imdb_id
stringlengths 9
9
| title
stringlengths 1
92
| plot_synopsis
stringlengths 442
64k
| tags
stringlengths 4
255
| split
stringclasses 1
value | synopsis_source
stringclasses 2
values | review
stringlengths 119
19k
⌀ |
|---|---|---|---|---|---|---|
tt3716530 | Elle | Michèle Leblanc is raped in her home by an assailant in a ski mask, then promptly cleans up the mess and resumes her life.
She is the assertive head of a successful video game company, where her male employees are alternately resentful of or infatuated with her. She feels detached from her son Vincent, who submits to the pregnant Josie, his domineering, ungrateful and likely unfaithful girlfriend. Michèle has a contentious relationship with her mother, Irène, whom she resents for her narcissism and involvements with younger men. Meanwhile, she carries on an affair with Robert, the husband of her best friend and business partner Anna, and develops a risqué flirtation with her neighbor Patrick, a banker who is married to a devoutly Catholic woman named Rebecca. Furthermore, Michèle is the daughter of an infamous mass murderer—who involved the then 10-year-old Michèle in his murder spree—whose parole hearing is soon approaching. Haunted by the violent event from her childhood and the subsequent media frenzy, Michèle is wary of law enforcement and does not report the rape to police, despite the pleas of her friends.
Following the rape, Michèle grows increasingly suspicious of the men in her life. She receives harassing text messages from her assailant at a blocked number, indicating he knows her and is watching her. She at first suspects Kurt, a particularly resentful employee, when a CGI animation of a monster raping her is emailed to everyone at the company. She pepper sprays a man lurking outside her house, only to find out it is Richard, her ex-husband, who was checking on her safety. She later discovers that another employee who has been infatuated with her created the animation, but did not rape her.
On Christmas Eve, Irène suffers a major stroke, and begs her daughter to go see her father before falling into a coma and dying at the hospital. Michèle is later attacked in her home by the same masked assailant one night, and after stabbing his hand and unmasking him, learns that he is Patrick. Though Patrick has been harassing her and she now knows that he is able to enter her home despite having her locks changed after the previous incident, she still does not call the police, and furthermore takes no measures to increase her home security.
Michèle decides to visit her father after his parole application is rejected, only to find that he has hanged himself hours before she arrived, which Michèle suspects is because he could not bear to face her again. On the way home from the prison she gets into a car crash in a secluded area. Rather than calling an ambulance, she first calls her friends, who don't answer, and then decides to call Patrick. After Patrick rescues her from the car and bandages her, Michèle courts a brazenly dangerous sexual relationship with him. She engages in a vivid rape scenario while attempting to mitigate his inability to perform with a consenting woman. The two of them walk a delicate line in which Patrick has to feel like he is raping Michèle even though she consents to the roleplay.
Michèle grows increasingly disillusioned with the various facets of her life leading up to the celebration party for the premiere of her company's new video game. She confesses to Anna that she was having an affair with Robert. As Patrick drives her home from the party, Michèle professes that she is no longer in denial about their unhealthy relationship, and claims she intends to call the police. She takes her time walking in front of his parked car after getting out, and then before entering her home makes a point to leave the gate unlocked. Patrick enters the house and attacks her in an ambiguous encounter that blurs the line between rape and consent—but Vincent, who was already in the house, sneaks up behind Patrick as he is on top of Michèle, and bashes him in the back of the skull. Michèle appears to remain largely composed during and after the rape, but before dying, Patrick seems confused.
In the film's epilogue, Michèle speaks briefly with Rebecca as she is moving out of the neighbourhood. Rebecca is placid and expresses gratitude to Michèle for being able to temporarily "satisfy Patrick's needs"—implying that she was aware on some level that the two were sexually involved and that Patrick had inclinations she, as his wife, couldn't satisfy. Vincent is shown to be a bit more assertive in his relationship and career, while Michèle reconciles with both Josie and Anna, the latter of whom offers to move in with her now that they have both severed their relationships with Robert. | flashback | train | wikipedia | The performances in the film are all fantastic, and the direction is magnificent (Verhoeven actually took to learning French as a new language so he could utilise an entire French crew), the cinematography and soundtrack both make great accompaniments, but I personally think the film's structure was the only downside to the film.The subject matter is rather grim, revolving around sexual assault and the estranged relationship between the main character and her parents, but there are instances of humour that just give that little hint of lightheartedness to a relatively dark premise.
"Elle" means "She" - the whole movie is seen through the eyes of the character played by Isabelle Huppert, a woman being victim of an aggression in the first scene of the film.From there you will probably be unable to predict the plot, as its structure doesn't follow the rules we've been used to.
At first you might think it's just a thriller but the writing has more to offer and deploys in original ways.Isabelle Huppert delivers a great performance playing a strong female character, something quite rare in movies.The film can be quite shocking, but never gratuitous.
This is no sympathetic character, yet thanks to Ms. Huppert, we simply can't take our eyes off of her or stop wondering how she will handle the next situation (of which there are many).Based on the novel "Oh
" by Phillipe Dijan, with a screenplay from David Birke (who has a similar theme in much of his work), the film spares us little from the daily life of Michele.
With everything on Michèle's plate, a little sexual assault is merely seasoning.The shocking opening scene will certainly have audiences squirming, and indeed Verhoeven revisits it a couple of times throughout the film as Michèle mulls over the event, with variations here and there as she imagines how she could have defended herself—or provoked him further.
And since 2000, Veerhoven has directed but three films – Hollow Man, Black Book and Tricked.With any fortune, Veerhoven will no longer take such a long sabbatical after his latest effort, Elle which was nominated for the Palme D'Or at Cannes and had its North American Premiere at the Toronto International Film Festival this past Friday.Elle stars Isabelle Huppert as Michele, a corporate CEO of a small video-game design company who deals with the emotional effects of a rape that occurs before the screen even fades in with the open scene.
A father doing time for being a serial murder, a mother who pays young studs for sex, a son who can't hold either a job or a girlfriend and her co-workers, some of which she is sexually active with, only complicate her delicate situation.Although Elle might seem like a mystery thriller, it is more of a character driven drama than a 'can-you-guess-who's-behind-the-mask'.
The film is carried by her strong and intoxicating performance and Huppert is remarkably able to keep us involved and rooting for a woman who is mean and calculating to all those associated with her path.Events don't exactly zig and zag towards an ending but I doubt audiences will be able to stay ahead of the smart script in determining what might occur next to our protagonist.Elle isn't perfect, but it is perfectly cast and executed.
And ELLE, is his first French film which debuted earlier in this year's Cannes, headlined by an impeccably charismatic Isabelle Huppert.Elle refers to Michèle LeBlanc (Huppert), a middle-aged divorcée, who is the head of a video-game company in Paris (an interesting career choice), leads a quite complacent life regardless of some dissonances, like her ex Richard (Berling), with whom she remains an amiable rapport, is dating a new graduate student Hélène (Pons) which raises her eyebrows mixed with a small dosage of jealousy; Josie (Isaaz), the insolent girlfriend of their unambitious son Vincent (Bloquet), is a vitriolic nuisance, now that she is pregnant, they are dependent on Michèle to pay the rent of a new apartment; then her botox-addicted mother Irène (Magre, so sprightly in her age, almost 90), is too smitten with her toy boy Ralph (Lenglet) to be ethical; plus that she is having an affair with Robert (Berkel), the husband of her best friend and colleague Anna (Consigny), just as corny as that.But a horrific accident will disrupt the status quo, she is raped by a masked intruder in her own apartment, and with her own reason of not reporting the case to the police (a more horrific back story here), she carries on as if nothing happens apart from changing the locks and arming herself with a bottle of pepper spray.
An honest take of masturbation with the aid of a pair of binoculars bespeaks the unflinching audacity of the film's stance: we are all libido-driven creatures, even it will subject us to very perilous situations, we still cannot resist the delectable temptation.After the plot disclosing the identity of the rapist, the guessing game is over but the story veers into a more stimulating concept of why the act repeatedly happens and how far one would go to fully embrace the exploration of one's sexuality (to the extent of sadomasochism and role-playing), on the latter regard, the film is absolutely female-empowering, while the man is basely submitted to his primal desire, it is the woman who dares to challenge the perversity, question the insanity and take the initiative to navigate the course, which cannily imbues the preordained upshot with a tinge of ambiguity (is it a knowing plan of her or an unfortunate happenstance, which makes audience wonder).The synopsis of the story might sound morbid, but Verhoeven certainly shows his level- headedness to temper it with a comedic bent, mostly owing to Huppert's superb tour-de-force, she is fantastic in her poker-face frivolousness when saddled with the dead-serious matters, and unapologetically affective in the scenes where she is alone in the frame, submerging in her own thoughts and projecting enigmatic gazes, Michèle is a a hard case to crack, so proactive to seize the fate in her own hands, refuses to be sentimental or sympathetic.
Curiously i felt like i was about the only person in the audience who was chuckling along with every scene, maybe my dark sense of humor or feeling the unmistakably Verhoeven tone more acute with every movie of this great director i get to see.
As the header title notes, the director Paul Verhoeven is indeed a pale imitation of Brian De Palma.I saw this movie at the art-house where it was the only one film that plays anywhere where I reside at this time of writing, in a second-run circuit.
Unlike "Elle," The Piano Teacher is far more nuanced with Michael Haneke's clinical directing style, slow-burn pacing, and Ms. Huppert's astonishing portrayal of a tormented and psychosexually twisted character.In my humble opinion, Huppert's role in The Piano Teacher is one of the best performances ever captured by the actress; the other (equally and non-manipulative) astoundingly superlative performances being the fellow French actress Marion Cotillard for "La Vie En Rose" and Bjork's one-off-only lead acting in the poignant "Dancer in the Dark." But "Elle" pushes the envelope not only too far, but also shreds the envelope to the extreme edge, outside of viscerally obscene hard-core pornography.The MPAA is wrong to have given this movie a mere R rating.
It's a rather vacuous commentary on the female psyche, and the sheer ludicrous elements of the entire plot leading to the bizarre "happy" ending left me flabbergasted with frustration and disbelief, because this movie demands that I leave my brain at the door in terms of excessive suspension of disbelief.Paul Verhoeven has proved himself to be the poor man's Brian De Palma, the latter who, at least, knows how to pull off the crazy plot twists and intrigues without coming off laughably absurd, until recently in the last two decades, when De Palma simply went off the deep end, not unlike Lars von Trier in the last decade.
"Elle" is simply "Basic Instinct" in reverse, and still as ludicrous as that infamous 1992 erotic thriller with plot holes and equally absurd demand for suspension of disbelief that infers puerile male chauvinist fantasy.This said, Isabelle Huppert is, as I reiterate, the bravest actress.
I doubt that she will an Oscar for Best Actress (she had won Golden Globe Best Actress award last month), simply because the Academy members, in particular elderly and perhaps more prudish, will be so offended and outraged by the risqué content and absurd plotting in "Elle" that they walk out in droves midway or turn off DVD to eject in palpable anger, given that this movie is one of the most provocative ever made to date.That this movie made me cringe with horror -- and The Piano Teacher barely made me wince, being hypnotized by the great and magnificent Isabelle Huppert's performance -- especially with grotesque sexual content (not just rape acts but also involving other elements that are just as morally offensive) is quite an accomplishment.
Verhoeven apparently hates the audience enough to mock us, and "Elle" is not an exception that belies his utter cynicism toward humanity in terms of values or the lack thereof.This "film" is borderline rubbish that thieved my ten dollars -- I seldom go to the movies -- save for Isabelle Huppert's courageous and competent performance, that no sane film actress in Hollywood and London will agree to by taking on the lead role that is perverse, dreadful and exploitative.I will be genuinely shocked if Ms. Huppert wins the Oscar for Best Actress, defying the odds given that "Elle" is the most infuriatingly ridiculous and deliberately provocative movie in recent years.
Mix in some repugnant scenes from a video game being developed by Michèle's company, a car crash, and Michele's detailing the exploits of the mass killings of her father and you have a movie that is difficult to watch.Maybe the humor is to view this as a satire on a certain segment of upscale, tech-savvy French society, but if that was the intended takeaway, it flew over my head.Huppert gives a strong, nuanced performance and that was pretty much the only thing I could appreciate.
Paul Verhoeven has a track record that would not immediately make you think he could make a movie that would empower a strong central female character, particularly one where sexual politics (and sexual violence) are key to the narrative.He's the man behind Showgirls and Basic Instinct and, errr, Diary of a Hooker after all - essentially exploitation movies to a greater or lesser degree.And it's highly debatable whether Elle succeeds in its goal, if indeed that is it.
Because, despite the incredible central performance by Isabelle Huppert (rightfully Oscar nominated) it takes her from rape victim to rape fantasist over the course of its two hours.Or did I misread it?The opening brutal rape scene knocks you back on your feet and Huppert, as Elle, a successful career woman, recovers from the ordeal remarkably sanguinely and continues her active lifestyle whilst setting out on a revenge mission of sorts.But that mission is deeply twisted and her horrendous experience seems a little ironic perhaps when we discover she is the owner of a games design company that produces games with dubious sexual morality.What's more her father has a deeply unpleasant past, also wrapped in violence in which she was implicated as a child.
I think with the exception of the son's sub-plot, which I found distracting in a way that didn't seem to help the film much (I think eventually there's some emotional moment between mother and son where he states simply that he could be a good father that does connect a little to what's going on, but it's too little and too late for me), because the focus is so much on Michele and the things that happen both to her and that she lets happen and that she does to others, the character study approach works.
I believe that 130 mions to tell the story of a women thats raped and then she looks out for its rapist its ay too long maybe 100 mins is enough (or less) the story for me felt too long at the verge that i had to ask my brother (i was watching it with him) about the time and when he checked and told me "we saw one hour so far" i said "one hour?" like thinking oh damn another hour?
Yet, not only does she do nothing to bring him to justice, but when she crashes with her car, it is him she calls to come and get her.Michele is not the only one who is a bit 'off' in the movie ('off' here being an euphemism for 'twisted')—this can be said about pretty much everyone around her—from her 90-year-old mother, who has a lover 60 years her junior, through her son, who wants to be a father so much that he doesn't even bat an eyelid when his girlfriend gives birth to a black baby, to her most trusted employee, who, in his infatuation with her, creates porn animation where she is—well, of course—raped again by a demon from hell.If you haven't guessed by now, the director of this lovely mess is Paul Verhoeven.
Set in France and done well with French subtitles "Elle" is the story of an elegant cougar socialite business lady named Michele(in a fine and top notch performance from Isabelle Huppert)who as the head of a video game company is successful, yet after being attacked in her own home and being brutally raped things change.
Once concluded, our heroine - successful business woman Michele LeBlanc - must play a cat and mouse game to determine who her masked rapist is and how to exact revenge on him while at the same time navigating her wild and wacky family.Did I mention this film is a comedy?Or, rather, it is a drama with comedic elements.
Verhoeven mines the comedy to the appropriate level that is needed while keeping the camera focused on the serious aspects of this film and the balance of the two work quite well together.Most of this can be traced to the performance of Isabelle Huppert as Michelle.
Rape is the lens through which this movie is viewed, a dark vision of humanity.Michèle tries to find the perpetrator in what at times feels like a detective story.
Yet this complex bag of character traits and human emotions never collapses under Huppert's brilliant performance.The director Paul Verhoeven knows just well enough that in order to make this movie work, one needs to simply hold the camera on Isabelle Huppert's face—she has an aura of respect surrounding her when she doesn't speak, and when she does speak, she's all the more impressive.
Movies like this, are why more people should give foreign language films a chance.Elle is described as a Drama, a Thriller and a Black Comedy.
The violent and vicious rape by a masked intruder of Michèle Leblanc, played by Isabelle Huppert, while she's in her home.This has caused some arguments between people who believe everything sexual is part of the patriarchy, and this this film, being both written and directed by men, is therefore exploiting women.
For the same reason, you find yourself feeling slightly connected to these broken individuals.The film revolves around Michèle, and her search for the identity of the rapist, but it doesn't simply focus on that at the cost of everything else, there are a number of sub-stories unravelling around her, making this feel more like real life, in a slightly over the top and bizarre way.As I said, this isn't an easy film to watch, it takes an investment, in both effort and time.
Led by an outstanding performance from Isabelle Huppert, it is a skilfully structured & finely layered character study that's no easy sit for anyone yet one can't deny its alluring quality.Elle tells the story of Michèle Leblanc, head of a successful video game company, who's ruthless in all facets of her perfectly balanced life and refuses to give it up for anyone or anything.
And Isabelle Huppert seems sporty enough to take the challenges & in return, Delivers The Performance Of The Year.'Elle' Synopsis: A successful businesswoman gets caught up in a game of cat and mouse as she tracks down the unknown man who raped her.Based on the Novel Oh...
We then learn that this woman, Michele Leblanc (Isabelle Huppert) is a successful business woman and after the attack her fears grow that the man might come back after her.I went into Paul Verhoeven's ELLE without knowing much about it.
(Whispering to her father) "I killed you by coming here." Michele (Isabelle Hupert) Michele, a lovely middle-aged video game chief exec, is raped in the first scene of Paul Verhoeven's thriller and psychological drama.
However, that means the character evolves hugely throughout the film, and the way she changes her acting depending on what light her character is cast in, whether it be the victim or a morally dubious woman with a devilish smile, is absolutely stunning to see.Of course, whilst Huppert's performance is exceptional, director Paul Verhoeven also plays a huge role in giving the film its brutal intensity.
French actress Isabelle Huppert has been brilliant before but here she is phenomenal, as strong-willed Michèle a successful business woman who works in the gaming industry until she gets her revenge after being sexually attacked.
Two, simply talking about the problem, as opposed to violently making the people who make the problem stop, will solve nothing.Pretty much the entire film, we are watching Isabelle Huppert's character, Michèle go through the trials and tribulations of her life after a masked man rapes her in her home.
I'm thinking of the Verhoeven who directed such classics as Robocop and Basic Instincts, so it does not surprise me how very sexy the movie is and how the little pieces of violence in the film are not easy to look at.It's an interesting look at a woman who was sexually assaulted. |
tt0167190 | Hellboy | The movie opens with the voice of Professor Broom (John Hurt) asking a question that will shadow the rest of the film: "What is it that makes a man a man'? Is it his origins- the way things start"??? The voiceover goes on to give some backstory: it is 1944, nearing the end of World War 2, and Hitler is resorting to the occult in a desperate attempt to turn the tide of war in his favor.The scene opens on an island off the coast of Scotland, where young Professor Broom requests that the military personnel be given rosary beads before continuing on the assignment. But the sergeant in charge just laughs at Broom, thinking him a paranoid moron.American troops arrive at a set of ruins and find a group of Nazi scientists led by Rasputin and his mistress, IIsa. They are protected by a mysterious figure in a gas mask named Kroenen, reportedly Hitler's top assassin.Rasputin attaches himself to a mysterious device designed to open a portal to another dimension and awaken forces known as "The Seven Gods of Chaos." Just as the portal opens, the American troops launch grenades into the site, killing some scientists.Kroenen attacks the Americans, killing several and wounding Professor Broom in the leg. Broom crawls over to a fallen soldier and picks up a grenade, hurling it just beneath the portal. Kroenen breaks off his attack and tries to remove the grenade, but cannot get to it in time. The grenade explodes, destroying the portal and Kroenan's right hand. Kroenen is then impaled by a fragment from the portal and is presumed dead. Rasputin is unexpectedly sucked into the portal, closing it.Professor Broom has his leg bandaged while instructing the remaining soldiers to search the island- fearful that something may have come through the portal before they could close it. Broom and another soldier suddenly encounter a strange red ape-like creature with a massive stone hand. The soldiers are fearful, but Broom manages to attract the creature with a Baby Ruth candy bar. They realize that this creature, whatever it may be, is just an infant and is essentially harmless to them. The soldiers give the creature a name based on its demonic appearance: "Hellboy."The movie's credits then show Hellboy's position in modern-day society, effectively as an "urban legend" like Bigfoot or other such creatures.Fast-forward sixty years and a much older Professor Broom is being examined by doctors. The findings are not good; he has cancer and not much can be done about it. On his way home, Broom sees his friend Tom Manning (Jeffery Tambor) on TV, answering questions about a recent photograph supposedly taken of Hellboy. Manning denies Hellboy's existence.Meanwhile, a lone figure on a motor scooter arrives at a waste management plant. He activates the speaker-phone and identifies himself as John Meyers (Rupert Evans), a recent graduate of FBI training supposedly reporting for his first assignment. He is taken downstairs by a secret elevator and ends up in a gigantic library with a water tank in the middle of the room. A strange voice asks Meyers to turn the pages on some books, and a strange fish-like humanoid reveals itself inside the tank. Professor Broom arrives and introduces the fish-man as Abe Sapien (voiced by David Hyde Pierce). Meyers is about to introduce himself, but Abe interrupts by reciting a number of facts about Meyers supposedly out of nowhere. Broom explains that Abe has a unique brain, allowing him certain telepathic abilities. Broom feeds Abe a few rotten eggs-a strange delicacy that Abe has acquired a taste for. Professor Broom explains that this is the Bureau for Paranormal Research and Defense (BPRD), and Meyers is their newest ally.The scene shifts to snowy mountains far away. IIsa and Kroenen are hiking to a sacred location. They kill their guide and use his blood to ressurect Rasputin.Meyers is given a brief history of the BPRD and its activities, and is then introduced to his superior, Agent Clay. Broom gives Meyers 2 Baby Ruth bars and wishes him well. Clay brings Meyers into a huge vault like room and introduces the BPRD's pride and joy: Hellboy, now an adult (played by Ron Pearlman). Hellboy is less than eager about Meyer's arrival, seeing him as just another of the endless security measures he must live under. Midway through their introduction, an alarm sounds and Hellboy joyfully sets out to "go to work."A newscaster remarks that an alarm was triggered at a local museum, and that there has been no response from the guards inside. Clay brings Hellboy and Abe Sapien (wearing a type of scuba-suit to keep his gills hydrated), reporting that there is a large monster of some type inside the museum. Professor Broom (whom Hellboy calls "Father"), explains that a statue was destroyed and something trapped inside was freed. Hellboy loads up his trademark weapon, the Samaritan, and goes inside to investigate while Abe tries to research what the creature could be.Abe comes up with the name "Sammael" for this creature and tells Hellboy about it just as Hellboy encounters the creature. Hellboy shoots the monster a few times and walks away, just as Abe informs him that Sammael is also known as "the Hound of Resurrection." Hellboy turns around and is attacked, eventually thrown out a window. Hellboy encounters Rasputin, finding his voice familiar. Rasputin gives an ominous warning about Hellboy's future before Sammael attacks again. Meyers shows up and shoots Sammael, much to Hellboy's disdain (he doesn't like being helped).Hellboy attempts to reload his weapon when Meyers notices a strange seed-like creature on Hellboy's arm. Hellboy rips it off and gives it to Meyers, instructing him to save it for study. Hellboy shoots Sammael with a tracking bullet that leaks green fluid, making an easily traceable trail. Hellboy follows Sammael through a crowd and across several lanes of traffic. Meyers tries to keep up but is injured by a passing car and faces certain death before Hellboy returns to block the oncoming car and allowing Meyers to get across.Hellboy follows Sammael into a subway system, briefly losing contact when a passing train goes over his head. Fed up with the fight, Hellboy grabs the train track and electrocutes Sammael. Hellboy is unharmed by the attack because he has a resistance to fire. Wanting some freedom, Hellboy turns off his radio and goes to see his old friend Liz Sherman (Selma Blair), who used to stay at BPRD but has committed herself to a mental hospital. Meyers and some other agents finally arrive to take Hellboy back. Meyers looks up Liz Sherman's file and finds that she is a pyrokinetic (having the ability to start fire by thought) and that in her childhood she accidentally caused a huge blaze that cost dozens of lives.Tom Manning and Professor Broom are discussing Hellboy's latest activities. Manning is NOT happy with Hellboy or any of the people at BPRD, whom he calls "freaks." Abe Sapien uses his telepathy to show Professor Broom what happened at the museum: Kroenen killed the guards while Rasputin freed Sammael, enchanting the beast with a type of magic that will make 2 new creatures arise for every one that dies. Abe also learns through the telepathic exchange that the Professor is very sick, and the professor begs Abe to keep this secret from Hellboy.Hellboy is being examined by Abe and Broom back at base. They find a cluster of eggs in Hellboy's arm where the spore-like object was attached. Broom decides that Hellboy will go back to the subway the next day and look for any more eggs.That night, Rasputin visits Liz (in secret) at the mental hospital. He uses his powers to unlock her worst memory (the day of the explosion) and activating her fire-starting abilities, destroying the hospital.Hellboy and Broom discuss this the next morning while Hellboy files his horns (something he does regularly to appear more "Normal"). Meyers offers to speak with Liz and hopefully recruit her into the BPRD once more.Hellboy, Clay, Abe and two other agents return to the sewers to find the Eggs. Abe jumps into a cistern to capture a cluster of eggs, but is attacked and badly injured by another Sammael. The two agents are attacked and killed by yet another Sammeal, which Hellboy chases after. Clay is left behind and winds up getting stabbed by Kroenen, who then apparently commits suicide.Hellboy chases Sammael into a subway station, finally killing him again by smashing the monster into an oncoming train. Hellboy returns, shocked to find his friends wounded.Back at BPRD, Manning reveals that Abe will recover but Clay is too badly wounded and most likely will not survive the night. Manning and Hellboy clash, both angry about what has happened. Meanwhile, Liz has decided to come back to BPRD.Hellboy is in his room, struggling to write a letter for Liz that describes his feelings for her when Liz comes in and reveals that she is going on a date with Meyers. Hellboy is angry, but puts it aside and decides to follow them.Broom is doing an autopsy of sorts on Kroenen, where he learns that Kroenen is over 100 years old and his body is badly mutilated (due to a form of masochism). When the professor leaves, Kroenen uses a type of clockwork mechanism to restart his heart and allows Rasputin into the BPRD. Rasputin confronts the professor, taunting him for not knowing Hellboy's true purpose or name. Broom responds that-as far as he is concerned- Hellboy's proper title is "Son." Rasputin grants Broom a glimpse into the future, where Hellboy is responsible for Armageddon. Kroenen then executes Professor Broom.Meyers and Liz are still on their date (with Hellboy watching) when they are told what has happened. Hellboy is devestated by the loss, refusing to eat or speak for days. Manning takes over the BPRD (a job he does not relish) and announces that he will lead a team to Russia to find the source of Sammael's eggs.In Russia, Hellboy re-animates a corpse with magic and gets directions to Rasputin's Mausoleum. The group is divided inside, with Liz & Meyers in one direction and Hellboy & Manning in another. Hellboy and Manning find Kroenen's hiding place, and Hellboy saves Manning's life by attacking Kroenen with his stone fist. Kroenen attempts to lure Hellboy into a spiked pit, but Manning throws a gear at Kroenen, blocking his attack. Hellboy knocks Kroenen into the pit and kills him with a gigantic gear. Hellboy and Manning thank each other for their endeavors, having formed a type of mutual respect.Liz and Meyers find the egg chamber. Hellboy joins them, but he is overwhelmed by Sammael duplicates. Liz begs Meyers to attack her, hoping that it will trigger her fire-powers. It works, and Sammael (eggs and doubles) are destroyed for good. But Rasputin and IIsa take the opportunity to capture Hellboy and his friends.Rasputin wants Hellboy to use his "Right Hand of Doom" to finally free the Seven Gods of Chaos. Hellboy refuses, but learns that Liz is critically injured and may not survive. He agrees to Rasputin's terms and speaks his true name- "Anung-Un-Rama." Hellboy's horns suddenly grow to full length and he begins to breathe smoke, having embraced his "Demon" heritage.Meyers is able to free himself before Hellboy opens the final seal of the Gods. Meyers begs Hellboy to remember who he is, and throws the prayer-beads that once belonged to Professor Broom. Hellboy remembers that he does not have to be evil; he has a choice- and his father died so he could make that choice. Hellboy rips off his horns and stabs Rasputin with them, stating that he doesnt' need Rasputin to tell him who he is. Rasputin's death unleashes a monster (the last envoy of the Seven Gods, called Behemoth) that quickly grows in size.Hellboy gets Meyers and Liz out of the room, and Meyers gives him a weapon- a cluster of grenades intended for use on Sammael's eggs. Hellboy has a long fight with the Behemoth before finally getting the huge monster to swallow the grenades, destroying it.Hellboy returns only for Meyers to say that Liz has no pulse. Hellboy kneels down and speaks some words of apparent prayer, and Liz opens her eyes. She asks what he said. Hellboy responds that he was talking to those "on the other side," imploring them to give up Liz because he would gladly cross over himself to try and save her. Moved by his sentiments (and by the events of the last few days), the two kiss passionately. Liz's fire engulfs them both in moments, but Hellboy, being fireproof, is unharmed.Meyers stands on and concludes Professor Broom's earlier thoughts: "What is it that makes a man a man?' It's the choices he makes. Not how he starts things- but how he decides to end them." | comedy, fantasy, gothic, murder, good versus evil, humor, action, sci-fi | train | imdb | null |
tt0085551 | Get Crazy | It is December 31, 1982, and the Saturn Theater is preparing for its big New Years Eve concert. The show's midnight finale is having technical problems that narrowly avoid injuring owner and master showman Max Wolfe (Allen Garfield, credited as Allen Goorwitz), who has operated the Saturn since 1968. Fortunately stage manager Neil Allen (Daniel Stern) is on the job. Then former stage manager Willy Loman (Gail Edwards) shows up, and to Neil's chagrin Max refers to her as "the best in the business."Max Wolfe holds a 30-year lease to the theater, but his toadying nephew Sammy (Miles Chapin) has other ideas. Reptilian concert promoter Colin Beverly (Ed Begley, Jr., wearing a white polyester jumpsuit) arrives with his henchmen Mark and Marv (former teen heartthrobs Bobby Sherman and Fabian), who parrot their boss's every assertion with a slight paraphrase. Beverly offers to buy Max out of his lease with what seems to be a sweetheart deal at Beverly's concert auditorium and stadium, but Max refuses. Colin Beverly, cementing his role as the evil villain, replies, "This building is coming down and eighty-eight stories are going up. So f--k you and f--k rock and roll." Max, incensed, lunges at Beverly, only to collapse of an apparent heart attack. Outside, Sammy informs Beverly that he stands to inherit the theater from his uncle, and Beverly embraces Sammy as a new ally. He offers Sammy the same deal he offered Max -- if Sammy can get Max's signature on an agreement to transfer the Saturn's lease before midnight.Dr. Carver (Paul Bartel) arrives to check on Max, and advises bed rest. Meanwhile, one of the stagehands is stealing drugs from the doctor's bag. Coming up with only aspirin, cortizone, and suppositories, he laments that they have "too much work and not much time... what we need is something that's going to blast us into the fast lane." With a flash of light, a cloud of smoke, and the strains of Adrian Belew's "Big Electric Cat", Electric Larry suddenly appears -- a seven-foot-tall man with no face and glowing red eyes, wearing a flat-brimmed pimp's hat with mirrored band and a silver trench coat, and carrying a chrome attaché case. He waves a gloved hand over the case and it magically opens to reveal a stash of pills of every conceivable shape and color, and suddenly the stage is alive with artificially sped-up activity.The various performers for the show are introduced:* Captain Cloud and the Rainbow Telegraph, Max Wolfe's favorite band, arrive in an aging bus that is painted à la the Merry Pranksters' Furthur. The Captain (the Turtles' Howard Kaylan) is carrying a backstage pass for New Years 1969, not 1983, but no matter -- Max gives him the finale for old times' sake. Captain Cloud replies blissfully with one of his many tripped-out-guru epigrams: "The end is always a new beginning."* Nada arrives in a battered 1957 Chevy Belair, and her entire 15-member band piles out of the back seat in a "clown car" gag. The band is an amalgam of many disparate styles of music that appeared on MTV in the early 1980s -- part bubble-gum pop, part New Wave, part garage rock. Locked in the trunk is "Special Guest Star" Piggy (Lee Ving of the L.A. punk band Fear), a self-destructive, anarchistic punk -- with an articulate knowledge of music business contract terminology.* King Blues, the King of the Blues (Bill Henderson), a spoof of Muddy Waters. Although he is a kindly man, King Blues' opinion of himself is so great that a eulogy for a fellow bluesman ends with the King threatening God "you better take care of him, or I'm going to wax your ass."* Auden (Lou Reed), "metaphysical folk singer, event of the '70s, [and] antisocial recluse," hasn't been heard from in six years -- but Max is certain he can convince him to play the Saturn, since he's "calling from his deathbed." Auden answers the phone in a shot that mimics perfectly the cover of Bob Dylan's Bringing It All Back Home, except that everything, including the woman lounging on the couch, is covered in cobwebs. Hearing that Max is making "a deathbed request," Auden bursts into song (using that phrase as a lyric) and decides "there's a concept album in this, I'll be right over." He hops into a cab and tells the driver to "take the scenic route, I got some things to work out."* Reggie Wanker (Malcolm McDowell), "20 years of rock and roll and still on top", is a Mick Jagger spoof with his own private jet and a countess for a girlfriend. Years of fan adoration (and drug use) have left Reggie jaded, bored, and uninspired with his life as the ultimate rock star.The new by-the-book fire inspector, Connell O'Connell (Robert Picardo), arrives and informs Neil that no fireworks and no open flames will be permitted in the theater.Max and Neil give a brief pep talk to the Saturn staff, then the doors are opened and the audience streams in. While the ushers (including Clint Howard) take pains to search everyone and begin to accumulate a massive stockpile of confiscated contraband -- including kegs, firearms, and a 500-pound bomb -- they seem oblivious to the seven-foot tall walking marijuana joint that enters excitedly, accompanied by two Rastafarians.King Blues opens the show, performing two of his "own" hit songs, "The Blues Had A Baby and They Named It Rock and Roll" (by Muddy Waters) and "Hoochie Coochie Man" (by Willie Dixon). Next the Nada Band take the stage and perform "I'm Not Going to Take It No More." Piggy leads the band in a viciously punk-rock version of "Hoochie Coochie Man," complete with stage dives and slam dancing, and King Blues recognizes it from its opening notes. He appraises Piggy's rendition warmly, saying, "Who said a white boy can't sing the blues?"After their set, Nada, Piggy and the band return triumphantly to their dressing room, only to be disappointed by the poor selection of refreshments. Nada says, "champagne again?" which cues Electric Larry to reappear; this time his attaché case contains a large rock of cocaine, which grinds itself into powder and distributes into neat lines with a wave of Larry's hand. Piggy, inexplicably, panics at the sight of Larry and flees the room.Reggie Wanker heads for the stage, while fires of appreciation (many of them much bigger than the concert-cliché upraised lighter) burn throughout the audience. At the same time, the fire inspector is chasing the giant joint, now partially burned down, through the mezzanine with a fire extinguisher.As the show proceeds, Sammy tries to find ways to sabotage the theater, including fueling a fire in the basement and cutting the fire hose. Neil and Willy manage to put the fire out by connecting their hose to a water pipe in the dreaded mens' room. Mark and Marv give Sammy a bomb, which he plants in the rocket ship that Max will ride during the final countdown to midnight.Reggie sings a celebration of egotism, "Hot Shot," then moves on to a version of "Hoochie Coochie Man" (leading King Blues to "bask in my own genius.") During his set Reggie sets off fireworks, and the fire inspector (now in the audience) rushes the stage. The bass player hits the inspector with his guitar and kicks him off the stage, a reference to Pete Townshend's treatment of Abbie Hoffman at Woodstock. The inspector runs backstage, where he collides with Sammy (who is fleeing the impending bomb). Both are knocked unconscious and fall to the ground. Electric Larry, unbidden, shows up for the third and final time to squirt an eyedropper of clear liquid (presumably LSD) into the tank of the water cooler. He delivers his only line -- "Happy new year" -- and vanishes. Moments later the inspector and Sammy are revived and drink water from the cooler, which almost immediately gives them animated rainbow visions. The inspector is last seen spraying his fire extinguisher at random, seeing fires everywhere, while Sammy abandons his greedy persona and starts giving away his material possessions.Willy overhears Mark and Marv talking about the bomb, and is captured by them and Colin Beverly. They lock her in the trunk of Beverly's limo and drive off. Auden, still riding in the taxi cab, realizes that day has turned to night and orders the driver to "step on it." The cab soon collides with Beverly's limo, which releases Willy, who escapes and runs back toward the theater.During a ridiculously extended drum solo, Reggie has returned to his dressing room for an interlude with about a dozen half-naked groupies. His girlfriend, Countess Chantamina (Anna Bjorn), discovers his infidelity and invites the nerdy, virginal stage hand Joey (Dan Frischman) into another dressing room as an act of retribution. Reggie finds them and, feeling betrayed, returns to the stage to deliver a heartfelt ballad reprise of "Hot Shot." As the song ends, Reggie walks backstage, where he asks Neil for a glass of water -- which comes from the now-magical water cooler.Left wanting an encore from Reggie, the audience begins to get unruly, so Neil puts on a cartoon -- a black-and-white print of the 1935 Technicolor short The Sunshine Makers. Meanwhile, Reggie heads to the bathroom, where his penis initiates a conversation with him, explaining that tonight's performance was Reggie's greatest because it had emotion. Reggie decides to name his penis as his band's new manager, telling his bandmate Toad (the Doors' John Densmore), "Rock and roll is going to be fun again."Only a few minutes before midnight, Willy reaches the theater and tells Neil about the bomb. With the help of Captain Cloud, Neil learns from Sammy where the bomb is hidden, and he radios up to Max, who is already riding the booby-trapped rocket ship down a wire from the upper reaches of the theater. Max finds the bomb and tries to throw it to Neil, but instead it lands in the crowd, which tosses it playfully, as if it is yet another concert beach ball -- overhead from person to person. As the crowd counts down the final ten seconds, the bomb makes its way out of the main hall, through the lobby, and out the front door. Just as Colin Beverly's limo pulls up to the curb, the bomb is tossed into it -- and the last second ticks away. There is a big explosion, everyone shouts "happy new year," and Captain Cloud leads them all in "Auld Lang Syne". Beverly, Mark and Marv crash through a skylight, relatively unharmed, and the celebration ends happily.As the last of the audience leaves, Auden finally arrives, having paid a cab fare of $11,864.90 with the cash in his pocket. Neil introduces Auden to his younger sister, Susie (Stacey Nelkin), who is a big fan. Max gives Neil the lease to the theater, saying he intends to retire. Neil offers partnership to Willy.The end credits roll, while Auden sings Reed's "Little Sister" to an audience of three: Susie... and in the balcony, the giant joint and a lonely German Shepherd guide dog. The final caption reads, "Thanks for the memories to the entire staff of the Fillmore East 1968-71." | cult | train | imdb | No one mentions it when you talk about cool '80s cinema, but it's better than a pack of "Fast Times" or a pair of "Breakfast Clubs" for my money.It's a rare thing to see three such beauties as Gail Edwards, Stacy Nelkin, and Anna Bjorn all adorning the same film, but who on Earth in 1983 could have thought it would be the career highpoint for all three of them?
Why isn't Malcolm McDowell's fantastically hilarious Mick Jagger send-up as celebrated as Bill Murray's Carl Spackler in "Caddyshack?" What more evidence do you need that life's unfair!
How about one of the zaniest films since "Hard Day's Night" celebrating rock 'n roll passing though the chasm of time with barely a whisper of recognition?
Perhaps you even managed to find a copy of the film, which may be like climbing K2 for video collectors, forget DVD.
You have to watch this film a few times to pick up even most of the craziness.4.
Relevance to the time - The 80s were the decade of greed and ugly silver-plastic pants, so who is a better movie villain than Colin Beverly?
And then there's the other culture clash, that of New Wave performer Nada (Lori Eastside crossing Joan Jett with Toni Basil) and McDowell's take on Jagger's "Emotional Rescue" period, including a Keef substitute in John Densmore playing drums."Get Crazy" can be sad to watch.
There's also an eerie opening where Wolfe, riding a flying machine, crashes into an electrical apparatus, which is exactly how Wolfe's real-life basis Bill Graham died years later.But otherwise this film is just a ton of fun, a time capsule that hasn't gotten a minute older for all the New Years that have passed between then and now..
The parodies of famous rock stars (courtesy of Malcolm McDowell), punk rock, and blues artists was very well done.
Don't try to think your way through this movie...just sit back, put your mind on cruise control, and enjoy the ride!!!.
Playing off Daniel Stern with the line from Blue Thunder "Catch you later" with the forefinger pointed like a gun was just too cool.Electric Larry was too much like people I went to high school with.
The video title has a very unfortunate Finnish translation (which translates back to "Star Gang")and the absence of letterboxing results in booms aplenty, but NOTHING can ruin my joy of watching this movie again and again!.
It is so full of silly things, injokes about the Rock n Roll 'thing' and absolutely outrageous performances that it is always fun to watch and to show to friends.
Malcolm McDowell's scene-chewing Jagger-Bowie character of Reggie Wanker is an absolute highlight and look for some amazing personalities in roles in this movie.
Lou Reed gets to play himself, basically; the hippy bands of the 60s that just won't leave are portrayed as they are (and this was 1983, for Pete's sake, never mind 2006!), the ego-glamrockers get their due with Malcom MacDowel, The punkers have their turn, and the blues godfather kind of watches it all from the wings.My favorite scene is at the beginning at a bluesman's funeral - King Blues does the graveside eulogy, in which he says, among other things, ..."You were the greatest...musician, drinker of whiskey, and lover of women (minister starting to wince at this point)...
'God, this is my man, and if you don't take care of him, I'm gonna wax your a_s!" - thunder rumbles, minister backs away from the grave, and the blind a capella blues singers who've been crooning away all through the scene start bumping into each other, saying "'scuse me, scuse me" - one of them falls in the grave and yells "I'M NOT DEAD!!!!" - OK, it loses in telling - just get the film and enjoy!.
This really is a time capsule--but unlike traditional capsules, this one doesn't get stale the second--or third, fifth, tenth...-- time you peruse the contents!Today's Lou Reed is way too serious (what did you feed him full of anyway, Laurie Anderson?!?), so this is a great look back on my musical hero when he was still a real person.
A Classic Rock Parody Equal to Spinal Tap. This movie is a great parody!
Malcolm Mcdowell plays the part of the Egotistical Rock Star as only he can.
Fabian and Bobby Sherman make great henchmen for bad guy Colin (Ed Begley Jr.) Lou Reed As Folk Singer Auden is eccentric and closes the movie as only he can.
I first saw this film over ten years ago, and still think this is the ultimate drugs, sex and rock and roll picture ever made, and certainly one of the funniest films I'ver ever seen.
True, the movie is funny for many different reasons, but for me, the best thing about it is Lou Reed.
So funny, so deadpan (because, c'mon: it's Lou), and a great performance of "Little Sister" at the end.
Every time I watch it, I notice something different, especially different characters in the crowd at the concert and other things in the background.
Malcolm McDowell is one of my all time favorite actors and he puts on a great show, although he should stick to acting and NOT singing.
Lou Reed plays a pretty decent song during the credits, so don't turn off the tape as soon as the credits start to roll!
The other music consists of the same song in different forms, blues, metal, and whatever you want to call the version that Malcolm McDowell sings.
I first saw this film as a 14 or 15 year old and have seen it many times.
it is very rare to get the right mix of comedy/music in a film and i believe that they did this superbly with spinal tap a not to close second.And although i have not seen it for many years it still holds a very special place in my movie memory..
Rock and Roll High School (from the same director, and not half as funny) gets the cult treatment, but this gem, with so many injokes about the music business, and some great comedy moments, and a cast full of "is that who I think it is?" gets lost in the shuffle.
Truly great comedies about rock 'n' roll are about as rare as a dog that speaks Norwegian.
If the only great rock comedy that you can think of is THIS IS SPINAL TAP, you owe it to yourself to give this forgotten gem a chance.
Set backstage at a New Years concert (at a venue that is clearly modelled after the Filmore West), GET CRAZY chronicles the loopy adventures of a bunch of techies, insane bandmembers, scheming relatives and an extraterrestrial drug dealer (???).
There are too many great moments to go into here, so I won't even try, but pay attention to Malcolm McDowell's turn as a David Bowie/Mick Jagger character named Reggie Wanker.
Allen Garfield (billed as Allen Goorwitz) plays the owner of a concert hall in Los Angeles, preparing for a New Year's Eve rock and blues blowout, who is threatened with a takeover attempt by slimy concert promoter Ed Begley Jr. Director Allan Arkush knows how to make a cult film, and this one comes complete with hip casting, some great music, wild gags and in-jokes, but what is accomplished with cheerful rebellion is soon mitigated by shapeless scenes and static slapstick, one out-of-control, overeager sequence after another.
The overall tone is jovial and chummy, as if we were co-conspirators in the picture's euphoric craziness, but Garfield is too intense an actor for his role--he pretends to have a good time, much like the rest of the cast, and it doesn't wash.
There isn't, in fact, one character in this group as lovable as Riff Randell from Arkush's 1979 midnight-movie entry, "Rock 'n' Roll High School".
As the night progresses every band that plays does a version of the blues standard "hoochie coochie man".
When watching the movie the viewer should take notice of the actor with the big hair and beard.
This is a shining satire on Rock'n'Roll including tributes to concert impresario Bill Graham and the whole hippie music scene, but with swipes at many others.
A funny funny funny movie from the director of Rock N Roll High School.Featuring hilarious cameos by Lou Reed and Howard Kaylen (of The Turtles).
I saw this movie, many years ago, during the Christmas season.
When I found that Lou Reed was a star, I had no doubt that I was not wasting my time.
In this case, I would say that this is a musician's movie, not because there is so much good music, but because it parodies that "rock and roll" lifestyle.My favourite parts are, Lou Reed's journey while writing the song (I believe that the journey is supposed to be influencing it, but "Death Bed Request" is not a real song, as far as I know), and the dog being kicked across the room, by the person whom I believe to be the antagonist..
do we really need to watch the same movies over and over?
For all those who love to have a good time, this movie is for you.
In "Get Crazy", a theater owner who thought he was going to die realize he's soon be having fun every year rather than worrying.
This movie is a bit of a spoof of a lot of stars, but the tribute is for real.
I thought this movie was a lot of fun.
Allan Arkush's lesser-known but superior follow-up to ROCK'N'ROLL HIGH SCHOOL (1979) was an affectionately cheeky tribute to his own days as an usher at the legendary New York concert venue Fillmore East which, during its four year tenure between 1968-71, housed live performances by scores of major rock and jazz artists.
The light-hearted satirical film provides the viewer with a rare opportunity to see actors being rock stars (Malcolm McDowell as a vain Mick Jagger-like superstar named Reggie W**ker) and vice versa (Lou Reed as a recluse folkie in the Bob Dylan mould named Auden and John Densmore, the former drummer for The Doors, as W**ker's drummer who goes by the name of Toad); other renowned musical personalities who are respectfully sent up are Jerry Garcia (via Howard Kaylan leading a group of hippies who believe themselves still back in 1968 rather than 1982!) and Muddy Waters (played by Bill Henderson who also utters the film's funniest line while delivering, of all things, a funeral eulogy: "God, this is my man, and you'd better take care of him, or I'm gonna wax your a**!").
The rest of the cast includes even more colorful characters, namely: Daniel Stern as the overtaxed organizer of the star-studded New Year's Eve concert; Allen Garfield (billed as Goorwitz and portraying Stern's employer who is struck down by a mild heart attack); Miles Chapin (as Garfield's overly ambitious and treacherous nephew); Ed Begley Jr.
(who, made up to resemble Andy Warhol, plays greedy billionaire Colin Beverly and is looking to buy off Garfield and take over his property); 1960s teen idol Fabian (unregonizable as one of Begley's monosyllabic henchmen!) Lee Ving (as an animalistic punk rocker, prone to head-butting anything from car booths to stone walls, and fronting an all-girls band!), Paul Bartel (as the proverbial "doctor in the house" who, overtaken by enthusiasm, eventually leaps off the balcony into the audience below!); and Robert Picardo (as an overzealous fire marshal); ubiquitous character actors Dick Miller (as Stern's father) and Mary Woronov also have cameos.
As if all of the above were not enough source of entertainment already, we also have a Jewish Blues band, an electric ghost-cum-drug pusher(!), a motorcycle gang and Stern's overeager younger sister (to whom Reed croons "My Baby Sister" – a song later retitled "Little Sister" and issued in a Reed compilation album – over the film's end credits, a performance only witnessed by her, a dog and a human joint!); on the debit side, I do not think it was such a great idea to have all of the bands performing at the New Year's Eve concert doing their own take on the same song i.e. Willie Dixon's Blues number, "I'm Your Hoochie Coochie Man".Apparently, McDowell had not read the entire script before accepting the role of Reggie W**ker and hence was not aware that he was expected to, at one point while inadvertently high on acid, conduct a conversation with his own dick (who is subsequently appointed the band's new manager!)...not that this should have unduly troubled the lead of Tinto Brass' infamous star-studded epic CALIGULA (1979)!
On the other hand, while Lou Reed's character may have ostensibly been channeling Dylan (in its clear reference to those eight years in the wilderness following his 1966 motorcycle accident) but Auden (a reference to poet W.H. Auden, perhaps?)'s lifestyle and working methods – living with what looks like a transsexual (a reference to Reed's 1970s relationship with "Rachel") and composing lyrics right off of the streets (he spends most of the film stuck in a taxicab that takes him all the way out to the desert while strumming his guitar and coming up with lyrics) – is pure Lou Reed!
I had previously seen the film via a pan-and-scan screening on the MGM Cable TV channel but I eventually upgraded my copy to a Widescreen one in time for my mini-Bob Dylan tribute.
From the director's other works, apart from ROCK'N'ROLL HIGH SCHOOL I am also familiar with DEATHSPORT (1978) and have just gotten hold of Hollywood BOULEVARD (1976) which he co-directed with Joe Dante.
Get crazy is a dropped on its head,spun in the cotton candy machine film.Based on the Fillmore east,it features Lou Reed aping Bob Dylan,Howard Kaylan aping Jerry Garcia,Malcolm Macdowell channeling Mick Jagger etc.director Allen Arkush worked at the Fillmore,so he based his experience on the screenplay,injecting a dose of rock and roll high school in the mix.
The supporting cast includes Bobby Sherman and Fabian as henchmen who are helping to sabotage the new years eve party so their boss can build on the property.Mary Woronov and the late Paul Bartel {Eating raoul}round out the cast.Watch for the marijuana cigarette spectator who gets smaller as the film goes by..
Every New Years Eve. This movie is a classic.
It has been a tradition in my house on New Years Eve and has been for at least 15 years to watch "Get Crazy".
Has some great B stars of the time and is just a fun movie.
Takes place in the "Saturn theater" on New Years Eve 1982.
Definitely worth watching if you're in the mood for a movie that makes fun of itself !!!.
Packed with celebrities from the film world as well as classic rockers turning in some great comic performances, such as Lou Reed as a Dylanesque recluse on Dante's cab ride, and John Densmore (actual drummer from the Doors) as the quintessential, wild man on the skins and perfect foil to Malcolm MacDowells Hyper-Jagger/Bowie amalgam.
With characters like a walking joint, levitating, hookah vending Rastafarians and every jonesers dream, in the quixotic, cloud of smoke appearing,minute-man drug dealer: Electric Larry, be warned Get Crazy is no after school special.
LSD is actually used as an anti-evil solution, and they must seek the well played Captain Trips like character to translate.With a great soundtrack of music spanning genres from punk and glam to classic Chicago blues, featuring the song Hoochie Coochie Man done at least three ways, this is a great party film.
Great Movie period.
I've personally rang in quite a few new years with this movie.
And now that I got at least one teen it's time to start ring in some more new years with this movie.
This takes place at a theatre in California that's having a huge New Years Eve party to welcome in 1984.
Especially good is Malcolm McDowell who does a vicious (but hilarious) parody of Mick Jagger.
One can only wonder how such a film was ever made...if anything it is a great example for all screen writers on what to avoid doing with their scripts..
You haven't seen an outlandish movie like this in a long time.
Or more correctly, you haven't seen a movie like Get Crazy, ever and you never will again.
I know exactly where I was that night, but it wasn't really memorable, yet this movie will be, once you've seen it.
But before that we meet an array of the most craziest rockers every assembled, though you can't top idolized and aging punk rocker, Reggie W..ker, a real well you know, wonderfully played by Malcolm Mcdowell in one of his best ever performances, the last of the three best, all just mentioned, although Miles Chaplin good too, runs forth as Max's parasitic nephew.
The crazy s..t, and rib poking humor is so original and consistently funny in this movie, and you just gotta meet, Bob Dylan lookalike rocker Audine, played brilliantly by too a famous rocker.
A must for New Years Eve..
After Dick Clark and Times Square go off, on goes the movie.
So I would also like to point out that the music is good and I look forward to hearing each year, so again I'll say give it a look see, especially on New Years Eve..
The best thing about it is Lou Reed's performance of Little Sister at the end.
Between the brilliant comic timing, imaginative casting and over-the-top Foley work, it's one of my top ten films.
First-time viewers (especially older ones) will be amazed to see how many musicians are acting in the film, and that they can actually act!
John Densmore (The Doors) is great as Toad, Howard Kaylan (The Turtles) is brilliant as Captain Cloud, Bobby Sherman and Fabian make totally believable sycophantic henchmen and Lou Reed is great as Auden, the Bob Dylan-esquire singer.
If you can find this movie, buy it, rent it, love it. |
tt1313104 | The Cove | In a sleepy lagoon off the coast of Japan lies a shocking secret that a few desperate men will stop at nothing to keep hidden from the world. In Taiji, Japan, former dolphin trainer Ric O'Barry has come to set things right after a long search for redemption. In the 1960s, it was O'Barry who captured and trained the 5 dolphins who played the title character in the international television sensation "Flipper." One fateful day, a heartbroken Barry came to realize that these deeply sensitive, highly intelligent and self-aware creatures must never be subjected to human captivity again. This mission has brought him to Taiji, a town that appears to be devoted to the wonders and mysteries of the sleek, playful dolphins and whales that swim off their coast. But in a remote, glistening cove, surrounded by barbed wire and "Keep Out" signs, lies a dark reality. It is here, under cover of night, that the fishermen of Taiji, driven by a multi-billion dollar dolphin entertainment industry and an underhanded market for mercury-tainted dolphin meat, engage in an unseen hunt. The nature of what they do is so chilling and the consequences are so dangerous to human health that they will go to great lengths to halt anyone from seeing it. [D-Man2010]-------------------------------------------------------------------------------------------------------------------------------------------------In a sleepy lagoon off the coast of Japan lies a shocking secret that a few desperate men will stop at nothing to keep hidden from the world. At last, the truth of THE COVE comes to the fore in an act of covert filmmaking that turns a documentary into a gripping action-adventure thriller . . . and a heart-pounding call for help from the worlds oceans.
THE COVE begins in Taiji, Japan, where former dolphin trainer Ric OBarry has come to set things right after a long search for redemption. In the 1960s, it was OBarry who captured and trained the 5 dolphins who played the title character in the international television sensation Flipper. But his close relationship with those dolphins the very dolphins who sparked a global fascination with trained sea mammals that continues to this day -- led OBarry to a radical change of heart. One fateful day, a heartbroken Barry came to realize that these deeply sensitive, highly intelligent and self-aware creatures so beautifully adapted to life in the open ocean must never be subjected to human captivity again.
This mission has brought him to Taiji, a town that appears to be devoted to the wonders and mysteries of the sleek, playful dolphins and whales that swim off their coast. But in a remote, glistening cove, surrounded by barbed wire and Keep Out signs, lies a dark reality. It is here, under cover of night, that the fishermen of Taiji, driven by a multi-billion dollar dolphin entertainment industry and an underhanded market for mercury-tainted dolphin meat, engage in an unseen hunt. The nature of what they do is so chilling -- and the consequences are so dangerous to human health -- they will go to great lengths to halt anyone from seeing it.
Undeterred, OBarry joins forces with filmmaker Louis Psihoyos and the Ocean Preservation Society to get to the truth of whats really going on in the cove and why it matters to everyone in the world. With the local Chief of Police hot on their trail and strong-arm fishermen keeping tabs on them, they will recruit an Oceans Eleven-style team of underwater sound and camera experts, special effects artists, marine explorers, adrenaline junkies and world-class free divers who will carry out an undercover operation to photograph the off-limits cove, while playing a cloak-and-dagger game with those who would have them jailed.
The result is a provocative mix of investigative journalism, eco-adventure and arresting imagery that adds up to an urgent plea for hope.
THE COVE is directed by Louie Psihoyos and produced by Paula DuPre Pesmen and Fisher Stevens. The film is written by Mark Monroe. The executive producer is Jim Clark and the co-producer is Olivia Ahnemann. -ericdarb | inspiring, cruelty, storytelling | train | imdb | It is a prime example of constructed film-making with an overt agenda, filled with elements that at time make it feel like a heist movie or spy thriller.Having said that, there's no doubting just how real the horrors are.
The practice of mass dolphin slaying is indeed confirmed.Falsehood no.2: That the scenes from Taiji's infamous cove were in fact filmed in Ottawa.People will fabricate lies without any thought of at least giving the lie some credibility.
This movie depicts in painful detail the horrors of dolphin fishing (yes, you heard me right) which has been occurring for a long time in a secretive place called Taiji in Japan.
To claim superiority over another by explanation of the preservation of culture, is bullshit at best, and it just shows how consciously ignorant we can sometimes get due to either lack of understanding, or just simply refusing to change incorrect mindsets.I'm sure many of us will agree that dolphins are very beautiful water-based mammals, and the lucky few who have gotten to chance upon them in their natural habitat will attest to the fact that it's awe-inspiring to have seen them in action.
From time to time we read about the heroic nature of our mammal counterparts in saving human lives, so what would warrant such untold cruelties toward those blessed by Nature with a smile and an extremely gentle, docile nature, or cursed as the filmmakers would say, because they are unable to project outwardly their feelings of pain, sadness and betrayal by humankind?Director Louie Psihoyos had crafted an incredible documentary which isn't just another save- this-species film, or just another wildlife conservation flick.
It contains scenes of murder most foul, which will start again in the month of September, unless people around the world make some noise beyond puppet worldwide organizations fueled by corrupt bureaucrats bent on smug thinking that half-baked nonsensical answers can keep the truth under wraps.What also added that emotional weight to the film, is the inclusion of Richard O'Barry, who could be infamously credited with sparking the interest in dolphin-aquariums and shows around the world, simply because of his involvement in the Flipper television series, where he had responsibility in capturing and training 5 dolphins used for that successful series, and henceforth spawned an industry of sorts where dolphins are captured en masse by confusing them and leading them into man-made traps, then allowing trainers around the world to come and choose those with potential.
His crusade led him to Taiji, Japan, which is the source of the trade, with over- zealous Japanese fishermen bordering on counter-surveillance, muscling in on local police influence, to try and keep O'Barry at bay from interrupting their profitable trade, and of course putting a dampener on O'Barry's search for redemption.Most of the film then centered on the filmmakers and their assembling of a few good men and women with specific skill sets, such as free-diving and prop-making, acoustics experts to covert camera operations, in an attempt to expose the truth from The Cove, an area designed by natural geography and exploited by the fishermen to perform their most heinous acts.
Also, the high levels of mercury found in the meat not only endangers whoever is putting it on their dinner plate, but just emphasizes the entire polluted food chain with the fact that we are the #1 pollutants on this planet, and poisoning of marine life, or rapid consumption of food from the sea, is something that will impact us in time to come very soon, unless we wake up.One of the world's most intelligent creatures getting slaughtered indiscriminately, and you can do something about it.
Even more unfortunately, this attitude turns off many naturally skeptical people (the support of which the environmental movement sorely needs) from real and important causes.From the Japanese perspective, whales and dolphins are not particularly special.
It is unbelievable that all Americans hate Japanese for killing dolphins yet they do not think that it is a bad thing to kill, slaughter and eat one billion tunas, cows, pigs, chicken and every other animal every month in USA.
the cove is an amazing piece of political propaganda.how many times has the word Japanese been used?such extreme nation based generalizations are very dangerous and damaging.Hollywood was never been so political as this.of course i am hurt to see such wonderful animals being treated like this, but i am also angered that such a problem is not solved in a more delicate manner and that it is used for such blunt political propaganda as this movie is.director should have had enough tact to cooperate with someone in japan.one-sided anti-Japanese sentiment and propaganda are extremely dominant throughout the movie.this issue is about people who commit crime against animals, it is not about nations and politics..
So why, in a secretive Japanese industry, are the slaughter of these animals able to continue with seeming support from both the Japanese government and the IWC (International Whaling Commission)?In an incredibly beautiful cove in the small fishing village of Taiji, Japan, thousands of dolphins are forced by the fishermen into the cove where they are killed for their meat (which incidentally have high levels of mercury within them, caused by industry dumping of course).
However, with the help of a moulder from Industrial Light and Magic, a series of high-tec recording equipment (including HD cameras within mock rocks), the team begin a highly dangerous mission to film and record the sound of the dolphin slaughter.In scenes laced with very real drama - in One Night in Paris filming mode (ahem, sorry, night vision) - we follow the divers and rest of the team as they risk their lives to set up the secret filming equipment.
This aspect of the film, along with the early segments showing paranoid Ric O'Barry moments in which he says things like "they would kill me if they could" leads me to believe the filmmakers we hedging between taking the viewer on a adrenaline fuelled trip of espionage and a journey of education and awareness.It has it's moments of contradiction as well.
I think that The Cove and other great documentaries about animal cruelty should be shown in schools, and maybe the world would become a better place..
Guess what: none of these places is nearly as remote as Taiji, yet there is no Oscar winning movie to feature secretly filmed ranches and slaughterhouses in the USA or Europe (and even in my home area there have been incidents when escaped cattle was shot down by the police, most of the time the cops needing several minutes to kill, pumping dozens of bullets into the animals' bodies - now THAT would be great footage for - say - an Indian Ric O'Barry counterpart, wouldn't it?).Yes, it is important to slow down the process of human-induced extinction, yes, dolphins are worth saving, yes, the mercury issue is important, but sorry, no, I don't consider dolphins to be more equal than other animals based on their presumed intelligence.Thorsten.
3. The reason for Japan's insistence on this type of fishing.Unfortunately these three topics were talked about only superficially whilst the film went on about how dolphins are special, how the team making the documentary were wonderfully heroic and other sentimental, superficial nonsense.The thing is that the core topics in the documentary are not specific to dolphins or Japan but affect all of our habits internationally and are the collective responsibilities of all of us who like to eat our fish, our chicken and our meat.
Think about these simple facts: while the documentary made a big deal about 23,000 dolphins being killed in Japan, this pales in comparison to the 5m+ tons of tuna fished every year.
Why was the film so eager to ignore the most important implications of its story instead making this a documentary about poor cuddly dolphins and bloodthirsty evil Japanese fishermen?I think the answer is political.
But the movie would make you think that this dolphin killing that is happening in japan is the biggest tragedy and injustice in the world since the Holocaust.
This documentary is pure cinema - it has it all: tension, emotion, beautiful cinematography, excellent story and structure, passion, and it's REAL.A Documentary about the uncovering of the immense, symbolic and ghastly environmental crimes performed by Japanese dolphin killers in Taiji, Japan.I think, besides the content itself, it's especially the build-up of the film that makes it so convincing.Totally deserved the Oscar.An absolute must-see..
The fact everything you see is actually real only adds to the overall distress of the situation, and where large scale uproar would have unfolded had The Cove been an out and out film, as portrayals of a set nationality in the Japanese as everyone else around them are deconstructed; humanised and presented as people with problems, beliefs and progression; the fact this is all footage captured in its realistic form only aids in the resonating of the situation.The documentary builds to an espionage-driven final third or so as the notion of hidden cameras courtesy of a Hollywood special effects company kicks starts a secret mission to Taijin so as to undercover as much as possible without ever actually being there in person.
The town where people hunt Dolphins to be sold for Sea World, and some of them will be slaughter for food They want to record what those people do in that cove.
If we can't stop the brutal & inhumane slaughter of more than 20,000 cute dolphins in Taiji Japan which seriously concerns human health problems, then forget about the other issues to be absolved ,there is no Hope.
Dolphinns are sensitive,emotional beings.They are intelligent and fast learning creatures with fantastic sense of humor always had a unique connection with human feelings.Asses yourself , will u just sit and let the dolphin abuse to occur instead of having the authentic knowledge of where and when abouts of this evilness...or do what (depends on you).....If u want to have more in-depth knowledge then u must see.the stunning and shocking Oscar Winner for Best Documentary of Louise Psihoyos & Ric'o Barry "The Cove" which bought light and gave prove to world about this Infamous Dolphin Slaughter by on the cost of their lives (in this operation few of the activists were murdered)Link to the Documentary--Information- www.imdb.com/title/tt1313104/?ref_=fn_al_tt_1.
Great documentaries change your viewpoint, inform, entertain, and amaze.Some documentaries are immensely uncomfortable to watch but doing so is a revelation - The Cove does that.I have not seen a more powerful documentary about the environment.This should be obligatory viewing in all schools and should be seen by as many people as possible: it is powerful and above convincing - I left seeing no justification - economic, scientific, dietary, or zoological that negates or justifies the horrific pictures of mass slaughter - comparable to the White Man's slaughter of buffalo and elephants - it is meaningless exploitation of a natural sentient wonder.75% of the film explains the science - but it is the last 25% that impacts.This is my pick for the Oscar: there may be better made documentaries or even more "entertaining" ones but none that are so simply powerful as this this year..
O'Barry could be living a life of luxury and comfort as a millionaire since he was considered to be the best dolphin trainer in the world, but something inside him changed and he became an activist against the captivity of these animals after experiencing the death of Kathy.
The team has to work as silently as possible in order to not be discovered and avoid being imprisoned by the Japanese officials.The Cove is really a powerful documentary that enlightens us and enrages us about the way the dolphins are captured and slaughtered.
He looks incredibly dumb.Ending comments So if this wasn't such a "in your face" documentary by rich extremist I'd like it, but now I'm just laughing at the people which unfortunately takes away the attention from the real problem: The dolphin killers.Word of advise: next time you make a documentary - make it about the subject and not about yourselves..
After learning of how dolphins were being ruthlessly slaughtered around the world (especially in Japan, where most of the film takes place), he became an activist.
In this case it's at a cove in a small village, Taijii, where fishermen are (somewhat not so) secretly killing dolphins en masse, and the cameramen are after a simple thing: put believably disguised rocks that have cameras inside that can film outward and capture on tape what is going on, due to the strict lack of access during the day.
If the film possibly gets off track at any time it's just one or two minor places, like a diversion into the fishing industry and how it ties in with the dolphin saga (it just barely does, mostly by proxy of it being one of Japan's economic mainstays).
The message is clear- so clear some may contest how truthful everything in the movie is, though it's hard for me to see what would be obfuscated all things considered (i.e. an Oceanic Preservation Society Production)- and film buffs looking for a strikingly shot documentary, with glorious images of dolphins at sea and their personalities (yes, personalities) shining through, will be excited..
There is no excuse for this inhumane cruelty toward the beautiful creatures of the oceans, and I believe The Cove and documentary's like it must be watched by everybody to help people understand what they are supporting when they purchase a ticket to SeaWorld, and every park like it.
Ric O'Barry shows Louie Psihoyos and the Oceanic Preservation Society the dolphin slaughter happening in Taiji, Japan.
I personally have been getting into animal documentary's recently, i had heard of The Cove for quite some time, and finally being able to check it out, i wasn't disappointed.I personally thought there was going to be a lot more animal killings in the film than there were, which was a great thing, there's nothing worse than seeing animals being killed for the purpose of human consumption.The film follows different stories, some in Taijii, Japan, with the actual killings, and others for the activists setting up the equipment and figuring out ways they can expose this cruel act to the world, and then the the small tid-bits added to the film about the the whole "Flipper" show and exploiting animals for the sole purpose of entertaining humans.The story is shocking, some scenes are distressing, but it is a must watch for all people who care about the environment.The final scene in the film, which i won't talk about much, i found it so powerful, one of the most powerful scenes in a Documentary i have ever seen, it almost brought me to tears.Overall, i recommend you all check out, The Cove, in my opinion, it is one of the best documentary's i have ever seen, and will open your eyes to things which are going on in the world..
Along with Sea World and other "captive" examples of dolphins for human entertainment it's considered a cruel act that actually fuels the economy of Taiji, Japan.The film builds up the grisly mystery of this remote fishing village and the people behind the farming of dolphins.
This film follows a team attempting to capture footage of the mass slaughter of dolphins that takes place in secrecy in small fishing village in Japan.Ric O'Barry was the dolphin trainer for the TV series Flipper.
This documentary is for sure a life changing thing, more people need to know about the wrong doing that is done to the whales and dolphins.
People should watch thing documentary and show their friends and family to get the word out about dolphins and whales..
It is a documentary thriller filled with wildlife education, thorough journalism and top-notch espionage as much as it sheds light on an environmental/animal rights issue as deserving of our attention as anything else.Louie Psihoyos draws the analogy perfectly to "Ocean's Eleven." He is the Danny Ocean with the drive to assemble a team and accomplish his mission: finally capture video evidence of dolphin slaughter in Taiji, Japan to make the world aware and the Japanese government accountable for its actions.Psihoyos brings together a number of specialists from deep-sea divers to set designers who work for major Hollywood special effects, set and props company Industrial Light and Magic.
Together they must slip by local authorities and fishermen who literally dedicate hours of their time just to prevent people from getting video footage of any wrongdoing (who also have their own cameras hoping to get enough evidence to arrest these "tresspassers.") So much of the power of "The Cove" comes from the fact that this one cove serves as a large percentage of Japanese dolphin slaughter.The documentary also has a main character, Rick O'Barry, who is an incredible story in and of himself.
Few films can truly achieve character depth (as in O'Barry's story) and suspense (their mission to plant cameras where they're not allowed) while being entirely true and not contrived in the least.If you like feeling empowered to leap to action after a documentary, this is not quite the expertise of "The Cove." It's more a change in perspective and a showcase of what empowered people can accomplish when they put their heads together.
The documentary does not drown itself on its ploy, which is to provide verifiable evidence of the annual slaughter of 23,000 dolphins in a Taiji, Japan cove.
I agree that seeing other species of fishes, in the same documentary, being transported to the fish market and butchered there, was equally disgraceful; but again, that was not the point / message of the film!Others posed the argument that dolphins are merely food as 'understood' by the minority of Japanese people – well so why do they try so hard to hide the cruel killing?
And now that I have watched it, I believe that this was a fully-deserved accolade."The Cove" expounds on the very sad issue of dolphin slaughter in Japan. |
tt1687901 | The Awakening | 1921: England. Florence Cathcart (Rebecca Hall) is a published author on supernatural hoaxes who works with the police to expose charlatans and debunk supernatural phenomena, having begun her foray into her profession upon the death of her lover in World War I. Upon a visit from Robert Mallory (Dominic West), a teacher from a boarding school with the request to investigate the recent death of a student, Walter Portman, and to determine if and how it is related to sightings of a ghost of a child, she travels to the school hoping to explain the sightings and the death. The ghostly sightings are at first thought to be a prank played by one of the boys at the school. Florence deduces that one of the teachers was the last to see the boy alive and questions him until he admits to putting the young boy outside to "man up", thus scaring the young boy and causing him to have an asthma attack. The school is closed for half-term with the only occupants being Robert, Maud (Imelda Staunton) the housekeeper and Tom, a lonely child, who tells Florence his parents live in India which takes too long for him to travel to.As Florence leaves, an unexplained hand reaches for Florence from a pond after which she faints and falls into the pond. Florence is rescued by Robert. Afterwards of the characters clearly treat the incident as a suicide attempt. which may or may not be a suicide attempt but Florence recovers and hears another unexplained noise, and becomes determined to put to rest supernatural apprehensions. Florence and Robert start developing a mutual attraction. More unexplainable supernatural events start to manifest and subsequently the story is unwound through revelations. Edward Judd (Joseph Mawle), the grounds keeper, earlier known to have a grudge against Robert, is jealous and attempts to rape Florence in the woods. Florence, assisted by the supernatural accidentally kills him by the butt of his own gun.Robert is revealed to be able to see and communicate with some of his own ghosts, which form an unexplored tangent to this story. Tom is revealed to now be a ghost and was Florence's half brother and Maud's son. Florence and Tom grew up in the house that is now a boarding school. While Florence and Tom were young, their father became mad and killed Florence's mother, Tom and himself while also trying to kill Florence. Florence had blocked these memories of her childhood. Maud, who also sees Tom, explains that Tom is lonely and that he needs his family; Maud poisons herself and Florence, intending for their ghosts to join Tom. Florence, however, tells Tom that she will not be happy if she dies now and that she will always be with Tom. Tom then helps Florence by bringing her medicine to throw up the poison.As is common in many ghost stories, it is not clear if Florence is a ghost for the epilogue. Some viewers believe the curative is to no avail, and Florence dies. The film can be interpreted that the only adult that can see Florence is Mallory as it has been established earlier that Mallory is also haunted; the headmaster speaks of her as if she is not there. Only the children can see ghosts, and only the children can see Florence when she leaves the schoolhouse a lonely child (of the kind who could see Tom) acknowledges her. Maud and Tom are gone, and she says though she can't see them, they are not forgotten, raising the possibility they are now at peace.The more straightforward interpretation is that the antidote was successful: the headmaster ignores Florence because of the negative publicity for the school (and he mentions only one death); Florence and Mallory share a cigarette at the film's conclusion; she is leaving by car (Mauds aim was to keep her at the house); and she talks of writing another book. | suspenseful, horror, gothic, atmospheric, haunting | train | imdb | With so many shaky cam, found footage, reality show type horror/suspense movies hitting the box offices and living rooms around the world with poor character development, over the top torture and gore, plots so thin they are the only transparent ghosts in the picture.
There is a fine line to walk especially with a ghost story, to achieve that sense of spine tingling, skin crawling feeling and that element can only be teased from the psyche with mystery, not in your face guts or a head being lopped off - that is shock value and gross out, which is perfectly fine for a slasher pic or a grind house movie, but not a good ghost story.
"The Awakening" is set in 1921 England, our Protagonist Florence Cathcart a free thinking, strong willed ghost buster, author and hoax crusher opens this gem of a movie by diving right into the fray.
But after being invited to a supposedly haunted old grand estate that was converted into a boy's boarding school, with a recent death of a student and a rumor of an old murder and sightings of a ghost, Florence finds much more than school boy pranks and hoaxes - she finds something good, something frightening and something truly enlightening.
While it may be true that there is nothing new under the sun and we've all seen the same plots and themes over and over again - I have found there is always something new to add to the age old themes.This movie is in my top 10 of great ghost stories - 8 out of 10 stars for "The Awakening"..
However, there are movies that have taken the this tired formula and made splendid films - The Orphanage is a good example of a ghost story done right.
However, haunted by her personal sense of guilt and loss, Florence finds the rational solution unsatisfactory and searches instead for an antidote to her own suffering.Haunting cinematography, a strong cast and a story line which supports both suspense and character depth, enable this film to stand alongside "the orphanage" and "the Others" rather than being shadowed by them.Winner of the Jury Prize at the Gerardmer Film Festival in France..
The most under appreciated horror film of 2012.Rebecca Hall plays Florence Cathcart, a Hoax exposer who is called to a boarding house to investigate strange paranormal activity.
Florence comments with Robert and he tells that there is only three persons in the boarding school, leaving Florence scared."The Awakening" is a ghost story that begins with the information that between 1914 and 1919, the war and the influenza claimed more than one million lives in Britain.
The Awakening is the better execution though, and you need look no further to find a spine chiller that's anchored in a relatable, human story that truly surprises you in the end, and not a cheesy, plodding mess like Woman In Black.
Despite my intense liking for old-fashioned ghost stories, "The Awakening" however failed in intrigue and turn on, quickly falling into traps of formulaic treatment.
The performances are also strong, with Rebecca Hall as a formidable and convincing lead; Dominic West plays her counterpoint as the headmaster of the school.Where the film seems to lose its bearings is in plot and tone.
It is not so much convoluted in terms of narrative, but convoluted in tone; the flashback scenes near the end are also awkwardly edited, which is a shame as they are key to the film's real clout.Overall, "The Awakening," in spite of its shortcomings, is a considerably mature and effective ghost story.
The movie does not sound original, in terms of plot and style, it is a very old-style ghost story, built according to the most traditional but still effective means in pictures like these, where the supernatural has to find its ways.
Creaking doors, mysterious sounds, light and dark play, set in a solitary gloomy mansion in the English countryside, are part of the oldest tradition of scary movies, the plot twists are also not new, but the impression I got is that of a simple, well crafted ghost story, with an interesting psychological insight, that without needing exaggerated sci-fi effects gets to appeal and entertain the viewer till the end.
This film is all over the place.It is muddled, convoluted and confusing.Quite apart from if having pretenses to being "high brow" I think Trailer Park would be more apt.A female ghost buster from just after the 1st world war is asked to investigate ghostly sightings at a school.There are all sorts of shenanigans with ridiculous plots, sub plots and sub sub plots that will leave most viewers baffled and unsatisfied.The pacing and direction of the film is poor.Perhaps because the lead female mostly plays her part as someone desperate to get laid maybe that is why the movie is titled "the Awakening".
I just finished watching The Awakening, and I have to say I've not seen such a complete and entertaining Gothic tale since The Orphanage.While The Awakening does not have quite the depth of angst of El Orfanato, it nonetheless maintains a constant tension and audience puzzlement up until the last few minutes, when more questions than answers are evident.Rebecca Hall's Florence Cathcart, and the method used for her professional 'Ghost Busting' procedures reminded me of the scenes set in Guy Ritchie's Sherlock Holmes mythology.
In England, 1921, Florence Cathcart (Rebecca Hall) is a Hoax exposer and is brought to a boarding school to explain sightings of a child ghost.This is a horror movie with a mystery and it reminds me of 'the others'.Movie has good performances, particularly from Rebecca Hall.Nick Murphy has done a great job as a Director and screenplay writer.Cinematography was also good for horror movie.There is a perfect balance of horror,suspense,emotions in this movie.
At times, the plotting reminded me of earlier genre-classics like "The Shining", "The Others" and especially "The Innocents", the latter based on Henry James's definitive "The Turn Of The Screw", all being concerned with the precarious psychological condition of the main character and of course of unhappy spirits from the past returning to impact on the present.The present here, though, is immediately post-war England, and the tragedy and tension of those times, with the themes of the loss of what Seigfreid Sassoon called doomed youth, the psychological (and physical) scars on those that survived the Great War while their friends perished (personified here in the character of Mallory) as well as the enmity between those that fought and those that didn't (the latter portrayed in the character of Judd, the school caretaker), loom large in the character studies presented here.At its heart however is the complex character Florence, a vintage if very young, "ghost- buster" if you will, herself bearing guilt over her part in the loss of her own soldier sweetheart, eventually takes on, at Mallory's beseeching, a new case, involving the unexplained death of a young boy pupil at a remote boarding school, supposedly haunted by an earlier pupil from years before.
The period is evoked excellently, the cold, austere boarding school in particular and the acting too is very good by all especially Imelda Taunton as the the school matron whose importance to the story becomes clearer as it progresses and particularly Rebecca Hall as the central character of Florence, her haunted eyes and blank expression well conveying the fragility of her character beneath her initially super-confident Holmes-ian demeanour.If I have a criticism, it is that the Florence character is probably too overloaded with her various neuroses plus a lot happens to her in the narrative, but as in the end, it turns out to be all about her anyway, maybe I should grant the director and writer a little more licence.Anyway, more psychologically thrilling than downright scary, this was my type of ghost film, just right for a late night viewing..
Rebecca Hall, Dominic West, and Isaac Hempstead Wright all do a great job.Pro: Great beginning and ending, good acting, and seeing Rebecca Hall naked is a plusCons: Very slow pacing, the middle part of the film is extremely slow, and an overlong runtimeOverall Rating: 7.0.
Dominic West provides a few unintentional laughs at the start but luckily improves as the film goes on, Rebecca Hall works pretty well as the cynic who starts to doubt her scientific beliefs, but overall I'd say the supporting cast were stronger than either of the leads with Imelsa Staunton up to her usual standard.
Great underrated movie about a ghost-story debunker who visits a school to investigate some goings-on there.
Skeptic Florence Cathcart(Rebecca Hall)believes it's a time for debunking ghosts.She is an author of famous book "Seeing Through Ghosts".She doesn't believe in God or any spirituality.So our ghost buster is sent to investigate their provincial boys boarding school where one of the students has died after reports of seeing the twisted spectre of young boy.The strange spectral phenomena overwhelms her as she starts digging in the past..."The Awakening" is a pretty creepy if not conventional ghost story influenced by "The Others" and "The Orphanage".The action moves slowly and there are some genuinely effective jump scares.The cinematography of Edward Grau is lush and the sound effects are great.Unfortunately the film becomes too sentimental in its second half.7 spectres out of 10..
A couple other scenes do manage to get that goose-flesh started, but it's far too little to make up for the rest of the film.There were also a couple shots I can only assume were intended to inspire that horror movie jump, but instead only managed to deliver a confusing visual spiccato effect.The storyline starts out well, defining the heroine as a strong logical woman.
These scenes were not actually romantic in any way.) Far too much of the film was wasted as a buildup for the romantic plateau, which leaves the viewer wondering if they're watching a horror movie or a romance.
An enlightened young woman by 1920s standards, she is (Cambridge) university educated, a scientist, a published author, an inferred atheist and, most shockingly of her time, wearer of trousers while barking orders at men.A professional myth buster, exposing fraudulent mediums feeding off the fear and grief in the aftermath of the First World War and influenza pandemic, she is called upon to investigate reported ghost sightings at a mansion turned boarding school- having been the scene of a long forgotten murder of course.
A good ghost movie will capture your attention within the first five minutes of the film and keep you there for the remainder of the plot.
Certain scenes are thrown in that contribute nothing to the story and indeed just muck it up, other scenes seem like outtakes where they were just experimenting with camera angles, even some characters and their actions are superfluous, and the revelation at the end really annoyed me - I have seen this same revelation many times before in other films and it is tiresome in the extreme.
But to its credit The Awakening packed a reasonable storyline to prop up a mystery and provided some attempts at scaring the audience, except that its focus centered around the main lead Florence Cathcart (Hall) and her capabilities making this more like a ghost hunter's adventures in early 20th century England, with creepy sets to boot.And Florence Cathcart is undoubtedly an interesting character, who through the course of the film transforms from a Dana Scully equivalent to a Fox Mulder believer.
A bestselling author, she gets challenged one day by a teacher of a boarding school, Robert Mallory (Dominic West) to look into a recent death of a pupil, who had claimed to have seen a ghost before he died.Reluctant at first, she takes up the challenge, brings her wares, and digs deep to try and prove that a boarding school is fertile ground for pranks to be played by its many naughty students, a thought that soon got debunked as little by little the inexplicable happens, paving way for great atmospherics set up by the filmmaking team, utilizing the sprawling mansion with its dimly lit long corridors and staircases to full effect.
But the scares never really got there, with the usual shadow play and bag of tricks used, with director Nick Murphy being quite certain to want to play up the atmosphere to raise those goosebumps, yet underwhelm in his delivery of real moments that will make your heart beat faster, nor allow you any avenue to squirm in your seat.The narrative then has enters into the school vacation period, which reduced the number of usual suspects who could have some role to play in the whole scheme of things, such as Mallory himself being a war veteran and have lived through hell on earth during WWI, the matron Maud Hill (Imelda Staunton whose make up makes her look really sinister), and the young kid Tom (Isaac Hempstead Wright) who stays behind because his parents were away.
Probably the only disbelief here in the entire movie would be her character's needless romance with Dominic West's Mallory, which was quite unnecessary if only to show that some desperate feelings develop in a cold, dark mansion with two lonely people being put together.The final scenes of the film offered up some nice little twists and surprises that prolonged the conclusion, with an epilogue that will leave you guessing right up until the last minute to see whether Nick Murphy decided to go for the jugular like other films in the genre, or to stick to a more traditional and conventional finale, and I'm glad it was what it had decided to be.
I don't think anyone expected anything good from it but as it turned out, this is simply being one fine and very atmospheric genre movie.This is not necessarily a typical horror/ghost movie but more one that relies on its mystery, rather than on its scares.
It tells its story well and keeps things interesting at all times, making this basically a good watch from start till finish.
It has some nice cinematography and also the right required settings.Another aspect I also really liked about the movie was its main character, played by Rebecca Hall.
Yes, if you have seen plenty of movies involving a ghost story already, this movie really isn't anything that new or surprising to watch but it at least, unlike some other genre examples, never really has a dull moment in it and keeps things going and interesting at all times, even when there is not an awful lot happening.
I think that this is actually the foremost reason why I ended up liking this movie so much, despite all of its still present and obvious (story) flaws and weaknesses.Simply a good genre movie, that is well worth checking out.7/10http://bobafett1138.blogspot.nl/.
When she receives a request from school master Robert Mallory (West) to investigate the supernatural events at a remote boarding school for boys, she is suitably intrigued to take on the assignment...It comes as no surprise to find that numerous reviews for The Awakening make reference to ghost story films that were made previously.
Atmospherically Glum and Goosebumby with its well Mounted Cinematography and Stunning, Captivating, Realistic, Scientific Devices makes this Muddled Movie Forever Watchable.The Good Acting from the whole Cast Lead by Rebecca Hall and Dominic West also can Attract Attention.But after the Story Unfolds and Certain Things are Revealed, the Film just Collapses under the Weight of Ambiguity, Confusion, and a Desire to Wallow in its Own Cleverness.
Hoax exposer Florence Cathcart (Rebecca Hall) visits a boarding school to explain sightings of a child ghost.
It's an intriguing horror movie that despite a few lousy boo scares and inconsistency with tension, it's nicely shot, packed with great performances, especially Rebecca Hall and pays off with a marvellous ending that will satisfy viewers..
Dominic West plays his part well as Robert Mallory, an employee of the school who asks Florence (Rebecca Hall) to help find a child ghost who haunts the school.
There were also a couple of genuine hair-raising scares in it - and from a ghost story, what more can you ask?I only have two minor problems with this film - 1 point off: the main female character, Florence, walks around like she is living in modern times, hair unkempt, top button undone - in 1921!
It's gorgeous to look at, cast in the shadow of the Great War, and is now fixed as one of my all-time favorite films of the ghost story genre, right up there with The Others and El Orfanato, from which it is not dissimilar in setting or tone.
It is a very sad movie with twists and turns along the way; a grown-up ghost story.
This movie is different, it's not focused on the horror or the scare, it's focused on the story of Florence Cathcart (played by the fantastic Rebecca Hall) and her drive to prove that spirits are not real and are just 'naughty little troublemakers'.
Or because the film was an outstanding ghost story and will be seen as a classic of the genre for many years to come.
The film does have an upsetting yet beautiful plot twist towards the end that plays with ideas of good and bad, real and unreal, life and afterlife – in a way that few ghost stories have managed before; that only the work of such masters of the craft as M.R.James can capture.
It all starts when Florence (Rebecca Hall) and Robert (Dominic West) have sex, till that moment the movie was great for me.
Anyway, this was a good film and if you like horror movies, this is one you should watch.
This film comes only six months after the release of "The Woman in Black," another suspenseful, atmospheric ghost story made by Hammer Studios in the tradition of classic horror movies.
It could be easily compared to The Others, Woman In Black, or even Sixth Sense and while the film has a twist ending it doesn't really come as a surprise because as many people point out there are very few new ideas in the ghost story genre. |
tt0091499 | Maximum Overdrive | On June 19, 1987 at 9:47 am Eastern Standard Time, planet Earth passes through the tail of a rogue comet, Rhea-M, for just over a week. In Wilmington, North Carolina, machines suddenly come to life and attack humans. A marquee sign about a bank displays an insult and an ATM calls a bank customer an "asshole." (The bank client is writer-director Stephen King, in a cameo.) The town's drawbridge suddenly lifts itself, spilling cars and trucks off of it, killing several people much to the shock of the elderly bridgekeeper and his dim-witted assistant..At the Dixie Boy truck stop outside town, Bill Robinson (Emilio Estevez), a recently paroled prisoner from the state pen, working as the short order cook, meets with his new boss, Hendershot (Pat Hingle), the owner of the truck stop. The nasty redneck Hendershot has a system worked out to make life unbearable for parolees who come to work for him, mostly forcing them to work overtime for no pay (as part of his twisted way to exploit them). Hendershot threatens to send Bill back to prison if he doesn't agree to work for extra hours "off the clock".A few of the Dixie Boy's regulars drive up in their semi-haulers. One of them is a man, named Handy, who works for Happy Toyz and has a huge green goblin's face mounted on the front of his truck. Some time after he pulls up, his truck starts itself up and moves about 100 feet on it's own. Handy can't believe it since he has the keys.While filling a vehicle with diesel fuel, mechanic Duncan Keller notices that the flow of diesel from the nozzle has stopped. He looks down the nozzle and it suddenly squirts him in the eyes, temporarily blinding him. Fellow employees, Steve and Joe, tend to him.In the video game room, a would-be thief is stealing change from the machines and gets electricuted by a huge surge of electricity from one of the video games.While tending the stove, the truck stop waitress Wanda June gets seriously injured when an electric carving knife turns itself on and cuts a deep cash on her left forearm. Bill runs in to tend to her wound and smashes the electric knife with a hammer.Meanwhile, at a junior league baseball game, the winning coach wants to buy sodas for his team. The soda machine swallows his money and then shoots the cans at high speed, hitting him first in the crotch, then in the head, killing him. The machine spits more cans at the players, who run from the field. One of the players, Deke, a catcher, quickly puts his catcher's mask over his face when several cans fly toward him. Suddenly, a steamroller breaks through the scoreboard and runs over one of the young players. Deke notices that the steamroller has no driver. He mounts his bicycle and races off.On a deserted freeway, a female hitchchiker, named Brett Graham (Laura Harrington), is riding with a gross lecherious Bible salesman and con artist, named Loman, who makes inappropriate passes against her. Trying to get a signal on the car radio, Brett briefly hears a vague news announcement, over garbled and static broadcasting, speaking of "unexplained events" being reported, as well as about the local microwave facilities being inoperative, and issuing a urgent message to "get away at once" from all the local roads or major highways. Brett is forced to grab the steering wheel and pull into the Dixie Boy truck stop when Loman does not stop. They argue over this when the Happy Toyz truck starts by itself while Joe is still filling it with fuel and it moves a short distance. Upon checking the inside to the truck's cab, Bill finds the cabin empty. Brett notices that there are no cars on the road at all, something unusual for 10:00 am in the morning.In town, Duncan's son, Deke, sees that many people have been killed at their homes by machines. He hears another garbled radio broadcast about machines all over the world coming to life and killing people. One of them is a blood-splattered runaway lawnmower, which chases him but he is able to easily outrun it. He then hides from a driverless ice cream truck, which doesn't detect him in the bushes. Deke waits until the truck is gone and rides for the Dixie Boy where his father works.On another back road, a ditzy redneck newlywed couple, Curtis and Connie, are driving toward their honeymoon destination. They notice that there are many stalled and wrecked cars along the road. They pull into a local garage to find the mechanic dead, and a tow-truck starting up and trying to run them down. Curtis manages to duck out of the way and the tow truck crashes into the garage. Curtis and Connie then drive away.Back at the Dixie Boy, Duncan attempts to leave to look for his son despite protests from Bill and threats from Hendershot (implying that Duncan is also an ex-con and that Hendershot is exploiting his background for his own gain). But while walking to his truck, one of the sedate trucks starts up and runs over Duncan, killing him. The con-artist Bible salesman, Camp Loman, runs out to insult the "driver" only to realize that no one is driving the truck. The Happy Toyz truck starts up again and chases Loman a short distance and backs up into him, sending him flying and landing in a nearby ditch. Steve and Handy then drag Duncan's dead body back inside and Hendershot orders him to be placed in the basement with the dead body of the video game player. With the phones and CB radios out of order, the group inside the truck stop debates on what to do next when all of the 18-wheeler semi trucks at the truck stop start up and begin to drive in a circle around the truck stop building, trapping the people inside.Back on the deserted highway, Curtis and Connie spot a long convoy of driverless trucks traveling on the opposite end of the road when one of the trucks, an older model flatbed, notices them and begins to chase them. Curtis is able to maneuver away from the truck and cause it to crash off an embankment, destroying it. He sees the sign for the Dixie Boy and takes the exit.Upon arrival, Curtis and Connie see the truck stop under siege by the circling trucks and when Curtis attempts to drive through the circle to reach the safety of the inside, their car is hit and gets toppled over by one of the trucks. Bill and Brett run outside and rescue Curtis and Connie and as they run back, Hendershot walks out with a M-72 66mm LAW (light anti-tank) rocket launcher and blows up two of the trucks with anti-tank rockets, saving them.A little later, Bill asks Joe about the weapons Hendershot has in the basement. Bill and Brett venture to the cellar and discover a huge stash of weapons ranging from assault rifles to rocket launchers to grenades. Hendershot appears and threatens to send Bill back to prison for snooping around, but Bill arms himself and warns Hendershot not to interfere with him. Bill confides in Brett about his criminal past about robbing a grocery store and his predicament and that Hendershot does not seem to take anything seriously.At nightfall, the power in the truck stop goes out as the trucks continue circling the building. Brett notices a bright green light covering the sky and deducts that the passing comet is responsible. Bill suggests traveling to an island where there are no vehicles or machines and hide out until it is all over.A little later, when everyone hears the sounds of the injured Camp Loman screaming from the ditch where he landed earlier, Bill and Curtis volunteer to go out to rescue him. Carrying weapons borrowed from Hendershot's arsenal as well as rope, they run to a nearby building past the trucks (many of which are starting to run out of fuel) and lower themselves into a nearby sewer drainpipe to lead to the ditch where Loman is.In the meantime, Deke has made it to the Dixie Boy and crawls through another drainpipe to the creek where Loman is, but the wounded and near-death Bible salesman, by this time has become insane and tries to kill Deke when he approaches him. Bill and Curtis come by and grab Deke away as a dump truck spots them and attempts to run them down, forcing them leave behind Loman (whom is presumably dead by this point) and back into the drainpipe. They make it back to the showers building and run across the parking lot back to the Dixie Boy, with Bill blowing up another truck with his rocket launcher. Bill at first refuses to tell Deke where his father is until Hendershot blurts out that Duncan was killed earlier by one of the trucks. Deke is devastated, while everyone (Brett most of all) is angry at Hendershot for being so insensitive. Hendershot remains oblivious to his own actions.The next morning, most of the trucks have stalled, having run out of gas. However, two more trucks arrive, they are a large bulldozer and a small military vehicle with a M-60 machine gun mounted. When the bulldozer crashes into the building, Hendershot (despite the protests from Bill) fires a rocket at it, temporarily disabling it. As a result, the military vehicle opens fire on the Dixie Boy building. In the storm of bullets, Hendershot, Wanda June, and three of the truck drivers are fatally gunned down. Then the military vehicle begins beeping its horn in a morse code message which Deke translates as "Someone must pump fuel. Someone will not be harmed. All fuel must be pumped."When the power for the building comes on again, Bill decides to turn on the pumps, despite Brett's protests not to trust the trucks. Bill points out that they have to with the military vehicle's presence. Over most of the day, in 100F degree heat, Bill, Brett, Deke, Curtis, and a few others take turns venturing outside and refueling all the trucks, plus hundreds more trucks that arrive at the Dixie Boy to refuel. When the fuel runs out, a driverless tanker truck appears and beckons Bill to refill the truck stop's fuel tanks to continue the refueling.Exhausted by the hard work and the heat, Bill retires to rest where Brett comforts him. Bill points out a possible explanation for these events as being a race of aliens using the comet to wipe out humanity and having the machines making them work as their slaves.Handy tells Bill about working on an escape where they will get out through the basement and to a drainage pipe to the outside. Sometime later, Bill walks outside where he talks to another truck driver filling up the trucks where he drops a grenade into the small military vehicle, destroying it. With that, all of the refueled trucks begin circling the Dixie Boy once again.At nightfall, Bill, Brett, Deke, Curtis, Connie and the rest of the survivors escape through the drainage pipe, armed with various weapons from the late Hendershot's arsenal and decide to make a run for the open ocean and to the island where there are no trucks. When the trucks see that the people inside the Dixie Boy are gone, they all smash into the building, destroying it in a series of spectacular explosions.Bill leads the survivors across the back roads and fields in the area to make it to the local marina to find a sailboat to take them to the island. They have narrow encounters with numerous machines including the driverless ice cream truck. Upon arrival at the marina, they all head out to a sailboat when one of the truck drivers, named Brad, attempts to steal a diamond ring from the corpse of a woman caught in her car passenger window when the leader of the living trucks, the Green Goblin of Happy Toyz, arrives and runs down Brad, killing him. Bill runs from the docks and quickly destroys the Happy Toyz truck with a rocket launcher.In the final shot, Bill, Brett and the rest of the dozen survivors sail away from the marina to find help and safety. A disclaimer in the final shot reveals that two days later a Russian "weather satelite" destroyed a large UFO orbiting Earth with nuclear tipped missiles, causing all machines to become sedate. Another two days later, Earth passed through the tail of the comet and everything seemingly returned to normal. It is also implied that the Dixie Boy survivors were the only survivors to the worldwide machine revolt. | cult, violence | train | imdb | The movie does require major suspension of disbelief as some of the story elements don't work (for example: the honeymooner's car works just fine, but every other machine on earth, from lawn-mowers, electric knives, trucks, and even steam-rollers, go haywire).
