place especially how much I liked it.I hope there's going to be a sequel with the same cast coming back like the Poltergeist movies.This movie was similar to Poltergeist so why not?
It stars Kevin Bacon, Radha Mitchell (who also starred in 'ROGUE'), David Mazouz and Lucy Fry. It's a pretty disappointing film, especially coming from Greg McLean.The Taylors are on vacation at the Grand Canyon, with another family, when the son, Michael (Mazouz), stumbles across a dark supernatural presence.
The family turns to friends for help.I really enjoyed McLean's other horror flicks, so I was looking forward to this movie, but it definitely let me down.
The Darkness had all the necessary ingredients for a decent horror film: the premise isn't very original, but at least, it offers a less trite alternative than the typical "vindictive ghost"; the cast includes various good actors (Kevin Bacon, Radha Mitchell, Paul Reiser, Ming-Na Wen and David Mazouz); and the special effects are pretty well made.
Friday the 13th of May 2016 brings on the release of 'The Darkness' starring Kevin Bacon where his family must do battle with ancient spirits of the Grand Canyon...
Just keep reading, thanks.'The Darkness' begins as Peter Taylor (Kevin Bacon) and his family have a camping trip within the Grand Canyon.
Just got back from seeing this in cinemas & have say it was pretty good though not 100% great.The film starts with a family who go camping in the Grand Canyon & their youngest son, who has autism falls into a cave & discovers a post supernatural ritual camber of some kind.
Not to be confused with Jaume Balagueró's Darkness (2002) talented director/writer Greg McLean of sleeper hit film Wolf Creek and underrated killer croc flick Rogue offers a supernatural horror in the vein of Poltergeist and Amityville Horror including their remakes.What really works in McLean's favour is the Taylor family is not made-up of the stereo type character models synonymous with the genre.
I saw "The Darkness", starring Kevin Bacon-The Following_tv, X-Men:First Class; Radha Mitchell-London Has Fallen, Silent Hill; Paul Reiser- Concussion, Beverly Hills Cop and Ming-Na Wen-Agents of S.H.I.E.L.D._tv, ER_tv.I had high hopes for this movie-I love good scary movies-but I was very disappointed.
Peter (Kevin Bacon) and his wife Bronny (Radha Mitchell) begin sharing their home with daughter Stephanie (Lucy Fry) and autistic son Mikey (David Mazour) with some inexplicable events like water turning on, footstep sounds in the attic and mysterious hand prints about the home.
Unfortunately, the scariest thing about this movie is how bad it is.As the story begins, two families are camping together in the Grand Canyon.
Peter and Bronny Taylor (played by Kevin Bacon and Rhada Mitchell, and, yes, I checked those spellings) have a teenage daughter named Stephanie (Lucy Fry) and a tween son called Mikey (David Mazouz), who happens to be autistic.
Echoes of POLTERGEIST reflect this haunting horror film about a family encountering malevolent Native American spirits AKA Anasazi who make their way into their home after a vacation trek to the Grand Canyon and communicating with the autistic youngest member (Mazouz) with spooky results.
Well, Other than the background story of the demons and the five stones, this is all the same garbage you've seen in just about every other horror movie to come out in the past 20 years.
Some kid or character does something stupid, day by day things get worse, family calls supernatural investigators, they can't do much s***, family deals with it themselves somehow.Unless you're 5 years old or you've been living under a rock and have never seen another horror movie in your life, the only thing about this movie that will scare you is what could have possibly been on Kevin Bacon's mind when he signed up to be in this train-wreck.
Because near the end, the ancient animal demonic avatars could have been horrifying if they actually tried, but when you finally see these 5 figures, you're not scared because you KNOW 100% that these are people with goofy looking masks, headdresses and costumes.The only good thing I can say about this movie is Ilza Rosario's pretty face. |
tt0993846 | The Wolf of Wall Street | The movie opens with a TV advertisement for Stratton Oakmont, Inc. It discusses the nature of Wall Street brokers, describing them as bulls or lions. A lion walks through one of the floors of the company.We next see a large group of brokers playing a game where they throw little people onto a board with a dollar sign for a bulls-eye. Jordan Belfort (Leonardo DiCaprio) then introduces himself among those playing this game. He tells us that he is the son of two accountants living in Bayside, Queens. Ever since he started working on Wall Street, Jordan has enjoyed a life of endless drugs and countless hookers of his choosing. He is seen blowing cocaine into a hooker's butt, and then later flying a helicopter while hopped up on quaaludes. We also see him driving his Ferrari and getting a blowjob from a woman revealed to be his wife Naomi Lapaglia (Margot Robbie). According to Jordan, he does enough drugs to sedate the majority of New York's population. The one drug he loves the most, however, is the one that can make man conquer the world, and that is money. He snorts a line of coke with a $100 bill, crumples it up, and then tosses it in a wastebasket.When he was 22 years old, Jordan began working on Wall Street while married to a woman named Teresa Petrillo (Cristin Milioti). He starts working as a broker and he meets his smooth-talking, easygoing boss Mark Hanna (Matthew McConaughey), along with another abrasive and foul-mouthed co-boss, Peter DeBlasio (Barry Rothbart). Jordan is astonished at how everybody talks and works. He has lunch with Mark, who is doing a rhythmic chant while pounding his chest. Mark orders enough martinis for them to "pass the fuck out". He asks Jordan how many times he jerks off: Jordan says about three or four times a week. Mark says those are rookie numbers and that he does it at least twice a day. He starts babbling to Jordan about how nobody knows if the stocks will go up, down, sideways, or whatever, and that it's all a "fugazi". Mark's primary reason for going into stocks was pretty much just for hookers and blow. He gets Jordan to join in the "Money Chant".Jordan starts his first day with his broker's license on what happens to be October 19, 1987 - aka, Black Monday. The stocks around the world plummet, and Jordan loses his job. At home, Teresa suggests they pawn her engagement ring as he looks through the jobs section in the paper. He comes across one place in Long Island: "Investor Center" located in a small mini-shopping center.Jordan shows up to Investor Center in a suit. The place is merely a small establishment that hardly looks professional, with most of the brokers dressing casually & the office being a dingy, unkempt workspace. Jordan is greeted by Dwayne (Spike Jonze), the man who runs the place. He assigns Jordan to pitch a sale for a company called Aerotyne, a small company out of a garage in Dubuque, Iowa. Aerotyne is also a "pink sheet" (low value) stock and he will receive 50% of the commission. Jordan calls a potential investor about Aerotyne. He sells it to him as a huge company (we're treated to a pic that shows it looking no bigger than a tool shed), but the way he pitches it draws everybody's attention. Everybody in the office stops what they're doing to listen to Jordan, who makes a very slick but also very professional sales pitch. He succeeds in making the sale and his new coworkers are impressed.After a few months, Jordan is making serious money. He is approached in a diner by a chubby bespectacled man with fluorescent white teeth named Donnie Azoff (Jonah Hill). He asks Jordan if the Jaguar outside is his car, to which Jordan says 'yes'. Donnie says he lives in the same apartment building as Jordan and mentions he works selling children's furniture. He asks Jordan how much money he makes, and Jordan says he made $72,000 the previous month. Not believing it, Donnie asks to see a pay stub for $72,000. Jordan pulls one out, and Donnie calls his boss to tell him he's quitting to go into stocks.Jordan and Donnie have drinks at a bar. We learn that Donnie married his cousin because he didn't like the idea of anybody else trying to sleep with her. Outside, Donnie smokes some crack and offers some to Jordan. He takes one hit and gets pumped, telling Donnie they need to go running.The two find a garage where they plan to set up a business. Jordan recruits some of his friends to join. They include Robbie Feinberg (Brian Sacca; nicknamed "Pinhead"), Alden Kupferberg (Henry Zebrowski; nicknamed "Sea Otter"), Chester Ming (Kenneth Choi), Nicky Koskoff (PJ Byrne; nicknamed "Rugrat" because of his shoddy toupee), and Brad (Jon Bernthal). Brad is especially well known for making drug sales in his old neighborhood. Jordan tells Brad to sell him a pen that he pulls out of his pocket. Brad tells him to write something on a napkin. Jordan says he doesn't have a pen, and Brad "sells" it to him. Jordan also brings along several guys from Investor Center, including a guy called Toby Welch (Ethan Suplee).Jordan and Donnie set up what is basically a boiler room in an abandoned auto garage. The guys are all set up at desks, ready to make calls with a script that Jordan wrote for them. They start with blue chip stocks like Disney and AT&T. Jordan calls one investor to purchase stocks in Kodak. Jordan anticipates closing the deal by making crude sexual gestures to everyone just as the investor signs on. From there, Jordan creates Stratton Oakmont and forms it into a much larger business with even more brokers working for him. He has groups of ambitious and hopeful brokers clamoring in his office showing off their resumes to his face. As one Strattonite makes a sale, the whole floor celebrates, with a marching band and a big group of hookers. They even have one female employee get her head shaved if Jordan pays her $10,000 for her to use for breast implants.Over the next few years, news of Stratton Oakmont's success gets around, from Forbes Magazine to the FBI, specifically Agent Patrick Denham (Kyle Chandler). Forbes does a hatchet piece on Jordan, calling him a "sleazy Robin Hood" and dubbing him "the Wolf of Wall Street." Jordan is at first angry about it, but Teresa tells him there's no such thing as bad publicity and more young and eager brokers flock to his office. They bring on Jordan's father, whom everyone refers to as "Mad Max" (Rob Reiner) due to his constantly irritable attitude. He oversees his son's accounts and berates him and his partners for spending $26,000 for a dinner, interrupting their chat about using the little people for their game (as seen earlier).Jordan throws a party at his Long Island beachfront house where he announces a plan to take the company "into the FUCKING STRATOSPHERE!" He is about to explain to us the effects of quaaludes, but Donnie suddenly rises and slowly goes over to Jordan's pool table in slow motion, mumbling the name "Steve Madden." Steve Madden, as Jordan notes, was the big name in women's shoes. Jordan then sees Naomi for the first time. He runs down to introduce himself, inviting her to join him on his jet ski. Donnie's wife Hildy (Mackenzie Meehan) sees this and tries to get Jordan away from Naomi by saying Teresa needs his help. Donnie then goes downstairs and starts masturbating to Naomi in front of the whole party.Jordan takes Naomi out to dinner one night. When he takes her home, she invites him to her apartment for some tea. Jordan is extremely tempted by her, right before she steps out of her room fully nude. The two have sex for 11 seconds before Jordan tries to get it going again. He continues his affair with Naomi for a while before Teresa catches Jordan doing coke off her breasts in the back of a limo. She pulls Jordan out and starts smacking him. She tearfully asks him if he loves Naomi, but he doesn't reply. Narrating again in voice-over, Jordan says he felt bad about hurting Teresa... and then filed for divorce three days later.Naomi moves into Jordan's apartment. She hires a decorator to redo the place to Jordan's liking, and she also hires a gay butler named Nicholas (Jon Spinogatti). Jordan likes him until the night that Naomi comes home to find that Nicholas is holding a gay orgy in the apartment. She goes crying to Jordan and tells him that $20,000 in cash is missing from their room as well as $30,000 worth of jewelry and other appliances. Jordan, Donnie, Chester, and Rugrat interrogate Nicholas about what he knows about the missing money. Nicholas refuses to answer questions (clearly protecting his gay friends) and quickly changes the subject by openly telling them that he thinks them questioning him is just gay prejudice. Chester punches him hard in the nose, and he and Donnie hold Nicholas by his legs over the balcony to try to make him confess. Jordan calls the cops, who arrest Nicholas for stealing, and kick his ass instead.Jordan manages to recover the stolen cash through money laundering. Since he recognizes that these practices are illegal, he hires an attorney, Manny Riskin (Jov Favreau), to keep them clear. All Jordan cares about is that he's making more money than he and anybody else can know what to do with.Jordan proposes to Naomi with a yellow diamond ring and she accepts. He holds a bachelor party in Las Vegas, where even the plane ride consists of a lot of hookers, alcohol and a lot of cocaine. The wedding is also a pretty big event. Naomi introduces Jordan to her English Aunt Emma (Joanna Lumley), who is aware of Jordan's cocaine use. Jordan and Naomi move out of their New York penthouse and buy a large mansion on Long Island. He even buys Naomi a yacht as a wedding gift (it's also named Naomi).Eighteen months later, Jordan and Naomi have a daughter, Skyler. By this time, the couple is constantly bickering over Jordan's antics. He slept through the night calling the name "Venice". We see she is a hooker who pulled a lit candle out of Jordan's ass during sex and poured the hot wax on his back as he kept screaming "Wolfie" (his safety word, which she ignores). Jordan tells us this fighting is part of their routine, which ends with them getting intimate. When they put the baby to sleep, Naomi says she is wearing short skirts from now on and won't be wearing panties deliberately to tease Jordan. Jordan however, has his own trick to pull; he tells Naomi that she's been videotaped by Jordan's security guards, both of whom are named Rocco.At work, it is the day of an IPO meeting with Steve Madden, a ladies shoe designer seeking to go public with his company. Jordan catches a geeky broker cleaning his goldfish bowl. He sends Donnie to call the guy out and humiliate him in front of everybody by swallowing the man's goldfish whole and then sending him out while everybody else jeers him on. Steve Madden (Jake Hoffman) presents his latest product, the Mary Lous (which one broker says look like fat woman shoes). The brokers start throwing junk at him, which Jordan stops. He wants Madden to join them in business, which he agrees to. Jordan then gets up to the stage to give a speech to the whole floor about the wonders of being rich. The stock is launched in the trading room and becomes a success, netting Stratton Oakmont $22 million in just three hours.The FBI sends the company a subpoena to request Jordan's wedding video tape. Jordan meets his private investigator, Bo Dietl (playing himself) where Bo tells him that Denham has pictures of Jordan's inner circle. Jordan asks Dietl if it's possible to buy off Denham -- Dietl emphatically says 'no'.A few days later, Jordan invites Denham and his partner Agent Hughes (Ted Griffin) onto the Naomi moored at a Long Island harbor. He shows them the list of everybody in attendance to the wedding. When Jordan tells Denham of an employee of his that he hired after needing money for his mother's triple bypass surgery, Denham interprets this as some sort of bribe. Jordan laughs it off and sends the agents off his yacht. He mockingly throws money at them as they walk away.Jordan decides to keep his money safe from the tax men as well as thieves by storing it in offshore accounts. He, Donnie, and Rugrat go to Switzerland to get the job done. The trip there is chaotic for Jordan since he takes a bunch of quaaludes prior to the flight. He then behaves very lewdly toward the stewardess and he insults the pilot. He wakes up strapped to his chair. Donnie tells Jordan that he tried to start a riotous party on the airplane, dry-humping the female flight attendants and insulting the plane's captain, who personally restrained Jordan in his seat. Due to Rugrat's intervention, with assistance from his Swiss friend, Jordan isn't charged upon his arrival.The trio meets with a group of French Swiss bankers led by Jean Jacques Sorel (Jean Dujardin), Rugrat's friend in college. Sorel persuades them to get someone outside the U.S. to store money in their account. Jordan travels to London, England to convince Naomi's Aunt Emma to take some money. This also leads to Jordan unsuccessfully trying to hit on her. They also use Brad's Slovak wife Chantalle (Katarina Cas) to smuggle money in with her family. Donnie and Brad get into an argument that ends with Brad punching Donnie out.Some time later, Donnie drives out to a seedy Long Island strip mall to make an exchange with Brad. Brad had specifically asked Jordan to make sure Donnie didn't arrive at the meeting drugged out, but Donnie appears to be anyway. After a few moments, Donnie reveals that he isn't actually stoned for the meeting and begins to provoke Brad -- Donnie had taken very personally the fact that Brad had hit him. They get into another argument with the cops watching nearby. Donnie drops his briefcase of money and flees, leaving Brad to get arrested.Donnie brings to Jordan a strong brand of quaaludes called Lemmon 714, a very rare version of the drug. The two take a pill each and watch "Family Matters" on the TV, but feel no effects after 35 minutes. They take more and still feel nothing. They find out that they expired in 1981. Naomi (pregnant again) goes downstairs to find the two working out. She tells Jordan that Bo Dietl is on the line. Dietl tells Jordan to go call him from a payphone. Jordan drives to a country club to use the payphone there. Dietl tells him about Brad getting arrested, and that Denham has Jordan's home and work phones tapped. Just then, Jordan starts to finally feel the effects of the Lemmons taking effect. He starts slurring his words and then collapses to the floor, unable to stand or walk. He crawls outside, rolls down the steps, and manages to open the door of his Lamborghini. Naomi calls him to say that Donnie is calling Sorel. Jordan makes an attempt to drive his car home despite being too high. He slowly manages to get home safely and crawls his way out of his car and to the kitchen to pull Donnie (who is also feeling the delayed effect of the quaaludes) off the phone. Donnie runs to stuff cold cuts in his mouth, but he starts choking and falls on top of the glass table. Naomi runs in to find Donnie turning blue and choking. Jordan grabs a little vial of coke from a drawer and pours the whole thing into his nose. This is juxtaposed with a Popeye cartoon as Olive Oyl feeds the sailor man some spinach, with the tune accompanying Jordan and the coke. He pulls the food out of Donnie's mouth and begins to apply a crude form of the Heimlich Maneuver. Jordan pauses for a few seconds, thinking he'll let Donnie die, until Naomi reminds him that Donnie has a family. Jordan finally gets Donnie to cough up the food he was choking on.Jordan wakes up the next morning to find the police in his house. They arrest him when they show him his Lamborghini, with notable damage, despite Jordan thinking he got the car home in one piece. A flashback shows us that Jordan didn't make it home without damaging his car, hitting several other cars, a few golf carts and a mailbox. He is released after it's determined they have no proof Jordan was ever behind the wheel of the car. Manny and Max tell Jordan he got lucky.Another few months later, Jordan holds a big meeting on his floor to announce that he is stepping down from the company to pass it onto Donnie, Pinhead, and Rugrat. He calls out one woman for starting at Stratton with "barely two nickels to rub together", and now living rich. He tells the brokers he loves all of them, moving them to tears. Jordan then changes his mind and decides to stay, leading to cheers. He gets everybody to join him in the "Money Chant." His father is not pleased, believing Jordan would be better off in taking the deal the FBI was offering.Jordan holds a huge celebration on his yacht, right after Brad is released from jail. Brad subsequently quits doing business in stocks, and Jordan tells us he died of a heart attack two years later.In June 1996, Jordan and Donnie take their wives to Portofino, Italy to continue the celebration. Rugrat calls then while they're drinking Bloody Marys and snorting cocaine to tell them that Steve Madden is unloading shares after hearing about Jordan's recent trouble with the law. To make matters worse, Naomi comes crying to tell Jordan that Aunt Emma died of a heart attack. Jordan is distraught, but more due to the fact that this leaves the $20 million in her account inaccessible. Jordan calls Sorel, who tells him that Aunt Emma named Jordan the successor to the money. He just needs to get to Switzerland immediately. Jordan runs to tell the captain to take them to Switzerland, despite Naomi's insistence that they go to England for the funeral. The captain warns that there may be choppy waters ahead, but Jordan doesn't care. Indeed, they do sail right into dangerous waters. Jordan orders Donnie to run and get more quaaludes, even as Donnie objects -- Jordan doesn't want to die sober. He runs downstairs anyway and brings the drugs up, just as a huge wave breaks through boat and turns it over. The group is rescued by a Italian Navy helicopter called in by Jordan. They're taken on another boat, and Jordan sees the jet crash into the ocean. He tells us this was due to a seagull flying into the engine. He believes this to be a sign from God.Two years later, Jordan is sobered up. He is seen in an infomercial advertising his moneymaking seminar, Straight Line. During a taping of the infomercial, Denham and other agents arrest Jordan. Sorel had been arrested in Switzerland for crimes unrelated to Jordan, and he ended up ratting him out while having dinner with Rugrat (who is also arrested). Sorel had also been having an affair with Brad's wife whenever she smuggle cash to him in Switzerland. All the members of Stratton refuse to give anybody up to save themselves.Donnie goes over to Jordan's place as he is under house arrest, he wears a locator on his right ankle. He says he's got Jordan's back in the scheme of things. He also asks Jordan how sober life is. Jordan thinks it sucks. Naomi is also furious with Jordan, refusing to speak to him.Jordan and his lawyer meet with Denham and two other Department of Justice lawyers. They try to make a deal in which Jordan wears a wire to incriminate the other co-conspirators. They call the case a "Grenada" in reference to the US invasion of Grenada in the Caribbean, where the US government very easily suppressed an invasion of that island nation by Cuba. To them, the case will be easy for the Dept of Justice to win because of the overwhelming amount of evidence they've collected.A few nights later, Jordan pesters Naomi for sex, and she eventually gives in and asks him to make love "as if it were the last time." Once the two are finished, she tells him it really was the last time; she intends to file for divorce, and tells Jordan that unless he agrees to every condition that she demands (a quick divorce, full custody of the two kids and half of his remaining wealth), she'll take out a restraining order that will bar Jordan from ever contacting her or the kids again. Jordan becomes enraged and insults her; she slaps him and he hits her back harder. He storms into a small sitting room and cuts open one of the sofa cushions, removing a bag of cocaine. He snorts a good-sized amount and runs into Skyler's room taking from her bed. Over Naomi's panicked protests, he runs downstairs to leave with Skyler. Naomi and the Belforts' maid try to stop Jordan as he drives the car out of the garage, but he ends up crashing into a wall just a few yards away. Skyler is unharmed as she was wearing her seat belt, but Jordan suffers a head injury. Naomi takes Skyler out of the car, as a dazed Jordan gradually realizes he will probably never see his two daughters again after this latest incident.Jordan is set up with the wire to bring in his partners. They all cheer for him upon his return. He goes to start with Donnie. Jordan slides him a note that says "Don't incriminate yourself. I'm wearing a wire." When he asks Donnie about their financial practices, Donnie pretends not to remember anything.The FBI arrive at Jordan's house to arrest him when they discover the note he slipped to Donnie (though not shown, the note was given to Denham by Donnie himself, likely as part of a deal that will leave Donnie unaffected). While Donnie rapidly deletes any incriminating files on his office computer the rest of the co-conspirators are arrested in the office. In court, Jordan is sentenced to 36 months in prison. His mother cries as her son is taken away while Max looks at him disappointed. When he arrives at prison, Jordan admits that he was terrified when he got there. For a fleeting moment, he says, he forgot that he was rich. He had become so accustomed to a life where everything was for sale.The final scene takes place at a Straight Line seminar in Auckland, New Zealand (The host is played by the real Jordan Belfort). Jordan comes out to the crowd and stands before one man. He pulls out a pen and tells him to sell it to him. The man awkwardly starts his pitch before Jordan takes the pen away. He hands it to another, who is equally awkward. Jordan continues to do the same with more guests, as all the hopeful future millionaires watch him. | comedy, flashback, satire, romantic, entertaining, prank | train | imdb | His rise and fall is chronicled in The Wolf of Wall Street, based on the memoir of the same name.Under most circumstances, the actions of Belfort and his cronies (including Jonah Hill in a howlingly funny turn as Belfort's business partner) would be viewed as disgustingly abhorrent, but Martin Scorsese frames this tale of greed with a comedic lens that allows us to laugh at things we probably shouldn't find humorous.
Whether it's a clumsy attempt at fisticuffs between two characters overdosing on Quaaludes, or the categorization of prostitutes using stock market terminology ("blue chip" hookers make you wear a condom and typically accept credit cards), the film is outrageous from start to finish, and rarely falters in its quest to entertain the audience for three hours.Belfort manages to delude himself and his pals into thinking they can live like this forever, but the audience knows better, and Belfort's eventual comeuppance is hardly surprising.
Sardonic in humor and unflinching in showing the depravity of its characters, it marks somewhat of a different approach to the world of stock-trading than Oliver Stone's "Wall Street".Where Stone seems more in line with Bertold Brecht who considered theater (or in this case film) a moral institution, does Scorsese take the position of the omnipresent observer of the dark side of the American and in many cases the human dream.Leonard DiCaprio gives another stellar performance of great intensity and even greater tragedy while this tale of corruption, greed and self-righteousness unfolds.It's a vast panorama that shows how during the last twenty-five to thirty years gullibility as well as our innate greed make all of us accomplices in this never-ending pyramid scheme far away from any reality.One could almost hear Scorsese's clerical background come to the fore again, according to which nobody is without sin, and therefore we are all susceptible to corruption.It is our decision on which side we choose to live that makes the difference.
Expertly paced with intelligent moral questions presented, The Wolf of Wall Street is one of the best films of the year.Telling the story of Jordan Belfort, a young Wall Street broker that gets involved in drugs, money, and even more drugs during the 80's and 90's.
Stealing every frame and focus from DiCaprio in his ten minute screen time, McConaughey utilizes all his charm and spunk as Mark Hanna, the mentor to young Jordan as he started out.Like any great Scorsese film, the women are in full-force and given the opportunity to shine like the others.
The Wolf Of Wall Street details the rise and fall in real life of one Jordan Belfort who for a while was living high and wide off of other people's money.
McConaughey only forgets to teach DiCaprio one thing, discretion.I can understand why women would truly hate this film as they are nothing more than pawns in a male power game, but The Wolf Of Wall Street gives us a fascinating look at a man who tried to play with the big boys of the Stock Exchange and for a while, did..
The guys wear suits, work in proper offices, and everything they do is just business; funnily enough, this whole movie still plays out like a kind of gangster film.Based on the memoirs of Jordan Belfort - the real-life stock broker who made millions by selling shoddy stocks to average joes - the film showcases one seriously messed-up slimeball of a man.
And yet, the excesses serve to underscore key themes and criticisms on the American dream; the pursuit of money and success, through any means, remains the main drive of the characters and the movie, and it leads to a fairly hard-hitting downfall.This film features good-looking photography and editing.
Between all the fun however, there is also a story about addiction and how it can cause a downward spiral in your life whether it be drugs, money, or power.Acclaimed director Martin Scorsese does a wonderful job keeping this movie at a high at all times.
Some people view The Wolf of Wall Street as a glorification of Jordan Belfort's lifestyle and want to be like him, as Scorsese portrays this life by its nature, enticing.
The film though, shows us just how empty and destructive that life can be.There is an undeniable similarity between the instantaneous joy, energy and euphoria that we have while watching The Wolf of Wall Street and how Jordan Belfort lives his life, this is a movie where the director skilfully mixes form and content to create an experience which is as hyper and as instantly ecstatic as the life of its flashy and opportunistic characters.The direction by Martin Scorsese which still has infectious energy and power is impeccable, there is no other director who has mastered pacing like he has.
The performances are also exquisite, especially Leonardo DiCaprio who gives one of the best performances of his career and portrays the opportunistic nature of Jordan Belfort's character with great commitment as you can see a lustful, hedonistic and impulsive sex & drug-addict man who only wants to have more fun.
Matthew McConaughey is in for a very short duration as Mark Hanna, Belfort's mentor, but even in that little time, he is the show-stealer and he dominates the screen unlike anyone else.Martin Scorsese and Terence Winter set out to create a film about the Wall Street excess, and by definition, it contains an excessive amount of everything, such as cursing, sex, nudity, drugs, alcohol and partying.
The story of The Wolf of Wall Street boils down to money, that "most-addictive drug" Belfort speaks of, and not just what it can buy, but what it can do to people.
A good book, a great screenplay and a delightful cast were formed and molded into what I believe should get Scorsese a best director Oscar, and likely a Best Picture Award for the movie.
An old adage goes that if on a certain day, everyone in the world received a million dollars, by the end of the day, ten percent of the people would have all the money."The Wolf of Wall Street" pretty much shows how that could happen.Based on Jordan Belfort's book, this is a very entertaining movie - although probably not for those who lost their money.
The film follows Belfort (Leonardo DiCaprio) from newbie stockbroker to head of Stratton Oakmont, the largest 'Over The Counter' stockbroking firm in the US.Along the way he has two marriages, acquires luxury homes and automobiles, a sea going yacht with a helicopter, a taste for wild office sex parties, which would put a Roman orgy to shame, and a huge drug habit.
But even after the FBI steps in and everything unravels, the guy still can't help making money.The movie is loud, lewd and often hilarious; it doesn't have a boring minute.Matthew McConaughey gives a brief but telling performance as Mark Hanna who initiates Belfort into the darker side of Wall Street.
If you were looking for a reason why this film works better than Scorsese's "The Aviator", which also starred Leonardo, it could simply be the latter film's lack of humour - Hughes was eccentric but he wasn't funny.Enjoyable as "The Wolf of Wall Street" is, at the end you can't help wondering if even half of it is true, how it is that with people like Belfort and his friends helping themselves to such over-sized slices of the pie, that the world's economy hasn't descended to the level it did in 1929.
Based on the true story of Jordan Belfort (Leonardo DiCaprio), from his rise to a wealthy stockbroker living the high life to his fall involving crime, corruption and the federal government.As of now (February 2014), this film sits at an impressive #57 on IMDb's list of greatest films of all time.
The Wolf of Wall Street (2013)**** (out of 4) Two word review: A Masterpice.Martin Scorsese's latest film is yet another brilliant one with Leonard DiCaprio turning in the greatest performance of his career as stockbroker Jordan Belfort who takes some rather bland people and turn them into one of the biggest scams that the FBI ever saw.
Yes, there are some moral police out there who are going to object to a movie being made about a man who ripped off poor people but I'm sorry, I like the fact that this film doesn't really care about those people and instead just gives us an in-your-face look at these wild people, their wild drugs and their wild sex lives.
THE WOLF OF WALL STREET could have been a complete disaster in so many ways but the strong screenplay and Scorsese's wicked direction makes it an incredibly entertaining film that works so well.
It was no more than a side story to the real Wall Street, as those boiler room types were the lowest level of that era's greed-is-good WS slicksters.But, the movie.....could any human superman take the amount of drugs and unprotected sex shown in this story and even function, let alone at a high continuous level and not have a fatal heart attack?
The Wolf of Wall Street negates the real affect of these toxic people in our lives, especially the ones at the top like Mr. Belfort, the ones who operate the top corporations and are literally conning our money out from under us.The seriousness of the damage Mr. Belfort is committing is eclipsed by the extravagance of naked women & one man, copious drugs (nothing innovative there), and money.The Wolf of Wall Street is the worst movie I have seen in over a year..
" All my life I wanted to be a white collar criminal " In effect this is how the film works to a large degree but Scorsese is on top of his game so having such a large similarity on a narrative and visual level with GOODFELLAS and CASINO doesn't matter because for a movie lasting three hours it just flies by .
Actually in amongst the excess of drugs , sex and foul language the storytelling doesn't make a very good job in telling the audience the difference between legal and illegal stockbroking but we're asked to take on board that Belfort isn't that bad because he's played by DiCaprio .
The rest of the cast also go along with the loud colourful style of the movie but was I puzzled by the one scene cameo by Mathew McConaughey in a pivotal role and kept expecting his character to make a reappearance at some point in the film which doesn't happen .
***This movie may contain spoilers***Having been a Di Caprio and Scorsese fan for as long as I can remember I found the Wolf of Wall Street disappointing in every way.
Nothing stands out in this movie except for the fact that it is certainly verrry loooong winded and, wow, I don't think i could watch another character-narrated Martin Scorsese film without being reminded of the bitter stench of this stinker.
Once you see the first orgasm in the first 10 minutes its 170 minutes of all the same after that.There was what could have been a moderately interesting subplot about a straight arrow FBI agent chasing the "Wolf" around which might have been slightly interesting in a seen that 10 times before way but it amounted to nothing.It is a bit disturbing how Scorcese glorifies the use of drugs, degrades women to nothing more then F@#$bags as they say in the movie, shows wife abuse and child abuse with no consequences and shows all the morally conscious people as ugly, dull boring individuals.
Who am i to be even be able to review the great Mr.Scorsese but all i can say is "tut tut", as this movie could have been made into classic but it seems to have been settled down for a entertaining farce of urban gimmicks like drugs, stupid men who swear a lot and lot of "A" rated scenes.Kudos to Mr.Terence Winter for writing a entertaining script with such plot points which you can expect before hand yet can't help but admire.
The best part of this movie is the reviews here on IMDb. Three hours of story and I had no reaction to any of the characters - no likes, no hates, no caring, no nothing.There is no comedy, no drama, no scary scenes, no thrills, no acting!
For those who haven't seen it and are sitting on the fence due to the criticism remember one thing, this is a Scorsese movie and you are almost always certain to be a part of a truly visceral experience, Scorsese is used to pushing the boundaries of what is usually acceptable to a mainstream audience and this is no different.At 3 hours the film never feels overdrawn, the characters are fantastically written (which is attributed to Terrance Winter's screenplay) and some truly memorable performances (Jonah Hill and Matthew McConaughy are both excellent) but it is Leonardo Di Caprio's execution of one of the most sincere slime balls ever portrayed on film that you MUST watch this film for.The best achievement I attribute to it is that without him, for this movie to be ANY BIT as good as it has turned out, you would only be looking at a very select few actors in the business.Will he finally get an Oscar?
Still, I feel this backlash (especially for the way such serious offenses as depicted in the film are treated in blackly comic terms) was itself extreme: just note how much attention has been given to the dwarf-throwing gag (the pros and cons of such a wild scheme are amusingly delineated just like any other business-related item!) but, seeing how it occurs during the very opening scene, one would expect the viewer to have totally worked it out of his system by the time the picture's end credits start rolling!
Indeed, to Scorsese's credit, if the Jordan Belfort gang's scamming of both poor and rich people was dealt with so thoroughly – or, should I say, the rewards they reaped from it – these characters' fall from grace is at least as detailed and spectacular; so, in that respect, it comes off as a balanced evaluation of a particular lifestyle which, like it or not, exists
and to which gullible people themselves contribute in a misguided attempt to increase their own bank account without having to work for it!As for Di Caprio, his performance is indeed among the year's best and one of his own towering achievements – but, personally, I feel he was even better in THE AVIATOR (2004) and SHUTTER ISLAND (2010; for which he was not even Oscar-nominated!), both also for Scorsese.
Mr Scorsese may have thought he was creating a social statement on Wall Street greed and crime but I had a hard time finding any value in sitting through this disappointing movie..
The Wolf of Wall Street, which is Martin Scorsese's new film based supposedly on a true story and book by Jordan Belfort, is not only the single worst film I have seen in 2013 so far, but it is also one of the worst films that I have ever had the misfortune of sitting through.
I have seen a lot of films over the years including some that have objectionable content of varying degrees and styles and usually unless it is done in a certain way, I do not let it bother me, but for The Wolf of Wall Street, it felt like there was no point to it and the whole objective of this film was to be loud, crude, rude and vulgar.
American hustle was great a movie for grownups unlike wolf of wall street yet I am kinda ticked of at Cristian Bale acting like Robert Deniro and Leonardo Dicaprio wanting to be the next Jack Nicholson.
The Wolf Of Wall Street is the fifth collaboration between actor Leonardo Di Caprio and director Martin Scorsese.It a black comedy and a character-driven film based on the memoir of Jordan Belfort,a New York stockbroker who ran a firm that is involved in securities fraud and corruption at Wall Street during the 1990's.Jonah Hill, Margot Robbie and Matthew McConaughey co-stars.The film is similar to many of Scorsese's genre of gangster films such as Goodfellas and The Departed.But this time,we get to see the anti-hero Belfort,played charismatically and excellently by DiCaprio dumping fake stocks that are worth nothing instead of killing and murdering people.Aside from that,it explores Belfort's character,a young Jewish broker from New York looking to make his way in Wall Street.He starts off at J F Rothstein and he is quickly taken into an understudy by lead broker Mark Hanna,who teaches him how to make money without morals and integrity.He then finds himself trading penny stocks and sets up his own operation.As his business grows exponentially,he tries to make it into the legit business which goes awry as they soon find themselves conning thousands of businessmen out of their cash.This leads to an FBI investigation on his part.Aside from his business that consists of greed and scams,we get to see Belfort's lifestyle that is characterized by excess that includes sex,drugs,parties and orgies.Despite the fact that it is 180-minutes long,one will surely enjoy the ride of watching this film.DiCaprio and Scorsese makes it a point to make it interesting and entertaining.Despite the controversy it has made due to its themes of moral ambiguity and having a lot of amoral characters that are involved in a lot of sex and drugs as well as the constant use of vulgar language,it definitely epitomizes fraud and corruption in Wall Street during the 90's.Although many viewers have seen this film as it somewhat glamorizes Jordan Belfort and his lifestyle,it certainly is one great movie.In the end,this is one great film that will surely be enjoyed by many people..
When I first read about the Jordan Belfort story coming to the screen and that Leonardo DiCaprio would play the Wolf and Martin Scorsese was going to Direct. |
tt0093416 | The Lighthorsemen | The film follows Four Australians (Frank, Scotty, Chiller, and Tas) in Palestine in 1917, part of the 4th Light Horse Brigade of the British and Commonwealth Dominion forces. When Frank is wounded and dies of his wounds, he is replaced by Dave. Dave finds himself unable to fire his weapon in combat and is transferred to the Medical Corps, where he will not need to carry a weapon, but where he will still be exposed to the fighting.
The British plan the capture of Beersheba. During an attack by Turkish cavalry, Major Richard Meinertzhagen deliberately leaves behind documents indicating that the attack on Beersheba will only be a diversion. The Australians leave for Beersheba, with limited water and supplies. They bombard the town and the 4,000 Turkish-German defenders prepare for an assault. However, the German military advisor, Reichert, believes it is a diversionary attack and advises the Turkish commander he does not need reinforcements. With time running out and water in short supply, the British command suspect any attack upon Beersheba will probably fail. However, the Australian commanders ask the British to send in the Australian Light Horse—the British consent to what they think is a suicide mission.
On 31 October, the 4th and 12th Light Horse Regiments are ordered to attack. Dave and the rest of the medical detachment prepare for casualties and are ordered in behind the Light Horse. The Turks report the Australian mounted soldiers lining up to charge, however the officer in charge orders the Turks not to open fire until they dismount. The Australians begin advancing on the Turkish positions, gradually speeding up to a charge. The Turks realise too late that the soldiers are not dismounting and open fire. Artillery fire is sporadic and of limited effect and the attack so fast the Turkish infantry forget to adjust the sights on their rifles as the Light Horse get closer, eventually firing straight over the Australians' heads.
During the charge, Tas is killed by an artillery shell. The remaining Australians make it "under the guns" (advancing faster than the artillery can correct its aim for the reduced range) and reach the Turkish trenches. Field Artillery has a Minimum Range and when the call was made that they were "Under The Guns", it meant that the gunners could not depress their guns any lower meaning thatany subsequent shells would land behind the charging Lighthorsemen instead of before or in the middle of them. The Australians capture the first Turkish defences. Scotty and a few others take control of the guns. Chiller is wounded in the trench fight. Dave is struck by a grenade and is seriously wounded while protecting Chiller. Scotty continues to fight on into the town. When most of the remaining Turks surrender, Reichert tries to destroy the wells, but is captured by Scotty. Overall, the attack was a success and the Australians miraculously suffered only 31 dead and 36 wounded. This effectively opened the 'door' and allowed for the subsequent capture of Jerusalem and the rest of the country.General Allenby, in deference to the Holy City, walked into the city, coming as a Liberator not a conqueror. | murder | train | wikipedia | Despite the ubiquitous appearance by Sigrid Thorton, and my having to eat crow over my previous comments on Anthony Andrew's acting ability (no scenery chewing or hamming it up here), I very much enjoyed this outstanding Aussie film.Simon Wincer has directed a wide variety of films, some bad (like the Cheryl Ladd waste of celluloid "Bluegrass" and the turkey "Pharlap") and some very good (like the intense "Harlequin" and the great A&E mini "PT Barnum").
I find this one to be particularly special due to it containing one of the best war sequences on film.Wincer and his crew have excellently interwoven a beautifully done drama with incredible special effects.
The battle sequence at the end if the film is so powerful that even seen on video on an average size home TV it is astounding.
A First World War Australian cavalry -- sorry, mounted infantry -- film set in the Holy Land, that's not something one tends to see every day.
Johnny Turk was the villain that time too.This being an Australian Imperial Force meets the British Army sort of film, there is bound to be a little Pommy-bashing going 'round.
If they cared enough to get details like that right, then I'm sure that says a lot about the effort put into the film as a whole.There is an earlier Australian film about the Light Horse I'd like to see, "Forty Thousand Horsemen" from 1940 or '41 (sources differ).
I began to realize, however, that the first half of the movie is a pretty good reflection of military life prior to the second half of the 20th century: long periods of boredom and routine punctuated by major confrontations.I've noticed that a few reviewers have remarked on the final "cavalry charge," which suggests to me that they really weren't paying much attention to the movie.
You almost want to laugh at the sight of 16" knives against the well-emplaced Turks.This is one of the few war movies based on actual events that is fairly accurate, too.
This colossal 1987 production - believe it or not - from RKO PICTURES is an Australian film closely resembling LAWRENCE OF ARABIA in its intent and rightly compared to ZULU.
With a huge cast of Oz actors and directed by PHAR LAP (look it up) warhorse Simon Wincer it is basically about the last massive charge in the Middle East desert during World War One....an event still on the yearly Australian military forces roster of "Anzac" celebrations.
Others of this time are GALLIPOLI and CAREFUL HE MIGHT HEAR YOU and THE MAN FROM SNOWY RIVER and WE OF THE NEVER NEVER...each are films made with a lavish widescreen cinema release in mind and each huge Oz successes.
Spectacular Australian film about the men of a World War I light horse unit involved in the 1917 Battle of Beersheeba..
This impressive flick is based on a true story and most of the characters in the film were based on real people and dealing with the continued coming of age of the Australian nation and its soldiers .
The film follows Four Australians, Frank (Gary Sweet), Scotty (Jon Blake who was injured in a car accident and he suffered permanent paralysis and brain damage until his recent death) an Irish-Australian, Chiller (Tim McKenzie) and Tas (John Walton) in Palestine in 1917, part of the 4th Light Horse Brigade of the British and Commonwealth Dominion forces.
After the Second Battle of Gaza ended in complete failure, General Archibald Murray (Tony Bonner) , the commander in chief of the British forces in Egypt and Palestine, was replaced by the distinguished cavalry commander, General Edmund Allenby (Anthony Hawkins) , formerly the commander of the British Third Army on the Western Front to carry out the British plan the capture of Beersheba.
At the ending there takes place the Battle of Beersheba (Turkish: Birüssebi Savaşı) that was one critical element of a wider British offensive, known as the Third Battle of Gaza, aimed at breaking the Ottoman defensive line that stretched from Gaza on the Mediterranean shore to Beersheba ; it took place on 31 October 1917, as part of the Sinai and Palestine campaign during World War I .
Notable was the charge of the Australian 4th Light Horse Brigade, which covered some 6 kilometres (3.7 mi) to overrun and capture the last remaining Ottoman trenches, and secure the surviving wells at Birüssebi .
The heaviest Allied losses were suffered by the British infantry of XX Corps, which lost 116 killed in action, although the total number of men killed during the battle from the British force was far greater, totalling 171 men.It follows in the wake of other Australian New Wave war movies such as Breaker Morant (1980), Gallipoli (1981), and the 5-part TV series Anzacs (1985).
Recurring issues of these films include the Australian identity , such as mateship and friendship , ANZAC spirit , the loss of innocence in war, and breathtaking battles spectacularly filmed .
Acceptable acting from main and support cast including prestigious Aussie/English actors such as Anthony Andrews , Shane Bryant , Sigrid Thornton , Tony Bonner , Gary Tweed , Bill Kerr , though none of the performances are really bad, but none are very good .
Despite being set in Palestine and Egypt, the film was shot entirely on location in Victoria and Hawker, South Australia .
It was nominated for Best Achievement in Cinematography and won an Australian Film Institute award in 1988 for Best Original Music Score and another for Best Achievement in Sound.
Rating: good for the sensitive direction and proficient film-making ; the result is a sort of pacifist-aggressive war adventure .
Historically accurate and meticulously researched, this is one of the genre of "federation-era" war productions in the 1980's by the Australian film industry.
Much of the background and information for this genre came from personal diaries and military archives preserved over the years, which adds credence to the plots, the action and the stories."The Lighthorsemen" highlights the campaign of the Australian mounted rifles in the North Africa battleground of the Great War, and culminates with the last successful action of horse-riding troops in combat.
Without giving away the story too much, the taking of Beersheba in the closing days of 1918 was a decisive event in military history, and the screen portrayal of this action will have you on the edge of your seat.Masterful performances by Jon Blake, Shane Briant and Bill Kerr (all veterans of this movie formula,) the attention to detail, the drama, and the occasional humour make for a very entertaining movie.
I saw only the last half of this one, appropriately enough on Anzac Day, tuning in just as the delicious Nurse Siggy Thornton is writing a love letter that intelligence Major Anthony Andrews is going to mislead Johnny Turk with.
The film is no doubt best viewed on a big screen, but what I did see in the last hour was the Australian Light Horse attack on Beersheba, brilliantly staged and filmed, with hundreds of horses and extras and tonnes of dramatic tension.
It was terribly thoughtful of the Australian commanders to order the attack an hour before sunset when the light is best, and Dean Semler the cinemaphotographer takes full advantage of it.
The real villains are the Germans, all from Central Casting's Nazi division, despite this being a movie about the FIRST World War, but the British officers are also portrayed as pretty perfidious - the guys who made snobbery an art form to cover their incompetence.
No doubt John Ford would have done it differently (I'm not sure he would have handled the horses any better) but this is the Australian point of view.
The final attack on Beersheba is worth the time spent watching the whole thing..
I think that anyone who is interested in this campaign would be satisfied.Because of Australian point of view the role of British army seems to be a little underrated.
The ultimate legend of the ANZACs. The "Charge of the Light Horse" has gone down in the annals of legend, as indeed of history.
This, the definitive film of the event so far, is based on the true story of one couple's involvement in the events of the 1917 desert campaign.
Like the earlier "Forty Thousand Horsemen" (1940), a very similar film in many respects, it leads up to the momentous charge on Beersheeba with style, tension and humour.It was partly a starring vehicle for the wonderfully charismatic action hero Jon Blake, whose sad incapacitation has robbed Australian cinema of one of its shining lights.The scene of the charge is superbly choreographed and filmed, and deserves to be right up there with the chariot race scene from Ben Hur.I cannot conceive of anything more scary than being on the wrong end of a cavalry charge, and this will have you out of your seat.I personally rate this as the best film (of any genre) I have ever seen..
A quickly-paced war tale with a breathtaking charge scene..
It is unpretentious, well-shot, fast-paced, entertaining and interesting from the start.The movie is slow when it needs to be as in when the Lighthorsemen have to take their horses to the brink of exhaustion in order to surprise the German/Turk occupants of Jacob's Well.The characters are mostly very well-defined and you feel for them as the movie moves on.The charge scene is the highlight of the film.
The sight of several hundred charging horses is awe-inspiring.This movie can be hard to find, but if you do, you have a winner..
On the big screen this film makes a fantastic impact and every effort should be made to see the original wide screen version in this way.
As for how the horses were handled, not one was injured-a feat you'll scarcely believe after having seen the charge.
One of the best charges (horse) seen..
I have done horse charges for films before, this one is great.
The casting, acting and filming is very Australian in its personality and universally excellent.
The real stars to me however were the large number of wonderful horses and their individual riders, who together with the South Australian scenery, where it was shot, and which does wonderfully to replicate the Middle East bring this epic battle back to life.
The best release was a laser disc in the US and later a crappy DVD was released in Australia but this had the aspect ratio cut from 2.35 to 1.78 and is an insult to this great film.
this film portrays the spirit of a bread of men who have become a legend in there own right the spirit of anzacs.action,romance and true life heroes this film has some thing for most peoples taste.the acting is good and the cast do a excellent job.now available on dvd one to buy..
and the feeling to see, among so many war films, a special show.
The opening few minutes really get you excited, but the middle 5 hours (it seems like that) are an interminable length of poor acting, emphasized by a hell of a lot of sitting around talking about their feelings poorly, with a lot of poorly written dialog, then they go out and do something to no obvious end and occasionally shoot at someone.
And I want to emphasize again: Really well filmed when anything except the horsemen in camp, some amazing equipment (where do you get that many WW1 tanks?!?!) and of course if you like watching horses run around, man is this your cup of tea.
I've been watching war movies all my life.
I've seen a few in my time; 'Charge of the Light Brigade' comes to mind.
Its easily one of the finest if not THE finest cavalry charge I've ever seen on film.
The charge by itself would have been worth the price of the movie.
There is very little regret at war expressed in this film, and rightly so.
Its emphatically NOT an anti-war film as some commentators seem to want to make out.
In my opinion a superb war movie in every way..
Is it an anti-war film?
And that's why despite having a few decent battle scenes and an interesting setting it never really seems to catch your attention.The plot of the film is pretty basic.
The Aussie light horse is in Palestine fighting the Turks.
Most of the rest of the incidents, while generic war film tropes, work significantly better.
The big battle at the end of the film is the battle of Beersheba, the last successful cavalry charge.
A subject like this seems perfect for a gung-ho war film about the high point of the ANZAC cavalry forces to counter the anti-war approach of Gallipoli, but as I said before the film never really settles on what it wants to say.One nice thing about it is the relatively low amount of Pommy-bashing.
There is a bit of conflict with the obligatory stiff-necked and humorless British officer, but they also feature a scene where the British soldiers cheer the Aussies on to the embarrassment of the men who are looking for a fight.
Furthermore my favorite character in the film is a British intelligence officer.
He's every bit the cold and aloof officer you'd expect, but he's smarter than the rest and actually plays up the Aussie perceptions of him to good effect in one hilarious scene.
The rest of the characters are somewhat hard to distinguish so this man stands out the more.A few more minor problems with this film: the scenery which is supposed to be in Israel is really obviously southern Australia.
Certainly it's worth watching if you're interested in the time or just like war films or Aussie movies in general.
"Australia will be there" that song made for one of many,many fine scenes in an excellent film.
I loved Anthony Andrews character : The British Intel Officer with a German name and his scene out birdwatching with the Aussie Sgt where he deliberately drops the satchel containing a forged "loveletter".
I,also, loved the the previous scene where the nurse helped him in "creating" the letter.The look of satisfaction on the Intel officers faces when they knew they'd fooled the Turks was great.The ending charge was highlighted (for me) when the Brit General said " Their under the Guns".
No detail of equipment was overlooked in recreating the look of the Light Horse of the Great War, nor were any time-worn clichés from the previous fifty years of war movies.Few cinematic cavalry charges are better than the one at the end of this movie, but if you were hoping for history brought to life with the same depth and sensitivity as Peter Weir's "Gallipoli", this isn't that movie.The story focuses on a section of Light Horsemen: Dave, Scotty, Chiller and Tas played by Peter Phelps, Jon Blake, Tim McKenzie and John Walton.
Tony Bonner as their commanding officer, Colonel Bourchier, gives one of the film's best performances as a no-nonsense officer who has earned the respect of his men.When the script deals with the by-play between the troopers the movie has a believable tone, but when it tries to set the scene in historical terms, it gets trickier.Everybody from stiff-backed German officers to stiff upper-lipped British ones, deliver chunks of laborious exposition, much of it speculation about whether the Light Horse will charge or just dismount and crawl through the sand under intense fire.
A German officer, who makes the German officers in Errol Flynn's war movies appear as models of subtlety, comments on the Australians, "They are formidable soldiers but the British don't know how to use them".
The shots of the Light Horse on the move are impressive and the final charge is exciting, but there could be a little too much use of the zoom lens in "The Lighthorsemen".Our visual knowledge of historic events is shaped by images such as the black and white photography from the last half of the 19th Century followed by film of varying quality through the first half of the 20th Century.
Although filmmakers could claim they are bringing history to life in a modern and immediate way, I feel that a period film that uses the zoom extensively tends to distance itself from the look and feel of the times in which it is set.
There is no noticeable use of the zoom in John Ford's cavalry trilogy; films that effortlessly capture the period in which they are set.In World War 1, The Australian Light Horse and the New Zealand Mounted Rifles comprised the British Army's main mobile strike arm in the Sinai and Palestine Campaign.
Before tanks, these mounted troops were the British army's equivalent of the next war's Panzers, and Beersheba was their most spectacular Blitzkrieg.
The Australian Chauvel, commander of the ANZAC Mounted Division, wanted to break off to water the horses, but was ordered to attack.
In turn they killed or captured 2000 enemy as well as several artillery pieces and also captured 15 out of the 17 wells.The light horse battle at Beersheba was worthy of a film and the battle scenes focusing on the light horse charge was a highlight of the film.
The film also focused on intelligence that led to the Turks believing that an attack on Beersheba would only be a diversion.The film incorrectly had Chauvel offer to attack Beersheba, when the British were faced with withdrawal due to critical water supplies.The film tried to be realistic and portray the spirit of the Australian troops, especially as the film followed the successful ANZACS miniseries and many of the same actors were present.
Moments later he's astonished to see men riding their horses bareback -- both man and horse -- through the gentle surf.There are scenes of combat scattered throughout the plot and a final heroic cavalry charge.
I once applied for a job as an extra in a cavalry charge in a movie dealing with the pursuit of Pancho Villa in Mexico. |
tt1535438 | Hope Springs | After 31 years of marriage, Kay and Arnold sleep in separate rooms, and he has lost interest in being intimate with her despite her efforts.Their lives in Omaha have become routine; their anniversary present to each other is a new cable TV package. He goes to work as an accountant and she tends to their home and his meals in addition to keeping a job in a clothing boutique. Their kids are grown and detached from them.Kay has not abandoned hope in improving their marriage, and finds a self-help book by a Dr. Feld, a marriage therapist who maintains a practice in Maine. Soon Kay tells Arnold that she has paid for a one-week therapy vacation with Dr. Feld, and he insists he will not go.Instead, Arnold takes the advice of a colleague and tries to make Kay feel better with a pair of cheap earrings and some flowers. She is unimpressed, and pushes him to go on the trip, pointing out that he no longer has physical interest in her, and she wants to try to get some passion back in their marriage.The next morning, Kay leaves for the airport without Arnold, and after some reflection, Arnold relents and joins her on the trip. In the small coastal town of Great Hope Springs where Dr. Feld has his office, the couple check into a modest hotel and Arnold insists on sleeping on the pull-out bed in a separate room.They start their therapy with Dr. Feld the next morning and Arnold remains clearly resistant, saying their relationship is "adequate" enough without help, whereas Kay wants a marriage again. Arnold recoils in embarrassment when Kay describes how he does not touch her, and she says they dont talk about anything. Dr. Feld describes how they will need to do some tough work before feeling better.Arnold protests that Dr. Feld costs too much and goes on complaining that the whole trip is a waste of time and money.In their next session, they recall how they met in college and got married; years later they took to sleeping in separate rooms when he had a back injury, and Kay got used to it. When Dr. Feld asks, Arnold can't remember the last time they had sex, but Kay remembers the exact date over 4 years earlier. Arnold is very awkward as Dr. Feld asks more sexual questions, and he refuses to take on his assignment that the two of them hold each other for some time that evening.Kay leaves the session in anger and runs away, finding a local bar where she has a glass of wine and talks to the friendly barmaid about the lack of sex in her marriage. Arnold wanders off and finds a museum.After Kay returns, Arnold awkwardly volunteers to do Dr. Felds assignment, and the two of them lay down together in bed without touching, which Arnold thinks is "probably enough." After a moment, they roll toward each other and tentatively embrace. The next morning, Kay is quite happy to wake up and find Arnold still sleeping next to her, with his arm around her.They explain their sense of progress to Dr. Feld, who quickly pushes them to move into further discussion of their sex lives. Arnold suddenly thinks they've had enough, but Kay persists with describing how she only sometimes liked intercourse and had orgasms, and does not masturbate because it makes her sad. Her fantasy is that someday they will renew their vows on a beach, but she laughs at the suggestion of having sexual fantasies. Arnold says he likes the missionary style; he felt that oral sex was not an option; he does not have erectile dysfunction. He slowly admits he's had a fantasy of Kay giving him "oral... at work... under the desk... at tax time," and of a threesome with a female neighbor.That night at the hotel they start their next exercise, which starts with Arnold lying in bed fully clothed and Kay touching him, but he responds with disinterest until Kay moves toward his crotch, which arouses him to the point that he suddenly wants to stop. Then he abruptly goes to bed alone in the other room. Later, Kay tries delicately masturbating, and soon brings herself to arousal.In their session with Dr. Feld the next morning, Arnold and Kay say their exercise made them aroused, but Arnold admits he wanted to stop, insisting he was not afraid of anything. He gets so mad he leaves.When Arnold returns to the hotel that evening, Kay tells him Dr. Feld has agreed to refund half their fee, and they should plan to leave. She still maintains that she has nothing to move forward to in their marriage, and she was still hoping they could change.The next morning, the couple return to Dr. Feld's office and Arnold persists with his anger about being pushed to talk about his feelings. He tells Kay that she always gets what she wants; she tells Arnold that he has lost affection for her. They admit their sex is bland, without desire. Arnold maintains that he was faithful by never cheating on her. Dr. Feld asks them to describe their best sex, and Arnold remembers a time when Kay was pregnant and they did it on the kitchen floor, which Kay recalls with tearful joy. Arnold says he remembers just wanting her, but he hasn't felt that way in a long time. Kay mentions she has a potent fantasy of having a new kind of sex with Arnold. Dr. Feld thinks of a new assignment.Kay and Arnold go to a movie theater showing a French farce, where she begins to stroke his leg and tries to start fellatio on him. He is initially thrilled but she has trouble seeing and walks out in frustration. Arnold follows after her and tries to reassure her, but she walks away.In separate sessions with Dr. Feld, Kay and Arnold describe how uncomfortable they were with the blowjob attempt in the theater. Kay wonders if she'd be happier living alone; Arnold says he does not want to be alone. Dr. Feld gives Kay a "prescription" for a book on sex tips; he asks Arnold to consider if he could make Kay happier.Arnold walks to a local fancy inn and patiently waits until he can get a dinner reservation. That evening they have a very nice dinner and reminisce about their younger days, such as when they starting saying "I love you" to each other. Arnold later reveals that he got them a romantic room at the same inn. Kay is impressed with the arrangements, which include champagne and strawberries, and Arnold puts on Al Green's ultimate hook-up song "Let's Stay Together" to set the sexy mood. They begin making love in front of the roaring fireplace, until Arnold abruptly stops while he is on top of her. Kay accuses him of no longer being attracted to her.In their last session the next morning, Dr. Feld assures them they have made a lot of progress, and recommends that they continue seeing a couples' therapist back in Omaha. They are clearly not so confident.Kay and Arnold return to their house and resume living separate lives without talking to each other.One night over dinner, Arnold tries to assure Kay that they're better off without changing so much. Kay wonders if she can still live like they do.Kay and Arnold reflect on their marriage in a montage set to the ultimate break-up song, "Why" by Annie Lennox.Kay packs a bag, planning to leave Arnold for a while. Later in the night, Arnold comes to her room and embraces her, and they make love, missionary style, yet with passion.The next morning on his way to work, Arnold stops before leaving and gives Kay a deeply lustful kiss in the kitchen. As Arnold leaves in the driveway, they notice the neighbor whom he admitted fantasizing about a threesome with. Kay invites her to visit, and Arnold smiles inquisitively; Kay says to him, "That's not gonna happen."Over the closing credits, Dr. Feld officiates as Kay and Arnold renew their vows at the beach. They declare their deep love for each other, and vow to make changes that they each want. They then celebrate with their kids and grandkids, eating lobsters and dancing. | psychological, adult comedy | train | imdb | null |
tt0376541 | Closer | Dan (Jude Law) is a young writer walking down a street in downtown London. He spots a young woman (Natalie Portman) walking in the opposite direction and they make eye contact and begin to smile at one another. Not being used to cars drving on the left side of the road in the UK, she steps into traffic and gets hit by a car. Dan runs to her side and she wakes up and says "Hello, stranger." She isn't badly hurt, and Dan takes her to the hospital where they start to get to know each other. As they're leaving the hospital, they pass by a park that Dan remembers from when he was little. They pass a wall and notice that it has the names of firemen, policemen, or anyone else who has given their life to save another person.They get on the bus and continue their conversation. We learn that Dan is a wanna-be writer who daylights as an obituary writer. The young woman introduces herself as 'Alice Ayres'. She's a stripper from New York CIty who has come to London to leave a bad relationship. They finally arrive at Dan's office. He says goodbye and starts to leave and then turns around. When asked if he has a girlfriend, he says "yes".One Year Later. Dan is having his photo taken in a small artists studio by Anna (Julia Roberts). Dan and Alice are living together, and Dan has written a novel about his romantic life with Alice. Anna is taken his photo for the dust jacket of his recently published book. Anna is an American photographer who mainly takes portraits of strangers. She mentions that she likes to go to the aquarium and possibly take photos of people there. She reveals to Dan that she's currently separated from her husband. He learns that shes read his book and likes it. They kiss one another and she learns that he's got a girlfriend and the book is based on her. She ends the kiss at the point, while hes professing that he likes her a lot and needs to see her. She tells him to get over it.At this point the doorbell buzzes and its Alice, whos come to meet Dan having gotten off her job at a local coffee shop. He lets her up to the studio where she and Anna meet. Alice asks Anna to take her photograph and Dan leaves so the two of them can be alone. She begins to take her photo and Alice reveals that she heard their conversation on the intercom when she was downstairs. She turns away and Anna begins to apologize. Alice turns back with tears in her eyes and tells her to take the picture.A little later, Dan is in his apartment on his computer. He's in a sex chat room and has logged on as a woman for a joke. He meets another man on the web who's name is Larry (Clive Owen). He's a dermatologist and a sex addic logging on while at work. When he asks Dan for a name, he tells him 'Anna'. They write some hot and heavy stuff back to one another and Dan offers to meet Larry in person as a joke. He tells him to meet him at the aquarium. Larry goes there the next day and Anna is there as a coincidence. He approaches her and they discover that Dan has played a joke on him. He's embarrassed, she's amused, and they start to hit it off.Four months later. Dan and Alice are getting ready to go to Anna's art exhibition. We also learn that Dan's father has passed away, and Dan is going to the funeral in the countryside after the art exhibition. Alice wants to go with him and support him, but he wants to be alone. They go to the exhibition and see the photo that Anna took of Alice with tears in her eyes. While Alice is looking at it, she meets Larry. They have a brief discussion and mild flirtation, and she learns that Larry and Anna are dating. Dan is still infatuated with Anna, and she tells him how she and Larry met, and that they call him cupid. We also learn that Dan's book failed and he is once again an obituary writer. Dan puts Alice in a taxi cab, pretending that he's heading straight to the funeral, when actually he goes back to talk to Anna again.Another Year Later. Dan comes into his apartment at first telling Alice that hes been at a business dinner. Finally, he admits that hes been seeing Anna and that they've been having an affair since the evening at the art exhibition. At the same time, Anna is in her apartment with Larry. They are married now and Larry has just returned from a business trip. She doesn't tell him anything at first. Larry says he can't stand lying to her and admits that he slept with a prostitute on his trip. She simply tells him it's OK and then it comes out that she's been having an affair with Dan. Larry is furious and asks her why she bothered to marry him. She says she tried to end it with Dan when she and Larry decided to get married, but it started up again. Larry wants explicit details about her and Dan and she gives them to him. He's furious and tells her to leave. Back at Dan's apartment, Alice is heartbroken and in tears. Dan tries to comfort her and apologizes for hurting her. Shes leaves the apartment and he has no idea where she's gone.Six Months Later. Larry enters a strip club for a drink and he spots Alice, who's working there as a stripper wearing a skimpy top, G-string and a pink wig. He arranges a private dance with her in room. She gives him one willingly. Afterwards, she flirts and smiles and tells him her name is 'Jane Jones' as part of the act. Larry is torn up about his recent divorce proceedings from Anna and gets frustrated that Alice plays with him and won't take him seriously. He says he wants to sleep with her and she tells him "no". Then he asks for a more intimate look at her, she does what he asks.Another Few Months Later. Anna is rushing to meet Dan at a music concert. She apologizes for being late. They sit to have a drink and we learn that she met Larry earlier in the day to have him sign the divorce papers. A few moments later, Dan guesses that Anna slept with Larry that day, and he was right. A flashback shows the meeting earlier, and Larry saying that he will sign the divorce papers if she'll sleep with him one last time, she agrees. Anna says she did it to end the whole thing and that all Larry got was her body. Dan is still upset.Another Few Months Later. Dan storms into Larry's office and angerly reveals that Anna has left him and is back with Larry. Dan tries to confront him and claim that this is all Larry's fault, when Larry reveals that Anna never did file the divorce papers. She is back with Larry because she's doomed to be in rocky relationships because she's a depression junky, but he loves her all the same and wants to be with her. Larry is at first angry with Dan and then begins to pity him because Dan is truly heartbroken and starts to cry. He tells Dan to go back to Alice, and Dan reveals that he doesn't know where she is. Larry tells him about the strip club and assures him that he didn't sleep with Alice when he saw her there. As Dan is leaving, Larry tells Dan that in truth, he did sleep with Alice. Dan goes to the strip club and sees Alice dancing on the stage. They both make eye contact with each other and seem to appear happy to see each other once again.Alice and Dan are in a hotel room near Heathrow Airport. They seem really happy together. She's planning to return to New York and has decided to take him with her as a treat. Alice notes that this is the day when they first met on that London street corner which was four years ago, and Dan remarks how time flies by so fast. Dan asks Alice if she slept with Larry, and she tells him that she didn't. He demands to know the truth. Eventually he leaves the room to get cigarettes and asks Alice for the truth when he gets back. He turns around on his way out and returns to Alice with a flower. She tells him that she's not in love with him anymore. She tells him she stopped loving him just now because he kept pressing about Larry. Finally she admits the truth: she and Larry did sleep together that night after they ran into each other at the strip club. Dan tells her he has known all along and has forgiven her already. He tells her that it doesn't matter and he loves her, but she's fed up and tells him to leave. She starts yelling at him and he slaps her. Shocked by this outburst of violence, Dan leaves the hotel room.Alice arrives back in New York by herself. At the same time, Dan has remained in London. He passes the park from the first day they met and notices one of the names on the wall is 'Alice Ayres'. Back in New York, when "Alice" is going through immigration, we see that her real name on her passport is Jane Jones (the name she had given Larry when he had pressed her for her real name in the strip club). Jane/Alice walks down a busy street in New York, and then she crosses a street against the "Don't Walk" signal, reminding us of the opening scene when she carelessly crossed a street in London, was struck by a taxi, and met Dan. Nonetheless, she is back in her home country, to face an uncertain future... alone. | dark, psychological, stupid, bleak, dramatic, flashback, psychedelic, romantic, melodrama, revenge, sentimental | train | imdb | She has the best chemistry with the men - whether it be purely sensual with Clive Owen, or innocence and affection with Jude Law. She comes alive with the two guys, and their scenes are ones to look forward to.Julia Roberts, whom everyone looks towards, is not bad in this film.
It's also blackly funny in many places.Without exception, the performances are fantastic, with the honours going to Natalie Portman's emotionally scarred escapist who wears lies like they were armour, and Clive Owen's brutal, perceptive, and ultimately absolutely human dirty doctor.Be warned!
Patrick Marber's screenplay is a testament to his truly great writing ability, as not much of the original text needed to be adapted in order to work appropriately and effectively on screen.The raw emotion and base convictions of these four tragic characters (all acted exquisitly) is given to us primarily through their words and those words are all we need.
If you need more than words and are looking for a feel good love story, steer clear, you will only be disappointed.However, if you are looking for a piece that will intrigue your senses, causing you to examine your own soul, your own convictions, then I highly recommend Closer.Like Shakespeare, Williams, and O'Neil, whose words are a testament to the condition of their lives and times, Marber, through his language and presentation of these four exquisite lost souls, forces the mind to acknowledge and deal with the most base of our natural tendencies, painting a brutally honest portriat of the human condition in the 21st century..
This has to be one of the most depressing movies I've ever seen, not necessarily because of the subject matter (though that was depressing) but more because all four of the main characters were unlikeable and miserable the entire movie (Julia Roberts smiled maybe twice in the entire thing).The movie tried to establish a theme of Lying and Being Lied To, but in the end just ended up being entirely predictable and boring.
Every scene was filmed in a dull, colorless location, with the exception of the strip club scenes, which were really the only salvageable scenes in the entire movie.I really expected more from Mike Nichols, who directed the Graduate, a masterpiece where this was more like a flop.
Jude Law is masterful in his role, and he is matched equally by the performances of Clive Owen, Natalie Portman and Julia Roberts.
The film, like it's characters is shallow and dishonest underneath the pretty exterior.Of the four main actors, Natalie Portman fairs the best.
This movie just rubbed me the wrong way.I think there is enjoyment to be had from 'Closer', with some memorable performances, but that is about all this film has to offer.
Patrick Marber's screenplay has some high points and the dialogue mostly works, but as we, completely drawn back, continue to watch these characters dig themselves deeper into their own sh*t, the film ultimately becomes a mega- disappointment.
Unnecessarily tangled romantic relationships among four beautiful people in modern London form the core of this Mike Nichols directed film, based on a play.
One of the problems is that the dialogue does not provide the star actors (Julia Roberts, Jude Law, Clive Owen, and Natalie Portman) with sufficient motivation for the two pairs of lovers to be starting, ending, swapping, and resuming their relationships.
It is successful, because it is mandatory to claim to enjoy films like this, even though they are devoid of any single meritorious feature.The cast can't act, (particularly Jude Law playing his usual smug role), and the story has no touch with reality at all.
Movies should be about being transported into the lives and situations of the people on the screen but that singularly failed to happen in the case of 'Closer'.The characters and relationships definitely do not ring true at all.
They do things people only do in films, not in real life.Do doctors really sit and engage in chat room sex talk in a hospital back office before going into the theatre to do an operation?
I found it suffocating to have so many high profile actors together.You know when a movie isn't working when you start to see the script roll in front of you like an autocue, and when you think you can see the crew looking on as the actors work through their lines.After wasting two hours and five pounds on this movie I am losing my confidence in going to the cinema, except to see something I have seen before or has been personally recommended to me..
The movie also has an unfortunate tendency to leap suddenly months or years in advance without any particular warning and in the end this, rather than giving an entertaining survey of the characters' severely dysfunctional lives, instead gives a viewer the feeling of watching a horrendously prolonged montage.
His delivery of the much-quoted line regarding the human heart is perhaps the single finest point in the movie, and really, when you get down to it, the seconds it takes to deliver aren't really worth sitting through this dark, grey blur for.Julia Roberts is utterly cold and flat and not remotely interesting.
Natalie Portman plays a character that is interesting in the opening scenes, but as cold and cruel as is to be expected from this movie shortly after.
Indeed, in truth, there's really only one character in the movie, played by four different actors.In its efforts to appear realistic and avoid the usual Hollywood happy, overly-optimistic view on human relationships this film viciously veers in the opposite direction, presenting an unhappy, overly-pessimistic view on human relationships.
The ways in which the characters so rapidly turn on one another is beyond a normal human and ventures into the realm of the psychopathic.This movie does contain one meaningful exchange, however, between Clive Owen's and Natalie Portman's characters in which Portman states, with regards to a photography exhibition: "It's a bunch of sad strangers, photographed beautifully and all the glittering assholes who appreciate art say it's beautiful because that's what they want to see." The irony is, I'm sure she's actually talking about the film..
But these are exactly some of the questions that are thrown at the audience when two of the four major characters in Mike Nichols new film Closer admit to their infidelity.
The film focuses on four individuals, Alice (Natalie Portman) who meets Dan (Jude Law) after being hit by car on a London street; Anna (Julia Roberts), a divorced photographer who ends up meeting Larry (Clive Owen) in a way that is far too interesting to reveal here.
In fact, this movie is so character and story driven that it benefits the viewer from watching it play out rather than spelled out, so I don't intend on offering many plot points as part of this review.
Being able to convey a cavalcade of thoughts and emotions in such a powerful scene reminds us of the promise he conveyed in his first mainstream film, Croupier back in 1998.And while Larry works out what is to be his new life of bachelor ship, Alice equally confronts her betrayer with raw emotion and a lack of understanding.Natalie Portman, like Owen is on the brink of stardom that should have both their trophy cases full of statues before their careers are over.
Asked to hold her own amongst strong actors twenty years her senior, Portman matures in her role as Alice and becomes the pin-up 'girl to watch' for the next decade.Based on a screenplay by Patrick Marber (adapted from his own play), the movie plays out like a stage performance.
Director Mike Nichols incorporates explicit details about their sexual encounters with every foul word in George Carlins dictionary being paraded in rapid-fire progression.But hell, we're all adults here, and if you can get beyond the utter deception that almost every character tries to hide, yet reveal, yet hide (you'll have to see it to understand), you will find a real good movie that could have been titled Eyes Wide Open.
It was about fifteen minutes into the film, where Dan (Jude Law) and Anna (Julia Roberts) had their first encounter when I realized I had entered the ninth circle of hell.The foundation to creating a quality film of any genre, but particularly a dramatic one, is to make the watcher believe that he is truly part of the story, that the plot could take place on nearly any street in any city in any town.
I imagine that proponents of this film also adored Shakespeare's Romeo and Juliet, which could have been a beautiful love story, if the plot were allowed to cultivate over 48 months, not 48 hours.There are a few poignant places in the film where the dialogue, mostly that of Natalie Portman's character, forces one to step back and truly reflect on one's own existence, but the majority of the movie reminds me of oh so many daytime soap-operas, where the true lesson is lost amid an orgy of artificial emotions and unrealistic character development.
Mike Nichols as a director can normally be relied on to bring real human emotion to even the most depressing subjects, try renting any other film he has ever directed...as this is his worst so far by a very long way!
They're missing the point: this movie profoundly blows.I mean, I'm not too terribly familiar with this Mike Nichols guy's work, but the film-making here was flat and uninspired throughout.
Julia Roberts and Jude Law turn in good performances, but are easily out acted by Natalie Portman, who proves to be an adult, and Clive Owen, who shows incredible emotion with his sleazy character.Closer is the perfect example of love at first sight.
The tag line for the film states: "If you believe in love at first sight, you never stop looking." That's essentially the core of the movie.
If ever a movie was less than the sum of its parts, it's "Closer".Talky, boring, unconvincing, unpleasant, unwatchable.The supposed plot, about four "adults" (in chronological years if not behavior), revolves around revolving relationships and revolting musical beds as these narcissists lie, abuse, ignore, adore, desert, rejoin, and revile each other in turn.Aside from the film's suffering from filmed-stage-play-disease (people talk too much and do too little), what they do say is uninteresting and unappealing.
Using such Hollywood heavyweights as Julia Roberts and Jude Law did not make this movie any better either.Apart from the time-shifting (which by the way is not a good vehicle for plot development if you fail to give a cohesive timeline), the plot is rather weak on story and assumes the human condition is all melancholic melodrama.
closer , but too far.it's correct guidance for everyone who wants to see this movie.4 people searching love for almost 4 years.and what they found?lust,jealousy,passion ,loneliness,empty words for empty condition,but not love."love"is a word like pictures of Anna.we see them ,but how do we explain the feelings,which becomes from that looking.it's complicated.photograph is a need of love.stripping is a need of love.writing is a need of love.healing is a need of love.for those 4 lonely men and women.loneliness is a eternal plight for mankind?really?if it is true,that will be inconceivable..
The movie is a tale of deception and love and complicated a complicated love...square?Where this film exceeds more spectacularly is not only in Owen and Portman's brilliance, but in the outside character development.
This movie traces the journeys upper middle income Anglo-Saxons make trying to connect but failing - but Marber fails to show us what about modern love exactly that makes intimacy impossible - If Marber's point is that we don't know because we really can't know anything about each other (Jude Law's character finds out in the end he didn't even have Natalie Portman's real name), well, so what makes that modern exactly?
For all of the film's emotional and verbal abuse; I liked the fact that director Mike Nicholas and play write Patrick Marber never included any loves scenes or physical aggression.
Therefore, although much of it is well written and convincing, it is never happening to real people or even characters we know or care about it it feels like you're standing in the street watching a couple fight, you have no involvement but it is of some interest.Like I said, a lot of it is convincing; yes these people are stupid in love, driven by desires and unlikely to ever be happy but then that is what a lot of people are like to a lesser extent.
I didn't want to get up and slap the characters but the film was a bit like watching a couple fight interesting, realistic but neither requiring nor allowing any emotional involvement from the viewers..
If there ever was a "feel-good"-movie playing with the audience instinctive emotions, "Closer" is quite the "feel-bad"-film, doing just the same.
Nichols' directing makes "Closer" look the real world, but the screenplay shows us things that, without being exaggerated, still come off like something that simply doesn't happen.Still, "Closer" is a refreshing American film.
Mike Nichol's study of the complexity of relationships features four of the most unappealing characters to ever appear in one film; great to look at maybe, but still unappealing.
If I wanted to spend that long seeing how much idiots can hurt each other, then I'd watch Jackass The Movie.However, it must be said that the talented leads (Jude Law, Ms. Portman, Julia Roberts and Clive Owen) are extremely good in convincingly portraying the four screw-ups destined to never be content with their lot, and if morose drama is your cup of tea, then I guess you'll love this movie..
The four principles- Julia Roberts, Jude Law, Natalie Portman, and Clive Owen- are like amalgamations of all of the lesser characteristics of those in post-modern relationship plays and films, where the love and goodness in them is subdued under their lack of connections to one another.
The characters can't settle on one love though and through the film they all end up hurting each other with betrayal and lies after all four of the people meet.
Closer, has good direction, a good screenplay, great performances by everyone involved (including an Oscar worthy performance by Natalie Portman as Alice, and Clive Owen as Larry), good cinematography, good film editing and good set decoration.
A very good film which I hope gets nominated for it's great dialogue filled screenplay and excellent performances by Natalie Portman and Clive Owen.
Two utterly beautiful American women (Julia Roberts and Natalie Portman), two good-looking British guys (Clive Owen and Jude Law), a sharp script from the writer of the original play Patrick Marber, the London where I live, and music by Mozart - there is lots to like about this movie.
Although there are some fairly prominent themes present including the uglier sides of human nature and dysfunctional relationships, I felt that it wasn't a particularly deep film.I thought the performances were quite good (especially Natalie Portman) but I often felt something was missing from the characters.
Clive Owen is very good but not worthy of winning the Oscar, whereas Natalie Portman excels (and will definitely walk away the Academy Award) following up her excellent performance in Garden State with another polished turn.As a film, Closer remains a dull, pretentious and extremely fake film.
"Why is love not enough?" a tearful Alice (Natalie Portman) asks her boyfriend Dan (Jude Law) at a crucial point in "Closer."Her question is at the crux of Mike Nichols' brutal film about love, lust, lies and the lengths to which human beings go to make themselves happy, even at someone else's expense.Be warned: If you go to movies to be entertained and feel good about life, "Closer" isn't for you.
This beautiful young actress has one heck of a career ahead of her.Owen is deliciously smarmy as Larry, a man who simply revels in playing mind games with people, and Law's wimpy enough to be convincing."Closer" isn't so much a love story as a chilling tale about what happens when couples lose their spark, when they start tiring of each other and find new people more attractive.
The story and relationships of the 4 central characters in Closer are indeed quite complicated to explain unless you've seen the movie for yourself.
But the movie belongs to Clive Owen and Natalie Portman, as they absolutely stole the show with their performances.Overall Closer is a very smart and well-made film.
If you have ever wanted to confront the brutal truth and lies about human relationships, then get ready to get Closer.Be warned - this film pulls no punches and quite intentionally shocks and offends us through the script and the characters.
It entices the movie-goer, or in my case a film historian, with a story about love, loss, deception, and intrigue plus the chance to enjoy such powerhouse acting as Roberts, Law, Portman, and Owen.
This was a brilliant piece of art.I must say that the love square: Julia Roberts, Clive Owen, Jude Law, and Natalie Portman were astounding in their scenes together, functioning opposite each other.
And Julia and Jude Law seem to have more experience on film but the real standouts were Clive Owen and Natalie Portman.Clive Owen has been constantly good and a brilliant actor in his work thus far in his career, but gives the performance of his life in this.
Jude Law is more desirable here than I have ever witnessed before and even Julia Roberts who is normally beautiful, looks moreso.I recommend this film to any thinking movie buff who wonders whether or not to spend your good money on it.
Shame, cos in a good film Julia Roberts, Jude Law, Natalie Portman and the lovely Clive Owen are completely watchable.
Having said that he does strip Natalie Portman to a G-string at one point in one of the most gratuitous bits of on screen pornography that I've seen in a long time.My main complaint about this film is that you are never given a chance to like any of the characters. |
tt0090305 | Weird Science | Nerdy social outcasts Gary Wallace (Anthony Michael Hall) and Wyatt Donnelly (Ilan Mitchell-Smith) are publicly humiliated by Ian (Robert Downey, Jr.) and Max (Robert Rusler) for swooning over their girlfriends Deb (Suzanne Snyder) and Hilly (Judie Aronson). Dejected and disappointed at their direction in life and wanting more, Gary convinces the uptight Wyatt that they need a boost of popularity in order to get their crushes away from Ian and Max. Alone for the weekend with Wyatt's parents gone, Gary is inspired by the 1931 classic Frankenstein to create a virtual girl using Wyatt's computer; infusing her with everything they can conceive to make the perfect dream woman. After hooking electrodes to a doll and hacking into a government computer system for more power, a power surge creates Lisa (Kelly Le Brock), a beautiful and intelligent woman with seemingly endless powers. Promptly, she conjures up a Cadillac convertible to take the boys out to a bar, using her powers to manipulate people into believing Gary and Wyatt are of age. The boys come up with the name Lisa based upon a failed romantic experience of Gary.
They return home drunk and happen upon Chet (Bill Paxton), Wyatt's mean older brother, who extorts money from him to buy his silence. Lisa agrees to keep herself hidden from him, but realizes that Gary and Wyatt, while extremely sweet are very uptight and need to unwind. After a humiliating experience at the mall where Max and Ian pour an ICEE beverage on Gary and Wyatt in front of a crowd of people, Lisa tells them about a party at Wyatt's house, of which Wyatt had no prior knowledge, before driving off in a Porsche 928 she conjured for Gary. Despite Wyatt's protests, Lisa insists that the party happen anyway in order to loosen the boys up. She goes to meet Gary's parents, Al and Lucy, who, to Gary's embarrassment, are shocked and dismayed at the things she says and her frank manner. After she pulls a gun on them (later revealed to Gary to be a water pistol), she alters their memories so that Lucy forgets about the conflict; however, Al forgets that they've had a son altogether. Back at the Donnelly house, the party has spun out of control while Gary and Wyatt take refuge in the bathroom where they resolve to have a good time, despite having embarrassed themselves in front of Deb and Hilly. Meanwhile, Wyatt's grandparents arrive and confront Lisa about the party, but she freezes them and hides them in a cupboard. Upstairs in Wyatt's bedroom, Ian and Max convince Gary and Wyatt to recreate the events that created Lisa, but Lisa chides them over their misuse of the magic to impress their tormentors. She also mentions that they forgot to connect the doll; thus, with the bare but live electrodes lying on top of a magazine page showing a Pershing II medium-range ballistic missile, a real missile appears through the house. Lisa resolves that the boys need a challenge to boost their confidence and has a gang of mutant bikers invade the party, causing chaos and sending the boys running.
The bikers take Deb and Hilly hostage, and Wyatt and Gary decide they need to save them. They confront the bikers with a new boost of confidence (and Lisa's water pistol) to force them to back down. After they leave peacefully, Gary accidentally fires the gun, which is now real, and their bravery makes Deb and Hilly fall in love with them. The next morning, Chet uncovers the disarray in which the house is — the missile protruding through the kitchen and floor joists and carpet of the bedroom, the kitchen being turned entirely blue, and his catatonic grandparents in the cupboard — before confronting Wyatt and Gary. Lisa tells the boys to escort the girls home while she talks to Chet alone. Gary narrowly escapes being pulled over by the police in a conjured Ferrari, while Wyatt proclaims his love for Hilly before being sprayed by her parent's lawn sprinklers, and both girls reciprocate their feelings to the boys. Returning home, they discover Chet, now transformed into a giant, talking turd, who apologizes to Wyatt for his behavior. Lisa assures them that Chet will return to normal, and realizing that her work is done and that they don't need her anymore, she kisses both Gary and Wyatt before dematerializing and vanishing. As she is leaving all of the disarray is magically transformed back to normal, the missile disappears, the home is restored to its original fastidious state and Chet returns to normal just as Wyatt's parents return home, unaware anything odd has happened at all.
Sometime later at their high school, a gym class of sweaty, pimply adolescent boys waiting for gym-class to begin is met by a beautifully fit coach in spandex. It is revealed to be Lisa who tells the class to "Drop and give me twenty", causing all the boys in the class to faint and collapse. She turns to the camera and smiles knowingly. | pornographic, cult, comedy | train | wikipedia | Come back with me if you will to a time when Anthony Michael Hall was still fielding calls and Kelly LeBrock was French for sexy.Weird Science has everything that an eighties comedy needs: A least one hot girl, a few actors who are no longer working or who do anything that will come along, plenty of dashing eighties threads, a corny as hell eighties soundtrack,(and Oingo Boingo is as corny and eighties as they get), and plenty of cheap funny jokes.
It is one of director John Hughes most memorable, and one of the 80s most original.Written in two days, this is a teen science fiction film, the story of two teenage loners, Wyatt (the always grimacing Ilan-Mitchell Smith) and Gary (Anthony Michael Hall before he went deadpan) and their weird way of discovering girls.
As the antithesis of both Wyatt and Gary's personalities, she's going to show these boys a little adventure, get them to loosen up, and for crying out loud, gain some self-esteem.Because Lisa is a lady with some supernatural power like freezing grandparents in time, erasing the memory of a bad first impression with Gary's parents, turning Wyatt's obnoxious military school brother Chet (Bill Paxton in his funniest, most arrogant role yet) into a giant pus maggot, or even having a gang of mutant bikers storming a house party.
So eventually, they loosen up and have a little fun.It's a wonderful movie with a classic John Hughes comic touch (says the mutant biker to Gary and Wyatt after they threaten to kill them if they don't leave, "Please don't tell anyone about this.
Weird Science is the product of the prolific '80s' writer/director John Hughes (who later went on to create films such as 'Home Alone').
Looking back on it now it's incredibly dated, however and more importantly, the film is still as entertaining today as it was over ten years ago!Anyone who grew up in the 80s and is beginning to reminisce will instantly relate to the exploits of the two lead characters Gary (Anthony Michael Hall) and Wyatt (Ilan Mitchell-Smith), as they use their computer and associated paraphernalia to create a beautiful girlfriend (Kelly LeBrock).
Although not Hughes' best work, this was reserved (in my opinion) for the later 'Ferris Beuller's Day Off' which was far more appealing to a wider audience - Weird Science will always be a 'Geeky' 80s classic.
" Bill Paxton may be best known for his work in James Cameron films but it is John Hughes that we have to thank for unleashing him onto audiences with this amazing turn as Chet Donnelly.
Weird Science is one hell of a funny film and John Hughes is responsible for that, but if Chet wasn't played by Bill Paxton then it just wouldn't have been the same.As the film goes, it is quite good.
WEIRD SCIENCE was a great movie made in the mid 80s.The cast is pretty cool,it is fairly well acted,and its total fun!
John Hughes does it again!This is his greatest film to date, especially if you were part of the 80's flair and style, and even more so if you have ever wanted to bring Kelly LeBrock into your bedroom!Watch Wyatt and Gary design their 'perfect' woman on Wyatt's Apple Lisa (hence the character name) and break into DataNet to make her super intelligent with a side effect of magical powers.
I have come to expect the contrived, 20-minute opening setup that frames the remainder of a Hughes film, but the setup for "Weird Science" is non-existent; in its place is a gimmick: a glut of special effects and out-of-place action (in the third act, a bunch of bikers out of "Mad Max" terrorize our hapless losers) that tears any possible humanity to shreds.
The movie truly doesn't need to be anything more, even in spite of the shallowness of its characters and general disregard for logic.Anthony Michael Hall (in his fourth Hughes film in three years) and Ilan Mitchell-Smith star as two losers who determine that if they can't get girls the "old-fashioned" way that they can use their computer smarts to play Frankenstein and create the ideal woman.
Hughes has always played things close to the chest, filming most of his movies in the Chicago suburbs where he grew up, even naming the high school in "Weird Science" after the main road where his actual high school was.
In this film he has absolute loony fun with his usual tropes, going as far as turning Bill Paxton, who plays Wyatt's militaristic older brother Chet, into a steaming pile of crap that looks like Jabba the Hut.Fans of the more romantic side of Hughes, who love his candid nature toward portraying high schoolers, might find "Weird Science" to be the wild mutt of the family with its irreverence, and high level of silliness.
Lonely teenagers Wyatt (Mitchell-Smith) and Gary (Hall) decide to make a woman that fits all their requirements from a computer, only to find not everything fits perfectly.There were two words that attracted me to this high school comedy, John and Hughes.
The mastermind behind the conceptual excellence of skiving school to live in Ferris Bueller's day off to the film that showcased how teenagers really felt about their suffocating parents in the Breakfast club, the man seemed to have his knowledge spot on regarding teenage life.What emerges is a pretty standard and very degrading depiction of lonely lust, containing two teenagers who are the good guys, but are hard pushed to maintain that.Anthony Michael Hall, a hero from the Breakfast Club, feels repetitive and loud in another role for Hughes.
Mitchell-Smith likewise feels weak and a stereotype of high school repression and against Hall, we have the most conventional and boring comedy duo ever mastered, which is a great shame for a director and writer who also created some of the best teenage comedy ever.The premise for the story sounds promising, two lads attempt to break science through some technological mastery in an attempt to fulfil their lust on a weekend away from their parents.So after some degrading and embarrassing perversion by the lead duo on cheerleaders and a head turner away from dropped pants do the duo retreat to their sanctuary and form an hyperbole of illogical science to fulfil their uses and gratifications.
Through some fast flowing wires and a bemused science guard to the pair get their just deserts.One thing John Hughes usually does perfectly is introductions and Kelly LeBrock's opening shot is the equivalent of Megan Fox in Transformers, a slow panning from her legs upwards in a small Barbie styled costume, a beautiful introduction which is maintained through the nest few scenes as she jumps into the shower with the two lads, uses provocative gestures such as late drinking and kissing practice to keep any horny male teenager hooked.Certainly LeBrock hits the nail on the head, acting flirtatious and forward to justify her character as perfect female, until the inevitable outcome the plot always has in mind, there is more to a person than looks tag.Through some careful shots and repetitive music we see the story pan out as any other romantic comedy would and there are minimal surprises to generate a good watch, particularly when the humour is gross out and shamefully degrading to the actors.The final nail in the coffin is the change in personalities of the final act and as predictable as the coming of next year will have you shaking your head.Certainly not too much consequence came from this film as there were Ferris Bueller's amongst others to follow and create a reputation of teenage comedy mastery..
I don't think it should matter that I saw this movie 21 years after it came out, because The Breakfast Club and Ferris Bueller's Day Off were superb films made within a year of Weird Science.
The plot is so dumb - and the way it's handled - that suspension of disbelief is pretty hard.However, if you look at it as a realization of every teenage boy's fantasy, I guess it's all right.It's essentially about two 15-year-old boys (Ilan Michael-Smith and Anthony Michael Hall) who "create" a woman using electricity, a computer and a Barbie doll.This was my problem with the movie.
It may have been the Reagan era but this movie features 15-year-olds making out with a woman in her late '20s, sexual innuendo involving the woman (it's implied one of the two boys has some type of sexual contact with her during the first night), underage drinking, underage smoking, and then of course a classic scene that could never be filmed today - Anthony Michael Hall mimicking African-Americans in a seedy downtown bar.I don't mean to sound like a prude, I was just shocked at how much they got away with for a 1980s, PG-13 John Hughes comedy.The acting in the movie is decent.
If you insist on having movies provide you with a substantial theme, intricate sub-plots, and well developed deep characters then this movie is not for you.However, if you belong to a slightly less snobbish school of thought that believes that the salient purpose of any movie is to entertain, then you will love "Weird Science"."Weird Science" is also one of two movies ("16 Candles" is the other)that feature Anthony Michael Hall at a point in his career when he was far and away the funniest thing on the screen.
John Hughes, the director who seemed obsessed with teenagers in the 80s, made some fine essential films like Sixteen Candles, Breakfast Club, Ferris Beuller's Day Off, and of course "Weird Science".
Parts I single out is Lisa asking the old lady for advice on underwear for a 15 year-old; Chet turning into that little monster, Gary and Wyatt in the mall, the list goes on!Even the special effects are quite good for that time.Apart from funny moments throughout the movie, in the end you can also learn something, where Gary says to Debbie: "Because I want you to like me for me", and she replies: "Whatever you are I like it".
Which just makes you love this movie even more.The sound track is also quite nice, with Weird Science being played at just the right moment each time.I've come across a few people who always give negative comments about this movie, and surprisingly enough they're all teenagers in the 90's mostly.
Teenagers Gary and Wyatt (Anthony Michael Hall and Ilan Mitchell-Smith) are high school losers, never made it with a lady, so they stick bras on their heads, hook up their computer to a Barbie doll, hack into a mainframe for more processing power and create their perfect woman, Lisa (Kelly LeBrock), who tells them how to walk this way and talk this way.
Before you can say 'teenage nerd wish-fulfilment', the lads are wearing snappy suits, boozing and schmoozing at a blues bar, driving luxury sports cars, and hosting the ultimate house party, before finally finding true love with school babes Hilly and Deb (Judie Aronson More and Suzanne Snyder).Written and directed by John Hughes at the height of his game, Weird Science is pure teenage fantasy, targeted at adolescent boys with raging hormones.
Crass, to be sure, but also very funny if you're a pimply teenager or, like me, an adult whose sense of humour hasn't really matured that much since puberty.Hall and Mitchell-Smith are perfectly cast as luckless dweebs Gary and Wyatt, with Hall, in particular, on fine form, providing the film with some of its funniest moments (his bar room tale about unrequited love is hilarious).
Able support is given from the always great Bill Paxton as Wyatt's obnoxious brother Chet, and Robert Rusler and Robert Downey Jr. as bullies Max and Ian, while cult favourites Vernon Wells and Michael Berryman contribute memorable cameos as mutant bikers, who invade Wyatt's home during the film's surreal and very silly soiree (I think that means 'party').8.5 out of 10, rounded up to 9 for Oingo Boingo's incredibly catchy theme song..
I wouldn't consider Weird Science to be one of John Hughes best films, far from it actually, but it is enjoyable and that's all I care about.
(in 80s getup) playing the popular bully kid and of course Bill Paxton as one of the worst brothers on film.'Weird Science' is certainly something for an 80s classic fan.
Anthony Michael Hall and Ilan Mitchell-Smith play best friends Gary and Wyatt, two outcast high-school students who decide to make the perfect woman by programming a computer with various data and pictures, and amazingly, one is made in the form of Kelly Le-Brock(perfectly cast, and quite watchable), who then proceeds to turn their lives(and the whole physical world) upside down.Nutty film throws logic and credibility out the window early on, and never looks back.
It's the reason why there simply aren't any good teenage comedies these days anymore it seems, with the exception of the American Pie-series and a couple of other recent movies like that out there.John Hughes always claimed he wrote this script only in 2 days.
Bill Paxton is greatly fun as the prick, military, brother and Robert Downey Jr. also shows up in a quite big early role as one of the school bullies.It's a movie with some great comedy pace and timing in it.
John Hughes' qualities as a director probably made this movie work out better than it had the right to and he also makes this one a great one that still connects to a lot of teenagers out there.8/10http://bobafett1138.blogspot.com/.
Two lonely, but likeable nerds Gary and Wyatt create "the perfect woman" on their computer, which brings to life the stunning Kelly LeBrock and the film is a non stop party until the movie ends.
Anthony Michael Hall returns again as nerd icon and has great support roles from Bill Paxton and Robert Downey Jr. As silly as the film is, it has some heart and Gary and Wyatt are very sympathetic characters.
This film was a little more grounded compared to "Real Genius" and "My Science Project"--the two market competitors--and has some actual funny moments in it.The film is more geared towards satisfying teenage boy fantasies, and both the very popular Anthony Hall and Smith give pretty good comedic performances as they parade the also very popular Kelly LeBrock to the other characters.I have to say that it was an okay film, and as a member of the target audience for the time, I'm perhaps remembering it with rose colored glasses.
Furthermore, it is a classic in its own right, and it is a movie that you can watch over and over again.The story is about Gary (played by Anthony Michael Hall) and Wyatt (played by Ilan Mitchell-Smith), two high school students without any luck with the women and often at the end of the bullies shenanigans.
It is a very flamboyant and funny movie, coming right out of the genius mind of John Hughes, following two insecure teenage boys who manage to create a woman, hilarity ensues as we watch them struggle with this new invention.
The cast is terrific, Anthony Michael Hall and Ilan Michael-Smith work off one another spectacularly, Kelly Le Brock is very convincing as the perfect woman for the two boys, Bill Paxton shines as the mean older brother and a bunch of smaller roles, including Robert Downey Jr., manage to steal some scenes.
Funny and very enjoyable, Weird Science may be lacking heart but it makes up for it with big laughs, I would recommend it to anyone looking for a good comedy.
This film follows Anthony Michael and Ilan Mitchell Smith as Gary and Wyatt, two unpopular teen boys who struggle to climb up the social ladder at school and are constantly pitted targets by the bullies Ian (played by Robert Downey Jr.) and Max (played by Robert Rusler) who manage to maintain high social standing with their girlfriends Deb (played by Suzanna Snyder) and Hilly (played by Judie Aronson).
Weird Science doesn't meet the heights of John Hughes' other works, but it is still enjoyable and fun for teens and up to watch.
It seems to be less popular than any of the other teen films I've seen from Hughes, so I wasn't expecting it to be any more than pretty good, but my expectations were surpassed!Gary Wallace and Wyatt Donnelly are two nerdy 15-year-old friends who are very unpopular at their high school and have a very poor chance of getting dates anytime soon.
"Weird Science" soon improves again, I think starting with the scene showing Lisa meeting Gary's parents for the first time and telling them things he doesn't want them to know, which is definitely a comic highlight of the film.
Kelly LeBrock, who plays Lisa, sure is hot in this movie, and I like the powerful character she plays."Sixteen Candles", "The Breakfast Club", and "Weird Science" are all John Hughes films featuring Anthony Michael Hall in the cast, and the main characters in all of these movies are high school students.
Make A Circuit With Me. John Hughes was on a tear in mid-1985, but the writer-director of celebrated teen-angst comedies like "Sixteen Candles" and "The Breakfast Club" was either slumming for a paycheck or suffering a brain cramp when he made this cockeyed paen to young libidos unleashed by technology.Gary (Anthony Michael Hall) and Wyatt (Ilan Mitchell-Smith) are a pair of luckless high-school nerds who crave females but have no idea about getting them.
Weird Science (1985) ** (out of 4)Two nerds (Anthony Michael Hall, Ilan Mitchell-Smith) dream of being cool, having good looking girlfriends and being invited to the best parties in town and they finally get their chance after making their own sex pot (Kelly LeBrock) from their computer.
This is another of those daft comedies that John Hughes was able to churn out with alarming ease.Borrowing heavily from the 'Frankenstein' story, this is about two teen boys creating the perfect woman via a computer, and of course she then comes to life and teaches them a lot about life etc.Apart from a good central performance from Anthony Michael Hall this film in my opinion is not worth recommending. |
tt0108052 | Schindler's List | The relocation of Polish Jews from surrounding areas to Krakow begins in late 1939, shortly after the outbreak of World War II, when the German Army defeats the Polish Army in three weeks. Oskar Schindler (Liam Neeson), a successful businessman, arrives from Czechoslovakia in hopes of using the abundant cheap labour force of Jews to manufacture enamelware for the German military. Schindler, an opportunistic member of the Nazi party, lavishes bribes upon the army and SS officials in charge of procurement. Sponsored by the military, Schindler acquires a factory for the production of army mess kits and cooking paraphernalia. Not knowing much about how to properly run such an enterprise, he gains a contact in Itzhak Stern (Ben Kingsley), a functionary in the local Judenrat (Jewish Council) who has contacts with the now-underground Jewish business community in the ghetto. They loan him the money for the factory in return for a small share of products produced (for trade on the black market). Opening the factory, Schindler pleases the Nazis and enjoys his new-found wealth and status as "Herr Direktor," while Stern handles all administration. Stern suggests Schindler hire Jews instead of Poles because they cost less (the Jews themselves get nothing; the wages are paid to the Reich). Workers in Schindler's factory are allowed outside the ghetto, and Stern falsifies documents to ensure that as many people as possible are deemed "essential" by the Nazi bureaucracy, which saves them from being transported to concentration camps, or even being killed.Amon Göth (Ralph Fiennes) arrives in Krakow to initiate construction of a labor camp nearby, Paszów. The SS soon liquidates the Krakow ghetto, sending in hundreds of troops to empty the cramped rooms and shoot anyone who protests, is uncooperative, elderly, or infirmed, or for no reason at all. Schindler watches the massacre from the hills overlooking the area, and is profoundly affected. He nevertheless is careful to befriend Göth and, through Stern's attention to bribery, he continues to enjoy the SS's support and protection. The camp is built outside the city at Paszów. During this time, Schindler bribes Göth into allowing him to build a sub-camp for his workers, with the motive of keeping them safe from the depredations of the guards. Eventually, an order arrives from Berlin commanding Göth to exhume and destroy all bodies of those killed in the Krakow ghetto, dismantle Paszów, and to ship the remaining Jews to Auschwitz. Schindler prevails upon Göth to let him keep "his" workers so that he can move them to a factory in his old home of Zwittau-Brinnlitz, in Moravia -- away from the "final solution" now fully under way in occupied Poland. Göth acquiesces, charging a certain amount for each worker. Schindler and Stern assemble a list of workers that should keep them off the trains to Auschwitz."Schindler's List" comprises these "skilled" inmates, and for many of those in Paszów, being included means the difference between life and death. Schindler also plays a game of high card draw for one worker in particular, Helen Hirsch, who'd been serving as Göth's housekeeper and had been a victim of his continual abuse. Göth is reluctant, hoping to run away with her but knowing that such an action would result in his death as well as hers. He also floats the idea of simply executing her but finally decides to play Schindler for Helen's life. Helen is among those who board the train to Brinnlitz.All of the men on Schindler's list arrive safely at the new site, with the exception to the train carrying the women and the children, which is accidentally redirected to Auschwitz. There, the women are directed to what they believe is a gas chamber; after a harrowing experience where their hair is crudely cut off and they are forced to strip, they see only water falling from the showers. The day after, the women are shown waiting in line for work. In the meantime, Schindler had rushed immediately to Auschwitz to solve the problem and to get the women out of Auschwitz; to this end he bribes the camp commander, Rudolf Höss (Hans-Michael Rehberg), with a cache of diamonds so that he is able to spare all the women and the children. However, a last problem arises just when all the women are boarding the train because several SS officers attempt to hold some children back and prevent them from leaving. Schindler, there to personally oversee the boarding, steps in and is successful in obtaining from the officers the release of the children. Once the Schindler women arrive in Zwittau-Brinnlitz, Schindler institutes firm controls on the Nazi guards assigned to the factory; summary executions are forbidden, abuse of the workers is as well and the Nazi guards are not allowed on the factory floor. Schindler also permits the Jews to observe the Sabbath, and spends much of his fortune acquired in Poland bribing Nazi officials. In his home town, he surprises his wife while she's in church during mass, and tells her that she is the only woman in his life (despite having been shown previously to be a womanizer). She goes with him to the factory to assist him. He runs out of money just as the German army surrenders, ending the war in Europe.As a German Nazi and self-described "profiteer of slave labor," Schindler must flee the oncoming Soviet Red Army. After dismissing the Nazi guards to return to their families, he packs a car in the night, and bids farewell to his workers. They give him a letter explaining he is not a criminal to them, together with a ring engraved with the Talmudic quotation, "He who saves the life of one man, saves the world entire." Schindler is touched but deeply distraught, feeling he could've done more to save many more lives. He leaves with his wife during the night, dressed in Polish prisoner clothes, posing as refugees. The Schindler Jews, having slept outside the factory gates through the night, are awakened by sunlight the next morning. A Soviet dragoon arrives and announces to the Jews that they have been liberated by the Red Army. The Jews walk to a nearby town in search of food. A title card informs us that Schindler was declared a "righteous person" by the Yad Vashem of Jerusalem, and himself planted a tree on the Avenue of the Righteous in Israel, which still grows to this day. The fate of Göth is also shown; he was captured near the German town of Bad Tolz and taken back to Paszów where, defiant to the end and announcing his allegiance to Hitler, is hanged for crimes against humanity.As the surviving Schindler Jews walk abreast, the frame changes to another of the Schindler Jews in the present day (in color) at the grave of Oskar Schindler in Israel. The film ends with a procession of now-aged Jews who worked in Schindler's factory, each of whom reverently sets a stone on his grave. The actors portraying the major characters walk hand-in-hand with the people they portrayed, also placing stones on Schindler's grave as they pass. Actor Ben Kingsley escorts the late Itzhak Stern's wife and Caroline Goodall escorts Schindler's wife in her wheelchair. The audience learns that the survivors and descendants of the approximately 1,100 Jews sheltered by Schindler now number over 6,000. The Jewish population of Poland, once numbering in the millions, was at the time of the film's release approximately 4,000. In the final scene, a man (Neeson himself, though his face is not visible) places a pair of roses on the grave, and stands contemplatively over it. | cruelty, murder, depressing, realism, bleak, dramatic, violence, thought-provoking, atmospheric, good versus evil, melodrama, historical, sadist, sentimental | train | imdb | Various other films have tried to show the true horrors of the Holocaust, but none of them succeeded the way that Schindler's List did.
The true goal of all Holocaust films is to make you feel sorrowful, and Schindler's List did that to me.
It shows how people can just triumph over anything with just some help from one person The things that Spielberg did with the movie was incredible too.
This movie, Schindler's List, is hands-down without a doubt one of the greatest films I have ever had the pleasure of viewing.
Schindler's List is a grim portrayal of events in the Holocaust, while at the same time actually bringing light to some of the humanity still there.
It seems with an absolute masterpiece like this film, he would have been more careful and edited out this truly "sentimental" passage with violins going haywire.Regardless, I'm in awe of this picture and with his latest- Saving Private Ryan, I do think that Spielberg is truly one of, if not, the greatest directors of film ever..
Despite the controversy around the event, there is one thing for certain, Steven Spielberg created a masterpiece with Schindler's List.
It sets out what it intends to do marvelously and leaves the viewer emotionally drained and questioning humanity itself.The film is in black and white, a very conscious choice by the director that makes the subject matter, already disturbing, even more so bleak and harrowing.
The movie depicts concentration camp life is fairly dismal, with constant brutal oppression by Nazi camp guards and the sadistic Amon Goth, with a terrifying portrayal by Ralph Fiennes.Yes, this film will not make you cheery or happy.
Yes it is about a miserable and dark period in human history, but it is an important film to watch for anyone interested in this historic subject matter and also a beautiful work of art for film lovers.
*Story: Schindler is a German businessman and when the Holocaust starts to begin he decides to have Jews come work for him which will help them stay out of the concentration camps.
As long as the Jews stay out of those camps Schindler makes money.*Review: Schindler's List is probably one of the best movies that I have ever seen and ever made.
Ralph Fiennes also gives a great performance and should have won a Oscar for his performance as Amon Goeth but since the academy doesn't give awards to actors that play as bad people is dumb.
Liam Neeson gives a great performance as Schindler and the whole film is just powerful, amazing and sad but it doesn't matter because the movie is so good.
Ralph Fiennes makes an even better performance as Goeth, a man who made everyone stare into the screen with anger and sadness and that is just what a movie is supposed to do-make you feel sad, happy, angry or effect you in some way.
Schindler's list is not a bad film per se - Liam Neeson is very good as Schindler and if you edit out some of the more overblown scenes - the story is still riveting.
A film that helps promote liberties taken over the years by that certain group of people from anything to a good seat at the Opera to unabated attempts to destroy other people's beliefs and right to exist.This film is (unfortunately), not about a man's humanitarian well-meant efforts to do what he could to help to save a group of desperate and obviously(for most of them) doomed to their certain death, people.The point that came across was visually witnessing the random acts of a certain person committing atrocities and exaggerating them to an extent that diminished what really happened to those people.
I just felt that this movie would feel less like a bid for an Oscar and more like a personal film.At the risk of being a complete jerk, I'll give Spielberg this advice: Do it again.
I hope he'll finish *that* Kubrick movie, too, and create a better Holocaust film, something I can sink into and be surprised by, something that feels much more personal..
One can't help but feel the atrocities were greatly toned down for this film thus not really reflecting the true horror of what really happened, and he fails completely in exploring the character of Schindler.
The monumental cheesiness of the closing scenes with the people saved by Schindler goes way beyond the point of tackiness - just more evidence of Spielberg's extraordinarily sentimental side sabotaging what should have been a meaningful film.
No point in getting all worked up about the fact that he didn't literally sell the skin of his back to save people he didn't know.What does this film leave us after 195 minutes of running time?
Let's see:* The Nazis were *Really Evil* * There was a man called Schindler who didn't care about anything but money at first, and then for some reason he started to care about saving the Jews.Brilliant, Spielberg.
A journey of the mind is so much more satisfying than a journey of the senses...Like most of Spielberg's films, Schindler's List is technically outstanding.
Schindler's List does exactly this better than almost any other film through nearly flawless acting, beautiful cinematography, and a fantastic story, historically accurate or not.
It depicts the horrors of the Holocaust and war, the tragedy of Jewish nation, and I know, this film could be directed by a Jew, who keeps these horrible times and crimes against humanity in his heart.
Superbly directed by Steven Spielberg, magnificently photographed in black-and-white by Janusz Kaminski (one of the best directors of photography in modern Hollywood, so to say), perfect performances by Liam Neeson and Ben Kingsley, and, especially, John Williams' beautiful, brilliant score, brings the whole horror and tragedy, cruelty of Nazism, Holocaust and War. This is Spielberg's Triumph.
And after watching this film, I have deep respect and feelings for those who suffered during these times, be it the Holocaust or the Nam war.
Any other person would not have done it justice.The film focuses on how a German named Oskar Schindler saved the lives of thousands of Jews by employing them to work in his factory during WWII.
( Another excellent film would be "Saving Pte Ryan" by Spielberg again ) War and its horrors are finally and faithfully recreated for the audience.Like the film Raging Bull, its shot beautifully in black and white to reflect the era and tone of the film.
Schindler's List both conveys the horrors of the Holocaust and depicts the life of unlikely hero Oskar Schindler, a German businessman (and member of the Nazi Party), who begins to sympathize with the Jews when he realizes the true scope of their suffering and ultimately saves 1100 of them from Auschwitz.
Liam Neeson plays Schindler excellently, and Ralph Fiennes is just as good as the vile Nazi Goeth.
With a movie that so graphically (occasionally almost to an unwatchable extent) portrays the Holocaust and the unspeakable crimes of the Nazis, it was nice that it had the character of Herr Schindler to show that not all Germans were in support of this and that some Germans went against the Nazis and saved lives, a fact that is rarely mentioned in Holocaust films or anywhere else.
The acting is simply brilliant, with Liam Neeson towering as Oskar Schindler, and Ralph Fiennes bringing out the Nazi character Amon Goeth into full flesh.
Steven Spielberg has his best masterpiece here with Schindler's list.
And what he brings to the screen is like nothing the world has ever seen before- a true to life depiction of the horror known as the holocaust.The story brings us Oskar Schindler, a German munitions chief who brings thousands of Polish Jews from the death camps to his factory and saves them.
The acting is spectacular with Liam Neeson as Schindler, the man who changes throughout the film, Ben Kigsley as Schindler's Jewish accountant (and conscience), and Ralph Fiennes in his best performance yet as the frightening German commander.
They also give Spielberg license to be sentimental later on--he's EARNED his right to be sentimental in those movies.The thirty-minute opening to "...Ryan" and many scenes in "Schindler's List" grip people in a very unique way, and often they can't completely describe it.
I can say with impunity and without exaggeration that Spielberg is the finest manipulator of movie audiences since Alfred Hitchcock."Schindler's List" could've been just another comprehensive look at the Holocaust.
I'm not saying that that would not have been needed, but I'm very impressed that he didn't settle for "just another." He's made a remarkable film memorializing the most heinous criminal act in modern times, and he made it DIFFERENT from every other movie we've ever seen.
All the actors were really good- Liam Neeson (Star Wars) and his hidden attraction for his secretary, Ben Kingsley (Ghandi), Ralph Fiennes (Lawnmower man) sarcastically killing jews in his camp.
Mr.Spielberg confronted his Jewish background head-on when he began the long, hard journey of completing this film.Clearly no one could have made this movie quite like he did.I know when I watched this, I found myself cringing at the horrible events that took place during perhaps the grimmest chapter in the world's history, the Holocaust.
The decision to shoot the movie in black-white made it even more emotional and made if feel like it was actually shot during the dark times of the war.
The score itself adds a layer of emotion and acts like a character in the movie.The acting is phenomenal, Liam Neeson, Ralph Fiennes and Ben Kingsley all give their best performances of their careers (especially Neeson)They transform into their characters making you forget who they really are.
This is why Steven Spielberg is one of the greatest movie directors the film industry has ever seen..
It's powerful and hits hard, especially during the liberation of the ghetto and the ending where we see Schindler break down because he feels like he could have saved more lives.Liam Neeson gives what is probably his best performance still to this date as Oskar Schindler, and you really see his evolution as a character and his change in view as he watches the violence committed against these people.
There are also some fine performances sprinkled across the supporting cast and many of the Jewish characters, and there is not a single poor performance here.Some may feel that the 3 hour running time will be monotonous, but Schindler's List completely captures the viewers' attention throughout the entire motion picture.
When you don't like this movie you seem to be impatient, unemotional or nearly a neo-Nazi...Schindler's List is a classic, which has many very positive reviews, so I think I have nothing else to add.9/10.
Instead of films like, The Piano where the world consists of clearly good or German (stereotype dumb, cruel), Schindler's List shows people who are trapped in war and loose their way.
Based on a true story, Steven Spielberg's Schindler's List stars Liam Neeson as Oskar Schindler, a German businessman in Poland who sees an opportunity to make money from the Nazis' rise to power.
It sickens me as a person to know that this sort of thing actually happened and watching Schindler's List is not only an experience, but a history lesson that we should never forget.Schindler boasts incredible, convincing performances all across the board.
Steven Spielberg made a powerful testament to the suffering of the Jewish people during the Second World War, "Schindler's List"..
Schindler's List is history: an annihilation of a people, an account of good in an ocean of evil, a cinematic event that isn't as brutally painful to watch as it is faithfully important to experience.
To this day, 20 years later it still remains one of the greatest films of all time, but also Steven Spielberg's finest work..
Approaching its 20th anniversary, Universal Sony has converted the original film into high-definition, allowing a new generation to experience its soaring story and visceral intensity.Schindler (Liam Neeson) is a man who considers himself a businessman first and a Nazi second.
The Blu-ray comes complete with a series of special features, including Voices from the List, a documentary featuring testimonies from some of the 'Schindler Jews' who survived the Holocaust, as well as a story on Spielberg's USC Shoah Foundation.
The Greatest masterpiece of veteran director Steven Spielberg, Schindler's List is an emotional and harrowing account of the Holocaust during the Second World War. The movie delves deep into the darkness of human heart and depicts the metamorphosis of a shrewd businessman and womanizer into the greatest philanthropists humanity has ever seen.The movie is almost entirely shot in black and white which gives it a grim and timeless look, a remarkable effort by the cinematographer Janusz Kaminski.The acting is brilliant.
Unfortunately, he did not win a well deserved Academy Award for supporting actor.Furthermore, John Williams has come up with a brilliant score bringing out the misery, horror and tragedy of the Holocaust.Schindler's List is Spielberg's unforgettable piece of art that makes one cry many times over, especially in the final moments of the three hour seventeen minute epic.
Months of seeing human beings being brutalized and getting to know them (his factory used the Jews as cheap labor) as individuals, made Nazi Oskar Schindler (Liam Neeson) change dramatically.
Known to all audiences as one of the greatest movies ever made, "Schindler's List" is biographical drama of Oskar Schindler, a German businessman who saved the lives of more than a thousand Polish-Jews during the Holocaust, and employing them in his factories.
With a 3-hour running time, a marvelous script, and a breathtaking directing duty from the legendary Steven Spielberg, "Schindler's List" is one of the greatest movies ever made on screen.
This and The Pianist are the best War/Holocaust films, that I have seen and both deserve their recognition, both show how mistreated the Jews were but also show how not all the Gremans were bad people, some were good, and some helped the Jews to survive and prosper as a race.A clear must see for anyone, and a clear 8.5/10 from me, not a 9 because it's not really my favourite genre.Brilliance of acting by Liam Neeson and Ralph Feinnes, as well as Ben Kingsley and all of the other major cast and extras.
The film is also a history lesson; it explores all the years of the war; starting from 1939, the start of the war, to the very end, although the main focus is Oskar Schindler whose actor is Liam Neeson (Star Wars Episode 1: The Phantom Menace, A-Team movie).
This shows the message that working on the evil side is the only way to rescue innocent people, which is what would have occurred during a brutal era like World War Two. This is why the film deservedly won the Academy Award for Best Picture.
Schindler's List was directed by Steven Spielberg who won an Oscar for Best Director and is considered one of his best works ever.
Not long after the war ended, Amon Goeth was executed for his crimes against humanity, and Schindler unfortunately never ran a successful business again, but today the descendants of the Jews he saved number, tens of thousands.He has become a fairly controversial figure, but I personally think that Oskar Schindler was great hero of the 20th Century, and this is one of the greatest American films of all time; absolutely heartbreaking, cinematically epic, and flawlessly acted.
From the Musical Score to the direction to the acting, the movie is flawless and should be recognized as the greatest Film of All Time.
A gem form Steven Spielberg, Schindler's List dives deep into the works of humanity and what a person is worth.Watching the Jews just slaughtered in this movie is very difficult however.
His one scene with him talking about how he could do more reaches out and truly touches people, more than just the Jews hugging him in the scene.Schindler's List is the idea of a perfect Film.
However, as the full horror of the war on the Jewish people becomes ever more clear, Schindler's selfishness turns more into compassion for his fellowman.Having spent 10 weeks watching `Taken' and remembering just how awful Spielberg can be when he is being mushily sentimental, I revisited this film as it was showing in the build up to the TV coverage of the 2003 Oscar ceremony.
Schindler's List is not only a pure masterpiece but, for me, it is one of the greatest films ever made in the world.The film starts off to reveal a womanizing, Nazi business man who profited off of slave labor.
Schindler's List is not only a pure masterpiece but, for me, it is one of the greatest films ever made in the world.The film starts off to reveal a womanizing, Nazi business man who profited off of slave labor.
That's when the self-centered, often money hungry Oskar steps in and gives up his goal of having a successful business to save the lives of over 1,000 Jews.This film is about redemption and was beautifully photographed in black and white by Janusz Kaminski (cinematographer).
And, in case that's the truth, it's films like Schindler's list that remind us of that..
Schindler's List is epic film for humanity..
Schindler's List is one of the finest movie I have seen ever.
Widely considered Steven Spielberg's crowning achievement, Schindler's List is a powerful, utterly devastating and raw glimpse at the horrors of the Holocaust.
In a time when people are denying the Holocaust even happened (for some foolish reason), Schindler's List is a graphic and raw recreation of an event in history that should never be forgotten.
A story that touching and that hard couldn't have been told and shown in any other beautiful way then through Liam Neesons's performance and Steven Spielberg's vision ( Of course without forgetting the crew and cast how helped in making this film). |
tt0117628 | She's the One | The film tells the story of Irish-Catholic Fitzpatrick brothers, Mickey (Edward Burns) and Francis (Mike McGlone) and the tribulations of love, family and betrayal. Mickey is a New York City blue-collared taxi driver, unhappy over an act of infidelity committed by Heather (Cameron Diaz), his ex-fiancée. Francis is a white-collared Wall Street stock investor, who unknown to his wife, Renee (Jennifer Aniston), is having an affair.During weekends, Mickey and Francis visit their parents who live on Long Island. Their mother is never seen on screen, while they have better time interacting with their father, Frank (John Mahoney), whom is a emotionally bereft conservative man as well as an old-school sexist and a bigot whom takes them out fishing on his motorboat, but refuses to let women on board due to family tradition. Frank always gives Mickey and Francis advice to live out their lives any way they can and to always go for what drives them to succeed.While driving his cab one day, Mickey picks up Hope (Maxine Bahns), a young woman and NYU art student with whom he becomes infatuated and impulsively marries that same week despite knowing her only a few days. Mickey and Hope show up one evening at Francis and Renee's apartment to inform them of their quickie marriage. This causes consternation for his brother, largely because he was not asked to be best man at the wedding. Mickey moves in with Hope, but later becomes disillusioned with aspects of her liberal and free-spirited lifestyle, including frequent power cuts in their ramshackle apartment.Francis is also having problems in his marriage. He is concerned that he is being unfair to Heather, his mistress, the very same woman Mickey left, by continuing to stay with Renee. At the same time, Renee's family, especially her younger sister Molly (Amanda Peet) suggests the problem with Francis' lack if interest in her is that he may be gay, so she has Mickey and his father confront him about it. He denies being gay, but admits to being unfaithful.Meanwhile, Francis' arrogance leads him to take potshots at his brother for the apparent lack of forward progression in his life with his new wife, while Francis argues with Heather about her own sexual infidelity with a much older man referred to as "Papa".One day, Mickey picks up Heather in his cab and goes up to her apartment to retrieve a television that belonged to him during their relationship. Heather responds by demanding Mickey's watch, which she purchased as a gift. Mickey relents, which she implies she wants more from him, but he does not reciprocate, instead reminds her of her affair, and her previous profession. Throughout all this, Mickey and Francis' father offers more egoistical and selfish advice to them. Then Frank learns, during a fishing trip with the church's pastor, that his supposedly highly religious wife hasn't been to Church Mass in months.On a visit to his mistress's apartment, Francis learns that Mickey and Heather have recently met. Francis makes an unexpected visit to his brother's apartment and questions Mickey about his visit with Heather. They get into an argument over whether or not Mickey had sex with Heather. Later, Mickey discovers that she is the woman Francis has been having an affair with. The revelation escalates to an argument in their parents' home, during a birthday dinner for their father. In an attempt to settle the dispute, Frank takes both Francis and Mickey outside and ties boxing gloves on each, with the intent of having them fight out their differences. Mickey proves the victor.Eventually, Francis confronts Renee about his affair and files for divorce, in order to marry Heather. When Mickey finds out about the impending marriage, he informs Francis that Heather was once a prostitute during her college days. This causes Francis to get cold feet and it angers Heather. She tells Mickey that she thought that he didn't have a problem with her prior choice of employment, and Mickey says that he doesn't, but Francis may, and that he has a right to know.Meanwhile, Hope has already dropped a bomb on Mickey: she is moving to Paris very soon to attend art school and Mickey is not sure about whether or not to join her. On a visit to the bar where Hope works, Mickey has a talk with Connie (Leslie Mann), one of Hope's co-workers, who claims to have had a "special relationship" with Hope before the marriage. This troubles Mickey so much that he begins to avoid Hope. Later, Hope tells Mickey that she is unsure if he should come to Paris after all and admits to having a "semi-lesbian affair" with Connie some years back. As a result, Mickey and Hope's relationship appears to be about to break up.Due to Francis' indecision over marriage in light of the news that Heather was a prostitute, Heather decides to leave him and marry "Papa", the wealthy older man she has been seeing concurrently while she was with Francis. When Francis threatens to tell Papa that Heather was a prostitute, Heather tells Francis that Papa was "her best customer". He then calls Renee in hopes of getting back together with her. But she is already in another relationship with Scott Sherman, a overweight mutual acquaintance whom Francis had made fun of in an earlier scene.In the final scenes of the film, Mickey and Francis meet with their father at his house where the distraught Frank tells them that their mother had just left him the previous day and has run off with a dry-cleaning store owner whom she has been having an affair with for several months. Unsure about everything now, Frank finally apologizes to Mickey and Francis for giving them bad advice about life and love when his own wife was cheating on him behind his back. As a result, the three men decide to go out fishing aware that despite the failure of their love lives, they will always have each other. As they prepare the motorboat to cast off, only Mickey decides it would be better if he tried to have one last talk with Hope before she leaves America. Only their father has arranged a surprise guest - Hope. The movie ends with Hope asking to drive the boat, but Frank, aware that women are not allowed on board, says it is too soon for that. | romantic | train | imdb | The characters are well developed, Tom Petty's sound track is very good and there are the gorgeous gals of course (Diaz, Anniston, Bahns), but there's more to it.
Edward Burns is to be admired for directing this (in places) wonderful "slice of life", examining the intricacies of relationships, the ideas of romantic love and sibling rivalry.
The father and younger brother (an impressive performance from both the actors) display (initially) a rampant misogynist, a far cry from the character Edward Burns plays.The cast is rounded off with a very good Jennifer Aniston as the cheated-against wife, who has her "needs", not fulfilled sexually, a beautiful and contained Maxine Bahns and a vulnerable and (at the same time) brittle and almost defiant Cameron Diaz.It's a good movie, with good acting, and good lines.As in all Romantic Comedies, the story is quite predictable.
I thought it was entertaining as all hell and John Mahoney would be worth the whole movie, but doesn't need to be as all the other characters come through vibrantly.
That entire scenario was priceless and hysterical.A great film that shows Ed Burns really is a talent as a writer and director.
This is a great movie that gets better every time you watch it.
Since she was cast in the earlier "The Brothers McMullen", also written and directed by Edward Burns, I assume there is a friendship that misdirected that decision.Some of the characters don't play out quite right.
The role of the brother, played my Mike McGlone, is well acted, but the writing made that character a little too two dimensional.
If you like character and plot-driven movies, this is a worthwhile way to spend some time..
The majority of the film critics felt that Burns did not make a new movie with "She's the One" but merely an extension of "The Brothers McMullen", on the contrary.
This movie is all about great interaction between Ed Burns, Mike McGlone, and John Mahoney.
I liked this film far more than The Brothers McMullen, and I'm expecting great things from Mr. Burns in the future..
This movie is on Comedy Central all the time and is worth watching just for these amazing women, not to mention it really is a good movie.
If you're looking for an Oscar-winning, thought-provoking intellectual film, like one other person obviously was, then you're an idiot and you should not have watched this movie in the first place.
I thought the movie was great even before I looked at the box and found out Edward Burns wrote, directed, and starred in the film.
That just left me speechless.The acting was seamless since the characters became so real you almost forgot it was a movie you were watching.
If you want to see a funny, honest, amusing comedy where characters talk like REAL people--this is the movie to see!
Francis is in an unhappy marriage with Renee (Jennifer Aniston) and cheats with Mickey's ex Heather.Writer/director Edward Burns tries to make a big move up after the success of his indie debut.
This movie is so funny, I laughed out loud many times, The dialog is great and very true to life.
Basically, we found the plot disturbing.The problem is that the movie is billed as a romantic comedy, yet several of us saw very little romance in it plus we did not find a single line in it funny enough to be a comedy.
If you are looking for a sweet romantic comedy to watch for a nice evening with your family, this movie likely is not it.
In this case, he is waffling on his true love, while his brother, married to Jennifer Aniston, is cheating on her with Cameron Diaz -- definitely an interesting question of taste -- and Diaz is a former girlfriend of Burns.
Following THE BROTHERS MCMULLEN, director Burns likes to follow closely on relationships between men and women...
As in The Brothers McMullen, Edward Burns displays his talent for dynamic and funny dialogue.
The story isn't quite as good but the acting of Mike McGlone, John Mahoney and Burns himself raises the movie to a higher level.
I am ashamed in American viewers when I see people rip on a movie like this...sorry there are no car chases, no guns and no sploshins for the typical miopic, immature american viewer that has had their senses dulled by the likes of Jerry Springer and Wrestling...this is an actual film about people, love and family brilliantly directed by Ed Burns (the Brothers McMullen) and starring Burns, the delightful Maxine Bahns, Jennifer Aniston, Cameron Diaz and the vastly underrated John Mahoney.
As such, Cameron Diaz and Jennifer Aniston's characters are probably some of the better written and most believable characters in the movie.
I think the only good moments that Ed Burns has are from the scenes where he's with Cameron Diaz.
And in the end, these characters are not written to be people, they were written to be ideas and archetypes to be used for commentary.However, having said that, some of the dialogue is pretty entertaining and some of the repartee between the characters are fun to listen to.The thing is though, funny dialogue doesn't give character depth.Not bad as far as a romantic comedy goes, but definitely not home run movie..
When she tells Mike's character that she doesn't know if she could survive another of his "down cycles" it is as great as anything from Friends.I'm a big fan of both Ed and New York, and this movie shows how wonderful both can be..
I take a liking to Mike McGlone's character, Francis, and his happenings, especially the one's with Aniston.
I recommend the film for people who like small, funny, slice-of-life, love stories.
Though I'm a guy, there is still something for everyone: Ed Burns and Mike McGlone for the ladies and Cameron Diaz and Jennifer Aniston for the guys.
She's The One barely survives on a combination of these, two wholesome characters (intriguing performances by Cameron Diaz and Jennifer Aniston), and a totally delightful and magical musical score by Tom Petty.
I then learned that Petty put out an entire soundtrack worth of material for this film, and after listening to the soundtrack I decided to watch the movie so that I could have a better feel for what inspired the soundtrack--if it did at all.That said, I didn't exactly feel like the soundtrack and the movie went together, but I can kind of see how they do.
It has a romantic comedy feel throughout, but there is an element of the film that just makes it a more heavy movie than the standard chick flick.
There's probably nothing life changing about this movie, but it's worth the time to see just as pure and simple escapism for a couple of hours, and an engaging story that is entertaining even if not overly powerful.
His brother Francis (Mike McGlone) is cheating on his wife (Jennifer Aniston) with the woman who broke Mickey's heart, Heather (Cameron Diaz).
There's a good bit where Ed Burns' character has to convince multiple people that he isn't gay and I thought that was funny.
You might be thinking that bad people trying to solve their problems and failing sounds funny, and it would be
but it's never done in the far-out way you would expect in a comedy.
I just found it incredibly hard to cheer or be interested in these characters when they don't feel like real people; they don't really seem to have dreams or ambitions and can barely deal with the situation they've been given.
Plot In A Paragaph: A look at the love life of Mickey (Edward Burns) and Francis (Mike McGlone), two Irish/American brothers.
John Mahoney steals the movie for me (Yes even away from Aniston in THAT scene) he is superb, Amanda Peet and Frank Vincent are both good, as was Maxine Bahns as Hope..
I really liked the characters in this film Hands down, my favorite was John Mahoney as the father.
I also really liked the brother relationship between Edward Burns and Mike McGlone.
While I thought there was some good dialogue, it could not save the film from becoming just another typical 90's dramatic comedy about relationships.Although I did enjoy this movie and always put it on whenever it I see it on HBO, this is not Edward Burns' best film.
Go see Brothers McMullen, Sidewalks of New York, and the Groomsmen for better Edward Burns films.
In this movie, even the good guys (including Jennifer Aniston's character) smoke, and we found it to be unrealistic and distracting.It seemed to be just one long "sickaret" commercial.Can't help but wonder who was given how much money to have almost every actor in the movie smoke..
Though in general I like Ed Burns more as an actor than as a filmmaker, I thought Sidewalks of New York had a certain something to it, and I had sort of wanted to see this film for a while (took me eight years, so obviously I wasn't hankering to see it too badly).
I've long enjoyed the movie's soundtrack completely composed by genius Tom Petty and last week I finally got to see what all those songs were about.She's the One is a typical Burns ensemble piece where New Yorkers bitch about their love lives.
Mickey, though he won't admit it, has issues with his ex Heather (Cameron Diaz), issues that he will admit to with his money-hungry, status-driven brother Francis (Mike McGlone), and maybe some issues with his dad (John Mahoney), although they don't seem to trouble him all that much.
Like Sidewalks, this film is really less about an individual character (though it's more centered on Mickey than Sidewalks was on Burns' character) and more about the problems we all have in relationships.
As it turns out, none of the relationships in this film are healthy, though Mickey more or less gets along with his new wife Hope (Maxine Bahns).
Oh, and for color, and the reason I ended up watching the film in the first place, brother Francis is unhappily married to Renee (Jennifer Aniston ah, now it all makes sense to you).What this movie really should be called is Ed Burns has Issues.
Burns seems to be saying through this film `You know, this whole love thing stinks, and you're gonna get burned.'Burns himself is okay but he plays his essential core character the guy who's okay but was burned in the past and is perpetually on guard now (see also Sidewalks, Life or Something Like It, etc.) McGlone gives Francis just the right smarmy yuppie/slick urban edge, making it really hard to like him.
Outstanding love comedy that illustrated what a very good quality combination of story,screenplay,script,directing and cinematography can do for a movie despite a very modest budget!Another great filmaking school example here.The acting was ok but the actor's performances were magnified by very good character development,very adeptly handled by the writers and the director.For INTELLIGENT fans of the love comedy genre,this movie is one of those that you wish you could see the movie's characters again soon as the movie ends.That is a sign of a great film.Although I must warn you that people who do not like intelligent films will not really like this film that much.Thus the general audience's low rating for this classic film.What can I say but INTELLIGENCE is only for the few!Also,not for the ones who casually use the bandwagon term "chick flick" which I refuse to use because women do not have a monopoly on romance movies.It is men who create the greatest romance films and litterature so they belong to men as well.But it takes INTELLIGENCE to understand what I mean so I leave it at that.To those on my level,enjoy this great love relationship plot movie......
For the people that do bash this movie, i get the sense that they don't like this genre of film.
So if i turned on the TV and saw Jennifer Aniston and cameron diaz i would turn it off thinking oh my god not another picture perfect, but it caught my eye and i had to watch the whole thing.
Definitely a must see from a very brilliant young directer and great actor Edward Burns.Best romantic comedy next to chasing amy ( nobody can do it better then Kevin Smith ).
Edward Burns is a brilliant writer & director and the gorgeous Maxine Bahns gives a great performance.
This is one of the best romantic/comedy films I have ever watched.
Take it from me, who likes comedy/romance films, WATCH THIS!!.
Thrilling story, great characters, awesome performances by Cameron Diaz and Jennifer Aniston..
She's The One was his best film, in my opinion, and if you rent it, you'll get to see the young, promising actresses Cameron Diaz and Jennifer Aniston, as well as Frasier's dad without his cane!
Frankly, it should have been her character, Renee that the two brothers fought over rather than Cameron Diaz's character of Heather (please!) I liked the dialogue, and would like to see more of Ed Burn's acting, directing and writing.
Some people have criticised the way this film is directed but my own complaint is the way it's produced and it's probably not a valid complaint because it's produced unreservedly for a female audience , though strangely enough male voters on this site have awarded it a slightly higher mark than females Apart from being the kind of movie that twenty something females can get together and watch on a Friday night with a bottle of wine it's difficult to understand the thinking behind it .
In this type of movie people in general and men in particular never really act as they would in real life and while I'm not a fan of " social realism " in movies neither am I a fan of romantic comedies / chick flicks either Not to be to negative I did smile at at the line :" She looks like she came from an island " " Yeah Rhode Island ".
It was interesting to read the comments in late 2001, pro and con, about this movie since it's been out for awhile.As a woman old enough to be Ed Burns' mother, I guess I have a slightly different take on his films.
As a woman, you feel a part of their group because they include you and not because there is any type of equality thing going on.That's what watching an Ed Burns movie is like for me.
It is funny, it is clever, it is acted to great strength to make it the great movie it is.Edward Burns is the man at the center he has just gotten married without his brother being there, and his new wife is adjusting to the family.
Cameron Diaz plays the funny former girlfriend of Burns who is now seeing his brother for the occasional get together.While all this is going on, there are plenty of laughs and moments of truth to be seen.
Edward Burns not only takes on the starring role, he also wrote and directed this well crafted, modern look at male/female relationships (props are also due to Burns as a co-producer for the casting of the eye-candy trio of Maxine Bahns, Jennifer Aniston and Cameron Diaz).
That dichotomy looms large here and quickly moves to the center of the plot, replacing the otiose attempt at examining the relationship of the two brothers (played by Burns and Mike McGlone) and their father (John Mahoney).
this movie has clever, witty writing and great character development.
People like Mike McGlone make the movie, its almost as if the part was written just for him.
I'm probably unusual among viewers of this film in that I saw one of Edward Burns' other self-penned directorial efforts first, 1998's "No Looking Back." But despite the presence of a more star-studded cast with welcome additions like Jennifer Aniston, Cameron Diaz and John Mahoney, this is clearly the inferior of the two films in my opinion.
Oh my, the movie all in all fails to show some direction or surprise elements, the end is foreseeable and quite conventional.But the part that I really liked was the actresses, especially Jennifer Aniston and Cameron Diaz.
I got this movie because I like Jennifer Aniston on "Friends"and wanted to see it!
MIKE McGLONE is fine as his financially solvent but mentally challenged brother who works on Wall Street but is hopelessly in love with a trashy blonde, CAMERON DIAZ, in another one of her bubble-gum roles.None of it rises above the level of a good TV script and the language is pretty salty throughout, dealing as it does with SEX almost exclusively.
While it's not as good as Burns' brilliant 'The Brother's McMullen', it's still a good movie.
I can definitely understand why some people would like this film, since it certainly is well-made, but it just didn't work for me..
But I think it is a wonderful comedy with some great things to say about relationships and life.A big part of why I like it is the writing, which strikes me as natural, believable, and unforced--which is certainly aided by the acting performances.
In the film she became Burns' wife, while in real life they were dating.
I don't think Burns will ever become known as a great writer/director, but his films are honest and in that he has a lot going for him..
What's to say about a film in which Cameron Diaz is one of the better actors?
Overall, I thought the movie was pretty good, I liked the acting, they all seem very natural with one exception, Ed Burns.
I liked when she says: "I would rather live in the back of this cab than let something like rent get in the way of our romance".Also Jennifer Aniston and Cameron Diaz were great. |
tt2381111 | Brooklyn | The movie opens in the 1950's somewhere in Ireland. Eilis (pronounced EYE-lish) seems unhappy as she prays in church with her mother and sister. She then goes to work at a store, run by the mean old Mrs. Kelly, who is very judgmental and critical. Eilis, who had tried to talk to Mrs. Kelly before her shift started but was rebuked, tells her that she is going to America. Her sister contacted a priest in America to sponsor her. She says she can work until she leaves, but is not permitted to do so. Mrs. Kelly guilts her for leaving her sister behind to take care of their mother for the rest of her life.Eilis is at home at dinner with her mother and her sister, Rose, who does not think so highly of Mrs. Kelly either. They talk about the weather and about Eilis buying clothes.Eilis meets up with her friend Nancy. They discuss boys, particularly one boy, George, who seems to like Nancy. Eilis admits that she didn't put in more effort because she's going away soon.While the two girls are at a social, they awkwardly stand off to the side while couples dance. George comes over to Nancy and asks her to dance. Eilis watches then and then leaves.As Eilis is packing, Rose is surprised that she owns so little and wishes she looked after her better. This is part of the reason why Rose is sending her, because she can't buy Eilis a future.Eilis sets sail while her mother and sister watch, though their mother leaves early. Eilis and Rose cry while they blow each other a kiss. The ship appears to be full of mostly young people, being sent off by the older ones.On the ship, Eilis finds her room, with a bathroom being shared by two girls next door. Her roommate soon comes in to kick her off of the bottom bunk. She declares it's Hell and that she should not have come home from America. She invites Eilis for a smoke, who refuses. She tells Eilis she'll be back soon, unless she finds a man from first class to smoke with.Later, Eilis is the only one eating in the dining hall. She gets sick in the middle of the night and desperately has to use the bathroom, but the other girls had locked it from their side. She gets up to use a mop bucket to use the bathroom in and when she comes back to the room she throws up in a bucket there as well.When Eilis wakes up, her roommate is taking care of her. She forces her way into their bathroom and then blocks the others using it with her suitcase. She then goes to get her water.Eilis and her roommate talk outside on the ship's deck about her going to America. She is feeling better, as it's been hours since she's eaten. Her roommate tells her about America, what it's like, about letters, and how she'll meet people easily where she'll be living, in Brooklyn.When Eilis is eating again, her roommate is shocked by how pale and sick she still looks. She tries to dress her up so she won't be quarantined once she arrives.At immigration, Eilis looks quite different and lovely. Her roommate's voice-over tells her how to get through, which involves thinking like an American. As Eilis steps out of a blue door, she is bathed in light.Eilis finds her new place, which is a boarding house where other young women live, which is run by the delightful gossipy, Mrs. Kehoe.Eilis walks to Bartocci's, the department store where she now works. As she is putting her stuff away in her cubby locker, she is approached by another girl who tries to strike up a conversation. It's not just other girls Eilis is awkward with, but customers as well. She is told by her supervisor that she has to treat every customer like a new friend. Eilis keeps to herself and seems awkward. It is clear she misses home.On the day, Eilis had forgotten to check for mail, it turns out she had gotten letters from home. As soon as dinner is done she rushes up to read her letter, from Rose. She cries as she reads the letter.At work, a crying Eilis is still being watched by her supervisor. The supervisor asks her if she's crying because it's her time of the month, which it's not. She tells Eilis to take a few minutes off and sends her to the staff room. While there Eilis is approached by the priest who had sponsored her, Father Flood. He had been told she was doing so well that he didn't think she would need looking after. He lets her know that she has enrolled her in a bookkeeping night class at Brooklyn College. He says that they need Irish girls in Brooklyn, and she wishes she were back in Ireland. He assures her that she will feel wretched at first, but that it will then move on.The class does not seem to be an easy one, where they are learning about a Supreme Court case. Eilis is interested and doing well, though, and earnestly takes notes. During the break, a male classmate shares with her how hard he finds it.During dinner at the boarding house, they discuss their Christmas plans. The other girls make fun of Eilis, since she is going to be serving men at the church who have no other place to go.The priest explains to Eilis when she asks that these men don't go home because there is nothing there and they've lost touch. As a thank you, a man stands up to sing beautifully in Gaelic, which evokes emotion in Eilis as well as the other men. The music continues overhead during the film as the meal continues and is then cleaned up.Eilis walks home where she is greeted by Mrs. Kehoe. As the two have a drink, Mrs. Kehoe explains that with one girl leaving, Eilis will be offered the best room in the house, the basement, since she is pretty and sensible.