A group of survivors is under siege of fierce trucks in the Dixie Boy truck stop in a gas station and they have to fight to survive."Maximum Overdrive" is a silly, campy, funny and highly entertaining movie by Stephen King with a great soundtrack by AC/DC.
Despite the awful story, acting and direction, I saw this cult movie again yesterday afternoon and it makes laugh so stupid it is.
Viewing this in the context of a traditional horror/slasher movie doesn't do it justice, and with deference to previous reviewers, trying to analyze the technical feasibility of the antics of the machines is a lot like making a big deal about pointing out the historical inaccuracies in Monty Python and the Holy Grail - why?
When Citizens and Co-Workers of the Dixie Boy Truck Stop, the people ended up fighting for their lives.Written & Directed by Stephen King (Screen-writer of Cat's Eye, Silver Bullet, Sleepwalkers) made a dumb but entertaining film.
Stephen King wrote and directed this much-maligned film adaptation of his short story "Trucks." The plot has Earth passing through the tail of a comet, which somehow causes all the machines on Earth to come to life with murderous intentions.
HERE IS HIS SIDE OF THE STORY.Okay so i think for an 80's movie its really good.i mean the blood and how they die i mean it surprised me but i knew it was coming because Stephen King made it and the music sound a little bit like Psyhco i hoped i spelled it right.It was so crazy and i may have screamed a little..
Although there is some shaky, hesitant and stiff acting in this production, it still stands as one of the best adaptations of Stephen King's literary works.While it does stray a bit from the original work, it has earned its place in the genre of horror as a "Classic." To the accompanying heavy metal of AC/DC blasting in the background, killer trucks and other machines take over a small town truck stop, terrorizing those within, and killing any/every one without.While some of the performances were amateurish, this movie SOARS above the "recent" remake of the same original work, entitled, "Trucks." Written, rewritten and directed by King, this movie is a surprisingly wonderful adaptation of his work.
This will be a very pleasant surprise following the absolutely horrid Made For TV Version of "The Shining," (1997).While Emilio Estevez is not among my favorite top 500 actors, he carries this film rather well, but it's Yeardley Smith who makes the movie.
I've seen better movies based on the work of Stephen king, but in all fairness, I possibly have not seen one he has directed.
An alien ship flying inside a strange cloud causes the machines on the planet to go haywire and the story focus on a small band of misfits trying to survive.Heading up this band is Emilio Estevez who at the time was a bigger star than his little brother Charlie Sheen.
This seems to be Emilio's thing and he shines as a bad boy force to do the right thing.I'm use to being more frighten by a Stephen king story but I really was not.
There are so many good sequences, from the introduction of Emilio: "I got eggs on!" To the Bible salesman getting run over (runs into non moving truck, King shakes camera to make it look like the truck hit him.) The cast of characters is awesome, and just the way that the action unfolds in the first half of the film is amazing.
My wife was asking questions like "How does the truck see with it's wing mirrors?" and "How did that guy get a rocket launcher?" and such like, but I said that this is the kind of film where you just let such things go, or else you'll end up feeling like that guy after the steamroller went over his head.
This bloody mess was written and directed by successful horror writer Stephen King, who appears in an apt cameo with a mouthy ATM machine, in an opening sequence.
As many found this film funny I thought it was boring, for something coming from Stephen King this was seriously lame, the film never built up any kind of suspense nor did it have an interesting storyline, the acting itself was weak, one dimensional doesn't come close to describing the characters and the cast are all great actors but they truly suck in this film.Seriously though, despite the fact that the only Stephen King book I read was THE TOMMYKNOCKERS, this film is bad compared to the others, if you want someone to do Stephen King right, get David Cronenberg who directed THE DEAD ZONE which is possibly the best Stephen King adaptation ever and you don't have to take my word for it, just check out its IMDb web page..
If you like to spend some hour+ watching well shot and acted movie with plot which is absolute nonsense, but all together provides absolute fun, this is the right one..
When Stephen King first set out to make this movie, he was up front about wanting to make a schlock film.
The acting is so campy they may as well be singing "Kumbaya." This is funny most of the time, but as in the case of Smith, and a truly disgusting Bible salesman, watching this film feels like a waste of heartbeats.However, upon seeing this film a second time, this seems like a good movie for drinking games, so there can be some use made of this.
And sure, Stephen King probably has more to hate about this film than having to play the guy who gets called an a-hole by an ATM machine.
Yet, with its intriguing characters, oddly interesting activity from the trucks, and electrifying soundtrack, Maximum Overdrive serves as dumb, over-the-top fun if you choose not to take it too seriously.Score: 47/100Recommendation: Fans of Stephen King and the movie's soundtrack composer AC/DC.
Bill Robinson (Emilio Estevez) is the short-order cook and Bubba Hendershot (Pat Hingle) is the boss.Stephen King directs his own movie.
What story features a green comet, every machine in the world coming alive to attack humans, and a group of truckers thrown together at a truck stop?
Adapted from King's short story "Trucks", it presents the tale of machines of all types coming alive all of a sudden to wreck havoc on the human race and in particular, an assorted group of truckers, newlyweds, cooks, and grease monkeys at a roadside truck stop.
This unholy mess of movie-making, also the directing debut {and to no surprise, finale} of author Stephen King, makes for a fun, cult classic.We open in Wilmington, North Carolina, where some space probe that's never really brought up into discussion, has gone awry and now for some reason all machines are turning on man.
But if you're looking for a fun and entertaining way to kill a Saturday evening, B movie style, look no further than Maximum Overdrive..
The short story it's based on is not a classic Stephen King tale but it's certainly no where near as bad as the movie.
If you want to see a good movie based on a Stephen King story the general rule is avoid the horror's.
I'm kind of shocked at all of the bad reviews I've seen here, what'd they expect?No-one is going to confuse Stephen King with Stanley Kubrick, but I give King credit that he targeted a nice, easily-digestible short story as the basis for a movie (versus the more 'standard' 600-plus-page King epic that most other directors go for).
If you only like serious movies based on King's work, go watch The Green Mile, it's one of his best.
With this story even Don Siegel or Bob Aldrich or whomever great action director could not have made an above average movie out of this junk ...So why - in God's name - do so many people (do they ??) consider Mr. Kings books worth reading, some even say they are good ???
Stephen King adapted his own short story 'Trucks' in his directorial debut, as the Earth passes through the tail of a rogue comet, inexplicably causing the world's machines to come alive, and destroy(or enslave) humans.
One determined bunch of survivors barricaded in a truck-stop diner try desperately to escape what will be an 8-day ordeal...Astonishingly inept, crude film is so unrelentingly stupid you get the feeling that Stephen King was trying to make a comedy...pity this isn't remotely funny, or involving at all.
David Cronenberg proved that he could do this with The Dead Zone, whereas Maximum Overdrive shows that King himself might be able to write a great story, but making it work in a visual medium is another matter.The story, such as it is, concerns itself with the Earth passing through the tail of a comet.
This unpleasant flick about a group of citizens who must fend for themselves when a comet causes vehicles and other machines to come to life is utterly disappointing, and you have to hand it to talented novelist Stephen King for all the dirt.
Now I really do believe that "Maximum Overdrive" could have been made into an entertaining film if King had made it with wit, logic, and fun.
Three things about "Maximum Overdrive" that really annoyed me are: 1) the graphic violence, which at times was unforgiveable; 2) the cast of actors who act totally obnoxious (Pat Hingle and Yeardley Smith take top honors for the film's worst performances); and 3) the blaringly loud music score by the popular rock group AC/DC.
I think anybody who sees this film could enjoy it if it is not taken seriously.This movie falls into two categories: So stupid it's funny and so bad it's good.
Based on King's short story 'Trucks,' what basically happens is a group of people are stranded inside a truck stop as the trucks outside start to take over the world and go on a killing rampage.
Every rational, film appreciating bone in my body tells me I should feel otherwise, but I just can't help it....I love "Maximum Overdrive", and I'm not afraid to admit it.The story is weak, and the acting (aside from that of Emilio Estevez and a select few others) is even weaker, but I can't help but like the simplicity of this movie.
A somewhat original story idea (although I believe the stuff about earth passing through the tail of a comet may have been lifted from George Romero's "Night of the Living Dead") that involves a simple plot and basic character development, but excels in visuals and all-around entertainment.It's a fun movie, and it is just as much fun in 2010 as it is when I first saw it back in 1987.
What a turkey this movie was.Some of the acting in it was so bad it was laughable.Its only saving grace was the wicked soundtrack by rock legends AC/DC.This is definitely a movie to avoid at all costs.Thank God this was Stephen Kings one and only attempt at directing a feature film.Stick to writing books mate..
The people that fall into addiction because they say they can stop whenever they want to.It seems a bit of irony that when they were filming the movie, they had real truckers stop by at the Dixie Boy because it was so convincing of a replication of a truck stop; the characterizations in Maximum Overdrive are that level of real humanity, real honesty.These are messages that speak to us even today, the dehumanizing effect machines and electronics and devices have upon our society.
This movie is not one to be taken in any way seriously; it is a movie for watching when you are sat drinking beer and not really in a mood to concentrate on anything remotely complicated.Given the premise of the film the actors do reasonably well with the material and the direction isn't too bad either.
It, like all Stephen King stories gets you thinking about evil in places you never thought to look.
A lot of C acting, but good performances by Estevez and Pat Hingle give a degree of respectability.Its a shame Stephen King abandoned directing after this movie; even coked out of his skull, he didn't do too bad a job and could have easily progressed with experience.
For a movie directed by Stephen King, it's not very scary.
Maximum Overdrive, bestselling novelist Stephen King's one and only foray into directing (thus far), is far from a classic of either the sci-fi or horror genre, but it is good fun, a typically dumb piece of '80s B-movie nonsense that makes very little sense when dissected, but which still proves enjoyable thanks to a light-hearted, knowingly daft approach, comical characters, plenty of silly deaths and mucho vehicular carnage.Based on King's short story Trucks, the film sees the world's machinery turning on the human race after Earth passes through the tail of a comet.
The film also benefits from a rocking soundtrack courtesy of AC/DC, a fun cameo from King himself (who establishes the film's goofy style in his opening scene), numerous ridiculous and reasonably bloody kills, and a really cool truck with the face of the Green Goblin on the front.6.5 out of 10, rounded up to 7 for the having the guts to run over a kid with a steamroller..
Based on his own brilliant shot story "Trucks" about empty cars, trucks and machines running amok and sieging a bunch of people in a lonely highway cafe, this short terror vision is not working as a full length feature movie at all.There's a ridiculous explanation about the cause of the trucks terrorizing their creators (something about a U.F.O. and cometh rays influencing life on earth...), and King's direction is just bad.
There is King's favorite hard rock group AC/DC playing their dull hits like "Highway to Hell" and "Hells Bells" over and over, too many trucks driving around without a cause and much action and no real story at all.
Even good actors like Emilio Esteves and Pat Hingle can't help to rescue this bad horror movie.Only in the beginning when the machines start to terrorize people, like a milkman's delivery car killing all people in a David-Lynch-like urban middle-class surrounding, there are hints of the scary atmosphere of King's horror novels.
King acts like he is all embarrassed by this movie, and sure it's pretty stupid, but this isn't even in his bottom 50 when it comes to his books being adapted.
In 1986 famed horror writer Stephen King stepped behind the camera to personally direct his one and only movie.
"Maximum Overdrive" is based on his short story called "Trucks" and stars Emilio Estevez as Bill Robinson, a short order cook at a truck stop who must save the day from a bunch of evil self driving big rigs.A comet passing by Earth triggers machines to start going haywire.
King writes and directs the film, which he adapts from his own short story Trucks, and the results are extremely disastrous.
machine, and it will be up to Bill Robinson (Emilio Estevez) to lead the group and blow the trucks to kingdom come.Maximum Overdrive stands as a testament on how NOT to make a movie.
The visuals, cheesy idea, and characters cover up the writing.The plot: Earth has now come in contact with a comet that causes machines like lawn mowers, electric knives, and even automobiles to start acting on their own taking revenge on humans.
Doesn't live up to King masterpiece films like Christine or Stand By Me, but it's up there.Starring: Emilio Estevez, Pat Hingle, Laura Harrington, and Yeardley Smith.
They literally walk into a truck themselves, or they try to challenge some of the machines in an extremely dumb way.And yes, large blame for all of this can go to Stephen King, who beside writing the story, also attempted to have a go at directing a movie all by himself this time.
Lot of tongue in cheek stuff, and once you get past some of the stuff, the rest is kinda fun to watch.Yes, if you want to just waste some time and get lost in a kinda funny movie - then this is it!I do have to admit though, the actors did a a good job, as did the vehicles and machines:).
The plot (Based off of a short story by Stephen King called "Trucks") centers around a group of people trapt in a gas station by a group of big bad semi trucks, trying to survive because apparently some sort of a comet is passing by the earth and wouldn't you know it, it's bringing the machines alive to kill us.
One day the earth passes by a comet and causes machines to go into "Maximum Overdrive." Soon we meet people in North Carolina that start stopping by the Gas Station called the Dixie Boy, where Billy and the gang works, like Brett and Curtis and his annoying wife.
This is probably the worst film adaptation of a Stephen King story yet.
Maximum Overdrive was the first and last movie that King would direct to date.
What else do we want from a Stephen King movie??
I used to be a fan of Stephen King, so i really think that this movie should be given at least 6 stars or higher!
It's common to see a Stephen King movies based off his novels but its uncommon to see him direct, write (all from trucks one of his short stories), and even make an appearance in the beginning of the movie. |
tt0374546 | Bom yeoreum gaeul gyeoul geurigo bom | The film is divided into five segments (the five seasons of the title), each segment depicting a different stage in the life of a Buddhist monk (each segment is roughly ten to twenty years apart, and is physically in the middle of its titular season).Spring
We are introduced the of the very young Buddhist apprentice with his master on a small floating monastery, drifting on a lake in the serene forested mountains of Korea. The apprentice and his master live a basic life of prayer and meditation, using an old rowboat to reach the bank of the lake where they regularly go walking, for exercise and to collect herbs. One day, in a creek amongst the rocky hills, the apprentice torments a fish by tying a small stone to it with string and laughing as it struggles to swim. Shortly after, he does the same to a frog and a snake; his master quietly observes on all three occasions, and that night ties a large, smooth rock to the apprentice as he sleeps. In the morning, he tells his apprentice that he cannot take off the rock until he unties the creatures he tormented - adding that if any of them have died, he will "carry the stone in his heart forever". The boy struggles with the load on his back through the forest, and finds the fish, lying dead on the bottom of the creek, finds the frog still alive and struggling where he left it, and finds the snake in a pool of blood, presumably attacked and killed by another animal, unable to get away. The master watches as the boy begins to cry heavily upon seeing what he has done to the snake.Summer
The apprentice (now in his teenage years) encounters a mother and daughter (dressed in modern clothes, indicating that the film takes place in modern times) walking along the forest path, looking for the lake monastery. The apprentice silently greets them and rows them across the lake to the monastery, where it is revealed that the daughter has an unspecified illness (she displays symptoms of a fever) and has been brought to the Buddhist master by her mother, hoping that she will be healed. The master agrees to take in the teenage girl for a time, and the mother leaves. Over the next few days, the apprentice finds himself sexually attracted to the girl, but is too shy to say anything; however, when he finds her sleeping in front of the Buddha statue, he is unable to resist groping her chest. She wakes up and slaps him, and in a guilty panic the apprentice begins to pray incessantly, something his master notes as strange. The girl seems to forgive him however; eventually, the two wander off into the forest alone and have sex. They repeat the act over the next few nights, hiding their relationship from the master, until he discovers them asleep and naked, drifting around the lake in the rowboat. He wakes them up by pulling the plug out of the boat. Rather than expressing anger or disappointment, he merely warns his apprentice that "lust leads to desire for possesion, and possesion leads to murder", but does tell him that the girl will have to leave. The apprentice reacts emotionally to this, and in the middle of the night runs away from the monastery in pursuit of the girl, taking the monastery's Buddha statue with him.Fall
Many years later, in "Fall" (or "Autumn"), the aging master returns from a supply run to the local village, and by chance glimpses a warrant for the arrest of his former apprentice, wanted for the murder of his wife. Foreseeing the apprentice's return, he modifies the teenage monk garments by hand, and soon afterward the adult apprentice appears in the spiritual door at the lake's edge, still full of anger and carrying the bloodstained knife with which he stabbed his wife. Unwilling to go on, he seals his eyes, mouth and nose in a suicide ritual and sits in front of the newly returned Buddha statue, waiting for death; the master discovers him, and beats him ruthlessly, professing that while he may have killed his wife, he will not kill himself so easily. He ties his bloodied apprentice to the ceiling and sets a candle to slowly burn through the rope, then begins painting "Heart Sutra" on one side of the monastery deck, by dipping his cat's tail into a tin of black paint. The apprentice eventually falls, and beginning his repentance, cuts his hair off and starts carving the Chinese characters out of the wood. As he carves and the master paints, two detectives arrive at the monastery and try to arrest the apprentice, but the master asks them to let him finish his task. The apprentice continues without stopping, and collapses into sleep immediately upon finishing. Seemingly influenced by the soothing presence of the master, the detectives help the old monk paint his apprentice's carvings in orange, green, blue and purple. The apprentice finally wakes up, and is taken away by the detectives. After they leave, the master, knowing he is at his end, builds a pyre in the rowboat. He seals his ears, eyes, nose and mouth with paper in the same suicide ritual and meditates as he is suffocated and burned to death. One can see the tracks of his tears in the paper seals as flames engulf him.Winter
The middle-aged apprentice returns to the frozen lake and to his former home, which has been drifting uninhabited for years. He finds his master's clothes, laid out just before his death, and digs his master's remains out of the frozen rowboat, setting them to rest in the Buddha statue under a waterfall. He finds a book of choreographic meditative stances, and begins to train and exercise relentlessly in the freezing weather. Eventually, a woman comes to the monastery with her baby son and a shawl wrapped around her face. She seeks to leave her son with the monk and flee, but as she tries to leave in the middle of the night, she stumbles into a hole in the ice the monk dug earlier and drowns. Finding her body the next day causes him to tie the monastery's large, circular stone to his body and climb to the summit of the tallest surrounding mountain holding another statue, which he places there....and Spring
Finally, returning to "Spring", the cycle is completed: the new master lives in the monastery with the abandoned baby, now his apprentice. The boy is shown to torment a tortoise and, wandering into the rocky hills, echoes his predecessor, forcing stones into the mouths of a fish, frog and snake. | romantic, cruelty, murder, atmospheric | train | imdb | Through each season, director Ki-duk Kim shows us the journey of one young boy as he learns life through the hands and mind of an older monk.
This film is that profound, touching, and moving.Spring, Summer, Fall, Winter...Spring is the most beautiful movie I have ever seen.
contemplative.the story appears to centre on the life of buddhist monks living on a floating house, but as the film progresses, one sees that this is a film about the constancy within change and renewal.
The pleasure of seeing it belongs to the aesthetics, and it transcends beyond the action and beyond what only happens on screen, or what the characters say and do.It is both a simple and complex story - the story of a life, catching all seasons of development of man: innocence of childhood - so quickly lost unfortunately, mistakes of the young age, tragedies of maturity , and wisdom coming with the old age.The film is filmed at one location of a cut-breathing beauty.
There are however many other symbols that speak to the European spectator - the cycles of life, the rhythms of nature, the magic figure 4, like the number of seasons of the year, or like the number of parts in classic symphony, the unity of space as in Greek tragedy, and time - one life instead of one day, all give to this creation a wonderful symmetry and equilibrium.Worth seeing, this is a film that will make the delight of anybody who believes like I do that cinema is an art..
The film itself is a wonderful tapestry of Korean Buddhist culture, with quiet visual beauty, simple moral themes and human passions put into a simple, homespun perspective.
The remarkable natural setting which reflects the wide spectrum of Korea's seasons, which range from hot, sticky humid-fraught summers to icy, cold snow-bound winters, become a metaphor of life with unadorned figures, completely human in form.
The Buddha spoke the wise words in a monastery near Sravasti, saying that "this sutra should be called the Diamond that cuts through illusion because it has the capacity to cut through illusions and afflictions and bring us to the shore of liberation." There are 32 sutras or sections, and the 32 sections are also "marks" that are used to meditate on "the Tathagata" which means "the suchness of all things (dharmas)." The meaning of Tathagata is "does not come from anywhere and does not go anywhere." The insight into the truth of the sutras consists in a realization that "the idea of a self is not an idea, and the ideas of a person, a living being, and a life span are not ideas either." A self-realized or awakened "Buddha" is called a Buddha because he/she is free of ideas.The "Buddha" in the Diamond Sutra is also called the World-Honored One, and his message can be summarized by two axioms: (1) "Someone who looks for me in form or seeks me in sound is on a mistaken path and cannot see the Tathagata." (2) "All composed things are like a dream, a phantom, a drop of dew, a flash of lightning.
Or, from another perspective, an interesting juxtaposition of old and new.Beginning in the Spring of an undefined year close to the present, the film is set on (and I mean, on) an isolated lake.
It soon becomes apparent that he means this in anything but the figurative sense.Moving through the seasons, Kim explores the "cycle of life"; with his acolyte experiencing youthful love (or lust), anger, violence and finally acceptance, contrition and peace.
The courtship of the adolescent boy and girl are some of the gentlest scenes in cinema (though culminating in a suitably Kim-like, energetic coupling).With popular Buddhist and Confucian ideas now so firmly established in cinema (thanks in part to their bastardisation by George Lucas), the ideas in this film aren't exactly going to leave its audience in need of a large glass of perspective and soda (to quote Douglas Adams).
Also, how cruelty, be it against a harmless animal, or a human being, will haunt those who transgress throughout life.The acting blends in with the serene beauty of the temple in the middle of the lake, as we watch one season following another, as seen by the amazing cinematography by Dong-hyeon Baek..
When it comes to life or destiny of Buddhist monk, this movie is not at all about it (or that is not it's main goal), but instead it tells a story about human psyche, emotions, desires, and guilt.
I am a self confessed admirer of Kim Ki Duk.The mere mention of his name can provoke heated discussions.He is not so much liked by his own countrymen due to his choice of topics for this films.He is more liked outside Soth Korea where his admirers have easy access to his films both in terms of their availability and comprehension.The great thing about this film is that even though Kim Ki Duk is a part of Christian faith(he was born as a Christian),he has been successful in creating a meticulous spiritual tale of Buddhist world.This proves the amount of energy he spends in researching things about the subject matter of his films.I have seen Spring,Summer on many occasions and each viewing reinforces my belief in spirituality.It is good to see spiritual actions portrayed in a film on big screen but it is not only difficult but also impossible to follow them in real lives.The truth is that most of the people feel happy for a while and afterwards go about their daily chores.So if you wish to gain a brief spiritual experience watch this film.Nobody is going to question you about your spiritual existence after having seen this film..
If you hope see a film about a novice Buddhist monk being taught the great mysteries, learning to respect all forms of life, and exploring the nature of cause and effect in dialogues with his 'master' you will be deeply disappointed.
Time and time again in the movie the novice monk fails to relate compassionately to either himself or those about him, and there are several scenes of simple (but repeated and extended) cruelty which made me cringe as a human being.I found the various subtexts of the film (as I saw it) disturbing : that desire for sex (ie.
desire for union of polarities & transcendence) is essentially a path that leads to suffering for all, and that the only way to find redemption for oneself is through time and ritual, rather than through practicing self-knowledge, kindness, and observing the nature of cause and effect.Ultimately I found this quite a depressing film about the potential of the human spirit.
Easily one of the best films of that year, or previous year, or any year, "Spring, Summer, Fall, Winter...and Spring" is a tale of "cycle of life." The idea is not original but the result is amazing.
The story of the boy who's raised by an old, wise monk, is deeply philosophical and fascinating as we see him growing up and changing with the seasons of the year.The visuals are breathtaking and are a great example of the saying "an image is worth a thousand words".
Still, it is a beautiful piece of film-making, and it has enough developments to keep your attention despite the simplicity of the setting and the scarcity of characters and dialog.As a symbolic tale, I didn't think it was simple at all.
The boy who's taught not to be cruel to animals by the equally cruel method of having a stone tied to his own back, and who weeps so bitterly when he learns he's caused the fish and snake to die, isn't prepared by his life in the tiny temple to resist lust when the young woman comes to visit.
Could it be that the teacher can't really teach; that the peaceful Buddhist retreat, which is all an invention by the Christian-trained (not Buddhist) Ki-duk Kim, is a nice place to get away to perhaps one of the most gorgeous places ever filmed, the more so as seen gloriously transformed through the four seasons but not a place where one can learn how to live in the world?
No doubt the fact that the role of the grownup acolyte who once was the boy playing cruel games with small animals is taken by three different actors -- the last the martial-arts-skilled director Ki-duk Kim himself -- means that all these experiences are universal and have happened to many men.
The suffering of life is told through the wisdom of a Buddhist monk and his young student living in a small hut on an island barely big enough for that hut in a gorgeous, isolated sylvan valley.
My Rating : 8/10"All conditioned things are impermanent - when one sees this with wisdom, one turns away from suffering."On a floating monastery in a beautiful lake, a young Buddhist monk and his master live their austere, simple lives in Spring, Summer, Fall, Winter...
This film traces the life of the young monk as he grows into adulthood and old age, with each stage of his life represented by a season of the year.This film perfectly exemplifies Buddhist teaching and ideals in both its narrative structure and its message.
Siddhartha Gautama taught that by maintaining the proper perspective and welcoming each change in one's life, we may avoid the sorrow that comes from clinging to either the joys or sorrows of any given season, and thereby achieve balance.A simple but very effective piece of film-making.
The film follows the events of the temple throughout the years, watching the boy grow as the seasons change.
No one is totally good or totally bad and life goes on.In this film, a young boy living on a remote lake is raised by a monk with whom he lives a simple, ascetic life.
I think Kim is showing by some of the responses of the boy that someone who grows up so remote from society might have difficulty adapting to living in society.It's a beautiful, reflective film.
It seems like something made from the typical clichés about Buddhism and little of the actual heart.The whole point here is that we are rooted in this one place, a remote temple in the middle of a lake surrounded by mountains, as waters of life flow through their cycle.
It is a masterfully shot and emotionally charged movie, but there are a couple of things I don't like at the end there were some moments that seemed illogical to me, some symbols that were not clear enough, and they left me confused after the end - the old man was trying to help his apprentice to overcome his anger and sorrow, but put an end to his own life.
When it comes to life or destiny of Buddhist monk, the franco-indian director Pan Nalin's SAMSARA is so far the best film ever made on or about Buddhism.
Taking place on and near a Buddhist temple in an isolated lake (filmed in a national park), virtually all human emotions are gradually revealed through the cycle of the year and the cycle of life and redemption.
To conclude, this film showed two main ideas, first - idea of cyclical nature of live shown by stages of seasons of the year and repeating stories of old and new monks.
A gorgeous spectacle Mr. Kim Ki-Duk has captured on film for him to weave in a story where both its overt and subtle narratives are rife in symbolic images, Buddhist themes, and animal motifs that complement its sparse dialogue and affecting soundtrack, all helps in depicting the solitude that comes with the monastic life.
The comparison is completed with the ponderous rhythms of changing seasons and the slowly changing perspectives of the Monks.Spring, Summer, Fall, Winter...and Spring makes the short list for most beautiful film in human history, capitalizing on the natural beauty that surrounds the water bound temple.
The plot of the movie revolves around an old monk (master) and a young monk (disciple), living on a floating house at an isolated lake.As we grow up, we go through certain changes at different stages of life.
While the young monk grows up, he goes through various life learning experiences respective of his age and finally leave.The movie is about how our life goes on to have different seasons and don't end there.
The destination which has come into existence on the first day of birthing is unfolding, and it will determine our lives until we begin to be aware of our actions.Actually, the film is similar to a Buddhist story.As the Old Zen Masters said: "Do not despise the story.
and Spring represents the five stages in the life of a Buddhist monk who lives with his master at a monastery floating on a lake surrounded by mountains.
And by the end, the film comes full circle just like its title to finish where it started in the first place, thus representing the circle of life.From the director who is more notable for the violence in his films, it's really surprising & heartwarming to see Kim Ki-duk direct such a calm, composed & peaceful film.
But this movie has done it with pure simplicity.The drama is about an old Buddhist monk and a boy living in a temple that floats on a placid lake.
We witness the life of that boy through different seasons, Spring, Summer, Fall, Winter
and Spring, as he learns to be a monk.
This movie tries to be a Zen story and leave you changed after viewing it, but for whatever reason it couldn't go all the way.First of all, I loved the season structure(meaning a life cycle) and the photography.
The four seasons of the year serve Kim ki Duk as a parallel of the time of human life, and like the boat in the peaceful lake, the camera follows the events slowly or stops totally, creating an adequate rhythm for the spectator's contemplation and reflection.
While I am watching the movie, I feel as if I were in it and I contemplate my life, not the monk's life (main character), in a serene state of mind.The story starts off as 'spring', symbolizing 'an early years of life', and an old monk's (Yeong-su Oh) leading a child one (Jong-ho Kim) to a right direction.
Spring full of vividness, summer of lust, fall - the season of harvest, and winter of loneliness and beauty are humans' normal lives.The music in this film also played the similar role to dialog.
Kim Ki-Duk's "Spring, Summer, Fall, Winter...and Spring" changed my way of thinking, and it became one of the most breath-taking and marvelous film experiences I've ever had.It's a surprisingly simple yet profoundly emotional film, that's about nothing and everything at the same time.
Ki-Duk Kim combines breath-taking landscapes, metaphors, a trance-inducing score and masterful cinematography to convey interesting points of view in life and to perfectly exemplify the truth behind Buddhism.The film opens itself to a thorough analysis, and a viewer could spend hours writing paragraph after paragraph about the meaning of each scene.
Spring, Summer, Fall, Winter
and Spring is a story whose beauty is reflected in the visual elements of the film.
Now let's move on to SPRING, SUMMER, FALL, WINTER ...AND SPRING (SSFWAS), director Ki-duk Kim's sparkling success.Shot in one location on a high mountain lake in Korea, and using only a handful of actors/actresses, SSFWAS accomplishes the same wondrous scenery with only a fraction of the GEISHA budget.The story is that of a monk and a young boy in training to become a monk.
The characters are a bit typical of the Asian movies many of us Americans had access to growing up: the wise old man, who sees everything and has a bit of a twisted sense of justice; the goofy, horny young boy (through spring and summer, anyway) who often spazzes out and does things that make no sense (like spin in circles in a row boat when horny); and the young girl who's only purpose is as a lust object.Kim takes the characters in a more mature direction than many of the other tales, and does it with a better eye than most.
The title is on point as the four seasons of life replay themselves each time you see the boy monk grow to a man.
The movies of Ki-Duk Kim are accumulating, it's hard to follow the rhythm of a director that makes 3 or 4 films every year.
In short: the circle of life."Spring, Summer
" is a calmed place in the day by day madness, it's like a "mantra", so it's quite understandable that those who want velocity and adrenaline will hate this movie and the whole Ki-Duk Kim works.
Despite the simplistic nature of the narrative and the ultra-slow pacing, this is a beautifully shot and thoroughly engrossing movie that had me absolutely captivated at all times.As suggested by the title, the film is split into five parts, each of them exploring a different stage in the life of a youngster apprenticed to a Buddhist who lives in a remote floating temple on a lake.
He himself plays the Buddhist monk at the end and must therefore be taken as a most significant film for this consistent producer of beautiful, yet hard edged movies.
Not (spoken) words, but the tough though serene Buddhist way of life.The existence of three men, two monks (one old, one young) and an apprentice, is narrated by focusing on the most important events in their lives, which happen in different seasons, as you may have guessed by the title.Even if it is rather rarefied, don't think that this movie is not intense.
The man-made lake that this film was shot on is one of the most beautiful places I have ever seen, and Kim Ki-Duk take full advantage of this setting.
The film centers on an elder Buddhist master and his young charge as the boy grows into manhood with considerably less grace than the passing of the old man to the next life. |
tt1045670 | Happy-Go-Lucky | 30-year-old Poppy is a London schoolteacher who's more upbeat than anyone I've ever met in real life: She dresses in colourful retro-hippie clothing, smiles and waves at strangers on the street, and laughs incessantly. When she goes out clubbing, she stuffs her bra because she likes the way it feels.Poppy can't stand to see anyone unhappy -- or even neutral. She's undeterred by a taciturn bookstore clerk who responds to her many friendly overtures with grunts and glares. It's unclear whether she's actually concerned about his well-being -- her banter is clearly not cheering him up -- or if after a while she's just sort of mocking him.Poppy has a ton of friends, one of whom is her roommate; a couple of sisters, and a very full life that includes bouncing on a trampoline and taking flamenco lessons. She keeps insisting that she's perfectly happy despite the fact that she's single and doesn't have kids or a mortgage, even though she's already reached the ripe old age of 30.In addition to being preternaturally carefree, Poppy is also a bit of a flake. When her bike is stolen early on in the film, she gets over it in a matter of seconds. Her only regret, she laments aloud, is that she never even had a chance to say goodbye. Since she can't bring herself to replace her trusty steed, she decides that -- global warming be damned -- it's time to take driving lessons.Poppy's driving instructor is an angry, humorless racist with bad teeth named Scott who's in no mood for any of Poppy's frivolity; to him, driving is serious business and if you fool around you will crash and you will die! Whoa. The core of Scott's driving philosophy is that one must pay constant attention to the golden triangle of mirrors: the one on the right, the one on the left, and most importantly, the rear-view mirror, which he equates to the all-seeing eye on top of a pyramid, and which he calls Enraha (a malapropism for Eye of Ra, perhaps?).Every Saturday, Poppy and Scott go out for a driving lesson. Poppy keeps goofing around and trying to make small talk, but Scott's hostile demeanor remains impenetrable. Enraha! he screams every time she takes the wheel. Enraha! Enraha! Enraha! Yikes.On the one hand, Scott is clearly a nutjob, but on the other, why does Poppy have to keep torturing him with her antics? Why can't she just shut up and concentrate on driving? I don't think I'd last five minutes with her, but Scott keeps coming back week after week because he prides himself on never having lost a student. And Poppy keeps coming back too, I suppose because she sees Scott as a challenge.Though she refuses to play it straight during her lessons, Poppy clearly has it in her, as is demonstrated by her attempts to help a troubled pupil. Despite this being one of the few serious parts of the movie, it was also probably my favorite, in part because it seemed so real. | dramatic, psychedelic, psychological, entertaining, feel-good | train | imdb | null |
tt0817177 | Flipped | Juli Baker meets Bryce Loski two weeks before the beginning of second grade; it's something about those blue eyes that attract her. Julianna knows it's love, while Bryce, like any seven-year-old boy, doesn't. Julianna stalks Bryce all through his childhood; staring at his house, asking him to play, following him at school, etc. Every day, Bryce watches Julianna climb the sycamore tree at the bus stop, from which Julianna always watches the town. She constantly asks Bryce to come join her in the tree, as well as yelling out how far away the bus is. Bryce, being unbelievably shy and annoyed by all the attention, asks out Juli's arch enemy, Shelly Stalls, to get rid of his admirer. Bryce looks over his shoulder for Julianna every time he's with Shelly, which causes Julianna to think he's being forced to date her. This provokes a catfight between Juli and Shelly over Bryce. The two break up, and Bryce is back to square one. There comes an incident in sixth grade when, much to Bryce's chagrin and irritation, Juli constantly sniffs Bryce's hair in spelling from her assigned position behind him. According to Juli, his hair smells like watermelon and he has blond earlobe fuzz. Bryce is disgruntled from this seat change, because Juli had initially sat next to him where he could see her answers and copy off of them. Now that she's behind him, he's lost that advantage, and his grades slip, especially in spelling. This halts, however, when as Juli sniffs him, she begins to whisper answers in his ear. Bryce, torn between feeling grateful and awkwardly guilty for hating her so much when she's helping him, follows the answers anyway until the end of the year.
Juli, on the other hand, can't stop thinking about Bryce in the many years she's known him. Obliviously missing his discomfort being around her, she continues to try to get him to like her. However, Juli's motives change when her beloved sycamore tree is cut down. Although Juli stays up in the branches for hours and misses school to protest its excision, she is brought down and isn't the same for weeks. Unbeknownst to Juli, Bryce feels horribly about Juli's tree, considering Juli asked Bryce to come up to protest with her and he declined. He frets over whether he could have made a difference, and contemplates many times apologizing to Juli but chickens out each time. Matters aren't helped when Bryce's wise but stubborn grandfather takes a fond liking to Juli and pesters Bryce to be friends with her—he doesn't seem to understand Bryce's annoyance with the girl. Juli's spirits are lightened when her father, who she admires more than anyone, paints her a picture of her sycamore tree. Juli often sits out with her dad on the porch for hours, listening to him talk and watching him paint. Juli hangs the picture in her room so she'll always be reminded of what the tree represented for her.
Things take a dive for the worse in eighth grade when Juli overhears Bryce talking to Garrett about her mentally challenged uncle. Bryce wants to punch him (to be exact "slug him"), but doesn't want to lose his friend, so he pretends to laugh. Juli, furious and hurt, decides to abandon every thought of Bryce, even though Bryce's grandpa is very good friends with Juli and helps her tame her yard. The flip comes here: the more angry Juli is and the more she ignores him, the more Bryce notices and likes Juli, especially after he finds an old article about Juli's protest for her tree from elementary school. Bryce begins to see that Juli is smart, spirited and "iridescent", as Grandpa Chet calls her. And for once, Bryce can't get Juli out of his head, and Juli hates Bryce the way Bryce hated her.
The climax comes at the eighth grade basket boys' luncheon, an auction in which boys are sold off to win money for charity. Shy Bryce hates this event, but has no choice in the matter. Bryce, being incredibly cute, gets auctioned off to Shelly and Miranda, the prettiest girls in his school, and Juli buys Jon out of pity, a boy who didn't get any offers. While on their lunch date, Bryce finds he can't focus on Shelly and Miranda: he just wants to talk to Juli. He gets his chance when Shelly and Miranda get into a huge food fight over him. While they're fighting, Bryce sneaks over to Juli's table, pulls her away from her date, and asks if she likes Jon. She answers that no, she doesn't, but is clearly still annoyed at Bryce and wants nothing to do with him. Bryce, in his relief, takes her hands, leans in and tries to kiss her, but she yanks back and runs away. Unfortunately for Bryce, this act is witnessed in front of his entire class, so he is dogged the rest of the day by taunts, especially by his friend Garrett. It is implied that Bryce drops Garrett as a friend in favor of Juli by the end.
Juli manages to get home without Bryce seeing her, but Bryce is determined now. He calls, knocks on her door, and eventually climbs her window. Juli ignores him by sitting in the living room, until she looks out the window and sees Bryce's last attempt at winning her heart: he plants a sycamore tree in her backyard. Juli now realizes Bryce has changed and waves back at him from her living room window. And at that moment Juli realizes that Bryce loves her and he wants her to give him a second chance. | revenge, romantic, stupid | train | wikipedia | "All I ever wanted was for Juli Baker to leave me alone."Flipped is easily the best love story/relationship movie I've seen since (500) Days of Summer.
Eventually Bryce finds himself on the other side of the equation (flipped, get it?), and has to win back the girl he never knew he always wanted.How odd is it that a movie about a couple of kids handles the topic of love in a more mature and genuine way than almost all of the adult-oriented romantic comedies that we're buried under each year?
Humor, issues of class, family conflict, and the lost idealism of youth are introduced into the story by Bryce and Juli's respective families, and there are several outright bittersweet or poignant scenes within the story.The movie is shown from the POV's of both main characters, and often the same event will be shown from each of their perspectives.
The kids chosen to play the older versions of the two (Carroll and McAuliffe) are both great, the fact that the story is set in 50's or 60's suburbia adds a believable sense of innocence to it all, and there is just a fresh feeling to the movie that I can't really describe with words.I heartily recommend this to anyone who likes a good, well-written movie, regardless of the genre.
There is more going on than just Juli and Bryce figuring out their love for each other, and every aspect of this film is well written, touching and relevant."Flipped" is a cute film for everybody who fondly remembers that fiercely independent girl or the guy with piercing blue eyes that lived across the street..
It wasn't over the top romantic, but it was enough to tug my heartstrings and made me go "awwww" instead of going "ewwww".The characters felt like real people, and the issues faced in the story felt so real and believable, it made me believe in the basic form of love once more, and that it still existed in real life (even though I know it's just in the movies, but still).Anyway, if you're looking for a story that is refreshing yet vintage, and wanting to have a lovey-dovey grin plastered on your face, then this is the movie to watch..
I thought that they showed their most potential when acting by themselves, in their own surroundings.I was pleasantly surprised when I found out that Rob Reiner, the director of this film, was the same person who directed 'When Harry Met Sally' and 'Sleepless in Seattle'.
"Flipped" is superbly directed by Rob Reiner and in my book, one of his best movies.
I liked the fact that the story is told from two points of views, Bryce first and then Juli.
If you want to see a really feel-good movie, instead of watching some dumb comedy or shoot 'em up flick, go see FLIPPED!
And while it certainly isn't G-rated fluff (and do not be fooled - this is not a film for young children), the movie is definitely gentle and innocent in many ways.
On the downside, without giving anything away, the ending of the film could have been better patched together, but overall the movie is a cinematic gem like no other.
But, you can see the seeds being laid for the rebellious war babies of the late 1960s.Rob Reiner is a talented director for romances - "When Harry Met Sally." And he is a talented director for handling young actors - "Stand By Me." He combines these talents to help us understand the better part of the human condition; that is, love, respect, sacrifice, forgiveness, and honor.
Back in 1973, an episode of "All in the Family" told the same story from three different perspectives, one of which was from the point of view of Mike "Meathead" Stivic, played by Rob Reiner.
Watching his latest directorial effort, I wondered if the "he said / she said" gimmick of that episode ("Everybody Tells the Truth") was what attracted Reiner to "Flipped," the young-adult novel by Wendelin Van Draanen, which employs the same multi-POV technique that Lawrence Durrell perfected with his "Alexandria Quartet" in the late 1950s.
The film version of "Flipped" shows Reiner at the top of his form, a worthy addition to an ouevre that includes such classics as "This Is Spinal Tap," "Misery," "When Harry Met Sally" and "Stand By Me," the 1986 period piece that "Flipped" most recalls, with its younger characters and coming-of-age theme.
Special kudos to the filmmakers for finding a girl to play young Juli (Morgan Lily) who looks chillingly like Madeline Carroll; I would have bet anything the two were sisters.
With the exception of unfaithful parents when it comes to Stand By Me.What came to mind halfway through the film was why couldn't the movie Speak have been this good?
It's not that big of a deal with the drastic setting change, but maybe I would've been more upset if I was a huge fan of the book to find out the film was set four years in the past.The movie about Bryce Loski (McAuliffe), a kid who moves into the neighborhood at a young age to immediately become eye candy to his new neighbor Juli Baker (Carroll).
Bryce's family, his dad mostly, is annoyed by Juli and her family's crappy yard and continue to bad mouth and make assumptions about the Baker family when they really have no idea what it's like over there.The film is narrated by both leads more often than not.
But it works all the time.At the beginning of the film I thought the narrations were only used for the audience to get affiliated with the lives of the characters and what happened before we got here.
Especially when making a movie as heartfelt as this one.Starring: Callan McAuliffe, Madeline Carroll, Rebecca De Mornay, Anthony Edwards, John Mahoney, Penelope Ann Miller, Aidan Quinn, and Kevin Weisman.
Perhaps it was just one of those films that slipped between the cracks because "Flipped" is a wonderful coming of age film--and is among director Rob Reiner's best.The film is set mostly in the early 1960s.
A young boy, Bryce, moves to a new neighborhood and almost instantly the girl across the street, Juli, begins mooning over him and acting like she's infatuated with him.
It also helped that there were some wonderful supporting actors to assist in telling the story-- some characters you really liked and cared about and a couple who were complete jerks.
As the movie show to us, we can't define a person bad as long as he made some mistakes.Yes,Bryce Loski does make many mistakes,like insulting the Juli Baker' s family ,making fun of Juli's uncle,but we can not deny that he has a most kind heart.Just as the Bryce's grandfather once said , honest is one of the most important character in the human beings.Bryce does have it, even though he might not know.
It somehow explains why parents behave like they do, why some of them are cold and bitter, forgiving and kind.Flipped is a feel-good movie sure to give you a trip down memory lane..
I will be short - I haven't expected this Saturday afternoon movie (just watched it for the first time) was so, so well made - touching, bringing old lost memories, it melted down my heart and brought me to tears far more than once.
I remembered I watched a video about an experiment, tester made some terrible taste juice and asked kids' options with a guilty face because of her terrible cooking skills; the experiment reflects the difference between boys and girls in young age 3-5 years old.
That experiment was interesting, it just shows that girl naturally has better social skills development compared to the boy.Therefore Juli started her consciousness in age 7, and experienced some thoughtful thoughts about the "complete painting view" in her young age, and in the same age arrange, the boy, Bryce Losk just flipped.
Rob leads us to flip from Juli's view to Bryce's view to shows us the true nature of their friendship and love, their love and respect to each other and ends this story with a lovely and sweet ending.
It's a bit too Wonder Years at times, but the odd two-narrators gimmick plays right into the film's "flip" in structure.It's a surprising-engaging and beautifully-told story about young romance though being static for few moments in the middle.
The story revolves around Bryce Loski and Juli Baker, young children who are brought together with the strong bond of love.
Despite being opposite in all sense they both fall in love with each other.The importance of understanding varying perspectives is always worth communicating, and Flipped, despite its cloying approach, manages to deliver this idea with a decent amount of sincerity intact.If you want a ultimately feel-good film about young love, this is a movie to watch.
With a technique borrowed from Casino of the story being told from two different protagonist points of view, Rob Reiner gives us a wonderful family film about first love.
a sweet, charming, moving, lovely, coming-of-age romantic drama comedy film.
Flipped is a sweet, charming, moving, lovely, well-acted coming-of-age romantic drama comedy film.While the plot offers nothing new in particular (as with mostly all rom- com films)...the 'girl meets boy' mixed with 'the not-your-typical girl next door' story, but the storytelling is slightly different.
As the film progresses, you are so emotionally invested in the characters that you actually begin to eagerly anticipate what the other side of the story might be, how the other person feels the way he/she does.
Flipped is a period young love story, told in a simple and heartfelt manner.
I like the way the movie tells the story of both sides.
It's fun, and young love and a kind of family story like this movie always interesting to watch..
He achieves to imprint a soul to the story and their characters in his movies (rare to find in an American reel), blurring the gap I feel there is in the way of telling a story (regarding European approaches e.g.), and gets the best of both worlds with a true original.
If I ever get into this business as I've been dreaming since my kid years', I would love to follow his example.My deepest thanks to his work, and very best wishes he keeps on making these worth watching films..
Its amazing how the same situation can be viewed by different perceptions by two people.The lead actors do an extremely good job with their acting, so does the grandpa.This is a teen movie without hot high school cheerleaders or party life(how much can we take?).There's always a kid like Bryce Loski and girl like julie baker in every school whom you can associate with!I registered to IMDb just to write a review about this movie seeing that only there were 51 user reviews!!Watch this movie if you don't know what to watch and you will feel so good about your friends and family and life after watching this!.
This one is now part of my collection, as is any Rob Reiner film.I loved the story of us and am always amazed at this filmmaker's in depth understanding of both human complexity and humor.
It is the story that makes the film and this is a must see example of such!Heart, love, life are consistent themes for this filmmaker, thank God. This sort of responsibility is all to often over-looked by may of today's directors and producers alike.Flipped for Flipped :) Highly recommended..
Another major flaw is the endless ping- pong, story telling device where we see the same scene over again from the perspective of each of the two main characters.We witness entire passages of this film devoted to nonsensical issues like whether or not to eat the neighbor's farm fresh eggs because they might be tainted by salmonella.
Flipped (2010) tries to be a feel-good and nostalgic story about simpler times in America where blacks don't exist and old men can openly acknowledge their curiosity for young girls.
The writing acting and especially the directing were not just bad they were terrible..I didn't find any reason to think that the two leads would be a good couple...the dialog was boring and not even slightly reflective of the era it was uselessly based in...there was not one funny moment in it...it was not a comedy or a drama...it had no great family moments...the whole retarded brother sub plot was totally useless and difficult to watch (his acting was brutal)...but not as bad as Mr. Loski...the grandfather who neglected his grandson and swooned over the neighbours daughter was disturbing...Bryce's best friend would never have been Bryce's best friend...Juli's inability to forgive was out of character...the saxophone subplot disappeared and I'm as bored of this review as I was of the film.
Flipped is a cute movie about the love of a girl for her neighbor: a boy who clearly doesn't feel the same way about her.
This movie is like most of the romantic movies,BUT there are two kids,and we can see how they grew up and how the their feelings changing.The narrative is amazing and its always have an atmosphere.The girl is so beautiful,i fall in love with her under 1 second.Maybe this is the reason why I'm so pleased with this movie.
Watching this movie was like watching wonder years ....Find your love, Live your life.
Watching this movie was like watching wonder years ....Find your love, Live your life.
Watching this movie was like watching wonder years ....Find your love, Live your life.
Well acted and directed movie grasp story from very beginning and goes through lot of twists or flips we may say.
Apart from love story, director did good job to capture high spirited character of Juli.
As you learn about their personalities and their families, you can better understand how the two children develop into young adults.When I saw that this book was being made into a movie, I couldn't wait for it to come out!
This movie is heartwarming and adorable, and definitely goes a bit deeper than the average coming-of-age tale.The hour and a half it takes to watch Flipped is well worth it, for kids and adults alike..
The film is practically overflowing with nostalgia, but it is also a sincerely heartwarming tale of love and growing up.My perception of the early 60's time period seen here has formed solely through movies I've seen and stories I've heard, but I really do feel like Reiner has captured the positive side of this time period so well.
This is a movie that tells the age old story of two unlikely people falling in love, but with such a unique twist.
Lovely Storyline was perfect and unique.Each dialog was what u think it should be because u would have said the same.while watching the movie i was totally in it.And Callan Macauliffe made no mistakes.I am telling u this boy has a promising great future.Great timely gestures,indicating exactly what was being said.
Reiner has made some of my favorite movies of all time and shown, perhaps, more diversity than any other director working today (could you get more different than This is Spinal Tap, Stand by Me, The Princess Bride, A Few Good Men, and When Harry Met Sally?).
This is one of the best feel-good movies that anyone would love irrespective of age and taste.
It created a sense of wonder and amazement on how Julie and Bryce's story was told in their pint of view.The movie really told this story in a way that made me swept away and really how I feel in today's world.
I only have 4 favorite movies, Cast Away, 50 First Dates, One More Chance and Flipped..And among all these, only Flipped made me wanted to watch it over and over, getting the same nostalgic and satisfying feeling every time..I believe that only really good movies can make you feel that way..I loved how I understood each of the leading roles' point of view in same scenes which are played twice..I enjoyed the detailed phasing of this movie that even the minor roles were as essential as the leading ones.Moreover, the setting of this movie suits perfectly in its genre which is old-school teenage romance.I realized how charming and beautiful first love could be especially when started at early age,,This movie finally gave justice to how my first love drama turned out..
Watching the movie, 5th time today; I flipped again.
At all point of time while watching the movie one can actually put herself/himself in the shoes of the characters.
The storyline is awesome for the subject matter at hand I would give this little Gem a 100 on the Star scale First rate acting by both the main characters and the Director is a Huge Name Rob Reiner Director of Stand by me and the Bucket List, This is a whole family kind of movie though it is PG 13 I did not hear or see anything that I would call Inappropriate in any way there was no violence no foul language and no sexual content.
It is truly a family film and I would say sit down and enjoy this movie Flipped.
I really can't resist to smile every time Juli and Bryce have their talks.The movie was really great.
Flipped is a wonderful movie that is beautiful because of the characters and the personalities ...
"Flipped" is a beautiful story, full of endearing and deep characters whom you'll fall in love with at once.
In Flipped, both Bryce and Juli's sides were told from the first person point of view, which allows the readers to feel for the two characters as though they were part of the romance.
He did after all direct Stand By Me which is probably the daddy of coming of age stories.As in the title, what I liked about this film was when it 'Flipped'.
There's so much build up to the inevitable between Bryce and Juli that when it comes, that's it - end of film.I'd like to think that a sequel could be made to continue the story but it probably won't happen. |
tt1935859 | Miss Peregrine's Home for Peculiar Children | Florida teen Jake Portman (Asa Butterfield) feels he lives a mundane life. One day at work, he gets a phone call regarding his grandfather Abe (Terence Stamp). Jake calls Abe himself, and the old man sounds frightened and paranoid. Jake's supervisor Shelley (O-Lan Jones) gives him a ride to Abe's house.As they make it to Abe's house, Jake and Shelley see a man with white eyes (Samuel L. Jackson) standing in the road menacingly. Jake enters Abe's house to find it ransacked. Outside in the woods, Jake finds Abe's flashlight with blood on it. Abe is lying on the ground with his eyes missing. He is conscious long enough to warn Jake of something awful. Abe dies, and a monstrous creature starts walking toward Jake. Shelley emerges with her gun, and Jake alerts her to the creature behind her. She starts shooting, but she sees nothing.Later on, Jake visits his psychologist Dr. Golan (Allison Janney) to talk about how he's felt since his grandfather's passing. He knows it was no accident, despite the coroner stating that Abe had a heart attack.We see a flashback of Jake as a child with Abe telling him fantastical stories about encountering monsters and other oddities. He would tell Jake about a group home for children run by Miss Peregrine (Eva Green), a mysterious Englishwoman who, along with the other children there, have strange abilities that she kept living with her.Jake's aunt gives him a book from Abe from Ralph Waldo Emerson, which contains a postcard from Miss Peregrine welcoming him to return. Her home is on an island called Cairnholm, located in Wales. With encouragement from Dr. Golan, Jake convinces his parents to allow him to go there and visit Miss Peregrine.Jake travels with his father Franklin (Chris O'Dowd), who didn't have the best relationship with Abe, his father. On the ferry to the island, the two spot a peregrine falcon flying up above. Jake jokes that it must be Miss Peregrine herself, so he calls to her. Upon arriving at the island, Jake and Franklin stay at an old pub that also has a room. Franklin then pays two local boys to guide Jake to the side of the island that he wants to see. When Jake gets there, he finds that the home has been destroyed. He returns to the pub disappointed, believing Miss Peregrine and the children to be long dead.The next day, Jake goes back around to the home and finds a group of children there. He gets spooked and runs away, where he ends up tripping and knocking himself unconscious. He wakes up to find himself being carried by a little girl named Bronwyn (Pixie Davies), who possesses incredible strength. Jake then meets the children that Abe told him about - Emma (Ella Purnell), a girl who can manipulate air and must wear lead shoes to keep her from floating away; Olive (Lauren McCrostie), a girl with pyrokinetic abilites; Hugh (Milo Parker), a boy who has bees living inside him; Millard (Cameron King), an invisible boy; and two masked twins (Joseph and Thomas Odwell). The children guide Jake through a cave, but he gets spooked and runs away.Jake returns to the pub and finds it filled with customers. The manager doesn't let him up and threatens him when the other suspect Jake of being a spy. The peculiar children arrive and intervene to get Jake out of there. He quickly realized he is stuck in the 1943 loop for now.Jake is then brought to meet Miss Peregrine herself. She introduces him to the remaining children - Fiona (Georgia Pemberton), a girl who control plants; Claire (Raffiella Chapman), a girl with a mouth in the back of her head; Horace (Hayden Keeler-Stone), a boy with prophetic dreams; and Enoch (Finlay McMillan), who has the power to bring back the dead for a brief time. He shows off this talent using two small skeletal puppets with tiny hearts that fight each other for a short moment. Enoch is jealous because he likes Emma and knows Jake does too, but Emma had feelings for Abe, and he left long ago.Miss Peregrine explains to Jake that they live in a time loop, which keeps them from the outside world but allows them to live in peace. They are stuck on September 3, 1943, during the WWII raids, moments before a bomb would drop on the house and kill everyone, but Miss Peregrine sets the clock back to 24 hours earlier. They cannot live outside the loop, or else their years will catch up to them and they will die.Jake joins Miss Peregrine and the children for dinner. Afterwards, they are treated to Horace's dreams that they watch like movies. They see a woman (Judi Dench) being wheeled away by villainous men, as well as Jake and Emma looking like they're about to kiss (making it super awkward in the room). After the show, Miss Peregrine brings the children outside and shows Jake how the loop works when German planes fly overhead and drop a bomb, but she resets the clock to 24 hours earlier, taking them back to September 2nd.Jake follows Emma into a cave asking questions about everything he's just heard and seen, but Emma says there are some questions she can't answer. A bird then flies into the cave and hits the wall. Emma brings it back to the home to be treated.When Jake returns to meet his dad, they are called over by a farmer whose sheep have all been killed. They return to the pub, and Jake finds a letter that Abe wrote to Miss Peregrine warning her about someone named Mr. Barron, and to tell Miss Avocet, another headmistress of a home for Peculiars, to create a new loop immediately.The next morning, Jake and Franklin hit the beach and meet an ornithologist (Rupert Everett) looking out for rare birds for a book he plans on writing.Jake later sneaks out while Franklin takes a nap so he can return to the home. Miss Peregrine is treating the bird, who is really Miss Avocet, the same woman seen in Horace's dream, and an Ymbryne just like Miss Peregrine (meaning they can take the form of birds). Jake questions Miss Peregrine about Barron, but she avoids giving answers.Jake then runs into Enoch and Olive. Enoch brings Jake over to the room of Victor (Louis Davison), Bronwyn's brother who was killed by the same creature as Abe. His eyes are missing, and Enoch reanimates him like a puppet to freak Jake out.Emma takes Jake to her secret hideout, which is a sunken ship deep beneath the ocean. She blows him an air bubble and then blows the water out of the ship. Emma shows Jake photos of pale-eyed people, including Barron, whom Jake recognizes as the man outside Abe's house the night he died. Afterwards, she brings Jake to watch Miss Peregrine walk with her crossbow over by a spot with a chalk outline of a creature. A tall, eyeless monster like the one Jake saw in the woods emerges, but it is only visible to him. Miss Peregrine shoots the creature with an arrow, and it falls perfectly into the outline. Emma realizes that Jake's peculiarity is being able to see these monsters.Back at the home, Emma brings Miss Peregrine her book to explain to Jake who these creatures are. Barron and his cronies are Hollowgasts (or just "Hollows"), a different group of Peculiars that hunt the good ones in order to live beyond the loops for all eternity. Barron performed an experiment using Miss Avocet due to her Ymbryne powers, but it backfired and turned him and the other Hollows into hideous monsters. They managed to return to their human forms by consuming the eyes of Peculiars.Miss Peregrine walks into a room where the children are sitting by Miss Avocet, who has taken her human form. Fearing that Barron will come after the children, she decides it is time to leave and find a new home and loop.Jake returns by the beach and finds Franklin worried sick. A wheelchair-bound man that they had met earlier is found dead by the rocks with his eyes taken out. Jake runs away and is followed into the cave by the ornithologist. He then takes the form of Dr. Golan before revealing himself to be Barron. He turns his hand into a blade and holds it to Jake's throat in order to make him do his bidding.Barron forces Jake to take him to the home. Miss Peregrine finds them and tells the children to retreat for their safety, knowing that Barron is waiting for his Hollow friend to go after them, and with Jake being able to see them, he is their only hope for survival. She asks Jake to promise that he will look after the children should anything happen to her. He agrees, and she turns into her bird form so that Barron may cage her.Jake and Miss Avocet help keep the children hidden in darkness for when the Hollow shows up. Jake then answers the phone to hear a call from Abe in 1943. Jake takes the time to say he wished he could have been a better grandson.As Miss Avocet is telling the children what to do, she is pulled through a wall by the Hollow. Jake guides the children to safety and fights the Hollow with Miss Peregrine's crossbow, but he misses every shot. Eventually, the German plane drops the bomb on the house, killing the Hollow. The loop then closes for good, and the children can never return to that home.The children work together to raise Emma's ship to the surface so they may head over to the Blackpool Tower, where there is another loop. Since this loop was created in January 2016, Jake and Emma realize that if they kill Barron there, they may be able to prevent Abe's death from happening. They all arrive at the pier and go through a haunted house where the Hollows are set to perform their experiment with Miss Peregrine and other Ymbrynes. Jake and Emma lure some Hollows outside toward the pier.Once the Hollows reach the pier, the children fight back. They start throwing snowballs and cotton candy at the Hollows to allow them to be seen. Enoch brings some skeletons to life, which go after the Hollows and start slaying them. Bronwyn grabs a horse off the merry-go-round and hurls it at a Hollow, throwing him into the water. The other children fight Barron and his two Hollow friends in their lair. The male Hollow tries to freeze Bronwyn under a pool of water, but Fiona stops him by throwing seeds at him that sprout vines that wrap around him. Olive frees Bronwyn, but the Hollow starts to freeze Olive up. Enoch brings an elephant puppet to life and uses it to crush the Hollow. The female Hollow is turned to stone by the twins when they remove their masks and stare at her. Enoch apologizes to Olive for not appearing to care for her as much when it looks like she's dead, but she is revived and happy to hear what Enoch said.Jake and Emma attempt to fight Barron, but he is immune to their attacks. Jake frees the Ymbrynes and pisses Barron off. Emma and Enoch find Jake, but Barron has also taken Jake's form to trick them. Jake is able to prove himself when he spots the last Hollow walking behind them. He picks up Barron-Jake as he tries to convince the Hollow who he really is, but he plucks out Barron's eyes and kills him. Enoch throws Jake the crossbow, which he uses to kill the Hollow.The children then leave on the ship to stay within their loop, but Jake knows it means he cannot see them again.Upon returning to Florida, Jake goes by Abe's house and sees that he's still alive. He tells Abe all about his time with Miss Peregrine and the children. Abe gives Jake the Emerson book, which contains a lot of money in it, for his "travels."Jake is running on the docks to catch up to the children's ship. He finds Emma and explains to her that he's had to go through different loops in different cities over different years, but she stops him and kisses him. As he joins them on their adventure, Miss Peregrine flies by and stops at a tower. She finds the children and flies over to their ship. | gothic | train | imdb | null |
tt0065569 | Nachts, wenn Dracula erwacht | The story starts with a shot of Count Dracula's castle and the following text:
Over fifty years ago, Bram Stoker wrote the greatest of all horror stories. Now, for the first time, we retell exactly as he wrote, one of the first — and still the best — tales of the macabre.
Jonathan Harker, a lawyer traveling from London to Transylvania to secure property for Count Dracula, arrives at Bistritz to stay for the night. There, he is warned by a concerned lady against continuing his journey the following day. Harker believes that her concerns are rooted in peasant superstition. He ignores her, but starts to feel increasingly unnerved by the way everyone looks at him. Harker sets off for the rest of his journey and arrives at the Borgo Pass where he's picked up by the Count's mysterious coachman.
Harker debarks at Castle Dracula, and the coach immediately rushes off. Somewhat hesitantly, Harker approaches the main door, whereupon a thin, tall, gaunt old man opens it. Harker asks, "Count Dracula?" "I am Dracula, enter freely and of your own will," says the man at the door. Dracula takes Harker to his bedchamber where Harker notices that Dracula casts no reflection.
Later, Harker goes to sleep. He wakes in an ancient crypt where he is seduced by three beautiful vampiresses. Dracula rushes into the room in a rage and orders them to leave Harker alone. Dracula explains, "This man belongs to me," then gives the vampiresses a baby to feed on. Harker wakes up screaming in his room and assumes it was a nightmare, but two small wounds on his neck indicate otherwise.
Harker soon realises he is a prisoner, and tries to escape by climbing out of his bedroom window. He finds his way back to the crypt where Count Dracula and his three brides rest in coffins. Harker runs out of the crypt screaming, and jumps out of the castle's tower into the river below.
Harker wakes up in a private psychiatric clinic outside London, owned by Dr. Van Helsing, in the care of Dr. Seward. He is told he was found delirious in a river near Budapest. Naturally, no one believes his story about Castle Dracula until Van Helsing finds the two punctures on Harker's neck. Harker's fiancée Mina and her close friend Lucy also arrive at the hospital to help take care of him. Unbeknownst to them, Count Dracula has followed Harker back to England and now resides in an abandoned abbey close to the hospital.
As Mina nurses Harker back to health, her friend Lucy's health strangely declines. Dracula has been secretly appearing to her by night and drinking her blood, growing younger as he feeds off his victim. Quincey Morris, Lucy's fiancé, joins Drs. Seward and Van Helsing in an attempt to save Lucy by giving her a blood transfusion from Quincey.
One of the patients at the clinic, R. M. Renfield, becomes of considerable interest to the men. Renfield is classed as a zoophagus: he eats flies and insects in order to consume their life, believing that each life he consumes increases his own. He reacts violently whenever Dracula is nearby.
Lucy eventually dies while her men helplessly look on. As Van Helsing suspected, Lucy has become one of the undead and murders a young child, but the ordeal is put to an end when Quincey, Seward and Van Helsing ambush Lucy in her tomb, stake her through the heart and decapitate her. Harker, restored to health, joins the group who now are sure that Count Dracula is a vampire.
Dracula turns his attention to Mina and begins corrupting her as well. Van Helsing suddenly has a stroke and remains in a wheelchair. Dracula visits the weakened man, mocking his attempts to destroy him. Quincey, Harker and Seward track Dracula to the abandoned abbey, but he has fled to Transylvania with the aid of a traveling Gypsy band.
As Count Dracula's Gypsy servants take him back to his castle, he is trailed by Harker and Quincey. After battling the Gypsies, the two heroes find Dracula's coffin and set it on fire. Dracula, unable to escape in full daylight, is consumed by flames. | gothic | train | wikipedia | Once more horror legend Christoper Lee is giving the demonic vampire lord and he´s as perfect as usual in the role, but the most impressive part has Herbert Lom as Dr. Van Helsing, what even makes Hollywood superstar Sir Anthony Hopkins looking like an old fogey!
christopher lee looks just like the description of the Count in stoker's novel, and far from being 'funny' or 'cheap' as some of the other reviewers here have called it (did they watch the same movie, or what?), you don't doubt it's reality for a moment.
"El Conde Dracula" is Spanish director Jess Franco's faithful yet flawed take on the Bram Stoker novel, with Christopher Lee taking a break from his British Hammer series to play the infamous vampire.
Some of the best things about this version: Basically all the actors, Bruno Nicolai's score, and the fact that this Dracula appeared as Stoker describes him, which is a first.Unfortunately, what I've heard about the production is that they changed producers in mid-shooting and he cut the budget back, so what could've been a fairly faithful rendition of the book now looks cheap and like the low-budget film it eventually became.
Filmed in Spain and Germany, Jess Franco's version of the Bram Stoker classic has Count Dracula as an old man who grows younger whenever he dines on the blood of young maidens.
Starring screen legend Christopher Lee as Count Dracula, it also features Franco regulars Soledad Miranda, Fred Williams, Maria Rohm, Jack Taylor, Klaus Kinski, and Paul Müller.
The talented cast and direction, as well as a fantastic score by Bruno Nicolai, make this one of the best filmed versions of the Dracula story and a great companion to Francis Ford Coppola's version made decades later..
While not with out it's faults, the mangling of the plot and the compressing of some characters into each other, the film is saved by wonderful atmosphere and top notch acting- most notably from Christopher Lee as the titular Count, Klaus Kinski as the Mad Renfeild and Herbert Lom as Van Helsing.
Christopher Lee's portrayal of Dracula here is probably his best ever (at least in terms of following Stoker's book) as an aging vampire who progressively gets younger (20 years before Coppola's version).
It would take 22 years before Coppola made another version of the story, which is as fantastic as Franco's film.Christopher Lee is astonishing as Dracula (as usual), while Herbert Lom excels as Van Helsing.
That's what you rarely see in a horror film these days, which is a shame, as films that use these techniques frighten more.Christopher Lee is the greatest Count Dracula of all time, probably more famous than Bela Lugosi or Max Schreck, the bald-headed creature of the night in the silent movie Nosferatu: Eine Symphonie des Grauens, also known as Nosferatu: A Symphony of Horror.A marvellous vampire film!.
Anyway, having watched the film now via the Spanish DVD I don't think the additional footage was fair trade for the lack of an option to include the English-language track (or, at least, English subtitles); while I'm obviously familiar with the storyline, so that I had no difficulty following the proceedings, I missed hearing the Stoker dialogue not to mention Lee and Herbert Lom's distinctive voices!Its overall effect is worlds removed from the Hammer outings which starred Lee: these were actually still going on when COUNT Dracula was made, but he had become increasingly disenchanted with their approach.
Low-key, deliberately-paced and hampered by severe budgetary constraints (resulting in shoddy effects and a distinct lack of props), the film nevertheless makes the most of its Spanish locations even if Manuel Merino's shaky camera-work displays an unwarranted propensity for zoom shots (while an attack, ostensibly taking the vampire's POV, then bafflingly reveals Dracula to be coming from a totally different direction!).
The Spanish DVD presents the film in its correct full-frame aspect ratio, though the transfer itself lends the whole an unrealistic orange hue (as opposed to the bluish tones, for night-time sequences, which have been mentioned online with respect to the Dark Sky edition).It has been said that Lee's performance in COUNT Dracula is superior to his various interpretations in the Hammer films: while I certainly appreciated his different approach to the role, he is still given relatively little time in which to work his magic (no pun intended); interestingly, the vampire starts off as an old man here but is gradually rejuvenated through his bloodsucking habits (a concept originating in Stoker and picked up again by Francis Ford Coppola for his BRAM STOKER'S Dracula [1992], another would-be rigorous adaptation).
The rest of the main cast is virtually a "Who's Who" of Franco's filmography during this time: Herbert Lom makes for an imposing Van Helsing (due to the language barrier, I didn't understand why he was suddenly wheelchair-bound but, from the "Eccentric Cinema" review, I gathered that the character had suffered a stroke); Klaus Kinski is a creepy Renfield (able to create a character by saying almost nothing at all he had already done similar duties for Franco as the Marquis De Sade in the 1968 version of "Justine" and, by the way, it's interesting that the actor would himself eventually play Dracula twice, in NOSFERATU, THE VAMPYRE [1979] and the Italian-made NOSFERATU A VENEZIA [1988]); Maria Rohm as Mina (looking ravishing but who's rather underused throughout); Soledad Miranda as Lucy (she only really comes into her own when turned into a vampire, which actually precedes her iconic turn in Franco's VAMPYROS LESBOS (1970) itself a very loose adaptation of "Dracula"!); Fred Williams as Harker; Jack Taylor as Quincey; Paul Muller as Dr. Seward; and even Franco himself as Van Helsing's dopey-looking yet vaguely sinister manservant.For all its shortcomings (it wouldn't be a Franco film if it weren't flawed), COUNT Dracula still provides a fair quota of memorable moments: Dracula silencing the wolves outside his castle; Dracula feeding a baby to his 'brides'; Dracula's attacks on Miranda, twice interrupted by Rohm (whom he eventually gets to, of all places, at an opera house!); Miranda's bloody demise in her coffin; the stuffed animals in Dracula's London home coming to life to scare the vampire hunters; Lom burning a cross-shape on the floor in his clinic to ward off the approaching vampire; blood spurting in Taylor's face from his staking of a vampire woman in Dracula's castle; Dracula's fiery come-uppance (actually similar to Miranda's not to mention Bela Lugosi in the 1931 Universal classic in that he's dispatched while at his most vulnerable, i.e. asleep in his coffin).It's unfortunate that none of the companies who released or are set to release the film on DVD seem to hold the rights to CUADECUC, VAMPIR (1970), a documentary shot at the time of COUNT Dracula's production.
Bram Stoker's Count Dracula" (1970) turns out to be an acceptable picture directed by Jesus Franco with a good cast as Christopher Lee , Hebert Lom , Maria Rohm and Klaus Kinski .
Christopher Lee was reportedly tired of playing Dracula and was convinced to join the cast only after being promised that the film would be a faithful adaptation of Bram Stoker's Dracula novel , the film, however, ultimately made numerous significant changes to the story .
One of his great films, "Count Dracula" is a movie with a very creepy atmosphere, a great, eerie score and an excellent cast, starring Christopher Lee as Dracula, Herbert Lom as Van Helsing and Klaus Kinski as Renfield.As mentioned above, this movie is probably the most loyal adaption of Bram Stoker's novel, so I don't suppose a further plot description is necessary.
Although this Jess Franco version of the story differs entirely from these great classics of British Horror, this is a highly atmospheric, creepy and original flick that must not be missed by a Horror fan.Christopher Lee is, as always, brilliant in the role of Dracula.
"Count Dracula" has a few cheesy moments too, but all things considered this is another great Dracula flick starring Lee, and definitely one of the best films directed by Jess Franco.
While I believe Bela will always be the actor most commonly associated with the role, I also believe that Lee was the BEST Dracula.Unfortunately, this director considers himself to be an "arthouse" worthy stylist, when in actuality, he ends up wasting at least 15 minutes of every film with his "arthouse" shots, which are usually superfluous and lend nothing whatsoever to the plot he is supposed to be shooting.Fortunately, this time, he didn't bother with that mindless activity, and delivers an awesome bit of horror.
Film has a few problems, but Christopher Lee and Klaus Kinski (basically in an extended cameo, he doesn't appear on-screen until a half an hour in, and he has no lines of dialogue) are both fun to watch, the set designs and décor are mostly well done; good rainy/foggy, blueish tinged scenes of the castle.
In addition, Herbert Lom does well as Dracula's foe Van Helsing, especially given later events in the narrative, and Lee's statement that they were never actually filmed together, on the same set.Some other bad parts of the film include the aforementioned "wall-banger" scenes, Franco's obsession with shaky camera zooming, and some cheaply done special effects and sets.These don't necessarily detract from the film, however, and it remains an enjoyable, if definitely flawed, film.
"Count Dracula" is the legendary Jess Franco's stylish and opulent looking adaptation of the enduring Bram Stoker tale, done in such a way as to create a true sense of foreboding right from the outset.
Plus, it's hard to go wrong with any film that casts Sir Christopher Lee in the role of the nefarious Count (a dozen years after he'd began essaying the role in Hammer's Dracula series), Herbert Lom as the intrepid Van Helsing, who doesn't let a stroke deter him from doing what needs to be done, and the one-of-a-kind Klaus Kinski, perfectly suited to the role of the disturbed Renfield (but actually playing the role with a little more restraint than one might expect).
Although not one of the hammer films that Christopher Lee starred in numerous times,this one was directed by Spanish director jess Franco who did many of the Christopher Lee fur Manchu films.this one is more like the original story by Bram Stoker with a few twists.very bloody and graphic.i have to say Christopher Lee played the best Dracula ever.even though i did'nt care for the last hammer outing;the satanic rites of Dracula(aka;count Dracula and his vampire bride)which is in public domain,i did get to see this one on google video in all its glory.this time the count sports a mustache,and there is a great cast,Herbert Lom as van helsing,Klaus Kinski as renfield,and Jack Taylor who played in many euro horror flicks.the ending is very different from the other Dracula movies,my only complaint is the soundtrack.i think they could've used a better score.i really don't like what they did to the vampire movies today like twilight and the more modern ones.after the blade movies they really buried the vampire movies,no pun intended.but i am a baby boomer who watched creature features and read the great magazine famous monsters of film-land.so i really appreciated all the older horror films,especially from universal and hammer.i give jess Franco's count Dracula 8 out of 10.props to Mr Lee for all his great movie roles..
Despite being pitched as a faithful version of Bram Stoker's "Dracula", the film makers took a lot of liberties with the story, such as Jonathan Harker being put into a mental institution under the care of Van Helsing and then having Mina and Lucy live in the spare rooms of the institution which, it just so happens, is located across from Carfax Abbey.
Other positive aspects include some great set designs, such as Dracula's castle, a decently creepy music score, Klaus Kinski's great performance as a completely insane Renfield, some beautiful eye candy in the form of Soledad Miranda as Lucy (such a shame she died so young) and some bits of good dialog from Christopher Lee as Dracula.
The rest of the cast is impressive as well with Herbert Lom to play Van Helsing, Klaus Kinski as Renfield and (the lovely and tragically departed the same year as this production) Soledad Miranda as Lucy.
Jess Franco's version of the Bram Stoker classic has Count Dracula (Christopher Lee) as an old man who grows younger whenever he dines on the blood of young maidens.I recently watched the Dan Curtis version of Dracula and found that to be a very faithful adaptation, possibly the best up to that point (being later eclipsed by Francis Ford Coppola).
Shot with the cinematographic style of a Lifetime movie-- where everything is perfectly lit with no regard to atmosphere of mood-- the movie is more faithful than any other adaption of Dracula I've seen on film but that's not saying much.Francis Ford Coppolla's take had more style, but his idea to change Dracula from a villain to a love starved John Lennon never sat right with me.This version features Christopher Lee-- who has taken many turns up at Bat as the vampire count and this one ranks among his strongest performances.BUT-- and this is a big but-- that doesn't save this from being a very boring and not the least bit scary take on Bram Stoker's classic vampire film.
Someday maybe someone will combine the best elements of all of the previous films and follow the novel's storyline-- but this ain't it.Interesting that Klaus Kinski is cast as Renfield since he himself would later go on to play Dracula in 1979..
Within this exercise in padding, we do get good performances from Christopher Lee as the Count, Herbert Lom as Van Helsing, and a mute Klaus Kinski as the deranged Renfield (watch him play with his food!).
Jess Franco, Christopher Lee, Herbert Lom, Klaus Kinski, Soledad Miranda, and Jack Taylor - all doing a movie based on Bram Stoker's Dracula?!
But first and foremost, Franco's "Count Dracula" is a wonderfully ominous and atmospheric Gothic horror highlight, with amazing performances from an entirely fabulous cast and numerous of intensely frightening sequences.The screenplay must have had something unique and irresistible; otherwise Christopher Lee surely wouldn't have accepted to play the role for the umpteenth time (and the third time already in the same year) next to all the entries in the Hammer franchise.
This version of Dracula gave Christopher Lee an opportunity to play the role he had already played several times, but this time with the intent of following Bram Stoker's original story as closely as possible.
Lee gets more screen time and more lines than he usually got in this part, and there are some good supporting actors with Herbert Lom as Dr. Van Helsing and Klaus Kinski doing his usual kooky thing as Renfield.Unfortunately, if you watch it from beginning to end, you'll find that the whole thing is pretty dull.
At the time of its release, this Jess Franco film was promoted as being the most faithful adaption of Bram Stoker's 19th century Gothic horror novel Dracula there had hitherto been.
For my money Franco had better-suited actors in virtually every role in his film, in particular with Christopher Lee in the title role, Klaus Kinski perfect as the insane Renfield, Herbert Lom provided nice gravitas as Van Helsing, the enigmatic beauty Soledad Miranda is wonderful as Lucy and Maria Rohm also very alluring in the role of Mina.
Count Dracula (1970) ** 1/2 (out of 4) Christopher Lee (Dracula), Herbert Lom (Van Helsing), Klaus Kinski (Renfield), Soledad Miranda (Lucy), Maria Rohm (Mina) and Fred Williams (Harker) lead the way in this all star cast, which has Spanish director Jess Franco taking a stab at the famous story.
I have the DVD of this Spanish film production from circa '70 with the great Chris Lee and Herbert Lom. Yes, it is online with what Bram Stoker wrote back in the 19th century, yet I have never been overly impressed with Jess Franco's slow and ponderous style of film-making.
Christopher Lee, who continued to play the part of Count Dracula in many of Hammer's sequels, often complained that writers didn't use any of the great scenes and/or dialog from Stoker's novel.
Count Dracula has moved to an old abbey very close to a hospital and his presence has an odd effect on Van Helsing's patient Renfield (Klaus Kinski, who actually played Dracula later in 1979).As said, Franco tries to keep the film as faithful to Stoker as he can.
Franco's take on the Bram Stoker novel with Christopher Lee again portraying Count Dracula, except this production(..a meager one at best with Franco admitting in a recent interview that he had to front his own financing to finish the film!)is completely sub-dued from the acting to the presentation.
Franco was attempting to film a fairly faithful adaptation of Bram Stoker's novel (it was the only way he could get Lee to agree to play Dracula).
Spoilers included, none too major.This is a pretty "craptacular" version of Bram Stoker's famous work.Christopher Lee plays Dracula the way he should be played, as a blood-sucking dirty old man, not a poor romantic figure.(Oldman) And he does what he can with his limited screen time, but of course, his screen time is always limited in this role.Herbert Lom offers one of the best portrayals of Abraham Van Helsing coldly scientific at the beginning, and a bad *ss when he needs to be.
I also wondered if the budget had something to do with us winding up with too much of Renfield (Klaus Kinski) in his padded cell; the part of the story where Dracula comes via ship is totally eliminated, also not to the good of this.The music is good, Herbert Lom is believable as Van Helsing, Soledad Miranda is pretty mesmerizing as Lucy.Just wish it would have been better. |
tt0216216 | The 6th Day | Adam Gibson (Arnold Schwarzenegger) wakes on his birthday with his lovely wife. Adam's daughter informs him she wants a Simdoll, a lifelike, life-sized doll that acts almost human. The parents notice that the elderly family dog is not well, and express concern about it dying and how sad their daughter would be. It can be replaced by Repet, an animal cloning service, but Adam doesn't trust clones. Cloning knowledge is held by the multinational corporation Replacement Technologies. Human cloning is technically possible, but illegal. Adam thinks his daughter should just learn to accept death as a part of life, rather than being cushioned from it.Arriving at his helicopter piloting business, he and his partner Hank Morgan (Michael Rapaport) learn they are to transport Replacement Technologies CEO Michael Drucker (Tony Goldwyn). Oddly, the CEO's staff requires the pilots to sign several forms, as well as a small blood test and an eye screening, before the flight can be undertaken. Bemused, the pilots submit to the tests. Adam's wife calls with the news that the dog was so ill it had to be put down, and begs him to get a Repet for their daughter. Adam will not commit to it.Drucker has specifically asked for Adam to fly him due to his reputation, but ambitious Hank begs to be the big man this one time. Adam agrees, introduces Hank to Drucker as Adam Gibson, and Hank flies Drucker. Unfortunately, their landing atop a snowy mountain is met by a group of fundamentalists who believe that cloning is immoral and Drucker must die. The party is wiped out.Adam awakens confused in a taxicab that he does not remember entering. He assumes he fell asleep, and directs the cab to the Repet center so he can find out about cloning the dog. After hearing the sales pitch, he becomes convinced and is about to order the dog when the salesman shocks him by saying he remembered Adam coming into the shop earlier. Adam is disoriented and decides to get the Simdoll for his daughter instead.He returns home and is about to open his front door when he sees through the window - a surprise birthday party, starring a man who looks just like him, with his family and friends. Before he has chance to find out what is happening, he is grabbed by a group of thugs. These people plainly want him dead. After a drawn-out chase by car and on foot, he loses them and goes to Hank's condo.After Adam encounters Hank's virtual girlfriend and pet cat Sadie, Hank arrives. However, they are interrupted by another religious fanatic who accuses them of being abominations. The two men return to Adam's home to see what is happening. While Adam is busy elsewhere, Hank watches Adam's wife in the detached garage giving the Adam-lookalike his birthday present, cigars (which are illegal and an incredible crime to possess), and then seducing him in their car.Adam is livid. He realizes the other Adam must be a clone, but he does not want to disrupt his family's peace by charging in to have it out with the guy. In the meantime, the thugs continue trying to kill him. When they die during attempts, Drucker clones them and puts them on the mission again.All is not well within Replacement Technologies. Drucker is working on a US Senator whose young son is dying, offering him a human clone of the boy for manipulative purposes. Dr. Griffin Weir (Robert Duvall), the inventor of cloning, is unhappily discovering the seamier side of the business. His poor wife is dying from a horrible illness ... and evidently not for the first time. She begs him not to clone her again, saying that she has suffered enough. He discovers that Drucker has been deliberately inserting defective gene sequences into clones so that they "expire" within five years, in order to keep "control" of the illegal human clones. Weir wants out - Drucker refuses.Exasperated by the failed attempts to kill Adam, Drucker has his wife and daughter picked up and brought to Replacement Technologies headquarters. Adam is forced to ally with his clone to rescue his family.The pair sneak, fight and shoot their way up through the corporate building, passing by the huge tanks where human clones are grown. When he finally confronts Drucker, he gets shocking news. He finds that HE is the clone, not the other Adam. Nevertheless, he continues to fight in order to get his wife and daughter to safety. Drucker is fatally wounded in one encounter, and begins preparing a replacement clone. Adam shows up before it is ready, and Drucker is forced to activate it anyway. The half-completed, malformed clone is revealed to be as selfish and self-centered as the original Drucker, but Drucker still gives his all to keep the new Drucker clone alive. Refusing to give up, both die in the end.His wife and daughter are rescued without ever seeing the two Adams together, so they do not have to know what has happened. With the real Adam's permission, the clone Adam goes home and says goodbye to "his" wife and daughter, knowing he will never see them again. The real Adam waves goodbye as the Adam clone heads to Argentina, taking one of the company helicopters to start a branch office and a new life. | suspenseful, action, murder, sci-fi | train | imdb | null |
tt0115798 | The Cable Guy | Steven Kovacs has just moved into a new apartment after his girlfriend kicked him out. While waiting for the cable guy to arrive, a friend suggests that Steven slip the man $50 as a bribe to receive all the pay channels for free.Finally, Chip Douglas, the cable guy, shows up. He is very strange but obviously an expert cable installer. Chip tries to strike up a personal conversation with Steven, who is uninterested. Before Chip leaves, Steven nervously offers him $50 for free cable. At first Chip acts furious, but then bursts into laughter, happily declaring "I'll juice you up." Steven is very thankful, but then Chip asks Steven to visit the cable company satellite with him. Steven tries to politely say no, but Chip insists.The next day, we see Steven at work. He's an architect with a boss who is a huge jerk. Later that day, Chip shows up at Steven's apartment and the two go to the satellite. They have a heart to heart talk, ending with Chip giving Steven useful advice (originally from The Jerry Springer Show) on how to get his girlfriend back.Steven meets Robin, his estranged girlfriend, the next day. He takes Chip's advice and invites her over to watch Sleepless In Seattle. Steven goes to the gym to play basketball with some friends, and Chip awkwardly shows up. Chip inserts himself into the game, and plays in a very aggressive manner, knocking down other plays and eventually breaking the basketball board. Steven is obviously mad at Chip and walks off.Steven returns home for his date with Robin only to find that Chip has left a huge number of messages on his machine. Robin arrives and the two chat about how much Steven hates his boss before turning on the TV. The TV is blank, so Steven calls the "preferred customer" number that Chip gave him earlier. After one ring, he hears a knock at his door. He opens it to find Chip with a severed cable wire in hand, angry that Steven wouldn't get back to him. Steven promises to hang out with Chip the next day if Chip will turn his cable back on. Chip does so, gives more advice about Robin, and leaves.The next evening Chip takes Steven to Medieval Times, a restaurant where the patrons watch knights engage in mock battle. Throughout dinner, Steven politely tries to break off his friendship with Chip, but the two are suddenly called into the fighting pit. Chip confesses that he gave all of the knights free cable and that they are allowing him to bring Steven out to fight one another. As both men are fit with armor and weapons, Steven asks if they're just going to mock fight, but Chip seems deadly serious about their upcoming battle.The two begin to fight, with Chip knocking his opponent around until Steven gets angry and launches into him. The crowd goes wild, but Chip frequently takes dangerous swings at Steven, eventually knocking him down. Both men are put on horses and made to joust, with Steven blasting Chip off his horse. Steven gets off to see if Chip is okay, and Chip giddily declares that they will meet again before holding Steven's hand up in celebration of his victory.The two go back to Steven's place. Steven now seems happy with his odd new friend. He then sees that Chip broke into his apartment and placed a big screen TV with massive speakers in his living room. Steven tells Chip that he appreciates the gesture but that he has to take everything back. Chip says that he will, but that they should have a karaoke party first. Steven agrees.The next evening, there is a big party at Steven's house, mostly with Chip's "preferred customers," who happen to be a mixture of old men, weidos, and even two police officers. Steven talks to Robin on the phone, who is going out on a date with another man. Steven is upset, but Chip comforts him. Steven then gives Chip a small gift, a speech thearpy tape designed to help Chip's lisp. Chip is very moved.Steven notices a gorgeous woman at the party, and Chip insists that Steven talk to her. As Chip sings a karaoke song, Steven and the woman begin making out. Chip playfully takes a picture before leaving Steven and Heather alone.The next morning, Chip is cooking eggs and Steven wakes up. He is thrilled with the night before, and the two begin to eat breakfast. Chip says "it was my treat." When Steven asks what he means, Chip says that the woman was a prostitute that he bought for his lovelorn friend. Steven is horrified and kicks an apologetic Chip out of his apartment.The next day we see Chip at a restaurant, wearing a big fake mustache that alters his appearence. Robin is on a date with a total jerk. Chip poses as a restroom attendant, and when Robin's date comes to the restroom, Chip beats him within an inch of his life, telling him to stay away from Robin.Later, Chip shows up at Robin's apartment, claiming that Steven has paid to upgrade her cable. After upgrading it, Chip tells Robin that the two are best friends, and tells her that Steven loves her very much and wants her back. She is very moved by this, and calls Steven to thank him. Steven realizes what has happened but takes credit for the cable upgrade. Steven runs into Chip on the way home, who tells him that this was his way of making the incident with the prostitute up to him. Steven tells Chip that although his intentions are good, he does not want to be friends with him. Chip is crushed.The next day, Steven is at work, only to find himself arrested by the two "preferred customer" cops that were at his party the other evening. The charge is accepting stolen goods, which turns out to be the TV system Chip put in his apartment. Steven tells his lawyer the story, but the lawyer responds that no one named Chip Douglas works for the cable company. Chip comes to visist Steven in jail, where Chip tells him his name is really Larry Tate. He tells Steven that they could have been best friends, but now they are worst enemies.Steven is released from jail and goes back to work, only to find that a video of him telling Robin how much he hates his boss is circulating throughout the office. Steven is fired, and harassed by Chip on the way to his car. At home, he finds a hidden camera planted underneath his table.Steven takes Robin to dinner at his parent's house, only to find Chip at the door. Steven threatens to call the police on Chip, but Chip shows him a copy of the picture of him with the prostitute. Chip tells Steven to relax and have a good time. At dinner, Chip tells the story of the Medieval Times show, only reveresing their positions so that Steven sounds like the aggressive maniac.After dinner, Chip encourages everyone to play "Porno Password," an adult verison of the TV game show. Tensions are high, and Steven eventually snaps, punching Chip in the face. Chip leaves, and everyone is angry with Steven.Steven talks to his friend that originally suggested he bribe Chip. The friend does background checks and figures out that Chip's names (such as Larry Tate) are all actually classic TV characters. Chip was fired for stalking customers.Steven gets a call from Chip, who appears to be getting ever more crazy. Chip tells him that he and Robin are going to hang out. Steven is terrified, and races to Robin's house. Robin's landlady tells Steven that she overheard them saying they were going to the cable satellite.At the satellite, Chip explains how the satellite works to Robin, his creepy demeanor beginning to scare her. Steven arrives shortly afterwards to find that Robin has been tied up. A rainstorm pours down as Chip and Steven fight. Steven gets in some good blows, but Chip knocks him out.When he wakes, the storm has calmed down. Chip has taken Robin to the top of the satellite. Steven climbs up and asks Chip to let Robin go. Chip breaks down, telling Steven that he is sorry he screwed up their friendship.Chip curses his mother for never paying attention to him as a child and letting him get so screwed up. Chip looks down and decides to kill himself by throwing his body into the center of the satellite, blowing out the cable. Steven grabs Chip's arm as he jumps, trying to save him, but Chip just smiles and lets go.Meanwhile, the result of a major celebrity murder trial is seconds away from being broadcast. As the whole world watches, Chip's body hits the satellite, cutting out the cable before the verdict is read. Chip, however, has survived the fall.An emergency helicopter is taking Chip away. Steven asks Chip his name one last time, to which Chip replies "Ricky. Ricky Ricardo." The helicopter takes off while Steven and Robin kiss. In the helicopter, the EMT tells Chip "You're gonna make it, buddy." Chip asks "Am I really your buddy?" The EMT shrugs and says "Yeah, sure you are." Chip gives a devious smile and the film cuts to black. | comedy, boring, stupid, bleak, cult, insanity, humor, satire | train | imdb | He takes the film from what would have been a run-of-the-mill comedy, to levels of greatness, and anyone that thinks I'm being too kind either doesn't like Carrey (it was the film that made me do a complete turn around), or needs to see the film again.The overall tone of the film is a bit of a mix, it gets darker as the story goes along, but the jokes never mollify.
Jim Carrey obviously carries the movie with his infamous quirkiness, but Matthew Broderick holds his own as the anal retentive guy which he is great at playing.
Not just another Jim Carrey "stupid humour" movie as it was unfortuanately promoted as, the cable guy was an entirely different genre; a comedy so dark it bordered on horror/thriller.
and it is utterly brilliant.to watch this movie a second time is highly recommended, as is an open mind to the dark web that Ben Stiller weaves masterfully.
The actors fill their roles extremely well; Broderick perhaps a little underwhelming, but Carrey's astonishingly dark and eerie portrayal of his character carries the film.
When first released, Cable Guy was such an unusual departure for Jim Carrey and his usual slapstick, manic, goofy comedies that people just didn't understand it or like it.
When word of Carrey's enormous $20 million paycheck for this film spread, hopes were high that Cable Guy would be smothered in Carrey's slice of hilarious dementia to the extreme.Carrey certainly brought an air of craziness to Chip Douglas, a lonely, TV-addicted, and creepy cable installer who befriends the unwilling Matthew Broderick (here, looking just nervous and bewildered for the entire film).
What would be Jim Carrey's best performance to date, surpassed only by his Truman Burbank in The Truman Show.Sure, it's got a story that's been done to death: normal guy meets psycho and is stalked.
But oh, what fun it is to see Jim drag Matthew Broderick into such uncomfortable situations as playing Porno Password with his parents (Carrey whispering "Nipple" into Broderick's ear is absolute brilliance).Cable Guy is definitely not for fans who want to see Jim Carrey do what created his career; that is, silly, goofy, and flailing comedy.
With Broderick et al giving relatively standard performances, Carrey's performance is a stand out, and Ben Stiller should be proud of this film and what it lead to in terms of Jim Carrey's career.Trust me, if you didn't like this, take another look, and prepare to be freaked out by a very not funny, very creepy Carrey performance...8/10.
Add to that a tremendously cool supporting cast of cult legends including Charles Napier, Janeane Garofolo, Eric Roberts, Mr. Show's Bob and David, Sean Whalen,Owen Wilson, Andy Dick and BOTH members of Tenacious D, among others.Full of memorable sequences - the Karaoke jam, the Medieval theme restaurant, director Ben Stiller's recurring duel role - The Cable Guy is smart-as-a-whip, black, surreal, FUNNY, FUNNY stuff!.
And I think that for Chip Douglas (Jim Carrey), movies and television are more than disposable entertainment.
Not many movies are like "The Cable Guy," and most of them don't have the guts to make a statement so bold and striking.In "The Cable Guy" Carrey is the title character, his real name supposedly Chip Douglas, but towards the end we're not really sure what's true and false anymore.
Richard Dreyfuss went nuts trying to convince his family of Bill Murray's insanity in "Bob." In "The Cable Guy," Matthew Broderick has a tough time trying to expose Chip's sadistic side.I am not Carrey's biggest fan.
Anyway, if you like a bit of light dark comedy and order a pizza, I think the movie is worth a watch..
Only The Cable Guy (Jim Carrey) wants to be a little closer than Broderick is comfortable with...The Cable Guy is a brave and daring tragi-comedy, a rare sort of movie where you're laughing one minute and scared the next.
I'm not sure if we'll ever get another chance to see Jim Carrey go this far out on a limb: director Ben Stiller has seemingly given him total carte blanche, resulting in a seemingly completely over-the-top characterisation, yet not so over the top that we can't get involved in the plot and take what his character does as really happening.Notice the way that the cable guy often mimics moments from his favourite movies and works them into his controlling of the plot of this movie - or how he starts humming movie-music along to certain scenes, while the actual music of the movie mirrors the music the cable guy is creating.