The other girls indeed look differently at Eilis during the next dinner.Two of the girls will be going to the movies instead of to a dance. Mrs. Kehoe remarks that hopefully they will have better luck with their new boyfriends than the ones before. Eilis says she will take the new girl, Dolores, to the dance.Sure enough, the two girls just sit at an empty dance. Dolores talks about wanting to meet a guy. The girls who had said they would go to the movies end up coming to the dance. They bring Eilis to the bathroom to put some lipstick on her and remarks that she looked like she had been milking cows.Eilis is dancing with a boy who is teaching her, though he quickly moves on to another girl. She is then approached by a boy, Tony, who had been watching her and they dance, including to a slow song. Tony asks Eilis where she lives and asks to walk her home. She says yes and then explains why, so he won't get the wrong idea. She points to Dolores and says that he'd be rescuing her from Dolores.While they're walking, he admits that he's not Irish, which she already knew. He explains that he's fully Italian. He came to the dance because he really likes Irish girls. Eilis makes him nervous as she teases him about if he danced with anyone else. Once Eilis arrives home, he asks to take her out next week. She accepts and says goodnight. He watches her go in and leaves.While Tony and Eilis are out to eat, Eilis tells him about school and how she wants to be a bookkeeper and eventually an account. She wants to know about his plumbing work, but he would rather hear about bookkeeping, which she goes quite in depth about. She also tells him about Rose. She's been talking so much though that she hasn't eaten much.At the boarding house, the girls are all knowingly smiling at Eilis. Mrs. Kehoe criticizes them and says Eilis is right not to say anything to those gossips. When they make fun of Tony's shoes, Mrs. Kehoe says she's going to ask the priest to talk about giddiness, the 8th deadly sin.Tony is waiting outside of class for Eilis to take her home. While they're riding on the trolley together, he dances around the question before asking her if she wants to meet his family. He tells her Italian food is the best in the world, which she's never tried. They also make plans to go to the movies.At work, Eilis is now in a much better mood and easily talks to customers. Her supervisor notices and says she's a different woman. Eilis offers it's because of Tony. Her supervisor says that since he doesn't talk about baseball or his mother too much she should keep him.At the boarding house, the two other girls teach her how to eat spaghetti, which Eilis is trying to do with a fork and a spoon.Eilis writes to Rose about Tony, but asks that she not mention him to their mother. She tells Rose that he helps her feel like she has a life there that she didn't have before.Tony warns Eilis about his younger brother Frankie, who seems to be looking forward to causing trouble, though the family had tried to talk him out of it. At dinner, Eilis is much more of an expert at eating spaghetti, and even tells Tony's mother that she took classes. Frankie then bursts out that they don't like Irish people since one of his brothers got beaten up by an Irish gang. He is then taken aside by their father.While Eilis shares how she is going to college for bookkeeping and working at the store, Frankie comes back to admit that he was a rude idiot, and they all applaud.One of Tony's brothers asks Eilis if Tony has talked to her about baseball, and they say that's how she'll see him in the summer if she goes with him. Tony is a Dodgers fan and jokes how it will be bad if their kids are Yankees or Giants fans. Frankie points out that Eilis isn't laughing and so must be a Yankees fan.Tony walks Eilis back home. Once they arrive, they hug goodnight. Tony says that he loves her. She thanks him for a lovely evening but is unable to say it back.While Eilis is looking at herself in the bathroom, another girl accidentally comes in. Eilis asks her why she isn't married, which turns out to be because her husband met somebody else and left her. When Eilis asks if she'd get married again, she says she, of course, would. Eilis isn't sure if somebody has asked her.The next time Eilis comes out of class, Tony isn't there. She is about to head home on her own when he shows up late. He seems awkward about last time and even though Eilis wants to talk about it, he changes the subject and talks about the job he had right before he came to that dance. She insists she talk though and lets him know that she loves him back. He was worried they were going to have a totally different kind of talk. Eilis asks him not to talk about their kids being Dodgers fans.Rose writes to Eilis, thanking her for her nylons and talking about her golf tournament. She can't wait to see her one day. Over dinner with their mother she is crying.Eilis brings her grades to Father Flood and says she has saved up enough money to pay for them on her own now, and to pay him back. He remarks how much she's changed.Mrs. Kehoe points out how Eilis is the first girl to have passed exams while living at her house. Eilis shares that Tony is taking her to Coney Island to celebrate. The girls tell her that she'll need to think carefully about her costume. Even Mrs. Kehoe agrees, since it'll be the most he'll have seen of her, and she won't want to turn him off.Eilis' supervisor helps her with bathing suits and comments on her needing to shave down there. She does compliment her full behind though and helps her into a nice green suit.Tony and Eilis seem to be enjoying Coney Island together. At the beach, though, Tony has to hold up a towel so that Eilis can change into her bathing suit. They certainly enjoy swimming and kissing in the water.Eilis writes to Rose to let her know she's really happy in America for the first time, and that it's because of Tony. He took her to a Dodgers game, and she's looking for office jobs. She'll even soon be able to afford coming home for a visit.In Ireland, Eilis and Rose's mother knocks on Rose's door and upon opening it, finds her dead.Back in New York, Eilis is approached by Father Flood while she is at work who tells her that her sister Rose had died back in Ireland. He explains that she likely knew she was sick with a terminal illness but didn't tell anyone. Eilis is upset that they're burying Rose without her being there, and she believes she'll never see her sister again. Father Flood says he thinks she will and that her sister will be watching over her.When the phone rings, Eilis hesitates but picks it up. It is her mother who tells Eilis about the funeral. She makes Eilis cry though with how she has no one. Father Flood comforts her.Eilis cries in Tony's arms while they're out to eat. He understand that she wants to go back to Ireland for her sister's funeral, but is afraid that he won't see her again. He says he wants to take her somewhere.Tony takes her out to Long Island, to an open space where he hopes to build houses for his family and be in a building company with his brothers. He asks Eilis to at least think about it, but she says she doesn't need to.Eilis can't sleep. Her mother back in Ireland is praying the rosary at church dressed in all black. Eilis gets up to go to Tony. She explains she needs to go home for just a month or two. He asks her to marry him before she goes. She's hesitant, but he says if they don't he'll go crazy.Eilis brings Tony to her room where she warns him if he makes any noise she'll get evicted. They make love, and when done they hear footsteps, though they fortunately stop. Eilis has Tony stay the night.The two are all dressed up to get married at City Hall. Tony plays ball with a little boy there and strikes up a conversation with his Irish father. He wants Eilis to meet them, but their name is called. When Tony drops Eilis off at home, they wonder what their children will think about such a story.Some time later, Eilis is back home in Ireland. As she walks out of church with her mother, she sees Nancy, who is engaged to George. Her mother already knew but wanted Eilis to hear it from Nancy. Eilis is invited to the wedding, which is set to take place after Eilis plans to leave, but her mother says she can stay.Eilis brings flowers to Rose's grave. She talks to Rose about Tony and cries about how she wishes everything were different.They go through the letters of condolences with Eilis wondering if she'll keep going back and forth sending thank you notes. Nancy is there, and her mother sends her off.Nancy isn't there with their other friend Annette though, as Eilis had been expecting. Rather she and George have brought another young man along, Jimmy.Once they arrive at the rugby club, Eilis asks why Jimmy is there, who had broken off an engagement with another girl because he didn't think she was serious enough. She reminds Nancy that she's going back to the United States, but Nancy assures her she can have fun before they go back.While walking with Jimmy, he tells Eilis that he went to Rose's funeral and that her death was the saddest thing that happened in town. His mother knew her since they were in the golf club together. While talking to Nancy, George, and Jimmy, Eilis distinguishes how she lives in Brooklyn rather than Manhattan, which isn't very glamorous. Since she wants to be a bookkeeper like her sister, Jimmy says she should do some work before she goes back. George accuses him of wanting Eilis to stay, but Jimmy says he's just thinking of Eilis.Her mother is still up and asks about her evening and asks about Jimmy. He'll have his house to his own soon, and her mother says he's a catch. Eilis just says goodnight.Eilis returns home from shopping. She is told that she needs to go straightaway to her sister's old place of work to fix an accounting issue. It's a terrible mess for Eilis to work out. She makes it clear she'll make a system for the person after her and will not be staying.The boss comes into compliment Eilis. He asks about her certificate and wants her to continue working there part-time and that they will speak again, even though she's going back. The grave is now filled, and Eilis continues to bring flowers.Eilis goes to the beach with Nancy, George, and Jimmy. Since it's so different from Brooklyn, Jimmy wants to know if they must seem backward to Eilis, but she tells him they seem calm, civilized, and charming.Jimmy tells Eilis there will be a prize in Rose's name at the local golf club. They want Eilis to present the first prize and Jimmy's mother also wants to meet her. Eilis mentions she wishes it were like this before Rose died.While the other three have to change into their bathing suits under their towels, Eilis already has her bathing suit on. They remark it must be an American trick.Tony wants help from Frankie writing out his letter to Eilis, since he's written so many, and she's only written back once. While Tony's letter is read aloud, Eilis seems to be getting along just fine in Ireland, including with Jimmy.Eilis comes home to find a letter from Tony. She doesn't even read it but rather puts it in her drawer with the rest of the unopened letters.Jimmy and Eilis are having lunch. She remarks that he looks different and jokingly ask if he's come to trick her. He admits that his life must seem very easy to her and others, but it doesn't feel like that. He tells her how he wants to go places and how he doesn't want to die having never left Ireland.Eilis meets Jimmy's parents. Eilis makes an awkward comment about how Jimmy will not be alone forever. She tries to fix herself, but his mother just changes the subject.Eilis reads all of the letters and begins to write one to Tony but cannot think of what to say.Eilis and her mother go to Nancy's wedding with Jimmy. He offers to save them seats and Eilis and the mother remark what a gentleman he is and her mother mentions he came along at the right time.Jimmy looks happy until he sees Eilis is emotional.Eilis is told by an older woman that things are working out well for her. She tries to put off talk of Jimmy. But the woman presses on and hints that they'll soon be married.While Jimmy and Eilis dance at the wedding, Eilis seems conflicted. Jimmy wants to talk to her about their future. He wants her to stay with him in Ireland, though he puts off proposing for another time since he doesn't want to bombard her. Eilis thanks him, is grateful and flattered, she just envisioned a different life. He understands but says her life could be just as good or better. They embrace.Eilis is fetched by one of her former co-workers to go back to her old boss, Mrs. Kelly, to talk. She wants to know how she's been getting on with her job and Jimmy, but Eilis says it's just talk. She shares how a customer, Mrs. Brady, has a relative living in Brooklyn and so she knows Eilis was getting married.Eilis says she has forgotten what this town is like and asks what Mrs. Kelly was asking her to do and assures her that her name is her married name.Eilis composes herself outside and walks over to make the next reservation for New York.Eilis' mother is just chattering away until she notices Eilis and thinks something happened with Jimmy. Eilis breaks down and apologizes for not telling her about Tony, but she wants to be with him. Her mother doesn't seem to mind and just wants her husband to be nice and wonders when she is going back, which is tomorrow. She then goes to bed and only wants to say goodbye now and only once. Her mother hopes she'll write about him and says goodnight.Eilis looks around her room as she packs up her things. She looks out the window as she leaves but seems sure of herself.Jimmy reads a note sent under his door. Eilis is on the boat with a similar situation as the beginning with a young girl asking her about America. This young girl is going to live in Brooklyn as well. Eilis gives her similar advice.In the final scene, Eilis is there waiting for Tony coming out of work. Her voice-over discusses finding someone who'll make her realize that's where her life is. They're basked in light as she hugs Tony. Fade out. | melodrama | train | imdb | null |
tt0083067 | Shock Treatment | A Texan-accented narrator introduces the viewers to the shadowy Denton TV executive Farley Flavors (Cliff De Young), who has lived his life "fast" but still feels incomplete without a certain woman... who belongs to someone else. As Flavors watches from his office, his television studio... which now encompasses the entire town of Denton... is steadily filled with the former residents of Denton, who gleefully assume their new roles as studio audience members of a 24-hour live reality television broadcast ('Overture'). The sole holdout in the celebration is the neurotic Brad Majors (also Cliff De Young in a dual role), who despite the insistence of his wife, Janet (Jessica Harper), that things will be OK, is ambivalent about the town's transformation. Once the audience is seated, they are greeted by a welcoming committee led by local reporter and documentary filmmaker Neely Pritt (Betsy Brantley), who inform the audience... and viewers on television... of Denton's supposed virtues ('Denton, U.S.A.').Brad and Janet are chosen as contestants on "Marriage Maze," a supposed game show whose only purpose seems to be committing people to "Dentonvale", Denton's resident hospital and insane asylum which also serves as the reality TV hospital series of the same name. Janet is given the opportunity to have Brad committed by the show's host, a supposedly blind and flaky Austrian named Bert Schnick (Barry Humphries), who promises her that the experience will improve their marriage. Janet and Brad lament the state of their relationship, with Janet ultimately deciding to have Brad sent to Dentonvale ('Bitchin' in the Kitchen').Upon arriving at Dentonvale, Brad and Janet are greeted by the eccentric staff whom include Nurse Ansalong (Nell Campbell), her boyfriend and fellow orderly 'Rest Home' Ricky (Rik Mayall), and Dentonvale's supervisors, the apparently incestuous siblings Dr. Cosmo and Nation McKinley (Richard O'Brien and Patricia Quinn). Despite Brad's objections, Cosmo has him drugged, bound, gagged, and placed in a padded cell known as the "Terminal Ward." Before Janet can sign the papers permitting the McKinleys to treat Brad, Nurse Ansalong tells her to wait a day, to give her time to make up her mind.Meanwhile, Janet's parents, Emily and Harry Weiss (Darlene Johnson and Manning Redwood), are brought onto "Marriage Maze" and promised a prize if they offer a psychological assessment of Brad. Deciding that he's regressing into childhood, the Weisses are awarded a vacation home on another of DTV's reality TV programs called "Happy Homes". Janet goes to meet them there and laments Brad's lack of assertiveness, wishing he could see that she still loves him instead of giving into the doldrums of marriage ('In My Own Way'). Mr. Weiss chastises Janet for marrying Brad, an orphan whose parents died in a car crash, rather than other boys from more stable home backgrounds. Janet tells her father that the boy he'd wanted her to marry turned out to be gay, prompting Mr. Weiss to proclaim the virtues of traditional American masculinity ('Thank God I'm a Man').In Dentonvale, the McKinleys are informed by Bert that financing for their show has been taken over by Farley Flavors' own personal company, a fast food enterprise, named "Five Flavors", which Farley hopes to use to finance a pop psychology movement, using a new TV reality/talk show program titled "Faith Factory" as the platform and the McKinleys as his mouthpieces. The reluctant McKinleys are quickly taken in by a persuasive videotaped pitch, and on Farley's orders, they recruit Janet to be the face of Farley's "Take Away Psychology," as he believes she is the perfect example of the girl next door ('Farley's Song'). Janet moves into Dentonvale with the McKinleys and Bert Shnick, with the promise that her new life as an exciting model will make her desirable to Brad again ('Lullaby').Meanwhile, Judge Wright (Charles Gray) and Betty Hapschatt (Ruby Wax), two DTV presenters from the news show "Denton Dossier" whom are sympathetic to Brad, look into the histories of Farley and the McKinleys, suspecting that there is a sinister motive behind "Faith Factory." However, their investigation is hampered when they are informed that they are being replaced as anchorpeople of "Denton Dossier" by Betty's ex-husband Ralph (Jeremy Newson) whom is currently dating the hot blond reporter Macy Struthers (Wendy Raeback) whom gets promoted to be the new co-anchor.The next day, after Nation catches a fully-sighted Bert Schnick spying on Janet in the shower, Cosmo strokes Janet's ego and designs a sexy new outfit for her, transforming her into "Miss Mental Health" ('Little Black Dress'). DTV manufactures Janet into an overnight sensation, and the newfound fame immediately goes to Janet's head, causing her to forget about repairing her marriage with Brad as she makes her debut by singing her song to the studio audence of her new fame. ('Me of Me').Janet, her parents, and Bert Schnick go to visit Brad at Dentonvale, where the Weisses question whether the McKinleys can really help him. The Dentonvale Staff assure everyone of their competency, "curing" Bert's blindness to demonstrate their abilities ('Shock Treatment'). Janet and her parents are completely taken in, but Janet's ego becomes difficult for the McKinley's to control. To keep Janet manageable, they drug her in her dressing room, resulting in a surreal dream sequence in which she patrols Denton looking for sex while Brad begs her for love from his asylum cell ('Looking for Trade').As the premier of the new psychology reality TV show "Faith Factory" nears, Bert, the Dentonvale Staff, and the Weisses prepare for their new TV roles by dressing up in white doctor and nurse uniforms in the wardrobe room as they sing about their new images ('Look What I Did To My Id').Meanwhile, Betty hacks into DTV's computer system and learns that the McKinleys are in fact character actors and that "Dentonvale" isn't a real hospital."Faith Factory" goes on the air, opening with a live musical performance by Janet's groupies, a punk band called Oscar Drill and the Bits ('Breaking Out'). Using the performance as a cover, Judge Wright and Betty dress up as white-lab coated doctors and break Brad out of Dentonvale, telling him that they've learned Farley is his biological twin brother, who was split from him during the adoption process and grew up poor. Now the wealthy and powerful Farley wants to destroy Brad's life out of jealousy, and is planning to seduce Janet on national TV as the last part of his plan.Brad, Judge Wright, and Betty break through the wall of the "Faith Factory" set, and Brad finally confronts Farley face-to-face about his plan ('Duel Duet'). Farley demands Brad be remanded to the hospital, but Janet, finally snapped out of her ego-trip, informs him that she never signed the consent forms. Angrily, Farley has Brad, Janet, Wright, and Betty arrested, and hastily names DTV host Macy Struthers as the new "Miss Mental Health." His psychology program ready to go, Farley invites the studio audience to join him in Dentonvale, to which they readily agree... they are all summarily handed stripped straight jackets, which they happily don and file out of the studio.Betty uses a hairpin to pick the lock on hers, Brad, Janet and the Judge's holding cell, and the shunned and defeated foursome resolves to leave Denton behind, but with their hopes and ideals intact despite the loss of everything ('Anyhow Anyhow'). With the help of Oscar Drill and the Bits, they hotwire a car that was meant to be a prize on "Faith Factory" and they all drive away off the deserted soundstage, out of the studio and the town itself, as Farley and the Dentonvale staff celebrate having just committed the entire town of Denton to the terminal ward in Dentonvale ('Denton, U.S.A. Reprise'). | comedy, boring, allegory, cult, insanity, psychedelic, satire, brainwashing | train | imdb | When Janet wakes up and realizes she wants her real life back, another cute chick is pimped up and easily accepted."Shock Treatment" is a very smart movie that works on the intellectual level RHPS did not.
"Shock Treatment", if you give it a chance, will make you think about the media's grip on society, make you take a second look at the "stars" adorning the covers of magazines such as Entertainemt Weekly, give you a whole new take on the audiences lining up for RHPS every Halloween (unlike the 80's when we went every month or weekend), and, having been made in 1981 (!) add no surprise to the fact that Richard O'Brien is a prescient futurist who made a killing in the stock market.Heck, I haven't even talked about the fact that "Shock Treatment"s use of primary colors, editing, and music video style sequences, predates the birth of MTV by at least a year.
I had heard a lot of bad things about this "sequel" to "The Rocky Horror Picture Show", and I can see how people expecting a return to the sexual hi-jinx of that classic would be disappointed.
This stands on it's own as an excellent musical-comedy with great songs and characters."Shock Treatment" takes place entirely in the television station of DTV, a local TV station that probes into the lives of its town's citizens.
The rest of the cast is populated with British comedians (Ruby Wax, Barry Humphries, and "The Young Ones"' Rik Mayal, who should have had a bigger part) and RHPS vets including Patricia Quinn, Little Nell, Charles Grey (also a former Blofeld!), and composer Richard O'Brian.O'Brian's songs are fantastic and some exceed the quality of tunes in the better known "Rocky Horror".
(funny, when you think about Rocky Horror, which was originally a huge flop as well, but was re-released after finding cult status).I have just watched Shock Treatment twice in a row and I'm proud to say I love it just as much as Rocky Horror.
But be warned, Shock Treatment has completely different subject matter (which means no revealing cross-dressing, references to old horror films and no Tim Curry), but some familiar characters and some very familiar actors appear in a film that looks at the brain-washing nature of television.It wasn't the sequel I expected, but after seeing it twice, I realize it is the perfect sequel to a perfect film like Rocky Horror.But the emotion I was filled most with after watching this film wasn't happiness, it was frustration.
Nice to see Ruby Wax in a lead role - she actually has a pretty big part as Betty, And the Rocky Horror actors - Richard O' Brien, Pat Quinn, Charles Gray and Nell Campbell are all great too (although it would have been nice to see a bit more of Nell) Keep a look out too for a pre-'Young Ones' Rik Mayall, playing Nell's love interest, interestingly enough.
Ah, "Shock Treatment"-- a witty, campy, colorful movie bursting with cheeky innuendo and amazing songs (one line from "Duel Duet": "You're a dead-end, deadbeat, nowhere mister with a kisser like a Mississippi alligator's sister").First of all, you have to approach "Shock Treatment" as a sequel to "The Rocky Horror Picture Show." While it doesn't contain the same level of raunchy cheese (or the aliens, or the transvestites, or the sex gags...
This is because Brad is the only person in the town of Denton who doesn't jump for joy watching the town's mind-numbing TV station, which is ruled by a greedy corporate sleaze master with an old connection to Brad and Janet.So eventually, a phony TV host (Barry Humphries, aka Dame Edna) and his quack-psych-doctor cohorts (Richard O'Brien and Patricia Quinn, who played Riff Raff and Magenta in RHPS) take Brad a hostage in their psychiatric facility/soap opera set so that station sponsor Farley Flavors can turn Janet into the next big DTV star.A few cast members return in different roles (Charles Gray, Nell Campbell, and some of the Transylvanians, for example), with Jeremy Newson coming back as Ralph Hapschatt.
Sure Brad and Janet, the wholesome couple who ran afoul of the Transylvanians in the first film reappear, but from that point on 'Shock Treatment' spins dementedly off on a trajectory all its own.Jessica Harper takes over the role of Janet, Cliff de Young is Brad (and Farley Flavor, sinister tv station owner) and both actors are fine.
Barry Humphries is slyly hilarious in the role of Bert Schnick, gameshow compere.The central concept of 'Shock Treatment' is that Denton, USA, the wholesome American town alluded to as the benchmark of normality in 'Rocky Horror', is in the thrall of tv culture.
Rushing to brad's help comes Betty Hapschatt, recently sacked morning show hostess (and Rocky Horror newlywed), played deliciously by the ever-abrasive Ruby Wax.Richard O'Brien shrinks from a more incisive scrutiny of the dumbing-down of America by it's television obsession.
And if you liked this movie, and love Richard O'Brien songs, you must know that have been other adventure of this beloved characters.
Dressing up of fun, "Shock Treatment" is not so unworried as "Rocky Horror" because is a satirical movie about T.V, in a twisted and funny way.This time we are in Denton, the perfect place...
Something evil is happen in Denton.For much "Shock Treatment" going to be absurd, underrated, boring and totally lost, a movie that have nothing to do with "Rocky Horror",but is absolutely the opposite.
Where we doesn't matter the others, and we only care the "how fabulous i am".Besides "Shock Treatment" offers a lot of fun, dance and sticky songs, just like "The Rocky Horror Picture Show" do.
I love "The Rocky Horror Picture Show" and believe me, that crazy movie is definitely one of my favorites, but what "Shock Treatmnet" do is incredible.
Besides of a great cast: Jessica Harper (Beautiful, strong and awesome voice from the actress who join too Brian De Palma "Phantom of the Paradise" and Dario Argento's "Suspiria") as Janet, Cliff De Young, Richard O'Brien (Of Course), Pat Queen, Nell Campbell (I love her voice!), Barry Humphries and Rik Mayall.
The music is totally awesome, and as i say above, totally important(All the score is good, you can find songs like "Farleys Song", Little Black Dress", "Anyhow, Anyhow", the beautiful Cradle Song "Lullaby", "In My Own Way", "Me of Me","Look What i Did to My ID" and of Course "Shock Treatment").
This film may not be anything like Rocky Horror, but as its own movie it is a Fabulous film, the music is fun and catchy, and the concept is phenomenal.
Particular highlights include the sombre "Lullaby" (a wonderful sequence which was undoubtedly an influence on music videos in the decades to come) and Harper's brilliant rendition of "Looking For Trade"."Shock Treatment" was a definite miscalculation, too ambitious to appeal to the "Rocky" crowd and not campy or funny enough to attract any cults of its own (audiences dressing up in hospital gear?
The Brad and Janet of "Shock Treatment" are not the wonders of "Rocky Horror." But give it a chance, this is one that grows in its impact with repeated viewings.
A great cast, too, with Jessica Harper rocking up a storm, Patricia Quinn finally getting some real dialogue (and delivering it marvelously), Cliff de Young in a dual role (he's a bit weak, but may have been directed that way), Ruby Wax, Rick Mayall pre-"Young Ones," at least one RHPS bit player upped to a major role (Jeremy Newson as Ralph Hapschatt), and Barry Humphries as "blind" Bert Schnick, before he went into permanent drag as Dame Edna.This is due out on DVD next month, and I'm ready to spring for it.
In this satirical spin-off of "The Rocky Horror Picture Show," Brad and Janet (this time around played by Cliff De Young and Jessica Harper), find themselves as contestants on a reality game show in their perfect suburban hometown/TV station of Denton (which is owned by a fast food corporation!) Brad and Janet are now married, and the game show host (played rather deliciously by Dame Edna) quickly convinces the impressionable Janet that the catatonic and emotionally unavailable Brad isn't living up to her standards.
appropriated during an opportunity I had to screen that film.)In "Shock Treatment", the presence of Barry Humphries (a fellow Australian, perhaps better-known to most as, er, "the advisor", to Dame Edna Everage) and the admittedly somewhat bizarre reprise of O'Brien himself (and Little Nell), so seamlessly worked into the plot as new and wildly different incarnations, was fun and rewarding for several reasons.
However, if you think of this movie not as a sequel to RHPS, but as a film standing on its own, an objective viewing will reveal that it is a razor-sharp satire on the effect of television and the media on John Q.
Combine these surfaces of the characters with much more complexity, a Byzantine television studio (get the symbolism?), a pseudo-blind game show host, a Christof-like sponsor, an audience so eager for the newest installment they sleep in the studio (!), some other wacky but importantly encompassing characters representative of the social order and common social ills (greed, lust, fear, jealousy, ambition), not to mention some great 'fluffy' tunes (try not to sing along to 'Denton') and other impressively and appropriately cynical ones ('You're Lookin' at an Ace' and my favorite, 'Look What I Did to my Id'), and you have a satirical wonder that dissects universal issues of which a lust for fame (Janet), a need for acceptance (Janet's parents), a desire that destroys (Farley), a need to be yourself (Brad), greed (Cosmo and Nation), and a devil-may-care-attitude toward using others (Schnick) are just a few to name.
Only Jessica Harper, Star of Phantom of the Paradise and Suspiria seems to falter as if unsure of the mediocre material.The best thing is the movie are the songs which are quite good and cry out for a better venue.Seeing this film again for the first time in probably 20 years was both a pleasure (there was a reason the songs have stuck in my head, they are good) and displeasure (the story just doesn't work).
Thinking back to when I saw this on a bootleg video copy in the early 1980's (hey it was the only way to see it for the longest time) I wasn't so wrong in thinking I had missed something, I had, I missed taking the time out to see a better movie.Rocky Horror fans should see it once just to say they have, everyone else should probably avoid it unless you want to hear some really good songs stuck in a really poor movie..
And it was really odd to see Richard O'Brien, Patricia Quinn, Charles Gray and Nell Campbell return to the movie but in different roles than in "Rocky Horror Picture Show".
The roles of Brad and Janet were now played by someone else entirely, which just was a slap to the face.It should be said that the cast was good, and I was surprised to see Rik Mayall here.There were a few good songs here and there, but they are not classics like the tunes from "The Rocky Horror Picture Show"."Shock Treatment" was adequate enough if you haven't seen "The Rocky Horror Picture Show", but since most of us have, then "Shock Treatment" turned out to be a mediocre experience..
To understand what I'm comparing what to, I suggest finding a copy of "The Brad & Janet Show"."Shock Treatment", as I said, is still a fun movie to watch and what's great about it is you don't even need to watch Rocky Horror to understand it.
Now, me being a fan of the stage shows of "Rocky Horror" from the 1973 London Cast, the 1974 Roxy Cast, to the 1977 Norwegian Cast, I obviously don't care if new actors are playing Brad and Janet; there's enough of the usual gang of weirdos for you to still enjoy.
The further adventures of Brad and Janet Majors are detailed in this follow-up, rather than true sequel, to the cult phenomenon "The Rocky Horror Picture Show".
The idea of the film's satire may be a brilliant one but sadly it leaves most viewers "Bitchin' in the kitchen" in the end.Overall Best Songs: "Duel Duet", "Lullaby", "Shock Treatment", Great lyrics: "Look What I Did To My Id", "Looking For Trade".
If you're a big fan of The Rocky Horror Picture Show I think its definitely worth seeing what Richard O'Brien has come up with just as long as you don't have high expectations, we have to be honest...
I believe that if you give it an open mind ,(Like "Rocky Horror")I guarantee that you'll love the songs and this movie equally as well.
There are only three zany, somewhat insane roles in the entire film (Cosmo, Nation, and Bert), and they are all played by 'Rocky Horror' veterans.If you are a RHPS fan, and it's on late-night cable T.V., watch it.
Shock Treatment is easily as good as Rocky Horror but with a stronger plot and more thought provoking story.
Brad and Janet were acted by other actors, no Tim Curry, Richard O'Brien and the rest of the Rocky cast in diferent roles, and most important not a single reference to the happenings of the original movie by the characters.
Being that The Rocky Horror Picture Show is my favorite film of all time, I couldn't help but compare Shock Treatment to its predecessor.
Some true "Rocky Horror" fans might not like this, but if you wanna have one of the best 93 minutes of watching a movie rent/buy "Shock Treatment" today!.
I see that many of the commenters describe Shock Treatment as an anti-TV manifesto, but I would say that it has a bigger theme, anti-conformity.I know that Richard O'Brien has "dissed" the movie; I saw him do it on a Rocky Horror tribute show, but I wouldn't put too much emphasis on that.
Or, if you've seen Rocky Horror, but didn't much care for it, you may like Shock Treatment better.
If you've seen Rocky Horror hundreds of times at the midnight movies, you quite likely won't like Shock Treatment.
I think that Shock Treatment was a funny movie with a lot of greatjokes, and the soundtrack is awsome, But Nothing Will Ever Be Better Than The Rocky Horror Picture Show !!!!
While I'm a fan of The Rocky Horror Picture Show, I find Shock Treatment to be the better film.
I saw "Shock Treatment" as a result of watching the "Rocky Horror Picture Show".
I saw "Shock Treatment" as a result of watching the "Rocky Horror Picture Show".
Shock Treatment was savagely under-rated on its release and holds the unfortunate record of being the only movie ever to play for less than a week at my home cinema, being pulled after only three days due to me being the only person who actually went to see it in that time.This is monumentally sadly as it seems to be a much more socially relevant film now than at its release.In these days of Reality TV, Docu-soaps, docu-dramas, etc, a movie like Shock Treatment, now 20 years old, shows itself to be way ahead of it#s time and even acts as a warning as to what might go wrong with the TV obsessed nation we are currently living in.Nominally a Rocky Horror sequel, it follows the story of Brad and Janet, post Frank N Furter as they have settled into domesticity in Small Town America.
And by using many of the same actors from ROCKY HORROR but in different roles, SHOCK TREATMENT can't really be considered a proper sequel to the original cult classic.The opening song, "Denton, U.S.A.," is a humdinger; energetic, witty and fun, it sets the tone for an buoyant good time.
"Shock Treatment" was recommended to me by a friend from work who has an odd fetish with "The Rocky Horror Picture Show," this films supposed prequel.
This is the most god-awful boring movie I've ever witnessed!!!I love Rocky Horror, but I went into watching Shock Treatment NOT going to compare it as a sequel.
Brad & Janet are both played by other actors(as the originals opted not to appear in the sequel),although most of the cast from RHPS appear in this film (Richard O'Brien & Pat Quinn play another weird brother & sister act,and Little Nell plays a nurse, plus others from Rocky also are featured).
Shock Treatment came no where near the greatness of The Rocky Horror Picture Show.
There is a roumur floating around that Richard O'Brien(writer of the two movies) is planning on a new musical called Rocky Horror: A Second Coming, that would completely delete the plot of the existing Shock Treatment, because it would be a direct sequel to the RH play and movie.
More importantly, the film was not as fun or amusing as 'The Rocky Horror Picture Show,' a movie with better songs, lines and characters.
Poor Follow Up. Shock Treatment (1981) * 1/2 (out of 4) Needless sequel to The Rocky Horror Picture Show has Brad and Janet (now played by Cliff De Young and Jessica Harper) appearing on a game show where they become hostages for various wild antics.
Richard O'Brien is currently and supposedly writing the actual sequel to Rocky Horror Show the original musical from which both movies spawned from.
So untill then check out this movie about Brad and Janet's life after Rocky Horror Picture Show..
Don't expect this to be like Rocky Horror because it's a different type of film (though some RHPS characters do show up).
It's definitely worth it for any die-hard RHPS fans, and some people who simply enjoy RHPS (or musicals like Hedwig and the Angry Inch, Little Shop of Horrors, etc.) may find Shock Treatment to be a very entertaining movie.. |
tt0087800 | A Nightmare on Elm Street | The film opens with a bizarre sequence where we see an unidentified individual, visible only by his hands, creating a strange weapon: a glove with sharp knives for fingers. Tina, a young girl in a nightgown, is rushing down ominous alleyways filled with steam and shadows. Suddenly the bizarre man lunges at her, brandishing the glove. Tina screams and sits bolt upright in her bed; the entire episode was a nightmare. Tina's mother comes into her bedroom, alerted by her scream, and notices that Tina's nightgown is slashed near her stomach. The cuts are similar to what would be made with the glove from the dream.Tina meets her friends at school the next morning: her boyfriend Rod, her best friend Nancy, and Nancy's boyfriend, Glen. Nancy and Tina discover that they have both had the same nightmare, and although Glen and Rod try and hide the fact, they seem to have been having nightmares, too. That night, Nancy and Glen decide to stay with Tina, because her mother has gone out of town. Rod shows up later and frightens the three of them by making strange sounds in the back yard and then jumping out at Glen. Rod and Tina go upstairs into a bedroom to have sex, while Nancy and Glen sleep separately downstairs; Nancy resists the idea of fooling around, since she and Glen are supposedly there as moral support for Tina.As all of them fall asleep, strange things begin to occur. The wall over Nancy's bed seems to lose its solid form, and the shape of a human figure looking at her seems to lean out of it. Nancy does not see it, her eyes closed in half-sleep, and when she awakens, the form disappears. In the room where Tina and Rod are sleeping, Tina is awakened by noises at the window; someone is in the back yard hurling small rocks at the glass. Tina knows this is whoever has been trying to frighten her, and she goes downstairs to confront whoever it is. When she ventures out into the back yard, a phantom voice lures her into the alley, the same as in her dream. She is startled by strange things such as a goat suddenly lurching into the alley, and then finally her stalker emerges, a man in a fedora, a dirty red and green striped sweater, and the deadly glove with knives for fingers. He taunts Tina by laughing at her and whispering her name, and he walks towards her with his arms stretching further than humanly possible, spanning the entire alley, blocking her escape. Tina retreats into her back yard and the figure leaps out again, this time from behind a tree. He slices off his own fingers and strangely colored blood spurts out. Tina tries to make it into her back door, but the man grabs her, and she struggles with him. We see Tina in bed next to Rod, trashing around; she has been dreaming this incident, as well, only the man seems to actually be under the covers with her. Rod awakens and pulls off the sheet. He can only see Tina, but she is being manipulated by some unseen force. Her stomach is slashed open, four wounds appearing all at the same time, obviously from the glove. Tina is dragged screaming up the wall, over the ceiling, and falls down dead into the bed, which is now covered in her blood. Nancy and Glen have now awakened and burst into the room to find Rod gone, apparently through the window. Tina is dead.At the police station, Nancy is giving her account of what happened and she talks to Lt. Donald Thompson, who also happens to be her father. Nancy's mother, Marge, and Lt. Thompson are apparently divorced, and they greet each other with restrained hostility. Rod is the obvious suspect in the murder, but Nancy feels that this is not the case; although Rod has a reputation as a delinquent, Nancy knows he is not a killer.As Nancy walks to school the next morning, Rod appears and pulls her into some bushes. Rod swears to Nancy that he did not kill Tina, but before they can talk any further, Lt. Thompson appears with his men and arrests Rod. Nancy is offended that her father used her to capture Rod, and she storms off.At school, the exhausted Nancy falls asleep in English class, and she thinks she sees Tina standing outside the classroom door. Tina speaks to her from a bloody body bag, and Nancy sees the bag dragged away by some unseen hand. She drifts out of the classroom and follows the bloody trail down into the basement. On the way, she is confronted by a female hall monitor, who scolds her for not having a pass. Leaving the girl behind, Nancy turns around when she speaks to Nancy in a man's voice, brandishing the weird knife-glove and cackling at her. Nancy goes down into the basement and is confronted by the killer, who is dressed in the same sweater and hat. His skin is horribly scarred, burned almost beyond recognition. He traps Nancy in the boiler room and backs her against the wall, taunting her. "Come to Freddy!" he says, but just before he can slash her with the glove, Nancy burns her arm on a hot pipe. The burn wakes her up, and she disrupts her English class by screaming and jumping out of her chair. Even though she is now awake, she has a large burn mark on her arm. Embarassed and frightened, she leaves school for the day. She visits Rod in prison and confirms her fears: Rod is having the same nightmare, haunted by the same figure with the glove. She tells Rod that she knows he didn't kill Tina, and leaves.Nancy has another incident where she is threatened by "Freddy"; she falls asleep in the bathtub and she is pulled underwater, dragged into some kind of abyss underneath. She manages to swim back up to the opening of her bathtub and pulls herself to safety. Marge, hearing Nancy's screaming, bursts into the bathroom, but Nancy tries to pretend she simply fell. Marge sends Nancy to bed, but Nancy is now afraid to sleep. She drinks coffee constantly and has a fresh pot hidden in her room, just in case.Nancy enlists Glen's help in an experiment. It appears as if she asks Glen to follow her, but she is in her nightclothes, so we presume she is dreaming. Nancy goes to the jail where Rod is being held, and by peering in the window she can see his cell. Rod is asleep, and she can see the killer approaching him, walking right through the bars of Rod's cell. Nancy yells for Glen but he is no longer there; instead, the voice of the killer answers "I'm here, Nancy!" and he lunges at her, chasing her back to her house. She runs inside and finds she cannot escape because her stairs have suddenly turned into a sticky mess. The killer smashes the window on the front door and peers inside as Nancy struggles to get away; he is wearing Tina's face as a mask, and imitating her voice, he says "Nancy, help me, please! Save me from Freddy!" Nancy wakes up, and she is furious to find Glen asleep next to her bed, as she had asked him to keep watch and wake her if it looked like she was having a nightmare.Nancy and Glen hurry over to the jail to see Rod, as Nancy is convinced the killer is going to strike. Sure enough, before they can intervene, Rod's nightmare becomes real and an unseen hand twists his bedsheets around his neck, stringing him up in his cell and breaking his neck. Lt. Thompson is skeptical of Nancy's claims that they are being haunted in their dreams, as it appears Rod simply hung himself. Both Marge and Lt. Thompson seem to share an unspoken realization about Nancy's allegations, but they will not admit anything to Nancy.Instead, Marge takes Nancy to a sleep clinic where they monitor her body as she sleeps. Her nightmare sends the instruments haywire because of its intensity, and when they wake Nancy up, she has a sudden gray streak in her hair from terror. There is another shock for all of them: Nancy is inexplicably holding the killer's Fedora. She says she was holding onto it when she woke up.Nancy's mother continues to deny that anything strange is going on, and she insists that Nancy get some sleep. Instead Nancy produces the Fedora and points out that it has a name written inside: Fred Krueger. Marge denies knowing who that is, and Nancy reacts angrily. Nancy has a conversation with Glen where Glen tells her that certain zen masters could control their dreams. Nancy asks what they would do if they met a monster in their dreams, and Glen says they would turn their back on it. If you take away a nightmare's energy, it disappears. Glen is surprised that Nancy believes she will die because of a nightmare, and also that she is reading books on creating booby traps and survival techniques.Nancy's mother finally opens up to her and tells her the truth. Taking Nancy down into their own basement, Marge tells her about Fred Krueger, who was a murderer that preyed on young children. When Krueger was apprehended, a technicality (being an improperly signed search warrant) caused the evidence against him to be inadmissable, and he was not convicted and was hence, released from prison. As a result, she and Nancy's father, along with other parents in the neighborhood, murdered Krueger on their own by setting him on fire. Marge reaches into the furnace and removes a dirty bundle; unwrapping it, she produces Freddy's glove, which she took the night they murdered him. Nancy realizes that Freddy is out for revenge, somehow reaching from beyond the grave to murder them in their dreams.Nancy tries to warn Glen but his parents will not allow her to talk to him. She receives a taunting phone call from Kreuger, even after she rips the phone out of the wall, and she realizes that Glen is about to die. Nancy can't rescue him because her mother has placed metal bars on all the windows and doors. Glen falls asleep and is killed by Freddy, being sucked into his bed and apparently shredded until nothing is left but gore, which erupts into a horrible fountain all over his bedroom.Nancy realizes she is now alone and must face Freddy or die. Calling her father, she tells him that she is going to go and get Freddy and bring him out of her dream, and she wants her father to be there to arrest Freddy when she does. Lt. Thompson doesn't believe her, but he patronizes her so that she will go to sleep.Nancy sets up a number of booby traps in the house for Freddy in order to give herself an advantage after she 'captures' him. After saying goodnight to her mother, who is now completely drunk, Nancy falls asleep and goes down into her basement. There she finds a door that was never really there before, and it leads down a long staircase into another basement. She continues to climb further and further downwards, following ladders and stairwells, until she is in Freddy's boiler room. Freddy is nowhere to be found, and time is running out before Nancy's alarm goes off and wakes her up. Finally he attacks her and she struggles with him; her nightmare suddenly shifts and they are outside of her house. Nancy's scheme succeeds, and she brings Freddy into the real world, holding onto him as her alarm goes off. The booby traps she has rigged for Freddy help her get an edge on him, but she is unable to get the attention of her father; the cop he has posted to watch Nancy's house seems to be unable to understand that Nancy needs help.Freddy chases Nancy through her house and down into her basement, where she sets him on fire. Lt. Thompson breaks into the house, but he and Nancy are shocked to see fiery footprints leading out of the basement. They follow the trail upstairs and find Freddy struggling with Marge in her bed. When they pull back the bedclothes, Freddy is gone. Marge is nothing but a charred corpse, and the body disappears into the bed. The supernatural manifestation shocks Lt. Thompson, but Nancy seems resolute. She asks to be alone for a moment and when Lt. Thompson leaves, Freddy appears, rising up out of the bed. Nancy turns her back on him this time, remembering what Glen told her. She curses Freddy, telling him "You're nothing. You're shit." He lunges at her, but her lack of fear renders him powerless, and he vanishes into thin air.Nancy leaves the bedroom and suddenly finds herself outside, dressed for school. Marge stands on the porch and sees Nancy off to school in a loving way, telling Nancy that she is going to quit drinking. Glen, Rod, and Tina pull up in Glen's car to take Nancy to school. When Nancy gets in, the convertible roof suddenly slams shut over their heads; the roof is red and green, like Freddy's sweater. The windows go up and the car drives off, with all four of them trapped inside. Marge seems oblivious, waving goodbye to the kids, when suddenly Freddy's arm smashes outwards through the small window in the front door. In a bizarre movement, Marge's entire body is pulled through the tiny window, and she is gone. | avant garde, gothic, murder, paranormal, cult, horror, violence, good versus evil, psychedelic | train | imdb | A Nightmare on Elm Street (1984) for me will be always in the genre the best slasher classic horror film written and directed by Wes Craven.
The first film is so original, realistic, and overall terrifying horror classic slasher flick that is actually happening in dreams, a sociopath child killer with sharp clawed glove who has knives in stead for a fingers, can enter into your dreams.
I love the main theme Nightmare Freddy Krueger score from Charles Bernstein and I love the song at the of the credits Nightmare by 213.A Nightmare On Elm Street (1984) is the best classic slasher film,one of the best horror movies ever made.
He was a sick child molester/killer who the neighbors burned alive to keep him away, but now he's after their kids and he's not going to take it easy on Nancy.A classic horror film that's perfect for a sleep over with your friends to watch in the dark.
A Nightmare on Elm Street is such a great film and I highly recommend it, Wes Craven is an original genius who spawned a new type of terror.10/10.
The movie continually finds creative ways to tease the audience, never resorting to red herring, that tired old convention used in almost all other slasher films.Despite the creativity in these scenes, "A Nightmare on Elm Street" is still a formula movie, with relatively one-dimensional characters and no great performances.
This was Johnny Depp's first role, as Heather Langenkamp's boyfriend, and although he does get a few neat lines of exposition (his speech about "dream skills"), his personality is not fleshed out, and there is no sense of the great actor Depp would go on to become.Within the genre, however, "A Nightmare on Elm Street" is a fine work.
Wes Craven created Freddy Krueger and when he did the world of Horror welcomed a great new character to its screens (or should that be its Screams).Freddy, a child murderer in life, now hunts the children of the men and women that killed him, while they sleep.Very gory, tense and full of over the top deaths scenes A Nightmare on Elm Street brought something new to the Horror Genre, and will go down in history in recognition of this.The rarity of the film, is the character of Freddy, because he actually has character without distracting from the terror (in this outing at least) Thanks Wes 9/10.
When the police ignore her explanation, she herself must confront the killer in her shadowy realm.This Film Starred: John Saxon, Heather Langenkamp & Johnny Depp.A Nightmare on Elm Street was released in 1984 was written and directed by Wes Craven.In my personal opinion this was a great film, it had it's scary moments which every horror should have unfortunately they did go a bit far on a couple of the sequels which got rather low ratings on here.
The 80's biggest horror landmark was this smash-hit that brought director Craven into mainstream film and gave birth to an unstoppable horror icon!Young lady discovers that she and her friends are having the same terrifying dreams about a scar-faced maniac, who's about to transcend into murderous life!Wes Craven's biggest claim to fame, A Nightmare on Elm Street was a far more imaginative slasher film than the numerous others that flooded the 80's cinema scene.
Robert Englund is a power-house villain as Freddy Kruger.A modern horror classic all the way, A Nightmare on Elm Street is still making folks afraid to sleep all these years later!Followed by numerous sequels.**** out of ****.
The thing is, these 'funny' moments are actual imagines of how Freddy wants to prey on his victims before killing them, this is done in this first film with a measured discipline, then you watch The Dream Master and Freddy is basically killing kids while being 100% comic about it as well.One of my favourite other scenes in this film is when Nancy is following Tina's corpse down her School halls (having falling asleep)and runs into a prefect women who states 'Wheres your pass?' Nancy doesn't respond in kind, and as she goes running down the hall, the girl reveals herself to be Freddy 'No running in the hallway' an eerie moment that is funny too.Finally, special mention must go to Robert Englund as Freddy Kruegar.
Freddy Krueger cannot come into the dreams of adults they don't have the imagination of fantasy anymore.Next to the plot I was always impressed of the style of directing and photography of A Nightmare on Elm Street.
Luckily, there weren't any bruises or cuts on me before leaving to school the next day.Starting on my review.Wes Craven's "A Nightmare on Elm Street" is about a group of kids led by Nancy (Heather Lagenkamp) where her friends have one thing in common: They see the same guy in their dreams.
One night, Nancy invites her friends for a sleepover where one of them is brutally attacked by the monster himself where nobody believes Nancy or her pals about the incident.To this day, A Nightmare on Elm Street scares the living crap out of me where every night before I go to bed, I try to tell myself that it's only a movie.Sweet dreams, everybody!.
After such gruesome drive-in flicks as "The Last House on the Left" and "The Hills Have Eyes," master of horror Wes Craven wanted to make a movie that would bring the slasher genre back to life, since the genre was clouded by untalented, unoriginal films that shouldn't have been made.
What makes Freddy so scary in the first "Nightmare on Elm Street" movie is how his dark, macabre sense of humor comes off as frightening.
Blending fantasy with reality, Craven wrote and directed one of the most iconic horror films of all time, which -- similar to "Halloween" before it -- spawned an inferior legion of sequels and imitators, all of which continue to pale in comparison to the original.The brilliance of "A Nightmare on Elm Street" is that it relies on psychological fear vs.
But in 1984, long before Craven predicted his character would become a huge part of modern pop culture, Freddy was mysterious and not very funny at all.The acting is one of the film's weaknesses -- Heather Langenkamp is never totally awe-inspiring as Nancy, truth be told (although she does a decent job); Depp -- in his big-screen debut -- shows a sign of talent to come but basically mutters clichéd dialogue most of the time.
The ending of the film becomes a bit muddled -- the booby traps are unfortunately a bit goofy and Freddy helplessly (almost humorously) chasing Nancy around her home supposedly trying to murder her is something the film could have done without -- but overall it is a satisfying mixture of horror, thriller and fantasy, a movie that taps into two seldom-recognized everyday events in human life, which are sleeping, and dreaming.
On Elm Street, the teenager Tina Gray (Amanda Wyss) has a creepy nightmare with a burned man wearing a glove with blades called Freddy Krueger (Robert Englund).
When Rod and Glen are mysteriously murdered, Nancy realizes that the only way to defeat the evil Freddy Krueger is bringing him to the real world.The classic "A Nightmare on Elm Street" is one of the best horror movies of the 80's and Freddy Krueger is my favorite villain.
A NIGHTMARE ON ELM STREET Starring: Heather Langenkamp, Johnny Depp, Amanda Wyss, Jsu Garcia, Robert Englund, ...Plot: The killer Fred Krueger (Robert Englund) appears in the dreams and he kills the people who see him in their dreams.
A teenager girl, Nancy (Heather Lngenkamp), wants to stop him, but that is so difficult...My opinion: That film is one horror low-budget movie from 80s and I think that is the best one, after "Friday the 13th".
Both central characters,the eponymous Terminator and "Nightmare" menace Freddy Krueger would become iconic film images for decades to come.The plot line of the story's no government secret here: a handful of high schoolers in a seemingly ordinary town in Ohio are being haunted in their dreams by a grotesque figure.
There are few good horror movies where people fight back and this is one of them.Being a big fan of John Carpenter I felt Wes Cravens film where worth checking out, and so far I'm not disappointed.
The lead role is a few years younger and Michael Meyers is replaced with Freddy Krueger an equally creepy bogeyman-ish character.Of course like all horror movies is write reviews about I note that these are not for the faint of heart.
Freddy, our villain, is as gruesome as our other horror movie monsters, (although he's acquit with slightly more witty banter) but he can only attack you one way--- in your dreams.Having the dreamworld as Freddy's playground is one of the smartest, and scariest ideas film maker Wes Craven could have come up with.
He would later take his Freddy to the level of cartoon character or celebrity (as shown in the New Nightmare) but here he gets his horror character just right a monster.Overall this is a good low budget horror but it is one that is difficult to view now without looking back and seeing it as the start of a long horror series that producing a character that has even moved beyond the constraints of his own film.
Nancy Thompson (Heather Langenkamp), Tina Gray (Amanda Wyss), Rod Lane (Jsu Garcia) and Glen Lantz (Johnny Depp) are all high school friends hounded by a serial killer named Freddy Krueger (Robert Englund) with a bladed glove in their dreams.
A Nightmare on Elm Street is a great film with a wonderful agenda: it's a horror film that takes place in the realm of nightmares, which gives your imagination a lot to work with once you go to sleep after watching it.Robert Englund is terrifying as the cruel sadist Freddy Krueger.
I should give this movie a review before the remake comes out later this year, I have just seen the trailer, for the remake and I didn't like it , what I saw,mI won't judge the movie by the trailer.Now lets get back to this movie, I wish movie like this were made these day, we will ever getting something like this again?.The story There a number of teenagers, who are having nightmare of this scary looking guy, who seem to have a burnt face and wears red sweat and gloves with Knives.Then soon kids start to die in there sleep, they were killed by this monster in their nightmare, we find out who and why this monster is killing thsee kids in there nightmare.This movie dose not take long to crab you in, there is a really fast bullied up to characters that will make you really care, Then the movie pulls you in with of the most of goriest and scary deaths scenes ever made.Every scene in movie has something happen and will grip until the ever end,.Talking about the ending, which I mean just the last ten seconds of movie, I did not like it.
that the only bad thing I can say about this movie.Acting from Heather Langenkamp, she did great playing Nancy, Robert Englund made Freddy really scary and rest of the the cast was outstanding.If you are new horror fan, looking for really good horror movies, This is the movie you need to see.i give this movie 9/10.
It is a landmark film that helped usher in the "slasher age", but that doesn't make it a good movie.The whole concept of a monster that kills people in their dreams is a wonderfully original idea, it's only too bad that the execution is less than stellar.
For me Seeing A NIGHTMARE ON ELM STREET back in 1984 was a thrill.Director Wes Craven was able to make us believe in the bogeyman played by talented actor Robert Englund who was at his best as the creepy and terrifying Freddy Kruger.
Wes Craven has made some brilliant horror films in his time, but this is definitely his best.Nancy Thompson and her friends are stalked by a deranged serial killer, but instead of the original plot line of this happening in real life, they're being hunted when they're at their most vulnerable.Including Johnny Depp in his first ever performance (Although you really won't recognise him!), this movie will take your breathe away, and really, I'm not exaggerating!
A Nightmare On Elm Street is simply one of the greatest Horror films ever made,an excellent,scary,frightening and original Horror Classic that is filled with great direction,a wonderful cast,a creepy and memorable score and amazing Special Effects.
It's one of my all-time favorite Horror films and is Wes Craven greatest film.Set in Springwood,Ohio,A Nightmare On Elm Street tells the story about a group of teenagers who live in the same neighborhood of Elm Street who have been having the same nightmares about a burnt and scarred man with finger knifes named Fred Krueger(Robert England).
When one of the teens is killed in their sleep,Nancy Thompson(Heather Langenkamp)has to figure out why Fred Krueger is stalking her and her friends in their nightmares and stop him before it's too late or Nancy won't wake up at all.There are many reasons A Nightmare On Elm Street is a classic and my opinion a landmark Horror film.
Great effects,MillerIn final word,if you love Horror films,Slasher films or Wes Craven,I highly suggest you check out A Nightmare On Elm Street,a landmark and timeless Horror classic that will make you afraid to go to sleep and will stay with you after you watch it.
However, with Freddy Krueger, writer/director Wes Craven presented us with a monster that lives, and kills, in a place all of us have no choice but which to visit every night: our dreams.In addition to this unique twist on folklore, 'Elm St.' supplies Freddy with a richly developed back story which distinguishes him from the other slasher genre anti-heroes Michael Myers, Jason Voorhees, and Leatherface in delivering an archetypal punch as well as the classic movie monsters like Dracula and Frankenstein in its wholly contemporary nature.
It boasts very good special effects and gave us one of the most infamous undead villains in Freddy Krueger, putting him up their with Jason Vorhees from the Friday the 13th films and Michael Myers from the Halloween films.Like the Alien movies, one and two in particular, many people compare Friday the 13th, Halloween, and Nightmare on Elm Street.
A Nightmare on Elm Street (1984) was the first film in the franchise series that featured serial killer/child molester Freddy Krueger.
Aside from Alien's "In Space, No One Can Hear You Scream," "Don't Fall Asleep" is the second-best horror movie catchphrase of all- time.After Friday the 13th and the 80s slashers took the scene, Wes Craven came through with a whole different evil villain in Freddy Krueger, a former child murderer that kills kids in their dreams.
The scene where Freddy and Nancy face off in a dream feels like it happens far too soon and throws off Craven's methodical buildup.A Nightmare on Elm Street, through whatever flaw I try to accuse it of having, is still an indisputable masterpiece of the genre, destined to live on no matter how many sequels, remakes, reboots, or licensed products leach off of it.
Wes Craven's landmark horror film, "A Nightmare on Elm Street" takes advantage of this often overlooked part of life and uses it in unusual and effective ways.Nancy (Heather Langenkamp) is your average sixteen year old girl.
This movie is great,as I forgot my problems with the film(which were nitpicks anyway)I'll just talk about how good it is.It has great atmosphere,the tone is actually very serious.The characters are all well developed,and well acted.I love the score,and the effects are great.The kills are awesome,and I didn't hate the ending as much as others did.I like the fact that as the movie goes on,Nancy,the final girl of the movie gets more and more paranoid.But the biggest pro,the concept,and Freddy Krueger himself,just so original and very different than the typical slasher villain.A Nightmare On Elm Street is a fantastic smart,gritty movie that manages to be fun at the same time..
Nancy defeats Freddy by pulling him out of the dream world and stripping him of his powers when she stops being afraid of him.The original Nightmare on Elm Street is a classic for me because at the time I was growing up, I really did not know what a scary movie was until I got my first taste in 2003 when I saw "Freddy vs.
Nancy defeats Freddy by pulling him out of the dream world and stripping him of his powers when she stops being afraid of him.The original Nightmare on Elm Street is a classic for me because at the time I was growing up, I really did not know what a scary movie was until I got my first taste in 2003 when I saw "Freddy vs.
Jason" and that's when I started to like scary movies.Robert Englund plays the role of Freddy Krueger and he would remain in that part for all eight original Nightmare on Elm Steet films, but would soon be played by Jackie Earle Haley in the 2010 version.
Jason" and that's when I started to like scary movies.Robert Englund plays the role of Freddy Krueger and he would remain in that part for all eight original Nightmare on Elm Steet films, but would soon be played by Jackie Earle Haley in the 2010 version.
This is the horror flick that will give you nightmares, about a group of friends living on Elm Street trying to stop the evil spirit of Freddy Krueger, a clawed killer who stalks young victims in their dreams.Like the horror flicks of the late 1970s to the 1980s, this film is one of the first original slasher movies of its kind and holds well on its own, spawning a set of sequels and remakes. |
tt0094631 | Alien Nation | The story takes place in Los Angeles in 1991. Three years prior an alien craft crash-landed on Earth. The saucer housed 300,000 "Newcomers", an extraterrestrial race of hard labor workers. With no way to return to their home planet, the Newcomers were first quarantined and then finally released to live among humans in the LA area.An LA police detective, Matthew Sykes, and his partner, Detective Tuggle, are patrolling an LA Newcomer neighborhood when they spot two of the aliens dressed in long black coats entering a small convenience store. The aliens pull out shotguns and rob the store's owner. Sykes and Tuggle intervene when the robbers emerge from the store and a gunfight ensues. One of the newcomers changes the magazine on his shotgun and begins to fire several powerful rounds that pass through the entire width of the car Tuggle is hiding behind. Tuggle is hit in the chest by one of the shots and dies immediately. Sykes, enraged at his longtime partner's death, takes off after Tuggle's killers.Rushing into a dark tunnel near the store, the Newcomer Sykes chases pulls out a small vial of blue fluid and deposits a small amount on his tongue. The substance is clearly a drug and the newcomer, invigorated by it's effects, furiously charges Sykes. Sykes fires several shots into the alien's chest, who seems unaffected at first but eventually drops. When Sykes is found by the backup that arrives, one of the officers tries to help him to his feet. When Sykes sees that the officer is a Newcomer, he violently pushes him away and hits him.The next day at his headquarters, Sykes joins his company for the morning debriefing. Everyone is saddened by Tuggles' death and their captain announces that they'll be taking in a new officer, someone who happens to be a Newcomer, the 1st one to be promoted to detective. Sykes volunteers to take the Newcomer, Detective Francisco, as his new partner, despite his obvious prejudice about their species. Francisco, having taken a new name because his own alien name is unpronounceable, tells Sykes his given 1st name is Sam. Sykes refuses to refer to his partner as "Sam Francisco" so he dubs him "George."The two go to the coroner's lab where they receive a report about the Newcomer store owner and the alien Sykes shot. While Sykes talks to the coroner, George talks to his Newcomer assistant in their native language. Evidence of a specific condition was found in the murderer but George doesn't share the information with Sykes. George also has an obviously scared look on his face at the news.Sykes and George continue their investigation and find that another Newcomer, Joshua Strader, a nightclub owner, is their next lead. On a stretch of ocean beach, Strader is being beaten by the henchmen of a Newcomer businessman, William Harcourt, while his assistant, Rudyard Kipling (himself one of the Newcomers involved in the convenience store holdup), looks on. When Strader won't accept a lucrative offer from Harcourt, Harcourt orders his men to take Strader out into the salt water, which has the same effect on the alien species that acid would on humans.Further investigation by the pair reveals that Strader was quarantined with Harcourt and two other Newcomers who were chemists. Sykes and George talk to the manager of a factory where Newcomers work in a room filled with methane gas without harm. After Sykes and George leave, the manager looks over a room behind protective glass where Newcomers are working with complex machinery to produce a blue fluid like the one the store robber took a dose of before Sykes killed him. | comedy, neo noir, murder, allegory, violence, thought-provoking, psychedelic, philosophical, revenge | train | imdb | It shows how hatred and ignorance over race can transform one's personality, like the lead character played by James Caan.Alien Nation asks questions about ourselves as humans.
Alien Nation was one of those films that expertly grasped the the sci-fi/mystery sub genre with a decent story and good visuals.The casting in the film was rather perfect, with the subdued Mandy Patinkin playing Francisco while the normally hotheaded James Caan got his licks as a racist cop named Sykes.
While I do wish the movie was a little longer and put some more scenes of George integrating into his new position at the beginning, the film was good as it was.Alien Nation proved to be one of the last good non-CGI sci-fi films.
What separates this from the usual buddy film is that instead of the difference being ethnic/class/gender, it is human (James Caan) and alien (Mandy Patinkin).The clichéd beginning with the main character's partner being killed is done very well with stylish gunplay and set pieces.
Caan aside, the cast is fairly mediocre, full of average actors except Terrence Stamp who puts on a good show as the bad guy.Something I loved about this film is how similar everything is to The Terminator.
Like Terminator, Alien Nation greatly benefits from the dark, murky feel of the environment, giving it an edge over a lot of Sci-Fi films which suffer from being too 'shiny'.The film does a great job at exploring racism, giving the impression of time repeating itself regarding the Western civilisations treatment of blacks when they were forced in to the country.
Considering that it is little more than your standard cop buddy movie, the slight variation being that the buddies are a tough seen-it-all cop and a by-the-books rookie who is an alien, Alien Nation ends up being a pretty good film.
The movie revolves around aliens who are living on earth...Caan can't stand these aliens, and really takes to disliking them when his partner is killed by one.
During this time being partnered with the alien Caan's character learns to actually like being around him and they end up becoming friends.
This movie has good action and comedy as Caan's character tries to figure things out and learns about his alien friend's different weaknesses and strengths.
Basically it is a buddy cop movie that has an alien teamed with a human..
Tough cop (James Caan) hates aliens, even more so after his partner is killed by one.
The rookie proves to the bigot that people are the same, despite their physical differences and they slowly become friends.Mandy Patinkin is great here, conveying the idea of an outsider who is not totally familiar with his new environment.
The chemistry between James Caan and Mandy Patinkin in this film is amazing.
The narrative ideas are vast: this ancient race struggling against a government where they are not represented; pointed social commentary on the civil rights struggle and of race relations since; these foreign beings coping with the garish culture of the United States; examining the class structures of immigrant populations; something, anything..........What we end up with, however, is ALIEN NATION, a film that is essentially a cop/buddy flick starring James Caan and Mandy Patinkin.
The point is is that ALIEN NATION, other than having Patinkin in outlandish makeup, offers nothing new to the tired clichés of this genre.
Caan plays a veteran detective named Matthew Sykes, who after the death of his best friend/partner sets out to solve the crime himself.
They begin to suspect the involvement of a wealthy "newcomer", William Harcourt, played by Terence Stamp (who, alas, had several more years of films like this before he made a comeback with THE LIMEY).
I'll stop there, but you can see where this is going.........The frustrating thing about ALIEN NATION is that so very little of the "newcomer" culture is explored by the writers.
The musical score by Curt Sobel (who replaced Jerry Goldsmith, after his lively, though weird, music was rejected) adds very little to creating an aural signature for the "newcomers." Stan Winston contributes fine creature makeup, although the incarnation towards the end appears almost identical to the monster from PUMPKINHEAD which Winston directed the same year ALIEN NATION was released.
There were several made for television movies and a series spawned by the film, but from what I understand these continuations offer little in the way of expanding the scope of the original concepts.
The idea of a fleet of spaceships bringing(literal) alien(renamed newcomers) refugees seeking asylum on Earth, and the inevitable culture clashes and problems this would bring is a good one, and the film does have good performances(stars James Caan & Mandy Patinkin as cop and alien partner) but it is such a pity that this is thrown away so that they could be shoehorned into a standard "buddy" comedy/thriller involving both human and newcomer drug lords exploiting a weakness of the Aliens by recreating an addictive drug to hook them on.
Matthew Sykes (James Caan) and alien Samuel "George" Francisco (Mandy Patinkin) have to join up to stop alien William Harcourt (Terence Stamp) from taking over.
L.A. police detective xenophobic Matthew Sykes (James Caan) and his partner Bill confront an alien holdup gang.
Sykes gets a new partner in Newcomer Sam Francisco (Mandy Patinkin).
Their investigation leads to Newcomer William Harcourt (Terence Stamp) and his scheme to distribute an alien drug.This is actually a very simple buddy cop movie.
A relaxed James Caan and the warm voice his co-star and cop-partner Mandy Patinkin help drive the story.
But I wasn't entirely happy with the Alien makeup, which reminded me of a hair-cap.I do like this movie much more than the TV series..
Mandy Pantikin also did a nice job on the film,, and i'm a big Terrence Stamp fan so I enjoyed the acting,, the premise was excellent to,,, I graduated the year this came out but never got around to seeing it till much later., so the story goes that Caan has to take on a partner,, well he's sorta an alien and Caan resents that and has arguments and bickers with him constantly but eventually the learn to work together get along and eventually become good friends, they go up against some bad guy aliens who wish to do harm to the human race as they are selling some kind of drug that has deadly outcomes for those that inject it,, I think that this movie was ahead of it's time..
a great movie for sci fi lover's and James Caan as well.
Caan has been much better than here (though not much worse) as a cop who doesn't like aliens and is, naturally, stuck with one as a partner.
Not much stretch work here.Not much to the plot, either, as Stamp plans to enslave the aliens with a newfound version of a drug from the old home planet (and when you find out what the drug is, think: would this mean that all the sober aliens walk around in dirty clothes?).In fact, the best thing about this movie, aside from the alien make-up job, is the song "Invincible" from the Temptations, a "golden oldie", according to the movie, from 1988.
Alien Nation takes the timeworn formula of buddy cop movies and puts a little twist on it.
This works better than it sounds but Alien Nation is not the greatest movie.
For all his great film roles he is not the greatest actor and pretty much plays the same character in every movie he is in.
Bottom Line: Unless you have really heard good things and want to check it out, your time may be better spent watching either a better buddy film or a better Sci-Fi film.
One of the filthy potato head slags kills Detective Syke's partner, he is then forced to partner with another slag, Sam Franscisco (Mandy Patinkin, who never really found his way into much later with the great "Dead Like Me").
While it's not a great film by any means, the acting is merely serviceable (James Caan being the only standout), the plot is VERY formulaic and clichéd.
Bog-standard cop-buddy movie with a run-of-the-mill plot boosted by good work from the two leads.
James Caan, Mandy Pintinkin, Terrence Stamp, a great story and production make for a great movie.
The first movie cop duo between a human and an alien.
The scene in the cabin of the bar, between Matthew Sykes (James Caan) and Cassandra (Leslie Bevis), an extraterrestrial stripper who wants to make love with him, is the most successful and funny scene in the movie..
This film plays as a basic cop movie only with a sci fi twist.
Homicide detective Sykes (James Caan) is assigned a new partner, but is hesitant on account he's a Newcomer (Mandy Patinkin), an alien race that came to Earth three years ago.
Sykes finally agrees, hoping it'll lead to his partner's otherworldly killer.Their unconventional coupling instead uncovers a scheme by an extraterrestrial kingpin (Terence Stamp) to flood the market with a space drug that has violent effects on Newcomers.A high-concept analogy on immigration that is reduced to a buddy-cop comedy thanks to its by-the-numbers mystery and hammy leads whose banter is painful.
A wonderfully entertaining winner that's just a great buddy-cop movie with lots to offer.
They did not get on, but by the end of the film they were best friends and there for each other.The aliens were pretty good even though the make up was terrible.
and the noses looked like they could fall off at any point.The film stars James Caan, Mandy Patinkin, Terence Stamp and Kevyn Major Howard.
Using James Caan to play a hard nosed detective was a good idea, and I think the film is probably better off for it.I have heard people criticize using him in the film.
I think newer film makers tend to shy away from trying to make originals like this movie, perhaps going for something that avoids the whole concept of alien societies.
When his partner is killed, racist and prejudiced cop Matthew Sykes (James Caan) teams up with an alien newcomer cop Sam Francisco(Mandy Patinkin) to try to find those that were responsible for killing his partner.
Animosity is rife between the two cops almost immediately as it was one of Francisco's 'kind' that was responsible for his partner's death.For the first 5 minutes or so this film was great and it reminded me of the sort of thing that Paul Verhoeven might have directed - it suggests that there is going to be some satire between aliens and humans and humans being forced to integrate with the aliens, but this seems to have been established for no real reason other than Baker ripping off Verhoeven as this has precious bearing on the story....And what a pity because had Baker gone down this road then it certainly would have made the film a lot more fun.
Baker isn't entirely to blame for this picture as the script doesn't have much to it either - given how daft the film is I didn't expect a lot of depth, but it perhaps would have been fun or interesting to show some of the cultural differences between the aliens and the humans or anything that might have made their co-existence together amusing.The really sad thing about this film is that it doesn't even get the best out of what can be considered as generally 'talented actors' - James Caan looked bored and mildly embarrassed throughout the film as well as putting in a pretty poor performance.
Had it been a bit more fun and had the story been slightly more developed then it might have been passable, but in playing it straight as a 'buddy cop' film with next to none of the redeeming qualities of a good 'buddy cop' film Alien Nation simply doesn't work..
Obvious Buddy Cop Movie Despite The Sci-Fi Gimmick.
James Cann plays tough cop Matthew Sykes whose partner is killed in a shoot out and gets partnered by alien newcomer Sam Francisco One can't help noticing the potential to ALIEN NATION .
Film makers like Paul Verhoeven were really pushing the boat out with violence round about this time and even when it was released ALIEN NATION seemed slightly tame .
It is still fairly cheesy, but enjoyable nonetheless.The movie is driven mostly by the interplay of James Caan and Mandy Patinkin.
This 1988 20th Century Fox release would probably later serve as a minor inspiration for the film, "Coneheads." However, "Coneheads" is actually a little better than this sometimes painful to watch sci-fi drama about a group of aliens who land on Earth and ever so slowly learn to be accepted among the "Earthlings" even going so far as to help a group of cops solve a murder.
I must admit the whole racist thing again an alien species does get on the annoying side at times, but this is more then a science fiction, it's a rare Sci-Fi buddy picture.
A prejudiced policeman is teamed up with an alien partner to investigate criminal activity within the alien subgroup.The joy of this movie is that it makes no big deal out of the aliens - they are treated, for the purposes of the film, like any other racial subgroup might be, and the racial prejudice allegory (and the dramatic thrust of the movie overall) is that much stronger as a result.This is effectively a relatively straightforward police crime thriller with scifi trappings and an intelligent subtext, and it succeeds well on all levels.The alien makeup is simple but effective.James Caan's weary detective is among his best work and Mandy Patinkin, unrecognisable beneath the latex prosthetics, is excellent as Sam Francisco (yes, really)..
This is where most of the interest in Alien Nation comes from, there are some really good character driven scenes including Sykes trying to tell a joke to his partner or explain what a condom is for instance while his Newcomer partner tries to present his people's side of the situation.
The acting is good especially from James Caan who is great in this (did he have his gas cut off in the end?) while Terence Stamp is unrecognisable under all the make-up.Alien Nation is an odd film since it is so clichéd & by the numbers except the alien angle which really does transform it from an average buddy buddy cop film to a throughly decent sci-fi thriller.
This in turn, introduces us to human cop, Detective Matthew Sykes(James Caan).
This in turn, introduces us to human cop, Detective Matthew Sykes(James Caan).
James Caan and Mandy Patinkin make a good team and Terence Stamp is good to as the evil Harcourt.
James Caan and Mandy Patinkin make a good team and Terence Stamp is good to as the evil Harcourt.
It's what gives focus to the relationship between detective Matt Sykes (James Caan) and his 'Newcomer' partner Sam Francisco (Mandy Patinkin).
A good performance by James Caan and a great one by Mandy Patinkin saves the movie from total mediocrity, particularly when the second half totally falls apart.WARNING: SPOILER While it is not implausible the aliens could be severely injured by salt water, can you seriously imagine how impossible it would be for them to survive on a planet with so much of it?
James Caan, Mandy Patinkin and Terence Stamp star in this 1988 sci-fi film.
Soon, we meet veteran cop, Sykes (Caan) who decides to work with an alien detective, Francisco (Patinkin) to stop a corrupt, alien businessman, Harcourt (Stamp) from unleashing a drug stimulant that enhances strength to his kind.
I have seen quite a few science-fiction films where aliens or mutants have become part of the modern world, e.g. Total Recall, and this is a pretty good one.
Matthew Sykes (James Caan), who still has issues about Newcomers.
This movie manages to marry several genres; Sci-Fi, buddy-cop films, and even has a blend of comedy and social commentary to it as well.When the film starts off, we are introduced to a new race of beings whose ship has crashed on Earth.
Sykes uses a partnership with George to investigate the death of his long time friend and partner.Soon, he realizes he in for more than he bargained for as a seeking of revenge as turned into a fight against an illicit drug that if put on the streets, could make the newcomers slaves all over again.
Sykes dispatches Harcourt by shoving him into the water, seeing how the newcomers' bodies react fatally to salt water.This was clearly one of the best sci-fi movies of the 80's and perhaps, one of the best all-time.
Caan stars as Sykes, a cop who having seen his partner he has known for years get blown away, gets over him very quickly and takes on a 'newcomer' as his partner.the thing is about this newcomer, it's the club singer from Dick Tracey with some really bad make-up on.together, they must foil a drugs ring led by General Zod and Rudyard Kipling, come to terms with a little diverting sub-plot about race, creed, and the effects it has on society, and of course, realise that at this point in his career, Caan would do almost anything to back into the movies after his little 'problem'.it starts off really well.
your typical cop-buddy movie, with all your clichés thrown in from way back since cop movies begun.Sykes hates all newcomers, obviously some sort of xenophobe as he hasn't even left his country, but he teams up with Francisco, not just to get revenge for his partner, but maybe because he wants to get 'one-up' on these aliens, as they are more intelligent than humans.there are some humorous moments and a lot of effort has been put into the story and the script, it's just too short for it's own good.
Suffice it to say that his smile looks frighteningly evil !01_Mandy Patinkin in (Alien Nation – 1988) : defines nightmare of a partner and movie ! |
tt0098635 | When Harry Met Sally... | In 1977, Harry Burns (Billy Crystal) and Sally Albright (Meg Ryan) graduate from the University of Chicago and share the drive to New York City, where Sally is beginning journalism school and Harry is starting a career. Harry is dating a friend of Sally's, Amanda (Michelle Nicastro). During the drive, they discuss their differing ideas about relationships between men and women. Harry says that "Men and women can't be friends because the sex part always gets in the way." Sally disagrees, claiming that men and women can be strictly friends without sex. During a stop in a diner, Sally is angered when Harry tells her she is attractive; she accuses him of making a pass at her. In New York, they part on unfriendly terms.
Five years later, Harry and Sally find themselves on the same flight. Sally has just started dating a man named Joe (Steven Ford) – who is a neighbor of Harry's – and Harry is engaged to a woman named Helen, which surprises Sally. Harry suggests they become friends, forcing him to qualify his previous "rule" about the impossibility of male-female friendships. Despite Harry's suggestions of exceptions to that rule, they separate, concluding that they will not be friends.
Harry and Sally run into each other again in a bookstore five years later. They have coffee and talk about their previous relationships; Sally and Joe broke up because she wanted a family and he did not want to marry, and Harry's relationship ended when Helen fell in love with another man. They take a walk and decide to be friends. They have late-night phone conversations, go to dinner, and spend time together. Their dating experiences with others continue to inform their differing approaches to relationships and sex.
During a New Year's Eve party, Harry and Sally find themselves attracted to each other. Though they remain friends, they set each other up with their respective best friends, Marie (Carrie Fisher) and Jess (Bruno Kirby). When the four go to a restaurant, Marie and Jess hit it off; they later become engaged. One night, over the phone, Sally tearfully tells Harry that her ex is getting married. He rushes to her apartment to comfort her, and they unexpectedly have sex, resulting in an awkward moment the next morning as Harry leaves in a state of distress. This creates tension in their relationship. Their friendship cools for three weeks until the two have a heated argument during Jess and Marie's wedding dinner. Following this fight, Harry repeatedly attempts to mend his friendship with Sally, but she feels that they cannot be friends after what happened.
At a New Year's Eve party that year, Sally feels alone without Harry by her side. Harry spends New Year's alone, walking around the city. As Sally decides to leave the party early, Harry appears and declares his love for her. At first, she argues that the only reason he is there is because he is lonely, but he disagrees and lists the many things he realized he loves about her. They make up and kiss and marry three months later. | cute, entertaining, romantic | train | wikipedia | null |
tt3799694 | The Nice Guys | The setting is the city of Los Angeles, California in the year 1977.A young boy, Bobby (Ty Simpkins) sneaks into his father's room and takes out a porno magazine from under his bed. Bobby checks out the centerfold, adult film star Misty Mountains (Murielle Telio). In the distance, a car rolls down a hill. The car then crashes through Bobby's house and out into a ditch. He runs outside to check it out. A young woman is sprawled out nude a few feet from the car. It's Misty. She sees Bobby and asks "How do ya like my car, big boy?" before she dies. Bobby takes his shirt off and covers Misty.In the next scene, we meet enforcer Jackson Healy (Russell Crowe). He follows a man that has been seeing a 13-year-old girl and smoking pot with her. When the girl leaves the man's house, Healy knocks on the door and then slugs the man square in the face, then tells her to stay away from young girls.Private Investigator Holland March (Ryan Gosling) is sitting in his bathtub full of water wearing a nice suit. He has "You will never be happy" written on his hand. He lives with his daughter Holly (Angourie Rice) after his wife passed away, and he has become an alcoholic. As a PI, March doesn't get the best jobs. He meets with an old woman who claims her husband is missing. March notices an urn over the fireplace with her husband's name on it (and his ashes inside it).Healy meets a teenage girl named Amelia (Margaret Qualley). She gives him March's name and address on a pink note shaped like a cow. March is looking for Amelia because he was hired by a woman, Mrs. Glenn (Lois Smith), to find her niece, Misty. Mrs. Glenn claims to have seen Misty appearing at her window in a pinstripe jacket, despite March insisting that Misty is dead and that she really saw Amelia. March goes to a bar to ask around, but the bartender threatens him with a bat for not leaving. Later, March tries to break in through the backdoor, but he cuts his wrist badly and has to go to the hospital.Healy goes to March's house and punches him in the face, then kicks him in the stomach. He tells March to stay away from Amelia. March goes for the cookie jar to get his gun, but Healy knocks it out of his hand and then breaks March's arm. On his way out, Healy meets Holly, claiming to be a friend of her dad. She gives him a bottle of chocolate Yoohoo.Healy goes home and is attacked by two men, known only as "Older Guy" (Keith David) and "Blueface" (Beau Knapp). They are looking for Amelia as well. Blueface goes into the next room to look for some money that Healy was holding, only to get sprayed with blue dye (hence his name). Blueface shoots at Healy, but Healy escapes.March is at a bowling alley with Holly and her friends for her birthday. Healy approaches him in the bathroom, but March is prepared with a gun. The two sit down to talk about Amelia. March explains his case to Healy and demands a nice cut of the pay if he's gonna let Healy work with him on this. Healy agrees.Healy and March walk by the Department of Justice building and come across a group of protesters lying on the ground, claiming the air is polluted and killing them. The group was organized by Amelia, so March figures she would be there. Some of the protesters tell them that Amelia isn't there. March offers $20 to anyone who will help. A guy named Chet (Jack Kilmer) joins the two and takes them to the home of Amelia's boyfriend Dean. The house has been burnt down. A kid on a bike passes by and asks for $20 to give up information. He knows Amelia and says she was with a guy named "Sid Hatrack", and that they made an "experimental" movie together.Healy and March drive by a billboard for a "Pinocchio" porno produced film by Sid Shadduck, the man that the kid mentioned. After getting his information, the two attend a party at Shadduck's with many porn stars in attendance. Holly tags along by stowing away in the trunk of March's car, but he sends her away in a cab. Healy and March go around looking for information on Amelia. Healy goes into a room with costumes and a film reel titled, "How do ya like my car, big boy?", along with a pinstripe jacket and a pink cow note with what looks like flight information. He finds Holly in a room with a porn star watching a porno. Meanwhile, March is really drunk and ends up stumbling down a hill where he loses his gun. He sees Amelia, and she sees him, but he's too drunk to notice it's her. He finds his gun and then tries to light a cigarette, and his lighter illuminates a dead man's body. March calls Healy over to check it out. Healy goes through the man's pockets and learns that this is Sid Shadduck. March says they need to get rid of the body in case Amelia tried to place him since he said he lost his gun out loud. The two dump Shadduck's body over a fence, where it crashes onto the table of a wedding reception, horrifying everyone.Holly comes across another porn star that knows she's been asking about Amelia. She guides Holly to a limo where she gets trapped with Blueface. Simultaneously, Healy runs into Older Guy. The two fight as Older Guy tries to shoot Healy, but Healy gets the upper hand and lets him live after he beats him down. Blueface sees Amelia and opens the door to shoot at her, but Holly slams the door on his hand and yells at Amelia to run before making her own getaway. March shows up after they left, but the valet tells him that Holly was in the black car. March steals a car and chases after it.Holly and Amelia both end up cornered in the middle of the road by Blueface. A van drives by and slams into Blueface. Amelia is ready to run but Holly wants to help Blueface as he is suffering. Amelia flees and Holly goes to get help. Healy shows up and finds Blueface. He threatens Healy with the fact that someone called "John Boy" is going to find him and kill him. Healy then chokes Blueface to death before Holly returns. March drives by and runs to his daughter. Not long after, the paramedics show up, along with a detective named Tally (Yaya Dacosta). A limo pulls up to Healy and March. It is Judith Kuttner (Kim Basinger), head of the Department of Justice. She says she's Amelia's mother.Healy and March sit with Kuttner in her office. She explains that the Vegas mob is trying to push their porn industry to L.A., and Amelia is involved because of the "experimental" movie she did with Shadduck, which Kuttner thinks is the result of her lashing out. Dean was murdered in his home as it burnt down so that the movie would be destroyed. She hires Healy and March to find her.Back at March's house, March is lying on the diving board above his pool. Healy comes by, and March asks him why Tally earlier referred to him as "the guy from the diner". Healy recounts a story from a year earlier when a man in a diner was threatening people with a shotgun. Healy stepped in and intervened, causing him to get shot in the arm, but he still managed to beat the crap out of the assailant. It cost Healy a lot in hospital bills, but he claims it was the best day of his life. He then sees that March fell asleep. Healy then drives away and spots Holly reading a book in a dark field. He approaches her and learns that her mother died as a result of a gas leak explosion, which March didn't detect because he has no sense of smell. Holly asks Healy if he killed Blueface. He denies it.The next morning, Healy and March get ready to continue working, but March is already drinking. Holly calls him out on being a fuck-up and the worst detective ever. Healy mentions the information on the note he found at Shadduck's house, knowing it was written by Amelia. March deduces that the writing isn't for a flight, but for an apartment building. The two drive out to the location, but the building has been torn down for years. They then pass by the Airport Hotel, and the information was for a room number.Healy and March go into the hotel and ask the bartender if he saw Amelia enter the hotel. After Healy slams his face onto the counter, the bartender says he did see Amelia go upstairs in an elevator, and that "John Boy" may be up there as well. After the two debate on going up there, they take the elevator to the floor where Amelia may be. They find a dying man with his throat cut, and then a man being shot repeatedly until he falls out the window. Healy and March decide to go down. They go back to the car, and March thinks Amelia is dead. To their surprise, she lands feet-first on the car. She tries to shoot at them, but the recoil knocks her off her feet and she goes unconscious.The guys bring Amelia back to March's home, where Holly is watching TV with her friend Jessica (Daisy Tahan). After Amelia wakes up, she tells them the truth - her mother is behind the murders as a result of the film Amelia made to protest the air pollution from car companies, and Kuttner is doing whatever it takes to stop that film from being shown. The guys then get a call from Tally, who asks them to make a drop with a briefcase full of money. March mentions that Amelia is there, and Tally says she'll send the family doctor over.Healy and March get the money, but March falls asleep at the wheel and dreams that Healy shows off an ankle gun while a giant killer bee (Hannibal Buress - him again!) is in the back smoking a cigarette. Healy snaps March out of it, but they end up crashing against water barrels, causing the briefcase to fall out and spill the contents everywhere. It's not money, but a bunch of paper clippings.Back home, Holly answers the door to find a man (Matt Bomer) claiming to be the family doctor to see Amelia. However, Holly quickly figures that this is John Boy. She goes to the cookie jar and takes out her dad's gun. John Boy threatens to cut Holly with his knife. Jessica tries to intervene, but John Boy throws her through the window. The guys make it home as John Boy leaves. He takes a gun out of his trunk and shoots at them. March runs to grab Jessica and brings her in the house. He puts her in the closet to hide with Holly and Amelia. Holly gives March his gun back. Healy shoots at John Boy and runs inside for protection. John Boy flees as he hears police sirens approaching. Amelia escapes out the window and runs into the street. She flags down a car and asks for help. Unfortunately, this is John Boy's car. He shoots Amelia dead and leaves her in the street.Healy, March, and Holly all feel terrible after Amelia's murder. But a big break in the case happens when Mrs. Glenn reappears. She once again insists that she saw Misty wearing a pinstripe jacket by her window. When Healy mentions he saw that same jacket at Shadduck's house, March gets the idea to go to Mrs. Glenn's house. They see a projector pointed at the window, and Healy mentions seeing the reel for the film at Shadduck's, meaning Mrs. Glenn only saw Misty through the image projected on her window. Mrs. Glenn breaks down because she knows Misty really is dead. The guys realize that there was a second reel, and Amelia was planning on showing it to distributors on that very day at a party.The guys and Holly attend the party. John Boy and other goons are there to find the film and destroy it. They all learn that Chet is the projectionist. John Boy approaches him and asks where the film is. Healy later finds Chet beaten nearly half to death in a dumpster.The guys find the room with the projector, but they are cornered by Tally. Holly shows up pretending to be room service and throws coffee in Tally's face, but it's cold and does nothing to her. Tally ends up slipping and knocks herself unconscious, allowing the guys and Holly to get away.Outside, Holly overhears Older Guy talking to John Boy about their plan. Older Guy spots Holly and brings her back to March at gunpoint on the roof of the hotel. March tells Holly to duck and he whacks Older Guy over the head. March grabs Older Guy's gun and shoots him three times. He tries to grab Holly as he falls, but March pulls her away and falls off the roof. March lands in the pool while Older Guy splatters on the concrete.The film starts playing for the whole party to see. It features Misty's character speaking against the head of the car company, Bergen Paulsen (Gil Gerard). Paulsen sees it and orders his men to find the film. Holly finds the film first as Tally wakes up. Holly rolls it out the window, leading Healy, March, and the villains to go after it. After a long chase, March ends up with the film, while Healy fights John Boy. Holly walks in on Healy strangling John Boy. She vows to never speak to him again if he kills John Boy. Healy lets go and only knocks John Boy's lights out. The police show up moments later.Healy and March go to the Department of Justice building to confront Kuttner one last time. She shows no remorse for her daughter's death, and while she knows she's going to jail, she promises that someone worse than her will be in charge next.Later on, March goes to meet Holly and Healy at a restaurant. He sits with Healy at the bar where they discuss their case, and March thinks that they'll be driving electric cars within five years. He then tells Healy that they have another case, in which a woman thinks her husband is sleeping with Linda Carter (possibly Wonder Woman, possibly not). March has even come up with a name for their agency: "The Nice Guys". | comedy, neo noir, murder, violence, flashback, humor, revenge, sadist | train | imdb | But it's clear that Amelia is at the centre of a tornado of intrigue, since her mother Judith (Kim Basinger) is head of the Justice department and there are some heavies from New York and Detroit looking for Amelia too.As the film's tag-line admits "The Nice Guys" are "far from nice", and this is a sort of bromance buddy movie of the likes of "Lethal Weapon".
While there are a number of action sequences, The Nice Guys is focused more on delivering humour and jokes based around a couple of reasonably well-developed characters and a mystery that's a little absurd and off- the-wall.The comedy on offer here is quality stuff.
The comedy can be a little dark at times though, so if you like lighter laughs, The Nice Guys probably isn't your kind of movie.
The line in question refers to a thirteen year old girl who chats up a guy three times her age for some weed, and another scene has a kid on a bike talking about his big dick, but more prominently is Angourie Rice who plays Holly, the PI's daughter, and shows a massive amount of maturity in every scene, often showing up her father in smarts.
I'll admit that I am unfamiliar with most of Shane Black's original works, watching The Nice Guys made me want to go back and take a look at his earlier films.
The Nice Guys is written and directed by Shane Black and stars Ryan Gosling and Russell Crowe as two detectives who try to solve a case regarding a missing girl and the death of a porn actress in Los Angeles during the 70s.I'm a big Shane Black fan ever since my childhood, with Lethal Weapon being one of my all-time favorites.
Black is great at writing buddy comedies with crime and mystery touches and The Nice Guys is one of his best works to date.First of all, the two main actors, Russell Crowe and Ryan Gosling, have an amazing on-screen chemistry.
He has some of the funniest lines, he gets in the craziest situations and yet there's also a dark side to him, having some drinking problems and at the same time trying to raise his daughter (Angouire Rice), who is wise beyond her years.The story itself is not the most original and unique, it doesn't really break new ground and you can solve the mystery on your own while watching the movie.
We were not promised some original concept or never before seen plot, we were promised an action comedy that offers two great characters and a very clever script.What I truly love about this movie is how simple it actually is.
It really goes back to the 80-90s era, when we had some great action-comedies like the Lethal Weapon franchise or Beverly Hills Cop. It's a nice breath of fresh air with some clever dialogue, noir elements, good action and two perfect stars in the main roles.
'70s detective movie starring Ryan Gosling and Russell Crowe, directed by Kiss Kiss Bang Bang's Shane Black.
Shane Black doing what he excels at the most and doing it at the very best: "The Nice Guys" is funny, smart, action packed, violent, irreverent, thrilling and entertaining all at the same time without ever having tonal shift problems, it molds so many elements into one cohesive package that will give you a blast at the cinema and won't alienate you even with the sudden appearance of a giant talking bug in a car.What has to be addressed immediately is the fact that if there was ever a prize for best on-screen chemistry for 2016 the race is already over, Crowe and Gosling light up the frame with an overwhelming energy, this is something we haven't seen in quite some time.
Finally Angourie Rice is a revelation, she steels the movie from Crowe and Gosling so well it feels like this movie is about the three of them together.Now, all of these actors get the chance to do such amazingly inspired work thanks to Shane Black.
Matching Russell Crowe and Ryan Gosling in this awkward partnership actually works out very well, they are very true to their character, both a bit off in their own way, but together they really are the nice guys :)It is the funniest film I have seen in a long time and it really deserves a lot of credit for keeping a good story and not just relying on slap-stick humor, it has both subtle and loud comedy, it has action and something going on all the time, but above all it has timing and precision in the way it delivers the story and how the characters handle the different situations.Location, seating & time: Kinopalæet, Lyngby, Denmark - Bio 3, row 9 seat 3 & 5 - 27.06.2016 at 19.00.
IN BRIEF: A bubble-headed rehash of crime thrillers and buddy movies.GRADE: D+SYNOPSIS: Two inept detectives try to unravel a mystery during the groovy 70's.JIM'S REVIEW: Take the popular buddy movies of the 80's, add the retro good vibes of the 70's and quickly stir in the grisly blood and violence of the 90's and voila!...you have a half-baked movie entitled The Nice Guys, a film with no identity to call its own.
Ryan Gosling and Russell Crowe play misfits Holland March and Jackson Healy, a couple of low-life PIs who join forces to solve a convoluted mystery involving a missing girl, a porn starlet, and how two distinguished actors can pick a real loser.
The first 25 minutes of the film, focused on introducing the 2 main characters, played by Ryan Gosling and a fairly wooden Russell Crowe, is hilarious.
I also think the flow of the movie is poor, like I mentioned the first 25 minutes is brilliantly paced, with violence and humour, and then it sort of slows and jokes become less regular and less funny and the story sort of gets a bit stagnant and then they try to pick it up at the end with a big shoot out but even that was a bit hit and miss.
Ryan Gosling's character also has a daughter who manages to worm her way into the film and I felt like her character really wasn't needed, she sort of gets annoying and though she has a funny moment here or there, I felt like her tagging along on all the missions kind of weighs the two main characters down.
Have you already retired or did you do something wrong and offend some Hollywood big wig who wanted you to make amends by staring in the worst movie of the year?Russell Crowe....Wow. When I think back to all those terrific movies you made....Kudos to the young girl who played Ryan Gosling's daughter in this.
Russell Crowe is still an actor I love (extra pounds and all) and he's the best thing about this movie because he basically plays the straight man and isn't trying to be a clown like Gossling is.
Stylistically it looks great, but the tone flounders and fails.In regards to "The Nice Guys", there is a smugness that shines through from the movie's worst character, the 13-year-old daughter of Ryan Gosling.
On paper, she was probably born in Shane Black's mind as "A 'Nancy Drew' character who sits through a porn film with adults, while being the voice of reason with adults, while holding dying bad guys hands and telling them everything is going to be okay, and then thinking nothing of talking about anal sex and seeing dead bodies...
A retro-70s odd-pair comedy couples a stone-faced heavy Jackson Healy (Crowe, sizably ballooned in his physique, whether intentionally or otherwise) and a goofy private eye Holland March (Gosling), who are set to look for a runaway girl Amelia Kutner (Qualley), but soon discover several deaths happened to those who are connected to a porno movie made by Amelia, in defiance of her mother Judith (Basinger), a honcho in the United States Department of Justice.Black is conversant with the genre ropes, apportions much physical endeavor to Healy, socking low-lives, close-range combating with pro assassins, and leaves the brain work to an ostensibly lackadaisical March, a single father perennially tailed with a premature teenage daughter Holly (Rice), who feistily teams with the duo in their children-improper outings (including a licentious party thrown by an AV producer), and coolly transforms into a dauntless heroine in the process of solving this desultory mystery.
The Nice GuysRyan Gosling is amazing in physical comedy and Russell Crowe is hysterical in verbal sparring and together they make a good team with great chemistry but unfortunately not a good film.
The jokes are funny, the dirty stuff are really dirty, the character moments are engaging, the old-fashioned and exotic 70s setting feels lived in and compelling, and Shane Black remains the best at directing intense action.
Shane Black's new film THE NICE GUYS is being billed as an "ACTION/COMEDY" and I think this is a mistake.
It is much more nuanced than the average "action/comedy" and, for the most part, succeeds in this nuance.Set in 1977, THE NICE GUYS pairs Ryan Gosling and Russell Crowe as they investigate a disappearance in Los Angeles.
While I thought Gosling was trying a bit too hard in the comedy areas (he managed the balance of comedy and drama better in THE BIG SHORT), the surprise to me was how easy the comedy parts seemed to come to Crowe while the dramatic parts showed off that he still has strong acting "chops".Ultimately, where this film falls short for me is in the direction by Shane Black (the underrated Kiss Kiss Bang Bang and the overrated Iron Man 3).
After gifting us the original team up of Riggs and Murtaugh in 1987's Lethal Weapon (as screenwriter) and combining the services of Robert Downey Jr. and Val Kilmer in the fantastic 2005 cult hit Kiss Kiss Bang Bang (as writer and director), Iron Man 3 director Shane Black has now added the successful team up of one time pin up boy Ryan Gosling and the increasingly gruff Russell Crowe to his resume in the fun, colourful and Coen Brothers like The Nice Guys.A 70's set dark comedy with inklings of a pulp like detective tale that involves everything from pornographic actresses, blue faced goons, talking bees and Ryan Gosling on a toilet, The Nice Guys weaves a quite complicated tale of mysteries, murders and questionable investigating work into a film that at its core often fly's and sometimes fails off the back of Shane Black's witty scripting work, the fantastic use of the 70's landscape and most importantly, the winning combination of the inventive pairing of Crowe and Gosling.Clearly relishing the opportunity to play each other's foils, Gosling and Crowe are the best they've been in years here and while Gosling has shown his comedic chops in films like The Big Short and Crazy, Stupid, Love, Black un-tap's a fun side to Crowe we haven't really seen before even though some could claim ventures like The Good Year and Mystery, Alaska tried to show off a lighter side to the phone throwing adopted Australian.
The Nice Guys is Crowe's best work in sometime and it's likely his future roles will try to harness his lighter persona that works so well here, even though Gosling steals most of the films best singular moments.Speaking of stealing, young Australian actress Angourie Rice who was first seen in the worth checking out These Final Hours makes a huge impact to The Nice Guys fortunes with a fantastically judged turn as the wise beyond her years daughter of Gosling's often bumbling Holland March, Holly, and considering it's no mean feat to outplay two Hollywood heavyweights, Rice could well be "the next big thing".A sharp, fun and engaging mixture of comedy and mystery with a healthy dosage of violence, The Nice Guys isn't ground-breaking stuff and some of the potential jokes within the film sadly fall flat but as whole this energetic and colourful vehicle driven by Black's wit, Gosling and Crowe's fine pairing and Rice's star making turn, this is easily one of the year's easiest to like cinematic diversions.3 ½ swimming Nixon's out of 5.
The darkly comedic 2016 film "The Nice Guys" (R, 1:56) has a private eye looking for multiple missing persons, while uncovering connections to the porn industry AND government corruption in 1970s Los Angeles AND a character played by Kim Basinger is an important part of the plot.
Besides co-writing, Black (who also directed "Iron Man 3") directs this film with a good feel for pace, tension and comic timing, while his very talented cast (especially Gosling, Crowe and Rice) really brings it all together.
I saw this film because I also enjoy Russell Crowe, love buddy cop films, thought the plot/script looked hilarious, and I mean just watch the trailer😀The Nice Guys is about muscle-man PI Jackson Healy (Crowe) who ends up working with a drunk P.I. Holland March (Gosling) to learn the truth behind the death of the famous porn star, Misty Mountains.
The case is made more complicated by March's precocious daughter Holly (Angourie Rice) and the realization that the government is involved in a cover-up and it all comes down to finding a young girl, Amelia.It's Lethal Weapon meets The Man From UNCLE meets Miami VIce meets That 70's Show meets its own unique style.It is obvious that Crowe is the action and Gosling is the comedy, but that does not mean they switch roles every once in awhile.
Shane Black is known for his involvement in the development of late 80's buddy cop film Lethal Weapon, The Last Boy Scout, Iron Man 3 and this solo underrated crime comedy flick Kiss Kiss Bang Bang, Black returns with a new feature film that packs not only the key elements of his works but a solid buddy cop movie that definitely feels like a new Lethal Weapon film for the new generation.The plot follows two men; tough enforcer Jackson Healy (Russell Crowe) and private investigator Holland March (Ryan Gosling) who has been down on his luck since the death of his wife but tries to raise his young per-teen daughter who paths cross when they discover Holly (Angourie Rice).
The script is smart, funny and very much a noir mystery, I won't say too much on what is involved but knowing that Black's style of storytelling is a cult following, it surprises to be engaging throughout without a dull moment existing.Another strong key element that makes the movie work so well it's is great leads Crowe and Gosling, I don't think anyone would ever see these two in a film together but the chemistry they share is often smart, funny and forms the element purpose of a buddy cop film.
The supporting cast handle themselves well, there is no miscast whatsoever.Overall, The Nice Guys plays out like a nod to noir crime thrillers of the 70's, old school action flicks of the era while it carries a feeling and tone of a buddy cop action/comedy that helps to keep the audience watching the plot unfold and see its leads play out in hilarious ways.
I don't know how much broad appeal a period piece that's structured around an adult film industry crime has, but you'll have a hard time not getting behind the chemistry between Russell Crowe and Ryan Gosling as the title characters.
The Nice Guys is undoubtedly one of the most entertaining films from beginning to end in 2016 with a refreshing take on the buddy-cop genre.Crowe plays Jackson Healy, a tough, uncompromising, and rugged private eye of sorts who is looking for the same young woman who Gosling is as well.
The Nice Guys did so many things right and so little wrong, it's a shame its release will not garner the recognition it should.Russell Crowe plays an underground enforcer who's helping out a young girl, Amelia, trying to shake the private investigator, Ryan Gosling, who keeps following her.
The movie stars Ryan Gosling as Holland March, a private investigator, Russel Crowe as Jackson Healy, a man who punches child molesters in the face for money, and March's daughter, played by Angourie Rice.
This film can be easily recommended for those who want some good black humour, or a great buddy cop movie.
The trailers leading up to this movie made it seem laugh out loud, goofy, fun and interesting, and while the movie itself is all that, I felt kind of disappointed that there wasn't enough of the humor featured in the trailers.With that said this film is still great, the performances are all outstanding, the characters are likable, the 70s vibe and cinematography look cool and the funny moments are really funny, it's just that I wish the plot/mystery was more compelling.I recommend checking Kiss kiss bang bang if you haven't, its from Shane Black as well and its pretty much the same type of film, just that better story wise IMOGood, not awesome, I'll be giving it another go-around but for now7.9 out of 10.
Shane Black, the father of Buddy cop movies, returns to write and direct this 1970's action/comedy about private eyes investigating a missing girl who is a person of interest connected to an apparent suicide of a female porn star.It has everything you would come to expect from the writer of Lethal Weapon, The last boy scout and kiss kiss bang bang: Chemistry between the two leads, dialogue of them bickering, a small case that leads to something much bigger and a insane amount of action make our heroes seem invincible (a trope that is actually acknowledged by one of the leads.) Ryan Gosling, playing against his usual suave bad-ass type, is hilarious as a bumbling, drunk goofball and Russell Crowe does what he does best, punch the crap out of bad guys.I recommend not watching the trailer as it gives away some of the film's biggest laughs.. |
tt1219836 | Virtuality | The story is set aboard the Phaeton, Earth's first starship, on a ten-year journey to explore a distant planetary system. In order to help the 12 members of the crew endure the long mission, a system of virtual reality modules is installed aboard the starship. These modules allow the crew to assume various identities and enjoy a variety of adventures, until a flaw is discovered in the system.The ship is 6 months into its journey and on the cusp of a "go or no go" decision. They are about to make a 'slingshot' move around Neptune and, depending on the course they choose, it will either turn them around and send them back to Earth, or slingshot them out of the solar system, on their way to explore for possible habitable planets and life around the nearby star, Epsilon Eridani.*** SPOILERS !!! SPOILERS !!! SPOILERS !!! ***It is at this point that problems suddenly begin to crop up. There is an unknown problem in the hydroponics section and food production, and production of oxygen and removal of carbon dioxide are off a few percent. The ship's doctor is diagnosed with a debilitating, progressive and potentially serious disease, which could render him incapable of taking care of the crew. The captain and chief hydroponics officer are engaging in a 'virtual sexual affair' through the virtual reality module, under the very nose of her husband, the ship's chief psych officer. However, it is this psych officer who also wrote the virtuality program and he may know more than he lets on. Various other problems and personality conflicts are starting to crop up, and the captain himself may be going crazy. On top of all of this, the master computer program which controls the whole ship seems to be listening in to everyone and everything that happens on the ship and among the crew, and it is starting to act a bit erratically and possibly has become inimical to the crew, or at the least might be malfunctioning. (Shades of HAL from "2001")The movie opens with the captain engaging in one of his favorite modules, a civil war simulation. The 'battle' in the simulation goes badly, so the captain, who commands a unit in the simulation, freezes the program and asks the computer what happened and why he isn't succeeding in the battle. The computer begins to explain why the captain has failed in this simulation, when, suddenly, one of the supposedly computer generated, simulated characters, walks out of the background, calls the captain by his real name (Frank) and says that the captain isn't fooling anyone, least of all, himself. The simulation character then shoots the captain. Since this is a virtual reality simulation, the captain is not injured, at least physically, but there may be signs of potential problems developing in his mind.This same simulation character starts to crop up in other shipmate's modules and virtual realities. In one of them, he is a doctor taking care of a crew member. In another, the virtual reality character pushes the real ship's doctor off a cliff. The 'simulation' character rapes one crew member in her module, tries to drown another, and shoots the captain and his lover while they are engaging in one of their virtual reality trysts.With all of these problems cropping up, it would seem to be an obvious decision that the mission should be aborted, but it isn't that simple. Since they left Earth, it has suddenly become clear that Earth itself will very soon be facing massive ecological collapse and possibly become completely uninhabitable. Humanity MUST find another place to live. So, though there are clear risks, the risks may be preferable to aborting the mission. In addition, the captain, who is starting to behave more erratically, seems determined to push on, because he likes what he has seen in the actions and activities of the virtual reality system and he wants to make sure it continues to function and that the ship continues its journey. The crew decides to support this, even though some crew members suspect that the people who sent them out may be lieing to them, that things might not be that bad on Earth, and they might have been told about the ecological catastrophe in order to force them to continue the mission.The 'Go' decision is made and the ship enters the trajectory which will send it towards another star. Having made this choice, there is no chance to change the decision. They literally must continue the journey to its end, then hope to return in 9 1/2 years. They no longer have any other option.. But additional problems begin to crop up on the ship.There is a glitch with the antenna which allows them to communicate with earth. The chief engineer of the ship shuts it down and retracts it to effect repairs, but when he tries to redeploy the antenna, the computer says it cannot do so. It simply isn't functioning. Someone on the crew must engage in a spacewalk outside the ship to effect repairs manually. The captain and two other crew members go to the airlock and prepare to leave the ship. While getting equipment, the captain is left by himself, in the airlock, suited, but without his helmet. The inner door to the airlock closes by itself, mysteriously, and the outer door begins to open. The computer says that it isn't in control of this, and can do nothing to stop it. From another control center in the ship, the chief engineer is able to prevent the outer door from opening completely, but the captain is left depressurized. Though they find a way to go in and try to save him, he dies from the exposure to space and vacuum.An inquiry is performed to determine the cause of the incident, and a 'short circuit' is found in the control mechanism for the airlock doors, so it appears to be an accident. Most crew members accept this, but the new 'acting' captain doesn't believe it. He says that it was no accident and someone on the crew has committed murder. Since he doesn't know who, he knows now that he can trust no one. Of course, one possible suspect might be the ship's psych officer. We see him reviewing tape of the last few moments of the captain's life, where the captain can be seen declaring his love for the psych officer's wife. Or it may be the computer, which might be managing the virtual reality program and causing other malfunctions on the ship for unknown reasons.The movie ends, rather abruptly, with the chief hydroponics officer finding the captain's virtual reality goggles, and one of his toy soldiers, sitting on a table. She enters her old lover's virtual reality module. There she sees a character, commanding troops, who looks like the dead captain. she goes up to him and he breaks character and calls her by her real name. He tells her that none of this is real and that, to find out the truth, she will need to "follow him down the rabbit hole." (Shades of the "Matrix") We also see the dead captain in what appears to be a previously taped interview, where he says, "If I kill a character in a video game, am I guilty of murder? I don't think so."The credits roll and we are left to Ponder what it all means. Is their whole journey, or significant parts of it really just a virtual reality simulation, and is the captain actually alive somewhere? Did he somehow find a way to move himself into the virtual reality program, and has he 'deleted' his body? Has the computer, or someone using the virtual reality probram taken control of a simulation of the captain, to have him say this? Ultimately, we are not sure what is going on.This movie was originally written as a pilot episode for a TV series, and undoubtedly, more of these questions might eventualy have been answered, but the TV series was never purchased, so the movie must stand alone. | suspenseful, murder | train | imdb | The pilot seemed like an interesting beginning to a potentially more complicated series.
The problem with a science fiction movie/show based off human drama, is that on a mission of earth shattering importance, the crew are almost entirely antagonistic whiny incompetents, who have no business being responsible for a trillion dollar spaceship.
Virtuality is the pilot of yet another "Long voyage into space" series.
I am for affirmative action and reasonable accommodation as much as the next guy, but a space ship on a twelve year mission is not the place for a paraplegic.
It's a series and I think it left us exactly in the right place.I was quite happy to see the entire two-hour PILOT despite the annoyance of commercials (love my DVDs).
Good riddance to warp drive.I thought it one of the better efforts for straight-up SciFi on television.I was bugged throughout trying to place the Commander, so came over here to IMDb to look it up.
There is a quirk in the virtual reality simulation system of a long duration space craft which seems to be attacking the crew.
There is a lot of time developing the characters and scene setting but the story arc is utterly incomplete.
I think some of the other reviews have mentioned that this was supposed to act as a pilot for a TV series that never got picked up and it really feels that way because nothing gets resolved.
This TV movie or plot if it ever continues has a special touch to it that makes it really enjoyable and i have to say i really got stuck with it after watching a while.Even though it may become an enjoyable series it still has it's flaws I'm afraid, this whole reality show thing they're trying to put in does not make any sense to me, kind of lowers the quality etc, and then we have the "The whole world is going to end" thing, we've all seen it to many times and it does not necessarily make a show more exciting, could have the opposite effect in fact.If this actually continues as a series i'd for one want to see some changes for the better, at least i would hope that they could just remove this reality show thing because it makes me think of all the stupid reality shows out there which makes me want to puke a 100 times over, i think that reality shows should stick to reality shows, the same with fiction shows and not trying to put these together because the outcome would be obvious.Anyhow, overall it was pretty decent, the sci-fi feeling about it made it to be worth watching, the ending here did its part and i hope for a following series.
If future episodes are going to be like the pilot, 30 minutes of material stretched to 2 hours, then this is going to be one bumpy ride.
Plus, anytime our astronauts are together, they all talk at once, and yell, too.Still, the virtual reality side of things could be interesting, plus the mystery of who's doing what to whom.
Do we have another HAL9000 here, a saboteur, or is mission control the bad guy?Another down side is I've gone two hours into this without liking any of the characters.
On board, things start to go wrong and yet they cannot turn back."Virtuality" seems good on paper.
So that's why the show was left in a cliffhanger.FOX doesn't have a lot of confidence in this show, and I can't blame them for it; better to let it die quickly than to have a sci-fi fan base disappointed when it inevitably gets canceled in mid-season.
The virtual reality special effects seemed like bad CGI greenscreen, but perhaps that was on purpose, so that you'd know you're in a virtual reality setting.
They did research their interstellar propulsion mechanisms well, and it looked like nuclear propulsion drives as described in various science fiction novels in the past.I didn't think the idea behind the story was bad though.
When I found out it was a made for TV movie, and the pilot to a TV series, it made a lot more sense.
All in all, I could have found something better to do with my time than watch this movie..
Covering virtual reality, space travel and reality television in a single pilot episode was a challenge and I think they successfully achieved it.
However even if the few clips I saw convinced me it would be great I was a little worry about the way the writers would deal with reality elements.Their work is both inspiring and very smart because I find reality shows far too dramatic and not real enough.
Hopefully there're also good productions like Project Runway that blend ideas very nicely.
If you appreciate the genre and are a science howl then you'll definitely dig the few outdoor scenes, the ship design, its interior
It should also remind you of your favorite space opera film.
It's supposed to be a key solution to the mission success but of course events didn't occur as expected and the virtual scenes were so disturbing, well directed and written that they actually reminded me of cult films like Event Horizon and The Lawnmower Man. The team behind Virtuality is so talented and has so many twisted ideas that they brought many refreshing and interesting elements to a topic that has already been well covered by others.All these great things made me a fan of the show even if the FOX decided not to pick it up.
If you're accustomed to such artistic creations you shouldn't be surprised and only enjoy it for what it is, one of the best space pilot ever aired.
I could find no hint of that, neither in the program ending nor program listings nor even here at IMDb. Mercifully this was all there is of it, it seems.I find it unbelievable that Fox would have the audacity to air this: Fox is the same network that first abused and disrespected and then canceled a far better science fiction series, "Firefly".
Peter Berg, I think, should focus on acting, and Fox should stick with the horrid reality shows and repulsive animated vulgarity that pays the bills..
The idea of a reality TV show format regarding a intersellar trip to the stars was fascinating as a sci-fi made for television movie.
However, the premise in actuality was less than stellar and built on so many obviously fake assumptions that it couldn't really be pulled off without a brilliant script, direction, acting, and perhaps being made into a television series instead of a less than two-hour movie format.
But having to watch actors pretending to be real in a fictional movie was stretching matters, especially with the premise of heightened corporate driven ratings faking and dramatically driving such a perilous mega-trip to the stars (almost too unbelievable to accept).
This Silent Running (1972), Virtuosity (1995), The Truman Show (1998), Logan's Run (1976) amalgamation was too packed with ideas with too many characters (which was dealt with M.A.S.H television episodes fake-live interview format scenes as effectively as could have been expected).
This television movie wasn't without its exciting premise, its nice special effects and adherence to some strong scientific elements of space travel, and nice psychological atmospherics (like Sphere (1998) and Event Horizon (1997)).
I just got around to seeing this, in 2015, since I rarely watch TV, so at first I thought it was a crazy movie with even crazier ending.
Even with the character issues, I would have liked to have seen at least one season, although if it had been picked up in 2009, we might not have had Nikolaj Coaster-Waldau (the Commander) on Game of Thrones (Jamie Lannister).
On the other hand, If you enjoy imagining what the writers intended for this series, have fun.If anyone wonders what I made of it, I supposed the mission itself was virtual.
When I think of shows like "Outcasts"(2010) - which probably had an even remotely interesting moment only every fourth episode and got an entire season to deliver more of this boredom, I just can't believe "Virtuality" didn't even get the chance of a first season!
The story is more than just believable - it's compelling and it sucked me in; the cast is awesome; the dialogues are well written; if you're a fan of "BSG" or "Caprica" you know what to expect in terms of acting, camera work and directing.
This one performed kind of a kick-start and got pulled off at top speed.Even though its just a pilot for a show that never got picked up - this pilot is definitely worth a look and can be considered a movie with an opened end.(Sorry if my English is not perfect, I'm German).
JMS said of the new Star Trek shows, 'IF you are in space, and you have to go to the Holodeck to have an adventure, you're missing the point." So Ronald Moore, a guy responsible for most of those insipid "Holodeck gone made" episodes on Star Trek brought us this steaming load about a reality TV space ship where people pass the time by going into virtual reality settings.Oh, yeah, and they call their ship the Phaethon.
I also think it would make a great 1 season 20 episode series.
This is a great idea, making a reality show out of a space journey.
The only movie to get the gravity part correct is 2001 A Space Odyssey and apparently studio execs don't have the money for that kind of integrity anymore (meaning, we don't wanna cut into our personal bonusses), even with faaaaaaar more viewers and more money spent on film-making.This is a great idea, especially the murderous villain in the virtual worlds etc.
All in all, a good setup, interesting potential story lines, great developments ahead.
The virtual part of the show gets a very nice perspective of the human mind, transforming somehow after your own fantasies, thoughts and memories and not only, it actually can control the ship.
I just watched this pilot and besides the nice special effects there is is thin storyline waiting to be unfolded.
His illicit virtual relationship with the ship's shrink's wife adds additional spice to the development of the series...assuming this becomes one.
More Psychological than SciFi. I thought that the characters were very well developed--though a cheesy plot, the story more or less centers itself around peer interaction.
I can see this story developing not just in space, but in all the various virtual reality modes that the crew tunes in to.
BSG had its moments that stretched into infinity, but overall the series was spectacular, so I'll give these guys enough rope to run with or hang themselves.The infiltrated VR system is a neat hook, the idea of a possible life-after-death in VR land, the problems of whom to believe and trust as cabin fever sets in, this is all fertile ground for plot (and thus character) development.
Plus, they took the entire pilot introducing you to a character who dies in the end.
Please don't extend it into a series, have mercy on the American viewer.--- SPOILER ALERT --- Either, as another reviewer here has suggested, the WHOLE THING is a simulation - and I think that's dumb, but I hope it's right, because otherwise this space voyage is doomed, as whoever chose this group of misfits and lunatics was an idiot.
Many series that have died have tried to stretch the interest of the viewer beyond the practical – in a series, wasting many episodes on mindless action outside the arc, here, in the pilot, wasting air time with over used old ideas or overused statements.The core of the idea is at the very end where, as a few commentators have brought out, the virtuality encompassing the ship itself, or whatever the deep secret that only the commander knew and wouldn't share (the "down the rabbit hole" is the allusion to it as well).
This seems to have been augmented by the vision of the evil virtual player being seen in MD garb toward the end – as well as the meta observation of not setting up how kill off the main character in a pilot when clearly he's the only one with leadership capabilities in the bunch.
This scenario fits well with the lack of credibility that the crew could have passed the tests for a 10 year mission.In any case, more substantial exploration of the above virtual set up would have given more of a tease and interest.
Obviously if you care enough to do both of those things, then it doesn't matter if you like it or not, just that you DID watch it.
It could be a good show, some characters are interesting, but the whole show is severely lacking in wit and originality.They made it clear enough that the whole thing is a simulation in itself and if you don't get it watching the pilot episode then you might want to continue watching it.
Several people have said they think it's odd/brave/lame/otherwise that the main character dies in the end and we'll never see him again.
Seems to me he will/would likely be a recurring character in the series, but only appear in the virtual world (as he did in the very end).
Of course, who knows with this plot if he's really really dead even...but even supposing he is gone i don't think he's gone from the show (again, if they even make a show out of it).Great little movie.
CGI special effects were minimal and well done, the movie/pilot stayed mainly with the initial character development...
I hope the series does not fall into the Star Trek VR trap of showing endless VR SCHLOCK like Virtual Nazi World and Virtual Roman Empire crap just to fill an hour of otherwise promising SciFi TV.I am happy to see that Lyle-the-Intern has found a suitably delicious villain to ooze his smarmy talents upon!The overall quality of the movie gets an 8-of-10...
We have the gay pair,the tough female Marine,a doctor with Parkinson's?-(What first-year med student missed that diagnosis while screening the crew?)-the commander who goes crazy and has Virtual Sex with the Psych-doc's wife, a paraplegic Second-Officer, the beautiful African bio-specialist who is hot for the Asian bio-specialist, the emotionally troubled engineer who talks to his dead son in VR,and the young female TV intern who is host to the Space-Based Reality Show that is beamed back to earth to entertain the masses, that may...
That might be interesting for a few of us (purists), but it SURELY WOULD NEVER MAKE IT ON FOX TV!So, enjoy this movie for what it is...
a well made SciFi Space Trip with a soap-opera-ready crew, an interesting plot twist, and Lyle-The-Intern in his ready-for-prime-time VR Villain debut.
Moore and directed by the sometimes great Peter Berg, Virtuality was made in 2009 as a potential series for the Fox Network.
For reasons that are unknown, Fox made the decision to not pick the show up for a series but still aired what was done as a pilot movie.
Having watched the DVD for the first time tonight, I was amazed at just how well thought out and realized the production was for a pilot.
The special effects, set design, and cinematography all looked as good, if not better, than most feature films released by major studios.
If I had to guess, the commentary on reality television probably alienated Fox, the network that has aired some of the most notorious reality shows of all time which led to the decision not to produce Virtuality as a series.
As it stands, Virtuality remains one of the best pilots of the past decade, a visually impressive and smart science fiction gem that will likely develop a small cult following one day.
Mission control knows this but are afraid that if they interrupt the experiment they'll damage the crew.It's not to say that this can't be a good series.
The only reason I even bothered to look it up was because the movie suddenly ended without any explanation and without ever having a story.
I looked it up to see if I could get some kind of explanation as to what it was I had wasted all this time watching.I usually like Sci-Fi's.
I had no idea this was a pilot for a series.
I love Sci-Fi but I certainly didn't buy a space movie to watch civil war scenes and bad rock star concerts or a crew of immature, airhead, boring video game junkies or listen to their nonsensical ego-babbling into the video camera.
The females all slurred their words together.I finally tried to watch it a second time a couple years later; using the fast forward to get past those maddening irritations while I kept hoping that something sci-fi was going to show itself at some point when the plot became clear.Watching an entire crew of narcissistic morons who condescend and cast disparagement upon everything their fellow crew members say or experience is an X gen nightmare.
Much of the show was more like watching a daily producers meeting behind the scenes at Fox. A network so bad, I deleted them from my TV menu 10 years ago.Even worse was the male crewmembers crass, insensitive, smarta$$ attitude toward 2 female crew members who had been viciously attacked during their virtual reality...
We were also forced to endure the psychological unfitness of this crew for space with their issues of dead children, lost pregnancies & doctors office visits; plus ego programs and how the male crew members actually got off on being killed in their virtual reality encounters which empowered them when off the VR system.
It was a VIDEO GAME series.This is the one rare time that FOX actually did the right thing by not picking up this series. |
tt0395125 | Crimen ferpecto | Rafael is a model salesman. He is confident, cocky, and enjoys the perks of single life - women, freedom. He is arrogant and women love him. He has or had his way with all the pretty sales girls who work with him. All except one - Lourdes. Everything is going well, and he is pitched against another non-glamorous salesman for the position of floor manager. What should have been a breeze for him to get, turns out to be tougher and his much savored victory, is shortlived when he loses the job to his competitor. His rage prompts him to make snide remarks at the new manager, which results in a scuff and the new manager ends up dead. Though it is an accident, he is forced to cover up his crime, unwittingly because he gets an accomplice in Lourdes, who decides what is right for Rafael. Lourdes has designs for Rafa, and now he is forced to oblige lest she expose him to the cops. This leads him to live the life that was only a nightmare for him till that point. She completely has him wrapped up in her control, with the blackmail, and he grows resentful every day. He gets an adviser from the netherworld, when the dead manager returns with a hatchet on his head to tell him what to do. When Lourdes, decides to force Rafael to marry her, in front of national television, he starts planning the perfect crime. The cops are onto these two, because of the unlikely pairing. Yet they cannot prove it.SPOILER ALERT:
He creates a mayhem by setting fire to the store where Lourdes and he work, and as the cops approach him and Lourdes engaged in a scuffle, he manages to fake his death, making sure Lourdes gets blamed for it. We see him after a few years, running a tie shop under a different identity, only to find that Lourdes is now a successful designer and very rich, with her own quirky clown fashioned outfits. | comedy, satire, murder | train | imdb | Rafael, a women's department manager at a Spanish clothing store, is a womanizer concerned only with his own personal advancement and achieving what he believes to be a perfect life, is thwarted by Lourdes, a sales clerk in the same store, and a rather unattractive woman, blackmails Rafael into a relationship, after discovering a secret Rafael cannot have revealed.However, I was pleasantly surprised at how often I laughed out loud.
Crimen Ferpecto moves at a fairly quick pace with lots of entertaining situations.First off, both Guillermo Toledo, as Rafael, and Monica Cervera, as Lourdes are convincing in their portrayals.
Rafael, is, essentially a boorish lout, yet Toledo manages to make him sympathetic at times especially as his entanglement with Lourdes get more and more complicated.
The first half of Crimen Ferpecto working better then the latter half.Also, a standout is Luis Varela as Don Antonio, Rafael's rival in becoming store manager.
Without giving too much away of the plot, his character gets a surreal treatment and haunts Rafael as he attempts to deal with Lourdes.
I thought some of the interplay between Rafael and Don Antonio were among the best in the film.Crimen Ferpecto is light entertainment at it's best.
Guillermo Toledo and Monica Cervera also give stand out performances in their roles as Rafael and Lourdes with Luis Varela, as Don Antonio, backing them up admirably..
While admitting that Ferpect Crime was just about the worst title for a film ever, he told us that this film was about a man who was so obsessed with living a perfect life that it was bound to cause problems.
It's no surprise to learn that the director has a degree in philosophy.Rafael works as a salesman in the ladies' wear section of an upscale department store.
But after losing the promotion to his hated rival Don Antonio, things take a turn for the worse and pretty soon Rafael has a dead body on his hands.
Before long, Lourdes has Rafael wrapped around her finger and his life is far from the model of perfection he has always pursued.
"Crimen ferpecto" is a great surrealistic comedy along the lines of "Being John Malkovich", "One Night at McCools" or even the masterpiece "Brazil".The plot begins bizarre, and from there it gets ever bizarrer.
Set in a department store (the perfect metaphor for the human condition!), this film brilliantly weaves the themes of glamorous/plastic life versus the mundane/real.
Trapped between worlds and desperately trying to achieve the former is our hero Rafael, a man whose entire life exists within the ladies' clothing department.
"Crimen ferpecto" is the deserving follow-up to "La Comunidad", after the failure of "800 balas", and keeps showing the evolution of the director/writer towards creative maturity.Guillermo Toledo plays Rafael, de la Iglesia's best leading male character so far.
It's difficult to find a satisfying ending when one has sympathized with both Rafael and Lourdes, who both have played the roles of "good" and "bad" in turns.
Rafael Gonzalez (Guillermo Toledo), is a salesman in the ladies section of a fashionable department store in Madrid who has it all: good looks, a sharp wardrobe, and a confident, brash manner that allows him to get his way with women and in the workplace.Rafael has clear goals, too, the most important of which is to lead a "perfect life," and little patience for anybody who settles for less.
Such a proud man, of course, is perfectly set up to take a fall and Rafael plunges very far indeed in this hilarious black comedy by Spanish director Alexis de la Iglesia.Rafael's slide begins when a hated rival, Don Antonio (Luis Varlea), wins a coveted promotion.
Rafael's role in the accident goes undetected by the police only because Lourdes (Monica Cevera), an unattractive coworker he has long ignored, helps dispose of the corpse.Lourdes assistance comes with a price.
In short, Rafael is about to be trapped in the kind of dull, mediocre existence he has always mocked.Watching Rafael try to escape from the world Lourdes plans for him raising children in a badly decorated suburban apartment filled with clown paintings and spending evenings collecting ugly miniatures -- provides lots of laughter and entertainment and plenty of insights into contemporary Spain.
The pacing is fast, well kept though with a few ludicrously foreseeable passages; the cast is really good in painting the characters, almost all of them well performed and denoted, in landscaping the interpersonal relations and the working environment, in adding the zest of surreality which makes the good of the movie but -at the same time- avoiding the downfall into clownesque.
Indeed, there is a clear directorial decision to remove this movie from the "credibility" section, to the surreal/grand-guignol/grotesque side, but the operation is successful, if you do not mind...and if you know where the "FerPecto" inversion comes from, then you'll enjoy it.
Rafael Gonzalez (played by a man who looks like the Spanish Dennis Miller) is a fearless lady's man from the moment he pops on screen and reveals his philosophy on life he goes for what he wants, and he only wants the best.
His ugly, sex-starved, co-worker Lourdes helps him dispose of the body and cover-up the murder, and then blackmails him for all the sex, love, and affection he can give.
Just when you think Rafael's life can't get any worse, it does, and every new punishment Lourdes inflicts on him is better than the one before.
Spanish language, if well managed, allows movie to get a fast sequence of dialogs and scenes, that fits well black comedy style.
Lourdes is a "clichè" of modern Spanish movies: the ugly, determined and sexual woman, who desires to be loved and struggle to obtain it.
Then put all together in the good environment (the shop: a little world that represent all characters life) and you have a magic movie!.
The scene presentation, the "image", plays an important role and I'd say it's the most grave factor that makes this movie unique.The pace of the movie (regarding the story telling style, not the plot itself) slows down towards the end to leaves space for more roughness and suspense.I really hope to see much more of Alex del la Iglesia in the future because what I got to see yet is always getting even better.8 out of 10..
Roaring and twisted film by the king of black comedy , Alex De La Iglesia.
Lourdes (Monica Cordero) , the ugliest woman in the floor , unexpectedly helps Rafael to hide the corpse , but her help isn't for free .
De la Iglesia is back with a tragical comedy about an ambitious man pursued and blackmailed by a bad woman .
Alex De La Iglesia has created a picture here that in all honesty is very difficult to categorise in terms of genre , as there's a little bit of action , quite a lot of comedy, a good deal of suspense and a host of extreme gruesomeness ; but it does not fit into any one genre very well at all, in truth this is one of the things that makes it good .
"Crimen ferpecto" is one of the funniest movies of the year.Director/co-writer Álex de la Iglesia carries on the wickedly black comedy tradition of Blake Edwards, Billy Wilder and Danny DeVito.
While it is full of social satire -- of consumerism and department stores; of male/female stereotypes, including chauvinist Latin lovers; reality TV -- it is poking fun not polemics.There's much talk about the return of the "R" rated raunchy comedy with "Wedding Crashers" and "The 40 Year Old Virgin," and with plenty of half-naked women and frequent use of the "F" word this would be a hard "R" if it hadn't gone out unrated in the U.S., but it has little of the sentimentality or atonement that weakens those funny films and I would hate to see that tacked on for a Hollywood re-make.
This one is a cheerfully cheeky reprobate from beginning to end, though just about each character gets some kind of comeuppance and revenge in surprising ways.It intentionally spoofs several genres, even having the lead character watch old movies to get noir ideas that he hilariously enacts, as represented by the spoonerism of the title.
While satirizing films with ponderous narration, the voice-overs are very funny as the wonderful Guillermo Toledo, who segues from suave to frenetic, suddenly looks to the camera and asks "Oh no, can you hear me?" Mónica Cervera matches him as his nemesis in surprisingly spirited ways.The sight gags and pratfalls abound but that just helps to keep the frantic pace up so you don't stop laughing from one crazy situation to the next.
But the direction emphasizes the humor with zooming close-ups and dizzying movement so it stays laugh out loud hilarious, from belly laughs to chuckles, even when the sight gags have been seen many times before.The colorful production design heightens the unreality of the department store and shopping mall where most of the film takes place.
A very funny Spanish film, and I share the opinion of a previous reviewer: why didn't this movie receive more play in the USA?
This film creates hilarity in so many directions that it's hard to categorize it as mere comedy (the director has something to say about the mores of society, too.) Let's hope Hollywood doesn't bowdlerize any remake into something pallid, p.c.-- and forgettable.Fine acting, an entertaining script with cleverly-translated subtitles, consistent laughs, and a satisfying ending make this movie a worthy pick!.
De la Iglesia has come up with a pastiche of good ideas from pre-existing, classic movies, and stuck them together into "El crimen ferpecto".
The gaudy sets and primary colors are a dead ringer for Almodovar movies, the cops with their mannerisms are pure Hitchcock, and the ending is a straight rip-off from Fellini's "8 1/2"---the only missing thing there is Nino Rota's score, although they substituted that by something equivalent.The result is a movie that you will have a good time watching, but about which you'll forget all 2 days later.On the positive side, it's a funny dark comedy.
A sidesplitter about a skirt chaser who works as a salesman in the women's wear section of an upscale department store and is bucking for the job of floor manager.
Rafael is not only the best salesman in the biggest department store in Madrid but an irresistible lady's man whose female colleagues cannot get enough of.
Lourdes, the ugliest woman in the store, the only witness to the event, volunteers to help Rafael hide the corpse.
-- as ghastly visions of Don Antonio with a knife protruding from his green head come back to haunt him regularly -- Because of the bungling all around the director purposely misspells the Perfecto (perfect) of the title so it becomes "Ferpecto" -- and the Perfect Crime becomes most imperfect.-A super hilarious black comedy from start to finish with plenty of subliminal social commentary embedded in the madness and deliciously sly rib-tickling work by actor Guillermo Toledo.
One of the funniest films I have ever seen and Toledo's Rafael is one for the all-time comic record books.
CRIMEN FERPECTO is a Spanish film by Alex de La Iglesa that mixes the black comedy with the crime-thriller genre.It's about a man that always got what he wanted, especially about women (someone like a "Casanova"
) and had no scruples to get it.
LOURDES (played by Monica Cervera) is completely bizarre and paranoid herself, making RAFAEL (Guillermo Toledo), the main character, look like a victim
that he's definitely not!
Mentioning a very famous quote: in this movie "no one is innocent"
So, the film is not "ferpect", I mean perfect, but it's very good, and funny, in an effective way!.
Writer/Director Álex de la Iglesia took a simple premise and made a film that never lags in the laugh department.
Although he has done well with fantasy in the past, comedy is definitely his forte.Guillermo Toledo (The Galindez File) and Mónica Cervera were hilarious as a lothario who accidentally kills his rival for manager, and the wallflower who knows his secret and helps him cover it up, only to get rid of all the competition and blackmail him into marriage.Iglesia's fantasy past comes into play with the victim haunting Toledo, sometimes headless, but always with a big knife in his skull..
At other times (particularly when she gets a successful career of her own) she seems only to want to punish Rafael for ignoring her.I am having my own private Spanish film festival at the moment and it occurs to me that "machismo" is not a Spanish word for nothing.
Or maybe it would just not have been Spanish (I can't help thinking of *Woman on the Verge of a Nervous Breakdown* when I think of Lourdes unwisely falling for Rafael).Three things I liked about this film: 1.
This is what I call a "disaster" comedy -- kind of like "Meet the Parents" or that HBO show "Curb Your Enthusiasm", where the humor comes from watching the main character squirm through a series of excruciatingly terrible situations, where everything he does seems just makes things even worse.
I laughed out loud a lot as the hero, a suave ladies man and top salesman in a big-city department store, finds his world turned upside down after the big promotion fizzles out and he finds himself pursued by the ugliest girl in town.This is a fast-paced, non-intellectual, crowd-pleasing kind of flick and though it's in Spanish, the humor is broad and I think American audiences will like it, if they get to see it, in spite of the subtitles..
Alex de la Iglesia is one of the most daring Spanish directors working today.
In a way, this film shows a lot of control, something his previous work didn't have.The result is one of the funniest movies that came from Spain recently.
Never mind that in order to attain one's goal involves murdering your enemy.Rafael, a personable salesman at Yeyo's department store, has a rivalry going with Don Antonio, who is also assigned to the same floor.
When he does, little does he know what a genius Leonor turns out to be on her own.The best thing in the film are Guillermo Toledo and Monica Cervera.
While others have purported that Rafa is seeking a perfect life, the much more accurate description of his character is one that is seeking overindulgence in the material (and carnal) luxuries that can be found within the store he works in, Yeyo's.
The true comedy of this movie is how Rafa must continually splinter and sacrifice his love of the grandiose to constantly appease his tormentor, Lourdes.
This film is about the tragedy of an elegant man, Rafael, played by Guillermo Toledo.
However in bringing forth Lourdes as a psycho in her own right -- think Alex Forrest, but likable -- who functions as the one who brings Rafael down to Earth while coming into her own, he turns EL CRIMEN FERPECTO into a tale of crazy feminism that sides with those who are ignored by today's beauty obsessed society.
I'm not a complete fan of Alex de la Iglesia's movies - he's technically proficient, but the things that tend to interest him (old style cinephilia, terror films of the 70s, pop culture in general) are far from mine.
The movie stars Rafael, who works as the head salesman in the ladies section of a large department store in Madrid (it is subtly touching that Rafael believes his position in society is far more important than it really is).
But there is one witness, Lourdes, the ugliest worker in the department store (and I mean, really ugly), who is in love with Rafael.
Its a susbstanially funny movie and satire attacking one aspect of the "average Joe" Raphael (played by Guillermo Toledo) feels he is living the perfect life: working in an upscale department store as a handsome, well-dressed man, who haves sex with all the hot female employees (using the bed sets and the dressing rooms) while most of the other employees respect him.
In a fit of rage, he accidentally kills him and the crime is witnessed by an mousy, unattractive sales clerk Lourdes (Monica Cervera).
Home life, marriage and children gets attacked too as one of the funniest moments of the movie comes where he pays Lourdes's family a visit.
Its a bit too long for a movie of this type, and as such, the comedy runs dry as it becomes more of a detective/character study flick, which it isn't really good at.
Everything seems to be perfect, but Lourdes, an ugly and obsessive saleswoman has seen it and starts blackmailing Rafael in order to become his wife.
After doing so good films as "la comunidad" or "el dia de la bestia" I expected something more from Alex de la Iglesia.
The result is not as good as expected, the film is not bad, but it could be better, manly because of the stupidness of the characters, it is clear that we are inside one of the De la Iglesia's grotesques universes, but the story is too absurd, and actors are not reliable.
It is funny, but this dark comedy is not as good as I think an Alex de la Iglesia's film should be, I expected something better..
it was brilliant to see the combination of humor and extraordinary story - the final catharsis and the way the main characters end the movie is sublime!other than that, the humor, although not really my type, what really very, very good.
it'd been a long time since i'd laughed so much with a movie!there was a scene in which a mechanic is at work and a TV crew comes, for this "marriage program" - and the bride is waiting outside.i didn't get to see the bride very well, but she seemed to be extraordinarily beautiful... |
tt1825157 | The Double | Simon James (Jesse Eisenberg) is a young Canadian man living in London, England who exits a tube train, gets his briefcase caught in the door and loses it because the handle breaks off and the train rushes off. Going into work, he is forced to start signing in without his proper ID badge, which is still in his briefcase. Once inside the workstation, he tries to talk his boss (Wallace Shawn) into using some ideas for the business. While walking, Simon learns he will be tutoring his boss's daughter, Melanie (Yasmin Paige).While visiting his mother (Phyllis Somerville) in a nursing home, he encounters another resident who claims he is "not right". Simon then goes to his apartment and spies on a co-worker he admires, Hannah (Mia Wasikowska), who lives in the apartment diagonally opposite his, using a telescope set up in front of his window. Simon notices Hannah ripping and throwing away art and retrieves it. Bringing it to his apartment, he reassembles and admires it.One night, Simon sees a man jump from a ledge the floor above Hannah; the man dies upon impact. Simon talks to two police detectives, who question him and explain that if the man had jumped a few feet to the right, he would have bounced off of an awning and landed on the cement, mangled but able to survive with immediate medical attention.Simon takes Hannah to a restaurant, where he gets a call from his mother. When he returns to the table he had been sitting at, he sees Hannah is gone but in a note she left she says she will see him later. Simon then trades his television in for money and buys a gift for Hannah.At work, Simon hears his boss talking to a new person and goes out to see James Simon (Jesse Eisenberg in a dual role), who looks identical to him. Simon faints, and, upon waking up sees everyone crowded around him, not noticing the similarities between him and James. Simon and James go to a bar, where Simon bumps into a drunk man who threatens to fight. James headbutts the man and knocks him out before he can engage. Simon and James run off and get on a train, where Simon explains his love for Hannah and says he feels invisible. Simon then brings James, who has fallen asleep, to his apartment and admires their similarities.As James starts getting more respect at work, Hannah reveals she wants to go on a date with him. On the date, Simon pretends to be James with the real James telling him what to do and say via earpiece. When Simon becomes nervous, the two swap places and, upon retrieving Hannah, who has tried to leave, James kisses her in the middle of the restaurant as Simon watches. When taking a test for James, the two swap places again and James meets Melanie, who is seduced by his charm.Fed up, Simon manages to call Hannah as if he is James and gets her to go to James's apartment - which is above hers - when James and Melanie are together. This ends James and Hannah's relationship and makes James furious. James blackmails Simon by saying he either gives James the key to his apartment or their boss sees dirty photos of "Simon" and Melanie. Simon gives up his key. When Hannah asks if she can use Simon's apartment to spy and see if James is cheating on her with anyone else, James says no because she is becoming obsessed. The truth is, James has Simon's only key. This turns Hannah against him. Going home to confront James, James tackles Simon into a wall and lightly grazes his throat with a knife.The next day Simon gets angry when James tells a joke to a circle of employees, all who are laughing along. Simon accuses James of being an imposter, having stolen Simon's face. Simon has a tantrum, yelling many expletives. This results in Simon being fired. He then goes into his home with a new spare key and writes a suicide note, intending to kill himself by jumping from his window. Looking across the street, he sees Hannah on her bed, unconscious. Simon brings her to the hospital where he learns she overdosed on pills and miscarried from a sexual encounter with James. He takes her home where she suggests he kill himself. In her apartment she goes through the pockets of Simon's jacket and discovers he has kept a scrapbook of her trashed art.Simon goes home and hears via his answering machine that his mother has died. He runs to the funeral and punches James at the burial ceremony. In doing this he realizes that he and James develop the same injuries. In self-defence, a priest knocks Simon into his mother's open grave with a shovel. Simon awakes later beside the filled in grave and runs to Hannah and tells her he wants to be visible and noticed. Simon handcuffs a sleeping James to his bed and calls the suicide department and tells them someone is jumping to their death. Simon goes out on the ledge above Hannah's apartment and walks to the right before jumping, when James awakens and looks through Simon's telescope to see Simon wave goodbye. Simon hits the awning and lands with severe injuries. Hannah runs to him and an ambulance arrives. James bleeds to death in the apartment. In the back of the ambulance with Hannah and the Colonel, the Colonel says Simon is special and Simon replies with a smile on his face: "I'd like to think I'm pretty unique." | comedy, neo noir, suicidal, plot twist, psychedelic, romantic | train | imdb | Next, he knows how to get off to a great start, build a fascinating world, get you involved with his people, but third, he doesn't quite find ways to make his third acts pay off as interestingly (or powerfully or emotionally) as the first two-thirds of the film promise.
In the end things play out in a way that has been foreshadowed from early on, and suddenly the film feels less deep, less challenging, more an exercise in cinematic playfulness than an exploration of deeper themes both personal and societal.
And the film has a dark sense of humor that keeps the Kafkaesque world and 'big themes' from becoming ponderous, (Again, I just wish I had less often chuckled, but then thought 'hey, that just like the scene in 'Barton Fink
', or whatever).
By your folks, colleagues and even the girl you so fancy treats you as a nonexistent entity.As if this was not discouraging enough, a new colleague joins who is identical to you in appearance but has the completely opposite personality.A smart telling of the Dostoevsky novel about a person who has the capacity to tolerate everything but his own double whose existence causes him a dilemma: continue to silently tolerate everything or change and adapt.Perhaps not the easiest of movies to watch but its quirky wit and creative cinematography will win you over..
The Double is Richard Ayoade's follow up to Submarine, and it feels heavily influenced by other works, especially from directors like David Lynch and Terry Gilliam.
I'm just not a big fan of these surreal films that don't follow a classical narrative style, and The Double is just that, it plays out as a sort of nightmare for the main character played by Jesse Eisenberg.
There is no doubt that The Double is a creepy film, but one that didn't work for me and one I don't plan on revisiting because like the main character in The Double I felt completely alienated in this dystopian world.The film introduces us to Simon (Jesse Eisenberg), a timid and shy young man who seems to live his life unperceived by everyone else.
Simon's life turns around when one day his boss, Mr. Papadopoulos (Wallace Shawn), introduces a new coworker named James who is physically identical to him, but with a complete opposite personality.
It is a difficult movie as it winds up, no question, but I find the notion that anyone feeling suicidal needs warning before viewing as slightly hysterical.On the one hand, this is an easy film to describe, whether you reference the source material, or your talk about the doppleganger and what it might be like to find one has a double.
Eisenberg does decent work playing the polar opposite dual roles, but he's left running around in a shapeless film that doesn't engage and uses quirk as a crutch instead of having any substance - it's just dead up there on the screen, pleased with itself at how clever its trying to be.
What a dreadful film, boring, unfunny, has no idea what it is meant to be, several people got up & walked out, I was tempted to join them but stuck it through to the end, but wish I had not wasted my time.Described as "comedy", it certainly was not that, references to suicide (actual & attempted) are NOT funny but serious matters.The film did not seem to know where it was going, the characters were totally unconvincing, much of the film was shot in the half dark, difficult to make out what is going on, the diction was poor at times.A waste of an evening and money, a pointless film.Give this one a miss, I wish I had!.
Don't understand how it's classed as comedy; it's a depressing movie that just drags on.I thought I was the one who didn't understand the story line, but when I spoke to other people(who didn't leave before the movie finished), they also didn't have a clue about what happened.Jesse Eisenberg was brilliant though and so were the other actors.Overall wouldn't recommend watching this movie.
Loosely based on the Dostoevsky novel the story follows Simon James - a quiet, timid character living in a bleak, soulless world where he goes unnoticed by his boss, the cute photocopier girl and even his own mother.
Then one day James Simon appears, an exact double of Simon except he's better at everything in life - he has the cocky charm, he worms his way to the top in work and even gets the girls.This is a dark, moody comedy peppered with some hilarious dialogue and genuine pathos although it doesn't quite fulfil its early expectations.
Pretentious beyond belief.I thought I'd give both Richard and Jessie a fair crack of the whip, but this film tried way too hard.I didn't feel sleepy until I watched them try to slowly unwrap a story I knew was coming from the start.
We are just supposed to go with it.In other, better movies (think Fight Club, another movie this film shamelessly copies), a brash, confident character like the bad twin would be a joy to watch.
I spent the entire film thinking, how did they fix it to have Simon and James look like they were actually in the same place.
Great actor- no doubt.This movie did not deserve his talent.It was VERY interestingly filmed, setup visually, you want to //know// what this universe is, whats going on- but you will be sadly disappointed at the end.
I cannot find logic in this film, it has no worthwhile viewing interest that I can imagine, for anyone outside of a mental health institution where the insane don't need logic to begin with.You will be disappointed if you watch this movie and again, it does //not// deserve the acting talent of Jesse Eisenberg.
Every scene, every score, every sound, every screech, every flicker of every light, seems to echo Simon's fragile and crumbling ego.I'm quickly becoming a fan of Richard Ayoade's work as I thoroughly enjoyed his debut movie, Submarine, too.
it's hard to say) where work seems pointless and suicide is commonplace, Jesse Eisenberg plays Simon, a timid everyman working to the best of his limited ability and too shy to express his love for the girl of his dreams Hannah (Mia Wasikowska).
What plays out is a Jekyll and Hyde-style power play between James and Simon, and a love/lust triangle (of sorts) between the two of them and Hannah.The film is based on the book by Dostoyevsky (which I haven't read) that charts the mental breakdown of an office-worker in St Petersburg when faced with his exact double.
The story is about a shy, timid, loner young worker Simon James who gets used to being pushed around his gloomy and dark workplace, and just about his entire world for that matter.
Simon decides to have revenge on James by setting up a suicide attempt.The story is strangely almost the exact same as one of the recent release Enemy (2013), only instead of the buff Jake Gyllenhaal, this movie puts Jesse Eisenberg, who's not so buffed up, as the starting figure.
Although it could be said that the themes explored here are borrowed liberally from other (arguably worse) pictures, the true originality stems from Ayoade's distinctive style; with an interesting story line, cracking script and masterful sound editing, it becomes difficult to recount even a moment of the movie which could be described as 'dull' (and certainly not 'mundane') The icing on the cake is most certainly the performance of our lead protagonist(s), both played by Jesse Eisenberg who has surely never been (or never had) so much fun on screen.
I think the movie captures this feeling, along with shyness, in a great way.The visual style is reminiscent of movies like Brazil, which kind of has the same hopelessness baked into them.At times, the plot stumbles a little bit in itself, but it usually picks itself up again pretty quickly.
For example, Simon is talking on the phone with his mom and we hear him say, "Yes, I know I'm a disappointment." One of the last thematic elements is that the actors told the story partially through their body language and mannerisms; the characters' personalities are shown through how they hold themselves or act.
Jesse Eisenberg heartily devours the dual-role of Simon and James in director Richard Ayoade's The Double.
I did not get as far as seeing Eisenberg play the physical double of his initial character, because this film was just not interesting, so I turned it off.
The movie features Jesse Eisenberg as Simon James, an awkward and clumsy office worker in an ambiguous time period who goes throughout his life unnoticed until he meets his doppelganger, James Simon.
James and Simon get into a number of hilarious situations which is a light in the dark pit that this film feels like at times, though it doesn't take away from the serious themes that are discussed.
The theme of loneliness is brought up a lot throughout the entire film, as Simon talks about the feeling of being alone and how that makes him feel connected to his love interest, Hannah, played by Mia Wasikowska.
I feel as though Simon develops into the version of James that I was picturing in the beginning of the movie who is able to conquer any problem that comes in his way.
The film The Double, based off of Dostoyevsky's famous novel, is a naturalist exploration of a depressed man named Simon's encounters with love, suicide, and his doppelganger James.
The Double is a film by Richard Ayoade that tells the story of Simon James and his double, James Simon (played by Jesse Eisenberg).
The film felt like it was trying to use an economy of shots, and often the camera would follow a character across a space as they moved where other movies may have cut to a different shot.
Simon's face is almost always shadowed, giving him a gloomy look.The camera work, like any film, is varied.
I found this film extremely strange but for some reason I couldn't stop watching it.This is not exactly a depressing film, but it's definitely not a light, feel good movie either.
In Richard Ayoade's ingenious and artistic film 'The Double', apparently based on a story by Dostoeveski, an unconfident man's life is transformed, first for the better but then for the worse, when he meets a self-confident version of himself.
Written and directed by British comic Richard Ayoade, The Double is a dark yet funny comedy with likable- ish characters and some good acting that also that makes this a decent little watch.
The film is as weird as it is funny and only Ayoade could have dreamt something like this up with the world this is set in one of the weirdest I have seen in years.Simon is played by Jesse Eisenberg who is well cast in the role perfectly looking the part somehow, even though Simon is meant to be a weak none confrontational person who is pretty down a lot(poor Jesse).
It is only because of the not as good as the beginning second half that I didn't find this great or even more, it for me was a wasted opportunity but I do not blame Ayoade because his skill is what keeps this alive and kicking in the first place so I just enjoyed his talents on show.So all in all a good little adventure and one I would recommend to anyone really, although that said this does feel like a you either love it or hate it kind of thing, but don't go into it expecting it not to be weird.
Full of good actors, directed and written by a top guy and set in a dystopian world that is kind of not here(but not really anywhere), The Double is a fine film and one I expect maybe one day to have a slight cult following..
Richard Ayoade's film is about a man named about Simon James who leads a miserable existence as he is ignored at his job, scorned by his mother, and also ignored by the woman of his dreams.
A great scenario joined with astonishing performance of Jesse Eisenberg and Mia Wasikowska make it a definitive must see.The film tells a story of Simon, a boy living a scarily normal life, similar to many of us and thus making the film mind blowing.
THE DOUBLE is based on a novella from Fyodor Dostoevsky and stars Jesse Eisenberg as Simon James.
The production designer and cinematographer on this film have done a fantastic job of creating a seemingly fully- realized world with very little.THE DOUBLE might sound like a thriller, and I suppose it's got elements of it, but I would say it's just as much a comedy.
Also having enjoyed his first film Submarine (2010) I had high hopes for Richard Ayoade's second film, The Double (2013).The Double follows government agency clerk Simon James (Jesse the double Eisenberg) as his dull and dreary life takes an unexpected turn upon the arrival of his double, James Simon.
We follow Simon's struggle to be identified in his work, life and in himself as James does everything he can to sabotage him at every turn.I went into this film having read no reviews and knowing very little about it.
I mean yeah I expected it to be kooky with a slight Wes Anderson feel to it, like Submarine but what we got was that and so much more.The Double, instead of the good natured fun of Ayoades first film, is noir in its style and story and art-house in its direction.
But none of what I have said should be misconstrued as being negatives, quite the opposite in fact; these were all aspects that I thought made for a compelling film.The Double jesse Jesse Esienberg to play both Simon and James was the perfect choice in my opinion.
So Jesse did a great job here with a demanding role of playing two very different people often in the same scene.One of the things which I wasn't sure about in the film was the use of the same actors.
If you answered yes then there is no need to look any further for your out-there fix than right here with I.T Crowd graduate Richard Ayoade's Brazil like, Fyodor Dostoevsky inspired oddity The Double, the years second doppelganger effort after the excellent Enemy that goes to some mighty odd places yet remains highly watchable.After showing fine form behind the camera with his 2010 debut film Submarine, Ayoade has here upped the anti and ambition with this well made and constructed mystery/comedy.
Exceptions are drive-by shootings, bomb throwing's and purse snatchings") The Double has a real flavour of its own that makes it stand out from the crowd and a macabre tone keeps the viewer on edge with its unpredictable nature that his cast plays out to good effect.Starring young Woody Allen himself Jesse Eisenberg, The Double showcases his talent as a neurotic lead in what is a nice double act for himself to riff as the characters of Simon and James, who may look the same yet have a highly different personality.
While the film is odd, it's also fascinating to watch, and features a surprisingly effective and powerful performance from Jessie Eisenberg as a man facing an identity crisis.The Double tells the story of Simon, a timid man, who is very unfortunate.
Simon soon realizes that James isn't as nice as he sounds, and that he is actually the villain of the story, trying to take over his life.British comedian and actor Richard Ayoade's second effort as a director, after Submarine (a film I have yet to see), is one of the more fascinating films I've watched from 2013, at least, in terms of how the film is shot.
Some of the scenes in this film remind me very much of a Terry Gilliam movie, like Brazil.The acting in this film is all around very good.
It certainly has several good aspects of it, Richard Ayoade's directing style is very unique, he's an artistic film maker that I hope to see more films from in the future, also Jesse Eisenberg's performance is terrific, certainly some of the best acting I've seen from him, he's normally playing the same character in every movie, but here he plays two very different roles and he is the highlight of the entire film.
Richard Ayoade directed "The Double," a film starring Jesse Eisenberg in a dual role.
James (also Eisenberg) looks like Simon but no one seems to think this is unusual.
What is poor Simon to do?In many ways, this story looks like it was infused with liberal doses of the movies 1984 as well as Brazil.
James decides to help Simon win over Hannah, using his charisma, so long as Simon helps him with all the things he lacks.While Jesse Eisenberg and Mia Wasikowska aren't going anywhere we haven't seen them go before, performance wise, director Richard Ayoade places them in a world they've never been and may never be given the opportunity to go again.
Combining the quirkiness of Wes Anderson, and the creative nature of Terry Gilliam, Richard Ayoade's 'The Double' is both thought provoking and rather fantastic.Presented in musky style cinematography (think David's Finchers's 'Se7en' and you're on the right track), the film, adapted from Fyodor Postoevsky's novel of the same title, follows Simon James (Jesse Eisenberg); a very un-noticeable, unlucky and shy clerk.
His life becomes ultimately complex when James Simon (also Jesse Eisenberg), a new employee starts at his work.
Jesse Eisenberg does a great job in both roles, and the rest of the cast is flawless - Mia Wasikowska makes a luminous, lonely dream girl that Simon can't help feeling protective toward, but her character also has a darker side. |
tt0076618 | The Rescuers | The story begins in a swampy bayou, where a little girl is seen on an abandoned riverboat, dropping a bottle over the side of the boat. The bottle is the carried away by the waters, and after some time, arrives along the shores of New York City, where several mice find it.The bottle is then brought before the International Rescue Aid Society, an organization of mice that gathers inside a luxury suitcase in the basement of the United Nations building. Inside is a note that is recovered by a janitorial mouse named Mr Bernard. After spreading out the message, the Chairman and the Hungarian representative named Miss Bianca then read over the message:"To Morning Side Orphanage, New YorkI am in terrible trouble. Please hurry. Help!Penny."Miss Bianca volunteers to help the little girl, and the Chairman allows her to choose any of the delegates to assist her. To their surprise, Bianca chooses the janitor Bernard. Mr. Chairman is surprised but has no objection, and soon the pair is off to search for clues.Taking a clue from the letter, they head to the Morning Side Orphanage. Searching through the rooms, they eventually find a box with Penny's name on it, along with other belongings. Wondering about why her items would be boxed up, they are interrupted by Rufus, an old cat. At first apprehensive, they soon strike a conversation with Rufus about Penny. Rufus explains about the last time he saw Penny before she disappeared, but also says that since there are no other clues, the Police have since given up the search.Rufus explains to Bernard that even though the girl had appeared to be very happy, the next thing he'd heard was that she had disappeared. Bernard finds it hard to believe that Penny would simply take off, and asks for any further information that Rufus may have for them. Though he hesitates for a moment, Rufus explains about the mysterious involvement of a "trashy lady," whom had offered to take Penny for a ride in her car. He tells them that this woman and her partner run a pawn shop nearby. Bernard and Miss Bianca set off for the place, but Rufus reminds them that even if they were to locate Penny, there isn't much that two little mice will be able to do.Bernard and Miss Bianca arrive at Madame Medusa's pawn shop. A seemingly harmless, yet intimidating, locale full of antiques, diamonds, jewelry and countless other objects. They begin to search the owner's office and backroom, where they discover a first-grade child's writing book, with the name "Penny" written on its cover; Bernard is certain that they've come to the right place to look for clues. The silence is broken first by the sound of a wall cuckoo clock, which succeeds in startling the mouse heroes, and then by that of a telephone ringing, which manages to frighten the two mice, sending them both for cover. The phone continues to ring, and within moments, the store's owner appears thundering through the back door. The woman, annoyed at being called in the middle of the night, answers the phone: "Madame Medusa's pawn shop boutique!" As the two mice listen, they learn that it is a call from someone named Mr. Snoops. As the conversation unravels, they learn that Mr. Snoops has not been able to locate a diamond, to Madame's great dismay, and also that Penny has been sending messages in bottles. Madame Medusa is enfuriated when she hears this and announces that she'll soon be on her way to the Devil's Bayou. The two mice manage to climb into her convertible, but are thrown out of the vehicle after a wild, reckless ride through the quiet streets of New York City. Bernard and Miss Bianca are left feeling helpless on the sidewalk in the middle of the night.The two mice arrive at a New York City airport some time later. Bernard begs Miss Bianca to hurry, since he believes Madame Medusa has already arrived at Devil's Bayou. The two make their way to the headquaters of Albatross Airlines and await there for their flight. Upon looking at a blackboard with information regarding the flight hours to Devil's Bayou, Bernard is dismayed to discover that they've missed their flight by a quarter of an hour. Miss Bianca comforts him by reminding him that flights tend to be late. Moments later, over the intercom, they hear the announcement for flight 13, headed for Devil's Bayou. Bernard is anything but thrilled when he learns that he'll be flying on the flight marked with the dreaded number 13. Orville the albatross attempts to communicate with the control tower, but no one is present to answer his call. Bernard contacts him and with the help of Miss Bianca, gives Orville the required permission to land safely. Miss Bianca watches with excitement as Orville makes his appearance, flying gracefully and then landing face first on the runway. Bernard runs down to greet Orville and asks him if he is hurt. Orville shakes the dust off his feathers and proudly announces that one to be one of his better landings, which does nothing to help Bernard's fear of flying aboard him. | good versus evil, revenge, tragedy, flashback | train | imdb | null |
tt0053459 | Les yeux sans visage | Eyes Without a Face begins at night as a young woman eases her car down a back road near a river. She stops and manages to pull out of the car a woman's body wrapped in an overcoat and dumps it into the river. We are then introduced to a medical professor giving a lecture before a rapt group of admirers. The woman is Louise (Alida Valli) and her employer Prof. Genessier (Pierre Brasseur) has been attempting to perfect a number of surgical procedures, one of which it turns out is grafting skin from one animal to another. He experiments with dogs and has many mongrels penned up on his estate that he uses as subjects. When detectives bring the professor to identify the dead woman that Louise has dropped into the river, he says that it is the body of his missing daughter Christiane (Edith Scob). Meanwhile Louise drives around the French city looking for young women to spark up a friendship with. At the secluded estate of the professor his daughter Christiane (Edith Scob) remains hidden from view, and it turns out her face is covered with a mask to hide her features that have been damaged in a car accident caused by the father. The professor had previously performed plastic surgery on Louise that was successful with only a minor little scar at the base of her neck, a scar that Louise hides with a string of pearls. With Christiane, however the plastic surgery graft has not been successful and so the professor and Louise kidnap young women to attempt to transpose their beauty onto young Christiane. Things begin to go wrong when Christiane reaches out to an ex beau and the insular world of this dysfunctional family collapses. | gothic, murder, violence, horror, atmospheric, claustrophobic, romantic | train | imdb | null |
tt0113981 | Night Hunter | Young Jack Cutter's parents are vampire hunters. His parents' parents and their parents before them were vampire hunters. It's what they do. But when Jack's parents are annihilated by vampires, Jack [Don "The Dragon" Wilson] is the last in the line. He is entrusted with "the bible", a list of names of vampires, and he sets out to destroy them all. It is now some 20 years later. There are nine vampires left. Jack knocks off four of them as they dine in a family restaurant, but this sets the law and the press looking for him. The press, in the form of Raimy Baker [Melanie Smith], is first to find him. Unfortunately, there is soon to be a solar eclipse during which the vampires can breed, so Jack must shortly find and kill the remaining five. With Raimy's help, he succeeds. | cult, murder, violence | train | imdb | null |
tt0072251 | The Taking of Pelham One Two Three | In New York City, four heavily armed men with code names (Mr. Blue, Mr. Green, Mr. Grey, and Mr. Brown), wearing disguises of eyeglasses, fedora hats, and fake moustashes, board at different station stops (the Green Line at 59th Street, Grey Line at 51st Street, Brown Line at Grand Central, and finally Blue Line at 28th Street) on the Pelham 123 subway train run of the 6 Lexington Avenue Local service. The men take the train, securing a group of hostages, whom they isolate in one car of the train, then disconnect this car from the rest of the train.Meanwhile, Lieutenant Zachary Garber (Walter Matthau), a cynical and curmudgeonly yet light-hearted New York City Transit Authority police lieutenant, begins his day by leading four visiting Tokyo Metro directors on a tour of New York's subway command-center. This is interrupted by Blue's radio announcement to the command center that "your train has been taken." Blue (Robert Shaw), the British-accented leader of the hijackers, tells Garber they are demanding a ransom of one million dollars, to be delivered to them within one hour; otherwise they will kill one passenger per minute, starting when the hour has passed.Garber, the sarcastic Lieutenant Rico Patrone (Jerry Stiller), and other transit workers cooperate while trying to guess how the criminals intend to escape the subway tunnel and get away. Various clues soon surface for Garber to figure out, first with his hearing Blue's very distinctive English accent over the radio. It later turns out that Blue was a ruthless British mercenary, and Green (Martin Balsam) is a former transit worker who from time to time sneezes over the radio and is heard by Garber, who responds by saying "Gesundheit." Garber also learns that one of the hostages is an undercover police officer.The mayor finally agrees to pay the ransom at the urging of his deputy mayor. The police dispatch a squad car carrying the ransom money. When the car is wrecked in a collision, Garber daringly bluffs to buy some time, telling the takers that the money already has been delivered to the 28th Street Station and only the walk down the tunnel is delaying it. A reluctant Blue agrees to the delay.A police motorcycle completes the trip from the scene of the collision to the subway station and two unarmed officers are sent down the track on foot to deliver the money to the hijackers. With the money finally in hand, the hijackers demand that electric power be restored to the subway line, and that all signals in the path of the train be turned green from 28th Street to the South Ferry station, both of these being necessary for the car to move. Having overridden the subway car's dead-man's switch, which would otherwise ensure its stopping unless someone remained at the throttle, the hijackers get off the train and set it in motion. As the train starts to move, the undercover officer also jumps off the train and hides between the rails. The car begins to travel faster and faster, since no one is controlling its speed.Outside the tunnel, Garber and Inspector Daniels are convinced that the runaway train is a diversion and that the hijackers must have left the train.The hijackers divide the ransom money, discard their disguises, and start their escape into the tunnel's emergency exit; however, Grey refuses to leave his gun behind as agreed and is shot dead by Blue. The undercover officer, still hiding in the tracks, manages to kill Brown with one shot. Green escapes onto the street.Garber arrives after Green has gotten away and, drawing on Blue, orders him to surrender just as Blue is about to shoot the undercover officer. Blue asks Garber if the death penalty is available in the state of New York anymore. Told that it is not, Blue responds, "Pity", then promptly electrocutes himself by stepping onto the third rail while a horrified Garber watches.Entering the South Ferry Loop, the runaway car finally encounters a red signal. The car's emergency brakes are tripped and it grinds to a halt; the remaining hostages are all safe.Green, the only hijacker to escape, has left as a clue only Garber's surmise that one of the hijackers must be an ex-motorman of the New York Transit Authority (owing to the hijackers' knowledge of the car's operation). With the dead three all identified, Garber realizes that the hijacker still at large must be the former transit employee. Garber and Patrone, working their way through a list of former motormen "discharged for cause" (and, by implication, disgruntled), pay a visit to Harold Longman. Longman, known to the audience as Mr. Green, is shown rolling in the packs of ransom money on the bed in his seedy efficiency apartment when Garber and Patrone knock on his door. He hides the money quickly, then opens to the officers and bluffs his way through their questioning. The officers find Longman's alibi weak, but start out the door, until Longman sneezes and Garber says "Gesundheit." Garber then re-opens the door, the expression on his face in the door opening (the film's final frame) telling the audience that he knows he has just found the final hijacker. | comedy, realism, murder, humor, claustrophobic, suspenseful | train | imdb | Its truly a shame most people aren't familiar with this movie and it doesn't have the allure or big star power to draw in new fans seeking out a great film to watchIf you happen to run across The Taking Of Pelham One Two Three though, do not pass it up!
And he proves fully capable during the crisis.The crisis is four men, Robert Shaw, Earl Hindman, Hector Elizondo, and Martin Balsam mount a carefully planned assault on a subway train out of Pelham Bay station in the Bronx in mid-Manhattan and hold it and the passengers for ransom for a million dollars.
During the course of the robbery they kill a station supervisor played by roly poly Tom Pedi, one very quintessential New Yorker and their coldblooded villainy is established.In fact the whole cast is a microcosm of the ethnic strains of New York City which makes the film so enjoyable, especially to one who lived there, the first 49 years of his life.
One of the reasons why the films were great was that the directors were ostensibly in control of the films, rather than by a committee of the usual Hollywood "insiders" who think they know what people want to see, but rarely make the correct decisions.I know that this film was re-made( for TV)--God knows why--but I'm sure if they attempted another film version Matt Damon would be playing the grizzled transit police cop (Matthau's role) and Jude Law would be playing the Robert Shaw role.
Not knowing the name of this film (the Carry On listing was clearly not being shown, perhaps the Producer-dude had a revelation of taste!) I began to watch it half-heartedly, whilst prostrate on the sofa.By the end of the movie, and that glorious last look from Matthau, I was sitting blot-upright with the biggest grin I've had on my face at 2am for a long time!What a flick!
Sharp and fast-paced thriller that follows an easy-going N.Y.C. transit cop (Walter Matthau) who's forced to out-match the wits of four well-armed gunmen and their resilient leader (Robert Shaw) who are holding eighteen passengers on a subway train and demand one million dollars within the hour.Made in the era of smart, stylish, and ingenius thrillers ('70s), this film didn't fail to loose my attention at all.
Walter Matthau is a hoot as the savvy NY transit cop who's smarter than he looks, well-matched by Robert Shaw as the icy mercenary whose gang has hijacked a subway car for a one-million-dollar ransom.
Owen Roizman (THE FRENCH CONNECTION) handled the gritty location photography; scripter Peter Stone contributed terse, funny dialogue; scene-stealers like Martin Balsam, Jerry Stiller, Dick O'Neill and others made their roles indelible; and David Shire's percussive score set a standard for the genre.The ending is classic.
Shaw and Matthau are the obvious stars with everyone else putting in a good co-starring role.The story takes place on the "6" train no less, which happens to be my fave subway line!
Robert Shaw leads a group of stooges in the violent hijacking of a New York subway train; Walter Matthau is the acerbic transit police officer who assigns himself to the case.
Crafty and tense thriller about a nasty team led by a tough attacker (Robert Shaw) and his underlings (Martin Balsam , Hector Elizondo , Earl Hindman) hijack a subway car holding 17 passengers for 1 million ransom .
Matthau is excellent as an everyman thrust into the pivotal position of negotiating with a lunatic who along with his cohorts has hijacked a New York City subway train.Robert Shaw is truly magnificent as the villainous mastermind behind the subway train takeover.
But, the magic truly starts to simmer in the high tension interplay between Matthau and Shaw as the ruthless killer demands his money while Matthau attempts to achieve the safe release of the victims.Each of the heavies in this picture are identified by colors Mr. Green, Grey and so on; a plot point which inspired director Quentin Tarantino in his debut film Reservoir DOGS.
"Someone might come out here and hit you in your damn nose."An angry trainmaster (Dick O'Neill), when reminded about the 18 hostages, replies: "What do they expect for their lousy 35 cents, to live forever?"When a senior transit cop named Lt. Garber (Walter Matthau) asks a colleague played by Jerry Stiller to tell some Japanese visitors about the kind of crime they have to deal with, Stiller's character replies: "We had a bomb scare in the Bronx yesterday, but it turned out to be a cantaloupe."Matthau's role isn't the most challenging of his career, mostly he pushes a lot of buttons and talks into a microphone, but he throws up an array of great reaction shots, from his first moment of being woken from a catnap to his last, one of the most memorable of any 1970s film.
I love his reaction when Stiller's Lt. Patrone character offers his theory of how the hijackers plan to get away with the loot by flying the subway to Cuba: "You're a sick man, Rico."The real sick man in this movie is the great Robert Shaw as the lead hijacker, who goes by the alias Mr. Blue.
Walter Matthau was brilliant, the comedy was a compliment to the movie, especially as a serious situation was getting even more critical as the time ran-out.Robert Shaw was great as the criminal mastermind...now we know the United States fascination with english speaking criminal masterminds (Alan Rickman & Jeremy Irons of Die Hard).
The movie deserves its own book, and ranks right up there with Citizen Kane (1941) as a movie so good, there's no way to say how good it is.The use of comedy inter-cut with tension and true tragedy was never done better in any movie, and highlights how important the unlikely marriage of comedy and horror is when it's done well.The James Whale 1930's horror movies (two Frankenstein movies and the Invisible Man movie) do this well, and so did better class sci-fi space travel movies (Destination Moon in 1950 had a comic passenger very important to the film).I was born in New York City, and lived there several times in my life, and I'm partial to the unique wise-guy, one-oneupmanship humor found nowhere else, and brilliant when it's done well.In The Taking Of Pelham One Two Three (1974), New York City wise-guy humor is done well....the timing, the straight face delivery of outrageous blandness, the irony, the put-down humor.....only New Yorkers could and have come up with comedy like this.They did it when New York City was truly a city which included people of all backgrounds and income levels, all part of the city's life, all players.
He plays an outrageous, outraged long time supervisor worker on the New York subway system named "Cas Dolowitz," and his performance is incredible.Tom Pedi as "Cas Dolowitz" plays a proletarian character of dignity, importance, interest, and charisma....not just a piece of background actor scenery decorating scenes dominated by "beautiful people" main actors.The is a proletarian movie in very important and unusual ways few other films ever are.In a sense, every one of the actors in The Taking Of Pelham One Two Three (1974) are character actors, and this defines the movie importantly, and makes it one of the greatest movies about common people in one of the world's biggest cities ever made.---------------------------Written by Tex Allen, SAG Actor.
In this modest 70's action blockbuster, based on the novel by John Godey, a quartet of well- prepared and heavily armed men that address to each other with colors instead of names (I suppose Quentin Tarantino holds a copy in his private film collection as well) hijack a busy New York subway train and demand $1 million ransom from the city council.
Witty dialogue contains plenty of laughs (uniform to dispatcher "they just shot him with a machine gun", dispatcher "is he dead?", uniform "wouldn't you be lieutenant?") but the tone is never compromised - both Elizondo and in particular Shaw, create chilling characters promising to execute one hostage for every minute the ransom is late; e.g. Shaw's execution of one of the hostages as retribution for a sniper strike is performed with merciless efficiency.I initially responded to the idea of remaking this film with contempt - akin to turning this train thriller into a train wreck.
Basically in New York City, 4 men wearing trench coats and rimmed glasses hijack a Pelham 123 subway train and for the hostage to go free, they want a million dollars.
At its roots this film is a story of two men - Mr. Blue(all the gunmen have color-coded names that Quentin Tarrantino borrowed in Reservoir Dogs)played with his usual aplomb by Robert Shaw as the leader of the gang and Walter Matthau as the Transit detective out to do what he can to remedy the situation.
It isn't really an actor's film but Walter Matthau does as good as can be expected and Robert Shaw is excellent as the cold-blooded head villain.
A ruthless gang of men dressed as old fellas takes over a single New York City subway, separates it from the rest of the train, and issues a demand to authorities: deliver one million dollars in one hour, or passengers will be killed every minute over the deadline!Walter Matthau plays the crafty transit cop on the case in this psychological crime drama pitting him against the manipulative and single-minded Robert Shaw, the leader of the baddies.
The characterizations are vivid and intelligent, and the audience is treated to some real crackerjack performances.You see, the best part of this movie isn't guessing whether the authorities are going to submit to Shaw's demands and give the gunmen their money, it's in wondering how he plans on getting away with the crime.
The latter contributes mightily to the film's unforgettable final scene.The plot, music, photography, background, dialog, and the rest of the supporting cast -- most especially Dick O'Neill as a vengeful city worker, Lee Wallace as the whiny mayor, and Tony Roberts as Wallace's image consultant -- are all equally up to the task.I love many 1970's movies.
Taking of Pelham One Two Three, The (1974)*** 1/2 (out of 4) Four armed men (Robert Shaw, Martin Balsam, Hector Elizondo, Earl Hindman) hijack a subway car in New York City and demand one-million dollars or they will start shooting the hostages.
Lots of great performances but the stand outs are Matthau as Lt. Garber struggling to deal with the equally good Robert Shaw as Mr Blue, leader of the hijackers.
The extraordinary situation here, mind you, is up with the best of them, namely the hi-jacking of a New York City underground train, no less, its passengers held for ransom by Robert Shaw and his "rainbow" gang, (Messrs Green, Gray, Brown and Blue), prefiguring a minor plot device Tarantino would re-use in "Reservoir Dogs".
The film was adapted from a novel by Morton Freedgood {writing under the pseudonym John Godey}, and features an excellent cast in Walter Matthau, Robert Shaw and Martin Balsam, as well as in an unexpected treat for fans of TV comedy Jerry Stiller ("Seinfeld") and Earl Hindman ("Home Improvement").
The New York City "Style" seems to have Captured Most Viewers and Viewed Today some of the Un-PC Stuff can be "Refreshing".The Film has a Cult Following, among those Director Quentin Tarantino (a 1970's Fetishist), and Objectively it is Typical of its Era and there are quite a Number of Films from the Time that are just as Good and some that are Much Better.But Given its Due as a Good Combination of Suspense and Humor it all Works quite Magnificently and Grips from the Get-Go.Never Letting Up, and if You can Forgive the Hyperbolic, Unlikable Characters (Mayor, Cops, and Transit Authorities) who all seem to be Straining to Stand Out among the many Stereotypical New Yorkers Populating the Frame, it can be an Exciting and Entertaining Movie..
Best of all, the movie does have a good sense of humor, paying itself off in a couple of ways.Robert Shaw, Martin Balsam, Hector Elizondo, and Earl Hindman play a quartet of ruthless men who hijack an NYC subway train and hold almost 20 passengers hostage.
"We are going to kill one passenger a minute until New York City pays us $1 Million.""The Taking of Pelham One Two Three" is a perfect example of a tension filled, wonderfully constructed, and extremely entertaining thriller.
You can count among its biggest admirers Quentin Tarantino, who borrowed the color-coded nicknames of the villains in the film for his band of thieves in "Reservoir Dogs."Four armed men hijack a New York City subway train and demand $1 million dollars which must be delivered in 1 hour for the release of the passengers held hostage.
Maybe not as well known and remembered, recently reborn through the remake, the 1974 Taking of the Pelham One Two Three is a top notch heist flick.Transit policeman at the NY subway command centre becomes a hostage negotiator, when four armed men take over the Pelham One Two Three and threaten to kill the hostages is the sum of 1 million dollars isn't delivered to them within 60 minutes.Garber, played by Walter Matthaw, is an ordinary man who is doing his job without expecting anything unusual, but still manages to stay calm during tense situations, Matthaw clearly plays his role well.
Based on the book by John Godey, TAKING OF PELHAM focuses on four criminals who hijack a subway car and demand one million dollars from the mayor of New York, threatening to kill one hostage per minute if their demands aren't met.
New York City transit lieutenant Zachary Garber goes above and beyond his call of duty to play negotiator with the hijackers.With the remake coming out this weekend (June 12, 2009), what's a better time than to watch the original film?
This has got to be one of the best movies of all time - The story is riveting - a bunch of crooks and a disgruntled sacked train driver hijack a subway train (pelham 123) with about a dozen people on board and they're not afraid to turn their guns on their hostages if their demands of $1,000,000 in an hour isn't met.
The scenary is great, with a gripping script and fantastic acting - I can't believe I never heard of this movie before!!Walter Matthau and Robert Shaw are fantastic, and the ending is absolutely brilliant!A must watch 9/10Stewart.
THE TAKING OF PELHAM ONE TWO THREE (1974) ***1/2 Walter Matthau, Robert Shaw, Martin Balsam, Hector Elizondo, Jerry Stiller, Dick O' Neill.
When four disguised men with automatic weapons take a NYC subway train and its passengers hostage it's up to weary transit cop Matthau (great fun) to match odds with lead criminal mastermind Shaw (in subdued Eurotrash mode) calling the shots.
One of the best thrillers of the 1970s, this gritty urban thriller concerns itself with four extremely dangerous men, led by an incredibly ruthless Robert Shaw, holding seventeen passengers and a conductor hostage on a New York subway train.
From a day before computer generated FX and MTV produced attention span cripples Pelham creates excitement and almost unbearable suspense via memorable characters, crackling dialogue and a wonderfully sly sense of humor.Walter Matthau delivers one of his best performances as a sardonic cynical police detective matching wits with a band of ruthless terrorists who have hijacked a subway car demanding a million dollar ransom for the release of its passengers.
It is the tension between these two characters that keep you on the edge of your seat - not the action of which there is very little.Add to this a great ensemble cast that includes Martin Balsam, Hector Elizondo, and the city of New York, and a very clever plot with a wonderful little twist at the end, and you have one of the best crime films of the 70s.
A team of hijackers takes hold of a NYC subway car and says that will kill a passenger every minute unless the city pays them $1 million..With a plot like that its easy to see why this movie grabs your attention...but what holds it together is excellent pacing that keeps you involved and wondering what is going happen next.
With a terrific screenplay by Peter Stone and brilliant direction from Joseph Sargent, (it's easily the best thing he's ever done), "The Taking of Pelham One, Two, Three" is still one of the most enjoyable heist movies ever made, (in this case, heist as in the hijacking of a subway train).
Robert Shaw and Martin Balsam are two of the hi-jackers and Walter Matthau, the New York cop doing the negotiations but the whole cast are first-rate.
There isn't a lot of blood and at least the hostages react to killings like real people would.Being a railfan and car nut, I enjoy watching the subway footage and also the cars above ground.There are plenty of reviews here for Pelham, so I will simply say that it is a very good film, well acted, well shot, and the humor scattered throughout is great.And whatever you do, make sure you watch it to the very last second!PS: I have NO clue why anyone bothered to remake this movie...
Ex-mercenary Robert Shaw and his colour-coded crew take over the titular subway train full of New York City stereotypes and demand one million dollars in exchange for the release of the hostages.
It is just a good hostage movie with excellent acting by Walter Matthau and Robert Shaw.You can also choose for the modern remake of this movie with Denzel Washington and John Travolta.
It is Shaw's performance that elevates Pelham to a classic as he remains calm as everyone else panics and worries and that plays beautifully off his fellow hijackers Balsam and Elizondo, and even off Matthau through the radio.While the remake is a fine movie, it is nowhere near the caliber of the original.
The movie was directed by Joseph Sargent and it tells the story of a man (Shaw) who, with some other gunmen, hijack a subway train in New York City. |
tt0067592 | La plus longue nuit du diable | Baron von Rhoneberg (Jean Servais), a former World War II German general, sacrificed his daughter as the war ended. This condemned his family to be placed under a terrible curse. Many years later, he tells the story to a reporter who wishes to write an article about it and take pictures of his castle. However, the Baron is against any photographs. Despite his protests, the young woman goes up to visit the castle and take pictures but is killed when a dry thunderstorm suddenly rolls in while she is in close proximity to it. Her body is taken back to the town where it is discovered she has a burn in the shape of a lobster-like claw on her arm which is confirmed as the Mark of the Devil.
Some time later, a group of tourists become lost during a bus trip. They meet Satan in the guise of a man (Daniel Emilfork) who recommends that they take the ferry boat, but they arrive too late to catch the last ferry of the day. They are then directed to an old castle which offers room and board. When they arrive, one of the doors opens by itself and a piece of the façade breaks off, nearly killing one of the tourists. Hans (Maurice De Groote) the butler greets them and shows each of them to their rooms giving them a briefing of the history of two of the rooms, one of which bears the same lobster-like claw mark on the floor tiles in front of the fireplace. After the guests have been accommodated to their rooms, Hans goes down to a laboratory basement and informs the Baron who is practicing alchemy. Over dinner the Baron explains his family's history to his guests. His ancestor made a pact and sold his soul to the Devil in exchange for his services. Satan demanded that the eldest daughter of each generation become a succubus. When asked if he ever had a daughter he shakes his head no.
A young woman named Lisa Müller (Erika Blanc) also comes to stay at the castle and proceeds to seduce each tourist according to their own personal weaknesses, then kills them, using their own sin against them. Each tourist is a representative of one of the Seven Deadly Sins. Matt Ducard (Christian Maillet) represents Gluttony and dies by choking to death while gorging on food and wine. Nancy (Colette Emmanuelle) dies representing Greed by drowning in a hidden treasure hoard of powdered gold. Howard (Lorenzo Terzon), representing Envy, and Corrine (Ivana Novak), embodying Lust, are murdered while in the middle of an adulterous tryst. Wrathful old Mr Mason (Lucien Raimbourg) is thrown out of a window. Regine (Shirley Corrigan) dies as Sloth when a snake kills her in her sleep. Only the seminarian, Alvin Sorelle (Jacques Monseau) as Pride, seems immune to Lisa's seductive charms. When six of the seven tourists are dead, Satan appears to Alvin. Alvin offers his soul if Satan will return the dead tourists to life, to which Satan agrees. The next morning, Alvin awakes to find that the dead tourists have indeed been returned to life as though the previous night's events never happened and are having breakfast before they set out to continue their trip. Even Alvin himself remembers it as only a dream.
The Baron is wounded that morning in a fencing accident with Hans, and Alvin waits with him for an ambulance. The Baron confesses to Alvin that he lied; he did have a daughter and killed her in her cradle. After a conversation with Martha the housekeeper, Alvin learns that the child the Baron stabbed was not the succubus. Lisa is Martha's daughter from an affair with the Baron's brother, Rudolph von Rhoneberg, and that Lisa is the eldest daughter. Alvin dismisses Martha's claims that Lisa is subsequently a succubus. Alvin chooses to remain at the castle with Lisa while the other tourists go on. As Alvin and Lisa watch the tour bus heading back to the main road, the bus suddenly swerves to miss a funeral wagon driven by Satan and goes over a cliff, killing everyone aboard. Alvin enfolds Lisa in his arms. Lisa and Satan smile at each other, knowing they have claimed their souls once again. | plot twist | train | wikipedia | It turns a fun, entertaining Euro-horror into a throughly frustrating experience.Trivia: Though it was released in Europe in 1971, this film did not hit the U.S. until 1974, when Hemisphere released it as Devil's Nightmare to coattail The Exorcist..
There's bad & incoherent plotting, macabre set-pieces, a mild Gothic atmosphere, demented characters, shocking themes, lousy gore effects and not to forget authentically gratuitous lesbian sex!
Let's just say the main storyline revolves on an ancient family curse that turns every first born daughter of the Von Rhoneberg generation into a succubus (= female servant of the devil), and a group of tourists stranded at the family castle are just in time to "celebrate" the devilish pact's 700th anniversary.
Furthermore, the baron practices alchemy in his basement, there are Nazi child-executions, a gruesome murder story for every room in the castle, the random torture of cats in the attic, negotiations between a priest and the devil himself and a wide variety of shlocky massacres.
For example, the Succubus (a luscious Erica Blanc) makes sure that every tourist's death symbolizes his or her biggest sin, whether it's greed, unfaithfulness, curiosity
The killings are very nasty, though hardly scary, and follow each other at an incredible pace, barely allowing you the time to wipe the sinister grin off your face.
I saw this as one of 10 horror films on a collection from brentwood DVD called;fright night,its an awesome collection of fright films.anyway the devils nightmare is a Belgium/Italian made shocker about a group of tourists(each one represents one of the 7 deadly sins)they get stranded at the castle of an ex Nazi officer.there's a family curse,gruesome murders,lots of nudity(surprising for 1971)and a very good soundtrack.
I'm usually a sucker for good European horror movies especially with the sexy beautiful Erika blanc,who starred in many Italian horror films.sort of like a rival of Barbara Steele.the murders are very gruesome.the dubbing is sloppy but thats expected.i saw this years ago on the USA cable network,of course it was chopped up by the censors.
watch the uncut version for the full effect.ignore the critics because most of them dismissed this film as junk.you be the judge.believe me its kind of scary.8 out of 10,Erika blanc gets 10 out of 10 because she was hot..
This is an above average example of the type of metaphysical horror film that seemed to proliferate in Europe in the 1970's.It's simply the story of the Devil, his minion (the succubus) and seven tourists (each representing one of the seven deadly sins) who are forced to spend the night in a sinister castle.The first hour is rather plodding due to an over abundance of exposition and very little action.
His performance is a real stand out when compared to the rather wooden performances delivered by some of the other cast members.Director Jean Brismee also deserves kudos for several delightfully imaginative flourishes during the death scenes.All in all it's worth watching if you're a fan of this type of film, but it's definitely not one of my favourite Euro horror films from this era.6 out of 10..
Sexy Erika Blanc famous from Mario Bava's "Kill Baby Kill" and Emilio Miraglia's "The Night Evelyn Came Out from the Grave" plays a seductress and succubus who spends the night in a Gothic castle along with seven unfortunate tourists,some weird servants and a cursed Baron von Rhoneberg.With the use of the Seven Deadly Sins as a motive,she will kill all that are in the castle.Here is where the fun kicks in,as we are witness to several creative deaths ala guillotine,drowning in gold,gluttony poisoning,iron maiden,falling on spikes,etc."The Devil's Nightmare" offers some nudity plus pretty steamy lesbian scene.The killings are fun and Erica Blanc is dressed in one of the sexiest evening outfits in the history of Eurohorror.The stunning cinematography by Andre Goeffers perfectly captures the majestique of the Gothic castle.7 out of 10..
This film wasn't directed by any of the Italian Gothic horror greats like Mario Bava, Antonio Marghereti, or Riccardo Freda but it evokes their best works ("Black Sunday", "Castle of Blood", "The Ghost").
Interestingly, Blanc has only some very brief nude scenes here, but she plays such a seductive and deliciously evil character so well (especially when she preys upon the hapless priest) that she manages to steam up the screen far more than the two Euro-lesbian characters who spend half their screen time cavorting in the nude.
Regardless of the confusing title The Devil's Nightmare has nothing to do with Satan's lack of sleep rather it concerns a family curse in the Von Rhoneberg bloodline which condemns the firstborn daughter to an existence as a Succubus.
One of the seven happens to be a priest, which sin he represents I have no idea, who is wary of Lisa, another unannounced guest, who seems intent on corrupting the man of God. Turns out Lisa is a Succubus who dispatches the guests in the very act that defines each character.
What saves this film from the countless other Eurotrash horror movies is the performance of Erika Blanc as Lisa the Succubus.
Seven obnoxious tourists end up stranded at a secluded castle where they are stalked and murdered one by one by a female succubus who patterns her supernatural killing spree after the seven deadly sins.
The first time I saw this film was years ago on the USA channel's "Saturday Nightmares," even before the days of "Up All Night." This is the perfect movie for a show like that, something you'd like to find just before midnight deep in the summer after you've just cracked open the first beer.
The plot's got a campy "7 Deadly Sins" theme (which is pulled off a helluva lot better in this fairy tale-like setting than in some rotten police investigation "Se7en" trash), the setting is classical without being droll (an old Belgian castle minus things that are supposed to look scary, like banister-ends carved into the faces of little computer-morphing children), and the girls are all beautiful but not wholly character-less (Erika Blanc's very original look and manner steals the film).
Fortunately the rest of the film looked a lot better.This film is about a group of seven travelers who represent the seven deadly sins all being killed off by a demonic succubus.
A busload of tourists--a bickering couple, two very attractive lesbians, a crusty old man and a hunky seminarian--along with their gluttonous driver, are forced to spend the night at the von Rhoneberg castle, somewhere in Germany.
Just get a load of that scene near the film's end, with the creepy theme chant accompanying the Devil's pursuit of the seminarian into a church; beautifully done stuff!
THE DEVIL'S NIGHTMARE (1971; 93 minutes; Belgium/Italy) THE PLOT: Seven people are forced to spend the night in some eerie castle.
The devil sends a succubus to kill each one that indulges in one or more of the seven deadly sins (lust, gluttony, greed, sloth, wrath, envy/jealousy and pride).COMMENTARY: Wow, this is a real hidden gem of Gothic horror.
The people and the sins they indulge in are as follows: Pride - Alvin, the Seminarian Envy - Corinne (the hot brunette), the collector of men Gluttony - Mr. Ducha, the Tour Driver Lust - Howard Foster, Corinne's last addition to her collection Anger - Mr. Mason, the constant complainer Greed - Nancy Foster, the gold seeking angry wife Sloth - Regine, the (hot) sleepy blonde Some, of course, are guilty of more than one main sin, such as: Nancy Foster, the angry wife: jealousy (although her husband gives her good reason to be jealous), envy (of the beauty of the other women) and anger (I don't think she smiles once, except when she's literally swimming in gold).Corinne: lust (lesbianism & adultery).Regine: lust (lesbianism).A handful of observations: If the bus driver was really THAT gluttonous wouldn't he be a lot heavier?
It goes without saying that, if you have a lust problem, you might want to skip this one, especially in light of a fairly overt lesbian scene.Another highlight is Erika Blanc's subtle make-up as the succubus combined with her amazing ability to contort her face from stunningly sharp to utterly hideous.
I saw another version that has the intro but the sound quality was fine.FYI: The original title translated to English is "The Long Night of the Devil" or "The Devil's Longest Night." I feel the title "The Devil's Nightmare" is weak and much prefer another alternative title (used on the VHS): "The Devil Walks at Midnight." FINAL WORD: Since this is a European film from the early 70s it's understandably dated, dubbed and slow-paced.
I watched, hoping to get some good, weird, bloody old horror and shut the movie off with mixed feelings.It wasn't great, or anywhere near it.
A bus load of tourists spend the night at an impressive Gothic castle, the home to Baron von Rhoneberg who has a family curse due to an ancestor making a pact with the Devil centuries before.
I have no idea where this was filmed but the real life castle stands out as no just a Hammer Horror movie set..
IMO, there are far better (cheesy) B-rated 1970's horror movie than this one but there are some that are far worse.There is a hint of soft porn in this film between two women that was really unnecessary to the story - so be forward if you find that sort of thing offensive.
A hint of soft porn in B-rated horror films of the 1970's is not unusual.The movie is not scary and the story of "The Devil's Nightmare" is a bit interesting - it was interesting enough to keep me watching to the very end of the film.
The Devil's Nightmare is an Italian movie, and a good one at that, so you can expect loads of atmosphere, surrealism, and of course nudie love scenes.
Erika starts killing everyone in a way that represents the seven deadly sins: gluttony, lust, avarice etc.
A bus full of tourists spend the night at an eerie castle where a servant of the devil (Erika Blanc) shows up to take their lives.
(But there is a lesbian sex scene for those who are into that sort of thing.) According to many sources, the bus passengers are supposed to represent the seven deadly sins, but it is really hard to make that connection.
Unlike "Seven", where the sins are laid out very clearly, here it's a guessing game and the fates are far less torturous (though no less deadly).Reviewer Theron Neel, who does excellent work, points out this film has been known by at least fourteen names and seems to have a decent following, yet very little can be found about it.
It concerns these seven tourists, each supposedly representing a Deadly Sin, staying a night at a castle that has this terrible curse on it about a former owner that made a pact with the devil.
It's the old cliched combination of a family curse with your standard stranded tourists in an old spooky mansion plus the added "seven deadly sins" story-line...but there is a little something extra: the presence of the very sexy Ms. Blanc - wearing a remarkable wardrobe selection.
"Devil's Nightmare" represents everything that was typical of Italian horror movies.
It was perhaps, however, the first Italian horror film to show a lesbian love scene.If you watch this on DVD, you might find it interesting that while the actors speak in dubbed English, the opening and closing credits are in Italian!The characters who spend the night at the castle are really stupid.
After reading all of the other comments about this film, I - at first - thought, "What can I add?" Everybody else adequately sums up the storyline: seven European tourists encounter a circumstance that requires them to stay overnight at a creepy old castle and all but one gets killed by a succubus - that's a helper of the devil, if you don't know.
As a tale of how the 7 deadly sins are used to knock off a group of people, this doesn't come up to the mark and is quite boring.The lesbian love scenes are cheesy and obviously put in to titilate and make the film talked about, and hence presumably sell videos down the line!If you want a great 'bad' film, you can't go past Peter Jackson's splatter horrors, now they are outstanding..
Erika Blanc is a stunning beauty, also in this film, but she looks creepy as hell as the Succubus.
The movie is about seven tourists who must spend the night in a creepy castle, because of bad weather.
The creepy castle and family curse were horror movie staples.
Also, this scene is criticized as irrelevant to the story line(if you can put on a better show of two of the deadly sins colliding, stop criticizing and start making movies).
The make-up of the succubus was very well thought of too and she really looked like as if she was possessed.The plot itself isn't bad at all and it's got a twist in the end.
This film has it all; sex scenes, murders that fit well with the characters, and a decent looking devil.The thing I liked most was how they incorporated the 7 deadly sins for each of the 7 tourists.
What they don't know is that a succubus plans to prey on their innermost desires(each character preyed upon represents one of the seven deadly sins..an intriguing ingredient in the film's success)taking their souls from them, leaving the mark of Satan as they perish.
Amonst the victims is the bus driver who likes to gorge on food, a wealthy woman who desires the supposed gold of the château's Baron von Rhoneberg(Jean Servais), a crusty old curmudgeon who thinks he knows it all and never ceases to insult others, etc.There's no doubt that this film unfortunately suffers from a shoe-string budget, but director Jean Brismée really has a creepy château to provide an eerie sense of dread as each character walks unknowingly unto certain doom.
Only after reading a synopsis of 'The Devil's Nightmare' did I realise a further detail to this excellent, underrated euro-film – each death represents one of the Seven Deadly Sins, with the Priest volunteering to sacrifice his soul to save the others, representing Pride.
Gathering up Horror DVDs to list on Ebay,I spotted a Gothic Horror title starring Erica Blanc that my dad had recently picked up,which led to me getting ready to experience some devilish nightmares.Berlin 1945:As bombs fall around them,the wife of Baron von Rhoneberg dies in childbirth.Shortly after his wife dies,Rhoneberg kills their new born baby girl (talk about taking things easy for the viewer!)Years later:Planning to visit an erotic island,a group of tourists discover that they have missed the last cruise ship for the day.Searching round for a place to stay,the tourists run into a stranger on the road,who tells them that Rhoneberg may allow them to stay at his castle for the night.Met by Rhoneberg's butler Hans,they are invited in and shown to their bedrooms.
Settling down,the tourists meet Rhoneberg over dinner,who decides to treat the guests to some folk tales involving his family,one of which claims that the family have made a deal with the devil,who turns the first Rhoneberg daughters into a Succubus.View on the film:Filmed in a real castle,director Jean Brismée and cinematographer André Goeffers lock the group in with tight winding shots,which along with displaying long corridors in the castle,also creates a smooth atmosphere of impending Gothic Horror doom.Whilst the camera goes a bit jumpy for the ghost/demon effects, Brismée makes up for it by treating the Succubus in a lavish manner,by matching the rotting special facial effects with a keen eye to show ever section of the Succubus naked flesh.Based around the 7 deadly sins,the screenplay by Pierre-Claude Garnier & Patrice Rhomm attempts to make each of the tourist a various sin.Whilst this idea does lead to some nice vicious deaths and a wonderfully jet-black comedic ending,the writers fail to connect any of the tourists to their particular sins,which leads to a long dry build up before the exposure of their original sins.
By killing his baby girl, the baron is ending the curse—or so he thinks
Years later, seven travellers seek shelter for the night at the baron's castle, and are killed one-by-one by his servant's sexy daughter Lisa Müller (Erika Blanc), the secret illegitimate offspring of his dead brother Rudolph.Any film that starts with gratuitous baby-stabbing gets my attention—it's not often you see that sort of cold-bloodedness, even in a horror—but the demented fun doesn't end there: this devilish Gothic tale from director Jean Brismée has virtually all the ingredients I look for in my early-'70s cult Euro-horror.
Erika Blanc, who plays the succubus in the film, is rather good, and undergoes a complete change in appearance after each death occurs.
A bus full of tourists representing the Seven Deadly Sins are forced to seek refuge in a remote countryside castle owned by the eccentric Baron von Rhoneberg (a fine portrayal by Jean Servais).
The plot itself proceeds from Sin: Baron VonRomberg brings a curse apon his family by his affair with his housekeeper.The illegitimate child returns 25 years later as an instrument of death and destruction: a beautiful,sexy succubus!That same evening 7 travelors are stranded at the eerie VonRomberg castle:the driver and 6 others-one a young priest!After dinner the 7 are shown to their rooms and warned of the family curse!
During the night each awakens to commit one of the "seven deadly sins" and each one is killed by the succubus apon the commission of that sin!The priest attempts to make a "deal" with the "Devil" for the souls of his dead companions!
The "Devil" looks to the "succubus" as she embraces the priest.They smile.The wages of sin-DEATH!.
Now rather than reveal any more of this movie and risk spoiling it for those who haven't seen it I will just say it shared many of the same qualities of various other Euro-horror films made during this time. |
tt0450259 | Blood Diamond | Set during the Sierra Leone Civil War in 1999, the film shows a country torn apart by the struggle between government soldiers and rebel forces. The film portrays many of the atrocities of that war, including the rebels' amputation of people's hands to stop them from voting in upcoming elections.The film begins with the capture of Solomon Vandy (Djimon Hounsou), a Mende fisherman, by the Revolutionary United Front (RUF) rebels when they invade the small Sierra Leonian village of Shenge. Separated from his family, Solomon is enslaved to work in the diamond fields under the command of Captain Poison (David Harewood) while his son Dia is conscripted into the rebel forces, the brainwashing eventually turning him into a hardened killer. The RUF use the diamonds to fund their war effort, often trading them directly for arms. While working in the RUF diamond fields as a forced laborer, Solomon finds a large diamond of rare pink colouring. Moments before government troops launch an attack, Captain Poison sees Solomon hiding the diamond. Captain Poison is injured in the attack before he can get the stone, and both he and Solomon are taken to prison in Freetown, the capital of Sierra Leone.Danny Archer (Leonardo DiCaprio), an Anglo ex-mercenary from Rhodesia (now Zimbabwe), trades arms for diamonds with an RUF commander. He is imprisoned after being caught smuggling the diamonds into neighboring Liberia, and the diamonds are confiscated. He had been transporting the diamonds to a South African mercenary named Colonel Coetzee (Arnold Vosloo), who is in turn employed by South African diamond company executive Van De Kaap (Marius Weyers) and his deputy Simmons (Michael Sheen). Coetzee is Archer's former commander in 32 Battalion, the most decorated unit of the South African Border War, made up of Angolan and Rhodesian soldiers and white South African officers. Archer is desperate for a way to repay Colonel Coetzee for the diamonds taken from him when he was arrested and thrown in jail, in the same prison as the fisherman. While in prison, he overhears Captain Poison ranting to Solomon about the discovery of the large diamond and decides to hunt down the stone. He arranges for Solomon's release from prison and offers to help him find his family in exchange for the diamond.Archer and Solomon find their way to Maddy Bowen (Jennifer Connelly), an American journalist, who helps Solomon track down his family. Bowen soon learns that Archer is using Solomon to find his diamond and will eventually steal it for himself, to leave Africa forever. Bowen, a humanitarian, refuses to help Archer unless he can tell her about the diamond market to stop the flow of blood diamonds out of Africa, cutting off funding for Civil War and ending a mass revolution. Archer gives Bowen the information that she wants and gets access to use the press convoy to travel to Kono to find the diamond.The convoy is attacked and Archer, Solomon and Bowen escape and find their way to the South African mercenary force under Colonel Coetzee. There they learn of the attack force preparing to retake Sierra Leone -- a reference to the actual 1995 hiring of South African security firm Executive Outcomes by the provisional government of Sierra Leone. The two men leave the camp on foot while Bowen boards a plane carrying foreigners out of the conflict zone. After an arduous overnight trek, the men reach the mining camp in a river valley, still under RUF control, where Solomon discovered and buried the large diamond. Here, Solomon is painfully reunited with his son Dia, who refuses to acknowledge him because he has been brainwashed by the rebels. Solomon is also reunited with Captain Poison, who orders him to find the diamond, but the South African mercenary force, also after the diamond, dispatches the RUF rebels in a massive air strike which kills many of the RUF rebels and some of the miners. Amist the choas, Solomon suffers from temporary insanity and kills Poison with a shovel. Through a deal with Archer, Colonel Coetzee forces Solomon to retrieve the stone. In a desperate battle, Archer kills Coetzee and the other two soldiers with him after realizing that they would have killed both Archer and Solomon upon locating the diamond. At this point Dia holds Archer and Solomon at gunpoint with a pistol, but Solomon manages to convince him to side with them.As Archer overturns a body to take equipment he realizes he has been shot, but keeps this to himself. Having arranged in advance for a plane to pick him up, he radios to the pilot, Benjamin Kapanay (Basil Wallace), who demands that Archer dump Solomon and Dia. Slowly and painfully the group makes its way from the valley towards an airstrip atop a nearby ridge. Archer collapses, unable to climb, and Solomon carries him a little ways before Archer has him put him down. He tells Solomon to take Dia home, knowing that he is dying, and gives them the diamond. Archer holds off the soldiers chasing them while Solomon and Dia flee, and then makes a final phone call to Bowen, asking her to help Solomon as a last favor before looking out over the beautiful landscape of Africa once more and dying peacefully.With the help of Bowen, Solomon trades the diamond to Simmons for a large sum of money and the reunification of his family, making the exchange as Solomon's wife and children deplane from a Lear Jet at a London airport. Bowen, who secretly photographs the deal, later publishes a magazine piece exposing the trade in "conflict" or "blood" diamonds. The film ends with Solomon smiling at the photograph Maddy took of Archer earlier, now published in her magazine along with the complete story of their journey, before addressing a conference on blood diamonds in Kimberley, South Africa, describing his experiences. This refers to an actual meeting that took place in Kimberley in 2000 and led to the Kimberley Process Certification Scheme, which seeks to certify the origin of diamonds in order to curb the trade in conflict diamonds. | brainwashing, violence, avant garde, action, murder | train | imdb | This is a film that, while concerned with the political situation in Africa, focuses more on how the obsessive search for a large, rare pink diamond consumes those who get too close to it.DiCaprio is excellent as a Rhodesian (HIS description) mercenary and arms dealer working in Sierra Leone.
With a set of natural instincts that lends a non-showy, believable quality to all of his performances, versatility, and movie star size charisma that fills up the screen and emotionally hooks the viewer into his character and story, it is hard to think of another male American actor (with the exception of Johnny Depp) who is consistently giving an audience its money worth; these two gentleman have taken the reins from Tom Hanks and Denzel Washington, as those two Oscar-winning future legends of the silver screen gracefully age into more mature roles.In Blood Diamond, it is Mr. DiCaprio's performance that raises this film above it's standard Hollywood fare of a script (although it is a solid script) into something memorable.
He was able to make the audience feel the gamut of emotions his character experiences during the course of the movie- pride and hope, fear, outrage, resignation, mistrust, desperation, and determination, and beautifully rises above the somewhat limiting way his role was written.I thought Ms. Connelly did as good a job as possible in her role as "the idealistic journalist who wants to make a difference." Her part was just a larger version of Joaquin Phoenix's in Hotel Rwanda.
"Blood Diamond" is the kind of action film that makes you think that 'a moment of love, even in a bad man, can give meaning to a life...' The film opens in Sierra Leone, 1999 when Civil war rages for control of the diamond fields
According to devastating reports, these stones are being used with both rebels and government forces to purchase more weapons and finance civil war
Danny Archercrazy for diamonds like everybody elsebelieves this pink gem holds his ticket out of this godforsaken continent
He is a smuggler, a former mercenary and weapons trader from Zimbabwe who bribes all, and supplies arms to both sides
He gets Solomon Vandycaptured by government troopsout of jail only because he overhears that the fisherman might have found a clear massive stone about the size of a bird's egg
Vandyforced apart from his family and sent off to work as a slave in the minefieldshas hided the enormous 100 carat diamond from his captors and buried it in a secret place within the jungle
His son Dia is taking away by a brainwashing militia called the Revolutionary United Front (RUF) turning him with lies, drugs, and liquor, into a cold-blooded murderer
Danny makes a deal to help the noble fisherman find his family if Vandy will lead him to the diamond
The majority of the story is their journey across the war torn country
Leonard DiCaprio is both ruthless and charming as the cynical soldier of fortune who knows an opportunity when it presents itself
But he also is aggressive and selfish willing to do whatever it takes to get what he wants
He illustrates the black side of the dirty diamond trade
On his trek to find the stone, Archer's eyes are opened to some enduring values that surpass his own self-profit
Djimon Hounsou eventually realizes that Danny's connections and money are his only hope
He plays a helpless character totally passionate as the resolving and fiercely determined father desperate to learn the fate of his family
Connelly is an idealist who wishes to display corruption
She thinks that with Archer's help she can get a unique story line surrounding the civil war but also revealing corporate malfeasance and cover-up behind the diamond trade
It is also good to mention Arnold Vosloo in the role of Colonel Coetzee, head of the army unit also trying to claim the diamond
He's a great character actor and remains a powerful presence and one of the screen's most efficient scene-stealer
Nominated for five Oscars, "Blood Diamond" is an action, political adventure at its best!.
The torturous road of South African diamonds to the greedy fingers of an indifferent world makes this new Edward Zwick movie one of the most powerful Action/Adventure/Dramas to come out of Hollywood in a long time.
'Blood Diamond' is a beautifully shot war thriller set against the backdrop of the Sierra Leone civil war, starring Leonardo DiCaprio and Djimon Hounsou in their Oscar-nominated roles.
By far one of the best war dramas of modern times, 'Blood Diamond' is a powerful testament in the film industry boasting intense and well-executed action scenes and heart-wrenching drama.
Asides from all the graphic and disturbing scenes in the movie I loved the story line of a African man Solomon Vandy trying to find his kidnapped son, while Leonardo DiCaprio is more interested in finding the extremely rare and valuable Blood Diamond which Solomon Vandy has hidden in a rebel camp.
Although I do feel that the mini flood of African themed movies in the past couple of years is a bit lop-sided, with most people these days probably thinking of trucks carrying stoned child soldiers when they think about Africa.Anyways, 'Blood Diamond' is political and dramatic.
But sacrifices will be made.We have an amazing cast, so let me just get them out of the way -- Leonardo DiCaprio as smuggler Danny Archer, Djimon Hounsou as native African Solomon Vandy and Jennifer Connelly as journalist Maddy Bowen.
These three riveting story lines are flawlessly sewed together to present a masterpiece taken place during rough times, yet utilising the beauty of Africa in the cinematography to give you an entertaining movie with great dialogue, satisfying villain, soul shattering soundtrack and many morals (including how you look at jewellery and "good things happen everyday" -Maddy Bowen).Please watch this movie!.
But it was so well done and presented, the actors were just incredible and touched my heart, their stories were so uncomfortable and aching to witness, but just so inspirational.In Africa there is a huge civil war going on, the RUFF's are fighting to keep their diamonds and not hand them over to the government, even if it means destroying villages of their own kind and making men into slaves and turning young boys into brutal killing soldiers.
It cannot decide what it wants to be, and regrettably botches through both paths.Set against the backdrop of civil war and chaos in 1990's Sierra Leone, Blood Diamond follows Rhodesian mercenary (oooh, scary!) Danny Archer (Leonardo Dicaprio), Mende fisherman Solomon Vandy (Djimon Hounsou) and American journalist Maddy Bowen (Jennifer Connelly) on a quest to find a rare pink diamond that Solomon first found when he was forced to work in the diamond fields.
This is irritating in the film and it suggests two things: the script is unbearably lazy and sees action galore as a plot device and way to avoid writing the end of 'difficult' scenes with conversation or character development or 'Blood Diamond' tells us that we should not take it seriously and just treat it as any run-of-the-mill action-adventure.
1990 ,Sierra Leona,this is the story of Danny Archer(Leonardo DiCaprio),an ex-mercenary and nowadays diamonds smuggler and a fisherman named Salomon(Dijimon Honsou),besides a reporter named Maggie(Jennifer Connelly).Meantime Danny is prisoned for smuggling ,he learns that the fisherman was forced to quest of diamonds and he hid a giant hot rock.He was kidnapped and removed his family and then their fates become jointed when the two men embark on a dangerous mission throughout enemy lines.They confront perils and risks with imposing tension,action,violence to save his family and retrieve the rough stone,but they find themselves on a collision course with another groups to encounter the marvellous jewell: The revolutionaries forces and the cruel colonel(Arnold Vosloo) who also want to claim.The film displays a political denounce about the countries' indifference to preventing the civil war and horrible genocide and ambition of businessmen on diamonds smuggling.The movie gets an acid critic to the indolence of United Nations and international community(exception by the Ambassador played by Stephen Collins) and the abandon of foreign policy.Thus, a personage says that origin conflict is for apartheid policy realized by Belgian and the King Leopold(like in Hotel Rwanda).The film has lots of action,fast pace,emotional drama,romance and touching scenes.Exceptional performances by its entire cast with special mention by nominated to Oscar,Dijimon Honsou(Amistad,Gladiator).Atmospheric,colorful cinematography by Eduardo Serra(The earring pearl girl).Sensible,perceptible and sometimes spectacular musical score by James Newton Howard.The motion picture is well directed by Edward Zwick(Glory,The last Samuray).The picture combines action,intrigue,violence,historical backdrop,based on real events.The movie contains exciting and violent scenes like is the breathtaking battle when the military revolutionaries going into the capital Freetown with blood and fire ,including rampage,ravage and indiscriminate massacre.The film will like to Leonardo DiCaprio fans containing numerous scenes have you on the edge of your seat..
But it is pretty much an either - or situation and I still think the issues are presented well enough to balance the effectiveness of the real problem and entertainment.Overall, Zwick's 'Blood Diamond' is an excellent gripping drama thriller that showcases the talents of actors Hounsou and Dicaprio, writer Leavitt, music director Newton Howard and director of photography Serra..
Moreover, the film is a bit too long at 138 minutes and suffers from attenuation and repetition in its final half hour.Those negatives aside, "Blood Diamond" is, for the most part, an effective piece of serious commercial movie-making, thanks, primarily, to Zwick's skill as a director and to the fine performances by DiCaprio, Connelly and, especially, Hounsou, whose quiet dignity and fierce determination do much to personalize the plight of the innocents caught in a hellhole of wanton slaughter and crass de-humanization.
It's rare to find films like these in Hollywood nowadays.But they are still plagued by the Hollywood formula.So is the case with Blood diamond.A thoughtful and stunning action drama with a message to send out that gets bogged down by the Hollywood fatigue.Blood Diamond could've been a great film,but that was never gonna happen.The film for the most part was solid.It kicks off well and holds on until its second half becomes your typical Hollywood drama with a Hollywood ending.But nevertheless,it gets its message across in a really effective way.And that's only because of director Edward Zwicks sincere effort.Probably his best film since the LAST SAMURAI.He carefully balances the film's message and action and big budget adventure and still capture the shocking accounts of brute in Sierra Leone.Where kids are given guns to roam free and kill whoever they wish to,where laws are broken and country is torn apart by civil war.Danny Archer(Di Caprio) is a diamond smuggler who owes his boss and gets around to places quickly.He doesn't have a permanent home or location and he's really hard to trust or predict.But as he gets arrested for illegal smuggling he comes across another prisoner who is arrested for the wrong cause.Solomon Vandy (Djimon Honsou) is caught by the rebels while trying to help his family escape.He is forced to dig diamonds from the ground until Vandy finds the blood diamond,which he hides and keeps safe.As he is captured by the government he is pursued by Archer,who will help him find his family and get back his son from the rebels; only if he gets him his blood diamond.Along the way Archer meets an optimistic journalists (Jennifer Connelly) who is more interested in getting the information of how illegal diamond smuggling works than getting her share of the price.And only Archer can give her that information.The three embark on a deadly adventure through the torn Sierra Leone,where gunfire and killings are a routine and can come out of anywhere.But there are secrets Archer is hiding and he is desperate to have that diamond in his possession before others capture them.Sounds like your typical,old-fashioned action-adventure.But think again,this ones got a message and it's executed with unconventional sense until we reach its final third half.It's done with excitement and enough action to lure the average moviegoer into the theatres.Because that's the only way to get the message and horrifying events to its audiences to realize what their diamonds cost.But it also feels clichéd and old-fashioned in parts.The screenplay should've been way better and there was potential in it.But the writer opts for the usual Hollywood flairs.That is not to say that the script doesn't have strengths.It does have some really well written parts with strong lead characters.And it tells a very honest story.But it could've worked a little more.It's the Director that keeps everything afloat and Zwick is best at these kinds of films.He is not afraid to show us what Sierra Leone was really like a few years back.How it tore itself apart due to the civil war.And how the world didn't gave a damn about it even if they said they do.The world is just there for the benefit.The governments promise help and they just never provide any.Either they are limited or they don't get what they want.It's the political side of it that destroys and promotes the kinds of things that went on in Sierra Leone and that is true even now in other parts of the world,like IRAQ.What would an average moviegoer say about films like these?He'll think about it a lot and try to think of a way to help,but the next day he'll forget about it and pretend he never even saw anything like this.And that's what has been happening.We make films like these to open everyone's eyes and once they've had their eyes wide open they close them and move about their business.So,what's the point of making these kinds of films.The main strength of this film is that it is a message movie packed into a commercial film.So that it could reach a wider audience.And for that it's recommended.Another reason is the characters and the events they go through,which are executed skillfully by a veteran like Ed Zwick.Di Caprio has been making some really great films the past few years.Post-Beach,he's been making some really memorable and striking pictures and working with the best in Hollywood.And each time his performances get better and better.As Danny Archer,Di Caprio infests unpredictability in an otherwise predictable anti-hero.He makes us hard to predict Danny's moves.You are not sure whether you should trust him or not,even till the final few moments of his time in the film.But he makes Danny more human and sympathetic.And he nails it once again with his biting performance.It's unlike any character he's ever played and he's a totally different kind of Di Caprio here.But,I still loved his portrayal of Howard Hughes more than this.And every time he is beaten by a greater performance at the year end awards.Ironically,they were African-Americans,who beat him twice.And they both deserved it.Maybe,next time Di Caprio might finally win.And Djimon Honsou's fierce performance as a father in search of his son is so believable that you know he will do anything to get back his family.Jennifer Connelly doesn't have much to do.Well,her character won't allow her to ,except making the usual speeches and bashing.But Connelly looks stunning.The film is packed with brilliant editing,exceptionally well staged,exciting action set pieces and good cinematography,with able score.It's a well made film only hampered by its weak screenplay.It's filled with a stunning production values and entertains fully.But it certainly could've been a great film and it had the potentials to be.It's only strong performances and able direction that propels and prevents this film from becoming your usual Hollywood action-adventure.It is worth checking out and will seriously hit you with its message about the cost of those bloody diamonds..
Blood Diamond was a great hard-hitting movie with heart-felt story and brave performance by Leanardo Dicaprio and Djimon Hounsou.
With a story spanning many countries taking place amid the chaos and maelstrom of a vast civil war, there are many coincidences that take place – all necessary to the story I might add – that find the key characters running into each other at suitably dramatic points of time.Di Caprio is brilliant, shedding his pretty boy image once and for all as the hard as nails, selfish and opportunistic Danny Archer, Djimon Honsou great as the equally desperate Solomon Vandy, his hoarse scream has quite an impact, and Jennifer Connelly hard nosed and resourceful as a journo who could walk away at any time but chooses to allow herself to become involved in proceedings (she is also still insanely hot).As mentioned above the action sequences are especially effective and gruesomely realistic, with the wholesale slaughter of anyone in the vicinity being graphically depicted.
Edward Zwick does another brilliant piece of directing in "Blood Diamond," a 2006 film starring Leonardo di Caprio, Jennifer Connelly, and Djimon Hounsou.Set during the Sierra Leone Civil War in 1999, the film shows a country torn apart by the struggle between government soldiers and rebel forces.[1] The film portrays many of the atrocities of that war, including the rebels' amputation of people's hands to stop them from voting in upcoming elections.The diamond industry, as the ivory industry before it, is proving disastrous to civilians as the film opens in 1999.
The first time this came out I was desperate to watch it.The trailer was just awesome and there was a lot of hype about it.Never actually going to the cinemas to watch it,I bought it on DVD with high expectations,knowing how good Djimon Hounsou,Leonardo DiCaprio, and Jennifer Connoly are and with Edward Zwick in the directors seat it was a sure thing.
The movie highlights important issues about the war and diamonds extracted from conflict zones in Africa.Like every film it may have some flaws, but for me it was a gripping, deeply moving film.As for the acting Djimon Hounsou was outstanding, he truly deserved the Oscar nomination.I don't know if DiCaprio's accent was accurate (I have no knowledge of how an African accent is supposed to sound), but his performance was solid, just like the rest of the cast.It's definitely worth watching.. |
tt0338097 | Head in the Clouds | In a prologue set in Paris in the year 1921, a young 14-year-old Gilda Bessé (Charlize Theron), the daughter of a French aristocrat and an emotionally unstable American mother, reluctantly is told by a fortune teller that the life line on her palm doesn't extend past the age of 34. Fast forward to a rainy night in 1933, when Gilda stumbles into the room of Guy Malyon, an Irishman who is a first-year scholarship student at Cambridge University. She has had a lover's quarrel with one of the dons, and rather than turn her out into the storm, Guy gallantly allows her to spend the night. Later, they become lovers, but the two are separated when Gilda's mother dies and she opts to leave England. A few years later, Guy sees her as an extra in a Hollywood film, and shortly after he coincidentally receives a letter from her inviting him to visit her in Paris, where she's working as a photographer.
Guy discovers that Gilda is living with the Spanish-born nursing student/model Mia and has a lover, whom she quickly discards when Guy moves in. The trio are enjoying their unusual living arrangement, but world events are beginning to affect their existence. It is the height of the Spanish Civil War, and idealistic Guy, a long-time supporter of the army of the Second Spanish Republic, is determined to do what he can to help them as Francisco Franco's fascists gain strength. Mia, too, is anxious to come to the aid of her native land. Gilda, however, has no interest in politics or anything else that might disrupt her life of luxury, and pleads with the two to ignore the conflict, but they feel compelled to act and depart for Spain.
By January 1938, Guy becomes a soldier, while Mia becomes a nurse and tends to the wounded. They cross paths one night and, before sleeping with Guy, Mia confesses she was Gilda's lover. In the morning, her ambulance is destroyed by a land mine resulting in Mia's death as well as the ambulance driver. A few months later in July 1938, Guy returns to Paris, where he is ignored by Gilda, who feels his abandonment of her was a form of betrayal.
Six years later, Guy is working as a spy with the underground in occupied Paris under the auspices of British intelligence. He learns that Gilda has taken Nazi Major Franz Bietrich as a lover and visits her in their old apartment, where the two make love. The following morning she tells him their affair is over and the two can never see each other again. D-Day is approaching, and Guy throws himself into his work. One day he arrives at a café to meet a contact, but instead is approached by Gilda, who has overheard her German lover plotting a trap and has come to help him escape in cleric's clothing she has concealed in the restaurant's washroom. That night, he and his associates destroy a rail station, but only Guy manages to elude the German soldiers.
Guy returns to London, where he discovers Gilda joined the Resistance a few years earlier. With the occupation of Paris having come to an end, he realizes that the locals, who had long regarded Gilda as a Nazi sympathizer and traitor, will seek revenge. As he returns to Paris to find her, Guy is unaware that Bietrich has been killed in Gilda's apartment and that she has been taken captive by a mob intent on avenging the deaths of their loved ones. She is finally killed, off-camera, by a local youth to avenge the death of his sister. The movie ends with Guy in Gilda's ransacked apartment reading the last letter written by her to him. | boring, murder, sadist, flashback | train | wikipedia | Writer and Director John Duigan has added to his cinematic stature with this recent film about the interrelated responses of three countries - England, France, Spain - to the early phases of WW II and in doing so gives some inadvertent insight into how the continent was so endangered by the little known bad boy Hitler in the years leading up to the horror of a second World War.The title seems very appropriate - taken from the quip of 'Head in the clouds, Feet on the ground' - as the lead character Gilda (a radiantly beautiful Charlize Theron) seems to float above all of the reality of warring struggles in 1933, focusing her life on paramours, expensive clothes, and 'dangerous liaisons' with a varied assortment of men, all the while keeping a firm stance on needs of her strangely disjointed life.
Indeed, the opening of the film finds Gilda in need of shelter from a night's fling with a Cambridge lover and she knocks on the door of a poor struggling Irish student Guy (Stuart Townsend), thus beginning a lasting affair that coasts through the entire story.Guy eventually follows Gilda to Paris where she is a popular photographer living with her gallerist, but also living with her lesbian lover Mia (Penelope Cruz).
Gilda, Guy, and Mia become a triptych and it is only the impact of the rise of fascism in Spain (Mia's home) that separates the ménage a trois: idealistic Guy and compassionate Mia are off to fight Franco while Gilda is left behind to admit to the encroaching threat of Nazis in France and enter into her own version of involvement.How these three weather the war and resolve their varied degrees of complicity provides the film's finale.
Townsend triumphs in subtlety and his character narrates some of the story.Penelope Cruz was perfect as Mia, who had been physically injured by Fascists in Spain when they came to take her brother away, presumably to be executed given that the time immediately preceded the Spanish Civil War of the 1930's.Thomas Kretschmann is brilliant as Frans Bietrich, the personification of Nazi evil: educated, urbane, thoughtful, and completely ruthless when torturing and murdering.The repartee among the three friends, Gilda, Mia, and Guy, during the prewar period is very realistic.
The story starts well before WWII and we are shown the good life of a wealthy young woman and her friends in Paris.
For all I know the story is factual even though there is the usual statement at the end about it all being fiction.More about Kretschmann: Toward the end of the movie there is a scene in which his character is supervising the torture of a young woman member of the French Resistance.
This is a movie that really could have hit the audience hard, but it just kind of laid there instead.We go through a long, long development of the relationship between the two main characters Charlize Theron and Stuart Townsend.
Early on, we are introduced to Penelope Cruz who is a good friend to Theron's character.
Themes of sexuality, expanded definitions of relationships between lovers, loyalty, duty to humanity, futility of war, art, decadence...The big question it poses is when is it time for an individual recognize the horror taking place in their world and to put aside their personal comfort and sacrifice themselves in resistance to a greater evil?
This part provides a needed relief from the part that she had in "Monster" and shows her to be a truly beautiful woman.Personally, I feel that Stuart Townsend is in over his head in trying to be the man that captivates the debutante of France as played by Miss Theron.
She provides a excellent performance as the stereotypical cripple with a golden heart as she uses her earnings as a model to become a nurse.The story provides little, if any, inspiration and needs a stronger hand at the screen writing duties.I was well entertained by this movie and thought the total effect was to keep me interested although it did become predictable in some spots.
World war 2 is coming at the start and ends with the movie.
Yeah, well, I'm not going to look for negative stuff just to have it in.In the end, this movie left me with a feeling I like.
A young, impoverished, passionate left-wing Irish student at Cambridge University, Guy Malyon (Stuart Townsend) falls in love with a happy-go-lucky, American-born socialite Gilda Bessé (Charlize Theron).
Inflamed by the injustice of the fascist Falange in the Spanish War, Mia and Maylon leave Paris to fight in the Spanish Civil War. Maylon eventually returns to Paris; he later fights in World War II; and he constantly longs for Bessé.Somewhere, someone commented that this film could have had the tagline, "How world events can mess with your love life." That pretty much sums it up.
The centerpiece of the trio and the film is Theron as an independent, capricious, liberal and free spirited women who is in love with both her male and female part-time companions (Townsend & Cruz) who, in turn, both love her.
The film follows the ebb and flow of the trio's relationships from their good times before the Spanish civil war through their bad times during WWII.
I was more interested in seeing how the chemistry between Charlize and Stuart works as they are lovers in real life too.The movie is a melodramatic love story that takes place in the years that preceded WW II and during the war.
And if something makes this movie special, is Stuart Townsend that gives a certain feeling to his character.In the end, I liked the movie as I ignored some of its flaws (like most of the movies I see)and appreciated the overall atmosphere created, a couple of moving a memorable scenes and the beautiful chemistry between Charlize and Stuart.
Second, a wooden performance by Stuart Townsend who is actually the lead of the film as he is afforded by far the most screen time and through whose eyes we see the film (just watch is non-reaction at the death of a friend during the Spanish civil war scenes).
When Charlize Theron's poor little rich girl Gilda had to choose between the Gestapo Officer and the nice, idealistic Irish boy fighting for the partisans in the Spanish Civil War, I was willing her to go for the sexy German.
Finally, Penelope Cruz, who'd borrowed her limp from Audrey Tautou's character in Un Long Dimanche de Fiançailles, looked like she was waiting for Almodovar to pop by any minute and whisk her off to a far more interesting film set.
Not afraid to plunge in blindly to follow his fantasies but no matter how much reality slaps him in the face (through two wars) he tenaciously clings to the fantasies which drive him.All of these are dumb in their own way and the reason the film implies that thugs rule the world."Dogtown and the Z-Boys" was a bad movie, but perfect in a way, just exactly the sort of thing that would have been made by one of the characters in the thing.
For a person looking for a movie just about war this would be a bore but for anyone looking for a story about love from different aspects and how true love affects people to even risk their lives this movie is good.
However, once we got over that section and moved to France it picked up.Charlize Theron and Penelope Cruz carried the film as far as I was concerned and I always found their characters believable.
It is glossy but generic.Too much of the story is dependant on a romance between Stuart Townsend and Charlize Theron which lacks credibility and chemistry.
Charlize Theron after the Oscar performance in "Monster" doesn't define her character at all, as well as Penelope Cruz.
So, when the mind and feelings come, they lose their bond and they can leave each other.With the years passing, this truth gets less powerful but in the tragic era of World War Two, every second can be decisive.I found the cast wonderful: I just like Penelope Cruz's accent and it's an evidence that Charlize Theron is a damned good actress!
One rainy night, wild dilettante Gilda Bessé (Charlize Theron) sneaks into sincere student Guy Malyon (Stuart Townsend)'s room.
Charlize Theron is great as Gilda, a character i will always remember.Some scenes really effected me and the end is just so tearful and the last scene is excellent.It's an underrated movie.
I think this movie is a good film although the end of film wasn't perfect.
In this film also Penelope Cruz and Stuart Townsend Had very good match with their character.Three Lives....One Destiny..
Charlize Theron puts in a good performance and Penelope Cruz is acceptable but the whole thing feels more like a made-for-TV potboiler and the ending leaves much to be desired.
She (the Charlize character) represents just that in what she takes from her two great loves and applies it to her own life and deeds amidst in a world awash in the chaos of war.
The big thing in the story is that the main character Gilda believes strongly in her predestination or in her fate so to speak and that determines the rest of her life.
charlize Theron and Stuart Townsend together in this film is going to be magic!.
I really liked the movie "Trapped" with Charlize Theron and Stuart Townsend,seeing them together in another film as lovers- I believe,will be wonderful.
Put Charlize Theron, Penelope Cruz, Stuart Townsend and director John Duigan of Sirens and you get a very cloudy mix romance/war drama set in WW2.The romance/war drama seems to look good in the first place, just like any other romantic historical war drama such as English Patient, Cold Mountain or even Malena.
However, the whole movie ends up a cloudy head for the audience with the bad editing and poor presentation, without letting us know what is the cause of misfortunes when we are being presented a scene of someone who just died.
Mabey it's time Duigan should take a look at the correct usage of French words at the right time.In all, the movie live to the title: Head in the Clouds..
Indeed, "Empty heads" would have been even better, but alas one cannot ask for too many details in the title alone.Basically this movie is only a showcase for beautiful Ms. Theron, who struts around always impeccably made up, and wearing a variety of sexy gowns and hairstyles, just like in a fashion show.If you are a boy, this may be reason enough to have a movie made, but in any other case it is most definitely not enough.Ms. Cruz is also shown in a most favorable light, but it is clear that the only character that really matters is the blonde model, who spends her life sleeping around and changing clothes.
Not a chance anybody can really buy the fact that Ms. Theron's character (named Gilda) is a famous photographer or that she in the least care about anybody around her.On these premises, the story falls flat on its face, especially in the last third, which is supposed to be dramatic and where we learn a surprising truth about the allegedly empty-headed Gilda.
Unfortunately, if character study means something, it is just plain impossible to believe that Gilda is something else than a self-absorbed, empty-headed, sluttish and opportunistic brat.And so much for the incredibly shallow romance and the lesbian dance if you enjoy seeing two women flirting with each other on the dance floor go and see "Frida" which is a much better movie..
Paris, the time frame and the costume itself are perfect for a classic film.Charlize Theron, Penelope Cruz and Stuart Townsend are just not enough to make this cultural rich period exciting.
This is the most unhappy story of one couple which meet each other at collage, and ended a lot years latter, when they are not young, full of life like on start.
I saw this movie at the World Film Festival in Montreal and I was quite interested in a story of a socialite in a era where a country, then the world was in conflict (the Spanish Civil War and World War II)This is the story of a freelance socialite Gilda Bessé (Theron) whose life in Paris is so carefree, working in art photography.
Guy goes back in Paris, only to discover Gilda is in love with a Nazi officer, which might get her in trouble at the end of the War. However, she will save his life to prove her true love to him.Though we heard this kind of story before (a melodrama), it is nicely photographed and well told at a slow pace, without much to say.
This movie is an "epoch drama" about the romance story between the two main characters, Guy (Stuart Townseed) and Gilda (Charlize Theron).
If one scene is in England, sooner the other will be in Paris
The costumes and the scenario's production are excellent, which makes this movie a good one if we relate it to the history's genre.
Something more intense about the three characters, and not that this love triangle was just a "part" of the story/movie, as it is..
I usually like the movies that Charlize Theron, Stuart Townsend, and Penelope Cruz are in.
There are some lovely touches: the inclusion of the Spanish civil war in the plot, when to modern audiences it is overshadowed by WWII, the treatment of Gilda by the ordinary French civilians and particularly the ending, but the dialogue and the actions of Gilda and occasionally Guy just subvert every positive.
And just like some movies try so hard for laughs if their comedies, this one was trying so so hard for the audience to believe in Theron and Townsend's characters so that it could be this tragic love story.
The acting was great I think and I will comment on Townsend who I thought, was very very good and interestingly I thought both Theron and Townsend both had more chemistry with Penelope Cruz then with each other.
The very banal Brit Guy (Stuart Townsend) gets involved with the fabulous half-French half-American socializing Gilda played by Charlize Theron whose relationship with the Spanish refugee Mia (Peneloppe Cruz) fills in the triangle.
Eventually war happens, and the relationship between Guy and Gilda apparently over re-ignites again for a tragic finale.The story is quite fluently told, and nicely filmed, but the main problem is in the lack of balance between the feminine and masculine sides of the triangle.
The story of the relationship between Charlize Theron (ok, every time you see her your jaws drop...), Penelope Cruz and an inexpressive Stuart Townsend during the second world war has no deepness and no meaning, because the characters don't seem to know what they are doing.
Gilda Bessé has so much vitality and is so charming that she seems to get out of the screen and interfere in your daily life and principles.Although the end is quite unexpected, in my opinion, and sad, this is really a movie that is worth seeing.It is a love story, but all in all it communicates about life's little joys and obstacles, about appearances.
When I say pretty I don't mean just the actors Charlize (Gilda)Penelope Cruz and Stuart Townsend(Guy).
When Gilda ends up in Paris as an avant garde photographer playing to the gallery and along the way having picked up Mia, a sultry refugee from the Spanish Civil war, Guy rushes to her side.
Guy then meets Gilda in Paris at the end of WWII where she is still playing her games with men to the hatred of the resistance.We watched the film, then read the reviews and were very surprised by how poorly some people rated it.
Perhaps it's living in Europe and having connections with many of the places and recognising many of the European characteristics of the characters, but we found it to be a very good film, worth watching several times.
In between we see Gilda meeting Guy (Stuart Townsend) and Mia (Penelope Cruz), and the main of the story is of the relationship that develop among the three of them.
Directly after watching Theron's highly acclaimed movie "the Monster", I immediately turned to her next, namely the subject here "Head in the clouds".
Her tragic end of life is heartbreaking, without letting people know what good she had done during the war.
It was just a more than good romantic war-spy movie, and as war often does, it ends sad, but why not just leave it at that?
Story here takes place in the 1930's where a young Oxford undergraduate named Guy (Stuart Townsend) meets the infamous Gilda Besse (Charlize Theron) who's a known socialite and she takes a liking to him and a few years later she invites him to stay with her in Paris.
After finding this out Guy has a difficult time performing his duties undercover but he learns that Gilda is actually working undercover also but everyone around her thinks that she's just a selfish woman looking out only for herself.This film is directed by John Duigan who has made some pretty good little gems (Sirens, Flirting) and he's shown a good ability at making interesting character studies.
I wasn't convinced about their love, about their strong bond that they supposed to have, so the story was rolling in a way that the actors were like puppets doing things just to do them...As for Penelope, i don't know which part of the film and role was appealing to her.
I don't know who reads these things, but we, who buy movies, still love a happy ending.
I didn't really like the ending because I feel like whoever wrote this movie punished Gilda for living life to the fullest and making herself happy.
It tries to be a war epic and a love story, but ends up being neither. |
tt0116922 | Lost Highway | In the opening scene, Fred Madison (Bill Pullman), a saxophonist, is seen sitting in his house one morning, smoking a cigarette, looking disheveled when the intercom from the front door of his house buzzes. Over the intercom, a distorted man's voice says: "Dick Laurent is dead." When Fred looks out a window, police sirens are heard in the distance, but the streets outside his house are empty.Fred's wife Renee (Patricia Arquette) opts out of coming to the club to watch him and his band play; instead she plans to stay at home and read, an excuse Fred obviously finds flimsy. Red-faced and sweating, Fred plays discordant acid jazz at the Luna Club while the audience goes wild. He calls his house during a break, but Renee does not answer (several different phones at the house are seen to be ringing). Arriving home later, Fred sees Renee asleep in bed. Fred's expression shows his lingering doubts about Renee's faithfulness.The next morning, a mysterious package arrives on the front doorstep containing a videotape. Renee doesn't mention the tape, but Fred sees it and demands that they watch it. The tape only displays a 20-second image of the outside of their home. The relieved Renee tells a perplexed Fred that the tape "might have been from a real estate agent."One night Fred tries to make love to Renee, but gives up in failure, humiliated when she pats him on the back and dispassionately consoles him. He tells her about a dream he had: she was crying out for him, "Fred, where are you?" He couldn't find her and says that he saw someone in bed that looked like her but wasn't her. The Renee in the dream screams in terror as Fred approaches her in bed. Fred then seems to wake up in bed lying next to Renee, but when he turns to look at her, he sees not her face but the pale, frightening looking face of a man superimposed on her silhouette. Bill startles out of the nightmare, now fully awake for real.As the days pass, a second tape arrives, showing the interior of their house-- the unseen intruder also films them in bed, sleeping. Fred and Renee call the police. Two detectives, Al and Ed (John Roselius and Louis Eppolito), watch the video. They recommend that Fred and Renee resume using their security system, and search the house for signs of forced entry. The departing cops say "We'll keep watch over the house. We'll do the best we can," having neither found nor resolved anything.That evening, Fred and Renee go out to a party held by Andy (Michael Massee) an old friend of Renee's. Renee drunkenly stumbles, giggling, into Andy's arms while pleading with Fred to get her another drink. A jealous Fred goes to the bar for a drink where he meets a Mystery Man (Robert Blake), who tells Fred that they've met before and that he is at his house right now. It was in fact the face of the Mystery Man that Fred saw in place of Renee's in his nightmare. Fred phones his house and the voice of the Mystery Man answers at the house while he's standing right in front of Fred. Shaken, Fred asks Andy who the Mystery Man is and is told that he is a friend of Dick Laurent. When Fred repeats the message he heard on the intercom, that "Dick Laurent is dead," Andy nervously asks how Fred knows Dick Laurent and insists that "Dick can't be dead." Fred then forcibly grabs Renee and they leave the party.Driving home, Fred questions Renee about Andy and her past connection to him. Renee answers vaguely, failing to alleviate Fred's jealous suspicions. Arriving back at their house, Fred makes Renee wait in the driveway while he checks inside for intruders and finds no one. While Renee prepares for bed and removes her makeup in the bathroom, Fred walks around the dimly lit house and finds himself standing in front of a dark hallway. Fred walks down the hallway and disappears, eventually encountering a mirror reflection of himself. Renee walks out of the bedroom and stands at the base of the hallway. She calls out for Fred, just as in his dream, earlier. Shortly before Fred emerges from the darkness of the long hallway, we see a shadow moving through another part of the house.The next morning, another tape arrives and Fred watches it alone. To his horror it contains gory images of him killing Renee. Time jumps abruptly and suddenly Fred is being beaten in an interrogation room by the same two detectives, Al and Ed, who earlier offered to watch the house and now accuse him of killing his wife. A terrified Fred claims that he didn't kill Renee. But seconds later he becomes confused and pleads to the detectives, "Tell me I didn't kill her!"Tried, found guilty and sentenced to death, Fred, still dazed and confused, is locked away on death row for the murder of Renee. Shortly after arriving, Fred is plagued by frequent headaches. After he collapses in the prison yard, he's brought into the infirmary where he complains to the prison doctor that he can't sleep. The doctor doses Fred with a sedative and he's locked back in his cell, where his headache continues to rage and he hallucinates strange visions of the Mystery Man, a burning cabin in the desert, and a dark stretch of highway.The next morning, during a routine check of the cells, the prison guards are shocked to find that the man in Fred's cell is not Fred. The man is discovered to be Pete Dayton (Balthazar Getty) a young, confused auto mechanic whom the prison officials discover has a past record for auto theft. Since Pete has committed no crime aside from the auto theft five years earlier, he is released into the care of his parents Bill and Candace (Gary Busey and Lucy Butler), who come to collect Pete dressed like bikers in black leather jackets, jeans and dark glasses. The Dayton family return home to their house in Van Nuys. At the same time, Pete is being followed by two detectives, named Hank and Lou (Carl Sundstrom and John Solari), to find out why and how Pete ended up in Fred Madison's prison cell.Pete goes out that evening with his friends Steve V (Giovanni Ribisi), Teddy, (Scott Coffey), Lanie (Heather Stephens) and Carl (Al Garrett) along with Pete's girlfriend Sheila (Natasha Gregson Wagner). At a bowling alley with a bar in the back, they have drinks and dance. Sheila asks Pete about his whereabouts for the last several days, but Pete can't remember.The next day, Pete returns to work at the garage where he is welcomed back by the owner Arnie (Richard Pryor) and his co-workers including veteran mechanic Phil (Jack Nance). Pete is called on by Mr. Eddy (Robert Loggia), a charming but hot-tempered gangster, to tune up his Mercedes. Mr. Eddy takes Pete for a drive so that he can listen to the problem in the engine, during which a motorist tailgates their vehicle, causing the gangster to erupt into a fit of road rage. Mr. Eddy chases down the tailgater, forces him off the road, drags the man out of his car and pistol whips him while berating him about road safety, a display of violence that shocks Pete. Mr. Eddy drops Pete back at the garage where he is spotted by the two detectives, Hank and Lou. Hank identifies Mr. Eddy as a certain criminal named Dick Laurent.Hank and Lou follow Pete when he goes out that evening with Sheila. As the couple make out in Pete's car, she questions him on his moody behavior, but Pete maintains that he is just as confused as Sheila about recent events.The next day, Mr. Eddy returns to the garage with his Cadillac for Pete to repair, accompanied by his beautiful blonde girlfriend, Alice Wakefield (also Patricia Arquette). She and Pete make eye contact and we feel the chemistry ignite between these two characters. At the end of the day, Alice returns to the garage and invites Pete out for dinner. Against his better judgement, Pete begins a secret liaison with Alice, meeting her at the Starlite Motel. Hank and Lou continue to keep tabs on Pete, his affair with Alice giving them even more reason to connect him with Mr. Eddy / Dick Laurent and possible criminal activity.As the days wear on, Pete begins to experience headaches and hallucinations similar to Fred's. When Alice phones Pete to cancel their nightly get-together, Pete instead rides his motorcycle to Sheila's house where he has rough sex with her, driven to satisfy passions awakened in him by the hot-blooded Alice.Pete returns home to find his worried parents waiting to confront him about the night he vanished. Pete continues to claim that he has no memory about that night, except for flashes of being on the front lawn of his house with Sheila and his parents running after him. Bill and Candace indicate that they saw more but refuse to discuss whatever they saw with Pete.The next day, Mr. Eddy pays Pete another visit at the garage where he brandishes a gun while making a veiled threat on Pete's life. He claims that he would kill anyone whom he caught fooling around with Alice.After work, Pete secretly visits Alice at the Starlight. She tells him that Mr. Eddy suspects her and Pete of seeing each other. Alice reveals to Pete that Mr. Eddy is actually a porno producer named Dick Laurent. She tells Pete a story about how Mr. Eddy coerced her into a relationship with him by literally holding a gun to her head, but Pete remains unconvinced that Alice is only a reluctant partner in this relationship, insisting "you liked it, huh?" Alice presents Pete with a plan to steal money from a friend of hers so they can leave town. She tells Pete that on the following night, she will meet with Mr. Eddy's associate Andy (the same Andy who knew Renee in the first half of the story) at Andy's house. She'll facilitate Pete's entry into the house so that they can both rob Andy and use the money to run away together. Pete is wary of trusting Alice, but also overwhelmed by his desire to have her.That same evening when Pete comes home, he is confronted by an enraged Sheila over his infidelity. She accuses him of being "different," and tries to persuade Bill and Candace to tell Pete the truth about "that night," but they remain close-lipped. As Sheila runs off into the night, the phone rings inside Pete's house. The caller is Mr. Eddy, who, along with his associate, the Mystery Man, threatens Pete again, this time more directly. Frightened, Pete calls Alice and agrees to help with her plan.The next night, Pete sneaks out of his house and away from the two detectives in their squad car. He takes a local bus to Andy's house and enters through the back door that Alice has left unlocked. As planned, Alice sends Andy downstairs to fix her a drink and Pete knocks him unconscious. On a huge projection screen in the center of the living room, a porno of Alice having sex plays in a loop. Pete also sees a framed group photo of Andy, Mr. Eddy, Alice and Renee, and asks Alice whether the nearly identical women are both her. She simply points to the blonde woman and tells Pete that it's her, mentioning nothing about the dark-haired Renee. Andy comes to and attacks Pete. Pete pushes Andy off of him, throwing the man across the room where he impales his forehead on the corner of a glass coffee table, a freak accident that kills him instantly. Pete, now suffering a nosebleed, is horrified by the nasty turn of events, but Alice seems untroubled, coolly removing Andy's jewelry and gathering other valuables. Pete stumbles upstairs, hallucinating a motel where a nightmarish version of Alice taunts Pete while having sex with a faceless man.Pete and Alice flee in Andy's red sports car. They arrive at a cabin in the desert seen in both Fred's and Pete's visions. This is where Alice plans to meet the "fence" who will give them cash for the stolen goods. Alice looks around but finds the cabin empty. While waiting for the arrival of the fence, Alice and Pete make love on the desert sand. In the throes of passion, Pete whispers to Alice over and over that he wants her. Alice finally replies coldly: "you'll never have me."Alice gets up and walks away, stark nude, into the desert cabin, leaving Pete lying on the sand. The man who rises from the sand is not Pete, but Fred Madison, who seems to have exchanged places with Pete once again. Fred puts his clothes on and searches the desert cabin. He sees no trace of Alice-- instead he meets the Mystery Man again, who angrily informs Fred that Alice's name is not Alice, it's Renee, and demands to know who Fred is. The Mystery Man then points a video camera at Fred and begins to film him, slowly coming closer and closer. Fred flees the menacing gaze of the man and the camera, running back to Andy's car and driving away just before the Mystery Man's outstretched arm reaches him.Fred drives to the Lost Highway Motel, a nightmarish place in the middle of the desert, and sees Renee check into a room with Mr. Eddy / Dick Laurent. Fred enters the adjoining room and hears them having sex. A while later, Renee leaves Mr. Eddy and drives away. Fred then breaks into Mr. Eddy's room and grabs him. The Mystery Man watches from Fred's room as Fred forces Mr. Eddy into the trunk of the Mercedes and drives off.Somewhere in the desert, Fred stops the car and gets out to open the trunk, at which point Mr. Eddy leaps out and attacks him. The Mystery Man suddenly appears and gives Fred a knife to slash Mr. Eddy's throat. In answer to Mr. Eddy's question "What do you guys want?" the Mystery Man produces a mini TV, the screen of which shows Renee and Mr. Eddy watching a snuff film while engaged in foreplay. The Mystery Man shoots Mr. Eddy to death and whispers something inaudible to Fred. The Mystery Man disappears and Fred (now holding the gun) drives off in Mr. Eddy's Mercedes, leaving Mr. Eddy's body in the desert wilderness.Back at Andy's house, all four of the detectives, Al and Ed, Hank and Lou, investigate the crime scene. One of them notices the group photo of Renee, Mr. Eddy / Dick Laurent and Andy. Alice is no longer in the photo. The detectives identify the woman in the photo as Renee, "Fred Madison's wife" and note that the photo links her with Dick Laurent. However, the fingerprints all over the crime scene belong to Pete Dayton, now the prime suspect in Andy's murder. One of the detective's states: "You know what I think? I think there's no such thing as a bad coincidence."In the final scene, things come full circle as Fred, still driving Mr. Eddy's Mercedes and wearing Pete's clothes, drives to his house where it's revealed that he is the person who left the cryptic message Fred heard through the intercom at the beginning of the movie: "Dick Laurent is dead." The two police detectives, Al and Ed, pull up in their squad car. Seeing the detectives advancing towards him, Fred runs back to his car and drives off with the detectives in hot pursuit. As darkness falls, Fred speeds down the desert highway with several police cars close behind. He screams as his head begins to shake and his features blur. The scream fades and we're left with the image from the opening credits, a dark, two-lane highway that rushes silently past with no surrounding landscape or apparent destination. | dark, avant garde, neo noir, murder, mystery, boring, cult, violence, atmospheric, clever, insanity, psychedelic | train | imdb | This is, in my opinion, what good art can do.Like a dream, Lost Highway has as many plots as it does viewers with their own individual interpretations and perspectives.
Lynch himself uses the phrase 'psychogenic fugue' when describing the movie as he says the hero is 'inventing a fantasy because his real life is so screwed up.' Patricia Arquette is more blatant when describing the film; 'Fred Madison is a f@#$ed up guy who invents a fantasy because his real life is so f%$#ed up.
As so often with David Lynch's movies, 'Lost Highway' doesn't bother with a traditional narrative and follows its own, dreamlike (or nightmarish) logic.
While it is fun to analyze Lynch's movies, especially his most surreal ones, they're not mysteries that require resolution in order to be enjoyed.As for the filmmaking itself, the pacing is fantastic throughout, the cinematography outstanding and the cast of character actors like Bill Pullman, Robert Loggia and Patricia Arquette simply a joy to watch (especially Loggia gets to shine in a wonderfully over-the-top part).
The orginal score by Angeolo Badalamenti (who is to Lynch what John Williams is to Spielberg) is hauntgingly beautiful, but equally important is the amazing soundtrack - featuring greats like David Bowie, Lou Reed, Rammstein, Marilyn Manson, Trent Reznor and more - which fits and enhances the images on screen perfectly.As far as I'm concerned, this is Lynch at his best.
'Lost Highway' is a dark, violent, surreal, beautiful, hallucinatory masterpiece: 10 stars out of 10.Favorite films: IMDb.com/list/mkjOKvqlSBs/Favorite TV-Shows reviewed: imdb.com/list/ls075552387/Lesser-Known Masterpieces: imdb.com/list/ls070242495/Favorite Low-Budget and B-Movies: imdb.com/list/ls054808375/.
One of the most eery parts of the film is when (Bill Pullman) is making love to his wife (Patricia Arquette) and her face turns into the mystery man (Robert Blake).
All part of a long dream, that I doubt anyone can decipher, including Mr Lynch.Seeing this film for the second time with a person who truly did not "get it" (though I thank her for her patience to watch the whole film), made realise that there are two kinds of people in this world.
"Lost Highway" is a great many things, but often seems to be reduced to a love-it or hurts-my-head-from-the-confusion, so-I'll-just-dismiss-it kind of movie.
Myself, I'm not one to offer any new insight, I view it as--SPOILER AHEAD??--a purely subjective movie, with nearly all the events seen and largely imagined by its protagonist, Fred Madison, and once you can simply accept him as insane (or at least very imaginative!) you can simply quit puzzling over it and allow yourself to enjoy the ride.While incarcerated for killing his wive in an act of jealousy, he embarks on a "psychogenic fugue" as an act of last-minute escapism from the looming dread of his upcoming execution--sort of like Ambrose Bierce's "Occurence At Owl Creek Bridge"--imagining himself as a younger, more likable/worthwhile guy (valued auto mechanic, "Mr. Eddy's" favorite), with people who care about him (his parents and girlfriend, as opposed to his real-life murdered wife who didn't even bother to go to his musical performances), and definitely more virile, as he is able to both attract and fulfill his "wife" (seen here as the slutty, icy femme fatale-type he always suspected her to be).
The cast is impressive and do a great job; Bill Pullman definitely has the haunted, deer-in-the-headlights look that his confused, out-of-it character requires, though at the same time I don't know if he quite portrays the extreme jealousy and animal savageness deep down inside that caused him to murder his wife as gruesomely as he did (if of course you even want to accept what was on that final videotape as something that actually happened in the first place!).
Needless to say, the whole moebius-strip "twist" of having the film end at its beginning greatly complicates any interpretation; even without it, the film could STILL be difficult to decipher by some (heck, I'm still not even really sure what the significance of the Mystery Man was!)Perhaps the film could have benefited from a few extra scenes or lines of dialogue to make it a little less cryptic for the more literal-minded members of the audience, but still, even by suggesting that you'd be implying that there was one concrete explanation for the film, which there most certainly is not.Regardless, all plot and interpretations aside, you can almost certainly enjoy for its images, its music (an EXCELLENT soundtrack), for its mood and atmosphere, and simply for it as a whole: dare I say, it's almost more of an experience than anything (though for what it's worth, at the same time I can't think of the last time I saw a film--or work of art period, for that matter--that provoked such a wide variety of interpretations and opinions, as should hopefully be the case with ANY great work of art).Fascinating..
What do YOU make of it?" It's an incredible artistic attitude, much like viewing a Dali painting as opposed to a Da Vinci, and not for everyone's tastes.Lost Highway is open to many interpretations, as are most of Lynch's works.
I believe that even David Lynch that directed and wrote "Lost Highway" does not have answers for all the mysteries of the plot.
Possibly the most underrated of all his films, and certainly one of the biggest cult hits.The film stars Bill Pullman as a disturbed jazz saxophonist named Fred Madison, Patricia Arquette as both his mystical black-haired wife and Mr. Eddy's stunning blonde-haired girlfriend, Balthazar Getty as a young mechanic named Pete Dayton, Rogert Loggia as the powerful Mr. Eddy, and Robert Blake as the ever-so-creepy Mystery Man. The film also features some interesting cameos from Richard Pryor, Giovanni Ribisi, and Gary Busey as Pete's father.The film flirts with such ideas as reincarnation and psychogenic fugue.
This film was the start of an original and trademark style of Lynch's, the style which would make his films recognizable based merely on the use of camera-work and lighting.With Lost Highway, Lynch reinvented the usual film narrative in a way which put the viewer directly into the driver's seat of a delusional and/or unstable mind.
I've lost count of how many times I have watched this film and been mesmerized by it in new and different ways each and every time, and this time was no exception -- seeing it on a big screen with a proper sound system and a proper audience revealed many bits that I had not thought about upon previous viewings and, given the opportunity, I would recommend everyone else reading this do the same (regardless of whether you liked, disliked, were just confused by, or haven't seen it at all).I should mention that David Lynch is not my favorite director, and I am not some Lynch fanatic who gobbles up every last drop of pretentious nonsense the guy will drip.
As a stand-alone piece of cinematic art, it simply demands that you drop whatever pretensions you have with David Lynch the auteur and engage it upon its own terms....As a side note, I have to mention that my favorite line in the film has to be the only line uttered by one of Mr. Eddy's henchmen during the scene with the tailgater, spoken rather quietly while Mr. Eddy is screaming at the top of his lungs: "Tell him you won't tailgate." You might not even notice it the first time, it's just so oddly placed.
I guess Lynch thought that this film would be more true to life (or at least pretend to give it some sense of realism, which it doesn't) if he had his actors take those long pauses, but again, he made another huge miscalculation: people in real life do not talk like that!
The only characters that were memorable were Bill Pullman's character Fred (but this performance left much to be desired), and the creepy man with the video camera (too bad he wasn't in the movie for longer).My rating: 1 out of ten.*Side note: "Lost Highway" rivals "Castle Freak" for worst film I've ever seen.
Calling home on the Mystery Man's cell phone Fred is answered by the Mystery Man himself who seems to be at two places at the same time!As both we and Fred are trying to figure what exactly is happening in this weird movie that were watching he's suddenly arrested for the murder of his wife Renee and put on death row, without the benefit of a trial and conviction, waiting execution.
If it wasn't for Fred coming back on the scene later in the movie I had the feeling that actor Bill Pullman walked off the set being disgusted in what he was offered to play in the film and was replaced by actor Balthazar Getty without the writer/director David Lynch not bothering to re-shoot the scenes with Pullman in them!It turns out that Peter is a crack a jack car mechanic working at Arnie's, played by a wheelchair bound Richard Pryor, garage who's very well regarded by gangster Eddy aka Dick Laurent, Robert Loggia, for his mechanical abilities in fixing his car.
It's just then Peter turns into Fred and the Mystery Man, camcorder in hand, shows up together with a couple of cops looking into Renee's, remember her, murder and what at first seemed like a dream or better yet nightmare becomes a reality.Very strange movie that doesn't make any sense at all until the ending that gives you the impression that it was all some kind of hallucination on Fred's part.
As the mysterious saying at the start of the film "Dick Laurent Is Dead" takes on a whole new meaning when it's repeated, by Fred, just as "Lost Highway" finally, after 135 minutes, comes to an end..
I love him so much that I put off seeing Lost Highway for over a year because it was the only David Lynch film I was yet to see.
Also, the revival of Twin Peaks was enough to pique my David Lynch anticipation meter to breaking point so I finally gave in and stuck in Lost Highway.Firstly, I don't think it's as grossly strange as some people make out.
Don't get me wrong, there's still a lot to love it just feels less Lynchy and more straightforward, and the Pete Dayton story is the biggest chunk of the film.There are still some spectacular sequences though, including a mysterious gangster getting road rage and Patricia Arquette's intriguing Alice character.
Thankfully for us weirdos things do start to get extremely strange towards the final half hour of the film before breaking down into total chaos until your mind finally explodes.Lost Highway is extremely puzzling in a similar way to Mulholland Dive.
No one makes films that make you feel quite like David Lynch does.
I think i finally get the point of David Lynch after seeing this movie again (first time around i though it was a bit pointless and artsy like everyone else).
The one little thing that finally made the film register for me was the Islamic tattoo on Bill Pullmans hand that you have to strain to see in the party scene, thereafter everything fell into place : The born again thing when he turns into Balthazar Getty, the introspection at the beginning when he finally discovers himself by watching the video tapes, the demon/demonic angel he meets at the party and dispatches Robert Loggai to hell after showing him his sins (on a portable TV), Gettys vision of hell in the mansion (now i know why Marilyn Manson appears in that sequence) and at long last i get the ending.
What a lame movie it would be if it were.David Lynch fans tell me that sure, this film is okay, but I wouldn't like it so much if I'd seen some of Lynch's REALLY good stuff (`Eraserhead' and `Blue Velvet' are the ones appealed to).
One thing I love about David Lynch is that, while some of his obsessions (thematic and visual) appear over and over again in his films, he doesn't seem to repeat himself or to be in a rut (as opposed to an artist like, say, Laurie Anderson, who I think made her best statements in the 70s and has been doing the same thing ever since).Lost Highway features some of the same elements as the later _Mulholland Drive_: the structure that "turns itself inside out," the blonde vs.
wait until you've travelled down the 'lost highway' with Fred, Renee, Pete and Alice.Special mention to Robert Blake for his portrayal of 'the mystery man' - one of cinema's truly terrifyingly creepy characters..
Of Lynch's movies, I think this is my favourite so far; the story makes sense to me (in a weird Lynchian way) and the elements of the narrative comes together quite cohesively to give a satisfying conclusion.
Lynch always knows how to fools and surprises us, never makes us uninterested or bored, he always pushes the envelope and "Lost Highway" is filled with those bizarre moments where you keep saying "Hold on!" trying to connect all the dots and process all the information given to you throughout the experience.The greatest example of how to make an audience really connected with a film, surprised, shocked and excited at the same time is the classic meeting between the mystery man with Bill Pullman, where everything surrounding them stops, silence for a moment and then it's surprise after surprise.
any new movie for David Lynch means a new discovery,a new vision of film-making,a new nightmare as i have mentioned before.he is my favorite director of all decades.above Hitchcock,Ford,Hawks &...
he follows his method of film making without any mistakes and does not care about others.he gives the final conclusion to the viewer and wants him to think and analyze what he wants.i refer you to his very early movies like Eraserhead or Elephant man.he goes as strange as it gets.and sees no further description to destroy viewer's mind .how many movie directors do you know in the world that does the same job???
about Lost Highway i cant judge very simple,it is most strange,most Disturbing.so it is not that simple to review on this picture.it faces Fred Madison's(Bill Pullman) nightmarous life.a jazz man who always suspects his wife Renee(Patricia Arquette).Fred lives within a dark condition of life.he supposes his wife that has a close affair with Dick Laurent(Robert Loggia).a porno firm maker and a gangster.and while having sex with Renee he always sees a terrifying face who is Mystery Man(Robert Blake).he receives video tapes from inside his own house that shows Fred that has massacred Renee and for that he goes to prison.by being on the prison Frad changes to Pete(Balthazar Getty).a mechanic who has no clear idea what he does in the prison...
When Good Weird Goes Bad. Watching Lost Highway is like watching a film made by someone trying to emulate a David Lynch film and failing.
This film feels like an imposter.Dissecting and deciphering a David Lynch film is usually fun stuff but trying to figure out Lost Highway is an exercise in futility and frustration.
With Lost Highway I get that sinking feeling that Lynch knows no more than I do about the mysterious world he created.
After recently re-viewing 'Lost Highway' I'd say it has surpassed 'Blue Velvet' as my favourite David Lynch movie, and would go as far as to say that it is his definitive statement (so far).
i really like lynch, the elephant man is awesome, so i take the movie from the store an I start so see Lost Highway with the idea of a very good night of movies, but Oh My God...An horribly photo direction, the worst music selection ever (please, rammstein an Marilyn Manson are good, but not in this way).
Lost Highway isn't one of Lynch's better known films.
"Lost Highway" is a David Lynch film from 1997 and, like most David Lynch films, it's hard to describe, hard to understand, and even after you've described it, you haven't told anyone what it's about because it's not about what you just described.Bill Pullman is Fred Madison, a saxophone player sitting on Death Row for the murder of his wife (Patricia Arquette).In the beginning of the movie, a tape is delivered to Fred and Renee's home.
In Fred's dream, Pete sees The Lost Highway Hotel, where Renee had liaisons with Dick Laurent (Robert Loggia), who heads a crime syndicate.If you just sat through this film, you wouldn't have any idea what was happening except that it's dark and strange and the characters seem to wind up as other people.
Lost Highway, even by David Lynch standards, is a strange, schizophrenic movie.
Yet, 'Lost Highway' has that surreal feel of fear and suspense that one associates with most of Lynch's films and the story presents themes such sex, murder, desire, obsession, jealousy, betrayal and doom which have been a key part of the director's other movies.
The story is hard to follow and confusing like most David Lynch films.
It is like making a film by yourself.Everything is reasonable about your comments no matter what you think and what you say.I want to compliment Lynch, this movie will be enough for you about the cinema.Just watch it and never watch any other.
I should write 10 lines to submit my comments.I can write more than 10000 lines which are irrelevant just like Lost Highway.You can not relate two things in the film, every point is a movie by itself.
Lost Highway is one of my most favourite movies.The story is about Fred Madison (Bill Pullman) who plays the saxophone.
My Rating : 9/10If you are curious about what a nightmare is, watch this movie!Inspired by classic film-noir and O.J Simpson's case, David Lynch's 'Lost Highway' is his ultimate style statement as a director.
Lost Highway is another Lynch film that captures the blurred line between dreams and reality.
It's not very different in Lost Highway except that the pieces of the narrative that we're given are even more of a mystery, which makes the film so good and almost satisfying. |
tt1227637 | Impact | During a meteor shower said to be the most spectacular in 10,000 years, an asteroid hidden by the meteor field strikes the Moon. Fragments of the asteroid and of the Moon itself penetrate Earth's atmosphere and make impact. The initial damage is minimal, though significant physical damage to the lunar surface can be seen from Earth. Experts believe that the Moon has stabilized into a slightly closer orbit. Then strange anomalies begin to manifest themselves on Earth, including cell phone disruptions, unusual static discharges and odd tidal behavior. The world's leading scientists, including Alex Kittner, Maddie Rhodes, and Roland Emerson, begin piecing together evidence that suggests the moon's properties have been permanently altered because the asteroid that hit the Moon was actually a fragment of a brown dwarf; the fragment is highly magnetized and more massive than the Earth despite being only 19 kilometers across, and it is still inside the moon. When the Moon's new, more elliptical orbit brings it closer to Earth, electromagnetic surges begin affecting the surface, causing people, vehicles, and other objects to levitate at random, worldwide. Alex, Maddie, Roland and the rest of their team soon discover that the Moon's new orbit will cause it to collide with the Earth in 39 days, completely destroying the planet. After a failed attempt by the United States to destroy the Moon with nuclear weapons after not listening to the above scientists as it usually happens, the three scientists plan an international mission to the Moon, where astronauts must construct a device to magnetize the Moon's core, causing it to disgorge the embedded brown dwarf fragment, eliminating the magnetic effects and restoring the Moon to a stable orbit. Because of their unique expertise, Alex and Roland must join an American astronaut and a Russian cosmonaut on the mission, which is expected to be a one-way trip.Roland's pregnant fiancée, Martine Altmann, was travelling across Germany on a train that levitated and derailed. She and an American, Bob Pierce, are able to lead the survivors to a military convoy, and Bob convinces the soldiers to allow Martine to ride to Roland's location. She and Roland are immediately married. Alex's children are left in the care of their late mother's father. When they attempt to drive cross-country to reunite with Alex, their car levitates and crashes. After a confrontation with a man hoarding resources at a convenience store, the children's grandfather suffers a fatal heart attack. The other man originally plans to leave alone, but has a change of heart and brings the children to Washington, DC. Alex is already in space, but he had asked Maddie, with whom he once had a romantic relationship, to make sure his children remained safe. He is able to tell his children "goodbye" over a video feed.On the Moon, the electromagnetic machine is assembled. Roland and the astronaut, Courtney, travel in a rover to locate a fissure in the lunar surface. The rover crashes deep inside the fissure and Courtney falls to her death. Roland is unharmed but trapped inside the fissure and unable to rejoin the spacecraft. He demands that the cosmonaut, Sergei, launch the module so that he and Alex can be saved. The device is activated, causing a large explosion on the Moon, which kills Roland. The Moon splits in two as the brown dwarf fragment flies into the Sun. The orbit of the lunar debris is stable. Sergei and Alex make radio contact, revealing that they escaped the Moon before the explosion, much to the surprise and excitement to Maddie and Alex's kids. Back on Earth, Alex is reunited with his children and with Maddie. Film ends with Alex and Maddie staring briefly at the now fragmented moon before getting into an SUV together. | melodrama | train | imdb | This is one of the few disaster movies that makes "Armaggeddon" look like it was written by geniuses and "The Core" like it was made as an instructional film for use in college geology courses.
The wide liberties taken with actual fact (and common sense) make for a rollicking time, but it scares me that we're failing in educating the youth of today.I mean, this is only 3 hours long, but in that time you learn that the screenwriters (1) think that the moon has a magnetic field emanating from a core, (2) believe that the "laws of gravity" are that "little objects are attracted to big objects," (3) don't know that cruise missiles are air-breathers and won't operate or even steer in the absence of an atmosphere, (4) don't understand the difference between electromagnetics and gravity, (5) think that it takes longer to walk back to town from a car breakdown than to program, launch, and deliver 87 rockets with nuclear device payloads all the way to the moon, (6) have some bizarre ideas about what a brown dwarf star is, and so forth.But it IS entertaining.
Just make sure to have a chat with your kids afterwards to make sure that (a) your son didn't spend the entire movie following Natsha Henstridge's boobs, and (b) that your daughter understands that the science end of it was all BS so she won't be afraid to get her graduate degree in physics.
(I'd like to look for more of his movies to rent: I enjoy his work.) And, of course, all us old-timers know that all female space scientists are blonde, slender, very attractive, 30 to 35 years old, and possessed of big boobs.
(Think "Jurassic Park" as a good example.)Some of us have worked hard to educate this country in science, and seeing this movie is so discouraging, as if taunting us by saying we are never going to win..
Scientific inaccuracies abound as the moon gets shell-shocked by (ready?) a brown dwarf, making it heavier than the Earth, and causing freakish electro magnetitism, weird gravity, etc.A guilty pleasure, for sure: I love these "the end of the world threatens" flicks where a bunch of scientists try to save us all from annihilation.
This flick "borrowed" elements from Armageddon and other movies, but at least it was free.Considering the outlandish script, the acting was actually pretty good, including the child actors.
The director did the most possible with the plot-hole-ridden story, and some of the weird stuff that happens is even fun to watch.Cinematic fast food that's amusing, and doesn't cost a lot..
It's a globe spanning disaster movie with a pretty cool premise - the moon hitting the planet.Because it's on TV, the only thing it asks of you is your time.
I'm looking for entertainment and the premise of the moon hitting the earth is a spell-binding one.It's also Sci-Fi so it's fine to stretch the facts.
It's as if the writers got together over Domino's pizza, cheap beer and bad weed and said: "Let's take every disaster-movie cliché, one-dimensional character-stereotype and hoary, time-worn situation fiction has ever come up with, lump them in together with crappy special effects, laughable "science" and all the inane pop-psyche observations about the 'human condition' we can think of, then pitch it to the network execs.
Well, except that the full moon would have made watching a meteor shower much more difficult and that it appeared to be night time, simultaneously, everywhere on Earth.
Entertaining movies usually have great editing and special effects - not this film!
Then I read online summaries, and now this sounds just too stupid to have even been filmed (and this from someone who's watched "Plan 9 From Outer Space" more than once).So...an asteroid hits the moon (plausible) and changes its orbit (no doubt) so that the Earth is threatened (the only reason we all care to watch!).
So far, so good.But, the asteroid strike on the moon causes random periods of zero gravity at random points on the earth's surface.
Faulty science (totally ridiculous at times), bad script, horrible acting (notwithstanding a rather 'stellar' cast for this type of movie) all add up to a real disaster.
Later it is learned that was not a meteor: it was quite literally a shooting star twice as large as the asteroid that supposedly killed the dinosaurs.Debris from the moon heads toward Earth and creates chaos.
The moon ends up 30,000 kilometers closer to Earth at its nearest point, and it is getting significantly larger in the sky.Maddie and Alex are asked what is going on.
This one, though, is magnetized and very heavy.Roland concludes this is a piece of a brown dwarf--a former star so heavy that the moon, with the star inside it, now has twice the mass of Earth.
Its orbit is very erratic and these weird events are going to keep happening as the moon approaches Earth each time.Maddie, Roland and Alex are part of a group of scientists called together to figure out what to do.
Once again, I would say the final solution must be seen like one would watch The Super Bowl.I don't imagine most science teachers will be happy with this movie.
That was another miracle.If you want to watch a TV movie about a disaster, you could do worse..
Impact is basically a 'disaster movie' but on television (Think 'a Michael Bay film, but without the budget or stars).
An asteroid has only gone and knocked the moon out of orbit and now our former lunar buddy is on a collision course for Earth, dooming the lot of us.But don't worry, seeing as Bruce Willis and Ben Affleck were unavailable to fly up there and blow it out of the stars, we have a team of international boffins who will come up with something to save us all.
In the end they simply must have watched Armageddon, as they decide to fly up there and blow it up (just with worse special effects).Most people could probably put aside the slightly dubious special effects and lack of big-name actors and give Impact a chance.
This made-for-TV flick is distinguished by some epic bad acting, ridiculous plot, absurd directing, and a cringe-worthy script.Two things were good about the movie.First, the cinematography is professional for a TV movie.Second, the movie is so horrible that I did not feel guilty about turning it off partway through, so I did not waste too much time.The plot from what I saw appeared to violate most laws of physics and common sense.
The acting features a hilarious scientist who looks and talks like she failed sixth-grade science and never took another course in the area.
Its a cocktail of movies what if you mixed Armageddon, Deep Impact and split the moon the result would be this fun day of destruction mini series...heck I even bought the DVD.
I would think the blond actress, Natasha whatever would know some science and would have raised some kind of objections in the production but then when you see the size of her boobs and the color of her hair, you realize she is probably brain-dead and you move on.
Consequently all the effects from the moon coming closer to earth and the final successful solution of the problem are completely wrong.This production cost more than 10 million to make.
Brown Dwarf - Ha Ha. This film from the point of view of family relationships is quite good, but it completely fails once it enters the realm of science, and is not even good 'Science Fiction.' The fragment that hits the moon is reputed to be from a brown dwarf, brown dwarfs are astrophysical objects that are intermediate entities between planets and stars.
Stars like the sun are not immensely dense, in fact the density of our sun is comparable to that of water and 'brown dwarfs' are of the order of .1 of a solar mass so the film as usual for Hollywood and TV is based on a failed premise.
I think they meant to use a fragment of a 'Neutron Star,' as this would have fit with the effects described and even the goofs section is inaccurate about the suggested effects of an impact with the moon of a brown dwarf fragment.
Brown dwarfs are failed stars/suns and if they were broken up they would diminish due to molecular reactions because gravity would no longer keep the fragments together and they would most probably combine with other molecules and elements to form conglomerate meteor/asteroids that would not be very dense at all.
Very possibly one of the worst science-fiction movies ever made this century..
This one makes me want to hang my head in shame at the thought that the screenwriters' VERY sketchy grasp of science is being shown outside the country, helping to give our people a mostly undeserved reputation for crass stupidity.If I could burn every reel, tape and DVD of a movie, it would be this one..
There isn't the slightest attempt to involve any actual science - the scriptwriter just keeps saying outlandish things and the actors struggle to make it seem like they believe this is how the world works.In the minute or two before the beginning titles, for example, we are told that "the biggest meteor shower for (X) years" is about to happen.
I would have thought the sudden and complete disappearance of the Sun would have provoked more comment than a meteor shower would.And all this was before the titles.Other things, like the fact there was a rock on the Moon that was one and a half times the mass of the Earth, yet the Moon only changed its orbit slightly (when, in reality, at that point the Earth would have, at best, been in orbit around the Moon...) were glossed over.Or how they managed to fit five people, a huge "scanner", a 2-man rocket sled and a missile launch platform into the nosecone of a rocket that can usually only hold three people maximum, and they still had room to get in and out of their space suits?
As was already pointed out, a brown dwarf is a small star about 13 or more times the mass of Jupiter.
The same side of the Moon may not keep facing the Earth - the impact might set it spinning, or the oval orbit could break up the 1:1 resonance with the Earth.The scenes of things floating up are odd.
Impact is the kind of sci-fi movie you get when you spend the budget on well known (TV) actors and story instead of dumping it all into CGI effects and explosions.
The implementation of science from old 1950s movies and unintentionally goofy dialogue result in some laugh out loud moments, but most of the time it's not too distracting.The main story is original, although quite far fetched at times.
To begin with, some positives: the cast did pretty well with what they were given, most of the subplots were interesting and resolved pretty well, and unlike a lot of similar movies, the emotional layers were played realistically.So this is not irredeemable, but as with all science fiction, it lives or dies on the science.There are three ways it can work: 1).
Good science throughout is best, but how many movies manage that?This piece tries for option 3, with detailed scientific explanations everywhere, but almost every use of science is wrong.
They might have meant Neutron Star material, except that would have been way heavier that they wanted (mass of Sun not Earth) which would wreck the rest of the plot.Secondly, whichever option they actually meant, something that dense, that fast hitting the moon is likely to shatter it and keep on going.
Funnier would be that if the fragment hit the moon and stuck as in the film its momentum (remembering that the fragment was 6-10 times heavier than the moon) would knock the moon completely out of orbit.Lastly, the object has to be a fragment of White Dwarf/Neutron Star/whatever as a whole one is way too big for the plot to work.
The only problem with that is how on earth you break a piece off of one of the densest objects in the universe.It feels nit-picky to go through things like this, but the same is true of every part of the plot that is science-Dependant.
In fact it is the very first movie that I ever watched where the moon is picked as the adversary that will wipe out the entire earth and humanity with it.When I started watching this probably 4-hour movie made for television, I thought that it was just one of those movies dealing with meteors hitting the earth.
The entire plot can be summed up in one paragraph: Meteor collides with the moon, puts it off orbit on a collision course with earth.
The scenes of the moon looking huge in the sky were very eerie and will stay in the mind as they did look terrific.I thought the running time of 3 hours really suited it as well although I watched it all in one go, you can easily spread this over 2 nights because the break means there is a bit of a cliff hanger.I also must give a mention to the score as that was again first rate.Although I am a bit of a sucker when it come to disaster type movies, I put this right up there with Armageddon and Deep Impact.
- Spoiler Alert - terrible, horrible, no good, very bad movie.
**Possible Spoilers**I have seen some bad Sci Fi, but if you ever needed a title to show you just how low movie makers could go, this is it.
They do more than make the scientists stupid to pander to explanations for the audience, they get even the basic science wrong.Amidst fantastical sequences of flying cars because of the disastrous impact on the moon, we are left to wonder why.
-This Review contains spoilers-That the "science" in this movie doesn't make any sense at all is not the biggest problem, it's a movie, although there are a lot of obvious blunders.The script however slowly drags itself forward, there is way too much irrelevant details in this movie.What irritated me the most about this movie were the grandfather and those annoying brads, sure just crowbar somebody to the ground when he tries to defend his supplies against thieves.The acting in general (apart from those kids) wasn't all that bad.
Impact is a great entertainment and a clever show with a cool premise - the moon hitting the planet like someone here said.
And its much more than that, we have meteorites, a brown dwarf, mysterious anomalies on earth, lots of theoretical and practical discussion about gravity and electromagnetism...etcFor the people who are questioning the science in this show here we go: 1-In our reality there are a lot of theories...
3-The awesome Electromagnetic power level (also derived from the impact between the moon and the dwarf) explains the electrical problems and why people or objects started to "fly"!!
(END SPOILER)I mean, here we have a good science fiction movie with a good script where we can actually learn about something and think about others subjects, interesting characters, reasonable acting, decent special effects (for a TV show), lots of mystery and speculation about what the hell is happening ...
Getting the Moon and a "Brown-Dwarf Fragment" in on the story was also very interesting, the sort of thing that one usually only reads about in er..
There is nothing worth laughing about here."Impact" is for lovers of very 'basic' SciFi or those who like crude disaster-movies.
The likes of Natasha Henstridge and James Cromwell are the ones caught up in the usual outlandish plot involving an asteroid crashing into the Moon and subsequently causing chaos on Earth.
Really, folks, if any illiterate can make a science-fiction movie, why do universities BOTHER giving film degrees?
Not that anyone would look it up, since the movies tell us everything we need to know.
Not only crashed into the moon, but leaves behind something that effects planet Earth as we know it.
The last review I did was for 'Tornado Valley', the summary title I put for that was 'But...but...tornadoes do not work that way!', and as you can see from the summary title for this review, this is now the second, wait, third film I have seen where the makers of the film have broken the laws of reality.First problem, whether it was a dwarf star or something else that doesn't make sense, it still has to be one big freaking meteor to knock the MOON out of orbit.By the way, that's the plot, the moon gets knocked out of orbit and is on a collision course with Earth.
The brown dwarf in this story is so massive that the Moon becomes more massive than the Earth.
But the movie ends with people looking up to see the Moon in two fragments.
Not the whole world speaks American English.4 It was enjoyable to watch if you don't focus to much on the negatives.The trouble I had with it are the following: 1 It's scientific basis is as good as a 1950's movie there are a lot of things that don't add up.
The story plot, that the moon was hit by an asteroid many times the size of the one that killed off the dinosaurs, was actually pretty good, CG could've been a little better, but not everyone is Michael Bay. The part I did not like the most is the part on the moon, to me it wasn't suspenseful, and I don't like the fact that they pretty much split the moon in half.
But if you are an Armageddon fan like me, don't watch this movie. |
tt0089421 | King Solomon's Mines | South Africa, the 1910s. Allan Quatermain (Richard Chamberlain) is a white big-game hunter and explorer who is hired by Jesse Huston (Sharon Stone) a young American who wants to help her find her father who was belived to be lost on an expedition to find the fabled King Solomon's Mines. Together with his African companion, the mysterious Umbopo (Ken Gampu), they penetrate unknown country, following a map believed to be genuine. It transpires that Professor Huston has been captured by a German military expedition on the same quest, led by Bockner (Herbert Lom), a stereotypical, single-minded, knackwurst-munching, bald-headed Colonel and a ruthless Turkish slave-trader and adventurer, Dogati (John Rhys-Davies). Huston is being forced to interpret another map, also believed to be genuine.The two rival expeditions shadow each other, clashing on several occasions, and finally enter the tribal lands of the Kukuana who capture them. The tribe is under the control of the evil priestess, Gagoola, who has Quatermain hung upside down over a pond full of crocodiles. Just when all seems lost, Umbopo arrives and after defeating Gagoola's warriors in combat, reveals his identity as an exiled tribal chief and the rightful ruler of the Kukuanas. As the tribesmen submit to him, Gagoola captures Jesse and flees into caves in the depths of the Breasts of Sheba, the twin mountain peaks where the mines are located. They are pursued by Bockner and Dogati, who attack the village in full force.The Germans follow Quatermain and Umbopo to the entrance to the mines, but are hampered by a moat of quicksand. Bockner orders his men forward into the moat, but they have trouble crossing it. Dogati then kills all of Bockner's soldiers, as well as most of his own men, and uses their bodies as stepping stones to cross the moat safely. As they approach the entrance, Bockner shoots Dogati and takes command of what little remains of the party.Inside the mines, Quatermain and Umbopo rescue Jesse and find the resting place of all the former tribal queens, including the Queen of Sheba herself, encased in crystal. Umbopo explains that Gagoola had attempted to sacrifice Jesse in order to keep her power as the Kukuanas' ruler because of Jessie's strong resemblance to the Queen of Sheba. Then Gagoola appears and taunts Umbopo, who pursues her through the caverns. As Bockner and his men arrive next, Quatermain and Jessie flee for safety, but end up in the cavern's treasure chamber, which is full of raw diamonds and other priceless treasures. As they gather some of the diamonds to take with them, Bockner hears their voices from outside the chamber, but before he can enter, Gagoola activates a hidden rock switch and seals Quatermain and Jessie inside the chamber. The switch also triggers a trap that causes the ceiling of the chamber, which is lined with stalactites to lower on them. Quatermain and Jessie manage to stop the ceiling trap, but then the chamber begins filling up with water. Just as the chamber fills completely, a lit stick of dynamite set by Bockner outside the chamber door explodes, sending them both spewing out of the chamber in the resulting flood to safety.Bockner enters the chamber and quickly lays claim to the treasure, only to be confronted by a wounded, but very much alive, Dogati, who was wearing a protective vest that shielded him from the bullets. He then forces Bockner to swallow some of the diamonds, intending to cut him open to retrieve them later on.Meanwhile, Umbopo finally corners Gagoola. But rather than face his judgment, she instead leaps down one of the volcano's shafts and is incinerated when she lands in the molten lava below. However, the reaction causes a series of eruptions throughout the mines. Dogati is partially buried when the treasure chamber's ceiling collapses, but Bockner is unharmed. He gloats to Dogati after claiming a few more diamonds for himself, then leaves the chamber. But not before firing his gun at the ruined ceiling, burying Dogati alive.Quatermain, Jessie and Umbopa quickly flee for their lives through the collapsing caverns. They cross over a small booby- trapped lake (which one of Bockner's men fell victim to earlier), only to be stopped by Bockner, who demands they surrender their diamonds to him. Quatermain places the diamonds on the central stepping stone that triggers the trap and tells Bockner to come take the diamonds himself if he wants them. Bockner does so and falls into the lake, only to be seized in the jaws of a Mokele-mbembe water creature and dragged beneath the water. The trap resets itself and the diamonds rise back to the surface, but Umbopo warns Quatermain and Jesse not to take them, saying they belong to the mountain.The trio continue their escape through the caverns, which becomes even more dangerous as the lava chamber they are in is full of fire and falling rocks. Quatermain tells Umbopo to take Jessie through to safety while he follows them. But before he can do so, he is struck down by Dogati, who survived the cave-in. A brutal fight between them ensues, but Quatermain gains the upper hand at the last instant, sending Dogati falling into the chamber's lava pit to his death. Quatermain manages to escape from the mines at the last minute, just as the volcano explodes, sealing the entrance forever.Returning to the village, Umbopo assumes his rightful place as the ruler of the Kukuanas and he and his people bid a fond farewell to Quatermain and Jesse. As they exit the village, they each reveal they had kept a diamond from the mines as a souvenir of their adventure and the movie ends with them kissing for the first (and only) time outside the village gates. | good versus evil, action | train | imdb | I think that many of those who are complaining that King Solomon's Mines is so bad are those who are too young to remember and appreciate these movies that came out in around that period or those who decided it's not "cool" to like cheesy movies.Of course you can't compare the effects to that of Raiders of the lost Ark. Raiders had a near unlimited budget for the day, how do you compete with something like that?
I enjoyed the storyline, the actors, the music by Jerry Goldsmith is very enchanting, the only thing i could say isnt that good in this film are the special effects but for the time being it will do.
Jesse Huston (Sharon Stone) is on a mission to find her lost father, she enlists the help of legendary explorer Allan Quatermain (Richard Chamberlain) and both of them set off on their perilous journey.Bland, routine and deserving of its reputation as an illegitimate sprog cash in of Indiana Jones.
And for the girls who like beards, well Richie Chamberlain sports a candidate for the world's tidiest beard throughout the adventure mockery; tho not quite as tidy as the frothy one worn by a big old fake spider.Don't believe those who say it's in the "so bad it's good" category, it's just terrible and you are strongly advised to seek out either the 1937 or 1950 version instead.
Sharon Stone's acting was just plain bad (she's gotten much better since this movie), but patient viewers are rewarded later in the movie by some nice views of her pretty legs as her costume gets mysteriously shorter and tighter as the story progresses.
Sharon Stone too does well, with what silly dialogue she is given, and the rest of the cast [ John Rhys Davies etc ] take things seriously, which helps the film.
Ok i shall start by saying i am a huge Indiana Jones fan and when i saw this recently i thought it was a ghastly copy, but i think as the film progresses it gets better and some of the scenes late in the movie are very impressive - particurly when john rhys-davies forces the german guy to eat the diamonds.
I liked most of the scenes with john ryhs-davies in but i was slightly disappointed to see him in rip-off of Indiana Jones as he was in Raiders of the Lost Ark. So overall this film isn't that bad to watch, its quite fun really but it is nothing compared to the mighty Indiana Jones..
But for most people who had already watched "Raiders of the Lost Ark" have definitely harbored discriminatory feelings and complements for this action film.As far as action, adventure and fantasy is concerned, it was a good raw effort by J.
However, the next sequel of this series i.e., "The Lost City of Gold" is indeed a hopeless effort to bewitch the audience who are used to viewing better films.Nevertheless, KSM is an interesting and reasonably well directed piece of motion picture..
This is the adventure of a lifetime starred by a fortune hunter called Allan Quatermain (one of the members of the League of Extraordinary Gentlemen) who teams up with a resourceful woman (Sharon Stone , according to her memoirs Kathleen Turner turned down the role of Jesse) to help her find her missing father lost in the wilds of 1900s Africa while being pursued by hostile tribes , a rival German explorer (Herbert Lom) and a slaver Arab named Dogati (John Rhys-Davies who along with Richard Chamberlain starred TV-series "Shogun") .
While a native (Ken Gampu) is reclaiming his rights over throne of an African tribe next to King Salomon's mines .This amusing spoof picture displays exciting action , thrills , humor with tongue-in-cheek , extraordinary adventures and outlandish cliffhanger situations abound .
This film arrive in theaters in 1985, the year of the 100th anniversary of the first appearance of Allan Quatermain in the novel King Solomon's Mines in 1885.
Normally I'm not much of a bad film-lover, because they just make irritated instead of entertained, but King Solomon's mines was an exception (as well as the sequel "Allan Quatermain and the Lost City Of Gold").This Indiana Jones-wannabe becomes more and more awful as it goes along, but fortunately all the bad elements keep you entertained.
King Solomon's Mines is one of the most relentlessly action packed campy films I've ever seen...and I don't think I've ever laughed so hard in all my life.
Granted Indiana Jones has some classic lines and Harrison Ford pulls it off most excellently, there are still some great jokes in the movie.
And that is what makes this movie good - james bond and indiana jones action exaggerated so it seems funny..
If the similarity of scenes in Cairo in the latter and the jungle-border city (whose name I forget) isn't a dead giveaway, the presence of John Rhys-Davies in both films, playing roughly similar rôles, should be (in the former he's a bad guy, in the latter a good guy).I have no quarrel with parodying both "Mines" and "Ark" which have enough similarity of plot to allow that and one can certainly enjoy the film on its own.
Here he plays a fair-sized minor role Sharon Stone's father Professor Huston.Side note: this film and Haggard's book make the common error of locating King Solomon's mines in Africa.
H. Rider Haggard's "King Solomon's Mines" has been filmed a number of times, but this is the only version I have ever seen.
Neither Foulata nor Good appears in the film, and Quatermain's love-interest is supplied by the white Jessie, played by a young Sharon Stone.
This same old cartoon cliché comes up in the 1950s movie "Gentleman Marry Brunettes", but at least there its offensiveness is somewhat mitigated by its being presented in the context of a stage show; in "King Solomon's Mines", by contrast, the film actually appears to be suggesting that this is how real Africans behave.
The only thing that surprises me is that the film-makers evidently thought highly enough of the film to follow it with a sequel "Allan Quatermain and the Lost City of Gold" It is sad to think that the director J.
I think for that time the special effects were excellent for an action/adventure treasure hunter film.
Comparisons to Indiana Jones are out of place; a much better movie to measure it against is "Romancing the Stone", and it loses every single point.
A comedy needs actors and a director with good timing; it doesn't get funnier with bad acting but boring.This would really only get 1/10 from me if it weren't for Sharon Stone's legs which get more and more exposed throughout the story.
Okay, so somebody at Cannon decided it would be a good idea to make an Indiana Jones rip-off, utilising a 19th century boy's own adventure novel that hadn't been adapted for the screen for around forty years.
John Rhys-Davies seems to be reprising his role from the Indiana Jones films, while the only performance I enjoyed was Herbert Lom as a comic-book German colonel.Experienced action director J.
King Solomon's Mines (1985) is the best action and adventure movie I have ever seen.
This film was at best a good Idea that went sour very quickly, and turned out a mediocre product.I remember first seeing this movie when I was nine, and thought it was great.
And that's all I can say, it's great for a nine year old Indiana Jones Fan. There are discrepancies, masses of poor dialogue, and very heavy handed (and I mean beating you over the head) moments of Plot summary, Love scenes, and...cannibals.
I mean, it has Sallah (john rhys davies), a pulling behind the moving vehicle stunt, and other tidbits stolen from the Indiana Jones Films that have been worked into a butchered version of H.
Released in mid-1985,KING SOLOMON'S MINES was an attempt of producers Yoram Globus and Menaham Golan's angle eventually to cash in on the success of the Indiana Jones films of the early-1980's.
The remake of KING SOLOMON'S MINES was a movie upon its theatrical release in 1985,was clobbered by the film critics,but despite to the audiences liking it,it was well-received at the box office despite making it one of the worst films of that year.
Sharon Stone,before Basic Instinct and other role is casted as the damsel in distress who basically ends up being rescued by Chamberlain from the clutches of a rogue of villains.The only saving grace here is film composer Jerry Goldsmith's rousing score which is the only thing that kept this from falling apart.
King Solomon's Mines had the potential to be just as good and Indiana Jones.
Another review appearing on this site stated that it "just isn't possible that 'King Solomon's Mines' rips-off ' 'Indiana Jones' - the book was written first and is considered a classic." Yes, the book was written first, and is considered a pop literature classic - but this dreadful film bares only the most superficial resemblance to the book, and is quite clearly a rip-off of "Raiders".