This will clue you into the other subtle elements which add towards this movie's satire of the effect TV has had on the modern psyche.Its worth the price of rental alone to see Carrey's rendition of "Don't You Want Somebody to Love" in the famous karaoke scene.After repeated viewings since its initial release, its one of the most memorable Carrey comedies, and one of the most memorable flicks of the 90's.
they played a very good comedic team, and Jim Carrey really shined as the film's antagonistic cable guy who just needs a friend.
Carrey plays 'Chip Douglas' (which might be his real name, or it might not), a Cable Guy brought up on TV and movies.
Here, he plays a lunatic, so there are no limits for him to adhere to, and where he would normally seem over the top (the Medieval Times sequence), he is genuinely hilarious.Now, I might not be a cable guy, but I'd be lying if I said that I don't spew lines from random movies out of nowhere, and I'd be lying if I said I didn't have an obsession.
Although this is by and large Carrey's movie, there is no doubt that Matthew Broderick, Jack Black, and Leslie Mann help elevate this film further with excellent performances.
Owen Wilson has another great cameo as a cocky ass who takes Steven's (Broderick) girlfriend (Mann) on a date and gets assaulted by Chip when he goes to the washroom.I have never seen a movie like "The Cable Guy", and chances are you haven't either.
jim carrey passes of as a cable guy desperate for a friend who stalks a customer steve covacks (matthew broderick), who also plays a fine performance.
When the cable guy (Jim Carrey) sang "Somebody To Love," I laughed really hard.
Also, find out if your cable guy is really a cable guy." Now, in conclusion, I highly recommend this laugh-out-loud, on-the-floor hilarious film to all you Jim Carrey fans who have not seen it..
Jim Carrey really pulls the weight in this movie and Matthew Broderick could have honestly being played by anyone.
Okay, I like Jim Carrey but in almost every movie he does he seems to portray that character from "The Mask".
I loved that film, but in "The Cable Guy" it seems he's trying to see how many different ways he can do that character again.
As for the rest, it looked as if Matthew Broderick couldn't wait to finish the film just to get away from Carrey's ever expanding ego, never mind getting rid of Chip.One thing that bugged me in this movie was that if Chip was sacked from the cable company ages before, how did he know when to come and conduct the installation?
Ben Stiller is a great director, Jim Carrey is amazing, and Broderick isn't as annoying as everyone says he is.
The only possible reason this movie's rating is so low is that many people watched this thinking they were watching another dumb and silly Jim Carrey comedy.
The Cable Guy looked like it might be a funny movie, but it was a disappointment.
Matthew Broderick is a normal guy who moves into a new apartment and Jim Carey is the Cable Guy. He gives him a good (and illegal) hookup.
I appreciate Carrey's work now much more in retrospect and Stiller seems stale to me.This movie is a very dark film, bordering on horror-suspense.
'The Cable Guy', Ben Stiller's 1996 bizarre take on comedy, is a very in-your-face kind of movie that has widely provoked mixed responses.
Starring Jim Carrey and Matthew Broderick, the film, on one level, takes a multi-genre look at just how valued the unspoken rules of society are, and how violently disrupted life can be when these rules are ignored.
When what should've been a simple "hello, goodbye" interaction with cable guy Chip Douglas (Carrey) is forcibly extended by Chip into what he perceives to be a firm friendship, Steven finds himself stuck with this strange man he barely knows and whom he can't seem to give the hint to that he doesn't want to be friends.Although the film begins as somewhat of a flimsy comedy in which audiences may chuckle occasionally at Chip's eccentric behavior and unhealthy obsession with television and film and at poor Steven's unusual predicament, around halfway through it breaks through the predictable elements and becomes an almost semi-horror.
Feeling as though Steven has betrayed their non-existent friendship, Chip slowly turns Steven's life into a nightmare, and Steven suddenly realizes that he and the people he loves are in very real danger and he is the only one who can see it.The problem to be had with this film is that so much time is focused on Carrey acting crazy that interest can soon be lost.
The essential plot can very easily get misplaced in Chip's antics then the movie is nothing more than one of the 'Ace Ventura' films, which were entertaining for children but served as little else.However, the performances in 'The Cable Guy' are surprisingly impressive.
Jim Carrey, as the infamous cable guy, has actually begun to put his insanely comic behavior to good use in this film.
Even Stiller's long-time friend Owen Wilson pops up.The concept of 'The Cable Guy' is a gem, and it has a lot of potential to be a great film.
Although following a pretty straight forward structure, the script provides enough background to Jim Carey's character to make of him a lot more than just a run-of-the-mill weirdo while Matthew Broderick aptly counterbalance the excessive title role by a fair performance of the without-a-glitch nice guy of the piece.
In Jim Carey's work this is certainly darker than anything he had done up to that point but if this was also supposed to be a thriller then it felt a little bland, the star's antics sometimes overshadowing the actual depth of the story.Still, don't let this put you off for "The Cable Guy", playfully directed by Ben Stiller, is one of these misunderstood films that are really worth watching for its clever take on the media in general and the hidden harm you find it does to people's mind once stripped off the apparent sense of comfort it is supposed to bring.
This could have been a good movie if someone other than Jim Carrey had been playing the lead.
Janeane Garofalo's turn as the bitter, p*****-off waitress was the best part of the movie, IMNSHO.I like Broderick and Carrey, generally, but The Cable Guy just didn't do it for me..
Seen that one?The redemption, if any, of this movie is in that it is not a "black comedy" nor any type of comedy; if anything it is a thought-provoker for the audience, as in "what in the world were they thinking," or "what do they want us to think?"The direction and editing are sloppy and hard to follow, and the undeniably talented Carrey appears to be trying too hard while Matthew Broderick is irritatingly listless.Had they all abandoned the pretense of "comedy" and gone for a true "dark drama," then the potential is there, but the result we have in the movie as it was done is in-between everything, and thus it achieves nothing but a waste of time..
Jim Carrey brilliantly plays his performance as the enstranged cable guy.
a flock of sheep/followers decide they too can be smart around the water-cooler by bashing a movie this is how good movies get a bad rap and end up getting a 5.6/10 scorewhy can't people see this movie for what it is -- dark humour it's supposed to be strange, and jim carrey does an amazing job he is purposely acting over the top because that's what his character is -- mentally deranged there are countless scenes in this movie that are hilarious, yet not stupid (even though many people will label them as such) the protagonist struggles so much against his new 'friend' but ends up only making everyone who loves him drift closer to his enemypeople are quick to overlook the little nuances of the film and call it crap as quick as possible so that they don't appear stupid in front of their peers.
Black comedy, sloppily directed by Ben Stiller, hopes to get by on the leeringly obnoxious lead performance by Jim Carrey alone.
This movie was a first for some popular comedians including Ben Stiller as a twin actor who killed his brother, Owen Wilson as a cheap boyfriend, Jack Black in the supporting character best friend role and Janeane Garafalo as a waitress.
Carrey is at his best when doing comedy supported by the most funny script, and in Jim's other movies all his characters are likeable.
That's another problem with this film the character study of Carrey's cable guy is unclear first we think of him as a possible serial killer type then I get the impression that he could be a homosexual by the way he hounds Broderick's character.
Jim is much better in comedy films his performance takes a step down in a dark satire like this.
I do like Jim Carrey, just not in this movie.
If you are in the mood to see Jim Carrey act as an annoying, physco cable man, then this is the movie for you.
It had hardly any funny moments in it, and it is a movie I will not see again.Jim Carrey has done better films, i.e. Bruce Almighty to mention one.
The plot of course has bummed-out everyman Steven Kovacs (Matthew Broderick) getting cable installed by a TV-raised cable guy (Jim Carrey).
Jim Carrey of course went on to star in another TV-centered movie, "The Truman Show".All in all, you should check out "The Cable Guy".
Jim Carrey gives a thrilling performance as cable guy, Chip Douglas who soon turns the life of one of his customers (Matthew Broderick) up-side-down.
Carrey plays a Cable guy (guess his real name and win a prize) who starts to try and make a friendship with one of his customers (Matthew Broderick), but it flails.
I can honestly say that while I do like him in that movie, I think his performance here is funnier and better than his performance as The Riddler.The story was straight forward and clever, Ben Stiller did a great job directing the movie Matthew Broderick was a good co-star in the flick, and it was a nice (and underrated in my opinion) dark comedy..
Provides a good offering of ridiculous comedy (see the hilarious intensity at the basketball game) and stalker creepiness (sometimes at the same time), thanks to Carrey's great turn as The Cable Guy. He's a great character but the direction goes back and forth between playing him up for laughs and thrills and digging into the more sympathetic and compelling side of his character, even veering into odd-couple dramedy at points.
"Cable Guy" is a rare misstep for Jim Carrey when he was at his most popular, thanks to movies "Ace Ventura", "The Mask", "Dumb And Dumber" and his scene stealing turn as the Riddler in "Batman Forever" in the 1990s.
When The Cable Guy (Jim Carrey) arrives Steven fakes an interest in his work, which The Cable Guy takes to heart, and he sets out to make Steven his new best friend.It starts off well with Carrey playing his usual wacky off the wall type of character, but then it all becomes very dark and there are not too many laughs to be had.
Jack isn't even part of any of the laughs, playing more of a concerned friend overall whilst Wilson, who I am no particular fan of anyway, only appears in one scene.'The Cable Guy' is an early example of Jim Carrey trying to develop himself as an actor and whilst it isn't too far from his quirky roles like 'Ace Ventura' or 'The Mask', it showed his potential and how he could try to distance himself slightly from his average goofy portrayals prior to him being involved in later films such as 'Eternal Sunshine of the Spotless Mind' or the less successful 'Number 23′.
Jim Carrey is one of the masters of slapstick comedy and he has made some really funny movies.
In this movie, The Cable Guy, played by Jim Carrey is a lonely character who has a lisp and is only looking for friendship.
I will give credit to Jim Carrey that he did have me feel The Cable Guy WAS annoying.
That would be more interesting to see.The Cable Guy has its funny moments due to Carrey's forte in slapstick, but there might not be as many laughs as expected.
This movie does nothing, but provide boredom, and try and make you dislike two very talented stars in Jim Carrey and Ben Stiller.
Both Jim Carrey and Matthew Broderick gave great performances.Watch this movie.
Cable guy, Chip to his friends (Jim Carrey) is a crazy wackjob desperate for friends.What went wrong with this movie?
And in my opinion it's Jim Carrey's best movie.
Jim Carrey does a great job acting in character has a freak psycho and that does put some interest in the movie.
I have heard non stop things about this movie and how funny it is, not to mention how many people praised Jim Carrey's performance.
While The Cable Guy has a couple moments that were pretty funny, I was so upset because I normally find Jim Carrey very hilarious, he was kind of annoying in this role. |
tt0430634 | Stick It | Haley Graham (Missy Peregrym) is a rebellious 17-year-old who has a run-in with the law when she and two friends go biking through a residential construction site. Haley is arrested and forced by a judge to return to the regimented world of competitive gymnastics. Haley was once considered one of the most talented gymnasts in the US. One year earlier, she made it to the World Championships, but she walked out of competition in the middle of the finals, costing the American team the gold medal and leaving many people hurt and crushed, making her one of the most hated people in gymnastics.
Haley goes to the elite Vickerman Gymnastics Academy (VGA), her ultimate nightmare, run by legendary coach Burt Vickerman (Jeff Bridges). Haley has a talk with Coach Vickerman, who convinces her to take up the sport once again – at least until she can enter an upcoming invitational competition. Vickerman convinces her that she can use the prize money from the competition to repay some property damage debts she still owes and leave gymnastics once and for all. Disliking the sport's rigid rules and intense training schedule, Haley is reluctant to come out of retirement. Her attitude toward her fellow gymnasts – as well as her past – causes conflicts. After getting the cold shoulder the first day at the gym, Haley realizes what she is up against.
At the invitational, Haley's talent shines and her return from gymnastics retirement seems for the better. But all is not what it seems in the scoring system. She starts to remember one of the many reasons she retired – the flaws in judging. The panels do not look at the difficulty of the move nor do they look at the technique; they merely take deductions for unimportant minor errors. As Haley Graham says, "It doesn't matter how well you do. It's how well you follow their rules."
In addition, Haley is severely stressed by her dominating mother, who has arrived to watch the meet. Her conduct at the World Championship ("Worlds") has not been forgotten by the other athletes, and they treat her with open hostility. Haley finally breaks down in the middle of her balance beam routine and, in a repeat of the World Championships, leaves the arena before completing the competition. Before she leaves, she reveals to Vickerman the reason she walked out of Worlds: she had just discovered that her mother was having an affair with her then-coach, and her parents got divorced as a result.
Haley then goes back to the judge who sentenced her to the gymnastics academy to inform him that she has dropped out and wants to be sent to either a juvenile hall or military academy. But the judge tells Haley that Vickerman had just paid off all of her debt for the property damages in her incident with the law, and she is no longer under any legal issues. Haley then approaches Vickerman who confirms it by claiming that he used the money that her father had paid him for her gymnastics training. Vickerman persuades Haley to remain with the academy a while longer so she can continue with her training to reach Nationals.
Although she did not complete the invitational, Haley continues to train and, with three of her teammates Mina (Maddy Curley), Wei Wei (Nikki SooHoo) and Joanne (Vanessa Lengies), qualifies for the National Championships. The biased judging leaves her far back in the all-around standings, but this does not keep her out of the event finals. In the first event final, vault, Mina executes an extremely difficult maneuver perfectly but receives a low score (9.500 out of 10). When Vickerman questions the judges, he learns that Mina was penalized on the technicality of showing a bra strap. Haley is next up. However, instead of vaulting, she shows her bra strap to the judges and forfeits her turn in disgust (otherwise known as a "scratch"). One by one, the other gymnasts follow suit, earning a string of zeroes and forcing the judges to award Mina the vault gold medal anyway.
Haley's bold action sparks a movement. The gymnasts talk among themselves and realize that if they could choose the winner, the judging would be fair. They convince all the others in the competition to do the same, choosing one person from each event who they deem the best to be the "winner". The winner completes her routine; the others jump on and off the apparatus and scratch. It seems the movement will be ruined when Tricia Skilken, a long-time judges' favorite, arrives and threatens the choice of winners by competing herself. Trisha finally comes to her senses, though, and realizes that scratching is for the good of the competition to make a point.
What started out as a gymnastics competition turns into a small revolution for the rules and Haley. Her talents are recognized once more and her future seems to be set with numerous colleges offering her athletic scholarships to compete in NCAA gymnastics. | satire, melodrama | train | wikipedia | null |
tt0082198 | Conan the Barbarian | During the Hyborean age, "a time of high adventure," a blacksmith, Nial (William Smith) creates a masterwork sword. The sword is completed, Nial shows it to his son, Conan (Jorge Sanz), teaching the boy about their god, Crom, who lives in the Earth, and "the Riddle of Steel" which every warrior must solve before they can enter Valhalla. He adds that he should not trust men, woman, or beasts, "But this you can trust," indicating the sword he has crafted.It is winter in Conan's forest village, home to Conan's people, the Cimmerians. Conan is still young (8-10 years). Mysterious black riders, bearing a strange standard of a serpent with a head on each end surmounted by a black sun and moon suddenly and savagely attack the village. The villagers fight bravely, but they are not soldiers, and do not last long. Nial kills several of the attackers, but eventually felled by the group's attack dogs.As the brutal attack winds down, Conan's mother Maeve (Nadiuska) is the only adult still alive. She stands guard over Conan with her own sword, holding the little boy's hand. The leader of the attackers, Thulsa Doom (James Earl Jones), a mysterious black man with straight hair and piercing blue eyes, approaches the pair with his two hulking lieutenants, Rexor (Ben Davidson) and Thorgrim (Sven-Ole Thorsen). Maeve stands her ground bravely but is hypnotized by the piercing eyes of Doom. Doom, having taken Nial's sword from Rexor, suddenly wheels and beheads Conan's mother. A grief stricken and terrified Conan watches as Thulsa Doom keeps the sword his father made. Conan and the village children, the only survivors, are led away in chains as slaves while their village burns.Conan and some of the children are sold to a tribe called the Vanir and join other children at a gigantic outdoor grain mill, called the Wheel of Pain. They begin pushing the spokes of the wheel, and time passes quickly. The child Conan becomes an adult (Arnold Schwarzenegger) and the camera pans out to show that he is now the only one left pushing the wheel. Conan has become enormously muscular by the time the mill is shut down and he is led away in chains.Conan is purchased by a large, red-haired warrior (Luis Barboo) who employs him as a pit fighter. At first Conan is puzzled by the violence, but quickly learns hand-to-hand combat with a variety of weapons. He becomes a champion, winning much gold for his master. His master then takes him to the Far East where he is trained in all manner of combat skills, weaponry, and philosophy. Finally one evening his master, after having drunk too much, decides to free him.The freed Conan finds himself being chased by wolves across the country-side. Climbing a cairn of rocks for safety he discovers the tomb of an Atlantean general and liberates his ancient sword and other equipment for protection.Now equipped with the basics, Conan travels until he comes to the hut of a beautiful woman who appears to be a witch (Cassandra Gava). She invites him in and she offers to tell him his fortune. Conan says that he's looking for a "standard" (a symbol) of a single serpent with two heads that face each other. Later while they make love she cries out that Conan will find the symbol in the land of Zamora. Moments later, she shape-shifts into a demon and Conan is forced to throw her into the fire. She explodes in flames, turns into a fireball and races around the hut and out through the surrounding woods. Conan is left alone to ponder the incident.The next morning, he finds a man chained behind the hut. His name is Subotai (Gerry Lopez) and he is a thief. Conan releases him and they team up. Subotai introduces Conan to thievery as a profession and they move from town to town practicing their trade. Conan is always asking if anyone has seen the strange serpent symbol. One old man tells them that there is a snake cult of growing power with temples in many towns including this one, but he does not know if they use the symbol he seeks.Subotai and Conan decide to raid the temple, rumored to have great treasures including a huge ruby called the "Eye of the Serpent." As they prepare to climb the temple's tower they become aware of a woman in the shadows. They confront her finding that she is also a thief, named Valeria (Sandahl Bergman). They decide to join forces. After climbing the tower Valeria checks out the upper level while Conan and Subotai continue down into a pit containing the "Serpents Eye" guarded by a humongous snake. Fortunately the snake sleeps while the two steal all they can. On the upper level a ceremony is taking place presided over by Rexor. There, a young girl (Leslie Foldvary) strips and prepares to throw herself into the snake pit to be consumed by the serpent as a sacrifice. Conan is leaving when he sees a medallion on the wall that matches the symbol of Doom's marauders that destroyed his village. He steals the medallion, however, he lingers too long and the snake awakes and attacks. He and Subotai manage to kill it, however, without disturbing the ceremony at the top of the pit. The ceremony reaches its climax and the girl throws herself into the pit. It is only then discovered that the snake is dead. Rexor send guards after the thieves, but they escape.Over the next days the three thieves celebrate too hard and are easily captured by the King's guard. Brought before King Osric (Max von Sydow) they expect punishment, but are surprised when the King congratulates them for standing up to the cult. He commissions them to go after his daughter, Yasimina (Valérie Quennessen), who has been seduced by the cult and travels to meet its leader, Thulsa Doom.Valeria, who has fallen in love with Conan, does not want to risk their current happiness and advises against going after the princess. She awakens the next morning to find Conan gone. He travels alone to find Thulsa Doom not just to rescue Yasimina, but also to avenge the murders of his parents and clan.Conan travels to Thulsa Doom's "Mountain of Power" temple in the east. Before he arrives he comes to a sacred place with many standing stones attended by an old wizard, Akiro (Mako Iwamatsu). They quickly become friends, and the wizard warns Conan of Doom's power.Conan disguises himself as a follower and goes to the Temple of Set. The temple consists of a massive set of steps up the side of the mountain leading to an ornate entrance into caves that honeycomb the peak. Stealing a priest's robes, he gets as close as the steps before one of the guards recognizes the medallion he carries as being stolen. Thorgrim and Rexor seize Conan, beat him, and drag him before Thulsa Doom, who chides him for stealing the Eye of the Serpent and killing the great snake. Conan replies that Doom killed his parents, but Doom did so much killing as a young man that he does not really remember the incident. He also explains that "steel is strong but flesh is stronger" a point he proves by coaxing one of his female followers to step off a nearby cliff, falling to her death. Doom orders that Conan be crucified on the "Tree of Woe."Conan is left in the desert, nailed to the ancient tree. He is nearly dead when he is finally rescued by Subotai. Subotai and Valeria take him to Akiro for healing. The wizard tells them that this night the spirits of the underworld will come and try to take Conan's spirit back with them. Valeria says that she will fight them. Akiro warns that the gods will extract a heavy price for defying them in such a manner, but Valeria tells him she is willing to pay it.They successfully fight the spirits and Conan recovers. Conan finds that the Doom's mountain has cave entrances on the far side connecting with the interior of the temple. The three paint themselves with warrior camouflage and enter the temple through the rear, quietly killing the guards. They work their way to the throne room were an orgy is in progress; the participants are also eating a green stew made of human flesh. They set the drapes on fire and attack creating chaos in the throne room. Rexor recognizes Conan and attacks him with a double-bladed axe, he is soon joined by Thorgrim, wielding a large warhammer. Conan is nearly overpowered, but Thorgrim's warhammer dislodges a pillar, causing some of the ornate masonry to fall on him and Rexor, giving Conan a chance to flee. Valeria grabs Yasimina and they escape. The girl is unwilling to leave, however, and Conan is forced to carry her on his shoulders. He is unable to kill Doom, who has changed himself into a giant snake and escaped the throne room through a small tunnel.The thieves get to their horses and ride away with the princess. Doom, back in human form, arrives at the rear entrance with Rexor and Thorgrim, swearing revenge. Using an enchanted snake as a poison arrow, Doom manages to wound Valeria in the leg at a great distance. She tells Conan about Akiro's earlier warning of paying the gods, then dies in his arms. Back at the place of the standing stones, Conan burns Valeria's body in a warrior's funeral. Yasimina is tied to a nearby rock and she shouts to Conan that the funeral pyre will be seen by Doom and he will attack. Conan smiles as if he wants Doom to come to him.At the place of the scared standing stones, Conan, Akiro, and Subotai prepare a defense. They set booby traps around the stones and place defensive spikes. Conan finally prays to his god, Crom, asking him to remember that today two will stand against many, and that if Crom doesn't wish to help Conan, so be it.Doom comes with his lieutenants and a horde of men. He stands on a distant hillside and watches the battle. Despite being outnumbered Conan and Subotai dispatch most of his troops. Thorgrim is killed by one of Conan's elaborate traps. As he watches Thorgrim die, Rexor, wielding Nial's sword, attacks and nearly kills Conan. He is about to deliver a killing blow when a Valkyrie-like figure intervenes, then asks Conan if he wants to live forever. It is the ghost of Valeria, dressed in shining armor. She has fulfilled a promise she made to Conan that she would come back from the dead, if necessary, to fight by his side. Reinvigorated, Conan finally slays Rexor and reclaims Nial's sword, but the blade has been broken in the battle.Seeing that his men have lost, Doom decides that if he cannot have Yasimina, nobody will, and prepares another enchanted snake arrow to kill her despite the girl's desperate pleas. Subotai, however, races up the hill and is able to block the snake with his shield at the last moment. Doom rides off, and Yasimina now appears to be free of his indoctrination.The scene switches to the mountain temple were Doom is conducting a night ceremony. Throngs of his followers stand on the temple steps holding lit torches. Conan appears behind Doom. When Doom sees him he tells Conan that Conan cannot kill him because Doom is the only purpose Conan has in his life. For a moment Conan is taken in by Doom's enchanted voice and hypnotizing stare like his mother was years before, but then breaks free from the spell and beheads Doom with Nial's broken sword. He holds Doom's head up to the crowd, and then tosses it down the steps. Seeing that their leader was not immortal as they thought, the crowd douses their torches in the temple's pool and all quietly depart.Conan sits on the steps of the temple, alone, thinking about what to do next. He throws a burning oil lamp into the temple, setting it ablaze and returns Yasimina to her father. Akiro speaks, telling us that Conan will have many adventures. The scene switches and we see an older Conan sitting on a throne. A text crawl informs us Conan will one day become a king by his own hand, but that this is a story for another day. | fantasy, boring, murder, violence, cult, good versus evil, action, revenge, alternate history | train | imdb | It's quite easy to dismiss this film based on its genre (barbarian slash-em-up) and the limited acting ability of the star (Schwarzenegger), but Conan is nothing short of a masterpiece.Ok, the story is fairly standard, and the principal actors (Schwarzenegger, Sandahl Bergman & Gerry Lopez) are competent but not outstanding.
There are a few brief but memorable performances from James Earl Jones and Max von Sydow that help lend weight to the film, but the real stars are Poledouris' score and the cinematography.
They could take all of the dialog out of the movie, and just have the music and pictures and it would still be worth watching.To fully appreciate Conan, though, you have to watch it and then watch another barbarian-type film from any era (Beastmaster, Krull, etc.) and the difference will be stunning..
He takes him serious and dares to go far enough with the grandness, something few directors would dare do today for fear of being labeled pretentious.Combine this with probably the best film score EVER written, and you have movie magic.
This gives the film a great atmosphere and really brings to mind two other fantasy action movies I really love, Crying Freeman and Highlander.
Max Von Sydow is superb as king Osric and he gets some of the best dialogue but it is the chilling James Earl Jones who is particularly excellent as Thulsa Doom.What makes this film great is the fact that it feels older than it is.
Also Basil Poledouris' score is fantastic and old fashioned a big reason the film feels like it is from the golden age of this sword and sorcery quest movies.
But Conan the barbarian is the most manly movie i have ever seen.The soundtrack by Basilis Poledoures my countryman is perhaps the best epic mousic ever, the photography is glorious, John Millius done a great job.the cast is great.the plot is great.
The film also has Max Von Sydow, which ends this film's connection to the Exorcist movies (except the scene where Conan has sex a witch and a demon comes out of her), and a whole lot of sex and violence.The musical score is absolutely amazing.
Basil Poledoris' music score is epic, grand, and a thing of beauty in itself.Conan the Barbarian is one of the very few epic/fantasy films that's so raw and brutal, but it's still a fine adventure with lovable characters and solid plotting.
If you enjoy stuff like this - like the 300 series, the Berserk manga, the God of War video games - then Conan should be a must-see.On home video, the unrated cut of the movie includes a few bonus scenes that elaborate a bit more on the characters, but aren't really all that necessary for the plot.4.5/5 (Entertainment: Very Good | Story: Very Good | Film: Good).
20 years before Lord of the Rings raised the bar on the Fantasy genre in movies, it was Conan the Barbarian that had set the standard.John Milius successfully composed his film using virtually unknown actors and a rookie composer, shooting his scenes with the ominous narration booming through Mako's distinctive voice.Everything about this film is distinctive.
It may not be bestowed with Oscars, but Conan The Barbarian is just as classy as Ben Hur and more brutal than Gladiator.In an almost wordless set-up, a young Conan is orphaned by the androgynous warlord Thulsa Doom (James Earl Jones) and dragged off to some kind of weird labor camp where children are exploited and punished, kinda like a primitive version of Disneyland Paris.
In the opening act alone we see him transition from innocent child, to orphan, slave, gladiator, warrior, adventurer, and thief.He has a hard time surviving on his own until he finds a special sword, makes a new best friend in Subotai (Gerry Lopez) and finds a girlfriend in Valeria (Sandahl Bergman).
All goes well until Conan makes it his personal quest to go after Thulsa Doom for revenge.James Earl Jones appears threatening, even though he doesn't even look like the kind of guy who would say boo to a goose.
Conan is orphaned as a boy when evil cult leader Thulsa Doom (James Earl Jones) and his minions slaughter the people of Conans' village, including Conans' parents (played by Nadiuska and the legendary movie tough guy William Smith).
The film charts Conans' odyssey from young slave to pit fighter to thief to avenging hero, giving him some faithful companions in the form of Valeria (Sandahl Bergman), Subotai (surfer Gerry Lopez), and the Wizard (Mako, who also serves as narrator).With a screenplay credited to director John Milius and Oliver Stone, "Conan the Barbarian" is grand in its scope.
As a matter of fact I don't even think I would had ever watched this movie, had it not been for its music.With its $20,000,000 budget this was a fairly expenses genre production for its time, also especially when you compare the budget to John Milius' previous projects.
Arnold has entertained me in many movies over the years (The Terminator, Terminator 2: Judgment Day, True Lies, Collateral Damage, Eraser), so I can forgive his pitiful acting in this film and just sit back and enjoy it.Of course, the best thing about the film was the presence of Sandahl Bergman, originally a Golddigger from "The Dean Martin Show".
Arnold has entertained me in many movies over the years (The Terminator, Terminator 2: Judgment Day, True Lies, Collateral Damage, Eraser), so I can forgive his pitiful acting in this film and just sit back and enjoy it.Of course, the best thing about the film was the presence of Sandahl Bergman, originally a Golddigger from "The Dean Martin Show".
From the famed comics, distilled through a cocaine fueled Oliver Stone's wild mind, comes Conan (Arnie), sole survivor of a village massacred by the evil Thulsa (James Earl Jones), he roams the land until he can exact his revenge.Sometimes, there comes a film that truly is a product of its time and place.
People who have never seen "Conan the Barbarian" probably expect a sword-and-sorcery movie with a predictable plot, over-the-top action scenes, and pathetic attempts at humor.
I put it down to people not appreciating how important survival was to our ancestors.Sword-and-sorcery movies, such as "Conan the Destroyer", "Red Sonja", and "The Scorpion King", have nothing to say about survival and revenge: they are too light-hearted (but at the same time their attempts at humor are too coarse).
Here the difference is that "The Lord of the Rings" is a struggle between Good and Evil, while "Conan the Barbarian" is a struggle for survival (and revenge).While the movie is not very realistic, it feels much more "real" than the sequel.
It took a long time for Robert E Howard's wonderful creation to make it to the big screen,and the result is something of a mixture.Some of Conan is very impressive,with the atmosphere of Howard's writing perfectly captured on screen,but some of the film is badly misjudged,with daft moments,botched action,and an uneven performance from schwarzenneger.He looks the part but in some scenes comes across as a muscle bound buffoon.Something the literary hero definitely wasn't.The story is ok,apart from having Conan spend half his life chained to the wheel of pain!But it's a dissapointing script,considering greats Milius and Oliver Stone wrote it.There are some excellent sequences in the film though,that are beautifully photographed.The opening attack on conans village is impressive,and Conans encounter with a weird witch is pretty good.But best of all is the orgy sequence,where the action,sets,and music blend together perfectly.It's like a Frank Frazetta painting come to life!The climactic battle of the mounds is ok,but it's all over far to quickly.The film does look good with some gorgeous photography,and set design.Best of all though,is the music by Basil Poledouris.This is an absolutely stunning score,that really captures the savage world of Conan.I'll stick my neck out and say that it's the best film soundtrack ever composed!General Cromwell,over and out..
i first remember seeing this movie about 20yrs ago when i was in my teens and remember it well,iv'e seen the film several times since and still rate it as one of my favorite few films of all time.it has a very powerful storyline about how a young boy's family and home was taken from him and how he grew up to be a great warrior and king from being taken as a slave and forced to fight to the death by his captives.his ultimate revenge on his enemies gave me a sense of justice.the acting is good to,arnold was tailor made for the role of conan and james earl jones played an excellent bad guy.the fight scenes were well choreographed to and there was even a love interest for the central character which moulded well into the storyline.the music is epic and is well used throughout.this film is nearly 30yr old now but has not lost it's appeal as a classic epic..
But Conan is definitely a good one, even great, and it's the king of all the 80's sword fantasy movies..
Conan the Barbarian is probably the last film people think of when trying determine the best Sword and Sorcery movie, but by God it should be right up there with LOTR, Willow, and The Lion, the Witch, and the Wardrobe.
As Conan he holds his own even when James Earl Jones is on screen.If you haven't seen it already, please enjoy this classic movie..
The fights are really good that is a really classy male film but nevertheless all the women that can be found in there so also strike all SWJ and the the claim there are no strong women characters should necessarily look at this movie here and listen to the music the best I have ever heard in my life..
Though fantasy has come a long way in the two decades since this film was made (Lord of the Rings), I still find myself watching Conan over and over again, enjoying the clean-cut story and its context, the likable cast, the masterful music and scenery, and fight scenes that, while dated, still feel far more real than anything Peter Jackson can dish out.This also isn't the Conan that Robert E.
The feel of this movie is how the feel of any sword and sorcery flick should be.Theology in particular gets a humorous but still 'real' look in Conan the Barbarian, with the dialogue between Conan and his god, Crom, at a few points- often unspoken (and on that note, Arnold did a great job at the end with his prayer).
Conan the Barbarian undoubtedly belongs to that category.It is one of the first movies I have ever watched and, up today, never have I seen such a powerful atmosphere and such perfect blend of picture and music, where each track so faithfully belongs to its scene.
It was very light on duologue, usually relying on the wonderful score and cinematography to carry it, which is does.Conan has great action scenes with plenty of meaty gore and severed limbs, cool weapons, and intense combat.Films of this kind need a good villain and James Earl Jones delivers.
Even nowadays,every now and then, we have a doubtful pleasure of watching a recently-made crap movies that apart from stunning F/X have nothing to offer...This one is gonna take all Conan and fantasy fans to a world of adventure, sword and sorcery....Enjoy!!.
The other film that made Arnold Schwarzenegger a star (before "The Terminator") casts him as Howard's barbarian Conan, unfairly enslaved as a child after his parents are murdered by James Earl Jones.
Basically it is fun to watch, serious to a degree, has some fantasy and gives a sense of barbarian times while delivering satisfaction as Conan hacks down his enemies one by one, also the sound track is good and for some reason instantly makes me think of war, everything you want in a movie is here you just have to open your eyes and stop looking for the real world or the comic book because you will never find it in 2 hours of a movie.
Arny does an amazing job as Conan makes you feel like he's actually a Barbarian in the fact that he doesn't speak much due to his lack of acting talent during this time but everything he does is pretty much 100% perfect.
Arnold Schawarznegger is great as Conan, while James Earl Jones has fun as Thulsa Doom and Max Von Sydow is good value as King Osric.
Despite being panned by critics at the time of its release, Conan The Barbarian is nonetheless a visually impressive sword and sorcery film with many things going for it.
And it features 7-time Mr. Olympia Arnold Schwartzenegger perfectly cast in the title role.The film begins with Conan as a young boy witnessing a band of marauders led by snake cult warlord Thulsa Doom (James Earl Jones) invade his village, kill his father and behead his mother as he holds her hand.
B-Movie great William Smith has a small, thankless role as Conan's father (killed early in the film).
And the stunning Sandahl Bergman is well utilized as Conan's love interest.Making the film in my opinion is James Earl Jones who with one of the greatest voices in cinematic history, cuts a commanding presence as the evil ruler Thulsa Doom.
This third viewing of the film – via the Extended (but also slightly censored) version on R4 SE DVD proved to be the most satisfactory so far; I guess it helped that it followed on the heels of several similar "sword-and-sorcery" outings which enabled the inherent superiority of CONAN THE BARBARIAN to fully emerge.Arnold Schwarzenegger is the perfect embodiment of a brawny medieval action hero; Sandahl Bergman (who would eventually turn villainous for RED SONJA [1985]) is equally impressive as Valeria, Conan's blonde female counterpart – their rapport is genuine enough as to make his being shown still pining for her throughout CONAN THE DESTROYER (1984) credible, the villainess of that film (Sarah Douglas) having promised to resurrect Valeria if he lends his services to her 'cause'!; also on the side of good are Mako as Akiro The Wizard (who returns in the sequel and actually provides the narration in both Conan ventures) and surfer Gerry Lopez as a Mongol thief.Incidentally, the project originated with Oliver Stone – who's still credited as co-writer: incongruously for him, he had stressed the fantasy elements of the tale (which writer/director Milius subsequently de-emphasized after taking over); perhaps to lend the film some artistic gravitas, the latter selected powerful and well-known actors for some of the leading characters: James Earl Jones makes for a very sinister Thulsa Doom (playing the last surviving member of an ancient cannibal civilization, he's made to turn into a giant snake!) and Max Von Sydow (as a king given the Shakespearean name of Osric, even if only one of the sequences filmed with him made the final cut!); a surprising, albeit all-too-brief, presence in the film is that of Jess Franco regular Jack Taylor – here playing one of the priests at Jones' temple.In the accompanying documentary (see below), Milius admits to being influenced by Masaki Kobayashi's classic ghost story compendium KWAIDAN (1964): this can be seen in the love-making scene with a woman turning into a witch (complete with similar use of blue gels) and the protection of an ailing Conan from evil spirits by having several chants written all over his body.
Continuing my plan to watch every Arnold Schwarzenegger movie in order, I come to 1982's Conan The Barbarian.
Plot In A Paragraph: Conan The Barbarian (Arnie) a slave turned out fighter, who sets off to avenge his tribe and his parents who were slain by an evil sorcerer (James Earl Jones) when he was a little boy.I loved the hell out of this movie as I kid, and my enthusiasm for it hasn't dimmed much over the years, however watching it now, two things struck me.
Universal released "Conan: The Barbarian", directed by John Milius and starring Arnold Schwarzenegger, based on the original character created by Robert E.
With 1982 classic Conan The Barbarian, writer/director John Milius and champion bodybuilder Arnold Schwarzenegger not only made the best fantasy adventure movie of the 1980's, but also one of the finest motion pictures ever.
The musical score is incredibly appropriate for this film and really sets the bar to be matched for any sort of sword & sorcery movie.
There is a lot to like in this movie even decades later and it now acts as a poster child for the power of a musical score to elevate a film to greatness.
Conan the Barbarian is the best fantasy movie I've ever seen, and one of the best films ever.
Basil Poleadouris made legendary music to the film and Arnie really amazed the big screen.STORY IS: Conan who sees his parents and his village get killed when was child.
Beyond all the wonderful things that can be said about this film and one of the best movie scores ever, Conan the Barbarian contains many layers of subtlety often overlooked.
The film is an epic, sweeping work of panoramic vistas and powerful background music by Basil Poledouris.Look for James Earl Jones' performance as the villain, Thulsa Doom - part evil sorcerer, part "Old Man of the Mountain" (of the ancient 'Hasheshin' legends).
The glorious score by Basil Poledouris, the cinematography, the fantastic acting by many of the characters (especially James Earl Jones and Max Von Sydow, with a strong contribution by Mako) make this the adventure movie of the decade, perhaps of the century.
It is a sword and sorcery epic which, unlike many such films since, is very good viewing.Arnold Schwarzenegger is perfectly cast as Conan.
I have not read any of Howard's stories, so all I know about Conan is how many times the character has been done, and of course what this film told me. |
tt0101452 | Bill & Ted's Bogus Journey | The music of Bill and Ted's band, Wyld Stallyns, has created a utopian future society. Chuck De Nomolos, who detests this society, steals one of the time-traveling phone booths and sends two robots modeled after Bill and Ted back to the late 20th century to prevent Bill and Ted from winning the San Dimas Battle of the Bands. Rufus attempts to stop De Nomolos but seemingly becomes lost in the circuits of time.
In the present, five years after Bill and Ted first traveled through time, Wyld Stallyns is preparing for the contest. Though Bill and Ted's current fiancées and former 15th-century princesses Elizabeth and Joanna have become skilled musicians, Bill and Ted are still inept. Despite this, the organizer Ms. Wardroe assures them a slot in the contest as the final act. Bill's stepmother Missy divorces his father in favor of Ted's, who threatens Ted with military school should they fail the Battle of the Bands. Evil Bill and Evil Ted arrive and the robots eventually replace Bill and Ted, killing them by throwing the two over the side of a cliff at Vasquez Rocks. The robots behave rudely to the princesses and work to ruin the duo's fame.
Bill and Ted's souls are met by Death who challenges them in a game for their souls. Bill and Ted escape after giving Death a "melvin". They attempt to alert their families but their ethereal forms prove difficult, and at one point, are cast down into Hell at a séance held by Missy. In Hell, they are tormented by Satan, made to face their own fears, manifesting as Col Oates, the Easter Bunny, and Granny S Preston, and realize their only escape is to take Death's offer. Taken to Death's chambers, the spirit gives them the option of what game to play. Bill and Ted, to Death's dismay, select modern games like Battleship, Clue, and Twister, easily beating Death. Death admits defeat and unwillingly becomes their servant. Bill and Ted recognize they need to locate the smartest person in the universe to help build robots to counter De Nomolos' evil robots. Death escorts the two to Heaven, and with God's help, are directed to an alien named Station who has the ability to split into two identical twins, and readily offers to help Bill and Ted.
Death brings them back to the mortal world, where it is the night of the Battle of the Bands. Bill and Ted take Station to a hardware store, and then race in their van back to the concert while Station constructs good robots. Just as the evil robots take the stage, Bill and Ted arrive, and Station's robots easily defeat the evil ones. De Nomolos appears in the time booth, ready to defeat Bill and Ted himself, and overrides the broadcasting equipment to send the video footage of this to everyone on the planet. The two recognize they can later go back in time to arrange events for De Nomolos to be trapped in the present, aided by Death and Station; though De Nomolos is apparently able to do the same, Bill and Ted gain the upper hand with the explanation that it is only the winners who get to go back, and De Nomolos is arrested by Ted's father. Ms. Wardroe reveals herself to be a disguised Rufus, having assured Bill and Ted's spot in the concert, and urges them to play.
As Bill and Ted reunite with their fiancées, they realize they are still terrible musicians, and the four use the time booth; though they return immediately, "an intense 16 months of guitar training plus a two week honeymoon" have passed for them, they have married the princesses and each is raising a young infant "Little Ted" and "Little Bill". They begin to perform a stunning rock ballad, joined by Death, Station, and the good robots. The worldwide broadcast set by De Nomolos continues, and Wyld Stallyns' music is played across the globe, creating harmony. Over the credits, it's shown through newspaper articles that the band, along with Death, go through many perks of fame before eventually taking their act to Mars. | cult, alternate history, historical fiction | train | wikipedia | null |
tt0293564 | Rush Hour 3 | Three years after the end of Rush Hour 2, James Carter is no longer a detective, but a traffic cop on the streets of Los Angeles. Lee is now the bodyguard for his friend Ambassador Han, the former Consul from the first film. Lee is still upset with Carter about an incident in New York City when Carter accidentally but not fatally shot Lee's ex-girlfriend in the neck, Secret Service agent Isabella Molina.During the World Criminal Court discussions, as the Ambassador addresses the importance to fight the Triad, he announces that he may know the whereabouts of Shy Shen. Suddenly, Han takes a bullet in the shoulder, disrupting the conference. Lee pursues the assassin and corners him, discovering that the assassin is his "brother" Kenji. When Lee hesitates to shoot Kenji, Carter shows up driving towards the two and accidentally nearly runs Lee over, allowing Kenji to escape.In the hospital, Lee learns that Han will make a full recovery. Han's daughter, Soo Yung (Zhang Jingchu), now grown up, arrives and makes Lee and Carter promise to capture the one behind the shooting. She then informs Lee and Carter that her father gave her an envelope which contains important information regarding the Triad, and that the envelope is in her locker at the martial arts studio where she works. Lee and Carter make their way to the martial arts studio where they battle a giant, (Sun Ming Ming), but find out that a gang of armed men had already arrived and taken the contents from the locker. Lee and Carter are told by the Master of the studio that Soo Yung and Han are in danger and rush back to the hospital.Once the two reach the hospital, a gang of assassins arrive to kill Soo Yung and Han. Lee and Carter manage to defeat them, with the help of Soo Yung, and interrogate the leader of the assassin squad. Much to Lee and Carter's surprise, the Asian assassin only speaks French. With the help of a resident nun, Sister Agnes (Dana Ivey), in translation, they find out that they are marked for death by the Triad along with Soo Yung and Han. For her protection, they take her to the French Embassy and leave her under the care of Reynard, the French ambassador. When a car bomb detonates, nearly killing Reynard and Soo Yung, Lee and Carter decide to go to Paris to investigate.In Paris, (after getting a painful cavity search from a Parisian commissioner, played by Polanski) Lee and Carter meet up with George, a taxi driver. George refuses to drive Carter, saying that Americans make him sick, as they are "the most violent people on Earth"to which Carter replies by forcing George, at gunpoint, to drive to a Triad hideout disguised as a gentleman's club. There Lee fights off a Triad assassin named Jasmine (Youki Kudoh); meanwhile, Carter meets a beautiful woman whose name is not disclosed(Noémie Lenoir). However, Lee and Carter are both forced out of the club and are captured by the Triads. Lee and Carter manage to escape, but then have a falling out concerning Lee's relationship with Kenji. Shortly after Carter leaves, Reynard appears. Lee asks who Shy Shen is, but Reynard tells him that Shy Shen is not a man, but a list of the Triad leaders. Reynard reveals that Han's informant knows where Shy Shen is. The informant turns out to be Geneviève, the woman Carter met the gentleman's club and both Lee and Carter end up looking for her.After the two have encountered Geneviève they save her from an assassination attempt by the Triads and flee to their hotel room.[3] However, they are attacked again by Jasmine and decide to hide out with George, who now has fostered a great appreciation for the United States. Lee and Carter learn that Geneviève not only knows where the list is, she is the list. The names of the thirteen Triad leaders have been tattooed on the back of her head, as per tradition, and Genevieve explains that she will be decapitated and buried if the Triads capture her. When Lee and Carter bring Geneviève to Reynard, he asks Geneviève to show him the list. Lee points out that they never told him that she was the list. Reynard then reveals that he has been working with the Triads all along. Kenji calls and informs Lee that he has captured Soo Yung and that he would like to exchange Soo Yung for Geneviève.Lee arrives at the exchange point, the Jules Verne Restaurant in the Eiffel Tower, with Carter, disguised as Geneviève. During a sword fight, Lee and Kenji fall off the tower and get caught in a safety net. Kenji's sword cuts the safety net open and it collapses, leaving both men hanging on for dear life. Lee then grabs Kenji's arm, intending to save his life. Kenji then willingly lets go of Lee and presumably falls to his death, saving Lee's life, who then, with less weight, swung to a scaffolding. Meanwhile, Carter single-handedly defeats the rest of the Triad henchmen, unwittingly kills Jasmine, and saves Soo Yung. As they send Soo Yung down the elevator, more Triads arrive. In order to escape, Lee and Carter use a French flag as a makeshift parachute and float to safety. Unfortunately, they are confronted by Reynard, who is holding Geneviève hostage and threatening to kill her and frame Lee and Carter for her murder. However, George, having followed Lee and Carter, manages to shoot Reynard and declares "Case Closed". The police suddenly arrive, with the commissioner from earlier gloating and trying to get undeserved credit. After giving the commissioner a team punch to the face, Lee and Carter leave the scene dancing to War. | bleak, violence, comedy, murder | train | imdb | null |
tt0082431 | Galaxy of Terror | On a desolate, storm-lashed planet called Morganthus, the last survivor of a crashed spaceship is attacked and killed by an unseen force.
On another planet a very long distance away, two figures are seen playing a strange game. One, an old woman named Mitri, is identified as the controller of the game while the other, whose head is obscured by a glowing ball of red light, turns out to be an all-powerful mystic called the Planet Master. The two speak cryptically of things being put into motion, and the Master instructs one of his military commanders to send a ship to Morganthus.
Without delay, the spaceship Quest blasts off to Morganthus. Piloting the ship is Captain Trantor, a survivor from a famous space disaster that has left her psychologically scarred and unstable.
As the Quest approaches the planet’s atmosphere, it suddenly veers out of control and plunges toward the surface, crash-landing there. After recovering from the landing, the crew prepare to leave the Quest and search for survivors. The team has a psi-sensitive woman among their number named Alluma (Erin Moran). Both she and the surface team have significant problems with team leader Baelon (Zalman King), who is pushy and arrogant and totally unimpressed by Alluma's inability to detect any lifesigns whatsoever.
Making their way across the landscape of the planet, they eventually reach the other vessel. Entering, they find evidence of a massacre that took place. The rescue teams split into two and explore the craft. They find further evidence of something catastrophic having happened and, after disposing of the rest, take one victim back for analysis. Cos, the highly-strung youngest member of the team, despite being reassured by his seniors, becomes increasingly terrified by being on the ship and, a short time later, he is killed by a grotesque creature.
The crew discover that something from the planet pulled them down, and in order to escape, they must investigate. After some exploration, they discover a massive pyramid-shaped structure, which Alluma describes as "empty" and "dead". Their explorations of the pyramid lead to a series of exceedingly violent and deadly encounters in which a malevolent force causes several crew members to be dismembered, burned, consumed, raped or crushed to death by monsters created out of each person's unique set of fears.
Eventually, only two members of the team, Ranger (Robert Englund) and Cabren (Edward Albert), remain alive. Deep inside the pyramid, Cabren encounters the Master (Ray Walston), who has been masquerading as the cook on board the Quest. The Master explains that the pyramid is actually an ancient toy for the children of a long-extinct race, built in order to test their ability to control fear. Cabren kills the Master for allowing his crew to die, but becomes the new Master in his place. | tragedy, cult, horror, violence, plot twist | train | wikipedia | null |
tt1622979 | Final Destination 5 | The film opens up with a bunch of workers who are gathering together for a company retreat. Sam Lawton has prepared the breakfast before the bus ride. Sam is a fellow office worker and short order cook. His best friend Peter is awaiting everyone else's arrival for the trip. Molly Harper, Sam's girlfriend, arrives and she then breaks up with him due to his dreams of going to Paris to be an apprentice for his mentor. Sam is hurt by Molly's decision. Meanwhile Peter's girlfriend Candice, an intern for the company and a gymnast, comes along with her rival Olivia Castle, a clad dressed office girl. Molly is being hit on by Isaac Palmer, a co-worker and womanizer. Sam then goes to the construction wing of the building to find his other friend Nathan Sears, a supervisor who has a hard time dealing with construction worker Roy. Nathan and Sam regroup and head on the bus to their destination.As the bus heads up on the bridge, Sam notices the roads construction is rather suspicious, and he begins to have weird feelings while on the bus. The bus is stopped by a traffic operator, and then the bridge starts to crack. The workers get off of the bus. The group gets off first. Candice is trapped when chunks of the road fall into the lake below. She hangs onto the railing of the bridge far off to the side, but the railing detaches, sending her to fall and impale herself on the sail of a nearby boat. The group panics as the bridge is getting worse by the second. Isaac, who was taking a call in the bus's bathroom, is still on the bus, and the bus is sent crashing into the lake, sending Isaac to the windshield to be crushed and drowned on impact. A crack in the middle of the bridge kills many people. Only a pair of support beams are the way to get to the other side to safety. Sam helps Molly over, and she makes it across. Sam tries to help Olivia, but she has lost her glasses and falls into the lake. Olivia, still alive tries to swim, but a car comes falling down, crushing her. Nathan tries to reach Sam, but the wires supporting the bridge detach and one flies across the path, killing him. The company boss Dennis is sent over the edge of the bridge, but as he hangs on, a tank of hot tar spills and burns Dennis's flesh off, sending him to fall into the lake with the rest of the debris. Peter catches the sustained part of the rail of the bridge and Sam does the same. Molly panics as she watches the two. The truck beside her has a metal slider that is holding several construction rods. The slider falls and the rods impale Peter through his face, and he falls to the cement foundation of the bridge, killing him. The slider continues to fall forward, slicing Sam in half.When Sam comes to, he see's he is still alive and he gets Molly off the bus. Peter, Candice, Olivia, Nathan, Isaac, and Dennis follow. The bridge begins to collapse and Sam rushes all of his friends to safety. The group looks surprised and confused as to how Sam knew the accident was going to happen. During the company funeral, William Bludworth, a local coroner, is present and he warns the group that Death is after them. They all ignore his warnings and move on with their lives. Sam and Molly reconcile later that night.The next day, Candice is with Peter at her gymnastics practice, and he cheers her on. Candice does some work on the balance beam, and a nail from a malfunctioning fan falls on the beam, nail side up. Candice has many close calls with the nail, but it never injures her. Candice then goes to do some vault work. She is flipping while a fan set up by one of the coaches is turned on. Another girl on the beam does a routine and she falls on the nail, and she knocks over a pit full of powder. The powder is blown into the area and Candice loses her sight, and she flips, accidentally letting go, landing on her neck, causing her spine and knee to pop through her skin. Sam consoles a depressed Peter.The next day, the group is all together at their work place and they all start drinking to relax. Isaac is going through dead co-workers' desks and he comes across a Chinese massage parlor. Isaac arrives, flirting with many of the women, but is taken care of by an old Chinese woman who speaks English, but simply refuses to speak to Isaac. She later does acupuncture on him, and leaves him in a room where the walls are sound proof. As Isaac rolls over on his bed, the leg of it caves in sending him to the ground, pushing the needles into his body. He staggeringly gets up, but a bottle of alcohol causes a fire from a candle falling after Isaac's phone rings. Isaac avoids the contained fire, but as he waits against the wall, a shelved Buddha falls and crushes his head. Bludworth, who has been present for all of the deaths so far, is there and tells the remaining survivors that there is another way to avoid Death. They would have to kill someone to gain their remaining days on Earth. Peter revels in the idea to where it makes him crazy. Agent Jim Block is covering the case of Sam and his friends, but he finds all of the deaths hard to believe.Olivia goes to get eye surgery the same day, and the doctor straps her head into place. Olivia, fearful, holds a teddy bear, and as the doctor put in tools to keep her eyes open, she rips off an eye from the bear. Olivia is told by the doctor to wait, but the machine begins to malfunction, overheating, and the button to begin surgery is dropped as she reaches for it in panic. The remote drops and the laser slices her eye open. The laser goes off a few more times and it burns through her hand and scars her face. She then escapes the machine. Sam and Molly and the doctor run in to see a scared Olivia, and she trips on the teddy bear's eye. She falls through the window onto a parked car, and falls off as her eye rolls away to be run over by a car.Nathan is working in construction and he is talking to Roy, an angry employee of his. Nathan immediately sees a beam move closer to him with a hook under it. Nathan urges Roy to move, but he accidentally pushes him backwards as the hook falls, and Roy is stopped from landing on the spikes below. Nathan then sees Roy has been impaled by the hook through the head. As the group comes together, Peter finds that Nathan accidentally killed Roy, taking his days, skipping him in Death's design. Meanwhile, as Dennis grills them all, a wrench that Roy placed on a machine is twisted into Dennis's face, the long way.Later that night, in Le Miro 81, the cafe Sam cooks for, his mentor lets him become an apprentice in Paris. He also lets Sam have the restaurant for the night to spend it with Molly. Peter crashes the dinner, and he tells a story of how he tried to push a woman in front of a truck to steal her life. Peter admits he couldn't do such an act, and he then ponders Candice's death and how she didn't deserve to die, but yet Molly supposedly survived Sam's vision. Peter then tries to kill Molly. Molly takes refuge in the kitchen and Sam fights off Peter before Agent Block is shot by Peter, taking his years. The struggle leads to a gun being placed on the burning stove, but as Peter is about to kill Molly, Sam stabs him in the back with a large skewer. Then Sam realizes he stole Agent Block's life from Peter, but Agent Block wasn't supposed to survive that long anyway.A month later, Sam and Molly are boarding a plane to Paris, and she asks for the window seat. As they are boarding, a group of high schoolers fight, as a kid is kicked off with several students and a teacher. During take off, Sam overhears that the kid claimed to have a vision the plane was going to explode. Sam freaks out as he looks at his plane ticket, which reads "Flight 180". The plane begins to explode as the kid, revealed as Alex Browning, predicted. Molly is sucked out the side, and is cut in half by the wing as the rest of plane catches fire, burning Sam to death. As the plane goes down in flames, a flame engulfed engine falls. Nathan is at a local bar, and he is talking to a guy who reveals that Roy was supposed to die in the next few days after his actual death involving the hook because he was ill. Nathan worries as the guy walks away to say "Life is a bitch." Then the flaming engine from Flight 180 crashes through the bar and crushes Nathan to death, ultimately revealing the film to be a prequel to the events of the original Final Destination. | comedy, mystery, murder, violence | train | imdb | The FD franchise has it's fans trained to watch for every little thing in a scene that could cause someone's demise until your skin crawls--and FD5 gives the audience this "detective" feeling perfectly.To be honest, I wasn't expecting much out of this movie.
When you factor in the story and characters, the death and mayhem we've all come to love, and one of the best plot twists I've seen this year, FD5 is very worth watching.
Like I say, this is just another Final Destination sequel.If you're a fan of the film then you might enjoy it by its silly death scenes.
Acting is as usual mixed, but the deaths are up to the ingenious standard set throughout all the other films, and then a narrative twist at the finale arrives to seal the deal for a rollicking good time.
Final Destination 5 is nothing new and no exception to this rule despite not being completely awful.A bunch of cronies on an office retreat survive a suspension bridge collapse after one of the group inexplicably has a premonition (sounds overly familiar) of said disaster.
As usual there is a last minute twist, which by this point you're just waiting to be revealed and get it finished with, that doesn't quite add up for many reasons, but coherence has hardly been a strong point of the series.Basically, all this film offers are a few scenes of dread and tension which are all undone by cheap, fake, quick, deflating CGI gore effects.
Give me some tangible gore by Chris Walas or Tom Savini any day over something half-heatedly cartooned onto the movie in post-production.This series has been cheating death for 12 years and it's high time that Final Destination reached its final destination..
Well what can I say, I've sat and watched all FD's and I think the FD5 is the WORST one going, there wasn't enough visions, no-one tried to cheat death, I just wanted to fall asleep!I would not recommend this film if you like the previous 4 then this one will disappoint you also, the story line, wasn't as full as the other, it seem to have more people that should have died but these were missed out.This film like the 4th only ran for 1hr 20mins this is also disappointing, I would think they could put more imagination into it!Maybe Lion Gate, can create the 6th!.
In this latest installment to the horror franchise , Sam (Nicholas D'Agosto) and his office colleagues (Miles Fisher , Ellen Wroe , Jacqueline MacInnes Woood , P.J. Byrne , David Koechner) , his girlfriend Molly (Emma Bell) arrange to getaway an ill-fated bridge , thanks to a premonition Sam got ; but later on , things go wrong , that's why there's no way you can cheat Death.
Amusement and entertainment lies from attempting to guess which of the ludicrously over-determined potential hazards will deliver the creepy killings .In this 5º installment of the ¨Final Destination¨ series appears none character repeating from former entries , it displays suspense , tension , thrills, and creepy deaths .
The main character played by Nicholas D'Agosto did a good job, and his co-star Emma Bell clearly knows how to scream out loud, I loved her final scream in the bridge collapse scene.
It's taken seriously and is full on high tension (a bit like Aja's directing in "High Tension").This is what sets "Final Destination 5" apart from all the other films in the franchise.
The laser eye surgery bit had me squirming and cringing in my seat (I can't deal with eyes) and even the death scenes without eyes were really intense and quite shocking.If you're a fan of the "Final Destination" series, then without a doubt you must see this (I suppose you would anyway if your a fan) and seeing it in 3D only enhances the shock value!
Anyone familiar with the Final Destination franchise knows what to expect: hot chicks, the ever-present menace of ordinary objects, and gruesome scenes of graphic death.
And the Special and visual effects were brilliant, I wasn't expecting much considering the last film had rather cartoon like effects and a terrible storyline but I was very pleasantly surprised the acting was considerably better as well, and The ending, well it was brilliant I mean everyone's been saying how good it was and how they didn't see it coming, well it really was but also when you hear about it all over the internet you kinda work it out :L But still!
There was a point where I actually sympathized with certain character's deaths because...wait a second, how have I gone this far into a Final Destination review without mentioning the gore?
When it was announced there was going to be a sequel I was thrilled, I like the Final Destination films and was anxious to see what gruesome deaths awaited.Now, we all know the story, someone has a premonition of a horrific accident, they manage to save a handful of people, but Death has been cheated and is stalking the survivors, killing them off one by one in creative and gruesome ways.Personally, I wanted the accident to be set in a water park, but a bridge collapse still holds up the suspense.
Nevertheless, FD5 delivers a brilliant sequel to the dying franchise.The death scenes are wonderful, if not a bit far fetched (like a doctor who really leave a patient alone strapped to a table with a laser in their eye) and I'll admit there are some clichés in there too, but of course, FD is all about bending the rules of physics.I still think the original is the best, the second very good, the third fine, and the fourth just awful, but this one is fantastic and could almost rival the first if we didn't already know the whole story.
Oh yeah, and I like the new twist in the rules, that a survivor can kill someone else to take their place and hence force have new life.I would have given the film ten stars if the death scenes were a little more realistic.
Don't get me wrong, I'm not annoyed by it, I just think it would be good if the story was explored a little more.Overall, if you've seen and liked the previous films, I see no reason not to recommend this one.
Decent acting, awesome deaths, amazing 3D effects, and a plot twist that leaves FD fans wanting more (but will go over the heads of those that have only seen this movie.) There isn't much else to say about this movie except that it is definitely worth it and if you can go see it in theaters, do.
the film also manages to get the tone pitch perfect, keeping things serious and intense but tongue in cheek when it's needed.The death scenes are fewer and far between this time around but they still pack a punch being significantly more suspenseful than usual and the disaster on the bridge is probably the best and most intense opening out of all them.The twist at the end actually blew me away and I was not expecting it at all.
It's not draw dropping but those who have stuck through the series since the beginning are sure to get a big kick out of it.I think most importantly, the film just feels like a film again and not just another Final Destination movie.
In this fifth and most recent film (2011) it's a spectacular bridge collapse and it's probably the best opening tragedy of the franchise.All of the movies in the series tell the same basic story with different characters and minor nuances; all of them are of the same high quality of technical filmmaking.
It does mildly expand on the story by introducing a new rule to fight death and the twist at the end was different but apart from that its definitely little more unpredictable and it does definitely fall in the top three miles above 3 and The Final Destination.
It still plays that way at times, but at least writer Eric Heisserer (the "Thing" prequel) and director Steven Quale, the latter making his fictional feature debut, give us enough story and enough character detail to make our intended victims worth watching.
The deaths involved in this one were extremely elaborate and interesting and the ending involved a gigantic bamboozle that I still get goosebumps over.Made 11 years after the first one, you can see how much the franchise has changed and grown and while the fourth one was bad, the fifth one made the franchise fresh again.I almost want a new Final Destination film.
While it was not a great or perfect film (particularly in the dialogue, ending and some of the acting), the first 'Final Destination' was entertaining and effective (especially with its terrific opening plane sequence and the creative deaths) with a fascinating idea done well.The bigger and bolder 'Final Destination 2' had its flaws but was just as good and perhaps the best of the four sequels.
The down-time and exposition between the deaths is turgid and clumsily written, saying very little interesting.Characters are as shallow as to be expected, the dialogue is just as flimsy and the effects look pretty cheap.However, the opening bridge scene is spectacular and perhaps the best opening of the series.
Several youths once again discover that "death doesn't like to be cheated" after surviving a deadly bridge collapse accident in this final chapter in the 'Final Destination' franchise.
If anybody has seen any of the other 4 Final Destination films they already know what to expect from this addition: guy has premonition of himself and his buddies dying therefore he persuades them to escape whatever situation is causing the death, this case being a suspension bridge collapse, which in turn means they cheat death, but as we all know, YOU CAN'T CHEAT DEATH TWICE!!!!!
I was expecting a really dumb Final Destination film full of dumb and rushed deaths, but I was extremely surprised at how this movie took it's time to develop almost all the characters before killing them in shocking and sometimes unexpected ways.
To sum it up in one word, I'd probably say that the death sequences felt very "tame" for a Final Destination film.The acting wasn't the best, but the three central characters did a decent enough job to keep you interested despite being a bit one-dimensional.
Great horror films make your root for the good guys, this movie has you cheering for death.
Final Destination 5 is about as much fun as you'll have hearing bad conversations and watching not name actors, and it's well worth the eerie feeling you get afterwords, that as ridiculous as that movie was, maybe death is out to mess with you.
Although offering cool deaths as usual, the acting sucked, no interesting characters this time round and it felt like i was watching a parody of these films at times.
Though I felt this film actually a little more depth to at least some of the characters, and the lead wanting to be a chef was a nice change of pace for a film like this.The deaths do not disappoint, and there were quite a few scenes that built up tension nicely, so I was actually biting my nails in suspense (something I rarely do, folks!).The ending was also a nice variation on how these things end.Of course, like FD2-4 this is not a sequel, but really a remake with different people..
The story itself still the same as the previous Final Destination series, a group of people saved from a tragic accident but what happen later are beyond their imagination : death are chasing them one by one..
Then the producers play a blinder be having an ending I never saw coming in a million years and it's so simple and is a great way to finally wrap up the series which looks like ending with this movie.
There are very few long-running horror franchises where I can happily say that I have enjoyed every single chapter, but that is definitely the case with the wonderfully dumb and delightfully gory Final Destination series; admittedly that's probably because each successive sequel has been almost virtually identical in format to the enjoyable original, setting the stage with a spectacular disaster and allowing death to do the rest, but I have enjoyed them nevertheless.Part 5 certainly doesn't stray far from the formula.
People avoid a major disaster – but they can't cheat death for long
Though originally a 3D venture, which is obvious thanks to that annoying "in your face" camera angle, and sometimes shoddy looking special effects, this the first of the movies to hold my interest throughout.Granted, it's over-the-top and corny to a degree, but the characters are a bit stronger as well as the suspense.
By now, we the viewers should all know the formula: kid has a premonition of a horrible accident, warns others about the impending doom, seconds later said tragedy does actually happen, and then the survivors start dying in horrible Rube Goldberg-style accidents manufactured by Death itself."Final Destination 5," directed earlier this year by Steven Quale, is no different from its predecessors.
We believe in some of the characters and attempts are made for real acting performances and dramatics.But let's not kid ourselves here: they're all on Death's hit list, so let's not get too attached to everybody.Although "Final Destination 5" (supposedly) brings this series to a close, I wouldn't really count on it: as long as there are teenagers (or if you prefer, "young people") out there, there will always be a market for Death to come and slaughter the lot of them in increasingly shocking and gruesome ways.8/10.
Again, lots of nicely talented young actors and actresses, and people here did a great job with their roles and bringing their characters out on the screen."Final Destination 5" is well worth a watch, if for nothing else, then for the death scenes alone..
4 or The Final Destination was an attempt to be more gory than the others but other than that had nothing to keep me interested, similar to how the Saw movies became.5 surprised me as actually being quite good, it managed to get the suspense of the series back whilst making it a total gore fest.
The good thing about 5 is that it actually stopped taking itself seriously and many of the deaths were fairly comic and in my opinion once you get to the 4th sequel you probably shouldn't continue to take it seriously as you will end up repeating the other movies yet again.There were some memorable moments and many of the characters were likable with less clichés and stereotypes.
The only thing that will never change in any of these final destination movies is that death can't be cheated.
The ending of this movie was excellent, it shows how the whole final destination series sparks from the beginning.
The film is what I would call and what others may believe to be the best sequel in the Final Destination series.
There's even a little montage at the end, of creative death scenes from the previous four movies, like a compilation.
final destination 5 is a very good movie witch is hard 2 believe because usually the 5th movie in a series starts to go down hill but and i thought this movie would be crap i am a big fan of the first 3 but when i saw the 4th i was so disappointed and thought the series was over than came this movie and what can i say it surpassed my expectations it was truly a good time from the deaths witch are by far the goriest of the series to the good acting witch is hard to find in a movie like this but the thing that was awesome was the use of 3D witch made every death scene cooler it really made a difference and another really big improvement was the script and the direction the script was basic but it did have a few nice surprises in it ex specially the end .
Also Jacqueline MacInnes Wood was awesome she stood out above everyone and was the most believable of all characters.Final Destination 5 was arguably the best movie in the series.
The original 'FINAL DESTINATION' (like with most popular long running slasher franchises) was actually a really good and well made film.
Like with similar franchises the original sequel really upped the ante and gore and it was a pretty satisfying installment as well (with probably the best all around death scenes of the series).
This time around Mr. Quale attempts to bring something to a franchise that I believe seems to supply absolutely nothing.Now the first Final Destination movie was actually a pretty good horror movie with a decent plot line.
I've only seen the first and the fourth Final Destination movies before this one, but from those I got a pretty good idea of what might be going on in the other two (main character sees accident, some people survive, they all die one by one), so I didn't bother watching those.
However, the film was disappointing – but in a good way!In the other movies the characters had to save someone to break the pattern of death in order to survive.
FD5 was better then the comedic FD4 but like i say nothing new just random teen actors we never seen before nor heard from being killed off 1 by 1 by the Grim Reaper itself the only reason why I think any of these movies are OK is because of how creative the death scenes can be.
Had they at least maybe tried to use some practical effects I think the deaths would have had more impact that just looking like a cartoon.All in all this movie does have some entertaining moments and the ending, except for the final two minutes, is done really well. |
tt0058618 | La strada per Forte Alamo | The Wild West, 1864. Bud (Ken Clark) is a drifter riding though sparse terrain, only to discover a carriage of murdered Union soldiers. Stopping to survey the damage, he notices that one of the men is still alive. The soldier dies before he can explain what happened, but Bud notices that he is clutching a satchel in his fingers. Upon opening the satchel, Bud finds a requisition form for $150,000. He then rides into a nearby town to report his discovery.Upon his arrival in Wagon City, Bud arrives at the police station where he is told that the sheriff is taking a siesta and cannot be disturbed. While waiting in the nearby saloon, Bud observes a car game being played between a wealthy, well-dressed man named Mr. Silver (Gerard Herter), and a young gunslinger named Slim (Alberto Cevenini). Bud notices that Mr. Silver is cheating, and confronts him. A bar fight ensues between the crooked Mr. Silver and Bud. At this point, the sheriff arrives. But since Bud is a stranger in town who is raising an accusation against a "well respected citizen" like Mr. Silver, the pompous and easily fooled sheriff ignores Bud and tries to arrest him. However, Bud manages to escape from the saloon and rides out of town with his new side-kick, Slim.Bud and Slim hide out in the nearby desert, and their friendship strengthens as they reveal more about themselves. Bud explains that he refused to take sides during the war, and when he left his Kentucky ranch for a brief period, he returned to find his family slaughtered and his house burned to the ground by unknown assailants. In compensation for this, the U.S. government gave him a worthless promissory note. Bud now wonders aimlessly, looking for an opportunity to make some money so he can rebuild his ranch. Slim explains that he knows an outlaw named Carson (Michel Lemoine), who might be of some financial help. In a meeting between Bud and Carson, Bud is wisely suspicious of him, but his anxiousness to re-build his ranch causes him to ally himself with the dubious man. Remembering the murdered Union soldiers, Bud tells Carson and his men about his find and together they pilfer the uniforms and pretend to be Union soldiers.Taking the requisition form with them, Bud, Slim, Carson and his men ride into Wagon City where they go to the bank and pressure the teller into handing them the $150,000. The plan nearly works, but Carson's impatience results in him drawing a gun on the teller, and killing him in cold blood, as well as several innocent bystanders at the bank. The men flee back to the cave, which is Carson's hideout, with the stolen money. Now aware that they are all wanted outlaws, Bud suggests that it would be best if they divide the loot and all of them go their separate ways. But instead, the greedy Carson knocks Bud and Slim unconscious, leaving them behind while he and his men ride off with all the ill-gotten cash for themselves.Left for death on a rural country road, But and Slim are discovered by a passing troop of Union soldiers. As they are still dressed in blue Union outfits, they are accepted as soldiers by the autocratic and slow-witted commanding officer Captain Howard (Antonio Gradoli). However, the wily Sergeant Carter (Gustave De Nardo) is not so easily fooled, and immediately senses that Bud and Slim are not who they claim to be. But Howard refuses to let Carter make any background check on the men and keeps him in check. Carters suspicions are confirmed when he slyly forces Bud to admit that he attended military school in Annapolis, Maryland which is actually a Naval academy. But Carter is astute enough to realize that Bud and Slim are decent people, so he treats them with dignity and respect while deciding what to do about them.Bud and Slim plan to escape from their Union companions when they reach Fort Alamo, where their subterfuge will surely be discovered. But, Bud decides to stay for a while when he realizes that the Ozark Indians have targeted the convoy they are in. Bud explains to Slim that innocent women and children are among the Union convoy and he could not live with himself if they were senselessly slaughtered. Slim reluctantly agrees to stay out of loyalty to Bud. A little later, Bud and Slim are joined by Carson, who is the sole survivor of an Indian attack, and who is still in possession of most of the stolen money. Because Carson is still wearing his stolen Union uniform, Bud is able to convince Captain Howard that Carson is a member of his own troop.Soon after, Captain Howard puts the entire convoy in danger when he insists on passing thought an Ozark cemetery. Sergeant Carter does his best to explain that passing though such territory will incite the Indians. But Captain Howard takes offence at being questioned, and blithely kicks aside the religious paraphernalia. True to Carters expectations, the troops soon find themselves in an all-out war with the Indians.Meanwhile, a romance blossoms between Bud and Janet (Jany Clair), a young woman who is being transported to jail at Fort Alamo for killing an officer who assaulted her. She tells Bud that her major crime is that she is desirable in a world dominated by brutally amoral males. This is emphasized when she is attacked and nearly raped by Carson, who is put under arrest by Sergeant Carter. Under guard, Carson makes an appeal to Bud to help him escape so they can split the money between them if they abandon the others. But, Bud is not interested in Carson's ploy knowing the amoral outlaw will kill him out of greed to have all the money for himself.As the soldiers prepare for a massive Indian attack, the Ozarks bait a very clever trap. Having stolen some of the money from Carson's dead men, which is useless to them, the Indians float the notes down a nearby stream. The greedy troops react as expected, running into the open to fish the money out of the water, and many are killed. With dwindling numbers, Bud recognizes that their situation is hopeless as it stands, so he puts his life on the line by leaving the convoy and seeking help. Leaving the stolen money in Carter's care, Bud mounts a horse and leaves into the dark of night.The next morning, the Indians attack. Taking advantage of the ensuing chaos, Carson clubs Sergeant Carter over the head and steals the money. Slim attempts to stop Carson, but gets shot dead. Shortly afterwards, Bud arrives with a fresh detail of Union solders from Fort Alamo. Faced with such strong opposition, the Indians retreat. Bud finds Slim's dead body and learns from Sergeant Carter that Carson was responsible. Bud catches up to Carson and a fistfight ensues. Carson seems to get the upper hand, but gets shot dead by Janet, and is reunited with Bud.Bud hands the stolen money back to Sergeant Carter, who thanks them for helping the US Army retrieve the money, and he lets both of them go. Bud and Janet ride off together to make a fresh start for themselves. But Janet states out that their problems are not necessarily resolved for he is broke once again. Bud optimistically states: "well get the money. Nice, clean money." | western, murder | train | imdb | La Strada per mal melodrama.
I've only seen each of the 3 Bava spaghetti westerns once (neither among his best work or his preferred genre), but I disagree with many people who considered Nebraska Jim to be a better film.
Strictly from an entertainment sense, Arizone Bill (La Strada per Fort Alamo) held my interest noticeably better (though admittedly the copy of Nebraska Jim that I saw had severely distraction issues with audio).
While Nebraska Jim seemed like a mostly cookie cutter extended western TV show episode you'd expect to see on American TV, Arizona Bill was more like a 2nd rate Good Bad and Ugly wannabe with its stolen civil war funds plot line and a group of criminals that ranges from a couple of more 'decent' people who are criminals to outright despicable violent ones.
It was just slightly different enough to make it more interesting to me and it felt more like a Bava film.
Maybe if I rewatch these films a few more times I'll notice things I've overlooked which will explain others' preferences, but I'm a bit skeptical that that will happen.It's not the greatest or most original film, but it kept me entertained and my biggest complaint is with regards to the 'romantic' subplot and its cheesy accompanying music (at least on the copy I saw, I'm not sure if it was or wasn't the original music used).
Bava isn't always at his best when trying to provide romance/love interests to his films.
Black Sunday (La Maschera del demonio) is IMHO the quintessential Italian Gothic horror film and a favorite of mine, but even his admirers have to admit that in that great film, the 'undying love' of the young Dr. Gorobec for Katia -- whom he has just met one day previous -- is a bit silly and one-dimensional and at times almost laughably overly melodramatic.
I took off one point for the botched romance portions of Arizona Bill, though I did like it overall more than Nebraska which ended up with the same 5/10 score from me.The copy of the film I saw was an English language widescreen version from an old somewhat glitchy videotape source with a runtime closer to the USA or German cuts.
I'm not sure what was excised from the original 90 minute cut listed on IMDb and maybe when TL's big Bava book comes out it will tell us what is or isn't missing from the cut I saw, but I hope one of the cult DVD companies (like Image, Anchor Bay or Blue Underground) pick up both this title and "Nebraska Jim" sometime in the near future to provide Bava's fans with a good legitimate uncut DVD release with the best transfer possible considering whatever film elements exist.
I'm sure the underrated director's fans would welcome quality releases of all his films, even the lesser known and hard to find ones where Mario took over directorial duties from a previous director leaving a project..
Not one of Bava's best films.
Italian movie director Mario Bava is best known for his horror movies.
But during his career he found time to direct other kinds of movies, including spaghetti westerns, "The Road To Fort Bravo" being one such example.
The movie is pretty unknown, and it's easy to see why.
Throughout it has the feeling of a slapdash production.
The budget was obviously pretty low, so the production values are pretty tacky, from the costumes to the poor special effects.
Bava seems unable to show any visual flair on this project, except for a few scenes that take place in caves.
But the main problem with the movie is the script.
It feels like a first draft, with many scenes feeling rushed or unfinished.
This quickie enterprise is capped with a pretty bad musical score by Piero Umiliani, which consists of 60s style music at its worst.
The best that can be said of the movie is that its running time is fairly short..
Remarkably Unremarkable.
I think the thing that impressed me the most about Mario Bava's first spaghetti western outing here is how utterly pedestrian most of the proceedings were.
Another distinguished commentator here has it right: This is the Italo western boys before the spaghetti idiom was truly established dressing up in their snappy cavalry duds & playing cowboys and Indians just like we used to do out at the sandlot near my cousin's summer house, only we didn't have such nice costumes.Ken Clark is a decent enough he-man leading heroic noble Shatterhand type, apparently roaming the west looking for trouble to straighten out.
He finds it when a young novice finds himself taken by a card shark (the priceless Gerard Herter, Max from CALTIKI) and the two have to fight their way out of town & take up with a band of rogues who are targeting a bank to knock over.
For reasons that escape me they find themselves mistaken for cavalry officers and join up with a U.S. Army element sent to the region to pacify the local Indian tribes so that the nice Caucasian people can build towns, railroads, brothels, and prosper without having to take the local Natives into consideration.It's pretty much the usual stuff for a low budget early 1960s western and indeed the story is decidedly lacking on the traditional spaghetti western histrionics, which many fans may be disappointed by.
I however got a kick out of seeing Mario Bava constrained to a pretty straight forward story, complete with a heroic ride to the rescue at the end with the bugles & everything.
If it sounds like a let down, students of Bava's unique visual style will actually be pleased with a series of nighttime scenes obviously filmed on a sound stage with that traditional Bava artsy minimalism emphasizing color and texture over rugged authenticity.
This was made in the period before Sergios Leone and Corbucci more or less invented the spaghetti aesthetic, qualifying it more as a Euro western than a proper spaghetti outing.
The film is also somewhat unique in that like Joe Lacey's FURY OF THE APACHES it actually involves the Native American peoples -- albeit somewhat clumsily and in a stereotypical fashion -- rather than swarthy Pistoleros shooting at Clint Eastwood's mule.I found it to be a fascinating movie perfect for a snowed in Saturday afternoon, though some may question how convinced Bava was of his own artistic vision for the movie.
It's more sort of a compromise between his KILL BABY KILL cinematics and traditionalist Oater mentalities, with some truly stunning shots framed when seen in the proper widescreen ratio.
The one thing I kept thinking is that here is a surprisingly ordinary low budget western that's been photographed like a Gothic study in spots, and the rather bloodless nature of the goings on mean that it's a rare example of an Italo western that was meant for all ages rather than a grim cartoon for adults.
I kind of like it, and found it a much more rewarding viewing experience than Bava's 1970 final spaghetti ROY COLT & WINCHESTER JACK, though fans of the genre will probably prefer his NEBRASKA JIM.
Cowboys and Indians.
"La strada per Fort Alamo" was shot in Italy, not in Spain like most Italian westerns.
Director "John Old" alias Mario Bava was obviously influenced by the John Ford classics such as "She Wore A Yellow Ribbon", all just in a much cheaper B-movie style; it has almost nothing in common with the typical "Django pays for your funeral" kind of western.
This movie has a good script with good dialogs; it's about a bandit who has to pose as an army officer after he got caught wearing a stolen uniform.
When Indians attack, he gets opportunity to show he is a brave good guy.
One word to the disappointed Bava fans: surely the master had to earn a living, too, and this is what he did for it.
You don't shoot masterpieces like "Danger: Diabolik" or "Mask of Satan" every week.
More important than such comparisons is that "La strada per Fort Alamo" is a good quality western in a traditional way, and if you don't expect more than that, it's well worth watching..
A spaghetti western without much sauce.
Director Mario Bava usually has a visual flair which helps elevate his movies above their "Grade B" genres.
He doesn't seem to have his heart in this project, however.
It plays out in a routine fashion and about the only scene which might linger in the memory has the Indians putting dollar bills adrift in a river in order to lure cavalry soldiers out into the open.
Ken Curtis, who always deserved better, makes an attractive hero but the script gives him little to work with..
Bland Western from Bava.
The Road to Fort Alamo (1964) ** (out of 4)Solo rider Bud Massadey (Ken Clark) comes across a Calvary massacre.
A dying man gives him a paper payment of $150,000 that is to be paid to the U.S. Army.
Bud teams up with a gang to get the money but he's double crossed by a card cheat.
Soon Bud and his partner are rescued by another Calvary and sure enough he eventually catches up with the cheat.Mario Bava's THE ROAD TO FORT ALAMO is a pretty bland and boring Spaghetti Western that really doesn't have too much going for it.
The Italian director was hitting a very high mark during this point of his career and it's easy to call this the least entertaining movie he made during this period.
It's really too bad that this movie seems to have been a "director-for-hire" project as there's just not too much life here.Technically speaking, the film is certainly well-made and it appears that Bava got the job done.
That job was getting the film completed without it going over budget.
The film was obviously shot with a shoe-string budget and the director at least manages to make it look very professional.
I thought the costumes were terrific and Bava at least managed to make the atmosphere seem as if you were back in this era.With that said, the story itself was just rather boring and none of the characters were all that interesting either.
Heck, I'd go even further and say that the entire film was just rather bland to the point where you didn't care about anything that was going on.
The performances were okay for the most part but none of them really jumped off the screen to grab your attention..
THE ROAD TO FORT ALAMO (Mario Bava, 1964) **1/2.
This is my second time watching the first of Bava's infrequent (and most atypical) ventures into Western territory.
Coming at the start of the genre's idiosyncratic "Euro" (and, in the long run, highly influential) overhaul, it obviously feels the least like your typical "Spaghetti" Western – even if, truth be told, MINNESOTA CLAY from the same year (on which Bava is reputed to have worked but which is credited to one of the formula's undisputed masters i.e. Sergio Corbucci) is more successful in this regard!
Anyway, the movie under review is considered among Bava's minor efforts – and rightly so; yet, it is nowhere near as bad as some make it out to be and, to my mind, preferable to his comedy-oriented last entry in the field, namely ROY COLT AND WINCHESTER JACK (1970; with which, as it happens, I will be re-acquainting myself presently).
As I said, the film mainly looks to the American model – albeit following its more routine examples – for inspiration, but that is not necessarily a bad thing.
Interestingly, Bava starts off proceedings with an inconsequential 'prologue' (featuring favourite "Euro-Cult" villain Gerard Herter) involving a crooked card game and an amusingly sleepy bartender.
Rugged (and immensely hirsute) hero Ken Clark – who would return for the recently rewatched SAVAGE GRINGO (1966), which Bava helmed albeit without credit – is a Southern landowner who lost everything to a Northern onslaught during the Civil War, and whom he now plans to get back at by posing as a Union officer and 'withdraw' a cache of money from the bank destined to the enemy forces!
Unluckily for him, the associates he picks up for the job – led by another familiar face, Michel Lemoine – prove greedy and leave him and his closest ally for dead
or, more precisely, at the mercy of the marauding Osage Indians!
Eventually, the two men are saved by a Southern Army wagon train bound for the titular outpost so that they are forced to keep up the military disguise; ironically, they are soon joined by Lemoine himself, the sole survivor of the renegade gang who also had a brush with the redskins but is still in possession of half the stolen sum.
Clark, whose uniform bears the higher rank, now delights in rubbing his treacherous ex-partner the wrong way – but, in fact, neither has given up on the loot and each intends making off separately with it at some point.
However, the Osage come down en masse on the small unit (which includes a by-the-book Colonel, a wily Second-in-Command soon in on Clark's ruse but willing to keep it to himself, the priggish wife of the Colonel at the fort and even a female prisoner – earthy redhead Jany Clair naturally comes to fall for the brawny charms of, and senses a misfit kinship with, our protagonist – being escorted there for trial) and they have to stay on and fight it out!
A nice touch has the Indians make flower arrangements via the 'confiscated' paper money (which to them is useless) and send them floating down river in order to lure avaricious soldiers out into the open and slay them; this idea then comes into play again at the inevitable showdown between Clark and Lemoine.While Bava was clearly ill-at-ease within this particular genre (unflatteringly billed in this instance as John Old), here at least he incorporates his recognizable colour palette to effective use; Carlo Savina's score, then, includes the token ballad warbled over the opening credits and, surprisingly, cues which bear an uncanny resemblance to those composed for the soundtrack of the 1957 Mexi-Horror classic THE VAMPIRE!.
Shoddy Italian western.
First of all I am a fan of Italian films but "the road to Fort Alamo" is one of the worst Italian western that I've seen.
It was shot without means.
The interiors have a fictitious background with a blue light and fictitious cactus so as to simulate the desolate and barren moorlands of Texas or Arizona, but any clever viewers can note that the real vegetation is made of oak (Q.
pubescens) and other plants typical of European climate.
Some shots (cowboys that are riding) are accelerated, Bud, the leading actor, cannot ride, therefore he was always replaced by a double.
The Indians are awkward, always shot at a distance.
I admit the shots are the only thing which make this movie credible, but the others contemporary films like "le pistole non discutono", "preparati la bara" are masterpieces compared with this one.
Serviceable early spaghetti western.
THE ROAD TO FORT ALAMO is the first spaghetti western directed by Italian genre maestro Mario Bava, but as a film made in 1964 it has more in common with the American westerns of the 1950s than the Sergio Leone-influenced genre films of the late 1960s onwards.
The film itself is routinely plotted but turns out to be a lot of fun regardless, with an action-heavy template meaning that there's barely a slow moment to be had throughout.The film's protagonist is played by the strapping Ken Clark, a familiar face from the Eurospy films he made during the mid 1960s.
He's massive here, dwarfing his opponents in the various fight scenes, and he acquits himself well with the material, having a natural flair for the genre.
He reminded me of Richard Harrison in many ways.
His character undergoes quite the journey in this film, with many plot twists, double crosses, and betrayals en route.The film's antagonists are the usual bunch of murderous Native Americans and gold-hungry double-crossers.
There's plenty going on throughout and the film, which was shot in Italy rather than Spain, looks very nice.
Bava's skill comes in the night-time scenes which have the great use of colour that the director is well noted for.
THE ROAD TO FORT ALAMO might not be a classic, but as a serviceable spagwest it works a treat. |
tt0329774 | xXx: State of the Union | In Virginia, a rancher discovers dead bodies on his farm and is then killed by one of the assailants. The attackers use special explosives to break into an NSA bunker beneath the horse farm. Agent Augustus Gibbons fends off the attackers before barely escaping. Shavers, Gibbons' assistant, informs him that with the attack on the NSA bunker, "Bama" Cobb also had Xander Cage apparently killed in Bora Bora. To find a new substitute, Gibbons meets with Lieutenant Darius Stone, a former U.S Navy SEAL officer, who is currently serving 9 of his 20 years sentence in Leavenworth for disobeying orders and breaking the jaw of General Deckert, who is now the Secretary of Defense.
Gibbons helps Stone break out. Stone meets with Zeke, his old partner in crime, and Lola, his former girlfriend, who now runs an exotic car shop. Stone is instructed to recover a hard drive from the NSA bunker, and he manages to escape Agent Steele at the same time. Gibbons is attacked in his house and apparently killed, with Deckert and Sergeant Cobb covering up the plot. Stone meets up with Gibbons' contact, Mayweather, to get information. Stone goes to her safe house but is framed for the murder of 4-Star General Jack Pettibone; Mayweather is revealed to be involved.
The police arrive, and Steele enters and talks to Stone, who escapes afterwards. Shavers hacks into the Pentagon to retrieve Deckert's plans. Stone infiltrates Deckert's troops aboard the USS Independence and discovers Gibbons is not dead, but being held prisoner. Stone's presence is alerted by Mayweather. Gibbons orders Stone to escape and leave him. After retrieving the plans, Stone gets into a tank and fights his way out of the ship. He learns that Deckert is planning a coup against President Sanford.
Stone makes contact with Steele and shows him the plans. The former leaves in frustration, to Steele's initial disbelief. During a conversation with Deckert, Steele realizes Stone was right. He finds Stone and tells him that Deckert wants to kill Sanford and his successors so he can take Sanford's place.
Stone, Steele, and Shavers enlist the aid of Zeke and his crew. Together, they rob an 18-wheeler secretly hauling guns and equipment to the Department of Homeland Security under the guise of a cheese truck. They end up hijacking a tank, and Stone helps Steele infiltrate the Capitol building. A shootout starts, and Gibbons kills Mayweather. Deckert and Cobb abduct Sanford while he is making the State of the Union Address. They escape on a bullet train. Jackson arrives with a car, and Stone uses it to infiltrate the train. He engages and kills Cobb before engaging Deckert, while Steele extracts Sanford. Stone jumps out after Gibbons destroys the train, killing Deckert.
The story is covered up, and Deckert is buried and branded as a hero. Sanford awards Steele and the unknown soldier (Stone) the Medal of Honor, and Stone goes back to his former lifestyle. In the now-rebuilt NSA Headquarters, Gibbons, Steele, and Shavers discuss what kind of person the next xXx agent should be. Gibbons says that he has the perfect candidate for the job. | violence, humor, action, murder | train | wikipedia | A film that should be retitled xXx2: Don't Say We Didn't Warn You.Opening with an impressive first 7-8 minutes, this film moves into cookie cutter territory at a frightening speed and continues to derail any opportunity for the audience to engage in the ridiculous plot or heavily computer generated action sequences.Ice Cube will never be thanking the academy (he at times look like he would struggle to play himself), but the Razzie committee should be on the lookout for this up and comer, this type of dribble is the cinematic equivalent of being run over repeatedly by a truck with the stereo cranked up to 11.The first xXx was at least assure of itself, popcorn action with the acknowledgment that it was bang for buck and nothing more.
Willem Dafoe typecasts himself as the overacting bad guy yet again and X-Zibit pops in so he can possible audition for the lead in the next sequel xXx3: Turkey Season.Women are treated as fodder to either slap around or grind up against (sometimes at the same time) all to a soundtrack of nameless rappers inserted at appropriate moments so that the white kids can know what its like to be African American.My only positive comment on this whole debacle are the cars used in the film, not being a car enthusiast even I had to be quietly impressed by the rides in this film.
On this showing, you can't blame him.Trading in Vin Diesel (his character is written out by someone saying that he got killed in Bora Bora) for Ice Cube is no improvement; not only is he not the most expressive actor, but he's not that convincing in action (when he's being chased by Scott Speedman you just KNOW that Speedman would catch him like that (snaps fingers) in real life).
In fairness to Mr. Cube, he's far from the only thing wrong with this; Simon Kinberg's screenplay seems not only to have been aimed at emotionally and intellectually stunted 13-year-olds but written by them as well, with the plot starting idiotically and continuing from there - the villainous Secretary of Defence played by Willem Dafoe is so pantomime villainous that when he makes a speech to Jackson you're surprised he doesn't laugh maniacally.Suspending disbelief is one thing, but when you have a movie that expects people to believe that tanks can be handled like motorbikes...
And as for the way some of the shots go from film to what looks like video and back again...The cast isn't much good either, although it's fun to see Peter Strauss as the President (in spite or because of his not sounding like he believes a word of this); Xzibit not only helps parts of this seem like "Pimp My Ride: The Movie" but he can't act, Dafoe is Special Guest Villain level, and Jackson phones it in.
(Ironically, at one point on hearing the female string quartet Bond our hero complains about the music; they are not to blame for the aural wrongs.)"xXx2: Whatever" is so unexciting and so absurd that despite its stabs at relevance (our hero claims Dafoe is hatching "World War IV"), the only way to get through it is as a laugher; the sight of Ice Cube in a suit and tie (with umbrella!) is funnier than his intentional attempt at comedy later in the same scene.
Darius Stone(Ice Cube:BarberShop,Ghost of Mars,Three Kings) is recruited by the government on a special mission.NSA Agent August Gibbons(Samuel L Jackson)forces him to cooperate with the government and avoid returning to Prison.Betting Darius can succeed where other conventional agents have failed .Gibbons sends Stone to investigate in the high politic world,using his natural abilities and a whole lot of position.He's helped by agent Kyle Steele(Scott Speedman).His mission to gather information on a deadly conspiracy led by Secretary of Defense(William Dafoe) that may just be planning the taking over US government and substituting the President(Peter Strauss).Darius must combat an intelligent organization and a powerful enemy far beyond his possibilities.It's a standard actioner with no much sense where there are suspense,thriller,pursuits,struggles, explosions and minimum characterization.
The film is plenty of macho man incarnated by Ice Cube who makes an embarrassing acting.The picture contains fights,gun-play,chases,firepower and frenetic pursuits with bounds and leaps as when a water-motorcycle runs afoul.It's tense and exciting at time though also a routine unstopped action film less than memorable.Colorful cinematography by David Tattersall and appropriate music adjusted to the action by Marco Beltrani.The film is lavishly produced by the great producer of action genre Neal Moritz(Prison break,Torque,Swat,Stealth,Skulls,Fast and furious I,II).The motion picture is regularly directed by Lee Tamahori(Along came a spider,Once were warriors) who made much better in James Bond series(Die another day) .Rating : Below average.
And since the action sequences are the only reason to watch something like this, and they suck, there's no real reason to give this movie even a moment's consideration.The plot involves Darius Stone (Ice Cube) replacing Vin Diesel's character as the new, improved xXx and trying to foil a plot against the President of the United States.
What is NOT beside the point though is the fact that "xXx: State of the Union" employs the same method of action filming as many other Hollywood-movies of late.
seems like even money can't buy a good movie because even the fight scenes are uninspiring,..kind of reminds me of Steven Seagal movies where you're even hoping that the main character gets his ass kicked Characters: Ice Cube playing his usual badass self, although the release of this movie is in such close proximity to 'are we there yet?' that it almost seems like him and Vin Diesel (The Pacifier) have teamed up secretly to harm America with such bad movies.
The other characters in this movie including the main badguy (Willem Dafoe) are cardboard thin leading you to wonder as the movie goes along if the plot development will be just as bad.Overall Entertainment Value: 4/10,..I feel that the movie would have been better if they eased up on the whole government agency conspiracy aspect and focused more on stunts, which made the first one much more easy to watch.
I know that this movie may have disappointed many and I too was kind of cautious in the way i approached it but I was all in all quite satisfied, there is a lot of action and explosions and at times the plot may loose some people but I encourage everyone to give this movie a chance especially if you like action packed films.
All others did very well in making this movie into what it was and they all seemed to be on the same page as to what they wanted the final project to look like.I give this movie a mark of about 80-84% (sorry the stars shown is a little misleading mistake and it wouldn't fix it for me) and encourage anyone who enjoys the 007 movies and the original XXX to give it a try it deserves more credit then it has been getting..
Samuel L Jackson and Willem Dafoe (who evidently didn't embarrass himself enough with Speed 2) give shamefully mercenary performances, while Cube is about as convincing an action hero as Harry Knowles.Who'll be XXX3?
We all know that Xander Cage (Vin Diesel) is not the xXx in this show, and he's being replaced by Darius Stone (Ice Cube).
Heck, I think the producers make the mistake of killing Xander Cage - mentioned in the movie as being killed in action in Bora Bora, Afghanistan, because in my opinion his character makes an excellent action hero.That's reminiscence number one - being reminded of what could have been if the charismatic Vin Diesel continued for this film.