I personally lost count at 20 direct references IN THE FIRST TEN MINUTES!!!!!I am a huge "Indiana Jones" fan, and enjoy films like "The Mummy" which, while not coming close to true "Indy" quality, have fun with the same conventions.
Even John Rhys-Davies backs up from his decent work in "Raiders" (playing the latest in his long line of typecast swarthy mid-Easterners), but after seeing his performance in this film, it's obvious why his career slipped to the lost world of video game cut-scenes.Suitable only for non-discriminating viewers, or if you want to pick it to bits and laugh at it; if the latter, you'll be kept busy, believe me..
To the uninitiated Golan/Globus are Cousin's Menahem Golan & Yorham Globus who were prolific producers of trash throughout the 80's making such 'classics' as Death Wish 2,3 & 4 & Missing In Action 1,2 & 3 (basically keeping Charles Bronson & Chuck Norris in work) among seemingly endless amounts of other less than fantastic fare released through their Cannon Film Studio.So if you come into King Solomon's Mines knowing what to expect (In essence a low budget B-Movie, done with some of the worse dialogue imaginable,terrible visual effects and non-intentional hilarious scenes) you should be able to sit back leave your Brain at the door and enjoy.While I realise this was made to capitalise on the success of Indiana Jones - Nobody watching this should compare the two, If anything this is a Indy spoofRichard Chamberlain stars as Allan Quatermain who teams up with a young woman (a Pre-stardom Sharon Stone) to locate her Professor Father who's gone missing in Africa.
This has action in bucket loads, plenty of Comedy (some of it intentional - some of it not), The Acting is very hammy - baddies Herbert Lom is hilarious as is John Rhys DaviesDirected by J.Lee Thompson (The original Cape Fear & The guns of Navarone) A great Director who sadly ended up making trash mostly starring Bronson for Golan/Globus.Filmed entirely in Zimbabwe - obviously back in that particular Country's good old days - Not Unsurprisingly it bombed taking just $238,000 on a $12,500,000 BudgetIt's not great film making, It'll never win any awards (apart from the Razzies) but as B-Movie fun it's good stuff.Surprisingly followed by a sequel (Yes!
there's more) Allan Quatermain and the Lost City of Gold was Filmed at the same time and released a year later.*** out of *****.
Jesse Huston (Sharon Stone) hires adventurer Allan Quatermain (Richard Chamberlain) to find her father who has been captured by German Colonel Bockner (Herbert Lom) and ruthless slave trader Dogati (John Rhys-Davies).
The only thing good about it was that it reminded me that this is the film "The Big Indiana Jones People-Cooking-Pot" came from..
I just managed to stay for half before I was overcome with disgust at this travesty of a great story from one of literature's finest adventure writers.But, if you like spoofs - and poorly done spoofs - then by all means, waste your time.If you like Haggard's adventure stories, however, don't see this film: it has nothing to do with the original story.The acting is atrocious; the story is like a carbon copy of Indiana Jones on drugs; the pacing is frenetically stupid; the dialog was vacuous.This type of trash is a laughing stock.If I could give this one a big fat zero, I would.
I think it has obvious similarities to Raiders of the Lost ark, but certainly not a "rip off" and i am a fan of Indiana Jones to the extreme...but thats another story..
if you like low budget adventure mixed with good old 80's cheesiness, this movie is perfect for you.
Movie makes the mistake of not just being inspired by Indiana Jones, but copying many of the scenes and character - which makes it look even weaker than it is by the comparison.Richard Chamberlain could have pulled it off, had he got better lines and an up-to-it director.
It's like someone took the script of 'Raiders of the Lost Ark' that had been translated from English to German to Spanish to Chinese to Portugese to Nordic then back to English again and said "Hey, maybe we can cash in on the Indiana Jones craze, but this time use mainly b-list actors (well, Henry Silva is more of a d-list), a poor script and shallow acting...what a recipe for success!...even a better idea...we know this movie will be such a huge hit we'll make a sequel at the same time (see Allan Quatermain and the Lost City of Gold)." Both movies bombed worse than 'Ghosts Can't Do It' on a slow day.Then the reviewer chimed in with "Fantastic!" to close their review.
Rider Haggard's novel, King Solomon's stars Richard Chamberlain as adventurer Allan Quatermain, who is enlisted by blonde babe Jesse Huston (Sharon Stone) to help find her father, who has gone missing while searching for the fables mines of King Solomon.
Herbert Lom plays Nazi Colonel Bockner, who, with the help of wicked Turk Dogati (John Rhys Davis, sending up his own role in Raiders of the Lost Ark), also hopes to locate the legendary treasure.When I first saw this film (back in the '80s at my local Cannon flea-pit), I thought it was abominable, a shoddy Indiana Jones clone thrown together in a hurry to make a quick buck.
I then learned that he also wrote King Solomon's Mines and that in actuality the Alan Quatermain character was the inspiration for Indiana Jones.
In the 1980's two movies came out that were very similar, Raiders of the Lost Arc, and King Solomon's Mines.
You decide which one was the imitator.Anyway, in King Solomon's Mines our hero, Alan Quartermain must find Sharon Stone's father.
This movie did not seem fun and fair like Indy...There were some racially offensive things about this film.
While not exactly an Indiana Jones adventure, it still is a pretty fast moving action movie..
The story follows Allan Quartermane and this girl who I don't recall her name played by Sharon Stone as they go on a quest for the lost diamond mines of King Solomon.
King Solomon's Mines is a really terrible film, but beware: there's a sequel and it's even worse!
R. Haggard's novel "King Solomon's Mines," he probably gave no thought to how his co-star, the young Sharon Stone, would look on screen.Bad move, Richard.
Of course it's not near Indiana Jones and the special effects are very bad, but there are a few good scenes.
Everything in this movie is so weird and off the wall that it turns a low budget Indiana Jones rip-off into a great adventure movie.
Richard Chamberlain does a good job as Allan Quatermain being heroic and saving the damsel in distress played by a young (and very pretty) Sharon Stone.
The bad guys are played by two fun actors (Herbert Lom as a german general and John Rhys-Davies as an evil turkish man) who are in over-acting mode.The story is totally different from the book the movie is based on.
They changed it to a more Indiana Jones-esque story in which Allan Quatermain great hunter/adventurer must help a girl find her father and stop the "eeeevil" german soldiers from getting to the King Solomon's Mines.
A competent actor should make better choices over which roles to take.The script is nearly a carbon copy of an Indiana Jones film, and bears no relation to the novel or even earlier versions of the film (which, over time, has deviated further and further from the plot of the book).
King Solomon's Mines is the third film adaptation of H.Rider Haggard's novel of the same title.It stars Richard Chamberlain as Allan Quatermain together with Sharon Stone,Herbert Lom and John Rhys-Davies.It takes a light and comedic approach of the novel and it parodies Indiana Jones,one of the most popular movies that was released during the decade this film was shown in theaters.In the screenplay,Allan Quatermain was hired by a woman to locate his archaeologist father who apparently has discovered the location of a vast treasure.Despite the fact that it was panned by critics and gaining two Razzie nominations for Worst Supporting Actor for Lom and Worst Musical Score,the movie was entertaining enough as long as one does not intend to take it seriously.Also,the viewer should also not compare with the 1937 and 1950 version for it was made for laughs and an Indiana Jones parody instead of being a critically acclaimed film.
Aside from lots of laughter that it presents,it is not short on action and explosive scenes.Overall,try to enjoy and be entertained this movie which should have been titled,"King Solomon's Mines Lite.".
Allan Quatermain (Richard Chamberlain), renowned adventurer, agrees to take a young woman (Sharon Stone) across Africa in search of her father. |
tt0329200 | Home Alone 4 | At the McCallisters' house, Peter (Jason Beghe) is about to get divorced from Kate (Clare Carey) and announces that he's living with his new and rich girlfriend Natalie (Joanna Going) at her mansion. He tells his three children Buzz (Gideon Jacobs), Megan (Chelsea Russo), and Kevin (Mike Weinberg) that they are hosting the visit of a royal family and invites everyone to spend Christmas with him and Natalie. After initially refusing, Kevin takes his father up on his offer after being tormented by Buzz.
Kevin enjoys his time at Natalie's mansion with his new bedroom, latest gadgets and his life. The next morning, Natalie and Peter go out for a bit while Kevin stays at the mansion with Natalie's butler Mr. Prescott (Erick Avari) and maid Molly (Barbara Babcock). While Prescott makes Kevin a milkshake, he goes into the security room and gets caught by Prescott who gives Kevin another chance. With Natalie and Peter still away, Kevin notices his old nemesis Marv (French Stewart), who is the remaining member of the Wet Bandits after ditching his last partner, Harry, along with his new sidekick and wife Vera (Missi Pyle) outside the house. Kevin tries to get Mr. Prescott to answer the intercom, but unfortunately it doesn't work because Marv altered the security system. He then spies on them and drive them away by flooding the house, but Peter and Natalie arrive while Kevin is cleaning up and don't believe Kevin's explanation, especially since Prescott claims to have seen nothing. Kevin then attempts to use the security camera footage to prove himself, but discovers that the camera had been turned off and is caught by Prescott, who Kevin now believes to be Marv and Vera's ally. Molly then appears and gets Kevin out of trouble. Peter and Natalie then realize they gave Kevin a hard time and decide to make him feel better, so the three of them decorate the tree.
The next morning, Peter and Kevin wake up and realize their tree was re-decorated because of Natalie. Kate, Buzz and Megan then arrive to visit Kevin. Kate meets Natalie in person and Kevin shows the entire house to Buzz and Megan. At a party for the royal family while Peter and Natalie have gone to pick them up, Kevin notices Marv and Vera dressed up as caterers. Mr. Prescott warns Kevin about tonight so he then tricks Mr. Prescott into going into the freezer room and he ends up locked in the freezer room and frozen in ice. Kevin then spies on Marv and Vera in his bedroom and hears them planning about kidnapping the prince. Unfortunately for them, Kevin makes sure that their plan was a failure and has them fall out and break the window. The royal family are unable to attend the party because their flight was cancelled, so Peter and Natalie decide to announce their engagement to the party guests instead. Marv and Vera run back into the house and Kevin hits Marv with a frying pan, flips the table and get soup spilled on Marv and Vera. Then they chase Kevin, causing him to accidentally ruin the party. Peter is angered at this event and tells Kevin that he is grounded, still refusing to believe him about the break-in and believes that Kevin is trying to end his relationship with Natalie.
Since no one believes him about the heist, Kevin decides to deal with matters himself, and sets booby traps for Marv and Vera. The next morning Peter and Natalie go get the royals and Kevin is left back at the house. Marv and Vera wake up and head to the house. Kevin tricks and locks Mr. Prescott in the basement, but eventually discovers Marv and Vera's real ally is actually Molly, who also turns out to be Marv's mother as well. Kevin gets locked in the basement with Mr. Prescott. After apologizing to Mr. Prescott for misjudging him (and vice versa), Kevin manages to escape through the dumbwaiter. Kevin then traps Marv under the dumbwaiter but Vera gets him out. Then Kevin unleashes his traps on Marv and Vera. Then Molly appears as Kevin manages to trap her in the elevator and runs to his bedroom. At the airport, Peter gets worried about Kevin and takes a cab back to Natalie's to check on him. Back in the basement, Mr. Prescott then manages to escape through the dumbwaiter as well to see if Kevin is alright. Just on the road, Kate, Buzz and Megan are on their way to save Kevin as well. Marv heads to the bedroom and ends up getting caught and stuck under the bookshelf. Kevin then plays a recording of Marv, making it sound like he's insulting Vera, which causes her to yell at him and argue. Marv then gets hit by Kevin's electric aircraft making him fall and rumble down the stairs. Marv and Vera are then tricked by Kevin with a secret wall switch, end up swinging from a chandelier, and they fall and are knocked unconscious. Molly, having escaped, grabs Kevin but Mr. Prescott knocks her out with a serving tray. Then he and Kevin call the police. As Peter, Kate, Buzz and Megan arrive, Kevin, with Buzz and Megan's help, chases Marv and Vera out of the house and trips them up. The royal family and Natalie arrive and Natalie is confused when she sees Marv, Vera, and Molly getting arrested. Peter tells Natalie that Kevin saved the day and an FBI agent reveals that Molly, Marv and Vera masterminded the plot to abduct the royals. Peter breaks up with Natalie, Mr. Prescott resigns, the royals spend Christmas with the McCallisters, and it is a good Christmas for everyone except for Natalie, Marv, Vera and Molly. | romantic | train | wikipedia | null |
tt0079574 | Moonraker | The 1st part of the pre-title teaser shows a space shuttle (called a "Moonraker") being carried on a large cargo plane. Inside the shuttle, two men emerge from hidden compartments and start launch procedures for the shuttle. They fly off, destroying the cargo plane they were being ferried on. The shuttle was built for the British government and was en route there when it was stolen. M, head of MI6, orders Miss Moneypenny to contact his best agent, James Bond, and have him report in. Moneypenny says that Bond is currently in flight, returning from a mission in Africa. On board the private jet, Bond is betrayed by the flight attendant and the plane's captain, who both escape wearing parachutes. As Bond watches them escape, he is pushed out of the plan by Jaws (who returns from The Spy Who Loved Me). Bond plummets and is able to catch the pilot and wrestles the man's chute from him. As he puts it on and free-falls, he is attacked by Jaws. Bond pulls the chord on his own chute; Jaws tries the same but his chute doesn't open. He is seen falling into a circus tent; the first animated image of the opening title sequence suggests he fell into the high-wire safety net inside.Bond reports to M's office where Q and Minister of Defense Gray are waiting. They report that the shuttle went missing somewhere over the Yukon Territory in Western Canada and, while the plane wreckage has been found, there's no sign of the Moonraker. Bond is ordered to begin his investigation of the shuttle's disappearance at the industrial complex where it was built by the Drax Corporation. Before he leaves, Bond is given a new wristwatch by Q that can fire specialized darts - one type are steel-tipped and armor piercing, the others contain cyanide.Bond arrives at the Drax complex in California. He is taken by Corinne Dufour to industrialist and billionaire, Hugo Drax, for a brief meeting. Drax thanks Bond for appearing in person to apologize for the loss of his shuttle. Bond, however, is not there to apologize and, though he asks about the mysterious disappearance of the shuttle, he receives no conclusive answers. Bond is taken to meet Dr Holly Goodhead, who gives him a tour of the facilities. She suggests that Bond try out the g-force training vehicle. While he rides in it, Drax' personal bodyguard, Chang, refits the control panel (disabling the kill switch for the vehicle) and attempts to kill Bond with a fatal amount of g-force. Bond disables the machine by shooting one of the darts given to him by Q into the control panel. While Goodhead apologizes, Bond sees Chang leaving the control room.Later that evening, Bond meets Miss Dufour and they have sex. He sneaks out of her room and into Drax' private office. Dufour discovers him there but does not attempt to stop him. Bond finds Drax' safe and photographs engineering schematics for a small electronic device and a larger pod of some sort both made by a glass company called Venini, located in Venice, Italy. As he and Dufour slip out of the office, they don't notice that Chang sees them go. The next morning, before he's scheduled to leave, Bond is asked to join Drax for pheasant hunting. During the match, Bond slyly kills an assassin planted nearby by Drax. He leaves just as Dufour arrives. Knowing of her betrayal, Drax tells her that she's fired; he lets his trained Beaucerons loose and they chase her through the forest, killing her.Bond arrives in Venice, going immediately to the Venini glass works indicated in the plans he stole. He finds several workers making small containers that match the dimensions of those in the schematics. Joining a tour of the factory, he sees Holly Goodhead, who quickly leaves. Bond catches up with her and asks to meet her later, which she refuses. Bond heads off in a gondola - while floating down a canal, he is attacked by a knife-throwing assassin in a coffin, who kills Bond's pilot. Bond is able to kill him and activates the gondola's power motor and takes off. He is chased by two more men in a powerboat but eludes them by entering Venice's Grand Canal and activating the gondola's hovercraft which he rides into St. Mark's Square.Bond returns that night to Venini & finds a laboratory where two scientists are working in a private lab. He notices a pod that matches the schematics from Drax' safe that contains some of the small glass containers he'd seen earlier. In the small containers are small electronic devices that contain vials of a clear fluid. Hearing the scientists returning, he hides, leaving one of the devices with the vials where it falls to the floor and shatters when the men move the pod. The liquid quickly becomes aerosol and the room is automatically sealed. Both men die but the animals in cages in the room do not. As he leaves, Bond is attacked by a man wearing Japanese kendo gear, who is soon revealed to be Chang. The two carry their combat into the Venini glassware museum and destroy it. They fight further, ending up behind a glass clock overlooking a fine restaurant. As they continue the fight, Bond notices crates that are bound for Rio de Janeiro that contain the large pods he'd seen in the lab. Eventually, Bond throws Chang through the clock headfirst into a grand piano, killing him.Bond arrives later at Goodhead's hotel and finds her in her room. He reveals his knowledge of her being a CIA agent. The two spend the night together after Bond finds an airline ticket in her name to Rio de Janeiro. Bond leaves early in the morning and escorts M and Minister Gray to the Drax laboratory he'd found the night before. When they enter, the lab has been cleared out and all traces of the pods, vials and other experimental equipment are gone; only Drax remains in a lavishly decorated office. Gray apologizes for the intrusion and, after leaving the office, orders M to take Bond off the case. Bond gives M the vial he'd kept from the previous night and tells M to have it tested by Q with "extreme caution" due to is deadly nature. M tells Bond to take two weeks leave and asks where he'll go; Bond says he'll go to Rio de Janeiro to follow Goodhead and the Venini pods.Bond arrives in Rio and begins to investigate again. He and his assistant, Manuela, find another storage facility owned by Drax, where Bond finds a shipping label from Drax Airfreight. In the street, Manuela is approached by a carnivale-goer in a large costume; it is Jaws, a hulking henchman with steel teeth hired by Drax soon after Chang was killed. Jaws attacks her but is prevented from killing her by some passing carnivale celebrators. Bond arrives, though he is unable to fend off Jaws completely, but the henchman is whisked away by another passing group of celebrators.The next day, Bond takes a cable car to a observation platform overlooking Rio. He sees that planes belonging to Drax Airfreight are taking off from a nearby small airport. On the mountain, he once again finds Holly Goodhead, who tells him that the Drax planes have been departing frequently, every two hours. They both decide to return to Rio to investigate further, however, their cable car descent is interrupted by Jaws who bites through the heavy cable with his steel teeth. Bond and Goodhead battle the thug and are able to escape when Bond loops a chain around a cable and they slide down. Jaws follows in one of the cars but is unable to stop, colliding with the station at the bottom. As he tries to remove a wheel from his neck, he meets a young blond woman with large glasses, Dolly, who helps him and the two fall instantly in love.Bond and Goodhead, having leaped from the chain before reaching the cable house, are picked up by an ambulance. The paramedics are likely Drax' men and the two are bound to their gurneys. Bond escapes his and is thrown from the ambulance, but Goodhead is unable to escape.Bond reports to the new headquarters M and Q have set up outside Rio; Q reports that his analysis of the fluid in the vial reveals that it came from a rare orchid from the Amazonian Jungle region. The fluid, which originally caused sterility in the native tribe that inhabited the area, has been modified to cause death in humans only. Bond travels in a highly specialized boat to the Amazon and is engaged once again by Jaws and several henchmen in boats. Bond uses the defenses of his own boat to destroy most of them and escapes over a large grouping of waterfalls (they are actually the Iguazu Falls, hundreds of miles away near Argentina) by using a hang glider. Jaws winds up going over the falls in his boat. Bond crash-lands in the jungle where he spies a beautiful woman and follows her to a lagoon; he is cast into a pool where a large python is sent to kill him. Bond kills the snake with Goodhead's poison-tipped pen and is grabbed by Jaws. He is taken to Drax' control room where the launching of several Moonraker shuttles is being observed. Drax reveals that he'd originally ordered the theft of the British Moonraker because one of the original fleet developed a malfunction. Drax orders Bond to be taken to a conference room directly below the launchpad of one of the shuttles where Goodhead is trapped. Drax leaves them there to be incinerated during the launch. They escape the room and assume the identities of two Moonraker crew members after rendering them unconscious. They board the last Moonraker and are launched into space on a programmed flight plan. Bond checks the cargo area and sees several young couples as passengers.In space, the Moonrakers arrive at a hidden space station. The station is activated and Drax initiates his ultimate plan: he will launch the orchid's fluids into the atmosphere of Earth where they will exterminate human life, leaving vegetation and animal life behind. The couples that he has brought into space will breed and their descendants will return to Earth as a new race of humans to populate it. Bond and Goodhead find the station's radar jammer and deactivate it, making the station visible from Earth. The British government launches a shuttle with a strike team towards the station.Bond and Goodhead are discovered by Jaws who takes them to Drax. Bond remarks aloud that the only humans who will be allowed to live are those like Drax' "perfect specimens", IE, those who are physically fit and genetically superior. Jaws suddenly realizes that Drax' plan will not include either himself, because of his abnormal size and his steel teeth and Dolly because of her imperfect vision. Jaws decides to join forces with Bond and attacks the guards. A fight breaks out as the British shuttle arrives. Drax still orders the launching of the deadly pods. He is found escaping by Bond who fires one of his cyanide darts at Drax; he pushes the villain into an airlock and blasts him into space to his death. Meanwhile, the strike team has taken out the station team and fly away before the station, suffering catastrophic damage, explodes. Goodhead and Bond escape in Drax' shuttle, which is armed with a high-powered laser and pursue the pods. Jaws and Dolly plummet back to Earth in portion of the station; inside, Jaws opens a bottle of champagne and says "Well, here's to us!", his only spoken words in the Bond series.Bond and Goodhead race towards the pods, destroying them all with the shuttle's laser cannon. Bond is forced to destroy the last one without the weapon's computer targeting system, but succeeds. Back on Earth, M an Q try to locate Bond, who is orbiting the earth in the shuttle and enjoying a gravity-free romantic tryst with Goodhead. | good versus evil, cult, suspenseful, murder | train | imdb | null |
tt0239625 | Mermaid | Based on a true story, the poignant film stars Jodelle Ferland as Desiree Gill. Desi was just 3 years old when her father died. It is now a year on, she is still struggling to accept her fathers absense. Her mother (Samantha Mathis) who has recently moved away with her daughter to live with her parents, is concerned that Desi does not understand what has happened, as she still asks where her father is and only refers to herself in the third person. Desi was told before what a wonderful place Heaven was but always asks when her father will be home. Fighting her own battle of the loss of her husband, her mother doesn't have the heart to tell her that he is gone forever and simply says he's away and she'll see him again one day, but not for a long time. Her grandmother (Ellen Burstyn) suggested that Desi should write a letter to her father, in order to help Desi express her emotions. They leave the letter at her father's grave, and every day Desi waits for the postman to bring her a reply. However, when the letter is returned to them, Desi's emotional and mental state worsen. Desperate, Desi and her mother go to the carnival with a local pilot, where Desi is given a balloon with a picture of a mermaid on it. Her grandmother had the idea of attatching the letter to the balloon and sending it off to Heaven. 4000 miles away, a man duck hunting on the Mermaid River outside the town of Mermaid finds the balloon. Bringing the balloon home to his family, touched and saddened by Desi's letter, he and his wife reply with encouraging words. Upon receiving their letter, Desi begins to recover, slowly understanding the death of her father and the two families form a bond. | melodrama | train | imdb | It's based on a true life story!.
What are the odds of a "Mermaid" helium balloon traveling from Yuba City, Ca.(on Nov 8th,1993) and landing 4 Days later,(on Nov. 12) in MERMAID, Prince Edward Island, Canada.(Approx.
4000 miles).
This movie helps not only children cope with losses, but older people as well.
Hope everyone will enjoy it!!!
Rhonda.
Brilliant Movie really worth watching.
What a lovely heart warming television movie.
The story tells of a little five year old girl who has lost her daddy and finds it impossible to cope.
Her mother is also very distressed ..only a miracle can alleviate their unhappiness.Which all viewers hope will materialise.
Samantha Mathis is brilliant as the little girl's mum ,as she was as the nanny in" Jack and Sarah",worth watching if you like both Samantha Mathis and happy; year tear jerking movies!
Ellen Burstyn is, as, always a delightful grandmother in this tender and magnificently acted movie.
Jodelle Ferland (the little five year old) is charming and a most convincing young actress.
The film is based on a true story which makes it so touching."Mermaid" is a tribute to the milk of human kindness which is clearly illustrated and clearly is still all around us in this difficult world we live in.
"Mermaid" gives us all hope ,by realising that there a lot of lovely people in the world with lot's of love to give.
James Robson Glasgow Scotland U.K..
Touching true story.
The only mermaids in the TV-movie are the ones on the balloon and in the book, but the story is based on a real event.Very loosely modeled on Hans Christian Andersen's original "The Little Mermaid" (not the Disney version), the film depicts in fanciful fashion the attempt of a small girl to communicate with her dead father in heaven by attaching a note to a balloon with a mermaid pictured on it.
The balloon is carried on the wind from California to St. Edward's Island in Canada, and the people who find it respond to the girl's message.
The cast is well-chosen and the film is touching without being mawkish.It is pleasant to imagine that mermaids and angels exist in the light beyond death..
One of the most endearing, beautiful true-life movies ever told about a child..
My family and I have viewed this movie often over the years.
It is clean, wholesome, heartbreaking and heartwarming.
Showing us the compassion between two families of two countries thousands of miles apart and by the most uncanny of coincidences, it's almost as if the hand of God had to be intervening.5 yo Jodelle Micah Ferland who plays Desi the heart stricken little girl, does a magnificent job of acting her part, and for me she was the Priam choice for the lead role.All in all, a 10 out of 10.
There are no downsides to this sweet human story.
Children of all ages will tearfully, then joyfully watch this and it will bring the viewing family together with smiles and good feelings..
Child Prodigy.
A warm, touching movie that has a fantasy-like quality.Ellen Burstyn is, as always, superb.Samantha Mathis has given many great performances, but there is just something about this one will haunt your memory.Most of all, you've got to see this amazing 5-yr.
old, Jodelle Ferland.
I was so captivated by her presence, I had to buy the movie so I could watch her again and again.
She is a miracle of God's creation.Judging by the high IMDB rating, I'm not the only one who was mesmerized by this young actress..
heartwarming family drama, knowing its a true story it re-news your faith in God and fellow-man.
this movie has a great message,a impressive cast, ellen burstyn, samantha mathis, jodelle ferland( was 4 years old when she made this movie) ellen burstyn and jodelle ferland have both been nominated for best actress in a tv drama at the up-coming emmy awards in new york, peter masterson-director- has been nominated best director tv drama at the emmy awards also.
april 1, 2001, jodelle ferland 'Won', best actress in a tv drama, at the young artist awards, in studio city, ca.
i can see why they have 3 nominations.
mermaid is a true story, during the cridits they have the real family on the set, something you don't see often.
you can find mermaid at all blockbuster video stores.
do watch it,you'll be glad you did..
Can't recommend it enough....
This is just a short comment but I stumbled onto this movie by chance and I loved it.
The acting is great, the story is simple and touching, and the lines, especially from the 4-yr-old Desi, are so cute and sad.
Seek it out..
love is in the air!.
What an inspiring movie, I laughed, cried and felt love.
For a true story,it does give you hope and that miracles do happen.
It has a great cast.
Ellen Burstyn, Samantha Mathis, Jodelle Ferland(she's 4 or 5yrs.
old) what a actress.
Its on Showtime.
A Must See Movie!!
The movie, "mermaid" is the best movie Ive ever seen!
It`s not just a simple movie, it`s a really good one, and the best thing is that this have actually happen in real life!
It give us a hope inside, when you see that even the dreams which seems to be impossible, isnt impossible after all, they can actually happen!
The movie really helped me, and if it`s possible to buy the movie, I would do anything to buy it!.
True story, wonderful movie..
And look how a true story, "...
with a little help of it's friends..." : a welldone and touching script, a good directing and a surprising great acting from a bunch of "no-name" actors, especially from the 4-yr-old Jodelle Ferland, becomes a must seen movie.
Interesting to see the film and know what they did..
It is interesting to see the film and the creative license the took in making it.
My mom is the secretary for the crop dusting service owned by "papa Quaid"...not his real name and has been for many, many years....including when this really happened.
I also know the pilot in the Steve Stutz.
In real life the crop dusting service is not at a little shed at an airport but at their own airstrip with many buildings.
The broken down old biplane is also not true.
They have used new round motors but at the time also used single wind turbine power thrush and their own design of biplane turbine power aircraft.The flaggers in the pictures are also a bit of a stretch.
In the real world the had a flagger at each end of the field it a huge flag on a long pole....many years ago they did away with the flaggers and use GPS.
They crops they dusted in the film are also not around here in large numbers.
Corn is not grown in Yuba City nor is summer wheat...Winter wheat, rice and tree crops such as walnuts, peaches, prunes and almonds are.Also the area is portrayed as a cowboy type of town....this is also not the case.
While it is farm country the town of Yuba City itself has about 60,000 people in it.
The town of marysville which is over the bridge from Yuba City has about 35,000 to 40,000 residents.Despite the "Hollywood touches" the film does portray an accurate depiction of the events that happened.
I think the film would have been better without the Hollywood touches but that is a personal opinion.
One thing they got very right was that anyone who has lived in Yuba City hates the fact they moved back to the area after leaving it!.
Best Movie Ever Made.
Best Movie Ever Made.
The little girl Desi is so adorable...
I cant think of a more beautiful story then this one here.
It will make you cry, laugh, and believe.
Knowing that this was based on a true story just made me gasp and it also made me realize that there are nice people out there.
Great cast and an overall great movie..
I didn't know the real events when I sat down to watch this, just the fact that this was based upon a true story.
After the death of the kid's father, Rhonda tries to help her daughter Desiree(...
I did not know anyone actually named their offspring that) cope with the loss.
This is really made for children, as is often the case with "family" flicks(with that said, go ahead and get everyone together for a viewing, though I'd keep teenagers out of it, unless you're sure they're gonna buy the concept), but it doesn't downplay the sting that the death of a parent is, and it doesn't really talk down to anyone.
The plot is sufficiently interesting, and moves along well enough.
Acting varies, with the excellent Burstyn outshining most of her fellow cast, Mathis following that pretty well, and Ferland and her peers(with a few exceptions) being the least convincing of the bunch(and frankly, they're irritating; then again, I'm not really in the intended audience for this thing).
The editing and cinematography are standard, and certainly not less than that.
While humor is limited to a handful of amusing lines or so, the tone is not an unpleasant one.
There is an intense scene or two in this.
I recommend this to fans of these types of movies.
miracles do exist.
i just saw this movie on TV..i've lost my dad when i was young and this movie surely did touch me..i can feel the lost that the little girl Desi felt..the feeling of wanting to see her father again..wanting to talk to him..or at least given the chance to say goodbye..and i'm so touched with the letter that was wrote back to her..saying that her father read her letter, and sent it back to someone to reply her and buy her a present because there isn't a shop in heaven..it just lets me feel that miracles do exist...
A great movie; thank you for made it!.
It is a great movie.
It is a great movie.
i sow that some people think that this might not be based on a true story.
No matter this !!, the movie is great, and all u can think is not why a balloon with a mermaid on it ends up flying in the mermaid town and so on, instead thinking that "a little girl's wish came true", and this means that all our peaceful dreams will come true if we trust in us, and do all in this world to make them true.
The little girl (Desi - in the movie), and her mom, were the best actors i've been seen in a long time.
Good for they, for all actors, all for the director.
If someone can tell them this, please tell them, "A 25 year guy from Romania says thank you for making this movie"..
Unexpectedly good.
OK, this movie starts out like a cheesy Lifetime movie and doesn't get better till almost well through the movie.
The script is full of 'cheese' and 'fluff' and cast is not well directed for the most part.
For the first half of the movie the little girl grated on my nerves.
I do not think this is one of her best acting jobs.
The only reason I bought the movie is because it was on sale and had Ellen Burstyn in it.
She's terrific but this is also not one of her best acting gigs.
The story is based on true events and that helps the movie.
Actually, I didn't even like the movie at first and was getting disgusted when I saw stills of the balloon traveling, I mean..let it get where it's suppose to go and be done with it!
But all is forgiven by the time it does reach it's destination and the story comes to a close.
If this doesn't bring a tear to your eye, nothing will!
It's cheesy and predictable but also makes you feel good about the world again..
Looooocie?.
Ariel?
Darryl Hannah?
Cher (remember THAT film)?
Well, this film has a lot more in common with that than Hans Christian Anderson folklore.
No cute half-naked women here (animated, live, or even imagined), and not because it's a kid's movie, which it isn't.
Mermaid you see is mainly a town.
It's also a doll a little girl plays with, and a picture on the side of a balloon, but mostly it's a town (showing up late in the film like Marlon Brando in Apocalypse Now...but the town's a little smaller).
Now at first a town named Mermaid could seem like a pretty neat concept...sort of an Atlantis thing going...but no this movie strays from such fun and goes directly, immediately, emotionally for that snappy of all movie subjects...DEATH!
But, DEATH!
But, DEATH!
as experienced by a very young girl who is emotionally traumatized by the DEATH!
of her father.
Everything she says is said in third person (maybe she's a fan of Bob Dole).
"Desi wants to know when her Daddy is coming baaaaaaack?" "Did Desi's daddy leave because Desi was a baaaaaad girl?" "Desi wants to see her daaaaaaaddy." "Desi wants to say goodbyyyyyyye." "Desi had a baaaaaaaaad dreeeeeeeam." "Desi wants to know if the angels are going to take yoooooooooou tooooooooooo (mommy)?" That's about the tone and dialogue throughout this film.
To make things worse the girl's name is Desi.
Desi?
Like what, did her mom spend all day watching old I LOVE LUCY episodes during pregnancy?
Perhaps her trauma is not so much her father's death but that in the delivery room her doctor spanked her to the tune of Babaloooooo!
Good thing this movie wasn't made more recently otherwise she could have been named Little Elian.
Well Little Ricky, I mean Desi, sends a Mermaid adorned balloon (The Flying Mermaid) off and it ends up in the town of Mermaid.
Must be a miracle!!!!
Based on a true story?
Based on a true story?
Riiiiight.
HOUSE OF CARDS tackled the same subject (via another traumatized girl) but with much better success.
"Desi says you will like that film." "Desi says do yourself a favor and skip MERMAIDS and rent THE LITTLE MERMAID instead." One bright spot.
You will probably fall asleep without having to watch the entire movie.
Just in case you do and did: The movie ends with the mother giving birth (another miracle!) to a boy she names Lucy.
Just kidding. |
tt0032904 | The Philadelphia Story | Tracy Lord (Katharine Hepburn) is the elder daughter of a wealthy Philadelphia Main Line socialite family. She was married to C.K. Dexter Haven (Cary Grant), a yacht designer and member of her social set, but divorced him two years ago, because he did not measure up to the exacting standards she sets for all her friends and family: he drank too much for her taste, and as she became critical of him, he drank more. Now she is about to marry nouveau riche "man of the people" George Kittredge (John Howard).
Spy magazine publisher Sidney Kidd (Henry Daniell) is eager to cover the wedding, and assigns reporter Macaulay "Mike" Connor (James Stewart) and photographer Liz Imbrie (Ruth Hussey). He can get them into the affair with the assistance of Dexter Haven, who has been working for Spy in South America. Dexter will introduce them as friends of Tracy's brother Junius (a U.S. diplomat in Argentina). Tracy is not fooled, but Dexter threatens her with an innuendo-laden article about her father Seth's (John Halliday) affair with a dancer. Tracy deeply resents her father's infidelity, which has caused her parents to live separately. To protect her family's reputation, she agrees to let Mike and Liz stay.
Dexter is welcomed back with open arms by Tracy's mother Margaret (Mary Nash) and teenage sister Dinah (Virginia Weidler), much to her annoyance. In addition, she gradually discovers that Mike has admirable qualities, and she even takes the trouble to find his book of short stories in the public library. As the wedding nears, she finds herself torn between George, Dexter, and Mike.
The night before the wedding, Tracy gets drunk for only the second time in her life and takes an innocent midnight swim with Mike. When George sees Mike carrying an intoxicated Tracy into the house afterward, he thinks the worst. The next day, he tells her that he was shocked and feels entitled to an explanation before going ahead with the wedding. She takes exception to his lack of faith in her and breaks off the engagement. Then she realizes that all the guests have arrived and are waiting for the ceremony to begin. Mike volunteers to marry her (much to Liz's distress), but she graciously declines. She also realizes, for the first time, that she isn't perfect and shouldn't constantly condemn others for their weaknesses. At this point, Dexter offers to marry her again, and she accepts. | romantic, comedy | train | wikipedia | Through a little judicious blackmail they're invited to this premier society wedding, but both feel out of place and used.After The Philadelphia Story, Katharine Hepburn was a movie name the rest of her long life.
The wedding is supposed to be a private affair, but Tracy's ex-husband C.K. Dexter Haven (Cary Grant) blackmails her into letting two reporters, Macaulay Conner and Elizabeth Imbrie (James Stewart and Ruth Hussey) cover the event.
With tensions high between Dexter and Tracy, everyone playing games and relationships equally confused and confusing anything could happen and surprises are in store.Shot in about 8 weeks with a low number of takes and some impressive adlibbed and one-shot scenes this is a movie worth seeing even before you look at the cast list and the professional reviews.
The movie is a triple treat, with my other two most favourite actors, Cary Grant and Jimmy Stewart, in the other lead roles, Cary as Tracy's former husband C.K Dexter Haven, and Jimmy as the peeved reporter who Kate falls in love with.
And so it is fortunate for all of us that the screen adaptations of each of these classic Broadway plays are classics in their own right.Katharine Hepburn, who starred with Cary Grant in all three of the aforementioned films, plays society prig Tracy Lord, a spoiled, temperamental rich girl who owns a will of iron and a heart to match.
Also hovering around the Lord estate is tabloid reporter Liz Imbrie and her photographer Mike Connor, assigned to cover the impending nuptials and, of course, scout out any juicy gossip.With a deft ensemble and crisp, intuitive direction (George Cukor), the dialogue blisters with furious fun (courtesy of Oscar-winning scripter Donald Ogden Stewart), with every character having his or her chance to bask in the limelight.
Hepburn, who was considered "box-office poison" at the time, revitalized her Hollywood career with "The Philadelphia Story," smartly buying the film rights to ensure her starring role.
Hussey takes the ball and runs with it, giving the ripest performance of the bunch.Additional praise must be given to Mary Nash, as Tracy's flowery, meticulous mother; young tomboy Virginia Weidler, an adroit little scenestealer, for keeping up with the big folks and offering a wickedly smart-assed rendition of "Lydia, the Tattooed Lady"; John Howard for his dour, stuffy groom-to-be and good sportsmanship as the butt of many a joke; John Halliday, who manages a couple of razor-sharp scenes as Hepburn's reproaching father, and Roland Young, who played Cosmo Topper in the delightful "Topper" film series, for adding his typical brand of bemused merriment as lecherous Uncle Willy.
She's absolutely hilarious as Tracy Lord, bringing perfection to the role she created on the stage a year before the film, mocking, insulting and making fun out of Jimmy Stewart and Cary Grant.Her drunken scene with Stewart is pure magic and her mockery of him ('dear professor') is wonderful.Grant and Stewart are fabulous, Stewart as the rough and tumble reporter infatuated with Tracy and Grant as the neglected ex- husband.Ruth Hussey and Virginia Weidler are fantastic in supporting roles, and really add to the hilarity of the whole picture.A funny, bouyant ride through the 1940's- I completely recommend it!.
George Cukor's contribution, as well of the magnificent screenplay, by Donald Ogden Stewart, make this a timeless comedy that looks as fresh today as when it was originally released.It helps tremendously that Katherine Hepburn had played Tracy Lord on the stage and knew what made her tick.
As Dexler, the man who broke Tracy's heart, he returns just before the wedding, perhaps to remind her he's still loves her and can't get her out of his mind.James Stewart was the other happy casting of "The Philadelphia Story".
I really wasn't so much wowed by The Philadelphia Story's "story",as it were,as I was mesmerized by three of the big screen's strongest ever screen presences' interaction with one another.Katherine Hepburn,Cary Grant,and James Stewart were great (if that is even a strong enough word) individually,but together here in this film,they were absolutely out of this world.The story,quite frankly,gave me a headache overall,but I did find the ever famous "hiccup" improvisation between Stewart and Grant hysterical as it was obvious both men could barely compose themselves,but being the professionals that they were,they got it together and moved on,and that's what made the scene so entertaining.I had a great time watching..
The story is a creative twist on classic tropes (for example, rather than a love triangle it has an odd love polygon, featuring three potential suitors competing for Katharine Hepburn's Tracy Lord and a sub-triangle surrounding James Stewart's Macaulay Connors), the dialogue is clever and witty, and the humor works extremely well.
The proceedings begin in a reasonably lively fashion, but it's not long before the forced mechanics of Philip Barry's conception begin audibly creaking, by which point the high-toned literary bon mots begin to land with little thuds; the ghastly speechifying, the would-be ironic wisdom and poetic drunk-scenes begin to take over the movie and THE PHILADELPHIA STORY becomes an endurance test for anyone who has ever truly enjoyed watching Hepburn, Grant, Stewart et al in anything worthy of their talents.
Grant does what he can with his role, which mostly calls for worldly-wise detached bemusement, but Jimmy Stewart is trapped with scenes and dialogue that seem like a deliberate attempt to sabotage his naturalism and tremendous rapport with movie audiences.
On the nuptial eve, Dexter arrives at the Lord's mansion with the tabloid reporter and writer Macauley 'Mike' Connor (James Stewart) and the photographer and painter Elizabeth 'Liz' Imbrie (Ruth Hussey), pretending they were friends of Tracy's brother.
Just the sight of these great actors on screen at the same time is something else.Cary Grant, Katherine Hepburn and Jimmy Stewart each give grand performances to this film (Stewart won for Best Supporting Actor) each showcasing their talent.
Grant as the rich, charming bachelor trying to get his ex-wife back, Hepburn as the upper-class debutant who plays all of the men in her life as if she has no soul and Stewart as the everyman who holds everyone together while having a few interesting adventures of his own.Not only is this a very funny film, it has an interesting story line and even a few minor plot twists during the end.
Hussey and Stewart are equally great in their roles as the "every day man and woman" who have somehow managed to work their way to center stage to the social event of the year.Through it all, you will laugh at this delightful mix of people and recognize yourself in a little of each one of them.
James Stewart winning the Best Actor Oscar for this film and Cary Grant not being nominated at all is very questionable.Rating: 7/10.
The film is set in "high society" at the home of the aptly named Lords.Katherine Hepburn, Cary Grant and James Stewart are all excellent in the lead roles.
That way Hepburn gets to play opposite two male stars to bolster box-office biz--and here she gets CARY GRANT and JAMES STEWART.
Even the great CARY GRANT had much better material to work with in his other comedy romances.All of the other "rich" characters are purely stereotypes--everyone, from VIRGINIA WEIDLER playing a bratty kid sister, ROLAND YOUNG, JOHN HOWARD and MARY NASH--they're all cardboard cutouts.
Also in the cast is that little moppet Virginia Weidler, who slightly predated Margaret O'Brien as a little sister and wasn't quite so goody-goody.A lot of the best bits in 'The Philadelphia Story' were later reused in the musical remake 'High Society'(with Crosby, Sinatra, and Grace Kelly) but there are some really classic scenes here.
I especially like the scene where Hepburn and Stewart get tipsy and he goes really overboard in his appreciation of her; there's also an amusing scene between Grant and Stewart involving more consumption of alcohol.Highly recommended for the discerning cinema comedy fan, 'The Philadelphia Story' lives up to all your expectations..
Absolutely brilliant romantic comedy starring three of the best classic movie actors--Hepburn, Grant and Stewart.
Still, in giving Tracy Lord life, Tracy Lord not only gave Hepburn back her career, but also allowed movie audiences for generations to come to enjoy the undeniable magic and charisma of Katharine Hepburn.While this film is undeniably Hepburn's, Cary Grant and Jimmy Stewart also turn in brilliant performances.
I was expecting a good movie with Jimmy Stewart, Cary Grant andKatherine Hepburn as part of the cast, but I was amazed andsurprised by The Philadelphia Story.The Philadelphia Story is quite simply an ingenious comedy aswell as a delightfully engaging drama.
This is a witty and hilarious comedy, starring Cary Grant, Katherine Hepburn, and James Stewart.
In one of the best character roles Katharine Hepburn shines in The Philadelphia Story, a nice blend of comedy and drama with most interesting character studies to boot.
Certainly the plot, subplots and dialogue come across that way.Even though great actors like Kathryn Hepburn and Jimmy Stewart are at their best it is Virginia Weidler that I find the most fun to watch.
The performances are, without any doubt, what holds the whole film together, Katherine Hepburn shines as the leading lady and her on screen chemistry with Hollywood legends Cary Grant and James Stewart is outstanding.
The acting is superb too, Katherine Hepburn is deliciously shrewd, Cary Grant is charming and urbane and James Stewart while cynical is the epitome of the Mr Nice Guy persona we have come to know and love him by.
The film has everything going for it: Katharine Hepburn as a snappish socialite, James Stewart as a quick-witted reporter and Cary Grant's roguish boyish charm.
Each of the memorable performances are spot-on, and the screenplay is very sharp, but it's not a film I can see myself watching again in the near future; or, if I did, it would only be because I love Jimmy Stewart so much.'The Philadelphia Story' was directed by George Cukor, and adapted by Donald Ogden Stewart and Waldo Salt from Philip Barry's Broadway play of the same name.
Aside from the three main stars, other performers of note include John Howard as Tracy's undeserving husband-to-be, Ruth Hussey as Stewart's tabloid photographer, and the delightful Virginia Weidler as Tracy's nosy younger sister.The film is often described as a "comedy of remarriage," a sub-genre of American comedy which was most popular during the 1930s and 1940s.
Cary Grant was seemingly an expert in such situations, and other notable examples of this phenomenon can be found in 'The Awful Truth (1937)' and 'His Girl Friday (1940).' Another notable characteristic of 'The Philadelphia Story' is that, unlike every other screwball comedy I've seen, the conclusion was not completely predictable; I actually had no idea who was going to end up with Tracy.
THE PHILADELPHIA STORY is a glittering 1940 comedy, based on a play by Phillip Barry that starred the legendary Katharine Hepburn on Broadway and re-established a career that was floundering at the time.
Hepburn gives, arguably, the greatest performance of her career, as Tracy Lord, a spoiled, self-absorbed heiress and grande dame of Philadelphia society who is busy planning her upcoming marriage to a stuffed shirt named George Kittredge when her ex-husband, C.K, Dexter Haven (Cary Grant) re-enters her life.
The Philadelphia Story has so much going for it--Hepburn, Grant, Stewart--but the actor that makes the picture really work is Virginia Weidler, who plays Tracy's young sister Dinah.
James Stewart (Mike) and Cary Grant (Dexter) play opposite Hepburn.
I'd like to add my praise to the long list.I am not anywhere near the generation of people who would have originally seen this movie or been Katherine Hepburn/Cary Grant/Jimmy Stewart fans.
The wealthy Tracy Lord (Katharine Hepburn) is getting married to a man named George Kittredge (John Howard).Suddenly her ex-husband C.K.Dexter Haven (Cary Grant) shows up with two reporters of the "Spy" magazine.These people are Macaulay Connor (James Stewart) and Elizabeth Imbrie (Ruth Vassey).These three are there to make a real mess.George Cukor's The Philadelphia Story (1940) is a fantastic comedy.Katharine Hepburn, Cary Grant and James Stewart is a trio to remember.Roland Young gives a fine performance as Uncle Willie.Virginia Weidler is marvelous as Dinah Lord.When she sings Lydia The Tattooed Lady...Enchanting!
Maybe it's because the talent, class and grace of the great Katharine Hepburn, Cary Grant, and Jimmie Stewart don't exist anymore in the film industry.
Anyway, the acting was superb with Jimmie Stewart who got his only Oscar for playing the reporter who is smitten with Tracy but his real love is his work and his partner LIz played by the wonderful Ruth HUssey.
Classic comedy play with great production and cast.The film is more a showcase for Hepburn who truly delivers here and takes her career to the next level (Crawford,Bergman,Bette Davis level).Grant does his usual CONSISTENT quality performance but Stewart here also delivered a performance that almost stole the film from Hepburn.This led to his recieving the Oscar.He may not have deserved to recieve the Oscar that year though but still,the performance he gave here was strong enough for the award.If one is sophisticated,mature minded and loves romance comedy films,this one will truly deliver.If it had quality color cinematography,it would be a masterpiece.But that's just nitpicking though.One of the top 100 best films of all time......
The wedding hour approaches - who will Tracy marry, and is she really such a cold hearted queen after all?Cary Grant, Katharine Hepburn, and James Stewart are a charming and witty menage a trois giving first class performances.
Love triangle starring Katharine Hepburn, Cary Grant and James Stewart.
Two Philadelphia socialites, Dexter (Cary Grant) and Tracy (Katherine Hepburn) were lifelong acquaintances who ended up marrying each other.
In "The Philadelphia Story," much of the humor comes from Tracy and Macaulay "Mike" Connor, played by James Stewart, when they are in their cups.
Not terrible, but not the stand-out great movie it was in the first half.This second half also makes the movie feel a bit dated, due to the social stuffiness and play-like dialogue.Three of the great performers of the 40s are on show - Katharine Hepburn, Cary Grant and Jimmy Stewart.
Socialite Tracy Lord (Katharine Hepburn) has her upcoming wedding disrupted by the arrival of her ex-husband Dexter (Cary Grant) and two reporters (James Stewart, Ruth Hussey).
It involves wealthy socialite Tracy Lord (Katharine Hepburn)who is soon to be married for the second time; C.K. Dexter Haven (Cary Grant), her first husband; and Mac Connor (James Stewart), the down-to-earth reporter who becomes smitten with Tracy....Tracy, C.K. and Mac all face a dilemma.
Arguably one of the greatest comedies in film, assembling a fine comic cast and the perfect director for the project, The Phildelphia Story is a bona fide side-splitter.With of several screwball comedies under her belt - and the early success of Oscar - Hepburn asserts her star-power from the MGM execs to request both James Stewart and Cart Grant in a dream slapstick comedy.She reprises her stage role as Tracy Lord in this translation of the wacky musical by John Barry.
Listed as a comedy and a romance by IMDb, it certainly is that, but the film does contain dialogue that is biting, somber and outright mean.The cast is stellar and it is difficult to imagine how any film starring Hepburn, Jimmy Stewart, and Cary Grant could not be worth watching.
George Cukor directed this high society comedy that stars Katharine Hepburn as rich socialite Tracy Lord, who is about to marry businessman George Kittredge, though her ex-husband C.K. Dexter Haven(played by Cary Grant) has other ideas.
For example, there is an early scene where James Stewart and Ruth Hussey are in a sitting room, and are visited in turn by Cary Grant, Virginia Weidler, Hepburn and Mary Nash.
Although it would be unfair to say that the talent makes this film, Cary Grant, Katherine Hepburn and James Stewart are far and away its best feature."Philadelphia Story"" was adapted from the stage production of the same name by Philip Barry.
We obsess over class, something that couldn't have been more true during the depression, and it's a theme all the more impressive considering the film's popularity and story of celebrity gossip and intrigue.Hepburn stars as rich socialite Tracy Lord, who is about to marry working-class hero George Kittredge (John Howard), only her wealthy ex-husband, the wealthy and fantastically-named C.K. Dexter Haven (Grant) plans on spoiling the big day by sneaking in a tabloid writer (Stewart) and photographer (Ruth Hussey).
And this film has both, in spades (and was awarded the Oscar for Best Screenplay).Add to that the very capable and radiant Katherine Hepburn one of Hollywood's true greats Cary Grant, James Stewart and Ruth Hussy, you can then be assured of a slick production, fine acting (Jimmy Stewart got Best Actor Award) and a very pleasurable 112 minutes.
On her wedding day, she's furious that her ex-husband, Dexter Haven (Cary Grant) has turned up, with a couple of (maybe) low-life reporters from Spy magazine, to spoil her marriage to her very safe, very dull and very dreary new husband-to-be, George Kittredge (John Howard).How that plays out, and how Tracey find herself and true love by the end of the movie, is a sheer delight: the dialog is fast, witty, loud and complex so you have to listen carefully all the time.
Cary Grant and James Stewart are both damn sexy in this movie and I so get Kate Hepburn's Tracy Lord.
The trio of Cary Grant, Katherine Hepburn and James Stewart carry this romantic comedy.
The Philadelphia Story revived Katharine Hepburn's career..Hepburn had performed the play on Broadway for over a year and bought the film rights with the help of her ex boyfriend, Howard Hughes and enlisted her favorite director, George Cukor and her favorite co-star Cary Grant to work on the film with her.
George Cukor's "The Philadelphia Story" was released in 1940 and starred the ultimate Hollywood trinity: Katharine Hepburn, James Stewart and Cary Grant. |
tt0424908 | Copying Beethoven | It is set in 1824 as Beethoven (Ed Harris) is finishing his Ninth Symphony. He is plagued by deafness, loneliness and personal trauma. A fictional character, a new copyist, Anna Holtz (Diane Kruger) is engaged to help the composer finish preparing the score for the first performance. Anna is a young conservatory student and aspiring composer. Her understanding of his work is such that she corrects mistakes he has made, while her personality opens a door into his private world. Beethoven is initially skeptical, but slowly comes to trust Anna's assistance and eventually grows to view her with equality, and even that of admiration.
Anna Holtz (as Beethoven refers to her) is sent to be his copyist, but due to her gender, is constantly thought less of, and is mistaken for a serving girl, maid, and even prostitute. Pushing past, though quite unhappily, from these assumptions, Anna proves herself to Beethoven, not only as a copyist, but also as his friend, and something of his protégé and heir as far as he is concerned. He gains much admiration of her, after she assists him by directing him, hidden among his musicians, as he simultaneously copies her movements to direct the orchestra during what would turn out to be, one of his final performances. Though Anna agreed to her romantic interest, Martin Bauer, that she would help him complete his symphony, and then immediately leave after showing him her work, she instead continues to assist him as his copyist. After seeing the admiration she has gained from Beethoven, Anna proceeds to show him a piece of music that she composed. Beethoven tactlessly and unknowingly insults her. Anna, more than ready not to return, continues to stay with her great aunt and the nuns at the convent. Anna is surprised when Beethoven, desperate to keep Anna in his employment and under his tutelage, bursts into the convent and begs Anna, on his knees, to come back and work as his equal on both of their music. He begins to teach her about Romanticism, music, and mostly, how to allow her artistic side freedom. Continuing his infuriating behavior, Beethoven smashes Martin's bridge he built for an engineer's competition, thereby ruining Martin as well. Anna, angry, confronts Beethoven, asking him if he had ever considered that she loved Martin. Beethoven replies, "You don't love him." Upon hearing this, Anna angrily asks if she is supposed to love Beethoven instead. Beethoven again replies, "No. You want to be me." From here, Anna agrees that Beethoven did the right thing, and continues to work with him, pushing him past his hardships and failures, and then staying by his bedside until he died. The move ends though, with Anna finally embracing herself as an artist, unique from all other composers, including Beethoven, and readying herself for a promising future.
Though the film is directed very abstractly, leaving room for the audience to view Anna and Beethoven's relationship as that of a chaste romance, the characters remain very platonic, and could much more easily be viewed as a strong and close friendship, bordering on Beethoven even being viewed as a father figure of Anna's. | romantic, flashback | train | wikipedia | null |
tt0101414 | Beauty and the Beast | In the prologue, told through stained glass windows, an old beggar woman arrives at the castle of a French prince. The woman asks for shelter from the cold, and in return, offers the young prince a rose. Repulsed by her appearance, the prince turns her away. The beggar warns him not to judge by appearances, but the Prince ignores her and shuts the door on her. The woman then throws off her disguise, revealing that she is a beautiful enchantress. The Prince tries to apologize, but she has already seen the lack of kindness in his heart. She conjures a powerful curse, transforming him into a hideous beast, his servants into anthropomorphic household items, and the entire castle and all its surroundings into a dark, forbidding place, so that he will learn not to judge by appearances. The curse can only be broken if the Beast learns to love another and receives the other's love in return before the last petal of the enchantress's rose withers and falls; if not, he will be doomed to remain a beast forever. As the years pass, the Beast sits in his castle wallowing in despair, convinced that no one could ever love him.Years later, a beautiful young peasant woman named Belle lives in a nearby village with her father, Maurice, who is an inventor. Belle is seen as "odd" by the other townsfolk due to her preference for reading books. She is the object of unwanted attention from the local hunter, Gaston, whom she perceives as an egomaniac and 'positively primeval', barbarian-brained, lunkhead. He and his sidekick, LeFou, openly mock her father's inventions and her love of books. Belle reveals her feelings of loneliness to her father, who promises her that his next invention, a wood-chopping machine, will be the start of a new life for them both.Maurice rides off to a fair with his invention, but gets lost and loses his horse as night falls. He escapes from some wolves and desperately seeks shelter from a storm. Cold and tired, he stumbles upon a mysterious castle and enters. One by one, the enchanted household items - Lumière the candelabra, Mrs. Potts the teapot and her son Chip the tea cup and Cogsworth the clock and head of the household - welcome him. The Beast, however, is enraged when he discovers Maurice and is about to throw him out, not caring that the wolves would eat him, when Maurice says he needs a place to stay. The Beast then decides to lock him in a dungeon in the castle tower (against Maurice's wishes).The next day, Gaston arranges a wedding ceremony right outside of Belle's house and invites the entire town. He invites himself in to propose to her and gives her an image of their life together -- "A rustic hunting lodge, my little wife massaging my feet, while the little ones play on the floor with the dogs; oh, we'll have six or seven [strapping boys, like me]". Belle attempts to politely decline when Gaston corners her against her front door and tries to kiss her. As she opens the door to move out of the way, he falls through the door frame and into the mud in front of the entire town. This serves as a hard blow to Gaston's ego.Belle, who worries when her father's horse returns home without him, decides to seek out her father. Eventually, she winds up at the Beast's castle. The objects, their hope renewed with the arrival of Belle, show her the way to the dungeon while keeping themselves concealed from her sight. Belle finds Maurice in the tower dungeon, but the Beast catches her. She offers herself in exchange for her father's life, against his wishes, giving her word to remain in the castle forever. The Beast reveals himself to her, and although Belle is clearly terrified, she bravely refuses to back down from her offer. The Beast agrees and releases Maurice, who is taken back to the village in an walking coach before they can say goodbye. Moved by Belle's sadness, the Beast decides to give Belle a room in the castle instead of keeping her in the dungeon. The Beast gives Belle permission to go anywhere in the castle except the West Wing, refusing to explain why. He shows Belle her room and tells her that they must meet for dinner (at Lumiere's suggestion).Back in the village, the citizens attempt to cheer up Gaston in the local tavern after Belle's rejection by reminding him how in awe they are of him. Maurice bursts in and asks for help to rescue Belle from "a beast", but no one believes him. When one of the villagers calls him crazy, Gaston thinks of a plan to get Belle to marry him. Maurice goes off to search for Belle alone, unaware of Gaston's plan. Gaston and the others arrive at the house shortly after Maurice leaves. Finding the house empty, Gaston orders LeFou to wait by the porch until Belle and Maurice return.Belle meets the enchanted objects who cheer her up, but she refuses to have dinner with the Beast. Enraged, he tells the servants that if Belle does not eat with him, she will have to starve, then shuts himself away in the West Wing. He sees Belle through the magic mirror, who angrily cries that she will have nothing to do with the Beast. Melancholy, he watches one more petal fall from the rose. Ignoring the Beast's orders, Lumiere, along with the other servants, welcomes Belle warmly and entertains her with an elaborate dinner and a show. After dinner, Belle asks the servants for a tour of the castle. Lumiere and Cogsworth happily oblige, but Belle manages to sneak away from them and penetrate into the forbidden West Wing, where she discovers an extremely disarrayed and desolate room, a slashed portrait of a handsome man with strangely familiar blue eyes, and the enchanted rose. The Beast finds her there and frightens her with a terrifying display of temper. Belle flees the castle, disregarding her promise to the Beast, and, in the dark forest, is attacked by wolves. The Beast appears and fights off the vicious creatures, but is wounded during the fight; a grateful Belle returns to the castle and, while tending to the Beast's wounds, thanks him for saving her life. Over some time, the two start to become friends. The Beast even gives Belle "ownership" of his immense library. The household items are excited and optimistic that Belle may fall in love with the Beast and cause them to become human again. The relationship reaches its climax with an elegant dinner and ballroom dance.After the romantic evening, The Beast notices that Belle seems melancholy. She tells him that she wishes to see Maurice again, just for a moment. The Beast takes her to the West Wing and gives her the magic mirror, explaining that it will allow her to see anything she might desire to see. Belle asks if she can see her father and the magic mirror reveals that Maurice is lost and sick in the forest. The Beast, having fallen in love with Belle, releases her to rescue her father and also gives her the mirror so that she may look back and remember him. Belle hurries off, finds Maurice and takes him back to the village, where a mob gathers to take him to the asylum. Gaston offers to have Maurice spared if Belle agrees to marry him but she still refuses. Belle uses the magic mirror to show the Beast to the villagers, who become frightened at his hideous visage. Belle assures them that the Beast is kind and gentle, and that he's her friend. Out of jealousy and anger, Gaston tells the mob that Belle is as crazy as her father. Belle disagrees and calls him the real beast for wanting to kill him. She tells him off that she sees him as nothing more than a sexist, narcisstic, rude, obnoxious and selfish jerk. Insulted, Gaston rallies the villagers to storm the castle and "kill the beast," convincing them that he is dangerous to the entire town. To prevent Belle and Maurice from warning the Beast, Gaston has his men lock them in the cellar of their home.With the help of Chip the teacup, who has stowed away in Belle's satchel, Belle and Maurice escape from the cellar using the invention and rush back to the castle. The villagers force open the door, but Lumiere leads the servants in defense of the castle. Gaston deserts the battle to search for the Beast. The servants eventually manage to drive the villagers out of the castle.Meanwhile, Gaston finds the Beast alone in the West Wing and attacks him, throwing both of them outside on the balcony and rooftops. The Beast does not defend himself because he has given up hope of being able to see Belle again. As soon as he sees Belle arriving at the castle, calling out for him, the Beast gains the will to fight Gaston. A heated battle ensues between the two, culminating when the Beast grabs Gaston by the neck and threatens to throw him off the roof. Gaston begs for his life, and the Beast relents, softened by his love for Belle. He tells Gaston to leave and never come back, and then throws him aside. When the Beast climbs back up to the balcony where Belle is waiting for him, Gaston stabs him in the back, then loses his footing and falls into the deep chasm far below, signalling his death.Belle tries to reassure the badly wounded Beast that everything will be fine, but he knows that his wound is fatal. The Beast tells her that he was happy to see her one last time, and dies succumbing to his injury. Belle, in tears, whispers that she loves him, just before the last petal falls from the rose. The spell is broken. The Beast, brought back to life, is reverted to his human form, unrecognizable until Belle looks into his blue eyes. The castle becomes beautiful again and the enchanted objects turn back into humans. The last scene shows Belle and the prince dancing in the ballroom while her father and the objects watch and they live happily ever after. | fantasy, whimsical, cute, good versus evil, psychedelic, humor, romantic, sci-fi | train | imdb | They look at Bell as the perfect opportunity for the beast to find a true love, but he must learn to be a gentleman, but Bell brings out the best in him and it turns out that this might be a happy ending after all.This was actually the first movie that I ever cried in, the ending was just so beautiful and heart felt, you'll have to see what I mean.
The only animated movie to receive a Best Picture Oscar nomination, and it deserved it.Magic from the opening prologue to the final credit, "Beauty and the Beast" is the last real classic to come from the Disney crew before John Lasseter came along.
it was a crying shame that there was hardly anyone there while "Home Alone 2" went through the roof) the second time, the magic remained.You all know the story, so apart from pointing out the movie's one flaw (the prince's spell had to be broken before he turned 21 or he would remain a beast forever; so if it was cast ten years before the events of the movie, wouldn't that mean he was 11 when the spell was cast...?), let's look at how well the movie works.
You have a monster who's more human than the movie's medallion-man villain; you have a heroine who's PC but engaging with it; you have a supporting cast of magic utensils who wisely never upstage the couple at the centre of this love story (and despite the Disney animated trappings, it IS a love story); and you have a captivating story, beautifully told.The movie's also got wonderful design of its French setting and characters, with the ballroom scene a standout (the tiny but appreciative audience were impressed by the sight of the Beast and Belle in their evening wear - the only time I've ever seen cartoon characters get wolf-whistled in a cinema); and Alan Menken's score is his finest work for the Mouse, with matchless lyrics from the late and much lamented Howard Ashman - how many musicals can you name where ALL the songs are brilliant?
A movie that children and adults alike will love, Disney deserved its Academy Award nominations for creating such a joy.Small town Belle longs for more than a local life, maintaining her imagination through books and taking care of her kind, yet eccentric father.
Indeed, it's a tale as old as time, with a complex message that is as ageless as it is universal; but beneath all the layers it can be summed up very simply: love one another, and refrain from judging others who `seem' to be `different.' And leave it to Disney to present it in such a way that it can be embraced and understood by young and old alike as they have here, in one of their best animated features ever, `Beauty and the Beast,' directed by Gary Trousdale.
With the help of a richly textured screenplay (by Linda Woolverton) that invests the characters with a depth of humanity that is often lacking even in `non' animated films, and an Oscar winning score by Alan Menken, director Trousdale provides some real insights into human nature in this retelling of the familiar story of how true love can change even the darkest and coldest of hearts.
The talented cast supplying the voices of the characters includes Paige O'Hara (Belle), Robby Benson (The Beast), Richard White (Gaston), Jerry Orbach (Lumiere), David Ogden Stiers (Cogsworth), Angela Lansbury (Mrs. Potts), Bradley Pierce (Chip), Rex Everhart (Maurice), Jesse Corti (LeFou), Hal Smith (Phillipe), Jo Ann Worley (Wardrobe), Brian Cummings (Stove), Alvin Epstein (Bookseller) and Kimmy Robertson (Featherduster).
There's a scene in this film that is so entrancing and so emotionally involving that it stands up against the best from any drama ever made: As Angela Lansbury (as Mrs. Potts) sings the Oscar winning title song, Belle begins to perceive the true nature of the man within the Beast; and it's no longer the cold-hearted Prince upon whom the enchantress cast her spell, because he has changed.
I've not seen the newly added song sequence (Human Again) featured in the latest IMAX version so my comments are based entirely on the original theatrical and VHS release.BEAUTY AND THE BEAST is Disney at its peak.
With time running out, the Beast's staff hope that Belle will be the one to break the curse but the Beast cannot remember how.Being quite a cynical, acerbic person I must admit that I prefer modern animated films that deliver lots of adult humour along with a good emotional story and often I struggle to enjoy films that take the more traditional Disney route.
Even minor supporting characters such as the clock, the lamp and the teapot are fleshed out and will enchant both kids and adults alike.I actually started crying during the movie's finale when the Beast dies after the struggle with Gaston and my sorrow was turned into joy when the curse is broken and the Beast gets transformed into a handsome prince.
"Beauty and the Beast" will be forever remembered as the epitome of modern-day Disney movies (and should have won the Best Picture Oscar instead of "The Silence of the Lambs").
I hope someday we will see an animated movie win best picture, but sadly i think it will not happen, the only one in my opinion that came close was spirited away, and thats still no Beauty and the Beast..
I mean, Paige O'Hara (Belle), Robby Benson (Beast), Richard White (Gaston), Jerry Orbach (Lumiere), David Ogden Stiers (Cogsworth), and Angela Lansbury (Mrs. Potts) just make the picture perfect with their line readings and singing.
The film combines the best of Disney: stunning visuals, appealing characters, great music and a timeless story.
From its candle-lit beginnings by a French writer many years ago to the Disney animators who brought joys to people of all ages, Beauty and the Beast has always touched the heart.The main part of what makes Beauty and the Beast such a brilliant film is the fact that the relationship between the two title characters doesn't feel artificial or one-dimensional, even though they're drawn on paper.
A personal favorite, the story of Beauty and her growing love for the Beast is one that people have enjoyed through the years, from the theater to Broadway.I first saw Beauty and the Beast when I was a little girl, around the time that I watched the other Disney classics.
The stunning animation and soundtrack coupled with the captivating story kept me in my seat till the very end.This movie is thrilling, with it's message of how love can happen even if the people in question aren't incredibly beautiful.
Although the idea of the Beast changing to a prince doesn't sit well with me-- Beauty fell in love with the animal, not the man-- the film is a treasure from Disney..
Hasn't everyone, at some time, felt like a hideous beast hungry for someone to love us as we are and in doing so, transform us into something beautiful?The film itself more than delivered.
In a world where possessiveness has become the norm (witness the selfish custody battles of birth parents tearing children from the only homes they've ever known), the Beast's heart-wrenching insistence that he had to let Belle leave because he loves her is a breath of fresh air.The music is perfection, the animation astonishing.
I love Belle, she is beautiful, clever and strong, and is one of the best Disney characters for those reasons.
And finally, the romance between Belle and beast are among the most real and beautiful ever done by Disney if not the best.The story is definitely a tale as old as time..
A beautiful score, fantastic and timeless songs, gorgeous cinematography, hilarious dialogue and "sidekicks" and secondary characters, a story very moving, strong leads, adventure, suspense, love, fun
this movie is all of those plus so much more.Watching it (for the 20th+ time but) now in the usual-Disney "We Want Even More of Your Dollars" way, the re-release, of course in 3D, it still held up for me.
And of course there are a couple scenes that will have you reaching for the tissues.With interesting characters, catchy songs, nail biting suspense, a beautiful love story and stunning animation, I recommend this masterpiece to just about everybody who watches movies..
Of course and rightly Disney has presented this film beautifully and poetically, so all the audience, who have seen the film from old to young, will understand the message and directed by Gary Trousdale, he shows this amazingly.When a selfish prince is turned into a he is hideous beast by a beautiful enchantress, disguised as a beggar women, he is forced to be confined to his castle, along with his faithful servants, who have been turned into common house-hold objects.
With characters with such depth, 'Beauty and the Beast' never fails to entice the audience, with the theme of love, finding what really matters and looking deep to what really matters.With the best actors, providing the voice for the characters including Paige O'Hara (Belle), Robby Benson (The Beast), Richard White (Gaston, Jerry Orbach (Lumiere), David Ogden Stiers (Cogsworth), Angela Lansbury (Mrs. Potts), Bradley Pierce (Chip), Rex Everhart (Maurice).
Iv'e heard the comment before and I definitely would never believe it.Classic Disney Films have a certain unbeatable magic that gives you such an emotional feeling if your like me, and I would never say that these movies are just for children.Think about it about 75% of Classic Disney movies (im not talking about the emperor's new groove, Hercules, etc) I'm talking about Beauty and the Beast, Cinderella, Alladin, The Lion King, Bambi, Snow white, The little Mermaid, and Pochahontas, are all romances (or have a portion of romantic moments.When I was little I loved those movies so much (I grew up a Disney baby I'm now 13) because they were colorful, bright, happy, fun, and magical, but somehow they mean even more to me to this day.Beauty and the Beast has definitely become my favorite Disney film (I also love Aladdin, the lion king, Bambi and the others I mentioned VERY much).It's easy for me to understand now and there's something about Disney that now means so much more to me.It's not just about fairytale princesses and fun animated little objects, Beauty and the Beast is a beautiful tale of romance and acceptance.Showing you that love comes from the heart, not the eyes.I cry every time I watch it because the significance has an amazing effect on me and my entire family.This movie (and many other classic Disney productions) is a masterpiece and anyone who thinks otherwise is a fool, this movie is beautiful, original, and very heartwarming so anyone that says Disney films are for children can't appreciate the message they really send out, just because they're animations and not some sick bloody gross-out horror movie or crude sexual comedy or blow up action film, it doesn't make them childish.It makes them meaningful by their stories not their appearance, just like the whole theme of Beauty and the Beast ;-).
In 1991, this was a ground breaking, animated film, and over ten years later, as much as I enjoy many of the new computer animated movies such as Shrek and Toy Story, none has come close to the accomplishments of Beauty and the Beast, which mixes romance, music, comedy and drama, in a perfect blend that may never be seen again..
Beauty and the Beast is one of (if not) the best work of animation there has ever been.The story is about a girl named Belle who wants to have a better life than the ordinary one she got stuck with.
This film is an instant classic filled with beautiful animation, great choreography, timeless music, and a love story to make your heart melt.
Even if the story itself can be a little controversial (a beauty falling in love with her tormentor), Disney's bring us here one of its best motion picture ever.
Comparing to most Disney's movies this one is more "grey" than "black of white" and some may be scared that the message deliver is not clear enough for children but life is grey and rather than focusing on the tormentor part it is the idea of the possibility of being able to change and become better, the hope that this brings, that the Beauty and the Beast is all about..
Beauty and the beast won best picture and will for ever be the only one that will ever win this award as an animated movie because it was later given its own category.All of the characters in the film will fill your heart with happiness..
While just about everyone is bragging about how great Lord of the Rings is and how its now their favorite film and best film of all time, they certainly forgot the real movies like Beauty and the Beast.
The Prince says no and he is turned into a Beast (surprise!) as punishment for his selfish and shallow nature, and the curse will only be lifted if he can get someone to love him before the last rose petal wilts on his 21st birthday.But lets take a closer look at this, shall we?Right at the very end of the film, the last petal falls, and since the film only takes place over a couple of days (thanks to one of the most economical scripts I've ever seen), and the curse has been on the Prince and his servants for 10 years (as Lumiere sings in 'Be Our Guest' – "Ten years we've been rusting"), I think there is only one thing to take from all this:The Prince was only TEN YEARS OLD when the curse was put on him!No wonder he was scared of the "old beggar woman" who came to his castle.
Beauty and the Beast is truly the best animated movie of all time.
Out of Disney's 4 golden age movies, Little Mermaid, Aladdin, Lion King, and this one, Beauty and the Beast is easily the best.
And, the song "Beauty and the Beast," sung by Mrs. Potts (Lansbury), is a beautiful and stirring song that basically summarizes the entire movie - "tale as old as time," "sweet and strength," "finding you can change," "Beauty and the Beast." Other memorable characters I like to mention are the conceited and villainous Gaston (Richard White), the slapstick and somewhat clueless LeFou (Jesse Corti) and the brilliant and bold inventor Maurice (Rex Everhart).There is never a slow or dull moment in this movie - it is thoroughly entertaining and exciting from start to finish.
It is the perfect one for audiences of all ages, one to watch again and again and, for myself, will remain my favorite Disney film, animated feature in general and one of my favorite movies of all time.Grade A+.
it is the best 3D movie of all times you will enjoy this movie i can feel it you will cry through this wonderful animated classic it is a two thumbs up movie it got 4 out of 4 stars in the paper it is the best 3D movie i have ever seen if you like Disney than you will like the new version of Beauty And The Beast in 3D you and your kids will have a great time watching this enchanted story it is the perfect family movie it really is a golden global it really should win a golden global for the best animated movie and for the best drama and the best musical it is a hoot it is a great family movie you got to see this recommended movie for the whole family it is defiantly a must see for 3D movies if you like good old time movies that got work on than you will love the stuff that they did to this classic you want believe for eyes this movie is a miracle i never saw a movie like this before you will die when you see what they did to this awesome movie have a amazing day0 you won't be sorry.
"Battle On The Tower" is possibly the best form of orchestration from any Disney film ever, capturing the dramatic urgency of the final battle between the beast and Gaston as well as the humour of the animated characters.
Filled with great animation, story, characters, and music written by Alan Menken and Howard Ashman (who sadly died of Aids before the film's release) Beauty and the Beast is an animated feature that'll go on forever and ever.
Beauty and the Beast in in the top three of all time Disney films in my book.
Disney films always have a good soundtrack, but Beauty and the Beast(both versions) are simply put, perfection.
Beauty and the Beast is going to go sown as one of Disney's all time best films.
Jerry Orbach gives so much life and energy to Lumière, with such a convincing french accent.The best part of the whole film is the famous ballroom dance sequence, which is wonderful, brilliant and very artistic (the graphics also make it look incredibly close to a live-action ballroom).Generally speaking, this film has the main ingredients of an animated Disney movie: great picture quality (good designs, backgrounds, sceneries and colors), very good animation, creativity, originality, some charming characters, some romance, adventure, darkness, suspense, classic humor and so on...The Prince (that is, the Beast as a human being) almost looks like Jean Michel Jarre with that long hair.
'Beauty and the Beast' remains the first, and likely only, animated film to ever be nominated for the Oscar's Best Picture.
'' The Beauty and The Beast'' is one of the greatest stories ever told and one of the best movies from Disney that I watched in my life.
But with the time, Belle is going to discover all the magic that is beyond the castle, including the talking objects and even a nice side that the Beast has.This story is very inspiring and very beautiful! |
tt0120802 | Le violon rouge | Cremona, 1681 (Language: Italian)
Nicolò Bussotti is a violin-maker whose wife, Anna Rudolfi, is pregnant. Anna asks her servant Cesca to foretell her unborn child's future. Cesca cannot determine the future of someone not born, but she does offer to read Anna's future using tarot cards. The first, The Moon, signifies that Anna will live a long life.
In the meantime, Nicolò has fashioned a new violin. He is about to varnish it when he finds that both she and the child have died. Distraught, Nicolò returns to his shop and begins to varnish the violin. The violin then makes its way to an orphanage in Austria.
Vienna, 1793 (Language: German and French)
Cesca turns over the second card, The Hanged Man, which means disease and suffering for those around Anna.
At the orphanage, the violin comes into the possession of Kaspar Weiss, a young but brilliant violin prodigy. The monks at the orphanage ask a violin instructor, Poussin, to adopt the boy to further his development. Poussin brings Weiss and the violin to Vienna. They learn that Prince Mannsfeld is visiting Vienna and is looking for a prodigy to accompany him back to Prussia, promising a generous reward. Poussin puts Weiss through a strict practice regimen. However, the regimens and "Poussin Meter" (a primitive metronome) take a toll on Weiss' heart defect. On the day of the recital, as he starts playing, Weiss's heart gives out from the stress and he collapses, dead.
Weiss is buried at the orphanage he grew up in. When Poussin inquires about the violin, the monks explain that they buried it with Weiss. The violin is later stolen by grave robbers travelling in a gypsy procession, who take it to England.
Oxford, late 1890s (Language: English and Romani)
Cesca's third card is The Devil and she explains that Anna will meet a handsome and intelligent man that will seduce her.
Frederick Pope comes across the gypsy procession setting up camp on his estate, as a gypsy woman plays the violin. He offers his hospitality in exchange for the violin. Frederick finds great praise in his public concerts with the violin as well as his compositions, with his lover Victoria Byrd serving as his carnal muse. Victoria, a writer, announces to Frederick that she needs to travel to Russia to research a novel she is working on.
While Victoria is absent, Frederick loses his inspiration to compose and degenerates. When Victoria does not receive his letters for a full week, she resolves to return immediately. But when she arrives, she finds him in the arms of a new muse, the violinist gypsy woman. In a moment of rage, Victoria shoots the violin, grazing its neck and detaching its strings and tailpiece, before storming out.
Frederick's final letter to Victoria states that he will be committing suicide and that he is leaving his entire estate to her. The violin ends up in the hands of Frederick's Chinese servant, who returns to Shanghai and sells it to an antiques dealer, who repairs the damage. The instrument is sold to a young woman with her daughter during the 1930s.
Shanghai, late 1960s (Language: Mandarin)
Cesca predicts the fourth card, Justice, means tough times ahead, featuring a trial and persecution, where Anna shall be guilty.
In the chaos of China's Cultural Revolution, any ideas or items deemed "bourgeois" are denounced and should be destroyed. One target for public denunciation and self-criticism is a music teacher named Zhou Yuan, who is berated for his fondness for Western classical music. A political officer, Xiang Pei, successfully defends Zhou. Xiang then returns to her residence and retrieves the Red Violin, given as a gift from her mother. Several Red Guards raid Xiang's apartment after learning of its existence, finding nothing.
Xiang arrives at Zhou's house and pleads with him to take the violin to keep it safe. He relents and vows to keep it hidden, while Xiang leaves to face possible prosecution from Communist Party officials. Years later, Chinese police enter Zhou's home to find his dead body amid a "sanctuary" of dozens of musical instruments. Upon this discovery, the present-day Chinese government ships these items to Montreal for appraisal and sale at auction.
Montréal, 1997 (Language: English and French)
The final card, Death, Cesca sees not as predicting death, but, due to its upside-down positioning, as rebirth.
Morritz arrives in Montreal as an appraiser for the violins sent by the Chinese government. Almost immediately, he notices the Red Violin and believes it may be the legendary last violin of Nicolò Bussotti. He has restorer Evan Williams perform some work on it, while sending samples of the varnish to a lab at the University of Montreal. At the same time, he purchases a copy of the Red Violin from a private collection in London, the closest copy to the original available.
When the results of the varnish tests arrive, Morritz is shocked to learn that the violin's varnish contains human blood. Nicolò had carried his wife's body to his shop after her death and slit her wrist to collect blood for making the red paint. He admits to the auction manager, Leroux, that he has the Red Violin.
As he prepares to fly home, Morritz stops by the auction house "Duval's", with the London copy in hand. As the auction for the previous lot ends, Morritz switches the Red Violin for the London copy, which is sold for $2.4 million. Morritz calls his wife at home in New York City and asks to speak to his daughter, telling her he has a special present for her upon his return. | avant garde, historical, flashback | train | wikipedia | null |
tt2280378 | The Punisher: Dirty Laundry | Frank Castle (Thomas Jane) is sleeping in the back of a van, having a nightmare about a child calling his name and gun shooting. He sharply wakes up and comes out of the van with some clothes he has to wash. While going to a nearby coin laundry, Frank sees a gang arriving on cars: the leader of the gang, called Goldtooth (Sammi Rotibi), takes one of the hookers (Shannon Collis) in the street and beats her, then he takes her to a deserted alley and proceeds to rape her. Frank has no reaction, and starts putting his clothes in the laundry while the girl's screams are heard in the background. When the gang leader comes back, a little child, DeShawn (Karlin Walker), has been stopped by the other members of the criminal group: when the doorman (Jack Goldenberg) asks the boy if he wants to work for them, and the boy bravely answers that he doesn't want to sell drugs, the group starts beating him badly, until one of them starts menacing him with a knife at his throat, "suggesting" him to change his answer.Frank slowly comes out of the laundry and crosses the road, to a small shop on the other side. In here, he has a brief talk with the owner Big Mike (Ron Perlman), a man on a wheelchair who's been paralyzed by the gangs when he tried to defend a girl they cornered. Frank buys a Jack Daniel's bottle and walks towards the gang. He then starts beating them with the bottle, killing every one of them but Goldtooth, who he savagely beats, breaking him the right arm and both legs. While the gang leader lies on the pavement, Frank pours all the whiskey on him, and then lightens a Zippo, leaving it in front of the criminal. Frank slowly comes back to the laundry to collect his clothes, and in the meanwhile, the hooker the man previously raped arrives, takes the lighter and sets fire on him.Frank walks to his van, having collected all his clothes. DeShawn stops him, telling him that he dropped a shirt. Frank tells him he can keep it, since it has a hole in it and he doesn't want it anymore. While the van leaves, the boy reveals a black shirt with a white skull on it. | revenge, murder, violence | train | imdb | I always loved Thomas Jane as the punisher character Frank Castle but felt that the rest of the movie wasn't done as well as it could have been.
This short has the atmospheric tension and drama that the movie was missing, as the street thugs continue to run rampant the suspense and tension continuously builds until it gets to the stage where we know what must be done.
Punishment.Also some of the shots used were just sublime, the slow motion shot of Frank Castle crossing the street while throwing the Jack Daniels bottle in the air is awesome!
You forgive the poor blood effects given it was made by Thomas Jane as a fan/tribute video but by god, did they do a fantastic job!Have to give a nod to the acting in general, Thomas Jane is the punisher and performed greatly as expected but the surprise appearance by Ron Pearlman was terrific and his acting as nothing but a store clerk was amazing and very convincing.If you are yet to see it, do yourselves a favor and get onto YouTube to watch it!
I hope that this ends up being seen by the right people and Thomas Jane gets picked up to reprise his role as the most bad-ass vigilante to grace the silver screen."What's the difference between justice and punishment?".
Excellent Short Film - Let's hope for another movie!.
Excellent to see Frank Castle return, especially with Thomas Jane at the helm.
I wasn't expecting too much when I stumbled on this short, however after seeing it, well, I want another Punisher movie with him in it!
Aside from that, the atmosphere of the short itself is really nicely put together, from the exterior street shots to the dreary interiors.10/10 from me, cant see how this could've been better and let's just hope the studios realise that Tom Jane can be put to better use than bit parts in TV Shows and convince him to reprise his role in another big budget Punisher!.
As the tension mounts(consistently over the course of the well-paced 10 minute running time), however, he may find that he can't ignore what's going on in the street.The YouTube(yes, this is available for free, legal viewing, so get to it) title originally didn't reveal who this is about, so while the IMDb entry's currently does, I will not give away what graphic novel icon this is about.
Watching The Punisher (2004) starring Thomas Jane was a fun ride.
Eight years later, we find Thomas Jane back as Frank Castle just trying to do some laundry when he stumbles onto innocent blood being spilt.
The difference between this film and the feature length remake that Jane starred in 2004 was the tone of the movie.
All good acting though.I'm still not giving this short film a full ten stars because this wasn't a full feature length movie.
A dark, violent and very well constructed short-film, "The Punisher: Dirty Laundry" is a nice follow-up for fans of 2004's "The Punisher.".
I personally thought that 2004's "The Punisher" (starring Thomas Jane) was a fantastic adaptation of the comic, boasting a great tone and a wonderful interpretation of the character.
After teasing a sequel for some time, the series was rebooted with "Punisher: War Zone"- a weird, hyper-stylized, low-budget freak-show of a film that had a lot of nice moments, but was just too silly and weird and questionably constructed for its own good.And it was a shame for fans like myself, who yearned to see a follow up to the 2004 film.
The reboot came (and subsequently under-performed at the box office), and it seemed we'd never get to see more of Jane's take on the character.Cut to 2012, with "The Punisher: Dirty Laundry." A fantastic short film from director Phil Joanou, in which Jane is finally able to reprise his role from his previous outing.
(Although it's never specifically made clear that this is the same "Punisher", I believe the implication is that this is indeed set in the same "universe" as the 2004 film) We follow Frank Castle, aka "The Punisher" as he observes the dark events in the city around him, and contemplates whether or not to take action and punish the corruption and crime around him.Everything in this short works quite well.
Jane and the other performers present (including a small role from Hellboy himself, Ron Perlman) give awesome, evocative performances that hit the material home.
It fits the mood perfectly, but the fact is the score for this short was taken from Christopher Nolan's "The Dark Knight", and it can't help but pull you out at times.
It's a shame, because the tone and style of the music is just perfect for this film, but because it's already well-known and notable music, it does more harm than good.Those complaints being said (and that complaint about the music is actually a pretty big issue, even though it seems like it should be inconsequential), this is still a great short film.
And a great follow- up for fans who wanted to see more of Jane in the role of The Punisher.
And I hope the strong fan reception of the short leads to more "Punisher" projects (whether they be shorts or perhaps another film) with Jane.I give "The Punisher: Dirty Laundry" a very strong 8 out of 10.
Either way, "The Punisher: Dirty Laundry", lean, mean and minimalist, finally lets Frank Castle get down to the business of kicking some ass.
All of the necessary brooding and none of the lame villains, no milquetoast sadism - hell, the real fun here is watching Thomas Jane take a whiskey bottle to the heads of a street gang (with the requisite blood sprays).
The Punisher: Dirty Laundry, is a short film that is nothing but awesome fan service.
Seriously, I've been waiting for the day that Thomas Jane embodies Frank Castle again.
But, we get some nice stuff here.The Good: Tom Jane is the perfect Punisher.
I love the new Punisher logo too!The Bad: Since this is a short film, the blood and gun effects are pretty lousy.
Wish they used something else, oh well.Overall, this is Thomas Jane as The Punisher again.
I Love This One Just Awesome Seen Thomas Jane Back As Frank Castle Aka The Punisher Awesome Even Though This Is Only A Fan Short Film Thomas Jane Is The Punisher Aka Frank Castle.
Tom Jane is fantastic as frank castle & infact this mini movie is the absolute BEST that the Punisher has ever been seen on screen EVER!!!
Yep the Netflix series is AWESOME but this film & Toms performance are perfect exactly what i imagine frank castle as the Punisher to be.
So want Tom Jane back as the Punisher in another movie like this gritty & brutal!!!
The Punisher (2004) was also a great film & I'm a huge fan of it & Thomas Jane as frank castle he's great.
While he waits for his cycle to be finished, trouble brews outside as drug dealers bully a kid into selling for them or getting the consequences.I have no idea how this short film got made but I was very surprised to find one of the actors who played Castle in one of the Hollywood films would be involved (Thomas Jane) and that even Ron Perlman shows up – two men better known for being in big blockbusters not smaller films which are essentially fan made.
It is still a nice idea and I liked that Jane was part of it, but the excess doesn't work as part of the film although I guess it will of course work for those that list "extreme violence" as the key requirement for a Punisher film and everything else a distant second.A surprisingly starry fan film which will deliver the blood and splatter to the fans seeking that, but really that is all it does and it is disappointing to me that more was not made of the opportunity..
When I first watch it I thought this short film is good..
When I first watch it on YouTube I thought it was some parody but I didn't know Tomas Jane was in this short film.
The thought acting is good like The Punisher (2004).
This film is really detail like it's dark and menacing in this short film.
This is the best short film I've seen so far..
This is one of the most awesome short films I have ever seen and a lot of credits have to be given to Thomas Jane who though he did his best in the 2004 film ,the film around him didn't give him any space to gives us the Punisher film we all deserve.Now after the second season of Daredevil gave us a pitch perfect Punisher ,who Jon Bernthal gave it all, the most well-known anti-hero of Marvel didn't have a lot time in the sun, with 3 films in a course of 15 years and all three been below average action films.
And the outcome was a blast ,bloody and totally serious with out the goofy parts like the 2004 film or over the top scenes like the 2008 attempt.As for the finale ,in which Frank gives to the bullied kid his shirt with with the famous skull on, shows that dispute his violent methods Mr.Castle genuinely cares about the life of the average person who tries to live in difficult neighborhood and wants to help them.
The only issue is that his way is not in line with the law.All in all this short is a love letter to the character of the Punisher and if you are a fan of this ex-marine then go watch ,it is on YouTube and only 10 minutes long, so what do waiting for?.
It flew thoroughly under my radar.Now I'm one of the few people who really enjoyed The Punisher (2004) though Thomas Jane was hardly the best choice of Frank Castle he did a solid job and the movie was really watchable despite Travolta's best efforts.This 10 minute short is literally Castle doing laundry and taking a couple of minutes out to talk to wheelchair bound shopkeep Ron Perlman before beating up a bunch of thugs with a bottle of whiskey.I don't understand how or why Jane & Perlman agreed to do with 8yrs after the original movie but it is somewhat overwhelming and doesn't fit with The Punisher character.It's almost like he is apprehensive about even helping!
I suppose this is a harmless enough watch for fans but brings nothing new to the franchise and won't help with getting The Punisher into the real Marvel universe.The Good: Thomas Jane The Bad: I don't know why it even exists Frank Castles behaviour is out of character Perlman is wasted Things I Learnt From This Short: Jack Daniels bottles are made of adamantium.
No matter the critics I am a big fan of both Punisher films from 2004 and 2008 especially Punisher:War Zone which is a extremely underrated comic book film that deserved more plaudits and better box office take.I heard about this 10 minute short film a few years ago and at last got round to watching it and was simply blown away by a visually stunning,very violent,gory,well acted masterpiece that puts most full length movies to shame even The Punisher movies themselves.Frank Castle(a ice cool Tom Jane reprising his 2004 role)who is another name for The Punisher is on his way to a laundromat to do his washing in a run down neighbourhood when he sees a nasty gang bothering a group of prostitutes but ignores it not wanting to get involved.He then hears the gang leader raping one of the prostitutes and his anger begins to boil.When this same gang then try to mug a boy just trying to walk by Frank walks into a store over the road to buy some Jack Daniels but is still trying to mind his own business.After a brief but memorable conversation with the store manager(a epic cameo from Ron Perlman)Frank exits the store with bottle in hand turns it upside down and smashes it over the heads of the gang members before beating the hell out of all of them until only Goldtooth(the leader)remains.Frank then breaks both legs and the right arm of Goldtooth before pouring the whisky onto the now crippled bad guy and after asking him a question leaves a lighter by his broken body and returns to his washing.Thinking he has got away with living Goldtooth sees the same prostitute he assaulted walk up to him and she picks up the lighter,after a brief think she lights it up and burns him in revenge whilst Frank walks back to his van with his laundry.About to leave the young boy he rescued walks up to him saying he dropped his t shirt but Frank says he can keep it.The boy unfolds his new t shirt to see The Punisher symbol plastered over it.Lets get this straight this plot is pretty basic because of the running time but that's the beauty of it.It roars straight into the plot and never looks back as each thing the gang does gets Frank more and more angry to the point of erupting like a volcano and when he does he unleashes hell like a man possessed.Jane for me is the definitive Frank Castle and in this ten minutes he brings a stronger performance than ever before.He is a man just trying to do his washing in piece but trouble seems to follow him about and in the end he explodes like a raging inferno smashing skulls in with a bottle of whisky before taking guns and knives off the gang and giving them a beating they will never forget.He is like a spilt personality here as he is so calm and cool sat waiting for his laundry but his other side seethes under the surface as wrong doers are about to meet this ultimate bad ass.I really wish Marvel had kept Jane as the vigilante as just ten minutes shows how awesome he can be and this character can be in live action.Bring him into the MCU already,he would go up to Thanos,stare at him and the big bad would run like hell.Apart from the beat down scene the most memorable scene had to be when Frank had a brief conversation with the store owner Big Mike played by another normally hard as nails actor Ron Perlman who goes against type to play a crippled and scared man who tells Frank about the time he tried to intervene in the gangs antics and was left crippled by them.He tells Frank someone needs to sort them out once and for all,its this wonderful chat that sets Castle on his way to bring The Punisher out to play.This may only be ten minutes long but its crammed full of awesome moments and has some great imagery with light shining on areas to show what a nightmare neighbourhood this is that even just walking by can get you beat up or even killed with even the prostitutes frightened to look at the gang wrong fearing what they might do to them which of course happens.In the space of about 2 minutes this short classic gives us a action scene that puts many feature films to shame with blood,guts and gore spewing everywhere as the gang realise this quiet looking chap is a stone cold man of justice who proceeds to beat the hell out of them and I wonder if the makers of The Walking Dead thought of Tom Jane as Negan as him swinging Lucille could of been glorious(he was the original choice for Rick)though Jeffrey Dean Morgan is awesome so that's OK.Hopefully we will see Tom Jane play The Punisher again one day as this extraordinary short film was epic with a breathtaking and gory action scene where one man shows others who is boss,it had brilliant acting by Jane and Perlman and amazing visuals that show what nasty places there are about.A rip roaring tirade of vengeance..
There are many stereotypes and clichés in this 10-minute short film.
Thomas Jane returns in this little movie as Frank Castle, the Punisher.
He appears in the middle section, the first part of the film is about getting to know the characters, the last part are the fighting sequences then.
Anyway, Jane's character beats up all the bad guys, but the real punishment comes from somebody else at the end.
This short film here is a decent watch, nothing outstanding, but 10 minutes worth spending.
Also, I have not seen the feature film, but you don't need to to understand and appreciate this short movie.
*Spoiler Alert*Not complaining.Thomas Jane as The Punisher is the best but this wasn't really what i thought it would be.The 2004 movie is my favorite one ever but i expected a bit more from this even though that it's a fan film and 10 minutes.So i am going a bit against the flow here.So the film goes after Frank Castle after becoming The Punisher and accepting his family's death but i do not understand why he did not stop the bad guy from the whole beginning after he saw that he was beating up a woman.He was minding his own business and had to be told by someone else what he had to do.It just sort of ruins the feel justice(Yeah,i know that this is not justice,but punisment.) and makes Castle a person who just observes,takes his time to think is it right to go into the fight and stop them and then in the end actually does something.So the bad guy had to beat up a woman and start terrorizing a small boy and then he became "worthy" to be punished.I don't mind the fake blood and the music that wasn't as the first movie's style but come on.This was made 8 years after it.All and all it's great but it's not the same.I hope that they bring Thomas Jane as The Punisher again some day and i hope that it's like the first movie. |
tt0111419 | Thumbelina | Thumbelina is worried that there is no one her size so her mother tells her a story of fairies. That night the fairy prince comes to her window and hears her singing. They instantly fall in love and go flying and singing together where toads and bugs see them. Prince Cornelius promises to come back the next day after telling his parents about her. That night a toad comes and steals Thumbelina away because she heard her singing and wants her to join the family band "Singers de Espagna." Her toad son loves Thumbelina and wants to marry her. After convincing Thumbelina that she will be a star in show biz the toads leave her on a lily pad to get things ready for a wedding. Thumbelina is angry and calls for help, she doesn't want to marry the toad, she loves Cornelius. Meanwhile, Prince Cornelius goes to her house and finds her gone. The dog tells him that she was stolen by a toad and he leaves vowing to find her. He rushes home and asks his parents to stall the frost, which they can't really do. Thumbelina meets a bird who helps her off the lily pad and promises to find the Prince for her.A beetle hears Thumbelina and gets her to sing at a Beetle Ball where the beetles tell her she is ugly. The bird finds her (without news of the Prince) and reminds her that Prince Cornelius thinks she is beautiful and that she shouldn't give up. The Toad searches for Thumbelina and finds the beetle and steals his wings so the beetle will find the Prince for him so he can set a trap to get Thumbelina, since she will come for the Prince. Cornelius falls into water and gets frozen. The beetle finds him, pulls the block of ice out and brings him to the Toad and tells him where Thumbelina is. Thumbelina is taken in by Ms. Field Mouse who tells her that Prince Cornelius was found dead. Ms. Field Mouse introduces Thumbelina to Mr. Mole. Mr. Mole wants to marry Thumbelina and bribes Ms. Field Mouse to set them up. He also shows them a "dead bird" who happens to be Thumbelina's bird friend who got a thorn in his wing and passed out and fell into Mr. Mole's hole. Thumbelina comes and warms him that night and pulls the thorn out. The bird flies off to find the veil of the fairies before Thumbelina can tell him that Cornelius is dead.Thumbelina goes to marry the Mole. Some young jitterbugs thaw out the Prince. At the altar, amid visions of Prince Cornelius, Thumbelina refuses to marry the mole and runs. The toad arrives and tries to catch her, but she refuses him too. She runs out and heads towards the light outside of the hole. Prince Cornelius shows up after she runs out and duels with the Toad. Above ground the bird finds Thumbelina and flies her to the veil of the fairies. It is frozen and she doesn't believe it's the veil of the fairies. The bird tells her to sing. She sings a little and gives up, then Prince Cornelius starts to sing and then proposes, Thumbelina accepts and sprouts wings. They get married and "live happily ever after." | fantasy | train | imdb | null |
tt0379786 | Serenity | The pre-title teaser provides backstory for those unfamiliar with the Firefly TV series. The events in the teaser occur prior to the first episode of the TV series: The Universal logo changes to show ships leaving 25th Century Earth as a teacher's voice-over describes the exodus from "Earth that was" and the terraforming and colonization of planets in the new 'verse.'An introduction to the system government known as the Alliance follows, mentioning the war for system-wide control -- the War of Independence, as it's known to the losing opposition, the Browncoats. This classroom scenario is seen to be the memory or dream of River Tam (Summer Glau), who is in a drugged sleep under confinement at the Alliance Academy facility, being groomed as some form of programmed assassin. River's brother, Dr. Simon Tam (Sean Maher), infiltrates the lab and frees her, but the breakout was a security recording viewed after the event by the Operative (Chiwetel Ejiofor). He has orders to deal with the security lapse and the project director's failure as well as to find River and bring her back.The credit sequence, set eight months after the events of the teaser, introduces us to the "Firefly" class freighter Serenity, owned and captained by former Independent soldier Malcolm (Mal) Reynolds (Nathan Fillion). Serenity is about to break atmo on the planet Lilac on one of the crews' not-always-legal jobs -- this time a bank heist. The crew members (all familiar to Firefly fans) are the pilot, Hoban "Wash" Washburn (Alan Tudyk); his wife Zoe (Gina Torres), second in command, a veteran and war comrade of Mal's; hired gun Jayne Cobb (Adam Baldwin); and the engineer, Kaywinnet Lee "KayLee" Frye (Jewel Staite).Two faces familiar from the series are no longer aboard, but we meet them later: the "companion," Inara Serra (Morena Baccarin), and a shepherd (preacher), Derria Book (Ron Glass). (For information on why Inara and Book left the ship, see IMDB discussion boards.)After River's escape, the Tams found sanctuary with this crew, but Mal plans to make use of River's psychic abilities on this job -- against Simon's wishes. It begins without any major hitch, then River senses and warns them of arriving Reavers. On the border planets, Reavers are feared for their unprovoked, cannibalistic, frenzied attacks; they are only known from urban legend on the central planets.The crew has an eventful escape, Mal shooting a man who wanted to escape rather than letting him be captured by the Reavers. Back aboard in relative safety, Simon punches Mal for endangering River, then declares their intention to leave the ship. Kaylee, who has a crush on Simon, is distressed.Fanty and Mingo (the Feldman twins), Mal's sponsors for the job, are waiting for them at the Maidenhead Bar on Beaumonde, and want more of the take. River enters the bar and sees an ad on the viewscreen. This triggers her combat training; she whispers 'Miranda' and begins systematically taking out everyone around her. The twins run. Jayne tries to stop River and fails, while Mal gets to his gun and aims at the exact moment River aims a captured weapon back at him.Simon enters, sending her to sleep with a code word. Mal brings them back aboard Serenity. Meanwhile the Operative, who ordered the broadcast of the trigger to expose River, is viewing the bar's security feed on his command ship, and a profile of Mal.Wash suggests a talk with Mr. Universe (David Krumholtz), a kind of media hacker with knowledge of all kinds, who lives with his 'Lovebot' on his own moon. He tells the crew the advert code triggering River's combat training was high level Alliance military. There is something they want and River is part of it. Inara greets the Operative at the temple where she's living; with her intuition and training, she realizes something is wrong.Meanwhile, the crew arrives at Haven, the mining colony where Shepherd Book now has a congregation and are greeted by him. Book has unusual knowledge of security, criminal and military activity, which puzzles Mal; no explanation is ever given. Book advises Mal on how an attack by an Operative against him could occur. Referring to Book's past, Mal says "You have to tell me about it sometime." Book replies, "No...I don't."Inara makes contact with Serenity, asking for help. Mal, sensing a trap ("You saw us fight? No? -- Trap!"), decides to go see her. The Operative is at the temple -- of course it was a trap -- and he outlines the trouble River will bring Mal, trying to get him to hand River over. Mal shoots him, then fights him. Inara sets off a flash bomb, and they escape in the nearby shuttle while Serenity deploys decoys to throw the Operative off the trail.Jayne, after arguing with Mal about keeping River, tries to take her from the locker she's held in. Overpowering him, she escapes. On the bridge, she shows Mal the planet Miranda. Miranda's existence has been suppressed -- all mention of it deleted from charts and records -- and it's in the region known to be Reaver territory.The Alliance gets to Haven before the crew returns, destroying the settlement. They find Book, dying, beside the settlement's cannon, which he used to shoot down the attacking craft. His last words tell Mal to have strength in his beliefs. They realize the Operative attacked all places Mal could have gone, cutting off escape. Mal finds another way; they disguise Serenity as a Reaver ship and make their way to Miranda, passing through a Reaver flotilla. Their disguise successful, they land on Miranda and find a planet apparently suitable for life with breathable air, power, intact cities and infrastructure. But all the people are dead. The inhabitants appear to have simply lost the will to live and laid down to die: at work, on the road, in their houses.They find a survey ship with a holographic recording made by its last surviving team member, a report never sent. The recording reveals the Alliance put chemicals into the air processors on Miranda to stabilize the population's behavior. It worked too well. Almost everyone stopped doing anything to live and died. A fractional percentage, however, had a drastically different response to the chemical: they became insanely violent and aggressive. The crew realizes this damaged and dangerous remnant of Miranda's inhabitants are the Reavers. The Alliance created them and tried to bury the evidence just before the War. This knowledge affected River, and the release of the tension in her makes her throw up. She says lucidly "I'm all right" after this. River apparently picked up the memory from some of the Alliance chiefs who came to see her training and the memory was also triggered by the code advert. Mal decides to broadcast the hologram from Mr. Universe's moon.Mal calls Mr. Universe, who says come ahead. But he's already held prisoner, and as soon as Mal breaks contact, he's killed by the Operative. As they pass back through the Reaver flotilla, Mal mans the Haven cannon they took for the ship's disguise. He blasts one of the Reaver ships and Serenity runs for it, Reavers in hot pursuit. The Operative's fleet is concealed in the atmospheric ion cloud of Mr. Universe's moon, and they're surprised when Serenity comes right at the command ship. They're even more surprised by the many Reavers on Serenity's tail. Wash expertly slips Serenity through the ensuing battle, covered by the confusion, until they get tagged by an electronic pulse weapon that takes out Serenity's electrical systems. Wash manages a dead stick crash landing, skidding into an open hangar bay at the end of the runway. Serenity loses one of its attitude engines, turning 180 degrees facing out of the hangar as it comes to rest, leaving them open to attack by the Reaver ship following them in. A spear weapon breaks the window, impaling Wash. He dies not long afterwards. Zoe tries to free him, but Mal sees another spear launched and gets Zoe out of range. They and everone else get inside Mr. Universe's complex. Jayne and Zoe arrange a defensive strategy, while Mal goes to broadcast the message. He finds Mr. Universe dead, but the Lovebot activates at Mal's approach, delivering Mr. Universe's last message on how to find a hidden transmitter the Alliance would have missed when destroying his equipment.The Operative, having escaped his ship's destruction in a lifepod, arrives shortly afterwards and also triggers the Lovebot message intended for Mal; he follows Mal to the transmitter. On the hangar level, Reavers attack. Zoe gets slashed in the back taking close combat revenge. Kaylee gets hit, and Simon, realizing his medical bag was left behind out where the Reavers are, stands up looking for it and also gets hit. He apologizes to River for leaving. She says "You always take care of me...My turn." She dives through a gap in the blast door they were defending; throws Simon's bag back, grabs a fallen weapon and fights with it before closing the door's manual override and being grabbed by Reavers.Mal gets to the transmitter, has a massive fight with the Operative and manages to beat him this time, letting him live then setting him to watch the evidence while Mal broadcasts it.River's battle with the Reavers continues, with her training ensuring she's the last fighter standing. Mal returns to the group as power returns to the complex and they're wondering whether River survived. The blast door reopens, revealing her standing alone with bladed weapons in her hands as the wall is demolished. Alliance troops storm in demanding "Weapons down;" they request a kill order from the Operative. He tells them to lower weapons. "We're finished."At an outdoor funeral service for the fallen crew members and friends, there are memorials for Wash, Book, and Mr. Universe. Rebuilding work on Serenity comes next; we see Kaylee and Simon kissing, observed from above by River. Before he leaves, the Operative comes to tell Mal he has weakened the Alliance, but they're not gone, and not forgiving. Mal meets Inara aboard as they prepare to leave, asking if she's ready to get back to civilized life. She's not sure. "Good answer," he says. River is in the co-pilot seat as Mal goes to the pilot chair; she seems to know what she's doing and lifts the ship before Mal quite realizes what she's up to. He tells her how important it is to love your ship. A panel tears loose from the hull as Serenity disappears into the black sky. Mal, voice-over, in an urgent tone: "What was that?" | comedy, murder, paranormal, dramatic, cult, revenge, flashback, good versus evil, clever, psychedelic, humor, action, romantic, suspenseful, entertaining | train | imdb | null |
tt0056195 | Lonely Are the Brave | The movie opens with modern day cowboy Jack Burns (Kirk Douglas) stretched out beside a dying campfire at dawn, awakened by the roar of fighter jets above the vast, open scrublands of New Mexico. Burns is a cowboy ill at ease with the modern world of the early 1960s. He rolls his own smokes and cuts through fences when they block his path. He carries no ID, not even the requisite draft card. He is on a collision course with the world around him. His only constant companionship comes from Whiskey, his spirited and beloved buckskin mare.Burns rides into Duke City, New Mexico, crossing a busy highway atop his spooked horse and nearly getting killed in the process. He surprises Jerry Bondi (Gena Rowlands), the wife of his best friend, in her kitchen. Her husband Paul (Michael Kane) is in jail, having been sentenced to two years in prison for helping Mexican immigrants cross into the United States illegally. Burns wants to go see him, but Jerry explains that the next visiting opportunity is several days off. Burns divulges that he has been forced to herd sheep just to earn a living. He says he started for Duke City as soon as he learned of Paul's plight.Meanwhile, a long-distance truck driver (Carroll O'Connor) exits a diner in Joplin, Missouri and climbs into the cab of his vehicle, headed for Duke City. He is hauling a load of porcelain toilets in his tractor-trailer.Burns plans to go into town, get drunk, and somehow get thrown in jail in order to see his friend. He finds a Mexican bar and heads for a back table with his beer and a whiskey chaser. On the way to his table, he trips over the intentionally outstretched foot of a one-armed man (Bill Raisch). Burns starts to complain, then notices the man's missing arm and apologizes. Burns sits down, drains a glass of whiskey, and starts nursing his beer, but the one-armed man suddenly throws a whiskey bottle across the room, smashing it against Burns' table. Burns calmly tells the man to watch himself and returns to his beer. The man then throws his whiskey glass at Burns. Burns once again tries to avoid a confrontation, but the man gets up from his table and approaches threateningly. He obviously has a chip on his shoulder about his missing arm, daring Burns to fight him. He kicks the chair out from under Burns, dumping him onto the floor. Amazingly, Burns still tries to avoid a fight, offering the truculent man a drink. The man calls Burns a coward, provoking Burns to slap him. Burns offers to even things up by putting one arm behind his back, and a savage fight ensues. The one-armed man is more than a match for Burns, using his good arm, the stump of his missing arm, a chair, a billiard ball, and a cue stick to attack Burns. A wild melee erupts before the police arrive. Burns is taken to the police station, only to discover that the cells are overloaded and he is therefore being released. When he realizes he won't get to see Paul, he intentionally slugs a cop, earning a lengthy stay in jail.Sheriff Morey Johnson (Walter Matthau) arrives at the police station, where he is greeted by his deputy (William Schallert). Discipline at the police station and jail is noticeably lax, but another sadistic deputy named Gutierrez (George Kennedy) enjoys riding roughshod over the prisoners. Burns quickly earns the hatred of Gutierrez. Burns confides in Paul that he intends to spring him from the jail, but Paul says he doesn't intend to escape and incur a stiffer sentence. Burns then reveals that he has smuggled two hacksaw blades into the jail. He and his Navajo cellmates spend the night sawing through one of the bars before Gutierrez shows up and calls Burns out of the cell. Gutierrez brutally beats Burns before bringing him back. Burns hurriedly resumes his escape efforts before daylight can arrive.As Burns slithers through the opening in the bars, Paul once again declines to escape. Burns is disappointed but understands the difference in their situations. Paul has a wife and child to think of; Burns is all alone. Burns climbs down the side of the jailhouse with the aid of a rope and returns to Jerry's house. Jerry packs him some food before he gathers up spare ammunition and puts a saddle on Whiskey. It is now revealed that Burns and Jerry were once in love before Jack selflessly backed away in favor of Paul. Burns kisses Jerry goodbye and rides off, certain that his pursuers won't be far behind.Sheriff Johnson soon learns that escapee Jack Burns served in the army during the Korean War, earning a Purple Heart and the DSC, along with jail time for striking an officer. Up in the foothills, Burns watches over his shoulder for activity down below and heads for a distant mountain ridge that promises safety. The route gets steeper and more difficult with every switchback. Burns spots several armed deputies in pursuit far below. He is forced to dismount and lead Whiskey up the slippery and treacherous mountain face. Sheriff Johnson now deploys a helicopter to locate Burns. The skittish horse causes Burns considerable delay, allowing the helicopter crew to spot him. Burns expertly puts a rifle round through the tail rotor, causing the helicopter to spiral down and crash.Deputy Gutierrez eventually comes across the tethered horse and thinks he has gotten the drop on Burns, but he soon feels a rifle barrel pressed up against his face. Burns repays his earlier vicious beating with a rifle butt across the face of the sadistic deputy, knocking him out cold. Burns now leads Whiskey up an incredibly steep talus slope, nearly plunging down the mountainside. They are rapidly approaching the summit and freedom, but the deputies are closing in. Just as the deputies are able to get a clean shot at him, Burns reaches the crest and quickly mounts up, spurring his horse downhill into a thick stand of timber and complete concealment. Somehow they have made it. Burns painfully discovers that a bullet has passed through his boot and into his lower leg. He gingerly slides off the horse and fashions a splint from the rifle stock. Mounted up again, Burns rides down to the edge of an interstate highway as a heavy downpour begins. Across the highway is Manzano Mountain and the freedom of Mexico.Barreling down the rain-slick highway is the tractor-trailer introduced earlier, carrying the load of toilets. Burns desperately tries to maintain control over his nervous horse and coax him across the highway through the heavy traffic. At the critical moment, Whiskey spooks and rears up in the middle of the highway. The truck driver cannot possibly stop in time, slamming into man and horse and hurling them onto the shoulder. As a crowd gathers and surrounds the critically injured Jack Burns, Whiskey screams in agony. Burns is in obvious shock, but every scream from the horse is registered on his contorted face. Sheriff Johnson and a deputy soon arrive at the accident scene. Johnson sends the deputy to dispatch the mortally injured horse, and the resulting gunshot causes Burns to wince noticeably. Sheriff Johnson is asked to identify Burns as the escaped fugitive, but the sheriff declines. Burns is loaded onto an ambulance as his cowboy hat washes across the rainy highway. | tragedy, violence | train | imdb | null |
tt0104431 | Home Alone 2: Lost in New York | In Chicago, Illinois, the McCallister family is preparing for a Christmas vacation in Miami. On the night before their departure, the entire family gathers at Peter and Kate's home, where their 10-year-old son Kevin sees Florida as contradictory to Christmas because he thinks there are no Christmas trees in Florida. During the school Christmas pageant, Kevin's older brother Buzz humiliates him during his solo, causing Kevin to retaliate. Refusing to apologize for his actions, Kevin goes up to the third floor of the house. During the night, Peter unknowingly causes the alarm clock to reset; consequently, the family once again oversleeps. In the confusion and rush to reach the airport on time, Kevin boards a flight bound for New York City while trying to replace the batteries for his tape recorder, carrying Peter's bag containing his wallet and a large amount of cash; upon arrival in Miami, Kate realizes that Kevin is missing again. In New York, Kevin tours the city and convinces the staff at the Plaza Hotel into renting him a room using his father's credit card. During a visit to Central Park, Kevin is frightened by the appearance of a homeless woman tending to pigeons.
On Christmas Eve, Kevin tours the city in a limousine and visits a toy store where he meets its philanthropic owner, Mr. Duncan. Kevin learns that the proceeds from the store's Christmas sales will be donated to a children's hospital. Duncan offers Kevin a pair of ceramic turtledoves as a gift, instructing him to give one to another person as a sign of eternal friendship. After encountering Harry and Marv, a pair of burglars who recently escaped from prison and are now called the "Sticky Bandits," Kevin retreats to the Plaza. The hotel's concierge Mr. Hector confronts Kevin about the credit card which has been reported stolen. Kevin flees after evading Mr. Hector, but is captured by Harry and Marv. The duo discuss plans for breaking into the toy store that night, before Kevin escapes.
Kevin's family travels to New York after tracking the whereabouts of the stolen credit card and Kate searches the city for Kevin. Meanwhile, Kevin goes to his uncle Rob's townhouse only to find the house vacant and undergoing renovations while Rob and his family are in Paris. In Central Park, he encounters and befriends the pigeon lady. At Carnegie Hall, the pair watch an orchestra perform "O Come, All ye Faithful." The pigeon lady explains how her life collapsed and how she dealt with it by taking care of the pigeons in the park. Kevin gives the pigeon lady some advice and promises that he will be her friend.
Kevin, after remembering what the bandits said, returns to the townhouse and rigs it with numerous booby traps. Kevin arrives at the toy store during Harry and Marv's robbery, throws a brick through the window, setting off the store's alarm. Kevin then lures the duo to the townhouse, where he springs the traps and Harry and Marv suffer various injuries. When the duo chase Kevin around the townhouse, he escapes and calls the police. Harry and Marv catch him take him down to Central Park to kill him, but the pigeon lady sneaks in and incapacitates the duo with her birdseed before they can do anything, and Kevin sets off fireworks he had bought earlier to signal the police. The police arrive and arrest Harry and Marv. At the toy store, Mr. Duncan finds a note from Kevin attached to the brick explaining his actions.
Kate remembers Kevin's fondness for Christmas trees. After observing Kevin making a wish at the Rockefeller Center Christmas Tree, Kate meets him there and they reconcile. On Christmas Day, a truckload of gifts arrive at the McCallisters' hotel room from the toy store. Kevin and Buzz reconcile and Buzz allows him to open up the first present. Kevin goes to Central Park to give the pigeon lady the second turtledove. At the Plaza, Buzz receives the bill for Kevin's stay from Cedric and shows it to Peter. Peter suddenly calls out, "Kevin, you spent $967 on room service?!" at which point Kevin runs off. | comedy, boring, stupid, cult, psychedelic, revenge, entertaining | train | wikipedia | Now I'm aware that Home Alone 2: Lost in New York is the exact same plot as the first Home Alone, and not to mention how silly it seems that these folks would leave their kid behind, but come on, this movie was all in good fun.
Not to mention the Plaza Hotel plot was so great and fun to watch.Kevin and his family are heading down to Florida for Christmas this year, but when Kevin gets mixed up at the air port and gets on the wrong flight, he ends up in New York.
But Kevin is going to make sure that they don't mess around with the kids and has set his uncle's abandoned apartment up for a fun house of traps.Home Alone 2: Lost in New York was an absolute blast.
I love this movie and I'm always going to recommend it for a good watch, I think you'll enjoy it if you give it a chance.10/10.
Plus Eddie Bracken shows up as Mr. Duncan and gives Kevin the best Xmas morning ever as a token of his appreciation.With a bigger story (okay some of it re-used) and more characters and a better playground for Kevin, Home Alone 2 manages to be a superior sequel.
There's loads of fun to be had in Kevin's antics, and Tim Curry is downright brilliant as the mischievous Concierge.It's a great movie on it's own but sadly it will always be called a copycat.
I'm not one for sequels but this was one of the handful that I can enjoy time and again, not only because the original cast is in it, but because of Macaulay Culkin's comedic ability (even as a kid) and Joe Pesci's and Daniel Stern's reactions to getting their butts kicked, booby trap style.
"Home Alone 2: Lost in New York" is young Macaulay Culkin's second greatest hour in the series as Kevin McCallister, who has to learn to be a man again on the mean streets of the Big Apple after being separated from his family once more.
He's pursued again by comic bad guys Harry and Marv (Joe Pesci and Daniel Stern), and director Chris Columbus and screenwriter John Hughes keep the action and laughs coming.
***Starring: Machauley Culkin, Joe Pesci, Daniel Stern, and Catherine O' Hara.The same boy who was accidentally left Home Alone a year ago, accidentally takes the wrong flight.
Oh, yeah, my favorite part is Macaulay (Kevin McAllister) was walking around in New York when he was lost then later, he went to the toy store to buy something then these 2 bad guys found him then Macaulay (Kevin) was screaming same thing then run away from these 2 bad guys in the city of NY but it was so funny because I loved Macaulay's screaming that make me laugh so hard!
And they want revenge.So in the last movie Kevin was home alone, but Santa Claus has done him one better this year.
when the family arrives at the airport, Kevin gets separated, and ends up going to new york...all alone, on his own personal vacation, which is what he wished for, but that wish soon turns into a nightmare when he has to deal with a nosy doorman, a crazy bird-loving lady, and the returning antagonists, Marv and harry, who broke out of prison.Many directors and movie makers that make a sequel to a film %90 of the time make a failure.
New York City-The Perfect Place For A Kid To Have Fun. If I was a young child and wanted to get lost somewhere, then the Big Apple would be my first choice.
Yes, Macauley Culkin is back as Kevin McCallister who ends up getting split up from his parents and finds himself lost in New York.Just like in the first film, Kevin has fun at first booking himself into a hotel (you'll find out how a young kid cons a room in the hotel) and has some fun.
There's just one snag-Joe Pesci and Daniel Sterns are back as Harry and Marv and once again, young Kevin must outwit them.The plot is pretty similar to Home Alone but don't let that put you off-it just means you've got more of the same thrills and fun to enjoy.
Despite being lost in the city that never sleeps, Kevin again manages to find ways to outwit the relentless burglars who take countless bumps and bruises, many of which would have killed them but that's the fun of movies.Yes, Home Alone 2 was a fantastic follow up to Home Alone and it was followed by the equally excellent Home Alone 3..
This movie had great, creative, hilarious scenes mixed with an emotional and heartfelt story while at the same time remaining true to the elements of the original.
Home Alone 2 has pretty much the same general plot as the first one.a few of the particulars have changed,including the location.this time Kevin is Lost in New York,while his family is somewhere else.the 2 bumbling Robbers,Marv(Daniel Stern)and Harry(Joe Pesci)return and of course meet up with Kevin and slapstick ensues.this movie is a bit longer,and i felt it took a while to get going,but once it does,it's very funny.the booby traps Kevin designs are just as elaborate and cause a lot of pain and grief for Harry and Marv,and a lot of hilarity for the audience.this movie is a bit more touching and heartwarming than the first one,and at least as funny.the only downside for me is the slow beginning.otherwise,it pretty much lives up to the first one.for me,Home Alone 2 Is an 8.5/10.
The plot is basically the same except this time the movie takes place in New York and not in a house.
In my opinion, the traps that Kevin (Macaulay Culkin) set for Harry (Joe Pesci) and Marv (Daniel Stern) were even more hilarious than the first.
It's not as good as the first Home Alone movie but this is still a very good, fun, family Christmas classic.
This time Kevin is in New York City and his family once again leaves him all alone.
"Home Alone 2: Lost in New York" takes place after the events of the first one as Kevin is finally going on a Christmas vacation with his family, but gets left behind again as he ends up in New York instead of going to Florida as where his family is going.
"Home Alone 2: Lost in New York" is a fun movie, but its not that bad; I still think its fun, entertaining, and still has that Christmas feeling as what made the first one so good about it.
Very clever sequel to the 1990 blockbuster, with this McCallister Christmas vacation following Culkin as he wonders the Big Apple after boarding the wrong flight, only to bump into Pesci and Stern, whom have just escaped from prison and are still angry about their foiled plan from the previous year.
Hilarious moments are provided by run-ins with the original movie's villains, Harry and Marv (Joe Pesci and Daniel Stern, respectively),They have escaped from prison and they are planning to rob a toy store on Christmas Eve and Kevin is determined to stop them Finally, Mom (Catherine O'Hara) realizes that her son's missing and frantically tries to find him..
Home Alone 2 picks up a year after the original film in which the McCallister family accidentally left young Kevin alone to battle two criminals at Christmastime.
I really like Home Alone 2: Lost in New York, it matches up pretty well to the first film.
There is however a good chunk of film time spent at an abandoned house in which Kevin sets up his attack against the 'Wet Bandits'.Home Alone 2 should be seen by everyone in my opinion.
It isn't your average Christmas movie, but it does take place at that time in New York City.
Macaulay Culkin – one of the most famous child stars since Shirley Temple – returns as Kevin McAllister in the 1992 nostalgic and sentimental slapstick Christmas classic that has not dated since its original release.As the sequel of the highest grossing comedy of all time, Home Alone 2 is one of the biggest Christmas films of the 90s.
While the familiar Christmas vacation is shown as chaotic and stressful, it is the essential family element that brings us back to the films main themes of togetherness and (paradoxically) independence.Becoming separated from his family once again when leaving for a Christmas holiday, Kevin is left alone to his own devices, this time in New York City and causes chaos and mayhem when he bumps into the freshly escaped "Wet Bandits", who are once again, out to get him.The original cast return with Culkin in the lead, Joe Pesci and Daniel Stern as the hilariously dumb, yet slightly endearing criminals with a heart of coal and the fantastic Catherine O'Hara as the mum every child wants, played with just the right amount of fear, guilt, determination and love that is needed.
I think Home Alone 2 Lost in New York is a great sequel to the first Home Alone movie!
In this sequel Kevin McCallister is planning to go on a trip to Miami Florida with his family but accidentally gets separated from them at the airport and accidentally gets on a plane to New York City.
Filled with wonderful new characters and a lot of laughter and humorous Home Alone 2 Lost in New York City is a great sequel the whole family can enjoy!
Thanks to originality and some great ideas, Home Alone was also one of the best movies when it released and its sequel is even better than the first, with a more detailed and extensive setting, a new array of characters who are also very well developed.
The McAllisters are at it again and this time Kevin McAllister gets himself lost in one of the biggest cities in the world, New York City..
I really enjoyed Harry and Marv, the two robbers, in this movie a lot and Tim Curry did a very good job as well.
It is awful for his parents left Kevin (Macaulay Culkin) because they forgot him after he went to New York instead of Florida because he thought but not.
After the Original "Home Alone" became the 3rd highest grossing film of all time it was just a given that there would be a sequel and 2 years after the release of "Home Alone" 2oth Century Fox Released "Home Alone 2" and it was also known as "Home Alone 2: Christmas in the Park"After snarky youth Kevin McCallister (Macaulay Culkin) loses track of his father at the airport, he mistakenly gets on a plane headed for New York City -- while the rest of the McCallisters fly to Florida.
But when Kevin discovers that the Sticky Bandits (Joe Pesci, Daniel Stern) are on the loose, he struggles to stop them from robbing an elderly man's toy store just before Christmas.None of the charm that made the original so much fun is even present here.
"Home Alone 2: Lost in New York" is somewhat funny and heart-warming, but it is almost exactly like the first film.
This time Culkin boards a plane for New York instead of Miami and he ends up alone in the city with crooks Joe Pesci and Daniel Stern.
Home alone is a comedy set, Macaulay Culkin plays the lead role as Kevin the youngest boy of his family and mischief-maker who manages to catch wet thieves.
What's surprising however is how it works just as well the second time around: Macaulay Culkin's misadventures in New York City follow the "more is better" theme of many blockbuster sequels so it's much of the same but it's just as much fun as it was in the first movie.
Every time I watch this movie, I always crack up and laugh so hard at the robbers getting their comeuppance and punishment from Kevin.
Home Alone 2 is a classic sequel that tells the story of a year after Home Alone,10 year old Kevin gets humiliated by his brother at a play causing him to get a bit angry and he wishes that they would disappear once again and when they leave for Florida,Kevin gets lost in the airport and boards the wrong plane and ends up in New York but little does he know New York isn't Kevin's dream place for having a vacation when he is chased by a bunch of hotel workers but worst,the sticky bandits escape from prison and are now walking the streets of New York and when they bump into Kevin,Kevin sets up a bunch of booby traps in a old abandoned house and once again..madness returns.
Macaulay Culkin returns as lovable Kevin,the idea was so good and original it that was some other director it would just be the exact same thing as the first film but probably 'Different Robbers' which would turn out horribly with a different kid(don't worry that happens in Home Alone 4 and I won't be happy doing that review).
Home Alone II tells the story of Kevin(Macaulay Culkin)and his family and this time his family are heading to Florida for the Xmas season but Kevin ends up getting lost and he spots a man who he thinks his father but isn't and he winds up in New York City aka The Big Apple where he later meets his criminal friends again and let me tell ya there is more chaos to bring them back to jail again.Like the first one this is really funny and heartwarming.
I like that the film goes more adventurous and puts Kevin MacCallister stuck in New York.
Home Alone 2: Lost in New York is a great movie with a very well put together family friendly storyline with a great cast.If you enjoyed the first Home Alone,if not better.Its certainly more exciting because the characters go all around New York rather than staying at the house the whole time.Macauley Culkin is great as usual,he was a very good actor for his age and I also really appreciated Tim Curry,I really enjoy the creepy tone of voice he can put on and it really suited the character.The worst part about the movie and the only real problem I had was Joe Pesci and Daniel Stern,as much as I liked them in the first,they were just thrown in to this one randomly and just happened to be in the same city as Kevin,it gets even more ridiculous towards the end when Kevin try's to stop them from robbing a toy store,the two are just getting injured over and over again for about twenty minutes with very little dialogue,I like both if these actors,but I didn't appreciate them in this movie and think it would have been better not having them in it.If you enjoyed the first Home Alone then you will certainly enjoy Home Alone 2: Lost in New York,it's fun for the whole family.
Kevin ends up in a swish New York hotel while his family are in Florida,but meanwhile the two burglars he defeated before plan to rob a toy store.
The Home Alone films are a must watch and you sure can't miss out on them they are a lot of fun, enjoyable, funny, and everything.
"You can mess with a lot of things, but you can't mess with kids on Christmas." - Kevin McCallister (Macaulay Culkin, Home Alone 2: Lost In New York).
However the film has changed location and this time Kevin is lost in New York.
This is probably the first time that the sequel is just as good, if not better, than the first movie.
Almost every great movie is set in New York City.
The whole time I was watching the first movie, I was thinking, why don't the parents just call the house and talk to Kevin?
Kevin McAllister is back and alone once again in Home Alone 2: Lost In New York.
He has gotten lost in the airport on the way to Christmas in Florida, and ends up in New York City with all of the families' money and credit cards.
The general plot is the same in both movies, Kevin is stranded away from his family at Christmas time and must defend his house from Marv and Harry the criminals.
The original movie gave Kevin familiar surroundings and a lot to work with, but stranded at his Aunt and Uncle's house in New York is a bit different.
The family, Marv and Harry and Kevin are all the same from the first movie.
This time around, little Kevin McCallister (Macaulay Culkin) isn't home alone, he's lost in the Big Apple, and he has his dad's credit card and cash to give him the ultimate vacation, until The Wet Bandits, Harry (Joe Pesci) and Marv (Daniel Stern), show up, and plots a big Christmas heist.Okay, it isn't very different to or better than its predecessor, but at least it's better than the other two sequels.
Only this time He accidentally goes to New York instead of Florida which his family and relatives went to.Kevin wish he could go to somewhere way different, all by himself.
They escaped from prison and instead of robbing homes they're going to rob the famous toy store in New York.Can Kevin stop these guys this time?
Because a good movie--or a cruel one that makes people laugh--can always be made into a sequel, Chris Columbus brings us Home Alone 2: Lost in New York.
Home Alone 2: Lost in New York is more of the same from the first film.
If you want a good family movie loaded with laughs and fun, watch this movie and you'll surely have a great time!
I found Home Alone 2: Lost in New York better than the first because I just like how they thought about making a sequel, of course the parents couldn't forget him this time but in this movie he really wasn't Home Alone..... |
tt1235189 | Wild Target | Victor Maynard (Bill Nighy) is an experienced and efficient assassin living a lonely life in accordance with his family's business. Victor follows a family line of professional assassins, and he completes his assignments quickly and without remorse. One afternoon, after killing one of his targets, he hesitates in killing the pet parrot, Roger, and instead takes him as a gift to his mother, Louisa (Eileen Atkins) an intimidating woman who was, until recently, also Victor's housemate. In celebration of his 55th birthday, she gives him a leather bound book with newspaper clippings of each of his kills from his first to his most recent, leaving pages for future hits to be included. She also expresses concern that he might be homosexual, wondering why he hasn't produced a successor.
Rose (Emily Blunt) is a not-so-average girl with a talent for thievery. Her most recent theft involves the sale of a fake Rembrandt painting (painted by her friend in the Restoration Department of the National Gallery) to Ferguson (Rupert Everett), managing to swindle him out of £900,000. Ferguson soon discovers the swap and hires the best hitman, Victor Maynard, to dispose of her. Victor takes the case and immediately tracks Rose down, missing several opportunities to kill her, and accidentally killing a random stall customer in a changing room. He follows her to a balcony opposite her hotel room and tries to shoot her through the window, but is interrupted by the arrival of the front doorman. Victor sets up a microphone and headset to keep her under surveillance, but falls asleep, unable to listen to their noisy lovemaking. He wakes the following morning, just as she is leaving. He has the opportunity to shoot but pauses.
His mother, Louisa, is disappointed by this missed target (and has apparently killed Roger with a knitting needle) and suggests that Victor apologize to his employer and offer to do the hit for free. He tracks Rose down in a parking garage where he sees another hitman ready to kill her. He takes the preemptive shot, killing the other assassin. He and Rose get into her car, only to be forced out again by Mike (Gregor Fisher), another assassin hiding in the back seat of her Mini. Mike throws Victor's gun away and lines them up on the wall to be shot and killed, but instead is wounded by Tony (Rupert Grint), an apparently homeless young man who had picked up the dead man's gun. Saying it was his first time handling a firearm, he impresses Victor enough to consider a protégé. But he sends Tony home and Victor and Rose flee. Mike starts firing at them and they nearly run over Tony on his way out of the garage, forcing him to join the ride. Rose offers Victor his price of £30,000 a week for her protection, believing that he is merely a private detective. They travel to a luxury hotel where they can lay low, but by chance get a room on the same floor as Ferguson. Ferguson hires Dixon (Martin Freeman), reputed to be second only to Maynard in proficiency, to kill Rose and Maynard. After several close calls, Mike, who is also Ferguson's bodyguard, discovers their whereabouts when he spots a pair of boots that Rose had stolen from his dead partner. Tony is ambushed in the bathroom and nearly drowned in the bathtub by Mike, but he turns the tables and accidentally shoots Mike's ear off before the three of them escape the hotel. Ferguson and Mike pursue them in a high-speed chase through the streets of London until Mike loses control and crashes the car, sending the pair to the hospital.
They travel to Maynard's home, an exclusive farm deep in the countryside, where his furniture is shrink-wrapped and his cat, Snowy, resides with him. Maynard takes Tony on as his apprentice in "private detective" work. One night (after a sensual foot-massage between Victor and Rose), Rose is attacked by Louisa (Victor's mother), who had come back to the house to finish what her son had started. He eventually talks her down and after she leaves, the three of them work on becoming friends. Rose and Tony help Victor celebrate his birthday, and, after a brief period of sexual confusion between Tony and Maynard, Victor falls in love with and sleeps with Rose. Afterwards, his attitude becomes more friendly, and Victor peels off the plastic coverings on all of his furniture and opens up the house. Meanwhile, Rose looks around Victor's room, finding the leather book that his mother had given him and learning that she was actually his target for assassination. She also finds Victor's father's first gun, a Broomhandle Mauser, and steals it for protection. She runs out of the house after making it clear that she trusts neither Victor nor Tony, and returns to the National Gallery, only to find her friend dead and Dixon and his assistant, Fabian (Geoff Bell), waiting for her. They quickly return to Victor's home, and Tony and Victor gain the upper hand when Louisa appears, killing Fabian with a machine gun. Dixon withdraws the old gun Rose had taken from Victor's room and fires at Victor. It backfires, sending the bolt into his skull. Victor, Tony and Rose bury the pair in the back yard and return to their lives.
Three years later, Victor and Rose are married with a son named Angel and Tony has moved in with them. While Angel is playing one morning, Tony comes outside asking Victor and Rose where the cat had gone off to. They look at Angel in awe as he is innocently patting soft dirt into the yard, suggesting he killed and buried the cat. Victor smiles with pride. | revenge, comedy, murder, romantic | train | wikipedia | null |
tt0086190 | Star Wars: Episode VI - Return of the Jedi | The opening crawl reveals that Han Solo's friends are engaged in a mission to rescue the smuggler from Jabba the Hutt and that the Galactic Empire is building a new armored space station which is even larger and more powerful than the first Death Star.Near the forest moon of Endor the new Death Star is being constructed in orbit, and a command star destroyer arrives and launches a shuttle with a fighter escort -- a shuttle bearing the Dark Lord of the Sith. Fearing his arrival, the commander of the new Death Star informs Darth Vader (David Prowse, voice: James Earl Jones) that the station will be operational on schedule, but when Vader challenges this "optimistic" appraisal of the situation, the commander admits that he needs more men to accelerate construction. Darth Vader, however, informs the commander that the Emperor (Ian McDiarmid) will be arriving soon, and that he is most displeased with the commander's progress. Shaken, the commander commits to redoubling construction efforts. Vader, pleased, remarks, "the Emperor is not as forgiving as I am."Jedi Knight Luke Skywalker (Mark Hamill), Chewbacca (Peter Mayhew), Lando Calrissian (Billy Dee Williams), Princess Leia Organa (Carrie Fisher), C-3PO (Anthony Daniels), and R2-D2 (Kenny Baker) return to Tatooine to rescue Han Solo (who was encased in carbonite at the end of Star Wars: Episode V - The Empire Strikes Back) from the gangster Jabba the Hutt (voice: Larry Ward). Luke sends C-3PO and R2-D2 to Jabba's desert palace to deliver a message: In a hologram projected by R2, Luke offers to bargain with Jabba for Solo himself -- if Jabba does not, he will be destroyed. Jabba laughs at the message and refuses to give up his "favorite decoration:" Han, frozen in carbonite, hangs on a wall in Jabba's court. The two droids are sent to EV-9D9's workshop where C-3P0 is given the job of Jabba's translator and R2 will be a drink-server on Jabba's sail barge.Disguised as a bounty hunter named Boushh, Leia arrives in Jabba's court with Chewbacca in cuffs. She offers him to Jabba for a sizable bounty. After Leia dickers with Jabba over the amount and threatens him with a small thermal detonator, Jabba happily agrees to pay, impressed with the bounty hunter's nerve, and Chewbacca is imprisoned.That night, Leia sneaks into Jabba's court and frees Han from the carbonite. However, she and Solo are both captured by Jabba. Solo is imprisoned with Chewbacca and Jabba keeps Leia on display in a metal bikini and chains. Luke arrives with a final ultimatum to release Solo. Jabba again refuses and drops Luke through a trap door into a pit below his throne that houses the rancor, a fearsome beast that Jabba keeps for executions. As Leia watches in horror, she sees Lando Calrissian disguised as a palace guard. After a brief battle, Luke defeats the rancor, enraging Jabba, who declares that Luke, Solo and Chewbacca will be slowly consumed by the sarlacc -- a huge, shark-toothed, tentacled maw at the bottom of the Great Pit of Carkoon.The group is taken to the pit on Jabba's sail barge fleet and prepared for execution: Luke is the first, pushed out onto a thin plank over the pit. Luke gives R2 a short salute and a small object, Luke's new lightsaber, is launched into his hand. A battle erupts, with Luke steadily taking the fight to Jabba's men. During the battle, Leia strangles Jabba with the chain around her neck and with R2-D2's help escapes from her bonds. Solo accidentally knocks Boba Fett (Jeremy Bulloch) into the sarlacc pit. Lando is also thrown off one of the skiffs, hanging by a few cables until he's rescued from the sarlacc itself by Han and Chewbacca. Luke, having fought his way onto Jabba's sail barge, has the escaping Leia aim the deck cannon at the vehicle and sets it on automatic fire; the sail barge soon blows apart. Our heroes manage to escape before it explodes, retrieve R2 and C-3PO and zip off into the desert. Luke flies off Tatooine in his X-Wing fighter and the rest of the band fly away in the Millennium Falcon to rendezvous with the Rebel fleet near Sullust.A massive fleet of fighters completely surrounds the boarding bays of the Death Star at the arrival of the Emperor. As Red Guards slowly descend from the Imperial shuttle and flank its ramp, Vader and the Death Star commander kneel to their master, the last to enter the hangar. He insists that Lord Vader will soon capture Luke Skywalker, and Luke will learn of the dark side of the Force when brought before Palpatine himself.Luke returns to Dagobah to complete his Jedi training, but he finds Yoda (voice: Frank Oz) is ill. He tells Luke that no further training is required and all that remains to be done is to confront Darth Vader. Luke attempts to get independent confirmation of Darth Vader's claim to be Luke's father, but Yoda is evasive. Finally, Luke begs Yoda to tell him the truth, and Yoda, emotional torture clearly evident on his normally serene features, confirms Luke's darkest fears. He correctly infers that Vader has used this information as an emotional weapon against Luke, and criticizes Luke for having faced Vader prematurely, with nearly disastrous consequences. He reminds Luke of the true nature of the Force, and of the soul-corrupting nature of the dark side. Yoda then issues a dark warning, telling Luke how his father fell to the shadow: he was corrupted by the powers and influence of the Emperor. If Luke allows himself to be manipulated by this dark mind, then he too shall become what he most fears.Finally, Yoda charges Luke with keeping alive the teachings and knowledge of the Jedi and the Force, urging him to start with his own family, with whom the Force is unusually strong. With his final breath, Yoda tells Luke that there is "another Skywalker." Yoda dies at peace, and before Luke's astonished eyes, his body vanishes, passing with his spirit into the Force. The spirit of Obi-Wan Kenobi (Alec Guinness) confronts a distraught Luke, confirming that Vader was once Anakin Skywalker, a Jedi who was turned to the dark side of the Force. Obi-Wan confesses to Luke that he made mistakes in Anakin's training, especially by not deferring to Yoda, and takes responsibility for indirectly creating the evil Darth Vader. Luke counters that even now, all is not lost, that some part of Anakin remains, if only someone can reach it. When Luke asks about the other Skywalker, Obi-Wan tells him that Luke has a twin sister, hidden from Anakin and separated from Luke at birth to protect them both from the Emperor. Luke intuits that his sister is Princess Leia. Obi-Wan confirms it, but warns Luke that in the eyes of the Empire, all bonds of love and caring are potential weaknesses to be exploited.Meanwhile, the entire Rebel Alliance fleet is massing their near Sullust meeting to devise an attack strategy on the uncompleted Death Star. As part of the attack, Han and his companions must land on the forest moon of Endor and deactivate the generator that projects a protective shield up to the orbiting and incomplete Death Star. The team, led by Han, will use a stolen Imperial shuttle and confirmation code to infiltrate the heavy security measures protecting the construction site before the rest of the Rebel fleet arrives. Luke arrives at the meeting and tells Han and Leia that he'll join them on the dangerous commando mission. The fleet's assault on the Death Star will be lead by Lando Calrissian, piloting the Millennium Falcon, which will fly into the core of the space station and destroy the main power generator.The team arrives at Endor in the stolen shuttle and uses the confirmation code to sneak past the Imperial fleet. Luke senses that Vader is aboard the Imperial fleet's largest ship, the super-star destroyer Executor, and believes he's endangering the mission. Han tells him not to worry.When they arrive on the moon, the team happens across a small unit of Imperial biker scouts. Han tries to sneak up on the scouts to disarm them but draws their attention when he steps on a branch. Leia and Luke jump on speeder bikes and pursue two more scouts through the forest at high speed. They overtake them both but are separated; Leia's bike crashes into a tree after she jumps off and she falls unconscious. Luke jumps off his own bike and battles with the the scout he'd been pursuing, forcing him to crash using his lightsaber. When Luke rejoins the team, he finds that Leia hasn't returned. The team looks for her but is captured by indigenous creatures called Ewoks -- short, furry, intelligent forest dwellers. An Ewok called Wicket (Warwick Davis) befriends Leia, but the other Ewoks who captured the rest of the Rebel party decide to sacrifice them to C-3P0, who they believe is a god. Luke, having mastered the Force, levitates C-3P0 to impress the Ewoks with the droid's power and scare them into giving up the sacrifice. With the help of C-3PO, Luke and his party form an alliance with the Ewoks, whose stone-age technology has unexpectedly effective military applications.Later, Luke decides that the time has come for him to face Vader. He confesses to Leia that he is her brother, and that he has to try to save the man who was once their father. She tells him to ignore his feelings and leave but Luke tells her that he must face his destiny. He surrenders peacefully to Vader but fails to convince his father to abandon the dark side.They go to the Death Star to meet the Emperor, who reveals that the Rebel Alliance is walking into a trap. On the forest moon, the Rebels led by Solo and Leia enter the shield generator control facility only to be taken prisoner by a large legion of Imperial troops. Once they are led out of the bunker, however, the Ewoks spring a surprise counterattack. In a desperate ground battle, the Rebels and Ewoks fight the Imperial forces. Aboard the Death Star, the Emperor attempts to seduce Luke with the powers of the dark side. The Emperor reveals his plan: the information that Rebel spies had stolen was part of an elaborate plan to draw out the Rebel fleet and command so they could be eliminated in one battle. As Luke's anger builds he attacks the Emperor with his lightsaber, only to be stopped by Vader's crimson blade.During the strike team's assault, the Rebel fleet emerges from hyperspace for the battle over Endor, only to discover that the shield of the Death Star is still functioning. An intense space battle takes place as the Imperial fleet, in a second part of the Emperor's plan, appears and attacks the Rebel fleet. During the battle, the Death Star is revealed to be operational; its superlaser is fired at the Rebel fleet and obliterates a Rebel star cruiser. Though Admiral Ackbar wants to abandon the attack, Lando convinces him that they must give Han and his party more time on Endor. The fleet regroups and begins to engage the Imperial fleet of star destroyers directly.On the Death Star, the Emperor taunts Luke to give in to his anger. A ferocious lightsaber duel has erupted between Luke and his father. In the midst of combat, Vader reads Luke's feelings and learns that Luke has a twin sister. When Vader toys with the notion of turning Leia to the dark side, Luke gives in to his rage and furiously gains the upper hand in the battle, slicing off Vader's right robotic hand in a rage in one swift cut, and makes his father succumb to defeat at the mercy of his son's blade. Despite the Emperor's goading Luke refuses to kill his father, realizing that he is traveling down his father's path towards the dark side, and declares himself a Jedi. Realizing that Luke cannot be turned, the Emperor uses Force lightning against him to torture and attempt to kill him. Deeply affected by the sight of his son dying before him, Vader repents and turns on the Emperor, throwing him down a reactor shaft to his death. At the same time, however, the Emperor's Force lightning causes fatal injuries to Vader (Anakin) and short-circuits his breathing system. Stopping momentarily in a landing bay, Anakin asks Luke to take his mask off, knowing that he'll die, but desiring to look at his son's face with his human eyes. Luke removes the helmet, revealing the pale and scarred face of his father (Sebastian Shaw). Anakin says that Luke was right about him, and asks Luke to tell his sister. With those final words, Anakin dies.Back on Endor, the strike team finally destroys the shield generator. The Rebel fleet seizes the opportunity to launch a final assault on the Death Star in space. Lando leads Wedge Antilles (Denis Lawson) and his fighter group into the bowels of the Death Star, where they fire at the main reactor, causing its collapse. Luke, with the body and armor of Anakin, escapes the Death Star in an Imperial shuttle. Moments later, Wedge in his X-Wing and Lando in the Millennium Falcon emerge from the Death Star just as the space station explodes. On Endor, Leia reassures Han Solo of her love and reveals to him that Luke is actually her brother. That evening, Luke cremates the remains of his father in a funeral pyre on Endor. The entire galaxy celebrates the fall of the Emperor and the Rebel victory over the Empire. Luke, Leia, Han, Lando, and the rest of the rebels, along with the Ewoks, celebrate the victory as well. During the celebration, Luke catches sight of the spirit figures of Obi-Wan Kenobi, Yoda, and the redeemed Anakin Skywalker, who look proudly upon him. | fantasy, dramatic, cult, violence, good versus evil, action, tragedy | train | imdb | A long time ago, in a galaxy far, far away.....There was a boy who was only two years old when the original "Star Wars" film was released.
It's now legendary in this boy's family how the last action figure he needed, Anakin Skywalker, stopped being produced and carried in stores, and how this boy went for about ten years (until he got into college) trying to track one down and finally bought it from someone on his dorm floor for a bag of beer nuggets (don't ask...it's a Northern Illinois University thing).I can't review "Star Wars" as a movie.
I don't get the appeal of "Lord of the Rings" or "Star Trek" but I understand the rabid flocks of fans that follow them because I am a rabid fan of George Lucas's films.I feel no need to defend my opinion of these movies as some of the greatest of all time.
After "Star Wars: A New Hope" redefined science fiction, and "The Empire Strikes Back" redefined "Star Wars", it's hard to believe that the third and final film of this trilogy can manage to be as good as the other two, but this one really does a nice job.
This is continually changing between a ground battle between the rebel strike crew on land (including Han Solo, Chewbacca, and Leia), the battle raging on in space (including Lando), and a confrontation between Luke and the Emperor on the new Death Star, which leads up to another duel with Darth Vader.
Following on from the conclusion of "The Empire Strikes Back", Luke Skywalker (Mark Hamill) follows his Rebel Alliance friends to Tatooine, his home planet, to rescue Han Solo (Harrison Ford), the space pirate turned Rebel hero who was captured by Jabba the Hutt for overdue debts.
Add in favourites like Alec Guiness as Kenobi, Yoda and the loveable Chewbacca, C-3PO and R2D2 and the series resembles a family more than a cast.Despite the film's corny forest battle involving the Ewoks and the Empire, it ends well and includes a three way battle sequence: on Endor, in space and on the Death Star, each with very impressive special effects.
Just as the 'Blue Danube' worked perfectly for "2001: A Space Odyssey", John Williams' score is as much a part of "Star Wars" folklore as light sabers and the Force.Lucas left the ending open to interpretation, meaning there could have been more episodes made.
My wife and I watched all three of the movies on DVD this week -- Star Wars, Empire Strikes Back, and Return of the Jedi (now on DVD called parts IV, V, and VI) -- compliments of our local public library.
Up until the sixth and last episode of the Star Wars saga, which finally ended in 2005, I had always looked at this 1983 entry as my favorite film of the long-running series.
The last half hour exemplifies this the most as the scene switches every few minutes from the woods to the battle among space ships to the individual laser-duel between Luke Skywalker and Darth Vader.Another nice characteristic this film had that the two previous did not was the absence of in-fighting between two of the stars.
After watching A New Hope and The Empire Strikes Back, it's time to watch the final chapter of the Star Wars film franchise, The Return of the Jedi.It stars Mark Hamill, Harrison Ford, Carrie Fisher, Billy Dee Williams, David Prowse, Frank Oz, Anthony Daniels, etc.The Empire is more than halfway through construction of a new Death Star - almost twice as big, but more than twice as powerful.
It appears that nothing will stop the Empire's triumph - unless things start to change quickly.I thought it was a great end to the Star Wars series.But in 1999, the story took itself back into the beginning with Star Wars Episode I: The Phantom Menace and ended with Star Wars Episode III: Revenge of the Sith.So far, I'm finished with the Star Wars original trilogies, and there will be more reviews in the summer.Star Wars Episode VI: Return of the Jedi gets 10 stars..
When it comes to creating a universe George Lucas is the undisputed master and his final Star Wars film is very, very good (and more appropriately rated in comparison to the two previous films in the original saga).
I personally like the Empire Strikes Back a lot also but I think it is slightly less good than than ROTJ since it was slower-moving, was not as episodic, and I just did not feel as much suspense or emotion as I did with the third movie.It also seems like to me that after reading these surprising reviews that the reasons people cited for ROTJ being an inferior film to the other two are just plain ludicrous and are insignificant reasons compared to the sheer excellence of the film as a whole.
Or when our heros were rescuing Princess Leia and being shot at (somehow they missed)as Han Solo and Luke were trying to exit the Death Star.The last reason that I care to discuss (others are just too plain ridiculous for me to spend my time here.) is that people did not like Darth Vader being revealed!
Let's see." That way I go with an open mind and do not dupe myself into thinking that a clearly superior film is not as good as it really was.I am not sure who criticizes these movies but, I have asked many college students and adults about which is their favorite Star Wars movie and they all tell me (except for one person that said that A New Hope was their favorite) that it is ROTJ.
For example, the emotional light saber battle between Luke and his father in ROTJ was better than the one in the Empire Strikes Back any day!!!Finally, I hope people go see the Phantom Menace with an open mind because if fans start looking for nitpicky, insignificant details (or see it as "just another sequel") to trash the movie such as "This movie stinks because Luke is not in it!" then this meritorious film will become another spectacular movie that will be the subject of derision like ROTJ suffered unfortunately..
A genuinely bad movie, truly awful in every possible way, "Jedi" features a screenplay aimed squarely at four year olds and absolutely terrible acting from an understandably embarrassed cast; in addition, the film offers us the shoddiest array of cheap, plastic-looking space aliens since Irwin Allen's "Lost In Space" tv series.
I always loved A New Hope [which I always called Star Wars up until the re-release because we had the original VHS set], had a semi-dislike of The Empire Strikes Back [but, I have grown to like it now], and absolutely loved The Return of the Jedi.
-Reveal that one of the good-guys is the child of one of the bad guys again.The script is awful, the directing is awful, the score is a witless mish-mash of the first two movies, Mark Hamil couldn't act, Harrison Ford had long since forgotten the difference between the Han Solo and Indiana Jones...
The Return of the Jedi was George Lucas's last Star Wars film for 16 years, until he followed it up with the disappointing prequel The Phantom Menace in 1999.
At the time that I am writing this review, Episode II has come out and proved that George Lucas is still able to produce an action packed space adventure (although he also proves that he is relying far too much on computer generated effects), and we are eagerly awaiting the release of Episode III in 2005, the film which has more possibilities than any of the Star Wars films since the original in 1977.
Clearly, this is not going to be an easy thing to do, and the majority of the film presents the efforts to get all of the forces coordinated to pull this task off, with the ultimate climax occurring as the rebel attack coincides with the revelation that the Death Star is fully functional as a weapon despite massive damage (a little secret they have tactfully decided not to reveal), and that they are already aware of the impending attack and more than capable of squishing all of the attackers like a lot of space-bugs.
There are a lot of fascinating characters and creatures introduced here, and some of the battles scenes in space far surpass anything in Star Wars or The Empire Strikes Back, but despite the fascinating story, there is just too much an element of conclusion and tying up loose ends for this movie to be as fresh and exhilarating.
Throughout the entire Star Wars saga, one of the things that I always wondered about was how exactly Vader was seduced by the dark side, and in this scene I found myself seduced by it because I so badly wanted to see Luke do exactly what the Emperor was asking him to do.
Given the relatively cheesy end that we saw in this film, with all of our heroes partying and hugging at an Ewok party in the woods (and with Luke giving the stereotypical grin to the ghostly images of Obi Wan and Yoda and the image of his father before he became Darth Vader (?)), I am curious about the future of the Star Wars saga.
I've heard rumors about the production of Episodes VII, VIII, and IX, which seem a little far-fetched at this point, but it also seems almost as far-fetched that old George would end one of the greatest film sagas of all time with the closing scene of The Return of the Jedi..
never has a sequel much less the third installment of a trilogy ever captured the hearts and minds of the people of an age as well as the "definitive vision" of george lucas' star wars: return of the jedi.
go out right now and rent or buy the greatest movie of all time: Star Wars VI: The Return of the Jedi..
Return of the Jedi is the second best movie ever made (Next to The Empire Strikes Back) It has everything, good special effects, good acting, interesting story line, and most of all, it is the conclusion to the STAR WARS TRILOGY.
This movie is not as flawless as the first two but everything involved with that throne roome scenes were some of the highest points in the saga, the final lightsaber battle is just breathtaking and the lovely ending of it, those moments alone makes this one of the most underrated in the whole franchise and in my opinion it's better than a new hope..
Despite the perfection of episodes four and five, my go-to Star Wars movie on a boring Sunday afternoon was always Return of the Jedi, the third instalment now widely remembered as the poorest of the bunch.
Most of the same characters from the first two films appear again, including Luke Skywalker (Mark Hamill), Han Solo (Harrison Ford), Princess Leia (Carrie Fisher), Darth Vader and Chewbacca, but somehow they don't have the same impact as they did before.The main problems with Return of the Jedi are the general tone and the uneven script.
Viewed on its own terms, or compared with the more recent Star Wars films, Jedi's faults can be forgiven, but as part of the original trilogy it really should have been better..
Most offensively, you've got a score that screams and manipulates like a sitcom laugh track or a Nazi anthem (but then, John Williams never offered anything but recycled schmaltz to start with).In essence, I remain fascinated by the fact that more people have seen this than will sit through the infinite number of films that have more imagination and emotion in a single second than the entire "Star Wars" series can muster.
I really liked the new characters - Ewoks, little bear cubs-aborigines of the green planet Endor, on whose orbit the "Death Star" was built.I want to say a big thank you to John Williams for the fact that this magnificent composer rejoiced with his delightful melodies throughout all the sagas, both original and prequel trilogy.The picture has once again proved that, no matter how gloomy and dark the world is, even the slightest ray of light can illuminate this world.George, along with Richard, completed the saga dignifiedly, in a big way.
It really does suck getting old sometimes...you end up doing things like re-watching 'Return of the Jedi' and realizing, "Wow, this movie kinda sucks." Actually, it's pretty damn terrible.
This movie wastes what was a great villain in Boba Fett,and Harrison Ford's Han Solo character is hardly used.In 'The Empire Strikes back',Han Solo was a captain and yet now he is suddenly a General(?)as is Billy Dee Williams character who wasn't even in the army.This is bad writing and makes the film look amateurish.Luke Skywalker's main strategy is to get captured and then fight his way out(pretty silly writing).And the teddy bears,with their spears and stones,defeat the villain's army which is armed with heavy weapons.This is a very disappointing finale,not well written and the characters are wasted..
Many people put it down for not being so great but lets think about this, it had the final battle between Skywalker and Vader, the rebels destroyed the death star,and we visited new places such as Jabas palace and the moon endor and they included many new characters like Jaba, the ewoks, and Emperor Palpatine.
After The Empire Strikes Back, which built masterfully on the success of the first Star Wars film -- deepening characters, fleshing out the universe in grand and dramatic space-opera fashion, and adding more ambitious themes about the true nature of heroism -- Return is a significant letdown.On the plus side: it has some enjoyable action sequences and fun special effects.
The muppets and brighter mood stop it being as good as the two before but at least now the Phantom Menace has shown us what a bad Star Wars film is like, now we know that Jedi isn't the weak link in the series..
This is in my top 3 favorite movies, and i think it is the best star wars movie that George made.The movie is like the movies in one, it has a beginning then a middle part and a end part that comes together in one movie.I love how this movie is the first star wars to use a lot of lightsaber, and have the great scenes on the planets and a lot less space.George Lucas out did himself with return of the Jedi, and this movie even has my favorite lightsaber fight out of the entire series.This movie has been my favorite star wars since i was a kid, and i always think people underrate it as not being as good as the empire strikes back.This is the best scifi movie i have ever seen, and one of the best movies i have ever seen period, with all of the great things this movie is i say watch it.Star Wars is my favorite movies, and i think this one is the star wars to really watch and may the force be with you..
Star Wars: A New Hope, and Empire Strikes Back are the other two.Return of the Jedi is my personal favorite of the Trilogy.
The scenes from the destruction of the Death Star's main reactor to the final massive explosion are totally awesome.The death of Yoda is very powerful, as are the sequences where Luke defeats Darth Vader, and Darth Vader tosses the Emperor into the Reactor.Return of the Jedi has the biggest and best visual effects, and the biggest and best sound effects of the Three movies.George Lucas is brilliant!
Now I can see all of my favorite moments whenever I feel like it.The only movie that might surpass this epic trilogy would be Star Wars: Episode 1 - The Phantom Menace.Roll on 1999!.
Then there are the few that come along -- such as "The Good, the Bad and the Ugly" -- that are actually the best of all three.Unfortunately "Star Wars: Episode VI - The Return of the Jedi" fits into the former category -- it is far inferior to its predecessors.
After "Return of the Jedi," Lucas never really got back on track, and particularly with the recent "Star Wars" prequels it is apparent he has sold out and lost grasp of how to make a good film.
But we all remember, "May the force be with you" from "Star Wars," and "I am your father!" from "The Empire Strikes Back." There's nothing particularly memorable here -- it is not one of the greatest films ever made, just a very satisfying (if occasionally goofy) conclusion to the trilogy.
There's an exciting chase sequence, lots of hyper-speed battles, space ship exteriors and "lightsaber" fights -- enough to wet the appetite of anyone looking for mere action.Unfortunately what "Return of the Jedi" lacks is originality -- "Star Wars" was unique when it came out, recycling old storytelling clichés in a modern update; the sequel was very dark and impressive with arguably the best performances of all three films; the only thing to look for here is Luke's sudden evolution from Jedi trainee to Jedi master.
Being a huge fan of the Star Wars universe, I'm giving the original trilogy a 10/10 score as a whole.Succeeding The Empire Strikes Back, this movie concludes the epic story of Luke Skywalker and his friends.
Ian McDiarmid played the role perfectly.On that note, Return of the Jedi perhaps has the best acting in all of the Star Wars films.
Star Wars: Episode VI - Return of the Jedi (1983) is an amazing movie filled with action, humor, and romance.
Return of the Jedi is the best Star Wars movie. |
tt0104652 | Kurenai no buta | Marco Pagot (voice: Michael Keaton in the Disney English dub), a WWI pilot who has lost faith in humanity and acquired a curse that turned him into a pig, is now known as Porco Rosso. Porco has become an airborne bounty hunter, offering his services from a small island hideout for a fee. When word comes that some sea pirates have kidnapped a group of girls from a cruise liner, Porco goes after the pirates, severely damaging their aircraft. Porco strikes a deal with them: turn over the girls and half of the loot collected, and he'll let the pirates go. Being desperately in need of money, the pirates comply, and Porco returns the girls to the cruise liner.After the rescue, Porco goes to the Hotel Adriano, where he talks with Gina (voice: Susan Egan), an old friend who owns the hotel and sings in the club. While there, Porco meets an American pilot named Donald Curtis (voice: Cary Elwes), who has been hired by a local band of sea pirates.Afterwards, Porco and Gina sit down to a meal, reminiscing about the old days. Looking at her wall, Porco notices a photo of several younger persons, with the face of one of the young men scratched out. Porco tells Gina of his wish that the photo be taken down, but she refuses, saying that even with the scratched-out face, it's the only known photo of Marco when he was still human.Porco returns to his island hideaway. Over the radio, he hears that several bands of sea pirates have pooled their resources and robbed another cruise liner, delivering the caveat that they are planning to get Porco next. Porco decides to head off to Milan to enjoy the scenery and get his plane repaired. However, on the way there, an impromptu dogfight breaks out when Curtis spies Porco; Porco's plane is heavily damaged and the engine gives out entirely. Porco saves the body of his plane by hiding it under the greenery on a small island. Believing that Porco has been killed, Curtis flies off.Porco has the plane transported to Milan. He calls Gina to let her know he is all right since reports have surfaced that Curtis shot him down. Gina tries to get Porco to change his mind about Milan, as the Italian authorities have a warrant out for his arrest. Porco ignores her concern. He rings up an old friend named Piccolo (voice: David Ogden Stiers) who can repair his plane. Upon arrival at the Piccolo SPA workshop, Porco finds that all of the men that Piccolo worked with (both family and friends) have gone off to find work elsewhere. Piccolo's new staff is his granddaughter Fio (voice: Kimberly Williams-Paisley) and the female relatives of his former workforce.Porco is at first against having someone as inexperienced as Fio redesign and work on his plane, but he relents when she displays a natural enthusiasm and knowledge for planes and design work.Eventually, the plane is completed, but word has reached Porco that the Italian police know he's there and intend to arrest him. Porco tries to make an early-morning escape, but is thrown for a loop when Fio invites herself along, intending to make sure the plane functions perfectly and to make any necessary adjustments.Porco and Fio escape in a hair-raising take-off from a canal. They make their way to Porco's island hideaway. However, the sea pirates have already arrived with intent to hurt Porco and smash his plane. Surprisingly, Fio talks them out of their plan, speaking of honor among sea pirates. The meeting is interrupted when Curtis climbs down the cliff to challenge Porco to a duel. Upon seeing Fio, he claims that he wants to marry her if he wins. Fio (without Porco's consent) agrees, but only under the stipulation that if Porco wins, Curtis pays the fee for Porco's plane and repair costs.The sea pirates leave, and Porco and Fio settle down for the evening, with plans for the duel the next day. As she lies in a sleeping bag, Fio looks at Porco, and for a few moments, glimpses him in human form. However, when she calls to Porco, his face reverts to his porcine features. Fio asks Porco about the curse, but he doesn't reveal much. Fio playfully suggests that maybe if she kisses him, he'll turn human again, as in the story of the princess and the frog. Porco dismisses this and tells Fio to go to sleep. She agrees to do so if Porco will tell her a story.Porco relates a story in which he and several of his comrades (one of them Gina's late husband) engaged in a dogfight. During the battle, Porco found himself shrouded in a cloud bank. When his plane emerged above the clouds, it was not under his control. He saw a massive procession of different airplanes high above, all flying together in a tight group. As he watched, the downed enemy planes, as well as those of his downed comrades and Gina's husband, drifted up and joined the procession. Porco called to his friend and tries to go after him, but the controls on his plane refused to move. Eventually, the plane drifted down below the clouds, and he lost consciousness; when he came to he found himself over the ocean.The next day, the sea pirates host the air duel between Porco and Curtis. Numerous persons from around the Mediterranean have congregated on a small island where members of the pirate gangs are taking bets on the two combatants.Finally, the duel gets underway. However, while Curtis attempts to shoot down Porco, Porco's code of not firing on another pilot keeps him from easily taking down Curtis. After some time, Porco finally has a bead on Curtis' engine, but finds his guns jammed. Curtis has also run out of ammunition, and soon the two pilots are throwing whatever they can at the other and yelling.Finally, the two land their planes and engage in a fistfight to settle the score. During the fight, Curtis brings up Gina and how she's been waiting for Porco. Finally, the two knock each other out and fall into the water. Just then, Gina arrives and berates Marco for trying to ruin Fio's life as well. This seems to give Porco the will to get up, winning the fight.Gina tells the rest of the bystanders that the Italian Air Force has heard of what is going on, and are sending their planes to intercept. The majority of the spectators flee the island and Porco puts Fio in Gina's plane, despite Fio's protests. As the plane takes off, Fio leans out and kisses Porco. With only Porco and Curtis left, the two agree to work together to lead the Italian Air Force away, but not before Curtis notices something different about Porco's face.Fio ties up the loose ends in a voice-over:- Porco helps lead the Italian Air Force away and is not caught.- Curtis goes back to the United States, where he becomes a movie star.- Fio and Gina become friends, and Fio stops by to see Gina every once in a while.- The air pirates still frequent Gina's establishment, even as the years have gone by and they have moved on or retired.- Fio later took over the Piccolo Company, putting her design and airplane knowledge to use.- Whether Porco and Gina ended up together, Fio tells us, is still a secret. | psychedelic, action, romantic | train | imdb | null |
tt1300851 | The Boondock Saints II: All Saints Day | After the McManus brothers, Connor and Murphy, and their father, Noah (a.k.a. "Il Duce"), assassinated Joe Yakavetta, they fled to Ireland. Eight years later, their uncle Father Sibeal arrives to inform them that a renowned Boston priest was murdered by a mysterious assassin who attempted to frame the Saints by using their ritual assassination style. In response, the brothers dig up their old gear and weapons and depart for the United States.
En route to Boston aboard a container ship, the brothers meet a Mexican underground fighter named Romeo, who recognizes them as the Saints. Romeo convinces them to let him join them as their new partner. Hearing a radio broadcast regarding Joe's son, Concezio Yakavetta, they deduce that he must have hired the hit-man who killed the priest in order to draw them out of hiding.
Meanwhile, Detectives Greenly, Dolly and Duffy are at the scene of the priest's murder. They are greeted by Special Agent Eunice Bloom, the protégée of Paul Smecker (who has died) who has been assigned to investigate the murder and determine whether or not the Saints are responsible. She comes to the conclusion that it was not the Saints who murdered the cleric and begins an investigation to find the real assassin. She and the other officers find out the assassin is Ottilio Panza, a man who appears to be working for a mysterious man known only as "The Old Man".
Connor, Murphy and Romeo hit a warehouse that is being used by an Asian gang to process heroin for Yakavetta. After killing everyone at the warehouse, Connor and Murphy reunite with their old bartender friend, Doc. They learn that the assassin was an independent contractor and that Yakavetta himself is hiding in the Prudential Tower. Later at the warehouse, now a crime scene, Bloom confirms that the Saints have returned. Bloom interrupts a massage in progress and hits a mob boss with a paddle, displaying her identity.
The brothers and Romeo have one of Yakavetta's underbosses named Gorgeous George set up a meeting with a group of mobsters at a bar, where they kill them. Panza arrives shortly after and attempts to ambush the brothers, but Bloom arrives in time to save them by wounding Panza who flees. Bloom introduces herself, revealing her intentions to help the Saints in Smecker's place. The group then cleans up the crime scene to make it look as if the mobsters had turned on each other. Later, Bloom reunites the other detectives with the Saints, thus bringing them in on their plans.
Yakavetta calls a meeting with his crew, during which the Saints arrive and kill everyone including Yakavetta. Bloom interrogates Yakavetta's Consigliere Jimmy and learns of the Old Man's involvement with Panza. The crime scene is visited by FBI Special Agent Kuntsler, who takes over the gang murder case upon suspending Bloom. Later at the bar, Greenly arrives to celebrate the boys' victory, but is shot and killed by Panza. Noah, earlier having decided to help his sons, unexpectedly arrives to demand Panza tell him the Old Man's location. They engage in a type of "Russian Roulette" stand-off and after Panza still refuses to answer, Noah kills him.
Noah reveals to the group that in 1958 New York, he watched a trio of mobsters brutally murder his father in front of his eyes. Consumed with anger and wanting revenge, Noah killed the mobsters with the help of his best friend Louie, who is revealed to be the Old Man. Noah still felt unsatisfied, so Louie helped him pick out mobsters to kill. They continued this until 1975, when Louie gave Noah up to the police.
Bloom illegally obtains a file regarding Louie's location and gives it to Noah. Louie, anticipating the Saints arrival at his mansion, has several hit-men stationed on the grounds. When the McManus family arrives, Louie reveals that he had only used Noah to eliminate the competition in the Mafia, afterwards giving him up to the police when he was no longer useful. After this however, the Mafia cast Louie himself out for the very same reason. He then helped rebuild the Yakavetta family after Joe's demise and let the Saints take out the rest of the organization so Louie could take control. Louie signals the hit-men waiting to take out the Saints to make their move, but the Saints kill them all. Noah suffers a fatal gunshot wound, but kills Louie before he dies. The Police arrive and arrest the wounded Connor, Murphy and Romeo.
Bloom meets with Father Sibeal who has arranged to take her to a safe place out of the country to flee FBI prosecution. She is shocked to discover that Sibeal has been working with Smecker who faked his own death and developed a network of support for the Saints and their work. Smecker tells Bloom his plans to break the Saints out of prison.
As protesters outside of the prison shout for the freedom of the Saints, Connor and Murphy stare out of their window at the sea of prisoners in the yard, finding that they'll have plenty of work while they wait to be freed. | comedy, stupid, cult, violence, flashback, revenge | train | wikipedia | But the southern accent is so thick I had a hard time focusing on anything else.I would like to make a special note of how ridiculous it is for someone to dual-wield Desert Eagles, even if they have compensators attached.Still, none of my complaints stopped me from enjoying the movie.
I took it for what it is, and I think I'm better off for it.Many people criticize Troy and the films themselves, some going so far as to say fans should go kill themselves.
The editing is a little spotty at times, and not everything hits the right beat, but simply to see the boys in action again was enough to make me smile and laugh out loud, and once again, isn't that what movies are supposed to do?
I am working hard to write anything else about this movie to make ten lines since I really thought it was awful and there are only so many ways you can talk about how terrible the lines, characters and lack of plot are.
The story soon opens up into a deeper plot about past sins coming back to haunt their characters.All Saints Day continues the duologue slick, trigger happy style of the first film with rapid fire gun play, film homages, and snapfire duologue that is throughly entertaining.
Being a fan of the Saints for years I went into this movie with high expectations and a good amount of personal excitement.
Unfortunately, this movie fell way below the standards set by the first installment, for these reasons:.paper thin plot = very generic, the kind of thing you come up with in five minutes of stereotypical mob brainstorming..Dumbed down = Where the first movie succeeded in being witty and fun the second can only survive off of gay jokes and three stooges antics..Copying = It seemed like every single well known moment in the first movie was copy and pasted into this movie with the exact same outcome every time.
These characters worked in the first film because they actually had a decent performance to play off of.Don't get me wrong, Julie Benz is great on Dexter, but she was just god awful in this movie.
The only people who are going to watch this are those who liked the original (which was a great niche action movie 8/10 stars).
BSII fails to love up to the original in every way; interesting & entertaining characters are replaced with cheap & annoying ones; old gimmicks are simply rehashed; the leads look old & tired; recurring characters look lost & bewildered; and where the original BS story was simple, tight, & original, BS2's plot is overcomplicated and contrived.There are some thrills and spills to be had in BSII, but it is difficult to watch something fall so far short from the quality of the original.On the Fruit-Meter, BSII gets the "SULTANA (or RAISEN)' – The original grape was fresh and juicy, the sequel has lost all the original zesty flavours and has too many wrinkles..
Sure, I saw "Overnight" and bore witness to the train wreck that was Troy Duffy but I always felt saddened by the fact that the original movie showed that he actually had talent and that his demise meant never seeing what he could do if given all of the right ingredients to make more films.
This movie is the second Boondock Saints film, yes, that's right, it's NUMBER TWO!.
Hot on their heels special agent Eunice (Julie Benz), trained by the legendary Paul Smecker (Willem Dafoe's character in the original).Verging on a spoof rife with pointless and unwelcome nods to the original this is Troy Duffy on self-destruct mode essentially rendering his previous accomplishment with the first movie null and void.
To the extent that I feel strongly obliged to rewatch "The Boondock Saints" and reassess my initial positive reaction to the concept and execution.Featuring some atrocious script filled with terrible jokes, jabs and punchlines, sold by a less than involved cast giving an eye-gouging terrible ensemble performance, hardly anything goes right for the movie.
As expected the story is unfeasible and overboard, but lacks any degree of subtlety with settings constantly on mock mode.A pointless and harmful sequel to "The Boondock Saints", which will likely implode Troy Duffy's movie career..
Let me preface this by saying that Boondock Saints (the original) is my favorite movie.
Those characters (and Sean, Norman and Billy) deserved a better fate.No clue what the hell Duffy was thinking, but I can tell you: this is one movie I will never recommend to friends.
The very cool agent Willem Dafoe has been replaced by a female FBI agent who acts a bit too tough for her character and has a southern accent that is again, very annoying and distracts from the actual story.At 2 hours playtime in total I'd recommend that you'll find something else to with your time...ANYTHING else...clean up your house, sleep go out or take a walk..
Julie Benz gave probably the strongest performance, though for the life of me I did not recognise her at all, yet Clifton Collins Jr. failed miserably in replacing David Della Rocco's character While watching the film I was already preparing my review, hoping that my opinion would change by the end, and I was most looking forward to slating the writer and director for so badly following in Troy Duffy's footsteps, well at least until the credits started rolling and I discovered that Troy Duffy wrote and directed this film as well.
The long awaited, highly anticipated sequel to the cult classic did not disappoint, and we were lucky enough to be able to view it along with Troy Duffy, Bob Marley, Billy Connolly, Sean Patrick Flanery, and Norman Reedus.
Fans of the first movie will definitely enjoy seeing this film and is a MUST SEE for any Boondock fanatic.
Even with a gratuitous scene of Rocko and the boys telling jokes that had nothing at all to do with the rest of the movie.Someone else said it best, it's as if Troy Duffy plagiarized himself.
The cat scene was hilarious in the first one, however, after a cat walked across the bar while they were all drinking and they all gave the camera a goofy look I almost lost it.This sort of thing is seen throughout, instead of new characters we just have new faces which are kind of like a copy of a copy.
Instead of new dynamic characters each character is flattened down a bit and basically told to act like their predecessor.Anyways, I hoped that Duffy was going to do honors to the BDS with the sequel, however, he just kind of ruined them.Bottomline: Stupidest movie I've seen in a while..
I sincerely regret paying $7.50 for the ticket, and I was a huge fan of the first Saints' movie.Not only are the "new" characters clumsy dubs of the missing ones, but they are incredibly less entertaining and embarrassingly corny.
I was just looking for some good Boston punk or classic Irish bagpipes, and I was left disappointed.If you are a fan of the first movie, avoid the second at all costs..
Other reviewers have done that.At one time I actually thought they'd had to have switched some of the actors from the first movie and just made them look like the macmanus brothers, because an actor should have got better after 10 years no?.
The only good thing about the movie was the humor which is why I even gave it a one out of ten as opposed to pretending it ever existed.If you are a fan of the Boondock Saints and almost cried when Rocko got shot, DO NOT SEE THIS MOVIE IT WILL ONLY RUIN THE FIRST ONE..
The fact that people who claim to be fans of the original like this movie baffles me.
Apart from terrible acting, an even worse script, yet worse directing and excruciating lack of sense for detail, Boondock Saints 2 is also the most stereotypical sequel I've ever seen, thus deeming it tragically dreadful.
This movie is a continuation/re-hash of the same thing, only with considerably worse acting, writing, and damn near everything else (as far as my memory tells me - the original wasn't without its flaws, but things do get hazy).Maybe I need to re-watch the original, but a friend of mine (who recently did see the first movie) hated this sequel more than I did.Normally I can rely on IMDb ratings but in this case, the 6.1 rating it had the night I saw the movie was a bit misleading.
Seems like they thought of a couple dozen fun sequences to shoot, threw them into a hat, shuffled them up, and stuck them on a story board.I was a huge fan of the original Boondock Saints and have been looking forward to the sequel for years now.
Can he see that nobody likes his films and that the only people that go watch them are a bunch of annoying frat boys who probably devoured too many brain cells with alcohol that they can't even tell what makes a good film or not.I won't talk about the plot cause like in the matrix when the boy tells keanu that "there is no spoon" he should mention to people thinking about watching this movie should know that "there is no Plot." Even compared to 1960's action films this movie doesn't match up and I've seen films that go back into the 1900's.Some people say that the movies highlight was Willem Dafoe playing the flamboyant investigator who apparently doesn't have a problem with insulting gays considering he's gay himself.
Yeah.....Well even though I like Willem dafoe and I think he was missused for the first film, he decided not to jump on board for the sequel and "I wonder why?" So now the director decides to put in Julie Benz as the replacement.
If this is were the popularity of films is heading to then I just feel bad about cinema itself to see crap like the boondock saints get notoriety when it doesn't deserve any recognition.
The movie was so bad that I cannot ever watch Boondock Saints I EVER again!.
When my brother called he original had been one of my favorite movies of its period, and a quick glance at IMDb confirmed that not only did the sequel have the same director/producer, the cast was also pretty much the same.Imagine my surprise when, after OK-ish opening scenes, it turned into something that could be mistaken for an Austin Powers installment only, contrary to Mike Myers' brilliant comedy, totally not funny.I will not go into the storyline as, apparently, there isn't one.
If your the kind of person who liked the movie Crank and Shoot 'em Up, then you will like the sequel to the Boondock Saints.
On top of the movie being awful - you had a really big sense that they did not know where they wanted to take the so called plot, many characters were useless, I was just waiting for it to end.
I think the original Boondock Saints is fun film with lots of great acting and quirky characters.
Duffy is eager to please, going with guns-blazing, lots of tough-talk, heart-beat style splicing, a lot of slow-mo (a naked shower scene, gun fights, a sexy chick's legs just to name a few), cool sunglasses, religious overtones and childish jokes (gay gags, naked ass), but his writing doesn't really crack between lulls of action and he has less stylistic discipline than Michael Bay.The whole thing is like bland Tarantino (guys playing with guns, killing bad-guys, sums it up).
This movie is a joke.It makes you wonder how ass backwards lucky this director (Troy Duffy) must have been for the first screenplay+film to actually turn out good.
That's my working theory as far as The Boondock Saints goes, because this movie is so damn bad, it's like a made for TV action movie that wasn't good enough for TV and just got shelved and replaced by Sabrina The Teenage Witch reruns because the station didn't want to embarrass itself.I would only recommend this Boondock Saints II to people if I didn't want them to ask me for movie recommendations anymore.p.s. IMDb kiss my ass..
I will say that I'm pretty lazy, but I actually went through the trouble to register at IMDb in order to review this movie and save some people from seeing it and tarnishing the glory that was Boondock Saints.This sequel was a horribly written, terribly acted, awfully edited, and painfully scored disgrace to one of my favorite movies.
I could Tolerate that for 118 minutes a lot easier.I hear there may be a 3rd one made in this serious, why oh why I ask when this one (the second) in the series has ruined any credibility the film could ever have.Well anyway onto the movie itself, this has the worst acting / Storyline and effects of any movie I have watched in a long time.
All Saints Day feels like two hyper-testosterone boys, desperate to be "REAL MEN", with no cinematic experience that didn't involve loony toons, got together and wrote a shitty fanfic based on the first movie, and someone read it and thought to themselves that this was a great way to try and build a franchise.
(I originally like the element where Willem Dafoe's character appeared in the actions scenes as we saw them in flashback)No surprises at all in the film.
I can only assume Clifton Collins was running short on rent to take this role as he had some of the worst character moments in the film.Let's hope it's at least another 10 years before this director gives it another go.
It was the best movie I had seen since the Dark Knight, hell i think its as good if not better as the original.
If you liked the first movie (which I did...in fact, I own a couple copies) then you're going to be disappointed in this sequel.
Sequels are usually wanted, but then again not because everyone wants to remember the (great) original movie as it is, and not see a chance to 'ruin' it.So a director can go different ways.
Try something different and make a different kind of story with the Boondock Saints, or try and keep it in the same spirit of the original movie.
Before I bash a movie that I looked so forward to seeing, let me say, I am a huge Boondock Saints fan.
As someone who enjoyed the first Boondock Saints (I don't praise it up and down like most, but I recognise it as a well made film) I thought that the sequel was terrible.
The film set up for a sequel, and years went by with rumours that it would actually come together, despite the documented attitude of writer/director Troy Duffy.
But ten years seems to have done a number on any expectations for the film.Picking up some time after the titular saints Conner and Murphy McManus (Sean Patrick Flanery and Norman Reedus) went into hiding with their father, the infamous assassin Il Duce (Billy Connolly), the brothers are called back to Boston after a priest is brutally murdered in the same way they killed gangsters years before.
When they do return, with new friend Romeo (Clifton Collins Jr.), they quickly realize they are only part of a much bigger plan.It is agonizing to say it, based on my love for the original film, but The Boondock Saints II is just plain awful.
The film plays off more like a cartoony parody of The Boondock Saints, not an actual sequel.
But it feels like he is standing in the way of the titular characters really taking off and making something of themselves in the movie.
Overall, it was fun to watch if you are a Boondock Saints fan, but it will never touch the greatness of the original..
Even the music, the memorable and catchy Gregorian chant-like electronic beat playing in the elevator from the first film has a reprise.Duffy looks back on the things that made Boondock Saints 1 a cult classic and builds on it.
It also seemed like the director tried too hard to make this movie funny, but it fails just about every time.5/10.
Writer/director Troy Duff has wanted (and deserved) a sequel to his original Boondock Saints, and after all the rumors and near misses, it's finally here ...
In my opinion, the first movie focused on the "Sin of Indifference of Good Men" In this film, I felt the moral being taught is "Are You a Talker or a Doer?" Definitely does not ruin the first movie as most sequels do, but this does enhance the back-story of the original.You will not be disappointed to spend money on theater tickets and then turn around and buy the DVD..
Fans of the original film will find very, very little disappointment with the sequel.
This sequel is everything Boondock Saints fans like myself have waited ten years for.
It's been 10 years, the actors have aged, Duffy was blacklisted and the cult film Boondock Saints seemed to be better left untouched with a sequel.
The only reason I attempted to watch this horrible film was to see what happened to the brothers, and just like the first film, you have a whole lot of bad actors and acting that includes Julie Benz awful...
There must bean audience out there for this kind of movie - otherwise a sequel would never have been made 10 years from the original!
I loved the first film and eagerly awaited the arrival of a sequel, so when it arrived I got very excited to see it.Within 20 minutes I thought, this must have a different directer or writer but to my shock though, it has not.It screams TV movie, and not a good one which is fitting seeing the cast is full of TV actors.Julie Benz and the three stooges (detectives) seem to have lost any ability to act, trying too hard to be funny when it is not necessary. |
tt0099291 | Come See the Paradise | In 1936, Jack McGurn (Quaid) is a motion picture projectionist, involved in a campaign of harassment against non-union theaters in New York City. One such attack turns fatal, as one of his fellow union members starts a fire. McGurn's boss, knowing that the feelings of guilt would likely cause Jack to go to the police, urges him to leave the area. Jack moves to Los Angeles where his brother Gerry lives. Jack's role as a "sweatshop lawyer" strains an already-rocky relationship with Gerry who is willing to have any job, barely keeping his family afloat during the Great Depression.
Taking the name McGann, Jack finds a job as a projectionist (ironically, non-union) in a movie theater run by a Japanese American family. He falls in love with Lily Kawamura, his boss' daughter. Forbidden to see one another by her Issei parents and banned from marrying by California law, the couple elopes to Seattle, where they marry and have a daughter, Mini.
When World War II breaks out, Lily and their daughter are caught up in the Japanese American internment, rounded up and sent to Manzanar. Jack, away on a trip, is drafted into the United States Army with no chance to help his family prepare for their imprisonment.
Finally visiting the camp, he arranges a private meeting with his wife's father, telling him that he has gone AWOL and wants to stay with them, whatever they have to go through. They are his family now and he belongs with them. The older man counsels him to return to the Army, and says that he now believes that Jack is truly in love with Lily, and a worthy husband.
Returning, ready to face his punishment for desertion, he is met by FBI agents, who have identified "McGann" as being the McGurn wanted for his part in the arson of years before.
The story is told in flashback as Lily tells the now pre-adolescent Mini (King) about the father and the life that she barely remembers, as the two of them are walking to a rural train station. The train arrives and they reunite with Jack, who has served his time in prison and finally is returning to his family.
=== Origin of the title ===
The title of the film came from a line of a poem by Russian poet Anna Akhmatova. Writer Alan Parker was unable to find the original poem and wrote his own poem before writing the script to try and say what the film would say:
We all dream our American dreams
When we're awake and when we sleep
So much hope that grief belies
Far beyond the lies and sighs
Because dreams are free
And so are we
Come See the Paradise | flashback | train | wikipedia | "Come See The Paradise" is a forgotten gem of a film that takes place during one of the United States' darkest and most shameful times.
At the onset of World War II, Japanese-Americans were put into internment camps This injustice lasted for several years.
It tells the story of Jack McGurn (Dennis Quaid), an Irish-American labor organizer who falls in love with Lily Kawamura (Tamlyn Tomita), a young girl who lives with her large family in San Fransisco.
Soon after, Pearl Harbor is bombed, the Kawamuras are shuttled off to various camps (except Mr. Kawamura who is believed to be a traitor), and Jack is forced into the army.Like many films, "Come See The Paradise" is about the strength of love.
Films like this and "The Joy Luck Club" prove that she is one of the most talented and under-used actresses.Some have complained that this film uses an "American" character to tell the story of a "Japanese" family.
Instead, take a look at Roger Ebert's fine review under the External review portion of IMDb. I first purchased this film back in the days of the Laser Disc, and I know that my "ancient by today's standards" Pioneer player....and perhaps I'm in violation of copyright laws, but I am transferring all my laser discs to DVD, and I cannot possibly think of a finer film to witness the discriminatory laws that existed during the early days of WWII....even if the focus is on an Irish-American played by Dennis Quaid....and you must see the early scene in which he dances/sings to a Japanese song that he has memorized by his position as Projectionist in a Japanese-American theatre in San Francisco.
This is one of the most powerful films that I have seen about the Japanese-American experience in the internment camps during WW2.The think that struck me from the very beginning was that these folk were just as American as any of us.They,too,were just trying to live the American Dream,until the policies of the US Government took their dreams away from them.History has a bad habit of repeating itself,and movies like this remind us that regardless of race,creed,or color,we're all just Americans.This was a bad time for US domestic policy,and hopefully a shameful policy like this will never rear its ugly head again in our country..
Although Alan Parker allows for an accurate (for the most part) and revealing look at life in the internment camps, we rarely see anything from Jack's (Dennis Quaid) perspective.
I know that the studios have come a long way but they need to make more movies like this one, and believe that there is an audience (not obviously Asian) interested in seeing them.
The scenes showing Lily and her family forced out of their homes by Americans, marching to the train station in total silence except for their haunting, now-forbidden Japanese music are always received with great concentration and silence by my classes--a high tribute to Mr. Parker's ability to let a picture speak for itself.
Come to the Paradise offers a refreshingly different viewpoint of a critical point in American history for those of us who prefer a little something to chew on besides popcorn at the movies..
Also seemingly taken away is the family life of an American man and his Japanese soulmate.This is powerful material and COME SEE THE PARADISE does well as a first attempt.
Surely, sooner or later more talented directors will revisit this bit of history and hit a home run.Few movie fans know that STAR TREK's George Takei (Mr. Sulu) lived with his family in these California concentration camps during WWII.
Dennis Quaid and Tamlyn Tomita play the romantic interest of the picture, Quaid playing a regular Joe who comes to work at a movie theater in Little Tokyo, meets the boss's daughter played by Tomita, and soon they fall for each other quite deeply.
Then come the internment camps, the camps created as a homegrown quasi concentration camp for the Japanese, where in Lily is once again with her family, away from her great love.
When we think of camps, we usually think about how Americans were heroes who liberated Nazi camps during the second World War. However, this story lets you observe the many aspects of Japanese internment and how many American citizens were imprisoned by the way that they looked rather than for having committed a crime.
The movie could have retold the exact same story and saved us about 45 minutes in telling us about Japanese internment without the use of his character.
As a result, the parts of the film that deal with internment and other injustices faced by people of Japanese descent are framed inherently as secondary aspects of the story.
Before World War II, people of Japanese descent were prevented from receiving citizenship by US immigration policies, but during internment, these people were also asked to swear loyalty to the United States, effectively challenging their identity as either Japanese or American.
While this film makes an obvious effort to highlight the widespread prejudice and violence against Japanese Americans in the mid-twentieth century, it relies on racial stereotypes and a pathetic love story.
As a character, Jack/Dennis Quaid (one of the few white actors in the film) is completely unnecessary to the storyline, and makes leaves the impression that the story is only significant because it affects the life of a good ol' American boy.
French, German, Dutch?"The film is definitely at its most emotionally powerful in its superb middle section, which beautifully dramatizes, in flashback, the shameful deportation of these Japanese-American citizens to interment camps in California, for no crime more serious than simply being of Japanese descent.
In general, it can be estimated that the film is not American, and it was made against the United States based on the history of the Second World War and according to how the US was treated by its immigrants..
Alan Parker's Come See The Paradise tackles a little spoken of, tragic period of American history: the internment of thousands of Japanese families in prison camps following the attack on Pearl Harbour, which sparked World War II.
Dennis Quaid plays an Irish American man who falls in love with a Japanese girl (Tamlyn Tomita), and over a few years begins a life with her.
It starts in 1936 when angry union organizer Jack (Dennis Quaid) meets beautiful Japanese-American Lily (Tamlyn Tomita) and falls in love.
All Japanese people, Americans or not, lost their homes, their businesses and were shipped out to internment camps to "protect" them.
It shows how the camps affect Lilly, her family and Jack.As far as I know this is the only commercial film to deal with one of the more horrifying chapters in American history.
It tried to cram the following into one plot:the American Guy/Asian Girl relationshipWorld War IIthe Draftinternment campsunion workersdeath in the familygeneric family issuesshady lawyersIt also had "gripping" child acting, hit-you-over-the-head symbolism, horrible, synthesized orchestrated music, flashbacks, characters who didn't look any older "10 years later", a girl whose face changed 3 times as she got older, historical inaccuracy, and unresolved conflict (a conflict which the entire first half of the film was centered around).Not once did it feel like we were in the 1940's.
Details one of the shadier acts in US history - the internment of Japanese-Americans in camps during World War 2.
The film takes place during WWII and like "Snow Falling on Cedars" (another great story about the anti-Japanse movement during this time) is about an American, who falls in love with a Japanese women.
Back to the movie: Tamyln Tomita as the love interest, Lily Yuriko , is absolutely great portraying all the anguish of a women in love, but then feels pain and sorrow when she sees her own people being put in Concentration Camps by the Americans and are given no rights, no real jobs (except menial low paying ones) and no hope.
If you don't cry watching this movie there is something wrong with you as "Come See The Paradise" by Alan Parker has great dramatic performance , a great score by Randy Edelman and a true life story that SHOULD NOT be forgotten.
The movie tells the often overlooked and not widely known story of Japanese Americans before, during and after WWII.
Of the only good aspects of the film is the accuracy with which it portrayed the experience of Japanese Americans in internment camps.
However, it was completely ridiculous to create a film about such a shameful time in American history through the lens of a love story, especially one riddled with sexism and racial stereotypes.
In that sense, Come See the Paradise was a surprisingly historically well-portrayed film, considering that it is a movie made in the US about Japanese internment camp.
The movie is slightly messy before the characters get interned in the camp, which happens relatively later in the film than I expected.
Come See the Paradise, a film about Japanese-American relocation and encampment during the Second World War, is very much Hollywood's version and representation of a camp experience.
It follows the love story between a projectionist, played by Dennis Quaid, and an American-born woman of Japanese descent, played by Tamlyn Tomita.
In a historical context, the movie downplayed much of the rampant racism prevalent towards Japanese-Americans at the time.
Overall, Come See the Paradise is a film clearly intended for majority audiences, and while it does talk about Japanese internment, the primary focus is much more the love story than a depiction of camp life..
Come See The Paradise is an insult to the experiences that Japanese Americans and millions of other interned people have experienced.
The film depicts the unconstitutional internment of Japanese American citizens and immigrants during World War II, but only does so through the story of an interracial couple.
While the film could have addressed the social conflicts that an interracial couple would have faced at the time (and too often still face today), it falls short of truly depicting the American hatred for Japanese immigrants during World War II.
The film spends entirely too long on the relationship between Jack (Dennis Quaid) and Lily (Tomita Tomlyn), and far too little time on the ways in which internment affected Japanese people living in America during and after internment.
Although this movie is not anything close to what it could have been, there is a certain amount of credit that should be given to the producers and directors for portraying the lives and struggle of Japanese-American citizens and immigrants in their most dire times.
The depiction of Mr. Kawamura's decline is quite representative of the way in which the camps and the country stripped away any sense of belonging and pride from the Japanese citizens and immigrants.
The film Come See the Paradise is a fairly standard Hollywood depiction of internment camps in the sense that it fails to focus on the many of the issues concerning internment and instead spends most of the film following an unbelievable and not convincing love story.
If one wants to portray this event in American history, the film must be tactful and treat the stories with care-Come See the Paradise failed to do this in almost every scene in the movie.
The majority of movie, which runs two hours and eighteen minutes long, follows the relationship of Lucy Kawamura, an American citizen of Japanese descent portrayed by Tamlyn Tomita, and Jack McGurn, an Irish American played by Dennis Quaid who once again proves he can only be called an actor on a technicality.
The film should have remained focused on the Kawamura family's experiences within the camp and attempt to portray the hardships and complex decisions which emerged during the course of the internment.
While the main plot line focuses entirely too much on the love story between Jack and Lily, there are some parts of the film that make it worthwhile.There was some redeemable aspects of the film.
As the title of my review states, I enjoyed Come See the Paradise and feel as though it represented Japanese-American internment well, but the film did make some choices with which I do not agree.The film did well in depicting internment.
One thing that some Americans may struggle with is being critical of the country many call "the land of the free", but this film does not shy away from criticizing the United States' decision to unjustly intern those of Japanese descent during World War II.
This can be seen when Lily argues with white camp officials, calling the camp a prison and when Charlie, an American citizen who barely spoke any Japanese, repatriates to Japan after the war, disgusted with the internment.
Seeing a Hollywood film about American citizens encamped could open viewer's eyes to an ugly part of the United States' history and serve as a warning that freedoms can be infringed upon and that we must do our part to stop anything like this from happening within the United States again.The film also did a decent job at showing how the camp interrupted the lives of Japanese-Americans.
The camps were the experiences of Japanese-Americans and people of Japanese descent, so I believe the focus should have been solely on them without the inclusion of a white male character although I realize that without Dennis Quaid, the film might not have accessed as wide of an audience as it did..
"Come See the Paradise" is nothing short of an insulting representation of what occurred in Japanese internment camps during World War II.
The film subsequently becomes a giant history lesson, Parker delving into the Untied States' treatment of Japanese Americans (anti-miscegenation laws etc), their detention in massive concentration camps, their subsequent loss of civil liberties , and the plights of immigrant communities during the early 20th century.In many ways, "Come See The Paradise" finds Parker attempting to atone for his earlier picture, "Mississippi Burning".
Dennis Quaid, always likable, himself at times seems to be torn out of some Charlie Chaplin movie, bumbling about as the world goes to hell.According to some, "Paradise" was the first American film to directly show the Japanese-American internment camps, though many other films indirectly conveyed the ordeals of the Japanese diaspora.
My biggest question after watching this film is the necessity of including a love story amongst a topic that could constitute its own movie.
Sure, the love story adds an aspect of intrigue and brings people to the movie by playing up the romantic storyline, but, in actually, the depicted relationship is wildly inaccurate in a historical sense.
In terms of historical accuracies, there was good attention to detail in general, though the love story is an unnecessary aspect of the film.
The main redeeming aspect of this film is that it spreads the story of Japanese internment to Hollywood's audiences, but why must this be done through an aspect of love?
The movie "Come See the Paradise" was accurate in the fact that after the Pearl Harbor Attack, by the Japanese, the United States Government decided to relocate the Japanese into isolated internment camps in fear that some could be spies working at perhaps a bigger attack within America instead of on the coast.
In the movie, Lily's family is forced to move out and forced into an internment camp without knowing why or when they will be released.
In addition, Lily and Jack, Dennis Quaid's character, have had a daughter, who goes into the camp with her mother, while Jack goes into the Army, but not before one of the most lacerating scenes in the film, when Jack takes his little daughter to meet Santa Claus, and Santa refuses to let the child sit on his lap.
This film, though not as historical and educational as it could have been on the topic of Japanese internment camps during World War II, was not meant to be a historical documentary.
The film depicts the lives of Japanese American citizens as their lives undergo immense changes with the beginning of internment camps.
The main focus of this movie is the love story between Jack and Lily, however there are some historically accurate parts of the film worth paying attention to.
The movie then spends a short amount of time depicting life inside the camp, however we get glimpses of the struggles facing those encamped.
It is a hollywood film made for a large audience, and this audience doesn't want a documentary on Japanese internment camps.
The love story between jack and Lily was 100% necessary to attract a large audience because that is the type of thing Americans look for in a film.
It's better to have a movie with some historical facts and other faults that a large audience will watch than a completely historically accurate film which will only attract those already interested in history.
I think this film does a decent job depicting the experiences of Japanese Americans during World War II.
What the movie best achieves though is a depiction of life within the internment camps and the costs of upheaval for many Japanese Americans.
With that, the internment experience showed the further trials that Japanese Americans had to face.
The unconstitutional internment of Japanese-Americans during WW2 is one of those little-known tragedies of history.
Jack's and Lily's love story is interwoven with the rest of her family's experiences in the internment camps.
Jack, who found it hard to turn his back on the plight of the common working man even for the sake of peace in his family, is later forced to leave his wife and child to endure the camps while he is drafted into the army to fight against the countrymen of his in-laws, people he has come to love and respect.There is some violence in this movie, but it is neither incessant nor gratuitous. |
tt0091149 | The Great Mouse Detective | The year is 1897. The place is London. The setting is not our world, but the world of England's mouse population, who live lives not so different from ours, in the mouse holes and basements of the British Empire.Hiram Flaversham, a master toymaker, is kidnapped on his daughter Olivia's birthday. The young girl has no one to turn to for help, so she strikes out on her own, seeking the greatest detective in all mousedom, Basil of Baker Street.En route, Olivia encounters Dr. David Q. Dawson, a mouse recently returned from military duty in Afghanistan. The kindly doctor agrees to accompany the girl in search of Basil.They manage to find his rooms at 221 1/2 Baker Street (in the basement of a very famous address), and the mouse himself soon makes his appearance. Basil is a bundle of energy, running around the flat, ignoring his two visitors, in anticipation of bringing his latest case to a successful conclusion with an experiment in ballistics. Alas, the experiment is a failure, and the detective is thrown into a deep depression, still unwilling to help poor Olivia.When the girl mentions that her father was kidnapped by a peg-legged bat, however, Basil is again galvanized into action. This bat, Fidget, is a thug employed by his arch-nemesis, Professor Ratigan!Ratigan is the worst criminal in London, a veritable Napoleon of Crime. Even as Basil recounts his previous battles with Ratigan, the crimelord is deep in the sewers of London, forcing his victim Flaversham to build some diabolical device. What is Ratigan planning? Nothing less than the demise of the Queen on the day of her Diamond Jubilee and his own ascension to the throne!Ratigan's henchmen sing his praises, but their boss shows his true colors when one besotted mouse forgets himself and sings out, "Ratigan, the world's greatest rat." Outraged at being called a rat, although he clearly is one, the professor summons his own personal enforcer: an obese cat named Felicia, who keeps the minions in line and eats those who run afoul of Ratigan's temper.Back in Baker Street, Basil agrees to take the case, and attempts to deduce Ratigan's motive in kidnapping a toymaker, when his cogitations are interrupted by the selfsame Fidget spying in the window!Instantly, Basil is after the villain, with Dawson reluctantly in tow, but all they find are peg-legged footprints and the bat's cap. For a detective of Basil's caliber, these clues are more than enough, and he is off to find the kidnapped Flaversham. Basil wheedles Dr. Dawson into enlisting as his assistant, and little Olivia tags along, too, much to Basil's disgust.The threesome make their way to the human residence above, where they find Toby, a huge hound...well, huge in comparison to a bunch of mice. Toby's keen nose picks up the scent from the dropped cap, and he is swiftly on the trail, a trail that leads to a human's toy shop. Basil skulks about in search of Fidget and finds some puzzling clues: toy soldiers without their uniforms and wind-up toys with all the gears missing.While the detective ponders these clues, Fidget strikes! He stuffs Olivia into a sack and attacks Basil and Dawson with a succession of giant toys, finally escaping through the skylight a hairsbreadth ahead of Basil.Fortunately, Fidget has dropped another clue in the form of a list given to him by Ratigan. Basil's knowledge of chemistry enables him to analyze the paper, finding traces of brandy, coal and seawater, which lead him to deduce that the note came from a seedy pub located where the sewer connects to the riverfront.Basil is also a master of disguise, and he swiftly outfits himself and the protesting doctor as sailors. Together they infiltrate the Rat Trap, a disreputable pub filled with low-life ruffians, just the place to search for one of Ratigan's minions.They do find Fidget, and follow him through the sewer to Ratigan's secret lair, where they spy Olivia held captive inside a huge bottle. While attempting to free her, however, Basil and Dawson are surprised by Professor Ratigan's entire gang, who were just waiting for him to arrive. It's a trap, and Basil fell for it!Delighted at having his greatest enemy in his clutches, the flamboyant Ratigan must destroy the detective in some spectacular way. So, he has Basil and Dawson tied to a mousetrap which will snap when a metal ball drops onto the trigger. Not content with this, Ratigan has set the snap of the mousetrap to fire a gun and a crossbow at the unlucky pair, which will in turn cause an axe to chop them to bits, which will bring an anvil down on whatever is left of the great mouse detective. The entire trap is set in motion when a record of Ratigan's song plays to the end, pulling a string that releases the fatal ball.Alas, Ratigan must away to Buckingham Palace, taking his prisoners and his gang with him, so he provides a camera to automatically record the death of Basil for posterity.Mortified at being outwitted, Basil is once more plunged into depression and puts up no resistance, not so much as attempting to think of a way out of the trap. Only Dawson's determined persuasion snaps his companion out of it, just in time to work out a complicated but ingenious solution. Their only chance is for Basil and Dawson to snap the mousetrap themselves at just the right moment. The trap clamps down on the metal ball, thus protecting the pair from being caught in its powerful jaws. Moreover, the pressure pops off the mousetrap's hinge, which knocks the gun aside, which shoots the crossbow, which deflects the arrow, which shoots the axe, which comes down between Basil and Dawson, which cuts them free just in time to avoid being splatted by the anvil. Whew!Basil is himself again, ready to tackle Ratigan once more, but first not forgetting to pose for the professor's camera. Toby carries Basil, Dawson and Olivia to the palace, where Ratigan's lackeys, dressed in uniforms stolen from the soldier dolls at the toy shop, have already captured the mouse queen. Basil arrives in the nick of time and pulls Her Majesty from Felicia's waiting jaws.Meanwhile, Ratigan has substituted a mechanical queen for the real sovereign, a machine built by master toymaker Flaversham. This clock-work queen appoints none other than Professor Ratigan as her royal consort, giving the fiend control over the entire British Empire! But Basil soon intervenes, capturing Ratigan's henchmen and exposing the villain for what he truly is: a slimy, contemptible sewer rat!The jig is up, and Ratigan flees with the faithful Fidget and with Olivia as his hostage in his monogrammed, bicycle-powered dirigible. Toby makes short work of Felicia as Basil rigs up a pursuit vehicle out of a Union Jack, a matchbox and a bunch of balloons. He chases Ratigan across the London skies, and the fiendish professor attempts to lighten his own load by tossing Fidget overboard! But he can't escape Basil, who fearlessly leaps onto the dirigible. Suddenly, the Houses of Parliament loom ahead. Basil and his enemy crash into the face of the famous London landmark, the clock commonly known as Big Ben.Inside the tower, Basil and Ratigan battle on the huge mechanism, where any false step could crush them between the meshing gears. Ratigan is much bigger and more powerful, and Basil just manages to scoop up Olivia and head for safety atop the tower. But Ratigan's rage at being thwarted once again causes him to snap. He rips his clothes to shreds and stands revealed as a fierce and deadly rat!Olivia is safely aboard the balloon, but Ratigan tackles Basil and the two go tumbling down to land on the hands of the great clock. The detective is battered mercilessly until he finds himself hanging by his fingernails on the edge of oblivion. The evil Professor Ratigan has won, but wait! He hasn't been paying attention to the time. But Basil has, and he watches with satisfaction as the vibrations from the chiming of the bell when the clock strikes the hour send Ratigan over the edge. At the last moment, the villain manages to pull Basil down with him.Anxiously, Basil's friends watch both detective and crimelord plunge into the fog to the river far below. It looks hopeless, but the remarkable Basil is able to use the propeller from the dirigible to save himself, creating a pedal-powered helicopter that lifts him to safety.The empire is saved, Olivia is reunited with her father, and Basil invites Dr. Dawson to be his partner in crime-detection. As a tearful new client appears at 221 1/2 Baker Street, bringing a new case with new adventures, we take our leave of Basil of Baker Street, the Great Mouse Detective. | psychedelic | train | imdb | Kids may not understand half of the things he's saying, but it's fun to watch.Olivia is the little heroine mouse who starts Basil on his case, losing her father to a mysterious peg-legged bat of whom Basil is aware of.
Dawson is, of course, Watson in mouse form, and helps Basil in his first case, being this movie.Ratigan is the villain played by the late horror film star Vincent Price, and quite well in my opinion.
The movie goes from there with its "many twists and turns", to quote Basil.If you want a fun-filled, unpredictable adventure, The Great Mouse Detective is your best bet.
But "The Great Mouse Detective" deserves to be known and seen.The characters are real classics and one of the best to have ever appeared in a Disney movie.
Actually Professor Ratigan (voiced by the legendary Vincent Price) is quite possibly my favorite movie villain of all time.
But of course the idea of making a story about the mouse version of Sherlock Holmes alone is already good enough to make a fun movie about.One of the other things that makes this movie different compared to other Disney's from that period are the songs or better said the lack of it.
The Great Mouse Detective is one of my favorite Disney films of all time, it's also one of the most under rated in my opinion.
I think just because I love the story so much and it always brought up good memories, this was the funniest Disney animated movie I had seen at the time.
My parents and I watched this movie together all the time when I was a child, still to this day, I don't mind sitting down to watch it, it's just that much fun.A young little mouse girl and her toy shop father are celebrating her birthday, but her father is quickly taken away by a rotten gang of mice who are led by a giant rat, Ratigan, who is planning to over throw the queen and become leader of the mouse world.
Along with the help of an average mouse, Dr. Dawson, Olivia, and Basil go after Ratigan to make sure that his plan fails.The Great Mouse Detective is such a cute film.
It has one of the best cast of characters in a Disney film, one of the best Disney villains ever (voiced by the amazing Vincent Price, no less), and is packed with fun and adventure.Brilliant and eccentric detective Basil of Baker Street is given the case of a lifetime when young Olivia Flavisham comes to his doorstep for help.
With the help of the young mouse and the kindly but down-to-earth Dr. Dawson, Basil sets out to rescue Olivia's father and foil Ratigan's scheme.The story seems a bit plain, but the plot isn't what makes TGMD exciting.
I was also left to wonder why Disney never did anything with it since its release since its a very good film.The plot is simple, Basil of Baker Street helps a young girl find her kidnapped father who is the clutches of the evil Ratigan.
Yes the villain still dies these days, and perhaps a Mom to get the plot going, but here we have several characters die, one simply for insulting the villain.The final sequence of this film, a battle in and on Big Ben was promoted as Disney's first major use of computer animation.
The Walt Disney Company's 26th full-length animated feature film, "The Great Mouse Detective" (1986), was considered one of the better films made in the period between "The Jungle Book" (1967) and "The Little Mermaid" (1989).
The Great Mouse Detective (1986) is one of the greatest Disney movies of all time and definitely their most underrated film in my opinion.
The movie features the wonderful voice talents of Vincent Price as a great Disney villain, Professor Rattigan, basically the Moriarty character opposing the movie's "Sherlock" hero character, the titular The Great Mouse Detective, Basil of Baker Street (living under the floor of Sherlock Holmes).I don't want to give away the plot but the reason I love this movie so much is that there is a lot of great comedy in it, the hero and villain are both fantastic (and both have very entertaining cohorts), and the story is great.I love that this film is a little bit "darker" than most Disney films.
The Rattigan song is amazing, and Vincent Price himself sings a wonderful "goodbye" song that plays on a record while he has Basil trapped.A truly great Disney movie that deserves much more praise!.
Quite scary at times for the little ones, but this is a surprisingly excellent modern-day Disney film with some good animation, good ideas, good execution, catchy songs, a grand finale worthy of applause, and some fine in-jokes for the older audience members who have some knowledge of Holmes's tales.**** 1/2 / *****.
Forget The Lion King, forget Frozen, forget Wreck-It Ralph (well, maybe not FORGET it), THIS is the greatest movie Disney's ever animated.The story is a pretty fun ride from start to finish, the movie taking full advantage of its animated medium to give us scenes in a toy shop with the mice riding on and making use of the toys to chase the villain, and a long ongoing shot in a clocktower that perfectly blends 3D computer animation with 2D hand-drawn animation.At first glance, one might mistakenly assume this is nothing more than a Sherlock Holmes story told with mice.
There is only ONE Basil of Baker Street, and his reputation remains untarnished by a lack of forced direct-to-video sequels.But by far the best thing this movie has going for it is Vincent Price as Professor Ratigan.
Going on something of a sentimental journey I recently saw two Disney animated features that were released in my childhood: The Black Cauldron and The Great Mouse Detective.
I was shocked.I had always thought that in between Jungle Book and Aladdin Disney hadn't really delivered anything worthwhile (aristocats and robin hood being OK, basically because of the great character-animation, but never as good as the older stuff), but these films are both great.
However, the show stealer, like with many Disney films, is the villain, Professor Ratigan as brilliantly voiced by the great Vincent Price.
He even gets one of the only song numbers in this movie, one of the finest villain numbers in its jaunty bombast and how it shifts to a dead stop when a henchman double crosses him then shifts back after a rather grim moment in the film.Unfortunately, one wishes the animation was better than Toon Disney on a production level.
While not as good as "The Rescuers", still this motion picture deserves some credit too.It never reached the popularity and classic status of most Disney classics and remains forgotten and unpopular after all these years - however, not as much as "The Black Cauldron".This movie is one of the darkest Disney cartoons and at the same time one of the funniest at times.Like most Disney classics, it has great characters, a good general quality job on details, wonderful animation, memorable songs, a cool story, adventure, danger, friendship, the main one might ask on a Disney animated movie...My favorite characters are Basil, Dr. David Q.
Both Olivia and Toby are more than cute characters - they're sweet, innocent, adorable and lovely.Professor Ratigan is the big villain of this movie.
It has great songs such as Henry Mancini's instrumental opening theme, some beautiful classical music and the delightful Ratigan's song "Goodbye So Soon" (sung by Vincent Price himself), just to mention a few examples.This film takes place in London, in the year of 1897.
Vincent Price tends to steal the show with his excellent performance as Professor Ratigan (no wonder he got top billing!) I also enjoy Basil's ingenious thinking and over-the-top acting for a detective that can fit in the palm of your hand (I can't help but notice he almost looks like an anime character at times, the way he is designed.) Dr. Dawson and Olivia are also great characters, and Fidget is good at raging from downright creepy (his two horror-style jump-scare scenes) to your typical comical sidekick (what's not to love about a big-eyed one-legged bat that's unable to fly?) I also liked hearing Alan Young using his Scrooge McDuck voice for Mr. Flaversham.
Especially fun is Miss Kitty's "Let Me Be Good to You" musical number (that had to be a scene by Ron Clements and John Musker; they're known for crazy stuff like that, as seen in "Aladdin" and "The Princess and the Frog!") The animation also has a very classic look and feel to it, which is rare for a Disney movie of this era.
There are elements that adults will enjoy, like some of Basil's fastpaced dialogue, and the inimitable Vincent Price as the voice, and inspiration for the movements, of Ratigan.As many people have commented, the lack of songs in this film is really to it's credit.
During the 80's, Disney was having a lot of trouble trying to make a good Disney film.Before, "The Little Mermaid", was released, Disney released an animated movie called, "The Great Mouse Detective".
It became a critical and financial success.The movie is about a Toy Inventor who get's kidnapped, and the daughter of the Toy Inventor assist's help from Basil and his sidekick, David.Pro's: The film has some great animation and the story is original because it's just like, Sherlock Holmes, except with Mice.
Also, the voice acting was great and it even has veteran actor, Vincent Price, as the villain, Dr. Ratigan.Overall, "The Great Mouse Detective", is a fun, animated movie and one of Disney's underrated movie's..
If nothing else, Price brings together young and old viewers, as older viewers will drool over his vocal intonations (particularly when he has his "Goodbye" record playing over Basil and Dodson stuck in the death trap), and kids will just find him cool in a villainous way.But it's not just Price that makes it a must-see; the animation for Great Mouse Detective is creative and fun, even making nice allusions to previous old-school Disney fare (the scene where Basil is investigating in the toy room reminds one of the puppets in Gepetto's workshop in Pinocchio, one of the toys here being Dumbo), and the directors, who would go on to make their best work with Aladdin some years later, have a great grasp of mixing solid laughs with a compelling adventure story.
There's even some nifty early-era computer animation when Basil and Ratigan have their showdown inside of the clocktower.Great Mouse Detective realizes what makes good family entertainment- clean, yes, but with moments that aren't too stupid or talk down to any viewer- and for Sherlock Holmes fans it's a minor treat after so many years with the usual lot of Baker street characters.
Their ways of trying to outwit each other is worthwhile even in the final battle.If there's one thing I would point out that is while the animation is really good especially the visuals, there are some crude stuff in it that might me questionable, but that's my only nitpick.Overall, The Great Mouse Detective is not only underrated, but it does manage to be a really good version of Sherlock Holmes by taking the idea of the character and turning it into something fresh.
Luckily, she is noticed by Dawson, a mouse who happens to have contacts with Basil of Baker Street, a brilliant (mouse) detective who is at first not interested in the toymaker's capture, until it is linked to his arch-enemy, Ratigan!There are a few aspects of this film that REALLY stand out: Vincent Price as Ratigan, and Henry Mancini's score.
The film flows flawlessly and even the animation style has an excellent grasp of movement, fluidity and space.The characters are also a lot of fun, from quite honestly nutty Basil of Baker Street to Dr. Dawson to Hiram Flaversham, a genius toymaker utilized for his talents for nefarious purposes.
Ratigan is also a great Disney villain, voiced by the great Vincent Price, who gives him a suave yet menacing purr.It's a great movie, all things considered.
In this Sherlock Holmes like adventure, a mouse detective Basil is searching for little Olivia's father with the help of Dr. Dawson who just came back from Afghanistan.
The story of the film was very good, the characters were fantastic (the villain is capable of being one of the best movies of Disney), the soundtrack is very good, the animation is great and the sound mix is very good.
Granted, his sidekick Fidget is kind of annoying and rather pathetic, but whenever Basil is around Ratigan, that's when his hatred for Basil shines through and it creates such a maniacal albeit witty presence that's always delightful to watch.The animation for this film was actually made in a year to reduce costs along with the aid of computers, and needless to say, it looks great.
Although one song written and perfumed by Melissa Manchester is.....well, let's just say it almost got this movie a PG rating....yeah.So overall, The Great Mouse Detective is not only a massive improvement over The Black Cauldron (which came out a year earlier mind you), but it's simply a delightful, upbeat and often suspenseful feature filled with lovable characters, high stakes, solid fast paced animation, hearty laughs, a chipper soundtrack, and overall, a fun adventure.
Disney's 26th animated full-length feature film takes us on a fun-filled adventure as we follow Basil, the mouse Sherlock Holmes, in investigating the kidnapping of toy-maker Hiram Flaversham committed by his archenemy, Professor Ratigan.
In addition, Professor Ratigan has proved to be a nefarious and sinister character with a power-hungry mind and cold-stoned heart, a villain you would love to root against.The animation is great and colorful and the voice talents were spot on; I especially liked Alan Young lending his voice to Hiram Flaversham as it reminded me of his Scrooge McDuck character, which he also voiced in various Disney cartoons and shows.Overall, it's a good little detective movie that should delight an audience of all ages.Grade B+.
Now I know a lot of people who watched this movie as a kid love it and consider it a really good movie but let's take a step back and look at the movie for what it is.The movie follows a mouse detective named Basil who is trying to find a kidnapped toy maker.
People who haven't seen any Sherlock Holmes movies probably thought "Wow he is so witty, clever, original and doesn't even have a love interest" but actually his character has been so many times.
Oh, Ratigan) are very entertaining characters voiced perfectly by Barrie Ingham and Vincent Price, respectively.Second, I'd like to praise the film's animation.
With lots of cute critters engaging in a surprising amount of drinking and gunplay, not to mention Vincent Price as the nefarious Professor Ratigan (just don't call him a rat).Ever-so-slightly inspired by Sherlock Holmes, there's also a great climax on board Big Ben, an inventor voiced by the same dude who does Scrooge McDuck, and even an appearance from Basil's loyal assistant Dawson!
If you want Sherlock Holmes on your TV or computer screen, then please rent or buy one of the great British films staring Basil Rathbone as the world's most famous sleuth.I really hate to say this, because I do love Disney films, but I think I would avoid The Great Mouse Detective..
The effort was not evident and looked like it was done halfheartedly.Like many Disney films this follows a familiar story of Sherlock Holmes but instead stars his mouse counterpart the private eye Basil of Baker Street.
Basically the story is set in Victorian London and the Sherlock like Basil is on an investigation to find a Doctor who has been kidnapped by the evil professor Ratigan (voiced by horror legend Vincent Price who surprisingly said it was his favourite role.) To sum it up I recommend to today's generation of kids (or people who probably did not see this when they were younger.) That they see this true Disney unappreciated classic the heroes are likable and the villain's are just plain nasty.
So we decided to pop it in and bring the old times back, since we haven't seen it in years."The Great Mouse Detective" is not like other Disney films.
After watching that film, I began to wonder why couldn't there be a fun animated movie that had been influenced by the Sherlock Holmes stories written by Sir Arthur Conan Doyle when I realized there was already one that was done by Walt Disney Animation Studios back in 1986 called "The Great Mouse Detective".
This film is a massive improvement over the former as it's not only a fun Sherlock Gnomes inspired flick, it's also a great animated movie.When mouse toymaker Hiriam Flaversham (Alan Young) is kidnapped by a peg legged bat, his young daughter Olivia (Susanne Pollatschek) goes off looking for help in hopes of finding the famed detective Basil of Baker Street (Barrie Ingham).
I remember how well remastered some older Disney movies were and I think this film might be due for a remaster.So to end things off, I highly do recommend "The Great Mouse Detective".
It's the best Sherlock Holmes inspired animated movie I've seen so far with a fun story, animation worth of the Disney name and characters that are bouncy and fun.
The Great Mouse Detective is from the creators of Aladdin and The Little Mermaid , which tells you it will be good.It is one of my favorite Disney movies .
The voice acting is pitch perfect for the characters (including the late, great Vincent Price as Professor Ratigan, the rodent version of (SPOILERS) Holmes' archenemy Moriarty), and the dialogue is brilliant.Even though I was born 12 years after the film was originally released in theaters, The Great Mouse Detective has become one of my all-time favorite Disney movies.
(SPOILERS) "The Great Mouse Detective" is one of the best Disney movies out there, but if you ask me, it is way too scary for kids. |
tt0402057 | Beowulf & Grendel | In 500 A.D., Hrothgar, king of Denmark, and a group of warriors chase a large and burly man, whom they consider a troll, and his young son, to the edge of deep cliff. The father directs his young son, Grendel, to hide from the attackers' view; whereupon The Danes shoot the father dead, and his dead body plunges onto the beach far below. The Danish king sees the young Grendel, but spares him. Later, Grendel finds his father's body and cuts the head off to take it home. Many years later, the severed (and mummified) head is inside a cave where the boy Grendel has become as large and powerful as his father, and plans revenge.
When Hrothgar finds twenty of his warriors killed inside his great hall, the Danish king falls into a depression. Beowulf, with the permission of Hygelac, king of Geatland, sails to Denmark with thirteen Geats to slay Grendel for Hrothgar. The arrival of Beowulf and his warriors is welcomed by Hrothgar, but the king's village has fallen into a deep despair and many of the pagan villagers convert to Christianity at the urging of an Irish monk. While Grendel does raid Hrothgar's village during the night, he flees rather than fight. Selma the witch tells Beowulf that Grendel will not fight him because Beowulf has committed no wrong against him.
A villager, recently baptized and thus now unafraid of death, leads Beowulf and his men to the cliff above Grendel's cave. When the villager is found dead, Beowulf and his men return with a rope and gain entry to Grendel's secret cave, where Beowulf's men mutilates the mummified head of Grendel's father. That night, Grendel invades Hrothgar's great hall, kills the Geat who desecrated his father's head, and leaps from the second story, but is caught in a trap by Beowulf. Grendel, refusing capture, escapes by severing his captive arm, and dies near the site of his father's death, where his body is claimed by a mysterious webbed hand. Thereafter Hrothgar admits to Beowulf that he had killed Grendel's father for stealing a fish but had spared the child Grendel out of pity. Grendel's severed arm is kept by the Danes as a trophy. In revealing more about Grendel, Selma recounts that Grendel had once clumsily raped her and has protected her since that day; and Beowulf becomes her paramour.
The Danes are later attacked by Grendel's mother, the Sea Hag; and Beowulf slays her with a sword from among her treasure, and then notices that the battle was being observed by child of Grendel and Selma. Later Beowulf, with Grendel's son watching, buries Grendel with ceremony. Shortly thereafter, Beowulf and his band of Geats leave Denmark by ship, having warned Selma that she must hide her son, lest the Danes destroy him. | good versus evil, revenge | train | wikipedia | The ensuing Logic would then dictate that War is merely a lazy solution to a problem better addressed by examining our own psyches.Beowulf is portrayed with astonishing depth by the Scottish actor, Gerard Butler, who is accumulating an impressive array of credits from Attila (the highest-rated U.S. mini-series) to Phantom of the Opera (the lavish 2005 Musical) to Dear Frankie (the award-winning independent Scottish film), to name a few.
Delving into the reasons behind his mission, he becomes a relentless, if uneasy, historical detective, needing to unearth the cause of the troll/monster Grendel's savagery.The Hero's journey, punctuated by pre-destined acts of violence, is one in which we participate and evolve along with Beowulf, with the assistance of the witch, Selma (appropriately ambiguously played by the popular Canadian actress, Sarah Polley).
Stellan Skarsgard is the alcoholic Danish king Hrothgar, not only unwilling to accept responsibility for the scourge of Grendel, but not even wanting to consider "why a f***ing troll does what a f***ing troll does." Eddie Marsden plays the foaming-at-the-mouth crazed Irish Catholic priest, Brendan, heralding the advent of Christianity and the desire of a people to unburden themselves of any and all accountability for their actions.
Gerard Butler is extremely effective as Beowulf, but perhaps the best performance in the movie is that delivered by the tempestuous and weirdly beautiful land of Iceland.
There are others who enjoyed the film much better at the second viewing, so maybe it's all there in the movie beyond my distraction by the scenery and Gerard Butler's rugged good looks.
Without going into the story, it can safely be said that the introduction of the hero Beowulf (wonderfully played by Gerard Butler) leads to a tale of honor, friendship, loyalty, bravery, horror, and retribution.
I was fortunate enough to view the world-premiere performance of Beowulf and Grendel at the Toronto International Film Festival this past September 14th, and I found it to be a hauntingly beautiful film, with some surprising comedic moments added into the mix.
All of the lead actors (especially Gerard Butler as Beowulf and Stellan Skarsgard as the King) were superb in their roles, and although I have never read the original epic poem, I found that the story was very well-told and that the director and his cast definitely succeeded in delivering the many-layered messages of racial tolerance, bravery and the real meaning of heroism.
I have never done so much homework before seeing a movie- re-read the poem Beowulf, read John Gardner's book GRENDEL and read many of the very clear statements at the Beowulf and Grendel website by the screenwriter- Andrew Berzins, who indicated that this story had been passed around for possibly centuries in the oral tradition and this was just one more possible version.
He is them, all rolled into one, their collective courage and strength.It might be possible to adapt this to modern ideals, but it has to be re-imagined, which likely means changing time and place to, let's say, the recent old-west, the populace to sodbusters, the Grendel-menace to an unbeatable black-hat gunslinger and the hero to the man in buckskin.
In a medieval land is set this blood-soaked tale of a Norse warrior (Gerard Butler)'s battle against the great and murderous troll, Grendel (Ingvar Egger) .
The monster, Grendel, is not a creature of mythic powers, but one of flesh and blood - immense flesh and raging blood, driven by a vengeance from being wronged, while Beowulf, a victorious soldier in his own right, has become increasingly troubled by the hero-myth rising up around his exploits carried out along with Hondscioh (Tony Curran) and his warriors .
Good performance from Gerard Butler as Beowulf , a man caught between sides in this great shift, his simple code transforming , falling apart before his eyes and the strange witch well played by Sarah Polley.
Both of whom play a story of blood and beer and sweat, which strips away the mask of the hero-myth, leaving a raw and tangled tale .Beowulf was a poem written in England, but is set in Scandinavia , commonly cited as one of the most important works of Anglo-Saxon literature .Beowulf is considered an epic poem in that the main character is a hero who travels great distances to prove his strength at impossible odds against supernatural demons and beasts.
The main protagonist, Beowulf, a hero of the Geats, comes to the aid of Hrothgar, the king of the Danes, whose great hall, Heorot, is plagued by the monster Grendel.
The original story was basically replaced with a soppy morality tale."Gosh, Grendel is just so darn misunderstood!" should have been the tagline for this anti-hero flick hacked out of solid source material.The language was neither modern nor ancient nor beautiful (like Lord of the Rings), nor authentic, but somehow seemed cobbled together from the worst of each of these.
The costumes looked authentic in style, and the terrain was well chosen, but it was all wasted on the directing, which failed to make the most (or most anything) out of what was there.The writers obviously hated "Beowulf", the original, and made this movie their soapbox to say so.Watch this movie if it shows up in the dollar bin, and only if you've never had a taste for the ancient tale and have absolutely no other use for the next two hours..
I would have to say it is the most beautifully shot film of the last 20 years.As for the acting Gerard Butler gives another excellent performance as the world wiry Beowulf as dose Stellan Skarsgård as the king trying to come to term with his past and conscious.
I would recommend this version of Beowulf & Grendel to those who like their historical films to have a more realistic edge..
Why the screen writers or director felt the need to portray Hrothgar the way they did I do not know.While I really enjoyed Gerard Butler's performance I didn't see the true Beowulf coming through.
Somebody had the brilliant idea of filming in the bleak Icelandic countryside, full of mountains and rocks and waterfalls with nary a blade of grass in sight; the decision paid off (despite problems with the weather during the shoot) and you can really believe the action is taking place over a thousand years ago.Gerard Butler does well as the hero, his Beowulf equally as rugged as the isolated scenery.
The ninth century Anglo-Saxon epic Beowulf recounts the exploits of a hero of the Danes who saves them from a monster, Grendel, and the creature's vengeful mother, and then, decades later, dies fighting a dragon.
Whereas there's a lot of history -- epics are repositories of history -- in Beowulf the poem, in the movie things and people aren't explained very much.
This is a lame attempt to bring the legend of Beowulf to the big screen, this flick is no more that bad television show at its best.The fact that Grendel is human is a minor problem compared to others you will see for yourselves if you are unfortunate enough to buy it and watch it, until the end.I've expected this move with great anticipation and in the end in proved to be a great disappointment!My advice is don't buy it!Go and buy the 1999 version with Christopher Lambert in the leading role!
Another person, a high school teacher, said she looked forward to the release of the film because it would be an excellent learning tool for her students.This is one of Gerard Butler's best movies.
I'm familiar with the original story of Beowulf and a modern novel that was told from the monster's perspective and was very much looking forward to the film.
Secondly, the idea of turning the story sideways by making Grendel the sympathetic character is interesting, but I found that it detracted from Beowulf's development as a hero and he was portrayed in a heroic light.
The tale is told in a murky, disjointed style against some stunning backgrounds for the exteriors but dimly lit scenes for most of the interiors.Whatever motivations characters have (particularly Selma, the Witch who seems thrown into the story for no particular reason and is played rather indifferently by Sarah Polley), are obscured by this tale of vengeance for vengeance's sake without thought of any consequences.
I suppose this is supposed to parallel what has happened to the world today that seems caught up in a war of global terrorism that often seems obscurely motivated.At any rate, it seems that the Danish king (played in lusty over-the-top style by Stellan Skarsgaard) was not completely honest in telling Beowulf the origins of Grendel's story.
This film tells the basic story of the epic poem Beowulf, about 13 soldiers led by Beowulf who go to Denmark to kill a monster.
As another example, Martin Gardner's book "Grendel" also tells the Beowulf story, but plays against the old patriarchal hero myth by telling it from the monster's perspective.
Because they do this in clumsy ways, such as making the king a pathetic drunk and denying the soldiers anything but the most stereotypical dialog, they only mute the core storyline without successfully adding tension or complexity."Beowulf and Grendel" is also too slow, with too much screen time spent on the scenery.
And while the costumes look authentic, the movie doesn't give you a real sense of how people lived in that era.If you want to see a better Beowulf re-interpretation, let me recommend "The 13th Warrior" (1999), which is more loosely based on the epic.
This movie is like one big pile of long empty shots about nothing, with as a redeeming quality that it features some beautiful scenery, which really fits the Beowulf story.
Most of the main characters remain totally uninteresting, including the main character Beowulf, which of course is obviously never a good thing for any movie.Sturla Gunnarsson might know how to handle scenery but he just doesn't know how to bring a story interestingly and/or exciting.
Apparently it's 'a cinematic drama that examines executive terminations and a new industry that specializes in handling them.' Sounds very interesting...My advice to him; start making some more nature documentaries, this is obviously were most of your talent lies.All the movie is basically about is Beowulf trying to fight and kill the 'troll' Grendel, who is troubling and killing the Danes.
But my husband wants to watch the new Beowulf film with Anthony Hopkins and Angelina Jolie and a person at the library recommended that I watch this first so I could perhaps understand the new movie better.
The scenery adds a lot to the movie, but in my humble opinion the overall performance by the actors is poor with the exception of Stellan Skarsgård as Hrothgar and Sarah Polley as Selma.There were scenes where I did not know whether or not to laugh.
Beowulf (Gerard Butler) leads his men across the sea to battle the murderous troll Grendel for King Hrothgar (Stellan Skarsgård).
These people-- the director, writer, actors and crew, of "Beowulf and Grendel"-- have given us a glimpse of Dark Ages Scandinavian life, more I think than any movie has ever done before.
Watch the documentary about the making of "Beowulf and Grendel" called "Wrath of Gods" to really understand just how wonderful this movie is.
Beyond the script's shortcomings (really, it clips along quite nicely) and the excellent execution of the battle scenes, it is the minor characters that colour in the storyboard : the Irish monk who clamours apoplectically to baptize both king and Carl, the little seeress who brings a punk edge to fortune-telling, the fleetingly glimpsed child of the caverns, and the "grief-crippled King" in his cups (a melancholy Dane if ever there was one) who maintains the prerogative of a most Royal buzz and toasts "To the end of gloom !"In sheer bold camaraderie the actors' ensemble work of Butler's troop of men is second to none ; but something is modern in the state of Denmark.It must be said that --hands down-- the great troll's berserk outpourings of grief, rage and uncomprehending consternation make him the star of the show.In this joint British-Canadian-Icelandic production there is no shortage of fine period costume -- even brooches, a nice detail.
Released in 2005, "Beowulf & Grendel" tells the basic story of the epic poem: Beowulf (Gerard Butler), a hero of the Geats (modern-day Sweden), comes to the aid of Hrothgar (Stellan Skarsgård), the king of the Danes (modern-day Denmark), whose great hall is terrorized by the monster Grendel (Ingvar Eggert Sigurðsson).
I've heard people complain about her performance, but I regard her as a highlight.The fact that the movie is called "Beowulf & Grendel" signifies that Grendel is probably going to be a more sympathetic character than in the poem, and he is.
Beowulf, ably played by Gerard Butler, is a stoic and thoughtful hero who brings a small army of Norse warriors to assist Hrothgar's people by slaying Grendel.
Many of the fantastic elements of the original story are downplayed or completely removed, and the sympathy between the primary adversaries is amplified - mainly through interactions between the key characters - Beowulf, Grendel and Selma, the young and beautiful outcast witch (Sarah Polley).
The many accents of the actors make understanding the lines a problem and even though the dialogue is in English, subtitles would have greatly helped understanding the storyline as it unfolds.Many people will object to the character of Grendel as extracted here from the original myth, but for this observer the way in which we are allowed to understand the motivation of this rather pitiful beast makes the story far more poignant.
Beowulf kills Grendel's mother, a sea monster in the poem, some kind of half woman half fish in the movie.
The director's own experiences at the time of the Kosovo conflict strongly influenced his decision to make this a tale about mankind's tendency to destroy that which is different.Although I would have preferred a movie that followed the original intention more closely, this is still the only decent Beowulf film out there.
The guy pulled it off.The movie itself didn't follow the story of Beowulf like I wanted it to.
She does it with mild conviction and without sugar-coating fantasy elements like visual effects or CGI, creating a different but very barren and naked-feeling film - but also a clear-eyed portrayal.The story follows old Norse hero Beowulf (Gerard Butler) in his murderous quest to slay and defeat the troll Grendel.
Everyone else, Butler including, are good (not great) in Beowulf & Grendel - all except Sarah Polley whose Canadian/American accent and attitude feel anachronistic and distracting.
"Beowulf & Grendel" is a beautiful looking, modern re- interpretation of part of the legend with a reluctant hero and sympathy for the monsters.The barren Icelandic coastal scenery with wind-swept sounds dominate the film, and will doubtless be lost on small screen viewing, but the characters may then seem less dwarfed by nature.
I haven't read the John Gardner version, but this one is certainly sympathetic to Grendel from the beginning, and on as Beowulf oddly finds he can communicate with him, through the quizzical character of the alleged witch Selma (Sarah Polley returning to Iceland as in "No Such Thing").
I have traveled to Canada from my home in Tennessee twice to see "Beowulf & Grendel," Icelandic director Sturla Gunnersson's new movie based on the epic poem.
Filmed entirely on location in Iceland, with an international cast headed by Gerard Butler and Stellan Skarsgard, "Beowulf & Grendel" is a multi-layered story, with unclear lines between good and evil.
Based on the epic 9th century Norse tale (which partially inspired Tolkien to write Lord of the Rings), this Iceland-British-Canadian production tells the bloody and rough-hewn story of famed 6th century warrior Beowulf (Gerard Butler), who returns to his homeland to assist a king (Stellan Skarsgård) whose people are held in terror by the violent actions of murderous troll Grendal (an impressively imposing Ingvar Eggert Sigurðsson).Beowulf and his men at first feel they will have no trouble dealing with the menace, but Grendal proves a mighty and cagey opponent.
Rather than simply depicting Beowulf's killing of a one-note Grendel as metaphor for good triumphing over evil, it is the story of the intersection of two fully realized, complex characters.
With Butler's presence and nuanced performance, Beowulf may not be the mythically embellished warrior but is nonetheless wholly compelling, and on a human scale, heroic.Skarsgard is amazing as King Hrothgar, a man self-destructing as he helplessly watches Grendel killing his people, consumed with hiding the fact that the catalyst was his own reckless action.
With Berzins' thoughtful and humorous script reflecting the real camaraderie of the talented cast, and Gunnarsson's direction reflecting his obvious love both for the story and for Iceland, we get a moving and beautiful film.Usually warrior epics end with the hero vanquishing his foe in some brave and spectacular way.
I saw this film at the 2005 Toronto International Film Festival.Beowulf and Grendel is based on the Old English epic poem of the same name.
The cast acquits themselves well, including Polley, whose Canadian accent serves to show her character's isolation from the rest of the community.Director Sturla Gunnarsson, screenwriter Andrew Rai Berzins, and actor Tony Curran did a Q&A after the film: They took a lot liberty with the story, especially as the poem has speeches that go on for pages.
Most of the reviews on "Beowulf and Grendel" are misleading -- this film isn't very good.
I didn't want to watch a documentary on the Icelandic landscape, I wanted to see a movie with characters and a story.2) The Sarah Polley subplot.
Beowulf & Grendel was a stunning epic film..
I bought the DVD of 'Beowulf and Grendel' recently and it is a wonderful film - each time I watch it I find something else to appreciate. |
tt1484522 | 8: The Mormon Proposition | As California's anti-gay marriage proposition 8 languished in the polls, Mormon Prophet Thomas S. Monson issued a call from Salt Lake City to millions of Mormons all over the world. His was an order to action containing the secret code language of the highly secret Mormon temple ceremony. The action alert commanded Mormons in and out of California to do all things necessary to insure the passage of California's Proposition 8. Within days, hundreds of thousands of Mormons all over the United States funneled thirty million Mormon dollars in to California coffers to purchase the passage of California's anti-gay marriage Proposition 8.Before the Mormons and their participation in the passage of Proposition 8, evangelicals were flopping in the fight. After Mormons got involved, the fight flourished.During the fight, the Mormon Church media-engine, including mega-million dollar public relations and political consulting firm support, barraged Californians with a suffocating number of misleading television and radio ads and door-to-door campaigns manned by the Mormon NATIONAL ORGANIZATION FOR MARRIAGE.When Prop. 8 passed in California by a slim margin, Mormons were quick to take credit for the success. But when backlash from LGBT citizens targeted Mormon temples throughout the United States, the Mormon Church was the first to complain that they were the ones being persecuted.In the wake of it all, documentary producer Reed Cowan was collecting secret recordings, secret documents and never before seen footage exposing Mormon efforts to quash ANY rights for LGBT citizens anywhere in the world. 'As a former Mormon missionary, I am appalled in knowing that a church which itself worships the practice of alternative marriage (polygamy), would become so vehemently involved in the marriage debate,' says Director Reed Cowan.8: The Mormon Proposition follows the story of many LGBT citizens seeking marriage equality. One of the couples Cowan follows is Tyler Barrick and Spencer Jones. Barrick is the direct descendant of Mormon founder and Prophet, Joseph Smith's right hand man Fredrick G. Williams.The Barrick-Jones family history tells tales of Mormon ancestors chased from state to state because of their own practice of alternative marriage (polygamy). Now, decades later, the Barrick-Jones family is experiencing cultural and governmental discrimination of the same kind that haunted their ancestors. Only now, they're at war with their own religion of Mormonism and the people their religion seduced in to voting against their union.'When 8 passed, I called my mother crying--why did the Mormons do this to us? Why would our own people do this to us? They have turned their backs on us, ' says Barrick-Jones.8: The Mormon Proposition exposes decade's-long campaigns against LGBT rights, not only working behind the scenes to unseat political leaders who advocate for marriage equality, but also abuse against their own people through electric shock therapy and frontal lobotomies for BYU men arrested by Mormon security police. For the first time in history, the film goes on record about alleged prurient meetings between Mormon Prophet Spencer W. Kimball with a secret group of gay BYU students who called themselves 'Spencer's boys.' The film chronicles the hundreds of gay-Mormon suicides, including the story of Mormon Stuart Matis, who shot himself on the steps of a California Mormon Church during another of the church's work against marriage equality during the days of California's Knight Initiative.Long before its official completion, 8: The Mormon Proposition has already received considerable international press coverage. During the filming of 8, Reed Cowan interviewed Mormon Bishop and Senator D. Chris Buttars, who compared gay people to radical Muslims and said 'gays represent the greatest threat to America going down today.'Buttars characterization of gays engaged in so-called pig sex, brought on an HRC action alert, a scolding from GLAAD, and the eventual ouster of Utah Senator Buttars from his position as chair of Utah's Senate Judiciary Committee.In the days during the media backlash following Buttars interview with Cowan for 8, major media outlets and programs like FORBES, WASHINGTON POST and THE RACHEL MADDOW SHOW picked up on the story with considerable coverage that resulted in thirty thousand e mails to the Utah Senate President and the crashing of the Utah Senate computer server for three days.8: The Mormon Proposition also reveals the truth about Utah's gay homeless youth and the fact that the lions-share of hundreds of homeless teens on the streets in Utah, are LGBT youth who have been kicked out after coming out to their families.Finally, in the telling of the Mormon Church's risk of losing their tax-free status, 8: THE MORMON PROPOSITION is a call to action not only to LGBT citizens, but all citizens everywhere to not only stand up for human rights, but also to pay attention to where the money and the information is coming from whenever a ballot measure picks up uncommon speed, money and heat.In the words of Reed Cowan, '8: The Mormon Proposition puts on record one of the greatest election shams in the history of the United States. If the Mormon church gets a pass on this one, we're in grave danger as a society of letting other groups purchase votes and we're putting power behind their so-called 'secret combinations' to do it again. This can never happen again. Never.' | romantic, queer | train | imdb | Obviously, this is a movie that I wanted to see because I had these two elements of my life fighting with each other, both in private (in my own mind) and in public (LDS Church vs.
A lot has to be said for the documents from the 1990's proving that the anti-gay marriage group in Hawaii was created, staffed, and funded through Mormon means.
On this count only is the previous poster on IMDb correct.But the film is about something important- or maybe many things crammed into 80 minutes (this, too, is something of a flaw, but not a major one)- which is that the rights of people were taken away from them because a largely select group (over 70% of funds donated to get Prop 8 passed were from Mormons or groups affiliated with them somehow) see that gays and lesbians don't choose to be gay, and are unholy and so on and so on.
It should be more complex, but in reality it just comes down to money, and an effective (hateful) ad campaign.Contrary to what the previous poster said, I don't think the film actively sets out to paint all Mormons as hateful, or that the film itself is hateful.
I don't even think, after seeing the film, that every single Mormon out there is bad or intends harm.
That this was such a passionate deal to have so much money funneled into the campaign is an insult to the masses of people who just want to marry, for love or (in other cases) for the same protections and rights that marriage affords.
There's a large chunk of the film, for example, that delves into the suicide rate of Mormons, and the horror for someone who is Gay and a Mormon (specifically a few are interviewed whose parents donated for Prop 8), and those who are homeless or on the streets as teens who are gay and rejected from their homes.
This ultimately worked for me because the film is as much about the people and the high emotions running through the issue for all involved (those who are reasonable about it and those who are, well, Senator Buttars and his foaming-at-the-mouth ilk), but the film definitely works best when it tells this story of Prop 8.
This is a film about denial of basic human rights and the out-of-state religious organization that donated millions of dollars to put an end to those rights.
In fact, more than getting a sense of hatred towards Mormons, the documentary gave me a sense of sadness for the many gay Mormon teens that were driven to suicide or the Mormon families that were forced to donate upwards of $50,000- their whole livelihood- to a campaign so that they would not lose their membership to their church.But more than anything, this film gave me a strange sense of hope.
But seeing all of the happy marriages and learning that basically the only reason it did pass was because of the LDS Church gives me hope for a future of equality.
Nothing will make you believe in gay marriage like Tyler Barrick and Spencer Jones (interviewed in the film).
Cowan's compelling film-making makes this a one-of-a-kind look into the dirty politics of religious groups who have an axe to grind with people they disapprove of.
What I found most true to life about the film was that it did not paint all Mormons as anti-gay or hateful, but it exposed the level of power the Morg has over it's members, and how the leaders of the church are willing to exert that power to their own ends.
This is an outrageous hypocrisy by a church that claims such strong beliefs in a person's right to free will and agency.I am tired to seeing everyone call this film "biased." Simply taking a stand on an issue does not make it biased - it does not unfairly or inaccurately represent the opposing argument or its proponents; that would make it biased.
This was Cowan's main point - that the LDS church did wrong in giving so much money, and now the IRS is validating the claims Cowan showed in the film.I highly recommend this film, and if you like this I also recommend Kirby Dick's Outrage, Sandi Simcha Dubowski's Trembling Before G-d, and Daniel G.
This film brings it all around full circle---well, BYU not being invited to join the PAC 10 as an affiliate is really a powerful example of "what goes around, comes around," since this is a church that keeps it foot planted squarely on the necks of gay people but looooves it's football.
Out of state Mormon influence and money flooded two state campaigns, Hawaii and California, and managed to sway the election to their political and religious agenda.
Regardless of your personal beliefs on the Gay Rights Issue, this film is really more about how our system of elections can be subverted by deceptively diabolical political marketing practices.
Clearly, The Church of Jesus Christ of Latter-Day Saints is acting as a political action committee, and this form of ethical extortion by a rich and powerful tax exempt organization needs to be stopped.
Frightening documentary on how the Mormons got Proposition 8 (making same-sex marriages illegal) passed.
It shows a church secretly getting out the message to all Mormons that gays and lesbians are evil and don't deserve to be married.
It covers this with interviews with people involved in the battle and shows how much Mormons hate gays and lesbians.
Here, in this film, we see the Mormon Church joining with the Catholic Church to raise millions to fight against human rights for gays and lesbians in California.This spectacular documentary shows how these churches hid behind a shell group to fight Proposition 8.The hate messages of the Mormon faithful was obvious.
They are no different today as the Catholic Church was in the 16th Century.The bottom line is that the Mormon Church will see that their $22 million spent to spread hate will be money wasted..
Reed Cowan's "8: The Mormon Proposition" looks at how the Mormon Church contributed to the infamous Proposition 8, which banned same-sex marriage in California.
Interspersed with focus on Prop 8, the documentary looks at life inside Mormonism, and how many gay youths end up homeless in Utah (that Chris Buttars is a REAL CREEP).A strange irony to this supposed "defense" of marriage is that gays and lesbians can love each other just as much as heterosexuals can (to be certain, Massachusetts, where same-sex marriage is legal, has the lowest divorce rate in the country).
Also, another person involved in pushing Prop 8 was Rick Warren, who more recently encouraged the law in Uganda that called for executing gays.No, it's not the best documentary of all time, but still one that I recommend, just in case people thought that homophobia was dying out.
Well, then you're either a logical human being or, more likely, simply not a member of the Mormon church.So God said that one guy making out with another guy is wrong, so it HAS to be an absolute truth, right?
Sure, some of the mythology from some religions are interesting from a purely story telling aspect, loves me some Norse mythology, but to read a book and take every word written as factual truth is just beyond ridiculous and, obviously, dangerous to the rights of human beings.Watching the documentary, and seeing the Morons, I'm sorry, Mormons go from door to door surveying people one can't help but recall the treacherous and manipulative methods of the Ku Klux Klan in the early 1900s; they would go from door to door and ask people vague questions; do you love your country?
This idea that if homosexual couples are allowed to marry will bring about the demise of the United States and all it stands for, you know...the whole every man born equal thing, is so unbelievably absurd that it's making Camus role over in his grave.I'm not a Stalinist Atheist.
I don't feel that if you eliminate religion from the world it would make it a better place (I don't have enough faith in the human condition to be so naive.), you can believe whatever you want, you can preach whatever you feel to be your seriously hilarious truth (like not allowing blacks into your religion until 1978) but once you take your beliefs and use them to manipulate the public into voting for something that is in your best interest then you're a problem through and through.
The documentary didn't tell me anything I didn't already know from reading noted science fiction author Orson Scott Card's appalling essay railing against homosexual rights; the fact that these people think that sexuality is a choice that can be reversed just goes to show how intensely they're living in their own little worlds, if this is the case, if something born into a human being is actually a choice....well, in that case you better start rounding up the blind, the deaf, the autistic and, gosh golly, why not the horizontally impaired?
Yes, the Mormon church, proponents of eugenics: fantastic.Oh well, no matter if the church was involved or not the people of California VOTED for the proposition to be put into play; yeah, and Hitler was elected in a democratic system..
The narrator claims that Latter-day Saints believe God was once a human being and that after he died he "became a god where he began marrying spirit wives and having spirit offspring" and that "we, too, can become gods on our own planets, filled with our own spirit wives and children." In reality, they believe that marriage must be performed on Earth, not after death, and that women will be resurrected as well as men (hence no "spirit wives").Also, the film mentions that gay children "can't have children biologically".
It clearly has lot of bad and no good to say about he Mormons, and is strongly pro-homosexual rights.Indeed, it puts an unfair amount of blame on the Mormons for Prop 8.
I believe in equal rights for everyone whether they be white, black, gay, straight, poor, rich, shark, or bear...but that doesn't change the fact this movie is a giant pro gay marriage, anti-LDS commercial, anyone thats read a paper in the last 3 years already knows everything this movie has to offer therefore I cant give it more than a 5/10 its heart is in the right place, but it's execution is preachy, melodramatic, and long winded....never good for a documentary in my humble opinion.
As a voter living in SoCal, I'm tired of hearing that I should be barred from making whatever legal donations to political and social causes that I wish because I'm LDS (Mormon).
As repeatedly stated without refutation, the LDS Church contributed a total of about $200k to defending marriage in Prop 8's victory -- most of which was non-cash support.
Under what pretense am I to be denied my right to participate?Please consider the following:* 10% more money was contributed to oppose Prop 8 than to support it ($44 million vs.
Now we have this film that would have us believe that the side spending *less* money bought the election.* Donations from outside of California opposing Prop 8 were double the amount supporting it.
It would be more reasonable to complain that the losing side donated too much, based upon their spending per vote.* The total adult Mormon population in California only equals about half Prop 8's margin of victory.
The Church supports equal civil rights for homosexuals, including parity of civil unions: the Salt Lake City council recently passed an anti-homosexual-discrimination measure.
The LDS Church endorsed it; apparently, there wasn't room in this film for this inconvenient truth.* Polls showed that 70% of California's black voters and ~ 52% of our Hispanic voters supported Prop 8 and their votes -- not the pro-Prop-8 90% of the 2% Mormons make of California's population -- are enough to account for Prop 8's margin of victory.* Prop 8 garnered 1 million more votes in favor than did the similar Prop 22 in 1998.Film makers are free to write and produce whatever they want.
"8: The Mormon Proposition," a fatuous movie claiming to be based upon Prop 8's campaign and election is released.
Forget the fact that this movie demonizes the Mormon church in that they portray that it terrorizes gays.
Unless of course you want to watch two guys crying half the time about losing their rights to marriage--even though they are still legally married.
Threaten the Mormon church with losing their tax-exempt status so they will abandon future plans to block the gay agenda.
Before I saw this documentary, I knew that the Mormon church had poured money into California to get Prop 8 passed.
What I did not know before I saw this documentary is the depth to which the Mormon church is involved, and the horrible way they have treated their own different children.
In this case, the Church of Jesus Christ of Latter-day Saints is portrayed as the big, bad villain stepping on a minority group's civil rights.Never mind that it has consistently supported employment and housing rights for those with same-sex attractions even when the Utah legislature itself has not.
I challenge them and any rational person to watch this film and yet fail to realise that marriage equality is a necessity as an option for all - not a pipe dream, nor a nicety.While our Federal Law defines that we deserve discrimination, the Churches who hate us will continue to feel vindicated in active oppression, and too many youth will be rejected, or feel rejected, will self-harm or suicide, as a direct result."8: The Mormon Proposition" affirms that it's a case of you're either on the side of equality, which includes equality in marriage rights, or you're on the side of the bigots and must accept partial blame for all the harm caused by their intolerance.This film will do good wherever it is viewed in the world..
Though this movie brought up valid points towards how religion takes too much of a "front seat" approach to bringing their own clouded views to a political issue as gay marriage, most of the movies "knowledge" of the Mormon church was greatly misleading.
I being a Mormon myself do support gay marriage.
Unfortunately this movie is little about being pro gay anything and more about masking a church's belief into a 1939 Nazi propaganda film.
This whole notion that was forced throughout the film on how the Mormons are easily brainwashed into believing anything that's told to them by the church is ridiculous.
I gravitated to this film on the notion it would talk more about the issues of gay marriage and church standings, but unfortunately it turned into a religious bashing almost halfway through it.
No matter what camp you belong to, don't waste your time and money on this one.The bad part isn't that it is wildly inflammatory hate film.
Seems like the film focuses on money that the Church spent on proposition 8.
I recognize that Mr. Cowan when he created this documentary was attempting to take on the Mormon church with a personal hatred that you could almost taste while watching this film.
And then I see movies like this.If there is ever a good argument about why the silly notion of letting Churches have tax exempt status should be put by the wayside, this is it.The Church of Latter Day Saints spent 70% of the money supporting Proposition 8, yet hid behind front groups and other useful idiots to promote their agenda of hate.The delicious irony is that the courts have not only struck down 8, but if they appeal to the Supreme Court, they may well make it legal for the whole country.
Without even referencing this movie, it's a well known fact that the LDS Church at one time spoke against and violently disavowed peoples of foreign colors.
I never, ever take any documentaries at face value, so I can't say the entire movie made me anti-Mormon religion; the Church's Elders do a fine enough job on their own.
What I do respect is when a filmmaker gives both sides, and they did as good of a job here as I could tell.Not to say it was perfect, but at least I got to hear the opposing ads (and the making of's) and by opposing, if you hadn't figured out yet, I mean "YES on 8." Also, we saw the other side of the picket fence and heard them, as well as that BUTTars (God, that always reminds me of Butters from South Park
) and his Buffoon speech against homosexuals.I must report: this movie does have an agenda, and it is blatantly against the Mormon Church and anyone who (IMHO: Close-minded individuals) voted for Prop 8.
These stories were told by the very people that live there, and were not told in any religious context, but just because it happens too much.The absolute bottom line is that Prop.
The passage also suffered in the wake of Obama's historic election on November 4, 2008.The news did shatter the myth of California liberalism as the Proposition denying Gay marriage rights passed 52% to 48%.
$22 million in Mormon money funded a campaign of half-truths and outright lies to have the Prop placed on the ballot to forward the Mormon ideal of marriage.
After the Prop passes (about 2/3rds through) the film takes a nasty, completely unnecessary turn to Mormon-bashing.
Adding anything beyond exposing those views in a film about Prop 8 goes to the filmmaker's agenda.Perhaps if the Doc focused on the Mormon's overall agenda.
"The Mormon Proposition" gives us nothing the news haven't already: in an effort to defeat the gay equality in California, the Mormon Church spent millions and millions of dollars and helped pass Prop. |
tt0085936 | Mickey's Christmas Carol | On Christmas Eve in 19th-century London, Ebenezer Scrooge, a surly money-lender, does not share the merriment of Christmas. He dismisses two gentlemen's collecting money for charity and declines his nephew Fred's invitation to Christmas dinner. His loyal employee Bob Cratchit requests to have Christmas Day off, since there will be no business for Scrooge on the day, to which he reluctantly agrees.
Scrooge continues his business until just before midnight and then leaves for home. In his house, Scrooge is visited by the ghost of his deceased business partner Jacob Marley, who warns him to repent his wicked ways or he will condemned in the afterlife like he was, informing him that three time-travelling spirits will visit him during the night. As Marley leaves, he falls down the stairs after he avoids tripping over Scrooge's cane.
Scrooge is visited by the Ghost of Christmas Past, who takes him back in time to his early life. They visit his time as an employee under Fezziwig. Fezziwig throws a Christmas party, Scrooge attends and meeting a young woman named Isabelle, whom he falls in love with. However, the Ghost shows Scrooge how Isabelle left him when he chose his wealth over her. A distraught Scrooge dismisses the Ghost as he returns to the present.
Scrooge next meets the gigantic, merry Ghost of Christmas Present. Scrooge and the Ghost visit Bob's house, learning his family is surprisingly content with their small dinner, Scrooge taking pity on Bob's ill son Tiny Tim. The Ghost informs that Tiny Tim will likely not survive until next Christmas and he fades away.
Smoke fills the streets, revealing the Ghost of Christmas Yet to Come, who appears as a silent, cloaked figure; the Ghost takes Scrooge into the future. Escorted to a cemetery, Scrooge discovers that Tiny Tim has died. He then overhears two gravediggers who are amused that no one attended the funeral of an unnamed colleague while digging a grave. After the weasels leave to take a break from their work, the ghost points out Scrooge's own grave, revealing that he was the man who died. Realizing this, Scrooge vows to mend his ways as the ghost shoves him into his empty coffin sitting in a deep grave atop the fires of Hell.
Awakening in his bedroom on Christmas Day, Scrooge decides to surprise Bob’s family with a turkey dinner and ventures out to spread happiness and joy around London. He donates much of his money to the charity workers and wishes his nephew Fred a Merry Christmas as well. Scrooge then goes to the Cratchit house, at first putting on a stern demeanor, but reveals he intends on raising Bob’s salary and making him his partner in his counting house. Scrooge and the Cratchets celebrate Christmas. | horror | train | wikipedia | As with any adaption of a Christmas Carol, the less seen of annoying Tiny Tim, the better.Carl Barks' Scrooge McDuck plays Ebenezer Scrooge as various other Disney Characters teach him to be kind and not miserly with the tried and true 3-celebrity ghosts formula.
He is haunted by his former partner Jacob Marley ( played by Goofy) and 3 spirits ( Jimminy Cricket, Willy The Giant from " Fun and Fancy Free" and Pete) show him about his past, present and future so he can change his ways.A highly entertaining, well done and nicely drawn animated short.
You've probably seen every incarnation of Charles Dickens' "A Christmas Carol" to come down the pike - Lord knows, if humanity stopped making a new version every season, we'd still have enough to watch one a year for the remainder of man's time on Earth.But when they star Mickey Mouse, you can forgive just one more."Mickey's Christmas Carol" tells the same tale yet again, only this time through the sensibilities of the mouse and his pals (Donald Duck, Jiminy Cricket, Goofy, Minnie Mouse, Daisy Duck, etc.).
Want to guess which part HE plays?As voiced by Disney stalwart Alan Young, Scrooge embodies greed, bitterness and eventual redemption all in one package, and even makes such expected lines as "Bah, HUMBUG" ring true.If this cartoon has one flaw, it's that it doesn't have the same kind of irreverent spirit and sharp wit that so many of Disney's other movies and cartoon shorts have.
Maybe it was a rush job?Well, it still has the admitted high point of the Ghost of Christmas Present (best known as Willie the Giant from "Mickey and the Beanstalk") stomping through 19th century England and using lamp posts as flashlights and prying roofs off of houses to peek inside and expounding on "Pis-smashio" yogurt.It still lets the meaning of the season shine through and gives you a warm glow in your heart...and isn't that what cartoons (especially Christmas cartoons) are supposed to do?Eight stars for Mickey and company - and God bless us, everyone..
One of the Christmas programs that I always used to watch as a child at that time of year was Disney and Mickey Mouse's version of Dicken's classic, 'A Christmas Carol'.
Goofy plays the ghost, Mickey plays the under-payed business partner, Scrooge McDuck plays Scrooge, Daisy Duck plays the love interest, among the cast of other characters.
Think of this short (probably 30-minute) cartoon as the ultimate children's story of 'A Christmas Carol'.
Because this version is so wonderful, Scrooge McDuck is Ebenezer Scrooge and Mickey makes a fine Bob Cratchit.
This short film holds a special place in my heart as I remember watching it every Christmas on ABC.
Then my parents bought the movie, and we would play it every year while we were decorating the Christmas tree.Now, I get to watch it again on the 'Mickey's Magical Christmas: Snowed in at the House of Mouse' DVD, and it's as good as ever!
The use of classic and obscure Disney characters in this timeless Charles Dickens story is fantastic!
Major characters like Mickey, Goofy, Donald, Daisy, and Jiminy Cricket fit in nicely to their roles, as does the rare characters (Scrooge McDuck, Pegleg Pete, The Giant, and the cast of Mr. Toad).For Disney fans, animation fans, and Christmas fans, this movie is a great addition to your collection.
If you like the original Looney Tunes and animated films then I strongly recommend that you watch this movie today!.
This is a very nice adaptation from Disney of the classic "A Christmas Carol." It stars Mickey, Donald and Daisy as some of the main Carol characters, playing Bob Cratchit, Nephew Fred and Belle.
Ebenezer Scrooge is voiced by Mister Ed actor Alan Young, and Scrooge will take on a more significant future role as "Scrooge McDuck" in the cartoon show, Ducktales.This classic Charles Dicken's story is portrayed very well in this cartoon, very touching and moving about gruff Ebenezer trying to mend his ways after being visited by the Christmas ghosts of the Past, Present and Future.
The spirit of Christmas and goodwill is thoroughly emphasized in this movie and you could definitely see a special Disney touch to this feature.I'm sure the kids and the entire family will enjoy watching this cartoon short during Christmas time.Grade A.
It is a bit short, but most of the Disney Christmas specials are barely over an hour, so I don't think it as an issue.
Scrooge, great to hear Alan Young's voice again, is a miser who hates Christmas, much to the despair of his clerk Bob Cratchit, earnestly voiced by Wayne Allwine.
Scrooge McDuck rather fittingly plays Ebeneezer Scrooge in this Disney version of a story that TV writers have been milking for years.
To me, the only good movies based on Charles Dickens' classic novel are this one, Scrooged and Muppet's Christmas Carol.
Originally produced to precede the re-release of The Rescuers in 1983 I reckon that Mickey's Christmas Carol is a classic in it's own way, even if it only familiar to Disney fans instead of the average kid who has been raised on Toy Story and Dinosaur.I do believe that it could have been a feature length film but as a big fan of Scrooge McDuck I can just turn to Duck Tales if I want more of him.
Over a quarter of a century before a motion-capture Jim Carey muttered "Bah Humbug" for the house that Walt built, Mickey and numerous classic characters from the Disney stable got dolled in their best Victorian attire for an adaptation of Charles Dickens' classic Yuletide tale: "Mickey's Christmas Carol".
The usual chain of events follows, complete with a whole range of Disney characters from Donald Duck to Jiminy Cricket playing the roles.This featurette is by all means a charming holiday piece that can appeal to young and old alike.
The animation and art direction, although relatively unspectacular given its unambitious nature, are quite stellar considering the fact that the animators working on this special, the future creators of "The Little Mermaid" et al, were essentially newcomers.That is not to say "Mickey's Christmas Carol" is without fault.
One slight issue is that the film does not seem to always know whether it wants to be a fun piece of nostalgia or a genuinely involving and inspiring adaptation, and it does become a "Where's Waldo" of Disney characters at times.
The concept may have been a bit stretched as a feature film, but between five and ten minutes extra on the running time would have fleshed some of the rushed flashback scenes out.Still, this gets a recommendation, either as a fun Disney Christmas special or as an introduction to Dickens for children..
Mickey Mouse makes a surprisingly good Bob Cratchit, and the Tiny Tim is the only one from any movie so far who has actually won my sympathy instead of annoying me!
The animation is clean and creates a much better London than most live action movies can!This version is great to watch with kids - it is simplified, so it is easy for them to understand, but you will enjoy it too.
Share this wonderful holiday treat with the whole family.This is to me however a safe version to introduce children to the story of "A Christmas Carol".
Then the Ghost of Christmas Future shows him the funeral of little Tiny Tim.For such a short running time, this is a well made version of Charles Dickens' 'A Christmas Carol'.
Disney characters fill the roles in this adaptation of the Dickens novel, with Scrooge McDuck obviously playing the role of cold blooded, greedy businessman Ebenezer Scrooge.
However, in the attempt to make Scrooge see the light, he's visited by a succession of ghosts, starting with his deceased partner Jacob Marley (Goofy), who show him the progression of his character over the years, and the possible consequences.
His lowly underpaid accountant Bob Cratchit is played by Mickey Mouse and a lot of other Disney characters play a lot of other roles quite fittingly.
I watched a lot of Mickey's Christmas series but this one's a movie!
Charming Disney Christmas short has ALAN YOUNG voicing the Scrooge McDuck character as Ebenezer Scrooge in this colorful, well animated Disney short from the early '80s.
Other familiar Disney characters take turns at playing roles, including Goofy as Jacob Marley's ghost and Mickey Mouse as Bob Cratchit.The Victorian atmosphere of London is nicely displayed and all of the background work is up to the usual Disney professional standards.
The music is pleasant and only the brief running time is a bit of a disappointment, since the story is so compressed and is over just as you begin to settle into it for enjoyment.A "must see" for any Disney buff and well worth watching to get into that holiday mood..
Creating a movie which blends one of Dickens most famous creations,the bitter Ebenezer Scrooge,and one of Disney's more bitter and complicated characters,Scrooge McDuck,somebody could create a masterpiece.But obviously not Disney.Every bit of experience than turned those two men from ambitious,decent children to almost amoralistic businessmen is not mentioned in this movie.It seems overly rushed on most points.
In this Disney short film adaptation of the Charles Dickens classic, the role of Ebenezer Scrooge is played by none other than Scrooge McDuck.
The film is only 26 minutes long, but yet it manages to pack in all the essentials elements of a Christmas Carol, as well as a lot of good humour, touching drama and excellent Christmas spirit.
A great version of the story about ol' "Bah Humbug" himself, Ebenezer Scrooge.
I'm sure most everyone has seen a version on film or has read A Christmas Carol so won't rehash the entire story - but to those few who might not have seen or read the story: It's a good story filled with crabby Scrooge, a poor family and 3 ghosts that haunt Scrooge.Disney's version of this tale is good.
The return of Walt Disney's most famous cartoon character, Mickey Mouse, to the silver screen after a prolonged 30-year absence was via this wonderful, Oscar-nominated animated short subject a Disneyfication of Charles Dickens' Christmas perennial which, surprisingly enough for being made during a period of low ebb for the studio, succeeds far better than it ought to.
Ebeneezer Scrooge is played by Scrooge McDuck (voiced by veteran actor Alan Young) while Mickey Mouse portrays his overworked underpaid employee Bob Cratchit; also making a welcome appearance (and adding to the fun) is Donald Duck as Scrooge's happy-go-lucky nephew, Goofy as the clumsy (what else?) ghost of Jacob Marley, Jiminy Cricket as the Ghost of Christmas Past and Willie the Giant (of the BEANSTALK fame) as the Ghost of Christmas Present.
P.S. Initially, it wasn't my intention to watch this Disney short over the Christmas period in fact, I practically forgot that I actually owned it on DVD as part of the "Walt Disney Treasures" 2-Disc Set of MICKEY MOUSE IN LIVING COLOR VOLUME 2!
This is the only Mickey Mouse cartoon that I approve it, because the entire short based on my favorite English short novel A Christmas Carol written by Charles Dickens, and it was the only time Scrooge McDuck shown his REAL identity: Mean-spirited, Cold-hearted scrooge UNCLE SCROOGE!Alan Young voiced Scrooge very well in the cartoon, and the cartoon characters from Robin Hood, Pinocchio, and so on, are played a role in the film, even Mr.Toad played as Mr.Old Fezzwig in it!
It seemed that Mickey Mouse was bringing back to popularity surely!The only scene didn't impressed me is that Belle (Daisy Duck) is shown as Scrooge's love in it, and is she older than Donald?
I guess Pete should played Jacob Marley's role, he is still evil, and Goofy and Scrooge seemed to be strangers afterwards.Despite these flaws, I still like it, I ranted 9/10.(P.S. I NEVER ranted Mickey Mouse's short film that high before!).
Undoubtedly, this is the best short that Disney has ever done and one of the best Christmas classics that everyone should watch at least once.
Based off the (duck)tale from Charles Dickens the legendary English writer, as one of many many reiterations on TV, this here is the culmination of everything kids growing up during the 80's or even 90's were about: the magical Disney characters and their peculiar humor and personality traits, all anthropomorphic animals representing various profiles; coupled with the more traditional Christian values.It does very well at satisfying on both fronts: it's genuinely funny, and manages to also deliver the message in a very vivid and powerful way, which even children could integrate and get a true grip over.
We're given a lucid ride and insight into Scrooge McDuck's evolving emotions, and if anything this next point may constitute the one flaw of this picture but it's terribly short: which is both an advantage and a flaw in that first it's quite remarkable they managed to squeeze so many characters and so much meaning into such a short burst of Disney action, it's short and sweet and can be viewed as nostalgic value many times; but it's also regrettable that having so much going for them in this well crafted, well balanced cartoon version of the Dickens universe they didn't expand the scenes a bit as to create a closer relationship with the characters and a more powerful emotional effect at the end.8/10..
Mickey's Christmas Carol is a wonderful blend of classic Disney Magic, with many of the "supporting cast members" from other beloved Disney cartoons.
So, it is nice to see "Mickey's Christmas Carol"--as the artwork is just lovely and shows that the studio still had it.
Mickey's Christmas Carol (1983) **** (out of 4) Disney kept Mickey Mouse off the big screen for nearly three decades but they certainly picked the right story to bring him back in.
This wonderful adaptation of the classic story has Mickey playing Bob Cratchit, the poor worker whose boss Scrooge is about to get a lesson on treating people the right way.
What amazes me most and always has is that the animators got all the right characters in the story being played by the right Disney character.
Goofy as Marley, Willie the Giant and Jiminy Cricket as a couple of the ghosts, Donald Duck as the nephew and of course Mickey and Minnie.
The entire story is a very familiar one but it's given so much life by these Disney characters that one really could argue that this is the very best version of the story, which has had several good adaptations over the past hundred years.
A Rush Job. I agree with Roger Ebert, that MICKEY's Christmas CAROL felt like a "forced march" through the famous Dickens novella.
I guess that there's nothing wrong with it, although "A Christmas Carol" doesn't seem like the type of story that Disney should adapt.
The end of the sequence with the Ghost of Christmas Future was a little intense for a children's movie.
My favorite adaptation of this story was "Scrooged", with Bill Murray as a mean-spirited TV executive.In the years since I watched these sorts of cartoons, I have learned that Alan Young (Wilbur on "Mister Ed") provided Scrooge McDuck's voice.
A short fantastic story by Charles Dickens with a great message for all of us during the holidays.
First of all i want to thank the screenwriters who successfully adapted the story into a Disney setting: Mickey Mouse as Bob Cratchit, Jiminy Cricket as one of the Christmas ghosts, etc.
This was a very nice and enjoyable Christmas animation, being one of my favorite adaptations of "A Christmas Carol".It has a fantastic animation, with very cute and appealing designs (Though I shouldn't be surprised by that) and many funny and heartwarming moments, capturing perfectly well the good-spirited essence of the original story.The way in which this used Disney characters for the classic story was clever and well made, since everyone was just perfect in their respective roles.While this isn't the best short done by Disney (That would be the marvelous "The Little Matchgirl" animated adaptation from the year 2006) this was an excellent version of this classic story, being perfect to watch during Christmas time..
Although Charles Dickens' classic tale has been adapted for the screen dozens upon dozens of times, "Mickey's Christmas Carol" stands out as one of the best.
Its use of everyone's favorite cartoon characters to bring the story to life is charming and the pace is perfect to keep the attention of children of all ages.The greedy Ebenezer Scrooge (Scrooge McDuck) doesn't understand the meaning of Christmas.
Four ghosts (Goofy, Jiminy Cricket, Willie the Giant, and Black Pete) visit him Christmas Eve to show the old miser the error of his ways.
It features all the famous characters, from Scrooge over Donald to Micky and Goofy and some of the lesser known ones too like Grandma Duck.
Delightful(if a bit too short, covering very little of the Dickens' story but the bare essentials)Walt Disney version of A Christmas CAROL features the wonderful voice of Alan Young of MR.
ED fame as Ebenezer Scrooge McDuck, Bah humbugging those around him of good Holiday cheer until he is visited by deceased partner Jacob Marley(Goofy who makes a marvelous introduction and easily the character who steals plenty of chuckles such as his inability to keep from tripping over his chains)and three ghosts over Christmas Eve, one of whom is Jiminy Cricket(as Christmas Past).
With Mickey Mouse as long suffering Bob Cratchet, Minnie his wife, and Donald Duck as Scrooge's jolly nephew who invites Ebenezer to a Christmas dinner.
At the end, maybe because of the traumatizing experiences he had with the 3 mentioned ghosts, he ends up feeling the Christmas spirit and gives donations for the poor ones.This cartoons also features other popular Disney starts, such as Minnie Mouse, Mickey Mouse, Donald Duck, Jiminy Cricket and Goofy (although all of the characters have different names here). |
tt0101862 | Father of the Bride | George Banks (Steve Martin) is the owner of an athletic shoe company in San Marino, California, whose 22-year-old daughter, Annie (Kimberly Williams), returns from Europe, telling them she is engaged to Bryan MacKenzie (George Newbern), a man from an upper-class family from Bel-Air, despite them only having known each other for three months. The sudden shock turns the warm reunion into a heated argument between George and Annie, but they quickly reconcile in time for Bryan to arrive and meet them. Despite Bryan's good financial status and likeable demeanour, George takes an immediate dislike to him while his wife, Nina (Diane Keaton), accepts him as a potential son-in-law.George and Nina meet Bryan's parents, John and Joanna MacKenzie. Though George feels comfort from John also expressing how shocked he had initially been at Bryan's marriage plans, he quickly gets into trouble when he begins nosing around and eventually ends up falling into the pool when cornered by the MacKenzies' vicious pet Dobermans. All is forgiven, however, and the Banks meet with an eccentric European wedding designer, Franck Eggelhoffer (Martin Short) and his assistant, Howard Weinstein (B. D. Wong), where George immediately begins complaining about the price of the extravagant wedding items. The high price, $250 a head, plus the problems of wedding invitations begin to take their toll on George and he becomes slightly insane. The last straw occurs when his wrongly sized tuxedo, which he had struggled to put on, rips when he bends his back. He leaves the house to cool off, but ends up causing a disturbance at a supermarket. Fed up with paying for things he doesn't want, he starts removing hot dog buns from their 12-bun packets so as to match the 8-dog packets of hot dogs. He ends up getting arrested, but Nina arrives to bail him out on the condition that he stop ruining Annie's wedding.With help from Nina and Franck, George becomes more relaxed and accepting of the wedding, particularly when Annie and Bryan receive rather expensive gifts from extended family members, but the wedding plans are put on hold when they have a row over a blender he gave to her as a gift, which only gets worse when she refuses to believe his story about George's antics at his house when he fell in the pool. George takes Bryan out for a drink, initially intending to get rid of him for good, but seeing his heartbroken face and genuine claim that he loves Annie, George has a change of heart and finally accepts him. He confesses to Annie that what happened at Bryan's house was true, and she and Bryan reconcile.Despite some last minute problems with the weather, the wedding is finally prepared, almost one year after Bryan and Annie's first meeting. They marry and the reception is held at the house, despite a nosy police officer objecting to the number of parked cars in the street. George, unfortunately, misses Annie throwing the bouquet and is unable to see her before she and Bryan leave for their honeymoon in Hawaii. She, however, calls him from the airport to thank him and tell him that she loves him one last time before they board the plane.With the house now empty and the wedding finished, George finds solace with Nina and dances with her. | comedy | train | imdb | This is Martin's second favorite film that he has starred in (behind "Planes, Trains and Automobiles" and followed by "Little Shop of Horrors"), and I can see why.Martin stars as George Banks, a wealthy upper-class businessman living in Suburban America with a gentle wife (Diane Keaton) and feisty son (Kieran Culkin).
We're seeing the world through his eyes - which explains the reason it is quite often very overwhelming and comical.The movie indeed benefits from Martin's portrayal of a worried father - not as scared by the fact that his daughter is getting married, as he is by the idea that he will undoubtedly lose her to another man.
I remember a few years ago seeing Father of the Bride on TV, but of course it's edited and I never finished it, it's sad, I call myself a Steve Martin fan and never finished this movie.
Steve Martin makes such a great over protective dad, as much as he drives his daughter crazy in the film, you still gotta love him that he's so protective over his baby girl.
Father of the Bride is a great comedy and is a good watch with it's sweet story and lovable characters.
Before Meet the Parents, there was Father of the Bride.George has an excellent life: good job, nice home, beautiful wife, and two loving kids, one of which is his daughter who has just come home from Rome getting her masters in architecture and announces she's getting married to a man she met there, Bryan.
George has to also deal with the crazy wedding planner, Franck Eggelhoffer, trying to break up his daughter and her fiancée, and Bryan's rich parents.Father of the Bride is a good film and I really recommend it, it's one of those films that you get a few good laughs for and just feel good afterwards.
Father of The Bride can be viewed purely as a bit of light-hearted comedy that mocks the way Dads can sometimes be, but by looking just a little deeper, it contains valuable information that could help many a daughter understand her Dad, and offers many a Dad some consolation that he is not alone, and that someone out there understands the separation pains he is going through as his most precious treasure begins to spread her wings and look elsewhere than the first man she ever loved.
"Father of the Bride" was made back in the days when Steve Martin still had a really funny streak (which unfortunately seems to have ended with the "Cheaper by the Dozen" movies and the "Pink Panther" remake).
I've watched Father Of The Bride numerous times over the years and it's still a good family comedy to watch Steve Martin gives a hilarious and heartwarming performance.
I laughed at the way Martin's character acted when his daughter announced her wedding plans and the scene that was touching was when father and daughter were outside and snow began falling it was nice.Martin Short's role as Franck Eggelhoffer was both comical and very funny.
George Banks (Martin) a middle class man and owner of a sports shoe company has it all a great job, a nice house, a beautiful wife Nina (Keaton) and son Matt (Culkin).
He's in for the surprise of his life when his 22 year old daughter Annie (Williams) comes home and announces that she's getting married to Bryan MacKenzie (Newburn)a computer genius from a wealthy family.From then on George is in a constant state of panic because the wedding will cost too much and the fact that his daughter is grown up.
However by the end of the movie he finally accepts that his daughter is an adult and has her own life.The rest of the cast gave great performances I recommend this movie to fans of Steve Martin who enjoy his comedy antics 8/10..
In a remake of the 1950s film of the same name, Steve Martin plays shoe factory manager George Banks whose 22-year daughter Annie (Kimberley Williams) unexpectedly announces her plans of marrying a computer system designer named Bryan (George Newbern) who she only recently met on her trip to Italy.
The elaborate and costly wedding arrangements are also a major source of stress for George who must learn cope with the feeling of not being the number one man in his daughter's life anymore.Steve Martin is a decent comedian, so the humour works best when it relies on his screen-persona and puts less emphasis on crazy situations.
Since the soon-to-be husband and wife aren't really developed enough to make them very interesting and Diane Keaton plays her part as the mother of the bride with a constant smirky smile that makes her come across as rather unnatural in the role, the movie can essentially be called a one-man show of Steve Martin who fortunately suits the role well.At the end of the day, the appeal of Father of the Bride depends on the charisma of Steve Martin and the perceived touchingness of the theme of letting go of your daughter.
i thought this was a really cute,touching movie.i found the performances authentic and sincere as well as how each person reacted to the big event,from the announcement of the big event right to the last scene in the movie.Steve Martin was terrific as George,the Father.Dianne Keaton was great as the Mother.as for the bride herself,Kimberly Williams,she came off as very real and believable.however,the character i liked the most was the wacky wedding choreographer,played by Martin Short.he was a scream.all in all,a very heartfelt,well done movie.i have yet to see the original 1950 version with Spencer Tracy,Joan Bennett,and Elizabeth Taylor,but i hope to soon.as for this remake,i give it an 8/10.
Diane Keaton sparkles as his uncomplaining wife, and Kimberly Williams is sweet and alluring as his daughter Annie(she looked stunning in the wedding dress), while Martin Short gives a wonderfully fluffy turn as the camp wedding organiser.
The story is very interesting and very nice, the comedy is hilarious, the acting is fantastic, everything is awesome about this film!All the actors do a great job: Steve Martin, Diane Keaton, Kimberly Williams, George Newbern, Kieran Culkin, Martin Short, B.D. Wong and an extremely small part by Eugene Levy.
The film starring Steve Martin, Diane Keaton, Kimberly Williams, George Newbern, Martin Short, B.D. Wong and Kieran Culkin was directed by Charles Shyer and is number 92 on Bravo's "100 Funniest movies." Other awards received were Kimberly Williams for "Best Breakthrough Performance" and Steve Martin for People's Choice Award for "Favortie Actor in a Comedy Motion Picture." He was also nominated for a Golden Globe Award for his performance.In this remake of a classic Spencer Tracy film, George Banks (Steve Martin) is the owner of a shoe store in San Marino, California.
When the wedding takes place at their home with a crazy foreign wedding planner, Franck Eggelhoffer (Martin Short), controlling the whole thing, George tries to remember that his daughter is all grown up and ready to take the next step in her life.
It's hard to ignore Steve Martin's comedy, but, the film makes me cringe, especially if this movie is seen in countries whose citizens think this is the "average" American family of today.
Steve Martin and Diane Keaton make brilliant performances as well.I don't think the old one is better, I watched it recently and it is indeed good.
"Father of the Bride" is a charming, family-accessible movie that showcases Steve Martin in one of his most likable roles.
Also, in the first part of the movie, when Martin's character meets his daughter's fiancé, the natural fatherly impulse to dislike Brian (ably played by George Newbern) gets stretched beyond reality to something like a reverse Electra complex, and it gets kind of creepy for a couple of minutes.
1991 remake of the 1950 Spencer Tracy-Elizabeth Taylor sentimental comedy concerns harried family man trying to maintain control while planning his daughter's extravagant, expensive wedding.
While Steve Martin gives a great performance as George Banks, and while several scenes are hilarious, I take issue with several inconsistencies in this film.
Franck the wedding co-ordinator is one of this film's glories, completely outclassing Leo Carroll, who played the equivalent role first time round.The young couple are attractive, Martin is amusing and the story is told competently enough, but one wonders whether the world needed another "Father of the Bride" at all.
After spending six months in Rome, Annie (Kimberly Williams) has some exciting news to tell her parents George (Steve Martin) and Nina (Diane Keaton).
It's the story of how a father reacts to his daughters upcoming wedding.However what makes this film so special is that it is full of lovely moments and sentimental without becoming cloying.Steve Martin may be the central point for the comedy but credit must also be given to Diane Keaton and Kimberly Williams who do well in their roles.
A little quaint for the 1990s.****** Father of the Bride (12/20/91) Charles Shyer ~ Steve Martin, Diane Keaton, Kimberly Williams-Paisley, Martin Short.
I suppose if I were anything other than a middle class white American, "Father of the Bride" might not have warmed my heart the way it did, but to be fair, family comedies don't any sweeter or more genuine than this story of a father coming to terms with his daughter growing up and moving out.Casting Steve Martin in the role of overreacting and overprotective father George Banks was a fantastic choice.
Always playing irrational characters, there's the chance he might do something crazy, even if he rarely does, that keeps us entertained.That's helpful, because there's not a whole lot of real conflict going in "Father of the Bride." One pivotal point in the film is the bride-to-be Annie (Kimberly Williams) crying that the wedding is off because her fiancée bought her a blender.
Without Martin's help, this movie is about a wedding with your typical father freaking out about paying for it all (when they have a perfectly good amount of money).That's sort of the best and worst part of "Father of the Bride." It's so true-to-life, which makes it instantly agreeable but also completely lackluster.
So before he completely wrecks his career with rubbish like the "Pink Panther" remakes, take a moment to remember how good he can be at both funny and emotional.In a remake of the 1950 Spencer Tracy original, Martin plays George Banks who is a successful businessman living in LA with his wife Nina (Diane Keaton).
When their daughter Annie (Kimberly Williams) returns from Europe engaged to well-to-do Bryan McKenzie (George Newbern), George struggles to cope with the news and begins to go off the rails, especially when he feels pushed out by extravagant wedding planner Franck (Martin Short).
There are moments that don't quite ring true - the scene with the cars parked in the street, for example - but by and large, this is a great comedy that is suitable for the whole family.Hopefully, our wedding will be considerably less chaotic and expensive - if this is Hollywood's idea of a modest wedding then I'd rather get married over here - but when all is said and done, everyone will have a good time and that's how this movie is.
Steve Martin with Diane Keaton and new-comer Kimberly Williams-Paisly shine in Father of the Bride.
George and Nora Banks (Steve Martin and Diane Keaton), being the parents of the bride, the must organize and pay for the wedding.
Any daughter who has a close relationship with her father cannot help but feel at least a little heart-tug during that scene.One minor problem I had with this movie was that it was difficult for me to feel sorry for the amount of money the wedding was costing George...
He was hilarious, and very funny for Martin's character to play off of.This movie will have you laughing from beginning to end, but it goes far beyond comedy....it also reached into the dramatic genre, mostly in the storyline between the title-featured father and his daughter the bride.
And Steve Martin, Now An Oscar-Winner, delivers a knock-out performance as the paranoid father.'Father of the Bride' Synopsis: George and Nina Banks are the parents of young soon-to-be- wed Annie.
All smiles no wrinkles, Father of the Bride 1991 remake of the 1950 movie of the same name, is a movie that touches every area of the heart, making you smile all the way through, as you look forward to giving your own child away.The cast brings warmth, the combination and ploy done by George Banks (Steve Martin) who can arguably be regarded as the cheapest man alive, were all too funny to make you turn away.
After seeing this movie at a young age I couldn't wait to get another dose of it again, hunting down the DVD so as to see George, Frank (Martin Short) and Nina (Diane Keaton) plan a perfect wedding to give their beautiful daughter away.My sight for sore eyes in this flick is the beautiful wedding sneakers that George made for his daughter Annie (Kimberly Williams) just before her wedding.
This movie can be said to be the best comedy that Steve Martin pulled, it is all cheers for you and the family.The movie plot is a narration from George Banks to us the viewers about the things that led to his daughter's wedding.
George being extremely cheap now starts to think of ways to cut cost, and with the whole wedding plan all going on around him, George was in line for a nervous breakdown.Father of the bride was the breakthrough role for Kimberly Williams, and it was a revival for Keaton who has been having flops after flops for years affecting her relationship with Disney, who didn't want to cast her in this movie in the first place.Father of the bride is both a critical and financial success, it currently holds a 72% approval rating on the aggregate site Rotten Tomatoes and it spawned a sequel Father of The Bride 2 in 1995.Here is a DVD collection that you should buy and keep watching anytime you feel blue.www.lagsreviews.com.
i absolutely loved this movie,,very funny Martin Short, Bronson Pinchot , Steve Martin what more could you hope for,, the father,, George Banks finds out his little girl is getting married and proceeds to go off of the deep end, as i would to whenever mine gets married, he tries to cut corners .
because it will cost 250 dollars a head for the wedding,, he meets his future son-in-law and very cautiously accepts him, there is lots and lots of comedy and slapstick in this one, especially the now infamous hot dog bun scene,, where he snapped, and lands himself in jail for causing a scene at the local grocery store,, i think they kinda overdid it just a little with putting in snow in L.A in winter,, because it never snows there anyway,, but all in all i really liked this movie, because it shows how a father feels when it' time to let go of his little girl..