Not too credible, but hey, it's only a movie.Did you know this film is called "xXx: State of the Union" in the US (referring to the President's State of the Union Address, which forms the finale), but I guess for those outside who don't care less about US politics, we're pretty OK with the dumbed-down title of "xXx2: The Next Level" - makes it sound like some arcade game.So buckle up and enjoy the ride, and if this is proved as popular as the original, we might see xXx3 (given the setting up of a sequel at the end), and the possibility of seeing a new face as the new xXx. Now if the producers just stop killing them, I'd think it's pretty cool to see a couple of xXxs teaming up.
Unnecessary sequel about ex-Navy SEAL-turned-imprisoned convict Darius Stone (Cube)—court-martialed years earlier for attempting to overthrow a four-star general (Dafoe) during a black bag operation—who's recruited by NSA agent Jackson to become the new XXX and thwart that same general—now the Secretary of Defense with his own agenda.
Nice CG and some great fight scenes.Ice Cube isn't bad as the main man and brings a new dimension to the character , quite different to the one portrayed by VIn Diesel in the original.
Lacked a decent story and many scenes...although it was XXX and an action movie...were quite fantastical .However if you take it for what its trying to be, a good action movie with great effects, then you wont be disappointed Don't go expecting intricate plots and romance Highly enjoyable all the same.
Hot on the heels of O'Shea Jackson's last epic (the ultimate actioneer that is Torque!)comes XXX-The Next Level.This time XXX has to have more attitude and be more dangerous, hence the casting of O'Shea Jackson(Ice cube to most of the world).Without going into detail (i wouldn't want to spoil this film for anyone) this film is a cinematic masterpiece.
I recommend this movie to anyone who likes good action, Ice Cube and Samuel Jackson..
There is no other way to explain this release of what is surely one of the worst films of all time.Watching Ice Cube trying to behave like Vin Diesel was just so embarrassingly pathetic, it has probably dealt a fatal blow to whatever acting career he might have otherwise had.
It also has clichéd dialogues, unbelievable fight sequences and a sloppy storyline that threatens to nullify all the positive aspects of the movie.Samuel L Jackson plays Augustus Gibbons, the survivor of an attack on the National Security Agency's top-secret headquarters, and a top propagandist of truth, justice and the American way (yeesh!).And Ice Cube is Darius Stone, Gibbons' only chance at stopping Secretary of Defence George Decket (Willem Dafoe) from overthrowing the US government and taking over the country.The other two characters on the scene are FBI agent Kyle Steele (Scott Speedman), who considers Stone a dangerous criminal, and Lola (Nona Gaye), a former flame (Ice Cube's) who owns a high-end car dealership.The movie's ending is a predictable no-brainer; and sadly, so is the entire movie.
It's certainly better than the first XXX,which although entertaining in parts was seriously weakened by some horrible dialogue {"think Playstation"}, an obsession with trying to better James Bond,and Vin Diesel,surely one of the most uncharismatic and simply bad stars around.The film does actually have a plot,yes it's unbelievable,and it may be hard to take the US President in the film trying to promote peace and greater understanding between the US and other nations {mmmmm},but the story does progress and is not just a chain to link the action together.Of course,if you want action,here it is in spades.
this film is totally s**t not just the first 40 minutes but the whole thing ice cube is a good actor and i like him in the Friday series and other films he has done but he is crap in this and they should not have gotten ridden of Vin diesel who would of thought it a African American xxx.
If you didn't see the original xXx don't worry, this movie does not continue from the first but performs on its own.I'll admit to being a bit skeptic of seeing Ice Cube in a role like this but he did a really good job.
I found this movie very entertaining and exciting.The action scenes were very good and original.The jokes were pretty funny.The story was very smart and original.People have been giving this movie very bad reviews (especially on this site) but although it is not the greatest movie ever, I think 1/10 is a little harsh.It isn't an awful, revolting movie and I wouldn't mind seeing it again.Overall I found it exciting and funny and you shouldn't get too angry if you don't like it because it is just a light action movie..
What worked: First off, Ice Cube makes this film(He's more bad ass than Diesel is)and he carries the action sequences really well, Samuel L.
It does not work on some many levels, the story is awful and so far fetched, the action sequences rely heavily on CGI, so much so by the end that it loses the appeal.If you like unbelievable stunts, story and ex cons from the hood that can shoot better the military then you might be able to find something to enjoy.I hear that xXx3 is in the making, when will these people learn, they take good actors (Samuel L Jackson, Willem Dafoe) and make them perform such a cheesy story.Maybe watch it once to see how bad it is but you will not be impressed and will want a refund for your time and money spent.
Everyone knows the tripple x was an extreme pile of excrement.The makers of xxx2 must of known this as well , so they don't really try to hard to top the original "film".And while they succeed in making xxx2 an improvement over the first one(which isn't hard to do really....), they only really give us more of the same ingredients - a gruff one liner spitting hero, loud action, wafer thin plot and loud music that drowns out every dialogue scene.Ice cube does the hero thing reasonably well, but thats only when he's angry or shooting stuff.When he's giving a unintentionally funny pro American speech or trying to infiltrate high society he just seems a bit wooden.Samuel l jackson who as we all know is a living legend , doesn't do much here except glare at people , shoots baddies and gives the film credibility by having his name on the poster.What the film does well is deliver wall to wall non stop action and the pace is fast that it never gets a chance to get boring.The explosions (which occur every ,like 8 minutes )are beautifully shot and look stunning.Its dumb and a tad disappointing, but you could do a lot worse when it comes to some disposable entertainment.
Line - Witty Retort; Action - Witty Retort; Tough question - tougher answer with wit; Whoops, good acting by Samuel L Jackson for a second; Ice Cube - Close up, tough guy stare and one-liner; explosion, guns, stunts, boats, "grand theft choppers", girls, surprising villain (not too surprising); anti-hero makes tough guys seem like pansy boys - witty retortI got a copy of the script and just wanted to share a little bit with y'all.
Second i thought ice cube was cool as XXX agent, i don't know why everybody is acting like he is an idiot he kicks ass.
and third i hope there will be a third installment so i can enjoy XXX over the top action "one more time".The acting is okay for this kind of movie, credible are Samuel, ice and Scott maybe William but he can do way better ( See PLatoon ).The Action was just too much but i like it a lot, so if you like the first one you will definitely like this one.The story was really simple but thats the way these movies have to go, no ingenious plots just simple to follow a movie to watch with some friends with a few drinks and some laughsFinal: for the peoples that haven't seen this one go check it out and have some funPeace.
Parts of the story are a little predictable, but the action scenes were good and some of Ice Cube's stone-faced one-liners had us howling.Ice Cube was, I think, a better actor in this role than the star of the original XXX (Vin Diesel) was.
I know others have criticized Ice Cube's acting, but I thought he did a credible job of playing the reluctant, royally ticked-off XXX character and keeping us laughing while we sat on the edge of our seats awaiting the outcome of the action sequences.Samuel L.
At least when Cube said a line it didn't sound like he was reading directly off the script Overall, a bad movie but better than the original..
very bad action movie....The producer didn't knew that Ice Cube act like a pussy?
Jackson is also good too and I didn't really see that much bad acting on the whole apart from Xzbitz, who was probably casted because hes a Big music name, no need as he really ain't good on screen and his character was pretty boring.Overall, the OTT action is unavoidable with the XXX Movies.
I know that they are going to be getting different agents for the XXX movies but I hope the think about just using Ice Cube for XXX.
How many times is this movie going to be made and remade?Ice Cube is the main character, and I've seen in him a lot of other projects, but I've never seen him act this bad.
XXx but this time it has a different main protagonist Ice Cube who plays Darius Stone an ex soldier in jail who is visited by gibbons and recruited he then has to escape prison and become the new xXx and save the world from an evil politician who want to rule the world.The action and cinematography are decent the music was a bit better than the first watch this if you liked the original it has lots of explosions guns and girls 6.5 out of 10 :D. |
tt2404435 | The Magnificent Seven | In this remake of the 1960 film of the same name, the small town of Rose Creek is being terrorized by land baron Bartholomew Bogue (Peter Sarsgaard) and his men. The townsfolk meet in the church to discuss what they ought to to protect their land and families from Bogue. The man himself enters the church with some of his armed men and he steps up before everyone else. Bogue argues that there is little profit in the land that makes up Rose Creek, so he intends to return within three weeks to see that the town has turned up more profit. The men then fire their guns and burn the church down. As the people evacuate, Matthew Cullen (Matt Bomer) calls Bogue out and asks what kind of man he is to harm innocent people. Bogue responds by shooting Matthew dead in front of his wife Emma (Haley Bennett), leading to a number of other citizens being killed by Bogue's men in front of their families. Before leaving, Bogue orders his men to leave the bodies where they lay so that the townspeople can get a good look at them for the next few days.In another town, warrant officer Sam Chisolm (Denzel Washington) rides his horse into town, earning many unwelcome looks from the people. Chisolm enters a saloon and asks the bartender (Chad Randall) about an outlaw that goes by the name of "Powder Dan". The other men in the saloon draw their weapons on Chisolm, but he is quick with his gun and gets all of the men without skipping a beat. He then shoots the bartender dead, knowing that this is Powder Dan. Chisolm orders the people to fetch the sheriff, and all of them run out of the place terrified, except for one man, a gambler named Josh Faraday (Chris Pratt).After Chisolm proves he caught Powder Dan, Faraday is caught up by two brothers that feel he cheated them in a card game. The brothers bring Faraday outside of town to kill him. Faraday distracts them with a card trick, which ends with him shooting one of the brothers dead and shooting the other one in the ear.As Chisolm rides away, he is approached by Emma and her associate Teddy Q (Luke Grimes). She explains the town's situation with Bogue and their desperation in finding someone who can help. Emma and Teddy give Chisolm all the money they have, and when she mentions Bogue's name, Chisolm agrees to help.Chisolm, Emma, and Teddy ride by Faraday as he tries to pick up his horse from a stablemaster. Chisolm offers to pay for Faraday's horse in exchange for Faraday joining their cause. He agrees. Chisolm then instructs Faraday to travel to Volcano Springs to find a man by the name of Goodnight Robicheaux (Ethan Hawke).Faraday and Teddy arrive at Volcano Springs to witness a gunfight between two men. The first man believes that the second, Billy Rocks (Byung-hun Lee), didn't fairly win, so he demands a legit gunfight. As they are set to fire, Billy instead grabs his hairpin and throws it into the other man's chest, killing him. Robicheaux goes around collecting every man's bet. One man refuses until he learns Robicheaux's name, and then pays double out of fear. Robicheaux has a reputation for being a notorious sharpshooter. Faraday and Teddy approach the two men as Robicheaux gets a shave to discuss them joining the team. The two agree after learning it's a paid job.Chisolm and Emma come across a house with a dead man inside. They find Vasquez (Manuel Garcia-Rulfo), a Mexican outlaw who's been squatting in the house. Chisolm is aware of the bounty on Vasquez, but he offers the outlaw a chance to avoid being captured by Chisolm in exchange for joining the team. Vasquez complies.After both parties reunite, they search for a tracker named Jack Horne (Vincent D'Onofrio). They speak to two outlaw brothers on Horne's whereabouts. One brother is struck in the chest with a hatchet, and the other is shot dead. Horne shows up and takes the hatchet. Chisolm asks him to join their team, but Horne walks away without a response.On the road back to town, the group encounters a Comanche named Red Harvest (Martin Sensmeier). Chisolm, knowing a little Comanche, speaks to him and asks for his help. Red drops his kill on the ground and cuts out one of its organs to offer it to Chisolm. He reluctantly bites into the organ to prove his loyalty, so Red agrees to join. Horne then joins after tracking the group down.The group returns to Rose Creek and confronts some of Bogue's men in the middle of town. One of the men, McCann (Cam Gigandet), calls upon one of the shooters standing on the roof of a building. Red already got to him, and he drops the man's body off the roof. The team (except Robicheaux) then start fighting against Bogue's men. Red fires his arrows, Horne chucks his hatchets, Billy stabs several men, and the rest fire their guns at the villains. Robicheaux is more hesitant in shooting, allowing McCann to get away on his horse. When the dust settles, Chisolm orders the Sheriff to run back to Bogue in Sacramento and tell him that Chisolm is waiting for him.Since the ride between Rose Creek and Sacramento takes three days, Chisolm figures they have about a week until Bogue returns with his army. The seven round up the townsfolk with Emma's help to inspire them to fight for their town and their families.The men begin to train the townsfolk in using weapons. Billy instructs them on using knives, while Faraday and Robicheaux teach them to shoot. The inexperienced citizens don't get it immediately, but they pick up and do better. Emma manages to be a better shot after having learned from her father as a child.Bogue receives the message from the Sheriff, then Bogue kills the messenger, literally. He begins to concoct his plan of attack.The seven bond together in town at night through a meal, drinks, and some laughter. This brings them closer to the townsfolk as well, giving them more of a personal reason to fight. However, The seven and the townsfolk prepare for the arrival of Bogue and his army. Traps are laid out and people are at their stations.Robicheaux becomes distressed over the thought of more killing, as he is haunted by the lives he's taken over the years. He tells Chisolm he wants no part of this and he decides to ride away into the night before the battle. Emma offers to take Robicheaux's place.As Bogue's hired men charge in on their horses, Bogue and a handful of his men watch from a distance. The men ride by a line of pinwheels set up by Horne, who then detonates some explosives that throw the men off their horses. The people begin shooting at Bogue's men, while the men fire back. Vasquez shoots McCann dead right into a coffin. Bogue retaliates by having his men fire a Gatling gun into town, mowing down countless people. The women and children are evacuated to a safer area. Robicheaux returns to town and joins the fight with Billy atop a church steeple.Bogue's own Comanche, Denali (Jonathan Joss), rides into town. Horne tries to fight him, but Denali takes him out with four arrows. Denali follows Emma into the saloon and tries to kill her when she shoots at him but has no bullets. Red shows up and fights Denali, ending with Red stabbing him and pushing him over a balcony.Faraday, wounded in the gut, tells Chisolm the have to take out the Gatling Gun, and says Chisholm owes him cover, the two rush out, Faraday grabs a horse and begins a long sweeping charge toward The machine gun. Robicheaux and Billy provide covering fire from the Steeple. The gun crew is bemused as the lone attacker gets closer, they shoot at him.The Gatling gun is fired a second time. Billy and Robicheaux are shot dead in the steeple. Faraday sustains multiple gunshot wounds before falling on his knees before a group of Bogue's men. He pulls out a cigar and puts it in his mouth. One of the men lights it for him before aiming the gun at Faraday. He slumps over, but then rises and shows a burning stick of dynamite. Faraday throws it at the men and it blows up in a huge explosion. Only Bogue and two henchmen are left.Chisolm quickly takes out the two hired guns confronts Bogue right in front of the burnt-down church. They have a duel, with Chisolm shooting Bogue's gun out of his hand. He shoots Bogue in the leg as he tries running into the church. Chisolm offers Bogue a chance to pray. Chisolm starts strangling Bogue with his own ascot as he reminds Bogue that he and his men came into Chisolm's Kansas town, raping and murdering Chisolm's mother and sisters in the process. Chisholm has a neck scar, he had barely survived a lynching. Bogue reaches into his ankle holster to get a gun and shoot Chisolm, but he is shot dead by Emma.Despite the massive destruction and untold lives lost, the surviving citizens are thankful to Chisolm, Vasquez, and Red. The people thank them all as they ride out of town.The final scene shows the graves of Faraday, Robicheaux, Horne, and Billy. Emma's voice-over states that the people of Rose Creek will never forget the men that fought for something that wasn't theirs, and what they did was...MAGNIFICENT. | comedy, murder, violence, good versus evil, humor, revenge | train | imdb | Another MADE-FOR-TV movie brought to the screen.More of the same from Hollywood.Lets re-make a classic, but ensure it's politically correct and an absolute that it represents every race, so as not to step on any toes.Oh,and lets give everyone modern-day attitudes and dialects, because apparently no one has the capability of acting with the original language or mannerisms associated with the time-period depicted.Filling a movie with a handful of 'regular stars' does NOT assure the film will succeed.
This one is like the recent 'TARZAN' movie.Save your money and watch the Seven Samurai & The Magnificent Seven (original) to see film beauty and entertainment..
If both these gentlemen want to continue to make these sorts of pictures for the next 20 years, I promise to keep watching.However, leaving aside the star power of the lead in this production, overall this film is a borderline remake.The original had a better ensemble cast, better music, and better acting.This is an "OK" remake (as many other members have opined here) with arguably better pistol-handling skills.And still a very nice way to spend a rainy afternoon..
Chris Pratt is great as an alcoholic and incredibly ballsy gunslinger, Faraday, but he lacks any gusto to really command the screen as does most of the cast outside of Denzel Washington (someone who I can't say enough good things about here).
Hate to be cliché voting this 7/10 but thought it was appropriate for a film of this nature.I was sceptical, like I imagine many were, when I first heard they were remaking The Magnificent Seven since the original is such a classic.
This approach I do not necessarily agree with as it comes across far too forced at times, like they were attempting to recognise as many different races or even 'minorities' as possible.It was cheesy at times, there is no doubt about this, but classically westerns were styled this way, being melodramatic at times and maybe one too many standoffs with intense close ups of characters staring at each other.
OK, first you need to know that the only thing I remember from the original is the music--and your reward for sitting through this is that you get that music during the end credits.I am ALL for diversity and want to see more actors of color in roles that could be played by any ethnicity, but this movie bends over backwards to be SO inclusive, that the viewer is distracted by that.
One of the things I liked best about this western was the pacing, sometimes I find westerns to be a little too slow (for my personal taste - subjective, I know) but I felt this movie nailed it, even with a run time a little over 2 hours.The action scenes are great, very well done.
Had this been a new western, rather than a remake of an awesome remake of a classic, I'd give it a 3.I loved the original remake & thought the new trailer was great, so admittedly went in with high expectations, especially with Denzel Washington playing the legendary Yul Brenner.The beginning is horrible and the first hour is plain bad.
Then again, They can get a pass because there wasn't much blood used in old time westerns and they probably saved millions on spectacular special effects, or the lack thereof.This movie is SO bad, that I did something I never do at the movies, got up & went to the bathroom to be comfortable in my boredom, without even asking my friend what I missed, because I didn't care.
I didn't really bond with the characters, except my concern for the horses, imagining as I always do in movies, the suffering these poor creatures went through during times of war & battle.This expensive movie will make money on the back of the original remake, and I'm sure they paid a fortune for the right to butcher it.
Why is Hollywood trying to remake EVERY movie that has been successful, when is the Gone With the Wind Remake or Casablanca remake coming out?Anyways back to this flaming bag of poo, this movie is not worth your time or money with its lackluster cast, dumb and ridiculous improbable stunts, the Gatling gun scene, and the cowboy ninja it just made me want to vomit.
Please save your money and buy the Blu-Ray Original Magnificent Seven money, it is a classic never goes out of style and doesn't need CGI, unbelievable stunts, or ninja cowboys the story the great cast and the action carry it.
After I saw the trailer of the movie I was expecting a fun western with just good action and nice characters because the cast is great on paper, but then the question of course is if it also works for the movie.
Denzel Washington gives the best performance of the movie by far but also Chris Pratt shows that Guardians wasn't a fluke, Hawke, D'Onofrio and just the entire cast works very well together for this nice team of 7 misfits that has to save the town.Also the action is great, it's very true to the old westerns.
It's one of the most mature PG-13 movies I have seen.All in all, the Magnificent Seven is a fun time in the theater, probably not as good as the original but better than most remakes these days (looking at you Ghostbusters) and I give it an 8.5/10.
By twisting the plot of the original film ,which itself was a Westernized version of Kurasowas Seven Samuria ,they ruined the movie.The idiots took a great morality play and turned it into nothing more than a politically correct statement.
This is not entertainment , it's left wing propaganda.By changing the bad guy from a bandit leader preying on a helpless village into an evil businessman/ developer/ polluter trying to take advantage of a helpless middle class town they've hit on every liberal agenda except climate change and gun control.By including diversity with a cast that represents every race except the aboriginal Japanese Anui they even got that commandment in.I really don't mind that so much, in fact I love most of Denzel's work, but it was enough to make it the last straw.What's so disappointing is that the cast IS great but the fundamental changes ruined the film completely.What moron decided to make this about the evils of Capitalism I can only speculate that perhaps the producer was Michael Moore or that high priest of the environmental movement Leonardo Dicaprio or both ?.
First off, I've seen both the original "Seven Samurai" and the Yule Brenner, Charles Bronson, Steve McQueen version about a hundred times; I love both of those movies.
If I look this movie as just a movie (without consider it as a remake of something else), Magnificent Seven is a good cowboy movie.I love Denzel's acting in this movie.
Enjoyable remake to the classic ¨Magnificent seven¨ is well played by Denzel Washington as a brave gunfighter named Chisolm (Denzel's first western film) who along with Faraday (Chris Pratt's first Western movie) , and their group (Ethan Hawke , Vincent D'Onofrio , Byung-Hun Lee , Manuel Garcia-Rulfo , Martin Sensmeier) set off in rescue some besieged villagers .
The film gets Western action , exciting riding , shootouts , it's fun and entertaining , although nothing new , being a remake from a famous Japanese picture , but displays a slight as well as violent style .
Unlike the fabulous score of the original, even the music sucks (evidently an unimaginative regurgitation of bits and pieces of everything James Horner had ever heard), none of the actors could actually ACT, and the storyline was a total desecration of the original— lacking the story, heart, and soul of perhaps the single greatest Western action/adventure film in history.
But I'd rather take the Hollywood movie stars of the past over the bored, uninvolved actors riding roughshod through this cinematic misadventure, especially the brain dead producers who actually believe that mindless revenge and violence will ever make up for a decent script, turning good filmmaking solely into a creation for corporate profit..
When Bartholomew Bouge (Peter Sarsgaard) threatens to through out all the inhabitants from a small town in the old west because of its rich land, the recently widowed Emma Cullen (Haley Bennett) sets out to enlist men to help them protect the village, that is when Sam Chislom (Denzel Washington) puts together a group of seven renegade gun men to help the villagers defend their land.Having never seen "The Magnificent Seven" from 1960 I cannot comment on anything regarding the update this version does and how it lives up to that, yet nor I care to do so or to compare it to its old originator "The Seven Samurai".
Of course Washington shows again how his is a kind of charisma that will be found in one out of a million actors almost literally, he doesn't need to to anything, we as viewers are simply carried away with him and he has always a way of showing that something deeper is going on in his character.The photography as everything is technically impeccable, the sweeping shots are beautiful, it makes the most out of its setting and gives us some great sunset and night sequences and images and even better battles with impressive practical special effects.
Not only is the dialog and action limp in this terrible remake of a great western (based off a great Japanese flick by Kurosawa), the filmmakers had to dig a deeper hole by making it so politically correct that the joy of watching the film is all but destroyed.
Where the original never leaves you wondering why any of these men would choose to put their lives on the line for a village they've never even been to, this remake actually gives Denzel Washington's character a reason, revenge against the villain.
Another desperate attempt by Hollywood half-wits to remake a classic.Denzel, as usual SUCKS, he is possibly the worst actor ever and i can only imagine he got the role because he was the lowest bidder.This is a film in which a viewer can be forgiven for rooting for the bad guys annihilate humanity.
It is an OK western, don't get me wrong, one of these that you will watch and forget; but pretending that this movie has anything in common with the Magnificent Seven - it is quite presumptuous and absolutely ridiculous.I guess they all badly needed the money, right, and expected that every one of us, real fen, will pay to watch this ...
I speak about the idea that the actual winners are the villagers while their heroes for hire are no more than fleeting characters moving from one place to another leaving very little behind them.Antoine Fuqua's subtle changes from the originals are at precisely this point, and also on the nature of the villain which he changes from a simple criminal to a corrupt capitalist who doesn't want to steal from the villagers but to take it all from them, believing they don't really matter.
There was no great acting on display here if you want a comparison between this cast of Denzel Washinton, Ethan Hawke, Vincent D'Onofrio, Chris Pratt, and Peter Sarsgarrd, and the 1960 cast of Yul Brenner, Charles Bronson, Steve McQueen, Eli Wallach, and James Coburn.
Seven gunmen in the old west gradually come together to help a poor village against savage thieves.The Magnificent Seven is directed by Antoine Fuqua and stars Denzel Washington, Chris Pratt, Vincent D'Onofrio; Ethan Hawke and a tonne of other badasses.
Even Vincent D'Onofrio is surprisingly (for me) good in this film.I love Antoine Fuqua as a director, I find him very versatile and effective, going from Training Day to Shooter, to two of my favourite movies of the past two years: The Equalizer and Southpaw.
I'm a fan of the good old fashioned westerns, including the original source material of this film, Akira Kurosawa's 1954 masterpiece Seven Samurai as well as the John Sturges' 1960 The Magnificent Seven remake starring Yul Brynner, Steve McQueen and company.
The remaining 2 hours are the icing on the proverbial (death by chocolate) cake and just as indulgent to the movie goer.Like its 1960s counterpart, the all star cast of Denzel Wahington, Ethan Hawke, Vincent D'Onofrio, and Chris Pratt bring all their combined and considerable talents to bear and deliver stellar performances.
The Magnificent Seven is directed by Antoine Fugua and stars Denzel Washington, Chris Pratt, Ethan Hawk and many others.
There is good character development that goes on throughout, from the very start right to the very end, although it has to be said that it would have been nice to know more of the back stories of some of the characters (in particular Ethan Hawke's, whose back story is hinted at but the movie simply leaves it there), as by the end we've only gotten a clear idea of the past of Denzel Washington's character.
The standouts in my eyes were Chris Pratt (who is playing the exact type of Chriss Pratt-y character you would expect him to play) and Ethan Hawke, who gave what was probably the best performance of the whole bunch, and at the same time offered an intriguing character that stuck out in a good way.However the best part of the movie is the final act.
Excellent Action-Adventure Shoot 'em Up. I went into the screening of Antioine Fuqua's remake of the 1960 classic western THE MAGNIFICENT SEVEN with the attitude of "how dare they make a remake of a classic, can't they just leave well enough alone." I left the screening realizing that I just saw a motion picture that might bring back the Western.For, THE MAGNIFICENT SEVEN is one terrific motion picture.Fuqua has all the elements at play here - a good cast (Denzel Washington, Chris Pratt, Ethan Hawke, Vincent D'Onofrio, etc...), an easy to follow plot (7 strangers come together to save a town from the bad guys), tightly directed and shot action sequences with enough humor thrown in to make it a fun 2 hour romp in the movie theater.The first half of this film is all about getting to know the "7" as they get together.
All these performances/characters are strong, but they take a back seat to extremely strong work put in by 3 film veterans...Ethan Hawk, an actor who I am usually Luke-warm on, re-teams up with his training day director and co-star to bring his best performance (at least for me) as legendary killer Goodnight Robicheaux, the always-interesting Vincent D'Onofrio shows quirkiness, humor and charm to slightly crazy tracker Jack Horne, and good-ol' dependable Chris Pratt reprising his "charming rogue" persona as gambler Josh Faraday, except he is not, he brings something else to this character that I haven't seen from Pratt before - a layer of darkness.
I did not see people leaving the theater many times, but was not surprised to see them do it during this film, ridiculous remake of a great movie, no soul, no real acting, i give the 2 points to the villain, the only one who gave half heart to his job.
This movie, on the other hand, is anything but a character study.With The Magnificent Seven remake, director Antoine Fuqua, clearly decides to keep with the style of the original 1960 film, which was itself a remake of the Kurosawa classic, The Seven Samurai.
For those who are fans of old style, shoot-em up westerns, or simply a fan of action movies with nasty villains and clever one- liners, this film will not disappoint.
Watched The Magnificent Seven featuring Denzel Washington(Training Day) as Sam Chisolm, Chris Pratt(Guardians Of The Galaxy,Jurassic World) as Josh Faraday, Ethan Hawke(Lone Survivor) as Goodnight Robicheaux, Vincent D'Onofrio(Netflix's Daredevil) as Jack Horne , Byung-hun Lee(Terminator Genisys,G.I. Joe Retaliation) as Billy Rocks,Manuel Garcia-Rulfo(Cake) as Vazquez,Martin Sensmeier(Salem) as Red Harvest , Haley Bennett(Hardcore Henry) as Emma Cullen, Matt Bomer(The Nice Guys) as Matthew Cullen and Peter Sarsgaard(Black Mass) as Bartholomew Bogue the films villain.
The 2016 remake comes from acclaimed director Antoine Fuqua ("Training Day", "Brooklyn's Finest", "Southpaw") and stars Denzel Washington, Chris Pratt, Vincent D'Onofrio and Ethan Hawke.
Yet another remake
but the trailers for this one were at least encouraging, especially with Denzel Washington playing the lead.I have vague memories of seeing the original The Magnificent Seven, (which is in itself a re-imagining of Seven Samurai), and I seem to remember liking it.
Yet another remake
but the trailers for this one were at least encouraging, especially with Denzel Washington playing the lead.I have vague memories of seeing the original The Magnificent Seven, (which is in itself a re-imagining of Seven Samurai), and I seem to remember liking it.
The story of 7 mismatched gun slingers who band together to help save a town from the coruption that is bleeding it dry, With superb supporting acting from Chris Pratt, Ethan Hawke, Vincent D'Onofrio and Byung-hun Lee the magnificent severn is a masterpiece and its that good the 1960s original magnificent seven take their hat's of this remake.With the perfect bad guy in Peter Sarsgaard this is one of the best film releases of 2016..
Much like his last collaboration with Denzel, "The Equalizer", this film focuses more on the action and the strength of its actors instead of fully developed characters or an original story line.
Not that is a bad thing per se, actually the classic movie of the 60s was a remake of Kurosawa's the Seven Samurais, but this time the result is very different.
In conclusion the new Magnificent Seven is a big disappointment that brings back the Western to the 50s, recent movies like Appaloosa or the remake of 3:10 to Yuma were much better and more entertaining..
Oh, but the original is a violent cowboy movie remake of the Seven Samurai, so we need some depth, right? |
tt0113409 | In the Mouth of Madness | In the midst of an unspecified disaster, Dr. Wrenn (David Warner) visits John Trent (Sam Neill), a patient in a psychiatric hospital, and Trent recounts his story:
Trent, an insurance investigator, has lunch with a colleague who preps him on his next assignment: investigating a claim by New York-based Arcane Publishing. During their conversation, Trent is attacked by a man wielding an axe who, after asking him if he "reads Sutter Cane", is shot dead by a police officer before he can harm Trent. The man was Cane's agent, who went insane and killed his family after reading one of Cane's books.
Trent meets with Arcane Publishing director Jackson Harglow (Charlton Heston), who tasks him with investigating the disappearance of popular horror novelist Sutter Cane (Jürgen Prochnow), and recovering the manuscript for Cane's final novel. He assigns Cane's editor, Linda Styles (Julie Carmen), to accompany him. Linda explains that Cane's stories have been known to cause disorientation, memory loss and paranoia in "less stable readers". Trent is skeptical, convinced that the disappearance is a publicity stunt. Trent notices red lines on Cane's book's covers which, when aligned properly, form the outline of New Hampshire and mark a location alluded to be Hobb's End, the fictional setting for many of Cane's works.
They set out to find the town. Linda experiences bizarre phenomena during the late-night drive, and they inexplicably arrive at Hobb's End in daylight. Trent and Linda search the small town, encountering people and landmarks described as fictional in Cane's novels. Trent believes it all to be staged, but Linda disagrees. She admits to Trent that Arcane Publishing's claim was a stunt to promote Cane's book, but the time distortion and exact replica of Hobb's End were not part of the plan.
Linda enters a church to confront Cane, who exposes her to his final novel, In The Mouth of Madness, which drives her insane; she begins embracing and kissing Cane passionately. A man (Wilhelm von Homburg) approaches Trent in a bar and warns him to leave, then commits suicide. Outside the bar, a mob of monstrous-looking townspeople descend upon him. Trent drives away from Hobb's End, but is repeatedly teleported back to the center of town. After crashing his car, Trent awakens inside the church with Linda, where Cane explains that the public's belief in his stories freed an ancient race of monstrous beings which will reclaim the Earth. Cane reveals that Trent is merely one of his characters, who must follow Cane's plot and return the manuscript of In The Mouth of Madness to Arcane Publishing, furthering the end of humanity.
After giving Trent the manuscript, Cane tears his face open, creating a portal to the dimension of Cane's monstrous masters. Trent sees a long tunnel that Cane said would take him back to his world, and urges Linda to come with him. She tells him she can't, because she has already read the entire book. Trent races down the hall, with Cane's monsters close on his heels. He trips and falls, then suddenly finds himself lying on a country road, apparently back in reality. During his return to New York, Trent destroys the manuscript. Back at Arcane Publishing, Trent relates his experience to Harglow. Harglow claims ignorance of Linda; Trent was sent alone to find Cane, and the manuscript was delivered months earlier. In The Mouth of Madness has been on sale for weeks, with a film adaptation in post production. Trent is arrested after he murders a reader of the newly released novel, who has altered eyes and a nosebleed; Trent asks if he is enjoying the book, and when the dazed reader nods, Trent tells him he should not be surprised before swinging the axe.
After Trent finishes telling his story, Dr. Wrenn judges it a meaningless hallucination. Trent wakes the following day to find the asylum abandoned. He departs as a radio announces that the world has been overrun with monstrous creatures, and that outbreaks of suicide and mass murder are commonplace. Trent goes to see the In the Mouth of Madness film and discovers that he is the main character. As he watches his previous actions play out on screen, including a scene where he insisted to Linda "This is reality!", Trent begins laughing hysterically before breaking down crying; finally realizing he was a character in the book all along. | comedy, fantasy, gothic, murder, paranormal, cult, violence, flashback, good versus evil, insanity, psychedelic, suspenseful | train | wikipedia | After the box-office failure of "Memoirs of an Invisible Man" in 1992 forced him to work in TV (with the movie "Body Bags"), director John Carpenter returned to his roots in the horror genre and began working in what would be his return to the big screen with the 1995 horror film, "In the Mouth of Madness", a movie that would become the third and final part of his Apocalypse Trilogy (an unrelated series of horror films started with "The Thing" and followed by "Prince of Darkness").
Together with writer Michael De Luca, Carpenter crafted a film that pays honest tribute to the genre's original root: the written word.In the film, Sam Neill plays John Trent, a freelance insurance investigator hired to find out if the disappearance of horror writer Sutter Cane (Jürgen Prochnow) is part of a complicated marketing plan, as he is the most popular writer at the moment.
Together with Cane's editor, Linda Styles (Julie Carmen), Trent will attempt to find out where Cane is, but will discover that the famed horror writer has a deep dark secret hidden in the apparently not so fictional town of "Hobb's End".Inspired by legendary horror writer H.P. Lovecraft, De Luca's story is a powerful ride to the dark side where the line of fiction and reality disappear.
As a tribute to Lovecraft, De Luca captures that atmosphere of dread and madness that was so characteristic of Lovecraft's works and that no film adaptation of his works has managed to capture.A fitting return to form, "In the Mouth of Madness" is again John Carpenter at his best, giving form to De Luca's imaginative script with amazing talent and an effective care for the story not seen since "The Thing".
While the plot is clearly inspired on the work of H.P. Lovecraft, Carpenter completed the "tribute" by adding countless of references to Stephen King and Nigel Kneale (his own favorite writer), making "In the Mouth of Madness" a homage to writers of horror fiction.
With great skill, Carpenter crafts a film that is never boring nor tiresome, and that even manages to transmit the feeling one would get by reading a book.Sam Neill delivers an excellent performance as John Trent, who incredulous of Cane's talent, enters the unknown and discovers the source of Cane's popularity.
Jürgen Prochnow and Julie Carmen deliver both excellent performances too, although their characters receive few screen time (even for important supporting roles) as it is truly Neill who carries the film becoming the focus of the story."In the Mouth of Madness" is a haunting horror film that is both intelligent and effective thanks to Carpenter's expertise as director, and more than 10 years after is release it's hard to see why it failed at the box-office.
Despite some quibbles with the special effects (as I think that Carpenter shows a lot more than what was needed), the film is overall a very well-done film that deserved a better reception in its day.With an excellent cast and a superb story, "In the Mouth of Madness" ends up as a really inventive story that proves that horror in film can deliver the same creative as it has in literature.
To most people, the name John Carpenter is (and will always be) related to the "Halloween" franchise, but personally, I find "The Thing" and this film as the best works of his career.
Insurance claims expert John Trent (Sam Neill) Goes off on a search for missing horror author Sutter Cane (Jürgen Prochnow), convinced his disappearance is a hoax.
Filled with great direction,wonderful performances and great special effects In The Mouth Of Madness is John Carpenter at his best.In The Mouth Of Madness tells the story of private investigator John Trent(Sam Neill),an investigator who investigates phony insurance claims.
During the time the Horror genre was seen as dead there was a few great Horror films that came out during the early to mid 1990s and one of those Horror films was John Carpenter's In The Mouth Of Madness.
But In The Mouth Of Madness has gain a cult following among Carpenter fans and Horror fans over the years be the film is great and unique.
Yet the writer does manage to bring H.P.'s grand madness to the screen, by mixing it up with a little Stephen King magic.Indeed, this is like a horror fan's dream come true: Carpenter making a movie to answer the question "What would Stephen King write if he had Lovecraft's madness?".
In a way these things are practically creating a certain existence and when we read or write these stories we suspend our disbelief because depending on how much we enjoy the story we want to almost believe it's real.This is my third favorite movie from my favorite movie director John Carpenter and it's also one of my personal favorite films in general; but also the last in his apocalypse trilogy (my favorite is "The Thing") It's one of those surreal horror films or just films in general you don't see often it's something that shows up on an occasional amount of years or could slip though the cracks.
Anyway in format it seems like a simple tracking mission mystery but what makes those kinds of plots interesting is one thing always turns into another, and this film does that but takes a more radical approach because it screws with you perception of reality in the film and pulls the rug from under you when you least expect it to.The protagonist despite unreliable is good, Insurance investigator John Trent played well by underrated actor Sam Neil.
The antagonist Sutter Kane is also great despite not being in the film that long he just has this presence where on the outside he seems like an ordinary guy (like most authors are) but you sense there is something supernatural about him, after all everything he's written has came true.I love the unsettling feeling it gives you, once again John's trademark feeling of isolation, doom and dread which help successfully add to the feeling that the world could be ending.
And of course the music as usual is great, I love the theme song it's just so cool it's one of my favorite movie themes ever.The film really gets at our perception of reality, are we really in reality or could we truly be characters from a book after all as a saying goes "life is a story".
Trent ends up in Hobb's End, a town right out of Caine's books (literally) where the morbid tales of fiction are becoming reality.The movie, although muddled in places, too repetitive (on purpose), and too reliant on flash forwards, has lots of things to say about the perception of reality and it interesting and entertaining.The supporting cast is good: John Glover and David Warner are psychiatrists, a subdued Charleton Heston is a publisher, and Bernie "Revenge of the Nerds" Casey is Trent's boss, but the highlight is Frances Bay as the sweet Mrs. Pickman.
In one scene there is a special effects dummy head in place of Carmen's and the dummy head out-acts her.This is not as great as "The Thing" but better than "They Live" as far as John Carpenter's paranoid, reality-bending flicks go, and is worth checking out..
This is my second favorite horror film of all time mainly because it still weirds me out (a horror movie plus in my book) and it reminds me of the work of our lord - H.P. Lovecraft.Sam Neil is a great actor and before watching this, I had only seen him in dramas and thrillers, so I did not know what to expect - believe me, it is the best way with this film.
Was I in for a shock/good time.It involves an insurance detective named Trent (Neil), who is asked to investigate a mysterious horror novelist called Sutter Cane (by ape-hater, Charlton Heston).
The story is very original and inventive and also has a good critique about the influences of the horror franchise.The first 2/3 of the film are masterful, the old John Carpenter seems to have returned at full force.
Effortlessly creating a creepy atmosphere, astounding visuals, some gross-out horror combined with a Chandleresque detective mystery, In the Mouth of Madness seems to be competing for the title of Carpenter's best ever film.
He has a good cast to work with here; Sam Neill is terrific in the lead, Jurgen Prochnow is creepy and it's fun to see Charlton Heston in a small role.For horror fans and Carpenter disciples this film is a must see..
It does lose a little something once the mystery elements are de-emphasized and the lunatic imagery takes over, but there is something here for a variety of horror fans, those who crave imaginative effects work and those who simply enjoy the idea of imagination run amok, as characters end up in a place where fantasy and reality are no longer distinguishable from each other.
The visual effects are simply spectacular, with the renowned KNB group obviously having a ball coming up with assorted gore and creature gags.Sam Neill, who'd previously played the villain in Carpenters' "Memoirs of an Invisible Man", stars here as John Trent, a cynical freelance insurance investigator who is good at what he does, and also *enjoys* what he does.
When he and his travelling companion, Linda Styles (Julie Carmen), arrive in the small town of Hobbs End - a place that supposedly *only* exists in Canes' mind - things take an extremely bizarre turn, and poor Trent, one of those hardcore rational types who is sure there must be some logic to all of this, is taken for a dark and interesting ride.This had been written a few years previous by future big time Hollywood executive Michael De Luca, and was intended to be a derivation of concepts created by the legendary H.P. Lovecraft.
Some of the supporting actors - David Warner, John Glover, Bernie Casey, Peter Jason, Frances Bay - aren't seen all that much, but it's still nice to see them here.Like a lot of Carpenters' work, it just wasn't appreciated that much in its time (20 years ago now), but it's gained a fair amount of respect in the years since among horror fans.Eight out of 10..
Sam Neill is an insurance investigator searching for Cane, as instructed by Cane's publisher Jackson Harglow (Charlton Heston), who sends the beautiful Julie Carmen to assist Neill.Well-acted and great direction by Carpenter make this ultimate horror film is you actually want to be frightened..
John follows his instincts and travels with Cane's editor, Linda Styles (Julie Carmen), to New Hampshire seeking for the apparently fictional town of Hobb's End. While driving along the night, Linda reaches the Hobb's End, and John discloses that Sutter Cane has unleashed a powerful evil force in the black church of the mysterious town, and his twisted imagination is changing the reality and perception of those that read his novels."In the Mouth of Madness" is a journey to fear and madness through the darkness of a twisted mind of a writer.
One of the more disturbing movies by the great john Carpenter, at his best in narrating the incredible story of a book who reshape reality making space for new Gods to come.
Sam Neill, as John Trent, in one of his most memorable roles and Jurgen Prochnow as the writer Sutter Cane, deus ex machina of the story, are great as the antagonists of this delirious script, that grab you by the balls since the start and don't let you free till the end titles.
Sam Neill (badly miscast) is the insurance investigator who's assigned to track down a world-famous horror writer who's gone missing with his latest manuscript, a (literally) mind-twisting book set in the town of Hobb's End. Having located this 'mythical' venue, Neill falls prey to a variety of monstrous visions conjured by the writer's imagination, at which point the plot becomes irrelevant and the casual viewer might just as well pack up and go home.
In The Mouth Of Madness is a very cerebral and very intense horror film from one of the genre's greats, John Carpenter.
In The Mouth Of Madness is a very original and well crafted horror film and in my opinion some of John Carpenter's best film work in the 90's..
31 Days Of Horror: Day 28John Carpenter's In The Mouth Of Madness may just be one of the director's most underrated films.
This movie is more a tribute to him than anything, and I think it does a good job.Over all a great film to watch if you want something to make you think a little, if you enjoy Lovecraft in the least (or hate him, either way), or like Sam Neil, who does an awesome job here; very believable.
"In The Mouth Of Madness" was another great horror film from John Carpenter, packed with surprises and suspense.
Well, `In the Mouth of Madness' is a lot like other John Carpenter films interesting concepts, but the results are often hit or miss.
Still, the good outweighs the bad, and I have to give John Carpenter credit for at least trying to create a chilling horror film, even if the results are somewhat spotty.`In the Mouth of Madness' is decent, but not one of Carpenter's best.
It takes you on a creepy ride through some of the most surreal settings in cinema...OK, maybe in some places, the plot goes a bit haywire, but c'mon, give this film the credit for being so different from other tripe like mindless slasher movies with some stupid looking boogey-men!This is a very memorable movie, very atmospheric and has some nightmarish scenes never before seen in other clichéd horror movies.A true trip in the mouth of madness!
The visual effects were decent, but the focus on John Trent (Sam Neill's character) trying to rationalize what is happening with the books written by Sutter Cane and how it begins to effect the public and the plunge into madness and mass hysteria and reports of people turning into monsters.
John Trent, Sam Neill, is institutionalized for a serious mental breakdown at the beginning of the movie and is being interviewed by Dr. Wrenn, David Warner, in a padded cell with nothing but black crosses drawn by John with a crayon that he was given by one of the attendants.John tells his story in flashback about him being an insurance investigator that is called by the Arcane Publishing House to find it's top writer Sutter Cane, Jurgen Prochnow, a Steven King like horror/mystery writer.
Maybe one such scene is the part where Sutter Cane (Jurgen Prochnow) tears himself open, but what happens to John Trent (Sam Neill) right after that more than makes up for anything unrealistic in the movie.
In the Mouth of Madness may (and at times, does) seem like just another Lovecraft-inspired, low-budget movie, but in reality it possesses some characteristics which really set it apart.The story revolves around John Trent, an insurance claims investigator (played by Sam Neill) who is hired to find Sutter Cane (Jürgen Prochnow), a famous horror writer who disappeared, and the strange things happening around Trent while he looks for Cane.I don't want to give away any important parts of the movie (but I probably will, anyway), but some things make this movie stand apart from other horror movies: The plot is actually very well-built, with many little loops and twists.
"In the Mouth of Madness", however, differs from the rest in that it deals with written horror fiction rather than film.The story revolves around an insurance investigator, played by Sam Neill, who is hired to find out whether the disappearance of best-selling horror novelist Sutter Crane (Jurgen Prochnow) is a scam or not.
It's a brilliant and severely underrated film that if you watch it It will driver you mad.San Neill(Who does good here.) has some charm and great skill to be in horror as in half the movie once he get's to Hobbs End he is almost always petrified with fear at the horrific things he seems.
Forget Vampires and Ghost of Mars and let us remember his work such as The Thing, Haloween, The Fog, Prince of Darkness......and this little gem.In the Mouth of Madness is one of those horror films, just like The Thing, where at the time of its release not many people really acknowledged it.
But now 10 years on because horror movies are being made so badly at the moment we have to rely on the past to show us how a true horror movie is really done.The film is about Sam Neils character John Trent who is a hired Insurance Investigator trying to track down Cult Horror writer Sutter Cane played by Jurgen Prochnow, who apparently has gone missing.
When bestselling horror novelist Sutter Cane (Jürgen Prochnow) disappears before the completion of his latest book, insurance investigator John Trent (Sam Neill) is called in to try and locate the missing writer.
Trent's search leads him to the sleepy town of Hobb's End, the originally-presumed-fictional setting for Cane's last book, home to some really weird characters and potential portal for the 'old ones', who become more powerful with each new convert to Cane's work.I have to admit that the mind-bending 'what is reality?' narrative of In The Mouth Of Madness had me scratching my head at times, but I still enjoyed the overall experience, partly thanks to the excellent central performance from Neill, a good supporting cast that includes John Glover, David Warner and Charlton Heston, and director John Carpenter's lively direction, but largely because the film is just so damn FREAKY.Carpenter doesn't bother explaining all of the weirdness
he simply lets it wash over the viewer like a bad dream, the disturbing visuals and unsettling atmosphere slowly worming their way under the viewer's skin.
Insurance investigator John Trent (Sam Neill) is hired by a publisher to find missing horror novelist Sutter Cane (Jurgen Prochnow) before his new novel is released. |
tt0161860 | Nirgendwo in Afrika | The film begins in Africa, a picture of a boy riding his bicycle through the open plains carrying a note of great significance to the main characters. A once prominent Jewish family has been torn apart by the promise of war in their homeland. WWII is on the verge of breaking out across Europe and the Nazi party's stranglehold is tightening around Germany's neck. Cut to an icy glade in Germany where many children are sledding and playing in the snow. A mother and daughter are sledding together down a snowcapped hill; Regina, afraid of her own shadow and even little dogs, and her mother Jettel, an ambitious socialite. Still in Germany after Walter, a former lawyer (Regina's father/Jettel's husband) has fled to a farm in Kenya where he is working as the foreman but has caught malaria, Regina and Jettel are still living a life of comfort until they receive a letter from Walter. The letter beckons them to come to Kenya where the Nairoibi population of Jewish citizens has agreed to pay their fare into the country. In his letter, Walter begs Jettel to bring an icebox, mosquito netting and to leave the China at home as it will be no use in their new home. Max, Walter's father, wishes the family well but does not wish to accompany them as he feels that everything will be okay within a year or two.Cut back to Kenya where Walter is still sick with malaria, the farm's African cook Ouwour dismisses the normal Quinine treatment prescribed by Süsskind, a German expatriate and family friend, in favor of an African herbal treatment and miraculously Walter is healed. Upon being healed, a bond is formed between Walter and Ouwour when Walter gives his former judicial robes to Ouwour for curing him, stating that "he no longer needs the robe, he was a lawyer in his first life; he needs to think with his braun, not with his brain now.Six months later, Regina and Jettel arrive in Rongai, Kenya with Walter. Walter recognizes immediately that Jettel has no desire to think of Africa as her new home and views it only as a stop in their lives as opposed to a second life. Regina on the other hand immediately forms a bond with Ouwour and begins to adapt to life in Kenya, befriending the local children and exploring her surroundings. Pan shortly into the future and Regina is becoming an independent child, no longer afraid of snow and small dogs. Süsskind comes to deliver supplies and stay with the family; Jettel naively asks how long he has been away from home, to which he replies "this is my home." This is a sense of awakening for Jettel who until now has perceived their rickety farmhouse as only a place to stay. That night Walter and Jettel get into an argument because she had foolishly packed the china and finer goods and left the more important goods, pertinent to their surroundings, at home because she simply refused to let go of their former pampered lifestyle. With no other real companion than Ourwour, Regina begins to learn the lay of the land and the day to day of African life from him whereas Jettel still looks at him as almost a slave. She asks for his help to gather water in one scene, to which he replies that it is womans work yet she persists. He is mercilessly teased by the African women at the waterhole because he allows his ties to the family to outweigh tradition.Six months later, still on the farm, Jettel is still unhappy with their lack of plush surroundings and complains that she needs meat and is tired of eating "slop." This bothers Walter who reluctantly and in anger informs her that they escaped Germany in the nick of time; the Nazi's had raided Jewish residences, businesses and synagogues and had sacked them all. Jettel finally begins to realize that Walter might have been right all along in his assessment that they had to leave Germany and that the Nazi's looked at the Jews as subhuman. On Nov. 10, 1938, Walter writes his father a letter begging him to leave and bring the family to Kenya before it is too late. Walter has realized that his parents are some of the most important people in his life because they were always there for him and now he wants to be there for his family, to provide the way his parents did. Meanwhile, Jettle still has biases against the black population and thinks they are dirty, warning Regina against anything unusual they might try to make her eat or do. Regina, already stubborn and curious, sets off to do just that.Fast forward a little and Jettle starts to realize Ouwour is more than a slave, that he is a smart individual. Six months after that, Regina and her father are loving their "second life" while Jettel is slowly coming to realize what life as an Afrcan is like. Shortly after Walter and Regina and Jettel begin to really adjust, war fully breaks out between the British and Nazi Germany and all Germans living in British holdings, including Jews, are imprisoned in internment camps. Walter goes to one, Jettel and Regina to another, Regina making Ouwour swear he will find them when they get out. For Walter it is a sad and lonely time where he questions whether two people are truly meant to be together for their whole lives. For Jettel it is a retreat back into civilization as the women are put up in a 5 star resort and pampered because the British cannot find other holdings for them. Though back in a pampered environment, Jettel realizes that Regina needs a stable home, even though she is flourishing still and learning English to boot, and that although Jettel prefers a life of luxury, she must be there to support her husband in his wishes. When the Jewish women of the camp begin to organize a drive to allow their husbands to be released, Jettel goes along with them and writes a letter to the Jewish community to help organize their release. Meanwhile, Walter begins to question why Germany would turn its back on them and becomes embittered against the Nazi regime. Once their release is organized, it is reliant upon the men of the family having a job to go back to. Because Walter has been terminated from his job as farm steward he cannot be released. Jettel arranges for a special visit to the Jewish community leader in Nairobi to ask for help yet she cannot arrange it. Upon learning of her wishes, a British soldier who speaks German and has had his eye on Jettel proposes that he can help arrange a job for Walter through some of his contacts but it comes at a cost; Jettel must sleep with him. With her marriage on the rocks and she wishing for her family's protection she willingly agrees. A job on a new farm in, Kenya is arranged and the family moves there. Once again, Regina flourishes in her African surroundings, absorbing culture and life as easily as if she were a native. However, Walter and Jettel have problems as he begins to suspect Jettel may have been unfaithful in order to provide his release. This, accompanied with his embitterment towards Germany lead him down a further path of despair and desolation towards his country. Finally accepting her life as woman of the farm, Jettel begins to enjoy her African surroundings and day to day life that comes with it.On October 2, 1940, the family receives word from his father that it is impossible for them to emigrate now and that he is afraid for his and his family's well-being. This is a major blow to Walter and he begins to resent Hitler and his regime to a point of no return. Shortly after, Owour miraculously finds the family on their new farm and once again restores a sense of order to them. Through his teachings, Regina truly befriends the village children and starts to become immersed in the culture. While Jettel does not mind, she begins to reinstate her wishes that Regina attend school and learn a proper education. Six months later, Regina begins to attend a British ran school where, although she is not exiled, she quickly becomes aware of how Jewish means different to others: no prayer participation, different rules, and somewhat of an unease coming from the other children. Although it is different, Regina thrives in her schoolwork, mainly due to her drive to achieve despite being different.While she is gone, Walter and Jettel struggle to find themselves back in love. Once again the question of love for life is brought up and although neither of them agree that they want to be with each other, they seem to recognize that they need each other even if it is only for one anothers sake. They reach out to each other in a philosophical form more than a loving form but it seems to keep them together. Regina visits sporadically and still fits right into the African culture of the village despite her preening at the British academy. Meanwhile, Jettel is settling more firmly into her role as woman-ward of the farm, taking more part in the day to day running of the farm. It is during one of Regina's visits that the family receives news that their relatives in Germany are being sent to concentration camps in Poland. Walter tells Jettel that Poland means death yet she is unwilling to accept that at face value even though she knows the truth in his words. While Walter becomes more and more embittered towards his former homeland and begins to want to do something about it, Jettel seems to embrace Africa more and more. At one point she cannot leave an old woman to die alone and a villager explains to her that this is the way of the tribe, to be with the ancestors. This seems to comfort Jettel in that she begins to realize that her family too will be with their ancestors.Months later, Süsskind visits and informs Walter that the British army is allowing Jewish Germans to enlist to fight against the Nazi's. While Jettel doesn't like his decision, she becomes resigned to it and assumes Walter's responsibility as head of the farm with Ouwour's help. Once Walter has left however, Susskind begins to visit the farm more often and plays upon Jettels need for companionship. This goes on for a few months until Walter returns on leave after the Allies landed in Normandy in force, symbolizing the beginning of the end for Nazi Germany. Regina however, aware of her mother's former tryst with the British soldier, is unforgiving toward her friendliness with Süsskind and confronts her. This has two effects on her mother, the first of which is that she recognizes that Regina is becoming a woman and is struggling with her own rites of passage between becoming a woman of the "civilized" world and that of the African. The second is a new found respect for her husband and what he has done to keep the family safe and together. While being Jewish, she comes to recognize that faith and ethnicity have nothing to do with the perception of the outside world when they refuse to see you as human; much as she formerly thought of the African people when she first came to the continent from Germany. When Walter returns again on leave, he and Jettel share a passionate night in which they conceive a child. It is on this night that he informs her that their family is dead and that he has been chosen to go back to Germany to start a new western government there. In November of 1946, he receives his commission to go back and must prepare his family for their return. Neither Regina nor Jettel take this news well as they have both immersed themselves in the culture as he once had when he first arrived on the continent. The roles of husband and wife had now been reversed as she was happy finally as the proprietor of their farm instead of missing their former plush life in Germany and with him wishing to return to it.In the end it is Regina, reluctant as she is to return to a land of which all she remembers is fear that is the voice of reason between the two parties. Süsskind is at dinner with them when Walter announces his decision that they will return to Germany, Süsskind, the first to embrace Africa as his home cannot understand Walter's welcoming readiness to embrace Germany as his country once again, angering Walter. Jettel wants to stay at the farm and continue their life as framers while Walter wants to return to Germany and build a new, non-corrupt political system. They fight and he begins to leave back to the military base when a huge swarm of locusts come to the farm and threaten the entire crop. As he is leaving he sees the entire village go out to protect the crop and he remembers Regina's last words to him, "mother needs you." He joins the fight against the locusts and when Jettel sees this it seems to rekindle the flame between them, she thinking he'd already made up his mind to leave. While he is still torn between love for country and love for family, Walter tells Jettel that he cannot and will not leave without her. She leaves the decision in his hands resigning herself to the love of her life over the love of her new country. When preparing to leave, Walter finds Ouwour preparing for a journey of his own, a long safari he must go on in order to keep from dying of heartbreak, so deep is his love for this family that has come to cherish his country. Walter finds the robe he gave him upon first meeting and tells him he has forgotten it. Ouwour responds that he has not forgotten it, it was never his to forget as Walter had told him that he didn't need it in his new life. Ouwour calmly informs Walter that he is returning back to his first life and leaving his second, so he will probably need the robe again. The family boards a train to return to Germany, thus coming full circle in their journey for a new life and having found it, being able to return eventually to their old one. However, this time, the return to their old life came with a new member of the family; a son was born on June 6, 1947, thus representing a new chapter to an old way of life. A tale of a complicated and complex journey of people searching for their own purpose and meaning in life and finally, in a roundabout way, finding it.In this movie appears Juliane Köhler who will later play the role of Clara, Fritz Shimon Haber's wife in Haber. | cult | train | imdb | It is the best movie I've seen this year, and more than that, it was one of the most amazing film experiences of my life.It is Caroline Link's "Nowhere in Africa", which won the Best Foreign Film Award when, in actuality, it was far better than the Best Picture of the Year.
To call it a great or brilliant or majestic film is an understatement; in fact, I'm at a loss for adjectives to describe it.The film tells the story of a German Jewish woman and her young daughter summoned to Kenya by her husband, circa.
Adolf Hitler is on the brink of declaring his "final solution" of the Jews, and it is with great luck that Jettel and young Regina escape.In Africa, they adapt slowly to their new rural life.
While Regina befriends cook Owuor, Walter and Jettel's relationship threatens to destroy itself because of the hardships the family encounters.I will not spend too much time going into detail, for watching this masterful story unfold is a treasure in itself.
Merab Ninidze has some great scenes with Walter, the father; and Sidede Onyulo is simply magical as Owuor.But the movie belongs to the two girls who play Regina.
In 1937, the non-orthodox Jewish German lawyer Walter Redlich (Merab Ninidze), aware of the growing of the Nazi movement in Germany and how it would jeopardize the Jews in his country, moves alone to Nairobi, Kenya, to administrate a farm.
Traumatic at first, then the family discovers a new way of life to be not without its rewards.Listening from a portable radio in Africa about the details of Jewish holocaust is somewhat confining but a wonderful way of providing emotional tension central to this story.
The film as directed by Caroline Link, based on a novel by Stephanie Zweig, presents us with a family of survivors who will cling to life by going out of their world into the great unknown and a continent away.In Germany the Redlich family is upper middle class.
That does not mean that the movie is without its moments (the brilliant young German daughter speaking with the British school headmaster was one such moment, wonderful), but as a viewer I kept wanting more out of each relationship, both between the humans, and between the humans and the place itself.
Interestingly, much of the film is told from the viewpoint of the daughter and it's nice to see her sense of wonderment over this strange land as well as her fast acceptance of new ways and people.
The wider story here is about problems arising from adaptation to new circumstances.This movie received an Oscar for best foreign film.
The things that appealed to me about the story of the film was the juxtaposition of the lives of the tribal Kenyans and those of the German-Jewish émigrés (particularly how images of the Pentatuch were reflected in the story of the main characters, i.e. the locust, the wandering, the image of Africa as a "wilderness).
"Nowhere in Africa" ("Nirgendwo in Afrika") approaches the Holocaust from the perspective of a couple with a young daughter who had the insight - instinct, perhaps - to flee the boiling cauldron of Nazi Germany before doors closed and deportation and genocide ensued.The cast is largely unknown here and their names can be found on IMDb so I won't list them.
A friend who fled Germany at the accession of Hitler, Susskind, writes from Kenya imploring the couple to emigrate with their precocious daughter, Regina.Without showing violence or the emergence of growing and perfervid anti-Semitism, several brief scenes adumbrate what we know will follow.
But the agony of watching complacent, good and decent people eschew escape because of their faith in the perceived underlying decency of a liberal German populace hurts no matter how often viewed (I wouldn't be writing this review if MY parents hadn't fled at exactly the same time as the Redlichs and their relatives who stayed, virtually all, subsequently were murdered).The Redlichs arrive in a Kenya that has no use for a Jewish lawyer from Germany, in fact little use for Jews at all.
Her growth in the story, largely aided by a black servant, Owuor, is touching.Let's take a short escape to reality: this film shows a Kenya in which proud Africans co-exist with Caucasians.
Nowhere in Africa is a film, directed by Caroline Link, dealing with a Jewish family who must move to Africa in the midst of World War I.
Of course much of value is unavoidably lost on those who speak no German.A perhaps bloody minded question: In that climate no less, does anyone see the father EVER wearing a hat, or is this a slip of authenticity peculiar to the (silly) fashion of the present day?In any case, if you are not put off by the work involved in a foreign language film, see it if you are Jewish or especially if you are not..
One can think of reasons Jettel on the whole adapts better than Walter and in the end doesn't want to go back to Germany, but Walter still sees himself as German, despite most of his family having been wiped out in the holocaust.
Perhaps it is because we are seeing the child's incomplete view, as worked over by the scriptwriters, who at times seem to be guessing.Being so German-centred, the film casts the Kenyans as local colour, though Owuor the cook is a well-rounded portrayal by Sidede Onyulo.
It is an absorbing drama of a Jewish family's flight from Germany in 1938 to Africa, where life exacts demands in the fields as well as the hearth, at a pace so finely tuned, it all seems terribly nice even at the worst of times.Unlike the passive `Pianist," this film actively ventures into the wilds to struggle with the growing awareness of the Holocaust's terrible toll around the world.
This family, freed from Nazis, still faces disintegration, with a wife, Jettel, unsettled in the new world; a daughter, Regina, increasingly bound to it by the day; and a father, Walter, deciding to stay as a farmer with his family or participate as a lawyer in the reconstruction of Germany."Nowhere" suggests how difficult it is to settle anywhere outside of your homeland and how dangerous people and ideals are when you are vulnerable to change.
Cooks don't dig in the ground.' In Link's favor, however, is a memorable relationship, unique and touching, between Regina and the servant.`Nowhere' won a 2003 Oscar as best foreign language film and five German Lolas, including `best picture.' Such achievement, well deserved for this satisfying story and lush photography, is best reflected in a line spoken by a hotel manager who refuses to treat Jewish prisoners inhumanely: `These are our standards and we are not willing to compromise.' In that respect, `Nowhere' is definitely `somewhere.'.
Nowhere in Africa, this year's winner of the Foreign Film Oscar, tells the story of a Jewish family that emigrates from Breslau, Germany, to Kenya in East Africa, immediately prior to World War II.
This film touched me in several ways: as a reminder of what it is feels like to be an outsider, of the stresses of life in a new environment, of the pain of awaiting news of the fate of loved ones many miles away, and of the endurance of family.
I am a big fan of German cinema, and when I realized that Nowhere in Africa won the Oscar for best foreign language film, I just went and watch it.
Aside from the perceptive plot (a German Jewish family flees the Third Reich and moves to East Africa, where the daughter develops a relationship with a local African), there's also the impressive cinematography.
The husband was a lawyer in Germany and the wife belonged to the social elite - it is now all different and they have to cope with the new situation.It is also a great story about friendship between white and black that doesn't reflect the colour of your skin.
While the director of "Nirgendwo in Afrika" may have felt this need (I really don't know), this film shows new characters, people that had the chance to watch the war from afar and process the changes in their lives (and other's too) in a unique way.I found the little girl's point of view very interesting.
The Kenya native characters are also wonderful, with their unique vision of their world and their wisdom.A delightful movie with lovable characters and a great story to tell..
It tells how a Jewish family flees Germany in 1938 and settles in Kenya for the duration of the war, and how each one in their separate ways, adapts to their new environment.Jettel leaves Germany with her young daughter, Regina, and reunites with her husband, Walter, who went ahead and found employment tending cattle on a ranch.
Jettel is horrified by her new home and wants to return to civilization - she is, frankly, a jewish princess at this stage in her life.But Regina adapts quickly, making friends immediately with their Masai cook, Owuor.
Even people who have no personal interest in Kenya should find this a great film--cinematography, story, music background, all terrific.
While the film is about a Jewish family that moves to Kenya in Africa to escape the holocaust it's themes of identity, acceptance, difference and tolerance are universal and beautifully handled .Forgive me from quoting from one of the advertisements of the movie but sometimes 'home' maybe a place where you least expect it..
You come out of this movie with a longing for far places and real life experiences.This is the story of a Jewish family that escapes to Kenya and of its struggle to find their place in the new country and among themselves.
Nowhere in Africa' is a tale of the plight of a Jewish family in Germany that is forced to come to a nowhere land, Kenya, to escape the Nazi wrath during WWII.
The girl child, thrown into a new environment, takes a no-prejudice approach she makes new friends (best of whom being their local cook), learns their language and tradition, and comes out as a refreshingly mature person.I think the high point of the movie is its deft handling of the contrast between resilience of human spirit and tenuous nature of human relationships.
After so many WW2/Holocaust movies,especially on the heels of The Pianist, I was glad to learn a story I hadn't heard before, that of a German Jewish family who fled to Kenya in 1938 and lived there 9 years.
The father, Walter Redlich, was a lawyer in Germany, so this is far from anything he is comfortable doing or anywhere he is comfortable being, but he rightly feels that deadly changes are inevitably coming to his home country, and so he has little choice.His wife Jettel is also quite uncomfortable, having insisted on bringing the good china to the middle of nowhere.
Germany's Nowhere in Africa won Best Foreign Language film, but it didn't get nominated for the acting it deserved.
We get movies like 2 Fast 2 Furious at the top of the box office while we have beautiful films that should be seen by all in out-of-the-way theater and the median age for people seeing it is 72.
Also, their daughter Regina (Lea Kurka and Karoline Eckertz, played by different kids in different ages) deals with her new lifestyle in Africa, and with their amicable cook Owuor (Sidede Onyulo), with whom she gets along great.
A German Jewish family escapes Hitler's genocide by immigrating to Kenya shortly before World War II in writer and director Caroline Link's Nowhere in Africa, but life is not easy in the rugged country.
Kohler's character in particular goes from one extreme to the other; when Jettel first arrives in Africa, she chastises their cook, Owuor (Sidede Onyulo), and tells him to learn German, but by the end she speaks Swahili fluently and makes the sweeping statement that she has learned the value of differences.This moralistic statement characterizes the script's dialogue that begins to suffer near the end of the film.
Another German expatriate, Süßkind (Matthias Habich), who frequents the Redlich household rebukes Walter for pressuring Jettel to return to their native land when he says, `We're Jews even if it doesn't mean much to you'--a statement sorely misplaced shortly after Jettel tells Regina that Judaism has never been of much importance to their immediate family.
The high-minded nature of these statements and many others in addition to the anti-Semitic words of the headmaster at Regina's boarding school corrupt the script's initial eloquent but believable language that communicates through subtle rather than blatant discourse.Despite the film's faults, Nowhere in Africa is worth the price of a movie ticket.
They reached places like China, South America and for the Redlich family in the film, Africa, more precisely Kenya, then a British colony.
The film is about the Holocaust as a remote tragedy that impacts the lives of the refugees, but also about the confrontation of the newcomers with the different landscape, culture and people of Africa, about the prejudice that was at the root of their suffering and the one that they encounter from the local British establishment, but also about the prejudice they themselves feel towards the Africans and which they have to overcome.
It's also a film about the coming to age of a young girl who is just a kid when she arrives in Africa, who is the first to adapt and love the local landscape and people with the openness and innocence of children, and who grows to be a smart teenager inheriting the identity dilemmas of her parents.What I liked.
Released in 2001 and directed by Caroline Link from the autobiographical novel by Stefanie Zweig, "Nowhere in Africa" chronicles life in Kenya during World War II centering around a Jewish couple (Juliane Köhler and Merab Ninidze) and their daughter (Lea Kurka and, later, Karoline Eckertz).
Matthias Habich plays a fellow Jew living in Kenya who assists them while Sidede Onyulo plays their Kenyan cook, who becomes a sort-of foster father to the girl.This is a German film with only a handful of lines in English, which means you'll have to use the subtitles if English is your primary language.
The difference is that the more popular earlier film focuses on colonial Kenya during WWI while this one takes place during WWII.The couple has an interesting story arc and I liked the emphasis on Native Kenyan culture.
A Jewish family flees Nazi Germany for Kenya but must adapt to the foreign land as well as the changing dynamics of their relationships.
This is probably the best film I've seen for a long time, it is also splendid for its interpretation of Africans as people, real people with emotions, traditions and hopes unlike so many other movies which regard them as part of the scenery.
The filmmaker seems to be trying to sugarcoat the real horror, much of it emanating from the true character of the Germans.Sorry, but in some ways the director treats the Africans of Kenya like the Nazis treated the Jews, as low-level outsiders.
I found it very absorbing - the dynamic between the two actresses who play Regina and the stately, beautiful African who plays Uwour is truly touching at times - and lamented only the fact that it meandered a bit in its attempts to show the development of the main characters, particularly Jettel, the pampered, middle-class German Jewish hausfrau who becomes, by the film's end, a fervent lover of the Africa around her.
Finally, as the war comes to a close, Walter and Jettel virtually trade places in their attitudes: he, once so eager to remain in Kenya, feeling the need to return to a post-Hitler Germany to help rebuild his native country and she, once so eager to leave it, wanting to remain in a land she has learned to love, a country she has come, in many ways, to think of as her own.In fact, it is the transition Jettel undergoes throughout the course of the story that makes `Nowhere in Africa' such a fascinating film.
But both the land and the people of Kenya soon transform her into a woman who is able to see and understand the truly important things in life tolerance, acceptance, love, family.
The story opens in 1938, as Jews Jettel and her daughter Regina are preparing to escape Germany and join her husband who has found work in Kenya.
It's about historical events, it's slow, it focuses on emotional drama, and it even has subtitles.But if you didn't see this Oscar winner for Best Foreign Film, then let me tell you, you've missed out.Nowhere in Africa tells the story of a German-Jewish family who flees Hitler's Germany in the 1930s to live in Kenya, Africa - a place about as different from home as they can possibly imagine.
Gradually, however, Jettel adapts to their new life on the farm, even when Walter longs to go back to Germany.Regina is the couple's daughter.
You somehow know that the Redlich family will remain in Africa during the war, surving the best they can while their families will perish in Germany, and that after the war, they will return back to their homeland.It is in the richness of the details, the characters, the African people, landscape, that gives this movie its value.
I have seen some wonderful foreign films, but I watched the film Nirgendwo in Afrika recently, and it is truly one of the very best films I have seen in a long time.Nowhere in Africa (the English title) is a German film about a Jewish family who flee from the Nazi regime at the very last moment before it is too late to a remote farm in Kenya.
The young daughter grows up loving the country and forgetting what Germany was like; she embraces the African people most out of the three, especially the family cook. |
tt0910905 | In the Electric Mist | Iberia Parish's Sheriff Detective Dave Robicheaux (Tommy Lee Jones) is investigating the murder of a young woman and has a chance encounter with a pair of Hollywood stars, Elrod Sykes (Peter Sarsgaard) and his girlfriend Kelly Drummond (Kelly Macdonald). They are in the small town to make a Civil War film.
Due to Elrod's erratic driving, Dave determines that the actor is driving drunk and decides to arrest him. Objecting to being sent to jail, Elrod tells Dave of a decayed corpse that he and Kelly had found in the swamp.
Dave goes to investigate while remembering a murder he had witnessed as a teenager where a chained prisoner was shot in the swamp and disappeared into the bog. The discovery is soon tied to several murders in that area that had occurred recently, mostly to young runaways and prostitutes. The clues seem to point to Julie "Baby Feet" Balboni (John Goodman), whose ties with the mafia had caused Dave and him to drift apart and become enemies.
Balboni denies knowing the prostitute whose murder is being investigated. With little to go on, Dave visits the film site and meets the producer Michael Goldman (John Sayles) who states that while Baby Feet is helping to fund the film, he is not a co-producer as he had said.
Meanwhile, Dave's home life is disrupted by Elrod and Kelly, who begin turning up regularly, almost every time with Elrod being drunk. This prompts Dave to take pity on him as he, too, is a struggling alcoholic. His daughter, Alafair (Alana Locke) looks up to movie star Elrod, but wife Bootsie (Mary Steenburgen) has concerns.
The discovery of a second body prompts the FBI to become involved in the case. Dave is partnered with agent Rosie Gomez (Justina Machado). Dave attends a birthday party for Goldman and, though drinking Dr Pepper, becomes terribly uncoordinated during his drive home and crashes his pickup truck, sending him off in a daze to the forest. There he encounters a camp of Confederate soldiers, and their commanding officer General John Bell Hood (Levon Helm) who apparently wishes to help Dave with his journey to solve these murders. When he awakens from his daze in a hospital, Dave learns from Gomez that his drink had been laced with LSD.
Elrod drunkenly takes a boat out on the Bayou with Kelly, calling Dave when the boat engines get caught in gill nets. Dave gives Kelly his coat, as it is pouring rain, and a mysterious gunman shoots her in the chest, mistaking her for him.
General Hood offers advice again and Dave shakes off the feelings of guilt over Kelly's death. Elrod moves in for a while so Dave can be his AA sponsor.
Dave's cop friend, Lou Girard, is found dead, apparently by shooting himself with a shotgun.
On the last occasion that Dave sees General Hood, the general and a few of his Confederate comrades are breaking camp and preparing to leave. They are having a group photograph taken and the general invites Dave to join them in the group.
A story from an alleged pimp corroborates a suspect, Murphy Doucet (Bernard Hocke) who, with his partner Twinkie Lemoyne (Ned Beatty), are responsible for the death of DeWitt Prejean, the skeleton found in the swamp. Dave arrests Doucet using a planted knife as evidence, but Doucet gets out on bail and kidnaps Dave's young daughter Alafair.
Gomez and Dave go to Baby Feet's residence and force him into telling them about a campsite Doucet owns. The pair head there. Gomez is startled by Doucet and instinctively shoots him. Dave plants a throw-away pistol on the unarmed villain to ensure that she is cleared of any charges of murdering him. They free Alafair and return home.
Months later, Dave, who had stopped seeing visions of General Hood after the case was solved determines that he was a figment of his imagination, a lingering spirit to help him through the most difficult case of his life. He moves on with his life, while Baby Feet, according to Dave was arrested for an issue that no one would have suspected, not as a mafia criminal, but as a tax dodger. Elrod too moves on with his life, leaving his alcohol addiction behind; he gives Alafair a small role in the Civil War film, and claims that she had been his salvation.
As the story ends, Alafair is looking through a book on the Civil War when she comes across a photograph of General Hood and his soldiers. We see a close-up of the photo; standing in the back, among the Confederate soldiers, is Dave Robicheaux. It is the photo taken during what Dave had supposed was a vision. | mystery, murder | train | wikipedia | null |
tt0077651 | Halloween | The film opens with a brief opening title/credits sequence showing a Jack-o-Lantern accompanied by John Carpenter's famous theme music. The shot slowly moves closer and closer. Once it stops, the lighting quickly changes to reveal that the eye and nose form the shape of a man holding a knife.The film begins on October 31, 1963, a cold Halloween night in Haddonfield, Illinois. In the middle of a street stands a two-story white Victorian house. Someone begins walking toward it, and sees a 17-year-old Judith Margaret Myers (Sandy Johnson) through the front door, kissing her boyfriend (David Kyle) passionately. As they move towards the couch in the living room, the person outside follows them around the side of the house and watches through the window. The boyfriend asks Judith if they are alone and she replies that someone by the name of Michael is around someplace. Her boyfriend puts on a clown mask jokingly and kisses her. She laughs and tells him to take it off and he suggests that they go upstairs to have sex. They run up the staircase as the person outside the house follows them back around to the front. The Shape sees the light in the upstairs window go out and begins swiftly walking back to the side of the house through the kitchen door. Quickly, the Shape opens a drawer and grabs a very sharp knife. It begins slowly creeping through the dining and living rooms and reaches the bottom of the staircase. There, Judith's boyfriend is putting his shirt back on and leaving the house. Judith calls down the staircase for him to call her the next day. He takes one last look upward and quietly leaves. As soon as this happens, the shape begins walking up the stairs into the dark hallway. Looking down, it sees the clown mask on the floor. The Shape picks it up and pulls it over its face. Entering Judith's bedroom, it sees her sitting in front of her mirror, nude except for a pair of panties, brushing her hair. She has her back to the shape and is unaware that it is standing there. The Shape walks up behind her and she finally feels its presence. Swirling around, she sees that it is Michael (Will Sandin), the person previously referenced, and is annoyed, quickly covering her breasts. But suddenly, Michael raises the knife and begins stabbing her repeatedly in various areas of her body. After a few seconds, she falls to the ground, covered in blood. Swiftly, the shape walks out of the bedroom, down the stairs, and out the front door into the yard as a car pulls into the driveway. They are Mr. and Mrs. Myers, Judtih's parents. Seeing Michael, they pull off his clown mask, revealing the face of a young 6-year-old boy staring into space with a blank expression, still clutching the knife in one hand.On October 30, 1978, nearly 15 years later, in Smith's Grove, Illinois, a doctor by the name of Sam Loomis (Donald Pleasance) and his assistant, a nurse named Marion Chambers (Nancy Stephens), are driving to the local sanitarium to have Michael Myers, now 21 years old and still very dangerous, taken to a hearing in front of a judge, where his future incarceration will be determined. In the car is a matchbook with an advertisement for the Rabbit in Red Lounge. As Marion quietly smokes a cigarette, she questions Dr. Loomis's desire to do this when suddenly, they see that several mental patients are lurking around the entrance to the sanitarium. Dr. Loomis rushes out of the car into the rain to see what is going on just as a patient leaps on top of the car. It is Michael Myers (now played by Nick Castle). Marion rolls down the window to see what he is doing up there and his hand reaches through the window and grabs Marion's hair, causing the car to swerve off the road. He and Marion struggle for a moment until she pulls away and moves toward the other side of the car. Instantly, Michael's hand appears at the window behind her and shatters it. Marion, startled, opens the car door and jumps out. Michael climbs in and drives away. Dr. Loomis runs over to Marion and consoles her, telling her that the evil is gone.The next day, on Halloween in Haddonfield, a young girl of about 17-years-old named Laurie Strode (Jamie Lee Curtis) is leaving her house to walk to school. On her way out, her father Morgan Strode (Peter Griffith), a real estate agent, tells her not to forget to drop a key off at the old abandoned Myers house because a family is coming by to look at it later. As Laurie continues down the streets, an 8-year-old boy, Tommy Doyle (Brian Andrews), walks up to her. Laurie is babysitting him that night. As they walk together, the Myers house comes into view. Tommy tells Laurie not to go up there because something bad happened there once. As she drops the key under the mat, someone appears inside and looks through the front door at her. Laurie leaves and continues walking with Tommy, who says he received the information about the house being haunted from Lonnie Elamb (Brent Le Page), whom Laurie says will probably never get out of the sixth grade. Tommy leaves soon after this, and Laurie walks on, singing to herself, when suddenly, the Shape from inside the Myers house appears right behind, staring after her.Meanwhile, back in Smith's Grove, Dr. Loomis is debating with another doctor, Terence Wynn (Robert Phalen), about whether or not Michael has returned to his hometown in Haddonfield. Dr. Wynn doesn't think Michael could drive to Haddonfield and blames Dr. Loomis for not warning the staff about the potential for Michael's outburst. Dr. Loomis angrily gets in his car and drives away.Later that day, Laurie sits in English class at Haddonfield High School when she sees the Smith's Grove Sanitarium car parked on the street outside the window. Michael stands beside it, in a greyish-white mask, watching her. Laurie is frightened and continues to look back, when suddenly, the teacher calls on her to answer a question, startling her. Laurie responds to the question, and when she looks back through the window, Michael and the car have disappeared.Meanwhile, at the Haddonfield Elementary School, the bell rings, and children begin running out of the building. Tommy is leaving school carrying a large pumpkin, followed by several bullies who are taunting him about how the boogeyman is coming to get him that night. Tommy is confused, not knowing about the boogeyman, but is also frightened. He begins to run away, but he trips and falls, squashing the pumpkin. The bullies laugh and run out through the playground gate, when instantly, Michael jumps out and grabs one of them. Terrified, the bully scurries away. Michael climbs back into the Smith's Grove Sanitarium car and begins to drive alongside Tommy, who is walking down the sidewalk sadly. Michael then drives off.On the highway somewhere between Smith's Grove and Haddonfield, Dr. Loomis stands at a telephone booth, speaking with someone from the Haddonfield police department, who seems resistant to the idea that Michael could be coming to Haddonfield. Dr. Loomis, frustrated again, hangs up the phone. But before he can drive away, he notices a tow truck parked nearby in a grassy area. Inside, he finds Michael's white hospital gown and the Rabbit in Red Lounge matchbook. Now Dr. Loomis is sure that Michael is in Haddonfield and rushes back to his car, not noticing the unclothed body of the tow truck driver (Barry Bernardi) lying in the nearby grass.Meanwhile, the students are being released at Haddonfield High School. Laurie is walking home with her friend Lynda van der Klok (P. J. Soles), who's complaining about how many school activities she will have to be involved with in the next day, being such a popular and beautiful girl. Laurie, however, seems to be a quiet bookworm who has nothing to do except babysit. As they walk along, another young girl named Annie Brackett (Nancy Loomis) finds them. Annie and Laurie talk about their babysitting assignments for that night; Laurie is babysitting Tommy, and Annie is babysitting Lindsey Wallace (Kyle Richards), who lives across the street a few houses away. While they are talking, the Smith's Grove Sanitarium car goes speeding down the street. Annie yells down the street at the driver that speed kills and, suddenly, the car stops but instantly speeds back up and leaves again. Forgetting this matter and not realizing that they had a close encounter with Michael, Annie and Lynda share a cigarette and begin devising a plan to get Lynda and her boyfriend, Bob, together at the Wallace house where Annie is babysitting to have sex.Laurie and Annie continue on, when suddenly, Laurie sees Michael hiding behind a bush ahead of them. Annie doesn't see him, and when she rushes over to the bush, there is nobody there. Annie thinks that Laurie is seeing men behind bushes because she is desperate for a date. Annie reaches home, leaving Laurie behind, who still thinks that there was someone behind that bush. Looking behind her, she accidentally runs into Mr. Brackett (Charles Cyphers), Annie's father and the sheriff of Haddonfield. Laurie is startled, and Brackett , the local sheriff, replies that it is Halloween and everyone is entitled to one good scare. Laurie laughs and walks back towards her house. Walking into her bedroom, she looks out of the window and sees Michael standing in her neighbor's back yard, staring up at her from between two rows of clothes hanging on a line. One second he is there, the next second he is gone. Suddenly, the phone rings, and Laurie runs over to it. When no one answers and she only hears the sound of chewing, she hangs up, terrified. The phone rings once again and it is Annie on the other end. She asks why Laurie hung up on her and she replies that she thought it was an obscene phone call. Annie says that she had her mouth full and couldn't speak, telling Laurie that she will be picking her up for their babysitting assignments at 6:30 pm. Laurie hangs up and lies on her bed, trying to console herself. Later that day, Annie picks Laurie up at her house to go babysitting, and they drive around for a while smoking a marijuana cigarette.Meanwhile, Dr. Loomis arrives at the Haddonfield Cemetery with the graveyard keeper (Arthur Malet), apparently with the intent to visit Judith's grave. They discover that Judith's headstone is now missing; Dr. Loomis knows now there can be no doubt that Michael is somewhere in Haddonfield.Back in Annie's car, the girls smoke marijuana and talk. Laurie tells Annie about seeing someone in her neighbor's back yard, while behind them Michael, still driving the Smith's Grove Sanitarium car, slowly cruises down the road, stalking them. Laurie begins to cough after smoking the marijuana when suddenly, they spot Mr. Brackett in front of a store in the distance and Annie orders Laurie to get rid of the joint. They pull into the parking lot and speak with Mr. Brackett, who says that someone--probably kids--broke into the store and stole a few masks, ropes, and knives. Annie replies that he blames everything on kids and that he is a cynical father. Mr. Brackett dismisses them because they will be late, and they leave down the street toward their baby-sitting assignments. After they leave, Dr. Loomis pulls up to the store and asks to speak with Mr. Brackett, who says it will be about ten minutes. Dr. Loomis stands waiting on the sidewalk as the Smith's Grove Sanitarium car passes right behind him.In Annie's car, Laurie is worried that Mr. Brackett knew that they were smoking pot, and Annie thinks there is nothing to worry about. They begin discussing next day's school dance, and Laurie reveals to Annie that she has a crush on a boy named Ben Tramer. Soon after this, they arrive at their destinations. Annie drops Laurie off at the Doyle house and pulls into the driveway of the Wallace house. As she walks into the house, the Smith's Grove Sanitarium car pulls up along the curve. Michael gets out the car and hides behind a tree in the Wallace yard, watching Annie.Meanwhile, Dr. Loomis and Mr. Brackett arrive at the abandoned Myers house. They begin to search inside, when they find a partially eaten dog (off-camera). Mr. Brackett says a man couldn't eat a dog like that, and Dr. Loomis replies that this isn't a man. The two of them walk upstairs, and Dr. Loomis shows Mr. Brackett the bedroom where Judith was murdered. Suddenly, a downspout falls away from the building and breaks the window near them, startling Dr. Loomis, who draws his gun. He begins describing his 15-year experience of watching Michael, seeing nothing but "pure evil" inside him. Mr. Brackett asks what they should do, and Dr. Loomis tells him to inform the rest of the police, just to ask them to keep their mouths shut. Dr. Loomis decides to stay behind and wait for Michael because he thinks he will return to the Myers house.At the Doyle house, Laurie sits, reading King Arthur to Tommy. Tommy becomes bored and says that he doesn't like that book and reveals several comic books that he has been hiding in the couch, saying that his mom doesn't want him to read them. Soon after this, Tommy asks Laurie what the boogeyman is, but suddenly, the phone rings before she can reply. It is Annie, calling from the Wallace house. She tells Laurie that she just spoke with Ben Tramer and told him that Laurie was really attracted to him. Laurie becomes angry and embarrassed, and begs Annie to say that she didn't talk to him. Right at this moment, Tommy looks out the window and sees The Shape standing next to the Wallace house, a black silhouette. He screams for Laurie that the boogeyman is outside, but when Laurie looks out the window, no one is there, and she continues her conversation on the phone.At this time, Michael has reached the back of the house near the kitchen door. Inside, Annie is in the kitchen making popcorn, not noticing Michael. She complains about Lester, Lindsey's dog, bothering her with his barking. Suddenly, Annie accidentally pours the butter all over her shirt and pants, and removes them while Michael continues to watch. Annie finds a small button-up shirt and puts it on, wearing nothing else other than panties. At this moment, Michael accidentally knocks a hanging plant to the ground, shattering it and drawing Annie's attention to the kitchen door. But Michael has gone to another window when Lester, who is now outside, sees him and begins barking. Annie complains to Lindsey again that Lester is getting on her nerves, but soon after this, she hears Lester stop barking and begin whimpering. Outside, Lester is dangling in the air and his feet are starting to go limp as Michael kills him.Inside the Doyle house, Laurie and Tommy sit watching The Thing. Once again, Tommy asks Laurie about the boogeyman. Laurie says that the boogeyman and all other Halloween superstitions are all make-believe and that Halloween is only a time when people play tricks on each other. Seeing that Tommy's still afraid, Laurie promises that she won't let anything happen to him. Tommy asks to make the jack-o-lantern at this time and they go into the kitchen.At the Wallace house, Annie goes to the outdoor laundry room in the back yard and puts her clothes in the washing machine, never seeing The Shape peering in at her from the door and windows. After accidentally locking herself inside, Annie calls for Lindsey to come and let her out, but Lindsey doesn't hear her. When the phone rings, Lindsey answers it and it's Annie's boyfriend, Paul (an uncredited John Carpenter). Lindsey finds Annie stuck in the laundry room window and releases her. After they go back into the house, Paul calls again and tells Annie that his parents left his house and he has an opportunity to sneak out to see her. He asks her to come pick him up.Annie takes Lindsey across the street to the Doyle house so Laurie can watch her for the time being. Laurie is reluctant, but Annie promises to talk to Ben Tramer in the morning and tell him that they were just fooling around when she called him. Finally, Laurie agrees, and Annie goes back to the Wallace house. She enters the garage, whistling and singing to herself, and tries to open her car door, but it is locked. Frustrated, Annie goes back into the house and finds the keys, brushing her hair a bit in the mirror, and still wearing nothing underneath her coat except a shirt and panties. Reentering the garage, she opens the car.... not noticing that it is now unlocked. Just as she sits down in the driver's seat, she realizes what has just happened. She reaches up to wipe the fog from the windshield, when suddenly, Michael leaps out from the back seat and grabs her throat. He mercilessly strangles her until she weakens and then swiftly withdraws a knife and slits her throat. Annie's eyes go wide as her face slides down the window, and she dies.Inside the Doyle house, Tommy and Lindsey are watching television when Tommy hides behind a curtain and whispers Lindsey's name, trying to scare her. Tommy turns around, and, to his horror, he sees Michael carrying Annie's lifeless body back into the Wallace house. Suddenly, Lindsey bumps into Tommy and they both scream. Tommy yells for Laurie, saying that they boogeyman is outside again, but she tells him to stop talking about it. Tommy complains that no one believes him, but Lindsey decides that she will.Meanwhile, at the Myers house, Dr. Loomis stands waiting behind a bush. After a while, three children, one of whom is Lonnie Elam, come along and dare each other to go inside. Trying to protect them, Dr. Loomis speaks in a menacing tone and yells at them to go away. They scurry away from the house and run down the street. Suddenly, Mr. Brackett jumps out behind Dr. Loomis, startling him. Mr. Brackett complains, telling Dr. Loomis that it will take more than fancy talk to keep him up all night crawling around bushes. Dr. Loomis warns him once again of Michael's evil, and Mr. Brackett questions if all the families and children in Haddonfield could be lined up for a slaughterhouse. Dr. Loomis replies that they could be. Mr. Brackett agrees to continue looking for Michael in the case that Dr. Loomis is right, but he adds that if he is right, "Damn you for letting him go."Back at the Wallace house, Lynda and Bob arrive in a van, both sipping from cans of beer and are considerably drunk. They go over the plan that Annie will distract Lindsey while they go to the bedroom upstairs to have sex, not knowing that Lindsey is at the Doyle house and that Annie is dead. Bob lifts Lynda into the air and carries her into the house. Once they go inside, they find all the lights off and no one there. Seeing this as an opportunity, they fall onto the couch, kissing passionately, while Michael silently watches nearby.At this time, in the Doyle house, Laurie, Tommy, and Lindsey have finished carving the jack-o-lantern and walk into the living room, making spooky noises. They all sit down on the couch to finish watching the movie, when suddenly, the phone rings. It is Lynda calling from the Wallace house while lying on the couch with Bob's head in her lap. She asks where Annie is; Laurie replies that she went to pick up Paul, and she thought she'd be home by this time. Laurie tells Lynda to call when Annie gets back because she has Lindsey at the Doyle house, and she needs to know what time to put her to bed. Enthusiastically, Lynda hangs up the phone and tells Bob that Lindsey is gone for the night, and they run upstairs. Laurie watches as the lights go out across the street.Upstairs in the Wallace house, Lynda and Bob Simms (John Michael Graham) are having sex while the phone rings continuously. Lynda warns Bob not to answer it for fear it might be the Wallaces. Bob takes the phone off the hook and they resume the moment, not noticing Michael's shadow sliding across the wall. Soon after this, they stop, and Lynda lights a cigarette for each of them, ordering Bob to go downstairs for a beer. She giggles as he goes downstairs, this being the best night of her life.Downstairs, Bob gets two beers out of the refrigerator and is about to pour them into glasses when he hears a noise. He looks outside through the kitchen door, but no one is there. Annoyed, he opens the pantry door when suddenly, Michael jumps out and shoves him against the set of cabinets on the opposite wall! Michael lifts Bob into the air, stabs a sharp knife through his stomach and into the wall, and Bob dies. Michael stands there for a moment, watching Bob's lifeless body like a curious animal.Upstairs, Lynda sits filing her nails when the bedroom door creaks open and Michael stands there, covered with a sheet and Bob's glasses over his eyes. Lynda thinks this is Bob dressed as a ghost and asks him where the beer is. He won't answer, so she drops the sheet around her, exposing her breasts. When the Shape still won't answer her, she becomes annoyed and gets up to call Laurie and ask where Annie and Paul are. She dials the number, but just as she is about to speak, Michael comes behind her and strangles her to death with the telephone cord! At which time she screams, leaving Laurie thinking it is Annie playing a prank. Finally, after Lynda dies, Michael picks up the phone, listening to Laurie's voice. She puts the phone down and looks out the window as all the lights in the Wallace house turn off. Laurie dials the number for the Wallace house, but no one answers. Going upstairs, Laurie sees that Tommy and Lindsey are sound asleep.Meanwhile, back at the Myers', Dr. Loomis still stands waiting, when suddenly, he sees the Smith's Grove Sanitarium car! Dr. Loomis begins running down the street, sure of where Michael is.At the Doyle house, when Laurie still receives no word from anyone, she grabs her keys and curiously ventures across the street. Upon reaching the front door, she finds it locked and rings the doorbell. There is no answer. Laurie walks around the side of the house to the kitchen door. Going inside, she searches around for any signs of Annie, Lynda, or Bob, thinking this is a trick. Not finding them anywhere, she walks upstairs and sees the light from a jack-o-lantern streaming underneath the bedroom door. Opening it, she sees in horror Annie's lifeless body on the bed with Judith Myers's headstone above her. In tears, Laurie backs against the closet when suddenly, Bob's body drops down into the doorway, hanging from the ceiling. Laurie screams in terror just as the closet door opens, revealing Lynda's body as well.Laurie runs out of the bedroom into the hallway, backing against the wall. Out of a darkened room, Michael's mask appears in the doorway behind her. Laurie walks forward, standing against the balcony.... when Michael reaches out with his knife and stabs her in the shoulder! Laurie screams louder than ever and falls over the balcony railing, crashing down onto the staircase and spraining her ankle. Michael rushes over to the top of the stairs and begins walking toward her. Laurie leaps up and rushes towards the front door hurriedly, but it won't budge. She runs through the living room to the kitchen, locking the door behind her. She rushes to the kitchen door, the way she came in, but a rake has been shoved under the doorknob outside. She is trapped! Suddenly, Michael's hand breaks through the other door behind her as he turns the lock and enters the room. Terrified, Laurie smashes through the glass with her bare hand and knocks the rake over. Shoving the door open, she runs out of the house and stumbles into the yard.She screams for help and runs onto the porch of another house, but no one will help her. Hurrying across the street to the Doyle house, she reaches for the keys in her pocket, but they are gone! Panicking, she bangs on the door, but Tommy is fast asleep. Just then, Michael appears behind the Wallace house and Laurie begins to yell for Tommy. Grabbing a potted plant, she throws it at Tommy's bedroom window, waking him. He slowly walks downstairs, unaware of the trouble. Finally, he reaches the front door just in time and lets Laurie in. She locks the door and orders Tommy to go upstairs. Turning out the lights, Laurie believes that she is safe, when instantly, she sees in terror that a window is open. Scared beyond imagination, she crouches down in front of the couch when suddenly, Michael leaps out from behind the couch and tries to stab her, but he misses and hits the couch instead. Laurie grabs a knitting needle and swirls around, stabbing Michael in the neck. He staggers backward and hits the floor, apparently dead. Laurie, nearly passing out because of blood loss, drops the knife that is still in the couch onto the floor and goes upstairs to check on the kids.Outside, Dr. Loomis still walks down the sidewalk when Mr. Brackett's police car pulls up. Dr. Loomis tells him that he found the Smith's Grove Sanitarium car and he will head over to where Michael is. Mr. Brackett drives away, now truly believing what is going on.Upstairs at the Doyle house, Tommy and Lindsey run up to Laurie, thinking that it was the boogeyman who attacked her. She assures them that he is dead, but Tommy says that she couldn't have killed him because he is incapable of being harmed. At this moment, Michael lumbers toward them, and Tommy and Lindsey run back into the bedroom. Laurie scurries into another room, opening a set of doors leading to the balcony and, hiding in a closet, tries to fool Michael as to where she actually is. She ties a pair of stockings over the closet's doorknobs, but Michael soon begins shaking the doors and reaches through them with his knife, slicing the stockings! He breaks down the top half of the closet door and reaches in for Laurie, accidentally turning the light on. Laurie grabs a wire hanger and stabs Michael in the eye with its point. He jumps back in pain, dropping the knife into the closet. Laurie takes it, clutching it in her hands, and stabs Michael in the chest. He falls to the ground, dead. Laurie carefully slips out of the closet and, seeing this, drops the knife. Asking Tommy and Lindsey to come out, she tells them to go down the street to the McKenzies' house and tell them to call the police. They leave the house, screaming, attracting the attention of Dr. Loomis, who is outside and runs up to the Doyle house.Inside, Laurie is slumping against the doorway of the room where she was hiding, tired and almost unconscious. She doesn't notice that Michael, thought to be dead, is slowly rising behind her. Laurie stands up, leaving the room, when suddenly, Michael grabs her by the neck and begins to strangle her. Laurie fights back and pulls his mask off, revealing Michael's true face. Instantly, Dr. Loomis appears at the top of the staircase and shoots Michael with his gun. Michael falls backwards into another room as Laurie falls against the wall behind her, covering her ears. Dr. Loomis chases the murderer into the other room and sees him standing in front of the balcony doors. Dr. Loomis shoots him five more times, causing him to fall out the doors and off the balcony. Michael slams onto the ground below, appearing to be dead. The doctor looks back at Laurie, who says, "It was the boogeyman." Dr. Loomis solemnly replies, "As a matter of fact, it was." Looking back down below, he sees in horror that Michael has vanished, but Dr. Loomis knew all along that this would happen. Laurie realizes that Michael still is not dead and begins sobbing. The film ends with a shot of the Myers' house and the sound of Michael breathing heavily behind his mask.Michael Myers, the legendary man who came home on Halloween night to kill, is still alive somewhere out there... | gothic, murder, cult, horror, violence, good versus evil | train | imdb | null |
tt0460745 | Chaos Theory | Frank Allen (Ryan Reynolds) is a professional speaker who lectures on time management. He lives by example: perfectly maximizing his efficiency through scheduling and planning his own life down to the minute. One day when his wife Susan (Emily Mortimer) decides to set the alarm clock back 10 minutes, in hopes of giving her husband an extra ten minutes of time in the morning, she accomplishes the exact opposite. From missing the ferry to arriving late to his lecture on time management, Frank experiences an off day. While driving home, he sees a pregnant woman needing help getting to the hospital and he decides to offer the stranger a lift. At the hospital, Frank is asked to fill out some paper work. Not thinking much about his situation, he puts his own information down and the nurses at the hospital misunderstand and assume he is the father.