In this 1991 updated remake of 'Father of the Bride', we find Steve Martin as a neurotic, stressed out father, George Banks, learning that his adult daughter is getting married, and it is up to him to make her the happiest bride at the most lavish wedding.
Martin Short, of course, is the comedic center of the film as Franck, the wedding coordinator, who throughout the movie, is a pest to Steve Martin's character.
Steve Martin and Diane Keaton play George and Nina Banks, the parents of Annie Banks, who is a soon to be married woman.
The cast in the movie includes, Steve Martin, Diane Keaton, Kimberly Williams and Martin Short and they all give good performances.Father Of The Bride is a great comedy movie which comedy, movie lovers everywhere will love.
Steve Martin stars in this Disney remake of the 1950 classic..Martin stars as the father of the bride (Kimberly Williams is perfect) and Diane Keaton is the mother.
Martin Short is the coordinator - played stereotypically gay - and that gets annoying..but the movie altogether is a wholesome funny charming film that both kids and parents can watch together, on a scale of one to ten...6.
Father of the Bride (1991) *** (out of 4) Very funny remake of the Spencer Tracy-Elizabeth Taylor classic has Steve Martin stepping into the role of the father who finds himself losing his mind once he learns that his daughter is about to be married.
Keaton co-stars with the great Steve Martin as the wife of a husband who's quietly going crazy over the upcoming wedding of their only daughter.
What probably makes this whole movie worth watching is Steve Martin's hilarious performance as George.
George Banks (Steve Martin) and his wife, Nina (Diane Keaton), are ecstatic over the fact that their daughter Annie (Kimberly Williams) is coming home after being in Rome for 6 months.
The whole movie is about George, the father of the bride, and how he learns to cope with losing his little girl, planning and paying for a wedding.
The movie would be very, very ordinary if it didn't have the wedding planner 'Franck', played with great comedic timing by Martin Short.
Anyway, this is the remake of the 1950 film, and it sees middle aged father George Banks (Martin) with wife Nina (Diane Keaton) having to prepare the wedding for their 21-year-old daughter Annie Banks (Kimberly Williams-Paisley).
In "Father Of The Bride", he once again takes on a role made iconic by Spencer Tracy, though this time he gives it a skin of its own, thus succeeding in transforming a mawkishly-constructed drama into a zingy comedy.George Banks' (Steve Martin) life changes when his daughter Annie (Kimberly Williams) tells him that she has decided to get married to Bryan MacKenzie (George Newbern), a guy she had met in Rome a few months before. |
tt0117324 | Persons Unknown | Former cop Jim Holland (Joe Mantegna) is trying to keep his small security company afloat and away from foreclosure by the bank. When Jim leaves his favorite bar he bumps into Amanda (Kelly Lynch), a good-looking woman on blades. When she falls down he offers to help her ice her bruised ankle and they hit it off and spend the night together in Jims overly neat and secure home. The next morning when Jim awakes he discovers that his files on one of his premier clients have been raided and photocopied by Amanda. Jim manages to get her fingerprints from a wine bottle and takes it his police acquaintance at the department J.T. Walsh, a caustic abusive cop who maintains an aggressive relationship with Jim. Jim tracks Amada down to a house in a seedy part of town she shares with her sister, wheelchair-bound Molly (Naomi Watts) and Jon Favreau. He maintains surveillance on the group and sees that they are planning to rob one of Jims clients whose warehouse is nearby. When the crew robs the warehouse they kill two men and stash the money in a storage container. Jim takes the money and pays off the bank loan and buys a boat, but when he discovers that the warehouse was a Federal sting operation being fronted by illegal drug gangsters, he realizes that the women are a target and he decides to help them. Along the way he falls in love with Molly but also finds out that a group of drug dealers are pursuing them with J.T. Walsh to get the money. | neo noir | train | imdb | null |
tt0443536 | Hoodwinked! | An old film projector is heard running in the background. The image fades to show the cover of a copy of Red Riding Hood showing Little Red screaming as she is attacked by a menacing Wolf. An unseen narrator tells us, "Red Riding Hood. You probably know the story. But there's more to every tale than meets the eye. It's just like they always say, you can't judge a book by its cover. If you want to know the truth, you've gotta flip through the pages." The book flips open to a pop-up map. The camera zooms in, flying through the cardboard cutouts of a forest. Eventually, the image dissolves into an actual forest, exit into a clearing, and close on the door of a woodland cottage.Red (Anne Hathaway) opens the door and enters the cottage, carrying a basket and looking for her Granny (Glenn Close). Hearing silence, she steps further into the house and asks if everything is okay. A voice answers, and she turns to see "Granny" sitting up in her bed. We, however, can see that it's clearly the Wolf (Patrick Warburton), speaking in a falsetto voice, and wearing a plastic face mask and apron. As she approaches, Red is very suspicious of the figure, given his mouth doesn't move when he talks. Much to the Wolf's irritation, she starts calling out his big facial features, including his pointy ears (which the mask fails to hide), his big eyes, and his undisguised hands.When Red comments on the Wolf's bad breath, he finally gives up any attempt at continuing to impersonate Granny and tears off the mask. Red's reaction is one of shock and pure anger, and she demands to know if she needs to get a restraining order. She starts to move back into the living room as the Wolf grabs a fireplace poker for potential self defense and tells her to settle down. Red corners him and angrily demands to know what he's done with Granny, and the Wolf says he's taken her down and Red is next. On cue, Granny jumps out of the closet door, bound and gagged. Seconds later, as Red and the Wolf are reacting to this discovery, a crazed-looking, axe-wielding lumberjack (Jim Belushi) bursts through the window, screaming, to the horror of the other three.Suddenly the image cuts to black and the exclaimed title is shown on screen.When the scene is restored, it is nightfall. The authorities have cordoned off Granny's house with crime scene tape, and officers can be seen milling around outside, talking as they stand guard. Chief Ted Grizzly (Xzibit) arrives in a marked squad car, and upon getting out of the car, he is swarmed by reporters gathered outside. He refuses to comment to the reporters if the suspects inside are tied to a criminal called the "Goodie Bandit". Another cop, Jerry, holds the crowd back as Grizzly steps under the tape and talks to the first responding detective, Bill Stork (Anthony Anderson). Stork reports that they've got a basic domestic disturbance, and there are a number of charges that can be filed against the detainees: breaking and entering, disturbing the peace, intent to eat, and wielding an axe without a license. When Grizzly asks about a possible connection to the Goodie Bandit's recipe robberies, Stork says that there is a real possible chance this might be the big break they've been looking for: the house belongs to Granny Puckett, a big time cookbook lady.Inside the house, the four suspects we have met (from left to right - the Wolf, the woodsman, Granny, and Red) are sitting in chairs, handcuffed, around a smashed table. It is clear that none of them are happy about the situation. Stork explains to Grizzly that their woodsman was swinging an axe and the Wolf was trying to eat Red. The Wolf insists that he can explain things, but gets muzzled for his troubles, and Red gets snippy when Grizzly asks her if she should be in school ("Shouldn't I have a lawyer?"). The Chief is all for throwing the four in jail, thinking he's got an open-and-shut case, but is interrupted with the sudden arrival of a private detective named Nicky Flippers (David Ogden Stiers). Flippers berates Grizzly for letting tunnel vision cloud his judgment.Since the cops don't think they've made a mistake, Red expresses this to Flippers. Grizzly is irritated by Flippers' arrival, especially since the Goodie Bandit has been shutting down goody shops throughout this part of the forest for months, and with this domestic disturbance as the last call, he wants the case to be closed right here and now. Flippers immediately comes to a conclusion: there are four separate suspects, and all four of them will have different stories to tell about how they ended up in Granny's house. If they keep everyone talking, eventually, the police will produce a full picture of what truly happened. At this point, the Wolf, muzzled, asks if he can make a phone call, but gets prodded with a taser. Red sighs, turns to Flippers, and says she'll tell him what really happened. With that, the suspects are taken into the dining room one at a time to retell their stories.Each story is framed the same way: the image turns into an image from a book page, then the book flips back to the popup map we saw in the beginning, only instead it zooms in on a different building.Red Puckett's story:The first of the four suspects that Flippers interviews is Red Puckett. Red is a feisty teenager who uses her "innocence" to convince Flippers that she is not guilty. She claims to get her name from the red hooded cloak she wears as a fashion accessory (when asked by Flippers what she's called when she's not wearing her cloak, Red merely says, "I usually wear it"). Red is taken into the dining room. She explains that today began like any other day: she was doing deliveries for her Granny's shop....Red starts her day making a delivery run for her Granny, who lives many miles away on the other side of the forest, delivering goods to various creatures around the forest ("Great Big World"), who all give her friendly greetings, while singing to herself about her desire to travel. It is revealed to us that Red is more worldly wise than she is letting on.Later that morning, Red is spotted on the roadside by a friend of hers, a white rabbit named Boingo (Andy Dick), who hitches a short ride in Red's basket. Red is glad to see Boingo, but she wonders why he isn't working for the Muffin Man today. He sadly reveals that that guy has locked up shop as a mysterious thief known only as the "Goodie Bandit" broke in to his place and stole his recipes and secrets. Red immediately feels sorry for Boingo, but learns that he still operates the nearby cable car, which he says is nothing like making muffins all day. Boingo cheers up significantly when Red offers him a carrot crumpet, and he hops off on his way.Red continues on her ride, but it isn't long before she begins to see evidence that the bandit has hit. As Red rides by, she passes by store after store after store, and at all of them, she sees owners tacking up various signs in their front windows announcing that they are shutting down due to thieves. At one point, she has to stop for a family that is abandoning their roadside snack shack, boarded up and plastered with signs that say "Out of Business", taking all of their possessions with themNoticing the scope of the Bandit's work, Red begins to get worried that the thief might try to target Granny's recipe book. When she gets to a payphone a short ways down the road, she calls Granny to get advice, figuring that Granny might know what to do. Granny is busy knitting when Red calls. Red insists that Granny take the risk that the Bandit could wipe her out seriously, and believes that taking the recipe book to her house for safekeeping. Granny tries to discourage Red from coming over, pointing out that it would be too dangerous for her to travel up the mountain by herself, despite Red's protests that she isn't a little girl anymore. Their conversation is cut short when Granny realizes that her favorite TV program is on and she hangs up. Red groans, frustrated.Red is later seen in a treehouse, mindlessly thumbing through a copy of a travel magazine called Far Away Places. A small woodpecker flies up, notices the magazine cover, and asks her if she is going somewhere. Red says she isn't as the world is too dangerous for her, and in frustration, she throws the magazine away. It lands on the windshield of a passing car, startling the driver, who promptly loses control and drives straight into a tree (we hear, but don't see the actual crash, as the scene cuts back to Red seconds beforehand). Red flinches upon hearing the crash, but relaxes when the driver yells that he's okay. She continues musing, telling the woodpecker that if she had a bird's wings she would fly past the nearest snowcapped peak, but she can't, as she is still just a kid in Granny's eyes.Suddenly, Red hears the sound of a window being broken and flinches, realizing that something bad has happened. She quickly shimmies down the rope to the ground and runs over to Granny's store. When she gets there, she finds that someone has thrown a rock through the front door. Red picks up the rock, turns it over, and finds the words "YOU'RE NEXT!" written on it with a piece of chalk. As Red is looking at the message and the bird asks her what it means, she is distracted by a noise. She turns to see the owner of the store next door hammering in a sign reading "Out O' Business". Rattled, Red realizes that Granny's recipes are the next target.Fortunately, the recipe book has not been taken, as it's locked up in a vault concealed behind a portrait. Deciding that the vandal will probably come back, Red takes no chances. Despite Granny telling her to leave the book where it is, she removes it from the safe, loads it into her basket (concealing it under a tray in case she runs into trouble during the journey), puts the basket back in her bike, and rides away from the store.A short time later, Red is seen riding up the cable car with Boingo. She is his sole passenger on board. As Red leans against the doors and looks down, she converses with Boingo, who says that running the tram isn't as bad as he thought it was, since it allows him to admire the forests below without worrying about the vicious animals that live there, considering how cute and fuzzy he is. Red is deeply worried - she confides to Boingo that she's been thinking about what he said about the Muffin Man, and she is concerned that the bandit has an evil plan to shut down every sweet shop dealer in the forest if they aren't careful.As if on cue, the moment Red says that, the doors fly open and she flails around, trying to keep her balance. After five seconds, she slips and falls out, grabbing her basket as she goes. Boingo appears to try to grab for Red's basket, and he glares down at her as she plummets to earth. Red then hits a canopy of dense trees, and strikes several branches that serve to break her fall. She slides off the last one and comes to rest on her back. A second later, her basket, which has survived the fall, lands alongside her. Groaning in pain, Red slowly stands up, but is spooked when she picks up her basket and finds a three-toed footprint underneath it. Then she sees a pair of hungry eyes staring at her from inside some bushes, and she is visibly frightened. Suddenly, a squirrel wearing a small fedora hat lands a few feet away and a flash bulb in his mouth goes off, momentarily blinding Red.Red turns and finds herself facing the Wolf, who is wearing an athletic hoodie, and gives a friendly greeting. He makes a comment about the fall Red has just made and suggests that she write a letter to the safety board. Red is somewhat nervous, rattled by the fall. The Wolf asks her about where she is going, and Red says that she is going to Granny's house. The Wolf gets a generic idea on what's in her basket, but can't quite put his finger on a proper way to describe Granny's goodies. He questions her if she makes a lot of deliveries to Granny, and Red starts to get annoyed with his intrusion of her privacy, pointing out that he asks a lot of questions. She refuses to let the Wolf search her basket, but he suddenly emits a fierce roar in her face. Red screams and runs away, fearing for her life.Red runs through the trees as the Wolf calls after her. She thinks she is home free when the Wolf suddenly appears from behind another tree, almost as if he magically teleported there. He asks her to hand over the basket, this time with a more demanding tone of voice. Red responds by temporarily blinding him with a can of "Wolf Away Spray". She then turns on her heels and runs off, getting a good head start on the Wolf. As she enters a meadow, Red runs into a small swarm of hummingbirds. She bribes them by tickling one of them, and hands them her red cape/cloak. They fly the cape away, while Red hides inside a hollowed-out tree trunk as the Wolf takes the bait and runs past her, following the cloak. Just after he runs past the camera, he is heard yelling and there is a loud splash off-screen as he runs off the edge of a cliff and falls into a whitewater river below.Red emerges and walks over to the edge of the cliff. The hummingbirds return her cape as she watches the Wolf float away, cursing after her that he'll get her and Granny another time. She then continues on her way to Granny's, and eventually finds her way by hiking up an old goat path. A short time later, after hiking through several switchbacks, Red crests a ridge and finds herself in a high alpine meadow. On the other side of the clearing is an old mine shack, from which she can hear music playing.The source of the music is the hermit who lives in the shack, a blind, Southern-accented goat named Japeth (Benjy Gaither), according to his mailbox. When Red arrives, he is rocking on the porch and yodeling to himself, while strumming on a banjo. She immediately tries asking Japeth for directions, but it quickly becomes apparent to her that he is unable to not sing. Without once losing pitch, he explains that this is because he was cursed 37 years ago by a mountain witch (or so he claims). Unimpressed, Red asks Japeth if he is serious, and he confirms it ...in a talking voice. She quickly calls him out on it, but he immediately forgets all about it.Red uses an old telephone inside the shack to call Granny. When Red reaches her, Granny is in the middle of doing something that apparently requires a lot of attention. The call is very short and Granny can't talk about whatever she is up to, also apparently slipping on something while speaking. She screams out "Bonsai!", before the line suddenly goes dead.Hearing the busy signal, Red immediately fears that Granny is in grave danger. She turns and pleads for Japeth to help her. Unfortunately, this backfires because it incites Japeth to break into a country song ("Be Prepared") about his collection of all-purpose interchangeable horns (which include a coat rack, bottle and jar openers, keychains, and ones with wigs and built-in TV remotes, Mohawk style, a campfire set, etc.), which greatly annoys Red, as she resorts to looking at an old mine tunnel map to find a way to get to Puckett Grove.Japeth then pulls a lever and he and Red are dropped through a trap door, and slide down a chute into a mine cart parked in an underground tunnel. The cart then rolls along a track, pops out of the mountain, and plummets down a very steep drop, then goes over a further series of steep drops and airtime hills. Red is visibly nervous as the cart weaves along the mountainside. Suddenly, there is a loud rumble and explosion. The ground begins to shake, and snow from a giant avalanche higher up on the mountain begins to sweep over the shelf and the track. Japeth begins yodeling madly about the avalanche while Red holds on for dear life. They are spared when their cart crosses a gorge and enters a tunnel.The cart speeds through the tunnel as Japeth finishes yodeling. At the end, Red sees that the track abruptly ends. She hangs on for dear life as the cart hurtles towards the dead-end, and screams as they hit a tiny ramp and are kicked into the sky.The cart flies above the clouds and Red looks down towards the ground, visibly dazed and scared. She only has a few seconds to think about flying through the sky when she hears Granny's voice calling out to her. Red looks up and sees Granny apparently flying in the clouds above her. Granny calls for Red to "use the hood", before abruptly vanishing behind another cloud. Red takes Granny's advice: she unfastens her cloak, instantly transforming it into a glider, and ejects herself, right as the cart drops out of the sky and is reduced to a pile of splintered wood.As Red descends, to her surprise, she sees Japeth fly down, still holding his banjo, but now wearing a pair of goat horns that have helicopter rotors built into them, and he exclaims "I was prepared!" She watches, bemused, as he flies away.After landing, Red makes the rest of her journey to Granny's house safely and without incident. She knocks on the door and lets herself in, only she finds the Wolf impersonating Granny in the bedroom. Everything goes down as we saw in the opening: Red makes all the comments about the facial features of the supposed "Granny", until the Wolf reveals himself. This time, as this is her retelling it, Red gets deeply annoyed with the other characters missing their cues and not doing things the way they actually unfold - first off, the woodsman comes in too early. Then, Granny jumps out of the closet, standing freely and emitting a war cry, when she was wrapped up and gagged (Red mentions this clarification and with a pop, Granny reappears in the correct position), and the woodsman doesn't start waving his axe wildly until Red reminds him that he's supposed to be screaming like a maniac.In the present, Red concludes her story that the Wolf was going to eat all of them. Grizzly wants to move ahead to book the Wolf, but Flippers decides that they should hear the Wolf's side of things.The Wolf's story:Red shoots an angry glare at the Wolf as she leaves and he enters to be questioned. When he sits down, he is denied a drink by Grizzly, and also is struck across the hand with Stork's baton and taunted by Red. Flippers immediately recognizes the Wolf, pointing out that three years ago, during the police investigation into the Stiltskin case, the Wolf had been seen snooping around looking for a lead on the man's real name. The Wolf nonchalantly admits that he came close, as he was going to go with the name "Greg Stiltsken". Red, standing in the doorway, is shocked to learn that the Wolf is actually a reporter, and the Wolf says he has the real story......The Wolf is an investigative journalist. His full name is Wolf W. Wolf. He writes a regular column in The Once Upon a Times called "Facts and Fairy Tales". For the last six months, he's been working undercover in various jobs and professions around the woods, conducting his own investigation into the Goodie Bandit case. As the Wolf narrates, we are treated to a short montage of him investigating in a variety of different disguises.We meet the Wolf in the midst of interviewing the owner (Todd Edwards) of a small snack shack in the middle of the woods, while posing as a health inspector. He also is wearing a neck brace and telling a phony story about scalding his neck with hot coffee. The Wolf asks some basic questions. The owner points out that his co-worker has more answers when the Wolf asks him for a list of his suppliers. He then gets a message on his beeper, pretends that the message is from his non-existent boss, and leaves, after giving the owner a clean bill of health.Unsuccessful at this attempt to dig up information, the Wolf walks away, removes the neck brace and decides to look elsewhere for more promising leads. He is distracted then, he notices Red riding her bike down a nearby road. Her carefree behavior makes the Wolf think that she might have answers. He even considers her ability to have a swarm of hummingbirds fly her bike across a river as creepy. He records a few questions to himself on his tape recorder.As the Wolf contemplates his next move, a red squirrel with fedora falls out of the sky and lands on the tree stump right next to him. This is Twitchy (Cory Edwards), the Wolf's hyperactive cameraman and assistant. Twitchy reports that he got up early this morning like the Wolf told him to, in order to follow the girl in the red hood, whom they suspect has to be working for somebody. After giving a report on where the girl went, the Wolf asks him if he's got all of his camera gear. Twitchy confirms it, and asks if the Wolf wants the flash on and blinds him when he takes a picture. The Wolf sternly instructs him to take the flash off, as they are doing undercover work. He momentarily wonders if Twitchy has been drinking coffee as he is very hyper today.To find out the red hooded girl's identity, the Wolf and Twitchy travel to a local sheep pasture and seek out a paid informant of theirs, a sheep named Woolworth (Chazz Palminteri). To blend in without disturbing the others, the Wolf disguises himself in sheepskin, as does Twitchy. Woolworth is reluctant to share any information with the Wolf about the girl in the red hood, and fears being flogged if the shepherd should catch them together. After the Wolf pays him, Woolworth gives him Red's name. He describes Red as a "sweet gal," unlike "that Bo Peep", whom he complains put up an invisible fence that made him taste metal fillings for a week, until the Wolf brings him back to focus and asks more about Red. Through another payment, the Wolf learns Granny Puckett's name and is astonished about the possible connection. Woolworth tells them that Granny lives high up in the mountains and doesn't get many visitors (except of course Red), but the word on the street is that Red takes the cable car up the mountain to get there.The Wolf and Twitchy are next seen walking in the woods near the cable car, following the cabin as it travels up the mountain. The Wolf says his conversation with Woolworth is making him hungry and he and Twitchy agree to get lunch when they're done conducting surveillance. He uses a special radar gun and headset to eavesdrop on any activities going on inside the car. When he pulls it out, he doesn't aim it right, and is confused when he ends up hearing two men conversing about their love lives, because because the speaker is hanging down right over two caterpillars on a leaf. The Wolf sheepishly apologizes to them and aims his radar at the cabin. The signal is somewhat sketchy, so he only hears portions of what Red says when Boingo asks her if she delivers in this area, to which Red replies.... "But I was thinking..... The Muffin Man....Granny's recipes.....an evil plan.....shut down everyone in the forest" (the breaks indicate where Red's voice does not get picked up due to static), confirming the Wolf's apparent suspicions about Red (in reality, she is expressing her worries about the bandit).Twitchy gets onto a tree branch and starts snapping photos at the precise moment that the doors open and Red falls from the cabin. He snaps several photographs of her as she plummets right down, crashing through the branch he is on, causing him to become separated from his camera, which gets snagged on a separate branch from him. The Wolf is somewhat shocked by the fall, and from a distance, observes Red. Red picks up her basket and finds one of the Wolf's footprints underneath it. She looks up and squints at the Wolf, who is studying her through the protective cover of a bush. She backs away and whimpers when she hears growling, which turns out to be the Wolf's stomach complaining. Twitchy eventually retrieves his camera by swinging, and swallowing it. With the added weight in his stomach, he falls to the ground and the shutter accidentally goes off when he lands, briefly blinding Red.Exasperated with Twitchy's carelessness, the Wolf decides to take care of matters himself. He steps out from his hiding place and starts to interview Red. While they are talking, Twitchy regurgitates his camera, hides behind the Wolf, and starts to check it for damage. By freak accident, as Twitchy is trying to wind the camera up, (and unfortunately, also right after Red turns down the Wolf's request to search her basket), it snags the Wolf's tail, causing him to cry out in reaction to the sharp and sudden pain. Red mistakes it as him calling an attack, screams, and runs away. Seeing his tail caught in the camera, the Wolf pleads for her to come back as he wasn't intending to scare her. Twitcy tries to apologize, but the Wolf has no time to get the camera off because Red is getting away.The Wolf tries to give chase with Twitchy's camera still misfiring from his tail, but Red already has a significant head start on him. Realizing she's too far ahead for him to catch her on foot, he hails a taxi, which immediately appears. He hops in and the cab drives away, leaving a very pissed off Twitchy in the dust. After a very short ride, the Wolf spots Red out the window and confirms that he's gotten to a safe point to intercept her. The Wolf is dropped off, and he hides behind a tree to wait for her. He quickly records a note to himself. He steps out when Red approaches and asks to see the items in her basket. She responds by blinding him with the can of Wolf-Away Spray, and then she proceeds to viciously beat him up with her fists and legs (it turns out Red has a black belt in karate). The attack ends when Red spin-kicks him across the neck, knocking him down, and then takes off. The Wolf, furious, recovers moments later and gives chase. He catches sight of her cloak and pursues it, unaware that Red is not actually under the cloak - a mistake he only realizes when he grabs it and finds that it is just being flown by a couple of hummingbirds, at which point the camera whips back to reveal that he is frozen in mid-air a few feet off the edge of a cliff. The Wolf realizes that he's in trouble, and falls into the freezing cold waters of the river below. As he floats away, he yells after Red, standing at the top of the cliff, "I'll get you and your little granny too!" He then passes by a fisherman on the banking and starts complaining about how violent goody shop owners are, insisting that he'll prove they're evil.The Wolf is next seen sitting on a log, drying off. Twitchy eventually finally hobbles up, panting and gasping for breath, and collapses. Although Red has managed to escape from them, they decide that they need to find a way to get to Granny's house so they can intercept her there. Just by pure chance, Boingo shows up, obviously having overheard their conversation, and asks the Wolf if he is going to Granny's to throw a surprise birthday party for Red. Boingo claims that he is good at parties and can pull himself out of a hat (which he "demonstrates" by scratching his right ear). Realizing that Boingo might be suspicious if he tells the truth, the Wolf plays along with the idea and asks him if he knows how to get there. Amazingly, Boingo knows of a shortcut that involves going "over the woods and through the river", only to realize that going through the river will get them wet . The Wolf tells Twitchy, "You get lemons, you make lemonade."The scene cuts to the Wolf and Twitchy trudging through a dark and flooded cavern, guided by Twitchy's camera light. The Wolf is very unhappy when he falls into a hole, and gets his athletic hoodie soaked. He complains that they never should have trusted Boingo with directions. Case in point: he wrote them (and a tiny map) down in the most illegible text ever on the side of a brightly-colored Easter Egg. Twitchy gets pessimistic, when suddenly they hear growling noises. The Wolf and Twitchy pick up their pace as they are chased by bats lurking in the darkness, and find themselves in a cavern with a ladder to an exit up above.The Wolf and Twitchy climb up the ladder. The Wolf pops his head out the opening, then immediately ducks to avoid being decapitated by a passing mine cart. The ladder emerges in the middle of a mine high up in the hills. The Wolf notices a water tower a short ways down the track. The Wolf and Twitchy hang from the water spout, and drop into the next passing cart. The Wolf is pleased that they've found a proper shortcut and comments such to Twitchy as their cart runs along the mountainside. At one point, there is a distant explosion and a loud rumble, which Twitchy fears is an avalanche. The Wolf calms him down by assuring him that it's just the mountain telling them who's boss.The cart enters a tunnel and the Wolf finds Twitchy fiddling with something. Twitchy says he has found some candles. He lights one with a match, then pulls out.... a stick of dynamite with a lit fuse. When Twitchy misreads the fine print on the side as "DEE-NA-MEE-TAY", the Wolf realizes that Twitchy isn't holding a candle. The two fight for the explosive, and in the process, it lands on the floor, is bounced around, and lights the fuses of every single stick of dynamite stored in the back of the cart. The two freak out, and the Wolf starts frantically tossing charges out behind the cart as they exit the tunnel onto a downward trestle. The thrown charges blow up the trestle when they hit the track, destroying it. The Wolf manages to pull the emergency brake and stops the cart safely at the bottom of the hill. He and Twitchy are clearly shaken up by their near-death experience. As they are catching their breath, we hear the sound of another cart in the tunnel. Seconds later, another speeding mine cart bursts out of the tunnel and flies off the end of the rails and right over their heads, accompanied by the sound of Red screaming in terror. Though the Wolf thinks he heard a noise, he dismisses it as nothing.Twitchy and the Wolf make it to Granny's house and knock, hoping for an answer, before finding that the door is unlocked. They let themselves in. The Wolf looks around, intending to catch Red when she arrives. He figures that the only way to catch Red in the act of smuggling is digsuise. Conveniently for him, Granny keeps a lot of her own merchandise around the house, including a plastic Granny Puckett face mask and apron. The Wolf uses these to disguise himself as Granny. After several outtakes in which he attempts to create a proper falsetto voice that will be convincing, the Wolf decides that he's not up for the disguise. As he is about to hand the role of Granny over to Twitchy, suddenly there is a loud knocking at the door. Twitchy panics, and the Wolf quickly throws him into a side closet, where Granny is already present, and already tied up. With no time to think about the real Granny, the Wolf hastily lowers the face mask and starts speaking in the falsetto voice as Red comes in. His story complicates the authorities' view of him as the culprit. The Wolf himself has no explanation for how Granny got tied up in the closet. As proof, Twitchy then shows Flippers the photographs he took to solidify the Wolf's alibi.Flippers begins to wonder how their fellow woodsman fits into the mess, and decides to have him brought in next to be interviewed.Kirk Kirkkendall's story:With that, Kirk Kirkkendall, the woodsman, comes in and takes a seat at the table. He is a very tall fellow, and hits his head on the low entryway coming into the room. Kirk claims that this is all a mistake as he would not harm a butterfly, prompting Stork to slam down the chopping axe that the police found Kirk in possession of. Kirk reveals that he is not a lumberjack at all. In fact, he is an aspiring actor, trying to get the role for a Paul's Bunion Foot Cream commercial (it's a foot cream that "has the soothing formula to make the bunions head for the hills!"). Today, he says he has been trying to make good on his callback....That morning, Kirk is in the midst of trying out for a Paul's Bunion Cream commercial. He is on the audition set at a production studio, brandishing an axe in front of a cardboard forest background. His thick Bavarian accent hurts his chances when he starts off his attempt with an "Argh!" before the tagline. Jimmy (Joshua J. Greene), the director, quickly cuts the take right there. He tells Kirk to think about something that makes him feel strong and confident, and Kirk thinks of his dream - to become a world famous German yodeler. Breaking out in a small fit of yodeling, Kirk throws the axe, which flies over the directors' heads and knocks over some stage lights. Jimmy brushes Kirk aside and tells him that they'll look at his tape and call him back later.Kirk walks away from the studio, depressed at the fact that he's been turned down at his first audition in the last few months. As Red rides by on her bike, Kirk climbs into his truck, and goes on to his day job: selling schnitzel on a stick out of the back of his truck to the neighborhood children (much like the function of the modern ice cream truck driver), leading them in a singing routine ("The Schnitzel Song").The song comes to a grinding halt when Kirk comes back and finds that while he has been away, someone has raided his truck, stripped it of all four tires, mounted the axles on cinder blocks, and has made off with all of Kirk's supplies. The group of children Kirk had been entertaining leave, upset. While they trudge away, Boingo appears, apparently looking very downtrodden and glum. He is holding the carrot crumpet that Red gave him earlier (which also indicates that this is prior to his meeting with Red on the cable car). Kirk is depressed - without tires, the truck cannot be driven, and he can't sell schnitzel without the supplies to make it, meaning he's bankrupt. Boingo, who himself has just confided to Red about this thief putting him out of work, sympathizes with Kirk's troubles, and assures him that someone else will open up a new goody shop "and we can all work for that little guy."Before Kirk can contemplate what Boingo is telling him, his phone rings. It's Jimmy, the commercial director. He excitedly tells Kirk that after reviewing his audition tape, the client wants him for the role in the commercial, so they want him to come back in tomorrow confident in his part. Kirk is ecstatic - this is the first time he has received a callback, so naturally he somewhat freaks out. Jimmy instructs Kirk to, in preparation for the part, get himself into the shoes of a woodsman, by going out into the wild and felling a tree. He is told that to do so, he must not act like a woodsman, but be a woodsman. As soon as Jimmy hangs up (due to him needing to be in a circle-wipe elsewhere), Kirk rushes off, and Boingo wishes him good luck.Kirk finds an axe, and starts practicing. After a few utterly pathetic attempts at chopping down trees due to his complete lack of knowledge on how to properly hold an axe, Kirk consults a self-help book called Chopping for Actors ("Discover your Inner Woodsman!"). The book obviously turns out to be pretty useful. He spends the afternoon hacking down small trees left and right, with no regard for the many animals he is endangering - including a porcupine whose sports car is crushed by a tree, and some turtles who barely crawl away after another tree comes close to hitting them. Eventually, Kirk comes to a giant, over 1,000 year old redwood tree, that he just cannot cut down with one swing of his axe. He starts swinging hardly at the tree, but his efforts are useless.By hours later, it is sundown. Kirk has chopped away at most of the trunk. He is tired, and almost out of energy, and repeating the commercial tagline to himself like he is deluding himself, when he suddenly hears a scream coming from the cottage at the bottom of the hill. As Kirk starts to walk down the hill to investigate, the top part of the tree - balanced precariously - suddenly gives way under its weight, and he ends up on top of the fallen tree as it rolls down the hill. When the big rolling trunk hits two small trees at the bottom, Kirk is catapulted off the tree with such force that he flies into a glass window and shatters it, finding himself right in the middle of a domestic disturbance (the source of the scream).Flippers safely concludes that Kirk knows the least about the Bandit, of anyone in the room, considering what he has been doing today, although he is pleased to learn that Kirk got the callback he was anticipating.Granny Puckett's story:Granny Puckett is the last person to get interviewed by Flippers. When asked if she's potentially been stealing from others, she says the only crime that she is guilty of is making her goodies "unlawfully delicious" (a cutaway shows Tommy eating from a bag with the words "Granny Puckett's Goodies (Unlawfully Delicious!)" on the side). Stork calls out to the others that he's found something interesting - a trophy closet. As everyone comes over to take a look, Flippers informs Granny that he's noticed a tattoo with three Gs on the back of her neck, and says it's appropriate as she has three strikes against her. Granny reveals that she isn't like other grannies, pointing out that she "never did like the quilting bees and the bingo parlors," but in fact, likes to live life "to the extreme". Secretly, Granny is an extreme sports athlete who goes by the nickname "Triple G"....With that, we are treated to a quick montage set to rock music of the various extreme sports that Granny has participated in, including surfing, rock climbing, skydiving, snowboarding, and skateboarding. At the end of the montage, the scene returns to Granny's house early in the morning.Granny is knitting, and talking on the phone with Red, who is asking if it would be safer to bring Granny's recipe book over. Granny tries to discourage Red, on the grounds that the trip would be too dangerous for her. Red protests that she isn't a little girl anymore, and Granny tells her to leave the book where it is. Then Granny realizes that her TV program is on, and hangs up the phone. As soon as she puts the receiver down, the camera pulls back to show that Granny is wearing skis, and her knitting needles are actually ski poles. She says "Time to shred some powder!" and heads out the door.Granny actually is genuinely concerned about the book. But that is not the reason why she discourages Red from visiting - the actual reason is because she's participating in the Xtreme Dream Snow Sports Competition, a big downhill ski race she's been training for three months to compete in. Granny's team is comprised of herself, a fox named Zorra, a penguin named 2-Tone, and a polar bear named P-Biggie. During the pre-race festivities and concert ("Tree Critter"), Granny is approached by Boingo, who admires her, and asks her for her autograph. Granny is also warned by her teammates that the guys of the rival team - an all-human team comprised of four hulky athletes, named Dolph, Lisa, Vincent, and Keith - are very aggressive. According to Granny's teammates, they hospitalized a few contestants in yesterday's race.An announcer calls the skiers over the loudspeakers to the starting line. As everyone tightly grips their hands around their ski poles and grit their teeth in anticipation, the Schwarzenegger-accented Dolph pulls up next to Granny, and tells her to be careful as "old people get hurt on these slopes". Granny tells him "Bring it." When the starting airhorn goes off, they all start their way down the course. During the first part of the race, the human team quickly eliminates Granny's teammates with physical tactics - snowballs for 2-Tone and Zorra, and in P-Biggie's case, Lisa skiing over his back. At some point during the elimination step of the race, Granny's cell phone rings. It's Red, calling from the telephone in Japeth's shack. Granny is unable to talk to Red and quickly hangs up, needing to focus on the fact that she is without help (this establishes that the events of the ski race are happening while "Be Prepared" is happening in Red's story).Granny starts to improvise: she transforms one of her skis into a snowboard, and manages to knock out two of the opponents before finding herself at the edge of a cliff with Dolph. Granny clutches his arms as he dangles her over the edge and demands to know who he is working for. Dolph sighs and admits that he and the team were hired by the Bandit, then pushes her off the cliff into the fog, and Granny falls into oblivion. Dolph then radios to his friends that Granny is finished and that they are now able to go after the red-hooded girl. Granny, who catches a protruding rock out of Dolph's sight, hears this and begins to worry about what Dolph and his crew might do to Red. Using a rope, she is able to drop all the way down into the valley, where she exchanges a friendly hello with the fisherman who had a meeting with the Wolf earlier, and slingshots back over the cliff.To stall the ski team, Granny sets off two explosive charges that start a fast-rushing landslide. Granny races down the mountain, in front of one slide path, which quickly allows her to overtake the henchmen. Red and Japeth, riding in their mine cart farther down-mountain, are nearly collected by a second slide path, which prompts Japeth to start yodeling as the cart is chased by the slide. The Wolf and Twitchy also hear the rumble of the avalanche from their cart elsewhere in the coal mine. Twitchy is alarmed, but the Wolf assures him that it's just the mountain telling them who's boss.Granny speeds downhill ahead of the first slide path, crossing the finish line and literally winning by a landslide, before using a parachute to hastily escape. While flying home, Granny spots Red's airborne mine cart, and calls out to Red to use her cloak as a parachute before she disappears behind another cloud.As Granny is gliding back to the cottage, she sees the Wolf and Twitchy approaching the door and realizes she is in trouble. She drops in through the chimney, but just then, her parachute and ripcord get caught in the ceiling fan and Granny is wrapped up and gets trapped in the closet. She can overhear the Wolf and Twitchy as they search the place. When Red knocks on the door, the Wolf panics and throws Twitchy into the closet that Granny is trapped in, then quickly disguises himself with the facial mask and apron. After the point where the Wolf takes off his disguise in front of Red outside, Granny frees herself by forcefully smashing Twitchy multiple times against the door. The rest of the scene is the same as in the other stories.After the interrogationsThe revelation of Granny's other life is a shock to Red, who is hurt that Granny kept her other life a secret from her. She takes off her cape, and leaves to gather her thoughts and think about her purpose in life.The police are back to square one, as none of the four appears to be culprit, but then the basket of Granny's goodies and the recipe book goes missing, as does Red. Flippers gathers those who remain and decides that everyone involved came together by mistake. He quickly points out that all of them have pointed fingers at each other, but the Goody Bandit has not been captured as a result. Only once Granny tells the Wolf to leave Red out of the situation does Flippers begin to inquire about where Red has gone.Before the police can jump to the conclusion that Red was the culprit, Flippers suddenly makes a deduction: all four of the interviewees may not have crossed paths with all of the others during the day, but there is one individual that they all crossed paths with at different times - the one who was the only person with Red when she fell from the tram, the one who told the Wolf that he knew a shortcut to Granny's, signed Granny's autograph and almost likely paid off the ski team, and was present when Kirk's truck was vandalized - Boingo. We are treated to flashbacks that show each character's encounter with Boingo and they suddenly seem much different: Red falls from the cable car because Boingo opened the doors by pushing on the emergency release lever. When he's seen getting Granny's autograph, we see Boingo had just passed something to Lisa, one of the ski team members, and had a an evil checklist on the back of his autograph paper. And we see him lurking in the bushes nearby as Kirk discovers the damage done to his truck.Simultaneously, Red, hiding behind some bushes, sees Boingo, wearing Red's cape, meet the cable car and Dolph at the valley terminal, in possession of the stolen books.Flippers and the police, learning of the missing tram, go to the bottom terminal, but that is when the Wolf, Granny, Kirk and Twitchy see two of the ski team members, Vincent and Lisa, heading up the hill in Kirk's truck, which, in the few hours since Kirk left it, we see has been outfitted with tank treads, explaining the reason why the vandals had stolen the truck's tires and mounted up the axles (suggesting that they were partway through converting the truck when they were interrupted by Kirk's return). A caffeine-enhanced Twitchy goes to alert the police that they are heading the wrong way, while the Wolf, Granny, and Kirk follow the converted truck uphill.The tram car arrives at the upper terminal, inside a small industrial cave outfitted with plenty of mechanical machinery. Boingo and Dolph get off. and stroll into the space past the car. Boingo is proud of himself for getting Granny's book, and now can execute their scheme. As they stroll along, Boingo casually talks about how in planning, he asks himself "Where do I see me in five years?" a question that is answered by Red's voice saying "How about behind bars?" Boingo turns to see Red standing by the tram car. She has managed to follow him by hanging onto the bottom of the car. A fight ensues as Red attacks Boingo with the same karate skills we saw her use on the Wolf. She loses due to Boingo's suprising ability to use his ears to block her blows.Red is bound up by Dolph with ropes, and Boingo gives orders to the other henchmen, including Keith - whom Boingo instructs to change his name to Boris because "Keith" does not sound scary in his opinion. In a song about his plans to dominate over the larger creatures in the woods ("Top of the Woods"), Boingo shows the hostage Red a slideshow presentation, demonstrating his plan to corner the market on goodies, and make them highly addictive to kids with a special drug he calls "boingonium", while also literally blowing away the competition by burning down the forest. She is then gagged with a handkerchief, and wheeled on a dolly into the tram car, which has been filled with a large quantity of dynamite that is intended to start a wildfire.Before Boingo can act farther, Kirk, Granny and the Wolf quickly take out Dolph, the big guy who threw Granny off the cliff during the race. Their first attempt at infiltration involves dressing up Kirk as Dolph (poorly), which involves Kirk wearing Dolph's clothes and a ski mask to hide his face. It works until Kirk starts to say the commercial tagline instead of something intelligent (curiously, Boingo does not seem to notice that "Dolph" has magically grown a very long beard), at which point the Wolf distracts Boingo by posing as an electrician, wearing a hard hat and clipboard. A small fight occurs between the henchmen and Granny, during which Boingo disables the tramway brakes and releases Red's car from the terminal, which begins picking up speed as gravity acts on it. Using a muffin tin, Granny is able to run down the ropeway and catch up, though she is also followed by Boingo and his men. The Wolf and Kirk stay behind to drive down the hill in the truck.As the cabin speeds down, Red manages to slip her ropes and free her hands, and takes off the gag. She tries to open the side doors, but finds that they have been padlocked. Then she realizes that there is a second way out: an escape hatch in the floor. Red kicks the panel out, and manages to swing over to the side of the car. Then she sees Granny speeding down the line on the muffin tin. Granny pulls Red up onto the tin by holding out Red's cape to her. Red grabs it and swings around to the end of the car as it brushes past a tree. Granny then pulls the cape again, and Red does a sommersalt as she is slung over the cable and Granny, landing on the back of the tin.We see that the dynamite fuse is about to enter the car itself. Granny opens a panel in the grip and pulls a release lever, releasing the cabin's grip from the cable. The cabin drops vertically, several hundred feet into the river below. After settling down for a few seconds, it explodes. The explosion is contained, but disturbs a school of fish, who flop out of the water around the tired fisherman the Wolf had met earlier after Red had tricked him.Although Red and Granny have prevented Boingo's plot from being executed, they suddenly hear Boingo's voice say, "End of the line, ladies!" and turn to see him and his henchmen coming down the cable on snowboards. Red and Granny promptly parachute from the line, Granny using her parasol and Red using her cloak, similar to their escapes from the ski race and mine cart. Boingo, riding on Dolph's shoulder, can only look at them in disbelief. Unfortunately, he and the henchmen are unable to stop because at the bottom, the cable feeds them straight into the back of a police van, which takes them away, though not before Twitchy takes a photo of Boingo through the back window. Red and Granny touch down safely.Granny apologizes to Red for not telling her about her secret double life. Red is touched by this. Just then, Kirk and the Wolf arrive in Kirk's truck, Kirk holding Granny's book. At that moment, though, the truck hits a tree, uprooting it and causing the unlucky porcupine's sports car to be crushed for the second time in two days running (having been crushed in identical fashion by Kirk the day before during his tree-cutting spree). We then see everyone being interviewed by the media. Red and Granny try to give each other credit for the rescue, while Grizzly tries to claim credit and Flippers assures everyone their recipes are safe.We later see Red, Granny, the Wolf, and Twitchy at an outdoor bar. Red has quit being a delivery girl. She's made a new system that is better than the bike (a small cutaway shows Japeth riding a mine cart in the hills filled with food and singing about what's in back to the "Be Prepared" melody). Red reveals that Kirk became a member of the Happy Yodelers like he wanted to, and produces their latest album, which shows Kirk on the cover. The Wolf says that he is now about to crack a story about the Three Little Pigs performing a home improvement scam (even then, he still has to keep filled coffee mugs away from Twitchy to avoid tempting him). Flippers shows up. He tells them that he is a member of the "Happily Ever After Agency", an undercover agency that will take them on impossible missions to far away places to fix other fairy tale stories, and enlists the four to work for him after handing Red a business card. They all accept the offer, as Red admits that she always liked happy endings. | clever, fantasy, flashback | train | imdb | However, no matter how good it looks, if it's not a good story, it's still a crappy film.Like the old saying goes: "you can polish a turd, but in the end all you're gonna have is a shiny turd." I've seen Hoodwinked.
Hoodwinked is an ultra low budget affair compared to the average 3D CGI-animated film (it was shot for a reported 15 million vs 70 to 90 million for films like Finding Nemo or Shrek 2).
Hoodwinked almost looks like a revved up Rankin-Bass stop motion animated film in the vein of Rudolph the Red-Nosed Reindeer.
Your kids will LOVE the squirrel, the granny, and the singing goat, and adults will pick up more culture references in terms of homage scenes (not in adult content) to pictures like Fletch, Kill Bill, and the Matrix.One thing comes across very clearly in Hoodwinked--love of the craft.
I'll confess something up front which seems to be place me in the minority--I didn't go to see this movie hoping for great animation, a break-through in story-telling, or the chance to see self-proclaimed "artists" waxing philosophic about their personal world views.
Hoodwinked basically tells the story of Little Red Riding Hood, but as seen through the eyes of several different characters.
Not an original plot, by any means, but once you get into the story the quirkiness and eccentricities of the characters wrap you up so much you don't care.Bottom line: If you want to have fun and see a good movie, check out Hoodwinked.
Despite low-budget animation, the newest feature by the Weinstein Company, "Hoodwinked," is saved by some silly animal and human characters, as well as great writing and hilarious jokes.Basically, it's the story of Little Red Riding Hood as told from the vantage point of Red (voice of Ann Hathaway), the Big Bad Wolf (Patrick Warburton), Granny (Glenn Close) and a dimwitted, axe-wielding woodsman (Jim Belushi).The four are arrested, accused of stealing goodie recipes and interrogated by a long-legged frog, Inspector Flippers (David Ogden Stiers).
In other words, it's like a version of Kurosawa's "Rashomon" as produced by computer animators who could not get work at Pixar, Disney or Dreamworks.Seeing the studio's press release, I noticed the poor computer work and thought this would be another "Valiant," but the crisp dialogue and truly funny situations made me laugh almost all the way through this film, which is director Cory Edwards' feature debut.It's also a much more entertaining picture than "Chicken Little" or "Shark Tale" could ever hope to be.
And while the puns are pretty much aimed at adults, the kids will enjoy the many animal characters, such as pigs as policemen (get it?!), a singing, hillbilly goat (Benjy Gaither), a squirrel on speed (director Edwards), a Huggy bear-type stool pigeon sheep (Chazz Palimeri) and a tricky little bunny, Boingo (Andy Dick).This film runs 85 minutes and opens for wide release on Friday, Jan. 13..
This is a very fast paced movie that plays to the two levels successful animated films play to: The kids are entertained, but so are the parents.
But ALL CGI movies can't be a TOY STORY, a SHREK or an AVATAR (Shame, that!) First off, the animation in HOODWINKED, by Weinstein Studios, just didn't manage to convince me!
Some of the older people and parents will enjoy the references it makes to other movies and fairy tales, although they are dumbed down for the suited audience.The plot is almost like an animated, kids version of Pulp Fiction.
Many different stories (told by Little Red Riding Hood, The Wolf, The Woodsman and Granny) intertwine.The voice actors all do a great job with their characters and the animation, although nowhere near the best, was still pretty good.
When asked, the other two liked it better than the other movie we saw it with.I agree with Matt, the animation's not the greatest, but the characters are.
The basic idea is to have inside jokes that kids won't get but that adults can appreciate ("Shrek 2"), while at the same time appealing to the young folks with an easy to follow plot and stunning animation.And the makers of "Hoodwinked" try, really they do.
The idea (the "REAL" story behind Little Red Riding Hood, which is almost surely already a book somewhere) is a good one, but the plot comes across confusing and scatter-shot.
None of the main characters' back stories are interesting enough to follow; kids may get a kick out of an overly caffeinated chipmunk named Twitchy, but almost all of the other grand attempts at humor (hmm...a German Woodsman selling Schnitzel...these folks really ARE in-step with today's typical elementary school banter, huh?) fall completely flat.Which brings us to the characters, another major problem with the movie.
In "Hoodwinked" we have an overly wry "Big Bad Wolf", an overwhelmingly unfunny Woodsman, a stereotypical 'wild' Granny, and a salt-of-the earth Little Red Riding Hood who comes across as though she belts back a shot of scotch and chain smokes each morning before heading to her nine-to-fiver.
Detective Bill Stork is almost painful to watch both because of the bad fake accent and yawn-a-minute Sherlock Holmes impersonation.The film gets a 5 out of 10 because it isn't blatantly offensive, but it is most definitely unfunny for adults and for any kid possessing at least the worldly sophistication of a six-year-old.
Snack businesses throughout the forest have been closing down, with owners secret recipes being stolen; the latest victim The Muffin Man. With each one a suspect, each of their stories are unfolded to reveal the mystery.Based upon the fairy tale, Hoodwinked spins the whole story of Little Red Riding Hood on it's head, running off in a completely new direction.
All I can say is what a shame because this is one great animation movie and all it was missing was cutting edge cgi (big deal when the story is so good) and a major studio to promote the heck out of it.I left the kids at home to watch it while I was away and when I returned they were jumping from excitement demanding that I sit right then to watch it myself.
This is how good this movie was, the kids saw it twice in a row and the father had a blast.Bottom line, you can have a technically top cgi movie which is average, even mundane and on the other hand you can have one with average cgi with a top story and direction which at the end of the day is far better.
As all will already know before viewing, the story is a reworking of the classic Little Red Riding Hood folktale, and borrowing heavily from the premise of the immensely popular "Shrek" films, the setting and characters in the film remain anachronistically traditional while the plot details, character treatment and especially dialogue are made fiercely contemporary.
Seeing the story from the different perspectives sounds unique and different, but for the most part you just feel you are watching the same boring movie, 5 times in a row.After the movie, I tried to 'talk up' the good parts to him...but he was not buying it...When we got home my husband asked, "How was it?"...before I could even open my mouth, my son shouted, "Oh!
The animation feels like the old stop-action movies (Wallace and Gromit), it's not bad, just a different style.There is enough of a twist on the characters to make them edgy without being off-putting or weird.
I also love looking for the omage to old movies scattered throughout the film, like Fletch and the Thin Man.By far the best voice cast I've heard in a while.
Patrick Warburton is hilarious, Glenn Close was the perfect Granny and Ann Hathaway did a fantastic job as Red. All in all, a great movie for all ages and don't believe the people that can't see past the animation..
The fact that I can enjoy watching this over and over with my kids makes it all the better.A police investigation into the popular Red Riding Hood story provides several points of view all equally funny and enjoyable.
In the end, it all makes sense and puts a smile on your face.The mountain goat has to be the best minor character in an animated movie of all time.
When this film opened I thought it was brilliant, sure the animation wasn't great but the wit and character was amazing, tieing it back to its 'Fairytale' roots well.
Did you know that the Wolf was a reporter or that the Woodsman was dreaming of becoming an actor?The film ties all the characters and the plot up well and even delves into another mystery surrounding the neighbourhood.The Pros Hoodwinked has all the ingredients that a successful CGI animated film needs: It has humor for children and adults, exceptionally memorable characters, a tight, clever plot, brilliant voice casting and original animation.
Sure the animation isn't as good as Pixar or DreamWorks but it is still really well done.The Cons There was nothing that I didn't like about Hoodwinked.Did you know?
Re-telling Little Red Riding Hood to reinterpret motives and personalities but still delivering an animation to keep kids amused is the challenge that Hoodwinked!
Finally a level of satire is added, often in fast, funny voices or snappy backchat for adults paying enough attention.The whole thing is punctuated by some enchanting songs, including a ukulele-playing goat, and a great turn by Anne Hathaway (Brokeback Mountain, Devil Wears Prada, The Princess Diaries) whose beautiful clear voice as Red Riding Hood is as delightful singing as it is when speaking.
Anne Hathaway is currently disrobing on our local screens, and I suspect by the time Havoc finished its run, then she'll be heard but not seen, only lending her voice in the animated feature Hoodwinked, by Blue Yonder Films and Kanbar Entertainment.
Songs are also limited, given that it's only an 80 minute movie, that doesn't have much time to incorporate a mini-musical.The plot adopts the fairy tale classic of Little Red Riding Hood, where the crimson hooded girl delivers some cakes to her grandmother's house, but found a wolf in her granny's pyjamas, and with her life at stake, she is rescued by a nearby woodsman.
In this modern day retelling, we're given a twist to this aged old story, and it's more than meets the eye.Each of the characters - the Wolf (Patrick Warburton), the Woodsman (James Belushi), the Granny (Glenn Close) and even Red herself, seem to be hiding an agenda, and each are more than who they claim to be.
The only thing that kept this movie from being awful is the character of the squirrel Twitchy.The CG animation was average at best.
At one point, Granny appears to Red and tells her, "Use the cape...use the cape Red," obviously a parody of the Star Wars, "Use the force Luke"...it got a grown...it just wasn't funny.The voice talent in this movie is fairly good Anne Hathaway, Jim Belushi, Andy Dick, Patrick Warburton, David Ogden Stiers among others....honestly, the only voice I recognized was Warburton until the credits ran.Unless you really plan on killing 90 minutes....and you want to kill it good...avoid this movie..
The animation didn't look overly impressive, and we weren't really expecting much out of another story of "Little Red Riding Hood".BOY WERE WE SURPRISED!.ANNETTE: This little gem had a interesting and creative storyline.
This is a movie I know we're gonna be able to watch many times.Both of us are in agreement on the rating for this title, and give it a 9 (only reason it didn't get a 10 was because of weak animation).Absolutely do not miss seeing this, no matter how old you are.
I liked the way the original story of Red Riding Hood was used to create an enjoyable movie.
Unlike the previously mentioned movies, it isn't a straightforward adventure story but a multi-stranded whodunnit which is mostly told through flashbacks and also possesses a wicked sense of almost-adult humour.The closest comparison would be Shrek and while the Green Ogre's film was concerned with putting a fresh spin on fairy tales, Hoodwinked adopts a similar approach for the children's tale of Red Riding Hood.
The woodsman's back-story isn't especially funny and there are a couple of ill-advised musical numbers that jar horribly with the rest of the film, but when Hoodwinked gets it right, it does so with aplomb.
I found the jokes to be very funny, mainly due to the fact that it makes fun of the Fairy Tale Little red Riding Hood and The Three Pigs and turns it into a movie reference film.
This is a laugh out loud funny film that will maintain the interest of an adult audience and provide entertainment to a younger children to boot.It's a fun fast paced mystery adventure that gets real action packed towards the end.The animations are not to Shrek standard however once you get absorbed in the storytelling, humor and non stop action, the latest CGI effects are the least of your concern.I found this film more entertaining than Pirates of the Carriabean 2.
The squirrel in this movie is the best animated character since Sid the sloth of Ice Age.Those that like animated films and like having a good time at the movies and are willing to laugh your head off, then this movie is for you.Even though it's kinda short and kind of kiddish...it's still a great movie and people should really give this sort of movie a chance.
What a great story, based on a couple of characters we all know and love, Red Riding Hood, the Wolf and Granny, plus a few wonderful additions to the story.
Hoodwinked is an updated, re-telling of the classic Brothers Grimm fairy tale "Little Red Riding Hood." Now everyone thinks they know the story of Little Red Riding Hood, but this movie takes you deep into the movie, and this is why I really liked it.
I think this is one of the best animated movies I've seen in about 2 years.This movie basically starts off with the classic story of "Little Red Riding Hood." But when the FBI arrive at the scene, each of the characters tell their own little story of what actually went down.
This movie is weird in the sense that it is an animation that definitely feels like it was made for adults, not children.
Beginning at the tail end of the story, Hoodwinked is told mostly in flashback, through Police interrogation, to the events leading up to Little Red Riding Hood discovering the Wolf in Grandmas bed.
There is not a single annoying character (rare for a kid's film) and it's hard to say who steals the show but if I HAD to choose, it would be Japeth the Goat.From a technical point of view, Hoodwinked looks more like Jimmy Neutron than it does Cars), but you'll hardly notice it.
Probably the only good thing about the movie was the animation, especially every time they opened the story book and you saw the 3D image.
Two, I love the "inside perspective" to the Little Red Riding Hood fairy tale, it makes the movie much more interesting to adults.
Hoodwinked is a really good and funny movie, it took the most simple childhood story of "Little Red Riding Hood" and turned it into a great animated twist on the story.
But there's a big twist when we find out that there is more than meets the eye to this typical story.Even though this wasn't the best animated film I have seen, I loved Hoodwinked!
I have watched **Hoodwinked** twice and I think it is the best told animated film I have seen in a long time, I am 44 years old and I thought it was excellent, the animation was top notch and the songs were very appropriate for the material.
A stellar cast with Anne Hathaway (Princess Diaries) as Red, Glenn Close (101 Dalmations) as Granny, Patrick Warburton (Emporer's New Groove) as the wolf and Andy Dick (Shark Bait) as the bunny Boingo.Someone is stealing recipes throughout the entire forest, and through an investigation by Flippers (David Ogden Stiers) weaving stories from Red, Wolf, Granny and a woodsman (Jim Belushi) we will find out the culprit.With director-writer Cory Edwards as hyper-hilarious Twitchy, original songs by co-director/writer Todd Edwards, the amazing voice casting, and the clever updating of "Little Red Riding Hood", Hoodwinked!
I was thoroughly entertained,as were my wife and kids when we attended a matinée showing recently.The animation is great,and the voice-over work is top notch,particularly that of Patrick Warburton as the wolf (though I didn't remember him by name,his voice was easily recognized from his Seinfeld days),and David Ogden Stiers(who was obviously using his old "Major Winchester" voice from M*A*S*H)as Nicky Flippers.This film is healthy entertainment for children,and adults will have fun as well.I highly recommend for it for family night,either at the theater now or upon it's DVD release.This one will go in the personal library..
1st watched 2/19/2006 - 4 out of 10(Dir-Corey Edwards): Somewhat funny computer-animated movie that attempts to turn the "Red Riding Hood" fairy tale on it's heels and pretty much does just that by turning a pretty basic story into kind of a murder mystery caper(although there is no murder
).
Other small characters like a fast-talking squirrel, a rabbit(voiced by Andy Dick), and a snow-boarding granny nicknamed triple "G" bring some laughs but the main characters, the Big bad wolf and Little Red Riding Hood bring very little to the movie.
In the manner of GO the movie, the story of Little Red Riding Hood) is told again and again by different characters ( A few more characters than the original story).
Clearly a kids story it had enough laughs for most of the adults in the audience.It was no toy story in terms of animation but it was pretty and not hard to look at.The movie had a story which was very cleverly told.
The story is a very witty take on the "Little Red Riding Hood" tale. |
tt0054067 | La maschera del demonio | In 1630 Russia, Princess Asa (Barbara Steele), a beautiful, dark-haired, young woman is condemned for practicing witchcraft. The grand inquisitor is none other then her estranged brother, Prince Vajda, who renounces his ties to his sister. As the executioner ties her down to the stake, Asa defiantly swears retribution by returning from the dead one day. The executioner positions a spike-lined metal mask over her face. On her brother's command, a swift hammer blow drives the mask into her skull, killing her instantly. She is then interred in the family crypt in a coffin equipped with a window, thought which the sign of the cross is visible. With the cross forever visible to her lifeless body, it is said that the witch will never return to life.200 years later, Doctors Kruvejan (Andrea Checchi) and Gorovek (John Richardson) are riding in a carriage from St. Petersburg to Moscow on their way to a medical conference. A wheel on the carriage slips out of its socket. Leaving the driver to repair the damage, the pair decide to investigate an old ruined chapel nearby, where they discover the witch's coffin in the crypt below. Kruvejan is suddenly attacked by a large bat, and when he beats it to death in his cane, he accidentally smashes the stone cross position over the window. The fragments from the cross smash the glass, enabling Kruvejan to pull away the witch's mask. Her face is sunken and decayed, but is otherwise intact. Gorovek convinces his friend to leave before the driver becomes overly anxious, but unbeknownst to both, blood from a small cut on Kruvejans hand is already working to revive Asa.Outside the chapel, the two doctors are startled by Princess Katia (Barbara Steele in a dual role), the daughter of Prince Vajda (Ivo Garrani). Gorovek is immediately smitten with her. The sad, seemingly fixed expression she wears tells of an unhappy nature, which is bourn out by her saying that the chapel is her father's property and he refuses to fix it up.The men continue their journey, stopping for the night at a small inn not far from the Vaja estate. Meanwhile in the castle, Prince Vajda is uneasy. He reminds her servant Ivan (Tino Bianchi), that this day marks the 200th anniversary of Asas execution. On this same day, every 100 years, mysterious events have happened in the area and the nearby village. The prince fears for Katia's safety, particularly since her resemblance to Asa seems to mark her for a very special fate. Ivan puts his master at ease, reminding him that so long as he wears a cross, no harm can befall him.In the crypt, the witch completes her resurrection. Using her special powers, she calls her lover, the vampire Javutich (Arturo Dominici) from his grave in the village cemetery. The vampire slowly crawls out of the earth and proceeds to act on Asa's instructions. Javutich arrives at the inn and fetches Dr. Kruvejan, claiming that the prince has called for a physician. Upon arrival at the castle, the doctor is led to a downstairs chamber. To Kruvejans astonishment, the chamber leads directly to the old crypt, where he is locked in. Kruvejans fear turns to hysteria when Asa emerges from her coffin and calls out to him. She places him under her power saying that a few drops of his blood brought her back to life. All of it will give her the strength to accomplice her vengeance. She bites him on the neck and begins to feed off his blood.Back at the castle, the prince sleeps fitfully. He is awakened by the intrusion of Javutich, who makes his way slowly to the old mans bed. The prince wakes up and is saved by the crucifix necklace he has around his neck. As Javutich retreats, Katia and her older brother Constantine (Enrico Oliveri) arrive in the bedroom responding the princes cries. But when he tells them about an intruder, Katia and Constantine think his delirious and send out for a doctor. It is Kruvejan who arrives to help him. The doctor's appearance is changed for his hair is grayer, and expression and attitude much crueler. Kruvejan successfully puts the prince into a deep sleep with some sedatives, and persuades Katia and Constantine to go to bed for the night, but persuades them to remove the crucifix from the prince's neck. Afterwards, Kruvejan reenters the prince's bedroom, and kills the old man by biting his neck and feeding on his blood.The next morning, Katia and Constantine are grief-stricken when they find their father dead. Finding that Kruvejan has disappeared, they send out for Gorovek. Yet Prince Vajda is not the only person to die mysteriously. That same morning, some village children find the dead body of one of the prince's servants on a river bank. When local people soon learn about this, they become convinced that the witch has finally returned from the grave.Meanwhile, Gorovek is amazed to learn that Kruvejan has disappeared, and refuses to believe that he would have willingly left a sick man unattended. Together with Constantine, he sets out to discover the truth. At the same time, his infatuation with Katia blooms into a full-blown romance.In the village, talk begins to circulate about the return of the witch Asa and her vampire lover. Gorovek becomes intrigued by the talk and seeks the aid of the parish priest, who assures the young man that such creatures do exist. Gorovek and the priest go to the old cemetery where Javutich is reputed to be buried, only to discover his half-buried coffin, and Kruvejan lying asleep in it. The priest slays Kruvejan by driving a wooden stake into his right eye. Gorovek hurries back to the castle to see if Katia is all right.At the castle, Javutich murders both Ivan, and then Constantine with little difficulty, leaving Katia all alone in the castle. When the princess goes to visit her father's coffin in their living room, the prince rises up from it as a vampire and advances towards her. But Javutich shows up and hurls the undead prince into the fireplace where he burns to death. Javutich then grabs Katia and takes her down into the crypt where Asa is waiting for them. Asa is still very weak and in need of more blood, grabs Katia and begins to feed off her. It is Asa's intention to murder Katia and to assume her identity in the process.Gorovek finally arrives at the castle and immediately engages in a drawn-out fight with Javuitch. Eventually the doctor dispatches the vampire the throwing him though a trap door in the floor of the path to the crypt and the vampire lands on wooden stakes at the bottom. Gorovek makes his way into the crypt, interrupting Asas rejuvenation. However, he believes the witch's claims that Katia, who is lying unconscious on the coffin, is the witch because of her pail appearance by her loss of blood. As Gorvoek prepares to drive a wooden stake into her heart, he suddenly notices that the 'witch' is wearing Katia's crucifix necklace, something impossible for an evil entity to wear a holy symbol. Immediately, Gorovek turns to Asa and tears away at her robe, revealing that her body, still undeveloped, is a putrid mass of flesh and exposed bone. Just then the priest arrives with a mob of townsfolk where they grab Asa, and they finally put the witch to death by tying her to a stake, setting it afire and she finally burns to death. As the witch finally dies, Katia arises with her life energy restored. | neo noir, revenge, cult, gothic, atmospheric | train | imdb | null |
tt0109847 | A Friend to Die For | In the fictional town of Santa Mira, California, a man witnesses student Stacey Lockwood (Tori Spelling) (whom he drove home after she went to his house to telephone her parents) being stabbed by an unseen 'friend', who followed them to her house. When her family arrive home, they find paramedics and police gathered outside, as Stacey is rushed to hospital, where she dies.
In a flashback to ten months earlier, Angela Delvecchio (Kellie Martin) is a shy high school sophomore who aspires to be popular, beautiful and perfect in everything. She performs well academically in school, attends Mass regularly, and sets high goals for herself. She idolizes Stacey, who is the most popular girl at school, as well as a cheerleader. One of the reasons why Angela admires Stacey is because one of Angela's goals is to become a cheerleader. When Angela is accepted into the Larks, the school's popular clique, she tries to forge a friendship with the rich, snobbish and self-centered Stacey, who rejects her. She then further suffers being rejected for a coveted position as one of the yearbook staff and in an audition for the cheerleading squad, leaving her humiliated and feeling like a failure.
The events of the night of Stacey's stabbing are shown from Angela's perspective. Still determined to be friends with Stacey, Angela calls Stacey's mother and anonymously invites her to a party under the guise of there being a special dinner for the Larks. Once Stacey gets in the car with Angela, she reveals that the "dinner" story was a lie she told Stacey's mother so she would be allowed to meet Angela. Infuriated, Stacey demands to be taken home. Angela tries to explain how much she admires Stacey and wants to be like her, but Stacey is less than sympathetic. Unmoved, she calls Angela "pathetic" and exits the car, stating that everyone in school will now laugh at Angela. Stacey then runs to a nearby house, where she asks to use the telephone, explaining that the 'friend' she was with had 'gotten a little weird', and manages to get a ride home. Angela follows the car back to Stacey's home, and out of fear that Stacey will spread rumors about her, Angela stabs Stacey multiple times and leaves her for dead.
Angela avoids capture in the weeks following the incident. Although Angela is interviewed by the police, she is not named as a suspect. Angela, along with all of the Larks, attends Stacey's Funeral Mass. Most of the students blame one of their classmates, Monica Whitley (Kathryn Morris), for Stacey's murder. At first, no one suspects Angela because she is seemingly too nice to commit the crime. Furthermore, Jamie Hall (Marley Shelton), Angela's former best friend and one of Stacey's friends, tells Angela that she never really liked Stacey, and was only afraid of her.
As her junior year begins, Angela becomes more involved with the community, taking up such activities as peer counseling and candy striping. Overwhelmed by Stacey's murder, one of the Larks brings up the idea of disbanding. Determined not to let this happen, Angela argues that they should remain active, noting that the group was not only important to Stacey, but also to the various community activities in which they take part. This idea not only saves the Larks, but also wins Angela the position of secretary/treasurer.
In the meantime, a harassment campaign is waged against Monica until she finally leaves the school. At this point, authorities resume their investigation and begin re-interviewing possible suspects, including Angela. With the authorities slowly closing in on her, she becomes more and more consumed by her guilt, until she finally confesses to her priest and then to her parents in a letter.
Devastated by the arrest, Jamie, who had gone to St. Joseph's Catholic School with Angela prior to high school, confesses to their priest to having left her in a ski lodge alone during a ski trip the year before, all because she did not have the courage to stand up to Stacey. The high school's principal, Ed Saxe, declared Angela a 'sick kid' and that there is no problem with materialism. As the trial begins, the Prosecutor argues that Angela should be charged with first-degree murder as there was evidence of premeditation. Angela's lawyer claims it was second-degree murder.
The judge agrees with the defense, after listening to Angela's taped confession. Stating that the tape was just circumstantial evidence and that the prosecution failed to prove the crime to be premeditated. Angela is then sentenced to confinement until the age of 25. Back at church, the priest gives a homily on the community's responsibility for the death of Stacey, stating that the unrealistic high expectations and pressures to be "perfect" contributed to Angela's actions. As the movie ends, Jamie writes a letter to Angela that she quit the Larks (having left when she realized how mean they were to Angela) and that she plans to leave Santa Mira High School and go back to her former school, St. Joseph's. | murder | train | wikipedia | Other than the obvious, Angela Delvecchio (Kellie Martin) as the odd girl out, desperately attempting to be popular (Unfortunately, her parents and teachers never told her this would cease to matter in 2 years anyway), with Tori Spelling as the "popular girl" for that year.
We see his dismissal of Delvecchio (Martin) and how important his approval and praise was for her.Andy Romano and Valerie Harper portray Angela Delvecchio's parents, and paint a realistic picture of the community's hypocrisy- everyone in America wants to succeed, have a bigger house, drive a foreign car, and this all ties in with being a popular cheerleader in Delvecchio's mind, at least.Kellie Martin is a sympathetic character, and does quite well projecting Delvecchio's despair.
Based on a true story, it tells the story of a young girl who murders a more popular classmate.Both the young leads did a great job in their roles.
Kellie Martin, who is both beautiful and talented, does an equally awesome job as Angela; she is a little too shy, a little too poor and WAY too eager to fit in with the "right" crowd.
IT makes you wonder what went wrong with these two girls that Stacy had no respect for those different or less popular than herself and that Angela felt so badly about herself that she needed Stacy's friendship and approval to feel worthwhile.
I found it very telling that a friend of the "real" Stacy (Kirsten Costas) dismissed any suggestions that Kristen and her crowd were mean-spirited bullies with the comment "She was only mean to people she didn't care about." How sad that young people today have the attitude that it is OK to mistreat people you don't like.
Kellie Martin did a masterful job playing the role of an awkward teenage girl desperately yearning for acceptance from the "In" crowd in high school.
Add to that her wanting desperately to befriend the most popular girl in school Stacy (Tori Spelling), who is also the meanest and snobbiest, and being cruelly rejected as weird.
When she moves to a rich town called Montevista with her family, she of course wants to be accepted and to become friends with everyone, including Stacy, the leader of the most prestigious clique at her new high school.
Death Of A Cheerleader/A Friend to Die For is a fact-based movie and it's really good.
When Miramount High School cheerleader Kirsten Costas ran across the street from her front yard in Orinda, California in June 1984 having been fatally stabbed by her schoolmate Bernadette Protti and seeking help from her neighbor she probably had no idea that this review would be written.
The way it happened was this: Randall Sullivan of ROLLING STONE Magazine wrote a moving article about the case (focusing largely on Bernadette Protti's dramatic confession to the police) that appeared in print about a year after the murder had occurred and was published with the title "Death of a Cheerleader".
In the film, Tori Spelling loosely por- trays Costas as snobby Stacy Lockwood; Kellie Martin loosely portrays Protti as Angela Delveccio and Orinda is replaced with the fictional town of Santa Mira, California.
And believe it or not, Tori Spelling is also a great little actress, and not just famous daddy's girl and/or another tv movie queen.
I don't think that I have seen a movie that tells it like it is ever since I saw "A Friend to Die For." After all, look at the high rate and percentage of teenage killings.
Although she doesn't seem like the rowdy kind of person, she is literally dying to be accepted by the girls she watches and admires everyday at her own high school.
I can't believe this movie got a DVD release (it's not even ever been on VHS!) but it deserves it because it's so good."Death of a Cheerleader" is about Angela, a high school student who's life goal is to 'be the best' in every possible way.
Stacy is everything Amanda isn't, rich, beautiful, popular...she's also a class A bitch and takes delight in constantly making cruel remarks to Monica, a goth girl who everything thinks is psycho and weird just because of how she looks.Angela wants nothing more than to be Stacy's friend and tries to hang out with her crowd but they just snub her or make little jibes about her being poor...determind to become Stacy's friend, one night Angela tricks Stacy into going to a party with her, but once Stacy discovers neither Angela nor herself were properly invited, she changes her mind and yells at Angela to take her back home.
Everyone in school is pointing the blame towards Monica but eventually they learn who the real killer is and are completely shocked.Over all, "Death of a Cheerleader" is a great movie.
The acting from the two leading ladies, Kellie Martin (Angela) and Tori Spelling (Stacy) is amazing, they give brilliant performances.
However, I think the problem is that these two themes were too big for the movie to cover in the depth they deserved for its length.Obviously, the film had its good points: Kellie Martin is excellent as always, managing to handle the extreme confusion and emotion of Angela Delvecchio as she struggles with her conscience; the robotic lack of emotion of Angela trying not to get caught by the police questioning her; and the confused, irrational, pent-up rage of Angela at Stacy's threat to "tell everyone in the school that [Angela was] really weird." The other characters are generally stock, especially Stacy Lockwood, the popular girl who is a complete jerk, and Monica, the angry outcast.
In fact, the only other character who really has any depth is Jamie, the friend of Angela and cronie of Stacy who has to deal with the loss of one friend, the knowledge that the girl being targeted for her death is not responsible, and the changes in the personality of one other friend and eventually has to become the voice of reason in an over-materialistic, unrealistically demanding, overly pious, angry, close-knit town.
I don't expect them to find someone better looking that Kellie Martin (no such creature exists), but since they're not giving the character anything else, her beauty should be the reason for her popularity, and yet they don't even give her that.Overall, "Death of a Cheerleader" is an all-too-common "near miss." It nearly hit on as a great movie, but instead just nicks the corner of the target and ends up a slightly-better-than-average movie.
So, a good film but it leaves a person with one large afterthought: My high school was never like that!.
A Friend to Die For (aka Death of a Cheerleader) is a great movie for anyone who spent high school wishing they were popular.It is, by far, the most worthwhile and realistic work Kellie Martin and Tori Spelling have done.
I first saw this movie titled "A Friend to Die For" when it first aired and a little later on the Lifetime channel under it's alternate title "Death of a Cheerleader" and it was great, compelling, touching, ultimately sad character study about the need to fit in and the jealousy and rage that leads to tragic consequences.
Supposedly based on a true story and set in c.1983-1984, it stars Kelli Martin as Angela, a shy teenager from a working class family who has just moved into the small California town of Santa Mira.
Angela wants to be accepted in the school clique "The Larks" headed by a snobbish cheerleader named Stacy Lockwood, who's played by Tori Spelling in a great performance.
Despite joining the clique and making something of herself in the local school activities, Angela is envious against the more popular and attractive Stacy.A great made-for-TV-movie which despite some uncomfortable scenes, I couldn't take my eyes off the screen for a minute.
I will not compare the film with the actual events, there is little information on the life of these young girls, I only manage to find information about the case not about how Kirsten Costas and Bernadette Proti lived their lives so I will focus on what the movie is trying to say as a standalone project.Tori Spelling stars as Stacey Lockwood, the "It" girl of Santa Mira high school.
Stacey cuts her down viciously with the ultimate high school threat: "I'm going to tell everyone at school that you're weird!"Angie whips out a knife in a panic and stabs Stacey to death.The focus of the film is Angela sweet, gentle, caring but awkward like 98% of most teens , just looking to fit in, she wants to makes changes in her life , be the best she can be, raised in a strict catholic family Angela is grounded, her family is not wealthy but they manage to provide enough for the family, her issue is that she tries very hard to get accepted by the girls she wants so desperately to be a part of, one can see the obsession in her eyes as she dose everything she can to get what she wants and failed (cheerleader squad and writers club) hitting her self-esteem and making her try harder to get Stacey's respect and friendship.Stacy is not a nice person by all means she is basically Angela's opposite, she could not see anything but her own shallowness, she was killed by the wrath of Angela she in turn was the spark that started it, if she had it coming that's anyone's own interpretation, if she did not deserve it is more like it, after her death the story focuses in Angela's guilt and how she lived her days knowing what she did until she turned herself in she turned herself in, Angela is not a bad person yes she did commit a crime but she wasn't satisfied with her actions you could tell she would to anything to turn back time, her remorse is too big to hide it anymore and she dose what she feels it right.
The acting in the movie is superb Kellie Martin commits to herself in this character making it one of her best performances, Tori Spelling surprisingly dose a great performance in this movie( most of her acting in any movie is just awful) as the shallow socialite Stacy, Margaret Langrick, Marley Shelton, Kathryn Morris do a great job as supporting characters there also Terry O'Quinn who had an interesting character as the school principal but was a bit pointless the story, you can say this movie is made a a consequence of bulling or peer pressure, i see it as a warning to what a person will become with the wrong circumstances.
I've seen this movie only 3 times and the first time was in 1994 when it first appear on TV and it's about a girl who got stab by another girl from her school and the real girl's name was Kirsten Costas and I really got interested in that movie because when I was in high school the girls who were popular were kind of like that too and there were girls who tried so hard to be part of those groups of the 'rich kids' but they never got accepted, I also have the rolling stone magazine from 1985 where there's a article about the real story behind the movie, but I've never seen pictures of the real girls or from the school they where in does anyone know where can I find pictures from the real story?.
What made this movie exciting was that the weak overcame the strong...Kellie Martin is fascinating as the unpopular girl (Angela) who has to work to get what she wants...Tori Spelling's charater is stuck up and snobbish but gets the best of everything anytime.
I loved this movie because it is rare to see Kellie Martin so evil and good at it...This movie is directed to all teenagers who have always wanted to fit in...However the end result could be tragic if one is not smart and careful enough to follow his/her tracks...Kellie Martin and Angela Delvecchio know what I mean..he he.
This film seemed to be a slice of real high school life as popular kids skated around in their cliques looking down on the poor unfortunates.
I must say that this does not seem to be usual the Hollywood story.This is a true and a sad story about the young girl-Angela_ who is desperate to fit in with the right people at her school.
But still, DEATH OF A CHEERLEADER turns out to be an engaging, true-life story about how classroom bullying and peer group pressure led to tragedy for one high school girl back in the 1980s.For the most part, DEATH OF A CHEERLEADER takes a focused and realistic approach to the material, presenting an unbiased account of a murder, the circumstances leading up to it, and the eventual unravelling of the crime.
The story is subdued and non-exploitative throughout, with a mature script giving insight into the minds of the characters.Kellie Martin, who plays the conflicted Angela Delvecchio, gives a remarkably complex performance in the leading role, a sweet girl who gets out of her depth when everything gets a bit much for her.
I have been waiting a while to comment on this movie mainly because I had a hard time trying to be objective about it as I have met many Stacies and Angelas in my time and how bullying is done in girls.
Angela committed a horrible crime and yes, deserved to be punished and she was.Stacy was the classic female bully; People befriended her because she was "the golden girl" and even one of Angelas best friends did so because, as she admitted, was afraid of her.
Tori Spelling and Kelli Martin were great as the lead roles in this true story.
Stacy Lockwood, a cheerleader and the most popular girl at Santa Mira High School, is dead.
"It is excellence", the high school principal tells the new students, "second-best is simply not good enough." Stacy, the spoilt daughter of rich parents, is one of those who manage "to be the best".
When Stacy rejects her and Angela is afraid to be humiliated in front of the whole school by the nasty girl, the good girl turns bad...It is not a bad film.
One of the better made for TV movies out there, 'A Friend to Die For' (or 'Death of a Cheerleader' as it's known in the UK) is an incredibly touching film, with a brilliant central performance from the young Kellie Martin as the teenage girl driven to murder by frustration and torment, but it suffers in that it offers little sympathy for her victim.Based on a true story which makes it even more poignant, Angela Del Vecchio is a sweet, pretty and lovable girl who transfers from a Catholic school to a regular one and sets out to make friends with the popular crowd while striving to achieve as much as possible.
The only problem is that another girl called Stacy not only keeps beating her at everything, but also mocks Angela and treats her like dirt, despite her best efforts to befriend her.
Angela vents her frustration one night by stabbing Stacy to death, but at no point in the film does any sympathy arise for the murdered girl.Angela on the other hand is an incredibly sympathetic character.
Given that she is based on a girl who was genuinely murdered in real-life, it seems pretty unsympathetic that while we feel plenty of empathy for her loved ones following the tragic event, the general feeling the movie generates is that the dumb idiot got what she deserved.That said, the film still has much to recommend it.
This movie is based on the true story of Kirsten Costas and Bernadette Protti.
When I first saw it my sympathies were with the character "Angela" and her parents.I was very popular in HS, but Never would I behaved the way "Stacy" acted.
No one will ever know the beautiful woman she might have become, because the "less popular girl", Angela (real name Bernadette Protti) acted on a terrible impulse and ended her life.In the movie one agent says to the other about Angela "I almost feel sorry for her", and the other agent says "don't, feel sorry for the girl she murdered" True words.
SPOILER ALERT Kellie Martin gives a riveting performance as a high school girl who just wants to fit in with the "in crowd".
Unlike those other TV movies, it has believeable characters, great acting, and a good script.SPOILERSKellie Martin plays Angela, a girl who's desperate to be friends with popular and beautiful cheerleader and head Lark Stacy (played by Tori Spelling).
Stacy's a real b*tch, and the last thing she wants is to be friends with someone like Angela, someone she feels isn't good enough to hang with the "In" crowd.One night Stacy's life comes to an abrupt end when she is murdered near her home.
Kellie Martin and Tori Spelling do incrediable acting jobs as Angela and Stacy, and it's worth watching the film just to see their performances..
I enjoy this movie and think it's one of Tori Spellings best acting jobs.
But she never gets over her obsession of being friends with Stacy which leads to tragedy.What I like about this movie is that it portrays high school much the way I remember it-the cliches and such(though no mental case ever did what Angela did).
"Death of a Cheerleader" recounts the true story of the murder of Kirsten Costas by Bernadette Protti, two students at Miramonte High School in Orinda, California, in 1984.
Stacy (Kirsten Costas), played by Tori Spelling, is a popular cheerleader and athlete and leader of the Larks social sorority.
Angela (Bernadette Protti), played by Kellie Martin, comes from a family of more normal economic means, is smart and likable, but is obsessed with being liked by Stacy. |
tt0082677 | Looker | A young blonde model called Lisa Convey (Terri Welles) appears in a commercial for Ravish, (narrated by John Erwin's voice) a perfume who claims to fulfill women's deepest desires. The model goes to Dr. Larry Roberts (Albert Finney), a Beverly Hills plastic surgeon with very specific demands, in the range of millimeters. Dr. Roberts is puzzled, but accepts because his business partner, Dr Jim Belfield (Darryl Hickman) says that if Roberts doesn't do it, a less competent surgeon will do it. The surgery is successful, and we see all the process taken place. The model goes back to her life, and in company of his dog Teddy is undressing up for her boyfriend Bob to arrive to her luxury flat. Somebody insists in ringing the bell, and she opens it up because she thinks it's Bob, but she can't see anyone. She feels a bit dazzled and confused. She looks around the flat, and notices her dog Teddy barking to the air. There seems to be nobody around, but the front door closes by itself, and Teddy gets stuck in a wardrobe, apparently all by itself. She notices an attaché with a gun missing, so she looks around. There is the silhouette of a man behind the curtains, but she can't see him. She gets dizzy again, wraps herself around one of the curtains until she falls down from her balcony. Then, the man takes his gun, leaves what appears to be a pen and a small brown bottom and leaves.Cindy Fairmont (Susan Dey) goes to Dr. Robert's with the same ideas than the previous model. She wants to be perfect. She chews gum all the time until he tells her to stop. She hits on him, but he rejects her advances. She is always working in television commercials and requests cosmetic surgery to make changes so minor that they would be imperceptible to the naked eye. When these models start dying under mysterious circumstances, he discovers they are all linked to the same advertisement research firm.Lieutenant Masters (Dorian Harewood) interrogates Dr. Roberts in his office, who has just told Cindy that she's already perfect. Masters inquires about Susan Wilson and Lisa, both apparently have committed suicide, and Dr. Roberts thinks that sometimes pretty women think that being physically more perfect will solve all their problems, but after surgery they realise their lives are no better. Masters think that they may have fallen in love with their doctor, which Dr. Roberts denies. Masters gives Roberts his pen back, and notices that his jacket has the same brown bottoms as in Lisa's flat. The secretary, Ellen (Donna Kai Benz),cannot find four files of four models who had exactly the same type of surgery.Another model arrives distraught: she says that they are killing all models who are perfect. She thinks that there are more things to the commercials that what meets the eye. She panics when she thinks that a mustached man has is already after her. She runs away, leaving her handbag behind. In it, there is a list of numbers. Roberts calls Masters. When he runs to the model's apartment, is already too late. There is a flash of light, and she jumps off the balcony. Roberts checks it and finds she's dead. He notices a mustached man (Tim Rossovich) looking out from the balcony. He goes up, but he arrives to the apartment, the man isn't there. Masters doesn't believe Roberts' story, but has to let him go. Back in his car, Roberts checks the list again: Tina Cassidy (Kathryn Witt), Lisa, Susan (Jeana Tomasina Keough), Cindy.Several models are shooting for a Lingerie photoshoot. Cindy is there, applying make-up, and Roberts claims to be a friend of Steve's (Paul Jasmin). Roberts asks Cindy to dine out with him, in a black-tie charity dinner, although it'd not be a date. First, Cindy says no, but she accepts when she knows that John Reston (James Coburn) is going to be there.Jennifer Long (Leigh Taylor-Young) greets them at the party, and tells them that Reston is gonna see them soon. He directs a huge company which does cosmetics, commercials, high-tech... They talk about Digital Matrix, who supposedly only deals with theoretical research. Jennifer tells John off, because he's told Roberts everything. John dismisses it, as Roberts - now talking to Candy (Ashley Cox) - cannot even begin to grasp the truth.Larry and Cindy cannot make love because she has to work the following morning, in Saturday. He takes her to work. Larry has to fall in the sand of the beach in a particular position. The director (Terry Kiser) and producer of the commercial (Barry Jenner) insists in repeating the scene again and again, because the producer assistant (Derrel Murray) says that the computer is not approving the parameters: it requires more energy, or more body twist, or the swimsuit to be tighter, etc... There is a lorry close to the shoot, and two technicians (Arthur Taxier & Richard Milholland) calculate the parameters as the cameras record it. The technicians get frustrated and decide to go to animation. Cindy is frustrated, because she can't match the instructions of the computer, matching its parameters. The produces decides to wrap it up at the beach and send Cindy to go to Digital Matrix to be scanned. The technicians close the door in Larry's face when they realise that he's looking at them. Larry offers to go with Cindy there. They drive past Masters, who's following Roberts.Jennifer offers a guide visit to Roberts. Looking at an advertisement, he only looks at the body of the model. The Digital Matrix research firm rates advertising models by using a scoring system that measures the combined visual impact of various physical attributes in television commercials. In an experiment to increase their scores, some models are sent to Dr Roberts to get cosmetic surgery in order to maximize their visual impact. After the surgeries are performed, though the models are now physically perfect, they still aren't as effective as desired, because if the models stand still, they get the perfect scores, but as soon as they start to move, their body positioning, facial gestures... decrease their scores. So the research firm decides to use a different approach. Each model is offered a contract to have their body scanned digitally to create 3D computer generated models and then animating them for use in commercials. The contract deals seem to be incredibly lucrative for the models: once their bodies are represented digitally, they get a paycheck for life, never having to work again since their digital model is used for all their future work in commercials. Cindy has to undress to be measured and digitalizedRoberts steals a pass card from the recording laboratory, but the scanner technician (Terrance E. McNally) doesn't realise it. He leaves with Cindy.Jennifer realises that Larry has stolen that security card. Cindy feels suffocated because Larry doesn't lose her from sight. On the radio, news emerge about another model dying. Cindy realises she's in danger.Cindy is angry because Larry didn't tell her that she was in danger, and he can't protect her at all because he hasn't got a gun. She goes to her parents' (Georgann Johnson & Richard Venture), who laugh in front of the TV. She kisses them good night and is sad at them, because they keep on looking at the TV and don't pay attention to her at all.The mustached man approaches and nukes Dr Larry Roberts. He realises that the beach is full, then almost empty. The books are in disarray and two hours have passed. Luckily, he had disguised the security card. Two other further slips of memory happen, once while opening the toilet hand-sink tap, which overflows, and another while opening up his fridge.That night, Cindy and Larry go to the lab with that security card, but it won't open one of the lab's door. They enter a warehouse. A robot box appears to empty the paper bins automatically. It takes Cindy and Larry inside the lab they want when they sit on it. A commercial is on. Cindy thinks that they are over-acting, but Larry says that they are computer-generated; Cindy gets hooked on the commercials anyway, until Larry wakes her up.During his investigation, Roberts discovers some advanced-technology devices the Digital Matrix corporation is using to hypnotize consumers into buying the products they advertise. He also discovers the L.O.O.K.E.R. (Light Ocular-Oriented Kinetic Emotive Responses) gun, a light pulse device that gives the illusion of invisibility by instantly mesmerizing its victims into losing all sense of time.While Larry explains everything to Cindy, the mustached man is there. With the gun, Larry feels that Cindy has disappeared, and he feels punched by an invisible man. Cindy is frozen in time. Larry can see the mustached man's reflection. He puts on some special sunglasses which will make him impervious to the light gun. With that, he attacks the mustached man, and realises how it all really works.Larry takes Cindy out of the lab, with all the alarms blaring out. Larry talks to John Reston, who is preparing another commercial. Cindy is left to rest. With the gun, Larry investigates further, but there is smoke and Cindy has been taken. They try to shoot him.Masters and his assistant (Anthony Charnota) investigate the shooting. The mustached man tries to kill Roberts while driving. He almost runs over some nuns. Finally, the mustached man lights him, and puts him and his car into a fountain. He wakes up to be surrounded by police officers and witnesses, all hypnotised. He enters a police car and tries to talk to them. The police officers are hypnotised as well, so they behave in a strange way. Larry does to same and disguises himself with one of the police uniforms of the cops.Renson is giving a press conference and a party. During his speech, Cindy is handcuffed with Jennifer backstage. John keeps on talking in spite of seeing Larry. The mustached man points his gun to Larry. Candy gives Larry the opportunity to run away without intending it.Larry gets into the sets of the commercials. Jennifer controls the diverse rooms and moves them around. One of the sets resembles the White House. Senator Robert Harrison (Michael Hawkins or Giansborough) is making a speech; but actually, it's not him, but a digital version of himself. His eyes shine with an electronic blue light - suggesting that he's hypnotizing his viewers. Ironically, he's making a speech about personal freedom and responsibility, pro-environment, anti-corruption. Then, without continuity, there is a break and a commercial of Cindy's digital image advertising a cleaning liquid. Everybody laughs. The mustached man shoots Jennifer, thinking she was Larry. Jennifer manages to get back to the lab, even though she's badly hurt. Cindy tries to get the key to her handcuffs, but Jennifer wakes up for a second and pushes her aside. Renson enters the set as well: too many people in an enclosed space. Meanwhile, the audience laughs at the commercial of an elderly couple (Joseph G. Medalis & Estelle Omens) in bed. Larry hides inside a car. Outside, the audience sees the mustached man moving around the car and the car itself, but with a model (Melissa Prophet) talking about the car in a commercial. The model has been added digitally. The audience also sees Larry using his gun, and the windshield breaking at gunpoint. Renson is also seen in the commercial. The next commercial is even weirder: the dead body of the mustached man is on top of a table, and around that table, two children (Allison Balson & Adam Farrar) and their parents (Dick Christie & Katherine De Hetre) talk about Oaties cereal, saying that they are the cereal people eat when they are tired of having the same for breakfast. Cindy has released herself from the handcuffs. Jennifer is completely dead, and Renson sees her when he calls for the lift. He goes up to the control room. Cindy hides under the desk so as not to be seen. Renson goes gown to the set again to kill Larry Roberts. Masters is there as well. Renson shoots Larry but fails, and Masters kills him. Renson dies on the set of the Spurt commercial.Larry and Cindy leave together, in love. He comments on the bruises the cuffs have caused on her wrists, and claims that he can't cure her because he can't perform on the people he dates. They leave the set hand in hand. | psychedelic, intrigue, murder | train | imdb | null |
tt2582802 | Whiplash | The films opens with Andrew Neimann (Miles Teller) playing the drums at Shaffer Conservatory of Music, the music school in USA and he's just an alternate drummer in some school band. Andrew abruptly stops playing drums when the band conductor, Terence Fletcher (J.K. Simmons) appears at the door in front of him and asking Andrew some personal information of him. When Fletcher asks Andrew why he stopped playing, he resumes playing drums. After he finishes playing, Terence says he did not mean to resume playing then he asks Andrew to show his rudiments by playing the drums again. While Andrew plays drums, Fletcher slams the door but he comes back to retrieve his forgotten jacket.The next day, Andrew enters one class aside from Fletcher and there, he meets the drummer named Ryan Connelly (Austin Stowell). Shortly, the professor arrives and the class performs "Billy's An". Andrew sees the man (presumably Fletcher) in silhouette looking at the door. After the class, Andrew peeks into one of the classrooms where the class is handled by Fletcher, and he is being looked at by Fletcher.Later, back at the Studio Band, Andrew is playing drums as core drummer. Suddenly, Fletcher breaks inside and Andrew becomes horrified of him. Fletcher conducts every saxophonist and bassist one by one and finally the drums. After that, Fletcher tells Andrew to come and he is told to come at his room tomorrow at 6 in the morning.Andrew meets Nicole (Melissa Benoist), the girl working at the cinema and invites her to go out with him. The next day, Andrew realizes that he is late for class. Andrew struggles and rushes quickly to the school, only he goes inside the empty classroom. Andrew knows that the class actually starts at 9 AM. Andrew waits three hours before the class. At exactly 9:00:00am, Fletcher arrives and begins conducting the song called "Whiplash." During the band practice, Fletcher confronts then suddenly yells at a saxophonist named Metz (C.J. Vana) playing out-of-tune and angrily tells him to get out of the Studio Band. This escalates Fletcher's abusiveness and wrath. Fletcher has the class take a break. Fletcher and Andrew have a conversation about his life and family.After the break, the class resumes. But when Fletcher loses the patience of Andrew's drum tempo, Fletcher throws a chair at Andrew (but he dodges it). Fletcher slaps Andrew every four in 12 counts he makes and he will not stop questioning until Andrew answers whether he is "dragging" or "rushing". Andrew answers "rushing" then Fletcher forces Andrew to tell the whole band that he is really upset, louder! Fletcher then mocks Andrew about his parents being separated. Once again, Fletcher tells Andrew that he is upset, louder. Thus, Andrew is being embarrassed and insulted.At his home, Andrew keeps practicing drums, making his hand bleed in the process. After the band performs at the competition, Tanner (Nate Lang), core drummer, gives his music sheets to Andrew. Andrew neglects the music sheets to buy a can of coke at the automated vending machine. As Tanner is looking for his music sheets, they mysteriously disappear. Tanner can't play without the sheets. Andrew steps in, stating he knows the song, Whiplash, by heart. Andrew plays well and earns Tanner's spot. Thus, Andrew is the new core drummer. Andrew's family is having dinner at his home and talks about his experience in Shaffer.At the Studio Band, the band is practicing the new song called "Caravan" which needs an extreme time stamp measure of 330 bpm. Fletcher dismisses the band except Andrew when Fletcher discusses him about that note. Shortly, Ryan Connelly, whom Andrew met from the other class, arrives. Andrew plays the drums to test the ability of the tempo but his tempo fails while Ryan plays well. Therefore, Fletcher takes Ryan as the new core drummer, but Andrew does not agree to this. Jealous, Andrew will be the core drummer if he earns the part.Andrew breaks up with Nicole, saying his ambition will only hinder their relationship. At his home, we see Andrew practicing drums harder with a pitcher of water with ice beside him in case he bleeds. As he fails to reach the required tempo, Andrew punches the drum in frustration and his hand is bleeding, dripping it in the pitcher of ice.At the Studio Band, Fletcher tearfully reveals in class that a talented former student of his, Sean Casey, has died in a car accident. The band rehearses "Caravan", but Carl Tanner struggles with the tempo; Fletcher auditions Andrew, Ryan and Tanner for hours while the class waits outside but the three fail to reach the required tempo. When it is now Andrew's turn, Fletcher kicks the chair then throws the drum away in wrath and even tells Andrew to increase the tempo. In this process, Andrew's left hand is bleeding and the blood drips onto the drum set. After a one minute of playing, Fletcher finally tells Andrew that he earned the part.On the way to a jazz competition, the bus that Andrew rode breaks down. So Andrew rents a car but he arrives late for rehearsal without his drumsticks. He drives back to the car rental office and retrieves the drumsticks, but as he speeds back, his car is hit by a truck. He crawls from the wreckage and despite his injury and bloodied face, he struggles to make into the jazz competition. With his left hand injured, he is unable to play and drops the drumstick to the floor. After that, Fletcher says Andrew that he is done. Andrew attacks Fletcher in front of the audience.Andrew is expelled from Shaffer and contacted by a lawyer representing the parents of Sean Casey. The lawyer explains that Sean actually hanged himself, having suffered anxiety and depression after joining Fletcher's class. Sean's parents want to prevent Fletcher from teaching; Andrew agrees to testify and Fletcher is fired.Andrew goes to the club where he sees Fletcher and the jazz performers. As the song ends, Andrews walks out of the club but Fletcher calls him and having a chat with Fletcher. Fletcher explains that he pushes his students beyond the expected so they might achieve greatness. He invites Andrew to perform at JVC festival concert with his band. Andrew agrees and invites Nicole, learning that she has a new relationship.On stage, Fletcher tells Andrew he knows he testified against him, and in revenge, leads the band in a new piece Andrew was not given sheet music for. Andrew leaves the stage humiliated, but returns and begins playing "Caravan", interrupting Fletcher as he addresses the audience. The rest of the band joins him, and Fletcher follows suit. Andrew ends the performance with an extravagant drum solo. Fletcher is at first angry, but gives a nod of approval to Andrew as he finishes. | suspenseful, psychological, psychedelic, realism | train | imdb | Miles Teller, who's been steadily growing on me since The Spectacular Now, stars as Andrew Neyman, a 19-year-old aspiring jazz drummer who's pushed and inspired by the abuse and aspirations of his school band leader Fletcher, played by the ferocious J.K. Simmons like we've never seen him before.
After seeing Damien Chazelle's Whiplash - a film the young up-and- coming director wished to do for some time now - being so beautifully realized and brought to life by everyone involved in the project, I was glad and relieved, mainly because I have seen the short film, which was pretty incredible.I believe that among the most telling facts about a film's fortunes and qualities, is the ability to broaden it's public, but in the same time not forgetting that cinema is not all about commercial success and mass audiences.Or with other words - a film that is not just eye candy and booms and explosions, but also craft, soul, dedication and wits.Those are some of the things not only the film itself possesses, but the people behind it have in abundance as well.The upcoming Miles Teller plays the young and dedicated student Andrew Nieman, who has the drive, the ambition to succeed and to be great, which is fine, as long as it doesn't derail your personal life.A lesson the young drummer learns the hard way.Blind ambition is the thing, that can describe our anti-hero of sorts, Terrence Fletcher a.k.a the brilliant J.K. Simmons, who has a thing for mindeffin' his students to the point of total physical and mental exhaustion and even depression.But he does it for a reason, for the sole purpose of finding the next big, even great, thing in jazz and in music as a whole.The next prodigy, the next "Yardbird" Charlie Parker that will be otherwise lost, if not being pushed to the very limit.And boy, does J.K. Simmons nails it.Chazelle has done a masterful job in casting the two leads in Teller and Simmons.Their respective acts are full of purpose, full of tension and ultimately terrific.Expect some awards going in the way of "Whiplash" and look out for Simmons in the Oscars shortlist, that's how good he is in it.And in his own words: "What a shame we wrapped it up in only 19 days".It must have been really fun playing a part like Terrence Fletcher and Simmons completely sold it.As I said, the best movies are those, that reach out to the most diverse and wide spectrum of audiences, not those, who can connect to a massive number of people, who are representatives of only one specific audience type.And Chazelle has achieved just that with "Whiplash" - a precise, tension-building film, full of beautifully staged pieces and above all else, a love towards music and the challenges it often represents if you want to get to the very top.The film ended in a big round of applause from the packed theater and I am sure that will be the case a long time from now!My grade: 9/10.
This movie was far better than the trailer made it look.JK Simmons gave a stellar performance as a music teacher in the best Jazz school, trying desperately to find and develop the next jazz legend.
One of the best antagonist I've seen at the movies.Miles Teller plays the protagonist, A first year Jazz student who wants to be the next Jazz legend and is willing to go through the pain needed to become just that.
For anyone who has ever been in that kind of pressure, weather it be at college or on the playing field(I kid you not, watching these guys play Jazz played out like I was watching a Football movie with Miles being the Quarterback and JK being the coach) It was an emotion trill ride with a lot of ups and downs, and just when you think the ride is over, we go for a second time around.
Jk Simmons does an outstanding performance as the highly unpredictable hair trigger tempered teacher Fletcher, Miles Teller an actor who I've only seen in mediocre comedies also shines in a breakthrough performance as the ambitious drummer Andrew.
This film questions whether the best approach is intimidation or society's current preferred method of nurturing.Miles Teller plays Andrew, a first year student at an elite Manhattan music conservatory.
At a small dinner party, Andrew loses some of the sweetness he inherited from his dad (Paul Reiser), and unloads some Fletcherisms on some unsuspecting family friends.Writer/Director Damien Chazelle has turned his Sundance award-winning short film into a fascinatingly brutal message movie that begs for discussion and debate.
Stars Miles Teller and J.K. Simmons are absolutely astonishing, featuring two of the year's very best turns.Chazelle's film tells the story of Andrew (Teller), a first year music student that seeks out and joins the prestigious school band, headed by an intense and frightening teacher Mr. Fletcher (Simmons).Walking out of the screening I fully knew (though I fully hope to be proved wrong this year) that Miles Teller would be my "Oscar Isaac" this year.
He takes inspiration from his own life, his love of film and music, and other places I'm sure we don't know about, and molds them into a gritty, layered experience, conditioned with rich characters, all realized through the writer's story.
People may quickly picture Whiplash as the Full Metal Jacket of jazz band: there's Fletcher militarily pushing his student, Andrew, to get his task right.
And just like those sequences, Whiplash keeps most of the viewers from their comfort zone, and leads them to rewarding results.Movies like this, specifically relationship between a student and a mean teacher, conventionally ends with a heart changing sentiment, possibly leading the two to an unexpected life-long friendship, but Whiplash takes it stone-cold; hardly showing any sign of friendliness in their bond.
I'm giving Whiplash a one star rating to compensate for all the rave reviews it has gotten from people who obviously know nothing about about how music is made, and what goes into great performances.Almost the whole film is about the relationship between a talented teen drummer, played by Miles Teller and a teacher, played by JK Simmons, who directs jazz in a top music school.
His head is shaved, he wears a black "muscle" shirt almost continually in the movie, he screams at his students, uses language that makes George Carlin seem like Mr. Rogers, throws chairs, and finally slaps the Teller character in the face, repeatedly.
So the gathering audience at the afternoon screening was primed, ready and eager for the expected greatness about to be screened.Whiplash stars Miles Teller as Andrew Neyman, a determined 19-year-old drummer who is pushed to his emotional limits by his new instructor Terence (J.K. Simmons).
By Chazelle's thoughtful direction and the uncompromising performances by actors Miles Teller and J.K Simmons, this film doesn't just achieves this task, it embraces.
This film follows Andrew Neiman (played by Miles Teller), an inspired drummer who enrolls in a local music conservatory where he joins a jazz band conducted by the talented, but maniacal Terence Fletcher (played by J.K. Simmons).
The acting was good, but the roles were not especially nuanced.The main problem is that within the first couple of minutes of the film, you know Andrew's goal: to be an elite drummer.
Whiplash is simply astonishing.Miles Teller plays Andrew, a gifted and highly ambitious drummer in his first year at an elite New York music academy.
But none of these deliver the degree of passion and intensity metered out in Damien Chazelle's movie.Miles Teller ("Divergent") is superbly credible as the aspiring jazz drummer Andrew, and it is almost unbelievable that he was not a professional drummer-turned-actor for this film.
The only redeeming part was the great orchestral jazz, but the characters, story and, well everything really, means this movie should not be getting the positive reviews it has.
Whiplash is a beautiful movie that shows perception and expectations of a young drummer and an experienced band teacher who is short tempered and very strict.Movie is boring in starting but last half hour was amazing.JK Simmons was amazing as a Band teacher and he really deserves that Oscar for best supporting actor in a Supporting Role.Other cast was also nice.Watch this movie if you want to fulfill your dreams no matter how much hurdles are there in your life.My recommendation is that don't watch this movie with higher expectations.Overall I give this movie 8/10..
Really an inspiration movie, which felt me like a music student who sitting under pressure with J.K. Simmons role, real hard way to hang on music as hard life, till the end.
The J.K. Simmons and Miles Teller, characters made this movie more powerful which made audience kept on toss.As this is a really story experience and best part is how beautifully the screenplay which made this film stands out from crowd.Electrifying moments which made me felt that I'm student in the band, a fear to play the instrument with proper numbers...All the best Damien Chazelle, for your future assignments :) This movie will be one of my best liked movie in recent years..
The movie focuses on the two main characters, and the way in which they interrelate with the aim to realize the best drum performance for the school's honor, but more so for their own prestige and ego.Although the movie excels in cinematography, acting and music – provided you at least like some level of jazz music – the story doesn't seem to convince.
Even at the end of the movie, when things seem to turn around, the teacher again tries to push the student into a great performance, which he indeed delivers.Additional characters, such as the student's father, girl friend or other musicians at the school, are just there to support the main story.
If this is already diminishing in my estimation minutes after watching, it's because it's about subjects that are dear to me, music, concentration, meaning in life and placement of ourselves in the larger music, but it has no insights to impart, or none that I have any use for.The whole is about ego pummeling away in the effort to be someone in the eyes of others rather than the joy of the craft itself, about clinging on to achievement than flowing on the creativity of the moment, about perfecting technique than cultivating soul, what Spanish musicians know as duende; the deep urge that rises from the body and cries to express itself as music.Now I'm not a fanatic jazzist who thinks the music should be portrayed in this or that original light, the film may well be seen after all to be about confused individuals who miss the point, a bad teacher.
People probably like this film because Simmons was an interesting character and the drumming was interesting.
And the best music teacher surely doesn't made from a tough guy who do not the first thing how to teach, you can not push students like that to make great musicians.
Miles Teller being an up and coming actor along with JK Simmons who is a well-established underrated actor, whose performances have often been spell-bounding, together have made one of the best movies I've ever seen in the music genre (and I've seen Inside Llewyn Davis).
Miles, who plays Andrew, a young drummer studying at one of the top schools of music, shows us his passion in every frame, every single time, whilst delivering a performance.
Culminating in one of the more tension riddled finales of recent memories and featuring some of the most brutal ego tearing scripting this side of Full Metal Jacket, up and coming filmmaker Damian Chazelle's searing drama is against all odds, a drama cume thriller of the highest order.Featuring some of last years most outstounding performances from both the ever growing Miles Teller and the always good yet never before so commanding J.K Simmons, Whiplash will have you constantly on the edge of your seat, frequently forgetting to breathe and riveted every step of it's running time due to an all round package that has rightfully become a player and often winner in this awards season.
It's one of 2014's stand out performances and a role that saw Simmons collect a thoroughly deserved Oscar at the Academy Awards, it's a win that is wholeheartedly earned and deserved.While Whiplash has a few narrative missteps and a handful of questionable scenarios (particularly one scene involving a car accident) it's not enough to sully a film that you suspect will be living a long life in years to come, being studied by start out filmmakers, budding actors and lovers of all things good cinema.
Plucked from a rehearsal room, he is given the opportunity to play with the studio band under the tutelage of aggressively driven band leader Fletcher (J.K. Simmons), a man with a vicious mouth, extreme methods and an obsession with driving his students way beyond breaking point in order to achieve their potential and find absolute perfection.Perhaps my greatest joy with Whiplash is that just a few weeks ago I was barely aware of its existence and deliberately knew little about it as I took my seat in the screening room.
You've been warned.That said, "Whiplash" is one of the more challenging films that I've written about since I started the practice of writing a review here each time I watch a movie.
Simmons truly makes the movie, which is a strange thing to applaud someone for given that you can't watch this film without coming to hate his character.
The big problem with this movie is that its conclusion leaves the audience wondering if Dr. Fletcher's instructional tactics were perhaps well founded, inasmuch as the film ends with its main character (Teller) accomplishing a tremendous musical feat that appears to be the product of his being pushed so hard by his tormentor.
All these little surprises didn't gel with me, because a) They were stupid b) They would work only if the hero was less smart than a comatose monkey, which in the movie, he was c) they shouldn't have mentioned Casey hanged himself because it's a distraction and you think he should have been the subject of the film d) the twists prevented us from knowing more about Andrew.The regrettable thing about Whiplash is that there is only one person who got the perfect amount of limelight, treatment, and attention, and that was J.K Simmons.
i don't know if you guys ever watched him in Whiplash in the year 2013 but here he elevated with his role so high.The Sound Mixing and the soundtrack are genius and electrifying,, i'v never really cared so much for Jazz but the songs in the movie is so magnetizing and engaging.The story itself is sensational, really makes you think about yourself ..
Masochist student teacher relationships apparently bring out the best in students and oh yes, you are not a serious drummer unless your drums end up splattered in blood and sweat.Apart from exploring a messed up form of battered person syndrome and battering our credulity with predictable shock tactics, this movie really does not say anything about greatness, music or the kind of inspiration which brings the best in human beings.
Whiplash was for sure one of the greatest movies in 2014.The things that are most outstanding is firstly the acting, including Miles Teller's performance of an promising drummer who also visits, as he says, the greatest music-institute in America and on the other hand J.K. Simmons who maybe offered the moviegoer of 2014 one of the best performances seen in a long period of time ( it's still a riddle why he was nominated as an supporting-actor).Secondly I would like to mention the sensationally effective way of how the editing was used to appeal to the viewer in a certain way, namely that camera and sound-editing work perfectly together and brought the movie on a exhilarating level.
The story is thrilling, just the thought of having a (music-)teacher like Fletcher (J.K.Simmons) is simply a comparison of yourself going through hell.
By giving Andrew a few "opponents" drumming his way through the studio-band makes the movie even more interesting and shows how deep and on point Miles Teller's acting can be.
For all of its widespread critical acclaim and multiple award nominations and wins, I found Damien Chazelle's 'Whiplash' to be a rather thin and clichéd regurgitation of the tired "Driven artist, intense student/mentor relationship" trope with absolutely nothing fresh to say or offer up.I believe its reputation is primarily built upon the strong performances of its two leads, Miles Teller and J.K. Simmons.
I had been waiting for this movie for long time, as I am a drummer of sorts myself, I like music, I like drumming films, and this one seemed to be a great achievement.
Frantic, this is Whiplash is amazing how Damien Chazelle shows the obsession of Andrew Neyman (Miles Teller) .no mellhor style Darren Aronofsky, the sound mixing in this movie is something great, camera angles, dry cuts are phenomenal, the JK Simmons acting is maginifica.
I accidentally watched the movie (by looking at the cover full of awards) and I must say I was very impressed by it.I'm really not a music expert by any mean, but the two main actors are seriously phenomenal and makes me think they are genuinely who they are playing.Everything is just very amazing : -the actors are damn flawless (Fletcher is so funny yet passionate - those shoutings!- , Andrew is truly great despite the fact that I don't really like Miles Teller) -the directing is also flawless by all means really just like the music in the whole movie -the story is sufficiently immersiveI recommend this movie to everyone who want to see a true masterpiece. |
tt0040897 | The Treasure of the Sierra Madre | Three down-and-out Americans – Curtin, Dobbs, and Howard – meet by chance in the Mexican city of Tampico and discuss how to overcome their financial distress. They then set out to discover gold in the remote Sierra Madre mountains. Once in the desert, experienced old-timer Howard quickly proves to be the toughest and most knowledgeable; he is the one who discovers the gold they are seeking. A mine is dug and much gold is extracted, but Dobbs soon becomes greedy and begins to lose both his trust and his mind, lusting to possess the entire treasure. One day, another prospector named Lacaud follows Curtin from a nearby village back to the men's camp. Although the men do not initially trust Lacaud, they decide to allow him to stay and camp with them.
Bandits appear and pretend, very crudely, to be Federales. After a gunfight, real Federales arrive and drive the bandits away. The prospectors soon decide to leave the mine and head to Durango to sell the gold that they have mined. Lacaud decides to stay behind, because he believes there is more gold in the mountain. On the way, Howard is called to assist some local villagers help a sick boy, and Dobbs and Curtin have a final confrontation. Dobbs shoots Curtin, leaving him lying shot and bleeding. Dobbs continues on alone but is soon confronted and killed by the leader of the bandits and two of his remaining henchmen, who had apparently been wandering the desert without weapons or horses after somehow escaping the Federales. The bandits, thinking the gold dust is just worthless sand used to make the bundles of skins they were hidden in seem heavier, scatter the paydirt; they are later captured and executed by the Federales. Curtin survives Dobbs' attack and meets up with Howard. When they hear the story, they can do nothing but laugh at their misfortunes. | suspenseful, violence, humor, murder, romantic | train | wikipedia | Having had his day as an idolized star and romantic leading man, it was now time for Bogart to get down to the serious business of acting
For eighteen years it had usually been Bogart playing Bogart in various shadings
Now that Bogart was gone and in his place was an older and far less romantic figure, one who found new challenges and was able to meet most of them successfully
This new phase of his continued growth began with a story of three men in search of gold
Although "The Treasure of the Sierra Madre" is indisputably one of Bogart's best films, it was co-star Walter Huston who won an Academy Award as did the movie's director and scenarist, John Huston
Based on a novel by the mysterious B.
Traven, the film told a riveting tale which explored the degenerative effects of encroaching greed, distrust, and hatred on three prospectors who team up to search for gold in Mexico
Bogart's Fred C.
Dobbs was an amazingly complex creation whose slow disintegration into paranoia was brilliant1y managed on camera
He is a born loser with no potential for change in sight
Suspicious, unfeeling, savage, and easily corruptible, he seems clearly destined for a tragic fate almost from our first meeting with him
Tim Holt was also excellent as Bob Curtin, a man who, like Bogart, is tempted but whose conscience will not permit him to exercise his baser desires.
Dobbs and he finds himself overwhelmed and uncertain as to how he will cope with Dobbs's rage and greed
However, it is the director's father, Walter Huston, who literally stole the picture from both Bogart and Holt as he played Howard, a wise old toothless codger who knew all along what would happen and took it all in stride, kicking up his heels and having a marvelous time
Life can't surprise him any more
He's already had successes and failures enough for one lifetime
Like a faithful dog, he's along for the thrill of the hunt, and should there be another pot of gold at the end of this rainbow, well, that's just a bonus
It is mainly the interaction of these three men from their first meeting and uneasy partnership through their final confrontation that made "The Treasure of the Sierra Madre" one of Warner Brothers' triumphs of the forties.
Three down and outers who at one time in their lives were maybe up and comers strike out in search of a fortune or at least enough to live better than they have been.While Humphrey Bogart gives a superb performance it is Walter Huston who turns in the greatest performance as the old prospector Howard.
Another reliable support actor was Alfonso Bedoya as Gold Hat' my fondest memory of any of his acting roles must be `The Big Country' in 1958.Walter Huston stood out with his performance, this was the first time I've had the privilege to watch him in a film role.
The Treasure of Sierra Madre, is not only a stunningly visual treat, but also a story and script of depth and magnitude, set in old time Mexico.As a Bogart fan, I found it at first, difficult to get past Bogart playing such a ragged and gritty character, once I did I realised him and his co stars - Walter Huston & Tim Holt were such a tenacious force in this 2.5 hour epic.Sierra Madre feels fresh and could stand up well against anything put out today.
I have not seen a film in recent years, with outstanding lines, powerfully delivered by Huston or with the conviction and honesty Holt does..with Bogart, all three characters are very different yet essential.Do yourself a favor and go buy or rent this.
Dobbs (Humphrey Bogart) a nice enough guy who wants only to be fair, but is hungry to 'strike it rich.' The second is Howard, (Walter Huston) as honest as you expect him to be and a man of considerable experience.
He meets Bob Curtin (Tim Holt), another American in horrible economical situation and also looking for job, and the former gold prospector Howard (Walter Huston), and together they go to the Mexican mountains seek for gold.
Having an outstanding direction of John Huston, an astounding performance of Humphrey Bogart, Walter Huston and Tim Holt and supported by a fantastic screenplay, it is certainly one of the best movies ever, highly recommended for any audience.
The scene, where the character of Holt wondering whether to help his fellow colleague trapped inside the mine n his sympathy towards the widows share of gold as well his infatuation with the widow by jus looking at the photo were again some of the common human nature dealt very well in the film.
As Fred Dobbs (Humphrey Bogart) and Bob Curtin (Tim Holt) , two Americans searching for work in Mexico, convince an old prospector (Walter Huston) to help them mine for gold in the Sierra Madre Mountains .
Although by many to be director John Huston's finest film , this is a tale of fear , greed and murder , as three partners fall out over the gold they have clawed out of the inhospitable and bandit-ridden deserts and mountains .
It's a look that is totally at odds with anything else produced in Hollywood at that time.Actor wise, Treasure of the Sierra Madre turns the clock back to the 1930s, putting the director's father Walter Huston in a starring role, and casting Humphrey Bogart as a seedy villain.
Through this first portion of the film, both men seem like decent enough sorts and the audience tends to empathize with them--even when they are involved in a vicious brawl with Barton MacLane--you feel the guy has it coming when the two give him a beating.Later, however, their prospects change when they hit on the idea of hooking up with an old coot (Walter Huston) who seems to know a lot about gold mining.
The three take off for the Mexican wilderness--and much like the story "Heart of Darkness", the good and bad within them is slowly revealed--all brought about by greed.What I particularly liked about this film is what a great professional Humphrey Bogart was.
There is a great deal to recommend THE TREASURE OF THE SIERRA MADRE: the names in the cast, of course (including Humphrey Bogart and Walter Huston); the writer/director (John Huston); the plot (three gold prospectors brave the land, bandits and one another to seek their fortune in the hills of Mexico); or simply word of mouth (it's one of the best-loved films of all time, and for good reason).
For myself, I find two in particular that stand out, the first of which is the wonderfully observed, carefully executed psychological journey on which the main character Fred Dobbs (Bogart) embarks when he and his buddy Bob Curtin (Tim Holt) decide to join old experienced gold-prospector Howard (Huston) on a new prospecting trip.
There are so many highlights such as the famous scene in which banditos face Bogart and his pals and Alphonse Bedoya utters the famous line about "badges, badges, we don't need no stinkin' badges." Walter Huston gives a gem of a performance as a wily prospector who has seen it all.....the effects of gold on man and the hardships caused by questing for gold.
Most especially, even if it's a small scene, when the three men talk about what they'll do with their share of the money- Dobbs's goals are in the short-term, unlike the practicality of Howard or Bob. By the last third of the film, if one were just looking at that set apart from the rest of the picture, one might think it's a flashback to Bogart's 'old days' as a character actor in the 30s.
Yet he's the star here, which makes Dobbs's plummet a kind of sad testament to the American dream, so called, and to the corruptibility of goods.But aside from building strongly on the characters, Huston is also a good storyteller, and his Treasure of the Sierra Madre is one of the finest 'yarns' of the 40s, albeit subversive as his other great films, the Maltese Falcon and the Asphalt Jungle, were.
My theory is that Sheridan did go to Mexico and did film such a scene but Huston or Warners decided not to use it for some reason and it was reshot but the story that that is Anne Sheridan remained alive.Mr. Lax identified the guy in the bar who warns Dobbs and Curtain about McCormick as Tim Holt's father Jack and goes on to tell the story of his life and career but in fact that actor, as the IMDb shows is Pat Flaherty.
treasure of sierra madre is THE exception that defined the rules of Hollywood Glamour Time Motion Pictures.no good guys, no bad guys, no racism, no religious bigotry, NO LOVE STORY (involving two human beings) believe it or notBUTan interesting psychological study, chess game, intelligent, surprising, REAL, and of course also a solid adventurei was blown away.
Max Steiner score is excellent, particularly the guitars on the San Joaquin Valley bit as Tim Holt recalls his youth, and later when Walter Huston suggests that Tim go and visit Cody's widow.But I really liked the Mexican music, mariachi and folk, in the beginning of the film.I've tried for years to find/track down the mariachi music used in the background when Bogart gets out of the barber chair.
Telling the story of three men who go into the mountains of Mexico for gold and finding greed and madness instead, "Treasure of the Sierra Madre" is an brilliant character study that shows Humphrey Bogart's character, Fred C.
It's a film that has been lauded by the critical community as one of the best of all time; I don't know about that, but it has much to recommend it.Walter Huston caps off a long career of terrific performances with his scene-stealing number here as the old, wizened prospector who's seen it all.
Dobbs in "The Treasure of the Sierra Madre", Humphrey Bogart gives one of his very best performances, and is right up there with his playing in "The African Queen".
Walter Huston is absolutely brilliant as the old prospector, and Tim Holt certainly proved in this film that he should have been given many better roles than he received before and after this movie.
The fact remains, however, that "The Treasure of the Sierra Madre" contains what is arguably Humphrey Bogart's finest screen performance in a 25+-year career; one of John Huston's best directorial efforts; AND my favorite performance of all time--Walter Huston as the wise-with-experience prospector, Howard.
For this terrific portrayal, Walter Huston won what is perhaps the most well-deserved Supporting Actor Oscar in the history of those dubious awards.By now, everyone is familiar with the story of the three gold prospectors who go into the wilds of Mexico, only to be undone by gila monsters, banditos, and human and Mother Nature.
what a great movie...superb acting by Bogey and the rest of the cast...one of John Huston best film.
They then meet the old man (Walter Huston) who happens to be an expert in gold digging and this gives them an idea on how to get their hands on some real dough, but nothing is as easy as it looks, especially when dealing with strangers, bandits and insanity while looking out for your share of the gold.This movie has such brilliant performances especially from Bogart and Huston and has a script you will never forget.
Still, if you're at all familiar with Walter's breadth of work, you'll be saddened that he got his Oscar for this movie.Walter stars as an old-timer who tells two down-and-out bums, Humphrey Bogart and Tim Holt, about his experience with gold digging.
Humphrey Bogart, Walter Huston, and Tim Holt are three guys who are down on their luck and turn to prospecting for gold in a rugged part of Mexico known for its bandits.
Walter Huston, directed by his son John, is fantastic as well, as the experienced old man who can scale hills like a goat, and who knows human nature after having seen men around gold over his lifetime.
Movie Review: "The Treasure of the Sierra Madre" (1948)A book written by writer Bruno Traven (1882-1969) and presumingly published in 1927, then discovered by Hollywood director John Huston (1906-1987) and adapted to attract Hollywood star Humphrey Bogart (1899-1957) to break public character as the easing-cool figure of smoke and drink to become the thoughout unlikeable character of Dobbs, who nevertheless creates "high-rise" fascinations as suspense due to the teaming-up with down-to-earth empathetic Howard, played by the director's real-life father Walter Houston (1883-1950) with harding streetwise wisdom, and actor Tim Holt (1919-1973) as running-for-a-chance Curtin; together they embark into the title-given desert-mountain-strip of Mexico to dig for gold.The story-arc with this gripping 125-Minute-Movie received in times of a fading Hollywood era with "Consent Decree" of year 1948 with regard to United States versus "Paramount Pictures" concluding into splitting states of filmmaking empires by separating exhibition entities from incorporated film producing Major studios, when also Warner Bros.
Especially given its age.Both Huston and Tim Holt as Curtain are excellent in their roles, but this film belongs to Humphrey Bogart as Dobbs.
Its greatness lies in the performances and double takes the Humphrey Bogart character throws at co-stars Tim Holt and Walter Huston, the great character actor father of the director (John Huston).
Mexico was no easy bag to travel through in 1925 as the Great Depression was in full swing.Walter Huston turns in what many consider to be his best acting as the "old man" who tries to be both father-figure and referee to Holt and Bogie.
It's the ultimate fantasy.Going on a quest for great riches in order to live happily ever after.Three men go on just such a journey.They gradually,however,become stricken with greed and mistrust.Sleeping with one eye open,never so much as turning your back for fear of a knife being stuck in it,etc.This is a great telling of an all too sad truth in life,that when it comes to money or wealth,no matter how much we say we trust,no matter how much we say it won't change us, it can happen much easier than we give it credit for.Great performances here by Humphrey Bogart(did he ever give a bad one?),Walter Huston, and Tim Holt.Great direction from John Huston,who also makes an appearance in the film.One of the true great films in cinema history..
Humphrey Bogart and John Huston collaborated on five films together, among them, The Treasure of the Sierra Madre.
The story of two impoverished men overcome by greed when they finally have a chance to strike it rich in Mexico was also a perfect tale for Huston to tell and audiences have been gifted with the perfect collaboration since its release nearly 70 years ago.Fred Dobbs (Humphrey Bogart) is an American desperately searching for work in Mexico.
There he meets Curtin, who together with Walter Huston, ex- prospector, decide to have a go for the gold in the Sierra Madre mountains.This movie grabs you with it's gritty reality of life for the working man who grinds out a living from the dirt of the earth.
Humphrey Bogart, Walter Huston and Tim Holt play these three itinerants, making for a powerful ensemble of talent whose performances bring a timeless relevance to this story of human greed, and redemption.
Although John Huston's directing is absolutely equal to the screenplay, winning Oscars for both, it is the performance level of the actors that makes "Treasure of The Sierra Madre" the classic film that it is.
Although John Huston's directing is absolutely equal to the screenplay, winning Oscars for both, it is the performance level of the actors that makes "Treasure of The Sierra Madre" the classic film that it is.
Beginning and ending with Walter Huston's award winning role of the worn-out old miner who is looking for one last big score, Humphrey Bogart and Tim Holt are equal to the task and draw us in to this tale of need and greed.
Beginning and ending with Walter Huston's award winning role of the worn-out old miner who is looking for one last big score, Humphrey Bogart and Tim Holt are equal to the task and draw us in to this tale of need and greed.
Of course, we know that his son John, did much research in preparation for writing the screenplay; but we are nevertheless plunged into a sure belief that this old miner must surely have been there age upon age, mine upon mine, and has therefore, a thousand tales to tell.When, in the course of the story, Walter is taken away, somewhat without choice, to work the magic of a healer for a Mexican village, we are again convinced that he is a medical doctor hiding out as a prospector.
Of course, we know that his son John, did much research in preparation for writing the screenplay; but we are nevertheless plunged into a sure belief that this old miner must surely have been there age upon age, mine upon mine, and has therefore, a thousand tales to tell.When, in the course of the story, Walter is taken away, somewhat without choice, to work the magic of a healer for a Mexican village, we are again convinced that he is a medical doctor hiding out as a prospector.
Treasure of the Sierra Madre (1948)Two Americans, played by Humphrey Bogart and Tim Holt, are reduced to panhandling in 1920's Mexico, meet up with an old prospector and decide to join together and search for gold.
Treasure of the Sierra Madre would win the Oscar for John Huston for Direction and Screen writing, and for his father Walter for best supporting role.While I can see how Laurence Olivier won the Oscar for Hamlet in 1948, I have a hard time understanding how Bogart didn't even warrant a nomination.
Two penniless Americans (Humphrey Bogart and Tim Holt) during the 1920s in Mexico join with an old-timer (Walter Huston, the director's father) to prospect for gold. |
tt0999913 | Straw Dogs | This movie is a remake of the 1971 movie of the same name (released 40 years prior) now set in modern day Mississippi. The film opens with shots of Mississippi swampland. Classical music underscores the shots and foreshadows the conflicting styles of the movie's two leading men.In the same swampland, Charlie (Alexander Skarsgård) shoots and brings down an impressive looking buck deer. He and three friends approach the buck, and one of them pulls out a saw to take off the still living buck's antlers. Charlie tells his friend to knock it off, so he can kill the buck properly; the animal watches as Charlie raises his gun, and a shot cues the cut to the next scene.A vintage Jaguar convertible approaches the small town of Blackwater, Mississippi. The driver, David Sumner (James Marsden), sings along to the fast tempo song while his wife Amy (Kate Bosworth) applies lipstick in her vanity mirror. She laughs at her husband antics and pokes fun at Blackwater, her hometown. David tells her to have more respect for the cradle of her youth as they enter the town. Amy waves to men sitting in a pickup truck outside a bar and stares at the passing scenes: the old white steepled church, uniformed football players jogging past the Jaguar, two dogs running around a messy yard while their owner yells at them. Eventually they pull up to Blackie's, a local bar and, according to Amy, the center of the universe in the small town of Blackwater.Charlie and his three hunting friends are already in Blackwater, shooting pool and drinking beer. Their former football coach and Blackie's regular Tom "Coach" Heddon (James Woods) drinks at the bar and talks drunkenly with a waitress. Amy and David sit in a nearby booth eating some messy burgers. David is facing Coach, and the older man makes disparaging marks about the former's fancy looks. In any case, it's obvious from David's comments about the locale and the locals that he doesn't come from a town like Blackwater. Amy encourages him to eat a fried pickle, which he calls "disgusting", until Charlie interrupts them. He calls Amy "Amycakes" and tells her that she looks good. He introduces himself to David and tells the couple that he's put in a bid to put a new roof on their barn, which was destroyed during a tornado. It turns out that Amy's father died recently, and she and David are in town to fix up the house. David is a writer and is working on a screenplay about the battle of Stalingrad during World War II. Amy is an actress on a network crime show, which Charlie and most of Blackwater watches. The waitress finally breaks free from Coach and comes over to the booth to compliment Amy on her performance. David tries to pay the bill with his credit card - it's about $15, and Charlie comments how you can't get such good, cheap food in Los Angeles. But the wench of a waitress tells David that Blackie's is a cash only establishment. The waitress snippily tells him cash is what "poor people use", and David tries to smooth the situation over by tipping her well.Jeremy Niles (Dominic Purcell), a mentally handicapped man in his late thirties, tries to enter Blackie's with his dog. His appearance causes a commotion, and many people tell him to get out. Amy expresses surprise that Jeremy isn't in an institution somewhere - apparently he did something violent in the past - but Charlie tells her that in Blackwater, everybody takes care of their own. David goes to order a beer, leaving Charlie and Amy alone. Charlie slides into the booth and immediately becomes very familiar with Amy, going so far as to try to brush her hair out of her eyes. (She tells him to stop.) At the bar, David sees a picture of a younger Amy and Charlie (who is in a letterman jacket) hugging in the back of a truck. The drunken Coach takes issue with David's lace-less shoes, and the bartender tells him that he's had enough. Coach flips out when the bartender tries to take away his beer mug; the pair gets into a fight over the mug until Coach shatters it and gets glass in the bartender's hand. Charlie tries to calm Coach down, and the drunken man seems momentarily placated, but soon he bursts behind the bar. He says he wants to pay for David's beer and get his own. Sheriff John Burke (Laz Alonso) enters Blackie's and tells Coach to calm down. Eventually he gets him out from behind the bar. Before they leave, David tells Charlie he's won the contract for the roof and asks him to come out the next day to begin work.Outside, David cannot believe the scene he just witnessed. He tells Amy he almost got stabbed, but she tells him those kinds of flare-ups happen in Blackie's. David sees Jeremy sitting in the Jaguar with his dog, and Amy tries to sweet talk him out. Eventually Jeremy's brother Daniel (Walton Goggins) comes and collects Jeremy, apologizing to the Sumners.On the drive to Amy's father's property, David eventually asks Amy about Charlie. She admits they used to go together - she doesn't elaborate too much on their relationship - but implies the sexual part was good. When David pouts Amy, who is driving, stops the car and asks him "who ended up with the girl?" They begin to kiss, and Amy climbs on top of him and tries to give him a handjob. David laughingly climbs out of the car, and it turns out they're just down the driveway from a rundown barn and an impressive two-story stone house. He and Amy head towards their new home.David and Amy walk around the barn, which definitely needs repairs. David tells Amy he'll pay Charlie and his crew what the most expensive crew bid instead of what Charlie asked for. He tells his wife she wants to help her friends, and she tells him that he should spend that extra money on her. They kiss again, and he asks for a tour of the house. During the tour of the house, David finds some records and begins to play them. He and Amy wander into a large room with large buck head mounted over the fireplace. David tells Amy he'll love working in there, and he flops down on the couch. When he waves to the buck head Amy remembers the day her father shot the animal and threw a huge party to celebrate his kill. David points to a bear trap and asks if he used that, but Amy tells him that would be overkill. When David asks if she ever went hunting with her dad she tells him, "You know a lot about a lot of things, but you don't know shit about Southern daddies and their Southern daughters."Later, David has set up all of his research for his screenplay (a big chalkboard with dates, pictures of the battleground, historical books) in the den. Amy comes in to see how he's doing. She cuddles with him at his desk, and a big white cat named Flutie leaps into her lap out of nowhere. The cat startles David, but Amy is familiar with him and dotes upon the feline.The next morning Charlie and his three redneck friends pull up to the barn and stone house very early in the morning. Their loud chatter, noisy power tools, and blaring music wake David and Amy. David goes outside to ask them to quiet down. When he climbs the ladder to talk to Charlie, the latter introduces him to his friends: Norman (Rhys Coiro), Chris (Billy Lush), and Bic (Drew Powell). David asks Charlie why he came to work so early, and Charlie tells him that's how they do things "around here." He tells David he'll get used to it. David obviously isn't going to raise a fuss and leaves after asking Charlie to be a little quieter in the future.Later, as David works on his screenplay in the kitchen, Bic enters the house uninvited and helps himself to a beer. David is taken aback by the gesture but doesn't ask Bic to leave. Eventually Bic grabs an apple and sits down at the kitchen table to eat it. Amy enters, and Bic tells her the fridge isn't cool enough. He also offers to check it out sometime. Amy thanks him, and before he returns to work Bic tells her how great it is to have her back in Blackwater. After he leaves Amy grabs a Popsicle and tries to distract David from his work. David asks her if all her friends are like Bic and explains how Bic entered their home without an invitation and helped himself to a beer. Amy is nonplussed and tells him that in Blackwater people are friendly and trusting. Everybody knows everybody, so people rarely lock their doors. David decides to talk to Charlie about Bic's intrusion.Charlie and his crew end their workday at noon, which confuses David. Charlie tells David that they're ending work early, so they can hunt. David says that's all right as long as they finish the roof on time. Charlie invites David to go hunting with them, but David says maybe another time. David pulls Charlie aside and tells him Bic came into his house uninvited. "Oh, no. Has Bic given you any reason to mistrust him?" Charlie asks. David says no, and Charlie promises to "handle it" if Bic ever does. The crew leaves, and Amy laughs at David for saying he'd hunt with them.That night at Blackie's, Charlie and his crew get drunk and play pool.That same night, Amy and David play chess in bed. Amy reads a book about chess strategy. After she makes a bad move, David tells her that she doesn't have to learn chess to please him. "I want to learn so I can kick your ass," Amy replies. David orders her to lie down on the bed, and after some initial protest, she obeys. He stimulates her with chess pieces and makes her guess which pieces he's using.Coach hangs out with Charlie at Blackie's and tells a drunken story about a battle. When Daniel Niles shows up Coach gets into a fight with him about Jeremy. He tells Daniel to keep Jeremy away from his daughter, and Daniel assures Coach that if Jeremy ever hurts someone again he'll institutionalize his brother personally. Eventually an off-duty Burke breaks up the argument, but not without raising Coach's hackles.The next morning, Charlie and his crew drive up behind Amy as she jogs towards home. She's listening to music and doesn't realize they're behind her, so they leer at her scantily clad body. Back at the farm, David tries to work on his screenplay. Charlie makes Norman honk at Amy, and they holler at her as they drive around her. David sees the crew pulls up; they're talking about how hot Amy looked. Moments later Amy jogs up to the house. Sweat soaks the front of her think tank top, and her nipples and breasts are very apparent. She stares at Charlie, and he stares back, and she goes inside.David reads the paper in the kitchen and comments about how, despite the war in Afghanistan and the financial crisis, the front page of Blackwater's newspaper is dominated by football news. Amy informs him that the town loves football and that football players are their heroes. She adds that when John Burke came home from Iraq, the townspeople did make a big fuss. When David learns that Charlie, Norman, Chris, and Vic are all former football players he calls them "straw dogs." Centuries ago, the Chinese built straw dogs as offerings to the gods; while a straw dog was still in use it was showed with praise and riches, but when it had served its purpose, it was abandoned and stomped upon and torn apart. He thinks that Charlie and other former football players have become the abandoned straw dogs. Amy tells them that the "dogs" outside were "practically licking her" during her run. David suggests, to Amy's chagrin, that she dress more appropriately in the future. She might get more respect if she wore a bra, for example. Amy angrily declares she's going to take a bath.Amy opens the bathroom window, which is directly across from the barn roof. Charlie and his crew get distracted from their work when Amy begins to unbutton her tank top. She exposes the skin between her breasts and stares at the men, Charlie in particular. Amy closes the shutters before undressing further, and Charlie stares into space for several moments. Then he tells Norman to crank the music up even louder, to do battle with David's Beethoven, which he's playing in the den.Later David emerges from the house and finds Charlie's crew inspecting the engine and whatnot under the hood of the Jaguar. They compliment him on his car and tell him that they're ending the workday because of the heat. David's going into town to make a cell phone call because reception's bad out by the house. Charlie tells him reception is best right in front of Blackie's, and the crew roars out of the farm's driveway in Norm's pickup truck.Not too long after that David is driving towards town. He's accelerating the Jaguar while looking at his phone and almost runs into the back of Norm's pickup truck. The truck crawls along at 10 m.p.h., and David grows annoyed with the slow pace. Chris and Bic sit in the bed of the truck, and after a few moments, they give David the okay to pass the truck. David speeds around the pickup truck and pauses to wave to Charlie and Norman; when he returns his gaze to the road he sees that he's barreling towards a crane-suspended log. Some timber crews are working on the side of the road, which is why the pickup truck was driving so slowly. David swerves to avoid the log and blows out a tire in the process. The timber crew yells at him, and Norman pulls over so Charlie can ask if David's okay.David finally makes it into town. He stands in front of Blackie's and tells his agent, Aaron, that Blackwater isn't as conducive to his creative process as he originally thought. He tells Aaron he needs a few more weeks to work on the script. Jeremy sits on the sidewalk not too far away and stared into space. A group of giggling teenage girls watches him from nearby. One of the girls, Janice, detaches from the group and tries to talk with Jeremy. He mostly ignores her, although she asks him several questions, and eventually Daniel appears and chases her off. He tells his brother, "You've got to stay away from girls."When David enters Blackie's he sees the girl from outside laughing and hugging Coach. The current football coach, Coach Milkens (Anson Mount), enters Blackie's and introduces himself to David. Coach tells Milkens that Jeremy Niles tried to hang around the cheerleaders earlier; he wants Milkens to keep Jeremy away from them, especially the girl from outside, who turns out to be his daughter Janice (Willa Holland). Milkens tries to diffuse the situation and invites David to come to the "Pray and Preach" that upcoming Sunday. Every year before the start of the football season the local preacher gives a special sermon aimed at riling up the players and townsfolk alike. After the sermon, everyone in Blackwater migrates to the football field where the players (the Bengals) scrimmage and the townsfolk have a picnic. It's a longtime Blackwater tradition, and David accepts the invitation, saying, "When in Rome!" He downs a beer in one gulp, and the bar patrons, which include Charlie and his crew, hoot their approval.That Sunday everyone in Blackwater - the Sumners, the Niles, Charlie, Norman and his pregnant wife, Chris, Bic, Coach and Janice, Burke - attends church. The reverend prays for the football players, and David tells Amy he's stepping outside to get some fresh air. Charlie and Coach seem to take offense to David leaving in the middle of the sermon.David dozes in the Jaguar until Charlie comes outside and looms over him. Charlie asks David why he left in the middle of the sermon and David replies, "Religion isn't really my thing." Charlie is confused by David's avowal and becomes angry when David tells him that he thinks God sounds like a bully. Charlie tells David he can look down on Blackwater, its residents, and their customs, but it's quite another thing to look down on God. He claims that the reverend spent all week preparing the sermon, and David admits he could have been more sensitive. Charlie walks away, and David stops him by saying, "Charlie, there is something in the Bible I do believe. Thou shall not covet thy neighbor's wife." Charlie asks what happens when "thy neighbor's wife covets you?" The implication is that Amy wants him back. Church lets out, and everyone sets off towards the picnic. Charlie catches a ride with Norman and their crew.A band plays country rock at the picnic. David stands in line to get food while Amy talks with Norm's wife and Janice. Norm's wife and Janice compliment Amy on her television show. Amy accepts their praise gracefully. David sees Jeremy ahead of him in line. Norman pulls up to the picnic, Charlie and their crew in tow, and it's obvious they're late. (Important later.) David gets into the music, singing along to a song with the rest of the locals, and eventually returns to Amy's side. Charlie, Norman, Bic, and Chris come over, and everything goes well until Jeremy sits down with them. Coach comes over and starts pushing Jeremy around, telling him to get away from Janice. Amy, who didn't mind Jeremy sitting with them, grabs Coach's hand and tells him to leave Jeremy alone. Coach yells at her, and David pulls Amy away from the scene, essentially telling her to mind her own business. Daniel comes over to take Jeremy away, but even he can't stop Coach from attacking when Jeremy says Janice is his girlfriend. Coach tackles Jeremy and beats him, knocking over a drink dispenser and generally humiliating his daughter in the process.Amy storms away from the picnic. She's furious with David for not supporting her and for letting Coach bully Jeremy. He maintains that she shouldn't have involved herself in the fight.That night Amy watches an old movie in bed and grows annoyed with David when he tries to do his jump rope exercises. David returns his jump rope to their closet, sees something inside of it, and backs away in disbelief. He closes the doors and tries to prevent Amy from seeing what's inside. She gets past him, pulls open the closet doors, and finds Flutie, who hangs from a bar by a rope wrapped around his neck. Amy believes that Charlie or someone from his crew hung her cat, which would explain their late arrival to the picnic. David doesn't want to confront anyone without solid proof, but Amy points out the unlikelihood of a stranger walking into their house and hanging their pet. David tells her that they're locking their doors in the future. Amy pulls up a floorboard and reveals a secret compartment where her father kept a loaded gun; she puts the gun in her purse while a shocked David watches her.The next morning David and Amy watch Charlie and his crew work on the roof. Amy wants David to do something about Flutie's murder, but David protests he can't march outside and accuse the men of killing their cat. He tells her he will go outside and ask them if they've seen Flutie; he believes he will be able to tell a lot by their reaction. David heads outside and Amy watches him from the window. David engages Charlie and his crew in a friendly conversation and doesn't mention Flutie at all.Later that day David, Charlie, and the rest of the crew come into the den to set up Amy's father's bear trap. Charlie and Norman pull the trap open, using their weight to keep its mighty jaws apart, and Charlie snatches his hand back just in time when the bear trap springs closed. David obviously hasn't asked the men about Flutie, so Amy takes matters into her own hands. She brings the men a tray of beers and sets out a saucer of milk for Flutie. She asks the men if they've seen her cat, and they tell her no. David and Charlie mount the bear trap over the fireplace, and Charlie asks David to go hunting with his crew the next day. He reminds David about his "when in Rome" comment and adds that hunting season will end soon. David eventually agrees to go with them.The next morning David rides in the back of the truck with Chris and Bic. Amy goes on her morning jog. Chris gives David a bright orange vest to wear so no one will shoot him. He and Bic press for the story of how David met Amy, and David tells them that he writes for Amy's crime show. Deep in the misty woods, Charlie teaches David how to load a gun. (It's interesting to note that aside from David, none of the men wear bright colors.) Amy continues to jog.As they walk through the woods, the men ask David about his screenplay. David expounds about the importance of the Battle of Stalingrad during World War II and how the Russians defeated the Germans. Charlie is familar with the history of the battle and says that God helped the Russians win the battle for the Soviet Union. David points out that the former Soviet Union was, and the current Russian country still is, a nation of atheists. Charlie replies that "God works in mysterious ways", and they head deeper into the forest. David eventually tells the crew about Flutie's murder, and they react with shock before splitting up.Amy strolls past the lake near the barn and house.David is now alone in the woods. Suddenly he hears a gunshot, and a bullet flies past him, narrowly missing him. David falls to the ground and calls out to the men who fired the shot, telling them not to shoot. Seconds later a giant buck bounds into the misty clearing and leaps over David. Chris and Bic follow close behind. They apologize to David for nearly hitting him but assure him that they were shooting at the buck. They ask David what direction the buck took off in, but David doesn't know.Back at the house, Amy takes a shower. David stalks through the woods, back on the hunt. Amy steps out of the shower, puts on a robe, and hears someone knock at the front door. It's Charlie, and he's come to offer his condolences for Flutie. Amy tells him to leave, tries to slam the door, but Charlie stops the door with his foot. He forces his way in the house, and he comments that they made a lot of memories on the couch in the entry room. He keeps walking towards Amy, and she walks backward, until he presses her up against the wall. Amy tries to push him away, but he forces her to kiss him. This scene intersperses with scenes of David finding the buck in a clearing of fallen trees. Charlie pushes Amy onto the aforementioned couch and begins to untie her robe; she cries and tells him to stop.Back in the clearing, David raises his gun and considers whether or not to kill it.Back at the house Charlie unbuckles his belt and Amy screams. Charlie tries to soothe her and asks her if this is what she's thought about when she and David have sex.Back in the clearing David lowers his gun but, after a moment, shoots the buck. It falls to the ground.Charlie rapes Amy. She stops fighting him, but she remains stiff and refuses to kiss him. Charlie finishes, and as he lays on top of Amy, panting, the recorder player needle moves forward and begins to play an upbeat song. Amy and Charlie are startled, and when Charlie shifts his back, Norman comes into view. Charlie flies off of Amy, but instead of intervening, Norman grabs a sobbing Amy and drags her towards him.In the clearing, David walks towards the fallen buck. He crouches by it and seems in awe of it.At the house, Norman has bent Amy over a couch. Charlie has fallen into a chair and watches the second rape in a haze. Shots of Norman running his hands over Amy's body are interspersed with shots of David running his hand along the buck's carcass. Norman finishes raping Amy, and he and Charlie leave.David realizes Charlie and his crew have abandoned him. He tries to hitchhike home, still holding his rifle. Burke pulls up and tells him that people have been calling the police station complaining about a hitchhiking man with a rifle. Burke hopes David hasn't been hunting, because it's not hunting season; to hunt would actually be considered poaching. David is angry when he realizes that Charlie and his crew set him up as a prank.When David arrives home, he finds Amy sitting on their bed. She's eerily calm and listens as he rants about her "friends." He tells her he's going to fire Charlie and his crew because the latter has gone too far. "Good for you," Amy says. She tells David that they're both cowards, but she makes no mention of the rapes. David becomes angry with Amy and tells her that she "pushes" him. He leaves the bedroom.The next morning, David brings Charlie into the house and tells him that he's fired. Instead of citing the day before, when Charlie asks for a reason David tells him that he's been taking too long on the roof. Charlie says he's already ordered parts, and David agrees to pay for them. He asks Charlie what he owes him, and Charlie claims $5,000. He jokes that he'll only accept cash when David grabs his checkbook, and David writes him a check anyway. Amy comes into the kitchen and watches her husband hand Charlie the check. Charlie goes outside and tells his crew they've been fired. They laugh and tell Charlie he has a "silver tongue" when he shows them the check for five grand. David and Amy watch them drive away.Some time later, David types on his laptop outside. Amy comes out and tells him that if they want to fit into Blackwater they need to go to the first football game that night. She tells him that she's driving.Amy and David arrive at the game. Locals have lit a pile of crate on fire, and Charlie stands near the blaze with his crew. They see the Sumners arrive and watch them walk into the game. Amy and David take their seats in the packed stands, and Coach strides around the field lecturing Milkens about strategy. Jeremy stands on the sidelines, and Janice, in her cheerleader uniform, approaches him. He doesn't respond to her, but she convinces him to take a walk with her. She wants to find someplace private for them to talk.Charlie and his crew enter the game and sit near Amy and David. The two groups eye one another, especially Amy and Charlie. The football game has begun, and Amy has flashbacks of the rapes each time the football players collide.Janice has lead Jeremy to the back of the locker rooms inside the high school gym. His back is against the wall, and she stands in front of him. Janice tells him that he's a handsome, strong looking man. She asks if he likes being alone with her. He tells her no, and he stares into space. Janice kisses Jeremy, and then she asks if he liked the kiss. He doesn't respond.Out on the field Coach can't find Janice. When another cheerleader tells him that she went off with Jeremy, he flips out and runs out of the stadium to find them.Amy continues to flashback to the rape. Charlie watches her.Janice tells Jeremy she wants to do something with him. She sinks to her knees but snaps back up when she hears her father's angry voice. Coach charges into the gym, and yells for his daughter and Jeremy. Jeremy realizes he might get in trouble, so he grabs Janice and puts his hand over her mouth. Shots of the game and Amy's flashback intersperse with shots of Jeremy accidentally smothering Janice. Coach stops short of going into the area of the locker room where Jeremy and Janice hide, but when the camera pans down to Jeremy's feet, Janice's feet have stopped struggling. She's obviously dead.Amy is upset, and she and David decide to leave the game. Not long afterwards Coach barrels across the field and tell Charlie and his crew that Janice is missing. He tells them Jeremy probably took her, and they leap into action.David and Amy drive home. Amy wants to leave town, and David takes his eyes off the road to address her. Amy screams and points at the road, but this time it's too late. David hits someone, and the person flies onto the windshield and rolls off the roof of the car. It's Jeremy. David leaps out of the car and rushes to aid him. Jeremy is bloody and David stops him from poking the bone sticking out of his arm. David brings Jeremy to the car and tells Amy they'll take him back to the farm and call an ambulance there.Coach, Charlie, and Charlie's crew stand in front of Norm's truck. Coach rages about what he'll do if Jeremy has Janice, and a report comes over Norm's radio - it's set on a police dispatcher channel - that an ambulance has been called out to Amy and David's farm for Jeremy. The five men jump into Norm's truck and head off to the farm to get Jeremy.Amy and David try to tend to Jeremy's after they arrive back at their home. Norm's truck pulls into the driveway, and five enraged men pour out. Charlie knocks on the door and asks David to relinquish Jeremy. Amy learns something has happened to Janice and considers sending Jeremy out, but David stops her. He won't give up Jeremy until the authorities arrive.Back at the truck Coach tells Charlie and his crew that Amy and David are protecting Jeremy, who he is convinced has done something to Janice. His anger is infectious, and the men decide to storm the house and take Jeremy by force. They grab their guns and gasoline.David has moved Amy and Jeremy upstairs, and as he fortifies the house downstairs Amy tries to get Jeremy to tell her what's happened to Janice.Charlie, Coach, Norman, Chris, and Bic throw rocks and bricks through the windows and fire their rifles into the house.Inside, David tells Amy he will defend his house. Burke arrives and tells Coach, Charlie, and Charlie's crew to stand down. Coach confronts Burke and sarcastically calls him a war hero. He tells the sheriff that David is protecting Jeremy and that Jeremy has done something to Janice. He tells Burke it's time for the officer to choose sides.David goes to the door and speaks with Burke. Burke tells him to surrender Jeremy, but David refuses. He tells Burke he's "one of them" and adds he'll wait until the state police arrive. Coach, displeased with the direction Burke has taken, goes back to the truck and grabs a rifle. David, peering through the door's peephole, sees Coach appear behind Burke, rifle raised. He tries to warn Burke, but Coach shoots and kills the sheriff.David pushes a bookcase in front of the door. He starts to boil some oil on the stove. Amy still wants Jeremy to tell her what happened to Janice, but Jeremy starts to panic when Charlie and his crew shoot at the house. They can't shoot through the front door, because it's made of steel. David exclaims, "They've gone too far." A rock flies through the window and hits him in the face. With Amy's help, David takes down and sets up the bear trap. Amy has a moment of doubt while holding the jaw of the bear trap open, but David tells her if Charlie, Coach, and the crew get in the house, it's because they're dead. Amy returns upstairs.Outside, Charlie tires of shooting at the house and opens fire on the Jaguar. The car bursts into flame. The crew hollers their approval.Chris almost breaches the house through a window in a back room, but David catches him. In a moment of convenient improvisation, David grabs an electric nail gun and nails Chris's hands to the wall. Chris screams and begs David not to kill him, but David leaves him to die with his neck touching the broken glass.Charlie and the crew set the barn on fire and decide to smoke David, Amy, and Jeremy out of the house. Coach approaches the kitchen window and fires his rifle into the house. David crouches down below the stove, which is right by the kitchen window. He grabs the two boiling pans of oil and tosses them into Coach's face. Coach screams in agony and runs back to Charlie. David goes into the living room, puts on a record, and sits on the couch.Outside, Coach rages about his burned face. Charlie and his crew, minus Chris, try to figure out how to breach the house while David cleans his glasses inside. Charlie and his crew decide to ram the house with Norm's truck, but Norman disappears around the back of the house while Charlie climbs behind the driver's wheel. Amy tries to warn David that Charlie is going to ram the house, but David figures it out when the truck makes first contact with the den wall.Upstairs, Amy fires her father's gun at the car. David stops her and tells her if they make it up to the bedroom she'll need those bullets. Norman pours gas through an open window. Back in the den Charlie rams the truck into the wall a final time. The impact knocks Charlie unconscious, and the den is on fire. Coach tries to revive Charlie and, when he can't, gets out of the car with his rifle. David hides on the other side of the wall, right by the doorway. When Coach's rifle barrel appears around the corner David grabs the gun and pushes it downwards. Coach pulls the trigger, but the gun's downward angle means he shoots his own foot. Coach stumbles backward in pain and David takes his gun. He shoots Coach several times in the chest, and Coach dies. When Bic charges out of the truck David beats him to death with the butt of the rifle. Charlie wakes up and grabs the gun from David. He aims his gun at David, but the rifle is empty.Meanwhile, Norman has snuck in through a back window. He creeps upstairs and grabs Amy from behind. (Jeremy makes no attempt to intervene.) Charlie and David burst into the bedroom. Norman and Charlie point their guns at one another; Amy scampers off the bed. Charlie tells Norman they shouldn't be pointing their guns at one another, so Norman turns his gun on David. Before he can fire, Amy shoots him with her father's pistol. Norman dies.Now Charlie and David face off. David gets the gun away from Charlie, and he tries to punch Charlie. Charlie is considerably taller than David, though, so David can only wrestle him into the wall. Charlie throws David into the hallway, and David tries to attack him again. Charlie throws David down the stairs, and David scrambles into the den. Charlie grabs Norm's rifle and follows David into the den. David hurries backwards and slips in Coach's blood. He falls to the ground and lands on his back. He stands and tries to run into the kitchen as Charlie advances with the rifle, but he falls again, and his glasses, at this point very broken, fly off his face. Charlie allows David to grab his glasses because he wants David to watch him kill him. He raises his rifle, much like he did to the buck at the movie's beginning. Before he can shoot, he hears a rifle cock.It's Amy, and she has a rifle trained on him. Charlie asks if it's the rifle from upstairs, and Amy nods. Charlie smiles before informing her the rifle's empty. He calls her "Amycakes" and tells her not to worry. He lowers his rifle and keeps talking to her. All of a sudden David jumps up behind him and slams the bear trap down on Charlie's head. Amy gasps in horror, and Charlie stumbles around in surprise before collapsing on a desk. He dies, and Amy and David look at each other. David surveys the bodies of Charlie, Bic, Coach, and Chris. "I got them all," he muses. Amy still looks horrified.David goes outside and sees the burning barn and fiery cars. He walks over the barn and watches the flames devour it. In the distance, he can hear police sirens. | revenge, murder, violence, flashback | train | imdb | If you have seen Sam Peckinpah's classic 1971 original with Dustin Hoffman and Susan George, it is impossible to watch this remake without comparing the two films.
After all, it's been 40 years and most people watching this new version have never seen the original.Director Rod Lurie follows the Peckinpah version pretty closely with the obvious changes being a move from the English countryside to the deep south (Mississippi), and the main characters are now a screenwriter and actress instead of mathematical whiz and ...
He is a sadistic type who picks on Jeremy Niles (Dominic Purcell), the slow-witted brother of Daniel (Walton Goggins) and constantly accuses him of inappropriate behavior with his 15 year old cheerleader daughter.James Marsden (Hairspray) and Kate Bosworth (Remember the Titans) play David and Amy. They come back to Amy's childhood home so she can rest and David can have some peace and quiet while writing his screenplay on the Battle of Stalingrad.
Lurie chooses to handle it in a very straightforward manner - plus, times and mores have changed quite a bit in the last 40 years.For me, the Peckinpah original remains a classic film with brilliant psychological undertones which left me feeling very uncomfortable and questioning what I might do in this situation.
Charlie invites David to hunt deers with his group and him but they leave David alone in the woods and rape Amy. She does not tell to David what happened but when the drunken coach Tom Heddon (James Woods) calls Charlie and his friends to hunt down the slow Jeremy Niles (Dominic Purcell) that likes his daughter, David decides to protect not only Jeremy, but also Amy and his honor."Straw Dogs" is an insulting movie, as a remake of Sam Peckinpah's classic of 1971.
A Real Dog. While there are probably people out there who could pull off a remake of the classic Straw Dogs, this isn't the group.I tried real hard to like this film since I'm a huge fan of Walton Goggins, but this should have been left on the shelf.The actress playing the wife did a rather good job, though, in a role that is not easy to pull off and achieve a believable balance.Overall I wouldn't give this more than about 4 or 5 points.Next time someone tries this I really hope they can give us something worth watching.
This was actually a good remake.While the movie is very similar to the original, they did make some small changes here and there, mainly in the characters background and their motivation - which might help explain some things that seemed a bit odd in the original (for example, why would a beautiful blonde marry a geek).
Modern remake from Sam Peckinpah's 1971 controversial shocker in which Dustin Hoffman, who starred in , and famously disliked, the original film, gave filmmaker Rod Lurie his blessing .
David whose pacifism is put to supreme test attempts to protect a dim-witted man (Dominic Purcell) who is suspected of disappearance and molesting a young girl (Willa Holland) , his house is put under siege by the incensed villagers , but David defends the mansion with ferocity .New but inferior version version about one of the most controversial violence-themed pictures of its day ; dealing with a known plot , as a young American and his wife come to rural little town and face increasingly vicious local harassment.
The film, a remake of the controversially violent 1971 movie, is considered fairly faithful to Sam Peckinpah's original, though the location has been moved from Cornwall, England to the U.S. Mississippi Gulf Coast, and the hero's profession has been changed from an intellectual mathematician to screenwriter .
Straw Dogs is a remake of an old film from the 70's which starred Dustin Hoffman, it's a film I haven't seen but I have heard a lot about it, particularly the violence and the rape scene.
After watching this boring 2 hours of film it does kind of make me want to see the original material and hopefully it will maybe change my mind about the story a tad.The drawing point of this movie for me was James Marsden, he is probably my favorite male actor, everything I've seen him in I've really enjoyed, he's s very talented actor and a pure pleasure to watch, and really he is the only great thing about this film, he puts in a decent performance of a man pushed to breaking point, besides that there's really nothing else to talk about.
The rest of the actors are terrible, the plot is far too slow paced and the pay off comes far too late in the film, in the end I hated the Kate Bisworth character, I thought she was just a selfish woman, and yes I understand she was raped but I'm sure I'm not the only one who thinks that rape scene was more just like a sex scene.
Rod Lurie's 2011 remake of "Straw Dogs" gets it right.Screenwriter David Sumner(played by Dustin Hoffman in the original) and his actress wife, Amy, take a break from the big city life and head to Amy's old town of Blackwater.
Like Cronenberg's "The Fly," Craig Gillespie's "Fright Night," and Matt Reeves' "Let Me In," Rod Lurie's version of Peckinpah's film sticks very closely to the original while still doing some new things with it.The first difference between 1971's "Straw Dogs" and the remake is the setting.
And the decision to change David from a troubled mathematician to a screenwriter writing a film about Stalingrad(a metaphor for the film's psychological warfare) is a risk worth taking.Overall, as much as I loved the remake of Wes Craven's "Last House on the Left," I think those expecting a horror movie with intense gore and nude blonds will be disappointed by "Straw Dogs." Those who want an entertaining, full-throttle psychological thriller with good suspense, the right amount of violence, and nifty performances from the cast will find it to be an exceptional remake that stands out among other failures (ahem, Gus Van Sant's duplicate of "Psycho").
There's also a heated subplot involving the town's mentally-handicapped Jeremy and the retired coach, Tom, in which we don't know the importance of until later on in the film.As a remake, STRAW DOGS retains the ambiguous nature that made the original so great.
With all that being said, yes, I think the remake handled the ambiguity really well, and it's obvious the film holds much respect for the original.However, in order for the film to work, the actor playing David's character must be up to the task, and that's where the film falls short on.
In fact, I thought he was miscasted playing a mentally-handicapped person because his performance felt over-the-top.Overall, STRAW DOGS is a well made film and is more respectful to its original source compared to other remakes.
There is likely a very good reason for that...it stinks.Like nearly ALL the endless remakes and reboots that have been plaguing movie goers for the past decade or so....all this is, is a heartless version of the original.It has no heart.It has no soul.It is a retelling of a film that we all love and cherish...and it adds nothing to the story.
Having watched both the new and old versions of "Straw Dogs" in a single day and still fresh from the experience, I found that I identified better with the newer version
for me at least, the remake was more believable than the original, in terms of acting, character development and location
Simply put the English thugs in the original did not strike me as terrifying or menacing
to me they were more buffoonish and funny
I did not find them or their behavior to be particularly intimidating
in fact I felt they behaved in a pretty normal manner when confronted by the American and his seemingly strange mannerisms
If anybody came across as abnormal or psychologically disturbed, it was the main character's wife, who sends out mixed signals by deliberately displaying her panties and subsequently her bare breasts to the gang of leering men, then whining to her nonplussed husband and still later on treating the same men to beer
and the rape was not really a rape, as she does not put much of a resistance even seemingly enjoying it towards the end
she came across as a far more seriously disturbed, immature and dangerous character, more disturbing then the supposed antagonists of this movie
when she is being raped again in the climax, notice how she screams for her ex-boyfriend (who is one of the attackers) instead of her husband for help
this proves that the first sex episode in the movie was not entirely without her consent
The acting too was too exaggerated and cartoonish to be effective
I felt I was watching a parody instead of a serious horror movie
and don't tell me that was how movies were in the early 70s
I have watched older movies with far more convincing acting
I cracked up when Hoffman tries to stop Norman from assaulting the mentally disturbed guy in his house and Norman says "don't lay your hands on meeeeee"
the drawing out of the "me" was unintentionally comic
there were plenty of other moments in the movie where the outlandish acting was funny though not intended to be so
And I absolutely hated the character of the wife, who was silly, clingy, immature and adulterous; hankering unreasonably for her husband's attention and then ready to desert him when he needs her support the most
I would call her the main antagonist in the movie and her husband was too good for a skanky woman like her
The remake addressed and eliminated most of these negative points
the wife was much more sympathetic and her behavior more bearable
unlike Dustin Hoffman who seemed to be barely tolerating Susan George, James Marsden and Kate Bosworth acted realistically like a couple in love
the creeps were genuinely creepy, their behavior intimidating at times and their contempt towards the supposed wimpiness of the husband was barely concealed beneath a veneer of politeness
I could easily imagine myself in the shoes of the various characters and identify with them all
The intimidation and harassment aspect was better brought out in the 2011 version
it starts out subtly by having the workmen gang turning up for work far too early in the morning, blasting loud music, grabbing beer bottles from the refrigerator randomly, requesting for permission to leave work early...
steps up relentlessly to the leering catcalls at a jogging Bosworth
and finally the hanging of the cat and the double rape
scenes where Chris asks Mr. Summer which movies he has written scripts for and Charlie warning David over walking out of the church sermon helped to build up tension between the characters...these were not present in the original version.The only aspects that the original scores over the remake is that Dustin Hoffman is much more of a nerdy and diminutive guy than James Marsden
you could relate to Hoffman as a guy who would have been constantly bullied and pushed around since his school days
but not so much with the muscle-bound, square-jawed Marsden (even if he wears spectacles to look nerdy)
and the final battle in the original movie was more edgy and realistic then the newer version..
Usually Hollywood always has the god-awful and annoying habit of remaking personal favorite horror/cult movies of mine that are already impeccable and not really suitable for improvement, but regarding "Straw Dogs" I felt a lot less concerned since I never was a die-hard admirer of Sam Peckinpah's original from 1971.
Fans of the original would do better to stick with that because there's no way this film has a hope of coming close to it.Taken as a standalone movie, though, and compared to other modern thrillers, it turns out to be
well, not bad.
James Marsden struggles because you can't help but compare him to Dustin Hoffman in the role, and Kate Bosworth doesn't really capture that level of coquettishness that the Susan George character had, either.But the supporting players are better, and Alexander Skarsgard is particularly sinister as the bad guy who doesn't really do anything all that bad – although we hate him anyway.
'STRAW DOGS': Three and a Half Stars (Out of Five)This remake is just a good old fashioned nasty horror film, complete with brutal violence and stereotypes galore (including exploiting the handicap, 'Of Mice And Men' style).
There are some people who will never admit to liking a re-make, but I think with Straw Dogs, the producers took a good film and turned it into a great one..
This movie is a remake of the 1971 original version directed by Sam Peckinpah who was known for his explicit description of action and violence in his films.Based on the novel "The Siege of Trencher's Farm" by Gordon Williams.
This remake of the 1971 Straw Dogs features James Marsden (Cyclops from X-Men) as David Sumner, a man who moves with his wife Amy (Kate Bosworth, both of whom starred in Superman Returns as an engaged couple) back to her hometown of Blackwater Mississippito finish his screenplay.
The cast are capable but I wasn't impressed with anyone's acting (not even James Woods as the coach) and Kate Bosworth's rendition of the plot-critical scene is truly confusing, I have no idea if she was meant to be half-enjoying it or not, but that's the way it's filmed (if you've seen the original, you'll know what I'm talking about) but it's pretty abhorrent regardless.
Nonetheless it still fails to even compare, and has that greenish brown yet polished visual style to it that seems to be so common amongst many horror remakes from the 70s and 80s.In conclusion, this film doesn't really gain anything by being moved from Cornwall to Mississippi, in fact it loses out on many things (David is an outcast and the only American in Peckinpah's version, so as a result, the language barrier between an ambitious intelligent American and small minded drunken English folk in a small town is completely lost) the cast are decent enough but uninspiring but it's a noble attempt at contemporising the story for a new undemanding generation.
Straw Dogs (2011) *** (out of 4) Remake of the 1971 Sam Peckinpah film has a husband and wife (James Marsden, Kate Bosworth) moving back to her hometown where they're not completely welcomed.
The husband does what he can not to cause any trouble or go out of his way to stop things until being pushed too far.I will start off by admitting that I think the original movie is one of the greatest of its kind and a truly well-made and at times frightening film.
They terrorize the seemingly wimpy David and rape his wife until David decides to fight back in equally violent fashion.The 1971 film went on to gross over $11 million worldwide, but was hardly considered neither a commercial hit nor was it one of Peckinpah's best (Hoffman all but disowned the film and would famously admit to only accepting the role for the money).But here we were some 40 years later and the Hollywood machine was busy churning out 16 remakes and reboots in 2011 – Straw Dogs being one of them.In the 2011 edition, James Marsden and Kate Bosworth signed on the dotted line to star as David and Amy Summer.
Tom Heddon (Woods) believes that Jeremy did wrong towards his young grandchild and he comes with a town posse to the Summer house to violently extract Jeremy at any cost.Much like the original version, David is able to use his home and its contents as protection from the increasing threat and in expected fashion, a final showdown between David and Charlie will highlight the climax of the film.Straw Dogs was remade for all the wrong reasons (well, make that no reason that we can think of), and the results provide nothing more than a numb action film with predictable results.
Whereas both Dustin Hoffman and Del Henney in Peckinpah's film felt completely authentic, the two male leads in Lurie's remake-James Marsden and Alexander Skarsgård-are typical Hollywood hunks, clearly cast for their dashing good looks and bulging pecs.
Movie: Straw Dogs (UA)Rating: 4/5I haven't seen the original yet but was compelled to watch this film as the poster was very impressive, as was the trailer.
James Marsden (David) and Alexander Skarsgård (Charlie) particularly excel in their roles.The film's basic plot revolves around a married couple, David and Amy (Kate Bosworth) moving back to her childhood home and community,and hiring her ex-boyfriend Charlie, and his friends, to fix the roof of their barn.
This film's dark moments have been known to give many people the chills.Having the story set in Mississippi, Southern America instead of England I think was a better move and made it more interesting.You could go and watch the more highly acclaimed Straw Dogs 1971 movie if you wish, but I think this modern remake is perfectly fine on its own..
Straw DogsWhen moving to the Southern United States it's important to bring along a regional guidebook, i.e. The Bible.And while the relocating couple in this thriller didn't pack one, the locals are happy to teach them their backwater ways.When David (James Marsden), a scriptwriter from California, moves to Mississippi to restore his wife's (Kate Bosworth) ancestral home and finish his script, he butts heads with her high school boyfriend (Alexander Skarsgård) and his cronies, whom he has hired to repair the barn roof.As the problem escalates between David and his contractor, so too do issues between him and his wife, culminating in a home invasion and multiple murders.A worthy re-make of the 1971 original, Straw Dogs is slow to simmer, but when it boils the tension is palpable.
James Marsden takes on the role of David Sumner (played by Dustin Hoffman in 1971), who has come to this small Southern town with his wife Amy (Kate Bosworth, taking over for Susan George) to work on a movie screenplay based on the 1943 battle of Stalingrad.
Remake of the 1971 Sam Peckinpah film, this one stars James Marsden and Kate Bosworth as a couple returning to her home town to fix up her home front. |
tt1590089 | Kokuhaku | Junior high school teacher Yuko Moriguchi (Takako Matsu) announced to her class that she would resign before spring break. Moriguchi revealed that because the HIV-positive biological father of her daughter Manami was ill, she used to bring Manami (Mana Ashida) to school with her. One day, after school, she returned to the room where Manami was but found her gone. Her daughter was later found drowned in a school swimming pool. She then went on to explain that two pupils in her class, whom she dubbed "Student A" and "Student B", had murdered her four-year-old daughter.She found a small bunny purse amongst Manami's belongings which should not have belonged there, which led her to question Shuya, one of her students, who immediately admitted killing Manami, and mocked her compassionate reaction to his feinted expression of remorse of "just kidding".Having revealed their identities, she explained that, because they, as minors, are protected by the Juvenile Law of 1947, turning them in wouldn't make a difference. So to inact revenge on them, she admits injecting her late daughter's biological father's HIV-contaminated blood in the milk cartons of the two students who she claimed to have murdered her daughter. The rest of the film switches between the aftermath of Moriguchi's confession and the events before the confession through a series of first-person narratives from Moriguchi and her three students. Naoki Shimomura (Kaoru Fujiwara), Student B, became a shut-in because he believes he had acquired AIDS from drinking HIV-contaminated milk. His mother (Yoshino Kimura), after spotting the hidden malicious messages in well-wishes cards from Naoki's classmates, realized her son was somehow involved with an earlier incident. She decided to commit murder-suicide to free her son and herself from torment, but in the ensuing struggle, Naoki kills her. The police arrested him for the murder. Shuya Watanabe (Yukito Nishii), Student A, explained that his mother abused him before leaving to pursue her scientific ambitions. He confessed that her abandonment had driven him to thrive in Science, from making small inventions to recording his killing and dissecting animals. His first public invention, an electric anti-mugger wallet, earned him a science fair award, but it failed to make the headlines, as the media was busy covering "Lunacy Incident".Shuya and Naoki's recollections revealed that Shuya said he had upgraded the anti-mugger wallet, and decided to try it out on someone, and roped Naoki in to help with his plan. They decided on Moriguchi's daughter Manami. However, when they tested it on Manami, Shuya's device only managed to render Manami unconscious, which Shuya mistook as an instant death, who then told Naoki to tell the world that Shuya did it. Enraged Naoki then threw the conscious Manami into the pool where she drowned, therefore proving he was the more effective killer.The classmates forced classmate Mizuki Kitahara (Ai Hashimoto) to kiss Shuya as part of their bullying against Shuya. Mizuki later told Shuya she believed Moriguchi had lied about the blood-contaminated milk as it was an implausible method of transmission. After spending time together, Mizuki eventually confesses to Shuya that she identified the "Lunacy Murder" girl, who poisoned her parents, as her other self. They soon became romantically involved, but Shuya kills her after a confrontation over his Oedipus Complex, and claiming that she was nothing but "a means to relieve boredom".After finally finding out messages left with his mother's name and work place, Shuya visited the university where his mother worked, expecting to reunite with her, but discovered she had remarried. Believing she had forgotten him, he planted a bomb in his school's sport hall where the graduation ceremony would be held and he was to give a speech. However, to his surprise, the bomb did not go off during the ceremony. As he tried to work out what had happened, he received a call from Moriguchi, who said that she had relocated the bomb to his mother's office she explained that it was her ultimate revenge, to let his mother die of his own hands, but his redemption would now begin. As the screen darkens, Moriguchi chuckles and says, "Just kidding." | revenge | train | imdb | The subject matter is heavy, the characters are morally-reprehensible and the feel of the movie is wholly somber – from the greys and dull blues which saturate each and every scene to the melancholy (albeit perfectly-suited) soundtrack which works its way infectiously into your mind and makes the horrific scenes before your eyes resonate deeply.I will not spiel on for much longer, but in closing; the acting is top-notch; the storytelling is captivating; the cinematography is gorgeous; and the touches of violence and blood are done in taste and to immense effect – never feeling gratuitous.I have seen many Japanese films but this one takes the cake as one of the best I have ever seen.
You always have to sit analyzing everything that's happening from beginning to end, and there's really not a lot of breakes.I had read a few of the reviews here before watching this movie, but I had no idea the movie was going to be like it was, watch it to find out, most definitely worth 2~ hours of your life..
It's dark and it's disturbing, a psychological thriller to rival some of the best out there, tackling themes of poetic justice and revenge that's coolly served in perfect tones of subversion, grabbing you by the scruff of your neck with its extended hook from the start and lasting some thirty minutes, before things kick into full gear for a chilling, violent ride that's unflinching in its violence, laced with strong characters filled with perverted motivations all round.Written and directed by Tetsuya Nakashima and based upon the novel by Kanae Minato, the story's extremely hypnotic and sprawls points of views from multiple characters, each weaved intrinsically with one another and all being uncannily hypnotic in its stylish execution.
The hook wraps up everything you'd come to expect from a great thriller, and that riveting introductory classroom scene alone is worth the price of an admission ticket many times over, orchestrating its sound contrast design to perfection where it seems a teacher is unable to control her class, and is nonchalantly attempting to do so until a bombshell is dropped to elicit an automatic silence, and fear.Takako Matsue (of The Hidden Blade and Villon's Wife fame) plays a schoolteacher whose young daughter was murdered by students identified in her class.
Probably the best strategy anyone can adopt when dealing with unspeakable evil, and it is this execution of her plan that forms the remainder of the film told from different perspectives in confessional style (hence the title), where a deeper character study gets presented, while smartly fusing social observations about the restlessness of today's misguided teenagers in wanting recognition and being one up against their peers.Mothers seem to come into play, and the film provokes thought into this aspect of human nature that's so universal.
One knows about the power of Mother's Love and the extent they will go to protect their brood, and here the school teacher's severe loss becomes the catalyst for revenge best served cold, while also becoming pawns in a plan best unraveled when you watch the film.Nakashima's assured direction keeps you glued to every gorgeous frame thanks to its beautiful cinematography and shots that make it picture perfect, supported by an excellent soundtrack to bolster the dark mood created visually, and I just fell in love with the plenty of slow motion used which brings a sense of calming rhythm that betrays the dark undertones that were constantly brewing in the narrative.
There doesn't seem to be a wasted frame or scene in the film, each moving the narrative forward in an engaging manner, keeping you guessing what's the next curve ball to be thrown, and silently rooting for justice in whatever form to be meted out, and on the other hand cannot help but to check yourself since they're kids to begin with, albeit guilty ones whom the teacher chooses a punishment that will resonate deeply throughout their lives, which is obviously a very long road ahead.The predominant cast of teenagers also performed their roles admirably since one can imagine the kind of thought process they have to go through to play characters who are basically mentally unsound for doing what they did, and frankly these aren't things that are far fetched given notable crimes committed by juveniles here too.
The violence can be unsettling here for those with weak stomachs, not so much whether there's plenty of gore put on screen, but psychologically when you're made to crawl under the perpetrators' skins seeing things from their viewpoints.Confessions lives up to every critical acclaim garnered thus far, and I too love this film enough to put it firmly in my shortlist as the best film of the year, where all the technical elements that make up filmmaking gelled perfectly together with excellent performances all round.
The Far East market has been the home of great originality in the terror & horror film markets, and this is one great highlight in that vein.The film begins in a school classroom where the teacher tells her pupils that she is leaving, and then begins to tell a long tale revolving round her life and the tragic death that haunts her (her "Confession").
Twists and turns in the story then unfold for the viewer as we are retold further confessions to piece it all together.A very cerebral movie, the direction masks the revenge story at its heart with a very art-house look and indie soundtrack.
The teacher, Yuko Moriguchi (played by Takako Matsu) is intimidating – her only purpose in life after the death of her daughter is revenge; far from the typical adult mentor and role model that we are so used to seeing.But the reason why I gave a higher rating to the film than the novel was because the director, Testuya Nakashima, did a marvelous job at taking a mediocre book with stagnant flow and transforming it into an intelligently crafted suspenseful film that maintains realism and proper flow.
Confessions, directed by one of my favorite Japanese directors, Tetsuya Nakashima, is one of the most disturbing and depressing movies I have watched this year.
It is a psychological thriller of a grieving teacher turned cold-blooded avenger with a twisty master plan to pay back the students who were responsible for her daughter's death.In the story, the major characters make confessions one by one.
This belief is also reflected in the scene when the female teacher stares at the strawberry given by a kid and another scene in which she says "your new life has begun".The mesmerizing classical music, spiced with a hypnotizing female voice, not only creates a shocking contrast to the disturbing scenes shot in slow motion, but also adds eeriness to the story.
Such a good story with a never-ending supply of fascinating additions to the plot as the movie goes on and the explanation behind it all thickens.As other reviewers have already stated, the acting is beyond decent and those taking part in this film clearly took it seriously- the result being a credible tale and genuine emotion.All-in-all a very captivating film and I highly recommend to anyone.
That may sound overly intellectual or even trite, but it isn't - it's just a very different way to tell a story.Towards the end the teenager's transgressions may appear a little far-fetched, but the main character's purpose - the teacher looking for revenge for her daughter's death and constantly finding that the suffering she inflicts doesn't amount to her own suffering - keeps the atmosphere afloat until the final, literally and figuratively bombastic culmination.
Matsu Takako's performance is one of those rare examples of Japanese acting at its best, combining mannerisms quite impossible in any other culture with a topic that everyone can relate to.If you're familiar with Nakashima Tetsuya's earlier films, especially 'Kamikaze Girls', you may find yourselves shocked as to how dark 'Confessions' is.
WHAT A STORY!!!...you will not come across many movies like this, it is one of those that will leave you wondering what you just witnessed...for days to come.A school teacher's daughter drowns, rather is murdered in a pool and what follows is a tale of the perfect revenge.
Although not as good as "Oldboy" (in my humble opinion) "Confessions" is an extremely powerful and dramatically heavy tale of a teacher's revenge on two members of her class for murdering her daughter.
It has an extremely strong opening which could be a powerful little short film in itself, as the first half hour is literally the teacher giving a speech to her class about her murdered daughter, yet it's totally gripping to watch, and so beautifully done with the flashbacks."Confessions" doesn't stall from there, as it unfolds we get to hear different confessions by different people, we get Student B's mother's story, Student B's story and ultimately Student A's story with little bits in between.
"Confessions" has a very murky and dark image, and is very depressing all the way through, and it makes you feel like you've been on a journey by the time it has finished.The final scenes are also absolutely cracking.
It's very different, with excellent story-telling and character development, along with beautiful directing that makes the whole film enthralling to watch.
The 'Plot' seems simple, a teacher accuses two students of murdering her child, and after this long intro, the 'Confessions' come into play.The development of this film is enticing, the plot, the acting, the camera shot, and even a good helping of some nifty special effects are thrown in too, all make this a must see film for anyone interested in films that are a little bit different to what Hollywood repeatedly turns out.I recommend watching this film as soon as you can, before the American plot ruining, over budgeted remake comes along, my guess
Nicole Kidman as the teacher
if they get the budget
..
Having done my secondary education in an inner city school, having had friends that robbed people, burgled, took (and sold) drugs, etc..., I would say from personal experience that Battle Royale is a far more realistic representation of young people than Confessions.Overall then, the film is quite a superficial story, but given a sense of gravitas thanks to the amazing production values and cinematic techniques.
If you liked Gone Girl, this movie tops Gone Girl twist with its pinky toe.Takako Matsu (the teacher) holds you on a trip in the very first scene, she holds the first chapter on her own, you get interested in every word she says, she is the high point of this revenge tale, trust me you'll never forget her, you can compare the way she leads the introduction with Sgt Hartman in full metal jacket, its outstanding.
Japanese filmmaker Tetsuya Nakashima 's "Confessions" (2010), which tells a rather twisted tale of one such act of revenge, begins on a rather random note with a somewhat disoriented scene in a noisy classroom full of boisterous and mischievous thirteen year olds on the final day of class before school closes for the Spring break.
Nakashima also succeeds in putting the viewer in a hypnotic trance with his stylistic approach of beautiful cinematography that is gorgeous and bleak at the same time, a haunting soundtrack that plays with the senses along with a very prominent drone that fills the atmosphere, and slow-motion camera-work that more or less occupies most of the running time of the film, rendering a spacey, dream-like mood.
A movie about the aftermath and consequences of an unjust murder as the teacher (mother) decides to take the law into her own hands - fore it is her job "to make sure these students learn their lesson.""Confessionals" show insight into the teller's mind , their view on the story (murdered child) ..
Right from the word go, the intention of the director was very clear through the frames he presented which may seem odd - a dark intense setup which makes you think something big is coming!I never came across such a story or movie which has such a sensitive disturbing yet brilliant revenge plot.
This movie is basically a revenge tragedy.The story is told through the point of view of various characters and it becomes clear that all except one have only a part of the full picture and it keeps the tension going up till the end.
A stunning work of psychological thriller, a shocking portrayal of revenge & a smartly-crafted work of mystery, Confessions makes a solid mark in its first 10 minutes which later goes on to haunt the viewers as well as the characters in the movie throughout its runtime.
It tells the story of a school-teacher who unleashes her twisted master plan to punish the students responsible for her daughter's death & is told through the confessions of different people as the story moves forward.Told in non-chronological order & shifting point of views that requires the viewers' attention from the very beginning in spite of the chaos & repelling ambiance present in its opening moments, the film is carefully assembled from start to finish & is effectively told.
Smartly directed, deftly written & featuring magnificent performances from the child actors, the film makes its viewers sympathize with one character after another but where it delivers the strongest punch is in its final moments.On an overall scale, Confessions is one of the finest examples of psychological thriller mystery & this time, a classic revenge-themed cinema this good doesn't come from Cinema of South Korea who seem to be the undisputed master of it but another Asian cinema powerhouse i.e. Cinema of Japan.
However I like it as it is for the story itself is very interesting.This film represents the terrible aspect of junior high school students, bullying and the importance of life.
This is a lengthy film that seems to be in no real hurry to get on with its job, which is telling the plot; as a result, it all feels very long-winded and drawn-out, with lots of padding and extraneous scenes and characters that contribute little to the central storyline.In addition, the decision to have the entire film's structure based around various characters narrating their stories doesn't really work.
The characters didn't feel realistic and the first 20 odd minutes where the teacher explains how her daughter dies to her pupils is just odd and the children don't behave in a way you would expect and the rest of the film doesn't get any better..
While Oldboy's curiosity is experiencing and wanting to know who the bad guy is just like the character is feeling, the movie Confessions straight out exposes who the bad guys are right from the start of the film; the movie's hook is finding out why the students did what they did and how the teacher is going to get her payback.
The movie covers topics like bullying, vulnerability, puppet teacher, manipulations, parental trauma, the value of life...To be honest, the first time, it didn't really engage me from the start of the film, as I had a hard time getting into it because it felt more like a dream world/sequence with lots of student distractions going on while what felt like the teacher was just rambling on forever.
(it's a bit slightly hard to assume she actually twisted/taped it back together and made it working again) Two things that bother me and maybe perhaps a plot hole, but the kid isn't too bright; first of all, he should make sure his bag/bomb is there before even making the speech (of course I know at the same time that would have less movie dramatic impact); second, he should call her bomb bluff again since the HIV milk was fake knowing he was HIV negative, especially since she said she disarmed it.
The amount of bullying in the movie is staggering (but I'm sure that's the point).Confessions is a very dark movie about revenge that works quite well because of how the director structures the story.
"Confessions" is about Ms. Moriguchi (Takako Matsu), a young school teacher who plots and executes an elaborate plot to exact revenge on two of her juvenile delinquent students who were responsible for the sad death of her four year old daughter.
The story is about a junior high-school teacher, Yuko Moriguchi played by Takako Matsu, whose daughter was murdered by students identified in a class.
The bottom line of the story is underlined one of the controversial issues across the right of minority on crime, however, the scenes used many slow motions, hypothetical storyline, and confession by the students and his mother make the movie more stylish and pop..
All in all its a pretty good story about revenge, rotten kids etc but still cant hold a candle to Oldboy (the original, not the crap that came out a few years ago) The casting is good, the actors/actresses do a really good job The pacing tends to lag in places and gets a little repetitive I like the settings, showing a sterile type of environment, sort of an "anti- Clockwork Orange" The back/forth jumpcuts tend to get aggravating after the first 50 or so Still I would recommend to anyone who enjoys a movie thats a tad "different" from the Hollywood norm.
Confession (2010) is about a revenge of middle school teacher whose daughter got killed by student(s) from that class.
When I watched this film, I was unexpected because the story of this movie is kind of different from what I understand from the trailer.
However, at the first part of the film, there is a scene that teacher explains what happened with her daughter that I, personally, think that it is a little bit too slow since.
The movie is divided into several chapters, each of which tells from perspective of different character, like the teacher, student's mother, murderer A, murderer B and so on. |
tt1790886 | The Campaign | North Carolina's 14th district is about to select it's new Congressman - but they're unfortunately stuck with Camden Brady (Will Ferrell), who's about to win his fourth term simply by running unopposed. All he has to do to win the election is simply appear in front of a judge and sign a few papers. But a recent whistle stop visit to his hometown of Hammond proves to be one disaster after another as he's caught having an affair with a local model named Shana, and then while trying to contact her, accidentally leaves an obscene message on an uber-religious family's answering machine, Cam shoots himself in the foot repeatedly trying to justify his actions. That causes his poll numbers to drop drastically.The men backing Cam Brady - billionaire industrialist brothers Glenn (John Lithgow) and Wade (Dan Aykroyd) Motch - decide that Cam's done and he no longer has the spark he used to have among the voters. They then decide that they need to get somebody new to run against him. That somebody happens to be Marty Huggins (Zach Galifianakis), the son of former North Carolina senator Raymond Huggins (Brian Cox), who is a recognized name among conservative voters. Marty runs the Hammond Chamber Of Commerce and the Tourism Bureau, which, not surprisingly enough, Hammond gets no tourists except for maybe a few minor random celebrities that happen to get lost off the interstate. Just as Marty is getting ready to wrap up yet another empty tour bus - which only has a single, obsessed passenger, he gets a phone call from his dad who tells him that the Motch Brothers have tapped him to run against Cam.Just as Cam is about to sign the papers and make it official that he's NC-14's newest Congressman, Marty shows up at the hearing to make it official that he's going to run against Cam. Cam is shocked because now that means that he has to start a campaign with very little time before the upcoming election.Elsewhere in China, the Motch Brothers are touring a Chinese factory where they're telling the owners that they can triple the profits that they already make if they eliminate shipping costs. They've got their eyes set on Hammond, North Carolina, and the entire 14th district. Their plan is to buy up large tracts of land where they would construct a Foxconn-esque factory where they paid their workers just slightly above minimum wage. It would create jobs on American soil while growing their already massive fortune, and they start calling their concept "insourcing". The owners wonder what government would cooperate with that, and Glenn assures the owner that they have the one thing they need - a willing candidate. And if you've got that and unlimited money, there's nothing that can stand in your way.Both Cam's family and Marty's family are seen at their respective houses preparing for the campaign. Cam instructs his kids to put on their headphones while Cam chats with his wife about his recent, very R-rated personal affairs. But Cam's children - who both appear to be middle school aged, it's revealed they are listening to some hardcore gangsta rap on their headphones. Meanwhile, Marty asks his sons and his wife to come forward with any secrets that they may have in case the press were to pick up on it. Both of Marty's sons reveal some incredibly horrifying and disgusting things that they've done when Marty's not around. Even Marty's wife Mitzy admits to some embarrassing atrocities.Marty makes his first impression on NC-14 when Cam holds a "welcoming luncheon" to introduce Marty as the challenger for NC-14. Marty's first impression is a complete disaster when the only story he has to woo the crowd is a story about his pet pugs barking underneath the sofa. Cam then proceeds to completely humiliate Marty by showing voters what exactly they'll get if they vote for Marty by showing his embarrassing personal life - including the fact that Marty's wife proposed to *HIM* four times before he accepted. Marty also works out at Curves, has Chinese-bred dogs, and is known to crap his pants if somebody tickles him.Getting into his car and going home, Marty is approached by a man who the Motch Brothers hired to be his new campaign manager - a man named Tim Whatley (Dylan McDermott). Whatley is there to make Marty not suck. Whatley then proceeds to completely trash the image that Marty had built for himself and do a complete 180. They make over his house, his wife, sons, and replace his pet pugs with a Golden Retriever and a Chocolate Lab. Whatley also tries to whip Marty into a better shape than he's been in.It's time for the first debate. Marty greets Cam in the theater where the debate is being held. But as they meet, Marty attempts to lay some trash talk on Cam but it quickly backfires on him. Then Marty completely blows away Cam's answer on the first question of the debate, which stuns the audience and scores him huge points in the press. Then Cam commits the unforgivable sin of politicians. Just as he and Marty are going for a photo op with the local babies, they get into a shoving match, and as Cam takes a swing at Marty, Marty ducks and he accidentally hits the baby. Cam's poll numbers drop drastically as a result, and Cam becomes the butt of the jokes of the late night talk show hosts including Chris Matthews (Chris Matthews) and Bill Maher (Bill Maher)The next day at his campaign headquarters, Cam is going over some new campaign commercials. The first is a commercial that completely ignores all the things that Cam has done as a politician while highlighting his affair with gorgeous model / yoga instructor Shana, but while that commercial was a hit with men, it scored terribly low numbers with women. The second commercial paints Marty Huggins as a member of the Taliban or Al-Qaeda, suggesting that if Marty has a mustache and Saddam Hussein has a mustache, they must be related. Neither of these commercials send good messages to the voters, and Cam's campaign manager Mitch (Jason Sudeikis) strongly recommend against them.At the next debate - after shooting himself in the foot with the al Qaeda / Taliban comparison, the topic of religion is brought up. Marty accuses Cam of not having been to church in several months - with NC-14 being an incredibly religious district. Cam proves this by being unable to cite the traditional Catholic Lord's Prayer. Cam eggs on Marty that if he wants a holy war, he's got one. The two are then seen at several congregations of various faiths - Marty attends mass at a Catholic Church and a Jewish Temple, while Cam sings in a gospel choir at a Southern Baptist church and attends a Snake Handler ceremony. While at the Snake Handler mass, he's bit by a rather venomous rattle snake. The venom causes his arm to swell up like a balloon and gives him some mild hallucinations. He then freaks out and destroys the living room of the same family that he left an obscene voice mail message on earlier. Just as he's being wheeled out of the hospital, Cam's snake bit shockingly causes his numbers to rise in the polls.The next night, Cam stops by Marty's house for a friendly chat. He decides that this campaign can work if they can put aside their differences and become friends. Marty thinks that's a very noble way to go about doing things, but isn't sure that he's ready to trust Cam. He then offers Cam some small batch bourbon, which Cam then proceeds to drink quite heavily. On his way home, Cam's stopped for a DUI. He takes the police cruiser out for a joy ride and is subsequently arrested. At the jail the next morning he's hounded by the press and is still too drunk from the previous night to drive.Things get real in the third debate. Marty has obtained a copy of a coloring book that Cam wrote as an elementary school student called "Rainbowland". Rainbowland features writing that Marty tells the audience has socialist undertones, which gets the crowd incredibly riled up. Cam tries to assure the crowd that he was 8 years old at the time he wrote that and that it means absolutely nothing. A near riot begins to break out and Cam tries to discover Marty's tickling pant-crapping secret if it's true or not. Just as Cam heads for Marty and begins to throw a punch, Marty ducks and Cam hits the dog from "The Artist". That once again gets him to be the butt of the jokes of the late night community. Also, not surprisingly, the e-book version of "Rainbowland" has become the most downloaded title on Amazon.Marty is watching the aftermath of the events unfold at his house. His wife Mitzy is yelling at him about how Marty's never home. They then decide to have a family night with the pugs - and everyone is seen stuffing their faces with all kinds of junk food. Tim Whatley shows up wasted and begins yelling at Marty that he needs to stop screwing around and take this campaign more seriously.Back at campaign headquarters, Cam Jr. tells his father that he's considering running for election for class president, and his father gives him advice on how to smear his opponents. Cam's campaign manager then presents to him a shocking new campaign commercial from Marty Huggins. It's footage of Marty having small talk with Cam's son, trying to get sympathy from the audience as to how Cam's not a good father. Cam, furious, now retaliates by attempting to woo Marty's wife Mitzy into having an illicit affair with him. He then films it using his smart phone camera and uses that as his next campaign commercial. His campaign manager is horrified that he would try such a thing.Cam proceeds to freak out and fires his campaign manager Mitch as a result. He will do anything to get this commercial on the air. He then proceeds to look around his staff for anybody who would have the balls to put this commercial on the air. He finally succeeds, and the controversial commercial is aired. During a live on air interview from his house, Piers Morgan criticizes the commercial live on air in front of Cam, while explaining that the video itself attracts nearly 65,000,000 viewers on YouTube. The interview proves to be a huge disaster as Cam can't directly answer Piers' burning questions and at one point begins endorsing Marty Huggins for Congress over his own campaign.Marty gets in a subsequent argument with his wife, causing her to take the children to her mother's. Cam's wife, disgusted by the video and the fact that he's way behind in the polls, also leaves him. During a photo op on a hunting range, Marty takes his shotgun and shoots Cam in the leg, causing Marty's poll numbers to rise drastically.Now celebrating, just as Marty's latest stunt causes his poll numbers to skyrocket, Glenn and Wade Motch decide they've got this in the bag. They're celebrating at the mansion with Marty and Raymond, and then proceed to tell Marty about the plan they have for NC-14 which is basically opening a large sweatshop on US soil which would triple the profits they make and eliminate shipping costs. Marty is horrified to hear this and considers backing out of the campaign completely as he doesn't want to do anything to hurt his hometown. He doesn't want to be known as the guy who sold NC-14 to the Chinese. Frustrated, Glenn and Wade Motch decide their next course of action and that's to finance someone who's willing to cooperate. They then see that they've had the right man all along this entire time: Cam Brady, who's given an electrified concert where he makes his reentrance to the campagin - complete with Bachmann Turner Overdrive themselves playing a pyrotechnic filled rendition of "Taking Care Of Business" - his campaign theme song. At Cam Brady's re entrance to the top of the campaign, he's greeted by his wife Rose, who's only there because the Motch Brothers paid her to make an appearance at the event.It's election day and this race is among the most highly watched campaigns in the entire country because it was so volatile. Marty rounds up what's left of his campaign staff and has him put on a last minute commercial. There, Marty explains the truth behind his campaign - that he was financed by the Motch Brothers. That he wasn't being faithful to his wife or his sons. He then tells people to reveal the truth about themselves. This causes a bizarre chain of events to unfold around the entire district. Later that night, the campaign numbers are finally tallied. Marty and Mitzy reconcile their differences after Mitzy is impressed with Marty's last campaign ad. Cam has won by a very sizable margin of nearly 10,000 votes. It's then revealed that the Motch Brothers own the voting machines that were being used in the election. Cam congratulates Marty on a job well done and tells him that he's got a natural knack for campaigning.But then Marty explains to Cam that he just doesn't get it. Being a Congressman is not a job you can just phone in, it's about taking action. Marty tells Cam that he voted for him in elementary school to take down the jaggedy jungle gym that was causing so many student injuries. Cam and Marty both reveal their injuries that they sustained on the contraption. Cam is horrified to see the extent of Marty's scars, and as he takes the podium, he finally reveals the truth about himself that he's not a very good Congressman because he took money from the Motch brothers and phoned in everything he was supposed to vote on, and hands the office over to Marty and becomes Marty's chief of staff. During the concession speech, Cam points out that the Motch Brothers are behind his decision to step down, and that they're responsible for ruining the district he's been proud to represent the last 15 years. The Motch Brothers - who were at the event, quickly make their exit. The next day the Motch Brothers are eying Scott Talley's district, after he's caught in yet another scandal and decide to run someone against him, saying that Talley no longer has the spark among voters that he used to. But unfortunately they get subpoenaed to appear before the US Congressional Committee On Campaign Finance Reform - now headed by Congressman Marty Huggins.The movie ends with a post credits scene that shows the Motch Borthers appearing in a hearing before Congress where Marty is nailing them about buying districts to increase their profits. They explain that because of a recent Supreme Court ruling, that's now allowed. But then Marty comes back and exposes Tim Whatley as being involved in criminal fraudulent activity, and that because the Motches are backing a criminal, that makes them criminals by association and has them arrested and detained. | humor, satire, entertaining | train | imdb | The election period in the United States has traditionally been a fountain of humorous material exploited to the maximum by the comedians, most of them on TV, but also in cinema, as we can see this year in the film The Campaign, directed by Jay Roach, whose filmography includes some excellent comedies (the Austin Powers trilogy)...and other deeply irritating ones (Meet the Fockers, Dinner for Schmucks).
The Campaign is a hilarious movie with a very clever storyline and a very talented and comedic cast that do a terrific job.When I first heard that Will Ferrell and Zach Galifanakis did a movie together,I had to see it,but then I heard it was disappointing so I delayed seeing.I decided to rent it,and I didn't see what the problem was,I though the movie was hilarious,there was a few misses but very few,and similar to Step Brothers and the Hangover,it has so much lines that are very quotable,also the two actors worked really well together.I really enjoyed Dylan McDermott,Sarah Baker,Dan Aykroyd and John Lithgow,the casting for each character was all very well suited.If your a fan of both Will Ferrell and Zach Galifanakis comedies you will definitely love the Campaign.Long running congressman Cam Brady (Will Ferrell) finally gets some competition from Marty Huggins (Zach Galifanakis),a man who may take over his career.They start a serious campaign against each other..
t seems like it should be easy to make a funny movie about the state of our political climate
.rich, greedy, corrupt people spending millions of dollars to make television ads that spread blatant lies to the uninformed voting public, but The Campaign ends up feeling a bit underwhelming of what could have been.Screenwriters Chris Henchy & Shawn Harwell only scratched the surface of the real life hilarity of the current political landscape.
All they had to do was turn on any TV news channel and take note of the circus that current politics have become
from former governor Arnold Schwarzenegger to Weiner-Gate to
well
Sarah Palin, but for Chris Henchy, the writer of past stinkers Land of the Lost and The Other Guys, I guess that is what should be expected.Will Ferrell (Step Brothers, Anchorman) and Zach Galifianakis (The Hangover, Due Date) make a fine comedic duo, but their one-note characters leave these candidates without much to say.
His iconic character was a slam-dunk on short SNL skits, but runs thin in a feature film.The Campaign definitely provides its share of laughs that keep this film above average, but doesn't live up to other classic films produced by Ferrell and Adam McKay's Gary Sanchez production company
I.E. Step Brothers, Anchorman, Talladega Nights.
Although being casted in their usual and cliché roles; Ferrell as a competitive mindless idiot that's considered the best at everything, and Galifanakis as a weird, but likable sweater vest-wearing dork; these two still share a decent chemistry in a movie that's although not a perfect comedy as you'd expect it to be, it's still a pretty decent comedy, that consistently hits the funny bone, sometimes in the right places.
Of all people it's Dylan McDermott that gets a couple of amusing moments, his shady and ruthless campaign manager a welcome respite from the embarrassing blandness of the leads and other co-stars John Lithgow, Dan Aykroyd and Brian Cox. The campaign slogan for Galifianakis' bumbling Marty Huggins sums this film up most accurately: "It's a mess"..
I attended expecting a satiric comedy centred on election campaigns (how it's advertised) and watched a boring, un-funny and ultimately repulsive film, until I walked out.
With the US Presidential Elections gaining traction and going into its final leg before the polls in November, it's probably natural that a comedy about American politics gets released into the cinemas to capitalize on election fever, as well as to lampoon the various strategies, and poke fun on the candidates who would be more than inclined to say the darnedest things that don't make too much sense, or to behave in a hypocritical manner, all of which are fodder to be made fun of.Directed by Jay Roach, who is no stranger to those who enjoy the trilogy of Austin Powers films, The Campaign put two current funny men together, and watch them explode as they rib each other to shreds as part of the political hustings to garner more votes by discrediting the other.
It's never more than just to share one's plans for the electorate when elected, or to reveal and convince them of one's programs, but to take the more interesting approach to character assassinate, and utilize the power of the media, and one's carefully built persona as perception for the voting public.Comedy aside, this film lays down very real issues and problems with politics anywhere around the world, and that is more worrying, whether the right people are shunning serving the community, and the wrong people with the wrong motives seeking office instead, so as to further the reserves in their coffers, or that of their supporters with the tacit understanding that the interests of those who had backed one's campaign should be looked on favourably, with any meeting conducted to discuss these terms deemed never having been convened.
It's been some time seeing Dan Aykroyd and John Lithgow on screen, and here they play unscrupulous businessmen who are looking at in- sourcing and exploitation of cheap labour, selling out their state/country once they have their preferred candidate occupy office.As you would have learnt from the trailer, The Campaign pits Will Ferrell and Zach Galifianakis as two politicians getting at each others throats from the get go.
The last film seen with campaign managers playing a big part is in George Clooney's Ides of March, with almost the same level of seriousness and intensity seen in The Campaign, especially Dylan McDermott's Tim Wattley who has to build Marty's popularity from scratch, and create a credible candidate out of a dim wit.For those who appreciate the other Jay Roach comedies, expect the usual toilet humour, and plenty of f-bombs creeping their way into the film.
Galifianakis continues in his usual roles as none too bright characters having a ball of a time, and here his story arc provided for a little bit of a melodrama, which I thought was a nice touch and a break from the comedy, serving as reminder that family matters, and should take priority rather than being shelved aside for ambition.
It sounds like it would be hard to go wrong with a cast that includes Will Ferrell, Zach Galifinakis, Jason Sudeikis, John Lithgow, and Dylan McDermott and a director like Jay Roach who has experience with both silly comedy ("Austin Powers in Goldmember") and mature political dramas ("Game Change" and Recount").
As a political movie, the film plays it pretty safe as both the Left and the Right are only moderately poked at.Jay Roach, known for his brilliant work with Austin Powers and Meet the Fockers, returns to direct this film.
But, he ends up running against a Marty Huggins, who happens to be the candidate no one expects to be running for office.Will Ferrell and Zach Galifianakis are both very funny here and they seem to feed off each other's energy.
The comedy in this movie, such as it is, is weak and a little flat, which is something I didn't think I'd ever say about a film starring Will Ferrell and Zach Galifianakis.
The actors did fine, but they've had much better material in other vehicles (Ferrell in Anchorman and Galifianakis in The Hangover being just two notable examples).It's a shame because I'd heard some good things about The Campaign, and with those two comedy stars it should have been something greater than the sum of its parts.
'THE CAMPAIGN': Three and a Half Stars (Out of Five) Will Ferrell and Zach Galifianakis combine forces for this political satire attempting to throw some comedic commentary at audiences this election season.
Not as classic as some of Ferrell's greatest comedies but one of his better ones for sure.Ferrell plays Democratic Congressman Cam Brady, who as the film opens is getting ready to secure his fifth term in North Carolina's 14th District unopposed.
American politics is notorious for being very bitter and negative: so it seems like a fair target for a comedy.Cam Brady (Will Ferrell) is a four term Democratic representative of the 14th district of North Carolina, based around the city of Hampton.
In case you haven't heard about this film, it's essentially two unlikely candidates Cam Brady (Will Ferrell) and Marty Huggins (Zach Galifianakis) running for the North Carolina Delicate position.
This film tried to be both a political satire and a goofy comedy but in reality became a muddled mess and fell short delivering on both accounts.In my opinion, it's really not that funny so if you're looking for a good laugh, this is a film that you should steer clear of..
From the director of Meet the Parents/Fockers, and starring two of comedy's soaring high fliers at the moment, it's a reliably competent effort that probably doesn't squeeze as much juice out of it's comic potential as it could have, but is still a sufficiently laugh laden outing with no room for political correctness (no pun intended) or subtlety.There's an interesting role reversal going on in both the nature of the characters and the tone of those playing them.
The two protagonists Will Ferrell as Camden "Cam" Brady and Zach Galifianakis as Martin "Marty" Huggins are, of course, wonderful, but they are pleasant supported by so-called older generation of comedy actors such as John Lithgow and Dan Aykroyd; female characters, however, are sketchy and I can't say I will remember the actresses when appearing in other movies.Nevertheless, it is a good political comedy as events-thoughts depicted take place in many countries - verbosity, greed and semblance seem to the be universal phenomena within politics.
From candidates who think awful ads make them look good, to public gaffes having reverse effects on popularity, to the ceaselessly vulgar language that is the base vocabulary of every campaign staffer, this movie made me laugh at things I am not at all sure most people would even recognize as intentionally funny.A lot of the film involves the candidates interacting with each other, and their family members, in ways that don't ever really happen.
If you want good fiction about politics, see "The Candidate." If you want light humor and you don't care about honesty, maybe try "Welcome to Moosewood." But if you know campaigns from the inside and you need a moment to laugh at yourself and the process, this is your movie..
And in downtimes like the ones currently upon us, we should try and seek out those films.The plot concerns Democratic Congressman Cam Brady (Will Ferrell) of North Carolina's fourteenth district, who is running for a fifth term unopposed.
In the meantime, corrupt business brothers, Glen (John Lithgow) and Wade Motch (Dan Aykroyd) convince local naive tour guide Marty Huggins (Zach Galifianakis), who is loved by pretty much every person he runs into, to challenge Brady as the Republican candidate so that they can make illegal money off of a Chinese company.
A bit too much on animal abuse, but still mostly pleasing.Starring: Will Ferrell, Zach Galifianakis, Jason Sudeikis, Katherine LaNasa, Dylan McDermott, John Lithgow, Dan Aykroyd, and Brian Cox. Directed by: Jay Roach..
It's a surprise hit, and contains both plenty of political lampooning and crude material to please even the least political of comedy watchers.Ferrell plays Cam Brady, a slimy politician who has run unopposed as North Carolina's representative for five elections.
Will Ferrell and Zach Galifianakis bring the humor of American politics to the forefront in The Campaign.The movie itself has quite a few hilarious moments, but those a sadly overshadowed in the extreme over-the-top moments.
Other interpretations that have to be mentioned were Zach Galifianakis who played as Marty Huggins and he was equally good at his role, Dylan McDermott who played as Tim Wattley the consultant and Jason Sudeikis who played as Mitch.Finally, I have to say that "The Campaign" is a funny and interesting movie with many hilarious scenes that will make you laugh a lot.
While it's clearly a comedy - and not to be taken seriously at all - it does a magnificent job of lampooning all the troublesome aspects of American politics, and it makes you laugh at the absurdity of it all, while at the same time you shake your head because you know that behind the absurdity the movie is actually raising some very valid issues.Will Ferrell plays Congressman Camden Brady.
Ferrell was fine, but the character of Huggins was a more interesting character to watch as the movie went on, as he struggled with the good he wanted to do as a congressman, even while he was being turned into just another candidate by those pulling the strings.This weakened a bit at the end by becoming (predictably, I suppose) too noble - and by doing that, it lost its satirical bite.
I absolutely hate Will Ferrell, but I love Zach Galifianakis, even still, the Campaign is not usually the type of movie I would watch, so why did I?
Zach Galifianakis doesn't disappoint, giving us perhaps his best character since Alan in the Hangover, and to give credit where credit is due, yes, Will Ferrell matched him line for line, in what was the only thing I've liked him in since Elf. The film is further supported by some comedic legends in bit parts, making it a terrific, well-rounded comedy, that uses multiple styles to achieve it's goal of having the audience in hysterics..
The Campaign pits two comedic powerhouses in Will Ferrell and Zach Galifianakis against one another in a political satire.
But Huggins isn't prepared for what the world of cutthroat politics entails.THE CAMPAIGN works better than most recent comedies because the gags don't feel forced and, unlike other movies (I'm looking at you, WANDERLUST), the jokes don't go on painfully long.
The Campaign was a nice entertainment with hilarious moments tickling your funny bone coupled with wonderful performance by Will Ferrell and Zach Galifianakis.To make North Carolina a better place to live , Marty Huggins must compete against his arch rival Cam Brady to win the congressman seat.
Both of them have done a fantastic job in keeping you entertain and make sure you laugh till the end.Overall , a good political comedy with fantastic performances by Will Ferrell and Zach Galifianakis .
Campaign" may have seemingly come out at the absolute perfect time, 2012 being an election year in the United States, but if one thought this film would be slamming Democrats against Republicans, they would be very misguided.Will Farrell stars as Cam Brady, a four-term incumbent North Carolinian Republican senator (simply because Republicans are much more funny) who has run unopposed and wins just by throwing himself into the ring.
And Dylan McDermott, hot off an incredible run on the first season of "American Horror Story," is dead-on as Huggin's almost-sociopathic campaign manager.The back and forth antics between Brady and Huggins are great...sometimes funny, sometimes flat, sometimes a little too much, but that is what everyone is watching this film for, right Overall, a terrific and timely comedy that is well worth the watch..
I will continue to cast my puns in movie reviews as in this one for the Will Ferrell and Zach Galifianakis comedic collaboration "The Campaign".
The CampaignThe best thing about a political campaign is that it allows citizens the opportunity to obtain candidate DNA to prove paternity.However, this comedy about stumping for congress isn't so much about bastards as it is mudslinging.On the behest of his father (Brian Cox), Marty (Zach Galifianakis) enters the race for congress on the Republican ticket.With no experience, he is aligned with a cutthroat campaign manager (Dylan McDermott) who molds Marty into a threat towards sitting congressman Cam (Will Ferrell).With his incumbency endangered, Cam assassinates Marty's character.
Which was a shame, because there were some great actors on the list and people were doing great jobs with their roles.As much as I don't keep an eye on politics in any aspects, then I found "The Campaign" to have some great moments of laughs and it was obviously well released up to an upcoming American election.Will Ferrell (playing Cam Brady) and Zach Galifianakis (playing Marty Huggins) were great together on the screen, because of their personalities and charisma.
But the movie also had other impressive actors to its list; Jason Sudeikis (playing Mitch), Dylan McDermott (playing Tim Wattley), John Lithgow (playing Glenn Motch), Dan Aykroyd (playing Wade Motch) and Brian Cox (playing Raymond Huggins).The jokes in "The Campaign" were great and fun, and the situational comedy was great as well, as usual from Will Ferrell and Zach Galifianakis.Unfortunately the movie as an overall was just mediocre, and I doubt that I will watch it a second time around.
Will Ferrell is considered a "comedy actor" so you would expect it to be funny, however, during the whole movie there is only a couple of times where you will find yourself laughing, these moments coming from Zach Galifianakis who in my opinion holds the whole film together and makes it watchable, he is hilarious as the weird, feminine and slightly pitiful character Huggins !
Will Ferrell's role was a man that had all the power at first that knew what he was doing whether it was right or wrong, that at the end used his power to do what was right when reminded.We soon find a character known is this movie as the underdog named Marty Huggins (Zach Galifianakis) who is targeted by big time businessmen the Motch brothers.
Nothing subtle hereA mysterious political image-maker (Dylan McDermott) is dispatched by the diabolical billionaire Motch brothers (Dan Ackroyd and John Lithgow) to groom well-meaning but naive small-town eccentric Marty Huggis (Zach Galifianakis) as the Republican candidate in a North Carolina congressional race against Democrat incumbent Cam Brady (Will Ferrell) a jackass who wins re-election every time just by going unchallenged. |
tt0143348 | Kozure Ôkami: Oya no kokoro ko no kokoro | In this fourth 'Lone Wolf and Baby Cart' movie we are introduced to Oyuki, a tattooed female assassin and the renegade member of a daimyo's personal bodyguard detail who is killing every man that is sent up against her. Along with her deadly use of the short blade, she strips to the waist while fighting to reveal elaborate tattoos on her chest and back. On her front is a kintar grasping her left breast. A portrait of a mountain witch covers her back. She then cuts off her victims' topknots, or chonmage, which brings dishonor to the dead man and his family.Ogami Itto, the disgraced former shogun's executioner, or Kogi Kaishakunin, is hired to kill Oyuki. He tracks down the tattoo artist, who explains that she was a "fine" woman who did not scream as he dug into her flesh with his needles.Meanwhile, Itto's 3-year-old son, Daigoro, has grown restless waiting by the baby cart his father uses to trundle him about in. He goes exploring and finds a pair of performing clowns on the street. When the clowns finish their performance, Daigoro follows them, hoping to see more. But the clowns shoo him away, saying it's time to go home. Now, Daigoro has wandered too far. He is lost, and has become separated from his father.Agents of the Ogamis' mortal enemies, the Yagyu, are never far away. A procession of them, accompanied by the sound of gongs and loud shrieks, sends Daigoro into hiding. Itto must give up his search rather than risk an entanglement with the men, so he travels on alone.Daigoro spends days looking for his father, searching in every temple in the countryside. He enters one temple and sees a figure at the altar praying, but it is not his father. Rather, it is a man whom Daigoro immediately recognizes as someone who is unfriendly.The man follows Daigoro, who wanders into a grass field as it is being lit on fire by farmers. Unwittingly, Daigoro is surrounded by the flames, but he proves his resourcefulness by burying himself and surviving.The man then turns his sword on Daigoro, who raises a stick to defend himself, and in that instant the man realizes who Daigoro is. Just then, Itto comes into the picture, and the two recognize each other. The man, it turns out is Gunbei Yagyu, the outcast son of Retsudo Yagyu (from the first 'Lone Wolf' movie). Gunbei and Itto had competed for the post of shogun's executioner, and Gunbei's fierce swordsmanship surely would have won him the post, but in his overzealousness, he ends up pointing his sword at the shogun a taboo movement that costs him the job and makes him an outcast.Itto and Gunbei now have a rematch, but Itto is much improved and is ready for Gunbei. With a swift stroke, he chops off Gunbei's right arm. Gunbei then begs Itto to kill him, but Itto refuses, saying there is nothing to be gained from slaying a man who is already dead.With Gunbei out of the way and father and son reunited, the action then turns on finding the tattooed killer, Oyuki. He first stops at a settlement of street actors that Oyuki was said to be a part of. He talks to the elder and hears more of her story, and it happens that the elder is Oyuki's father, who is opposed to her actions, and cooperates with Itto.Itto finally locates Oyuki at a hot spring and witnesses her in action against more vassals who have come to try and kill her. Then her arch nemesis, her former instructor who raped her and set her on her bloody vendetta, shows up with his flaming sword and blazing eyes. But she is no longer in his sway, and when he sees her tattoos, he is distracted and killed.Finally, Itto and Oyuki must duel, and he makes quick work of her. She dies a splendid death, as Itto says, without having to disrobe.Retsudo Yagyu, meanwhile, has been playing politics. He manipulates a local daimyo into bringing in Itto, but Itto is able to use the baby cart and its weapons to escape from the daimyo's palace and take the man hostage. As Itto is leaving the area with the daimyo along for safety, he is attacked by the Yagyu. The daimyo is killed by some musketeers and Itto goes headlong into battle, telling his son Daigoro that he is entering the "crossroads to hell." It is a fierce battle, ending with Itto and Retsudo in combat. They trade blows Retsudo gets a blade in his right eye and Itto a sword in his back. Itto kills the swordsman who stabs him, but Retsudo gets away.Daigoro finds his father and with great effort, pulls the sword from his father's back. Despite being severely wounded, Itto carries Daigoro to the cart and slowly pushes it away, seeking medical treatment for himself. Watching over the scene is the now one-armed Gunbei, who is happy to see Itto live to fight another day. | good versus evil, violence | train | imdb | The Shogun's executioner vs.
an army of evil.
The fourth in the long-running LONE WOLF & CUB series that so far shows no sign of flagging.
BABY CART IN PERIL has everything that made the previous films so memorable: iconic characters, humour, sharply drawn personalities, a straightforward plot and battle sequences delivered with gusto.
As with the last two films, this one features a memorable female warrior, in this case a woman covered in tattoos, who provides a more in-depth adversary for Ogami instead of his more cartoonish foes.
The plot, as usual, details strands of honour and duty, while at the same time reintroducing Ogami's chief enemy, Lord Retsudo, who was noticeable absent in the last instalment.There is a slight difference in the film-making which may be down to this film having a different director to the last.
The style is perhaps more evident, and Ogami displays touches of emotion and weakness that seem slightly out of place.
Nevertheless, the film is superbly shot and ably holds its down in what is turning out to be a superlative series.
The vivid battle sequences are exceptional, with Ogami de-limbing inhuman foes in one stand-out sequence, as well as facing his most mortal threat – a gun-toting army – in the wildly exciting and vividly violent climax.
Perhaps not the best in the series, this is still a cut above the rest..
Phenomenal.
This is a beautifully made movie, the cinematography is to die for.
In this installment of LW&C, Lone Wolf is hired to kill a rogue defector of a powerful clan, a formidable martial artist who happens to be a woman on a killing spree.
Her body has been heavily tattooed to distract & shock her enemies.
Itto's son Daigoro gets lost (this kid gets into more trouble) and is confronted by the only man ever to defeat Itto in a sword fight, Yagyu Gunbei, played by Yoichi Hayashi.
He's a stone-cold & ruthless Ronin with a serious grudge against Itto.
Needless to say there's a showdown between the two, and this is the highlight of the movie.
In this scene it is twilight, and the cinematography is simply breathtaking.
This movie is exceptionally clean, and is a real pleasure to watch.
This movie and "Hades" are the top two LW&C films IMHO.
Rent it or buy it, you will not be disappointed..
Tomisaburo Wakayama is simply without equal..
These movies were infamous for their incredibly brutal and bloody swordplay sequences, but equally impressive IMHO was the leading actor- Tomisaburo Wakayama a.k.a.
"Lone Wolf" was surely the greatest martial arts star ever.
The command and authority with which he wielded a sword (and other weapons) was just phenomenal.
The blade truly was an extension of himself, and his use of it was the definition of lethal, with none of the unnecessary/show-off flourishes so desperately thrown about by today's wannabes.
He had incredible presence and charisma- easily on a par with the likes of say Eastwood or Bronson- with eyes that reflected pure death, and the desolation in his soul.
There were moments in the "Babycart" series where you'd swear he was the personification of his namesake, the Wolf.
You never doubted for one second that he WAS shogun executioner, masterless samurai, assassin for hire.
One look at him in action, and you could readily understand why his enemies trembled at the mention of his name, and ran from him in sheer terror.
Alas, Lone Wolf is one with void now, but his legend will live on forever in these films.
Forget Toshiro Mifune.
Forget Takakura Ken. Forget Sonny Chiba.
Forget Bruce Lee, Jackie Chan, Jet Li, Donnie Yen, and any of those wire-reliant ballet dancers from Crouching Tiger Hidden Dragon.
And CERTAINLY forget any American martial artists that you could care to name.
Tomisaburo Wakayama was, is, and forever shall be, THE MAN!.
A particularly good babycart.
I am a huge fan of samurai movies and for fans of the genre, this will not disappoint.
For newcomers too, this film has much to offer, by the way of a great storyline and fantastic swordplay.
The story is particularly sensitive and heartfelt compared to other Lone Wolf And Cub films, and is a wonderful example of Japanese mentality that there is no black-and-white.
I loved the character of Oyuki, she has great depth and feeling to her and I felt myself rooting for both her and Lone Wolf, despite the fact that he is hired to kill her.
Top class Samurai film.
Renewed Focus, Continued Excellence.
After spending a few movies on the lam, picking up odd jobs and dispatching would-be assassins, wandering ronin Ogami Ittō gets back to the business of stalking his real enemy: Retsudo Yagyū, who dishonored Ogami's name and orchestrated his wife's murder.
The two finally cross swords this time (with consequences for both), but not before Ittō deals with a disgraced, grudge-bearing former rival, a femme fatale with curious tattoos, a corrupt local official (complete with his own private army) and a host of explosive-lobbing foot soldiers.
And, for once, the harsh lifestyle has taken a toll on our swordsman: the lone wolf that stumbles away from the battlefield at the end of this film is a far cry from the one who stoically, almost carelessly, dealt with blade-flinging challengers at its onset.
Stuffed with fascinating, well-rounded new characters, unique fight scenes, badass acts of heroism and gallons of bright red spray, it's incredible that the final running time comes in just short of ninety minutes.
Feels like there's enough depth, and enough story, to have stretched for twice as long..
A great samurai film, not for the uninitiated.
This movie is one in a series about a disenfranchised samurai who travels accompanied by his son in a baby carriage.
It is a strange story that I saw in comic book form in the adult comic "Heavy Metal".I'm embarrassed to admit that I claim to be a samurai film fan and yet have never seen anything outside Akira Kurosawa's work.
This is my first and I am very impressed.
Unfortunately the movie is not technically up to Kurosawa's standards, but all the rest has much to match his films.
In many ways this story is more for a Japanese audience who know what they are looking at.
Kurosawa occasionally panders to a somewhat tourist mentality.
He is also much more restrained in portraying sword play and sex.
We see full frontal nudity and graphic violence in the sword play.The acting is every bit as skilled and passionate as we see in Kurosawa's movies.
The sets also are very well done and we have an excellent sense of place..
I love what Buichi Saito added to the series..
I don't know the history behind it but it seems quite odd that for this movie they picked a new director, Buichi Saito, while the first till third movie got all directed by Kenji Misumi, as did the following fifth movie.
Perhaps it had something to do with his health, since Kenji Misumi died quite young, in 1975.
But whatever the reasons were, it's a choice that worked out great for this particular movie.
Its definitely a change of style.
It's a more snappy a fast going movie than any of its predecessors.
It's edited greatly and also has some nice little tricks in it.
The movie is more Hollywood like and less Japanese like, if you will.
This is not always a good thing but for this particular movie, its concept and story, it does work out well.Its fight sequences are often spectacular, though they are also certainly less bloody than was still the case in the previous movies.
Its faster editing and camera-work and fresh style of directing keeps it all great to watch.
It also all helps to make the movie incredibly entertaining to watch.I also liked how this movie handled the lone wolf and cub relationship.
The whole father son relationship plays quite an essential role within this movie, more so than ever had been the case in the previous movies.
It makes the movie quite 'cute' and also emotionally stronger.
It also seems like Tomisaburo Wakayama's acting is stronger than ever before.
In all of the previous movies he was mostly exchanging hard long looks with his foes but in this movie he seems to have more lines and also shows more emotions and expressions in his face.Another thing that keeps playing an essential role within this movie are its wonderful looking environments.
The natural environments are great and this movie takes us to some wonderful places, to all add to the movie its adventurous feeling.Such perfect fun to watch!9/10http://bobafett1138.blogspot.com/.
Whirling death with amazing cinematography.
This movie is the four in the series and continues the exploits of Ogami Itto and son as they continue there quest for vengeance against Lord Retsudo.
Hired to kill Oyuki (deadly female martial artist) for his standard 500 gold pieces, this movie follows the by now normal storyline of flying ninjas, one on one sword duels and mass army destruction that would put a John Woo movie to shame, throw in the vast amount of blood and this movie is a classic within the series.
These things in themselves do add to the overall plot and character development within the movie and that the cinematography helps to places with in the action right from the start (although some slight lighting problems do occur).
The similarities between this movie and certain spaghetti westerns (Fist Full Of Dollars) is unmistakable.
Overall a must see for both fans of martial arts and western movies..
A turning point in the series.
I enjoyed each Lone Wolf and Cub installment the same way I enjoyed every mindless action flick but Baby Cart in Peril the fourth installment of the series stand out the most for me when this one got a good storyline disguise in a genetic plot.At first it still the usual Itto Ogami an assassin for hire with his toddler Daigoro travel across Japan eliminate ninja and samurai from their rival but this time the movie show the real reason why Itto got to the point of he is right now with a lot of emotions.Although his undisputed skill in swordsmanship and the cunning nature of a lone wolf help him through most of the fight in this movie I still think Itto will die in this movie if I don't know after this there will be two more sequels because Baby Cart in Peril got the hardest final battle he had ever encountered so far.
Return to form.
I saw the dubbed Shogun Assassin and was hooked.
This film has more content than the 3rd in the series.
The acting and character development are superb and I can't wait to check out the next installment.
The father son relationship is what marks these movies out plus the fearsome babycart..
Another Ôkami Masterpiece!.
The fourth entry to the brilliant "Kozure Ôkami" ("Lone Wolf And Cub") cycle, this "Kozure Ôkami: Oya no kokoro ko no kokoro" aka "Baby Cart In Peril" is yet another ingenious masterpiece about the the 'Lone Wolf' Ogami Itto and his only son Daigoro.
This is the first of the Ôkami films that was not directed by genius director Kenji Misumi, who directed the first three, and the fifth entry to this greatest samurai-cycle in motion picture history.
Little-known director Buichi Saito, however, did an astonishing job with "Baby Cart In Peril", a blood-soaked, stylish and astonishing film of unique atmosphere and elegance.
The Lone Wolf and Cub cycle should be seen in the right order, and yet every one of the movies has its very own particular charm and genuine brilliancy.Ôgami Itto (Tomisaburo Wakayama), former Kaishakunin (highest executioner) of the shogunate, who fell victim of a complot by the powerful Yagyu clan, is traveling through 17th century Japan with his only son Daigoro (Akihiro Tomikawa).
Itto, who is working as an assassin for 500 ryu, is walking the 'path to hell' in order to avenge his wife's death and to clear his name, and Daigoro is walking this path with him.
This time, Ogami Itto is hired to kill a tattooed female assassin, and the father and son once again have a variety of other enemies against them, the powerful Yagyu-clan in particular...The entire 'Kozure Ôkami' cycle is brilliant, and every single film has some particularly ingenious aspects.
This fourth part has a unique, mesmerizing atmosphere and an incomparable elegance.
The swordplay is once again exceptionally stylish and very bloody.
Tomisaburo Wakayama is, as always, brilliant in his role of Ogami Itto and so is Akihiro Tomikawa in the role of Daigoro, without doubt one of the greatest child-characters ever in a film.
The father-son relationship is one of the greatest aspects of the Ôkami-films, and gives these blood-soaked and brilliant Chambara-highlights a sometimes heart-warming note.
Another superb character of this particular entry to the cycle is that of Oyuki (Michie Azuma), the tattooed (and mostly bare-breasted) swordswoman, who is as stunningly beautiful as she is lethal.
As it is the case with the other Ôkami-films, film is exceptionally photographed in impressive locations and impressive.
I could go on praising "Baby Cart In Peril" forever, but I'll come to an end instead: The entire "Kozure Ôkami" cycle is incomparably brilliant, and "Baby Cart In Peril" is an essential masterpiece that must not be missed!
More of the same but a bit talkier and with a bit more confusing plot than the last few..
Wow, they sure cranked out the Lone Wolf and Cub films--this is the fourth one and all were made in about a one year period.
This one is very similar to the rest and includes the usual rape scene (why this has been in all of the films so far is beyond me--and a bit disturbing), tons of violence and blood (especially for 1972) and exceptional action.
However, I think this installment is a bit talkier (actually A LOT talkier) and has a more confusing plot than the previous three.
Now this is not to say it's a bad film--I just think it's a bit weaker because it was a bit tough to follow who was being killed and why.
Also it is different in that I might term this one the 'severed limb' episode, as there are more arms and legs chopped off than ever before--and the exact number is staggering.
There is only one problem--in a few cases you can pretty clearly see the actors hiding the real limbs inside the robes.
But, in the funniest and sickest scene in the film, I laughed out loud as our anti-hero fights a group of gray ninjas and dismembers them all.
Then, as these guys are writhing about, one is crawling after Itto and begins trying to chew on him!!
Talk about tenacious!!
A good but far from great installment..
Return of the Blood spray and omniscient narration absent from third installment.
Beautiful female assassin Oyuki abandons the Owari Domain, killing any pursuers and slicing off their top-knots.
Many families of the fallen soldiers have been ordered to commit seppuku and seek revenge on Oyuki.Lone Wolf investigates the mysterious woman's whereabouts to her tattoo parlor and her father's circus home.
He learns she holds a vendetta against a samurai who violated her inside the Owari house.
She chops off top-knots to lure him out of hiding.
Lord Retsudo makes his return when he teams up with Owari to take down Lone Wolf.
A Samurai of Lone Wolf's past makes a guest duel appearance aswell - the true victor i their intial duel for Shogunate Executioner..
Enjoyable down'n'dirty entry.
Ogami (well played by the husky Tomisaburo Wakayama) gets hired to rub out tattooed female assassin Oyuki (a strong portrayal by striking slender brunette Michi Azuma).
Meanwhile, bitter rival killer Yagyyu Gunbei (an excellent performance by Yoichi Hayashi) stumbles across Ogami's son Daigoro (adorable Akihiro Tomikawa) and seizes upon his chance to exact revenge on Ogami.
Director Buichi Saito brings a pleasingly pulpy B-grade trash aesthetic to the series: The lively and eventful story unfolds at a breathless brisk pace, the trademark over-the-top excessive violence is present and accounted for (blood squirts and spurts all over the place), and the beautiful Mrs. Azuma supplies a satisfying smattering of tasty female nudity.
Moreover, the exciting sword fights are staged with considerable flair and skill, with Ogami butchering a slew of guys at the end and even taking a brutal beating in the process.
Kazou Koike's compact and thoughtful script not only delivers on the thrilling visceral basics, but also shows how thankless Ogami's plight as a hired killer can be and has some provocative stuff to say about the fundamental Japanese principle of honor.
Hideaki Sakurai's funky-grinding score hits the get-down groovy spot.
Kazou Miyagawa's sumptuous cinematography provides a wealth of stunning visuals.
Good grindhouse fun..
Part 4 In The Excellent BABY CART Series....
Ogami Itto and son, Daigoro, are at it again as father-and-son ronin on a mission of vengeance against the clan that betrayed them, and out to make a little cash along the way...This one has Itto being hired to kill a heavily-tattooed female martial-arts master, and Daigoro gets lost and is "found" by an old rival of Itto's - of course leading to a duel to the death.Yet another strong entry in the "classic" BABY CART series that still has all the lush sets, excellent costumes, great acting and the strange and strangely endearing relationship between father and son assassins.
Another great film in a great series.
Highly Recommended 8.5/10 |
tt0349710 | Ladder 49 | The film opens with firefighter Jack Morrison (Joaquin Phoenix) saving a man's life in a massive four-alarm fire in a 20-story concrete grain elevator/warehouse in the Canton waterfront neighborhood of Baltimore, Maryland; however the grain being stored in the warehouse explodes, sending Jack falling through several floors, breaking his leg on landing. The film follows the efforts of the other men in his unit, Ladder Company 49, led by the commands of Deputy Chief Mike Kennedy (John Travolta), Jack's longtime mentor, to rescue him while Morrison tries to reach a safe area of the burning structure. Interspersed with the current rescue efforts are a series of flashbacks showing how Jack joined the fire department, his first meeting (at a supermarket) with the woman who would eventually become his wife (Jacinda Barrett), his relationship with his children, and the bonds he formed and the trials and tribulations he endured with his fellow firefighters.
After graduating from the fire academy, Jack is sent to work on Baltimore City Fire Department (BCFD) Engine Company 33, in the busiest firehouse in the city. Quartered with Engine 33 is Ladder Company 49. On Engine 33, Jack learns the ropes of firefighting. He quickly becomes close friends with his fellow firefighters, including Mike, his Captain at the time. Jack's first fire takes place at a burning vacant rowhouse. Engine 33 and Ladder 49 respond and are the first companies on the scene. Jack and Mike enter the building with a hose line and tackle the blaze, with Jack on the nozzle of the hose. They quickly and triumphantly extinguish it.
After some time working on Engine 33, Jack arrives at the scene of another vacant rowhouse fire, where a fellow firefighter from Ladder 49, Dennis Gauquin (Billy Burke), dies after falling through a roof of the building. Jack decides, although it is more dangerous, to take his friend's position as a "truckie", a search and rescue member on Ladder 49 by transferring to the Truck.
As the years go by, Jack suffers some traumatic experiences, including rescuing a man from the ledge of a burning high-rise building in Downtown Baltimore, and witnessing another friend and fellow firefighter from Ladder 49, Tommy Drake (Morris Chestnut), burned beyond recognition following a steam explosion at an industrial building who continues firefighting even after sustaining such a terrible injury. He finds the work rewarding, but his wife initially worries about his safety and opposes the change. However, she eventually accepts his new role and even talks him out of taking an administrative position that Mike, who has now become a Deputy Chief, offers him.
One Christmas Eve, Jack and the members of Engine 33 and Ladder 49 respond to a burning apartment building. Jack is able to rescue a young girl trapped in an engulfed apartment, but is briefly trapped himself before being rescued by a fellow Firefighter from Ladder 49, Leonard "Lenny" Richter (Robert Patrick). Both men receive the department's Medal of Valor for their actions.
Back at the grain building fire that opened the film, Jack's fellow firefighters become extremely determined to rescue him, and Jack does his best to reach the only possible safe area Mike tells him about. However, upon reaching that room he sees that the only exit is cut off by raging flames and, out of air and with the heat intensifying, Jack realizes his situation is hopeless. He radios Mike to pull his men back, so no one else will be hurt while trying to rescue him. Mike reluctantly agrees, and Jack accepts his fate to die in the fire, devastating Mike.
At Jack's funeral, Mike delivers an emotional eulogy in celebration of Jack's life, which inspires a standing ovation from friends and family in attendance. Jack's body is then carried to his resting place, with full honors, on the back of Engine 33 in a typical fireman's funeral procession. The film ends Mike and the guys en route to a call while the former flashes back to Jack and his fellow firefighters going to fires and a final shot of Mike and Jack coming out of Jack's first ever burning building in triumph. | melodrama, action, flashback | train | wikipedia | Ladder 49 starts with a fire in a large Baltimore factory where multiple firemen have charged to look for survivors and extinguish the posing threat.Lead by seasoned veteran Jack Morrison (Pheonix), the firemen are able to rescue a helpless employee before the floor gives way trapping Morrison within the building inferno.
We see Jack as he enters the fire hall for the first time and meets Captain Mike Kennedy (John Travolta) who takes the new probie under his wing and over the years develops a bond that includes being there when Jack gets married, has kids and steps into the shoes of a search and rescue firefighter who perishes when a roof gives way during a routine house fire.
We learn how the firemen bond, how they drink together rather heavily and regularly and how when they lose one of their own, the emotional impact on them and their familiesDon't get me wrong, all the above drama plays out while buildings burn, people are rescued from skyscrapers and people are saved from what would be sheer death if not for the charging brave souls of the local Fire Department.
Instead, we see Jack being trapped in the opening sequence and we can pretty much see the writing on the wall before the tragic events play out before our eyes.For all the focus played to the rising star Pheonix, it is the supporting cast that really stands out within the confines of the 105 minute running time.
Backdraft did little to bolster our impression of the firefighting community while Ladder 49 shows them for what they deserve to be recognized as heroes who at the sound of an alarm will put themselves in harms way to help others..
There are visual effects of fires a-blazing and fire fighting scenes inside and outside of buildings, but there's no dramatic build up to 'glamour' dazzle you like other Hollywood (blockbuster) movies.
As his co-workers (led by chief John Travolta) try to figure out a way to help him escape, Phoenix thinks about the last 10 years of his life.
This truck comprises of the brave men in the fire department's rescue team, those who risk their lives going into burning buildings without water (unlike Engine 33's), for the sole mission of saving other people's lives.Which raises the question everyone asks of emergency responders (police, fire dept, etc) - what makes them do what they do?
In this case, also raised in the movie, what makes them rush into a burning building when everyone else is running out?We follow the life of Joaquin Phoenix's character, Jack Morrison, whom we see from rookie firefighter (waterboy) to hero, from singlehood to fatherhood.
Ladder 49 introduces us to the life of Jack Morrison (Joaquin Phoenix), a firefighter for the Baltimore City fire department.
Station 33 Captain Mike Kennedy (John Travolta), and the other veteran firefighters love to play jokes on the new rookies, including Jack.
Jack Morrison's (the Phoenix character) wife, played by Whats-her-name (she's new, but will surely become a star), was so un-whiny and real that I swear know her (I don't, she's fictional, but you know what I mean).
Joaquin Phoenix gives a moving performance in "Ladder 49," playing a Baltimore firefighter who goes from rookie to 10-year veteran in the course of the story.Although its chief selling point is its spectacular - but never hyperbolic - fire sequences, "Ladder 49" is actually at its most compelling when it focuses on the struggle firemen go through trying to balance their high risk occupation with their role as husband and father.In addition to Phoenix, who brings a self-effacing strength and heroism to his character, there are fine performances by John Travolta as the captain of the station, and Jacinda Barrett as Phoenix's understanding but understandably concerned wife.In the first half of the film, the screenplay threatens to erupt into a raging inferno of stereotypes and clichés, as the characters take an occasional time out from firefighting for puppy love romance at the supermarket, frat boy antics at the fire station and domestic squabbles involving neglected wives and children at the old homestead.
Joaquin Phoenix is very appealing as firemen Jack Morrison, whose story is the picture.While trapped in a burning building, flashbacks are well used to show his life from the time of his joining the fire department, his meeting with his future wife, his marriage and his heroic deeds.The stalwart ending of the perseverance of firemen, in the face of tragedy, makes this a heartily recommended film..
As his mentor Mike tries to find a way to save him, Jack has Constant flashbacks,that tell us how Jack Morrison (Phoenix) started as a rookie fireman, and mentored by his good friend Mike (Travolta) he becomes the greatest fireman in Baltimore.
I can't tell you how many times during the movie when I thought about how easy it would have been to change jobs had it been me in Jack Morrison's shoes, but I guess that means I don't have the same drive that these firemen have.
I like to think that I have heart and am a good person, I guess I just would have put my family first in such a situation.But there are men and women that are so dedicated to helping other people and saving lives that they will put themselves and their families second, and those are the real heroes that this movie is meant to recognize.
There is a point in the movie where you are sure he is going to be the one hardass fireman that gets in the way of Jack Morrison, the hero, and he does.
But at that point he can either stay a hero and slink away defeated at the end or he can realize what a great man Jack is and come to his side at the end.Well, what actually happens is certainly more one than the other, but it happens in such a way that presents his character as a person, not a movie villain or even a movie character, and that's true of everyone in the film.
Overall a great film, I hope it gets a couple Oscar nods next year!Final Count:Movies: Worth the ticket price in every way!DVD Purchase: Possibly, but it'll mean different things to different people.Rental: Abso-positvely-lutely!.
But that may all come to an end when he's in a fatal situation involving being trapped in a burning building.Everyone did a great job in this film and I really don't understand only a 6.5 rating, I thought it was an honest film with good intentions.
"Ladder 49" is by no means a bad movie and as a matter of fact, it's a professionally made production, with some good actors in it, but it's just that everything in the movie is very formulaic and all the typical clichés you could expect in a movie about firefighters are present here.
"Ladder 49" and "Backdraft" are two similar movies in several ways but "Backdraft" is the better one simply because it has better emotions, character building and sequences featuring fire.
The plot hits on all the tropes and clichés of what the average Joe believes life as a firefighter is really like: they all get drunk, get into fights, have a hard time expressing their emotions, their wives all stay at home crying, they all have father issues, everyone has a Boston accent, et cetera.
You might like the burning buildings and the helicopter shots, but they don't do much in saving the movie.The lead performances(Phoenix and Travolta, in this order) are definitely the best part of the show, but the characters are still flat and inexpressive.What I liked, though, is the "confessional jokes" in the beginning, but it's hard to get a movie through with just one two-scenes joke..
11, 2001, attacks, firefighters have been elevated to mythic status and given the uberpatriotism of a post-9/11 America, it's as if it's our duty to sing the praises of a film like "Ladder 49" no matter how stupefyingly conventional it is.I don't know who's more to blame for this dreadful movie - Russell or Colick?Russell and Colick are so reverential in their treatment of the characters that there isn't an iota of originality or believability about any of them.
Characters lament about "being too old for this s**t;" firemen wonder why people in trouble are always on the 12th floor, not on the fourth; the protagonist and his girl have a meet-cute; we can pick which characters will come to harm because they just happen to joke or say all is OK before something bad happens to them; a victim seemingly doesn't revive during CPR only to cough just when everyone thinks it's too late and, of course, this drivel wouldn't be complete without a climactic freeze-frame.Joaquin Phoenix as Jack Morrison hasn't been this wooden in a movie, while John Travolta's relatively small role relegates to him being an affable dad to all his men.
There's nothing nuanced about any of these people and, frankly, they're all so nice, they're boring.The fire scenes are effectively shot, but Russell and Colick want this film to be about the men and their lives.
Go watch Rescue Me if you want to see real heroes: Everyday guys with flaws that think nothing of running into a burning building to save strangers..
The picture ends with a montage of firefighting scenes that struck me as a collection of outtakes that the director couldn't find any other use for.The best thing about "Ladder 49" is the relationship between Jack and his wife Linda.
People liked this movie a lot because it shows the true heroic actions of firefighters in a post 9/11 world.
Because of this Ladder 49 has generally been seen in a way that makes it better than it really was.Overall the movie was a real bore, looking primarily at the life of Phoenix's character, Jack, as a firefighter.
Sure this is the life of a firefighter, but where is the good movie in all of this?
This film basically try to portray the heroism of firefighters by making the whole movie revolve around a American dad with a good heart that puts others before himself.
Now I know they try to show Jack Morrison(Joaquin Phoenix) as a typical American father that is a firefighter but like there is just nothing interesting in about him what so ever, thus when the movie gets to the climax there is just little to no emotion.
This movie basically tries to make the life of a firefighter exciting but it just comes off as boring as any other jobs except you save lives or property by extinguishing the fire.
What could have been a good film is that the firefighter are put way up as heroes because they are firemen and turns the whole scenario into a uninteresting melodrama.4.9/10.
I feel that this movie deserves a 10 out of 10 because it portrays the life of a firefighter really well not only during or on the job but as well as when the firefighter returns home after work and how his job effects family life,I know this because I am one When the gong goes off in the firehouse and the trucks go tearing down the street with the light on and when you see the smoke coming out of the buildings you can feel the adrenaline and the excitement as if you are really there.Hollywood did a really good job when making this movie.
JOAQUIN PHOENIX and JOHN TRAVOLTA head the cast of this tribute to heroism and the men who risk their lives every day.
And in this post-9/11 world where we remember the men entering the twin buildings that collapsed, this well made film is a nice tribute.Straight-forward in approach, it's a solid piece of story telling when it deals with the working routine and firehouse lifestyle that these men are trained to perform, reminiscent of Ron Howard's BACKDRAFT thirteen years ago.
In the end I really felt for the characters, mainly because the film takes it time to let us know them.The main character is Jack Morrison (Joaquin Phoenix).
This film kind of took me by quite a surprise, as the previews led me to believe that this was just another Travolta flop tending to the few audiences that haven't seen "Backdraft", but Ladder turned out to be a pleasant look into the daily life of a firefighter."Ladder 49" involves Jack Morrison (Phoenix) who is trapped in multi-tiered factory reflecting on life from his first day on the job to this point focusing on his family's ordeals and adjustments on the toll the life of firefighting takes on a family.The story is somewhat predictable, but will still draw you in as the emotions are in full gear as Morrison is somewhat addicted to the adrenaline of rushing into a burning building putting his life at severe risk and the future of his family in jeopardy to save one life.
This movie has given me so much insight into the firefighters job of protecting and saving peoples lives.
"Ladder 49" is all about the crew of firefighters at a Baltimore firehouse, specifically Jack Morrison (Phoenix) whose life provides the backbone for the film.
Phoenix is a actor who is rising I think he will make plenty of good movies in the years to come..
Jack Morrison (Joaquin Phoenix) is a family man who wonders whether his new job as a fireman is rewarding enough to make it worth all of the risks.
Ladder 49, directed by Jay Russell, was a truly touching story about what real firefighters face when they go on the job, and how every decision they make effects their friends and family.
Joaquin Phoenix gives a stellar performance, and John Travolta is once again in typical form as this duo propels the movie into the audience's hearts.The movie starts out with our main character, firefighter Jack Morrison (Phoenix), responding to a massive warehouse fire.
I think the best part about this movie was the fact that the lead characters were just like everyday people.
Although Ladder 49 is familiar in its emotional tone and basic story line, it stands up next to movies like Backdraft (1991) and Hellfighters (1968) andmakes them seem somehow less personal.
However, if the audience can ignore this then Ladder 49 is one of the better, more entertaining and certainly more heart wrenching films of the genre.In Ladder 49 the viewer enters the world of a Boston fire department andfollows the career of firefighter Jack Morrison (Joaquin Phoenix).
The story is simple, Jack is a firefighter, he learns, gets hurt and sees friends hurt and even die while on the job, all while under the watchful eye of Captain Mike Kennedy (John Travolta), who seems to take Jack under his wing and be personallyresponsible for him.
John Travolta, who usually pulls a bit of star appeal was not much of an attraction to the movie and the rest of the virtually unheard of cast helped to support Phoenix who did most of the real work to make the film entertaining.Ladder 49 is a movie that people should see because it tries to bring back a certain type of classical Hollywood feel by actually telling a story and letting the viewer become attached to the main character.
I was pleasantly surprised to find a very character-driven movie about person who happens to be a firefighter and what it does to the relationship with his wife.While I am not a fireman, the action sequences seemed to have a realistic feel to them.
Let's face it, the person running into the burning building when everyone else is desperately trying to get out is going to be a hero in the eyes of many, and in "Ladder 49," directed by Jay Russell and starring Joaquin Phoenix and John Travolta, it is the hero and that sense of heroism that is presented and explored.The film follows the career of fireman Jack Morrison (Phoenix) from his rookie days through the following years as he establishes himself as a veteran of the firehouse, all under the tutelage of Captain Mike Kennedy (Travolta), who is always on hand to listen, question and impart the wisdom of age and experience to Jack, especially at pivotal times in his life.Over a period of time, Jack learns the ropes, develops his firefighting skills, matures and, along the way, learns about life and love.
When he meets an attractive young woman in a grocery store, Linda (Jacinda Barrett), and sparks fly, it isn't hard to figure out where this part of the story is going.Visually, the film is stunning at times: The fires are spectacular, you can fairly feel the heat from the flames, which is bound to instill in one admiration for the firefighters who risk it all in the performance of their duties.
He makes the camaraderie of the firehouse, for instance, an exercise in cliché, while allowing his actors to struggle with the development of their characters.Phoenix gives a passable performance as Jack, but Travolta comes across as an actor playing a role the way he "thinks" it should be played, rather than creating a real identity for Mike, and Russell lets him get away with it.
The movie, save on F-word, was entirely appropriate for families.J. Phoenix did an admirable job in the title role, and the supporting cast, including Travolta, also gave notable performances.
I think this movie is a must see!It seems like a life story to the audience.
It's no wonder that firemen and their families love this film, especially given the way Joaquin Phoenix's character personifies the very best attributes of these men.
Loved the cast in this, especially my number 4 fave actor of all time Joaquin Phoenix who is the main character in this film proby fireman Jack Morrison who after saving a worker from a burning industrial high rise ends up trapped himself and as his team leader Capt. |
tt1980209 | Pain & Gain | In 1995, schemer Daniel Lugo (Mark Wahlberg) is a recently released convict who had served time for Medicare fraud. Sun Gym owner John Mese (Rob Corddry) hires him to increase membership and make the gym more fitness-based. Lugo increases the gym's membership by 75% within six weeks and befriends trainer Adrian Doorbal (Anthony Mackie), a bodybuilder rendered impotent due to his steroid use. Lugo soon lusts after the earnings and lifestyle achieved by Victor Kershaw (Tony Shalhoub), a sleazy new member he begins to train, who Lugo believes is a crook. Inspired by motivational speaker Jonny Wu (Ken Jeong), Lugo decides to be a "do-er" and hatches a plan to extort Kershaw for his assets by kidnapping and torturing him.
Lugo recruits accomplices Doorbal and Paul Doyle (Dwayne Johnson), a recently released, cocaine-addicted convict who has turned to Christianity. Though Doyle is reluctant to join the team, he soon acquiesces after a violent altercation with his priest. This "Sun Gym gang" unsuccessfully attempts to kidnap Kershaw at home, and a second time in public, but later incapacitates him with a taser outside his deli and takes him to a small warehouse he owns (which is stocked with sex toys). The kidnappers wear masks and Lugo disguises his voice, but Kershaw identifies Lugo from his distinctive cologne. The scheme goes as planned otherwise: Kershaw makes calls, under duress, to provide false explanations for his disappearance, gets his family to move out of state, and signs the documents that transfer his assets to Lugo. Lugo even bribes John Mese to notarize documents in Kershaw's absence, by presenting documents signed by Kershaw and using Kershaw's money to sponsor the Sun Gym.
The Sun Gym gang is able to collect Kershaw's money and assets, but they realize releasing him is a bad idea. Therefore, Lugo concocts a plan to kill Kershaw by forcing him to drink liquor and crash his BMW, making it appear like a drunk driving accident. When Kershaw survives the crash, the gang burns the car with Kershaw in it. Kershaw escapes the blazing vehicle, so the gang runs over his body, twice, and leave him for dead. Unbeknownst to them, Kershaw survives and is hospitalized. The Sun Gym gang members spoil themselves with Kershaw's riches. Lugo takes over Kershaw's car and his home in a ritzy Miami suburb; Doorbal marries the nurse who has been treating his impotence, Robin (Rebel Wilson), and uses his cut to purchase penile erection treatments; and Doyle abandons his restraints of religion and sobriety, and blows away his money on cocaine and his new stripper girlfriend.
Kershaw reports what happened to the police, but they are turned off by his unpleasant manner and do not believe his bizarre story even when he gives them Daniel Lugo's name, particularly because of Kershaw's blood alcohol level, and the fact that Kershaw was born in a South American country well known for its involvement in the drug trade. He then contacts Ed Du Bois, III (Ed Harris), a retired private investigator - who declines to take the case but warns Kershaw to quickly leave the hospital before the gang returns to kill him. Kershaw takes his advice and hides in a cheap motel. Upon reflection, Du Bois takes Kershaw's case and tails the Sun Gym gang. He visits the Sun Gym and meets with Lugo, who becomes suspicious after Du Bois mentions Kershaw's name.
When Kershaw furiously calls Mese about his stolen money, Lugo, Doyle, and Doorbal *69 the call, thereby identifying where it originated, and go to the motel to kill Kershaw; however, they arrive too late, as he has checked himself out and is hiding at an abandoned baseball stadium. When Lugo and Doorbal discover that Du Bois is paying for Kershaw's room using his own credit card, they plan to kidnap Du Bois at his home. They arrive at the house, but the plot is thwarted when the police stop by to drop off Du Bois. In order to evade arrest, Lugo and Doorbal run and jump off Du Bois' dock into the water.
Du Bois gets a message from Kershaw and goes to the stadium to take him home. Meanwhile, Doyle (who has wasted all of his share of the spoils) attempts to rob an armored car. However, dye packs planted in the money bag explode, and he narrowly escapes the police, getting his toe shot off in the process. He and Doorbal (who depleted his share on payments for treatments, his and Robin's wedding, and a new home) explain to Lugo they need more money, and the gang plans another kidnapping.
They target the wealthy Frank Griga (Michael Rispoli), who owns a phone sex operation. After a promising discussion at Griga's mansion, the gang invites Griga and his wife Krisztina Furton (Keili Lefkowitz) to Doorbal's home to propose an investment scheme. Griga insists on meeting with someone more senior and questions Lugo's amateurish business savvy. This angers Lugo, who attacks Griga and accidentally kills him. Krisztina discovers this and tries to shoot Lugo, but Doorbal injects her with a potent horse tranquilizer. Lugo and Doyle try to use the combination obtained from a heavily sedated Krisztina to open a safe at her and Griga's home, but the combination does not work. When Krisztina rouses and tries to escape, Doorbal gives her a second injection, accidentally causing her to fatally overdose.
Lugo and Doorbal purchase equipment to dismember and dispose of the bodies and dump the parts in oil drums (which they sink in a secluded swamp outside Miami), while Doyle incinerates their hands on a barbecue grill to eliminate their fingerprints. Doyle, perturbed by the violence he committed, leaves the gang and returns to the priest's church. The police learn of Griga and Krisztina's disappearances, and with evidence from Du Bois, they set a plan to arrest the Sun Gym gang.
The film returns to June 17: the police arrest Doyle at the church, Doorbal at home, and Mese at the Sun Gym. Lugo, also at the gym, spots the approaching police force and flees. Although struck by a police cruiser, he escapes and heads out by sea in Kershaw's speedboat. Kershaw and Du Bois deduce Lugo is going after the former's hidden bank account in Nassau, Bahamas and accompany the police to capture him. Lugo's pursuers catch up with him, and he attempts to escape. Du Bois shoots Lugo, Kershaw chases him in a car and incapacitates him, and the authorities arrest him.
Lugo is brought back to the United States and stands trial with Doyle, Doorbal, and Mese. At the trial, Doyle rolls over on Doorbal and Lugo with a full confession, and meanwhile Robin has divorced Doorbal the night before and testifies against him. Ultimately, the four are convicted.
The end credits reveal the fates of the main characters:
Daniel Lugo was sentenced to death, plus 30 days for "being an asshole" to a guard.
Adrian Doorbal was sentenced to death.
Paul Doyle, for his full confession, was sentenced to 15 years, served seven years, was released, tried to apologize, and converted back to Christianity.
John Mese was sentenced to 15 years and died in prison.
Victor Kershaw's name was changed in the film to protect the survivor.
Sorina Luminita's name was changed in the film to protect the survivor. She's currently not a movie star.
The movie ends with Lugo's saying: "That's the American dream". | comedy, murder, flashback, humor, satire, revenge, entertaining | train | wikipedia | Michael Bay's "Pain and Gain" is a very bleak, very dark comedy about three knucklehead bodybuilders in pursuit of their own American dream, even if the road there is paved with sex, drugs, torture, humiliation, and even murder.Bay is shamelessly reputed for huge explosions, choppy editing, excessively flashy/glitzy cinematography, sexy women, fancy cars and (recently) giant robots.
Although Bay cuts back on the explosions and robots (mercifully), everything else has Bay written all over it, and considering how morbidly ridiculous the film's subject matter is, Bay tackles it in such a head-on and energetic manner that the audience is whisked off for the insane ride ahead.For this movie, he has assembled together Mark Wahlberg, Dwayne Johnson and Anthony Mackie as the three bumble-heads who have their hearts set in the right goal but clearly lack the intellect to do so.
He's the only sane person in the whole movie, and his presence helps bring balance and clarity to what was a ludicrous first half.Comic relief is key in Bay's action films, but here he's going all out at comedy, and he sure does pull of the stops.
The fact that it was indeed a true story makes it all the more hilarious to watch, who honestly can think of some story like this and pull if off straight?I am aware that since this is a film, some liberties had to be made to the story and characters.
I don't quite know how accurate they were in comparison to the real criminals but as standalone characters they were pitch perfect (even the Rock, who may have actually stolen the show for me).Tony Shaloub is no actor to be laughed at, he played such an interesting 3 dimensional yet despicable character that forced me to try to come to terms with how I felt with him being the victim.And what really made the movie for me was the phenomenal writing and directing combination, there were intensely serious moments surrounded by the blackest of black comedy, something that shouldn't have worked, but it did!My only problem with the flick is that it IS a true story.
It's nice to see Michael Bay take a little break from explosion-fueled action movies, and do a dark comedy based on events that took place during the fall of 1994 to summer of 1995, in Miami.
In this film, Mark Wahlberg, Dwayne Johnson, and Anthony Mackie play a trio of bodybuilders of a Miami fitness center, who kidnap a millionaire named Victor Kershaw, and extort him for money.
A crime comedy doesn't get better than this..PAIN & GAIN is your textbook Michael Bay, there are beautiful girls, fast cars, that 360-degree spinning shot where the camera circles the actors, plus it's back in Miami too, the land of all kinds of colors and sunshine!
PAIN & GAIN looks, feels, breaths, and benches like a Michael Bay movie, alright!
PAIN & GAIN may have some commentary about American Dream, on whether or not those who do achieve it actually earned it, but in the end, it's just a laugh out loud cautionary tale told through the style of Michael Bay.-- www.ramascreen.com --.
Pain & Gain is a great movie with a very well developed storyline and an outstanding cast that have the ability both serious and funny which made them great casting for a movie I like this.Although it is very hard to believe,this is actually based on a true story,and as the movie continues it becomes more and more unbelievable,but are robed every now and again that it is actually a true story,which was clever because they obviously knew people would be thinking that throughout.This movie has different characters narrating throughout,which is something I have complained about in past reviews,I just think we should only be following one character,and when we learn about a different characters past it should still be the main character telling their story,I think it should have just been Mark Wahlberg's character telling the story instead of switching around to Dwayne Johnson,to Bar Paly and later on Ed Harris,they gave so much characters the chance to narrate which just really irritates me.The movie really is a breath of fresh air considering it is directed by Michael Bay,who's never done a movie like this before,and the characters are nothing like Mark Wahlberg,Dwayne Johnson or Anthony Mackie have played before.
Pain & Gain is a very enjoyable movie that I would recommend to anyone looking for a good action or comedy.Based on a true story about three bodybuilders who get involved in burglary and kidnapping in order to get all the money and wealthy lifestyle they desire,but to fact that none of them are particularity brainy dosen't help them.
That this preposterous story was actually based on a crime that happened in real life was an incredible aspect of the film.The movie is really about very serious heinous crimes, but the writers make it black comedy material by focusing on the stupid planning and bumbling actions of the three muscle-bound perpetrators of these crimes.
Michael Bay, the director of the 'Transformers' movies directed this: A comedy/action movie based on a true story of which in the 90's three guys decided to kidnap and torture a rich guy until all of his assets were sent over them in a month's time.
I had no idea if it was poor directing, or if Michael Bay thought it needed to go that way.The acting in this movie was good, because two of the main characters are played by Mark Wahlberg and Dwayne Johnson, which are good actors.
I haven't seen any of his recent movies, so I wouldn't know, but this one is way more geared towards the crime-riddled plot and the comedic writing than any action that the director is known for.There is a strange obsession with male genitalia – jokes about real ones, and many shots of fake ones to go along with a few characters' denial of and hatred of homosexuality.
Another thing is that if you're afraid the film was going to make them anti-heroes based on the trailers then worried no more because the movie shows that these are bad guys that did terrible stuff but they're so dumb that it's funny.
Now I do need to talk about Bay's directing and in my opinion his over the top and excessive film making work in this movie because it needs an over the top director to tell an far-fetched but true story and the excessive film making works because the movie is about American excess and I can think of no one else to directed this movie then Bay, this is a movie that's so good that it's a career defining moment for him, but knowing what his next project is it's not going to last long.
After the three weeks, once Lugo and his gang had everything they wanted from Schiller, they tried to murder him.This shocking and horrific true story is brought to life by producer/director Michael Bay as a colorful black comedy.
This does not excuse the filmmakers for manipulating a true story about kidnapping, torture and robbery into a comedy, it just shows they don't have the talent to be handling such material.Looking at the film separate from the factual events being portrayed, it seems the writers were trying to play comedy out of the stupidity and foolishness of the criminals but Michael Bay has to make everything look and sound as exciting and cool as possible.
This creates a great unbalance and delivers a mixed message.Mark Wahlberg plays Daniel Lugo and Tony Shalhoub plays Victor Kershaw, a fictional version of Marc Schiller, which makes him seem more like a villain than a victim as a way to justify trying to make us laugh at the scenes of him being tortured.
Surprisingly, Dwayne 'The Rock' Johnson's performance as Paul Doyle, an ex-convict turned Christian, is the one decent part of the entire film.Pain and Gain is a shameful, irresponsible, disrespectful mess that will leave those who don't realize they are watching a story based on real events feeling disgusted once they find out the true story.
However the plan goes wrong since the clumsy amateurish trio is stupid and make a series of mistakes."Pain & Gain" is a movie with a story with great potential that is unfortunately wasted by Michael Bay that directs with heavy-hand and loses the humor in the violent scenes.
Yes it's a crazy story, so crazy even the police didn't believe it, but this is something that shouldn't be sensationalized, it basically shouldn't have been a Michael Bay movie, or at least he should have had the guts to not fall back on all his seemingly trade mark shots and approach the film in an original and mature manner.
And there wasn't really a dull moment throughout the entire movie.The story in "Pain & Gain" was rather entertaining to watch, and the fact that in all its absurdity that it was an actual real story just added to the enjoyment.
Just a shame that Ed Harris wasn't given more on-screen time."Pain & Gain" is an entertaining movie that is well-worth watching.
Pain&Gain(2013)Starring:Mark Wahlberg,Dwayne"The Rock" Johnson,Anthony Mackie,Tony Shalhoub,and Ed HarrisReviewSO what we have here is a movie based on a true story about kidnapping,theft,torture and murder that Michael Bay has so tastelessly made into a comedy.
I got the pain part from this movie but I want to know if there is someone who has gained something from this garbage.The movie stars Mark Wahlberg as Daniel Luigo, a whiny bodybuilder who spends most of the time monologing about how much he hates his life.Dwayne Johnson plays Paul Doale a born again Christian bodybuilder who spends most of his time monologuing about how much he hates his life, Anthony Mackie plays Adriane Durbal a steroid using bodybuilder who monologues about how much he hates his life.
He is in a cast beaten,hanging for dear life and no cop believes him into giving up everything he had.He eventually hires a private detective.But after the three main characters rob this man they get greedy and decide to do it to some more people.You won't and shouldn't waste your time on this film cause it's not funny at all.
Mark Walhberg is not funny, Dwayne Johnson is not funny, Anthony Mackie is not funny and Tony Shahloub is not funny, oh they try but the jokes are so stale that you won't even chuckle.This movie should not have been a comedy especially when representing this story.
Take Dwayne Johnson's character for example as I stated he plays a born again Christian this film which I heard is not what his real life counterpart was but hey it's Michael Bay. He goes around praising Jesus in this film and saying how Jesus will guide him down the right path and forgive him for his sins,which leads to some very unfunny religious gags But in spite of him doing this he gets addicted to cocaine,punches a priest,runs a man over, beats up a cop and feeds his toe to a dog.
The movie ties to make you like them but it ends up being impossible which I guess is a good thing because well you shouldn't like these people anyway.There is more pain instead of gain in Pain & Gain which is what makes this Michael Bay's worst movie and what give this despicable,stupid,unfunny piece of garbage a half a star rating out of five..
This is based upon a true story in Florida around 1995.Bodybuilder and Exercise Trainer, Danny Lugo (Donnie Walberg) wants the good life (he wants lots of money and to live like a millionaire) and believes he has found a way to get it: Kidnap gym customer and millionaire Victor Kershaw (Tony Shaloub, hey, it's Monk) and have him (Kershaw) sign all his assets and cash to Danny.
I often rate movies on here but never feel compelled to actually write a review.After watching this film however I feel the need to let others know what a complete waste of time this is.
I like both Mark Wahlberg and Dwayne Johnson as actors, I can even turn my brain off and enjoy most Michael Bay movies.
Bay Really Kills This One. Pain & Gain (2013) * 1/2 (out of 4) Michael Bay film based on the true story of three body builders (Mark Wahlberg, Dwayne Johnson, Anthony Mackie) who decide to live the high life by kidnapping rich people and taking their money.
Again, I didn't hear about the real case until after the movie but while watching this thing I kept wondering why Bay was making all of this sound so cool and making these three guys seem like heroes.
Even as the film went along and their plot got darker, for some reason Bay kept everything going like it was just some funny little story about the American dream.
such an entertaining and fun movie!!The actors play incredibly well, specially mark wahlberg and the rock, mark wahlberg being so motivated and so serious about everything all the time and the rock playing the former inmate which found god both were so funny and acted extremely well.All the time the misunderstandings between characters was so hilarious, the satire, irony and dark humor are absolutely on spot.Quite some people criticized the movie because it is a true story, however there are tons of movies about true story with serial killers or dramatic events so i think it doesn't affect the movie.9/10 , don't hesitate to watch it you wont regret it..
His interactions with Kershaw during his confinement are great but his best moments come later in the move after he's rediscovered his true love (hint: it's cocaine).It sort of feels wrong to have this much fun with the movie with such a horrifying reality behind it, but I figure it's all right since the criminals from the film got what was coming to them.
PAIN & GAIN will having you cringing between laughs and it works as one of Michael Bay's best movies in a good while.
Pain & Gain was directed by Michael Bay, which you may categorise him as someone who makes bad movies such as Transformers which contained an overhaul of explosions and special effects, who changes his stance on films completely with a crime comedy, with little special effects and explosions.
While Pain and Gain certainly delivers a quality cast and starts off with an interesting set up, it ultimately fails to deliver a king hit.The movie, based on a true story and events, starts well, and each character paints the picture as to how they came into knowing one another and their personal background.
With the potential of being a satirically brilliant comedy and with the help of great performances and a script that is undoubtedly the funniest of the year, "Pain & Gain" struggles to find its footing behind a big budget director (Michael Bay) who doesn't seem to know how to make a film which isn't predicated on orgies of mindless explosions.
In what must be seen as the roles The Rock and Marky Mark were born to play, "Pain & Gain" is the "true story" of three halfwit body builders, Daniel Lugo (Mark Wahlberg) Paul Doyle (Dwayne Johnson) and Adrian Doorbal (Anthony Mackie) who hatch a scheme to extort a wealthy gym member, in order to move up in the financial world.
The movie's story is about three bodybuilders, Daniel Lugo (Mark Wahlberg), Paul Doyle (Dwayne Johnson), and Adrian Doorbal (Anthony Mackie) who want to achieve the American dream by taking it from someone else who doesn't deserve it.
But on the whole, most roles are genuinely funny and work in their own way; maybe the Rock isn't exactly helping the "true story" angle in his performance, but comically it works.Still, there's plenty of Michael Bay here to deter the real haters.
What has started as a very promising cynical satire on the negative side of the "American Dream", in which a trio of painfully dumb bodybuilders try to "reach for more than they can actually grab" by all sorts of criminal activities, ultimately takes a very rash turn for the worse as Michael Bay willingly flushes it down the toilet in a tasteless attempt to exploit a real murder case for the purpose of zero-quality entertainment disgorging a voyeuristic-ally morbid, overblown finale on the audience that is hard to swallow - I even considered leaving the movie theater 20 minutes before the end.Cinematically similar to Bay's "Bad Boys 2" (or all other movies he's made so far) offering some cool camera shots (especially of backsides of some sexy bikini girls which seems to be his trade mark) and some stylish slow motions, "Pain & Gain" is not only not as funny as the trailer made us believe (I would say it wasn't funny at all), it's also overlong and therefore partly tiresome, and in addition to that, even morally highly objectionable and quite simply utterly stupid.Set in the beautiful suburbs of Miami, it tells the (allegedly) true story of Daniel Lugo who works as a fitness coach in a fitness center where he meets a lot of people he envies for their wealth; so he decides to kidnap the restaurant owner Victor Kershaw (convincingly impersonated by T.
The Rock, Wahlberg, and Michael Bay, seems like a good combination for some entertainment.
But while Bay (and writers Christopher Markus and Stephen McFeely) is obviously going for the glamorous Hollywood dramatization, he doesn't shy away from showing just how senseless and stupid these characters are.The bodybuilders are Daniel Lugo (Mark Wahlberg) and Adrian Doorbal (Anthony Mackie), with the third bodybuilder/ex-con being Paul Doyle (Dwayne "The Rock" Johnson).
I do not normally enjoy the films of Michael Bay, but I thought the preview for this film looked promising and I had heard that he had turned over a new leaf with PAIN & GAIN, based on a true story.It was false hope. |
tt0808279 | Funny Games | George and Ann Farber, their son Georgie, and their dog arrive at their lake house. Their next-door neighbour, Fred, is seen with two young men, Peter and Paul, who seem to be friends or relatives. They find Fred reacting somewhat awkwardly. Fred and Paul come over to help put the boat into the lake. Lucky, the dog, keeps barking at Paul, but George ignores it. After Fred and Paul leave, George and Georgie stay outside by the lake, tending to their boat. Georgie asks his father why Fred was behaving so strangely.
While Ann is in the kitchen cooking, Peter comes by to borrow some eggs. Ann gives him the eggs but Peter drops them. Feeling a little annoyed, Ann gives him another four eggs and Peter takes off. Soon afterwards she hears Lucky barking and Peter and Paul show up together. They seem friendly, and they admire a golf club belonging to George. Paul asks her to try out one of the clubs outside and she approves. In the boat, George and Georgie hear Lucky is barking hysterically when suddenly the barking stops.
Peter and Paul request more eggs, because the last ones also ended up broken, Ann becomes frustrated, but when George tries to force the men to leave, Peter breaks George's leg with the golf club. The two young men then take the family hostage.
Ann tries to call for help on a cell phone, but finds it unusable because Peter had dropped it in the sink. Paul then guides Ann on a hunt to find the family's dog, which he has killed with George's golf club. When neighbors visit, Ann passes the two men off as friends.
The family is forced to participate in a number of sadistic games in order to stay alive. Paul asks if George or Ann wants to bet that they will be alive by 9:00 in the morning, and says that he and Peter are betting they won't be. Between playing their games, the two men keep up a constant patter. Paul frequently ridicules Peter's weight and lack of intelligence. He describes a number of contradicting stories of Peter's past, although no definitive explanation is ever presented as to the men's origins or motives.
During the "games" Peter and Paul put Georgie in a bag, nearly suffocating him; to stop this George is forced to request Ann uncover her breast to Peter and Paul. When released from the bag, Georgie tries to escape. He attempts to climb a locked gate but changes his mind and goes to the neighbors' empty house. There he discovers that they have been killed.
At the same time Paul goes out searching for Georgie after having Ann's hands tied behind her back and ankles also tied with tapes, with Peter left to guard her and George. Ann asks Peter why he does not kill them directly, and Peter replies that they should not forget the fun of games. Ann attempts to be freed by George in an absence of Peter but fails to make it before his return and is beaten again. Ann begs him to let them go, but Peter refuses. When found, Georgie attempts to shoot Paul with a shotgun, but the gun fails to go off. Paul returns him to the living room, along with the shotgun.
The men play a new game, saying whoever gets counted out will be shot. Georgie panics and makes a run for his life which results in Peter shooting and killing him. Paul is a little annoyed that Peter didn't follow the rules of their game to the letter.
George and Ann are grief-stricken, but they eventually resolve to survive. Ann is able to free herself and flee the house while George, with a broken leg, desperately tries to make a call on the malfunctioning phone. Ann struggles to find help, only to be re-captured by Peter and Paul, who return her to the house. After stabbing George, they attempt to force Ann to make a choice for her husband, between a painful, prolonged death with the knife or a quick death with the shotgun.
Ann seizes the shotgun on the table in front of her and kills Peter. An enraged Paul grabs the shotgun and starts looking for the television remote. Upon finding it, he literally rewinds the last occurrences back to a moment before Ann grabs the shotgun, thereby breaking the fourth wall. On the "do over", Paul snatches the shotgun away and admonishes her, saying she isn't allowed to break the rules.
Peter and Paul then kill George and they take Ann, bound and gagged, out onto the family's boat. Around eight o'clock in the morning, they nonchalantly throw her into the water to drown, thus winning their bet. They knock at the house of the neighbors who had previously visited the family. They request some eggs, thereby restarting their cycle of murder. | dark, mystery, murder, thought-provoking, violence, insanity | train | wikipedia | null |
tt1203523 | Streets of Blood | During the rage of Hurricane Katrina, Detective Andy Devereaux (Val Kilmer) discovers the body of his former partner in a close to underwater warehouse. Quickly forgetting about his discovery, he joins a newly transferred detective named Stan Johnson (Curtis "50 Cent" Jackson) trying to end a conflict involving looters.
Post-Katrina, Andy and Stan are now partners. They work with corrupt detectives Pepe (Jose Pablo Cantillo) and Barney (Brian Presley), who are caught up in the murder of an undercover narcotics agent. Investigating the escalating police corruption in New Orleans is FBI Agent Brown (Michael Biehn). Brown brings up his thoughts to Police Captain Friendly (Barry Shabaka Henley) who insists he is doing his best to solve the problems in his department.
Meanwhile, police therapist Nina Ferraro (Sharon Stone) tries to help the detectives with their struggles, with little avail. She is particularly interested in Andy, whose father, also a detective, was murdered in the line of duty.
Things are complicated further with Agent Brown's investigation into Andy and his crew. Brown tells Andy that he has an informant who is leaking out the details, and Andy, disbelieving at first, begins to resign himself to the fact that one of his men is betraying him.
After Captain Friendly is assassinated by a local gangster named Chamorro, Andy, Stan, Pepe, and Barney decide to take the law into their own hands and go after Chamorro. While interrogating Chamorro, they find out that Brown has been supplying the drug dealer with information about the police raids, to help his own investigation. In a violent shootout, Barney accidentally shoots and kills Pepe.
Andy and Stan escape, only to return to the warehouse where they met. There Andy realizes that Stan is the informant. After the two start arguing, Brown shows up and there is another shootout, ending in Brown's death. Andy comforts a sobbing Stan, then Andy kills his partner, as he possibly did with his previous one.
The film ends on a low note, leaving no premise about Andy's future. | violence, neo noir, murder | train | wikipedia | null |
tt0020142 | The Manxman | The film tells the story of two close childhood friends, a handsome but poor fisherman, Pete Quilliam (Carl Brisson), and a well-educated middle-class lawyer, Philip Christian (Malcolm Keen); Both the young men are smitten with beautiful and lively Kate (Anny Ondra), the pub owner's daughter. In Pete's case, Kate is also interested in him, or at least she enjoys having him as a suitor.
Pete proposes, asking Philip to make the case to Kate's tough father, Old Caesar (Randle Ayrton). The father refuses to consent to the marriage, because Pete is penniless. Pete decides to go to Africa to make his fortune, so he will be considered eligible to marry her, and he asks Kate if she will "wait for him". At first she jokes around, but finally she says yes. Pete then asks Philip to take care of Kate until he returns.
In his absence, Philip starts calling on Kate almost every day. Kate and Philip become strongly attracted to one another, and start an affair while visiting an old mill.
News reaches the village that Pete has been killed upcountry in Africa. Philip and Kate are shocked but Kate is relieved to realize that they can now plan their lives together. Philip's career has been going well, and he is preparing to assume the powerful position of Deemster, the island's chief magistrate.
However, it then turns out that Pete is still alive, and has been successful in Africa. He lets Philip know via telegram that he is returning. Pete arrives and is extremely happy to be back to his village and to see his old sweetheart. Philip and Kate are shocked and appalled, but they do not let anyone know what has passed between them. Old Caesar is now delighted to agree to Kate marrying Pete. The wedding reception is celebrated in the old mill, where Old Caesar sternly warns the newlyweds to remember that God will punish anyone who violates the vows of marriage.
Kate is still in love with Philip, and can hardly bear to be married to Pete.
As the weeks pass, Pete is thrilled to find out that Kate is pregnant, and he naturally assumes he is the father. When Kate's daughter is born, not long afterwards Kate is desperate and decides to leave Pete. She walks out, leaving her baby behind, and a note saying that she had loved another man, and still loves him. Pete is appalled and does not know where Kate went, but he tells the villagers that Kate needed a vacation, so he sent her to London for a while. During the weeks she is gone, Pete proves himself to be a wonderful father, taking care of the baby very well, and comforting himself by believing that although Kate has gone, he still has their baby to love.
Kate persuades Philip to hide her at his law offices, hoping she can still somehow have a life with him. However, Philip is about to become the Deemster, and he is unwilling to ruin his career by running off with her. Frustrated and distraught, Kate returns to the house to take the baby. She tells Pete he is not the baby's father. Pete is stunned and refuses to believe her. He also refuses to give up the child. In desperation, Kate leaves the house and tries to commit suicide by throwing herself off the quay.
Kate is rescued by a policeman. Attempted suicide is classified as a crime, and Kate is brought to trial on the first day that Philip serves as Deemster. Now Philip is stunned and hardly knows what to do. When Pete appears in the courtroom to plead for his wife, Philip agrees to hand Kate over to him. But Kate refuses to go. Kate's father, Old Caesar, who is watching carefully, finally understands that Kate and Philip had an affair. Old Caesar gets up and loudly condemns Philip for being the "other man". Philip publicly admits his extreme moral failings. He removes his wig and surrenders his official position, and then leaves the court.
In the final scene, Philip and Kate sadly prepare to leave the island. They arrive at Pete's house to take away the baby. Kate picks up the child, while Philip and Pete stand at opposite ends of the room. She brings the child over to Pete to say one last goodbye, and he breaks down, having finally lost everything. Philip and Kate leave the cottage to the jeers and condemnation of the villagers, who have been watching the scene through the windows. | romantic | train | wikipedia | excellent love triangle on the Isle of Man. Hitchcock's final silent, 'The Manxman', has two stars you'll see elsewhere in his films - Carl Brisson, from 'The Ring', and Anny Ondra, from 'Blackmail'.
Malcolm Keen plays the friend who finds his loyalties tested while he strives to make good in his chosen career of the law.Beautifully shot and quite modern in tone, this boasts a lovely performance from Ondra, while Brisson convinces as a fisherman who trusts too much and sees too little.
Don't expect the usual Hitchcock touches that were present in his later films...he developed them more fully in his very early talkies "Murder" and "Blackmail" and somewhat in his silent "The Lodger".
The cast here is good, Carl Brisson (who would later become the father-in-law of Rosalind Russell) and Anny Ondra who Hitchcock would use again in "Blackmail"; however, some of the plot lines are not fully developed and one rather important element is left unsaid in the story's ending.
Hitchcock's final silent film is another drama focusing on a love triangle his primary plot basis in these early days before he became the master of suspense.In many ways The Manxman can be seen as something of a loose remake of The Ring (1928), following a similar story of a love triangle between a man, his wife and his best friend, with similar characters and circumstances and the same lead man in Carl Brisson.
However while that earlier boxing drama eventually pulled its punch (excuse the pun), The Manxman is a far harsher affair, with a ruthless disregard for its characters' fates that prefigures film noir.As was Hitchcock's style from his earliest works, his aim here as a director is to place the audience inside the scenario, no matter how uncomfortable it makes them.
There are plenty of exquisite location shots and great use of natural lighting, in ironic counterpoint to the darkness of the story.While not quite the best of them, The Manxman is perhaps the most confident of Hitchcock's silent pictures.
Above all what he wanted to do was to engage the audience with the emotions of the characters, and this he successfully achieves with what is essentially soap opera material with his usual technical mastery - such as the stern father seen from the fiancée's perspective through the glass of a window, or the girl's diary where she turns the pages and finds her true love's name gradually dominating her life.
It was Hitch's last *total* silent ('Blackmail' came out in both sound & silent versions),and showcases the first Hitchcock blonde of sorts, pretty little Anny Ondra, whose career was sadly numbered once talkies came along - in 'Blackmail', her Swedish-accented voice was dubbed by Joan Barry.Knowing it's Hitch, you expect a big action finale or an attempted murder of some kind, but it never happens.
The settings and photography are excellent, the acting is generally good, and the story's setup is believable and had possibilities.The best part of the movie is the setting on the Isle of Man, which is done very nicely, with well-chosen settings and terrific photography.
The three leads (Carl Brisson, Anny Ondra, and Malcolm Keen) are all quite good in this part.Unfortunately, the rest of the story is rather a disappointment, moving very slowly at times, and often painful to watch because of some notable flaws in the ways the characters act.
Hitchcock does his best with things, but it's too bad that he did not have a freer hand with the material, which was apparently based on a novel that for whatever reason had acquired a certain popularity at the time.Ultimately, this movie is just average.
But there are still some strengths here, and it is probably worth a look for silent film fans who especially appreciate good black-and-white photography, or for devoted Hitchcock fans who will appreciate the touches he added to an otherwise unsatisfying story..
It's a plain tale of a love triangle set on the Isle of Man, the woman (Ondra) falls in love with the best friend (Keen) of her absent husband-to-be (Brisson).
It's not quite up to the level of Flesh and the Devil, but there's so few British silent films extant that it's well worth a look, or even just to view Hitchcock's early efforts..
The emotion flow doesn't make sense in either direction.For the role of Philip -- good lawyer, unreliable friend and lover -- we see a man clearly in his 40's who looks old enough to be the girl's father.
The third node in the triangle is Danish actor Carl Brisson (34 when this was made) , whose most often used talent in this film was his ability to grin glassy eyed into the camera, showing us two enormous dimple lines.Despite the limitations of the casting and "Pete's" acting ability, the performance qualities aren't too bad.
What a woman.The plot of Hitchcock's last silent movie reads like a storyline from the unaccountably popular Brit soap 'EastEnders.' Even though she doesn't really love him, Kate (the truly delectable Anny Ondra), a flirtatious pub landlord's daughter, rashly promises to wait for her young beau Pete (a hulking Carl Brisson) to return from Africa where he plans to go to make his fortune after the surly pub landlord refuses him her hand in marriage.
She loves Philip (Malcolm Keen), an up-and-coming lawyer who just happens to be Pete's best mate and who also reciprocates her feelings of ardour.
Anyway, word comes from Africa that Pete has died, leaving Kate and Philip free to declare their love for one another – something neither had felt able to do when poor old Pete was alive.Of course, this being an opera of the soapiest kind, it turns out the jungle drums got it wrong and Pete isn't dead after all!
Now this is where you'd think Kate and Philip would come clean – after all, they thought Pete was dead – but instead they keep quiet about their affair and Kate marries Pete out of a sense of obligation.There's plenty more plot to follow, but suffice it to say that a lot of hand-wringing and soul-searching follows.
And either Kate and Phil were still at it after Pete returned from Africa, or Pete's too thick to do the maths and release that he was still ocean-bound when his loving wife conceived.The plot summary above actually makes the film sound more interesting than it really is.
The Manxman is Alfred Hitchcock's last silent film before he switched over to sound with Blackmail (1929).
Since Kate promised she'd wait for Pete she still ends up marrying him upon his return but she also has an affair with Philip and things start to turn ugly as Pete starts to learn more and more about what is going on.
The film is based off of a novel and the story is very good and interesting although it seems to follow Hitchcock's typical theme of a love triangle which he has in many of his films.The acting in the movie is very good overall with Carl Brisson as Pete.
And then there is Anny Ondra who plays Kate and she does a worthwhile job at showing love for Philip but not for Pete.
The musical score is mediocre and feels like it's just a lot of recycled music from earlier Hitchcock films but at least it gets the job done.Overall this film isn't perfect by any means but it does have a lot of positive qualities which make it worth watching.
The plot is really interesting and entertaining if you aren't already sick of Hitchcock's love triangle theme and the acting in the film is overall pretty good.
Kate's father rejects Pete as a suitor because he is penniless, so Pete goes off to make his fortune, making the fatal mistake of asking Phil to 'take care of ' Kate until his return.From here on "The Manxman" turns into a pretty powerful picture and builds to a crescendo at the finale.
Malcolm Keen, as Phil, is too old and Anny Ondra, as Kate, is too young - she looks about twelve and is very small.
On the other hand,Carl Brisson, as Pete, is perfect and is the star of the picture.I thought it was one of Hitchcock's best efforts.
Like many directors of his age, he started out making silent films and taking whatever plots and premises that would come his way.
Gorgeous silent movie actress Anny Ondra was very good as the girl who finds herself the embodiment of affection of two men she's fond of.
Like a lot of Hitchcock's early-career films, it's a decent movie, but not a great one.
Well-heeled boyhood chum Malcolm Keen (as Phil Christian), whom he's asked to look after fickle sweetheart Anny Ondra (as Kate Cregeen), accomplishes what you'd expect.
Then, Mr. Brisson returns
This variation on an often-told tale was director Alfred Hitchcock's last silent film.
The old-fashioned picture's main strength is Mr. Hitchcock and photographer Jack Cox' beautiful use of the "Isle of Man" locations; if only D.W. Griffith could have filmed his "Enoch Arden" there...***** The Manxman (1/21/29) Alfred Hitchcock ~ Carl Brisson, Malcolm Keen, Anny Ondra, Randle Ayrton.
Unfortunately, word soon comes to everything that Pete has died, so Philip announces to the girl that he loves her.
Later, he comes to see Philip to ask him to help find his wife--little did he know that she was with his best friend all along.If you think about it, this plot is very much like a soap opera and is nothing like the films for which Hitchcock became well-known.
As far as the acting goes, it's pretty good for a silent--without an serious over-emoting.By the way, Hitchcock's next film (also 1929) turned out to be Britain's first sound film.
Manxman, The (1929) ** 1/2 (out of 4) Hitchcock's last silent film has Carl Brisson playing Pete, a poor fisherman and Malcolm Keen playing Philip, a rich lawyer.
The two have been best friends despite their social differences but Pete falls in love with Kate (Anny Ondra) but her father refuses to let him marry her because he's poor.
Pete sets out to make his money but while he's gone Kate and Philip fall in love.
'The Manxman' is one of those many mediocre (although technically superior) early Hitchcock's melodramas, still it is one of the strongest silents (after 'The Lodger' and 'The Ring') of 'The Master of Suspense'.Former boxer Carl Brisson stars as fisherman Pete Quilliam who falls in love into gorgeous Kate (gorgeous Anny Ondra).
When Pete has to go to work in Africa he asks his best friend Philip (Malcolm Keen) to take care of his girlfriend.
Unfortunately Kate and Philip start to feel more and more towards each other, and when Pete returns home, the emotions and tears start to flow.Although very simple story 'The Manxman' stands above rest of the numerous similar melodramas because Hitchcock's masterful direction and he doesn't allow the film to turn into cheese fest.
Why didn't Kate just tell Pete 'I'm in-love with Phil, and you are our good friend'?
This whole thing/story happened because Kate flirted hard with both men but really only fell in-love with one man, Phil, and lead Pete on in the very beginning.