The following morning, before Frank arrives home, a nurse from the hospital calls attempting to reach him and his wife answers the phone. The nurse, in trying to contact who she thought was the father, leads Susan to believe it is Frank's baby and she presupposes he is cheating on her and leading a double life. When Frank arrives home, he is unable to clear up the misunderstanding and Susan throws him out of the house. Susan even refuses to speak to him, and only allows him to see their daughter after school. In an attempt to prove his fidelity to his wife by demonstrating that it is not his baby, Frank sees a doctor for a paternity test, but receives the diagnosis that he was never able to reproduce to begin with, since he has Klinefelter's syndrome.
A few days later, the stranger brings her baby to the Allens' house in hopes of thanking Frank for his kindness, only to find his wife at home. After the stranger introduces herself and her baby to Susan, she clears up the misunderstanding, but the damage is done since Frank now knows that their daughter is not really his. The tides change dramatically as Frank realizes that he was the one in the relationship who was faithful, and goes through a withdrawal as he tries to comprehend how his daughter could not be his and how wrong his life turned out when he believed that he has always stayed straight and narrow.
After giving a life-changing speech about living on whim at his own time management lecture, he decides to live his life based on chance from that moment on. He starts his reformed outlook on life with the simple idea of possibility and randomness by making his decision based on shuffling three index cards with written options and choosing one at chance. Through his journey, he learns more about love, friendship, faith, hope and life than he ever imagined. | romantic, flashback | train | wikipedia | This film is about a very organised man whose life is turned into chaos by an accidental revelation.Though there are a lot of comedic moments in the film, I think it is more of an drama about Frank finding out that organisation and efficiency does not make him any happier.
It never achieves greatness, but it is enjoyable throughout.Frank Allen (Ryan Reynolds) is a professional speaker who lectures on time management, and his life is perfectly ordered and scheduled, down to the minute.
Deciding that his strictly ordered life has done him little good, he begins to make multiple choice index cards, choosing one at random and doing what is written on the card.Reynolds is a very under-appreciated talent, and his work in this film is spot-on.
Not in the traditional Hollywood mode, this one takes us on a very unusual path towards self-actualization.Ryan Reynolds delivers by far his best screen performance as the OCD dad who seems to have the perfect family, job and life.
There's no bad guy, just a family and a friend who's lives are marked with ups and downs.Without giving anything away, the movie is about love, but not in finding or keeping it.
Then, one day Frank becomes a victim of circumstances so utterly beyond his control that he is forced to abandon his old way of thinking and adopt a new philosophy of life altogether, that of throwing caution to the wind and letting his every mercurial whim determine the course of his actions (he shuffles index cards to determine what it is he should do next)."Chaos Theory," a small but insightful movie written by Daniel Taplitz and directed by Marcos Siega, boasts a cleverly addled storyline, some sharp, witty dialogue and energetic performances by Reynolds, Emily Mortimer and Stuart Townsend, the latter two as Frank's wife and best friend, respectively.
The plot complications get pretty hot and heavy at times but, as with all good comedy, things have a way of straightening themselves out in the end.Though there may be a few too many musical montage sequences in the movie for my taste - they always seem to be used as shortcuts to get the heart soaring or the tear ducts flowing - the movie has a fluidity and charm that raise it above any possible shortcomings.
This is a rarity of a gem with a great cast and a perfect blend of heartwarming drama and spot-on comedic timing.However, its never gonna get the wide audience that it deserves mainly because the stars aren't exactly top draws in the box office which is just sad really because the wider audience would rather just watch a dude dressed as a lady in a fatsuit (I'm looking at you Tyler Perry) than real good quality film-making..
Chaos Theory is an enjoyable little film that tells the story of Frank Allen (Ryan Reynolds) who's a professional speaker that gives lectures on time management,and his life is perfectly ordered and scheduled.One day his wife sets his clock forward 10 minutes thinking that she had just done the opposite and Frank's day is thrown off.First he arrives late to an out-of-town lecture and then his life starts to unravels in ways he never expected.Along the way he makes several interesting discoveries about his family and comes to the conclusion that being so obsessive, so organized and so uptight did nothing for his life.
Smart and well thought, Chaos Theory is enjoyable throughout although it never reaches greatness.There are a few interesting ideas and a lot of potential and the movie could definitely have been taken to another level but still, its a solid movie.The film is very well balanced; it delivers some laughs at the right time,but also has a very serious and dramatic side as well.The soundtrack is was surprisingly very good and its composed mainly by independent bands.
Ryan Reynolds is tremendous as the lead character,Frank, and completely believable.He's the driving force of the movie and a pleasure to watch.Stuart Townsend and Emily Mortimer did good too as the best friend and the wife respectively .
The surprising thing about Chaos Theory was the way it was rather staid "date flick" fare, but would occasionally punch through the safety barrier and say something wickedly true and profoundly, deeply passionate and beautiful.It's a great story about truth and connection, and how sometimes connection needs to be reinstated and preserved even in the face of the failure to fully disclose the truth.To get a little technical, there were times when I was especially appreciative of the writing.
Through a serious of less than fortunate events, Frank manages to mount up enough circumstantial evidence of his committing adultery at least once, that his wife throws him out.The twist, when it comes, is not altogether unexpected, but the material is treated with a humanity that makes you happy to keep watching.
The movie is about a normal 9 - 5 office going family man(Ryan Renolds) who's life suddenly takes into wild turns and become chaotic.
A successful comedy, drama, and romance
The movie is really worth watching because it represents ordinary people's chaos of life.
They can do this behaving as they want instead of being organized in a strict way (Frank's situation), learning to be responsible for something (Buddy's situation), and may be trusting more the ones we love (Susan's situation).
"Chaos Theory" is the story of Ryan Reynold's character, Frank Allen, reminiscing back to his younger and crazy years as a man who--well, wasn't so crazy in the beginning.
In between Frank Allen's long, bizarre journey in which he struggles to prioritize things to go his way, but learns in the end that only true love (not his prioritizing) can bring him and his wife together, there are a few moments that are thrown in that are supposed to be emotional (characters weeping, heads held close), and they just don't click.
Movie begins with wedding day of Jesse and Ed. Ed has some doubts and Frank, Jesse's father, talks with him and tells him his own story.
One day, he helps a pregnant woman, and later Susan misunderstands and thinks that Frank cheats her.
The film can't decide if its a comedy or a drama and with that sort of messy hybrid, you're not sure whether to laugh or empathize and the movie is quite short so characters are insufficiently developed before ryan reynolds misses his ferry and things start going off at a tangent for him.
The movie can be summarized like this; Frank's wife, Susan (Emily Mortimer), and seven-year-old daughter, Jesse (Matreya Fedor), find his obsession charming in small doses, but as a steady diet it can be very frustrating.
Which made watching this movie an awkward experience.The cast holds up pretty well, including Ryan Reynolds as the lead and Stuart Townsend as his best buddy, whose name also happens to be buddy.
He tells him about his life with his wife Susan (Emily Mortimer), womanizing best friend Buddy Endrow (Stuart Townsend) and Paula Crowe (Sarah Chalke).There is a slight comedic tone in the movie that is ill-fitting.
Ryan Reynolds's performance is very good, a gifted actor that I've seen in many movies, he is able to play in comedies but equally well unravel and dramas.
It transcends blood, it transcends betrayal and all the dirt and makes us human."The best parts of the movie that I liked are the ones where the confusion begins, him being seduced by a participant, ending up in a hospital helping a pregnant woman deliver a baby (and then she disappears), the wife getting a call about 'her' baby.
Frank Allen (Ryan Reynolds) who makes new lists every day lives his life with a planned program.
With the feel of a good indie flick and a strong leading man, Chaos Theory is one of those rare, genuine explorations of the human condition.Frank Allen (Ryan Reynolds), an obsessively organized efficiency expert and top-selling author, has spent his entire life planning out every little detail and following the lists and schedules he makes for himself.
He clings to controlling everything because it brings order, which gives him a sense of comfort and peace of mind.One day, Frank's wife Susan (Emily Mortimer) sets the clocks forward ten minutes to help him be early for his schedule but accidentally sets them back ten minutes instead, making him late for his lecture on efficiency and setting off a chain of events that sends Frank's life spiraling.
As you watch it all transpire on the screen, you're able to understand and relate to many of the emotions that Frank is struggling with.Much of this success comes from the performance of Ryan Reynolds, an actor best known for comedic roles in movies like Waiting
and Van Wilder, but who has an intensity and seriousness about him that translates powerfully to other types of roles.
This is evident in Definitely, Maybe as well as Chaos Theory, and the latter is quite a departure from the comedy work he has done previously one he excels in and should do more often.One scene where his talent and intensity really comes through is when Frank pulls over onto the side of the road just after he discovers the life-altering news.
Reynolds easily carries the movie, which is even better off because of it.Chaos Theory is an extremely honest, sometimes sad, always emotional and very real exploration of how a person deals with a drastic change in their life.
'Chaos Theory' is the latter, I really liked the premise which is why I watched it in the first place: an over-organized guy, with a perfectly fine job, wife and daughter finds his life turned upside down from one day to the next.
Chaos Theory is a movie about Frank Allen (Ryan Reynolds) whose life is scheduled down to the minute details all written down on index cards.
This causes Frank to question his safe, planned out life, and start living on a whim.I really wanted to enjoy this movie after hearing the positive reviews on IMDb, but unfortunately I did not.
Frank and wife Susan did not appear like they were in love as the film suggested, and Frank's relationship with Best Friend Buddy was weak.Overall this movie held my attention long enough to avoid me from turning it off.
Wow!Frank Allen (Ryan Reynolds) is a professional on time management obsessively planning his life down to the minute.
One day when his wife Susan (Emily Mortimer) decides to set the alarm ten minutes late, in hopes of giving her husband an extra 10', she accomplishes the exact opposite: from missing the ferry to arriving late to his lecture on time management, Frank experiences an off day.
How eloquently Taplitz's and Reynold's Frank says: "There are few things more chaotic than the beat of a human heart." So what can one do about this "Chaos Theory"?
Now following my hesitating state against Ryan Reynolds movies I have come to understand that we as movie goers and people just wanting something to watch on the couch with a friend or a loved one.We usually judge movies by a person, naturally that one person is almost never the reason, now I am not going to say that Ryan Reynolds haven't been in bad movies otherwise I wouldn't have built up this hesitated stage that I do when finding a movie with him.But I have come to realize when I watch movies with the actors that I don't like that much I find out that they can truly change, and for the most many of the roles they try to do are just not theirs to take, now that might sound weird but some movies are meant for one person, heck I am sure that soon there will be a movie even Will Smith will fall on his knees upon.The reason that many actors like Will Smith and others are doing so well and of course also Ryan Reynolds is because most of the movies they are cast in are perfect for them, yet some of them can be big flops, and sometimes a movie is all it takes, just look at "Reign Over Me" with Adam Sandler his acting in that movie is a revelation to say the least.Now I am not going to say what movie had me almost hating Ryan Reynolds, instead I am going to give another review for one more with the guy that have me more and more mesmerized with roles that are made for him.Storyline 9/10 – (This Contains major spoilers!!!) The story is about Frank, a man who lives by a controlled life, in the beginning we see an epilogue of some sort, where Frank as an older man tells his soon to be son in law about love, then it flashbacks to the moment where Frank meets the woman of his life.After that it jumps about 7 years in the future where he is a little older and living with his wife and his daughter, everything is peaceful until he goes for an audience and in the end is spoken to by one of the viewers a woman who wants to have sex with him.He declines in the end but when he drives home he is stopped nearly driving into a pregnant woman, which leads him to helping her into the hospital, and this is where the story begins to get complicated because the next morning his wife finds out what he had done, well in some way, because instead she is told he has just gotten a child, which naturally is a mistake.This is where the it hits the fan, after a doctor's appointment he finds out that his daughter isn't really his, which changes him to begin taking weird chances and in a way leads him to his downfall
..find out the rest for yourselves it is worth it.Now even for how complicated this story seems it really isn't, it is rather simple for movie standards, but it is done in a much more delicate and wonderful way, the story is inflicted by a massive soundtrack which also helps it a lot.Actors 10/10 – The actors are naturally in this movie the best part, Ryan Reynolds plays his part to utmost of his capabilities well at least from what I can gather, the only other movie that have had me even more astonished is "The Nines" which is of course also a movie with him, one that I might return with a review on one day.Emily Mortimer is just a really nice and rather astonishing lady, I have seen many movies with her and have always felt it was worth it, her acting is spot on, and she does everything to try and show the emotions and it truly does feel right to the viewer.I must admit I don't know who this Stuart Townsend is, I might have seen movies with him before but not that I can recollect, I would imagine he is still an upcoming star or maybe that is just me, but nevertheless his acting was well done, there was a nice story around there, sometimes his emotions and his acting doesn't touch the viewer that much but at least it works.Matreya Fedor I didn't know who she was either, she does resemble some child star so in the beginning I thought she was who I was thinking about but she wasn't I am guessing she is also an upcoming star, nevertheless like Stuart Townsend her acting is also really well done, it is a little more subtle since she isn't in every scene if you get my drift.Soundtrack 10/10 – This movie is filled with a lot of great tracks many of them fit perfectly where they are, they heighten the movie in so many ways, just for the soundtrack this was a treat, I am properly going to buy the soundtrack one day just for that, really awesome soundtrack shouldn't be missed!
Some of that was touched on in the movie "A Beautiful Mind." But Ryan Reynolds as Frank Allen seems to be at the opposite extreme, his believes in very tight structure in one's life, making lists, doing things efficiently, and making his living teaching this to groups of business people.
The main of the movie is a flashback, showing what all happened to get to this point.British actress Emily Mortimer is Frank's wife, Susan.
And as the movie ends with Jesse's wedding ceremony, Susan is sitting between Frank and Buddy, one big happy family!.
And the film goes back in time when Frank and his wife Susan Emily Mortimer are married and have a seven year old girl called Jesse.
At first I thought it was a comedy but as the film went on Chaos Theory turned into a drama and a very sad one There was some points in the movie were your laughing and you realize that the scene is actually really depressing.
It is a very touching movie, that even though it has a comic feeling to it, the underlying real feel, is that it has a very serious touch to it, involving parenting, love, best friends, work, LIFE, and how these things can get turned upside down by a small change in our lives, that one moment.
So Frank (Ryan Reynolds) who is Jesse's father talks with him and tells Ed his story.
He learnt that Jesse's real father who is Susan and Frank' s best friend Buddy (Stuart Townsend) and he plans to kill him.
Even though everything is getting better, suddenly your life is complicated.The end of Frank' s story is really impressive, Jesse is not his biological father but he come back for their family.
Acting is awesome in movie especially while watching Frank Allen(Ryan Reynolds) you can easily understand what I mean.Of course not only Frank's performance is great in movie but also Susan(Emily Mortimer),Buddy (Stuart Townsend)and other characters. |
tt1033643 | What Happens in Vegas | In New York City, high-strung equity trader Joy Ellis McNally (Cameron Diaz) is dumped by her fiancé at a surprise birthday party she throws for him. At the same time, easy-going carpenter Jack Fuller (Ashton Kutcher) is fired from his job by his father, Jack, Sr. (Treat Williams). Both become emotionally distraught and, with best friends Toni "Tipper" (Lake Bell), a bartender, and Jeff "Hater" (Rob Corddry), a lawyer, take a debauched trip to Las Vegas.
Joy and Jack meet by chance when they are given the same hotel room because of a computer error. After clearing up the misunderstanding and receiving upgraded rooms and coupons to various clubs, they party and drink together and end up getting married. The next morning, they realize it was a mistake and decide to divorce.
Before they do so, Jack uses a quarter Joy gives him in a slot machine. He hits a three million dollar jackpot and Joy reminds Jack that they are married and hence, she is entitled to half of the money. The couple return to New York, where they attempt to divorce. The judge (Dennis Miller) declares that the couple cannot divorce until they attempt to co-exist for six months, while attending weekly sessions with a marriage counselor (Queen Latifah). If they work at the marriage but still want to divorce after six months, each will be permitted to keep half the winnings. If either party does not cooperate, the money will be tied up in litigation by the judge.
The newlyweds devise more and more cunning schemes to undermine each other, such as Jack telling Joy that their counseling session is canceled to prove she's not committed, and Joy inviting girls to their apartment to try to get Jack to cheat on her, throwing a party where Jack's friend Dave shows up. Jack gives Joy's ex-fiancé, Mason (Jason Sudeikis), her engagement ring back without Joy knowing. At Joy's job retreat, Jack and Joy find themselves developing an unexpected attraction to one another, and they soon realize that being with each other has brought out the best in both of them.
After they get back from the retreat, it's time for the judge to decide what happens to the money. On her way to the hearing, Joy sees her ex-fiancé Mason, and he tells her that he wants her back. He gives her back the engagement ring and tells her that she is good enough for him. Joy realizes that Jack set her up to get back with him, therefore cheating on him and letting Jack keep the money. Joy walks away from Mason and goes to the hearing. At the hearing, their marriage counselor testifies that the couple truly tried to work on their marriage. The judge decides that they will split the remaining 1.4 million dollars (after taxes, bills Joy ran up, and money Jack spent on his new woodworking business). Joy tells the judge she doesn't want any money and gives the engagement ring to Jack, telling him she officially doesn't want anything from him. Jack realizes she knows that he talked to Mason.
Joy gets the promotion she'd been working for, but tells her boss she would rather be happy doing nothing than doing something she hates and being miserable. Jack talks to his parents and they tell him it looks like he and Joy are in love. Realizing his mistake, he goes to find her. Tipper tells Jack that she quit her job and that nobody knows where she is. He has a suspicion that she has gone to a beach (Fire Island, New York) that she told him about, the only place that makes her feel truly happy. Jack asks her to be his wife (again) and she says yes. As the two embrace, Joy says that she quit her job and has no idea what she's going to do. Jack reminds her that they have a lot of money between them. Joy states that they hit the jackpot, to which Jack replies that he certainly did (referring to both the money and to Joy).
=== Epilogue ===
During the credits, we see Tipper and Hater on the day Jack and Joy get married. Tipper and Hater subsequently enact a plan of revenge on Mason, devised by Tipper earlier in the film. Tipper and Hater ring Mason's doorbell, and when he answers, Tipper slugs him in his testicles. He moans in agony and drops to his knees asking "Why?", and she responds emphatically "You know why!", and Tipper leaves with Hater.
Post-credits, Dave is telling Hater about a party that evening, but Hater no longer wants to associate with Dave, citing Jack as being "the glue" that held the two of them together as friends. With that, Hater simply leaves. Dave asks a random guy on the street if he likes to party. | comedy, cute, entertaining, romantic | train | wikipedia | null |
tt0409630 | Tekunoraizu | Texhnolyze is a Japanese anime television series directed by Hiroshi Hamazaki, from a screenplay by Chiaki Konaka, and produced by Yasuyuki Ueda, with original character design by Yoshitoshi ABe.The events take place in the vibrant yet dilapidated underground city of Lux. Denizens of Lux have come to call it "The City" and treat it as a sentient force. Three factions vie for control of the city: the Organo, a strictly professional conglomerate with ties to the criminal underworld in the prosthetics business ("Texhnolyze"); the Union, a fanatical populist group interfering with Organo's affairs; and Racan, a marauding group of Texhnolyzed youths. The series has an ensemble cast, but events particularly focus on Ichise, a stoic prize fighter who loses a leg and an arm to satisfy an enraged promoter; Onishi, a young but level-headed executive of the Organo who has many enemies; and Ran, a little girl who has a very important gift that affects the entire city. As they struggle to accept the challenges that they are dealt, the characters bear witness to major events that determine whether the city continues to exist.Texhnolyze aired on Fuji Television from April 16, 2003 to September 24 of the same year, totalling twenty episodes. Two "secret" episodes were included in the DVD release.Adapted from Wikipedia.Texhnolyze é uma série de televisão de anime japonês dirigida por Hiroshi Hamazaki, a partir de um roteiro de Chiaki Konaka, e produzido por Yasuyuki Ueda, com projeto de desings originais por Yoshitoshi ABe.Os eventos ocorrem na cidade vibrante, mas em ruínas subterrâneas de Lux. Habitantes de Lux passaram a chamá-lo de "The City" e tratá-lo como uma força consciente. Três facções disputam o controle da cidade: a Organo, um conglomerado estritamente profissional com laços com o submundo do crime no negócio de próteses ("Texhnolyze"); a União, um grupo populista fanático a interferir com os assuntos de Organo; e Racan, um grupo de saqueadores de jovens Texhnolyzed. A série tem um elenco, mas os eventos enfocam especialmente Ichise, um lutador profissional estóico que perde uma perna e um braço para satisfazer um promotor enfurecido; Onishi, um executivo jovem, mas equilibrado da Organo que tem muitos inimigos, e Ran , uma menina que tem um dom muito importante que afeta toda a cidade. Conforme se esforçam para aceitar os desafios que lhes são interpostos, os personagens testemunham grandes eventos que determinam se a cidade continua a existir.Texhnolyze foi transmitido pela televisão Fuji de 16 de abril de 2003 a 24 de setembro do mesmo ano, num total de vinte episódios. Dois episódios "secretos" foram incluídos na versão DVD.Adaptado da Wikipedia. | neo noir, murder, paranormal, violence, revenge, sci-fi | train | imdb | null |
tt0951216 | Mad Money | The film begins in medias res, with the suspects getting caught and being interrogated. Then it flashes back to three years earlier and the film continues forward from there, interspersed with occasional bits from the interrogation.
Three years before getting caught, Bridget Cardigan (Diane Keaton) lived a comfortable upper middle class life until her husband Don Cardigan (Ted Danson) was "downsized" from his position and sank into debt. The paycheck for Selina, the housecleaner, bounces again. Selina confronts Bridget and suggests she take a job as a janitor at the Federal Reserve Bank of Kansas City.
On her first day on the job, Bridget hatches a scheme to steal worn-out dollar bills slated for destruction. For her team she chooses Nina (Queen Latifah), who works the dollar bill shredder, and Jackie (Katie Holmes), who takes bill carts from the Secret Service room to the shredding room. It takes some work to persuade Nina to join, but Jackie joins them quickly.
The plan is that in the Secret Service room Bridget will switch a cart's official Master-brand lock with a near identical lock she purchased at Home Depot. Bridget will tell Jackie the cart number and give Nina the official lock. When Jackie gets the chosen cart, she dumps some bills from the cart into a trash can before taking the cart to Nina, who then uses Bridget's key to open it and restores the official lock, and then proceeds to shred the remaining bills. Meanwhile, Bridget, in the course of her janitorial duties, retrieves the dumped bills from the trash and splits them among Nina and Jackie in the women's restroom.
Their first robbery is a success though the take is not as big as they had hoped. However, they're emboldened to do it repeatedly. Once Don and Bridget pay off their debt, Don suggests they stop before they get caught. Bridget rejects this idea and persuades Nina and Jackie to keep going. They almost get caught but they end up cutting in Barry (Roger Cross), one of the security guards, who is attracted to Nina.
A Federal Bank Examiner shows up at a party at Bridget's house, and the next day Bridget sees him at work. The Examiner confronts Glover (Stephen Root), who is unwilling as a matter of professional pride to admit anyone has stolen a single bill out of his bank. Tipped off, that night Bridget and her accomplices begin trying to get rid of all the loot stashed in their houses, but the cops move in before all the evidence is destroyed. Bridget escapes but the others get caught.
Bridget hires a tax attorney to defend them. The lawyer gets Bridget and all her accomplices off the hook for their crimes, because neither the law enforcement, nor the examiner can prove that the large stash of cash in their homes came from the Federal Reserve Bank. Technically, it isn't illegal to have a couple of hundred thousand dollars in cash lying around inside a private residence. However, they spent a large sum of that stolen cash to buy expensive objects and improvements on their houses, and did not pay the taxes for them because they couldn't justify the income. The IRS demands they pay their taxes, which turn out to be equal in amount to the money that still remains.
Eight months later, Bridget reveals to Nina and Jackie that she had stashed away much of the stolen money in the basement of a friend's bar. | satire, flashback | train | wikipedia | Once they get what they need, Bridget is so satisfied with how smooth everything went, she wants more and they go for it, but they should learn not to get so greedy since someone is on their tale.Mad Money is a chick flick, but it's one of the rare one's that I liked.
Queen Latifah was just so funny and Diane Keaton was a perfect choice for Bridget, Katie Holmes was pretty decent for the comic relief.
Please don't take the rating on IMDb seriously, I think that Mad Money was just a fun little comedy that deserves a better chance.6/10.
"Mad Money" has reasonable entertainment value, great characters, and even a nice little unexpected twist at the end to satisfy the escapist movie-goer.
Heist movies are almost a dime a dozen these days, with fair such as "Oceans 11" (both the old and the new versions), its subsequent sequels, "Heist", "The Score", etc.What gives "Mad Money" a unique flavor is the characters who enact the heist, essentially the Neapolitan kind: vanilla, chocolate and strawberry.
In "Mad Money", the team of schemers are three women working at below-sea-level jobs at the Federal Reserve building: a white grandmother of the upper middle-class variety (Diane Keaton), a middle-aged African-American single mother trying to stay above water (Queen Latifah, who actually stuffs packs of bills into a large shredding machine), and Katie Holmes as a 20-something scatter-brain who will probably lose the better part of her hearing by movie's end.
However, a unique chemistry between the actors somehow makes the movie work, and the writers took the story seriously enough to give a lot of unexpected laughs, the way comedies of this type should be written.
In other words, luckily the writers didn't try to make the movie "funny".On a final note, the outstanding talent of the cast has to be Queen Latifah who does an excellent job of portraying a single mom who wants the booty but has ambivalence about the entire scheme.
But, in order for the scheme to work, she needs the aid of Nina (Queen Latifah), who operates one of the shredders, and Jackie (Katie Holmes), whose task it is to transport the cart of paper money to and fro.
Directed by Callie Khouri (best known for writing the famous Ridely Scott film "Thelma & Louise"), Mad Money tells the story of three women working at the Kansas Federal Reserve Bank (though the movie was shot in Louisiana) who work out a system to steal money that is about to be shredded.
Diane Keaton is certainly better here than in her horrible performance in the previous year's Because I Said So, and while some may find baffling that Katie Holmes chose this over The Dark Knight, she certainly does a better job here at playing a ditz than her uselessness in Batman Begins.
While I really love Diane Keaton and Queen Latifah, I was not particularly excited about Mad Money.
I could never look away, because I was so interested in the plot; they set everything up really well and the movie was nicely paced with some fun and surprising twists and turns that keep the viewer on edge.Like I said, easily the best thing about this movie is it's performances which ultimately make the only decent movie otherwise more than decent and highly rewatchable, and the cast pull off the material that could be seen as poor amazingly and overall make the movie worth the while.
Mr. Lee also knew that you must choose a style.Director Kallie Khouri, best known for writing and producing the feminist cult classic "Thelma & Louise" failed in every conceivable way - she demonstrates no eye for cinematography, a tin ear for dialogue, no timing for pacing, no point of view, and no talent for directing actors."Mad Money" is based on an British caper television movie "Hot Money", produced by Granada Television.
If I ever was so lucky to have a cast with Queen Latifah and Diane Keaton, I'd be embarrassed that I had put such a blemish on their filmographies, by giving them so little to make great.No comedy, no drama, no thrills, no real danger, and no romance creates no film worth watching.
An Oscar winning actress (Keaton), an Oscar nominated actress (Latifah), and the current spouse of an Oscar nominated actor (Holmes) shine in this delightful comedy/crime film as three employees of a federal reserve who plot to steal a large sum of disposable cash.
Though I am not familiar with director Callie Khouri who apparently won an Oscar, the cast of this movie was compelling, from Diane Keaton to Ted Danson, from Katie Holmes to Queen Latifah.
Along the way, the characters are making what seem to be really obvious mistakes that any law-enforcement official with a lick of sense would catch on to in no time.The main characters are pretty nonchalant about stealing gobs of money, and the supposedly vigilant security staff is equally blasé - barely expending the energy to raise an inquiring eyebrow when they see suspicious behavior.
Diane Keaton, Queen Latifah, Katie Holmes, and Callie Khouri (the screenwriter of Thelma and Louise) come together so perfectly in this entertaining crime adventure.Bridget (played by Diane Keaton) is the wife a laid-off a corporate manager Don (played by Ted Danson) and when he tells her they will be downsizing (selling their beautiful house, living simpler, etc.), she looks for a job to desperately keep them in their respective status.
As they keep taking more, their actions catch the eye of the IRS, and their perfect plan starts spiraling out of control.No, it doesn't have the intensely, complicated wit of other heist movies like the Oceans 11-13 or The Italian Job, but it is fiendishly entertaining.
Diane Keaton is the queen of comic (yet not over-the-top) acting, Queen Latifah is sensible and sophisticated, and Katie Holmes morphs back into a teenage-twenty-something with flair.This is an simple, enjoyable crime romp, with a great script that is just MAD FUN!.
Keaton, Queen Latifah and Holmes are three great actors who play three totally different characters in this film.
The three women who are trying to rob the bank are Diane Keaton, Queen Latifah, and Katie Holmes.
As bad as that allegedly funny comic caper is, Callie Khouri directs a caper headed by old folk Bridget Cardigan (Diane Keaton) that makes Manna look smart.
Mad Money, about three chicks who rip off the Federal Reserve, is a bankrupt comedy for which there was not a laugh for over an hour, and that's with an audience at a sneak preview, one of the easier groups to please.Diane Keaton shows no comedic skills beyond the lines Woody Allen has given her in previous movies long ago; Queen Latifa as single mama Nina Brewster has no range beyond the broad beam of her smile and her bod; Katie Holmes as daffy Jackie Truman is a much more successful wife of Tom Cruise.
The only one with half-way funny lines is Ted Danson as Don Cardigan, but his perfect white-haired, brush-cut hairpiece distracts from his delivery.Mad Money appears in early January, an infamous graveyard for films studios know flat-out won't be successful but distribute to satisfy investors and actors that the film actually played theaters.
Mad Money is a very fun caper/comedy film that I always love seeing over and over again!
Then there's Katie Holmes, who I really liked as well, I didn't enjoy her performance quite as much as Queen Latifah and Diane Keaton's, but it was still fun to watch.
Diane Keaton...well, either I'm getting old - or she's getting better.Heck, in some shots; she even looks hot - like a MILF...if you don't know what that means, look it up.Anyway, it was entertaining for the most part and I think that Ted Danson's role was good, but small.While he has had a decent career, it has never been huge outside of Cheers; however he always does a great job of portrayal and in this movie, I feel he outshines the rest of the major players.Entertaining and even funny to some degree with a life lesson.Don't get greedy.Do I feel that stealing money from the MAN is wrong?
It was nice to see Katie Holmes return to acting, after becoming Mrs Tom Cruise, she was real funny in her role alongside Diane Keaton, and Queen Latifah.
(Hot Money 2001(uk, TV.)) I'm not saying Diane Keaton and Queen Latifah aren't good actresses but this kind of stuff doesn't do them justice.
I will start with the casting Katie Holmes' performance at first was a little bit immature I was expecting more from her, her role was probably the most enjoyable and happy from the film her acting as a young women was just incredible I've never seen her doing so good in film before.
Then comes Queen Latiffa I think that her role was the most touching heart worming in the film she is just amazing this is her comedy just when you think that an actress is doing bad she gets the perfect role it was a good thing to see Queen doing a great job, and last but not least Dian Keaton she was the perfect to play that role her acting on this movie was so good you cannot compare it to last year's Because I said so, this was real acting this three actresses give such an amazing job thanks to this ladies the film is good.
Three female employees of the Federal Reserve plot to steal money that is about to be destroyed.This movie better than I expected it to be.
The three lead stars, Diane Keaton, Katie Holmes, and Queen Latifah, all seem to have fun in here.This film is kind of predictable, like many movies but it is certainly entertaining for most of the time.
I finished this film, thinking, "I too have a thirst to steal lots of money from the man!" Great performances help enhance a story of friendship and thievery..
She's amazed at the sight of all the money, and comes up with a scheme to steal the old cash with her fellow workers Jackie Truman (Katie Holmes) and Nina Brewster (Queen Latifah).Katie Holmes could have been in 'The Dark Knight' instead of this.
Diane Keaton, Queen Latifah, and Katie Holmes are in search of "Mad Money" in this 2008 comedy with Ted Danson, Christopher McDonald, and Adam Rothenberg.Bridget (Keaton) and her husband (Danson) are $260,000 in debt, and after losing his job, he hasn't been able to find another one.
Everything goes well until Bridget notices a strange man in her yard during a party...and sees him again at the Federal Reserve the next day.This film is reminiscent to "How to Beat the High Cost of Living," which was funnier, but "Mad Money" is amusing and clever with a strong cast or pros.
Katie Holmes' was very good as a young, ditsy woman who thinks it all sounds like fun; Queen Latifah brings her usual warmth to her role of the nervous one in the group; and Diane Keaton is terrific as the greedy mastermind who pushes the boundaries and won't take no for an answer.Very enjoyable, a good rental..
every year the federal reserve destroys worn out , and bills that are frayed , and such, well all that money has to go somewhere doesn't it?, yes it does,, but these clever ladies have other ideas for that money,, they figure that if the United States Government is going to destroy the money anyway,, then it really shouldn't be a crime afterall,, actually I don't think it should be either,, so these girls come up with a foolproof idea to steal the money,, but they do need some help, not a bad comedy,, Queen Latifah, Dianne Keaton, and of all people,, Katie Holmes,, along with Ted Danson,, this makes for a decent comedy..
In this movie 3 women who work at a federal bank come up with a scheme to steal worn out money that is going to be destroyed.
Despite the silly ending, we have a fairly good film here led by Diane Keaton, Queen Latifah and Ted Danson who all become involve from stealing money from the Federal Reserve Bank.Keaton and Danson are a wealthy couple who lose everything when Danson is a victim of his firm's downsizing.
With little skills, Keaton goes to work as a cleaner for the Federal Reserve Bank where she meets up with Latifah and others as they steal money.It's hilarious how they do this and get around a boss who is constantly watching them.Don't be disappointed by the ending, since despite it all, crime does not pay..
Diane Keaton, Queen Latifah and Katie Holmes work together to make a great team as the three criminals.Although of its nasty box office performance and harsh reviews, Mad Money delivers as a comedy that is a lot fun from start to finish.
Diane Keaton does well and looks to slowly be returning to form, Queen Latifah is always so much fun and she fails to disappoint and even the usually annoying Katie Holmes is fun to hang around with.Overall, Mad Money is a lot of fun, mainly because of its three leads who are extremely enjoyable to hang out with..
Diane Keaton comes up with the scheme, which viewers are hardly privy to (she buys a lock and looks something up on the internet); Queen Latifah warns her not to spend any of the money, but a few scenes earlier is seen enrolling her child in a prestigious school and offering to donate a large sum to the library.
(Synopsis) Bridget Cardigan (Diane Keaton) is a dedicated mother and corporate wife living in an upper middle class neighborhood when her husband Don (Ted Danson) is downsized from his job of 30 years.
The one-time corporate wife now works with Nina (Queen Latifah), a single mom with two kids who shreds old money, and Jackie (Katie Holmes), young, beautiful, and a little strange, who moves the money cart.
Then we have Queen Latifah, who is the best character in the movie--but who still goes for the "I'm American and I'm entitled to something because I want it." Forget about Katie Holmes.
She's a Type 1 diabetic and any idiot would know that diabetics often use syringes to inject insulin--but Diane Keaton and Queen Latifah imply Katie Holmes' character is a drug addict.
"Mad Money" (**** out of ****) finds Keaton teaming up with Queen Latifah and Katie Holmes.
Poor Bridget Cardigan (Diane Keaton) sees her life going down the drain when her out-of-work husband Don (Ted Danson of CBS-TV's "Becker") cannot find another job.
Queen Latifah has played her role several times before and should be a pro at it and she does a good job.
Roger Cross is decent as Latifah's love interest but he's mostly quiet and brooding and doesn't really do anything to stand out.The most important thing I think with a buddy crime comedy is that the main characters (in this case the trio of gals) have great chemistry and in the end they are the best of friends and you believe it and Mad Money successfully pulls that off considering how different the characters and the actresses really are.
If however you do want to watch it you can on YouTube and after the first 10 minutes the sound is much better - well worth a look if you found Mad Money entertaining.
Its strengths lay in a very strong cast (headed by Diane Keaton, Queen Latifah, Katie Holmes and Ted Danson) as well as an intriguing story that is worth watching.Essentially, Bridget (Keaton) sees her comfortable, upper class life fall apart when her husband (Danson) loses his high paying job and they're left saddled with huge debts.
To try to make ends meet, Bridget takes a job as a janitor at the Kansas City Federal Reserve Bank, and while she works there and watches the operation, she concocts a scheme to rob the place of old money that was about to be shredded.
Diane Keaton plays suburbanite Bridget Cardigan, whose husband Don(Ted Danson)loses his job and has spent a year without finding another one.
So you have Nina(Queen Latifah),a single mother, and Jackie(Katie Holmes),a young free spirit, getting ready to pull off a heist with Bridget that will change all of their desperate and diverse lives.
Mad Money (2008): Dir: Callie Khori / Cast: Diane Keaton, Queen Latifah, Katie Holmes, Ted Danson, Roger Cross: Formula comedy about our constant strive for riches.
Mad Money is a comedy heist movie, with an unusual wrinkle in that the crooks are all women.They work at the Federal Reserve Bank, and the thought of all that worn out money simply being shredded proves to be too much for the unexpectedly impoverished Bridget (Diane Keaton), reduced to cleaning after husband Ted Danson loses his job.
So she recruits single mom / money shredder Nina (Queen Latifah) and dippy trailer dweller money mover Jackie (Katie Holmes) and the three of them demonstrate how easy it is to recycle" some of this unwanted money, albeit not without some wobbly moments on the way.This movie features pleasing performances from all the main characters, but particularly from Diane Keaton.
Katie Holmes' dozy Jackie is good fun, too, and Queen Latifah's sincerity gives the film some much-needed heart.Enjoyable, if a little frothy..
That the film works at all is testament to the three leads, Diane Keaton, Katie Holmes (how is correctly cast here unlike Batman Begins) and Queen Latifah.
So Bridget needs to work.She finds a job as a janitor in a Federal Reserve bank, and it just breaks her heart to see them having to destroy all that worn-out money each day.
It has money in it.' I only watched it because it had Diane Keaton in it, but after about 20-30 minutes, I started to realise this isn't such a bad film after all. |
tt0389828 | C.S.A.: The Confederate States of America | === War and Rebellion ===
In an alternate United States history, the "Confederate States of America" (C.S.A.) is formed after Republican Abraham Lincoln is elected president in the 1860 election, due to fears over the dissolution of the ownership of Negroes. They engage with the Union in "The War of Northern Aggression." Following the Union victory in the Battle of Antietam, President Lincoln issued a revolutionary proclamation entitled the "Emancipation Proclamation," but—within this fictionalized reality—the proclamation failed.
Confederate President Jefferson Davis took this opportunity to counteract the proclamation and send politician Judah P. Benjamin to persuade the military and financial aid of the United Kingdom and France to the Confederacy in their fight against the Union. Benjamin also promoted the "Southern Cause of States' Rights" which proclaims Southerners have the right to have private property, the abolition of slavery remaining unaddressed. Eventually after the success of Benjamin's gambit, the Confederates—with the aid of British and French forces—were able to win the Battle of Gettysburg, capture Washington, D.C. and take over the White House a few months later, but Lincoln escapes.
Union General Ulysses S. Grant surrenders to Confederate General Robert E. Lee on April 9, 1864 (exactly a year before the date of Lee's actual surrender to Grant at Appomattox), effectively ending the Civil War.
The hunt for the now-deposed President Lincoln (now disguised in blackface) and abolitionist Harriet Tubman is undertaken, and both are eventually captured, which became the prime subject of D. W. Griffith's fictional 1915 silent film The Hunt for Dishonest Abe, and shows a humorous reenactment of Lincoln and Tubman's failed escape attempt. Lincoln was quickly tried for war crimes against the Confederacy and was imprisoned in Fortress Monroe, Virginia, where he watched the execution of Tubman from his cell. In 1866, Lincoln—frail and gaunt from his two-year sentence—is fully pardoned by President Davis and exiled to Canada, where he remains until he dies in June 1905 at the age of 96, almost entirely forgotten in history.
Shortly before his death, Lincoln laments, in an interview, not having made the Civil War a battle to end slavery, and blames himself for it. He also hopes that the colored people of the C.S.A. will gain independence, but regrets he will not live long enough to see it happen.
=== Reconstruction ===
After the war ended, the victory of the South was the cause of immense celebration, with many plantations welcoming back the troops to a now "blessed and triumphant" lifestyle. After Confederate soldiers moved further east, raiding New York City and Boston, the Confederacy—with the stroke of a pen—annexes the remainder of the United States, renames the nation the "Confederate States of America" (C.S.A.), and abolishes all of the old American symbols and replaces them with their own: the national flag is changed from the traditional U.S. Flag to the Confederate Naval Jack flag; the Confederate States of America dollar becomes the dominant currency of the C.S.A.; and the national anthem is changed from "The Star-Spangled Banner" to "Dixie", ironically, written by a northerner named Dan Emmett.
After leaving Richmond, Virginia and moving into the White House, President Davis faces difficulty in inducing the North to accept the institution of slavery, until John Ambrose Fauntroy I introduces a tax that is alleviated by the purchase of slaves, and Samuel A. Cartwright, whose theories dominate Confederate medical science, "discovers" a fictional disease that causes slaves to run away, and declares slaves livestock. Following the success of the new slave tax, 20,000 former U.S. citizens—most of them being Northerners (e.g., Wendell Phillips, Mark Twain, Susan B. Anthony, Henry David Thoreau, Ralph Waldo Emerson and William Lloyd Garrison, among others)—lead an exodus from the C.S.A. to Canada. Canada, along with the Russian colony of Alaska, was able to remain free from the C.S.A. and soon became home to refugee abolitionists, runaway slaves, and former citizens of the United States and, thanks to the efforts of both Garrison and Frederick Douglass in convincing the Canadian Parliament and Canadian Prime Minister John A. Macdonald to not repatriate escaped slaves, together formed an organization known as the "National Association for the Advancement of Chattel People" (N.A.A.C.P.). The strong hatred of the N.A.A.C.P., Canada, and the "Red Canadian Injustice" within the C.S.A. dates back to the end of the War of Northern Aggression and the beginning of Reconstruction for the massive loss of their slaves, who sought Canada as both freedom and asylum from the C.S.A.
Along with the Red Canadian Injustice, Reconstruction efforts for the C.S.A. prove to be a challenge with pioneers, gold-prospectors, the Plain Indians—which a war against them lasted almost 30 years—and the railroad expanding from the South into the Great Plains. In the 1890s, a decision is taken to enslave the West Coast Chinese migrant workers, too. In 1895, the government of the C.S.A., which does not separate the Church from the State out of fear for more foreign slaves and their religious beliefs in contrast to the C.S.A., outlaws all non-Christian religions. After much debate, the Roman Catholic Church is classified as a Christian religion. Originally, Judaism, too, is outlawed, but a dying Jefferson Davis, citing the crucial contribution of the Jewish Judah P. Benjamin, persuades Congress to allow some Jews to remain on a reservation (similar to a Native American reservation) on Long Island.
=== A "Splendid Little War" ===
By the beginning of the 20th century, the Confederate States of America finished Reconstruction and began an expansionist campaign to claim the Western Hemisphere as part of their "Golden Circle", with only Alaska and Canada remaining free from being client states of the CSA. They began with Cuba, Haiti, the Dominican Republic, and the rest of the Caribbean islands during the fictionalized version of the Spanish–American War, then move on to completely annex Mexico and Central America. Following the annexation of Mexico the Confederates adopted the "Jim Crow" system to divide the Confederates—who now rule the country—and the Mexicans. Confederates saw that the conquest of South America would be the nation's "prized piece", but it would prove difficult due to the intensity of the will of the South Americans to stay independent from the invading Confederates. The Confederates believed in an ordained and divine quest, reminiscent of Manifest Destiny, for world domination.
=== The Great Depression and World War II ===
In 1929, with Mexico, Central, and South America, Haiti, Cuba, the Dominican Republic, and the Caribbean all part of their "growing empire" from their expansionist campaign, the C.S.A. was hit by 1929 economic crash, forcing them to retreat into isolationism, but extricates itself by reviving the trans-Atlantic slave trade with new African slaves provided by collaborationist African leaders who enslave members of other tribes and sell at the Confederate state of Liberia.
During the Second World War, the C.S.A. became friendly with Nazi Germany and their ideologies calling them "biologically correct", but disagreed with Adolf Hitler's "Final Solution" for a pure Aryan continent, hoping to exploit non-white races as a slave labor force instead of murdering them. The C.S.A. agrees to remain neutral in any German war. However, the C.S.A. becomes hostile with Japan, seeing its expansionism as a threat to the entire Pacific Coast Region. On the morning of December 7, 1941 (the date of the actual attack on Pearl Harbor), the C.S.A. strikes two Japanese naval bases and bombs the city of Kyoto as the opening blow in a war against the "Yellow Peril". Confederate leaders assume that the C.S.A. will easily win the war, judging the Japanese as small and weak in physical stature, as well as not being white, but—just like their campaign in South America—the Japanese proved to be an intense challenge to defeat.
During the war, the C.S.A. military suffers massive losses and tries to solve its manpower shortages by recruiting a black regiment by promising slaves their freedom if they would fight (which is later revealed to be a lie with no explanation). This regiment receives the most dangerous missions and suffers high casualties, but earns the respect of white officers. The war is won by using the atomic bomb. The European war still ends in the Nazis' defeat, albeit with many more Soviet casualties. Stalin expands control over all Continental Europe and supports the holding of their colonies with exception to the British Empire (thanks to Canada).
=== Cold war with Canada ===
During the 1950s, the C.S.A. suffers the effects of "Abolitionism" (analogous to Communism and the Red Scare) and violent attacks from a splinter group of the N.A.A.C.P. called the "John Brown Underground" (J.B.U.). To safeguard and counter the fears of Abolitionism and the Red Canadian Injustice, the C.S.A. erects a border barrier wall along the entire Canada–US border called the "Cotton Curtain" (lampooning the real-life Iron Curtain) to divide the C.S.A. from Canada. After a series of abolitionist attacks and the C.S.A.'s neutrality in the Second World War and being friendly with Nazi Germany, Mainland Europe and their overseas colonies—now under Soviet control—impose international trade sanctions and embargoes on the C.S.A., forcing the nation into isolation once again leaving South Africa the only country maintaining diplomatic relations with the C.S.A. The success of the embargo on the C.S.A. leads some to question the need for slavery.
=== A New Frontier ===
In the 1960 election, when only 29 percent of voters approve of slavery, Roman Catholic Republican John F. Kennedy is elected C.S.A. president over Democrat Richard Nixon. However, foreign policy such as the Newfoundland Missile Crisis distracts him, and he is unable to implement his domestic agenda. Also throughout the 1960s, the Vietnam War is briefly mentioned as an "expansionist campaign" of the C.S.A., also women demanded the right to have a voice and Canada became the pop cultural capital of the world with the contributions of African Americans and other exiles (Elvis Presley, after being jailed for some time, flees there), whereas the C.S.A.'s culture never evolves beyond its propaganda. Canada also continuously defeats the C.S.A. in the Olympic Games, which brought the Confederate congress to include slaves in sports, forming their very first Confederate States Football League championship games. This illustrated the time to break the color barrier and support Kennedy's movement to emancipate. But before this movement was set into motion, President Kennedy was assassinated. Kennedy's assassination completely dismantled the hopes of emancipation and for women to get the vote. Slaves throughout the country rebelled in fury and retaliation, including the Watts Riots, as a direct result of Kennedy's assassination. In the 1970s, the Social Revolution was crushed and many feared that the "Golden Age" of the Confederate States of America was over.
=== Modern day ===
By the start of the 1980s and the 1990s, the Confederacy has largely put away such self-doubt of the years beginning with the death of President Kennedy and continued throughout the 1970s. Democratic Senator John Ambrose Fauntroy V presents programs returning the Confederacy to its former Southern Protestant Biblical values, such as husbands beating their wives and intolerance of homosexuals. The documentarians ask Senator (and presidential candidate) Fauntroy V to arrange an interview with some slaves, but it becomes clear that the slaves have been coached. However, they are clandestinely passed a note instructing them to meet a black man named Big Sam (earlier identified as the fugitive leader of the J.B.U.—John Brown Underground). Big Sam, in turn, leads them to Horace, a lifelong slave of Fauntroy's, who alleges Fauntroy V is part black, sharing a common slave ancestor. The racial accusations cost Fauntroy V the presidential election; a month later, the senator commits suicide on December 12, 2002. Narration then states DNA tests were "negative".
=== Expanded timeline ===
The film's official website contains an expanded timeline of the history of the C.S.A., which features events not covered in the documentary. The timeline identifies President William McKinley's assassin as an abolitionist rather than Leon Czolgosz, an anarchist. The C.S.A. manages to advance in space technology by smuggling Nazi scientists out of Germany before its annexation by the Soviet Union. Rosa Parks is identified as a Canadian terrorist and a member of the J.B.U.. The failed assassination attempt on Pope John Paul II occurs in New York City instead of St. Peter's Square, with the assailant being a Southern Baptist who is subsequently executed for the crime. The Gulf War has Kuwait as C.S.A. territory. In 1995, Tim McVeigh blows up the Jefferson Memorial instead of the Murrah Building in Oklahoma City; his execution is broadcast on pay-per-view. The War in Afghanistan and subsequent American interventions in the Middle East are known as the "1st and 2nd Crusades", with the goal of eradicating the "Muslim Menace" by overthrowing the Islamic governments, taking over their oil production, and converting their entire populace to Christianity. | alternate reality, satire, alternate history | train | wikipedia | In an alternate universe, Jefferson Davis became president, the Confederates won the Civil War, Abraham Lincoln was not shot and killed but becomes an escapee in blackface and dies in disgrace in Canada (not before recording his last words in 1905 -- a little anachronistic since sound in films did not occur until the 1920s), and slavery is alive and well and becoming one with technology.
The interviews, voice overs, and lingering camera shots of a still photograph were all spot-on.My favorite part was the multiple level satire of films from the early 20th century showing events from the 19th: a silent movie about Lincoln's capture, a 50s school educational film about the superiority of whites, and a Hollywood war epic about the CSA's wars in South America.
It shows an alternate history for if the confederates won the civil war.The style is like a documentary you'd see on the History Channel with fake commercial breaks that show popular products.
Probably one of the most disturbing things is that you find out a lot of these products are based on real items (Niggerhair cigarettes and Darky toothpaste come to mind).As with any good satire, there needs to be an element of truth which is definitely explored in CSA.I watched the movie with a friend who just got his MA in History, focusing on the civil war.
Told like a Ken Burns Civil War documentary, CSA really gives a great look at what "might have been." From Jefferson Davis as the President of the United States and his exile of Abraham Lincoln to Canada, to The President meeting with Chancellor Hitler to discuss enslaving the Jewish race as opposed to destroying it to JFK's assasination because of his wanting to end slavery, the film touched on many of the United States' milestone moments told through this alternate universe.
The movie is pretty interesting, it shows what it could be like if the south won the civil war and slavery still persisted today.
CSA is about the history of the Confederate States of America - from the moment they won the Civil War to today.
In the faux documentary "CSA," we learn what the twentieth century would have been like if the South had won the Civil War. The Confederate States of America became a nation teeming with racism and misogyny.As a Southerner, I found the film pretty offensive.
If the South had won, I could see things like they depicted, as could of have happened.I did a bit of fact checking on some of the scenario's that they put through and learned a bit of factual civil war history - that isn't often taught or known about.Makes you think - what if.....
To this end, the film's makers leave out all sorts of inconvenient historical trends and incidents like industrialism (the real reason why slavery became economically nonviable), Marxism, World War I, the expansion of the British Empire, the rise of Arab petropower and the Cold War. Russia doesn't even get a look-in.
And no, deliberately making the Confederates unrealistically expansionist so that the filmmakers could turn the Japanese (whose army murdered tens of millions of Asians before and during WWII) and the Central and South Americans (who have their own obsessions with skin color and racial ancestry) into blameless victims of Confederate aggression doesn't make the stereotypes any more palatable.As the Shaw quote that starts off the film notes, you'd better make people laugh while you're telling them the truth.
"The South would never have tried to dominate the North", "The war wasn't really about slavery" -- none of those things matter.What would our country be like today if the idea that one race should hold dominion over others had survived?
and the angle of documentary just fell flat....oh well can't win them all....perhaps next time the directors will drop his private agenda and concentrate on making a film exciting and interesting to the viewer....the commercials thrown in were something only worthy of a SNL skit and implying slaves as property in a insurance commercial might get a cheap laugh but doesn't make this movie worth seeing....honestly my teenagers have put better commercials together in their class....really a shame...the idea was great but the movie just falls flat.
This is a very involving, at times disturbing, and funny in a way that you cringe &/or chuckle film, where writer/director Kevin Willmott makes a striking attack at the racism that is unfortunately inherent in American history.
By making the film a rip on the kinds of PBS documentaries that Ken Burns has carved his niche in, and by turning up everything that has happened since the end of the Civil War, he has a lot to shoot at target-wise in a completely, unabashedly ironic sense.
It's not very high-budgeted, but it is authentic in that the acting is exactly how one of these TV documentaries would be like, heavy-set narrator and all.But at the same time of this kind of very sincere, dramatic approach to telling the history of this disturbing alternate world of 150 years of history, there is a very un-hinged approach to dealing with the racism of it, which is extreme considering, well, the slave-owning, Aryan-dominated confederacy won.
The epilogue to the film, involving the REAL products and places that displayed the harsh racism lasting until as late as twenty years ago (one of them has a mention in the film Ghost World by the way), puts into perspective what has occurred; you may even feel a little weird about having laughed at what happened, what does that say about me or the other people in the theater?
There was something bothersome about "The Confederate States of America" evident even in its trailer, but as a Civil War buff and armchair historian, I was nonetheless enthusiastic about this "mockumentary" currently making the Indie theater circuit.The plot should be obvious enough: in an "alternate universe," the Confederacy won the Civil War, conquered the Northern States and continued into history in the U.S.'s place, as covered in this "controversial tell-all British documentary." Slavery continues into the 21st Century, as many interviewees and even a Presidential candidate try to apologize for, justify, and even glorify the Confederacy's misdeeds.For any fan of what historians call "counterfactuals" (essentially historical "What If's"), "C.S.A." seems built on a great premise, and one that has indeed been debated over since the fall of the real Confederacy in 1865.
Sadly, this audience member felt that these mistakes could have been avoided and that the film, as a whole, could have been better-handled.The end product of filmmaker Willmott's venture is considerably uneven; at times the "documentary" approach looks and feels very professional, enough to rank with a "PBS" Frontline production.
In other areas, the production value of C.S.A. seems almost sophomoric: poor sound and film quality, and poorly synthesized music make this mockumentary look as if it came out in 1992.The blaring flaw in this film, for me, though, was first in its mishandling of the historical complexities of the Civil War and all surrounding issues, and secondly and most importantly its apparent indecision over just what "sort" of mockumentary "it" wanted to be: serious satire of spoofy comedy?
It just didn't fit, and in my opinion, represents a wasted opportunity on the part of Kevin Willmott to make "The Confederate States of America" a worthwhile, valid and even intellectual piece of satirical American Cinema.Though ultimately silly and nowhere near "consequential" a film as it could have been (one gets the feeling that any number of historically-inclined filmmakers could have made a far superior and far more stirring and dramatic film out of the subject matter), it does keep your attention as a small "plot" of sorts develops around the Democratic presidential candidate, Senator Fauntroy --scion of a Confederate dynasty-- as a political "bombshell" explodes during his candidacy.
I've always loved alternative histories (i.e., "The Man in the High Castle", the first 2 seasons of "Sliders," etc.) and this movie is another great example of this genre.The movie is presented as a BBC documentary written in the present day of this "parallel universe" about the history of North America starting when the South won the American Civil War. The thing that makes this movie so great is how realistic it is.
With a few minor exceptions, the screenplay resists the temptation to caricaturize its characters and instead presents them in a way that is believable and historically appropriate.This movie also does a very good job of making slavery more "real" to a modern audience by placing it in a more familiar setting.
On the contrary, it makes the situation worse by filling peoples heads with blatant mis-reporting of history and human attitudes towards slavery.Don't even get me started on him attributing the slash and burn policy of Sherman to Genereal Lee...and also his gross misrepresentation of George Washington.His assertion in the film is that if the South would have won the War of Northern Aggression (AKA the American Civil War) that we (as a nation) would still be condoning slavery...not out of a need for inexpensive labor (which is a fallacy in its self), but out of a sentiment for the ways of the Old South.
To make it even more atrocious, his speculation of a Confederate peace pact with Nazi Germany is even more nonsensical.This man may have studied film, but he is no student of history...and is obviously no scholar on human behavior, technology's influence on the American Industrial Revolution or other issues that would have caused the natural extinction of slavery in the US...even without the War of Northern Aggression.
Being a big fan of alternative histories, I was excited to see "CSA: The Confederate States of America" at the Denver International Film Festival this year.
Okay, okay, so since Rodney King, they edit out the beating up part, but still ...It's shocking to realize that that aspect of our present day society would probably be exactly the as under a slave-holding society: Whites will always beat up blacks, no matter what moral principle is guiding the country: be it Racism, Nazim, capitalist, democratic or whatever, that is a constant.Actually, this is point that is driven home: Our present day world is not that different than if the South hád won!It is still far better to be white than black in America.
a much longer version of this is on myspace.The documentary is what if the South had won The Civil War, but it is actually a thinly disguised ruse on the part of Lee and Director Kevin Willmott to inculcate into the minds of the viewers that whites are racist by nature.
Presented as a history channel style documentary, detailing an alternative history of the United States, or in this case the Confederate States, as though the south had won the American Civil War.The production is about as exciting and innovative as a standard historical documentary.
The concept, what if the south had won the civil war, what would popular culture be like, is an intriguing notion, no?Well, I thought so, but what a soggy leaden thing this movie was.
In other words, the filmmaker should have interviewed historians, sociologists, and other intellectuals who could have drawn some reasonable projection on what modern day America would have looked like had the south won the war.The fact that the filmmaker concluded that there would have been one country was so ludicrous, he lost all credibility.Therefore, the mock commercials that ran through this movie were not only unfunny - but totally stupid given that no reality had been adequately established in this movie.The various vignettes (lincoln being a black-faced escapee) were dull, stupid, reaching and clearly designed for the filmmakers hopes of becoming a staff writer on SNL or Mad TV.Spike Lee is a very talented filmmaker and should not be faulted for producing this movie.
This movie was not funny in the least, had no real insight to what ACTUALLY would have happened if the south won the war, and is a totally gigantic WHO CARES??????.
No doubt popular ideas in the alternative reality worlds of Massachusetts, Vermont and Minnesota but laughable among thinking people.Gross historical error - the movie portrays Central and South America as not knowing slavery.
But without citing anything specific--because the entire thing is one of THE most gawdawful wastes of time (like, 90 minutes of my life that I'll never get back--fortunately I was cleaning the living room while watching, so it wasn't a complete loss) I've ever experienced--in addition to being completely unwatchable, I DID NOT realize til the end of this film during the credits that it was another Spike Lee debacle-- DUH.
You know I don't want to crap all over a movie, told from an African-American perspective, about what the world would be like if the South had won the civil war.
To illustrate an alternative reality of the past hundred years as if the Confederacy had won the U.S. Civil War (with foreign help) through a faux British TV documentary, writer/director Kevin Willmott makes excellent use of detailed research and archival footage to seamlessly create dead-on parodies of decades of movie styles (D.W. Griffith here makes "The Yankee" instead of "The Clansman", to a 1930's style hagiographic bio pic of Jefferson Davis, to a World War II-style movie here set in a war to take over South America as the Confederates dreamed to do, etc.).
What shocks me, is that many people who've seen CSA, and, have found it 'offensive,' don't know that the man who created this (Kevin Willmott) happens to be black.If you read the opening quote from George Bernard Shaw('If you're going to tel people the truth, you better make them laugh; otherwise they'll kill you'), then, you'll understand, that Mr.Willmott grasped this, when he crafted this picture.In the past decade, or so, we've had a horrible injustice done - a 'hypersensitivity,'(called 'politically correct) that has made any REAL discussions almost taboo.Mr. Willmott ISN'T afraid to show this alternate history, and, he understands that the common language is humor.The sad thing, is that, some people who've watched this (and, many did not know Mr Willmott's ethnicity),thought it was some 'horrid' film made by whites, and, didn't understand what Mr. Willmott was trying to show - instead, only viewing it FOR the caricature that it is.I give Mr. Willmott MUCH credit, for making this film..
CSA certainly tells a lot of truth, but it's more disturbing than funny, a mockumentary so dark and so thoughtful that it winds up being rather depressing.This fake documentary tells the history of a United States in which the Confederate States won the Civil War and slavery continues to this day.
We've replaced the blatant immorality of slavery with the status quo.If the North had truly won the War and the Peace, then the Slaves would have gotten their 40 acres and a mule and things would be a lot better today.Maybe this movie would have been more interesting if it were about the real unrealized USA, if Lincoln weren't assassinated..
Yes, This is a documentary, really a mock-documentary.In 89 minutes(including 4 of credits) we are shown a British TV movie (including commercials) of what might have happened if the \South had actually won the American Civil War.There are many truths in this movie, more than we realize just from watching, There are many allusions to certain historical events, that while being satirized are quite true when you figure what they are really saying.This film was released only in a few theatres across the country & to this reviewer thats a crying shame.
However they are done in such a humorous way it is quite funny, Both of us ( Senior Citizens by the way) thoroughly enjoyed this.As I said at the beginning Docuimentaries are hard to rate, the acting & production values can be not of high quality, the people in the film are supposed to be playing real life characters and are not actors playing a role.That being my opinion,here are my ratings.*** out of 4----88 points out of 100 ----- IMDb 8 out of 10/see this movie & let me know if you agree..
This is one of the first mockumentary movie I saw when I was a Teenager at a time when I was very interested in the American Civil War. The idea of a parallel reality was very new to me at the time so when I watched this film in early 2010 I very quickly became interested in the concept of an alternative reality in what would later become a genreknown as "Alternative history" and C.S.A: The Confederate States of America was the Spear of what captivated me into that genre.
The film tells how the Confederates won the Civil War (which ended in 1864 in this timeline) and how they brought slavery back to the North.
The real history is deliberately twisted to show viewers what America might have been like today if the South had won the Civil War. Fake historians recite fake commentaries; fake visuals show action that never occurred or is taken out of context; actors act out characters that never lived.
As the title suggests, this elaborate satire has as it's premise that the South won the Civil War, overran the Union States- and then incorporated them into an uber-Confederacy where slavery is not only preserved but expanded.
These ads have a very nasty kick- at the end of the film we are told that nearly all of the products advertised were real and that some still exist.Over 140 years of American history is gleefully reimagined with the CSA conquering all of Central and South America, using the slave trade to end the Great Depression, and allying with Adolf Hitler in the 1930s.
Director Kevin Willmott ends the film with an epilogue stating that "the following are actually part of American history." Every single racist product that I thought was too outlandish to be true was actually real. |
tt0322259 | 2 Fast 2 Furious | In Miami, Brian O'Conner makes a living by participating in illegal street races. Tej Parker organizes a local street race, involving Suki, Orange Julius, and Slap Jack, however, the race lacks a fourth driver. Tej later calls Brian, who agrees to be the fourth needed for the race. Brian wins, giving a few thousand of his winnings to Tej to show his gratitude. The police then arrive, forcing all the racers to flee. Watched by undercover U.S. Customs Service agent Monica Fuentes, Brian is caught by the agents. He is taken into custody, but given a deal by his former boss, FBI agent Bilkins, and Customs agent Markham, to go undercover and bring down Argentinian drug lord, Carter Verone in exchange for the erasure of his criminal record. Brian agrees, but only if he is given permission to choose his own partner. This prompts him to travel to Barstow, California, where he enlists the help of Roman Pearce, his childhood friend who served jail time for housing stolen cars in a garage. Roman blames Brian for his arrest, and is currently on parole. Roman agrees to help, but only for the same deal Brian was offered. Roman and Brian are later hired by Verone, who tasks the duo to obtain a package from a confiscated car located in a lot. Markham follows the duo to the lot in order to obtain the package, however, Roman relents, and shoots at Markham to help maintain his cover. He later confronts him for interference with the mission. Brian is able to gain knowledge of the plan, however, and tells Bilkins Verone's is aiming to launder his money in Miami, before escaping on his private jet.
Later, the team challenges a pair of muscle car drivers they raced when competing for Verone's hiring, for pink slips. Despite engine and power output handicaps, Brian and Roman manage to win the race and the other two cars. Meanwhile, Roman confronts Brian about his attraction to Monica and the constant threat of Verone's men. However, the two men patch up their differences, and focus on completing the mission.
After witnessing Verone torture Detective Whitworth of the Miami Police Department into giving them a window of opportunity to make their getaway, Brian and Roman are warned by Monica that they will be killed once the drop is made. However, Markham refuses to call off the job, claiming that is their one chance to catch Verone.
On the day of the mission, Brian and Roman begin transporting duffel bags of Verone's money, with Verone's right-hand men, Enrique and Roberto, riding alongside to accompany the duo. Before the window is set, Whitworth decides to call in the police to move in for an arrest of the drivers of the cars used by Brian and Roman. This results in a high-speed chase across the city. The duo leads the police to a warehouse, where a "scramble" by dozens of street racers organized by Tej disorients the police. Following the scramble, the police manage to pull over the cars, only to find out that they were driven by Tej and Suki.
As Brian approaches the destination point in a Yenko Camaro, Enrique tells him to make a detour away from the airfield to the Tarpon Point Marina exit. Meanwhile, Roman gets rid of Roberto by using an improvised ejector seat in his Dodge Challenger powered by nitrous oxide. At the airfield, Customs agents have Verone's plane and convoy surrounded, only to discover they have been duped into a decoy maneuver while Verone is at a boatyard several miles away. Verone reveals he knew Monica was an undercover agent, and purposely gave her wrong information on the destination point. When Brian arrives at the Marina, Enrique prepares to kill him when Roman suddenly appears and helps Brian kill Enrique. Verone makes his escape aboard his private yacht, but Brian and Roman use the Camaro to drive off a ramp, crashing on top of the yacht. The duo manages to apprehend Verone and save Monica.
With their crimes pardoned, Brian and Roman ponder on what to do next in Miami, with the former suggesting starting a garage. They are revealed to have taken some of Verone's money for themselves. | cult, murder | train | wikipedia | null |
tt0248808 | For the Birds | A flock of small, blue, birds land and sit on a telephone wire together. Two of them start to argue, push each other. Then they all take sides until a huge goofy bird lands on a nearby pole and wants to join them. As this long, lanky, unwanted guest flies over, the wire sags all almost all of the way to the ground. The little birds get angry as they slide down to the bottom point, bumping into him. They knock the big one off with a peck, but he hangs on with on foot. The closest birds peck away at his toes until he lets go, Just before he does, a few of the little birds see what is about to happen, so they chirp about it. It is too late and poof! The little ones get slung high into the air like the wire is a sling shot, and they lose their feathers. As the naked little birds land, bounce and squeak, the hide behind the big one as he laughs. | entertaining | train | imdb | I recommend copying it from the DVD onto your hard drive, keep it handy."For The Birds" is another slick, colourful vignette from the wonderful Pixar animation studio, a delightful moral tale, and simply essential viewing for anyone following their remarkable output.A masterwork of lightening fast character sketching and feathery CGI texture work, comic at every turn, and still laugh-out-loud funny after two dozen viewings or more.
Watch out, most of the best action happens at the left hand side.The sort of thing you could imagine some Pixar genius tossing off over lunch-break, just for fun, except it probably took months to create and weeks to render.
For The Birds is the side-splittingly hilarious short animated film that preceded the rather unimpressive Monsters, Inc, and all this hype that you may have read about For The Birds in the comments index here on the IMDb is pretty accurate, with the exception of the occasional grump who calls it forgettable or just amusing or some other such nonsense.
Pixar is becoming more and more famous for the hilarity of their films (especially the short ones, if only because they are virtually uniformly hilarious), and For The Birds is definitely no exception.
What you have here is a story that is about as simple as they come - a bunch of tiny egg-shaped birds on a telephone wire who are approached by a big goofy bird, and they are all contemptuous toward her and do everything they can to get rid of her.
It's the conspiracy that these little birds come up with to get rid of this ostrich-looking bird (yes, I know it's not an ostrich, by the way) and the fact that Pixar is able to communicate it to the audience without a single piece of dialogue other than these hilarious cheeps and grunts that the birds make that makes the film so impressive and funny and, yes, MEMORABLE.
The Academy Award that For The Birds won for Best Animated Short Film for 2001 was even less of a surprise than the one that Shrek won for Best Animated feature!
It was a given!For The Birds is not the kind of short film that you watch before a rather short animated film and serves no other purpose than to make you feel like you got your money's worth because the feature film is rather short.
This is not just something to keep you in your seats for a little longer (how much of a difference would three minutes really make in that case?), this is something that Pixar throws into the mix because they're so good at what they do that they can deliver pure entertainment even with such a short film.
The old Roger Rabbit short films are the kind that are mildly amusing on a more childish level and that can be forgotten rather quickly, but For The Birds is something else entirely.
Like all the Pixar shorts - not the least of which is Geri's Game (which should not be confused with Gerald's Game, which is a strikingly different story!), one of my personal favorites - For The Birds is the kind of short film that you enjoy for only a few minutes but remember for years.
My only hope is that Pixar will someday come out with a special DVD just for all of their short films.
Observe them as they watch, understand, empathize and laugh out loud to a quirky short with no dialogue.
Shown before Monsters Inc., this short was arguably the most fun-filled five minutes of my entire life!
Monsters Inc. was a great great great film, fantastic in all aspects (10/10), and yet, "For the birds" was the biggest impression of the lot, when you left the theatre.
It really was THAT hilarious.I've always been a HUGE admirer of Pixar, and have seen all their shorts and real films (Tin Toy, Nick Nack, Geri's Game, Toy Story 1 and 2 to name but a few), but "For the birds" is their finest hour as of yet!!
I've watched this short a dozen times, and I still laugh out loud at the main gag.
This film is comic perfection.Remember how the Coyote in the Road Runner cartoons always looks plaintively at the camera whenever he makes a mistake, the pupils of his eyes narrowing just before he falls off the cliff, the boulder crushes him, or the dynamite explodes in his face?That was the kind of touch that made those old cartoons great.
And it is clear from this film that the spirits of Chuck Jones, Tex Avery and the other classic animators are alive and well at Pixar..
I think it is safe to say that "For the Birds" is the funniest short film ever made..
This three-minute cartoon won an Oscar for Best Animated Short For 2000.
To me, it was "cute" and the animation was terrific, but Pixar's animation is always top-of-the-line, so there was no surprise there.The story is simple: little birds make fun of big, dumb-looking bird who gets the last laugh when the little ones' nastiness goes too far.
I enjoyed the noises the little birds made, the music in this animated short and the facial expressions, of course.It's cute, it's clever but it's no big deal.....sorry.
This short little gem was screened before Monsters Inc. And it was the best part of the coming 2 hours or so.
It got more laughs in its 5 minutes than Monsters Inc got during its 90.I'd highly recommend this short movie to anyone.
This is a wacky little short that is about one big and dumb bird and his dealings with lots of mean little birds.
Think about it...for the category of Best Animated Short Film for the Oscars for 2002, you have several independent productions made on shoestring budgets...and this WHOPPING production made by the pioneering geniuses at Pixar Films!
I haven't even watched Monsters Inc. yet and consider the DVD worth the price of admission just to see For the Birds.
One of, if not the best animated short I have ever seen.
If you can look past the attempts to be funny, For the Birds was an excellent example of computer animation, and it deserved to win an Oscar for Best Short Animated Film..
However when he joins them on the wire they learn a very harsh lesson about accepting others.Shown before Monsters Inc. this short helped make for a longer running time and give a feeling of more value for money.
The big bird looks real goofy and it's easy to join the little birds in mocking him.
I suppose that is good because it makes their lesson our lesson.The animation is superb, the backgrounds are bright and colourful and each feather on each bird looks really realistic.
The short is very funny - funnier than it sounds, the little birds are really funny, kids will love it because all the comedy is visual, adults will love it because it's not too childish.
However as a short it manages to be short and sweet, it's not very memorable but it is a funny joke.Overall it is by no means the funniest 5 minutes of my life (!), but it is a very good one-joke short that is funnier that Monsters Inc (but lets not forget that MI actually needed a better story!).
I love it when little cartoons like these win an Oscar.
There are so many variety of little animated shorts, some that are really innovative and some that are very deep, but some just deserve the win for being so fun.
From the amazing sound effects that the birds make, to the incredibly genius ending, it's fun to keep watching this just for kicks.It's about a couple of little snobby birds who fly onto a telephone wire and start hilariously chirping at each other.
They suddenly hear a loud scream and they look over to see a funny looking big bird who wants to join in.
The bird flips and holds on with one leg and the snobby birds start playing a game of "this little piggy..." They look down and as they're taking off the last finger, they notice that the telephone wire is at ground level and that the big bird will surely just fall an inch and they will get shot up.
In a hilarious ending, the bird falls and the snobby birds fly up, losing all of their feathers.This is an animated short that everyone can enjoy.
It's something fun to watch before starting a good movie, or something hilarious to see when you're down.
It always puts a smile on your face."For the Birds" is definitely an animated short that focuses more on the humor aspect, rather than the animation and story.
The real fun comes when watching it with different people, knowing you'll all hysterically laugh once that bird falls and the snobby birds fly up.
Like everyone else who saw this quaint, little animated short, I had to see it before I could watch MONSTERS, INC.
I just really don't understand what was so funny about this short.I even watched it again after finding that everyone (literally) loved this short film.
A PIxar film about a flock of birds who congregate on a telephone wire.
This Pixar short is only three minutes long and won an Oscar for best short animation.It has a simple message.
Do not judge a book by its cover and might had been inspired by a Dr Seuss story,Some small birds are sitting on a telephone line when a large bird wants to join them.
In short treat him like an outcast.The large bird gets the last laugh as his size means their feathers are more than ruffled..
This short animation tells the story of a group of mean birds on a wire, who laughs at a big bird who wants to join them on the wire.The animation is only three minutes long, but it already tells a lot of story.
The little birds are really mean, and bullies the big bird.
It's a very funny little short film that does a good job in showing us all the true meaning of tolerance.
If you don't over think it it's just a funny little short.
What will happen to blue bird?This movie is funny.
I like the scene when the big bird comes to the wire.
The big bird looks so funny.
I laugh about it.Please watch this movie with little children.
However, it is big birdie who gets the last laugh.The wonderful thing about Pixar is that its films are dear to it.
When I first saw this short movie, I just couldn't stop laughing.
I can watch this over and over again...This company is on the top for years now, and every new movie or short that is released, adds another quality to the skills of Pixar.
'For the Birds' is also released on a separate DVD, with a collection of short animations of Pixar.So if you don't want to buy every Pixar-movie (I couldn't think of any reason why You would not want to buy the best there is), get the DVD with the collection of Pixar shorts....
this has got to be the most hilarious short (animated or not) i've seen.i first saw it (or rather, a description of it) in a computer animation/sfx magazine a half a year back and have yearned to see it since!
well, now that Monster's Inc has arrived (and being that i work at a theater) i can see it just about whenever i want.although the VERY slightest bit mean-spirited, this has got to be the funniest clean-humored ANYTHING i've ever seen, and, even if i didn't like the movie, i'd buy M's Inc on DVD just for this!.
If I remember correctly, this short was developed by Pixar as a test to show off the latest in animation technology - the feathers.
I laughed so hard it hurt!The birds on the wire are a good starting point, anybody has seen this scene somewhere...our little feathered friends do what they always do: Sitting on a telephoneline.
Possibly one of the funniest films I've ever seen, even if it is 'only' a short.
I won't tell you the rest (since there's only about three minutes of it), but this has got to be the best movie that I have seen lately, if not best of all time..
I must say that it was a long time since I laughed so much during the minutes this short played.
Pixar always deliver a good story and excellent animation, and I must say that this is one of their best shorts ever made.
This is the funniest animated short film I have ever seen.
I saw the short film For the Birds before the main feature Monsters, Inc. I hope this short will on the video and DVD when release.
"For the Birds" is only a three minute short film with a well deserved big award, the 2002 Oscar for Best Short Film, animated.
I completely understand why, "For the Birds", one of Pixar's most recent short films won the award.
Though I found Pixar's earlier work to be more enjoyable and humorous, such as their shorts from Toy Story 1 and A Bugs Life, it still was fun to watch and suitable for all ages.This film is a perfect example of karma, how your negativity can back fire on you.
It had many built in messages, most of the hidden ones recognized by the older audience, but children still get the same type of impression of what is going on and why the outcast, goofy looking bird was left out of the group of all the other birds that looked alike, because children start to build social groups at younger ages than what most people would think.The introduction animation was amazing, how the letters flowed along the telephone pole wire in front of the blue sky with extravagant white cartoon clouds, it gives you a good feeling of what your about to watch.
The birds were creative, short, chubby, but with an annoying repetitive chirp, they were also a bluish color and odd looking eliminating questions like, "What kind of birds are those?" when it shouldn't matter and isn't something that should be bothersome or a mystery.I thought "For the Birds" was hilarious and a small three minute segment that can keep people talking.
No one would know until they read about the film that four of the birds on the wires had names, Chipper, Bully, Snob, and Neurotic, and they all acted out their personalities, there was most likely no possible way to get that across unless they added something in the beginning where they introduced the birds but that might have took away from the comical value.
Pixar's features and short films have always had great animation, and For The Birds is no exception, I really admire the gorgeous colours and the sophistication of the backgrounds.
The short is beautifully orchestrated as well, the story is simplicity at its finest and the humour told through inspired visual gags and slapstick in alternative to dialogue is hilarious making it one of Pixar's overall funniest.
Among other things, it reminds us that birds are a most unique kind of animal (even when portrayed in cartoons).
The only short film that can provide laughs and a moral at the same time.
The similar-looking birds make fun of him, and...they get what they deserve.Like "Knick Knack" and just about every other Pixar short, "For the Birds" has no dialog, but isn't silent.
I suppose this contributes to all the funny goofiness.I must say, For the Birds is better than most short films out there.
Ever felt like the new kid in class?Pixar's animated short "For the birds" expresses just that feeling - and in an utterly hilarious and entertaining way.The story starts off with a group of birds sitting on a wire.
It's no wonder this little film won the Oscar for best animated short in 2001.
Ralph Eggleston, a veteran of such hit animated films as Finding Nemo and Toy Story, directs this short - which was first shown as an appetizer for the movie "Monster's Inc".
This movie is story of the birds which flock to the wire.
"For the Birds" is a three-minute movie from 15 years ago and therefore one of Pixar's shortest and earliest efforts.
It won an Oscar in the Animated Short Film category and fittingly the director behind it is named Ralph Eggleston, who also worked as a voice actor here.
Recommended and I wonder if the big bird is going to get his own film at some point.
A number of mean spirited little birds sit on a telegraph line trying to prevent a big, clumsy, good natured bird from joining them.This is the Pixar short which accompanies Monsters Inc. Retooled, like the main feature, into 3D, this remains just as funny as it was on original release.
This short film started just before the main Disney Pixar film at the cinema, Monsters Inc. This was a brand new Pixar movie and it won Best Short Animated Film at the Oscars.
The film ends with all the little birds featherless and covering themselves up with leaves.
A cute short from Pixar that is funnier in some viewings more than others.
I've seen this short several times and the first time I saw it at the cinema before 'Monsters Inc,' I found it absolutely hilarious.
After having seen this for the first time in several years upon renting the first volume of Pixar shorts on a DVD, I laughed just as much as I did on my first two viewings.The small birds are adorable and the big bird is a hoot.
The animation has impressive use of the squash and stretch principle, the birds are coloured in a lovely shade of blue and the musical score is reminiscent of those used in 'Luxo Jr' and 'Red's Dream.'Overall this is one of Pixar's funniest and most straightforward shorts. |
tt0964517 | The Fighter | As a welterweight from the wrong side of the tracks, Dickie Eklund is the pride of working class Lowell, Massachusetts. Living in his shadow is his half-brother and sparring partner Micky Ward. It's part of the Irish pride to let Dickie lead the way and win a championship belt first. However, after suffering a humiliating defeat to Sugar Ray Leonard, Dickie plunges into a nightmare of crack addiction, violence and prison. His family's hopes are crushed in the wake of Dickie's demise. Like a real life Rocky, Micky fights on his own terms and pulls his family out of despair with his meteoric rise in the ring. Freshly paroled Dickie finds redemption training his little brother, now known as "Irish" Micky Ward, for his Welterweight Championship bout with Shea Neary.-------------------------------------------------------------------------------------------------------------Dick Eklund (Christian Bale) sits on a sofa in 1993 and talks to the camera about his boxing career and fight with Sugar Ray Leonard. His brother Micky Ward (Mark Wahlberg) sits beside him and Dick says Micky is a boxer also but has a different style.At a crossroads the two brothers work preparing asphalt for paving. Dicky jokes around for a camera crew. Dicky and Micky walk through a neighborhood of Lowell, MA followed by a HBO camera crew. They greet and joke with a variety of locals and shopkeepers. Micky is serious, Dicky playful and goofy.Micky is at a gym waiting for Dicky to train. An older man, a cop Micky O'Keefe (as self) steps in to help. Mother Alice Eklund (Melissa Leo) arrives and tells O'Keefe to get out, it is Dicky's job, the two argue. Dicky is smoking up with friends, he is two hours late before he runs off to the gym. Micky works the speed bag on his own as Dicky arrives panting. Dicky tells the camera crew Micky has lost three in a row. They train, Alice and Dicky reminisce about the Leonard fight.The whole family is at a bar, Alice and her daughters explain who is who in the large family of Eklunds and Wards. At a bar Micky eyes the attractive bartender Charlene (Amy Adams). They chat and a gallant Micky asks her out for Saturday, when he returns from a big televised fight in Atlantic City.Micky goes to see his daughter at his ex's house, she is very bitter as it is not a regular visit day. He tells the young girl Kasie this next fight will be his big break and he will get a bigger apartment.Everyone is ready to leave in the stretch limo but Dicky is missing. They stop off at a green house, Dicky has been using drugs and has lost track of time. Alice knocks on the door and Dicky tries to duck out the back window. The family has a squabble in the backyard, Dicky slugs his step father George Ward (Jack McGee) and Micky is exasperated.In Atlantic City the promoter says the planned opponent has had to cancel because of the flu but there is a replacement. The other fighter is 19 pounds heavier but supposedly poorly trained, Micky is hesitant but Dicky assures him it will be OK. In the ring Micky is battered and beaten badly by the larger man.The gang run into a dapper Sugar Ray Leonard who greets Dicky politely but makes a quick exit to get away from him. A promoter, Mike Toma, offers Micky a chance to come and train in Las Vegas and receive a monthly paycheque. Micky sits forlornly as the rest of entourage drink up in the stretch limo on the way home, they put down the Vegas idea.Back home, Alice says she will find a better fight next time, Micky goes into hiding with a heavily bandaged face. He watches old home movies. Charlene comes looking for him demanding to know why she was stood up for their date. Micky takes her to a suburban movie complex where they suffer through a boring art flick. He then says he was embarrassed to lose and show his face in Lowell. They kiss.Three weeks later Alice looks for Micky, one of the seven sisters tells Alice he is with the tramp from the bar, they all disparage Charlene.Alice finds Dicky at the green crack house, she is in tears as Dicky tries to cheer her up. they both sing "I started a joke..." song. Micky has Charlene over to meet the family as Alice and Dicky arrive at the house. The women start bickering right away. Alice has a new fight lined up at Foxwoods for $17500 but Micky and Charlene appear set to go their own way.Dicky talks with the gang at the crack house on some scheme to get $200 ea from 10 people, they turn him down.Charlene shows off her high jump skills to a happy Micky. At night Dicky observes a street walker pick up a trick. He pretends to be a cop but is chased by real cops. There's a street fight and wild melee, Micky comes to help and the brothers are arrested and Micky's hand is hurt.Dicky is arraigned on muliple charges while Micky is released, his right hand in a cast. Dicky is sent to jail and is walked to his cell to the chants of the other prisoners. Micky is depressed and tells Charlene he is finished fighting, but she convinces him to meet a new manager.Dicky is in his cell and goes through the DT's as he withdraws from his drug addiction. Micky works as a roofer, his hand heals. Dicky is feted as the guest of honour at a prison showing of the HBO special. It turns out the documentary "Crack in America" is about him as a pathetic drug addict and not as a plucky boxer striving for a comeback. Micky phones his ex-wife to not let his daughter watch the show about her uncle but the ex gleefully allows Kasie to see the grim story unfold on the screen. At the Ward/Eklund house the family are stunned by the show, they don't let Dicky's son watch. It finally hits a nerve with Dicky and he turns off the TV to angry jeers from his fellow inmates. Charlene comes over to Micky's to commiserate. Dicky is depressed.Early the next morning Micky slips out to go to the gym, under O'Keefe's guidance. Music video training montage, Micky trains on the streets, Dicky trains in prison also. O"Keefe introduces Micky to Sal Nanano (Frank Renzulli), the deal is no Dicky no Alice. They will start small, start local.Alice is furious at George for cutting her out as Manager. The seven sisters and Alice pile into a car and head to Charlene's, blaming her for the breakup. As Micky and Charlene engage in loving foreplay the angry women arrive. There's a hair-pulling cat fight on the porch, Micky tells his family to f*** off and slams the door.Micky gets his game face on for his next fight, his robe labelled "Irish Micky Ward". In round 4 he batters his opponent and wins easily. Several more victories follow as Micky is "back in the saddle again".In prison Dicky trains hard himself to stay in shape. Micky visits and they discuss the next fight with the heavily favoured Sanchez, Dicky says Micky is being used as a stepping stone. Micky leaves upset but Dicky gives him parting advice to hit to the body with his left.Alfonso Sanchez from Mexico is undefeated and highly touted on HBO. The fight starts and Sanchez hits Micky hard. After five rounds everyone thinks the fight should be stopped. By the eighth round the beating continues and Micky is dropped but manages to get up. Alice describes the action to Dicky over the phone. Suddenly Micky lands a heavy kidney shot with his left and Sanchez drops like he was shot, Micky wins!In the locker room eveyone is jubilant. Sal comes in with big time promoter Mike Toma who says Micky has earned a title shot and congratulates him on his strategy.Dicky is released from prison and meets his son and Alice outside the gates. They go to the gym to see Micky training. The welcomes are initially warm and friendly, the seven sisters arrive with a cake. Then an argument starts, Charlene and O'Keefe demand Dicky leave, Alice and Dicky say Micky needs them. Micky wants them all to get along but Charlene and O'Keefe storm out. Then, in sparring Micky brutally knocks Dicky to the mat, as Alice comes to his aid Micky cries out that Dicky has always been the mother's favourite.Dicky walks away with the cake, he approaches the green crack house with his old drug buddies gathered outside. They greet him and expect a return to old times but Dicky pauses, gives them the cake and moves on. He goes to Charlene's house to talk. She fills the air with expletives to get him to leave but finally agrees to talk. Dicky acknowledges they hate each other but Micky needs them both, Charlene finally begrudgingly agrees. Micky shows up and hugs Charlene as Dicky continues walking away down the street.Now the two brothers train well together as Dicky pushes Micky hard.The family is in London for the weigh-in for the big WBU welterweight title fight with Shea Neary. The undefeated Neary and his manager diss Micky and his abilities at the press conference, Micky glowers at them but doesn't return the trash talk.Micky enters the arena to the crowd boos Dicky singing along and pumping up his younger brother. Neary follows to the cheers of his adoring home crowd. In the ring Neary starts fast and batters Micky, who covers up and absorbs the punishment. In the 7th round Micky is knocked to the canvas but gets up at the bell and Dicky revives him in the corner. Dicky gives him a motivational speech to push him to do better than he ever did. A determined Micky gets up and starts taking the battle to Neary. The two men trade punches, finally Micky connects and down goes Neary! He gets up but again is quickly knocked down, Micky wins by TKO! The crowd is stunned as Micky's entourage celebrate.Back on the sofa in front of the camera, Dicky proudly talks about his kid brother Micky, sitting beside him. | dramatic, home movie | train | imdb | First of all, the four principle characters: Micky, Dicky, Charlene and Alice are unlike anyone one has seen in this kind of film.They are wonderfully defined and the actors who portray them are cast against type and turn in their finest performance.
That's because most of the fighting in this film takes place out of the ring; "Irish" Micky Ward (Mark Wahlberg) spars with the troublesome brother who trains him and his mother who manages him and these superb supporting characters have their own challengers to overcome.David O.
Leo keeps Alice from being an aggravating total monster, providing a more complete picture of a mother whose blurred the line between business and family.Amy Adams also excels in her supporting role, a bartender and college dropout, but one who — like the audience — sees how Micky's family has kept him back and as his girlfriend pushes him toward the right path.
Interestingly, as she grows more invested in Micky's career, the script divides her from the audience, which gives her performance more weight.Russell's characters have a harsh reality to them, much like the Boston-based characters in Ben Affleck's films "Gone Baby Gone" and "The Town." In addition to looks, clothes and mannerisms, Russell chooses a more hand-held documentary feel for the film like Darren Aronofsky's "The Wrestler" and even opts to film parts of the boxing sequences with lenses like the ones used in the late '90s to give the feel of watching a live broadcast.The fights, though effective, remain secondary to the other "fighting." Watching Dickie spiral downward and come back up again, Alice have trouble letting go and Micky struggle to speak up for himself and recognize what he truly needs serves as the more compelling conflict.
As Dickie urges on his brother in the waning rounds of the championship fight, he captures it perfectly when he says "everything that's happened, take that out there with you."The emotional moments of "The Fighter" do lack a real knockout and many intimate moments are tempered with humor in awkward but not scene-ruining ways, but rather than be a heavyweight drama that rides the underdog story for two hours, "The Fighter" opts to be something a bit more natural by fixing on the right things: the people and the personal relationships that hurt or harm us, are all essential to our success.~Steven CVisit my site at http://moviemusereviews.com.
But it's also the acting that distinguishes it: Christian Bale as Dicky transforms himself again by losing weight and morphing into a manic brother who loves Micky despite Dicky's negative life of drugs and mania; Amy Adams is believable as the gritty but beautiful girl friend; and Melissa Leo plays mom like a lady Macbeth in tight Dockers.Although there will be heavier films competing for 2010's Oscar, I can't think of another whose cast so eloquently has caught the poverty and riches of a town caught in boxing fever..
Bale's finely etched creation of Dicky and Wahlberg's extraordinary dual turn as producer and star in the role of Dicky's brother Micky should place both men front and center for Oscar nominations along with Russell who shaped the film with a keen sensitivity.
I was at screening of "The Fighter" in the Beverly Hills theater with Director David O'Russell and main Cast ( Mark Wahlberg, Christian Bale, Amy Adams ,Melissa Leo) The Director and cast show their love and passion for this film and how hard they all worked to make this possible in their very warm words and replies to the questions from the audience.
This is sure to go down as one of Bale's most remembered roles, and hopefully his enormous talent will finally be recognized by winning an Academy Award for it.Behind every great man is a great woman, and Amy Adams also delivers a fantastic performance as Micky's girlfriend, who really helps him develop some backbone and at the same time is able to find some clarity in her misguided life.
The Fighter is based on the true story of boxer "Irish" Micky Ward's unlikely rise through the ranks to the WBU (World Boxing Union) light-welterweight title.Micky's story would be a conventional sports film if not for the presence of his half-brother Dicky, a boxer-turned-trainer whose life was screwed up by crack addiction and the petty crimes that associated with that life.The brother, played by Christian Bale, makes the story interesting and charges it emotionally.
You know he is a drug-addled screw up and you know he is going to mess up his brother's life, but the brother loves him and is loyal to him so you want to see Davy rise above his problem.One of Bale's best scenes was shot on the front porch of the house where Charlene, Micky's girlfriend (played by Amy Adams) lives.
While Wahlberg is unmoving, Amy Adams' performance reaches out and emotionally draws the scenes together.The Fighter has dimension to it, and a lot of the depth from the supporting cast.The mother played with conviction by Melissa Leo. She runs a family home surrounded by seven adult daughters, and all seem to either be living at home or visiting their mother a lot.
Russell's best film to date that may not rank amongst the finest examples of its genre but it still serves as a competently crafted sports biopic that's less about the sport & more about the athlete, his family & his path to redemption.The story of The Fighter follows the life of professional boxer Micky Ward who withdraws from the boxing world after suffering a humiliating defeat in a match he already had reservations about.
Russell (best known for Silver Linings Playbook & American Hustle), the story journeys the same route that majority of boxing films tend to take plus also falls flat in between on a few occasions but what infuses a vibrant energy into it is the rich set of interesting characters it packs in & a talented ensemble that brings those characters to life with finesse.The boxing sequences are brilliantly choreographed and do provide the necessary adrenaline high when it matters but this picture is more focused on the relationship between the two brothers and illustrates it amazingly well, for those moments do pack a powerful punch.
Russell's films of lately.Coming to the performances, the cast comprises of Mark Wahlberg, Amy Adams, Christian Bale & Melissa Leo, with Bale & Leo impressing the most.
It's not that the input by leading cast falls short in any aspect, it's just that Bale & Leo take their supporting characters to a different level, and the Academy Award they won for their respective works in this feature film is definitely an earned one.On an overall scale, The Fighter is no genre masterpiece but it still offers a sufficiently entertaining ride that will leave majority of its viewers satisfied in the end.
That tradition continues with "The Fighter", a film that delves into so many more themes than just the sweet science.For a basic plot summary, "The Fighter" tells the dual stories of brothers Mickey Ward (Mark Wahlberg) and Dickie Ecklund (Christian Bale).
Coming from a family of almost total dysfunction and seemingly headed for a life of manual labor, the boxing brothers each face their own inner demons as Mickey takes his "last shot" at pugilistic success.What really makes this a spectacular movie is the incredible complexity of the characters.
The Fighter is grounded in a very miserable reality, where poverty and crack-addiction is rife.Trained by his former-professional boxer half-brother Dickie (Christian Bale), Mickey is going from fight to fight making little money and usually getting his arse handed to him.
Russell's "The Fighter" follows the story of a young man who grew up adoring his older half brother Dicky (Christian Bale) the hyperactive drug addicted professional boxer who once knocked down Sugar Ray Leonard in '78.
His Life begins to change for the better when he begins to date Charlene (Amy Adams) a local barmaid popular with the men, who slowly opens his eyes that the problem with his life has been the influence of his family.After a potentially career ending incident involving his brother/mentor Dicky, our central character with the forceful help of Charlene avoids his family and begins to train seriously with a fresh team of supporting staff; his father (Jack McGee), long-time trainer played by the real life Mickey O'Keefe & a new manager Sal (Frank Renzulli).An extremely well re-created documentary of the original HBO feature titled "High on Crack Street: Lost Lives in Lowell" follows Dicky's long-time drug addiction to crack cocaine takes place during the film and is moving to watch.There's an enormous amount of pressure on any Boxing based drama in cinema.
In this case the protagonist is real-life boxer Mickey Ward (Mark Wahlberg) who has to overcome big odds - not the least of which is an extremely dysfunctional family headed up by his controlling mother Alice (Melissa Leo) and his drug addict brother Dicky (Christian Bale) who used to be a boxer and who's claim to fame was knocking down Sugar Ray Leonard (or did Sugar Ray slip?) and who now wants to live his dream through his brother.
I think one of the things that makes the fighter work so well is that it is not over ambitious, yes the movie is about a boxer but it is not about the sport itself, boxing is a supporting role to a story about family.
But I only have a character limit of 1000 words, besides the thing that makes the fighter so good is the performances from its exceptional cast.This is Mark Wahlbergs labour of love, the film he has been trying to make for years and he poured his heart and soul into his character Micky.
Amy Adams who plays Micky's girlfriend Charlene is also brilliant, she is as tough as Leo and provides a lot of the humour with her bad ass attitude and fierce loyalty for Micky.The fighter is without doubt one of the films of the year and maybe even the best boxing movie to come out of Hollywood.
Based on a true story, the film revolves around Mick's s relationship with his dysfunctional family that includes his half-brother Dickie Eklund (Christian Bale), an ex-fighter called "The Pride of Lowell" because he survived ten rounds with Sugar Ray Leonard, his overbearing trash-talking mother, Alice (Melissa Leo) and his repellent seven sisters who are little more than caricatures.
Christian Bale, Melissa Leo, and Amy Adams give such great performances that Wahlberg's character gets kind of lost in the midst of the story, but I don't think that's a negative critique for the film because it kind of summarizes the way his character has felt his entire life.
It also has a powerful screenplay and focuses on Ward's family as much as it does with his boxing career so it makes for a good balanced dramatic sports film.The movie takes place during the 90's in Lowell, Massachusetts and opens with an HBO interview of Dicky Ecklund (Christian Bale), a former boxer known as ¨the pride of Lowell¨ who once knocked down the great Sugar Ray Leonard.
The Fighter which is based on a true story of 'Irish' Micky Ward (Wahlberg) a boxer who came to notoriety in the late 80's after being trained by his older brother local legend Dickie Eklund (played superbly by Bale) who's claim to fame was a title fight with Sugar Ray Robinson.
The story is set in gritty working class Lowell, Massachusetts and depicts the tale of Micky Ward a could of been, almost has been boxer who is trying to break into the higher echelons of the boxing world with the help of his trainer and half brother Dickie Eklund and his mother and manager Alice Eklund (Melissa Leo).Unfortunately after his latest mismatch with a recently released prison inmate and a run in with the local law enforcement trying to save his brother from a beating at their hands Micky's right hand is broken and he is all set to give up on his dream.
Bale gave one of the great performances in modern film in his role as Dicky Ecklund, former contender for a world boxing title, and brother of "Irish" Micky Ward, the subject of this film's story.
Mark Wahlburg was quiet and competent as Ward, as he typically plays all of his roles, but the real acting kudos go to Bale, Melissa Leo as the mother of Ward and Ecklund and their seven blowsy sisters(!), and to Amy Adams as Ward's gorgeous but tough-as-nails, bartender girlfriend who supported and protected him against the specious love of his mother and brother who took every parasitic advantage of Ward to pursue their own wants at his expense.
Also fine are Ward's destructive family, including Melissa Leo as the totalitarian matriarch, who's followed in tow by a gaggle of her fiercely protective daughters, and Jack McGee as the working-class dad who seems consistently out of his element among all the aggressive estrogen."The Fighter" is a terrifically acted film, but its real strength comes from the way its characters drive the story.
Mark Wahlberg plays Dicky's still-fighting brother with unending restraint; he scores points for subtlety in the film's familial drama while losing as many in his charmless, unsmiling romance with Amy Adams's Charlene.
But overall, the movie is completely forgettable.Micky Ward (Wahlberg) is a small-time fighter from the mean streets of Lowell, Massachusetts; his older brother Dickie Eklund (Christian Bale) is a former pro who once knocked Sugar Ray Leonard down, so naturally the elder wants the younger to succeed.
The Fighter is full of intertextuality – from the font of the boxing matches' captions to the training routines – it's knowingly self-referential but also playing strictly by the rules, and that's why it works so well despite what could be easily dismissed as a cliché-laden script of another underdog narrative.The Fighter is based on the real life story of Mickey Ward (Mark Wahlberg), a taciturn and limited proletarian grafter very similar to Rocky Balboa (if the latter was Irish and not Italian), trained by his brother Dicky (Christian Bale) like Jake La Motta in Raging Bull.
Perhaps his biggest contribution to the film is his directing of the cast.The Fighter has a predictable plot yet it pulls out so much depth offered by the cast that we can say The Fighter is finely entertaining.OscarBuzz: Best Picture (with 10 nod this year, it will be nominated), Best Supporting Actor (Christian Bale, win), Best Supporting Actress (Mellisa Leo, Amy Adams, both have a good chance), Best Score, Best Cinematography.
Dicky knocked down Sugar Ray Leonard years ago, but now he is crack addict and the trainer of his young half-brother welterweight Micky Ward (Mark Wahlberg), who is managed by their despotic mother Alice Ward (Melissa Leo) and is actually a brawler used to promote other fighters.After another defeat, due to the acceptance of Dicky and Alice of a fight against a stronger boxer weighing 10 kg more than he, the ashamed Micky meets the bartender and drop out college girl Charlene Fleming (Amy Adams) and she helps him to see that that his career will have no progress if Dicky and Alice continue to administrate it.
It is one of the best films of the year staring Mark Wahlberg (Nominated for Best Actor in a Motion Picture Drama) and Christian Bale (Best Supporting Actor in a Motion Picture Drama) as brothers Mickey Ward and Dicky Eklund who embark together on a boxing journey to become "The Pride of Lowell", Massachusetts.
Lets start by saying i'm not a fan of Mr Bale i find his real persona at times colours my feelings of his movie roles not the case with the fighter quite simply he deserves the Oscar for Supporting Role as does Amy Adams and Melissa Leo its a shame they cant both get it although there have been ties in the past.From the opening scenes taking the viewer through the HBO filming of Dickys comeback to the end titles its pure dramatic joy, the scenes of family life with the Ward / Eklunds are pure fly on the wall type viewing.
His big mouthed, former crackhead brother Dicky (Bale) is his trainer and his mother, played by the fabulous, well deserving Oscar winner Melissa Leo is his manager.Mickey is constantly babied and spoon-fed by his mother who feels that if someone isn't family they're not worth their time.
Russell ("Three Kings," "I Heart Huckabees") and acted by one of the best ensembles assembled for a movie this year.Mark Wahlberg plays Micky Ward, a young man from working-class Lowell, MA who rose from humble beginnings and a suffocatingly dysfunctional family to become a professional boxing champ.
And the performances were top notch some of the best I've seen in a long time especially the work of Bale, Adams, and Leo's stand out.If your not a boxing fan then you probably don't know the story of Mickey Ward the Lowell, Mass.
Russell really researched it well as this real life drama of rising stardom that's set near Beantown will leave you with a want to stand up cheering state of mind.Mark Wahlberg is Mickey Ward a local working stiff who struggles as a fighter as he's overshadowed by his older half brother a one time pride prize fighter named Dicky Eklund(brilliant and done in a believable way by Christian Bale).
Mark Wahlberg delivers what is probably the most understated and effective performance of his career, Christian Bale is astonishing as his crack-addicted brother who insists on perpetually reliving his own singular moment of boxing glory, Melissa Leo is amazingly detestable as their Medea of a mother, and Amy Adams—best known for playing meek, sweet, likable characters—displays impressive range as Micky's feisty supportive girlfriend who's battling some demons of her own.
Seeing Mark Wahlberg (Micky), Christian Bale (Dicky) and Amy Adams (Charlene) all in this movie immediately caught my eye and they all delivered in this rousing - yet somewhat expected - sports drama based on a true story. |
tt0075809 | The Car | On the outskirts of Santa Ynez, two young people named Jimmy (Joshua Davis) and Suzie (Melody Thomas Scott) are riding bicycles along the highway. A vehicle comes from behind and drives right up on them, trapping them on a bridge. The sinister black sedan toys with them before killing them, crashing Suzie against the concrete barrier and then sending Jimmy plummeting to his death off the bridge. The car gives an otherworldly roar from its engine, and an ominous staccato blaring of its horn.Shortly after, near the entrance to Santa Ynez, a young hitchhiker named John Morris (John Rubinstein) observes a local named Amos Clements (R.G. Armstrong) chasing his wife, Bertha (Doris Dowling), out of their house and striking her. The young man attempts to intervene, but Amos demands he leave. As Amos and his wife go back in the house, the young man spies a black car coming up the road, preceded by a high wind. The driver almost hits the young man, and he screams obscenities after it. Suddenly, the car brakes to a halt, and backs up, running over the young man several times before driving off. Amos sees this from a window in his house, and calls the police.Meanwhile, police officer Wade Parent (James Brolin) is waking up with his girlfriend Lauren (Kathleen Lloyd), a local schoolteacher. Wade is a widowed father of two young girls, Lynn Marie (Kim Richards) and Debbie (Kyle Richards). Lauren wants Wade to socialize her with the girls so they can be up front about their relationship, as she is currently sneaking out of the house after she sleeps there, but the girls are already listening to the entire conversation just outside the bedroom door.After Wade drops the girls off at school on his motorcycle, he is summoned to the Clements house in the aftermath of the hitchhiker's death. Several other officers, including Sheriff Everett (John Marley) are interrogating Amos about the incident. Amos provides scant details about the car, and several of the officers note that Amos' wife seems to be rather quiet. Everett (John Marley) is furious that someone in his town has been murdered, despite the fact that Morris was not a local. At first, their vague description of the car turns up a report that someone spotted it driving out of town into a nearby locality, but when Suzie's body turns up, it's clear that something larger is going on. Police officer Luke (Ronny Cox) is terribly upset about it; Jimmy's body has not yet been discovered, and there is suspicion about his involvement in Suzie's death. Luke and Jimmy are close, and Jimmy has lied to Luke about his whereabouts, apparently in an attempt to conceal his relationship with Suzie. Luke is a recovering alcoholic; his wife Margie (Elizabeth Thompson) tells Wade and Lauren that Luke has been sober for two years.Later on that evening, Amos and his family are taken into the office for questioning after someone reports him abusing his wife again. Everett pleads with Bertha to file an official report about her husband's abuse so Everett can arrest him, but Bertha refuses. Everett and Bertha have history together, and Everett tells Wade that Bertha was his first love when they were both young. He watches sadly as she and her son get into their truck and drive off, while Amos goes across the street to a bar. Everett invites Wade to have a drink with him at the tavern, and Wade tells him he'll be along shortly. But as Everett crosses the street, he sees Amos crossing as well, and suddenly the black car roars to life down the street, heading right for Amos. Amos dives for the curb, and the car instead ends up running over Everett. Wade questions the few citizens who witnessed the incident, including an old Navajo woman who doesn't speak English. Chas (Henry O'Brien) is another Native American officer who translates for her as she describes what happened, but he refuses to translate one thing she says, telling Wade it's "Indian talk...she's a crazy old woman." But the dispatcher, Donna (Geraldine Keams), is also Navajo, and she later tells Wade what Chas would not: the woman claims there was no driver in the car.Wade assumes the Sheriff's duties, and requests that roadblocks be put up. He also tells Luke to contact the school and cancel parade rehearsals for the next day. However, a distraction occurs when Jimmy's body is discovered by a fisherman. Luke is despondent over the deaths of both Everett and now Jimmy, and he begins to secretly drink alcohol again.The parade rehearsal happens as scheduled, with Lauren and Margie leading the children. A high wind whips up soon after, and the car appears, shadowing the parade behind a line of tents. Suddenly it bursts through onto the main roadway, spooking the horses and causing them to stampede and throw their riders. The car rushes after the panicked group, striking several adults, including a police officer who was watching over the parade rehearsal. Lauren and the other adults lead them into nearby cliffs to avoid the car, and the large group dashes into a small fenced-in cemetery nearby. Amazingly, the car refuses to enter, despite the fact that it could easily pass through the gate. Lauren distracts the car by taunting it, while Margie sneaks out of the cemetery. The car almost runs her down as she runs across the roadway, but she makes it and summons help using the police officer's radio. The car returns to the cemetery entrance and Lauren continues to curse it, calling the driver a "chicken shit" and hurling a tree branch at it, striking the hood. The car seems furious, whirling in circles and striking one of the entrance pillars to the cemetery, but still it will not enter. Finally, the group hears the approach of police sirens, and the car speeds off. One frightened woman finally finds her voice and screams after the car, "Cat poo!", and the ordeal is finally over.The car speeds off and is spotted by one officer, who follows it up onto a cliff, but it surprises him and turns the tables, slowly pushing him to his death over the cliffside. As Wade rushes to the scene, the car emerges from the hillside and confronts two police cars driving side by side in a blockade. They hope to force the car off the road, but instead it goes into a barrel roll straight for them, rolling over their cars and causing them to crash. The officers inside are all dead, but the car emerges unharmed. Wade then arrives and confronts the car when it ominously rolls to a stop. He fires on it from close range, but the bullets do no harm, not even to the tires. Wade then walks up to the car. As he does so, the door suddenly flies open, knocking him down into a ditch. Wade then wakes up in the hospital, dazed from the experience. He talks with the remaining deputies about keeping the roadblocks up, and Lauren says she will stay at Wade's house with the girls. Wade sends Chas with Lauren to her house to get her things, and then he confronts Luke about why he did not cancel the parade rehearsal as instructed. Luke admits he's been drinking again, unable to cope with the grief of losing both Everett and Jimmy in the same day, not to mention all the other officers who are also now dead after their confrontations with the car.Chas escorts Lauren home, but she notices he is concerned about his family. She tells him to check on his family while she packs an overnight bag, and he leaves. As he drives back up the road, the car rolls silently out of the darkness and waits for him to pass, suddenly roaring to life and taking off in the opposite direction for Lauren's house. A strong wind whips up, and Lauren rushes inside, terrified. She calls Wade in a panic, terrified as she hears the engine of the car approaching. Behind her, the headlights can be seen in her window, and as she talks to Wade on the phone, suddenly the headlights levitate off the ground and the car bursts through her house at high speed, killing her in the process, before driving out the other side and off into the night.Wade and his deputies soon after investigate the remains of the house. Luke understands the significance of what has happened. He comments that the car couldn't enter the cemetery because it was hallowed ground, and it had a vendetta for Lauren because she cursed it. Wade is skeptical, but even he can't explain why the car was able to levitate through Lauren's house.Heartbroken over Lauren's brutal death, Wade is determined to avenge her. He enlists Amos, who works with dynamite, to set up a trap for the car; they will lure it into a quarry and explode the quarry wall, burying it. Wade goes home to check on his children, who are being tended to by Margie. Finding all of them asleep, Wade leaves a note behind telling Margie to take care of the kids. Passing through his garage, he is startled to find the car parked inside there, waiting for him. It traps him in the garage, threatening to run him down each time he makes a move for the door. Margie awakens, unaware of what has transpired and still expecting Lauren to arrive any minute. Wade warns her the car is there and she runs back into the house. The car begins to rev its engine to an ear-shattering decibel, causing the glass in the house to shatter. Margie and the children are terrified, until Wade manages to escape the garage and get to his bike. He takes off with the car chasing him, leading it away from the house and off to the quarry where the trap awaits. The men aren't finished setting up the charges, though, and Wade has to keep the car distracted by circling with it inside the quarry. Finally he overturns his bike and makes a leap for the rope the men have lowered down to him from the cliff; the car realizes what is happening and makes for the road, roaring up the cliffside toward Wade and the others. Wade and Luke stay right at the cliff's edge, luring the car closer, until finally they leap to the side and the car goes flying off the cliff into the quarry below. The men ignite the dynamite and the entire cliffside explodes, burying the car under tons of rubble. In the resulting fireball, a huge demonic apparition forms, vanishing as the fire subsides and the smoke clears. Wade and the others are sure they've buried the car for good.The film concludes with scenes of the car driving around Los Angeles, presumably waiting to claim new victims. | paranormal, cult, murder | train | imdb | The Car was, as New York Press writer Jim Knipfel wrote, "If Ingmar Bergman had made a horror movie about a murderous automobile, he would have made The Car." The philosophical edge didn't turn the story into a joke, but rather gave some weight to a fantastic and desperate situation, balancing the dread and the actions of the townspeople.The Car is visually stunning, the desert location is used in a very scenic way instead of vast empty spaces that usually are obvious for film economics.
This black sedan custom made for the film could just sit there and do nothing (well, it does sit on dark streets sometimes) and you'll get chills.Combine the scenery with the deadly car and the various personalities of the characters, and you have something more profound than just a movie about a mysterious car running people down.
James Brolin (the sheriff) does tend to stop and stare at walls as if to find answers, and Kathleen Lloyd (the school teacher) decides to get in a debate with the Car as it has them trapped in a strangely placed graveyard.While you won't be terrified out of your seat, you will definitely feel some goose bumps and find yourself with a serious look on your face as you gaze at several scenes.
Then there are films like The Car that have been sought after for years and celebrated when it arrived on VHS/DVD for the first time since its theatrical release in 1977.
Films as unique as The Car have held their own because there was care put into their production, more thought to its intention, and a long-lasting affect on those who have understood it and appreciated it.Sure, a horror film doesn't have to be full of "importance" to be a fun and scary experience, but when film makers take that chance to make something more unique, then good for them!
(i.e. Ronny Cox as an alcoholic falling off the wagon, James Brolin as a single parent trying to keep his daughters happy as he dates sexy Kathleen Lloyd.) What I'm saying is at its heart, this is a creepy, unsettling film with some really strange philosophical/religious questions at its core.
Anyone who sets aside time for a movie about a possessed car that runs people down knows they're not not going to get an Oscar winner.
Then again, how many horror films actually are?What's interesting about THE CAR is that no one, not even the audience, knows where the vile vehicle came from.
The film's climax does reveal who was behind the wheel (if you haven't seen it, I won't spoil it), but the hows and whys of the situation remain up to our individual interpretations.There's not a great deal of appeal in THE CAR to those outside its target audience of popcorn-munching horror buffs.
There is no explanation for where the car came from, where it goes, and who or what it is.Welcome to real life.If you're looking for a well-thought-out story with highly-developed characters, and a movie where everything that happens is explained and wrapped up at the end, this is the wrong movie.If you're looking for a movie that at times feels like a cross between a news report and a diary, this is the one.The unpredictability of the car, the unexplainability of its actions, the normalcy of the people in the movie all make a rather unbelievable story, well...
I like James Brolin in this film and John Marley as well, even though he didn't have much to do.The star of the movie is "The Car".
Gathering together some key horror movie elements (small desert town, scrappy desert folk, demonic Lincoln), the makers of "The Car" must've felt they were on top of a goldmine.
It is indeed a chilling movie that eerily foretold future trends such as road rage and godawful James Brolin films, with an ending for the ages.Bearing in mind, a great deal of this is sarcasm.
But truthfully, "The Car" is highly recommended for the good-bad-movie lover - it is an excellent film to make fun of..
Whether that's right or not, I know it's a heavily-modified 2-dr Lincoln, most likely a '67 or '68 model.This is a fun film to watch, whether you're out for a thrill or just to MST a bad movie.K. N.
The first time I saw this film my friend kept insisting that he had seen it years ago, and that the secret was that the car was Hitler's.
The Car is, by no means of the word, a true classic, but a good film none the less, if only for great cinematography, and a few unbelievable stunts.
I particularly liked the way there was no lame-ass Stephen king-ish "explanation" for the car's "attitude", and also enjoyed Brolin's no nonsense hero who doesn't waste time figuring out what the hell is going on, he just tries to destroy the freakin' thing.
The movie is also helped by the strong supporting cast which contains several familiar faces, including Ronny Cox ('Deliverance') as the weak, ex-alcoholic Luke, the spunky Kathleen Lloyd ('It Lives Again') as Brolin's schoolteacher girlfriend, Peckinpah regular R.G. Armstrong ('Race With The Devil', 'The Beast Within') as a wife-beating redneck, and John Rubenstein (the oddball cult favourite 'Zachariah') as a "cool" French horn playing hitch hiker.
Genre fans will even get a kick out of Wade's daughters being played by the Richards sisters, Kim and Kyle (Carpenter's 'Assault On Precinct 13' and 'Halloween' respectively).'The Car' is no masterpiece but great 1970s trash that makes an entertaining popcorn movie..
The movie is a significant cut above many films of its kind, like "Killdozer", due to some spurts of intense action, emotional discharge (telling the car off in front of frightened kids in a cemetery), some surprises (check out the garage scene near the end), and some style (watch for the fire-shaped howling devil in the smoke cloud).
"The Car" is a "thriller" so mind bogglingly awful that it would have come off better being marketed as a comedy.It's a Jaws ripoff about a mysterious black car that appears one day in a desert community and starts killing the townspeople.
From James Brolin's inept performance, to Kathy Lloyd's ridiculous taunting of The Car, to Ronny Cox and R.G. Armstrong looking like they stepped in dog droppings, this thing lumbers along from one inane scene to another.
I guess when people see a terrible film when they're six or something, reality never interferes with their fond memories - it's one thing to say "this movie scared me as a kid", it's entirely another to not have the smarts to say, "Well, I watched it recently and it really is a piece of crap." It is - sorry to have to say it - it's a piece of crap from start to finish..
The CarIf cars drive themselves who is going to tip the squeegee kid at the light?Actually, the self-driving vehicle in this thriller would most likely run them down.A mysterious black Lincoln Continental appears in town one day and proceeds to rundown cyclists, hitchhikers and the high school marching band.
Taking a leaflet out of Steven Spielberg's Duel, The Car creates its own aura of suspense & terror, and is a smartly crafted & skilfully executed horror that makes excellent use of genre elements to retain its tense vibe and, despite a few hiccups, manages to be consistently gripping from start to finish.Set in a small deserted town, The Car concerns a mysterious black car that surfaces in the town one day and goes on a killing spree, terrorising anyone & everyone it happens to come in contact with.
The plot mainly focuses on a local sheriff who tries to stop this menace before more people fall victim to it.Directed by Elliot Silverstein, The Car establishes its evil intentions within the opening scene and only takes it up from there.
The director is able to encapsulate the tale with an ominous ambiance and the way he utilises the car throughout the movie only adds a diabolical feel to it, which in turn amplifies the film's sinister tone.Sure the characters aren't well-sketched and dialogue is even worse, the performances, however, still manage to be passable, especially from James Brolin & John Marley, both of whom play their roles with flair.
And despite blockbusters taking over the cinema, there remained grimy little movies unafraid to broadcast their flirtations with the dark lord – The Devil's Rain, The Omen, Mephisto Waltz and this largely forgotten little thriller — The Car.I first saw this film in another way the 70s were different — we only had five channels.
Anyone that grew up in the halcyon days of nascent HBO can recite many of them by heart: Flash Gordon, Sharkey's Machine, Superfuzz, Scavenger Hunt, They Call Me Bruce and The Car. I can personally claim to have seen this film over 280 times, perhaps because the summertime was all reruns when it originally aired and perhaps because it was my grandfather's favorite movie (until Terminator 2 came out and that is a story for another article).You'll notice another difference about 70s movies right from the start of this film — kids aren't just put in danger to scare the audience.
The cast is the key here, with small town policemen James Brolin, John Marley and Ronnie Cox joining forces with dynamite expert R.G. Armstrong to corner The Car and blow it kingdom come.
Chief Deputy Wade Parent (James Brolin) is having to deal with the issue of introducing his girlfriend Lauren (Kathleen Lloyd) to his daughters as a permanent member of the household, but this becomes the least of his problems when he finds himself placed in charge of saving his town from the unstoppable automobile.The similarities to Jaws are numerous and The Car was universally panned upon release for being little more than a rip-off without any of Spielberg's technical mastery.
All of the actors take their parts seriously, be it James Brolin as the deputy sheriff who must lead the fight against the car after his boss is killed by the black fiend, or RG Armstrong as wife beater Amos who also just happens to be guy to go to if you want some explosives, or Ronny Cox as Brolin's friend on the force and one who struggles with alcoholism.
Watch The Car to find out more.The film is a very creepy horror-thriller with a lot of mystery surrounding The Car.I very much liked this movie - it really is full of suspense and thrills.
The cast is impeccable (I've always liked James Brolin), the flick is strangely atmospheric, the cinematography is great, the music is very good and the effects aren't half bad.
I love Kathleen Lloyd's performance as a spunky school teacher, and James Brolin as good humor but serious under sheriff and also the Richards sister as under sheriff's kids.The film itself held up pretty well in its 31 years, sure, the bell bottom jean and the fluffy hair style are kind of out-dated, but everything else could come right out of today's Hollywood studio.
It's left up to Sheriff Wade Parent and his officers to finally put to an end to this machine, where they learn they might be going up against something supernatural.Here's another to join the market of combining elements of other influential horror films, and this occasion it's "Jaws", "Duel" and "The Omen" finding their way into this clunky, but truly suspenseful and eerie midnight b-grade, drive-in feature.
Well even though the movie is dated squarely in the 70's, it does provide a riveting plot and decent entertainment, if you can get past the idea that a driverless, demon-possessed, indestructible car runs people down in a desert town.
A few days ago I saw the movie and thats when I decided to order the movie.The car is a really good movie and i recommend it to people who like suspenseful and mysterious movies.
This is a good film for the whole family but your elementary kids should watch it with Mom & Dad. I remember after seeing this film other "Killer Car & Truck Movies" came out such as Christine.
I guess the thing that was mostly creepy about it was that it sat on the lot, parked mysteriously motionless, amazingly mute, and seemed to be biding its time until we all focused our attention away from it, giving its best opportunity for attack.I have it now on DVD, and I couldn't be happier, (Barring James Brolin's near-expressionless character).Yes, this was a relatively low budget '70's Horror/Sci-Fi movie, but I think it has put its mark in pop culture.
The Car. I was not old enough to watch this movie in 1977,but i did read the book.Yes,this film is after a book.The book was 10/10 in my opinion,and it was really hard for me to not be old enough for the movie.18 years later a TV channel did run the movie,and my happiness and excitement to finally see the film was overwhelming.The film is not that great,but i have to say that i liked it a lot,and that because of the book i guess.I really wanted to see that big black devil care with that psycho horn,spinning around on the hunt for victims.Read the book first if you can find it on eBay or someplaces else,then see the film.It would be great to see a remake of this film,as the potential for a suberb horror film is great i think..
A really young James Brolin stars as the town's chief of police and Kathleen Lloyd is really hot as his wife and a teacher in the town's school.The movie kept my attention straight through and some scenes had me on the edge of my seat the first time I saw it, when I was ten or so.
By the end of the film, the same townspeople confront the car in a desert setting that looks more like Arizona than anywhere else..
The mysterious car seems to be bent on murdering anyone and everyone in its path -- and some people NOT in its path -- but the strange thing is, the car has no driver!** DON'T READ PAST THIS LINE IF YOU DON'T WANT TO KNOW HOW THE MOVIE ENDS!
Maybe it is the fact that it is a car that is killing people kind of like "Christine" that turns me off.
One guy's wife ends up even being killed by the car and that is one good point of the movie, cause it sure was surprising and I wasn't expecting it.
He is of course skeptical of accounts that there was no driver, but soon changes his mind when the car strikes close to the police department, then his home...Although this film has a good beginning and end, with some impressive stunts and an effective plot twist regarding costar Kathleen Lloyd, it suffers from some poor dialogue and needless subplots, which really drag it down; might have worked better at 75 minutes, as a semi-"Twilight Zone" inspired film, but at over ninety,(at least as it stands) it can't overcome these shortcomings.Watch out when that horn blows!.
Well, back in '77, the brass at Universal got the order ass-backwards.Steven Spielberg's STILL sphincter-shriveling, desert-road-trip nightmare DUEL worked great as a TV movie, though it could've been a masterpiece as a full-blown theatrical release, (and it was shown in theaters some years later.) When DUEL set off the sparks it did, though, THIS is what made it to theaters...a car from Hell that kills people.
Which is probably how you should treat it if you find it at the video store.And when you do start watching, try not to laugh too hard at the "scary" movie theme that uses a CAR HORN as its leit motif..
If you want to make a movie about a killer car, this is a good way to do it.In a dusty Southwestern town, a mysterious black sedan shows up, and begins to run over the locals.So the town's sheriff thinks of a plan to stop the madness.
Like a supernatural hybrid of Spielberg's Duel and Jaws, The Car sees the population of a desert town terrorised by an enormous, black, driver-less 2-door chop top intent on murder and mayhem, with local cop Wade Parent (James Brolin) doing his best to destroy the 4-wheeled menace.While John Carpenter's Christine is certainly the most famous demonic car in the movies, the massive malevolent vehicle in this '77 chiller is no less worthy of recognition—virtually indestructible and utterly merciless, this seemingly unstoppable and hugely imposing mechanical predator makes for a monster every bit as nightmarish as those that kill with tooth or claw.Special effects wise, there might be little to rival the magical sight of a wrecked Plymouth Fury repairing itself, but director Elliot Silverstein still manages to deliver plenty of impressive imagery and spectacular stunts along the way, the car running two young cyclists off a mountain road (and over the edge of a precipice), attacking a parade, ploughing headlong into a pair of police cars, and even careering right through a house.6.5 out of 10, rounded up to 7 for IMDb..
A bit of merciless editing could have made this a compelling short film, but, as a feature, I had trouble staying interested.As far as "killer car" movies go, this is pretty decent.
The best horror films of the 70's had just as much car chases, foot chases, shooting, explosions, and as high of a body-count as the action movies of the time.
James Brolin is good as a local sheriff investigating a series of deaths where the victims were hit by a black car that no one can seem to properly describe as it is a one of a kind vehicle.
If you like possessed haunted car stories, you should get this movie. |
tt0113033 | Fast Money | Francesca Marsh (Yancy Butler) is a luxury car thief who's involved in a chase with the local California Highway police chasing her for her latest car theft. Having caused a major multi-car pileup on a local expressway, she flees from the scene on foot and latches onto journalist Jack Martin (Matt McCoy) who is on his way to cover a karaoke convention in nearby San Diego.Desiring a change of wheels, the amoral Francesca steals another car, a flashy red sportscar, not realizing that there are several counterfeit plates as well as $2.7 million in cash in the car's truck. Meanwhile, Sir Stewart (Jacob Witkin), a British crime lord, learns about the thief of his car and orders his triggerman Regy (Trevor Goddard) to team up with bad cop Lt. Diego (John Ashton) to retrieve the goods and eliminate the car thief, as well as anyone who gets too close to learning what they are after.Adept at outsmarting the pitbull Diego, Francesca tracks down Jack where she wheedles him into further cooperation by pointing out the headline potential of their predicament. When Jack is entrapped by corrupt federal agents on Stewart's payroll, Jack turns over the counterfeit plates, but the streetwise Francesca arrives where she kills the crooked officials before they can kill Jack under orders from Stewart.Now fugitives, Francesca and Jack head out on the road. They decide that the only way to get away from all this is by fleeing to the Mexican border where they will be free. As they travel on, the erstwhile Bonnie and Clyde couple outsmart the police persuing them every step of the way. But Regy and Lt. Diego finally corner the fugitive couple at a local roadside tavern where they demand the handover of the money in the trunk of their stolen car. Increasintly rattled, Regy guns down a barmaid to show Francesca and Jack that he means business.However, Francesca and Jack escape once more and they decide to lie low for a while at the apartment of Jack's mother while awaiting passports arranged by Jack's newspaper editor. But Jack's editor and his companion are murdered by the thugs who arrive to cancel their plans. Forced to flee from his mother's apartment, Jack and Francesca flee once more with the stolen cash to the San Ysitro border crossing.When Jack is wounded, Francesca helps stow them away in an ice cream truck. After hitching another ride from a nervous guy, the couple attempts to cross the border on foot. But then Regy appears in a helicopter shooting down at them, forcing Francesca to drop the loot in order to run more faster. Jack manages to use the persuing Diego as a human shield as he and Francesca shoot Regy right out of the chopper who falls to his death, while Diego is dead too from taking many bullet hits. Free, but without the money, Jack and Francesca cross the border into Mexico and are left with deciding what to do next. | murder | train | imdb | Good for action movie (and Yancy Butler) fans.. I admit that I didn't have many expectations from this movie: I wasn't expecting a masterpiece, but just an ordinary, violent action movie, which also happened to have Yancy Butler starring in it(and that's even better.)And that was all I got. So I suggest this movie to all action movie fans and also to Yancy Butler fans, like I am. You're definitely going to like it.. Great action, ok movie. Fast Money is a great action movie with a mediocre script but great action scenes. If you're into car chases, big explosions, gunfights and explosive women, this is the movie to watch on a summer's night.Beautiful and highly strung Yancy Butler steals the show as a professional car thief, when she inadvertently bumps into straight laced Matt McCoy's investigative reporter. When "going to get a car" (i.e., stealing one), she happens to break into the wheels of Trevor Goddard's Regy, a violent criminal in the employ of a developer who wants to finance his enterprise with counterfeit money. With a stupidity only matched by his violence, Regy leaves both two false plates and 2,7 million dollars lying in his car, and guess what, Yancy Butler's Francesca (Frank) has the bonus of her lifetime. They get pursued by both Regy and John Ashton's corrupt cop, Lt. Diego. Ashton (Taggert in Beverly Hills I & II) and Goddard make a fine comical pair of crooks. Always nice to see how the bad guys are getting more dialogue after Pulp Fiction.In all, this is not a great movie, the script can be clunky, but the action is hot, and since Drop Zone, I admit to being a die hard Yancy Butler fan.Don't hold your expectations too high, and you'll be pleasantly surprised.. yancy is a goddes. this movie is by far one of her better works. its exciting and a bit unpredictible! which is far to say than many of her inferiour works (ravager) also this movie has great lighting. as far as the other acting matt is less than perfect and plays up th nerd concept way too much. if anything just see this for yancy. its killer so is she. |
tt1124035 | The Ides of March | Stephen Myers (Ryan Gosling) strolls up to a podium in an auditorium and begins to speak on his religious preferences. He then begins to whistle and whisper into the microphone. An audio technician comes up, and they adjust the volume. Stephen isn't a candidate but one of the main staffers for a candidate. He tells the guys on the stage to fix the audio and add padding to Gov. Mike Morris (George Clooney) side, so his height will match his opponent.It's election time, and Governor Mike Morris, a popular, idealistic candidate is going up against Senator Pullman in a Democratic primary. They have been campaigning hard, with Morris having a slight lead over Pullman. But Ohio is a crucial state. It is clear whoever wins Ohio, will win the nomination and will go on to run for President.Morris and Pullman have their debate in which Pullman questions Morris' views on religion. Morris deflects them easily saying he was a former catholic and does not know what happens after death. All he knows is he is not an atheist, Jewish, Muslim, or any other religion association. His religion is the constitution, and he will fight to protect it. The debate over, the two shake hands.Stephen and Paul Zara (Phillip Seymour Hoffman), the senior campaign manager to Morris bump into Tom Duffy (Paul Giamatti). Duffy is the head campaign manager for Pullman. Duffy and Stephen banter about how well Morris did in the debate. "Be careful." Duffy says to Paul, "I might want to steal him from you." Duffy leaves and Paul calls him an asshole.Paul and Stephen have dinner with Ida (Marisa Tomei) a reporter they are both friendly with. Ida asks for a quote about Ohio and Paul says he will only say he is confident they will win. Nothing is guaranteed, and he will not go on record saying they will win if it blows up in their face. Paul asks Stephen about the race. "It's ours for the taking." Stephen says. Paul excuses himself, so Ida turns her attentions to Stephen. Stephen notes he has been on more campaigns than most people have when they're 40, and he has never seen a guy like Morris. Ida scoffs at his optimism. "It won't matter." Ida says. If Morris wins, Stephen gets a job at the White House. If he loses, Stephen will get a high paying consulting job somewhere on K Street. Ida doesn't buy into his idealism, thinking all politicians are the same.At Morris HQ the next day, Stephen crosses paths with Molly (Evan Rachel Wood), an intern he had worked with before. Molly mentions the dive bar most of the interns go to and invites Stephen to have a drink with her the next night. Stephen agrees.Paul has a meeting with Senator Thompson (Jeffery Wright) at his home. They need his endorsement so that his delegates will vote his way. Paul tells him that much. Thompson doesn't respond. It's clear he wants something.Stephen and Morris have a meeting with the staffers. Stephen tells Morris he should go all the way on one of his policies; mandatory service via army, peace corp etc. in return for college tuition being paid. Stephen says it is win win; most will like it, and the ones who won't are too young to vote. Stephen gets a call from his father and excuses himself. But it is not his dad. It is Duffy asking if he has five minutes. Stephen says they cannot talk but Duffy presses for a meeting, saying they will meet in a small bar where no one will see them. Stephen calls Paul and leaves a message and tells him that it's important.At the bar, Duffy cuts to the chase; he thinks Stephen is working for the wrong man. Duffy wants to recruit Stephen to Pullman's camp. They already promised Senator Thompson a cabinet position, so the race is basically over. He can be with the winners, or he can stay and lose. Stephen refuses outright, saying he doesn't have to play dirty politics anymore. "I got Morris!" Stephen says. Stephen goes to leave, and Duffy asks him. "Do you want to work for your friend or the President?" Duffy states cold, hard facts; Republicans are better at the game. They are more ruthless and cunning, and Democrats refuse to "get in the mud with the fucking elephants."Stephen is called by Paul asking what was wrong. Stephen lies and says it was nothing.Molly and Stephen go for a drink that night. Molly reveals her father is Jack Stearne (Gregory Itzin), the DNC chairman and that he is an asshole. Molly asks how old Stephen is, and she correctly guesses 30. Molly reveals that she is 20. Molly asks if it's too much of an age gap for a 20 year old to want to fuck a 30 year old. Stephen asks when she has to work tomorrow. Molly says nine. Molly happens to have the keys to the campaign bus, so they use it and drive back to Stephen's hotel, parking on the curb.The morning after. Stephen and Molly had slept together the night before and are getting dressed for work. Molly's dad comes on the television, and Stephen watches and realizes the irony of watching the dad of the girl he just had sex with. Stephen asks she stay quiet about their dalliance and Molly promises to. Molly confesses she wanted to sleep with him for awhile and thinks she's a bit "slutty" for being so aggressive. Stephen says she wasn't and he respects her for being so forward. They kiss, and go their separate ways.Stephen, Morris, and several staffers including Ben Harpen (Max Minghella) are on a plane going to another speech. The plane shakes a little bit, and Stephen gets queasy. Morris asks if he is all right. "We're going to be fine. We have to do it, it's the right thing to do, and nothing bad happens when you're doing the right thing." Stephen says. "Is that your personal theory?" Morris asks. "Because I can shoot holes in it.""Well there is exceptions to every rule." Stephen says.Morris asks if they are doing OK in the polls. Stephen says they are doing great. Morris tells him not to talk like Paul; Paul is paid to kiss his ass. Stephen is here to tell it to him straight. Stephen reiterates that it will be close, but they will be fine. Stephen makes his whole philosophy clear by saying, "I'll do or say anything if I believe in it. But I have to believe in the cause."Morris does another speech to a younger crowd, who are also key voters. In the back, Stephen confesses to Paul that he met with Tom Duffy. He offered him a job and explained that Sen. Thompson is being promised a cabinet position. Paul is enraged that Stephen lied to him. Stephen says he thought it didn't matter. "It doesn't matter what you thought! It matters what you did. It matters what you DIDN"T do!" Paul screams. Paul tells Stephen to find an empty room. They are going to talk to Morris after the speech.Morris finds out about Senator Thompson wanting to be Secretary of State in exchange for his endorsement. Morris refuses to budge saying they need win Ohio another way.Morris' team hits the pavement trying to rally support and do damage control in light of recent developments.Morris and his wife Cindy talk in the car. Cindy tells him to give Thompson what he wants so they can win.Stephen and the staffers are on the bus when he gets a IM from Molly asking if he wants to meet up again. They have sex again, but Stephen gets distracted by Morris on TV. They both laugh over the mood being broken.Later, Molly is sleeping when her phone goes off. Stephen answers it, but they hang up. Stephen wakes her up and asks who would call her this late. Stephen says he'll call back but Molly pleads for him not to. We find out why. It is Morris' cell phone. Stunned, Stephen asked why she is calling the governor. Molly cracks and tells him Morris and her had an affair one time. Stephen asks why she is calling him again. "Because I need 900 dollars." Molly says (she's pregnant). Molly says she can't go to her father because they are Catholic. Stephen is blown away; his squeaky clean candidate is more dirty than he thought.The next day, Stephen tells Ben to take out the maximum petty cash they can withdraw (500). He meets with Molly, telling her to meet him later.Stephen meets with Ida who drops a bombshell; she knows about his meeting with Tom Duffy. Stephen tries to deny it, but Ida reveals unless he gives her information on Thompson, she leak his story. Stephen says he thought they were friends. Ida scoffs, saying they are only friends because he gives scoops and she writes them in a favorable light.Stephen calls Duffy who denies leaking the story. Stephen sees some men taking pictures and gets paranoid. He hangs up.Stephen meets Molly with $1,800. She needs to get an abortion and then go home. She can no longer work on the campaign. Stephen said she made a big mistake and has to pay for it. He will take her to the clinic and take her to the hotel afterwards. Stephen takes Molly to the clinic, promising to pick her up afterward.Stephen meets with Paul, talking about how they need to spin the Duffy/Stephen meeting. Ben is in the room, as well. Paul reveals he leaked the story. It will give them justification to fire him from the campaign. Stephen is shocked, but Paul goes on a monologue about loyalty. When Paul first started, he was working with a no name politician. The opposing side tried to poach him, but Paul was honest and told his candidate. His boss said he will not stop him from leaving, but Paul stayed loyal to him. They lost, but three years later, the guy ran for governor, using Paul as his manager and they won. "There is only one thing in this world I value which is loyalty. Without it, you're nothing." Paul says.Paul tells Stephen he is fired, and Morris agrees with it. It is not because he isn't good, or he doesn't like him. It's because they can't trust him.Molly is never picked up by Stephen. She eventually has to take a cab back to the hotel. Ben is in her room saying he just got promoted to Stephen's job and Stephen was fired threatening to bring everyone down. Molly is scared, thinking she is about to be used as a pawn in Stephen's game.Stephen meets with Tom Duffy saying he wants in. Duffy says he knows he just got fired, and it will look bad if they take him on. "What if I have something? Something big." Stephen asks. Duffy still won't agree. Realization washes over Stephen. "You never intended on hiring me." he says. Duffy talks around the issue but eventually admits it more or less. If he played off Paul's ethics of loyalty so he would fire Stephen, they could poach him. If they didn't want him, Paul and Morris still wouldn't have him. Duffy would still cause a large blow to Morris' campaign. Stephen is enraged, but Duffy tells him to leave politics because soon he will become jaded and cynical like the rest of them, and it will crush his idealistic soul.Stephen goes back to the hotel and sees a man rush out of Molly's room. He goes inside and sees her body on the floor. She killed herself. Stephen eyes her phone and steals it. He listens to her voicemail, pleading for him not to do anything rash (like leak her affair with Morris). Tears brim in his eyes.Steven meets with Thompson, who seems to not know he was fired. Thompson reveals that he wants the cabinet position, and if he does not have confirmation from Morris by the next day, he will endorse Pullman. Stephen listens, stoically.Morris holds a press conference about Molly's death, claiming not to know her too well. He gets a call from Molly's cell. Morris sees Stephen. The message is clear. Stephen wants to meet.Stephen meets Morris in an empty restaurant. Stephen tells Morris to listen. He is going to fire Paul. Stephen will take over as the head manager. Morris WILL endorse Thompson and get his delegates support. They will win the primary and thus the nomination. Morris asks what he thinks he has. Stephen tells him that you can do a lot in this country; you can start wars, ruin the budget, take bribes. "But you can't fuck the interns." Stephen grimly states. Morris is defiant, telling him that everything is circumstantial. Stephen tells him that she was pregnant, and he took her to the clinic.Morris goes on the defensive. The girl is dead. Since she had an abortion, there is no DNA evidence. It will just be Stephen's word versus his. And he is just a disgruntled ex-staff member. Stephen says there was a note he took. Morris freezes momentarily. However, he quickly deduces there is no note and tells Stephen so. "It's your call." Stephen says.Paul is getting a haircut and walks out a barbershop the next day. Morris is nearby in his SUV asking to talk for a minute. We don't see or hear the conversation, but Paul gets out stunned. He has been fired. Paul later gets on TV, claiming new positive numbers made him, and Morris mutually decide to hand it over to someone different (Stephen).Stephen attends Molly's funeral while her father cries at the pulpit saying his daughter was a good person that enriched everyone she knew. Stephen talks to Paul, who reveals he knew Molly since she was born. Morris doesn't attend the funeral, claiming to be working with Thompson, but Stephen knows the real reason why. Paul notes he got a consulting job on K Street for a million a year, a cushy job "where people won't fuck you over." Paul says that he and Stephen should have a beer one day, and Stephen can tell him what he had on Morris to make him fire Paul.Thompson endorses Morris and asks for his delegates support in voting for Morris. Stephen watches from the crowd, apathetically watching as Thompson and Morris speak in platitudes when he knows their real character and motivations.Ben is working in an office when a new intern, a brunette dead ringer for Molly introduces herself as Jill Morris (no relation).Stephen is walking to an interview when he is stopped by Ida, asking if he wants to comment on a story she is doing. Ida claims that Stephen handed the Thompson endorsement to Morris and that he got Paul fired. Stephen dodges her questions. Ida pleads with him, saying, they are friends, right? Stephen looks at her and says, "You're my best friend."Stephen sits in a chair to do a TV interview. As they put an earpiece in and check the audio, Stephen sits in the chair in silence and meditates on the past couple weeks. Duffy's grim prediction has rung true; he is no longer hopeful about the future of politics. He is just another cog in the machine. Nothing ever changes. The only thing that has, is him. His idealism has been irrevocably shattered. He was willing to use Molly, a scared, young girl to get back at Morris and Paul. His actions indirectly caused her suicide.Stephen listens as Morris gives his speech mentioning that integrity and dignity matters. Stephen now knows Morris has neither. Morris for all his talk is just like the rest of the politicians. He made serious mistakes, and when pushed came to shove he failed the test of character. Rather than own up to them, he swept his scandal under the rug and fired his loyal friend in order to cover up his transgressions.The news broadcaster comes into the earpiece, saying they are speaking to new head manager of the Morris campaign, Stephen Myers. The newscaster asks him how recent upheavals including Thompson's endorsement came to be. Stephen stares at the camera with a blank, chilling expression. | mystery, dramatic, suspenseful, intrigue | train | imdb | null |
tt1212974 | Bitch Slap | Three girls, a down-and-out stripper named Trixie, a drug-running killer and ex-convict named Camero, and a corporate powerbroker nicknamed Hel, arrive at a remote desert hideaway to extort massive riches from a ruthless sword-wielding killer named Pinky, who is also a notorious underworld figure. None of the three women is who they appear to be: each has an ulterior motive.
They kidnap a gangster called Gage and try to force him to reveal where the treasure is buried. He refuses, believing they will kill him anyway, but Hel promises he will not be harmed. Camero shoots him, against the wishes of Hel, saying she made no such promise. His phone rings, and they believe Gage is connected to Pinky.
Things become more complicated when a police officer named Deputy Fuchs arrives. Unknown to them, he was in the audience five nights ago when Trixie performed as a stripper to seduce Gage. However, the three women hide the body and are able to convince Fuchs to leave. While digging for the treasure, Camero asks the girls about the best sex each has ever had, believing the answer tells her something important about their character. She admits her best sex ever was with a circus contortionist, although she did not even know the contortionist's name.
During a water fight, Trixie falls onto something in the sand. They dig; however, instead of buried treasure they find the dead body of one of Hel's contacts. They are interrupted by Hot Wire and his girlfriend Kinki, whom Camero is familiar with. At gunpoint, the two abuse the women and force them to dig for the buried treasure. Deputy Fuchs returns and attempts to save the women, but instead creates a gunfight, which Hel ends with a high-powered machine gun found in the nearby trailer.
Camero asks the meaning of the code Hel uses on the bunker "75650". At closer inspection it appears that the number 1 is associated with the letter A, 2 with BCD, 3 with E, 4 is with FGH, 5 is with IJK, 6 is with LMN, 7 is with OPQ, 8 is with RST, 9 is with UVW and 0 is with XYZ. With this info the code numbers spell "PINKY" Hel and Trixie find a concealed bunker full of goods stolen from Pinky, including a mysterious weapon, diamonds, and a beautiful sword, which Trixie takes. Camero, believing she is in the midst of a double-cross, fights Hel for the diamonds. Camero overcomes Hel and sets Trixie afire along with barrels of flammable liquids. Camero leaves Hel in chains while she attempts to drive away with the diamonds; however, Hel quickly uses the super-machine gun to free herself, and fires a rocket that destroys the car Camero was driving.
Hel admits to Trixie that she is a secret agent who reports to a man named Phoenix, and that she is on a mission to retrieve the weapon they found in Pinky's lair. Camero returns and again fights Hel. After she beats Hel to the ground, Camero assumes she is dead and moves to kill Trixie. As Trixie will not fight back, Camero attempts to rape her, but stops when she sees a tattoo and realizes Trixie was the mysterious contortionist from her past. Before she can kill Trixie, Camero is shot in the back and killed by Deputy Fuchs, who managed to survive the explosion. However, instead of thanking him, Trixie kills Fuchs using a hidden throwing star. Hel awakens, having survived Camero's attack. Trixie then reveals that she, in fact, is Pinky, and concocted the entire plot to retrieve the sword she took from Gage's bunker, which he had taken from her six months previously. | absurd, cult, comedy, violence, flashback | train | wikipedia | null |
tt0059649 | Return from the Ashes | In the winter of 1945, on a train bound for Paris, a small boy kicks monotonously at the outside compartment door of a crowded compartment--and then opens the door and jumps from the train. His mother howls in anguish, an unnamed passenger pulls the brake cord, the conductor comes and escorts the distraught mother to an empty compartment in the next car--and everyone else in the compartment wonders why one fellow passenger, a woman, sat mute and motionless throughout the entire shocking episode. And then someone notices the concentration-camp tattoo on her right forearm. The fact of the matter is that Dr. Michele Wolf (Ingrid Thulin) has seen--and experienced--such horrors that a little thing like a little boy jumping off a moving train to his death looks like the spilling of milk in comparison. And not a man or woman on board could possibly dispute that--especially not a Gentile.Michele arrives in Paris, books a room under an assumed name, and then calls the number of her old home. Her husband, Stanislaus Pilgrin (Maximillian Schell) picks up the phone and says hello, but Michele does not answer. And on the other end of the wire, Stan's companion, Fabienne Wolf (Samantha Eggar), Michele's stepdaughter from a previous marriage, urges Stan to hang up.Michele goes up to her room and recalls the years that brought her to this pass. She met Stan before the outbreak of war in Europe. He was much younger than she (thus making her what is today called a "cougar") and made his living, such as it was, as a professional chess player. Michele, as she would later admit, "bought" him--and Stan always resented having to take money from Michele, just as he resented having to live from prize to prize off his playing.Dr. Charles Bovard (Herbert Lom), a plastic surgeon at the hospital where Michele is on staff as a radiation oncologist, disapproved of the match, recognizing exactly the sort of man Stan was and is: a gigolo. He soon had reason to worry about far more momentous things: the Nazis overran the Maginot Line and occupied Paris. Soon they subjected all the hospitals to new employment regulations, which affected Michele directly, because she is Jewish. Stan offered to marry Michele in order to give her an identity apart from being a Jewess--but on the day of her wedding, a Nazi patrol arrested Michele and took her away.Now in 1945, Michele introduces herself first, not to Stan, but to Charles Bovard. She confesses to him some of the horrors she endured--including prostituting herself to the camp guards in exchange for rations in excess of starvation rations. Charles can and does understand her having to do what she needs to do in order to survive--but he is not sure about her plan to re-enter Stan's life. Nevertheless, he performs a reconstructive procedure to make Michele look as near to her old (pre-Holocaust) self as the consummately skilled Charles can manage--and then Michele allows Fabienne to see her at the hotel, this although Fabienne fails to recognize Michele for who she is.The reason for this failure is simple: Michele was reported dead in the camps. But she was never so declared--because under French law, dating back to the Code Napoleon, no one is declared dead until a coroner has a body to examine. This actually creates a problem for Fabienne and Stan: Michele is, quite simply, the surviving heiress of a large portion of the private wealth once owned by thousands of Jews who died in the camps--300 million francs' worth. If Michele could be declared dead, Fabienne would then inherit--but the law is clear: no body, no claim.So when Fabienne tells Stan of meeting a woman who looks remarkably like Michele at her hotel (recall that this is Michele, registered under an alias), and Stan meets Michele in her hotel and does not recognize her, he makes a shocking proposal to her: that she pose as Michele long enough to establish an identity, then feign her death so that the 300-million-franc legacy would be released. In return she would collect a "finder's fee" of 30 percent.Charles is shocked as Michele decides to play along long enough to see whether Stan will actually recognize that she really is Michele. Eventually Michele does reveal herself to Stan, who is only half willing to have her back, and to Fabienne, who, quite simply, hates her guts for coming between her and Stan. Michele, of course, establishes her claim to the massive Jewish legacy, but the tensions in the household rise to a breaking point, and Fabienne prepares to leave.But on her last day, Fabienne challenges Stan to undertake a plot to murder Michele by tricking her into opening a wall safe rigged with a gun. At first Stan refuses--but that night, Fabienne takes her last bath, and also takes champagne and barbiturates, a potentially fatal combination. Stan pumps Fabienne for a few more details on how to make the plot work--and then drowns Fabienne and then rigs the bathroom door to make it appear that Fabienne locked herself in and deliberately took an overdose.Michele, as Stan expects, takes the news badly and blames herself for Fabienne's death. Stan loudly tells the police investigators how worried he now is for her mental health.A few months later, Stan leaves town, telling Michele that he is going to Brussels to play in a chess tournament. Where he really goes is to a Paris suburb, which is part of Fabienne's plan. But there is another complication of which Stan is unaware: Charles comes to see Michele on the night of the tournament and quarrels with Michele over her continued enabling of Stan. Michele orders him out--and at that moment, Stan, who has made enough of a scene at the Paris suburb where he has gone that multiple witnesses would swear that he was in that city, has gotten enough of a moment alone to call Michele and trick her into opening the rigged safe.Michele agrees to open the safe to retrieve what she thinks will be a small present Stan bought, in anticipation of his victory. Stan waits a long time, then in an attack of cold feet, calls out to Michele four times. Then he hears a single gunshot, and hangs up.He then comes back home and finds Michele lying on the floor of the library, apparently dead. He completes the last part of the plan: disconnecting the gun, wiping it of fingerprints, placing it in Michele's hand, and dropping it on the floor--a classic "throwdown." Then he calls the police--but when he turns back to the library, he notices that Michele is no longer lying on the floor. Returning to the library, he is suddenly surrounded by two detectives, Charles Bovard--and a very much alive Michele.What has actually happened is this: Michele quarreled with Charles--but when she told Charles to leave, Charles opened the outer door of the foyer--and then closed it again. He intended to go back into the house and apologize, but before he could reopen the inner door, the telephone rang. Charles waited a decent interval, and then walked in on Michele, who asked him to wait, because she was still on the telephone. She moved to the library, and Charles waited just outside--until Stan shouted Michele's name four times. Charles stepped in, Michele turned toward Charles--and Charles saw the rigged gun. He rushed forward, shoved Michele aside--and the gun fired, harmlessly, putting a round through the doorway into a far wall. Shortly after that, the telephone went dead.Now recalling this, Michele tells Stan that she now understands his totally amoral attitude. The detectives then take Stan away--and Stan wryly observes to himself that "the simple closing of a door has brought me to the guillotine." Michele and Charles remain behind, sadder but wiser. | murder | train | imdb | "Return from the Ashes" is such a film.
Just let me wet your appetite by saying that Maximilian Schell plays a young amoral polish guy who seduces a French, older, wealthy widow, played for real by a great Ingrid Thulin.
When Schell asks her to marry him, she laughs it off as a surprisingly conventional request but he means it saying "At this time is not convention but defiance" So he marries the older Jewish woman...that's all I'm going to tell you about the story.
Samantha Eggar, beautiful and skinny gives a powerful performance of seductive evilness.
In a flash of incredible foresight, I recorded this gem as I watched it for the first time (maybe like 2 years ago...) The signature music has a waltzy, hypnotic cadence that completely draws you in, & a fascinating story unfolds in "post-war Paris", shot in appropriately atmospheric black & white.
I'd never even heard of Ingrid Thulin before -- someone on here mentioned her character, Michele, as "middle-aged" - that's not the impression I got.
Michele is a jaw-droppingly gorgeous, dazzling blonde Swede{?}, who was married to a much older man, with a daughter.
Ingrid Thulin is wonderful as Michele, combining just the right balance of high intellect yet vulnerability - very believable central character.
Herbert Lom & Samantha Eggar also give stand-out performances.
I'm completely amazed that this incredible film has never "made it to video"....
This is a rare beauty of a film.
The film is a character study, and a masterful thriller.
The star ( the beautiful Ingrid Thulin) looks off in a "thousand-year" stare.
The camera pans back, and you see the number tattooed on her arm.The film is shot, masterfully, in post-war Paris.
The Doctor returns to work, and her Husband (Maximilian Schell,in a career-defining role), hires her to impersonate his wife, whom he believes to be dead.The gorgeous Samantha Eggar, slinks around the house.
The film continues with some nail-biting, and the conclusion is just fine.I will scour my TV listings, and pray it comes back on!.
Once upon a time, before the giallos and the slasher films took over, there was an undercurrent of clever thrillers ...
Ladies and gentlemen, RftA is a stunning thriller which will keep you enthralled from the expositionary opening to the wonderfully complex plot developments.
Hard to believe it was 40 + years ago I sat in a darkened theater enraptured by the clever plot with more twists and turns than you could believe.
Ingrid Thulin, Samantha Eggar and Maximilian Schell pull out all the stops but they make you BELIEVE the lurid goings-on.
Too bad movie makers can't look at these old classics and learn how to pace and plot a good thriller..
I haven't seen this movie in over thirty years, since high school, but it stands out vividly in my memory.
I hope this isn't one of the lost films that we keep hearing about.
This film has haunted me right from the start of its release in 1965, thanks to the top players, the tense plot, the effective direction by J.
But most importantly (the play of) Samantha Eggar and the melodramatic role she plays in the film are the main reason of my lasting interest in this film.
One of those excellent films that has never been released on video or DVD.
The first time I watched this there were only 2 other channels and both were showing programs I hated at that particular moment, so I ended up watching this film by default.
I was treated to a beautiful, haunting film that featured great performances by Herbert Lom, Samantha Eggar, Maxmillian Schell and Ingrid Thulin.
If cable ever gets tired of endlessly re-running "Jaws", "The Breakfast Club" and "It's a Mad Mad Mad Mad World" (Excellent films but shown 5 nights a week) and happens to air this true gem, be SURE you see/record it.
I saw this film YEARS ago.
I never forgot it and at one point, I tried to find out the name of it and was directed to another film.
I suspected when I read the plot on the channel guide that this was the movie.Set in flashback in pre-war Paris and in the present in post-war Paris, the story concerns a doctor, Michele, (beautiful Ingrid Thulin) hopelessly in love with Stanislaus, a chess-playing roué, excellently played by Maximillian Schell.
During the time she's gone, her husband becomes involved with her now grown-up albeit unstable stepdaughter Fabienne (Samantha Eggar).
After the war ends, and Michele doesn't return, Fabienne and Stan assume she's dead.
However, because of the laws in France they can't get their hands on her money.The truth is that Michele is alive, but had to go to a sanitarium after the war to recover from her horrendous experiences in the camp.
She's scarred and aged, and when she finally returns to Paris, she stays in a hotel and turns to an old colleague, Charles (Herbert Lom) to fix her up.
When Fabienne spots what she thinks is a Michele-lookalike (actually Michele), she comes up with a plan to have her stepmother return from the dead, with the imposter taking a cut.A really good movie, very intriguing, with good performances all around and excellent photography.
I'm so sick of being burned by TCM's ratings - four stars for trash and two stars for a fine movie like this (not all the time, but occasionally).Highly recommended..
I have only seen this film once or twice, and it's been four decades ago.
It is a sharp little murder story, with a clever scoundrel (Max Schell) who plans to make a real killing - a once in a lifetime shot at a fortune.Schell is a first rate amateur chess player.
He happens to meet Ingrid Thulin, a Jewish medical technician who was married before the war to an older, wealthier man.
During the war she was in a camp, but she was lucky enough to survive.She is vulnerable now, and she falls for Schell's polite, and then increasingly tender concerns for her.
But her home life is harsh - she only has her step daughter (Samantha Egger) who hates her as a woman who supplanted her mother.
Actually Thulin is nice enough to share her house with Egger.Schell sees the set-up as a golden opportunity.
He woos Thulin, and marries her, much to the suspicions of her close friend.
This effects Thulin, who is always just on the borderline because of her war experiences.
And at that point, I will leave the plot line for the reader to seek out and see the film.It turns out (I won't say how) Schell does not really count on the close friend affecting his plans.
And that was the final reason I enjoyed the film.
I have always been a fan of Herbert Lom. Ever since I saw him in THE LADYKILLERS, GAMBIT, A SHOT IN THE DARK (and the other "Pink Panther" films he popped up in), I have enjoyed his menace, his mania, and his remarkable acting skills.
Except for GAMBIT (perhaps - in one scene he briefly shows menace), Lom usually played dangerous men to cross.
In this film he finally played a decent guy.
A great film..
Why is it that films that you really love are never shown on the television?
I remember this film was considered pretty risque for 1665.
It used to be shown on tv all the time and was inevitably given two stars, when it is in fact a four-star movie.
It is inconceivable that there is not plot summary here, so here goes:Michelle, a currently single middle-aged medical doctor with a young daughter [already daring for the time], encounters the young fortune hunter Stanislaus in a casual meeting and makes him her boy toy.
Michelle happens to be Jewish in Nazi-occupied Paris.
When the Nazis do their thing, gentile Stan marries her in a moment of bravura that belies his true character.
Several years after the war ends, she turns up and reunites with Charles, her former colleague at the hospital.
Charles performs some plastic surgery, then she runs into Stan, who has taken up with Michelle's beautiful and still somewhat girlish daughter Gabby.
Stan sees the striking resemblance and asks "Mme. Robert" if she will impersonate his supposedly late wife because French law won't give Gabby access to her mother's assets without a dead or alive body.
Last time I knew it was going to be shown was when the Gulf War broke out and it never aired.
The plot, the actors, everything about this down to the black and white film was excellent.
The title refers to the heroine's adjustment to life and former loves after imprisonment in a concentration camp.Ingrid Thulin is a Jewish doctor living in Paris at the outbreak of the war, and Maximillian Schell is her ambitious, chess-playing, Polish paramour.
When war is declared he finally asks her to marry him despite her being Jewish.
It takes place while another doctor, Herbert Lom, is standing nearby.
Lee Thompson, uses far too many gigantic close ups, as if this film were designed for the television screen.
The makeup underscores what for any perceptive viewer doesn't need underscoring.On Thulin's return from the concentration camps, her eyes have been turned into two black holes and her hair dusted with flour.
However, Lom, who still loves her, restores her to at least a semblance of her former beauty.
She still can't bring herself to contact Schell, now living in Paris with Thulin's step daughter, Semantha Eggar, from a previous marriage.
Lom loves Thulin, but Thulin loves Schell, who is shacked up with Eggar and who may or may not have EVER loved Thulin, to whom he is still married, although he's convinced she's dead.It get even MORE complicated.
-- the money that should go to her step daughter, Eggar, is being withheld by the French government.
So Schell and Eggar meet Thulin and are struck by the resemblance to Schell's wife, still thought to be deceased.
They try to enlist her aid in squeezing the money out of the government by having Thulin pretend to be Schell's wife.
I hope you're following all this.So all Thulin has to do, Schell insists anxiously, is pose as his wife "for a short time -- a RELATIVELY short time", forge a few papers in her handwriting, little technicalities like that.
Both Schell and Eggar soon reveal themselves to be scurrilous weasels, just out for the money.
Thulin, for some reason, finally reveals her true identity and Schell is the consummate manipulator.
All those years I've WAITED." It would be funny if Schell played it that way, but he does it straight.Schell prefers Eggar AND the money, and Thulin now is merely in the way.
But I'll get off the plot at this point.Among the more interesting scenes is the one in which Schell welcomes Thulin (her real identity now restored) to their former residence.
I must have achieved my goal, however drunk I became, because I notice I'm no longer in Skopje.Ingrid Thulin is a pretty woman but he features suggest intelligence rather than the beauty of a fashion model.
What good would that talent do Arnold, stuck in movies like "Predator"?
Samantha Eggar delivers the goods.Actually, the movie turns into a rather ingenious thriller towards the end, once that irrelevant mixed identity nonsense is gotten out of the way, but it's all written and directed so clumsily that the mystery is drained of life..
I agree that it has some first-rate acting by Ingrid Thulin as a concentration camp survivor still smitten with her wastrel husband after four years of hell, Samantha Egger as her homicidal stepdaughter and Maxmilian Schell as the penniless scoundrel both women crave.
But from the symbolic opening (a child falling off a speeding railway train while Thulin looks stoically on) through the climactic get-rich-quick scheme, the film is unrelentingly grim.
And in the end, the characters (aside from Herbert Lom's likable doctor) are not only unsympathetic but don't make much sense..
A film noir classic.
Written in classic theatrical play/film style of Agatha Christie.
Excellent performances by Maximillian Schell and Samantha Eggar illustrates why they can be called stars.
Ingrid Thulin shines in a truly convincing way, what a talent.
Schell and Lom both set their person bars a little higher in this one..Bottom Line: Just Find It And Watch It..
At the time this made me think the movie was a slightly highbrow gore thriller of the "Hush, Hush, Sweet Charlotte" or "Whatever Happened to Baby Jane" stamp - if not far, far worse.
Seeing the film years later .
Lee Thompson was the producer-director, this would-be suspenser plays like an Anatole Litvak cast-off.
French female X-ray technician (Jewish and widowed, with one stepdaughter) is separated from her second husband on their wedding day by the Nazis; in 1945, having survived time in a concentration camp, she meets up with him again, but he doesn't recognize her and asks if she'll pose as herself so he can collect on her fortune.
Ingrid Thulin's strong lead performance nearly holds the film together for much of the way, even if she far outclasses this crackpot material.
I knew "Darling" and "The Servant" but I had never heard of the one I liked best: the theme from "Return from the Ashes".
Much later, when I finally saw the movie, I realised how perfectly that lilting melody married with the film."Return from the Ashes" works despite credulity being stretched to breaking point along the way.
The true quality of this film is not revealed from a reading of the plot.
The movie plays far better than it reads.Shortly before WW2 in Paris, Michelle Wolf, a doctor played by Ingrid Thulin meets a Polish refugee, Stanislaus Pilgrin played by Maximilian Schell.
When the Germans capture Paris, Stanislaus – in his self-confessed, one gallant act of his life – marries Michelle, who is Jewish, to stop her being deported by the Nazis.
But she is sent to a concentration camp anyway.Years later, Michelle returns to Paris under an assumed name.
Although she is reacquainted with Stanislaus and her stepdaughter, the beautiful Fabi, played by Samantha Eggar, they believe that she simply bears a strong resemblance to the Michelle they knew.
They want her to play Michelle in a complicated plot to retrieve funds that have been frozen since the war.
After many developments, the movie still has enough energy left to deliver one final twist at the end."Return from the Ashes" boasts three of the most attractive stars you are likely to see in one movie – Ingrid Thulin, Maximilian Schell and Samantha Eggar.
For me, Ingrid Thulin is the standout.
It's surprising Hollywood didn't seek her out more often – possibly she would have made one of the great Hitchcock stars – in an interview, he once singled her out as the epitome of the kind of sexiness he admired, especially in her work for Ingmar Bergman.Despite a "Vertigo" like sequence when Michelle is coached to play what is in reality herself, "Return from the Ashes" does not seem overly influenced by either Hitchcock or film noir.
The dramatic use of black and white and the moody quality of the film is due to J.
I first saw this film as a young girl.
A haunting mood permeates the simple, yet effective scenes--one can almost feel the sense of trauma and tragedy of Post War France.The ending is wonderfully satisfying and even somewhat shocking.
This film makes no apology for itself--it presents us with a concentration camp survivor who is still in love with a narcissistic user, and we go on from there, somehow suspending all sense of disbelief in the face of masterful acting..
Ingrid Thulin is released from a Nazi concentration camp to find that gigolo husband Maximilian Schell has shacked up with her stepdaughter.
What ensues is a roundelay of lies, fraud and murder plots, mostly sprung from the demented mind of Samantha Eggar, giving a great performance as Thulin's neglected stepdaughter, a sociopath who cares only for herself.
Eggar & Schell are a match made in hell, but Thulin, very much a survivor, does not fall easily for their shenanigans.
Lee Thompson, who keeps the film virtually entirely indoors, adding to the feeling of claustrophobic dread.
There are fine performances by the three principles and an excellent supporting role for Herbert Lom (as Thulin's wily colleague).
A female doctor lives a prosperous life, partially because she earns a lot of money, partially because her late husband left her well-provided for.
Her late husband also left her with a step-daughter, for whom she feels little affection or concern.
While the imprisoned woman goes through a living hell, her husband and step-daughter do not wear out their respective knees with praying for her health and safety...This is a suspenseful thriller which projects a remarkable sense of decadence, what with the three protagonists being caught up in a "huis clos" worthy of Imperial Rome at its most dissolute and pernicious.
(What makes the situation even worse, is that these are three people supposed to help and support each other.) The movie also boasts an impressive performance by Maximilian Schell, as a clever parasite who would sell his own mother to the glue factory.However, there are serious problems with this movie.
Imagine, say, an adventure movie where a cast of Bulgarian, Swiss and Dutch actors play French fishermen fleeing to Greece in order to escape the vengeance of Portugese gangsters - that wouldn't work too well either, would it ?Secondly, and more importantly, there is the concentration camp theme.
From a purely narrative point of view this wasn't a wise choice either : the concentration camp theme is like a black hole which bends or swallows every other motif, every other development by the sheer weight of its awfulness.So no, I can't recommend "Return from the ashes", although it's certainly the kind of movie that tends to stick in the memory. |
tt0172495 | Gladiator | In AD 180, Hispano-Roman General Maximus Decimus Meridius leads the Roman army to victory against the Germanic tribes near Vindobona on the Limes Germanicus. Now weary of battle, Maximus only desires to retire to his estate. But Emperor Marcus Aurelius tells him that his own son and heir, Commodus, is unfit to rule and that he will appoint Maximus as regent to help save Rome from corruption. When the Emperor reveals his plan to his son, Commodus murders him in a fit of rage.
Commodus announces he is the new Emperor and asks Maximus for his loyalty. When the general refuses, he is arrested by his officers and is sentenced to death at dawn. Maximus kills his captors and rides for his farm. He arrives too late, and finds it destroyed and his family murdered, by Commodus' orders. Maximus buries his wife and son, and then collapses from his wounds and grief. He is found by slavers who take him to Zucchabar in the North African province of Mauretania Caesariensis, where he is sold to a gladiator trainer named Proximo.
Although reluctant at first, Maximus fights in local tournaments and makes friends with two other gladiators: Juba, a Numidian who holds onto Maximus's figurines of his wife and child, and Hagen, a German. As he wins every match because of his military skills and indifference to death, he gains fame and recognition. But Proximo, who reveals that he himself was once a gladiator who fought well enough to be given his freedom, advises Maximus that being a good killer is not enough; a good gladiator is one who can "win the crowd". Proximo encourages Maximus to go to Rome and fight in the Colosseum, because Commodus has organized 150 days of games. He could then use the power he commands in the arena as leverage against the Emperor.
Maximus' first gladiatorial combat in the Colosseum is a re-enactment of the Roman victory over Carthage at the Battle of Zama. Although the gladiators (portraying the Carthaginians) are expected to be massacred, Maximus leads them to victory over the legionaries of Scipio Africanus. This prompts a surprised and delighted Commodus to enter the arena to offer his personal congratulations. When the emperor's young nephew, Lucius, also joins them, Maximus decides not to kill Commodus. Instead he reveals himself and vows to have vengeance. The Praetorian Guard is ordered to attack but this angers the crowd. Under pressure to keep the mob of Rome happy, Commodus angrily relents.
Maximus' next fight is a victory against a large undefeated gladiator. Despite Commodus's orders to kill the loser, Maximus spares his opponent's life. This defiance earns him the nickname "Maximus the Merciful" and more cheers of adulation. Angered at this outcome, Commodus enters the arena to taunt Maximus about his family's death. But the gladiator turns his back and walks away, another defiant act that is making him more popular than the Emperor.
Maximus discovers from Cicero, his ex-orderly, that his former legions remain loyal. Lucilla, Commodus' sister, and Gracchus, from the Senate, meet secretly with Maximus. He obtains their promise to help him escape Rome, rejoin his soldiers, topple Commodus by force, and hand power back to the Roman Senate. However, Commodus learns of the plot from Lucilla by threatening her son Lucius. The Praetorian Guard arrest Gracchus while others are sent to the gladiators' barracks. Maximus escapes after Proximo and his men (including Hagen) sacrifice themselves. But at the rendezvous point, Maximus is captured and Cicero is killed.
To win the crowd back, Commodus challenges Maximus to a duel in the Colosseum. However, he secretly stabs Maximus in the side before the match to gain an advantage. Nevertheless, Maximus disarms Commodus during their duel. When his Praetorian Guards refuse to give him another sword, the emperor tricks Maximus into disarming and produces a hidden knife, but Maximus drives the blade back into Commodus's throat. Maximus succumbs to his wounds shortly thereafter.
Maximus's last words are to ask for political reforms, for his gladiator allies to be freed, and for Senator Gracchus to be reinstated. While the body of Commodus is left unceremoniously on the floor of the arena, Maximus is solemnly carried away by his friends and allies to be given an honorable funeral as a "soldier of Rome". The crowd stands as a sign of respect as Maximus is carried out.
Later, a now-free Juba revisits the Colosseum at night. He buries the figurines of Maximus' wife and son at the spot where he died. He says he is now going back to his own family and promises to see Maximus again, "but not yet". | boring, cruelty, murder, dramatic, violence, cult, psychedelic, action, revenge, historical | train | wikipedia | If you can't feel something for the character, than the audience is lost.Luckily, in Ridley Scott's case, Russel Crowe is so captivating and convincing as a general loved by his troops and as a slave loved by the people that the movie really works.
Phoenix will surely be put on the map with Gladiator.But the real shining star in this film are the incredible action sequences which jolt the viewer right in with the opening sequences, as Maximus' true worth to the Roman Empire is displayed.
"Gladiator" definitely is a classic film as it combines a simple, but moving, story with beautiful scenery, filming, direction and score it is truly a "complete" movie.I am mostly compelled with the beautiful script which in a way reminds me of poetry, though it is still everyday language.
The modern camera technique contrasts sharply to the brutality of the gladiators actions and blood shed during the movie; and I love the light contrasts thanks to the lenses which most definitely have been used to create a surreal feel to the entire movie."Gladiator" deserves all the awards and great reviews it has received, and for those of you who still haven't gone and watched it I can assure you that it will be well worth your time and money.
And it bloody worked, the influence and interest in all things Roman or historically swashbuckling of film that followed post Gladiator's success is there for all to see.What we do in life echoes in eternity.So no originality in story, then.
While some of the CGI is hardly "Grade A" stuff, and there's a little over - mugging acting in support ranks as some of the cast struggle to grasp the period setting required, yet the way Gladiator can make the emotionally committed feel - overrides film making irks.
As he runs through the gamut of life's pains and emotionally fortified trials and tribulations, we are with him every step of the way, urging him towards his day of revenge splattered destiny; with Crowe superb in every pained frame, winning the Academy Award for Best Actor that he should have won for The Insider the previous year.Backing Crowe up is Joaquin Phoenix giving Commodus preening villainy and Connie Nielsen graceful as Lucilla (pitch Nielsen's turn here against that of Diane Kruger's in Troy to see the class difference for historical period playing).
The epic blockbuster returns with the 21st Century's answer to Cecil B DeMille, Ridley Scott and his dramatic tale of courage and revenge, GLADIATOR - "the general who became a slave, the slave who became a gladiator, the gladiator who defied an emperor".Once a great roman General, and as good as adopted son of Marcus Aurelius Caesar (Harris), Maximus (Crowe) is forced into exile by Commodus (Phoenix), heir to the throne, after the death of Marcus.
GLADIATOR transcends the notion of 'blockbuster' that we have become accustomed to in the age of electronic and special effects wizardry and instead offers a good old fashioned action film along the lines of Spartacus and and Ben Hur. Not only are we drawn into an archetypal story that contains all the classic elements a filmgoer could dream of (love, loss, courage, despair, good triumphing over evil etc etc) - also on offer is a visual feast of cinematic painting after painting - a rich tapestry of images that are breathtaking and ultimately visually satisfying.
The old guard thesps of Harris, Reed and Jacobi (Grachus) are uniformly strong as supporting characters, and Spencer Treat Clark (Lucius) does a fine job as the young heir to the throne.Add to this great cast excellent editing and post production work, and an intricate soundscape (including a magnificent Hans Zimmer score), and you have a film that, despite its length, was highly palatable and had me in there from beginning to end.
Aurelius, however, has other plans--he wants to make Maximus emperor, and requests that of the general, who wants nothing more than to go home to his family.I went into this movie having just watched Ben-Hur in my film studies class and having watched an episode of Xena only a couple of weeks earlier that featured the story of Marc Anthony and Cleopatra.
The costuming, the acting, the screenplay, the scenery, and the fighting styles made me think that I had traveled back to 180 A.D. Russell Crowe is a true Hollywood tough guy, and he is superb in this movie.
This movie doesn't go to excess on the violence as some of the other more recent epic films did, such as "Braveheart" or "The Patriot."The acting is excellent, beginning with Russell Crowe, who has established himself as one of the best actors of today.
I don't think there's one bad movie that Ridley Scott has made or that Russell Crowe has acted in.
Emperor Commodus is a truely evil and life-like villian who shows a lot of his wits in attempts to get his revenge against Maximus.Ridley Scott went to many different locations to shoot this film to make it real, and he does.
Taken in as a slave by Proximo (Reed), Maximus becomes a Gladiator and starts his journey to the Coliseum and revenge against Commodus.Scott's cast is powerful and he is not left wanting as powerful performances are delivered by all.
In an accomplished demonstration of her acting ability as Lucilla, Connie Nielsen saves the occasional scene as Joaquim Phoenix shows us that he can do evil', but is less convincing when it comes to the more emotional qualities of his role.As a vehicle for the plot, Scott's beautifully created and highly symbolic (there is an image of fire in nearly every shot of the film) dialogue scenes are of a certain merit with digitally created backgrounds that encompass the meticulous nature of the Roman Empire.
However, dialogue alone does not an epic movie make, and it is in the film's spectacular action sequences that Gladiator come into its own.
Where "Gladiator" delivers is in the area of raw human emotions we are so familiar with.As somebody said, switching to the other mind-set is half the fun, and Gladiator takes you right to the midst of Romans' politics, their passions, their dreams and their weaknesses.After Ben-Hur, I feel this is the best period movie to have ever emerged from Hollywood.-Murali Chari.
Apparently (according to a documentary about Hollywood screenwriters) only Russell Crowe didn't know what turd the script was so he contributed himself with the juvenile "husband of the dead wife" speech.Ridley Scott and his crew apparently knew what stinker they had to work with and did their best to defeat it with excellence in all areas and actually made two films in one.On the surface it's a revenge story.
A revenge story, yes, but well worth watching.But on another level "Gladiator" plays out like a remake of "Fall of a Roman Empire".
Maximus , then comes to Rome as a gladiator to seek revenge .He won't swear loyalty and gets a chance to redeem himself .Father of a murdered son , husband to a murdered wife and I shall have my revenge in this life or the next .This bloody good movie has great action sequences well staged with stylish and vitality , thrills ,fundamental emotions , fortright spectacle ,fierce combats including scud catapults , and is pretty entertaining .
The film results to be a special remake to ¨Fall of Roman Empire¨ directed by Antony Mann with Stephen Boyd , Sofia Loren and Christopher Plummer as Commodus , though is a little revisionist about characters , history and time when is developed the action .
The final product looked as although the actors learn the screenplay and decided the best issue was to take a good time and amuse themselves and both managed to stage some excellent action scenes .
Great performances abound , as stalwart Russell Crowe playing an enslaved ex-general who bent on vengeance , he is very fine ; in addition , vacilating empress Connie Nielsen is memorable and attractive , she comes up the film as a valiant and obstinate woman .
Magnificent and sensible musical score by Hans Zimmer and Lisa Gerrard , including wonderful songs .I found it fun , well-acted , in Peplum tradition and fast-paced.The motion picture packed with pomp and pageantry is lavishly produced by the prestigious Douglas Wick and David Franzoni , also screenwriter ; being glamorously directed by Ridley Scott , at his best and as stylish as ever , similarly his previous film ¨Someone to watch over me¨ and others as ¨Blade runner¨, ¨Black rain¨ , ¨Legend¨ in which his visual style is impressive .
It's a brilliant film, which (while containing weaknesses such as a script which wasn't quite as good as it could have been, and one climactic scene which completely changes, and ruins, the ending) manages to engage your heart and mind.The performances are without exception excellent (although the accents may distract a bit, there is such a wide variety of them).
Full marks for being one of the best films ever made.It is not historically accurate with the plot but that's not the point (it seems a mash of different events and people who existed at one time or another in during the Roman Empire.
The only thing that could be said about Gladiator, the last Ridley Scott's movie, is good entertainment.
With incredible cinematic deftness Mr. Scott has outdone himself, I doubt he will ever be able to top this masterpiece he has created with no little help from incredible actors, Crowe, Phoenix, and the rest of the spectacular cast helped to bring life to this film in ways I have never seen before.
But what makes this movie great is the story line is heart felt and you feel for Maximus after his family is murdered.
If you look below the surface, Gladiator has many facets of itself that makes a step above the rest.First, compliments to Russell Crowe and Joaquin Phoenix (who was wrongly denied the Supporting Actor Oscar.) One of the best examples of why this film is unusual is because of how varied and developed (or fleshed-out) the characters are.Another important thing to remember is that the film is not necessarily meant to be taken as a pinnacle masterpiece of the ages.
The story is strong, the acting (especially Russell Crowe and Joaquin Phoenix) is exceptional, the fight scenes are thrilling, and the computer generated Rome is great.
I fell in love, and my daughter, who is nine and a half and has almost 300 videos, said it was the best film she had ever seen.I am one of those people who watches movies to be entertained, and this did it for me.10/10.
And also the cast, which sometimes is sacrificed for the show, shows a very great power: Russell Crowe is a suffering but determined Maximus, Joaquin Phoenix an evil, weak and complex Commodus, Connie Nielsen is so beautiful than good actress and then there is a great english trio formed by Richard Harris, Derek Jacobi and Oliver Reed (dead during the shots).
It's starts out like any good epic should with a masterfully filmed and executed exciting battle sequence that sets up the audience for one of those rare Hollywoodian confections that are both entertaining and artsy.
Everything about this testosterone-toned epic is meant to cater to a population who likes their filmed landscapes served to them WWF-style.Maximus (Russell Crowe) is a top army general in the army of Marcus Auerlius (Richard Harris), a dying patriarch who (in predictable fashion) unwittingly causes trouble within the family ranks by offering his throne to Maximus instead of to his son Commodus (Joaquin Pheonix).
Gladiator is a film everybody would enjoy, for it has a great story, great action and superb acting (no wonder Crowe got an Oscar!) Gladiator recounts the story of one of the greatest Roman generals Maximus, who was forced to slavery by the corrupt incestuous heir to the throne Commodus (Phoenix) who killed Marcus Aurelius the emperor for he knew he offered Maximus power over his own son.
(Commodus was actually strangled in his bath when poison wasn't killing him fast enough.) The sister of Commedus, Lucilla (who had actually been executed at the beginning of Commedus' reign) announces that we are all going to honor Maximus and restore the Republic.For a Roman history buff, this is like saying World War II was Hitler giving us all Ice Cream.What actually happened was that after Commedus (who wasn't that bad of a guy, really) Rome went into an embarrassing period known as the "Year of the Five Emperors, where a decent man was assassinated, the office of emperor was auctioned off, and three rival generals launched a civil war.This is universally agreed to be the tipping point of Rome's inevitable decline..
In the event of his death, ageing Emperor Marcus Aurelius (Richard Harris) intends to leave his trusted Hispano-Roman general Maximus Decimus Meridius (Russell Crowe) in charge of Rome, instead of allowing his son Commodus (Joaquin Phoenix) to become his successor.
This new life eventually leads him to the Colosseum of Rome, where he finally comes face to face with the man who betrayed him.From director Ridley Scott, Gladiator is a historical epic to rival the classics from the 'golden age' of Hollywood.
Opening in 180 A.D., with a brilliantly orchestrated battle between the Roman armies and the tribes of Germania, Scott's film grabs the viewer's full attention from the outset and doesn't let go until the end, having delivered an Oscar-winning central performance from Crowe, a memorable score by Hans Zimmer, excellent supporting roles from the likes of Harris, Phoenix, Connie Nielsen and Oliver Reed, and some of the most impressively bloody scenes of hand to hand combat ever filmed.If I were to choose my favourite scene, it would be the 're-enactment' of the battle of Carthage, a savage piece of action cinema in which Maximus and his fellow gladiators are ushered into the arena like cattle to the slaughter, only to turn the tables on their attackers, winning the hearts of the Roman masses in the process.
Watched one of All time Favorite Ridley Scott Films thats Gladiator one of my favorite Revenge/Sword & Sandals flick Films Featured an Amazing Performance from a Stellar Lead By Russell Crowe(L.A. Confidential ) as Maximus a former General Betrayed then turned Gladiator.
Arguably crowes best film the story is filled with epic period spectacle when we go from the smaller arenas to the The roman the story also moves forward in a grand way amazing performance from Crowe as the Anger filled Maximus.
Ridley Scott was drawn to direct this project by a painting entitled "Thumbs down", which depicted a scene (seen a few times in the film) where a gladiator is sentenced to death by the emperor.
The work on the script should not be underestimated as this is an effective story of a man trying to avenge his family and, on some level, get home.Maximus sees Russell Crowe in one of his finest performances.
Oliver Reed meets Crowe's performance stroke for stroke and is a great presence in this film (his performance became noted for being completed with the aid of CGI after his death toward the end of filming).Scott, however, is the real star of this film, making a world as rich and detailed as the one he created in "Blade Runner" and delivering a terrific story masterfully.
The hero was general maximus acted by russell crowe who made the best role in his career in this movie.
Also what made me like that movie was the story as talks about a man who was a general and then became a slave the a gladiator and then he challenges Cesar to a fight for death that is amusing and special..
It has everything any good movie should; an original story, great acting, and truly awe-inspiring direction.
Ridley Scott struck did very well with his direction of Russell Crowe, Joaquin Phoenix, Connie Neilsen, and Oliver Reed (who unfortunately suffered a fatal heart attack during filming).
After I viewed the film for the first time I felt that the gladiator fight scenes were too far apart, and not enough of them were in the movie.
An epic tale of power and corruption ensues and its very satisfying to witness, the fight scenes are fantastic and contain enough gore to bring realism without going overboard.Truly wonderful performances from Crowe Pheonix and Oliver Reed, bring this Ridley Scott masterpiece to life.Epic story, powerful drama, top movie 10/10.
What's so great about this movie is that it has a really entertaining and enthralling storyline, not just special effects and action (although it has a lot of that): it knows how to make us care about the people in it and how to develop a sense of style and elegance (thanks to director Ridley Scott).
The movie is fueled by a number of powerhouse performances: Russell Crowe is perfect as the title character, I loved Oliver Reed as Proximo, and Joaquin Phoenix made a perfectly hissable villain.
(To be fair, it does not have the very common third flaw, excessive noise.) There are many decent low-budget movies that get by with thin plots and bad dialogue, when directed quickly with some flair; but adding money, big-name (and talented) actors and length makes things worse, not better.I find the violence in Gladiator's battle and fighting sequences very distasteful.
It's outstandingly well done..Thank you Ridley Scott, Hanz Zimmer and Russel Crowe for making this movie so perfect.
"Gladiator" is, to me, one of the best films ever made, probably even in my personal Top 10 Movies of All Time -list.
Ridley Scott film Gladiator (2000), reputedly inspired by a painting, is set in ancient Rome at the time of Caesars (approximately 100-50 B.C.).
This film has one of the most moving endings ever.There is great acting from all the cast...Joaquin Phoenix makes a fantastic boo-hiss villain, and there is also excellent support from Connie Nielsen and the late Oliver Reed and Richard Harris.In short...Yes, I Am Entertained!. |
tt0047127 | Jail Bait | In the opening shot, a police car moves through the streets of Alhambra, California. The car stops at a police station, and the officers inside it transport their drunk prisoner to the station. Inside the station, Marilyn Gregor (Dolores Fuller) meets with Inspector Johns (Lyle Talbot) and Lt. Bob Lawrence (Steve Reeves). Through their discussion, the viewers learn that her brother Don Gregor (Clancy Malone) had been arrested for carrying an unlicensed handgun. She has just posted bail for him, and the two officers warn her that she would forfeit if her brother fails to show up for his trial. They release her brother, but they refuse Don's request to return his handgun. As the Gregor siblings leave, John Muses about the son of a great doctor being a jerk. Lawrence suggests it could be a result of the "sins of the father". Johns suspects the young man was an associate of gangster Vic Brady (Timothy Farrell).The Gregor siblings return home and Don immediately heads for the liquor cabinet in the living room, pouring himself a drink. He then reminds Marilyn that he is a legal adult, and claims to know what he in doing. Both statements aim to prevent Marilyn from lecturing him on his behavior. They briefly argue and she breaks his glass. Afterwards, Don opens a book safe and retrieves a hidden revolver. As he prepares to leave, Don has a chance encounter with his father Dr. Boris Gregor (Herbert Rawlinson) at the front door. The son exits into the night, while the father enters the home. As his daughter pours a drink for him, the Doctor reveals that he is already aware of Don's association with Vic Brady and his recent arrest. Inspector Johns had notified him with a phone call. But he is not particularly worried, feeling that everything will work out in the end. He blames Don's current behavior on the premature death of Mrs. Gregor and his own upbringing having had the unintentional effect of spoiling the boy.While Marilyn expresses concern over the influence of Brady on Don, her father continues to drink. He then heads for the book safe and discovers that the revolver is missing. He seems aware of his son's secrets, despite his apparent denial concerning his criminal tendencies.The scene shifts to the Hunters' Inn, a local dive bar in nearby Temple City, California, where Don and Brady meet. Don receives his share of the money for his role in a recent robbery. They are then joined by Johns and Lawrence, and briefly "cops" and "crooks" (as they call each other) drink together. The policemen provoke Don into a confrontation, and he knocks over Johns' drink. As the officers intended, this gives them the excuse to frisk him. They fail to find the revolver, as he had earlier offered it to Brady for safekeeping. John orders both criminals to leave the bar and they obey.Outside the bar, Brady chastises Don for his impulsive behavior with the officers. Don wants revenge against Johns, but Brady dismisses the idea and reminds his partner that they have other plans. They are going to rob the payroll of the Monterey Theater, though Don has his doubts about the plan.At the Gregor House, Marilyn has changed into her nightgown while her father sleeps in an armchair, probably drunk. She wakes him up to discuss their concern over Don's nocturnal activities. The father states that he can't see his own son as a wrongdoer. But he also expresses guilt over his own failure as a father.In the theater, Cotton Watts performs in blackface. After his act, which involves comedy, dancing, and orchestra music, the theater closes for the night. Brady and Don break into the closed theater and ambush the nightwatchman (Bud Osborne). The nightwatchman is forced at gunpoint to open the safe for the criminals. At this point Miss Willis (Mona McKinnon), a bookkeeper, end her shift and attempts to leave the building. She startles the criminals, and the robbery starts having casualties. Don shoots and kills the nightwatchman, while Brady shoots the fleeing woman in the back. Afterwards Brady collects their loot while Don seems to be in shock over his own actions. The two criminals flee while police sirens are heard approaching the theater. A short car chase scene follows, with the driving Brady managing to lead their car to safety.At the theater, a doctor examines the wounded Willis, while Johns receives the basic information on the case: robbery, murder, and attempted murder. The nightwatchman is identified as a recently retired veteran of the police force, who took his last the job just to relieve his boredom. The officers decide to treat this case as one involving cop killers. The press has already arrived at the murder scene, in the person of a female reporter (Regina Claire) and her photographer.Brady leads Don to the residence of his gun moll, Loretta (Tedi Thurman). While he explains their situation to her, Don leaves unnoticed. When Loretta notices his absence, Brady decides to search for him. The following night, Don wanders the streets until deciding to visit his father's office. He confesses the murder to his father, and the doctor urges him to surrender to the police. The guilt-ridden Don agrees to do so eventually, but wishes for more time to think things through. His father helps him escape the arriving police. While fleeing Don is captured by Brady, who drives him back to Loretta's residence. The three of them listen to the radio, where the case of Paul McKenna (the nightwatchman)'s murder is covered and both their names are announced as murder suspects. Also mentioned in the broadcast is that Don is the son of a famous plastic surgeon. Don repeatedly expresses his decision to surrender and face the consequences of his actions. Fearing for his own safety, Brady kills his partner. The corpse is temporarily stored behind a curtain.An argument between Brady and Loretta follows. She accuses him of destroying everything and everybody that comes in contact with him, while Brady reminds her that he once rescued her from the gutter. He insists that she should stay by his side to the end. The two end the argument in an embrace. At this point, Brady conceives a plan to elude the police by undergoing plastic surgery. He contacts Dr. Gregor, claiming that he is holding Don hostage until plastic surgery is completed. The doctor decides to have Marilyn assist him, since she is a trained nurse.Several days later, Lawrence attempt to romance Marilyn, with the ulterior motive of seeking further information on Don. She coldly turns him down. Later than night, Brady, the doctor, Loretta, and Marilyn gather in preparation of the operation. Brady expresses his distrust of the Gregors and has to be convinced that anesthesia is necessary. With Brady sedated, Don searches Loretta's residence for a water basin. He finds it, but also finds Don's stored corpse. He keeps this a secret and maintains a facade of calmness while performing and completing the operation. He claims that the bandages covering Brady's face have to stay on for two weeks. The necessity of a second visit saves his life and that of his daughter, as Loretta had orders to kill them both once the operation was over.Two weeks later, Brady and Loretta arrive to the Gregor residence on schedule. But so do Johns and Lawrence, who were both summoned by the doctor. They want to know who the bandaged man is. When Brady's bandages are removed..... his new face is revealed to be modeled after that of Don. Besides the Doctor, everyone else considers him to be the wanted murderer. And the Doctor claims that the man is his son. A horrified Brady/Don attempts to flee and is killed in a shootout with the police. His dying body falls into a swimming pool. | revenge, cult, murder | train | imdb | Horrible, but In A Good Way. Last night I decided to watch Ed Wood's crime film, "Jail Bait." Now, much like Wood's other films, the storyline, acting, direction, music and just about everything else are completely weak.