Kate is to blame for all of this - left Pete hurting badly - not to mention Phil who was like a brother to Pete.Good film - I enjoyed this one.8/10.
The acting is very good, particularly from Carl Brisson while Anny Ondra is not just beautiful but brings a lot of heart to her character and Malcolm Keen completes the love triangle with an equally likable performance.
For those of us on this side of the pond who don't know, a Manxman is one who is a resident of the Isle of Man where the main industry is commercial fishing.This was Alfred Hitchcock's last silent feature and it's a triangle story about Philip and Peter and the girl they're both crazy about Anny Ondryx.
Although the film doesn't have the tragic end of The Scarlet Letter, Keen does a Reverend Dimmesdale like mea culpa as the climax.Some of the scenes of the Isle of Man were quite nicely photographed and I'm told not much has changed in the over 80 years since The Manxman came out.
He uses the camera in a masterful fashion.There are five characters listed as main characters, but actually only four are featured much-the romantic triangle and the girl's father.At first, we're led to think the best friend is diabolical, and in later films, he would be depicted that way.
Here, however, he is a very three dimensional character, in love with his best friend's girl.We get very good imagery, very good backdrops, and very good camera work to tell a basic story.
Alfred Hitchcock's final silent film is an adaptation of a then-popular novel about a love triangle.
Pete falls in love with the barkeeper's daughter, pretty Kate (Anny Ondra) and asks Philip to look after her while he goes off to make his fortune.
Philip looks after her alright, enough to be worried at news of Pete's return.The idiot plot, in this instance, is the fact that Pete and Kate aren't exactly lovers even before he leaves; director Alfred Hitchcock clues us in early to the fact Kate wants Philip and vice versa.
Philip himself says something about Pete's "faith in our loyalty," but it seems a thin idea to build a story around.An idiot plot alone isn't enough to condemn a film; looked at rationally it could be said "The Searchers" and Hitchcock's own "Vertigo" have them, too, and I think they're swell anyway.
You can't help noticing the characters acting stupidly when there's nothing much of quality to distract you.The only arresting element to this whole film, other than the fact it represents Hitchcock's final silent feature (he made some good ones, but really needed sound to find himself), is the cinematography by Jack E.
Inn-keeper's daughter Kate is in love with lawyer Phil, but agrees to marry his boyhood friend Pete, who then goes abroad to seek his fortune.
It is a finely wrought melodrama with many effective and moving scenes and is as well made as any of his more characteristic films of the era, but it also illustrates the limitations of silent cinema as a dramatic medium.I haven't read the book on which The Manxman is based, but I suspect its whole thrust is quite different to this movie.Phil loves Kate, but feels marriage to her would damage his legal career.
That said, the film is nicely photographed and the resolution of the main plot is unconventional, to say the least - as the girl (played by the lovely Anny Ondra, who also starred in BLACKMAIL) chooses the company of the scholarly, upper-class lover over her rugged, more handsome husband!.
In his own way, Hitchcock provided an element of suspense to the story, as I was waiting impatiently for Philip (Malcolm Keen) and Kate (Anny Ondra) to come clean with Pete (Carl Brisson) about their feelings for each other.
Didn't people on the Isle of Man talk to each other in the way of gossip that would have been normal anywhere else?So for me, much of the story didn't ring quite true to life, though for a silent film coming up on the last legs of the era, it was a commendable attempt by the famed director.
One goes off to make his fortune, is falsely reported dead, and returns to find his girl in love with his best friend.This is a good solid drama, well photographed and edited, very well directed and well acted.
The story told itself in the visuals.The film was held back a year and released at the end of 1929.Carl Brisson in one of two films made for Hitchcock (the other THE RING) plays the loving, trusting fisherman, Pete, with more naivete and innocence than sometimes seems possible.
Alfred Hitchcock turned to "The Manxman" for his last silent film.
Peter (Carl Brisson) and Philip (Malcolm Keen) are both in love with the same girl, Kate (vivacious Onny Andra) who is a little flirt and can't make her eyes behave.
The conventions of silents like this must have been imported from the stage though, to be sure, Hitchcock's grounding was in film from the beginning.Still it's distracting to see the characters over-do every expression and gesture, as if making sure that no one in the rear of the theater misses the reactions of the live people on stage.Pete Quilliam (Carl Brisson) is the fisherman who loves the daughter (Anny Ondra) of the dour pub owner.
Being a Hitchcock film, the only surprising thing about this love triangle is that it doesn't end in murder.
Hitchcock's last silent film takes place on the Isle of Man. Director Alfred Hitchcock's last silent film features the beautiful and fetching Anny Ondra (born in what is now known as Poland) in a love triangle opposite Carl Brisson and Malcolm Keen.
The story takes place on the Isle of Man, where its residents are referred to as Manx.Pete Quilliam (Brisson) loves Kate Cregeen (Ondra) but her father Caesar (Randle Ayrton) doesn't consider the big galoot worthy given his meager financial position.
Pete's best friend Philip Christian (Keen) also secretly loves Kate, and he's a lawyer destined to become the deemster, aka judge.
When Pete goes off by ship to earn his fortune, Kate and Philip spend time together, but it's not until they learn that he's been killed that they begin their affair.But the news of Pete's death was premature; he returns as promised and the clandestine affair comes to an end.
It's a love triangle movie, really, which puts it firmly in the realm of the melodrama and pretty far from scares and chills.Pete (Carl Brisson) is a down-on-his-luck fisherman.
But soon he and Kate are falling madly in love with each other, which may complicate things when Pete returns. |
tt0088846 | Brazil | The story is set in a dystopian near-future of an indeterminate year of the 21st century in a nameless authoritarian European country during the Christmas season. Terrorist bombings are frequent and the government's war on these enemies of the state has lasted for a few decades. In a government office a man sitting in a room full of teletype machines swats a fly on the ceiling; the fly falls off the ceiling and into one of the teletypes, changing the name on one printout from "Tuttle" to "Buttle."At the Buttle home the family is peacefully trimming their Christmas tree. Men burst into the apartment upstairs and cut a large hole in the floor, dropping down into the Buttle's apartment. After his wife is forced to sign several forms, Buttle is arrested and taken away.Sam Lowry (Jonathan Pryce) is a low-level government employee for the nation's Ministry of Information (MOI), often daydreaming of himself as a winged warrior saving a beautiful maiden. One day he is assigned the task of trying to rectify an error created by a government mishap, causing the arrest and incarceration of a Mr. Harry Buttle instead of a suspected terrorist, Harry Tuttle. His boss, Mr Kurtzmann (Ian Holm), is flustered by the appearance of a compensation check issued to Mrs Buttle for her husband. Sam is asked to transfer the funds directly to Mrs Buttle's bank account. The request is sent back because she doesn't have a bank account. Sam says he'll drive out to her flat and deliver the check in person.When Sam visits Buttle's widow, he finds the woman in shock in her living room. He tries to give her the compensation check but she's too upset and hysterically asks where her husband is.He discovers Jill Layton (Kim Greist), the upstairs neighbor of the Buttles, is the same woman as in his dreams. Jill is trying to help Mrs. Buttle find out what happened to her husband, but she has gotten tired of dealing with the bureaucratic paperwork and the run-around from various departments at MOI, while unbeknownst to her, she is now, in turn, considered a terrorist friend of Tuttle for trying to report the mistake of Buttle's arrest. When Sam tries to approach her, she is very cautious and avoids giving Sam full details, worried the government will track her down.Later that night, Sam comes in contact with the real Harry Tuttle (Robert De Niro), a renegade air conditioning specialist who once worked for the government but left due to the amount of paperwork. Tuttle has come to Sam's flat to deal with his malfunctioning climate control -- Tuttle's covert work is highly illegal and he's is intensely cautious when he enters Sam's flat, having been nearly trapped before. Tuttle helps Sam deal with two government workers, Spoor (Bob Hoskins) and Dowser (Derrick O'Connor), who are taking their time fixing the broken air conditioning in Sam's apartment. When Sam tries to pay Tuttle, the repairman waves off the money saying that Sam had done him a favor by concealing his presence in his apartment when Spoor & Dowser arrived. Tuttle exits flamboyantly, sliding down a nearby cable right after telling Sam "Remember Kid, we're all in this together!"Sam determines the only way to fully learn about Jill is to accept a promotion to "Information Retrieval" where he would have access to her classified records as she is considered a terrorist. He requests the help of his mother Ida (Katherine Helmond), vainly addicted to rejuvenating plastic surgery under the care of cosmetic surgeon Dr. Jaffe (Jim Broadbent), as she has connections to high ranking officers and is able to help her son get the position. His mother is delighted as she used to be frustrated at her son's prior lack of ambition, and the promotion Sam receives is one his mother has previously arranged for him but that Sam had declined before.When same arrives at Information Retrieval, he is treated like a bureaucrat and given his own tiny office in their bleak and cavernous hallways. He soon discovers that he literally shares a desk with the agent next door, Harry Lime (Charles McKeown). Lime has a functioning computer and Sam eventually obtains Jill's records. He leaves to track her down before she gets in trouble. Before he goes to find her, he meets with an old friend of his, Jack Lint (Michael Palin) who, despite his pleasant personality, is actually an agent who tortures and interrogates MOI prisoners. Jack warns Sam not to dig too deeply into the darker affairs of MOI because it can be a danger to Sam as well as Jill.When Sam finds Jill driving a large truck outside the entrance to MOI, he joins her, despite her obvious reluctance. He also notices that she picks up a mysterious package, which he believes is a bomb. While they're out shopping, a bomb goes off in the store and Sam immediately thinks Jill planted it.Sam returns to his flat to find Tuttle waiting outside. Spoor and Dowser are inside, wearing contamination suits amidst a tangle of hanging duct work. Tuttle switches the air couplings in their suits for the apartment's sewage hose and gives Sam a periscope to watch them explode when their suits fill up. After Tuttle leaves, Sam sees Jill standing there. He takes Jill to his mother's home for safety and returns to his office, falsifying her records to make her appear deceased, allowing her to escape the bureaucracy. The two share a romantic night together before Sam is apprehended by the government at gun-point for misusing his position.After being read a long list of charges, Sam is given to Jack Lint to be tortured, as he is now considered part of an assumed terrorist plot including Jill and Tuttle. However, before Jack can begin, Tuttle and other members of the resistance shoot Jack and save Sam, blowing up the Ministry building as they flee in a hail of gunfire. As they try to disappear into the crowds, Tuttle's disappearance is more surreal and mysterious -- littered paperwork that had been lying in the streets suddenly adheres itself to his body. When Jack tries to help him, Tuttle's body has disappeared inside the paper.The scenes become more dream-like as Sam runs to his mother at a funeral. The funeral is described as that of Mrs. Terrain (Barbara Hicks), a friend of his mother's who over the course of the film has suffered increasing "complications" as she has submitted to the "acid treatment" of Dr. Chapman (Jack Purvis), a rival of Dr. Jaffe and whose technique Sam's mother does not hold in high regard. Other than Mrs. Terrain, recently deceased due to her cosmetic surgery gone wrong, Sam's mother, thanks to Dr. Jaffe's repeated surgery, now seems as if she's in her 20s again, looking exactly like Sam's love interest Jill, and is surrounded by a flock of juvenile admirers younger than Sam himself. She refuses to help and, falling into Mrs. Terrain's seemingly bottomless coffin, he then continues to run from the police in streets that more and more resemble the concrete and brick walls of his nightmare daydreams.When Sam finds himself surrounded on three sides by the police and the imaginary monsters of his nightmares, he turns to the only escape way left and climbs up a seemingly insurmountable pile of old flex-ducts such as those running the world of Brazil, and finds sanctuary in a trailer driven by Jill, whereupon the two leave the city together and settle in the countryside, free from their past lives.However, it is quickly revealed all of Sam's adventures of the past few minutes, including the happy ending, are all happening inside Sam's head. In front of the idyllic scene, two faces come into view staring at the camera, that of Jack and of Mr. Helpmann (Peter Vaughan), who as Deputy Minister of the Ministry of Information is the system's highest official we see in the film. What they are looking at, as they now realize, is Sam having become catatonic at Jack's hands. Apparently the whole escape from the Ministry of Information and the scenes afterwards were all part of a dream that Sam had while being tortured. Seeing that Sam is too far gone to reveal any more information, Jack gives up trying to torture Sam further. Sam is left still sitting in his chair with a smile on his face, quietly humming "Brazil" as Jack moves Mr. Helpmann in his wheelchair away from the scene.In an alternate version of the film, subtitled the "Love Conquers All" edition, Jack's dream ends with the idyllic life he's taken up with Jill in the small house in the countryside. | comedy, dark, neo noir, murder, fantasy, thought-provoking, cult, alternate reality, atmospheric, insanity, psychedelic, absurd, satire, humor, sci-fi | train | imdb | A virtual celebration of writer/director Terry Gilliam's singular creative vision and seemingly limitless imagination, Brazil is a unique movie experience.
Like many other dystopian sci-fi films (e.g. Fahrenheit 451, Equilibrium, The Hunger Games), Brazil depicts a totalitarian society, but that's about as far as the similarities with other films go.The whole design of Brazil's crazy world is unlike anything I've ever seen in other movies (with the exception perhaps of those made by the same filmmaker).
Where films with similar themes typically go for a futuristic look that is defined by all the technological advancements the writers and filmmakers can dream of, Terry Gilliam chooses the complete opposite direction.
In that sense, Brazil is mainly a satire (at least that's how I perceive it), and it is often either darkly funny or downright hilarious.There is simply not a dull moment in the film: it's a wild ride that never lets up and almost every image on the screen practically bursts with clever (often hilarious) details; from the way food is served in restaurants to how the benefits of plastic surgery are presented, Gilliam's imagination can only be marveled at.
Nearly twenty years ago, before Terry Gilliam's reputation is what it is today, seeing this in a cinema without knowing ANYTHING about it, it was one of the most unforgettable movie experiences of my life!
The rest of the cast includes an amusing cameo from Robert De Niro, Kim Greist (only her second movie, after 'C.H.U.D.' of all things!) as Pryce's love interest, Python's Michael Palin, and a bunch of excellent Brit character actors - Bob Hoskins, Ian Richardson, Ian Holm, Jim Broadbent, etc.etc.
I have read a lot of understandably negative reviews of the movie 'Brazil.' Brazil(in its proper form) is a long film at well over two hours, it has many cutaways to dream sequences that are only loosely related to the rest of the film, and the narrative story is not always the driving force of the film which many people find confusing.
Brazil is an art film, and don't let anyone tell you otherwise.Sam Lowry(Jonathan Pryce) is our hero, an unambitious bureaucrat within the ranks of the Ministry of Information.
While running an errand for work, Sam comes face to face with a woman who is the very image of the dream girl, and his life is forever changed when he surrenders his tranquil unambitious life in the attempt to pursue the woman.This movie is less about the story than it is about the atmosphere in my opinion.
Terry Gilliam is a visual genius, and this movie marks his peak(so far) in producing a visually stunning film, with due apologies to Adventures of Baron Munchausen and 12 Monkeys which are beautiful in their own rights.
The line between his dreams and his reality blur ever further as he goes deeper and deeper into the government machine to find out who she is.Terry Gilliam once again seems to have spared no expense in making sure every visual element of the world adds up to a cohesive whole which makes you feel as if you're really experiencing the characters' surroundings.
But Gilliam, throughout the last part of the film, continually crushed our naive hopes that somehow we can act out the fantasy that many of us may have, to get away, find the girl of our dreams and live in a trailer in a beautiful setting.Because we have no fear of physical control, we assume that we are free.
His "Brazil" features homages to numerous other films, ranging from "Modern Times" to "The Empire Strikes Back," and its plot is broadly similar to "Nineteen Eighty-Four." Yet the result is intriguingly fresh and creative.The best adjective to describe the movie's tone is "whimsical." It's the type of sci-fi film with an almost childlike fascination with strange sights and happenings.
Unlike the more popular dystopian films of today, you can't rely on theme-heavy dialogue to understand Gilliam's warning to society, you have to sit and absorb the bizarre imagery, seemingly irrelevant dream sequences and comic downplay of dramatic events.
Once you understand why it's there and stop worrying about exactly what it means, the genius becomes clearer.The film stars Jonathan Pryce as Sam Lowry, an unambitious bureaucrat who works for the Ministry of Information in a very mechanical society with an extensive yet inefficient process for bringing criminals, namely terrorists, to justice.
Since everything goes mostly unexplained, this humor compounds the oddities of the film, poking fun at the excessiveness whether it be Sam's mother's face lifts and same surgeries that slowly kill her friend or playing up the dialogue between Sam and other characters such as Tuttle (De Niro) in the midst of an abnormal scenario."Brazil" might not be a science-fiction film for everyone, but it deserves classic status for lovers of the genre.
Like something that was wrenched from the surreal dreams of Salvidore Dali, images in this movie are dark, funny, disturbing, thought-provoking, and profound, all at the same time.
Gillian's neon-soaked world of office-bound worker drones, apathy, and the loss of freedom in the face of a terrorist threat is an almost eerie reflection of the current state of our world - 1984 with its tongue wedged firmly in its cheek.Johnathan Pryce, in a role tellingly written for him, is Sam Lowry, a long-suffering everyman dealing with problems not too dissimilar to our own - unreliable technology, feelings of worthlessness and anonymity, a dead-end job, the desires and demands of his mother.
A chance encounter with the woman in the real world (played by Kim Greist) leads him to attempt to break out of his tedious day-to-day life - but reality proves to be a deadly barrier and his pursuit soon spirals dangerously out of control.As in all the best satires, Gillian's film is less laugh-out-loud funny than it is absurdly tragic, steadily walking the dangerous line between farce and drama that in the hands of a lesser director would have seen the film degenerate into an uncertain mess.
In a futuristic world Sam Lowry (Jonathan Pryce) a gawky bureaucrat clerk gets himself caught in the middle of a revolution all because of an error, where terrorists lead by Harry Tuttle (Robert De Niro) are out to destroy the bureaucratic governing state and also his literally after the girl of his dreams.A totally grim and surreal fantasy is portrayed in co-writer/director Terry Gilliam's film.
The story has it's tense, mysterious and macabre moments that seem to gel perfectly, while the dream sequences that Sam has were simply splendid and very hypnotic and the same goes for the haunting music score that spirals with emotion.The performances were good and quite colourful- but nothing really spectacular, Jonathan Pryce is charming as the love struck Sam; Kim Greist is elegantly mysterious as Jill Layton the girl Sam's after, Robert De Niro as a chirpy plumber/terrorist Tuttle, Bob Hospkins as Spoor the repair man, Katherine Helmond as the obsessive mother of Sam Mrs. Ida Lowry and Ian Holm as the twitchy Mr. M.
Gilliam admits he hadn't actually read 1984 before making it, but the results get remarkably close to the tone and feel of Orwell's novel, with its shabby future-retro technology and terribly polite torturers, while Kim Greist makes a great surrogate Julia to Pryce's Winston Smith.
It's like being stuck on an ornately decorated carnival ride that looks good but leaves the rider nauseated and wanting to get off.The film plods, churning away without subtlety or any lightness of touch, until Gilliam finally (finally!) flips off Hollywood with his big depressing finale.
It seems disjointed and feels bland; the world here doesn't even seem all that interesting (despite good set design, it just doesn't work as well as movies like Dark City or Batman).
The parts that attempt to display just how bureaucracy dominates this world is really do display that; but, I'm sure, on an entirely different level that the film makers intended: they slow down the pace of the movie to a grinding halt and never seem to end.
Brazil is a Hollywoodesque movie in every way with all the "prescribed" car chases, pretty girl loves pretty boy, evil people are really evil from every point of view, characters are caricatures and some torture/shock scenes thrown in the mix.
Terry Gilliam's best movie, in my opinion, is a warped 1984, with Sam Lowry as a futuristic librarian trapped in the bureaucratic system.
Swirling together ideas from such writers as Kalfa and Orwell and artists like Escher, Terry Gilliam's 1985 BRAZIL is visually stunning--and so disorienting, disturbing, and disconcerting that Universal refused to release it.
The film did not really come into its own until it began to reach the home market, and a remarkably fine DVD from Criterion is the result.Some people describe BRAZIL as science-fiction; some describe it as future prophecy; in actual fact it is a bit of both and lots of other things as well.
Whatever the case, it presents us with a society collapsing under the weight of its own technology, a world in which bureaucracy has run amok, terrorists challenge the status quo, and the general public is largely indifferent to the whole thing as long as it doesn't affect them personally.When a bug is splattered inside a computer, it results in the wrongful arrest of an innocent man--and through a series of odd circumstances plunges a low level and unassuming government employee into a series of romantic but ultimately nightmarish adventures expose the truly sinister nature of the ruling government, adventures that range from bombings to hideous torture, from beautiful surfaces to grotesque underpinnings.The film has a unique look, dancing between dream states and the stark world against which they occur; it is often beautiful, but it is all a bit off-kilter, and as the film progresses that off-kilter edge grows and grows into a profound paranoia all the more unnerving due to the visual beauty of the film.
I felt confused for the first half-hour as to why so many film-goers loved it, because as far as I could tell, it was another crazy Gilliam cartoon with an established script and a wide-angle lens to match.Slowly, we go into the psyche of the plot and characters, and a glowing admiration grows in the mind, which grows on the verge of exploding on the film's final frames (assuming you're watching the director's edition of the film).In England, sometime in the future, Sam Lowry works in a hustle and bustle office and is constantly visited by strange fairy-tale dreams involving an angelic woman whom he doesn't know.
This troubles me greatly.Terry Gilliam's 1985 dystopian classic is beautifully realised, often hilarious and utterly horrifying, not least because it has turned out to be so prophetic.Fundamentally - and very coherently - this is a film about systems breaking down: A dead fly drops into a printer, causing a misprint which leads to a man's mistaken death by torture; heating systems break down, and cannot be repaired because the Central Repairs support system is overstretched; the ubiquitous, massively complex systems of machines, presumably designed to make life easier, invariably go wrong when one or another link breaks down.It is also a film about systems breaking down humanity.
Our main protagonist, the affable dreamer Sam Lowry (Jonathan Pryce), is bent on using his access to the Ministry of Information to find out more about the woman he thinks he loves, Jill Layton (Kim Greist), a quest which is complicated by the fact that she is considered an enemy of the state thanks to her efforts to find out what happened to her neighbour, the unfortunate victim of a clerical error.
The closest thing we have to a hero in this story is Harry Tuttle, a renegade heating engineer played with much panache and very little restraint by Robert De Niro.This was Gilliam's third non-Python feature, after Jabberwocky and Time Bandits, and it maintains many of the comedy tropes of his earlier work.
While any budding critic can reel off the Orwellian influences in Brazil, I felt it may be more interesting to consider the divergences and attempts by director Terry Gilliam to distance himself from Orwell's masterpiece.Brazil is a much more visually arresting film then 1984.
Its rife with dark humor and takes an already serious subject matter seem superfluous and disjointed in places, almost like a dream (which is in effect what most of the film could be interpreted as) - however it works and Brazil uses its completely unique retro future look combining it with a quirky self depreciating humor that keeps the viewer entertained and engrossed.
"Brazil" is easily one of my favorite films of all time, enough that I bought the sixty-dollar Criterion Collection version of the film, with its 'final cut' of Gilliam's masterpiece at its proper running time at 2 hrs and 22 minutes.It's the story of one rather passive, meek man named Sam Lowry whose dreams literally soar far beyond the dull and dreary world he lives in, and his struggle to realize a part of that dream.Simply put, Brazil has a great deal of everything interesting in movies.
It's film as dream and nightmare, surreal yet somehow plausible.Where "Brazil" really shines is in the quirky, savagely satirical details, like when you see a parade of the "Consumers for Christ", or the way everyone refuses to use the word "dead", preferring to resort to an endless stream of politically correct synonyms.
When someone says to you that David Lynch makes movies about his dreams on film, please pass them a copy of 'Brazil'.
I love Terry Gilliam's films: the stories, the visuals, the acid and cynic humor...
He uses humor to make an extremely acid critic and it becomes obvious that what is described in Brazil is not THAT far from our own society, that we are only a few steps away from a manipulative police state (hey, and America's war on terror had not even started!)The visuals in this film, as always with Terry Gilliam are stunning.
It's a bleak, dystopian love story partly about the dangers of Totalitarianism, much in the style of Orwell's classic 1984 novel, so if you're not a fan of that sort of thing, you may not like it.The film is co written, and incredibly well directed by my favorite director, the aforementioned Terry Gilliam, and despite his other fantastic films(Twelve Monkeys, Fisher King, ETC.) I consider it his magnum opus.
The film is the story of Sam Lowry, who has a dull life working for the Ministry of Information until it changes through a strange chain of events.
Here Jonathan Pryce plays Sam Lowry, and with the help of a great cast and Gilliam's oversee, he plays someone who wishes to escape from the totalitarian society that he works for.Each seen is watchable with the dazzling effects and sets and parts really do have you laughing and getting scared.
Gilliam blends some python-esque notes with many Orwellian themes, most specifically from the novel "1984." Taking place "somewhere in the 20th century", Brazil tells the story of a man who is caught in the chaos of suffocating bureaucracy, and dreams of literally flying away (a la a particular sequence from the Fellini film "8 1/2") The story begins with the main character involved in a messy situation involving terrorists and a woman whom he can't stop dreaming about.
I'm happy to have the blu-ray version, because it's the first time I've seen the "US edit" since originally seeing the film in a theater on a college campus shortly after it first came out.I can't really write an unbiased review of the movie, because from that first viewing I became obsessed with both Brazil and Terry Gilliam's films in general.
And the background plot of a bloated government bureaucracy turning the country into a surveillance state in response to a perceived terrorist threat - I know it was based on things happening in England at the time, but it's like Gilliam had a crystal ball and looked 20 years into the United States' future.
Not that I mind watching movies which demand the concentration of the viewer - in fact, I rather like films that are challenging and thought-provoking - but Brazil is extraordinarily hard to follow, even for those who give it the level of attention it demands.
I think that "Brazil" isn't a movie about the fight against totalitarianism - it's much more about the dreams, the visions, the flights of imagination...
The film Brazil is about a young man named Sam Lowry(Johnathan Pryce) who works a desk job in a government bureaucracy.
Set in the unglamorous future, "Brazil" follows the the path of an average guy named Sam Lowry (played by British actor Jonathan Pryce) who like the movie is appalled by the world around him.
Gilliam's directing was precise and invigorating, and the lesser credited stuff like sets, costumes and cinematography are some of the best you'll see.Overall, this movie comes off as a film that will make you think.
While it can be argued that this is a very depressing movie, and seeing as how Universal made Terry Gilliam make a more happy ending for it, the original ending was in its own way a happy ending.Johnothan Pryce plays a man who is constantly sub-merged in society's chaos, but his only way to escape is through his mind, where he builds a world where he is a hero and is in love with a beautiful girl.
Some cast members loved the script so much they didn't care what role they would be given just as long as they were in the film.The Director of Brazil is Terry Gilliam.
Gilliam is intelligent in giving Brazil a dark claustrophobic look as this is not a light story, but one filled with conflicts that Lowry must overcome in order to find his dream girl and leave his paperwork-obsessed world forever.
George Orwell's estate refused Terry Gilliam the right to call this film "1984 1/2", which is a real shame, because nothing could more aptly describe "Brazil"'s grimly humorous take on a dystopian future Britain. |
tt0104389 | The Hand That Rocks the Cradle | Claire Bartel (Annabella Sciorra), her husband Michael (Matt McCoy), and their 6-year-old daughter Emma (Madeline Zima) live in a large house in Seattle, Washington. One sunny morning, there is a knock at the door. No one answers the door, because they're so busy that they don't hear the knocking. A few seconds later, Claire notices a black man at the kitchen window. This is the man who was knocking on the door, and Claire has been expecting him. The man is Solomon (Ernie Hudson), a mentally handicapped man who has been sent over by the Better Day Society, which finds jobs for the mentally challenged. Solomon was sent because Claire had asked for someone who could build a white picket fence for the house, and Solomon is the man for the job.Later that same day, Claire, who is three months pregnant, keeps an appointment with her new OB/GYN, Dr. Victor Mott (John de Lancie). This is Claire's first visit with Dr. Mott, because the doctor who delivered Emma has retired. Claire is called to an examination room, where a nurse tells her to take everything off and put on a robe that is opened in the front. After Claire does this, Dr. Mott enters the room and introduces himself to Claire, and he acknowledges that Claire's medical record says that she has chronic asthma. Dr. Mott starts the exam, doing the breast exam first, and when Dr. Mott starts doing the pelvic exam, he starts touching Claire in a way that she doesn't like. Frightened by that, a wheezing Claire gets out of there, and uses her inhalant to help her breathe better. (Note: Claire's severe chronic ashma is triggered by the slightest stress throughout the film). Claire then goes home and takes a shower, then she tells Michael what Dr. Mott did.Michael suggests filing a complaint against Dr. Mott, so Claire tells the state medical board what Dr. Mott did, and a week after Claire's visit with Dr. Mott, Dr. Mott is brought up on charges. By this time, four more women have accused Dr. Mott of the same thing he did to Claire.A few hours after Dr. Mott is brought up on charges, he grabs a gun at his home, puts the end of the barrel to his head, and pulls the trigger. On the next day, Claire and Michael read about Dr. Mott's suicide in the newspaper.Nine days later, in a meeting with lawyers, Dr. Mott's wife (Rebecca De Mornay) is told that his assets have been frozen by the state, which is normal procedure if the estate is probably going to be sued by a number of sources. Mrs. Mott, who is seven months pregnant, is free to stay in the Mott house until she gives birth to her baby, but that she may be made liable in the lawsuits. On her way out of the meeting, Mrs. Mott collapses and starts bleeding heavily. Mrs. Mott is rushed to the hospital, where she has a miscarriage. The baby was a boy. After an emergency hysterectomy, Mrs. Mott is in her hospital room, and she is watching the TV news, which says that Claire made the first accusation against Dr. Mott. Mrs. Mott stares at Claire's picture on the TV with an enraged look on her face. Mrs. Mott believes Claire is responsible for the deaths of Dr. Mott and her baby.Six months later. Solomon is still doing jobs for the Bartels, and he has become a friend to them. By this time, Claire has given birth to her baby, a boy named Joe (Eric Melander, Jennifer Melander, and Ashley Melander). The family's botanical garden is replacing its small greenhouses in the back yard, and Claire decides to see if she can get one of the frames so she can have her own small greenhouse. Michael wonders if Claire has been taking on too much lately, and he talks about hiring a nanny, a thought that Claire is not comfortable with.A few days later, Claire walks Emma outside and watches Emma get on a Puget Sound Elementary School bus. A few seconds after pulling away, the bus stops, and Mrs. Mott steps out from in front of it. Claire hurries to the bus and gives Emma a jacket that she forgot. Mrs. Mott asks Claire where the Bartels live, and Claire introduces herself, unaware that she's talking to Dr. Mott's widow. Mrs. Mott introduces herself as 'Peyton Flanders', and asks about the nanny position that the Bartels have offered.In the house, Claire interviews Peyton, then takes her upstairs to meet Joe, but before they get to the nursery, Solomon calls Claire outside. Peyton goes inside the nursery by herself, and meets Joe for the first time.Claire brings Solomon upstairs and introduces him to Peyton. After that, Solomon goes back downstairs. Claire then starts breast feeding Joe, and she invites Peyton to dinner. Later, when Peyton returns to the house for dinner, and she asks what Michael does for a living, Claire says that Michael is a genetic engineer at a place called Biotechnics. After the dinner, Claire and Michael decide to hire Peyton.Over the next few weeks, Peyton moves into a room in the basement, and spends some time settling in. One night, Peyton's alarm clock goes off at 3:00 am, and she goes to Joe's room, puts a pillow in Joe's crib, and starts breast-feeding Joe.On the next day, preparations for the new greenhouse continue. That night, Michael and Claire's friends Marlene Craven (Julianne Moore) and her husband Marty (Kevin Skousen) come over, because they'll all four be going out for dinner while Peyton stays home with Emma and Joe.After everyone leaves, Emma tells Peyton that before Michael met Claire, Marlene was Michael's girlfriend. Marlene and Michael grew up with each other. Emma also tells Peyton that at school, a bully named Roth (Justin Zaremby) has been terrorizing her.Later, Peyton breast-feeds Joe again. By this time, Joe is three months old. On the next day, Peyton heads to the school during recess and asks Emma which kid Roth is. Emma points to a boy in a blue and white shirt.
Peyton, angry at Roth for terrorizing Emma, walks up to Roth and grabs him by the arm, pulling him into a well-deserved and very painful hold. While Peyton has Roth in this painful hold, Peyton furiously warns Roth that she'll tear his head off if he ever messes with Emma again. This has the rest of the kids laughing at Roth for a change, instead of Roth laughing at them all the time.On the next morning, Claire tries to breast feed Joe, but Joe resists, because he has secretly become used to Peyton breast-feeding him. As Michael goes to work, leaving a proposal for Claire to drop off at the Federal Express building, the greenhouse is delivered. Claire, Peyton, and Joe head to the botanical garden, where Claire has been a volunteer for about seven years. After talking to Clair, Peyton heads to the bathroom, gets out the proposal, which she secretly stole from Claire, and tears it up, then she grabs a plunger and angrily starts beating up the walls of the stall she's in.At the federal express building, they won't let Claire ship out what she thinks is the proposal. Stressed out, Claire is wheezing from another asthma attack as she returns to the car, and she tells Peyton that the proposal is missing from its pouch. Claire uses her inhalant, and that night, she tells Michael that the proposal disappeared. On the next morning, Claire tells Michael that Joe has, for the past couple of weeks, been refusing to breast feed, but the doctor said Joe will be okay as long as Joe gains weight.Peyton shows up at Michael's office while he's at work, and suggests that they throw Claire a surprise party for her birthday. Michael agrees, and he also likes the suggestion to let Marlene help.Later that day, Solomon is painting when he notices that Peyton is breast-feeding Joe. Peyton notices Solomon, and Solomon climbs down his ladder. Later, the school bus drops Emma off at the house, and after Emma goes inside, Peyton walks outside and confronts Solomon. Peyton slaps Solomon, and then she warns him not to mess with her or tell anyone what he saw. Solomon tells Peyton that he won't let her hurt the Bartels.A few days later, the Bartels surprise Solomon with a new bicycle. While Peyton and Claire are doing laundry, Peyton tells Claire that Solomon has been inappropriately touching Emma, but what Claire doesn't know is that Peyton is lying... Peyton wants Solomon out of the way because, despite being retarded, he knows too much.That night, Claire talks to Emma about Solomon to stay away from him. On the next day, Peyton tricks Claire into searching Solomon's toolbox for batteries, and Claire sees a pair of Emma's underwear in Solomon's toolbox. What Claire doesn't know is that Peyton planted the underwear in the toolbox. Solomon walks in and Claire hits him, starts wheezing, grabs Emma, and goes inside. Peyton gives Solomon an evil look as if to say that Solomon shouldn't have messed with her.Solomon is fired despite his protests of innocence and claims that Peyton set him up. Emma is devastated, because she knows Solomon never did anything to her, except be her friend. Claire refuses to belive Emma that Solomon abused her in any way. It clearly becomes obvious that Peyton is turning Emma against Claire, and Peyton, of course, is the only one who knows this. A few days later, Claire and Peyton take some boxes to the attic, where Claire mentions that Emma has been angry and guarded around Claire lately.A few days later, Peyton suggests to Michael that they prepare Claire's surprise birthday party. Later, Peyton tells Claire that she wonders why Michael is not home from work yet. What Claire doesn't know is that Michael and Marlene are working on plans for the birthday party. When Michael gets home, Claire grills him with a lot of questions. That night, Michael hears a noise and grabs a baseball bat, and then he goes to the kitchen where he sees Peyton picking ice up off the floor because she dropped an ice tray. Michael goes back to bed.On Claire's birthday, at Auditorium Cleaners, a dry-cleaning business, Claire finds evidence that leads her to go home and confront Michael, and she accuses Michael of having an affair with Marlene, unaware that Peyton planted the evidence. When Claire walks into the living room, she sees people assembled for the surprise birthday party, and Claire realizes that she was wrong to accuse Michael of cheating. Claire feels so guilty about the accusation, that she can't face Marlene, who overheard the accusation. Claire goes upstairs, where she breaks down in Michael's arms.Claire says that so many things have gone wrong since they hired Peyton, who overhears them discussing going away for a few days. A few hours later, at 4:45 am, Peyton gets up and rigs a booby trap the greenhouse to kill Claire by showering Claire with glass the next time Claire walks into the greenhouse.A few hours later, at Marlene's office, she notices something suspicious in a picture of Dr. Mott's house, which hasn't been sold. At the same time, Claire heads to the botanical garden, and Marlene looks over some back issues of a newspaper, and gets evidence that Peyton is Dr. Mott's widow.Marlene heads straight to the Bartel house with the intention of telling Claire what she has discovered. At the house, Marlene angrily wants to know where Claire is. Aware that Marlene on to her, Peyton tells Marlene that Claire is in the greenhouse, which is not true. Marlene goes out back to the greenhouse, where the booby trap causes the overhead frames to close shut which triggers a shower of glass that kills Marlene. After panicing for a minute over what to do next, Peyton then empties Claire's inhaler, so Claire won't recover from her next asthma attack.Later, Claire arrives home from the gardens while Peyton has Joe out for a walk. Claire goes to the greenhouse and sees Marlene's bloody body covered with glass impailed to her body. As expected, the sight causes Claire to have another severe asthma attack, which is the reason why Peyton emptied Claire's inhaler and left Marlene's body for Claire to see since sudden stress triggers Claire's asthma. When Claire goes inside, she tries to use her inhaler, which is useless because it's empty, and Claire grabs the phone and calls for help, then she collapses on the front porch. Claire is rushed to the hospital, and Marlene's body is removed from the greenhouse. At his apartment, Solomon is worried about the Bartels. At home, Peyton comes on to Michael, who turns her down.A few days later, Claire comes home from the hospital. In Joe's room, Claire notices that Peyton has put up some wall border with turtle designs on it. While going through some clothes in a hamper, Claire finds a piece of paper that says that Marlene called just before she was killed.Claire heads to Marlene's office, where she sees the picture of Dr. Mott's house. Claire then goes to Dr. Mott's house, where she sees the same wall border that's in Joe's room, with the turtle designs on it. It is where wher Claire sees a wedding photo of Dr. Mott with Peyton as his bride. Claire goes home, where she confronts Peyton, and she immediately punches Peyton in the face as hard as she can. Michael runs in after hearing the comotion where Claire tells him that Peyton is Dr. Mott's widow.With the gig up, Peyton finally reveals her true idenity ('Peyton Flanders' is actually her maiden name) and confesses that she set everything up to get hired as the nanny because wants revenge on Claire, because Peyton believes Claire is responsible for Dr. Mott's suicide and Peyton's miscarriage by reporting his sexual abuse of her. Peyton wants Claire to know how devastated this all made her feel, so Peyton has been trying to manipulate and take Michael, Emma, and Joe away from Claire so Peyton can have a family and leave Claire with nothing. Claire argues that Peyton has nobody to blame but her late unethical husband for sexually abusing Claire and all his other female patients that has led to all this in the first place. But the cleary warped Peyton continues to blame Claire for her husband's sucide and her miscarrage. When Michael asks Peyton what she would have done after suspecting or figuring out that her own husband was sexualy abusing his patients, Peyton replies that she would have protected her husband... clearly not caring about his crimes.Claire and Michael fire Peyton, and they force her to get out of the house immediately. After Peyton leaves, Claire then tells Michael to call the police, because she realizes that Peyton may have rigged the greenhouse to kill her instead of Marlene. Michael tells Claire to get Emma and Joe ready so the four of them can go to a hotel until Peyton is found. Michael apologizes to Claire about everything that has happened and how Peyton so easily fooled all of them. Michael even says that he even feels a little bit sorry for Peyton for the shock and stress of discovering her late husband's crimes and his suicide which has led to her miscarrage and her sanity breaking. Claire tells Michael that she thinks Peyton Mott was already insane and dangerously disturbed long before she ever met Dr. Mott because her indifference to her late husband's crimes suggests life-long untreated psychotic behavior.That same night, before they leave, Michael talks to the police on the phone to report Peyton and about the accusations of Marlene's death. After hanging up, Michael hears a noise coming from the basement.
Michael goes downstairs and turns off Peyton's alarm clock, which is what was making the noise. When Michael reaches the top of the stairs on his way out of the basement, Peyton appears and hits Michael with a shovel, causing Michael to fall over the guardrail and land on the concrete floor below.Claire, who is upstairs with Emma, hears the noise of Peyton's attack on Michael. Claire goes out of the room and has Emma lock the room's door. Claire goes to the basement, where she finds Michael. Michael, who now has two broken legs, convinces Claire that he's okay, and then he tells Claire that Peyton is back in the house. Michael also tells Claire to call the police.Emma unlocks the door to the room she's in. Claire goes to the kitchen and picks up the phone. That's when Peyton appears and starts swinging the shovel at Claire. On the 8th swing, Peyton hits Claire on the head and knocks Claire out cold. Peyton goes upstairs and asks Emma where Joe is, because Peyton plans to leave town and take Emma and Joe with her. Emma points to Joe's room. Peyton goes inside of Joe's room, but doesn't see Joe. Thats when Emma shuts the room's door and locks it, trapping Peyton in the room. Emma then grabs Joe, and Peyton grabs a fireplace poker and uses it to break out of the room.Still carrying the poker, Peyton looks for Emma and Joe. Claire wakes up from being out cold. Peyton goes to the attic, where she sees Joe on a couch, and Solomon enters the attic through a window and grabs Joe to protect Joe from Peyton. Claire enters the attic with a large knife and attacks. Peyton swings the poker and knocks the knife out of Claire's hand, then she knocks Claire to the floor, and Claire starts wheezing from another ashma attack.Peyton angrily tells Solomon to hand the baby to her, but Solomon refuses. Peyton raises the poker to hit Solomon, and before Peyton can hit Solomon, Claire charges forward and slams Peyton against a wall and knocks Peyton to the floor, then slams Peyton's head against the floor two times. Peyton kicks Claire aside and grabs the poker, and just as Peyton is about to hit Claire with the poker, Solomon grabs Peyton's arm to stop her. Peyton pulls her arm free and hits Solomon two times with the poker. Claire charges forward again, and this time, she shoves Peyton through the attic window. Peyton falls downward, and she lands on the white picket fence below where she gets impaled on the wooden slat, killing her instantly.After the police arrive and remove Peyton's dead body, Claire and Michael welcome Solomon back into their lives. | revenge, mystery, neo noir, murder, haunting | train | imdb | DeMornay is so effective in her role you just can't wait to see her exposed for who she is and justice done to her.I did think Sciorra's character would have needed more to go on to come to the right conclusion near the end, but, usually every film has some question marks regarding credibility.
None of the supporting players, with the exception of JULIANNE MOORE, have become household names but they're all quite effective.The ending may be somewhat predictable--and most welcome when it finally comes--but it's still stylishly done and a satisfying conclusion to a tale of household terror when a nanny's rage goes amok because of an incident in her past involving a woman whom she perceives as ruining her husband's life.
Mrs. Moss (Rebecca De Mornay) seeks revenge on Claire Bartel (Annabella Sciorra) for reporting her husband Dr. Moss for sexual harassment, which lead to the doctor's suicide and precipitating Moss' miscarriage.
the hand that rocks the cradle was a very gripping psychological thriller, there is hardly any action or violence in the movie till the very end.
the suspense and the thrills are at a very psychological level and this is what makes this movie rise above the ordinary, rebecca de mornay as the psychologically imbalanced nanny is terrific.
You have a good typical American Family made of a handsome blue-eyed scientist with a sexy beard, played by an actor whose fame didn't rise much since the film, a frail devoted asthmatic housewife who looks like the twin sister of Talia Shire with a nicer hairdo, played by Annabella Sciorra, and a smart little girl (Zima), that's for the initial picture, and this happy family is looking for a nanny to take care of their newborn son and brother, so that Claire (the wife) can take care of a greenhouse project.
but there's more spicy elements about this family, and it's all wrapped up in the first 15 minutes, like a script school-case.During a visit, Claire was victim of sexual abuse from her gynecologist, she sued him, other mothers complained, he killed himself, his wife played by Rebecca De Mornay didn't inherit the money and what's more, she has a miscarriage in the process, and become permanently sterile.
But let's just say that, given how these tricks work, and how efficient they are in their frustrating effects, I accept them for the sake of what I expect from a B-movie thriller.Still, there are three things I can't really forgive and that could've been easily avoided, Peyton could have faked a resume, after all the troubles that affected Claire's family, they would take some precautions and not let any stranger entering their world, just like that.
"The Hand that Rocks the Cradle" actually creates a greater ambiguity as the invader (Peyton) has even more reason for her actions (and our sympathy) than the father in "Straw Dogs".Plus the director takes great pains to portray Claire and her husband unsympathetically.
The Hand That Rocks Cradle is a very mediocre movie with a promising storyline that just ends up not being very interesting and an uninspired cast.The movie is considered a thriller,but there wasn't one time in this film that I felt in anyway thrilled or excited by what was going on,at times when things did get dramatic,it was just too predictable to feel any thrills.Rebecca De Mornay delivers an interesting performance and she is certainly the movies highlight,but it would have been more enjoyable if there was a bit of mystery behind her character instead of spoon feeding the audience every single thing she does.The Hand That Rocks The Cradle is undeniably boring and filled with plot holes,I think everyone would be better off avoiding this one.
A doctors wife goes looking for revenge after her husband commits suicide amid accusations of abuse from some of his patients.Best Performance: Rebecca De Mornay Worst Performance: Annabella Sciorra.
Well, not that many but still.This is a mainstream movie with a plot that has been used several times on the b-industry ("Friend Of The Family II" for example).The plot is simple but works and it's very well covered by a great cast lead by Rebecca DE Mornay who delivers a psychotic but believable performance.
The rest of the cast is also great and makes you care about them.Well, everything becomes really ugly when De Mornay's character feels left out of the family where she worked for; suddenly she starts killing everyone on her way and even gets a worker of trust fired because of her lies.
As she is recovering in the hospital, she sees a news report featuring Claire Bartel - 6 months later she assumes a new identity and becomes the Bartel's new nanny as she begins her elaborate plan for revenge.This was such a well crafted thriller with excellent performances - especially by Rebecca De Mornay as the vengeful widow and Ernie Hudson as Solomon, the mentally challenged worker they've hired to do projects around the house.
The hand that rocks the cradle is a really entertaining 1990s thriller starring Rebecca De Mornay from risky business.
The Hand That Rocks The Cradle is a prime casing point; Rebecca De Mornay, as the 'nanny from hell' "Peyton Flanders", is chilling, seductive, and simply stunning, as she manipulates her way through the Bartel household, as well as us, the audience.I think the the film is great for testing our allegiance to the family themselves; even though we constantly feel anxious for their safety, and are aligned as to the tragedies that befall them, for which we can only sit back and look on in horror, there's also an underlying morbid desire to see "Peyton" win, which is exemplified by De Mornay's bewitchingly sultry performance, and her unwavering determination to get revenge.As for the rest of the essentially B-list cast, there's winning performances all round, with special mention to Ernie Hudson as the family's intellectually disabled handyman, who displays great warmth and emotional depth to his role, and to the Bartel family (Annabella Sciorra, Matt McCoy, Madeline Zima) themselves; each actor delivering a compellingly real profoundness to their individual roles, which goes a long way in making them much more compassionate, and increasing our allegiance with them.
Indeed, it's that allegiance to the family which helps in papering over any predictability or cheesiness in the film, as despite our initial morbid desire to see "Peyton" win, it's that sympathetic but not overtly sentimental view of the Bartels which means, in this movie at least, that the audience also naturally want the typical happy ending that we've come to expect from Hollywood.It's Hollywood's loss that they've never fully tapped into De Mornay's clear talent and charisma though!
She sure does make an impact here, and her performance etches itself into the memory.Going along at a good steady pace, which builds to an exciting climax, director Cliff Hanson (The River Edge, L.A Confidential, 8 Mile) has crafted yet another witty, thrilling, and inspired piece, which re-invents the whole 'never let strangers into your house' premise with real bite, so if it's a tense, unnerving, but very fun late-night thriller you're looking for, look no further!.
Annabella Sciorra, Rebecca De Mornay, Ernie Hudson, Julianne Moore and others make this movie unforgettable.
There is suspense in a few scenes and my only complaint is the way the ending for these thriller movies work like Fatal Attraction, Single White Female.
However the Bartels, Clare and Michael (Matt Mccoy) laughingly fall for the lies of Peyton despite the fact that she isn't whom she claims to be but then again the Bartel family is such a naive family that they are easily pluckings for Peyton's revenge.For instance, Peyton is hired to be the "nanny" even though, she admits she wasn't sent by a nanny agency , she doesn't have clear cut references, and Marlena Craven (Clare's friend) doesn't like her one bit.That about sums the movie itself in a way.
Hand is a movie that holds so rigidly to the Suspense-Thriller formula that I was able to tell what was going to happen in 90% of the film's scenes from the first 10 seconds.
it is only a matter of time before she becomes dangerous.This is a solid thriller, largely thanks to Rebecca De Mornay's performance as Peyton; she is both believable as she befriends the family and when she shows flashes of violence.
When Claire and Michael Bartel (Annabella Sciorra and Matt McCoy) hire Peyton Flanders (Rebecca De Mornay) to help look after their newborn son, they're blissfully unaware that the woman is actually Mrs. Mott, the wife of the gynaecologist against whom Claire filed a sexual misconduct complaint, driving the man to suicide.
Having lost her husband, her home, and her unborn child (she suffered a miscarriage as a result of shock), mad Mrs. Mott is determined to make life hell for Claire and her family.Skilfully told by director Curtis Hanson (L.A. Confidential), with a truly chilling turn by De Mornay, what might easily have been a forgettable formulaic piece of trash is actually a tense exercise in suspense, Mott's damaged psyche becoming more and more apparent as time goes on.
It goes without saying that she is ultimately stopped before achieving her goal, but the ride is a lot of fun, with the nasty nanny sending suspicious simpleton handyman Solomon (Ernie Hudson) packing, turning Claire's daughter Emma (Madeline Zima) against her mother, causing Claire to suspect Michael of adultery, and bumping off inquisitive family friend Marlene (Julianne Moore).To be honest, I initially felt a bit sorry for Mrs. Mott - after all, she lost everything she had through no fault of her own - but by the time Claire has her inevitable showdown with the vengeful woman, I was baying for blood, desperate to see the loony lady get her comeuppance.
The Hand That Rocks The Cradle (a great title) is another Fatal Attraction, Single White Female, etc, kind of film/thriller, but what's so good here, is the believable revenge scenario, that really follows through, with good planning in it's catalyst, and acting talent, De Mornay, our new revenge driven femme fatale, proves she can play bad, good.
A revenge thriller where an insane woman tries to take over another woman's family whom she think is responsible for the tragedy happens to her, a slightly less-creepy version of CAPE FEAR (1991, 5/10) or another FATAL ATTRACTION (1987, 6/10) if the adultery back story is supplanted by a medical dissension, orchestrated by the future Oscar-nominated director Curtis Hanson (for L.A. CONFIDENTIAL 1997, 9/10), this 20-year-old genre feature has not diminished too much traction thanks to a hysterically strong-armed performance from Rebecca De Mornay.
Until then the film's main course unveils, from a conspicuous strangers to the live-in nanny, De Mornay's revengeful widow slowly but astutely erodes the harmony of the family, alienates the mother-children bond (by feeding the new-born baby with her own milk), seduces the patriarch (which doesn't work out owing to the father's credibility of marital loyalty, what a miracle!), murders her best friend who unluckily discovers her true identity, frames the devoted black man and sabotages the asthma medicine, until the climax comes, it's a dead-or-alive war between two women, everything is executed in a compelling dexterity.
"The Hand that Rocks the Cradle" is one of the latter.The Bartels, Claire (Annabella Sciorra) and Michael (Matt McCoy) are welcoming another member to their family.
Rebecca De Mornay (as the doctor's widow) assumes a squeaky-clean persona and effortlessly gets a job in Sciorra and hubby Matt McCoy's home as nanny to their new baby.
It's hard to believe the director of this faltering addition to Hollywood's yuppies-in-peril cycle of the early 1990s has gone on to make such outstanding films as 'L.A. Confidential' and 'Wonder Boys.' To be fair, the fault lies mainly with the screenplay a textbook working of an elaborate revenge plot which tries to exploit a whole range of middle-class anxieties: molesting doctors, black burglars, lurking pedophiles, old friends who want to steal your husband and, of course, nannies who want to take over your life.
Rebecca Demornay who would have thought she could play someone so creepy,, I really liked her performance in this movie,, she plays a nanny who has a lot of deep dark secrets that she doesn't want getting out of her closet any time soon,, Annabella Sciori plays the little miss innocent wife in the picture,, our nanny goes after her with a vengeance.
After the woman, Claire Bartel (Annabella Sciorra) has her baby, a new nanny comes around.
And not just good, she is so scary and so convincing that you will question every person you let into your house.De Mornay has created one of the finest female villains in cinematic history with her portrayal as Mrs Mott, a woman who has lost everything and has one thing on her mind, revenge.
There are a couple of scenes which are questionable but the majority is dramatic excellence cemented firmly to the genre.Slightly controversial with its issues regarding doctors and upbringing, 'Hand that rocks the cradle' is far from entertainment.This is a finally directed film with excitement and drama running all the way through and one of the finest female villains in the drama..
But it's a great revenge.The cast is perfect, with Annabella Sciorra as Claire, Matt McCoy as Michael, Rebecca De Mornay as Peyton, Julianne Moore as Marlene, and a great Madeline Zima as Emma.You want a great thriller about a nanny from hell?
Claire (Annabella Sciorra) and her husband (Matt McCoy) hire Peyton Flanders (Rebecca De Mornay) as their new nanny; she settles in quickly and gains the couples trust; and that's when she begins to act out her hidden agenda, becoming the nanny from hell.Rebecca De Mourney has to take tremendous acclaim for her performance in this movie, she captures the evil intent of her character superbly; selling her persona to the audience with relative ease.
Everyone else in the movie performs well enough without ever excelling, although Ernie Hudson (Soloman) does play the simple minded handyman with a nice degree of innocence and frailty.The tension is sustained well throughout, and the direction is effective without trying to be flashy or over-complex.This is definitely worth a viewing, it's a very good thriller.
The lead actress' in the movie are, Rebecca De Mornay and Annabella Sciorra who both play there roles really well, especially De Mornay who does a great job at playing the psycho b*tch Peyton.The Hand That Rocks The Cradle is a very well made psychological thriller which even though there is not loads of suspense, is exciting all the way through.
Curtis Hanson directed this thriller that stars Annabella Sciorra as Claire Bartel, a seemingly happy wife and mother who welcomes into her home a new nanny/housekeeper named Peyton Flanders(played by Rebecca De Mornay) who is very helpful and beautiful, but is in reality a grieving mother and widow out for revenge against Claire because her testimony against her husband(a doctor) for criminal misconduct led to his death and her miscarriage, and Claire must be made to pay, so Peyton sets out to steal the affections of Claire's husband and children away from her, then destroy her...
Hand That Rocks the Cradle, The (1992) *** (out of 4) A well-made but at times very unsettling thriller about a woman (Rebecca DeMornay) who poses as a nanny so that she can seek revenge against the woman (Annabella Sciorra) who turned her doctor-husband in for sexual misconduct, which led to his suicide and her miscarriage.
Annabella Sciorra, Matt McCoy, & a pre-star Julianne Moore are good, but Rebecca De Mornay & Ernie Hudson steal the show.
At times it might have been a little hard to handle her because of the such evilness, but it was good to see this nanny-gone-wrong character.I liked the plot very much.
Good thriller that tells the story of a vengeful woman who, by taking the position of nanny, seeks revenge on the family she holds responsible for the loss of her husband and her unborn child.Rebecca De Mornay is very convincing as Peyton, the widow whom we firmly believe is capable of anything, while Ernie Hudson is good as mentally disabled social worker Solomon.
Catastrophes come at regularly timed intervals to the point that they become predictable.But still, thanks to Hanson's smooth direction and a creepy performance by the underrated Rebecca De Mornay The Hand That Rocks the Cradle is a real shocker, and its effective enough so that in the future, it may convince you to check your babysitter's references that much more thoroughly..
The Hand That Rocks The Cradle (1992): Starring Rebecca De Mornay, Annabella Sciorra, Matt McCoy, Julianne Moore, Ernie Hudson, Madeline Zima, Jon De Lancie, Kevin Skousen, Mitchell Lawrence, Justin Zaremby, Director Curtis Hanson, Writer Amanda SilverWhen this domestic suspense thriller was released in 1992, I'm pretty sure dozens of middle-class parents conceived the idea of surveying their babysitters through nanny cameras and considering the possibility the babysitter might be a threat!
Marlene (Julianne Moore, then unknown), a family friend, warns Michael on Peyton, but it leads to more confusion.Rebecca De Mornay never had a role as good as this one and never has had one since.
The rest of the cast are good, even if their characters end up being flat, with the stand-out none other than Ernie Hudson as the handyman whose presence acts as the film's dramatic lynchpin.Curtis Hanson wrote and directed a lot of interesting thrillers during his career and this is another feather in his cap.
This 1992 thriller stars Annabella Sciorra, Rebecca De Mornay, Matt McCoy, Julianne Moore and Ernie Hudson.
De Mornay (Risky Business) plays Victor's widow who has a miscarriage after her husband's death and she seeks revenge on Claire and her family by posing as her nanny, Peyton Flanders.
It stars Annabella Sciorra, Rebecca De Mornay, Matt McCoy, Julianne Moore and Ernie Hudson. |
tt0475738 | Super Bowl IX | Super Bowl IX was an American football game between the American Football Conference (AFC) champion Pittsburgh Steelers and the National Football Conference (NFC) champion Minnesota Vikings to decide the National Football League (NFL) champion for the 1974 season. The Steelers defeated the Vikings by the score of 166 to win their first Super Bowl. The game was played on January 12, 1975 at Tulane Stadium in New Orleans, Louisiana, the last pro game at that venue (the game was originally planned to be held at the Louisiana Superdome, but that stadium was not completed yet).This game matched two of the NFL's best defenses and two future Pro Football Hall of Fame quarterbacks. Led by quarterback Terry Bradshaw and the Steel Curtain defense, the Steelers advanced to their first Super Bowl after posting a 1031 regular season record and playoff victories over the Buffalo Bills and the Oakland Raiders. The Vikings were led by quarterback Fran Tarkenton and the Purple People Eaters defense; they advanced to their second consecutive Super Bowl and third overall after finishing the regular season with a 104 record and defeating the St. Louis Cardinals and the Los Angeles Rams in the playoffs.The first half of Super Bowl IX was a defensive struggle, with the lone score being the first safety in Super Bowl history when Tarkenton was downed in his own end zone. The Steelers then recovered a fumble on the second half kickoff, and scored on fullback Franco Harris's 9-yard run. The Vikings cut the score, 96, early in the fourth quarter by recovering a blocked punt in Pittsburgh's end zone for a touchdown, but the Steelers then drove 66 yards on their ensuing possession to score on Larry Brown's 4-yard touchdown reception to pull the game out of reach.In total, the Steelers limited the Vikings to Super Bowl record lows of nine first downs, 119 total offensive yards, 17 rushing yards, and no offensive scores (Minnesota's only score came on a blocked punt, and they did not even score on the extra point attempt). The Steelers accomplished this despite losing starting linebackers Andy Russell and Jack Lambert, who were injured and replaced by Ed Bradley and Loren Toews for most of the second half. On the other hand, Pittsburgh had 333 yards of total offense. Harris, who ran for a Super Bowl record 158 yards (more than the entire Minnesota offense) and a touchdown, was named the Super Bowl's Most Valuable Player. | non fiction | train | imdb | Defense!. If you want an offensive football game do NOT watch SB IX. The game is full of defense. That's no surprise considering the two teams that met on January 12th 1975. "The Steel Curtain" Vs "The Purple People Eaters" The Steelers allowed The Vikings only 17 yards rushing the entire game and forced 5 turnovers. The Vikings allowed Terry Bradshaw only 96 yards passing and blocked a punt for a TD. The game was played at Tulane Stadium in New Orleans (this was the last game ever played at that stadium) because The Louisiana Superdome was unfinished, due to an error in the budget (which didn't include money for seats). The game was played on a rain soaked field, with a 20MPH wind and damp, cold conditions. The game was dominated by the defenses and poor special teams play. The Steelers kicker, Roy Gerela, missed one field goal and had another attempt bobbled by his holder. Vikings kicker, Fred Cox not only missed a 39 yard field goal that would've given The Vikings the lead but he missed a crucial extra point after The Vikings cut the lead to 9-6. The only offense bright spot in the entire game was, The Steelers, Franco Harris. Harris set a Super Bowl rushing record by gaining 158 yards on 34 carries and scored a TD.If you love a good, old fashioned, defensive battle, this is the game for you! |
tt0114151 | Poison Ivy II | Moans and sexual noises in the half-light. Lily Leonetti (Alyssa Milano) is making love to a man. After the act, he gets up and tells her that "it's not working out". She looks devastated for a moment.Cut to Lily arriving to another place. She is a sheltered art student from Michigan attending college in Los Angeles, California. She finds an apartment, and she soon notices her roommates, Tanya (Kathryn Doyle Brown), a friendly lesbian artist who becomes a good friend to Lily, Bridgette (Victoria Haas), a cruel and taunting artist and dancer who initially takes an immediate dislike to her, and Robert (Walter Kim), the silent but talented musician, all art students, aren't quite normal. For the first time out of her village, she is still used to her protected life in Michigan and frequently calls her parents.One day Lily discovers a box of items belonging to Ivy, a girl she has never met before. In the box, she finds nude pictures of the girl and her diary. She is soon drawn to the content, also desiring for the girl's sexual confidence and fearlessness.In art class, Lily has trouble expressing herself, unlike Gredin (Johnathon Schaech), an attractive co-student and sculptor she soon starts dating. Meanwhile, Lily gets a job to pay for her rent, babysitting Daphna (Camilla Belle), the eight-year-old daughter of her art teacher Donald Falk (Xander Berkeley).Slowly, one step at a time, Lily becomes obsessed with Ivy's letters and photos, attempting to take over her image. Soon enough, she cuts her hair short, pierces her belly button, and starts wearing more revealing clothes. Gredin grows even more attracted to her and it doesn't take long before they start having sex. He is unamused by the amount of private time she spends with Donald, though, but she explains it's because of the babysitting. She inspires Donald to perform art again, having noticed that he's long been afraid to express himself. She agrees to pose nude for him, and also finds her own way to express herself in the meantime as well. During this process, he secretly falls in love with her, which has a great deal of impact on his marriage to Angela (Belinda Bauer). However through the movie, it can be shown that Donald's infatuation with Lily soon deepens to obsession.One day, Lily catches Gredin and Bridgette together. Feeling jealous and upset, she starts to rebel, thereby estranging herself from her friends at the apartment building. At a party, Lily enjoys the attention she is getting from men, and she amuses herself, until she sees Gredin intimately dancing with another girl. Trying to make him jealous, she kisses a masked guy, who turns out to be Robert. She eventually spends the night with Gredin, but he dumps her the next day, explaining she has changed too much.Meanwhile, Angela has found Donald's drawing of Lily and thinks he has an affair with her. Donald, already depressed since he saw Lily kissing Gredin, takes it out on Lily. He later claims he is in love with her and tries to kiss her. She is initially unamused by his attempts, but they eventually heavily make out with each other, until they are interrupted. She leaves and soon reunited with Gredin.A few days later, Lily is invited for dinner at the Falk family and brings Gredin with her, which upsets Donald. When they are alone in a room, Donald forces himself upon Lily. She tries to stop him, but has no success. They are eventually caught in the act by Daphna, who runs away and is hit by a car (but luckily, in Gredin's words, ends up "going to be all right").Lily, traumatized by what happened that night, returns home and destroys everything that has to do with Ivy. She is surprised by a psychotic Donald, who attacks her. Gredin tries to save her, but Donald beats him up and even tries to stab him. She tries to run away by going to the roof. He follows her and eventually falls off the roof to his death.In the final scene set a few days later, Lily and Gredin say they love each other, and they finally decide to be with each other... free from the unseen influence of Ivy. | murder | train | imdb | null |
tt0041218 | 'C'-Man | Customs Investigator Cliff Holden (Dean Jagger) returns from holiday to be given a new assignment by his chief, Customs Inspector Brandon (Walter Vaughn). Cliff's friend and colleague, Steve Regan, has been knifed to death in Marseilles while investigating the theft of a necklace. Its owner, Mrs Lydia Brundage (Edith Atwater) had reported it stolen in Cannes two months after insuring it in Paris with the Apex Insurance Company of New York for $325,000. Steve had tracked the thieves to Marseilles, when he was murdered. He had left no reports of his investigations, but McQueen, an investigator in the Paris office of US Customs, has checked his itinerary, and has discovered that it coincided with the movements of one Matthew Royal (Rene Paul). He also has reported that Royal has booked passage to the United States via KLM Royal Dutch Airlines on the 29th, in two days time. Brandon has arranged for Cliff to fly to Paris so that he can return on the same plane as Royal and make his acquaintance. He has been given a cover identity as William Harrah, private investigator, with an office, a telephone, and a private secretary named Helen.At the Paris airport, Cliff meets an attractive young Dutch girl, Kathe van Bourne (Lottie Elwen), who tells him that she is flying to New York to join her fiancé Joe (Walter Brooke).Meanwhile in New York a psychotic thug, Owney Shor (Harry Landers), and his female accomplice, Birdie Alton (Jean Ellyn), break into Joe's apartment and steal Kathe's immigration papers. Joe resists, and Owney beats him to death.On board the plane, Cliff's attempt to sit next to Royal is frustrated when Kathe exchanges seats with Royal so that she can sit with Cliff. As the plane approaches New York, Kathe goes aft to the wash room. Another passenger, alcoholic Doc Spencer (John Carradine), exchanges a meaningful glance with Royal, and follows Kathe. After a while he returns to his seat, looks back towards the washroom, then looks forward and nods to Royal. The stewardess goes into the washroom, sees something which alarms her, comes forward and fetches a crew member to the washroom, then comes forward again and leads Cliff and Doc to the washroom. Kathe is lying on the floor unconscious. The stewardess and crew member leave Doc and Cliff alone with her. The Doc tells Cliff to ask the pilot to radio ahead for an ambulance. When Cliff leaves, Doc gives Kathe an injection.When the plane lands in New York, Royal is intercepted by an official and led away. Kathe is stretchered into an ambulance, where Owney and Birdie are waiting with the stolen immigration papers. Owney is impatient to get going, but the ambulance man tells him that they must wait for clearance from immigration, customs, and health. Royal is thoroughly searched by Brandon and one of his agents, but nothing untoward is found on him. A uniformed official approaches the ambulance. Owney shows the stolen papers, and claims that he is Kathe's fiancé. The ambulance is cleared to leave, and Owney and Birdie are allowed to accompany the unconscious Kathe.Baffled by not finding the necklace on Royal, Brandon suddenly thinks of the ambulance. His agent runs out, flags down the ambulance, and gets into the front seat with the driver. As the ambulance drives through the streets of New York, Kathe starts to regain consciousness. Owney hits the attendant on the head with a gun, knocking him out. He then holds the gun on the customs agent while Birdie undoes Kathe's head bandage, in which the necklace is hidden. The ambulance crashes, knocking out the driver and the customs agent. Owney and Birdie flee without the necklace, pursued by a police officer. Still bemused, Kathe alights from the ambulance, necklace in hand. She takes a cab to her fiancé's address. Owney and Birdie hi-jack a car, and drive off..On arriving at Joe's apartment, Kathe finds Cliff already there. He accuses her of being in league with the crooks, but her reaction to seeing Joe's body persuades him of her innocence. Through the window they see Owney and Birdie arriving. Kathe identifies them as her abductors. Cliff sends her to his place, giving her a note for his landlady, Minnie Hoffman (Adelaide Klein). Taking the necklace with her, she leaves by the fire escape and gets away in her waiting taxi. Owney breaks in and finds Cliff waiting for him peaceably. Owney disarms Cliff and takes him to Royal's place. Another thug, Augie, is there.Royal offers Cliff half of the proceeds if he will hand over Kathe. When Cliff does not accept, Owney and Augie beat him up. To check his identity, they phone Cliff's office. Helen successfully maintains Cliff's cover. Royal releases Cliff, and returns his gun. As Cliff is about to leave, Royal receives a phone call. The caller, Karney, says "Doc Spencer slipped out of his room." Royal tells him that the Doc has probably gone to Garcia's for some liquor. Cliff overhears this conversation and leaves, felling Owney with a blow on his way out.Cliff tours the wine bars, casually enquiring if Karney has been in. At last he finds one where the storekeeper tells him that Karney went up to the hotel. Cliff buys a bottle of Benedictine and goes across the road to the Palace Hotel. He takes a room under the name of John Smith, and learns that the desk clerk's name is Karney. Cliff goes upstairs and finds Doc drunk in one of the rooms. Cliff plies Doc with drink, asking him if he was ever in Marseilles, and if he ever heard of Matthew Royal. Drunk and befuddled, Doc admits that Royal knifed Steve. The door opens and Owney and Karney enter. Owney has a gun. Karney leaves. Owney takes Cliff's gun from him and hits him on the head, felling him. Owney and Cliff fight. Owney knocks Cliff out and then beats Doc to death for squealing.Cliff comes to in a luxurious bed. He is watched over by a woman who introduces herself as Lydia Brundage, and says he was brought to her apartment by Royal. She says that after her necklace was stolen in Paris, Royal contacted her as an intermediary who could recover her necklace from the thieves for a quarter of a million dollars in cash. As she did not have such a sum in Paris, they arranged that he would deliver the necklace in New York. She offers Cliff $100,000 dollars for it, with no questions asked. Cliff tells her he is only interested in the affair for what he can get out of it himself. Lydia makes romantic advances to Cliff, who plays along up to a point, then leaves. When he has gone, Royal appears from another room. He and Lydia embrace.Cliff rings his office, and Helen tells him that the woman with Owney in the ambulance was named Birdie Alton, and that Owney hangs out at a joint in the Village called Rudi's.Cliff goes home. Minnie and Kathe are there. Minnie has told Kathe who Cliff really is. Kathe shows Cliff that she has hidden the necklace in the freezer tray of the refrigerator.Cliff takes Kathe to Rudi's. Owney is there. Cliff and Kathe pretend to him that they have been part of the conspiracy all along, that Royal has now returned the necklace to Lydia and has been paid off, and that they have received their share. Furious at the thought that he has been left out, Owney leaves.Cliff returns home with Kathe, and finds that Minnie has been beaten up, and the necklace is gone. He leaves and goes up to Lydia's penthouse, using service stairs and outside access. Through a window he sees Owney holding Royal and Lydia at gunpoint. Royal is explaining that he has only just arrived with the necklace and is about to close the deal. He offers to pay Owney off with $5,000, but Owney takes all the money. Royal kills him with a knife. Cliff enters through the window, gun in hand. While Cliff holds up Royal and tries to phone, Lydia picks up Owney's gun and holds up Cliff. Royal knocks Cliff's gun out of his hand, and they fight. Royal calls on Lydia to shoot Cliff, but in the melee she mistakenly shoots Royal. Cliff phones for help.Brandon arrives with Kathe and several officers. Brandon, Cliff, and Kathe leave, leaving the police in charge. Kathe is placed in Minnie's custody so that she can remain in the US. | murder | train | imdb | null |
tt0068909 | Man of La Mancha | In the late sixteenth century, failed author-soldier-actor and tax collector Miguel de Cervantes has been thrown into a dungeon by the Spanish Inquisition, along with his manservant. They have been charged with foreclosing on a monastery. The two have brought all their possessions with them into the dungeon. There, they are attacked by their fellow prisoners, who instantly set up a mock trial. If Cervantes is found guilty, he will have to hand over all his possessions. Cervantes agrees to do so, except for a precious manuscript that the prisoners are all too eager to burn. He asks to be allowed to offer a defense, and the defense will be a play, acted out by him and all the prisoners. The "judge", a sympathetic criminal called "the Governor", agrees.
Cervantes takes out a makeup kit from his trunk, and the manservant helps him get into a costume. In a few short moments, Cervantes has transformed himself into Alonso Quijano, an old gentleman who has read so many books of chivalry and thought so much about injustice that he has lost his mind and now believes that he should go forth as a knight-errant. Quijano renames himself Don Quixote de La Mancha, and sets out to find adventures with his "squire", Sancho Panza. ("Man of La Mancha (I, Don Quixote)")
Don Quixote warns Sancho that the pair are always in danger of being attacked by Quixote's mortal enemy, an evil magician known as the Enchanter. Suddenly he spots a windmill. Seeing its sails whirling, he mistakes it for a four-armed giant, attacks it, and receives a beating from the encounter. He thinks he knows why he has been defeated: It is because he has not been properly dubbed a knight. Looking off, he imagines he sees a castle (it is really a rundown roadside inn). He orders Sancho to announce their arrival by blowing his bugle, and the two proceed to the inn.
Cervantes talks some prisoners into assuming the roles of the inn's serving wench and part-time prostitute Aldonza and a group of muleteers who are propositioning her. Fending them off sarcastically ("It's All The Same"), she eventually deigns to accept their leader, Pedro, who pays in advance.
Don Quixote enters with Sancho, upset at not having been "announced" by a "dwarf". The Innkeeper (played by The Governor) treats them sympathetically and humors Don Quixote, but when Quixote catches sight of Aldonza, he believes her to be the lady Dulcinea, to whom he has sworn eternal loyalty ("Dulcinea"). Aldonza, used to being roughly handled, is flabbergasted, then annoyed, at Quixote's strange and kind treatment of her, and is further aggravated when the Muleteers turn Quixote's tender ballad into a mocking serenade.
Meanwhile, Antonia, Don Quixote's niece, has gone with Quixote's housekeeper to seek advice from the local priest, who realizes that the two women are more concerned with the embarrassment the knight's madness may bring than with his welfare ("I'm Only Thinking of Him").
The mock-trial's prosecutor, a cynic called "The Duke", is chosen by Cervantes to play Dr. Sanson Carrasco, Antonia's fiancé, a man just as cynical and self-centered as the prisoner who is playing him. Carrasco is upset at the idea of having a madman in his prospective new family but the padre cleverly convinces him that it would be a challenge worthy of his abilities to cure his prospective uncle-in-law, so he and the priest set out to bring Don Quixote back home ("I'm Only Thinking of Him [Reprise]").
Back at the inn, Sancho delivers a missive from Don Quixote to Aldonza courting her favor and asking for a token. Instead, Aldonza tosses an old dishrag at Sancho, but to Don Quixote the dishrag is a silken scarf. When Aldonza asks Sancho why he follows Quixote, he can come up with no explanation other than "I Really Like Him". Alone, Aldonza ponders the Knight's behavior and her inability to laugh at him ("What Do You Want of Me?") In the courtyard, the muleteers once again taunt her with a suggestive song ("Little Bird, Little Bird"). Pedro makes arrangements with Aldonza for an assignation later.
The priest and Dr. Carrasco arrive, but cannot reason with Don Quixote, who suddenly spots a barber wearing his shaving basin on his head to ward off the sun's heat ("The Barber's Song"). Quixote immediately snatches the basin from the barber at sword's point, believing it to be the miraculous "Golden Helmet of Mambrino", which will make him invulnerable. Dr. Carrasco and the priest leave, with the priest impressed by Don Quixote's view of life and wondering if curing him is really worthwhile ("To Each His Dulcinea").
Meanwhile, Quixote asks the Innkeeper to dub him knight. The innkeeper agrees, but first Quixote must stand vigil all night over his armor. Quixote asks to be guided to the "chapel" for his vigil, and the Innkeeper hastily concocts an excuse: the "chapel" is "being repaired". Quixote decides to keep his vigil in the courtyard. As he does so, Aldonza, on her way to her rendezvous with Pedro, finally confronts him, but Quixote gently explains why he behaves the way he does ("The Impossible Dream"). Pedro enters, furious at being kept waiting, and slaps Aldonza. Enraged, Don Quixote takes him and all the other muleteers on in a huge fight, ("The Combat"). Don Quixote has no martial skill, but by luck and determination – and with the help of Aldonza and Sancho – he prevails, and the muleteers are all knocked unconscious. But the noise has awakened the Innkeeper, who enters and kindly tells Quixote that he must leave. Quixote apologizes for the trouble but reminds the Innkeeper of his promise to dub him knight. The Innkeeper does so ("Knight of the Woeful Countenance").
Quixote then announces he must try to help the muleteers. Aldonza, whom Quixote still calls Dulcinea, is shocked, but after the knight explains that the laws of chivalry demand that he succor a fallen enemy, Aldonza agrees to help them. For her efforts, she is beaten, raped, and carried off by the muleteers, who leave the inn ("The Abduction"). Quixote, in his small room, is blissfully ruminating over his recent victory and the new title that the innkeeper has given him – and completely unaware of what has just happened to Aldonza ("The Impossible Dream" – first reprise).
At this point, the Don Quixote play is brutally interrupted when the Inquisition enters the dungeon and drags off an unwilling prisoner to be tried. The Duke taunts Cervantes for his look of fear, and accuses him of not facing reality. This prompts a passionate defense of idealism by Cervantes.
The Don Quixote play resumes ("Man of La Mancha" – first reprise). Quixote and Sancho have left the inn and encounter a band of Gypsies ("Moorish Dance") who take advantage of Quixote's naiveté and proceed to steal everything they own, including Quixote's horse Rocinante and Sancho's donkey Dapple. The two are forced to return to the inn. The Innkeeper tries to keep them out but finally cannot resist letting them back in out of pity. Aldonza shows up with several bruises. Quixote swears to avenge her, but she angrily tells him off, begging him to leave her alone and flinging her real, pitiful history in his face and blaming him for allowing her a glimpse of a life she can never have. She begs him to see her as she really is but Quixote can only see her as his Dulcinea ("Aldonza").
Suddenly, another knight enters. He announces himself as Don Quixote's mortal enemy, the Enchanter, this time appearing as the "Knight of the Mirrors". He insults Aldonza, and is promptly challenged to combat by Don Quixote. The Knight of the Mirrors and his attendants bear huge shields with mirrors on them, and as they swing them at Quixote ("Knight of the Mirrors"), the glare from the sunlight blinds him. The attacking Knight taunts him, forcing him to see himself as the world sees him – as a fool and a madman. Don Quixote collapses, weeping. The Knight of the Mirrors removes his own helmet – he is really Dr. Carrasco, returned with his latest plan to cure Quixote.
Cervantes announces that the story is finished at least as far as he has written it, but the prisoners are dissatisfied with the ending. They prepare to burn his manuscript when he asks for the chance to present one last scene.
The Governor agrees, and we are now in Alonso Quijano's bedroom, where he has fallen into a coma. Antonia, Sancho, the Housekeeper, the priest, and Carrasco are all there. Sancho tries to cheer up Quijano ("A Little Gossip"). Alonso Quijano eventually awakens and when questioned reveals that he is now sane, remembering his knightly career as only a vague dream. He realizes that he is now dying and asks the priest to help him make out his will. As Quijano begins to dictate, Aldonza forces her way in. She has come to visit Quixote because she has found that she can no longer bear to be anyone but Dulcinea. When he does not recognize her, she sings a reprise of "Dulcinea" to him and tries to help him remember the words of "The Impossible Dream". Suddenly, he remembers everything and rises from his bed, calling for his armor and sword so that he may set out again. ("Man of La Mancha" – second reprise) But it is too late – in mid-song, he suddenly cries out and falls dead. The priest sings "The Psalm" (Psalm 130 in Latin) for the dead. However, Aldonza now believes in him so much that, to her, Don Quixote will always live: "A man died. He seemed a good man, but I did not know him ... Don Quixote is not dead. Believe, Sancho ... believe." When Sancho calls her by name, she replies, "My name is Dulcinea."
The Inquisition enters to take Cervantes to his trial, and the prisoners, finding him not guilty, return his manuscript. It is his (as yet) unfinished novel, "Don Quixote de la Mancha". As Cervantes and his servant mount the staircase to go to their impending trial, the prisoners, led by the girl who played Dulcinea, sing "The Impossible Dream" in chorus. | tragedy, insanity | train | wikipedia | null |
tt3007512 | The Water Diviner | The film begins in 1919, just after World War I has ended, and centres around Joshua Connor (Russell Crowe), an Australian farmer and water diviner. His three sons Arthur (Ryan Corr), Edward (James Fraser), and Henry (Ben O'Toole) served with the Australian and New Zealand Army Corps (ANZAC) during the military campaign in Gallipoli four years previously and are presumed dead. After his wife Eliza commits suicide out of grief, Joshua resolves to bring his sons' bodies home and bury them with their mother.
Joshua travels to Turkey and stays in a hotel in Istanbul run by war-widowed Ayshe (Olga Kurylenko), but is unable to travel to Gallipoli by road. Learning the purpose of his journey, Ayshe tells him to bribe a local fisherman to travel to Gallipoli by boat. When he arrives, Joshua learns that ANZACs are engaged in a mass burial detail and all civilians are banned. Major Hasan (Yılmaz Erdoğan), a Turkish officer assisting the ANZACs, persuades the ANZAC captain Lt-Col Cyril Hughes (Jai Courtney) to prioritize helping Joshua with his search. After finding Edward and Henry's graves, Joshua sees in his dreams that Arthur survives the battle. Hasan recognizes Joshua's surname and tells him that Arthur may have been taken prisoner.
Joshua returns to Istanbul, but fails to find out which prison camp Arthur was transferred to. He returns to Ayshe's hotel and learns that she is being pressured to marry her brother-in-law, Omer. Their argument becomes heated and Omer retreats when Joshua intervenes. Ayshe lashes out, blaming Joshua for making things worse and tells him to leave. As Joshua leaves the hotel, Omer and a few of his friends gang up on him, only to be stopped by Hasan's subordinate, Sergeant Jemal (Cem Yılmaz). Jemal takes Joshua to Hasan, who explains that the Greeks have invaded and they are going to defend their country as the British are not intervening. Joshua decides to travel with Hasan's group, who will pass through the region where his son might be. As Joshua returns to the hotel to retrieve his belongings, Ayshe apologizes for her earlier words.
Greek soldiers attack the train and only Jemal, Hasan and Joshua survive. Joshua saves Hasan as a Greek officer prepares to execute him. They flee to a town where they spot a windmill, which Joshua saw in his recurring dream. There he finds Arthur alive but traumatized. Arthur reveals that at the end of the battle, Edward was still alive but badly wounded. He pleaded with Arthur to end his suffering, and Arthur reluctantly complied. Blaming himself for his brothers' deaths, Arthur felt he could never return to his family.
Greek soldiers attack the town, and the two men escape through the mountains. Arthur refuses to follow his father, but relents when Joshua says that without his wife and sons, he has nowhere else to go. They successfully evade the Greek army and return to Ayshe's hotel. The film ends with Joshua drinking a cup of coffee made by Ayshe which indicates that she has fallen in love with him. | violence, murder, flashback | train | wikipedia | null |
tt1064932 | Bienvenue chez les Ch'tis | Philippe and Julie Abrams are a married couple with a young child who live in a small town in the South-East of France. Philippe works as an executive for the national post services and tries to be transferred to a different location on the sea side, thinking that Julie, who is depressed, will be happier and that their relationship will improve. Unfortunately, despite pulling some strings, he learns that other disabled candidates have priority in their choice of location and decides to pretend he is on a wheelchair to make sure he obtains a job on the French Riviera. As he gets caught by an inspector, the HR manager tells him that he is sent to the small town of Bergues in the Far North of France, to work as the director of the post office, as disciplinary action for his failed attempt of fraud. Other than being fired, he has no choice but going and Julie, very disappointed at him, refuses to join him, so they accept to live apart for the next 2 years. Both Julie and Philippe are very biased against the North of France and Julie's senile great-uncle, reminiscing his childhood in the North during the coal-mining era of the 1930s, portrays the North as a freezing region, even during the summer, where people speak with an incomprehensible accent and all die young.Philippe leaves the South so reluctantly that he gets caught for slow driving on the motorway. His first 24 hours in the North makes it look like his bias is true. It starts bucketing down as soon as he comes across the sign of welcome to the region, and when he meets Antoine, the postman and carillon player of the town, he can hardly understand anything he says. As Antoine accepts to invite him over for the night, knowing that he lives with his mother although in his mid-thirties, and after seeing photos of him dressed as a woman at a carnival, Philippe thinks that Antoine is gay. Very stressed out and paranoid that he might flirt with him, Philippe decides to block the door to his room with a chair. The morning after, when Philippe meets Antoine's mother, she comes across very bossy, intrusive and cold and clearly treats Antoine like a 6-year-old. Having a taste of the local cheese (Maroilles), he clearly is not impressed. When it's time to go to the post office, Philippe is so depressed about being there that he gets offended by a mild tease from Antoine, and talks very coldly to his other employees, Fabrice, Yann and Annabelle and even corrects their pronunciation of certain words. However, they appear understanding and invite him for some lunch at the chips van. Philippe starts to open up to them until Antoine comes back from delivering mail, looking intoxicated and unintentionally talking to Philippe with disrespect which embarasses his colleagues especially Annabelle. Philippe wants to sanction him until Antoine, Yann and Fabrice bring a van full of furniture to give Philippe for his flat. Philippe is then very grateful and decides to invite them all for a restaurant dinner in Lille. He is then completely won over by the region and the friendly and welcoming locals, learns all the essential local expressions, including bad words, and when Julie calls, he first tells her that he is all right. He tells her that the region, though not sunny, is not all that cold and that he has been welcome by the northerners. However Julie is sure that he is just saying it to reassure her and asks him not to overprotect her. Philippe then states that he is going through hell and that he cannot wait to see her again down South. Julie feels guilty that Philippe's transfer to the North is her fault, given that she pressured him so much into finding a job on the coast that he felt the need to cheat on his application, thus taking a massive risk. While enjoying working in the North, Philippe lies to his whole family and southerner friends, telling them that the region is peopled with alcoholics, that there are epidemics, that the days are very short etc. It worries Julie who starts acting more caring towards her husband than she used to. Philippe thinks that the distance is actually positive for his relationship with his wife, so doesn't tell her the truth.Meanwhile in the North, it was obvious from the start that Antoine is in love with the lovely Annabelle, but she has another boyfriend who is the stereotype of the biker with attitude. As Antoine once again comes back drunk from delivering mail, he witnesses him being abusive towards Annabelle. When he tries to interfere, Annabelle's boyfriend taunts him and Antoine decides to smash his motorbike, which causes a fight that Philippe, Fabrice and Yann try to stop, but Antoine punches Philippe by accident. Given that it is not the first time that Antoine comes back drunk during service and it has come to a point where he has had a fight in front of the post office in his uniform, Philippe considers severe disciplinary action. Annabelle explains to Philippe that Antoine doesn't dare to say no to people who offer him a drink when he delivers mail. Philippe is not satisfied. Thinking that the problem lies much deeper, he tries to discover more about his private life by saying that he knows that Antoine loves her. Annabelle reveals that she dated him for a year and was happy with him but his passiveness towards his intrusive mum strained their relationship and caused them to split up. Although Philippe thinks it is not his job, he decides to visit Antoine at the carillon and have a chat about it. He reveals to Antoine that he is in a similar position, as he lies to his wife about being happy up North. Acting as the director, he tells Antoine that he really has to stop drinking during service hours. Acting then as a friend, he encourages him to stand up to his mum, wondering if the issues in his private life are not the actual cause for his drinking. One morning, Philippe decides to join Antoine to deliver mail in order to show him how to say no while staying friendly. Funnily enough, Philippe discovers that he can't himself turn down a drink with the friendly locals and even though Antoine is willing to resist to start with, both of them decide to celebrate their friendship, end up quite intoxicated, and when trying to race Antoine on their bicycles, Philippe skips a stop sign, is followed by the police and arrested when he has an accident. Philippe calls Julie from the police station and tells her that because he has been arrested, he can't drive back home before the day after. Julie gets very worried at the idea that her husband might have become an alcoholic. When he visits her back South, Julie decides to pack her suitcase and join him, which puts Philippe in a very awkward position, having told her all along that he was going through hell. As they have an accident on the motorway, he takes the train up North and asks Julie to deal with the paperwork back home and take a later train. When Philippe arrives at the post office, he announces the bad news to his employees. He tells them what he said to his wife about them and the region, which has little flattering. The four Northerners are mad at him at first but when Julie arrives at the Lille station, they turn up in a big van talking loudly and rudely and emptying countless cans of beer, just as the Northerners are traditionally portrayed as, trying to help Philippe put Julie off and persuade her to go back home. They pull up at an old mining area that they make her believe is Bergues and use an empty slum that they make her believe Philippe lives in. The 4 post office employees and several other locals have staged a whole scenario in the old mine pretending the mine is still open, organised a scary dinner outdoors, and make Julie believe that they are eating cat meat. Philippe tells Julie that she can't stay but Julie refuses to leave him and feels it is her duty to stay and support him in his ordeal. Philippe is obviously embarrassed that she wants to stay in that old mine, realises that she loves him and Antoine prompts him to tell her the truth. He even calls Philippe a coward when he says that he won't; therefore, Philippe has a golden opportunity to tell Antoine that he should be the last person to call anyone a coward as he is clearly one himself when it comes to his mother. Antoine has a rude awakening and decides once and for all to announce his mother that he is going to leave home to live with Annabelle. Surprisingly, his mother reacts well. Soon enough, Julie finds out herself that it was all staged and discovers that the old mine has nothing to do with Bergues. Annabelle has to explain her everything as Julie finds the real post office where they work. Upset at her husband's lies, Julie decides to go back home and Philippe asks her to think carefully. Antoine's mother turns up at the post office, where Annabelle greets her just as politely as she can, announces her that Antoine has left home, congratulates her and sends her wishes of happiness with him. Annabelle is obviously taken by surprise. Antoine has only one more thing to do: propose to her. With Philippe's encouragements, he displays a proposal message on a bed sheet on top of the carillon in the middle of the night. An emotional Annabelle accepts and points out she has been waiting for that moment for a long time. Back South, Philippe makes a parallel proposal to ask Julie to move back in with him up North. Julie accepts and moves along with her son, and they are invited to Antoine and Annabelle's wedding. However after 3 years, Philippe receives a letter from the HR sending him back to work in a French seaside location. Even though it was what they initially wished for, he and his family leave the North with regrets. He cries when he leaves just as when he arrived, as Antoine expected he would. Several locals are there to wave goodbye and Antoine and Annabelle, with her baby bump, promise to visit them on holiday. | cult, comedy, satire, humor | train | imdb | null |
tt0094651 | Amsterdamned | Opening in a point of view, a murderer looks around the city of Amsterdam at night through the canals the city is famous for. He sneaks into a Chinese restaurant's backdoor and steals a butcher knife while the cooks aren't looking. The killer finds his first victim in a local prostitute who, after refusing advances from a cab driver, gets thrown out of the cab. A baglady watches from a distance as the killer plunges the knife into the hooker and drags her back into the water. The next morning, a tour boat on the canal collides with the body of the prostitute, who has been hung on one of the small bridges. As the tourists scream, the body drags on the top of the boat until an opening shows her bloodied body and face.
Assigned to the case is detective Eric Visser, a hard-boiled detective who is raising his 13-year-old daughter Anneke after a split from his ex. He spends an hour in a bath, comes home late from work, and tends to drink now and again. Nevertheless, Eric is praised as one of the best detectives on the force. His partner, Vermeer, meets Eric at the site where the body was found with fellow cop Potter attempting to get through to the baglady, who tells Eric that it was a monster who killed the prostitute and that it came out of the water.
That night, two environmentalists are taking water samples in an ongoing investigation against a nearby chemical plant. However, when the killer emerges, one of the men is taken underwater and when his partner attempts to grab the anchor, he is horrified to find the man's head on the anchor. Scared, the surviving environmentalist swims to the nearby shore and calls for help when he sees a truck pass by. As the truck driver comes out from a distance, the killer grabs the environmentalist and drags him back into the water.
When Eric and Vermeer see the bodies of the environmentalists, he is convinced that there is a serial killer. Eric runs into John, an old friend from the police academy. John works for the river police and we learn that Eric's ex-girlfriend used to date John before Eric stole her from him. When John asks about what happened, John and Eric renew their friendship and are now partners on the case to find the killer.
During a search at a local sporting club, Eric meets Laura, a museum guide as well as Martin Ruysdael, a former diver turned psychiatrist and Laura's doctor/friend. Eric begins to have eyes for Laura and she begins to like him too. Meanwhile, that night, a salvationist and a young woman on a gumboat the next day are the next victims of the killer. As Eric begins to get frustrated with nothing turning up, he and John eventually think they find a suspect in a former chemical plant employee known for his violent outbursts. When the suspect is caught, Eric begins to have doubts. When he sees Laura that night, a skipper at the nearby dock is the killer's next victim with the boat sinking.
John decides to go underwater and investigate the next day. At first, he finds the skipper's body but as he approaches out of the skipper's sunken boat, the killer emerges and a tussle leaves John slashed and killed. Eric arrives to hear the bad news about John. When the killer is located at a marina, a speedboat chase ensues between Eric and the killer. Eric eventually tracks the killer to a local sewer only to be shot at close range in the shoulder with a harpoon gun. When the killer attempts a coup de grâce, Eric shoots the mask before waking up in the hospital.
When Laura goes to her appointment and finds Martin isn't home, she stays but hears a noise in Martin's underwater basement. She finds the broken mask and thinks Martin is the killer. An attempt to call Eric fails when he is still unconscious. When he awakens, the nurse tells him of Laura and both he and Vermeer head to Martin's house. Martin arrives and waits for Laura only to hear a sound in his basement. Laura confronts him and hits him repeatedly with an oar. However, the killer comes out of the water and grabs Laura. Eric arrives in time and shoots the killer. Martin finally confesses that the killer is a childhood friend of his and fellow diver who was shunned by society after a commercial diving job caused him to be disfigured by uranium hexafluoride poisoning. The killer arrives at his home, where he reveals himself and decides to take his own life before the police arrive. | insanity, violence, murder, sadist | train | wikipedia | null |
tt0048055 | The Far Country | In 1896, Jeff Webster (James Stewart) sees the start of the Klondike gold rush as a golden opportunity to make a fortune in beef. He and his friend Ben Tatum (Walter Brennan) drive a cattle herd from Wyoming to Seattle, by ship to Skagway and through the mountains to Dawson City.On the way, he annoys town boss and self-appointed Skagway judge Gannon (John McIntire) by interrupting a hanging. Webster ends up being taken into custody and jailed. He meets French-Canadian gamine Renee Vallon (Corinne Calvet) at the jail, when she brings supper to his cell mate. Renee immediately takes a liking to Webster and flirts with him.Webster doesn't have to wait long for trial, and he's escorted to the saloon to meet with the judge. Renee goes along and Webster calls her "Freckle Face," which irritates her. Judge Gannon asks him who he shot. Webster explains it was two men who took it upon themselves to combine his herd with theirs. The judge agrees that was justified, so he dismisses the case, but he also tells Webster his cows are being confiscated for disturbance of the peace, among other things. Webster wants to take issue with that, but he realizes he's badly outnumbered, and justice usually goes to the strongest at the time.The owner of the saloon, a woman named Ronda Castle (Ruth Roman), asks the judge why he confiscated Webster's cattle. "Because I wanted them," he says.Webster and Tatum decide to make for the Klondike, even though they lost their cattle, and begin making preparations. Ronda just happens to be heading up a party bound for Alaska with the cows and she offers Webster a job as her trail boss. Since Webster and Tatum are down to their last $50, and it requires a minimum $100 in food and supplies to receive permission from Judge Gannon to head up the trail, Webster agrees to the job. Plus, he's obviously attracted to Ms. Castle and her to him.Not long into their trip, Webster, Tatum and Ben Rube (Jay C. Flippen), slip off during the night, and take off with the cattle. Gannon and his men pursue. After crossing the border into Canada, Webster uses a few well-placed warning shots to persuade Gannon's gang to give up the chase, but the judge promises a hot reception when Webster returns to Skagway, as he must, for it's the only way to get back.Ronda and her men re-join Webster to complete the journey to Dawson City. She still considers Webster to be her employee, obliged to see them all safely through. As they approach 2-Mile Pass, Webster announces that they will take a trail through the valley and not attempt to go over the pass. Ronda tells him that she won't accept him taking an additional six days to go through the valley, but he won't be persuaded, or ordered, to do differently. So, Ronda and her group head for 2 Mile Pass while Webster and his men, with the cattle, head for the valley.What Webster didn't explain to Ronda was that he was concerned about a possible avalanche in the pass. When Tatum asked Webster why he didn't tell her that, Webster just says, "she wouldn't listen." It's not long before there's a loud rumbling noise and Webster and the others look up towards the pass to see a large avalanche taking place. Renee, who's along for the trip, quickly calls for the men to head up there and see if the others needed help. Webster refuses at first, but Renee and Tatum appeal to his sense of morality and he begrudgingly agrees to go with them.Three members of Ronda's group were killed and other injured. The survivors rejoin Webster's group and they all continue on to Dawson City. Ronda tricks Webster into reaching for her coffee cup, and she kisses him. Renee witnesses that and gets very upset.When the group get to Dawson, they find widespread (though relatively peaceful) lawlessness. Webster ignores it as none of his business. There's interest in his cattle and Tatum ends up conducting an impromptu auction, where Ronda outbids the co-owners of the local hash house, Hominy (Connie Gilchrist), Grits (Kathleen Freeman) and Molasses (Connie Van).The people of Dawson City have visions of using their hoped for mining wealth to create a regular town where they can live and raise families. However, Gannon and his gunmen show up in Dawson City and begin cheating the miners out of their claims. One man who takes issue with that is shot to death. The others in town are advised to leave Dawson City and never come back. Dawson has suddenly become a very dangerous place to be.Webster chooses to stay out of the fray, figuring it's better to stay alive and be able to take another direction in life, if need be, or at least wait until the odds are more favorable. He secretly plans to sneak out and make his way back south, while Gannon is otherwise occupied. He and Tatum get down to the river, where Webster has stashed a raft. However, Gannon had been tipped off when Tatum bought some extra coffee for a long trip, and he and his men ride up on them, shooting and killing Ben and wounding Webster.Webster manages to load Tatum's body onto a horse, and then gets on his own horse and rides back to Dawson City. No one makes a move to help until Renee sees them and she goes to Webster's cabin and tends to his wounds. She also makes arrangements for Tatum's burial.Webster is itching to strap on his gun and go after Gannon as soon as he wakes up to find Renee tending to him, but realizes his right hand is wounded too bad.Ronda comes to the cabin to check on Webster. Renee wants Webster to make her leave, but he allows her to stay, so Renee leaves, angry. Ronda wants Webster to leave things be, as far as Gannon is concerned. She believes if Webster tries to do anything, he'll be killed, but Webster isn't about to let Gannon get away with having murdered Tatum.Even though his hand is still not healed, Webster decides to strap on his gun and carry his rifle and go face down Gannon. First, he scares off two of Gannon's men who were in the process of placing a notice on his gold claim, identifying it as now belonging to Gannon.Webster sends his horse down the street, to walk in front of the saloon, where Gannon and his men waited. They were expecting him, so it was very quiet, and they could hear the sound of the small bell attached to the saddle horn (Tatum had been carrying that bell around, intending to put it somewhere in the ranch house they planned to establish in Utah).Two of Gannon's gunmen, Madden (Robert J. Wilke) and Newberry (Jack Elam), were standing in the dark in front of the saloon, ready to shoot down Webster as he rode up. After they are surprised to see that it's a rider-less horse, they start looking around. Webster steps out of the shadows across the street and yells at them. They all start shooting. Webster is hit by a fragment in his cheek, but he shoots and kills Madden and Newberry.Webster then calls Gannon to come out and settle the dispute man-to-man. Gannon confirms that his men know when to come outside, then he slips out the back door and sneaks around the side. Before Gannon can complete his ambush, Ronda rushes out the front door to warn Jeff. Gannon shoots her in the back, killing her. Jeff rushes forward and falls down near Ronda, asking her why she couldn't have just gone away.Gannon and Webster continue their gunfight, shooting at each other from opposite ends of the porch, until Webster shoots and kills Gannon. Gannon's men in the saloon failed to appear in time to help, or save, Gannon. When they did finally step out onto the porch of the saloon, they found themselves facing the rest of the townspeople who were all pointing guns at them. They decide it's time they left town, and they go. Renee rushes up to Webster, ready to help him with his newest wounds. | murder | train | imdb | Stewart is a Wyoming cattleman who dreams to make enough money to buy a small ranch in Utah ranch
His only real companion is his sidekick Ben Tatum, the great Walter Brennan
To accomplish that, they drive the cattle clear to Alaska and on to Dawson, in Canadian territory, where they sell them...Along the way they meet the man who runs the gold-crazy town behind a dishonest lawman John McIntire...
Captured by Mann's camera in the wonderful scenery of the Canadian Rockies, Stewart is a thoughtful loner forced into violence by his need to get rid of the treacherous actions of a corrupt entrepreneur robbing local miners of their claims
In this entertaining, beautiful Western, Stewart has two leading ladies to struggle with: Ruth Roman, a bit too valuable to describe as a sexy woman resisting the worst vicissitudes of the territory and the more docile, the French Canadian girl Corinne Calvet who does create a nice portrait of a likable girl with the ability to form a judgment...
Stewart of course plays a congenial sort, but his character Jeff Webster has a history of killing a couple men and having a little vengeance in his heart, and when he is coerced into this new job you know it isn't going to go smoothly.This is an odd story told with an odd tilt to it, and that's a good thing overall.
And there is the sheriff and judge and power-monger in town who is ruthless with a laugh and cackle, and he makes a great villain.I'm not interested in movies for their scenery, but it's worth noticing the amazing mountain country that is the setting here.
Brennan acts as his conscience, reminding him to be a good guy, and Stewart, to his credit, listens.Heroics come slowly in a Mann Western.
Both of which play out amongst some of Mann's peccadilloes like honour, integrity, betrayal and of course, death!The story sees fortune hunting partners Jeff Webster {James Stewart} and Ben Tatum {Walter Brennan} travel to Oregon Territory with a herd of cattle.
Here beautiful women and a meek and lawless town will fill out the destinies of all involved.Interesting from start to finish, The Far Country benefits greatly from James Stewart's bubbling {anti} hero in waiting portrayal and Mann's slick direction of the tight Borden Chase script.
Paying dividends on re-watches for hardened genre fans, it still remains something of an essential viewing for first timers venturing into the wonderful, yet dark, Western world of Anthony Mann and James Stewart.
Once there, they have to contend with seductive, shifty businesswoman Ruth Roman and ice-cold, happy-go-lucky villain James McIntire.John Wayne may get talked about more, but his good pal Stewart made some excellent, hard-edged westerns too, some with the great director Anthony Mann.
Frankly, I'd take this, with it's sturdy action sequences and fine melodrama, over North To Alaska any day!The Far Country features some breathtaking scenery and cinematography that should definitely have been shot in widescreen.Also, there's some strong support by the always reliable Brennan, Roman (who's great), the incredibly cute Corrine Calvet, and James McIntire, who plays one of my favorite types of bad guy, the kind that doesn't take himself too seriously.This would make a great double-bill with another highly recommended Mann/Stewart northwest-set western, Bend Of The River..
As a self-minded , haunted cowboy (Jeff Webster) leads his herd to the Yukón , through Seattle , Scagway , Alaska , in hopes of huge profits accompanied by veterans Ben Tatum (Walter Brennan) and Rube (J.C.Flippen) transport cows by boat when they arrive in Scagway , subsequently to sell it them in Dawson City .
Sympathetic as well as brave acting by the great James Stewart as the stubborn Webster who must fight frontier lawlessness and locks horns with a crooked judge , a top-hatted nasty , magnificently played by John McIntire .
The story starts fast and doesn't let up, with several scenes of really good dialog between (Stewart's) Jeff Webster, Ronda Castle and Sheriff Gannon.
The production is very good and you can tell that it was done with pride and love.Unique peek into the American NORTHT WEST pioneers is very educational and entertaining.This movie is very under rated because most people do not like to see the reality that many "lawmen" during this particular time and place were very crooked/corrupt much like most developing countries today.The action sequences could have been more realistic though but still,this movie really covers most of the essentials.Not for an audience who wants only pure testoterone type westerns for this movie is more for those who have a sense of history and philosophy........
This is such a fantastic movie, a Western about a self-concerned man (Jimmy Stewart) going up to the Klondike for gold.
Flippen and Walter Brennen, who plays Stewart's best friend), builds a saloon (a Hollywood front for a whorehouse) and tries to run the town's restaurant and hang-out place out of business.
The fourth of five westerns Anthony Mann did with James Stewart, this one involves a hard bitten cattleman named Jeff Webster who takes a cattle drive from Wyoming to Alaska, via Seattle.
That's why she hides him out on the boat while the captain's looking for him for the earlier (and justifiable) killing of a trail hand.Jeff also has the misfortune of running into sleazy Judge Gannon (John McIntire) who runs the town of Skagway, Alaska.
But then Judge Gannon comes up to Dawson to get in on the gold action up there, and tells Jeff that he was getting a little bored with Skagway and wants to try his luck up in the Klondike, himself.
But there isn't.Stewart plays the part of reluctant hero Jeff Webster taming Cattle Rustlers and Mining bullies, fronted up by Jim Gannon, in the ubiquitous black hat.
(And yes, I HAVE seen at least some of the so-called "greats", and unapologetically lump them into this negative assessment - including Stagecoach, Rio Bravo, My Darling Clementine, and of course the infamous [but profoundly dull] Clint Eastwood-Sergio Leone teamups in the '60s.)But when I saw this movie on TV - as part of a commemorative Jimmy Stewart weekend upon his death - I finally GOT IT: I understood, at least in theory, what the Western mythos has to offer as a serious thematic preoccupation (aside from just action and thrills).
In this very watchable and highly entertaining western {shot in Canadian Northwest} it plays with all the veracity and dishonesty that marked the 'OL WEST and Klondike rush of period.With breathtaking photography and backdrop of big unconquered Alaska,we are taken on tour with Jimmy Stewart and crew to witness the fervor and passion that marked the hunt for GOLD.
With a cast of significant players,John McIntire {Top Hat wearing local magistrate} and Walter Brennan {side kick and partner to Stewart} and lovely but too strong-willed independent lassie Ruth Roman on hand to make believably interesting ,the movie never fails to be fun and gripping.I couldn't find any weak spots,where either action or interest lulls.Very good sign of filmmaking,to let the movie play out with nary a weak or insignificant scene.One of the main reasons for my big approval of.The scenes all play and build upon one another,with such ease as to seem effortless.Another good sign.
The actual filming of backdrop and landscape is as good as it gets for any picture.Whether it was shot in early Cinemascope or Technicolor ,it should have bragging rights for production value and credibility.The color was never truer or richer and as clear as that bell 'OL Walter kept talkin about,that he gave his fiercely self-reliant and sometimes cold of heart buddy-Stewart.Speaking of which,he goes thru kind of transformation during scenes and starts caring more about his fellow frontier blazing man,which can be both hazardous and rewarding for his character.Since Stewart personified the ordinary man,and his pursuit of happiness or just life,he doesn't fail to deliever the gods here,except to the extent upon which he is brazen about many men in general,since crooks,liers and killer's were in abundance.Who better than cinema's Jimmy to sing praises of or cast dispersions upon one's character.
Ruth Roman tries to usurp her presence with a combination of riches and wily ways,and mostly to the chagrin of Stewart,who is caught up in the middle.But to ease his entanglements along the way and steer clear of ever present danger,is old timer Brennan to the rescue.He innocent enough and only wants the best for the two,being too easily pleased with condition of their fate,wanting only early place to retire and pot after pot of coffee.He adds element of moral support and buddy vehicle to film.Good touch.Other cast are authentic and visual,if not vocal upon command and lend to texture of storyline.
RELEASED IN 1954 and directed by Anthony Mann, "The Far Country" stars Jimmy Stewart as a self-centered cattleman, Jeff Webster, who conflicts with a crooked, self-appointed lawman (John McIntire) while driving cattle through Skagway, Alaska, to Dawson during the 1896 Klondike gold rush.
Walter Brennan plays Jeff's best friend while Corinne Calvet plays a tough foreign settler with romantic inclinations.This was the fourth of five Westerns Mann did with Stewart.
This one was shot in Jasper National Park, Alberta, Canada, with one episode involving Athabasca Glacier.The opening sequence on the steamship is memorable for the way Jeff (Stewart) escapes ship authorities with the assistance of Ruth Roman's character.
This movie was just as good as some of the other westerns made by Anthony Mann and James Stewart like Winchester '73 and The Naked Spur, and much better than Thunder Bay and Bend Of The River.
It has a great cast with so many of the wonderful character actors and actresses from the old days - Walter Brennan, John McIntyre, Jay Flippen, Connie Gilchrist, and others.
Jimmy Stewart plays Jeff Webster, a loner and bachelor who, along with his sidekick/business partner Ben Tatum(played by Walter Brennan) takes a herd of cattle by ship from Wyoming to Seattle.
The nearby town of Dawson has an increasing amount of lawlessness, which doesn't bother Jeff until it hits him personally...Disappointing western can't measure up to either of the previous films with director Anthony Mann and star Jimmy Stewart.
However, they encounter John McIntyre (Gannon), a crooked judge/lawman in Skagway., where McIntyre quickly confiscates their cattle.Ruth Roman (Rhonda) hires Stewart to guide her pack train north to Dawson, located in the Yukon Territory, where she plans to open a saloon.
James Stewart, Walter Brennan, John McIntire, Ruth Roman, Jay C.
Flippen, Corinne Calvet, Steve Brodie, Harry Morgan, Robert Wilke, Jack Elam, Kathleen Freeman - lots of familiar names and faces in this western.It was my first look at THE FAR COUNTRY (1954) and I was very impressed.
FAR COUNTRY has cowpoke Jimmy Stewart running afoul of a self-appointed sheriff (John McIntire in a Judge Roy Bean top hat) in a small Alaskan town, and having trouble shaking him as he moves on.
This was a surprisingly strong movie, much better than Winchester '73 and The Man From Laramie, two other Mann/Stewart Westerns I have reviewed.Here's what I liked:The basic plot is convincing and credible.
The year is 1896.Jeff Webster (James Stewart) doesn't like people.There's only one friend he's got and he's Ben Tatum (Walter Brennan), an old sympathetic man.They're driving a cattle herd with them.That would be their key to richness.In Skagway they run into trouble when Sheriff Gannon (John McIntire) takes the cattle.Now Jeff only has to get it back and drive it through the U.S. Canadian border to Dawson.Now they have a group of other people with them, like the ladies Ronda Castle (Ruth Roman) and Renee Vallon (Corinne Calvet).There the two men get into the gold business.Anthony Mann's and James Stewart's fourth collaboration, The Far Country (1954) is a fine western, indeed.The acting work is superb.Walter Brennan makes a terrific sidekick to Stewart.Ruth Roman is brilliant and Corinne Calvet's delightful.Jay C.
Flippen is very good as Dawson Marshal Rube Morris.The great Jack Elam and Kathleen Freeman are seen in smaller roles.It's fantastic to watch how Jimmy Stewart overcome's all the troubles in his way.There's just the man and his rifle.But also he's vulnerable..
Fourth in the series of westerns director Anthony Mann made with James Stewart, "The Far Country", while not the best of them, is still hugely entertaining.
Aw, I'm Not That Bad, Now. Jimmy Stewart, soft-spoken, classically well-mannered and mild, with that inimitable drawl, was an unexpected choice to play a frontier anti-hero, and that's precisely why, unlike more conventional cowboy stars, his lanky figure and detached behavior gives Jeff Webster a vulnerability rarely seen in western protagonists, particularly his power to intermingle a sinister, fuming state with America's Everyman.
Jimmy Stewart and Anthony Mann teamed to do some of the best westerns ever made and this is one of the best.The real star of the film however is the spectacular Canadian Rockies that serve as a backdrop for the story.
Some of the best cinematography ever done in the history of film.In all five of the westerns that Stewart and Mann did together the supporting roles were perfectly cast.
The story is that Jeff and Ben, through a series of events, wind up in the get rich quick town of Dawson, along with gold partners Calvet and Flippen, and no-good but beautiful Roman and her hired men.
I didn't know whether to laugh or cry at this misrepresentation of Canadian history, particularly the disservice done to the history of the Mounted Police in the Yukon.I'll leave it to Pierre Berton, noted historian, born and raised in Dawson City Yukon, and author of the definitive history of the Klondike gold rush, Klondike: The Last Great Gold Rush, 1896-1899 to express my exasperation with this silly movie: The American idea of an untamed frontier, subdued by individual heroes armed with six-guns, was continued in The Far Country, another story about a cowboy from the American west - Wyoming this time - driving his herd of beef cattle into gold country.
This is mostly a story about the growing relationship between Jeff Webster(Jimmy Stewart) and Ronda Castle(Ruth Roman).
Anthony Mann's westerns with Jimmy Stewart are slowly gaining for that director a position with John Ford and Howard Hawks as the best film director in that genre.
Directed by Anthony Mann, "The Far Country" is no masterpiece, but it does maintain a great story about a selfish young cattleman named Jeff Webster, wonderfully portrayed by James Stewart.
Dowd character from "Harvey" [1950].) By the end of the film, Jeff learns about the importance of helping others, as he helps the struggling Canadian boom town of Dawson rid itself of a crooked lawman from Skagway, Alaska named Mr. Gannon (John McIntire), who has been deviously forcing the Dawson inhabitants off of their gold claims.
"The Far Country" boasts an excellent cast; Stewart, McIntyre, Brennan, Ruth Roman, Corinne Calvet, and Jay C.
I'm gonna hang you, but I'm gonna like you." The pretty young French-Canadian girl Renee Vallon (Calvet) nurses Jeff back to health after several of Gannon's henchmen wound him, but she displays her jealousy when the more worldly, self-centered Ronda Castle (Roman) steps in and takes over where Renee left off.When I first saw "The Far Country," I found the selfishness of Stewart's character very hard to take, and I was not convinced of his reformation at the end.
There's nothing wrong with a hero in a Western being cynical, but he was just too cynical.But I liked Ruth Roman as an antagonistic businesswoman and Walter Brennan as James Stewart's friend.
Not that Webster had any problems with people not liking him, it was just his way, take it or leave it.The other aspect of Webster's character that satisfied this viewer was his resolve to go back to Skagway and retrieve his stolen cattle from town villain Gannon (John McIntire).
Exceptional western directed by Anthony Mann (one of the greatest western directors to ever live) with Jimmy Stewart—no surprise—terrific in the lead as a crusty cattle driver who loads his herd on a boat heading to Alaska through Canada when he comes across the morally bankrupt "law" of a frontier town that stands in his way, Judge Gannon (John McIntire) who runs it like a totalitarian government.
Stewart is Jeff Webster, with old buddy, Ben (Walter Brennan, endearing and folksy as expected), ready to make some bread from his cattle, losing the herd to the shifty Gannon when he claims that they're unloading of the live beef interrupted his hanging session in the town for the day, criminal disorderly conduct the charge.
Ruth Roman is good as a saloon owner who is torn between the real bad guy (John McIntire and Jimmy Stewart).
Anthony Mann did a lot of good, to the Western and to Noir, but he can't quite shoot his way out of this one.Jimmy Stewart as a heel: interesting.John McIntire as Judge Roy Bean: surprising.Walter Brennan as Walter Brennan: poor guy.
James Stewart put in a fine performance as Webster and was ably supported by Ruth Roman who played Ronda Castle and John McIntire who played Gannon.
Jeff Webster (James Stewart) prides himself on not needing anything from anyone, except his old trail buddy Ben Tatum (Walter Brennan).
But unlike other Westerns where the story is all about the good guy riding into town and solving every problem with his quick draw and his six gun, The Far Country is all about the need of people to work together to face their challenges and make the world a better place.This is a pretty entertaining film, most notably for the performances of James Stewart and John McIntire and for the story's take on the closing of the frontier.
Stewart appears to relish the misanthropic aspects of Jeff Webster and McIntire plays Gannon as the sort of bad man who's perfectly capable of doing something good as long as it amuses him.
It's men like Gannon, who cloak themselves in the law and authority, that are seizing control and it takes more than any one man to stand up to them.The Far Country is a Western grappling with the end of an era without wanting to demystify it. |
tt0452694 | The Time Traveler's Wife | The movie opens with a woman singing while driving with her young son in the backseat. It's dark and snowing out, and it's Christmas Eve. The young boy in the backseat is five years old, and tells his mother that she has a beautiful voice. It's pretty clear that the boy (Henry) and his mother love each other very much.Suddenly, a car in front of them skids out of control, which sends young Henry and his mother's car spinning out of control. Henry freaks out, and suddenly starts to disappear. The mother is staring at him in disbelief and in the windshield we can see a truck about to slam into their car head on.Young Henry is now naked and standing in his house, watching himself, his mother, and his father read a book on the couch together. Henry is scared and has no idea what is going on. A second later, he disappears again and is back at the scene of the car accident, standing naked on the side of the road. Suddenly, a man appears, puts a blanket around him and explains the situation. The man says that he is Henry as an adult, and they are time travelers. His mother was killed in the accident. He is too young to understand what is going on now, but he will one day. The older Henry disappears.We then see the older Henry appear naked in the library he works at. He gets up, puts his clothes on, grabs some books and brings them to a patron at the library. The patron says "that took long enough" to which Henry replies, "you have no idea".We then see the day to day going on in Henry's life: He is a time traveler. He has some type of supernatural power where he physically travels through time. He has no control over his power or when or why he travels. He drinks a lot and is living a pretty messy life. When he travels, he is naked since nothing dead travels with him. When he arrives at the time he is currently living, he must pick locks, and steal clothes and money just to survive. His father is withdrawn and was once a violinist at the Chicago Symphony, but can no longer play because of his drinking. Both Henry and his father have clearly never gotten over the death of Henry's mother and have taken to alcoholism.Back at the library, Claire Abshire (Rachel McAdams) is looking for a book. The librarian says to her: "Perhaps Mr. DeTamble can help you". Claire is in disbelief. She looks at Henry and says "it's you!". It's very obvious Henry has never seen her before in his life, but they agree to meet at a local restaurant.At the restaurant, Claire tells Henry about how she has known him all her life, that he has visited her since she was a little girl. She says that he visited her a lot, but she has never seen him this young (Henry is about 28 years old at this current time). He explains that certain places he visits a lot because big events pull him in, like gravity. Claire says "I was a big event".Back at his apartment, she pretty much throws himself at him. As they are kissing on the couch, Henry wants to know how they first met. Flashback to Claire at age 6, at the meadow at her parents house. Henry is about 35 years old, naked in the woods, and asking to borrow her blanket so he can cover himself. He explains to a very young Claire that he is a time traveler, and that he knows her in the future when she is older. She doesn't believe him until he disappears before her eyes. Before he goes, he tells her that he will be back next Tuesday, and she should bring clothes for him. From this point on, Claire always leaves clothes for Henry in the woods.Back in present day, you see their relationship unfold. Henry loves Claire, and Claire is happy to be with Henry, but she only had known the older, more put together Henry from her childhood, and this Henry is 28 years old and has his faults. But they love each other. He meets her friends Charisse and Gomez.Gomez learns that Henry is a time traveler by witnessing it firsthand. He thinks Claire should walk away from the relationship, but Claire can't because as she states, "She has been in love with him her whole life".Henry travels back to a time before his mom died and runs into her on the subway. He speaks with her, and says that he is a huge fan of her singing, and that he wishes his girlfriend could hear her sing. They make small talk; she says she has a three-year-old son named Henry. Before he gets off the train, she tells him to make sure his girlfriend knows he loves her. He then tells her, "your son loves you very much". She says, "I know".Henry proposes to Claire using his mother's engagement ring. Henry meets Claire's family before the wedding, and learns that her father is a hunter. At the wedding, Gomez is the best man. Before the wedding, Henry disappears, leaving Gomez frantic as to what to do since there is no groom. Suddenly, a much older Henry arrives and puts on the tux. At the altar, Claire is surprised to see that she is marrying a future version of Henry, but they laugh it off.At the reception, present day Henry arrives in time for their first dance. He asks Claire if she is disappointed that she is not married to future Henry, and she points out that she is married to him, he's just not here yet. That night, as the new bride and groom are jumping on the bed, Henry disappears again. He arrives at the meadow with a very young Claire who asks him if he is married. Henry doesn't like to tell people about their future, so while he tells Claire that he is indeed married, he doesn't explain that he is married to her. The young Claire is upset that he has a wife. Henry then disappears and is back in bed with his new wife Claire, and they both laugh about a young Claire being jealous of herself.We then see the couple move into their apartment in Chicago, and living the life of a young married couple. However, Henry time travels and sometimes leaves his wife for days or weeks at a time. Whenever he is gone, she has no idea when he'll be back. She is getting more and more upset by this. They have an argument after he misses Christmas and New Year's Day. She says she is stressed because he's never there, their apartment is too small to work in (she is an artist) and she is stressed about her new art show. She goes to work angry.Later that night, he meets her at the art studio. He tells her to come with him before "they miss it." He brings her to a TV store and they watch the lottery drawing. He knows all the numbers as they are being called. They have just won five million dollars. Henry says "There are a lot of downsides of traveling, but their can be some upsides too". They now have money to buy a big house with a studio for Claire to work in.At their new house, Henry and Claire have Gomez and a pregnant Charisse over for dinner. As they are making dinner, they hear a loud noise in the living room. The four of them run in to see a bleeding, gasping for breath future Henry on their living room floor. He then disappears. All of them are in shock, and present day Henry just walks away.Later, Claire and Henry are discussing what happened. She is worried because in all her life, she has never seen Henry older than about 40. She is worried it is because he died, but has hope that maybe it's because he found a cure for his traveling. She then reveals that she is pregnant.Henry finds a geneticist that will try to help him with his problem. The geneticist (Dr. Kendrick) has discovered that it's a chromosome mutation, and it's genetic, which means his offspring will most likely have this problem too. Claire has already had three miscarriages because the fetuses are "traveling" out of the womb. The miscarriages are taking a toll on Claire and Henry, who argue everyday. Claire wants one normal thing in her life, and that is to be a mother. Henry doesn't want to put Claire through the stress of another miscarriage, and he also doesn't want a child to have to go through what he goes through, time traveling without warning, being placed in possible dangerous situations. He has a vasectomy without telling Claire, and after it's done he is upset, which causes him to travel.He ends up in the meadow with 18-year-old Claire. She can tell he's upset and he tells her that he did something he had to do, but she won't like it. He won't tell her that he had a vasectomy, and he instead angrily tells her that she is too young to understand anything yet. She slaps him, and he in turn kisses her hard. It's upsetting to her, because they have never kissed and their first kiss was angry. He then kisses her very lovingly, disappears and ends up in present day at home.In Claire's art studio, he tells Claire about the vasectomy. She is very upset. She wants children, and she is mad that he led on an 18-year-old Claire in the meadow.Later that night, Henry is sleeping on the couch. Claire's cell phone rings, and it's a young Henry calling. It's January, and he is in a parking garage in Chicago and needs help. She goes to pick him up. When he gets in the car, she talks to him about being upset with the future version of him. She then kisses him and they make love in the car.The next week, she tells present day Henry what happened. She explains that she didn't cheat on him because, well... it's him. Later on, we discover that Claire is pregnant again for the fourth time. While trying to pick out a name for their future daughter, Henry travels. He ends up at museum, and while walking out a little girl yells, "Daddy!" Henry turns, and a 10-year-old girl is hugging him. She says her name is Alba and she misses him. Alba also has the ability to time travel, but for some reason she can control it. She also tells him that he died when she was five years old. Henry is upset by this, but back in present day he only tells Claire that he met their daughter, she is beautiful and smart and they name her Alba.We then see Alba being born and a montage of the next five years. As they are getting ready for Alba's fifth birthday, you can see Henry is upset. While Henry is preoccupied with party preparations and thoughts of his own death, an older version of Alba visits, and tells present day Alba that her father will die when she is five. An upset Alba tells Claire later that night, who doesn't know what to think. Later on Henry travels and is gone for a while. When he gets back, he is suffering from hypothermia and needs to be confined to a wheelchair in order to save his leg. Claire tells Dr. Kendrick that if Henry can't run, he can't help himself when he travels and he could die.During Henry 's travels, he finds out that he will die on the comming New Years Eve. When New Years Eve arrives, Claire and Henry throw a party. Claire has no idea that Henry will die tonight, but Henry is taking everything in. He says goodbye to Gomez, and thanks him for being a great friend. He then asks to speak with Claire outside. She sits in his lap with a blanket around them, and he starts saying his goodbyes. She says, "No!" and wants to know why he invited everyone over, and he replies that he didn't want her to be alone. She tells him that she wouldn't change one second of their life together, and they are both crying. He kisses her, and as they kiss it's midnight and there are fireworks. Henry then disappears.Henry wakes up in the snow in the woods next to the meadow. It's very early in the morning, almost sunrise. There is a deer next to him. As he watches the deer, he hears a voice in the woods, then a gunshot. Henry screams in pain and disappears. You can then see Claire's father and brother, who were out hunting, arriving at the spot where Henry was, which is now just blood covered snow. They assume they clipped a deer.Back at present day, the New Years Eve party is going on when Henry arrives naked and dying of a gunshot wound on the floor. Claire runs to him and they both are saying, "I love you" when Henry dies.Claire is next seen lying in her bed, depressed, with her daughter. She is very shaken by the death of Henry.Later on, in the meadow, a nine-year-old Alba is playing with Gomez and Charisse's kids when Henry comes walking out of the woods. Alba is thrilled to see her father, it's been 4 years. Gomez's kids run to the house to get Claire while Henry and Alba talk. As Henry tells Alba the story of how he met her mother, you can see Claire running through the woods. When Henry sees Claire, they run to each other and embrace. Claire is thrilled. She asks why he didn't say he'd be here, and he tells her he doesn't want her to spend her life waiting for him. Claire is crying, telling him that she loves him and will always love him. Henry and Claire kiss, and Henry disappears once more. Claire picks up and folds his clothes, and Claire and Alba then leave the meadow together. | thought-provoking, psychedelic, melodrama, tragedy, romantic, sentimental | train | imdb | null |
tt0110322 | Legends of the Fall | Sick of betrayals the United States government perpetrated on the Native Americans, Colonel William Ludlow leaves the army and moves to a remote part of Montana. Along with One Stab, a Cree friend, he builds a ranch and raises his family. Accompanying them are hired hand and outlaw Decker, Decker's wife, and daughter Isabel Two. Ludlow has three sons: Alfred, the eldest, is responsible and cautious; Tristan, the Colonel's favorite son, is wild and well-versed in American Indian traditions; Samuel, the youngest, is educated but naive and constantly watched over by his brothers.
Ludlow's wife Isabel does not adapt to the harsh Montana winters and moves to the East Coast; Tristan vows never to speak of her again. At age 12, Tristan touches a sleeping grizzly bear. The bear awakens and injures him, but he stabs at the bear's paw and cuts off a claw.
Years later, Samuel returns from Harvard University with his fiancée, Susannah. Susannah talks with Isabel Two and learns of her fondness for Tristan. Susannah finds Tristan captivating but loves Samuel. Before they can marry, Samuel announces his intention to join the Canadian Expeditionary Force and aid Britain in the fight against Germany. Much to their father's displeasure, Alfred also joins. Although Tristan does not want to join, he does so to protect his brothers.
During World War I, the brothers find themselves in the 10th Battalion, CEF. Alfred, commissioned as an officer, leads a charge into no man's land. The attack results in heavy casualties, and Alfred is wounded. While visiting Alfred in the field hospital, Tristan learns that Samuel has volunteered for a dangerous reconnaissance mission. He rushes off to protect his brother but arrives too late. A devastated Tristan holds Samuel until he dies, then cuts out his brother's heart and sends it home to be buried at the ranch. Tristan single-handedly raids the German lines. He returns to camp with the scalps of German soldiers hanging around his neck, horrifying his fellow soldiers. He is discharged but does not go home. Alfred returns to Montana and proposes to Susannah, but she declines.
Tristan returns home, where Susannah finds him weeping over Samuel's grave. She comforts him, and they become lovers. A jealous Alfred confronts Tristan and leaves to make his name in Helena. Tristan is plagued with guilt over Samuel's death and feels responsible for driving Alfred away; he leaves Montana for several years. Susannah waits for him, only to receive a letter telling her to marry someone else. Alfred comforts Susannah. Ludlow finds them together, which leads to a falling out between him and Alfred. Ludlow later suffers a stroke. He does not speak for years and the ranch deteriorates. Susannah marries Alfred, now a congressman. Alfred's business and politics cause him to get involved with the O'Banion brothers, bootleggers and gangsters.
Tristan returns during Prohibition, bringing life back to the ranch and his father. He falls in love with Isabel Two and they marry. They have two children, the elder being a boy named Samuel. Tristan becomes involved in small-scale rum-running, finding himself at odds with the O'Banion brothers. Isabel is accidentally killed by a police officer working for the O'Banions. In a fit of grief, Tristan beats the officer nearly to death and is jailed. Susannah visits Tristan, still having feelings for him, but he refuses her advances. After his release, Tristan and Decker kill those responsible for Isabel's death, including one of the O'Banion brothers.
Realizing she cannot live without Tristan, Susannah commits suicide. The remaining O'Banion brother, along with the corrupt sheriff, comes after Tristan for revenge. At the ranch, Ludlow and Alfred kill the attackers. Alfred reconciles with his father and brother. The family realizes that Tristan is likely to be blamed for the deaths, which prompts Tristan to ask Alfred to take care of his children. However, One Stab's narration explains that during the night they bury the bodies and dump the car in the Missouri River. One narrates that he always believed Tristan would die as a young man, but he instead he lives to watch his children and grandchildren grow. One Stab narrates that it was the people he loved and wanted to protect most that died young. The last scene takes place in 1963. Tristan, now an old man living in the North Country investigates an animal carcass as he is confronted by a grizzly bear. He draws his knife and fights it. As they struggle, the image freeze-frames as One Stab narrates; "It was a good death". | murder, dramatic, romantic, melodrama, tragedy, revenge, sentimental | train | wikipedia | I watch a lot of movies & I can't remember the last time a film held me so spellbound.
Star billing or even an Oscar should also have been awarded to the spectacularly beautiful scenery of Montana for the vast majesty it bestowed.This complex saga of love, grief & loyalty is narrated with stark simplicity by old Stab, long-time friend to retired Colonel Ludlow & his 3 sons: staid Alfred, the eldest ("old even for his years"); idealistic Samuel, the youngest ("There was nothing these brothers would not do for him."); & wild Tristan ("Such people become crazy or they become legends.").
The conflict between Ludlow's fiercely anti-government anti-war stance & his sons' determination to do what they see as their duty is but a small part of the story; the heart of the tale is the rift that threatens the mutual devotion of these 3 loyal brothers as they all come to love the same woman.
I understand that some people think it's corny and too romantic but if you like epic dramas this is the movie for you.Reasons to see the movie: - Great acting.
Aidan Quinn makes another great performance, and Julia Ormond is very good as the (tragic) woman they all long for.
This film a true epic with history, talent, superior cinematography, and most of all(and what many movies of today lack)..
Everything from the acting to the directing was brilliant and the scenery was breathtaking.Anthony Hopkins gave another knockout performance as Colonel Ludlow and Brad Pitt was brilliant as Tristan.Aidan Quinn, Henry Thomas and Julia Ormond were perfectly cast as Alfred, Samuel and Susanna.The one thing I liked most about this movie was the ending - which I won't spoil.
I absolutely loved the movie, it's the second time I'm seeing it and I'm glad I did, because I love epic dramas...and this one well, not only did it have a great and an original storyline, it had a great cast also.
But my favorite had to be Brad Pitt, his performance was engaging and I couldn't take my eyes off the screen, because I simply was fascinated by the way the story was constructed.
It has so many twists and turns that it just keeps you wondering until the end...where you feel like you've watched the film to its fullest and there's no more stories left untold, that's what I look for in a good film.
He would raise 3 sons Alfred (Aidan Quinn), Samuel (Henry Thomas), and Tristan (Brad Pitt) in an idyllic life.
Legends of the Fall (1994)This movie looks and feels good, and it goes far.
But the story is another matter--a sprawling, epic kind of familial tale of the struggle for a father's affection, the love of two brothers for the same woman, etc., with all of the characters swept up in tumultuous emotional states without preparing the viewer for the reasons.
And yet, despite poor motivation, all of the actors do outstanding jobs--from Brad Pitt to Henry Thomas to Aidan Quinn to Anthony Hopkins--hats off for some fine acting.
The main highlight of this film is the young Brad Pitt and the makers of this movie knows this as well, and not because his character stood out or anything.
`Legends of the Fall,' directed by Edward Zwick, is the story of Tristan (Brad Pitt) and his brothers, Alfred (Aidan Quinn) and Samuel (Henry Thomas); a tragic story of the life they shared and the wounds they suffered, many of which were never to heal.
Director Edward Zwick delivers a sweeping saga of life and love with this film that is every bit as big and grand as the country in which it is set.
And Pitt gives one of the best performances of his career as Tristan; watching him, you feel that restlessness and conflict raging within his soul, and you can sense his passion as he seeks his direction in life.
Quinn is also extremely effective as Alfred, the older brother, delivering an emotional and convincing performance, as does Julia Ormond, as Susannah, a young woman conflicted inside as she tries to sort out her feelings for the Ludlow brothers.
A visually stunning film that will touch you emotionally and stay with you long after the screen has gone dark, `Legends of the Fall,' perpetuates the tradition of classics like `The Big Country' and `Giant.' Engaging and memorable, it's a transporting experience, courtesy of the magic of the movies.
The whole movie seems to gravitate towards beautiful poses of Brad Pitt with the sunshine through his hair and the wonderful Montana woods in the background, like in a bad shampoo commercial.
From the way they talk, to their apparel, to the tools they use, to every other detail, the movie as bad as "Titanic" as far as historical accuracy is concerned.To illustrate with an example, at a point in the movie Susannah -Julia Ormond- pulls a portable photo reflex-camera on a tripod and takes idyllic pictures of the brothers in the Montana landscape...
There's no other explanation for this awful flick.Please avoid this movie at all costs if you don't like 3 hour- long shampoo commercials with very, very bad plots.
While watching the film, couldn't stop wandering if the people responsible for it, were thinking that the public is stupid, that we take anything that comes to us, as long as actors like A.H, B.Pitt, et al, appear in the credits.
I loved it in 1994 and I loved it more last weekend when I caught it on cable.I am someone who thinks most 120 minute movies are too long, but Legends of the Fall could easily add another hour to the 133 minute running time and I would watch it again and again.
I feel there is still so much more to be written about these characters.Mostly love story, a little bit Western, a little bit War, Legends of the Fall is an epic in the truest sense of the word.
Whether the camera is aimed at the glorious mountains, a sun dappled landscape, Brad Pitt in clothes or out, or the gentle beauty of the lovely Julia Ormand, your eyes drink eagerly from scene after scene.The romantic, the adventurer, the historian, and the sentimental viewer will walk away from this film craving for at least a second to live one of the lives so beautifully crafted on film here..
One redeeming quality is it's one of those movies that is so bad you can have a good time making fun of it as you watch..
Julia Ormond and Aidan Quinn also deliver outstanding performances.The story is best bit of this film coming from a novel by Jim Harrison.Movie starts off in the early 1900s based in the Rocky Mountains of Montana.
Not only Brad Pitt, but also Anthony Hopkins, Aidan Quinn, and Henry Thomas, which played their parts excellently.
Watching this movie I feel my heart and soul are fully occupied by the love, hatred, revenge, beautifulness, sadness of it.
I cried over this movie, I am so touched by the story and so sad about Tristan, it's his wildness and characteristics that lead him doing those things, and that's why he became legend.
It's a perfect movie, with excellent acting by Brad, Hopkins, unforgettable music and settings, profound meanings and strong wills go along with, and every time I hear the music I feel the power of this movie inside me.
Brad Pitt has portrayed many great characters but I feel that none compare to Tristan Ludlow, the different emotions that Tristan goes through in the film seem very real.
Jim Harrison's lush, flawed characters are turned into primitive movie archetypes and the complexity of the story dumbed-down so heavily that it may as well have been a made-for- television film.
I'm like "Gee, thank you for reminding me that life sucks and then you die." I can figure that out on my own just fine, than you very much, and that realization didn't cost me $6.75 for a movie ticket.Yes, the scenery was attractive, but it didn't save this dog of a film..
Legends of the fall is now probably known for bringing Brad Pitt into the mainstream but it is a grand sweeping epic with great performances, a touching story and some stunning natural visuals.
I am born in 85, so all the great movies, all the big old names, all amazing and spectacular and Titanic which was my best film ever and remained for so many years, just dropped to second place because of the Legends of the Fall.
Julia Ormond, Brad Pitt, Aidan Quinn, all so good in this movie.
For all the great cinematography and dramatic score it does not add up to a great film if you don't get the characters right, and i was disappointed in the performances of Pitt and Hopkins, being a fan of the latter I rather wish I had'nt seen this film as he clearly drops ricketts here; for example speaking with a welsh accent when his character isn't welsh, and at one point in another scene when he loses his temper for a moment there I thought he would break out in German.
I watched this movie on TV many years ago.I found it more of a bad comedy than a serious film.The plot, writing, acting and everything else was ridiculous.Anthony Hopkins was awful.Pitt and the others were close to that.My daughter and I fell on the floor laughing.There are a lot of bad movies out there, but this was one of the worst.A lot of people liked it - not sure why?
And Tristan¡ª despite his strong, wild, handsome appearance, despite the fact that he was adored by those around him¡ª was the most suffering soul of the all: A man whose feelings had been torn between his beloved brothers and his lover, a man who had to sort out, but failed, what was wrong with him, and why was it that everything he touched caused disasters.A wonderful film is Legends of the Fall.
I've seen this movie for 5 times so far and everytime I discover something new and everytime it will touch your heart again because its a story of life, in its full joy and its sadness.
With only one idyllic backdrop and 5 main characters: 3 brothers, a father, and a woman; the film manages to tell a great epic story.
It failed to wrap up things in any pertinent way and seemed just to be a "make the audience feel better" device.Brad Pitt gave a typically wooden, blank faced performance.Anthony Hopkins looked like he had fun, lucky old him..
Life is like that in many cases, and I, for one, thoroughly enjoyed the fact this film wasn't a lame, saccharin, feel good excuse of a movie.
Brad Pitts stars in this movie, and does a great job.
The end credits music really helps the movie set in and makes you think about the bond of family.The acting is very good.
Aidan Quinn, Julia Ormond, Henry Thomas, Karina Lombard, Tantoo Cardinal, and Gordon Tootoosis all perform very well.The pacing is very slow and the runtime is overly long.Pros: Emotional and sorrowful story, great ending, good acting, amazing performances by Anthony Hopkins and Brad Pitt, good cinematography, and a good use of musicCons: Very slow pacing, an overly long runtime, and the film could have been edited down by a lotOverall Rating: 8.1.
The three sons in Legends Of The Fall are Aidan Quinn, Brad Pitt, and Henry
The story focuses on Colonel William Ludlow (Anthony Hopkins, gnarled nobility incarnate), living with his three sons in the desolation of an old world making way for a new, as the four of them deal with love, loss, war, nature and interpersonal conflict in a story that plumbs the chasms of human nature and spits out characters that bleed raw feeling, reach out to one another in the clamour of a nation only just being formed (like the land itself), and clash in tragic harmony, spanning years in their lives and showing us desperation, grief and brotherhood.
When their younger brother Samuel (Henry Thomas), arrives home with his beautiful fiancé Susannah (Julia Ormond) sparks fly between her and Tristan, and an immediate rift is formed in the family that Ormond sees all too well, but cannot deny her love for Pitt.
One problem I had with this movie is that Julia Ormands character is in love with him while married to his brother.
Brad Pitt plays as if he was starring in a Levi's advertisement, Julia Ormond is as forgettable as ever, and Anthony Hopkins is so ridiculous that I doubt he mentions that movie on his career resumes.
This film seems to peter out around halfway, turning into a long slog of such beloved TV-styled epic melodrama with all the messy ingredients heaped on as if to fill out wherever the tale might be meandering to, and finally amounting to a heavy-handed overlay of froth and spume.The cast is right: `cute boy' Brad Pitt carries out a decent interpretive role for the first half and degenerates into churning his way through the second half; Anthony Hopkins plays the landed gentleman with British aplomb and conviction, but barely survives the second half, in which, anyway, his part dwindles somewhat; Henry Thomas and Aidan Quinn are both really good, as well as the children who played the parts of the three brothers, though in the second half Aidan Quinn gets lost somewhere along the road to big business and politics but lacking panache and conviction; Julia Ormond is magnificent and reminds us that her birth town is not now only famous for its horse racing.
Both Julia Ormond and Brad Pitt performed excellently in this movie and every other major performers are good because after watching it, you still want still savor and contemplate story.
Legends of the All. For viewers who want their melodramas extra sudsy, with pretty scenery and prettier actors (Aiden Quinn, Julia Ormond, and Henry Thomas), lots of deep looks and angry tears to indicate emotional intensity, and Brad Pitt (long of hair and bulgy of muscle), then Edward Zwick's Legends of the Fall is just your pioneering, family-strifing, soap-operatic, cholesterol-laden period meller!
Suffice it to say that, by the ending credits, you're going to have seen some seriously intense Montana history, watched the principals age better than mere mortals could ever hope to (except ol' Colonel Anthony Hopkins who has a stroke and winds up looking as if he got a shot of Novocaine in his face every morning in the makeup trailer), listened to some major mastication of all that pretty scenery, and probably wondered why your US History class in high school couldn't have been this melodramatic--and R-rated for seriousness, with the occasional foul word, spilled gut, and breast or butt showing.The gals might want to stock up on Kleenex.
Roles of Brad Pitt, Anthony Hopkins and the rest of the cast are very very stupid, the plot is very simple and...
I will watch it every time its on TV, It's a showcase for the greatness of Anthony Hopkins, the sultry appeal of a fresh Brad Pitt, the unusual beauty of Julia Ormond and the often overlooked performances Aidan Quinn.
Even great movies like Gone with the wind, pail in its presence.Saying this movie is corny or story is a cliché' is just like looking at the full moon in a perfect clear summer night sky and not like it just because moon is too old and you've seen too much moon before.!!!!Along with Fight club this is Brad Pitt at his absolute best.
It makes me laugh to think about it, Legends of the fall is a film I've watched more times than I'd care to admit, and still I never mention it as one of the best films I've seen.
I fell a little in love with beautiful Julia Ormond, who sadly has all but vanished from the American movie scene.
There's plenty more than just a H'wood love story, Brad Pitt and emotions.
"Legends of the Fall" harks back to old-time movie-making; we're not asked to analyze or otherwise participate, only to sit back, eat our popcorn and thoroughly enjoy.Brad Pitt, Anthony Hopkins, Julia Ormond and the rest of the cast carry their roles well alongside the Old West backdrop.
A cliched sweeping drama starring Anthony Hopkins and Brad Pitt, Legends of the Fall is a middling affair dampened by its length and disposition to playing with your emotions.
I have never been so much of a Brad Pitt fan then I was in this movie.
I must even mention the quality work developed by Anthony Hopkins (a veteran who shines in the role of the old colonel, as expected) and Brad Pitt, who performs regularly in the role of Tristan, the rebellious son, even if the latter actor cannot survive the wave of sentimentality and have his character transformed into a out-of-time romantic hero, eternally in conflict with the world around him.
At various points over the next several years, Colonel Ludlow's three sons all fall for the same woman, adding friction to a relationship that is tested by war in Europe and subsequent challenges at home.The acting is generally well done with Brad Pitt and Anthony Hopkins in place as the film's main stars.
The majestic score by James Horner was also a key contributor to the film's epic feel.While the movie's grandiose nature may be unappealing to some, I find "Legends of the Fall" to be a welcome throwback to a time when sweeping stories like this were much more prevalent on movie screens.
Similarly, Brad Pitt's performance becomes more convincing.Would have been a pretty good movie if the first 45-60 minutes had been slimmed down and the plot tightened up..
The rest of the cast, while I'm not as familiar with them, were excellent in bringing the story to life.I liked Legends of the Fall, and will undoubtedly watch it again. |
Subsets and Splits