A lot of people like to go on about how Ed Wood is the worst director of all time, but how can this be when he's made movies that so many people have enjoyed?
I have just watched "Jail Bait", his attempt to make a serious film-noir, and I really laughed along its 72 minutes running time.
'Jail Bait', directed by the legendary Ed Wood, is an enjoyably bad attempt at Film Noir on a shoestring budget.
The cast includes Lyle Talbot, Dolores Fuller and Timothy Farrell from Wood's classic 'Glen Or Glenda', as well as a very early appearance by Steve Reeves.
Brady has corrupted Fuller's brother Don (Clancy Malone) the middle class son of a world renowned plastic surgeon Dr. Boris Gregor (Herbert Rawlinson).
The combination of Wood's trademark lousy dialogue and the stilted performances of the actors (especially Malone and Fuller) with Farrell's hammy Vic Brady and the nutty denouement make 'Jail Bait' a lot of fun to watch..
It's always sad to see competent actors who once had careers, end up in this manner.If you have never seen an Ed Wood film, put this one on your "must see list"..........really all of his films are "must sees" if you are a fan of "so bad that they are good" movies.
This movie is basically about a son of a famous plastic surgeon who causes trouble by carrying a gun and eventually ends up killing somebody when he was with his partner in crime.
Also, Timothy Farrell stars as partner in crime Vic Brady, and his performance is the funniest especially after he says lines like "let's unwraps the Christmas presents and see the presents inside." (Tim would later star in a terrible movie, The Violent Years, another "rich kid gone bad story") Other lines include "plastic surgery can be strenuous and very, very complicating" and "carrying a gun can be dangerous business, miss." Other humor in this film are included in the scenes themselves.
In addition, you'll also see a stupid dance sequence (I saw the director's cut) You should also watch out for this annoying guitar theme that is played throughout the entire movie.My overall opinion though is that this is an entertaining movie because it was so bad (not to mention the obvious ending) It really didn't bore me as much as other trash flicks.
It's practically a manual on how NOT to make a noir: despite a generous dose of hard-boiled - yet godawful - dialogue (particularly in the scenes depicting the gangster's constant bickering with his moll), the film has absolutely no sense of atmosphere, a headache-inducing and inappropriate score, an irrelevant musical number (in blackface, to boot!) and some of the worst, most amateurish acting you're ever likely to see!
Perhaps the main culprit in this regard is elderly Herbert Rawlinson (who, amazingly, kept working on such rubbish when he was dying of lung cancer and, in fact, kicked the bucket a day after production wrapped!) as an eminent surgeon who has to contend with a delinquent son; the latter gets embroiled in armed robbery and murder and is subsequently killed by his associate, after the surgeon persuades him to give himself up to the Police.
However, the gangster blackmails the old man into doing a makeshift job of plastic surgery in order to avoid capture - but, in perhaps the most uproarious scene of the entire film, the doctor discovers his son's corpse in the gangster's kitchen, without so much as a reaction, and decides to turn the tables on him.
The cops arrive but Don and Vic shake them after a languid car chase that (maybe because Ed Wood forgot to get a shooting permit and didn't want anyone to know he was making a movie) obeys all traffic laws.
Justice having been done, we can all shake our heads ruefully and go home.An essentially unremarkable cops-and-robbers potboiler, Jail Bait is pretty good evidence that Ed Wood gets far too much credit for making bad films.
Though Wood's dialogue delivers the occasional trademark nonsequitur-when a police inspector (Lyle Talbot) explains to Marilyn that "carrying a gun can be dangerous business," she rejoins that "building a skyscraper" can be dangerous business, too, thus demonstrating that she's missed his point entirely-by and large this movie is marginally competent.
When Doc and Marilyn are preparing to meet with Vic for the first time the movie seems to consider pursuing this idea seriously-Marilyn, wanting only to protect Don, drops another in an apparently interminable supply of handguns into her purse-but once there the gun never resurfaces so the movie never makes good on its promise to transform Marilyn into a murderous fiend once she decides to pack heat.Don't be fooled by the tagline-underage girls are not the "jail bait" of this movie's title.
Ed Woods was in love with the movies and no matter what people thought about him and his films he just got pure enjoyment out of making them; and that after all is what entertainment is all about..
Before we analyze whether this movie is great or just really good, let's mention Herbert Rawlinson who plays the Plastic Surgeon, Dr. Gregor.
Not that Bill Holden wasn't good, just that Steve looked like a boytoy at the time and it would have been a daring casting choice.Ed Wood understood what was needed in a movie.
Brady shoots him and hides his body behind a curtain in his kitchen.Wishing to disappear to escape the police, Brady enlists the help of Gregor's father, a plastic surgeon who admits, "Plastic surgery, at times, seems to me to be very, VERY complicated." The surgeon shows up to give Brady his new face, but when he finds his son's dead body STANDING(???) behind a curtain in the kitchen, he decides to have a little fun with Brady instead.
Two weeks later, Brady's bandages come off, and he's horrified to find whose face is underneath."Jail Bait," Ed Wood's attempt at gangster film noir, is unintentionally silly, ludicrous, and terribly enjoyable.
Ed Wood is mostly known for his complete ineptness behind (and in front of) the camera in such "bad" film "classics" as "Glen or Glenda" "Bride of the Monster" and "Plan 9 From Outer Space." However, Wood's brief foray into film noir, "Jail Bait", is notable for a few reasons.
A necessary rental for Ed Wood or "bad movie" fans, and possibly an educational video on how NOT to do film noir..
Yes. 1954's "Jail Bait" (with its cardboard sets, its poverty-row production values, its cheap atmosphere, etc., etc.) is a perfect example of cinematic ineptitude like no other - But, hey, that's because it's an Ed Wood picture (which, pretty much, explains everything).
And being an Ed Wood production, I don't think that it could (or should) be any other way.Apparently inspired by the TV show "Dragnet", within the first 10 minutes of Jail Bait's dry and clumsy story of murder, robbery and plastic surgery miracles, you'll be glad to know that this film's running time is only a mere 70 minutes.
I actually think this is one of the best bad/good films Wood ever did.
Wood Jr. managed to make so many films, you would think that his career would have stopped after the first one, I guess is that he just always worked with the same actors who would play there parts for almost nothing, he also would have a budget that was enough for him to by a nice pair of shoes and lunch.
The police in the people of Lyle Talbot and Steve Reeves investigate this one like Osborne was still on active duty.This is as far as I go, the film takes some bizarre twists that only the mind of an Ed Wood could conceive.When I say Steve Reeves that is indeed the original Hercules.
It all turns out horribly of course in an outrageous ending that Ed cribbed from a 30s potboiler, but ultimately makes it all Wood.On the trail of the cop killers is dependable Ed Wood regular Lyle Talbot (Glen Or Glenda, Plan 9
) as Inspector Johns, and a surprise early appearance by bodybuilder and future Hercules star Steve Reeves as his Lieutenant.
Yet, the fact that Ed Wood was a one of a kind auteur and his vision comes shining through makes the film totally enjoyable -- at least for any movie fan.I think the film is really good for film-making 101 classes.
Many times, if I'm watching an Ed Wood movie and something inexplicable comes across the screen, I can usually take a deep breath and say to myself, "Well, at least I can see what he's *trying* to say." But when I was bludgeoned with an old Vaudvillian sketch in the middle of "Jail Bait" for seemingly no reason, I was speechless.
Finally, I had seen something in and Ed Wood movie that I couldn't explain.This scene is probably a good reason this film never ended up on MST3K.
'Jail Bait' has much more coherent story line and consistent script than we are used from Ed Wood movie.
Thanks to tight writing 'Jail Bait' is more serious in tone and offers less unintentional comedy and as that it just stays a badly made film-noir, but stands as 'best' film directed by infamous Ed Wood.The film's score with its pseudo flamenco guitar and obnoxious piano pounding takes off lot of tension from several scenes and adds some weird atmosphere to the movie.
The mood of otherworldly is enhanced by that, that all the action takes place at night time and we see California without sunshine - dark and murky place instead of bright scenery we are used to.'Jail Bait' has its charm and it is entertaining to watch wooden actors sleepwalking through bad dialogue and unbelievable procedures (plastic surgery done on the living room sofa without almost no medical equipment).
I had heard of Ed Wood from people in the past so I never looked for any of his movies.If people talk about him, he must suck.Boy was I ever right.I didn't search for this movie and didn't know it was a Wood movie until the opening credits.This movie takes place in a world where everyone has thirty foot high ceilings and a liquor stand/bar type thing.Everyone wears a suit, even when they are out committing crimes.They even put their tie back on before they leave jail when they get bailed out.The main character is a guy named Don Gregor and that's funny to me because I know a girl named Dawn Gregor.The only good thing in the movie happens rather early.We are treated to a great performance by a man in blackface.It has absolutely nothing to do with the story either.None of the characters where there watching him.It was blackface just for the fun of it.So Don's dad is a plastic surgeon who carries a house call bag with him.Because that makes sense.Anyway, Don and a friend decide to rob a theater late at night and of course the door is unlocked.His friend says the guard will know the combination to the safe.The only guard in the history of the world who would have the safe combination.And the guard does know it.Don kills the guard and you immediately hear police sirens.Then they get chased by the cops at a blistering twenty miles an hour and have no trouble eluding them.Even though no one saw who shot the guard, the radio news announces that Don did it.So Don goes to his dad's office in the middle of the night and dad and his secretary are there!Then the cops show up and they know everything.It was literally dark through the entire movie and everyone in the world was wide awake.Did I mention that there was lame flamenco guitar and piano in the background through the entire movie?As if that wasn't bad enough, the ending was even worse.And why does the DVD cover have a man with a bandaged face in a jail cell?That never even happened.Never see this..
The police detective asks the woman who works at the theater two or three times, is she SURE she saw Don Gregor actually shoot the night watchman, and she insists yes, she did.
Brady is played by dependable D-grade movie sleaze, and frequent Woodworker, Tim Farrell.If you are familiar with Ed's oeuvre or simply like bad films, Jail Bait is great.
The acting is what you would expect from an Ed Wood movie, the music is stock (and terrible and repetitive), and the direction is poor, however it's the plot of this movie that sets it apart from his other films.
This bad dude subsequently forces the dead guy's father – a plastic surgeon – into giving him a new face, and hence different identity.Many of the cast from Wood's earlier Glen or Glenda return here.
When Dolores Fuller and Theodora Thurman engage in a conversation towards the end of the film it's a bad acting master class; at moments like this Wood's movies create their own hyper-reality of the absurd, where almost anything ridiculous seems possible.
It's hilariously omnipresent.Jail Bait is full of the kind of things that make Ed Wood movies fun.
I have to admit I saw the end coming but even still, I thought it was pretty good plotting except for the fact that the surgeon would have tipped off the cops that his son was being held, rather than waiting two weeks.
Jail Bait while having a lot of continuity errors is also one of Wood's better-looking movies, the camera work is not as static and the sets not as wobbly.
The adult son of a respected plastic surgeon falls into a life of crime and winds up killing a former cop while pulling off a payroll heist with his mentor, small time hood Vic Brady (Timothy Farrell).
The picture even takes it's name from a line from Don Gregor's sister Marilyn (Dolores Fuller), admonishing her brother about his association with Brady - "You know that gun is jail bait!"On top of that, did you ever expect to see the future Hercules in this flick?
The hit-or-miss acting is likewise a lot of fun: Lyle Talbot does well as no-nonsense Inspector Johns, lovely blonde Dolores Fuller ain't half bad as Don's concerned girlfriend Marilyn Cooper, and legendary muscleman Steve Reeves in his less-than-sterling film debut as Johns' hopelessly stolid partner Lt. Bob Lawrence gives a performance that's so incredibly stiff and wooden you could use it as an ironing board (Steve even goes shirtless once to show off his admittedly impressive six-pack for no real credible reason as well!).
Lyle Talbot plays Inspector Johns and Steve Reeves as Lt. Bob Lawrence close in on a young man(Clancy Malone), the son of a prominent plastic surgeon(Herbert Rawlinson), who after hanging with a small time criminal(Timothy Farrell)is wanted for murder.
The cast includes Steve "Hercules" Reeves and Wood mainstays Lyle Talbot, Dolores Fuller, and Timothy Farrell.
Factor in the repetitive, mariachi-styled film score, and I knew I was in for one Edwoodian good time!Career criminal Vic Brady (Farrell) draws young Don Gregor into a life of crime.
Dolores Fuller plays Marilyn, whose brother Don, is involved with "big time" gangster Vic Brady (Timothy Farrell).
He had been in films from the earliest times and unfortunately died soon after the film was made.Surrounded by hacks and amateurs Lyle Talbot (as a police chief) comes across as an award winning actor.Herbert Rawlinson, being Dr. Gregor, the world famous plastic surgeon - it is a piece of cake to perform "major and dangerous" plastic surgery on a living room couch using a bowl of hot water and not much else.The ending has to be seen to be believed.
The next movie in my Ed Wood box that I did not see was Jail Bait, one of the smaller treasures and not so well known films of his since he was more known for bad movies which is sad.
Jail Bait, I wasn't sure what to expect, but honestly I was wondering if it was about underage sexual acts since I know Ed Wood ended up directing porn, I didn't know if he had a thing with weird sexual stuff.
Ed Wood proves that he was meant for film with this piece.Don Gregor, the son of a plastic surgeon, is jailed by the police for carrying an unlicensed handgun.
See, most of Ed Wood films I'm expecting something really bad, but Jail Bait took me by surprise with the writing and actors.
However, Jail Bait is a small treasure that I would recommend for anyone who loves film, given the proper chance, this is a good movie.6/10.
"Jail Bait" is another El Stinko Ed Wood movie, probably only good viewing for those cold snowy nights with nothing to do.
It's then that Brady comes up with this ingenious plan to have Don's father rearrange his mug, or face, where no one at the scene of the robbery and cop shooting at the Monterey Theater could possibly identify him!With Don's body now deep sixth at the bottom of the lake and nobody knowing that he's dead Brady and his loyal, despite his constantly abusing her, gun moll Loretta, Theodora Thurman, trick Dr. Gregor together with his daughter Marilyn (Dolores Fulle), who also happens to be his nurse, to operate on him if he ever want's to see his son, and Marilyn's brother, alive again!***SPOILERS*** Even though the film "Jail Bait" was pretty interesting up to the point of Brady's operation the out of the blue ending was the cherry on top of the birthday cake.
"Jail Bait" also happened to be Rawlinson last movie appearance in him suddenly passing away on July 12, 1953 the very day that he completed his scenes in the film! |
tt0099052 | Arachnophobia | A photographer named Jerry Manley arrives in Venezuela, to be part of an expedition party, led by Doctor James Atherton (Julian Sands). Proceeding deep into the jungles, Jerry is instructed to take photographs of the animals and environments.Eventually, in a deep part of the jungle, the group come across a series of strange webs, and several unknown spiders. One that appears to be dead, shocks Jerry when it leaps onto his camera. Atherton chastises Jerry for killing it, but they still have some other specimens of the new species to take back. Unseen by the men, a larger spider that is the alpha male, hides on their gear.Back near their base camp, Atherton examines the specimens, noting that they seem to be 'drones,' as no sexual organs can be found on these, leading him to believe the spiders they've found are part of a 'hive,' with a leader.During this time, Jerry goes to rest, still suffering from a cold he had before he arrived. During his rest, the alpha male ends up biting him, causing Jerry to die.When Atherton and his men find out, they assume he must have succumbed to his cold, and a crude wooden casket is constructed to send Jerry back to his home in Canaima, CA. Unseen by the men, the alpha male stows away in the box.Once the box arrives in Canaima, the coroners find Jerry's body appears to have shriveled up, figuring this is a result of how he was sent back to the States. As the coroner calls Jerry's family, the alpha male sneaks outside, where it is quickly picked up by a crow. However, after some time, the spider bites the crow, its venom causing it to plummet near a country house with a nearby barn.The house just happens to be the new home of transposed San Franciscan residents, the Jennings. While moving things into the home, Ross Jennings (Jeff Daniels) is asked by his son Tommy to kill a spider. Ross' arachnophobia keeps him from doing this, and his wife Molly ends up carrying off the spider. At their daughter Shelley's insistence, they take it to the barn...where it promptly meets and mates with the Venezuelan alpha.Ross has moved his family from San Francisco, when it was announced that the town's physician Sam Metcalf (Henry Jones) was planning to retire. However, Ross' plans come to a screeching halt when Sam tells Ross he has reconsidered. Without a secondary job to fall back on, Ross gets some consolation when his nearby neighbor Margaret Collins (Mary Carver) welcomes him, and requests he examine her. After finding her in good health, Ross has her stop taking blood pressure medication that Metcalf prescribed her claiming they are unnecessary.Meanwhile, trying to find something to do, Molly wanders around looking for things to take pictures of with her camera. Her search leads her to the barn, where she finds a number of elaborate webs! She attempts to show them to Ross, who has to fight his phobia just to take a look.Some time afterward, Margaret hosts a party for the Jennings, and a number of the townspeople get to meet them. Ross is also introduced to a number of the townspeople here. The party does get a little off-kilter when Henrietta Manley (Lois De Banzie) has too much to drink, wailing about her son who passed away a few months prior.The next day, Molly calls Margaret to thank her for the party, but gets no answer. Since she lives next door, Ross goes over to check on her, only to find her collapsed on the floor. Dr Metcalf proposes that it was a heart attack, but Ross suspects it could be something else, given that the body was contorted as if she were in a seizure. When Ross also argues with Metcalf about taking Margaret off the medication he prescribed her, Metcalf accuses Ross that he very well could have been the cause of Margaret's death. Ross wishes to perform an an autopsy, but is denied by Metcalf here too.In the wake of Margaret's death, Ross is unsure what to do, when he is asked by the local school's coach to perform physicals on the school football team. After this, Ross watches the team practice for a game, when one of the students suddenly goes down. Unseen by the others, a spider had crawled into his helmet, and quickly scurried away when one of the teammates removed it from the non-moving player.This incident soon causes Ross to gain the unfriendly moniker of "Dr Death" by several of the townspeople.Ross attempts to focus on other things, and tries to finish a wine cellar in the basement, only to come across some bad wood. Suspecting termites, they call an exterminator named Delbert McClintock (John Goodman). After looking over the basement, he confirms that it's just the fact that they have "bad wood" in their house, and that they should replace it.Dr Metcalf is still of the persuasion that Ross is trouble, but is injured when a spider crawls into his slipper, and bites his toe! In his final moments, Metcalf has his wife call Ross, but the old man dies before Ross can get to him. It is thought that since Metcalf was exercising moments before his death, that the workout caused him to over-exert himself, but Ross and the coroner note a bite mark on Metcalf's big toe, along with his wife telling that her husband claimed he had been bitten by a spider. Ross then requests the coroner run a toxicology report on Metcalf, to properly determine cause of death.Ross soon after takes on the role of town physician. The coroner soon after calls with the results of Metcalf's findings, noting a small amount of an unidentified poison was found in his bloodstream. Ross then requests that the football player and Margaret's bodies be exhumed to be checked as well, and the coroner complies.Returning home, Ross finds his daughter going to spend the evening at a friend's home. However, Ross warns the girls to run if they see any spiders, prompting them to giggle at his "silliness."Later that evening at the Briggs' place (where Ross' daughter is staying), the eldest daughter encounters a spider in the shower, and the father is almost bitten by one. They then after call Delbert out to check the home, but he finds nothing inside. Out on the porch, he sees a spider, and attempts to spray it with one of his special chemical treatments, but it still keeps moving. Finally, Delbert just steps on it.Meanwhile, given that Ross suspects spiders to be the culprit behind these deaths, he searches for an authority on them, and finds Dr Atherton. Though hoping Atherton will come himself to help, the Doctor claims he's too busy, and sends an assistant named Chris Collins (Brian McNamara) in his place. Chris examines the exhumed corpses, and on each one, a small bite mark is found!Eventually, Chris finds the situation dire enough to call in Atherton, who arrives just as the men have found a live specimen. Much like the spiders have no sexual organs, but do have several poison pouches on it. Testing it on a lab mouse, it dies in a matter of seconds, from a small dosage!As they discuss further what could be causing this, it soon comes to Atherton's attention, of the death of Jerry Manley. It is soon surmised that one of the spiders from Venezuela has mated with the local spiders, and has started its own colony in the town. However, unlike the confined area in Venezuela where those spiders were, the open area of the town presents no borders to keep them restrained.They then attempt to get ahold of the coroner, but find his phone off the hook. Going to his house, they find that he and his wife have died due to spiderbites (one had found its way into their bowl of popcorn and attacked them!).After the incident, the search is on to locate the nest. Using a map, the group finds out that the attacks have happened in a radiating pattern...with Ross' house right in the center!Atherton also notes strange webbing photos in Ross' office, and has the Sheriff take him to the family's barn. In the barn, he finds the webs, along with a number of dead animals. Atherton attempts to lure out and capture the alpha male, but instead, it lunges out and kills him!Ross and the others have gone to his house, where they attempt to get the others out. Sending Delbert to the barn, Ross and Chris go into his house, only to find a number of spiders coming out of the woodwork, to attack them! The family manages to get out, all except Ross, who ends up plummeting over the stairs, and through the rotted wood of the first floor, into the cellar.It is here, that he finds the nest, with its egg sac. The queen attempts to kill Ross, but he ends up flinging it into the electrical box, where it dies. However, the alpha has appeared, and attempts to kill Ross. The spider even survives being burned, and takes a flying leap at Ross, who impales it with a shot from a nail gun, sending the flaming spider into the nest, destroying it and its offspring.Ross manages to get out of the house, and with the alpha now destroyed,it's implied the other spiders will die out.In the end, we see Ross and his family having returned to San Francisco, and willing to return to the rat race of humanity, where they are sure nothing as crazy as their country adventure will happen.....that is, until a few earthquake tremors rattle their apartment. | horror, cult, suspenseful, action, comedy | train | imdb | null |
tt0059250 | The Hallelujah Trail | The film opens with a narrator using a documentary style description of the events of November 1867. He tells us there were all indications that it will be a hard winter and citizens of Denver are concerned about the lack of whiskey in town. A bad winter might close the mountain passes leaving the city dry until late spring. A group of miners and saloon owners consult scout 'Oracle' Jones (Donald Pleasence) about what to do. Fortified with some whiskey he has a vision of them pooling all their liquor needs into one big order and getting a reliable company to agree to an iron clad contact to get the alcohol to Denver before snow closes the trails.Back east, businessman Frank Wallingham (Brian Keith) storms into the local newspaper office to confront Editor Hobbes (Whit Bissell). The newspaper has printed the story that Wallingham will be shipping 40 wagons of liquor to Denver and Wallingham is concerned that the publicity will attract Indians, or even worse, government tax revenue agents. He tells the editor that as he has every penny he has tied up in the train and he intends to accompany it personally to Denver and ask for an army escort from Fort Russell to protect him along the trail. The editor, annoyed at Wallingham, decides to send a telegram about the wagon train to the well-known, temperance leader Cora Templeton Massingale (Lee Remick), who is currently visiting Fort Russell.Despite the editors observation to Wallingham that "Indians don't read newspapers" word of the wagon train quickly spreads to the Native Americans in the area. One tribe, lead by Chief Five Barrels (Robert J. Wilke) and sub-Chief Walks-Stooped-Over (Martin Landau) decides to investigate.At Fort Russell commander Col. Thaddeus Gearhart (Burt Lancaster) has been out on the trail for a few days and Capt. Paul Slater (Jim Hutton) his second-in-command, has been left in charge. Slater is courting Gearhart's daughter, Louise (Pamela Tiffin), and allows her to convince him to let Massingale hold an anti-alcohol rally at the Fort. Massingale is a good speaker and gets the crowd marching around the Fort and singing with the assistance of the army band. Some of the other troops get involved by punctuating the music with cannon fire.Gearhart, returning to the Fort, hears the shouting, bugles and cannon fire and assumes the Fort is under attack and arrives in full assault mode. When he finds it is just Massingale and her followers, he is peeved and orders Slater to report to him at his quarters. He is even more peeved when he finds Slater and his daughter are already alone in his quarters making out. Louise admits to her father that she was purposely distracting Slater so that he would not shut down the rally.Gearhart finally gets to settle down to a bath when Massingale storms into his quarters after getting the telegram about the Wallingham wagon train. Gearhart is clearly irked about having this 30ish, good-looking female invade his domain, but she tells him that to a woman that has already been windowed twice, seeing a man in a bath is no big deal. She demands that Gearhart deny the request for escort. Gearhart replies that Wallingham is a "taxpayer and a good Republican" and he cannot refuse his request for help. The next day Slater is sent with a company of troops to intercept the wagon train and give it escort.In Denver the miners become concerned about reports that the Indians may attack the wagon train and consult Jones again. He has a vision of a Miner's Militia that goes out to escort the train back and they set out along the trail.The wagon train is having some trouble too as Wallingham has hired Irish teamsters to drive the last 10 of his wagons and their leader, Kevin O'Flaherty (Tom Stern), is constantly hitting him with labor demands and threats to go out on strike.Persuaded by his daughter, Gearhart agrees to let Massingale use the mess hall for a goodbye speech. There Massingale declares that she intends to go to Denver to stop the train. Louise declares that she will go with her and the rest of the women at the rally decide to go too.Gearhart decides he had no choice but to escort the women to Denver, if for no other reason than to get rid of Massingale. Problems develop the first night on the trail when the women, having brought bath tubs with them, decide to bath in the nude and his troops climb the nearby trees hoping to catch a glimpse. Gearhart, annoyed by this development, storms over to Massingale and catches her in mid-bath (much as she did with him several days before). He is even more annoyed when she tells him her plans have changed and she has decided to meet the wagon train on the trail, and not in Denver. He tells her he will not escort her to the wagon train as he fears the women may try and stop it by throwing their bodies in front of the wagons.Gearhart realizes that he cannot let the women go without any protection, however, so he develops a strategy of "detached contact" where his company secretly follows the women at a distance.All this activity comes to a head one morning at what the narrator tells us is the "Battle of Whiskey Hills." The Indians decide to break into three groups, attack the wagon train, draw off the guard and steal several wagons. That same morning, however, the wagon train traveling west escorted by Slater's patrol will run into the Miner's Militia, heading North; the Massingale group, headed South-East; and Gearhart's company, also headed South-East. The Indians will attack from the North.Unfortunately, to make things worse, the morning of the attack is subject to a horrific, blinding sand storm and total confusion reigns. The Indians cannot see the sunrise, and cannot coordinate their attacks. Groups race by each other in the storm, perplexed by not finding who they are expecting to see. Bullets fly everywhere and finally each group, including the Indians, hunker down in a circle while they fire at each other blindly.When the storm clears Gearhart is amazed to find that despite the rampant gunfire, nobody has been killed. He holds a conference with all parties. While the motives of most are clear, the Indians state (through a translator) that they were peacefully hunting buffalo when they were drawn into the incident. They state that after they are given presents, they will go home. Unfortunately this is mistranslated and Gearhart thinks the Indians are offering him a gift. He tells them thank you, but no thanks, and sends them on their way.The Indians, however, keep following the group which is now composed of both units of the cavalry, the whiskey train, the womans group and the miners militia. Gearhart calls another meeting where he gets Jones to translate and realizes that the Indians are the ones who want presents, most likely some firewater. Gearhart tells them to go home, but they keep following.As they near a swampy area known as "Quicksand Bottoms," Jones has a vision and directs Wallingham to camp the train next to the marsh for the night. At the same time the Irish teamsters, encouraged by Massingale, go on strike removing 10 wagons from the train. Willingham wants to take the wagons back by force, but Gearhart sees this as a labor dispute and threatens to use his troops to keep the peace.That night about 30 of the women go to a camp meeting with the Indians and get them to sign temperance pledges (though there is some doubt that the Indians know what they are signing). In the middle of the meeting the Indians take the women hostage and tell Gearhart they will not release them unless they get 20 of the Wallingham wagons. This is eventually bargained down to 10, the exact number held by the Irish Teamsters and Gearhart decides to make the exchange to save the womens lives.As it is illegal to give firewater to Indians, this will ruin Gearhart's career. Massingale comes to Gearhart's tent distraught about her part in this and asking his forgiveness. She breaks her own rule, drinks a few shots of whiskey and she and Gearhart have a tender moment.Wallingham is upset by these events but Jones comes to him with a way out. Jones knows a secret way across quicksand bottoms that can be used by the train to escape the rest of the group. During the night he has marked the path with sticks flagged with red strips from his underwear. While the 10 wagons are being exchanged with the Indians, the rest of the wagon train will slip away, pull up the flags as they go, and be in Denver before anybody knows what happened.The exchange is arranged for dawn the next day. The Indians will release three women for every wagon they get. At the last minute O'Flaherty confides in Massingale that the bottles in the 10 wagons aren't whiskey, but warm, volatile champagne that is likely to explode if treated roughly. This gives her an idea. As she is assigned a position at the exchange point, she can use a hatpin to prick the horses rear ends as soon as the Indian drivers climb onto the wagons. This sets the creatures into a gallop causing the wagons to shake and bounce uncontrollably on the rough ground. After the first few wagons are exchanged the remaining horses are so excited they stampede and the wagons head out with no drivers.The remaining Indians leave the rest of the women hostages behind and jump on their horses to pursue the wagons. The troops go after the Indians and mistake the sound of champagne bottles exploding for gunfire and surround the Indians and the wagons. The Indians, drunk and tired of the whole thing, surrender and decide to go peacefully home with just a few of the bottles of booze not destroyed in the chase.Meanwhile Wallingham and Jones try to slip away with the rest of the wagon train, but in the early hours of the morning Massingale and the women discovered the flags. Suspecting this was some scheme of Jones, they move the markers. This results in the wagons becoming hopelessly mired in the quicksand. Though the drivers and horses escape, the wagons themselves sink out of sight and Wallingham is forced into bankruptcy.With the whiskey gone, the women are escorted back to Fort Russell where, in a double wedding, Slater marries Louise and Gearhart marries Massingale, who has decided to retire from the temperance movement.Jones and Wallingham stake a homestead claim in Quicksand Bottoms where the occasional return to the surface of the bog of barrels of whiskey keeps them happy for a number of years.The miners return to Denver, where, despite all predations to the contrary, the winter turns out to be one of the mildest ones ever on record. | violence, comedy | train | imdb | Everyone seems to be enjoying themselves sending up every possible western myth!The stunning look of the film, which must have been breathtaking in UltraPanavision 70mm, the beautiful rousing score a cast of thousands and a script that is truly awful!All these elements just don't come together but the individual scenes often do.I am lucky enough to own the original 1960s sountrack album and theater progam.
But somehow despite the concoction not quite coming off I just find myself giggling all the way through.Whether it is Burt Lancaster being gruff, or the achingly beautiful Lee Reemick being difficult or Martin Landau being not quite as silly as he looks this film remains one in my guilty pleasure collection!.
Amusing take off on cavalry-and Indian movies in which a rambunctious temperance leader called Template (Lee Remick) out to stop cavalry-guarded cargo commanded by a stiff colonel called Thaddeus (Burt Lancaster) and an officer named Slater (Jim Hutton) en route to thirsting Denver miners led by Oraculo (Donald Pleasence) and an old man (Dub Taylor) .
As a wagon train heads for Denver with a cargo of whiskey for the miners being attacked by Indians led by Chief Walks-Stooped-Over (Martin Landau) , then chaos and wreak havoc ensue .
The picture is wonderfully amused and enjoyable with Burt Lancaster as a tough but agreeable officer , Pamela Tiffin as his rebel young daughter and Martin Landau steals the show as a deadpan but hilarious Indian .
The gem of casting was Donald Pleasence as the hilarious visionary who "sees" the alcoholic wagon train as it crosses the plains, giving the movie its name..
Fortunately entrepreneur Frank Wallingham (Brian Keith) is willing to risk life and limb to bring forty wagons of hooch through Indian country to succor the miners.Meanwhile, back at your local, friendly cavalry garrison, Cora Templeton Massingale (Lee Remick), twice widowed from husbands whose livers gave out along with, presumably, their libido is holding a rousing temperance rally with the permission of CPT Paul Slater, a young officer besotted with the C.O.'s daughter, Louise (Pamela Tiffin).
That's COL Thaddeus Gearhart (Burt Lancaster), nineteen years serving the colors and now faced with a sweet but rebellious daughter allied with a sweet but crafty and dedicated temperance campaigner, Colorado's version of Carrie Nation (and far more likable than that harridan).What follows is the cavalry riding to escort the wagons with the booze, Indians of a decidedly non-homicidal nature attempting to get their share of firewater (all of it, actually), miners formed into a militia to insure the safe delivery of the spirits and - last but not least - a stereotypical Irish teamster arguing for the rights of labor.
What is on the screen is magnificent scenery and a fine score by Elmer Bernstein with the title tune guaranteed to bury itself in your brain for frequent and uncalled for replays.Burt Lancaster is very funny as a colonel trying to deal with his command, whose enlisted personnel seem to be temperance-prone (talk about distortion of the reality of frontier Army service!), his daughter, Indians, miners and the alluring, funny Lee Remick.About 15-20 minutes could have been shaved from the movie but, overall, it's a politically very incorrect funny story about a West that never existed.The DVD transfer is excellent but the magnificent scenery reflects how great it would be to see "The Hallelujah Trail" again on a big, big screen.7/10.
Ironically enough in post Civil War America that's about all it took.Poor Burt Lancaster in one of his few ventures into comedy, as commander of a frontier army post, he's expected to provide good order between the conflicting demands of drunken townsman, Republican businessmen, temperance women, and a tribe of Indians looking to get their hands on white man's firewater.Lancaster overacts outrageously, sort of a Sergeant Warden now an officer and hating every minute of it.
He's good, but I think Robert Mitchum would have been a natural fit for the lead.Lee Remick is leader of the temperance workers and in our time they can certainly be made an object of fun.
The roots of the temperance movement are very real.But this is a comedy and Lee Remick as a liberated woman of her time is expanding a bit on the part she played in Wheeler Dealers.
Lots of similarity between this role as Cora Massingale and her part in Wheeler Dealers as Molly Thatcher, a pioneer woman stockbroker.The rest of the cast is fine, I would single out Brian Keith as the choleric taxpayer and good Republican and Donald Pleasance the psychic and alcoholic scout.
I especially liked old Brian Keith as the entrepreneur declaring himself to be a "Republican," and Robert Wilke, another great character actor as Chief Five Barrels.
Other than that, don't watch this if you don't like satire, romance, and screwball westerns meant to bring women as well as men into the theater or, in modern times, to the TV screen.
From the era of "epic" comedies like The Great Race and It's a Mad, Mad, Mad, Mad World, The Hallelujah Trail was the entry in the western category.
Lots of funny stuff, but just too long to sustain the hilarity.A favorite bit concerns temperance leader Lee Remick unsuccessfully trying to convince cavalry officer Burt Lancaster of the rightness of her cause:LEE: Three of the women in my movement have lost their husbands to alcohol.
The plot may seem to plod along or to some may not even appear to exist, but one needs to look at the different groups involved, (miners, temperance marchers, indians, teamsters, etc), to see that they all tie together in a good comedy.
"The Hallelujah Trail" was therefore presumably an attempt to broaden his range by branching out into comedy.The film is a spoof version of the sort of large-scale epic Western that was very popular at the time.
Lancaster plays Colonel Gearhart, a US cavalry officer who has the duty of trying to ensure the safety of a consignment of whisky bound for the miners of Denver, a consignment threatened not only by marauding Indians but also by a militant group of female temperance campaigners.
The film copies the look and feel of big epic Westerns such as "How the West Was Won" with their sweeping photography of the Western landscapes, thundering musical scores and portentous voice-over commentary (here deliberately exaggerated for comic effect).There were a number of humorous Westerns in the sixties and seventies, of which Mel Brooks's "Blazing Saddles" is perhaps the best-known.
Donald Pleasance helps add real comic value with his inebriated clairvoyance, and some of the drunken sequences bring a smile to the viewer (the triple and quadruple exposure effect being effective), but it's not guffaw-funny.The comedic plot, especially for a western, teeters beyond being ridiculous.
But it's an old friend, and thus I added the DVD to my collection.If you really must see a comedic western, then do yourself a favor and buy or rent one of James Garner's excellent "Support your local Gunfighter" or "Support your local Sheriff" films.The "Hallelujah Trail" will probably leave you a little wanting in the end, but, strangely enough, satisfied in an uneven way.Watch at your own risk..
This film is a Western about the town of Denver running out of liquor and all the many conflicts that result from their bringing a wagon train to alleviate this need.
Temprance movement ladies want the wagons turned back, Indians want to steal the booze and the Irish drivers of the wagons want to go on strike.The biggest reason I decided to watch this movie was because it starred Burt Lancaster.
The problems, though, were that the actors weren't particularly adept at comedy (I love Lancaster, but "funny" isn't a word I'd use for his films) and that the script seemed rather smug and pleased with how witty it thought it was!
the best movies (to me of course) were made in the sixties...the best of these were the westerns and this one among the best of them...this movie seems like one of those lingering titles associated with musicals of that era but it endears as a comedy of views that continue today...burt lancaster was great in his apparent only comedic role...well if you don't count elmer gantry.....his regimented demeanor launches the laughs from the rest of the cast....filled with classic character actors like dub taylor and others...donald pleasance stood out as well....robert wilke was great as chief five barrels....with a name like that you know what you are in for...so don't expect avant grade...anyone who doesn't like this movie is probably boring and would rather watch reality TV.....
The Hallelujah Trail is a spoof of the type of epic Western epitomized by such movies as Cimarron (1960) and How the West Was Won (1962).The miners, headquartered in Denver, are threatened by thirst.
a very funny movie from the early 60s, but one which is extremely tame by the standards of the last 30 years or so.Among westerns, "The Hallelujah Trail" is another such example.
This after an epic battle scene involving cavalry, miners, a booze "wagon train", an Indian tribe, and a group of lady prohibition crusaders.The narration of the film adds a special touch.
Its unusual but also quite funny.There is also a very talented cast in this movie, led by Burt Lancaster, and so for that reason alone it's not surprise that the film is solid and entertaining.Is it a blockbuster caliber film?
With the likes of Burt Lancaster, Brian Keith and John Sturges involved it's difficult to imagine how it could have missed.
It stars Burt Lancaster, Lee Remick, Jim Hutton, Pamela Tiffin, Brian Keith, John Anderson, Martin Landau and Donald Pleasence.
Add in that lead man Lancaster looks bored - working at a time that he called his slavery period - then it felt doomed at an early stage.Its failure has been contributed to a number of things, such as timing (comedy Western, and an epic one at that, too early?
Some of the comedy works, when the cast get chance to come alive, and even though some aspects no doubt give the PC brigade kittens, the likes of Martin Landau as an Indian called Chief Walks-Stooped-Over are a joy.
It's a truly classic Western parody, with hilarious dialogue, sharp satire, marvelous gags, an endless string of ridiculous supporting characters, and perfectly antagonistic performances and timing from Lancaster and Remick.
It has a solid cast but the direction has them playing stereotype roles (stern commander, intolerant temperance leader, greedy business man, etc so nothing really great -- just good.The movie does runs too long in the second half during the encampment phase (all participants in the same area) after the sandstorm and would have benefited for a shorter run time.
Burt Lancaster, Lee Remick, Brian Keith, Donald Pleasence, John Anderson, Pamela Tiffin, Dub Taylor, Jim Hutton, Martin Landau, Robert J.
I must also comment an the rare performance by Donald Pleasence as "Oracle Jones", this was a rather unusual but rather well played role by Pleasence, with his hilariously whiskey soaked visions and high spirits have all the makings of a great comic relief of sorts.
A big-budget western comedy, directed by John Sturges and written by John Gay from a novel by William Gulick, "The Hallelujah Trail" may have had lofty ambitions en route to the big screen, bu the results sank in the film's quicksand.
Martin Landau also appears in an embarrassing performance as an Indian called Chief Walks Stooped Over, which indicates the writers' level of humor.Brian Keith leads a train of 40 wagons carrying whiskey to the thirsty patrons of the nearly dry saloons in Denver.
Lancaster as Colonel Thaddeus Gearhart is ordered to accompany the wagon train with a cavalry escort, and he sends a squad of troops led by Jim Hutton to ensure that the whiskey arrives safely.
At times, the movie plays like a musical, but, besides a rousing title tune and a few inspirational temperance marches, there are songs, although Elmer Bernstein's score is among the film's few assets.
At times, the humor is labored; drunken Indians have ceased to be funny; and the performances are overly broad; the actors mug shamelessly; and performances are on par with those in a TV situation comedy like "F Troop." Lancaster, Remick, Keith, and Landau have all done far better work and best omit this turkey from their resumes.
While Hallelujah Trail is a little long, it works if you enjoy spending a couple of hours with Burt Lancaster, Lee Remick, Brian Keith, Martin Landau, and Donald Pleasance dressing up in their Western outfits modes and having a good old time with some eye-popping stunts, hilariously pompous speeches, and cutting one-liners.
HT isn't as funny as Support Your Local Sheriff, a small scale, sharply done spoof on the same genre, but much funnier than John Wayne and Maureen O'Hara in McClintock or any the dubious comedy westerns Dean Martin and Frank Sinatra put out at the same time.The Indians in this film, unfortunately, are the drunken, amoral layabouts, played by white actors, similar to the Indians in F-Troop.
The closest that Sturges had come to making a comedy was the Frank Sinatra & Dean Martin western "Sergeants Three," but "The Hallelujah Trail" was far from anything that "The Magnificent Seven" helmer had ever undertaken.
Burt Lancaster, who starred in Sturges' first big western "Gunfight at the O.K. Corral,"owed United Artists a picture and took top billing as Colonel Thaddeus Gearhart.
This sprawling western brings together all these parties for an incredible finale in a swamp.John Gay's complex screenplay based on William Gulick's lightweight western novel concerns the efforts of desperate Denver merchants inspired by 'Oracle' Jones (Donald Pleasance of "The Great Escape") to get a wagon train of liquor to them before they exhaust their supplies for the winter.
Sadly many of the actors are no longer with us, Donald Pleasance, Burt Lancaster and Lee Remick to name a few but they all appeared to be having a blast in this film.
Mix in ladies of the temperance movement, a tribe of native Americans looking for some fire water, the US Cavalry charged with escorting the women and whiskey to Denver as well as a local profiteer, played by Brian Keith and finally a town militia and you have the recipe for comedy.
The DVD I purchased is an excellent release of this film complete with 5.1 surround sound and Elmer Bernstein's excellent musical score including entrance music, intermission and exit music and you have a fun filled viewing of a classic comedy western..
The wagon train heads out, under the direction of company owner Frank Wallingham (Brian Keith), regarded as a "a taxpayer and a good Republican." This cargo then becomes the target for several diverse groups, each with their own leaders and plans.
Paul Slater (Jim Hutton) of the United States Cavalry is assigned by Fort Russell commander Col. Thaddeus Gearhart (Burt Lancaster) to escort the Wallingham Wagon Train, and merely wishes to carry out his orders.
Crusading temperance leader Cora Templeton Massingale (Lee Remick) and her followers, informed of the alcoholic cargo, wish to intercept the train and destroy its contents; the group is escorted by a second cavalry division under the command of a reluctant Col. Gearhart.
Inevitably, the various groups converge, and the ensuing property struggle is played out through a series of comic set pieces and several diplomatic overtures by an increasingly weary Gearhart.Overlong but very funny at times, with Lancaster as the frustrated straight man who just wants to get on with the proceedings and the lovely Lee Remick as the liberated woman who wins his heart..
Jim Hutton, Donald Pleasance, Brian Keith, Dub Taylor, and Martin Landau all have great comic credentials, and Burt Lancaster, Lee Remick, and John Anderson have also done serviceable comic bits in their long, illustrious careers.
What emerges is perhaps the 'biggest-feeling' western comedy ever made, one that is even better seen in a large theater, where the pace allows time for the viewers' laughs that, by my personal experience, were sure to come.
The acting by Burt Lancaster as the Colonel, Lee Remick as Cora, Jim Hutton and Pamela Tiffin as the young lovers and Martin Landau as Walks Stoops Over is very good indeed.
Others in the cast who shone included Brian Keith as Frank Wallingham, Donald Pleasence who is Award caliber as Oracle Jones, Whit Bissell as Editor Hobbs , Helen Kleeb as a temperance group officer, John Anderson as the Colonel's second, Robert J.
Consulting an old Indian guide named Oracle (Donald Pleasance) they place an order immediately.That order is being shipped to them by one Frank Wallingham (Brian Keith) who reminds all he comes in contact with that he is a "taxpayer and a good Republican" (which while perhaps funny is repeated far too often).
Paul Slater (Jim Hutton) allowed to happen at the coercion of his daughter Louise (Pamela Tiffin) he's in love with doesn't help matters.Word then reaches the fort that they are to escort the whiskey wagon train and insure that it arrives in Denver unharmed.
There is little doubt that all concerned parties will cross paths in the dust filled desert while the wagon train makes its way to Denver.Made in 1965 the film was released in a large screen Cinerama version that toured the country as well as an Ultra 70 Panavision version that played wide.
When watching this film my thoughts were that perhaps it's not a question of the film not being up to the standards of those viewers but of Olive Films having the availability to offer anything better than what we see here.As I said if you're a fan or Lancaster, Remick, Hutton or director John Sturges (who directed such classics as BAD DAY AT BLACK ROCK, GUNFIGHT AT THE O.K. CORRAL, THE MAGNIFICENT SEVEN and THE GREAT ESCAPE) then you'll want this film in your collection. |
tt0054387 | The Time Machine | The movie opens with a man walking down the street having just left a building in late-Victorian era London. It's wintertime, and the man pulls his coat around himself and hurries across the street. He knocks on the door of a house there, and a woman in late middle age lets him in. There he joins three other men who are sitting around the fire. The man's name is David Filby, and he and the three other men have been invited to dinner by George, who owns the house. He asked them to come over at 8:00 p.m., and it's just now 8, but George himself has yet to arrive. The date is January 5, 1900. The men are clearly unhappy about being kept waiting. A moment after 8, the woman, whose name is Mrs. Watchett, George's maid, enters the room and passes Filby a note. She tells them that George has been missing for several days. The note says that George thought he might be late, and if he was, then she should serve dinner and they could start without him.They enter the dining room and sit down with their drinks, still complaining about George's absence. The door opens just then and George is there, looking very dishevelled, with noticeable cuts and bruises and torn clothes. He made it only a few minutes late. All the men, plus Mrs. Watchett, are concerned for his welfare, but he insists that he is OK, and he has "all the time in the world". He begins to tell the story of what happened to him. It begins five days earlier, on the night of December 31, 1899, when George and his four friends had been together in the same house, in the parlor that the men had left minutes earlier.On that evening, George had told them about his experiments, how it was easy to move through the three spatial dimensions, but man had yet to figure out a way to travel through the fourth dimension, time. George hoped to invent a way to do so. He had spent two years working on a device to do so. His friends remain skeptical of his claim. He asks them to witness a demonstration of a small scale model. He opens a box on the table to reveal a machine, which he can hold comfortably in his hands, consisting of a seat, a control panel with a switch in front, and a rotating disk in back, surrounded by a brass railing. His friends think he might be a little nutty when he tells them how it can move not through space, but through time. George borrows a cigar from one of his friends, and bends it and puts it in the little model's seat to represent the man who is time traveling, then, using one of his friends' fingers, pushes the switch forward. The disk on the back starts to rotate, and in a few seconds, the machine fades and vanishes from sight. It is gone into the future, never to return.George's friends look around for the machine, at first thinking that he had performed a conjuring trick and the machine was simply somewhere else now, but George insists that it had not moved in space, but in time. The machine was still in exactly the same space on the table, but could be far in the future when the table upon which it stood or even the entire house might not exist any more. While George's friends are discussing what they have witnessed, George expounds on his theories and states his intention to take a time trip himself. His friends are concerned, wondering if George's inventing skills might be better put to use advancing the interests of his home country, Great Britain. The Boer War is going badly and the War Office might need some help. Still pondering what has been demonstrated, George's friends leave the house, wishing him a happy new century.George returns inside and discovers that one of his friends, David Filby, is still there. Filby tells him that he was still worried that George had been behaving oddly and had changed a lot. George tells him he is preoccupied with time because he is unhappy with the time he lives in, with its constant wars and strife. Filby initially thinks that George intends to travel to the past, but George says he prefers the future. Filby can think of all that the machine could do, and implores George to destroy it because the technology is so dangerous. He invites him to come and spend New Years with him, but George declines, saying he'd rather spend New Years alone. Filby asks George to promise him he won't leave the house tonight, and George promises he won't walk out the door. Then he invites Filby to come and bring the others over for dinner on Friday, January 5, 1900, five days hence. Filby leaves and George writes the note that he would read five days later. It's about 6:30 p.m. He wishes Mrs. Watchett a good night and then hurries off to his laboratory.There is another time machine there, only this one is full-sized, big enough for George to climb into. George examines it for a short time, removes the glass-knobbed control lever for a little tinkering. He lights a candle in the corner and works on the handle for a moment, then returns to the machine and climbs in. Turning on the power switches, he looks down at the control panel which shows today's date, December 31, 1899. He nudges the handle forward slightly, and the disk behind him begins to rotate. After a few seconds, he pulls the handle back to the neutral position and looks around. Nothing seems to have changed, until he notices the clock in the corner. It was after 8 p.m., and the candle he had lit was several inches shorter. Checking his pocket watch, which had been with him in the device, he saw that it still showed only a little after 6:30 p.m.George pushes the handle forward again a little further this time, and this time he watches time pass. As he watches, the candle burns down and goes out. The hands on the clock spin around. The sun comes up and moves rapidly across the sky. A snail races across the floor. Flowers open and close with the daylight. The sun goes down and comes up again, all in the time he perceives, inside the time machine, as only a few seconds. He sees people across the street at Filby's department store and sees the female dummy in the window. George notes that he is still traveling slowly and pushes the handle forward a little more, and the time progression outside the machine accelerates. Days pass by rapidly, and George improves his handling of the machine. He slows the machine down in the summer of 1900, and the alternating daylight and darkness slows, George looks across the street and sees the dummy in the department store window dressed differently. Bemused by the changing fashions, George continues to watch the clothes on the dummy change as he continues his journey into the future. Going faster, George watches the seasons change outside his windows instead of just days and nights. He was into the 1910s now. Suddenly, the light was gone - the windows had been boarded up. George brought the machine to a stop in September 1917, and got out to investigate.His laboratory was dirty and filled with cobwebs, and entering the rest of the house, he found it in the same condition. It had been abandoned for an indeterminate amount of time. All the furniture was covered in drop cloths, and these were covered in a thick layer of dust. All the clocks in the parlor were silent, since no one was there to wind them or set them. A mouse skittered across the floor. George walks outside, after kicking aside the boards that were covering his door, to see the outside of the house abandoned and neglected, too. A wooden fence had been erected around the house. George went through it and crossed the street, walking towards Filby's store, which was still there. He saw an early automobile, something he'd never seen before in his own time. A man wearing a soldier's uniform got out, and George recognized his friend Filby! Delighted, George began to speak to him. When George mentions Filby's lack of a mustache, Filby realizes that George has confused him with his father. This man is James Filby, who was the infant son of David Filby in George's time. David Filby had been killed in the The Great War (World War I) which George knew nothing about. George asks James Filby about the house across the street (his own house) and James tells him that the guy who owned it had disappeared around the turn of the century. It had fallen into David Filby's hands, who refused to sell it, thinking that George might return to claim it some day. The house had acquired a reputation as being haunted. George is dejected and realizes he's out of place, and makes his goodbyes and returns to his own house. He stops outside to pull some of the boards off his laboratory window so he can continue to watch the dummy in the store window.George returns to the machine, gets in, and heads into the future once more. The house is still neglected and the windows break. He watches the dummy in the window as he speeds through the 1920s and 1930s. Then, in 1940, the room starts to shake. Thinking the machine might be malfunctioning, George brings it to a stop in June 1940, only to discover that the disturbance came from outside. There are airplanes outside (something else he'd never seen before) dropping bombs with anti-aircraft guns shooting at them and fires burning in the distance. He realized that this was a new war, and he pressed on into the future to see how it went. Shortly afterward, his laboratory caught fire and disappeared. His house had been destroyed by a German bomb, and George was out in the open, safe within the time machine. He continues through the 1940s and watches as construction workers build a new large building not too far away. The fashions on the dummy in the window continue to change.George hears a strange sound and brings the machine to a stop once more, this time in August of 1966. The sounds were air-raid sirens. He gets out of the machine and looks around. The ground that his house once stood on now looks like an urban park. Men and women walk through it in a hurry, urged by men in uniforms to get into the air-raid shelters. He looked out at the street, seeing many skyscrapers in the distance, and Filby's store had expanded to fill a whole block, with a substantial building of its own. Baffled by the commotion, George reads a plaque he finds in the park: "This park is dedicated by James Filby to his father's devotion for his friend George."The people have mostly disappeared into the underground air-raid shelters. George looks at Filby's store, and just then an aged James Filby wearing a silvery uniform walks out on his way to the shelters. George stops to talk to him, extremely impressed by the growth of the store and the whole city. James just wants to get into the shelters as quickly as possible before the mushroom clouds appear, another phrase George doesn't understand. James suddenly realizes that George looks familiar, and George tells him that he talked to him in the same place, in front of the store, back in 1917 - 49 years earlier. James recognizes him as the same man but how could he possibly have not changed in such a long time? The talk is cut short when the air-raid sirens go off again, and James points to the approaching nuclear bomb and hurries off to the shelter. George lingers outside, then starts to walk back to his time machine, when the bomb goes off. George is far enough away from it not to be incinerated, but the buildings around him burst into flame and fall apart as he watches. London, built brick by brick over two thousand years, is obliterated in seconds. The explosion caused a geological disturbance, and a volcano appeared and lava flowed down the street, destroying anything in its path that had not been destroyed by the bomb. George jumped back into the time machine and escaped into the future before the lava could reach it. The lava cooled around the time machine, forming a casing of stone. George sped into the future, waiting for erosion or other natural forces to wear the rock away.Thousands of years in the future, the rock eroded and George was once more out in the open, but the bleak, desolate landscape offered no hints that a city or even mankind had ever stood there. He watched trees grow. He could no longer detect changing seasons. Then he saw new buildings going up, but they appeared more primitive than the ones he had left behind. As he sped forward through the centuries, he watched a dome and a tower being built and then fall into disrepair and ruin. Curious once again, George stopped the machine on October 12, 802701. He stopped too fast, and the angular momentum from the suddenly stopped spinning disk caused the machine to spin around and fall over. Shaken but unhurt, George got out, righted it, and set out to explore.There was a large stone building behind him, with a large metal statue on top that looks kind of like the statues on Easter Island. There are two large metal doors in the building. George knocks on them (clang!) but no one answers, and he cannot open them. George takes the glass-knobbed control handle out of the time machine, just in case, and then goes to explore the forest. The trees are laden with large, delicious-looking fruits, and he finds some more ruins, but he does not yet find any humans. After passing through the forest, he finds the dome he saw earlier. It was neglected and almost in ruins, but it was obviously still in use. It still had functioning doors, and there were tables and chairs and dinnerware inside when he entered.There were no people, so George left the dome and went back to the forest. Continuing to walk, he at last hears voices in the distance. Finally he comes across some people, in a clearing in the forest by the river. All of them were blond-haired, dressed in plain clothes, and fairly young. They were laughing and playing, and George thinks at first that this is the future he had hoped for, where war, work, and hardship had been left behind in the past. Then he spots a woman in the river, obviously in distress. She is not able to swim through the current and seems to be in imminent danger of drowning, yet none of the other people do anything to help, just staring as the woman screams. George runs into the clearing and urges them to take action, then dives into the river and rescues the woman when they do nothing. The people just look at him.The people get up and walk away, laughing and chattering, and they go to the dome that George left not long earlier. George follows them but lingers on the stairs. The woman he saved comes back to talk to him. She talks softly and slowly and appears to not quite be all there. She seems to think nothing of the fact that none of the other people tried to save her from drowning. She tells him her name is Weena, and her people are called "Eloi", but she is dumbfounded when he asks her to spell it. The people are illiterate. Weena encourages George to come with her into the dome, because it is getting dark.Inside the dome, the people are eating the fruits laid out before them on the table. George tries to talk to some of the other Eloi people, but they are exceptionally poor conversationalists. Besides losing written language, he learns that the Eloi have no government or laws, and no one works. The food simply grows without being cultivated. The Eloi seem to have all the free time in the world, but they don't even study or experiment or learn anything. They have lost their human curiosity as well.George asks an Eloi man if there is any way he could learn about the Eloi culture, such as from books, and the man tells him that there are indeed books. He shows George the books, which are in a dusty, long-neglected room in the back. George picks up a book which appears to be in terrible shape, and he discovered how terrible it is when he opens it to find the words faded to near-illegibility, a page crumbles to dust when he tries to turn it, and the whole book fragments to pieces in his hand. The books had been left to rot untouched for so long that he is able to put his fist through a whole shelf full of books, reducing them to powder. George now realizes how repulsive this culture is: although they had no more war and hardship, they had also lost everything that made life worthwhile over the centuries - knowledge of science, mathematics, philosophy. He returns to the dome, voices his disgust and intends to return immediately to his own time. Weena looks at him as he leaves the dome.George returns to the stone building, and discovers to his horror that the time machine is gone! There are grooves in the dirt leading to the metal doors of the stone building. Apparently, someone or something dragged the machine inside. George is now trapped in the future. He picks up a rock and pounds on the doors, but they do not budge. Looking for another way in, George walks around the building and sees something moving in the bushes. It retreats when he lights a match. He sees another shape moving around, goes to check it and discovers that it is Weena! She had followed him to try to get him to come back to the dome. It was dangerous to be out at night. George asks Weena how to get inside the building behind them, and she says no one can get inside except the Morlocks. The Morlocks provide the Eloi with their food and clothing, but the Eloi must obey them. Eloi insists that they retreat to the safety of the dome, but George prefers to keep trying to get into the building, and he starts gathering wood for a fire to keep the dark at arm's length. She finds a wild flower, of a type unknown to George, and gives it to him.George begins to talk to Eloi about when he came from. Standing in front of the building, they are in the exact same place that George's house used to be eight hundred thousand years earlier. While he is talking, one of the shapes George saw earlier emerges from the bushes and grabs Weena. George runs after her and beats off the attacker, but doesn't get a good look at it. It was a Morlock. George gets the fire going, and Weena reaches out to it curiously; she has never even seen fire before. He tells her that she seems to have a few of the traits that had been largely lost, as she tried to help him by coming out of the dome. Yet she tells him that her people have also lost the concept of past and future. George thinks that he has landed in one of Man's many Dark Ages and wonders if he can help lead the people out.In the morning, George still could not open the doors to the stone building, but discoveries several artificial holes in a nearby field. He can dimly hear machines pounding on in the darkness below. Weena knows that they are another entrance to the Morlock world because some talking rings told her. George asks her to show him the rings, and she leads him back to another dusty museum area. There is a table with some rings, and George asks Weena for a demonstration. Weena spins a ring on the tabletop, which glows underneath the ring and a voice begins to speak - apparently, this is one of man's many later technologies that had been developed and then forgotten. The voices were old news reports. The ring spoke about the end of a 326-year war, which had ended only because so many people had been killed that there were not enough people left to fight and nothing left worth fighting with or for, resources had been depleted and pollution was rapidly killing off the survivors. George spins another ring, and this recorded voice is that of one of the last people to have a past. It described that some of the few stragglers left over from the war had gone underground to survive, and a few others had remained on the surface. George learned that those had gone underground became the Morlocks, who controlled the Eloi like cattle and took them in to an unknown fate periodically.Trailed by Weena, George returns to the field with the holes and begins to climb down a rusty ladder inside. Just then, a wailing sound begins and some rods emerge from the top of the stone building. It sounds just like the air-raid sirens during the wars. Weena appears to go into a trance and wanders off. George climbs back out of the hole to see what was going on, and sees scores of other Eloi walking like lemmings out of the dome, through the forest, towards the stone building. He can't get their attention, and he can't find Weena. Continuing through the forest, he spots her and grabs her, but she just looks blankly at him and continues walking. Closer to the building, the sounds of the siren are deafening. The metal doors to the building are wide open and the Eloi are walking through them into the building. George runs forward toward the building, but as quickly as it started, the wail of the siren ceases, the rods drop back into the building, and the metal doors close - with Weena inside and George out.The Eloi who had not yet reached the doors suddenly came out of their trance, like they had just been woken up, and start wandering away. But none of them know what happens inside the building. They only know that it is now "all clear" - a holdover from the old days. They only know to hide underground when the sirens go off. George tries to explain to them that all the wars, sirens, all clears, and the people who had participated in them were long dead, but they don't seem to understand anything except that it was now all clear, and they don't seem the least bit perturbed that people who enter the building are never seen again. Frustrated and determined to save Weena, George returns to the field with the holes and climbs down. The Eloi on the surface look down at him.Underground, George can hear the machinery, and finds some wood and tinder to make a torch, but doesn't light it yet. He explores the underground chambers and sees some of the machines. Some figures move around in the background - Morlocks - watching him, and he is aware that something is there but doesn't see them yet. Wandering into the next room, George sees human skeletons, and miscellaneous human bones sitting in bowls and on plates. It's a dining room, and he now sees that the Morlocks have turned cannibal and the Eloi who enter the building became dinner.George returns to the main underground room and explores a little more, then he sees a Morlock clearly for the first time -- they are short, squat beings with glowing eyes, drooping faces, long white hair and bluish-gray skin. It is driving the complacent Eloi with a whip in their walk to the slaughter. George spots Weena in line, and grabs her and removes her from the line and tries to wake her from her trance. A male Eloi wakes up and follows. George's cover has been blown and a Morlock attacks him from behind with the whip, and he drops his stick. George is able to wrest the whip from the Morlock's grasp and begins attacking it. Several more Morlocks joins the fray, and George must retreat.Remembering their fear of fire, George lights a match, and the Morlocks retreat, but the match goes out soon and they can advance again. One of the Morlocks tackles him while he is fumbling with the matches. He is able to escape and go over to where the stick landed. He tries to light it, but he's running out of matches. Weena runs over to him and gives him a piece of cloth torn from her dress to burn. George puts it on the end of the stick and lights it. While George keeps the Morlocks at bay with the torch, the Eloi start moving towards the stairs, but then he drops the torch and he is reduced to fighting with his fists. The Morlocks are not very effective in the melee, but there are a lot of them. Weena tries to grab the torch, but she is once again grabbed by a Morlock. George saves her once again, punching the Morlock repeatedly. Another Morlock charges him and this time seems to get the upper hand. One of the male Eloi, having just seen the fight, makes a fist for the first time in his life and imitates George, attacking the Morlock and knocking it out.George sees the torch guttering and there are more Morlocks still. He grabs it and sends the remaining Eloi up the stairs and follows them, protecting their rear from being followed. The Morlocks try to follow but they must keep a respectful distance from the fire. On his way up the stairs, George passes some flammable liquid and lights it with the torch. The Eloi find more Morlocks blocking their path going up the stairs, but they are able to knock them off the stairs into the fire. Soon the fire spreads to the machines on the floor. The Eloi reach the bottom of the ladders and begin to climb out of the holes, which are already belching smoke. Urged by George, they gather up more dead branches and drop them down into the holes to add fuel to the fire. There is a secondary explosion and one of the walls around the holes falls in. George and the Eloi run to the river, and then there are more explosions underground and the entire chamber and the ground on top collapses into the hole.The Morlock underworld and the danger it presented had been destroyed, but so too was the shiftless lifestyle of the Eloi as livestock. Yet George was still trapped. He talks to Weena again, and she asks him if he is unhappy that he has to stay where he is. He still wants to return home and tell his own people what he learned. He realizes he doesn't fit in in the future. Weena is interested in seeing George's time and wonders if he has any girl-friends there. He doesn't, but he has his male friends, and his 62-year-old maid. Weena obviously likes him. Their chat is interrupted by the other Eloi, who race into the clearing to draw their attention to the stone building. It too is in flames, and the doors are wide open. The time machine is just inside. George is overcome with joy and pulls the glass-handled control stick out of his pocket. He runs forward to the machine and calls for Weena to join him, intending to take her home with him. But once he is inside, the doors close again with a metallic "bong!" and he can't open them from the inside, either. Worse, a few surviving Morlocks are coming up the stairs out of the conflagration below. George climbs into the machine but still has to beat off the remaining Morlocks as he gets the machine started. He continues forward, into the future, and watches the dead Morlock on the floor rot to a skeleton and then to dust. Realizing that he's been about as far into the future as he cares to see, he reverses the direction of the control stick, sending the time machine hurtling back into the past. Exhausted, he leans back in the machine as the time passes in reverse rapidly backwards. He slows the machine as it finally reaches the early twentieth century, finally bringing it to a stop on January 5, 1900, the night he'd invited his friends over to dinner. He's back when he started - the only difference is he and his machine are outside in the garden now, instead of in the laboratory where he left. He has to break into his own house just as a distant clock tower chimes 8 p.m. Battered from his fights with the Morlocks, he stumbles into his house to greet his guests.After he has finished telling them his story, it's after 9 p.m., and his friends still don't believe him. They think he's a great storyteller, though. George doesn't know how to make them understand, but he reaches into his pocket and finds the flower that Weena gave him. Handing it to David Filby, he challenges him to match it to any species known in the present day and tell him how he obtained it in such condition in the middle of winter. He is stumped.His friends get ready to leave, telling George he appears exhausted, as he no doubt is. As before, Filby lingers to talk to him. George makes his goodbyes to him, and they sound final, as if he suspects he might not see him again. Filby talks to the other men in the carriage, and he sounds like he almost believes the story himself. Then as the carriage drives off, Filby returns to the house to check on George. George is dragging the time machine through the falling snow back into the laboratory. While Filby is looking for George, he hears the time machine being revved up. He reaches the laboratory with Mrs. Watchett but not in time to see George disappear bound for the future once more. However, he does see the open doors and the tracks made by the time machine's brass runners.Suddenly, Filby realizes that it's true as the pieces of the puzzle fall into place. George had built his time machine in the laboratory, and it traveled through time but not through space. When he had returned home, it appeared in the garden, but this was only because the Morlocks had moved it a few dozen yards into their building in the far future. The patch of ground occupied by the laboratory would eventually be just outside the stone building, and the place where the garden was would be just inside it eight hundred thousand years in the future. George had dragged the machine back to its original location so that when he returned to the future, he would be outside the building and those impenetrable doors, outside, in the last place he had seen Weena.Returning to the parlor, Filby realizes that George would probably have taken something with him if he intended to help the Eloi rebuild their culture, and sure enough, three books are missing from the shelves. They don't know which books. Filby and Mrs. Watchett wonder if George will ever return, and if so, when, but Filby realizes that George has, quite literally, all the time in the world. He leaves, and Mrs. Watchett turns out the lights. | cult, sci-fi, psychedelic, alternate history, flashback | train | imdb | Since time travel stories always fascinate me, my favorite part of the film is when "George" (Rod Taylor) is actually in his time machine and experiments with it, slowing it down here and then and then stopping it a couple of times to observe World War I and then WWII.
It was a great way to keep us entertained and out of her hair for a few hours, particularly after our baby sister was born.One movie I saw during those matinees was the 1960 version of The Time Machine.
In 1960, filmmaker George Pal brought to fruition a visionary concept for a film based on a novel by H.G. Wells, about an inventor who builds a machine that enables him to travel through time, specifically into the future, where he learns a timeless, universal truth about the machinations of society and some of the basic tenets of human nature.
`The Time Machine,' which Pal produced and directed, stars Rod Taylor as George, the inventor/time traveler/hero, who, born into a time and world that doesn't suit him, decides to do something about it.
Going into this project, George Pal had a definite vision of what he wanted to accomplish with this film, from the way the time machine itself looked, to the way he wanted to present the future of mankind and the world.
Also, I wasn't too terribly impressed with the mouth and face of the Morlocks, but again, given that it was made back in 1960, I can let it slide.Overall, I really enjoyed the film, and would definitely recommend it to anyone that liked the 2002 version of the film or just enjoys films about time-travel or science fiction.
One of my favorite films back when I was a lad was George Pal's production of the H.G. Wells novel, The Time Machine.
As much as George Pal was able to capture the future, he did as well with the past, the recreation of the Victorian/Edwardian era from which our time traveler Rod Taylor goes to the future and back.A lot of that has to do with the casting of the four men who are Taylor's friends and looked like they stepped from that era.
It was probably beyond even the fertile imagination of H.G. Wells to conceive, our own best minds of science now debate whether it is even theoretically possible.Rod Taylor after playing several good supporting roles in many films since arriving in America from his native Australia, got his first lead and real big break in The Time Machine.
George Pal and Rod Taylor create the best adaptation of H.G.Wells' timeless classic "The Time Machine"..
It is a fact that today's young generation have a fairly good idea about "The Time Machine" directed by Simon Wells in 2002.This film was a modest box office as well as critical success although it featured acting talents of screen stalwarts actors Jeremy Irons and Guy Pierce.
The film failed to have widespread cultural impact as it contained a wide array of immense special effects.This was not at all the case with "The Time Machine" made in 1960 as its director George Pal was a man whose forte was science fiction.His version succeeded as it did not feature any kind of nonsensical special effects.George Pal contented himself by putting to good use all possible science fiction technology available during sixties.In "The Time Machine",human element is also very much visible despite its primary focus on science and science fiction related matters.The entire film is a symbol of simplicity as roles played by Rod Taylor and Yvette Mimieux are devoid of vanity.This is one of the reasons why "The Time Machine" remains one of the few films which one can really enjoy on a Sunday afternoon with family on Turner Classic Movies..
The hero travels 800,000 years into the future and finds a world in which humans had evolved into two species: an illiterate and child-like race called the Eloi, devoid of technology but similar in appearance to modern humans who inhabited the surface of the planet; and the more repugnant Morlocks, technologically sophisticated and living in perpetual darkness in underground caverns.
Rod Taylor boards a contraption he built and goes forward in history in "The Time Machine," a 1960 film also starring Alan Young as Filby, Yvette Mimieux, Sebastian Cabot, and Whit Bissell.Taylor plays George, who is in actuality H.G. Wells, who wrote the book on which the film is based.
He falls for one of them, Weena, who says she is an Eloi, and he eventually learns about the Morlocks, who live below and control the Eloi.Shot in color and directed by George Pal, "The Time Machine" has some fantastic effects and a good story.
My fondness for time travel goes back a long way and can be directly attributed to the first time I ran across this wonderful film by George Pal based on the H.G. Wells novel.Rod Taylor plays George (H.G.Wells), an inventor who has invented a machine capable of traveling through what he calls the fourth dimension better known as time.
The effects used to show the resulting volcanic explosions and lava that flows through the streets certainly show their age, but one can expect such things when watching a film made more than forty years ago and you just have to overlook them.Much more successful is the sequence where George ends up in the distant future discovering exactly what happened when the wars and man's self destruction finally did subside.
Yet, when needed, Taylor depicts a George that is every bit a man who is passionate not only about his friends but about the human race and the destiny that awaits us.Just as George Pal has shown us that it's the characters and the story that count, Nicholas Meyers achieved the same type of success years later with the film Time After Time.
Inventor George ( Rod Taylor ) has created a Time Machine or so he claims wildly in front of his astonished friends at diner , as the evening unfolds he begins his fantastic tale of how he shot thousands of years into the future to discover the earth ruled by two races descended from humans , one race gentle and docile while the other is savage and repulsive.
Classic science fiction film based on a known novel and excellently directed by George Pal. This fantastic picture is a magnificent rendition about H.G. Wells' book, it begins during a friends meeting ( Rod Taylor, Sebastian Cabot, Whit Bissel, and Alan Young who'll have a tiny role in the second version, 2002) .
George, the kind of person who wants to do good in the world, tries to motivate the seemingly helpless Eloi to fight back against their aggressors."The Time Machine" is a colourful, gorgeously shot sci-fi adventure that gets a lot of mileage out of the charismatic central performance by Taylor.
Having formulated my own vivid visualisations from the words of H.G. Wells, I wondered if it was even necessary for me to watch a cinematic version of the story, but, fortunately, I found George Pal's film to be an admirably loyal and imaginative adaptation.Whereas Wells' Time Traveller was not afforded the luxury of a name, George Pal's Traveller is christened George (played by Australian-born Rod Taylor ) {in fact, a closer inspection of the machine control panel reveals the phrase "manufactured by H George Wells," further evidence of the respect that the filmmakers had for the author and his source material}.
In 1993, the documentary "Time Machine: The Journey Back" included a mini-sequel of sorts, in which George and David are re-united after years apart, and both Taylor and Young {as well as Whit Bissell} returned to reprise their roles.In a not-unexpected deviation from the original story, given the political climate in 1960, George makes three brief stop-overs prior to his arrival into the land of the Eloi and the Morlocks.
If you haven't seen the remake then watch this first.George (HG Wells middle name!) creates a machine that can travel through time and he wishes to see how man has fared through the ages and to see what he can learn from our future.At first he travels a little forward to just past the 1st world war, then to the 1960's where we are having an atomic war.his final big jump is to the future of the eloi and the morlocks.
where half of man had lived underground and become the cannibal morlocks and the rest had stayed above ground and became the innocent carefree eloi.this film has an excellent ending and we are left to wonder which 3 books he has taken back to the future and if he will ever return..
In the 1960's, when movie making was still an art form, master puppeteer, George Pal created what has been considered a true classic, The Time Machine.
This is truly a classic based on a novel by H.G.Wells, the great Sci-Fi writer.What's truly remarkable about this movie is the stop motion and speeded up photo special effects..in 1960.When Rod Taylor got into the chair of his time machine you just didn't expect what you saw.When he went forward far into the future, it was truly amazing.If you don't know why this action is so haunting,pick up a video at your local library.They still exist.Credit certainly goes to the fine actors and actresses on this movie and the make up of William Tuttle, a movie legend in his own time.
The underlying anti-war message will always be topical while there's a further sub-text on humanity's inbuilt resistance to tyranny as seen by the eventual awakening of the soporific Eloi against their underground oppressors, the Morlocks.Best by a distance though are the deservedly Oscar-winning special effects of Taylor travelling through time in what looks like an easy-chair with an abnormally large sun-shade.
The story sees Taylor as George, a man from Victorian England who constructs a time travelling machine and uses it to travel to the future.
Production-wise, it's a handsomely mounted project.Based on the famous H.G. Welles novel, it does offer a fascinating look at something man has always dreamed about--and is still dear to the hearts of all those who find time travel a subject of endless fascination.ROD TAYLOR is excellent as the inventive Welles, but oddly enough it's ALAN YOUNG who has the most memorable role as Filby.
Once one gets over the fact that a good deal of H.G. Wells' novel was scrapped, the movie of The Time Machine is a pretty good show.
Nor is it explained why he only travels forward.The movie is set at the end of the nineteenth century, from which it then moves forward several thousand years, and it's a handsomely designed production, in gorgeous color, with a nicely designed Victorian home for the inventor to live in, and a chariot-like machine for him to travel through time.
I wish they had kept the scene where George finds himself a billion years in the future-- that's one of the most haunting scenes in the book.Another distraction was that the young Rod Taylor looks uncannily like Robin Williams.
If H.G Wells had lived to see his book "The Time Machine" adapted for this 1960 film, I believe he would have been happy with the final results.
I've never read the novel, but George Pal's 1960 adaptation of "The Time Machine" is a really cool movie.
After they leave, Wells decides to test the machine, eventually travelling many thousands of years into the future, where he discovers that humanity seems to have been divided into two groups - the mysteriously young Eloi, who live on the earth's surface and seem to have an idyllic existence, enjoying plenty of food and apparently doing little if any work, and the monstrous Morlocks, who retreated underground.
George Wells who builds a time machine and travels to the future, where he finds humanity divided into two groups: the Eloi and the Morlocks.
I'm saying the same thing I said about the remake of "Flight of the Phoenix" Sometimes well enough is better left alone...Rod Taylor was a popular actor in the 60's.His performance in this Film and "The Birds" in 1963 made him one of my favorite actors in the day.The Original TIME MACHINE will be a film seen by future Generations as maybe the way todays generation looks at TV's 60's Star Trek.Dated Technology but still Great Cinema...s.m..
That is straight out of the Oscar-winning film directed by seven-time Oscar nominee George Pal, and starring Rod Taylor (The Birds) and Yvette Mimieux.Now, you have to suspend belief to enjoy this film as you do any time- travel film, but that's the fun of the movies, isn't it?
Producer George Pal turned director for this excellent film based on the H.G. Wells novel, starring Rod Taylor as scientist/inventor George Wells, who arrives back home on January 5, 1900, after telling his assembled friends and colleagues(played by Alan Young, Sebastian Cabot, Tom Helmore, and Whit Bissell) about his trip on January 1 in his invention: a time machine that took him forward in time to World Wars I,II,& III(!) before arriving in the far-off year 802,701, where human beings have split into two factions, the peaceful(but sheep like)people called the Eloi, where he fell in love with the beautiful Weena(played by Yvette Mimieux) and battle the mutated Morlocks, who live underground like moles.
The effects, once state of the art, are now only acceptable.Nevertheless, this movie has it all, scifi elements, an engaging story, and characters that develop rather than merely appear.Alan Young shines as Georges friend David, as well as appearing as his own son, and Rod Taylor is a joy.Show this to your kids, and watch it again yourself!The actual time machine is such a classy design, that Carl Sagan actually used it in the production of his science series years later.
While certainly avoiding most of H.G. Wells themes, nonetheless George Pal produced and directed one of the finest American science fiction films.Rod Taylor is very sympathetic and passionate, a Victorian liberal scientist, as the man who tries to save the future by teaching the apathetic Elio how to become human again.
George Pal directed this classic from 1960, starring Rod Taylor as the scientist who travels back through time (George, although we are meant to understand that this is a character-cipher for H.G. Wells), and Yvette Mimieux in a very early role (interestingly, she became an anthropologist, the study of which has a concern in the overall plot development and socio-political points Wells was trying to drive home with his novel).The plot follows Wells' late Victorian novel fairly well.
The Morlochs are presented as base creatures, following only their appetites, and afraid to remain above for too long.The effects of the time machine itself and the transition scenes are quite good for the time - I recall as a child watching this film on television and being mesmerised by the passage of time, the scenery changes through George's window as the time streamed by, and the contrast between the Victorian household set and the future world.The more recent remake did homage to this classic film by incorporating a few of the same ideas - the scene changes through the windows, for example.
George Pal's 1960 "The Time Machine" starring Rod Taylor, fits the definition of a True Classic.
Like the three books George carried with him on his final journey into the future, this 1960 masterpiece would be one of the top three movies that I would take with me if time travel were a possibility.It is a fantastic cinematic treasure that has fascinated me since I was a child with its fast-moving meditation on the futility of war as a means of preserving capitalism as the paramount means of survival for modern society.The special effects, especially the wizardry engaged in the time warp sequences, are the best I've ever seen in a 42-year-old movie.
All along the way, the Time Traveler (look at the brass plate on the machine to discover he's H.G. Wells!) learns a bit more about himself and humanity before ending up in the year 802,701 where the gentle Eloi are preyed upon by the hideous (William Tuttle created) Morlocks.
It does not betray Welles' masterpiece at all, even with its minor defaults (setting the action of the novel, and thus of the film, 800 000 years later in the future was an useless exageration, for the idea of time travelling was already a great novelty in itself).
Sure, The 1960 version of "The Time Machine," based on the novel by H.G. Wells, might be a bit dated and a little to primitive to some viewers, but all those minor problems can be overlookedthanks to the effects and the acting in this movie.
What is perhaps the book's greatest passage, the chapter 'The Further Vision,' in which the Time Traveller journeys 30 million years into the future, is completely missing from the film, and a good thing too, as it would have been impossible to to do well with the special effects technology of the time, and in fact for a long time after that (which is why George Lucas waited 15 years after "Return of the Jedi" to restart the Star Wars film series).So you're interested in H.G. Wells's The Time Machine?
Rod Taylor is rugged, intelligent and curious as the time traveler H George Wells.
If you're looking for a classic movie with true talents, amazing effects, and story that's stood against remakes, George Pal's Time Machine is your Saturday afternoon movie.
In those days there was less sci-fi around so re-runs of movies like The Time Machine were big events.However, over the last 50 years or so just about everything in this film has been re-used or copied and put somewhere else. |
tt2382009 | Nymphomaniac: Vol. II | This film is a continuation of Nymphomaniac: Vol. I, split up for length. It does not stand alone and will not make sense without having reviewed the first part.Young Joe (Stacy Martin) is in bed naked, eyes wide open. Jerôme (Shia LaBeouf) is now living with Joe but all of her lovers still try to contact her knocking on the door, calling incessantly. He answers the door. Unplugs the phone. Joe looks out the window to see an empty parking spot where one of her lovers usually parks. Cut to Jerôme and Joe having sex on her bed; she is expressionless.A current day adult Joe (Charlotte Gainsbourg) explains in narration that when she was 12, she was on a field trip in the hills. In a flashback, we see a young Joe lying alone in fields with nature buzzing all around her. A few classmates are gossiping nearby. All of a sudden, she begins to shake violently and the 12-year-old Joe floats up off the ground. She gets higher and higher and a foggy glow passes over her. Now we see two females levitating beside her in the sky, all illuminated by the same glow on one side is a woman with a veil; on the other is a woman holding a child.In present day, Seligman (Stellan Skarsgård) asks Joe if she's kidding him for she had a spontaneous orgasm and had a vision of two women on either side of her. He asks if one was holding a veil with two fingers. He identifies one woman, from her description, as Valeria Messalina, the wife of the emperor Claudius, the most notorious nymphomaniac in history. The other he determines was the Whore of Babylon, riding a nimrod in the form of a bull. He says her story is like a blasphemous retelling of the Transfiguration of Jesus on the Mount, which is one of the Eastern Church's holiest passages. It's when the humanity of Christ is illuminated by the divine light of eternity. If anyone else had told him the story, he would have written it off as a blasphemous joke but Joe clearly didn't know who she had seen in her vision. He explains it started with a spontaneous orgasm and then (years later) she lost her ability to orgasm altogether.We see a naked Young Joe floating above a body of water, rotating lower and lower until she fades away Seligman asks if it was like Wagner's Das Rheingold (Descent into Nibelheim). She tells him to imagine in one swoop that hes lost all desire to read we then see a clothed Seligman floating above a huge pile of books before fading into obscurity.In flashback, Young Joe masturbates late at night, unsuccessfully. She goes to the kitchen and wets a rag and pounds it against her vagina. Jerôme awakens and comforts her as she screams.Seligman compares this to Zenos' paradox; she is Achilles and the tortoise is the orgasm. Because she was giving chase, she couldn't reach satisfaction. Joe tells him he seems like he's not taking this very seriously shes telling him about the worst thing that's ever happened to her, that within seconds, she had lost all sexual sensation and her cunt (how Joe refers to her vagina) went numb. She doubts hes even listening because whenever she tells other men about sexual experiences, it was easy to see they had gotten excited. He says hes gotten excited but she points out only about mathematical crap, not the story. She then realizes he is asexual and cant relate to her stories. He admits he is a virgin. He can read sexual tales Canterbury Tales, or Decameron but only gets literary enjoyment out of it, not sexual. He points out that because he has no preconceived notion, he's the best judge to determine whether she's a bad human being, as she theorizes; he doesn't look at her through glasses colored by sexual experiences because he's a virgin and innocent.Joe notices a painting on a wall of a woman with child. He says the woman was connected to the Eastern Church and explains that the Christian church was split up in 1054 because of differences in opinion between the Eastern Church and Western Church (Orthodox Church and Roman Catholic Church). The painting depicts a typical Eastern Church icon Virgin Mary and the infant Jesus while the Western Church focuses more on Jesus crucifixion as iconography. He explains, "To generalize, you could say that the Western Church is the church of suffering and the Eastern Church is the church of happiness. If you imagine a journey from Rome eastward, you're moving away from guilt and pain towards joy and light." Joe points out he said he didn't believe in God but he says the concept of religion is interesting to him, just like the concept of sex. She decides to call the chapter The Eastern Church and the Western Church but it wont be about traveling east from Rome towards the light but rather the opposite (moving from joy to suffering). So in order to keep it from being too sad, she decides to pep up the name of the chapter with an extra title.CHAPTER SIX: THE EASTERN AND THE WESTERN CHURCH (THE SILENT DUCK)Young Joe's vagina continues to be unresponsive to sex but she is still able to have fun with Jerôme. They are in a restaurant and he offers her five dollars to put a long spoon "up her cunt." She goes to the back bar, grabs six more spoons, and shoves them inside herself, one by one. A few patrons take note and look on with disgust. The waiter (Udo Kier) comes back with two ice cream sundaes; he asks if they have spoons since none are on the table. Joe asks for some and he returns with two spoons. They both eat their sundaes. When they are ready to leave, the waiter comes back with Joe's jacket. As she puts it on, a spoon falls out of her dress. As they continue towards the door, more and more spoons clink on the ground.In present day, Joe points out the irony that it was during this period where she couldn't feel any sexual pleasure that she was also experiencing domestic comfort for the first time (since Jerôme had moved in with her). She became pregnant because she was careless about birth control pills. She has to have a Cesarean since she still was hoping sensation would return to her cunt; during the operation, she hears noises from the operation ringing out in the same tune as the one from the Little Flock (determined in the last film to be a Satanic song). She looks at the light fixture overhead and when the baby is pulled out of her, she thinks she sees the baby laughing demonically at her.Seligman points out that Noah's son Ham was laughing when he was born and this is another Satanic omen. Joe names her son Marcel after Mars, the Roman god of war. Seligman asks if maternal love lived up to her expectations but she explains, it was her who had not; maternal love wasn't the problem. But every time she looked in her child's eyes, she had an unsettling feeling of having been found out. In flashback, we see Young Joe playing cautiously with her infant baby, explaining that from her perception, her love wasn't being returned.A naked Jerôme and Young Joe have sex in their bedroom. Even though Young Joe no longer feels pleasure during sex, her nymphomania doesn't stop and she still requires Jerôme to have a lot of sex every day, which eventually becomes laborious for him. She tells him to "fill all my holes," (a flashback to the end of the first film).On a later date, Jerôme tells Joe that he loves her adventurous nature but he isn't able to satisfy her the way she wants to. He wants to continue their sex life but suggests that she should take on lovers again to help satiate her hunger. She kisses him in response. Later, she playfully slaps him.Later, Joe decides to improve her concept of "fuck me now" clothes by dressing up as a piano teacher. With some Beethoven sheet music, she is now wearing glasses, her hair in a bun, and frumpy clothes. She stops her car in the middle of a one-way street, pops the hood, and disconnects all the spark plugs. A male driver is stopped behind her. She asks for his help. Now all the men that are delayed by her halted car try to figure out how to plug the spark plugs back in correctly but there are 40,320 combinations. This gives her time to seduce men; a huge crowd gathers around her, discussing topics like Beethoven (her sheet music) while she flirts.Joe comes home to a waiting Jerôme and her son. There is an awkwardness between them. He punches something off the wall, trying to conceal his jealousy. Later, he sits in his car, trying to calm himself down, while we hear Beethoven on the soundtrack.In present day, Joe explains she has to jump ahead three years in the story to depict the suffering Western Church. She tells a story about meeting "The Dangerous Men." She (now played by Charlotte Gainsbourg from this point onward) is walking Marcel in a stroller; she explains that Jerôme travels most of the time and when he is finally home, he spends most of his time accusing her of neglecting their son, which she figures is just a cover for his anger over her lovers. She still does not feel sexual satisfaction. Joe passes five African men talking in the park, in a different language. She watches one of them from her window and decides it would turn her on to have a sexual situation in which verbal communication was impossible. She hires a translator to go up to the man she likes and ask him if he wants to have sex with her. He approaches the man. The translator comes back with a note listing a time and a place.Joe ends up at a cheap hotel. The black African man she likes (who she refers to as 'N') enters the room, along with a smaller man. She doesn't speak their language but she gathers N has brought his brother along. Both men undress Joe, speaking to each other the whole time. They observe her and begin to argue over who will have sex with her anally and who will have sex with her vaginally. She finally climbs on top of the guy she likes and begins to ride him. His brother gets upset and they argue. The second man begins to have sex with her from behind while she is on top of his brother. They argue again and toss Joe aside. She sits on the bed, annoyed, while the two bicker back and forth. As a result, she grabs her clothes and leaves the two black men behind in the room who are still arguing with each other. Joe explains to Seligman in voice-over that she later learned that performing a sandwich requires great sensitivity because the men can feel each other through the tissue.In present day, Joe explains that the quarrel had probably started on the stairs when one had laid claim to one of her holes "which was in conflict with his Negro brothers interest." Seligman tells her not to use the word because its not politically correct. Joe responds that its always been a mark of honor for her to call a spade a spade and "each time a word becomes prohibited, you remove a stone from the democratic foundation. Society demonstrates its impotence in the face of the concrete problem by removing words from the language." Seligman tells her society would claim that political correctness is a very precise expression of democratic concern for minorities. Joe adamantly counters that, "Society is as cowardly as the people in it who, in my opinion, are also too stupid for democracy." Seligman disagrees, having no doubt in the human qualities. She explains the human qualities can be expressed in one word hypocrisy. They evaluate those who say right but mean wrong and mock those who say wrong but mean right. She also adds that women who say Negros dont turn them on are lying. The men didn't satisfy her but they showed her there was a world she had to explore and it would be there that she'd get her life back.Joe goes into a waiting room in a seemingly empty building. Two women wait silently besides her. The door opens. A man (Jamie Bell) exits a hallway and observes those waiting; he asks Joe who she is. She tells him that she knows what he does and would like to be one of the women he sees. He refuses and invites another woman in, calling her "Madame." A new woman enters the waiting area with flagellation scars all over her legs. The three women sit silently.Eventually, Madame leaves, followed by the man who refers to the new woman as Princess and reminds her he forbid her to return for five days. Without discussion, she stands up and leaves. He then acknowledges Joe again, telling her he doesn't think this is for her. He takes the remaining woman inside the hallway, leaving Joe alone in the waiting room.Seligman asks Joe to explain the mystery of the situation. She calls the man "K" and says his business was something she was completely against but because of her rebellious nature, she contacted him as a last desperate attempt to rehabilitate her sexuality. Joe compares Ks violent technique to the Western Church and points out that their systematic approach of the crucifixion is of a violent and sadistic nature.K returns to the hallway where Joe is still waiting. He tells her that she is beginning to irritate him. He asks her to sit completely relaxed while he hits her in the face. K then slaps her aggressively hard. When he moves in again, she flinches. He hits her a second time. She takes a moment but recovers. He agrees to let her join but explains the rules he doesn't fuck her, no exception. They have no safe word so he will not stop no matter what she says. He tells her to bring a brown used leather riding crop and not one from a sex shop but a real one. Finally, he explains the third rule she will have to wait between 2 and 6 PM if she wants to join and it will not be pre-determined when he will call her in. She tells him her babysitters not reliable and she cant leave her child. He begins to walk away. She tells him he doesn't even know her name; he tells her hes not interested and that here, shell be known as Fido. He enters the hallway, leaving Joe alone again.Days later, Joe leaves Marcel with a babysitter. She finally is led into the back room with K. She provides the riding crop. He has Joe tie her hair up in case he needs to hit her in the face. She asks if she should take her clothes off and he says he will tell her what to do and when. He positions a chair and tells her to bend over it. The chair doesn't measure up for K so he has Joe bend over an old couch instead. She bends over one side, on her stomach, and he ties a sort of seat belt over her back, strapping her in. He ties her wrists together and binds the rope to the base of the couch, then duct tapes her ankles and wraps the tape around the other end. He pulls her skirt up and chastises her for wearing knickers. He cant get them around her bound legs so he cuts them off with a pair of scissors. Joe is sobbing on the couch. K is holding the riding crop but tells her that her ass is not high enough and he doesn't think they can do it. He penetrates her ass hole and there is only a small amount of lubrication; he tells her to come back on Thursday. He adds a name tag "FIDO" on the riding crop and hangs it in a cabinet alongside three others.Days later, Joe calls the babysitter's answering machine and chastises her for not showing up. She tells her she hopes she gets this message and comes as quickly as she can; she adds that Marcel is sleeping and she has to go now. After contemplation, Joe leaves her sleeping toddler home alone so she can make her appointment with K. He puts a phone book under her crotch to elevate her butt, then binds her again and tightens the seat belt over her back. He penetrates her ass hole again with his finger and is happier with the larger amount of secretion. K tells Joe she's going to hit her 12 times, no matter how much she screams because no one can hear her down there. Before he strikes, she screams out. He tells her, "That's not how it goes. Most people don't scream until I hit them." He hits her once. Twice. Three times. She whimpers. Four times. She is in unbearable pain. Five times. Six times. Seven. Eight. Nine. Ten. Eleven. Twelve. She is whimpering. He tells her, "That's it." She thanks him and he tells her she's very welcome.In present day, Joe tells Seligman she doesn't know where they get their sexuality from or where tendencies of that kind come from but probably a perversion in their childhood that never manifested itself before. Seligman points out that Freud says the opposite that there is a polymorphic perversion of a child and we use childhood to remove or diminish some of them, that a child is polymorphic and everything is sexuality in an infant. But Joe said it was deeply bizarre to lie there and want to lie there. Seligman points out that it lubricated an expectation for pain that she hadn't experienced; her body prepared herself for an intercourse that she knew wouldn't happen. Joe describes the mood as sexual and while she twisted and turned during the whipping, she realized how clever his knots were if she fought them, they would get tighter and as she relaxed, it seemed they did, too. Seligman tells her about the Prusik knot, named after a mountain climber named Prusik. His friend and him had a mountain climbing accident and his friend died; he ended up hanging at the end of a rope with no possibility of getting out since you cant climb up a thin mountain climbers rope. He took the shoelaces out of his shoes and made two loops and affixed them to the rope. And he could move these up since they weren't under tension and he could step into them and climb the rope and save himself. Joe tells Seligman this is one of his weakest digressions.She continues her story K fills a rubber glove with coins and then puts it on his hand. He slaps Joe hard with the coin-filled glove. After she gets naked, he tells her he's going to give her a Christmas present but she has to do the work herself. He ties a blood knot into a rope and tells her she needs to make nine ropes with blood knots on each. When she has completed this, he balls up some fabric and shoves it in her mouth.Joe returns to her apartment to find Marcel asleep safely in his crib. She breathes a sigh of relief.Days later, Joe is in the waiting room with two other women, checking her watch. The three-year-old Marcel hears a snowplow outside and wakes up. He crawls out of his crib and runs towards the balcony. When Jerôme arrives home later, he discovers his son on the outside patio, unmonitored.Joe and Jerôme are sitting by the fireplace. He asks her if she's still more fond of him than the others and wonders if she's going to leave tonight. She tells him no but he accuses her of lying to him. He says if she leaves tonight, she'll never see Marcel or himself ever again.That night, Joe struggles with a compulsion to leave to meet with K. Jerôme asks if she's saying goodbye and points out she's not a mother. He wakes up Marcel who begins crying and reaching out to Joe. He points out that it's Christmas but she leaves anyway.Joe bypasses the waiting room and walks in on K with a woman; she tells him that "Today, it is Madame who must wait." K asks Madame to leave. Joe reaches out to K and kisses him but he pulls away. He gives Joe the Christmas present he's kept in his desk. She unwraps it it is a flog built with the nine pieces of rope. She places it on a chair and bends over the couch. She tells him, "I want your cock." She reaches out for K's pants but he backs away. He leaves her tied up to the couch for a while. Finally, he picks up the flog and says on account of the holiday and her behavior, he's going to give her the original Roman maximum of 40 lashes. He begins lashing Joe across her ass several times. She has figured out K's knot technique so she has become able to loosen her position to move her pelvis and is able to stimulate her clitoris against the phone book he had to place under her for height. The lashing continues as classical music plays on the soundtrack. He finally reaches 40 and she screams out in agony; this is juxtaposed with the image of the 12-year-old Joe levitating in the air towards an ethereal glow.Seligman predicts that when she comes home, Jerôme and her child were gone. She confirms that she hasn't seen Marcel since. In anger, she throws a teacup against the wall. Joe tells Seligman that Jerôme said he couldn't prioritize a child into his life either so he put Marcel into a foster home somewhere in rural England. Her only contact with her son is the £1,000 she puts into his account every month. Seligman asks what happened to the silent duck, as Joe has forgotten. One night, K had been in a good mood and said he'd introduce her to the concept of the silent duck. K bunches up his fingers and makes his thumb like a mouth (like you would in a sock puppet), puts it in his mouth, and then puts his fist up Joe's anus. Seligman imagines hundreds of ducks quacking.Joe notices Seligman's mirror and asks if he's ready for another chapterCHAPTER SEVEN: THE MIRRORSet another year or so later, Joe is seen masturbating on a toilet at work. She begins bleeding from her clitoris after years of self-abuse. Joe leaves the bathroom and passes several co-workers who give her dirty looks. Her female boss has set up a meeting to discuss rumors about Joe that are going around the office that she sees men every evening and spends long nights with them. That she can't be trusted and will steal everyone's men. Joe admits she can't keep away from her coworkers men. The boss says she's spoken with a psychologist and her addiction can be treated in a therapy group. She demands Joe go, even though she doesn't want to, pointing out that this problem will persist her in any workplace.When asked about why she refused to go into therapy by Seligman, Joe reveals a very troubling story to him. A year after leaving Jerôme and worried about another pregnancy, Joe stops using birth control and finds herself impregnated by one of her lovers. She demands her physician remove the fetus immediately, which he doesn't and tells her that, to get an abortion, she must have a consultation with a psychiatrist. The meeting with the psychiatrist goes disastrously as Joe clashes with her over what she wants and what the psychiatrist thinks is best. In haste, Joe sterilizes and prepares several tools, takes a mixture of pills and vodka and, using the information she had acquired from her time in medical school, performs the abortion herself in her kitchen, eventually pulling the eleven week fetus out with a wire hanger. At first too shocked to answer, Seligman politely states that he feels for how Joe must have felt in that moment while stressing his need to not know how she did it. Almost offended by his opinion and his desire to not know the exact methods, Joe and Seligman clash over talks of abortion rights, the morality of abortion and killing animals for food and additional tools for removing the fetus before Joe talks about how she and her father would save snails on the walking trail from certain doom. Eventually, heads are cooled and Joe returns to where she left off in her story.Joe is in the therapy group filled with women who consider themselves sex addicts. Joe calls herself a nymphomaniac, although the moderator convinces her to use "sex addict" and that there, everyone is the same under that description. After the meeting, Joe has stayed to talk with the moderator Joe repeats the woman's theory that nobody can remove their sexuality even if its destroying their lives. The moderator clarifies, maybe one in a million sex addicts could live a life without sexuality and so her therapy isn't to cure them but to remove exposure. She suggests Joe determine what incentives she has (from expressing her nymphomania) and make it difficult to come in contact with them. Joe needs to get rid of anything that makes her think of sex so Joe goes home and cuts up the phone line, throws away books, gets rid of everything in the bathroom, tosses paintings, mirrors. She even paints over a bigger mirror so she cant see the glass, tapes newspapers over the windows so she cant see men walking by. Now her apartment is completely empty except for the herbarium she started as a kid (a book of plant pressings). She flips through the pages, licking her finger to turn each page. She begins licking her finger more sensuously and then performs fellatio on several fingers. It becomes apparent she can get rid of everything and the nymphomania wont disappear.In the therapy group, Joe tells the group she hasn't had sex for three weeks and five days. She has brought notes to tell them how she did it. After starting her speech, telling them that they're all alike, she looks in a nearby mirror and sees her 10-year-old self seated in the auditorium, watching her. The moderator asks if she wants a glass of water; she does. Joe still cannot start her speech, constantly glancing at the 10-year-old in the mirror (who she's betraying by denouncing her nymphomania). The moderator asks if she'd rather share another time. Joe looks again at the vision in the mirror, then tears up her speech and recites a new one on the fly she tells the group they are not all alike pointing out one woman who fucks to validated, another who just wants to be filled up in any capacity, and the moderator isn't empathetic but is acting like society's morality police whose duty it is to erase Joe's obscenity from the earth. She explains she's not like them she is a nymphomaniac and loves herself for being one; she loves her cunt and her filthy, dirty lust. Joe walks away from the shaken-up group.Cut to Joe randomly setting a car on fire inside of a large mansion.In present day, Seligman asks what happened. Joe apologizes for being in a hurry to get to the last chapter. Joe says that she finally realized society had no room for her and she had no room for society and never had. She looks around the room and cannot find an inspiration for a story heading for the next chapter. Seligman tells her text can sometimes seem empty and she might need to change her point of view. Things hide when they get familiar but if you look at them at another angle, they might take on new meaning. We see a vagina rotated and it turns into an eyeball. Joe turns her head and notices a stain on the wall from where her tea splashed against the wall. She asks Seligman if he sees what she sees he identifies the stain as a revolver but Joe explains that its a pistol because a revolver has a drum that revolves. It becomes clear Joe is very well versed in guns she identifies the stain as a Walther PPK automatic, which she recalls seeing in a Bond film. Joe explains that this is definitely something she can use for her chapter heading.CHAPTER EIGHT: THE GUNBack to Joe setting a car on fire. She walks away. Joe tells Seligman she doesn't know if she left society or it left her but she was now resorting to "debt collecting" (extortion) for a living. That's why she has burned someone's car.For a long time, she's known about a man named 'L'. She knocks on the door and meets L (Willem Dafoe), a gruff middle-aged man, for the first time. He knows who she is and thinks she has excellent qualifications. She points out that she can't have an office job because her nymphomania conflicts with it. He suggests that she starts her own business, with his help. She has a great insight on a broad spectrum of men and he suggests it be capitalized on. He needs subcontractors who can put moderate pressure on individuals with whom his clients have a bone to pick. Basically, he wants her to extort men who owe money but he uses the term "debt collector". He also encourages her to dissuade perspective on whether the clients wishes are justified or not.Joe's skills with men and sex, as well as specialized skills (like learning to tie a blood knot) make her a great debt collector. A man is tied to a table with his pants down. She goes to hit him with the knot; when he flinches, she repeats what K originally told her "This is not how it goes. You have to wait until you're hit."The next gig we see is her with two "helpers" in a very exquisite mansion, owned by a man in a suit who seems disinterested in the havoc they're causing. The henchmen destroy some of his things but the man doesn't seem to care. Joe is unable to read him sexually so she orders the henchmen to tie him to a chair. She pulls down his pants and explains that all men come with built-in truth tellers (i.e., whether his penis becomes erect or not). She tries various stories to see what will arouse him stories of sado-masochism, homosexuality, etc. He doesn't react to anything. So, as a last ditch effort, she tells him a story about him walking through the park and hearing something. The man begins to get erect. She realizes he is imagining hearing children on a playground and makes up an imaginary boy playing in the sandpit who looks at him, sits on his lap, asks if he can come home with him. The man's erection begins to grow. She continues the story "when you're home, you can't fight the idea of being naked together". The man finally agrees to pay, in order to make her stop. He begins sobbing, ashamed. After a moment, Joe gets on her knees and performs oral sex on the man's erect penis.In the present, Seligman is confused. Joe tells him that she took pity on him for having just destroyed his life. Nobody knew his secret, maybe not even himself. She points out that he had succeeded in suppressing his desire and never given into it, right up until she forced it out. He had lived a life full of denial and never hurt a soul, which she considers laudable. Seligman can't relate and she points out he is thinking of the five percent (of pedophiles) who hurt children; the remaining 95 percent never live out their fantasies. She tells him to think about their suffering, given that sexuality is the strongest force in human beings. To be born with a forbidden sexuality must be agonizing. "The pedophile who manages to get through life with the shame of his desire while never acting on it deserves a bloody medal," Joe tells him. She also admits she related to the man because she identified with his loneliness for being a sexual outcast.Some years pass and Joe's loan and collection business grows, allowing her to make higher amounts of anonymous deposits to Marcel. L tells her her business is doing great, she completes all the jobs he gives her to perfection, and the clients have nothing but praise for her.... but since she's getting older (Joe is now in her mid-to-late 40's), she has to start thinking about a successor. He tells her the process of finding her replacement involves finding a young teenager, finding out what parents are incarcerated, leaving a void in their child's life, and then find out where the kid plays football (U.S. soccer) and "you get involved, cheering them on, no matter how bad they are the worse the better". That way, Joe will take on the role of a foster parent until she has a loyal helper that will walk through fire for her, even do jail time for her. Joe isn't keen on the idea but L points out that at the least, she would provide parenting for a kid who would otherwise go without any. He's already found a suitable subject: a 15-year-old girl from a family of hardened criminals who has already been institutionalized. Her mother recently died of a drug overdose and her father is in prison. She plays basketball, very badly; she's chosen a team sport because she's lonely. And her right ear is slightly deformed which she's very ashamed of and this isolates her even more and makes her an easy target for a bit of affection or empathy.Joe has been talked into having a look and she attends a high school basketball game. She feels repulsed by the plan but nonetheless cheers for the teen girl with the deformed ear, who seems very sad and vulnerable (she also is sure to keep her right ear hidden under her hair). She calls the girl P (Mia Goth) and being around her fills her with pity and emotion and she finds herself attending each game every weekend.After a game, P approaches Joe and thanks her for cheering for her. Joe tells P she played really good and that she's been improving. Joe takes P to the same park that her father (Christian Slater) taught her about trees having souls, when she was 10. The ten-year-old Joe points out that the souls of the trees look like human souls and her dad agrees they look like twisted souls, regular souls, crazy souls, all depending on the lives human beings lead. He has found his soul tree he shows it to her, an oak tree in the shape of a Y. In the park, Joe tells P that she had never found her own soul tree but her dad had told her shed know it when she sees it.A few years later, when P becomes the age of majority (age 17 or 18) and Joe becomes her personal adviser, she asks P to move in with her. In their home, Joe convinces P to put her hair up and she is comfortable enough with Joe to let her right ear be exposed. At this time, all of Joe's sexual activity had stopped and her groin was one big sore from her abuse that wouldn't heal and it makes even masturbation impossible. Joe experiences abstinence symptoms fever and cramps. She is in horrible pain every evening. One night, Joe wakes up from sleep in chronic pain to get a drink of water and some aspirin. In the bathroom, she drops the glass on the floor and it shatters. P awakens and helps her clean up the broken pieces. P then helps Joe up off the floor and to bed where she gives her some aspirin and another glass of water and Joe goes to sleep.In the present, Seligman asks if P really loved her. Joe says she couldn't accept it.In the flashback, P takes care of Joe while she's resting, still in severe pain, the morning after the incident. P wants to see what Joe's vagina looks like since it's hurting her greatly. Joe argues her not to look, but P replies that she also has a deformity with her ear and wants to see. P looks at Joe's vagina and notices all the bruises from years of sexual activity as well as her Cesarean scar from when she gave birth. It makes her aware of how sexual Joe used to be. P undresses and asks if Joe likes her. Joe tells her she's beautiful. P gets into bed and begins to kiss Joe and all over her naked body (carefully avoiding her groin area). Joe only responds by crying.Seligman asks if P knew what Joe did for a living (debt collecting). Joe explains that P never asked about her work and was a very discrete person.But one day, in the park, P asked Joe why she started coming to her basketball matches and guesses it wasn't a coincidence. Joe tells her she's right and that she didn't tell her because she didn't want her to be upset with her. Joe tells P that her job is illegal. P points out that no one in her family does anything legal. Joe says a man ('L') that worked in her business suggested she become friends with P to see if she could use her in her line of work. P tells her not to feel bad because if she hadn't, they'd never have met. She asks Joe if she can go to work with her on her next assignment; the two of them kiss. P playfully begs Joe again to let her go... marking the beginning a lesbian romance between Joe and P.Seligman explains that social inheritance is irrefutable and if anybody knew about the laws of the street (and be appropriate for extortion), it must have been P. Joe confirms he is right.P is now working alongside Joe and the two henchmen. But she takes an overly aggressive approach to the victim, threatening him with a gun, forcing Joe to yell at her. Later at home, Joe tells P they don't use violence and demands the gun. P tells her guns aren't dangerous if used correctly and that she wasn't going to shoot someone because then they'd have gotten no money out of him. Joe still demands the gun and P hands it over. Joe loads a magazine. When she returns to P, she is pouting and says Joe is evil.In a weird coincidence, Joe and P go to a debtor's house and sees a name on the door: Jerôme Morris. Taken aback, Joe suggests P do this one alone. She tells P to make sure nothing is destroyed and nobody is hurt; she should just show herself and offer him a reasonable payment plan. P rings the bell and enters the house with the two henchmen (because a good 15 years have passed, Jerôme is now played by an older actor, not Shia LaBeouf). Joe no longer knows if she still feels love for Jerôme but she definitely experiences a feeling that is far stronger than she would have liked.Joe walks home through the same alley where Seligman first discovered her; she had learned the shortest route from Jerôme's house to her place is the alley. Later that night, P comes home and tells her it went brilliantly and that he made a reasonable payment plan. Joe asks how he looked and P responds, "scared." Joe asks how old he looked and she says, "I don't know ancient." P plants kisses on Joe's neck, then gets naked and jumps into bed with her for some more casual lesbian lovemaking.Joe explains that Jerôme was to pay off his debt in six payments. Every time P goes to his house to collect, Joe is nervous (that they'll become sexually involved) and is restless until P returns. She even begins playing solitaire, just like her mother did, in order to make the hours pass. Each night, she's less assured of P coming home than the night before; she is beginning to feel jealousy and doesn't know if it's the fear of sharing or the fear of losing P. But this unworthy feeling she hadn't felt her whole life (since Joe used to live a life with sex void of love) was now creeping up on her. With the 50-year-old Joe now having romantic feelings for a 19-year-old girl, makes Joe very confused.Some months later, the evening P was to collect the final payment, she doesn't kiss Joe goodbye. This makes Joe suspicious, especially when hours and hours go by. She lays in bed, expecting P to arrive every time she sees a car light in her window. Finally, Joe walks to Jerôme's house. She sees the two henchmen asleep in a car parked out front. Through the window, she sees a naked P in the kitchen of the house drinking from a wine bottle. Jerôme creeps up behind her in an embrace. The two wander out of sight.Joe walks home, having made the decision to flee since she can't stay in this town with P and Jerôme so close by. She begins to head south (because north would require her to turn around and face the town she is abandoning); she has an impulse to climb a large hill that she passes. When she gets to the top, she sees a large deformed oak tree completely alone her soul tree.Joe explains that its said to be difficult to take a person's life but for her, it seemed more difficult not to. She continues, "For a human being, killing is the most natural thing in the world; were created for it." In the flashback, Joe takes the gun she has confiscated from P out of the closet. She crosses back through the alleyway and is stopped short when she hears Jerôme laughing. She rushes back to find Jerôme and P horsing around in the alley. They begin kissing. Jerôme then walks right past Joe who points her gun and pulls the trigger but it fails to go off. She tries again but it still simply clicks. There is a moment when Jerôme realizes that she has attempted to kill him. Joe stands silently, left alone with the awkwardness of having been unsuccessful. After some time, Jerôme decks Joe hard in the face, so she collapses on the ground. P watches on, silently. Without any discussion, Jerôme continues to kick and punch Joe. He turns and looks back at P who responds by pulling down her pants and getting on top of a trashcan. Jerôme approaches and penetrates her three times vaginally (we see it written as 1 + 2 + 3, just like when Jerôme took Joe's virginity) and then five times anally (like in the first film, shown on the screen as 3 + 1, 2, 3, 4, 5). Now we see 3 + 5 on the screen over Joe laying hurt on the ground; the special numerical sequence that tied her to the only man she ever had romantic feelings towards. P saunters over to Joe on the ground and urinates on her. P walks away. Jerôme observes Joe a little longer, sympathetically, and then follows. He is out of earshot but Joe says, "Fill all my holes, please" (what she had said to Jerôme when they first moved in together).The story has now come full circle since this was the condition and location Seligman discovered Joe in. In present day, Joe tells Seligman she still doesn't know why the gun didn't work. She had checked to make sure there were bullets in the magazine and shed taken off the safety; it simply malfunctioned just like Bond's Beretta (hinting again that she is well versed on guns). Seligman points out that you can't shoot a Walther PPK, semi-automatic .38 caliber gun until you rack the gun; you pull and release the sliding mechanism. P hadn't done it because she had no intention of shooting the man during her first assignment. He also pointed out that from Bond films, it must be apparent that you have to rack an automatic pistol. Joe admits he's right and that she's seen it in films a thousand times (hinting that she knew subconsciously that she wasn't going to kill Jerôme and should feel less guilty).Seligman notes that it's morning and the sun is rising (having been up all night listening to Joe's life story). Joe looks out the window; Seligman tells her he can never figure out where it comes from (because his window looks out onto an enclosed alleyway, leaving only a sliver of sunlight). Joe says its beautiful and stares at the spot of sun in the darkness.Cut to a shot of a sunset. Seligman reminds her (and us) that in the beginning, Joe had said her only sin was that she asked more of the sunset. He expresses that this must mean she asks more from life than what is good for her. We see a montage of Joe as a child rubbing against the bathroom tiles, looking up an anatomy book at 10 years old, approaching Jerôme to take her virginity as a young teen. Seligman tells her she was a human being and a woman demanding her rights. He points out that if two men had walked down a train looking for women (like she and B did as teens), nobody would have raised an eyebrow. Or if a man had led the sexual life she had. Or how banal the story of Mrs. H would be if Joe was a man and her conquest was a woman.Seligman explains that when a man leaves his children for desire, we accept it as a shrug but as a woman, she had to take on a burden of guilt that could never alleviated. And all in all, all the blame and guilt piled up over the years became too much for her and she reacted aggressively, almost like a man (lighting cars on fire, etc.), and she fought back against the gender that had been oppressing and mutilating and killing her and billions of women. She points out she wanted to kill a human being flash back to her kissing Jerôme as a young adult, romantically. He points out she didnt kill him; she points out this was only because of a chance event. He says hed call it subconscious resistance; the veil of forgetfulness draped itself over her knowledge of how to rack a gun.Joe says she's too tired to debate. Seligman suggests she lay down and she does. Before she sleeps, she lets Seligman know that, by letting her tell her story, he put her at ease; she adds that, at this moment, her addiction is very clear to her and she's come to the conclusion that even if only one in a million can succeed in mentally and bodily ridding themselves of their sexuality, it is now her goal. Seligman asks her if its a life worth living; she tells him its the only way she can live. She says, "I will start up against all odds just like a deformed tree on a hill. I will master all my stubbornness, my strength, my masculine aggression." Joe also thanks Seligman for being her newest, and maybe first, friend. She says she's happy the shot didn't go off and make her a murderer. She then asks Seligman to leave so she can sleep. He says he'll make sure she isn't disturbed.After Seligman asks Joe if she will contemplate contacting Marcel, they say goodnight to each other and he shuts the door. Joe turns off the light and rolls over to sleep. Moments later, Seligman returns into the darkened room. He walks curiously over to the sleeping Joe. It is revealed Seligman is not wearing pants (although he has on a shirt). He touches his penis and walks over to Joe, preparing to rape her. She sits up in bed, noticing what he's doing. She tells him "NO!" and grabs the gun, racking immediately. The screen turns to black and we hear him tell her, "But you fucked thousands of men." A gunshot is heard. A body falls to the floor. In darkness, we hear Joe put her clothes on and hurriedly rush from the room. Loud footsteps reverberate down the corridor as Joe runs out of the apartment, down the building stairs and out the front door.Charlotte Gainsbourg's cover of the 60s rock song, Hey Joe plays over the end credits. | flashback | train | imdb | Nymphomaniac Volume II failed to satisfy my taste despite the fact that it has sex and porn.What I really hated about this movie is the reality that it is filled with boredom and absence of analysis.Most people who saw it were completely disappointed and unhappy with the unjustifiable ending.The conversation and dialog in Nymphomaniac Volume II is really boring and useless.The actors who performed in Nymphomania should do porn because they don't know how to act!..
This movie is not better than Volume II.Hard Black Penises,masturbation,oral sex,anal sex and can not find any drama but a complete waste of time.Why in this movie a nymphomania is a sex slave woman who is like a beast who always have sex and more sex without any purpose?.No drama just porno, and explicit sex and much nudity!.Black Men Are Slaves In This Film Why?.The end of the movie is too bad and uninteresting exactly like Nymphomaniac Movies: Volume I & II.Again If You Like To See A Porno Movie, go and rent a DVD or buy a porno movie and save your time and money!..
In Nymphomaniac Volume II, Lars Von Trier offers us a lot of explicit porn,erect black penises, gratuitous nudity,bizarre flashbacks and repetition.Despite the fact that Lars Von Trier deplores numerous explicit sexual scenes,this sequel is a failure.The failure of this film is in boredom and bizarre images of animals and sex as well as the total absence of tackling the issue of nymphomania.The end of the movie will disappoint you just like the whole film.It is so scarce to find any drama in this movie.It is a very clear fact that Nymphomaniac Volume I and Volume II were originally made as Porno Movies.So now you know the real truth!..
Divided into 2 volumes, Nymph()maniac is the final chapter in what is now being labeled as Depression Trilogy (preceded by Antichrist & Melancholia) and tells the story of a self-diagnosed nymphomaniac named Joe recounting her life's sexual experiences to Seligman; the man who found her badly-beaten up in some deserted alley plus who later tries to connect & analyze her stories with whatever he has read about.Volume 2 picks the story right from where Volume 1 signed off and continues Joe's retelling of her erotic endeavors to Seligman & how she ended up in his care.
And, if the previous half of Nymph()maniac had Joe engaging in one sex session after another down to the point that it became repetitive & boring, then this half shows her sexual ventures going a little extreme as director Lars von Trier throws in sadomasochism & pedophilia into the tale to amplify its shock value but it actually ends up even more repulsive than it already was.The story goes downhill from the already ineffective narration that was present in the previous part, the pace is still sluggish, some sequences are disturbing to watch while others are present just to stir more controversies or irk as many viewers as possible.
Although shot as one film, the second half of Von Trier's pornographic decent into debauchery at least picks up some substance as the titular character Joe starts to suffer for her obsession.
Two days before I was raving about Nymphomaniac I, as I found it funny, poetic, exciting, complex and meaningful in a fresh way.Now that I've watched the much anticipated second part it is as if I have to deal with another movie, one that has turned all the good things of the first part into bad.Things get serious and they get boring;Trier remembers his ever-moving camera tricks;dialogs begin to show that they want to point to something important, and we are forced to believe we are watching a drama, the drama of a suffering individual;the greatness of the modern first part is lost and the attack to eroticism is obvious, as the focus of the movie seems to be on the impotence rather than sexuality(or is this the border which sexuality eventually reaches?).All these having been told, the movie is not totally pointless;there is a subtle confrontation of the shallowness of the cognitive-behavior model versus the self-fulfilling vision of psychoanalysis, as a way of rediscovering oneself through narration;and there is a defense of the individual myth of everyone of us, giving sexuality the importance that has lately been neglected.But even so, Trier prefers the show and ends the movie with a narrative twist that seems to aim only at creating impressions.Anyway, I found it a pity it all ended that way and I keep wondering whether I was fooled into believing there was something great here in the first place.After all, it's one movie, not two, isn't that so?and judging it as one, I conclude that I find it interesting but not superb as I thought first.I keep preferring his early movies..
I urge you all before writing distasteful reviews that fuel only some type of parental guidance (this is not a movie for kids obviously) or claiming that this film is porn, to actually take the time to see a deeper meaning within the characters and their dialogue even though it is overshadowed with quite a bit of sex....
Nymph()maniac Joe (Charlotte Gainsbourg) continues to tell her soporific tale of sex addiction and S&M to asexual stranger Seligman (Stellan Skarsgård).I surely deserve some kind of medal for watching Nymph()maniac Volumes 1 and 2 back-to-back; either that or I need my head examining.
Actually, scrap that
it's more like a hardcore sex and S&M movie with some pseudo-intellectual claptrap in an effort to validate it as a work of art and not just extremely bad porn.It's hard to say who or what I hated most about this film, since virtually every frame irked me, but if I had to choose it would be both Skarsgård and Gainsbourg, whose lifeless performances threaten to put the viewer into a coma, Jamie Bell's irritating turn as professional masochist K (I have hated almost everything I have seen him in) and Shia La Beouf as Jerome (I've hated almost everything I have seen him in too).Having now sat through three Lars Von Trier movies, the other being the barely watchable Antichrist, I can now say that I am officially done with this director..
Failed to get the point of this movie.Although i found myself pitying Joe at the first vol , in the second one i got bored and tired from trying to translate the words, the scenes, the allegorical meanings...To sum up and clarify my review i should make a question ...
There is of course nothing wrong in director making a statement against something and showing a disturbing view of sex ; but at times it gets gory , filthy and disgusting and that's what unfortunately keeps floating in your mind after you are finished watching the movie .
Though both movies have the same tone, Kill Bill vol 2 runs at a different pace, and I was feeling that somewhat with vol II of Nymphomaniac, but while Kill Bill vol 2 was still entertaining, I was missing that with the second Volume of Nymphomaniac.Interesting enough, the strange turn Vol 2 takes is what I expected from Lars Von Tier.
Anyway, I honestly think that the second volume was very sketchy, but the overall concept is worth a watch.Budget: $4.7million Worldwide Gross: $4.9millionI recommend this movie to people who were into the first instalment of this movie and who want to see how the main characters life story progresses.
Nymphomaniac: Volume II The best part of being a nymphomaniac is you don't need to own many clothes.Surprisingly, the sex-fiend in this drama has a respectable wardrobe.Joe (Charlotte Gainsbourg) continues her sexual confession for Seligman (Stellan Skarsgård), the impartial passerby who found her beaten in an alleyway.From her failures as a wife and mother that lead her to weekly sessions with a sadomasochist (Jamie Bell), to her relationship with her father (Christian Slater) which now influences her relationship with her protégée (Mia Goth), Joe bares her soul to the stranger.Drawing ever closer to the reason she was left half-alive in the gutter.The final chapter of Lars von Trier's magnum opus, Volume II fills in a lot of the holes from the first volume but also tends to venture into some unlikely scenarios involving a criminal (Willem Dafoe).Ironically, this film's target audience will be having sex throughout it.
In this part, Joe (Charlotte Gainsbourg) is still telling her story to Seligman (Stellan Skarsgard), but his role is minor as he mostly listens and doesn't have many witty, maths-related remarks – which I thought was positive, and I liked that Joe asked him how could he possibly be thinking about mathematical formulas while she's talking about sex.
Also, this part shows us Joe ruining her monogamous life with Jerôme (Shia LaBeouf) because of her addiction, and we can finally see and understand the pain her addiction causes her.I like to think this part of the movie is more Trier-like: there is less pretentious crap and less oh-so-shocking sex, but more is said about the main character and the story actually goes somewhere (while the first part was mostly about young Joe having sex).
This film critique doesn't analyze the two volumes separately but as a whole.Lars von Trier's Nymphomaniac—a bold and daring cinematic treatise on lust, jealousy and solitude—proves to be a devastating life-changing experience that makes us question the nothingness of our existence.
Nymphomaniac: Vol. II, which has a rather somber feel thanks to a drastic tonal shift with respect to Vol. I, shows the middle-aged Joe (played by Charlotte Gainsbourg) finally come to term with the limitations, hardships and hypocrisies of a mortal's life as she ends up paying the price for her frenzied modus vivendi.Nymphomaniac is easily Lars von Trier's most accessible work till date.
In Nymphomaniac, Lars von Trier seems to have blatantly depicted almost all forms of human sexuality which makes Nymphomaniac a very challenging film to watch for an average viewer.
Nymphomaniac, like "Shame" and "Looking For Mister Goodbar", is yet another sordid, unsavoury, and totally sneering look at the consequences that are apparently supposed to result from excessive promiscuity.When it comes to sheer heavy-handedness - This shamelessly preachy, little picture self-righteously tells the viewer that having lots of sex with many partners is a hateful thing (so don't you dare love it).This is the sort of movie that neither stimulates the mind nor arouses the libido.
If you are expecting Nymphomaniac to live up to its title as being an intensely pleasant and wildly erotic experience, you are definitely in for a major disappointment.Incompetently directed by Lars Von Trier (who must be an utterly despicable prig) - Nymphomaniac amounted to being nothing but a dreary, little soap opera (with lots of graphic sex thrown in for good measure) that took 4 frickin' hours to get its shallow, sex-hating point across.....
Lars von Trier's second film about the life story of a female nymphomaniac goes down increasingly dark alleyways compared to VOL.
I won't be posting any spoilers, don't worry, but I will tell you this : unlike the people that criticize the movie for being just lame porn ( they are probably too young to see beyond the explicit content scenes ), I enjoyed the story ( slow as it was ), the plot with all its twists , the awkward situations and of course I am still trying to recover from the brilliant ending!
Von Trier won't exactly care to heed any criticism on the copious nudity and copulation found in his newest project just like the film's protagonist, Joe (her younger self played by Stacy Martin and her middle-aged self played by Charlotte Gainsbourg), confidently pursues her sexual addiction and attempts to ignore society's gasps.
So basically, the second film in von Trier's carnal opus is a long-winded, understanding of Joe's addiction and the ways in which she tries to subdue it, or if anything, control it.Volume II descends to the deep and dark corners of a woman who no longer finds simple penetrative intercourse pleasurable.
This is, however, excellent for intellectual adults who can appreciate or at least accept the need for Lars Von Trier to use these forms of expression, what ever explicit, because: If you understand the storyline and if you actually become interested in Joe's person and psychology, it's really quite obvious that it's not about sex.
omething'' by those who doesn't know an L of Lars Von Trier.But for those who are already familiar, after watching this piece of art would be awarded with probably the most weirdest but one of the most complete masterpieces ever made.One of those movies which could repel you as far as possible or can make you an addict.
Lars von Trier proves with every of his movie that he is the philosopher of our time, and what I personally like is his provocative character.
Just like the first half I didn't enjoy this installment much (it's way too dark and disturbing for me) but I did admire it's originality and artistic boldness.It stars Charlotte Gainsbourg as a 50-year-old nymphomaniac, named Joe, who tells her life story (as a sex addict) to a man who comes to her aid after she's been beaten (played by Stellan Skarsgård).
In a lot of ways I hated this movie; it makes me feel really disgusted and depressed and like I needed to take about twelve showers after I finished watching it, but that's what films like this are supposed to do.
The third part Nymphomaniac shows us the therapy and the possibility of outside help - if at all possible - examining the relation between patient and therapist.This is the background story but not the only subject because the patient Joe (Charlotte Gainsbourg) has a problem of pressing importance: she considers herself a nymphomaniac.L.v.Trier always chooses women as his main protagonists to tell his point of view maybe because they are more vulnerable, more outspoken (ready to tell their story) and more honest.As to what Nymphomania stands for in the movie I'm not quite sure: Among others it can stand for the lust for life and the uncompromising desire to live life at its fullest without having to sacrifice or be deprived of anything.
A third aspect (first being the structure – therapy, second the problem of Nymphomania as a desire for life) is how to handle Nymphomania visually and create a growing and believable story out of it.L.v.Trier decides to unroll it like a lifetime confession illustrating the discovery of lust, the quest for it, the guilt of possessing it, the loss of it and the painful way of regaining it with all its consequences - if you take it as a metaphor for life itself.A big part of transposing his view of life into the Nymphomania story has of course to do with L.v.Triers constant need for provocation, for taking the viewer (society) out of their comfort zone and confronting them with their own prudery and shame but at the same time using his special kind of humor – in fact this movie is actually very funny even in its bleakest moments.He uses his immense knowledge and education (philosophy, literature, music, art) and puts words in the mouths of his main protagonists that could be his, quoting even his former movies.Interesting is that even though he as a former patient (suffering from depression) sees himself as a part of the therapist as well but at the same time makes sure that we accept the impossibility of the two understanding each other.
If this is your first time enjoying a Von Trier film, you should be very aware, that he puts anything he wants in his movies, so be prepared to see and hear things that probably won't match the standards that you are used to.
If you read my review for Vol.1 of LARS VON TRIER'S epic film series of one woman's sex addiction(well first off you're awesome and THANK YOU)then you know I really enjoyed that film.I thought it was a really insightful and at times a kinda lighthearted,character study if you can look past the graphic sexual content.Now I couldn't wait to see this conclusion and my god!
I've never felt more betrayed by an ending before but NYMPHOMANIAC VOL.II has succeeded so.VOL.II picks up right where we left off with Joe's story.Now I'll try to avoid spoilers as much as possible in case you haven't seen the first part,so to summarize the plot of part 2 I'll just say that this time around we delve into darker,grimmer and incredibly disturbing moments into the main character's (Joe) life.Now that she's grown older,her sex life has become boring so Joe starts to turn to techniques that make the FIFTY SHADES OF GRAY trailer look like a promo for an ABC FAMILY sitcom.Meanwhile we still get the moments of conversation between Joe and Seligman that continue to the end of the movie and thus brings the biggest BITCH SLAP of an ending I've ever seen.Please check out my full review for NYMPHOMANIAC VOL.2 on my Tumblr, link to that is in my InstaBio. Have you guys seen the NYMPHOMANIAC movies?What are your thoughts?Drop a comment and LET'S TALK MOVIES!.
The entire film is woven into chapters as a well read and culture asexual listens to the life story of Joe. It is a thought provoking film that I would not suggest watching without your full attention - themes run throughout the two films and it almost comes in a full circle.Having never watched a Lars Von Trier film I really only had one expectation; graphic sex and violence.
Granted, "Nymphomaniac Vol. II" isn't as bad as a "found footage" gimmick but it did make me feel like Lars von Trier was more worried about getting people excited about a movie that contains real sex than he was about telling a naturally developing story.Still, through it all, the acting is still really good. |
tt2547584 | The Light Between Oceans | The movie opens in 1918 with Tom Sherbourne (Michael Fassbender) traveling by boat to a remote village off the coast of Western Australia. He has accepted the temporary position of lighthouse keeper on the island of Janus Rock. Janus Rock is a small island linked to the mainland, and only visited by boat four times a year by the shopkeeper, Harry, who brings grocery orders, supplies and mail. Because of Janus Rock's remote location and isolation, it was a difficult post to fill before Tom took it over. The permanent lighthouse keeper will return to his job in six months. Tom is a World War I veteran just back from Europe and is looking forward to the solitude the job has to offer.He is taken to the island by Harry and Bluey. Later we see him at the lighthouse, doing chores and he seems at peace with the solace. Three months into his post, he comes to town for lunch for a break and sees a young woman (Alicia Vikander) throwing bread to the gulls. They exchange a meaningful and extended glance.He goes to the home of one of the townsfolk has dinner. When the homes owner, Mr. Graysmark introduces Tom to his daughter Isabel, Tom is very pleased to see its the woman he saw earlier feeding the gulls. During dinner he finds out the two reasons the previous lighthouse keeper, Ferguson is on leave. Ferguson informed the authorities that his wife was signaling passing boats which is not allowed. Someone asked well what was the second reason? Mr. Graysmark says Mrs. Ferguson died two years previously. The impression is that he had a breakdown alone on the island and is in psychiatric care but is expected to make a full recovery. Tom returns to his post at the lighthouse.A few months later Tom is called into the office of his employer. He is advised the permanent lighthouse keeper leapt to his death from the cliffs. He is then offered a three year position as permanent lighthouse keeper. He accepts.Later, with flowers in hand, he visits Isabel,s home. Her mother invites him to lunch. He advised the family he will be in town for a few days. When Mrs. asks what he plans to do, Isabel pipes in and says, He has invited me on a picnic tomorrow. Tom looks surprised but pleased.While on their picnic, Isabel peppers Tom with questions but he is very reserved. He doesn't like to talk about the past or the future but she seems enamored with him regardless. Toms mother is deceased and he and his father did not have a good relationship. But his fathers sternness did serve to help him in the war. Isabel tells Tom she has lost both pf her brothers in the war. She tells Tom there is a name for someone who loses a spouse but not a name for a parent who loses a child.When Isabel asks to visit the lighthouse, Tom advises her its against the Commonwealths laws as only the lighthouse keeper and his wife are allowed one on the island. Isabel says, well marry me. Tom says "you'd have to have rocks in your head to want to marry me". She asks him to write her and he says of course he will.Over the course of the next few months, the two correspond and fall in love. When Tom proposes via one of these letters, Isabel accepts. Tom promises to always take care of Isabel and to love her forever.The two have a beautiful wedding and return to the lighthouse. They are very happy and it is very apparent, they are very much in love. Isabel once told Tom she plays the piano and she is very happy to see a piano in her new home. But Tom tells her it doesn't work and is sorely out of tune.Isabel soon becomes pregnant. Their days are spent deciding on names and Isabel making baby clothes. The couple is blissfully happy.One night during a very turbulent storm, Tom has to spend the night in the lighthouse to make sure it remains lit. Isabel asks to join him, but he tells her its safer in the house. She is unhappy but Tom kisses her and advises her she will be much safer at home. While doing the dishes, Isabel begins to bleed and experience labor pains. Knowing its too soon, she tries to climb the lighthouse tower to Tom but collapses. Due to the thunder and lightning, Tom does not hear her screams.The next morning Tom finds her unconscious and carries her back to their home. The baby is stillborn and the two bury the baby with a cross marker inscribed with the date and always remembered. Tom tells Isabel they can try again. Tom begs Isabel to let him send for a doctor but she refuses. A few days later, she sees a boat approaching and a man carrying what appears to be a medical satchel. She flies into a rage at Tom for betraying her wishes and runs off.Later, she sees one of the men on the porch and angrily storms into the house. She then sees it wasn't a doctor but a man Tom hired to tune the piano. They kiss and embrace.Late.r we see Isabel is pregnant again. Over the course of the next few months, her pregnancy advances. One day while playing the piano, she begins to experience bleeding and pain. She screams its too early and pleads with Tom to make it stop. Through his tears, he repeatedly pleads, Tell me what to do! Later there are two crosses signifying this baby died as well. Isabel is extremely despondent and depressed, spending her days lying in the grass next to the burial plots of her babies.One day while washing the lighthouse windows, Tom sees a rowboat in the distance. At the same time, Isabel hears a baby crying. Using a scope, Tom sees a body in the boat, he screams for Isabel, and they both begin running to the water. They discover a dead man and a baby in the boat.Isabel takes the baby into the house and feeds and changes her. When Tom comes in, he advises her he must send a message to town. She begs him to wait until morning. This greatly concerns him because it is against protocol be he agrees.The next day as he leaves to send a message, Isabel runs after him begging him to let her keep the baby. She pleads that no one needs to know. They can bury the body and raise the baby as their own. Tom says no. She tells him it is a victimless crime. He tells her they can report it and ask to adopt the baby. She convinces him no one will allow a child to be adopted by a couple basically alone on an island with no hospitals or schools. She pleads with Tom. With both in tears, they embrace.Tom buries the body and sends the boat out to see. While pushing the boat out to see Tom notices a silver rattle in the shape of an owl. He places it in his pocket. He then pulls up the last cross from the grave of their second child and sends a message to town informing the baby came early, Isabel is fine and no need for medical attention.A few months later Bluey and Harry visit with provisions. They congratulate the happy couple and remark on how beautiful the baby is. Bluey notices the rattle while playing with the baby, Lucy.Lucy grows and flourishes on the island and is a very happy baby. The family visits town and Lucy meets her grandparents. The child is very pleasant and eats with a great flourish to the families delight. Family and friends travel to the vicar for Lucy's christening and while waiting for the vicar, Tom hears a woman singing. He sees a woman (Rachel Weisz) in black leaving flowers on a grave, curious he walks to the marker after she leaves and reads it. It is the grave of her husband and child.Later, Tom asks the captain about the woman. She is Hannah, the daughter of one of the wealthiest families on the island. She married a German baker (Frank Roennfeldt) and the citizens of the town were displeased due to many losing family and friends in the war. When she tells her father Septimus Potts (Bryan Brown) that she is to marry him, he disowns her. She marries him anyway and the two were very happy. They had a daughter, Grace. One day after being harassed by the townsmen, Frank grabs Grace and jumps into a boat. The two are lost at sea and never found. This occurred around the same time Tom and Isabel found the baby. Tom is devastated. He tells Isabel they must confess what they did. She tells him its too late and the baby is hers. She is her mother. Tom is visibly torn.Before returning to the lighthouse, Tom writes a letter to the mother telling her the baby is fine but her husband died. He tells her she is loved. Meanwhile, Hannah, her father and her sister Gwen ask the police to search for the baby but he doesn't appear concerned.Three years past. Lucy is a happy, beautiful child who is worshipped by Tom and Isabel.On the 40th anniversary of the lighthouse, the family visits town for a ceremony. The Potts family has commissioned an exact replica of the lighthouse for display. Tom turns and sees Lucy's mother. When asked to say a few words, he is too shaken to make much sense and blames it on the surprise of being asked to speak.Later at the reception, Isabel meets Hannah and is devastated when she realizes who she is. She runs to the ladies room and is sick. Tom again begs her to let him tell the authorities but she refuses him. Later that night Hannah hears her mailbox and inside finds a package containing the owl rattle. Isabel's father suggests the lighthouse is too isolated for the mother and child and suggests Tom leave the two in town for a while. The three are then seen on the boat returning to the lighthouse. Isabel is downcast.The Potts take the rattle to the police and fliers are placed around town with a reward for information regarding the rattle. We see Bluey reading the flyer.A few days later a boat is headed to the island. Tom tells Isabel he is sorry, but he had to do the right thing but he will tell authorities it was all his doing. Isabel furiously attacks Tom. The police take Lucy and Tom is thrown in jail. During his interrogation Tom is accused of killing Frank but he insists Frank was already dead. Isabel is questioned and asked if Tom killed Frank. The audience does not see her answer the question. Lucy is inconsolable with her mother. She begs for Isabel and Tom and the lighthouse.Isabel is released from jail and is seen in bed crying, her mother pleading with her to eat.One day on a visit to town, she sees Lucy (Grace) in the store with her mother and aunt. Lucy runs to Isabel and her mother repeatedly asks Isabel to give her the child. She takes the child from Isabel as Lucy screams. Isabel breaks down.Captain delivers a letter from Tom to Isabel and tells her that Tom needs her. She replies so does my baby. She doesn't read the letter but places it in a drawer.Hannah visits Tom in jail. She asks why they did it. He tells her Isabel is innocent. It was all him.We later find out Tom is to be tried for murder. Apparently Isabel told the police he killed Frank.One day Hannah calls Lucy (Grace) for dinner. When she doesn't answer, she searches the house but cant find her. The police visit Isabel's home; she is there, but no Grace. Hannah prays that if Grace is found, she will do what is best for the child. A search of the town begins. Grace is later found asleep near the water. She was trying to find the lighthouse.Hannah remembers a conversation with Frank when he tells her it is easier to forget a wrong done against you than hold on to it forever. The next day, she visits Isabel and tells her that the right thing may be for Grace to be with Isabel. She tells Isabel that once she testifies against Tom, she will return the child to her.Isabel's mother tells her that Tom loves her and while Grace also has people who love and care for her, Tom only has Isabel. Isabel finally reads the letter and realizes how much Tom loves her. She runs to the jail, but Tom is already headed to the boat to be moved for his trial. She races to the dock and runs to Tom. He tries to hurry the boat but she confesses that Frank was already dead and it was all her fault. She was the reason Tom kept the baby.Later, the constable is speaking with Hannah and he tells her Frank was already dead. She asks what will happen to Tom and Isabel, he tells her jail. She asks what if I speak on their behalf. He asks why and she repeats what Frank said about forgiveness. He tells her Tom and Isabel would probably only spend a few months in jail.Later, Grace and her grandfather are riding a horse and he is telling her about her mothers childhood. When he calls her Grace, she says my name is Lucy. He says "well what if I call you Lucy Grace?" She says that is fine. They find Hannah lying in the grass and she and Lucy Grace bond while making daisy chains. It is clear Lucy Grace is growing comfortable with her mother.The next scene indicates it is now 1950. In a hospital bed we see Isabel asking Tom if God will forgive her. He says he already has but she just needs to forgive herself. Later, Tom is sitting in his kitchen when he hears a car approaching. A woman gets out with a baby and introduces herself as Lucy Grace. Tom gives her a letter from Isabel. The letter tells her how she stayed away from her as agreed but hopes she would someday find them. She tells Lucy Grace how much she was loved. The letter informs Lucy Grace that if shes reading it Isabel has died but Lucy Grace finally came to find them.Lucy Grace places the baby in Toms arms. As the baby coos, he tells the baby that Isabel would have just loved him. Lucy Grace asks Tom can she and baby Christopher visit him again, he says he would love for them to. They embrace and Tom closes his eyes and cries.The End | flashback | train | imdb | Both Michael Fassbender and Alicia Vikander put in two very strong performances, along with Rachel Weisz in a supporting role, and the film completely captures the period after the First World War. To me it seemed very much in the mode of 'The Piano' and equally as strong in terms of its dramatic dynamics and conflicts.
Watch and if I am wrong please tell me why.Michael Fassbender just takes emotion to a very realistic place and portrays a man with fear , regrets , love.
This film tells the story of a married couple living in a remote lighthouse, who finds a drifting boat in the sea with a healthy baby and a dead man inside.
Based on M.L. Stedman's best-selling novel, starring Michael Fassbender, Alicia Vikander, Rachel Weisz, Bryan Brown, and Jack Thompson, adapted and directed by Derek Cianfrance, THE LIGHT BETWEEN OCEANS is essentially about a lighthouse keeper and his wife living off the coast of Western Australia and they raise a baby they rescue from an adrift rowboat.
In THE LIGHT BETWEEN OCEANS, I think Alicia Vikander plays that with such strong conviction and ferocity, so much so that even though you know her character is doing something wrong, a part of you wants her to get away with this act, because Vikander has made you feel sorrowful for what her character has gone through.
And Michael Fassbender plays the lighthouse keeper husband with a conscience, the film does deal with fate, love, moral dilemmas, and how far you're willing to go to get your dreams realized after having previously seen them crushed a few times, what secrets would you keep to make those dreams realized and so Fassbender's moral compass keeps bugging him.
If you've seen director Derek Cianfrance's previous films, "Blue Valentine" and "The Place Beyond The Pines," you'd know that Cianfrance is not one to shy away from couples' confrontations, it's as if he wants his actors to really unleash their strongest resentment possible, so when conflict arises between Vikander's character and Fassbender's character or between Vikander and Rachel Weisz's character, it's so real and ugly that you wouldn't want to get in the middle of it otherwise they might come at you as well.
A newly-married couple, Tom and Isabel (Alicia Vikander), living on a remote lighthouse island off the west coast of Australia in the second decade of the twentieth century, find a baby washed ashore in a rowboat.
The tension comes not from storms at sea but the ramifications of their keeping the child a secret.Notwithstanding the absurd good fortune that they find a baby after her two miscarriages, the story becomes increasingly complex with intersecting themes of passionate love and doing the right thing.
The first film I watched from director Derek Cianfrance was Blue Valentine, which impressed me very much because it was able to transform a trite domestic drama into a devastating exploration of the factors contributing to the breaking off of a love between a very human and realistic couple.
And now, his most recent film, The Light Between Oceans, also challenges expectations by taking a typical "prestige" movie, and bringing it an emotional deepness which is rarely found in similar films aiming at attracting nominations and critical acclaim; you know...
The story of The Light Between Oceans is superficially simple and not very original; however, the gradual accumulation of complications and moral dilemmas adds an intellectual and almost philosophical aspect which complements the tormented romance of the lonely man who found love late, only to see it in danger when certain circumstances interfere in his happiness.
For the path of true motherhood runs not smoothly for poor Isabel, and a baby in a drifting boat spells both joy and despair for the couple as the story unwinds.(I'll stop my synopsis there, since I think the trailer - and other reviews I've read - give too much away).While Fassbender again demonstrates what a mesmerising actor he is, the acting kudos in this one really goes again to Vikander, who pulls out all the stops in a role that demands fragility, naivety, resentment, anger and despair across its course.
After a slow start, director Derek Cianfrance ("The Place Beyond the Pines") ladles on the melodrama interminably, and over a two hour running time the word overwrought comes to mind.The script (also by Cianfrance, from the novel by M.L.Stedman) could have been tightened up, particularly in the first reel, and the audience given a bit more time to reflect and absorb in the second half.The film is also curiously 'place-less'.
"The Light Between Oceans" had all the right ingredients to be a serious Oscar contender, a great director, a great cast, beautiful cinematography, a beautiful score, and a gripping story, but it ends up falling way, way short of its end goal, it's unrelenting in its efforts to get an emotional reaction out of its audience, and in doing so the movie loses some of its humanity and relatedness, the film also suffers from its 2 hour run time, with about 20-25 minutes cut from its run time, it could have at the very least been a solid period drama about such a daunting subject matter, but instead it's just a very big disappointment..
When you go back and watch another film by director Derek Cianfrance, The Place Beyond the Pines, you see how effective the decision is to tell the story over a very long period of time, and jump around, focusing on certain parts of these people's lives.
Derek Cianfrance, who directed the poignant Blue Valentine and the riveting The Place Beyond the Pines, brought probably the best out of Michael Fassbender and Rachel Weisz in quite some time, even if the film pulls at your heart strings a few too many times.Amidst the beautiful landscaping shots of sunsets, beaches, and oceanic views, Cianfrance crafts the story of a couple who desperately want a child but can't have one, extremely well.
But in the brief periods when they are contented it's sunny and the sea is placid.Meanwhile the musical score – and it needs one – plays incessantly, not that it is interesting either, it uses similar stereotypical gestures, its moves with same overt declarative impulse.In all this emotion the story is nearly infantile it in its simplicity, it is one straightforward drama: it contains no other plots, no other elements which combine and deliver layers to beguile its audience.If this writing, if it can be called that, is compared with its template, the classic novel, the big difference and it's a very big, is that those books had vitality and well developed characters.
When you watch a romantic film, you expect it to achieve skilled levels of drama, acting, entertaining and relatable story to keep the viewer engaged, but still have a realistic romantic plot.
Cianfrance has performed remarkably well in his other two efforts ("Blue Valentine" and "The Place Beyond the Pines") however, this is probably his weakest overall outing yet."The Light Between Oceans" tells the story of Tom and Isabel, who live on a remote island.
Michael Fassbender as the stoic and tortured Tom, has the actor showcasing another effortless and engaging presence that proves he's got plenty more to offer the realm of cinema.Co-star Alicia Vikander, recently just crowned for her riveting turn in Tom Hooper's "The Danish Girl" earlier this year, is as capable as ever in portraying a difficult and unlikable character.
3 stars for the cast: The cast is simply great and led by strong performance of Michael Fassbender (one of the best male actor of his age) as an introvert yet very sensitive and upright WWI veteran, followed by Alicia Vikander bringing all range of the femine emotions on the screen from a naive local beauty up to an emotionally destroyed mother (Academy Award worthy) and finally strong performance delivered by Rachel Weisz as loving and forgiving mother.
There's too much heavy-handed symbolism in the first half (from a hellish storm hitting the lighthouse area as a womb ruptures) to rocks being held by Vikander's character as if it's also her uterus (which unintentionally made me giggle thinking of a line from Raising Arizona, which in a way this is most alike but done in full serious mode), and the last several minutes kind of rushes things along to a finale that is a wee bit more Nicholas Sparks than the movie should be.
The Light Between Oceans gains some momentum as it goes along, but Arkapow's cinematography and Cianfrance's choices of the sea and sky and birds and other objects to photograph threatens to overwhelm the already This-Goes-to-11-Volume main cast.All the same Fassbender, Vikander and Weisz get their eyes spectacularly wet and pained, and the existential plight of this married couple caught in the old Woody Allen maxum, "our lives consist of how we choose to distort it" (and the widowed mother made a seemingly permanent victim of this), who only want the best for this little girl (albeit in criminal terms of course) is felt deeply enough to make it a unique piece of filmmaking.
It is there, he falls in love with Isabel, played by Alicia Vikander, They coo, woo, and marry and life seems complete...until ugly things happen to beautiful people like them.
The casting is very good but the chemistry and overloaded slow paced subplot hamper the build up of the character's development.Performance wise Michael Fassbender and Alicia Vikander has done well for their role but Rachel Weisz has done an outstanding job for the role of Hannah Roennfeldt.
Tom, Husband (Michael Fassbender:Steve Jobs) and wife Isabel (Alicia Vikander: Danish girl) lead a quiet hopeful life on a small island.
And the same Tom when he sees Hannah (Rachel Weisz:too many good movies) a lady , sad and unhappy because she lost her husband and baby on the same day , reveals to the mother that her child is alive and well in a very secretive manner.
At least unlike the dour, navel-gazing Place Beyond the Pines (2012), The Light Between Oceans sees Cianfrance fit to festoon his pensive yet rudimentary directing sights on a remarkably old-fashioned melodrama; the kind that involves a lot of sobbing, stares into the middle-distance and people wearing old-timey clothing.The Light Between Oceans takes place largely on an isolated island off the coast of Australia where WWI veteran Tom Sherbourne (Fassbender), has taken a job as a lighthouse keeper.
They sell the period detail, they sell the merits of their solitude, they sell the rapture of their blossoming love; heck they almost sell the story, which by the second act, works against them like a gale against a wafting paddle boat.The film takes its time, but eventually ebbs into a lively littoral zone of story possibilities with the arrival of Lucy (Clery).
As one would expect, the couple find out a little more than they'd like about Lucy's past and the rest of the movie builds itself on a series of moral choices that risk destroying their reputations, their marriage and their love.Cianfrance certainly has a knack for ferreting out stories about the cross-generational ripple effect of one or two bad decisions.
Some of them carry around this sadness for a long time and for others in the movie this emptiness and loss of joy, or any positive emotions at all will come later in the film due to the various situations and events that occur in these character's lives throughout the film.
The story's tagline – 'Love demands everything' - is very well chosen.The movie opens in 1918 with Tom Sherbourne (Michael Fassbender) traveling by boat to a remote village off the coast of Western Australia.
The manner in which the decision is made as to who should keep the now four-year-old Lucy/Grace (Florence Clery) involves concepts of birth mother versus adopted mother, guilt in deciding how love plays in the role of justice, and any number of other issues so beautifully managed by the story and the script and the actors.The well-assembled supporting cast includes Thomas Unger as the critical decisive character of Bluey, Jane Menelaus and Garry McDonald as the parents of Hannah (whose frightened German husband Frank (Leon Ford) attempted to escape with their baby when prejudice against Germans broke out in their town), and others.
Outstanding, Fassbender's, Vikander's and Weisz's performances, not to mention the rest of the crew, either you have it or not, this is chemistry from the finest, filmed and surrounded in an incredible landscape, they choose to place the lighthouse in the middle of this story like a symbol of hope, love, despair, loneliness and courage, what would we do or choose in such a situation, a lie remains a lie as little it is, even for the sake of the one you love, what a tragedy, one bad decision changed the life of all concerned and there seemed to be no hope, but fortunately forgiveness and unconditional love triumphed in the end, superb!.
What woman would not want a husband like Tom, played so beautifully by Michael Fassbender, or be willing to accompany him to an isolated lighthouse station for years on end?PLOT SPOILER AHEAD:Everything in this gentle slow paced film was perfect except for a couple of wrong notes beginning with the casting of Rachel Wiesz as Hannah, who at 46 was too old for the part.
You can see some tough moral issues on the making, made worse by the fact that the baby's mother is alive and none too happy about loosing her family at sea.In the course of a few years the situation reaches boiling point, with Tom - also suffering from survivor's guilt - deciding to find a solution.The plot develops a bit too slowly and the final part seems contrived to squeeze some more tears from the audience.
Since Isabel's second miscarriage has been kept secret from her family and friends, they decide to keep the little girl they name Lucy and raise her as their own.Though Tom knows that the decision cannot be justified either legally or morally, he lets his heart rule, basing his choice on what it will mean for his wife's happiness.
It is a choice that is fraught with unknown pitfalls that soon become real when a chance encounter with a woman weeping at an empty grave mourning her husband and daughter leads to an ever spiraling chain of events that capture the torment of a man caught between his love for his family and the despair of a distraught woman (Rachel Weisz, "Youth") whom he has the power to help.The Light Between Oceans tells a compelling story that has enough intrinsic power to touch us deeply.
Rather than probing the soulfulness of its characters in a way that is subtle and nuanced, however, the film is often overwrought and fails to involve us on a level that feels authentic, short circuiting its emotional force with an intrusive musical score that signals how we are supposed to think and feel.The moments that do evoke real emotions come from simple situations told without straining for effect: the reading of passionate letters between Tom and Isabel, a woman crying at an empty grave, and a little girl now known as Lucy Grace, (Florence Clery) joyously riding with her grandfather (Bryan Brown, "Gods of Egypt").
Set against a visually stunning lighthouse that stands between two raging oceans, the film's title and place is a metaphor for an irresolvable ethical dilemma and the power of self- sacrificing love.We meet Tom (Michael Fassbender) as an upright and emotionally scarred veteran of World War !
There's a definite whiff of TV movie, issue of the week stuff about this drama in which lighthouse keeping couple Michael Fassbender and Alicia Vikander adopt a baby who appears on their isolated, rocky outcrop home in an adrift rowboat.That it does not go too far into that territory is thanks to some superb acting all round.There is some stunning photography throughout and director Derek Cianfrance creates a spellbinding atmosphere...even if the film does dawdle with some too extended establishing scenes (you'll find yourself thinking 'get on with it man').Difficult to pin point which is the better performance, but special mention must definitely go to the children playing Lucy/Grace - incredible stuff from little ones.4/5 stars..
In this case, the decisions are made by the various story members but you might want to ask yourself what you'd do in the same situation.The two leads a superb - Michael Fassbender and Alicia Vikander - and the scenery is wonderful and atmospheric.Not a movie I'd watch again and you have to like a particular type of movie to enjoy it but give it a whirl and see what you think..
The rest , wheel you have to see it and i assure you you won't be sorry of taking the time to watch this movie.Like i said, i prefer sci-fi, horror , thriller, so i started watching this movie without many expectations, but after a while the story just keeps you glued to the screen.Good acting, beautiful island, and great story, i found myself really emotional on the end of this movie, love at the best, even you're doing the wrong thing for the right reasons.
Directed by Derek Cianfrance (Blue Valentine, The Place beyond the Pines), The Light between the Oceans is a truly moving and poignant film that tells the tale of two extraordinary love stories, brought together by fate and tragedy.
Tom Sherbourne (Michael Fassbender), a lighthouse keeper and his wife Isabel Graysmark (Alicia Vikander) found and decided to keep and raise a newborn baby washed ashore on their lighthouse island.
"No one will know she's not ours." Tom Sherbourne (Fassbender) and Isabel Graysmark (Vikander) are a married couple living on the coast of the ocean.
Derek Cianfrance's The Light Between Oceans (2016) had so much potential that was sadly wasted on forced sentimentality.Lighthouse keeper Tom Sherbourne (Michael Fassbender) and his wife Isabel (Alicia Vikander) find a dead man and a baby in a drifted boat. |
tt0040724 | Red River | In 1851, Tom Dunson (John Wayne) and friend Nadine Groot (Walter Brennan), join a wagon train in St. Louis (or near St. Louis), headed for California. After three weeks, they approach north Texas, where the land looks good to Tom. He decides he wants to break away from the wagon train and go find a place to start a ranch of his own. The wagon master tries to order him to stay, then tries talking him out of it, all to no avail. Tom is also pretty handy with his fists and a gun, so there wouldnt be any forcing him.Along with Tom and Nadine on the trip to California is Fen (Colleen Gray), Toms love interest. He and Fen are basically engaged (in love, anyway) and she wants to come with Tom and Nadine to find a ranch. Tom wont hear of it, promising to send for her once hes settled in. She doesn't like the idea of having to wait, but promises to come. Before leaving, Tom gives Fen a bracelet that belonged to his mother.Tom and Nadine take off with their wagon, horse, one bull and two cows, and get maybe 10-15 miles from the wagon train, near the Red River, when they look back and see black smoke. Realizing that the wagon train has most likely been attacked by Indians, they know they cant get back in time to help, and that some of the Indians are likely to come looking for them soon enough anyway, so they set up in a defensive posture and wait.Sure enough, maybe 6-7 Indian braves show up and begin an attack with a fire arrow that hits Tom's and Nadine's wagon (but doesnt do much damage). Both Tom and Nadine are good shots and they kill most of the attackers right away. However, one of their cows was killed by the Indians and then Tom has to fight hand-to-hand. He kills one Indian as they fight and fall into the river. Tom notices the Indian he killed was wearing the bracelet hed given to Fey. Tom then sneaks out to kill the last one or two Indians of the group, who were still out there hiding.The next day, theres a young boy named Matt Garth (Mickey Kuhn) who comes strolling along leading a cow and talking to himself, like hes lost his mind. Tom slaps the kid to snap him out of his trance. The kid then pulls a hand gun and points it at Tom. Tom grabs the gun and takes it away, knocking the kid down. The kid is not crazy, but just play-acting. Tom tells him never to pull a gun on him again. The kid has spunk and tells Tom never to take his gun from him again. Tom turns to Nadine and says, hell do. Tom hands Matt's gun back to him and allows him to come with them. Apparently, the family or group Matt had been with was attacked by Indians too, so he had no one left.The three of them travel deep into Texas, stopping at the Rio Grande, where Tom pronounces himself the new owner of all the land visible north of the river. He also says that 10 years hence, hell have the biggest and best ranch in all of Texas, with plenty of beef to feed and nourish all the people around the area. He tells Garth and Groot that he will brand all the cattle in his future herd with a D double bar (the bars representing the banks of the Red River). Matt wants an M added to the brand, but Dunson says he'll have to earn it.Two Mexican men come riding up and introduce themselves as employees of Don Diego, the man who owns the land they are standing on. At that moment, Don Diego was at his ranch headquarters 400 miles south, in Mexico. Tom tells the two men to ride back and tell Don Diego that all the land north of the Rio Grande now belongs to him and hes taking it. One of the men says that just cant be and he goes for his gun. Tom outdraws him and shoots him dead. He tells the other man to take his friends horse and go back and tell Don Diego what happened. Tom told the guy that he would take care of burying the other man's body.Flash forward nearly 15 years later to find Tom, Nadine and a grown Matt (Montgomery Clift) having a discussion about Matts recent return to the ranch, and the major problem of there being no market in Texas for all of Toms thousands of cattle (thanks to the Civil War basically bankrupting everyone). The decision is that they will need to drive the cattle north instead, to Missouri, to sell them. Tom was going to make Nadine stay behind, as Nadine was getting too old to ride, but the trail cook had just quit, so Nadine got to go, as the cowboys would need a cook.Tom and Nadine had a funny exchange, right after Tom had told Nadine he had to stay behind. Nadine was talking to himself, complaining about the decision, while Tom was trying to talk to Matt. Tom finally turned to Nadine and asked him what he was saying and why didnt he have his new teeth in his mouth, because he couldnt understand his mumbling. Nadine responded that everyone else could understand him just fine and he was keeping his teeth in his pocket until he needed them for eating.Matt was overseeing the branding of the cattle, preparatory to the drive, and having the men turn loose any cows belonging to a rancher named Meeker (Davison Clark), or to Don Diego. Tom rides up and orders that no cattle be turned loose and that they all be branded with the D-Double Bar brand (his). Matt doesnt agree, but tells the men to go ahead and do as Tom says.About that time, Mr. Meeker rides up with some of his men, including a hired gun, and asks Tom for permission to look through the herd to cull out any of his cows. Tom denies permission, telling Meeker that hes branding all of the cows he has, regardless of any other brands they may already have on them.Things get pretty testy and Matt and Mr. Meekers gunfighter, Cherry Valance (John Ireland) exchange words. Matt has become very handy with a gun himself. Tom relents somewhat, in that he decides to offer Meeker $2/head for any of his cows that make it to Missouri and get sold. Meeker agrees. Cherry then decides hed like to work for Tom instead of Meeker and asks to be hired on. Tom hires him at $10/month, the going rate for a trail hand.Matt and Cherry are just itching to have a fight (preferably a gunfight), and Tom realizes its probably inevitable, but he forces them to get along for the time being. They do have an initial challenge contest, where they borrow each others guns and alternately shoot at a tin can, impressing each other with their respective skills.In the bunkhouse, theres a poker game the night before the drive starts. Quo (Chief Yowlachie) is sitting opposite Groot. Groot has a good hand, but when Quo bets one silver dollar, Groot is aghast. Thats equivalent to 3 days pay. He asks Matt to loan him a dollar, but Matt refuses. The rule of the game is that only whats on the table at the time can be used to bet with. So, Quo asks Groot whats in the small bag he has there on the table and Groot tells him it contains his false teeth. Quo says hell accept half interest in the teeth to cover the one dollar bet. Groot isn't happy about it, but he agrees. They show their cards. Quo has the better hand and demands the teeth. Groot wants to know how hes supposed to eat without his teeth and Quo tells him that come grub time, you get em.Dunson comes into the bunkhouse and tells everyone that its now or never as far as their decisions to go on the drive. He tells them that there will be no hard feelings for anyone who wants to stay behind, and promised them that theyd still have jobs on the ranch after the drive is over. He tells them that theyll be doing good to make 10 miles a day on the 1,000 mile drive, 15 miles if they are lucky. Theyll face bad weather, dust, Indians and border gangs (once they get close to Missouri). But, once a cowboy says hell go, hes expected to finish the drive, whatever happens. Dunson makes everyone going sign a piece of paper representing their word to stick it out.The next morning, breakfast was served at 4:30 and, with nearly 10,000 head of cattle grouped together, at 5 a.m., Dunson quietly told Matt to take 'em to Missouri. All the cowboys whooped and hollered as they started out.Quo holds Groot to the results of their bet, only loaning the false teeth back to Groot at mealtimes. Groot is not happy about that. He tells Quo that the teeth help him keep the dust out of his mouth. Quo tells him to keep his mouth shut then, and dust not get in. Groot complains that before the drive is over, hell probably eat enough land to get himself incorporated in the Union as the State of Groot. Quo still says no. Dunson isnt happy about the situation either, complaining that Groot mumbles and needs to have his teeth in to be understood.The men start talking about taking the cattle to Kansas instead of Missouri, as its closer and there are less hazards along the way. However, because no one has personal knowledge of a railway actually being in Abilene, KS (where rumor has it there was one), Dunson says to forget it.Dunson goes through 3-4 horses a day, so hes obviously very involved in the drive.The group is 30 days into the drive with no major issues. One cowboy remarks that he doesnt like that. It makes him nervous. He prefers a balance of things going well and having trouble, not just one or the other. The trouble part does come, and it starts as a result of Bunk Kenneally (Ivan Parry) continuing to get into the supply of sugar (he dips his fingers into the sack whenever he can, which gets him in trouble with Groot). Everyone has been on their best behavior as far as being quiet, because the cattle are on edge. They are tired and there are coyotes milling about. Everyone is worried that the cows will stampede if something spooks them. So, when Bunk clumsily knocks over some of the cook pots as hes getting into the sugar, thats enough noise to start a stampede.One of the cowboys prefers to wear a bowler hat. He gets trapped behind a shrub in the middle of the stampede, so Matt and another fellow ride up and each grab an arm of this fellow and they carry him off to the side of the stampeding cows and let him down.After the cows are stopped and calmed down, it's noticed that one of the wranglers, Dan Latimer (Harry Carey Jr.) is missing. Latimer wore checkered pants and would talk about using the $100 he would be earning on the drive to buy a place to farm/ranch, and a pair of red shoes for his wife.A search begins and they find what's left of Latimer's distinctive checkered pants among a bunch of dead cattle. Dunson tells Matt to make sure the widow gets Dans money and whatever else. Matt replies, like a pair of red shoes?Dunson reads over Latimer's remains the next morning and as he puts the Bible back on the wagon, he goes over and picks up Groots' whip, at the same time calling out to Bunk: Bunk Kennally, you started all this! 400 cows dead and Latimer too. Stealing sugar like a little kid. Well, we whip kids to punish them for things like that.Dunson tells Teeler to strap Bunk to a wagon wheel. Before Teeler can do that, Bunk speaks up and acknowledges that he is remorseful about Latimer and the dead cows, but he tells Dunson he wont stand to be whipped. As he goes for his gun, hed likely have been shot dead by Dunson, but Matt draws first and shoots Bunk in the shoulder, saving his life. Dunson turns to Matt and says, you shot him, you take care of him!Matt provides Bunk with two horses and sends him back home. Cherry observes all this and tells Matt that while hes real fast with a gun, hes got a soft heart, and that will get him hurt some day. Matt says that could be, but not to count on it.40 days out, with reduced rations (after one wagon was destroyed in the stampede), the men become increasingly restless. Tom reminds them that they all signed on to see it through, like it or not.A cowboy named Sutter (William Self) rides up, his head bandaged and barely able to talk (there was a rope burn around his neck), saying he had been riding with the Garwood herd (2,000 cows) when they were ambushed by about 100 bandits. Hearing that, Naylor, Fernandez and another hand tell Dunson theyve had enough (but not until right after theyd watched Dunson set his gun belt down as he was preparing to go get some water). Dunson tells them they cant go. They reach for their guns as Groot tosses a loaded and cocked rifle to Dunson. Dunson's shots, in combination with those fired by Matt and Cherry, kill the three wranglers.Dunson orders the three buried, announcing that hell read over them in the morning. That prompts one of the cowboys to say: Plantin and readin, plantin and readin. Why, when youve killed a man, why try to read the Lord in as a partner in the job?Matt argues with Dunson over the need to confront and kill the three men. He and Groot both tell Dunson hes wrong to do such things. Groot then patches up a bullet wound on Dunsons lower left leg.That night, Teeler, Kelsey and Laredo are on watch, when they decide to take some ammunition and flour and ride out, headed back home. The next morning, Dunson sends Cherry and Buster to go get the three and bring them back, dead or alive.The herd arrives at the Red River. Matt wants to give everyone a rest and cross the river first thing in the morning. Dunson will have none of that, and orders the crossing to begin immediately. He finds a couple areas of quicksand in the river to be avoided then orders the crossing to start. The process continues into the night. Between 30-40 head are lost during the process.Dunson is limping badly and pulls heavily from a bottle of whiskey once he sits down to rest. Hes exhausted, refusing to sleep until Cherry gets back with the three cowboys who left. He wants to make sure no one else tries to leave. Hes sure once the three are returned and punished, no one else will leave.Cherry does come back, on the 4th day after he left, with two of the cowboys: Laredo and Teeler. Cherry said Kelsey chose not to return, so he had to shoot him. Dunson announces that he is going to hang the two. Matt tells him that he wont be doing that, and he will be the one to stop him. Dunson braces his right hand on a piece of wood to stand up and face Matt, but Matt shoots him in the hand. When Dunson tries to draw his gun, he isn't able to hold onto it and it falls to the ground. Dunson reaches down for it with his left hand and Buster shoots the gun away.Matt announces that hes taking over and will be taking the herd to Abilene. He says that Dunson will be left behind. Groot offers to stay with Dunson, but he tells Groot to go with the others. He then tells Matt that hell come after him and will kill him.Groot is later calculating how long before Dunson gets to another town, rounds up some new men, and catches up to them. For the next 2-3 weeks, everyone on the drive is nervous and jumpy, anticipating his return.One of the steers is found dead, filled with Apache arrows. Matt sends Buster and Cherry ahead 10 miles with rifles to scout and keep watch. Buster comes riding back all excited, with news that theres a wagon train about 18 miles ahead, the Donegal party, headed from New Orleans to Nevada, to set up a saloon for gambling, drinking and partying. He says there are dancing girls with the wagon train. Matt decides that the men need and deserve some distraction and decides to head the herd to the wagon train before continuing on to Abilene.As the herd approaches the wagon train, they hear shooting. The train is under attack by Apaches. Matt gives orders for the men to split into two groups and come at the Indians from the sides, while he and a few others ride down the middle. It takes some time to get all the men rounded up and ready, so Matt and the few others go ahead and ride straight to the wagons, jumping right into the middle of the circled wagons and helping fight the Indians who were circling around, yelping and shooting their arrows.Matt finds himself side by side with a very attractive woman who is firing a rifle (but not very well). Shes Tess Millay (Joanne Dru). He tells her to load and hell shoot. She perceives that hes angry about something and wants to know what. About that time, she takes an arrow to the right shoulder, pinning her to a wagon. Matt cuts the shaft so she is free from the wagon, but he has to finish the Indian fight before helping more. The rest of the men finally come charging down the hill and the men within the circle of wagons come charging out and the Apaches decide to hightail it.Matt returns to pull the arrow from Tesss shoulder, then he decides he needs to suck some poison out of the wound. She slaps him across the face for doing that, then passes out.Theres a big party that night, making use of the food, drinks, cards, and girls that are all available in the camp. Tess asks Groot to tell her all about Matt, because she "needs to know." She also wants to talk to Matt before they get back on the trail the next day. Groot goes and finds Matt (hes out in the evening fog, on watch) and tells Tess where he is. She goes out there and gets up close and starts talking to him. She tells him that he needs to talk to her, that talking about his concerns and fears is the way to deal with them.Matt doesnt need all that much convincing to talk, as she's a very soft and pretty girl that is very close to him. He opens up and they quickly get very comfortable with each other. Shed fallen in love with him immediately. He probably did too, but needed a bit of convincing that it would be ok to fall in love with a saloon girl.As its raining hard and there are worries about the level of the next river to be crossed. Matt decides they need to do it right away, even though its nighttime.Meanwhile, Dunson has gathered 8 new men and is on the chase. Nine days after the herd had left the wagon train, Dunson and his men come across the wagons. Tess immediately announces that shell "take care of Mr. Dunson." She considers shooting Dunson, as he sits in her tent talking to her, but he knows she has a pistol and is prepared to shoot her first if need be. It doesnt come to that. He notices shes wearing his mothers bracelet and asks her how she got it away from Matt. She sarcastically says she stole it, then admits she loves Matt and that he gave it to her.As they talk, Tess tells Dunson that she wanted to go with Matt on the drive, but he said no, it was too dangerous and tough. That reminded Dunson of the day when he turned down his womans request to go along with him. He was nevertheless bound and determined to go find and kill Matt, and tells Tess she cant say or do anything to change his mind. She keeps after him, though, and he acknowledges his disappointment in Matt, saying he was the son he never had and would stand to inherit his ranch if he hadnt betrayed him.Dunson takes a fresh look at Tess and offers her half of everything he owns in exchange for her bearing him a son. She says shell do it, if hell stop pursuing Matt. He says no, so she begs instead to be allowed to go with him. He says ok.Matts understandably stressed about whether they will find a railroad in Abilene, and the fact that Dunson is hot on his trail. Fortunately, they hear a train whistle in the distance and come across a train, about 12 miles from Abilene. The engineer is very thrilled to see the herd, as are the townspeople who come riding out to meet and greet them. They tell Matt to drive the herd right down Main Street so all the people can see (thats nearly impossible not to do anyway, as its a tiny town).Its August 14, 1865 and marks the time the first cattle drive on the Chisholm Trail is completed.In Abilene, Mr. Melville (Harry Carey Sr.) represents the Greenwood Trading Company of Illinois and offers immediately to buy the entire herd. Matt has no experience at selling cows, so hes hesitant to accept the $20/head offer. Mr. Melville then tells him to go out and find the best price he can for a lot of 500 cows and then hed match the price and still buy the whole herd. It ends up being $21/head. Matt signs the contract and receives a check for $50,000, with the balance to be paid once a final tally is arrived at. He makes sure all the cowboys get paid right away.Matt returns to his room at the Hotel Royale and is shocked to find Tess in there, all dressed in black. She apologizes for appearing as if shes in mourning. She tells him Dunson is camped outside town and will be coming to get him in the morning. It's likely that they get to know each other intimately that night.The next morning, everyone has gathered at the front of the hotel, waiting. Buster rushes in through the cows on his horse to announce that Dunson and his 10-12 men were riding in. Dunson, meanwhile, is telling his men to remember where they each stand in all this, which apparently is to hang well back and not interfere. Dunson dismounts on the far side of the railroad tracks and sets out with a very purposeful walk, through the cows and across the tracks.Cherry, realizing that Matt is not likely to draw and shoot it out with Dunson, confronts Dunson before he gets to Matt. They both draw and shoot, wounding each other. Cherry falls, but Dunson continues on. He gets close and tells Matt to draw, but Matt refuses. Dunson draws and empties his gun, shooting all around Matt, knocking his hat off and grazing his right cheek, drawing blood. He then walks up to Matt and wants to know what he has to do to make a man out of him.Dunson grabs and tosses away Matts gun. He reminds Matt that as a boy, he once told him never to try that again, but Matt doesn't react. Dunson then punches Matt in the face 2-3 times, knocking him down. He drags him back up, ready to hit some more, but Matt shocks him by punching him and knocking him down. They brawl until Tess fires a pistol into the air, stopping the action. She chews them out loudly for awhile, then decides maybe they should go ahead and pummel each other, and she turns away so they can continue.They don't start fighting again, however. Instead, they stand looking after Tess. Dunson tells Matt to marry that gal. Matt says, When are you going to stop telling people what to do? Dunson says, After one more thing. After we get back to Texas, Im going to make the brand the double bar D, with an additional name (he scrawls out an M in the dirt). You earned it! | revenge, murder | train | imdb | In "Red River," "Rio Bravo," and "The Big Sky" Howard Hawks is far from the magnitude of Ford's "The Searchers." Under Ford's instruction, John Wayne is fluent and moderate, refined in conduct and manners as in "The Quiet Man." With Hawks, Wayne's character prevails differential tendency toward passion and fury...It is soon evident that the cattle boss is tough to the point of obsession
It could be argued that only men of this spirit could have handled and survived the first pioneering cattle drives
One of the drovers (John Ireland) wants to make for Abilene but gets no change out of Wayne
When the cattle stampede Wayne goes to 'gun-whip' one of the hands, Clift intervenes
It was then evident that Wayne was going to drive his men just as hard as he intends to drive the cattle
"Red River" is a Western just as much concerned with human relationships and their tensions as with spectacle and actiona hallmark of Hawks' films and this element is introduced when the pair meet up with a boy leading a cow
The boy confirms the wagon-train massacre, and the boy and the cow from then on are included in the partnership
This is not only a key-point of the narrative but also a highly symbolic moment
For some years Garfield was the only screen rebel...
"Red River" will remain a film with a unique flavor
It has, and will continue to have, its own special niche among honored Westerns
With two Academy Award Nomination for Writing, splendid music score by Dmitri Tomkin and excellent acting including the supporting cast, the film had all the concepts of Howard Hawks' quality: vigor in action, reality as opposed to emotions and a faculty of scale....
Red River(1948) contains a trademark flirtious man-woman relationship between Matt Garth and Tess that also evident in some of the director's other works...I.E., His Girl Friday(Walter & Hildy), Ball of Fire(Potts & O'Shea), To Have & Have Not(Harry & Slim), The Big Sleep(Phillip Marlowe & Vivian Sternwood), and Rio Bravo(John T.
And it was his debut, Red River was filmed first, but held up in release and Clift's The Search was released first to the public.John Wayne had one of the best faces for movie closeups ever.
I've often wondered whether DeMille copied Hawks, or Hawks was influenced by DeMille's silent Ten Commandments.Red River is a must, for John Wayne fans, for Monty Clift fans, for fans of both and of great movie music like I am..
There are some who see the relationship between Tom Dunson, (John Wayne), and his surrogate son Matthew Garth, (Montgomery Clift), as mirroring that of Captain Bligh and Fletcher Christian and again that isn't too far off the mark either.
Howard Hawks' western venture starring Wayne and Clift (his career debut indeed) as two plumb opposite types of men from almost every aspect, lead a mighty cattle migration in the vast prairie and notably to stride across the red river, but en route, the bigoted Thomas (Wayne) slowly loses his trust among his crew, and dissent emerges, eventually his adopted son Matthew (Clift) has to oust Thomas in order to finish their drive to the right destination, an ultimate chase from Thomas will heighten the drama to its peak.
Howard Hawks' rangy Western has a perfect role for John Wayne and a nice introductory one for Montgomery Clift within the tale of a cattle trail by the Red River D herd through Indian and gang-led territory.
With their assembled group of hands they head off North, but many problems will come their way, not least, a fallout due to Dunson's tyrannical ways, meaning there could well be mutiny on the range.Without a shadow of doubt, Red River is one of the greatest Westerns ever made, boasting incredible performances from the cast, directed with sumptuous skill by Howard Hawks and photographed as good as any film in the genre.
Tho Chase would be annoyed at the changes Hawks made to the story, he surely would have marvelled at the finished product, with Harlan's photography in and around Arizona's locales capturing a cowboys terrain expertly and Dimitri Tiomkin's score stirring the blood and pumping the viewer with Cowboy adrenaline.If anyone doubts John Wayne as an actor of note then they need look no further than his performance here as Dunson.
Walter Brennan and John Ireland also shine bright in support, while a special mention has to go to a wonderful turn from Joanne Dru as Tess Millay; Howard Hawks' CV shows a ream of strong female characters, and here Dru firmly puts herself in amongst the best of them; check out her first appearance alongside Clift, it's precious.Red River made a fortune upon its release, it was revered by the critics back then, and it's still being revered today.
With him is his adopted son Mathew Garth(played by Montgomery Clift) and other veteran western actors like Walter Brennan, Harry Carey Sr. and John Ireland.
Tom Dunson (John Wayne , Hawks originally offered the role of Thomas Dunson to Gary Cooper) builds a cattle empire with his adopted son Matthew Garth (Montgomery Clift first movie , but because it was shelved for 2 years, the first film the public saw of Clift was ¨The search¨, which he was Oscar-nominated for).
With the numerous presence of homesteaders the town prospered , stabilized and grew , its lawabiding citizens decided to discourage the troublesome cattle trade with his transient cowboys and early requested the Texas cattlemen to drive their herds elsewhere , which they soon did and Abilene's role as a wild cow town came to an abrupt ending.The picture gets thrills , action Western , shootouts , a love story , a violent battle of wits between father and adopted son ; being quite entertaining .
Towering acting from main cast playing larger-than-life characters as John Wayne as obsessed Tom who owns a sprawling cattle empire , and Montgomery Clift giving one of his most enjoyable and least complicated acting .
Great supporting cast headed by three-time Academy Award winner Walter Brennan , John Ireland , Hank Worden , Paul Fix , Noah Beery , Coleen Gray and the only film that father, Harry Carey, and son, Harry Carey Jr. appeared together in .
More importantly, they recognised, for the first time since the early 30s, that the old west could be a setting for stirring and powerful stories.Red River proves this point, using the plains and cattle drives as a backdrop for a tale of loyalty, love and the trials of life, with a scope as vast as the West itself.
Perhaps Ford was the better of the two directors in relaying the Western themes to the screen, but Hawks was the better storyteller and he shows his steady hand all throughout Red River, more than just about a cattle drive from Texas to Missouri, but also about the relationship between a man and his adopted son and what it would mean to each of them to see this accomplished.Who would have thought that the young, handsome actor supporting and perhaps upending the great Western actor John Wayne would become that which he did?
Howard Hawks and Arthur Rosson's adaptation of Borden Chase's tale of cattle driving across America at first glance (in other words the first twenty minutes or so) seems almost like it won't have much to it, except to glorify the old Cowboys and Indians approach to a western, and to have the lead as a one sided viewpoint over the story.
But what soon becomes clear about Red River is that the supporting characters (such as Montgomery Clift as Wayne's son, Walter Brennan as one of the fellow Cattle drivers, Joanne Dru as the lady of the bunch, and Harry Carey as a cattle buyer) bring out a greater sense of humanity to the film, and there are scenes captured by Hawks and his cameraman Russell Harlan that are, for lack of a better word, glorious.
Very few people will cheer the character that John Wayne portrays in this film but nearly all of us who appreciate a performance of a lifetime will applaud the acting job that the 'Duke' did in Red River.
This 1948 Howard Hawks classic is one of the greatest westerns of all time.John Wayne has rarely been as good as he is in this film.The story is clearly a western Mutiny on the Bounty with Wayne's Tom Dunson serving as Captain Bligh and Montgomery Clift(BRILLIANT IN HIS FIRST FILM)as Matt Garth is Fletcher Christian.
However good Wayne and Clift are they are supported by a superb cast including Walter Brennan who's always great in these kind of films.
The cinematography is truly breathtaking and Dimitri Tiomkin's beautiful score is among his best works.I at first watched this movie cause Monty Clift was in it but i was astonished to find out that John Wayne could really ACT.All in all this is my personal western favourit and a must for all John Wayne fans..
More than a Western, Howard Hawks' classic is the ultimate theater's movie, that you can't watch without wondering how the sight of the epic cattle; cows and bull crossing the river, the heart-pounding stampede or the simple "Yee-ha" scene would have felt on a big screen.Given that, what's left from the experience when you watch it on TV?
There is a reason why people remember "Red River" better than the pompous all-star casted "How the West Was Won" for the film is more complex and even more brilliant, and the thrills come less from the scenes involving the cattle than the central relationship between Mr. Dunson and Matthew Garth, John Wayne as the tough self-made ranch owner, and Montgomery Clift as the soft-hearted fast-gun adopted son.The movie opens when Dunson leaves a trail wagon in 1851, the leader asks him to stay, but Dunson says it better, if he signed, he'd stay.
John Wayne plays the head rancher, and among his workers and upstarts are a son-like youngster (Montgomery Clift) and a old-timer best friend (Walter Brennan).
It's a shame the Duke didn't get an Oscar for "Red River" -- his Tom Dunson is one of the most three-dimensional characters I've seen in a long time, and this from a 51-year-old movie.
And those are just the actors I recognized -- by the end of the movie, you feel like you know all these cowboys, and you feel a little sad that the journey is at an end.What it boils down to is, if you ever needed proof that John Wayne could be an actor when the situation was right, ride down to the nearest video store and get yourself a copy of "Red River." You won't regret it!.
Red River is an epic but flawed western which loses focus when it introduces a love interest in the last third of the film which leaves it with an odd and almost absurd ending.John Wayne (Dunson) plays a driven man who has built up a cattle empire in Texas and not through entirely legal means.
The villain must despise everything that moves, and be the fastest gun around.Red River has all of these attributes and more.The story revolves around cowpuncher Dunstan(John Wayne)who is looking for a cattle ranch to run.With the help of Nadine(Walter Brennan)and a lad he virtually adopts, this dream is realised.
(Good old black and white cinematography!) The supporting cast contains a number of the old familiar faces, and they look as if they were born to the saddle.The role of Cherry (played by John Ireland) is as large as Wayne's and Clift's in the book, but it is cut to ribbons in the movie, apparently the result of some spat Ireland had with Hawks.
In Texas 1851, Thomas Dunson (John Wayne) is bringing his cattle to Red River, when his adopted son Matthew Garth (Montgomery Clift) turns against him.Director John Ford was the undisputed master of the western, and the man who launched John Wayne to stardom in "Stagecoach" (1939).
While Ford was the first to admit that Hawks got the best performance of Wayne's career (up to this point) out of "Red River", Ford still has the more iconic western films overall.
Clift was apparently directed by Hawks to play down his acting around Wayne, even to hide behind a coffee cup so as not to steal a scene, so we have to give him a little credit, even if this is not his best work.Interesting, when John Wayne was asked about what film he considered his best, this did not immediately come to mind.
This was probably if not the best film that was released during 1948.Montgomery Clift portrays Matt Girth extremely well and Walter Brennan also performs a good part as Tom Dunson's side kick.In summary a story about the cattle drives of the 40's what problems a they faced.
I wasn't expecting TOO much, though the involvement of Montgomery Clift gave me cause to think this was perhaps not just another standard John Wayne cowboy film and I knew it was directed by some heavyweight like John Ford or that Hawks fellow.
Released in 1948 and directed by Howard Hawks (with Arthur Rosson), "Red River" stars John Wayne as a tough ranch mogul who heads a cattle drive from Texas to Missouri, the culmination of over 14 years of work.
Hardened rancher Tom Dunson (John Wayne) and adopted son Matt Garth (Montgomery Clift) set out on 1,000 mile cattle drive.
As with most American made westerns, The scenery is beautiful, weither the film is black and white or colour.John Wayne gives off another excellent performance and probably one of his best.
The theme music is just perfect and a real pleasure to listen to.The film has a brilliant narrative and the storyline is one of the greatest in movie history.The end of the film is happy even though some scenes of red river are quite brutal, One of Howard Hawks best movies.A must see for all cowboy and western fans..
Years after violently declaring Texas land as his own in the 1850s, financially-strapped cattle rancher John Wayne, trail-hand Walter Brennan, and 'adopted' son Montgomery Clift hire a team of cowboys for a treacherous cattle drive north to Missouri, where steer brings in a higher price than Texas.
If you consider cavalry films to also be westerns -- I'm not sure where I stand on that -- then add Ford's "She Wore A Yellow Ribbon" to the list."Red River" deals with a cattle drive from Texas to Missouri, and although the threat of Indian attacks is present, this isn't a cowboys vs.
John Wayne, Montgomery Clift, Walter Brennan, and Joanne Dru all turn in first-rate performances under the direction of Howard Hawks.
Hawks and John Ford were the two best Western directors of their time (hard to say who was better).Tom Dunson, John Wayne's character, stakes out his turf in the West Texas scrubland, far from any town.
Just knowing that this is one of John Wayne's finest performances would make "Red River" worth seeing, but this excellent Western has even more going for it than that.
"Red River" (1948) would have to be near the top of the list.I watched this movie mostly because of Montgomery Clift, who is at the height of his good looks in this film.
John Wayne is at his ornery best in this classic western, filmed in 1946 in glorious black & white with plenty of ambiguous gray in terms of storyline and characterization.Wayne, as rancher Tom Dunston, leads a cattle drive out of Texas bound for Missouri, where his beef can fetch a decent price provided he can get his men across hundreds of miles of Indian territory without a wholesale mutiny.
I might add that it rarely looks as if the herd of cattle numbers much more than a few hundred never mind the alleged 10000 but that said the famous stampede scene is thrillingly rendered even so.These caveats aside this is an all-time great Western, brilliantly directed by Howard Hawks, so good in fact that I actually prefer his style to the slightly corny, over-sentimental films in the same genre by the still-great John Ford.
John Wayne gives one of his very best performances (only THE SEARCHERS is better), as Tom Dunson, a tough, tyrannical cattle rancher determined to move 9000 cows from Texas, where there is no market for them, to Missouri, where he'll get a lot for them.
John Wayne's best acting in a film, spurred on by the intensity of Montgomery Clift, great supporting actors and directed to perfection.
A truly great western about a beleaguered cattle drive from Texas to Missouri in the days immediately following the American Civil War.I only like John Wayne when he's playing dark and disturbed, not something he played very often, but something he does very well in this film.
A young cowboy(Montgomery Clift)rebels against his Texas cattle baron foster father(John Wayne)on a cattle drive across the Red River to Kansas.
For those who've never seen it, I'll only say that this 1948 Howard Hawks epic of John Wayne, with his adopted son Montgomery Clift and sidekick Walter Brennan undertaking the first major cattle drive on the Chisholm Trail is one of those supreme classics, like Hitchcock's Vertigo or Kurosawa's The Seven Samurai, which is as appealing as entertainment for a general audience as it is impressive as a work of art to critics.
Howard Hawks' 1948 western "Red River" is today considered one of the best films in the genre.
John Wayne gives one of his finest performances in one of his more meatier roles as the uncompromising cattle boss, while Montogomery Clift makes an excellent debut and Walter Brennan is wonderful.To conclude, a very good film.
However, the film gos down hill just after Matt (Montgomery Clift) takes control of the cattle drive from the tyrannical Dunson (John Wayne). |
tt0289043 | 28 Days Later... | In Cambridge, three animal liberation activists break into a medical research laboratory. A scientist in the lab desperately warns them against releasing the captive chimpanzees, which are infected with a highly contagious rage-inducing virus. Ignoring his pleas, the activists release a chimp, which infects a female activist. She then attacks and infects everyone else present.
28 days later, in London, Jim, a bicycle courier, awakens from a coma in St Thomas' Hospital. He finds the entire hospital deserted. He wanders the streets of London, finding it deserted as well, with signs of catastrophe everywhere. Jim enters a church and finds a priest, who turns out to be infected. Jim flees, attracting attention of more infected, but Selena and Mark rescue him. At one of their safehouses, they explain to Jim that while he was in a coma, a virus spread among the populace, resulting in societal collapse. They claim the virus has been reported in Paris and New York City as well, suggesting the infection has spread worldwide.
The next day, Selena and Mark accompany Jim to his parents' house in Deptford, where he discovers they committed suicide in bed together. That night, the three are attacked by more infected. Mark is bitten, and Selena kills him. She curtly explains that the virus spreads through blood and saliva and overwhelms its victims in 10 to 20 seconds. She warns that should Jim become infected, she will kill him "in a heartbeat". The two see some blinking Christmas lights from Balfron Tower and head there. They discover two more survivors – cab driver Frank and his daughter Hannah – who allow them to take shelter. The next day, Frank informs them that their supplies – particularly water – are dwindling. He plays them a pre-recorded radio broadcast from a military blockade near Manchester, claiming they have "the answer to infection" and promises to protect any survivors who reach them.
The group board Frank's cab and head to Manchester, bonding with one another during the trip. At the deserted blockade, Frank is infected when a drop of blood falls into his eye. He is killed by the arriving soldiers, who take the remaining survivors to a fortified mansion under the command of Major Henry West. West reveals to Jim that his "answer to infection" entails waiting for the infected to starve to death and luring female survivors into sexual slavery to repopulate the world. The group attempts to flee, but Jim is captured and chained next to Sergeant Farrell, a dissenting soldier. Farrell shares with Jim his speculation that the virus has not spread beyond Great Britain and that the country is being quarantined.
The next day, the soldiers prepare the girls for gang rape, while two soldiers lead Jim and Farrell to execution. When his executioners argue after killing Farrell, Jim escapes. Jim lures West and another soldier to the blockade, where Jim kills the latter and leaves West stranded for arriving infected. He runs back to the mansion and releases Mailer, an infected soldier West kept for observation. Mailer quickly spreads the infection among the soldiers in the mansion. In the confusion, Corporal Mitchell drags Selena upstairs to rape her, but Jim interrupts and kills him. The two reunite with Hannah and run to Frank's cab. Jim is shot by West, who has been waiting inside the cab. Mailer grabs West through the rear window of the cab and kills him. The trio finally leave the mansion.
Another 28 days later, Jim is recovering at a remote cottage. Downstairs, he finds Selena sewing large swaths of fabric when Hannah appears. The three rush outside and unfurl a huge cloth banner, adding the final letter to the word "HELLO" laid out on the meadow. A lone jet flies over the three survivors, the infected are shown dying of starvation, and the pilot calls in a rescue helicopter. | mystery, murder, allegory, cult, violence, horror, thought-provoking, atmospheric, insanity, romantic, suspenseful, entertaining, sci-fi | train | wikipedia | But seeing them occur in the place you call home is something that gives it an entirely new sense of reality, and one I was previously unaccustomed to.Still, judging 28 Days Later entirely on its merit as a film, it's easy to arrive at the conclusion that it's a fantastic achievement, as well as a coming-of-age of sorts for director Danny Boyle; I can't say the MTV-inspired vanity of The Beach, or the self-consciously trendy posturing of Trainspotting appealed to me, and to my shame I initially expected 28 Days Later to be given a similar treatment.
Definitely a wise choice to film this on digital video.You will occasionally meet people who thought 28 Days Later wasn't 'scary' or 'gory' enough.
That, I think, is where the real Horror of 28 Days Later lies.28 Days Later, like the Romero zombie flicks of yore, is ultimately an allegory of the days we are living in, an age in which we are constantly confronted with violence by the media (much like the ape right at the start of the film), where violence begets violence, and humanity faces an uncertain future.
I didn't get around to seeing it until a few days ago and I gotta feel like that was somewhat of an embellishment on the promoters' part.When environmental terrorists attack a lab that contains diseased chimps who are infected with a "Rage" virus, they unwittingly let loose a plague that lays waste to England and(perhaps)the rest of society.
A friend of mine told me that this movie's running zombies was what inspired the zombies in the remake of "Dawn of the Dead",but where "Dawn of..." was pretty much a full-throttle action/horror hybrid from about start to finish,this film plays more like a "What if..." movie,with less emphasis on the creatures themselves and more on the (lucky?) survivors.
By making not in precise terms a "zombie" movie- you never hear "living-dead" uttered in this film, although you do hear "infected" and a new word for what these people have, "rage".
Indeed, this is what the infected have in Britain, when a monkey virus gets let loose on the Island, and from the beginning of the infectious spread the film cuts to a man, Jim, lying in a hospital bed, who wanders abandoned streets and views torn fragments of society in front of him.
I can see their points of view, since I saw many similarities in Romero and some other films (the military scenes reminded me of Day of the Dead, though the chained up Zombie in this was done for more practical reasons, and the supermarket scene is a little unneeded considering the satirical reverence it had in Dawn of the Dead).
28 Days Later shares a striking resemblance with Resident Evil, in that it kind of starts where RE left off: after one of the most exciting intro sequences I have ever witnessed (!), a lonely average-Joe, (Jim in this particular case) wakes up in a deserted London and takes a jolly good walk through the intimidatingly empty streets.
As may have guessed by now, this will be a story of survival.While most horror films will offer a relatively exciting ride with little more than sparse scares, Danny Boyle's movie sheds a new light on the survival instinct of human beings which can damned well spook the living hell out of you - even if not in the traditional sense.
Looking at Children of Men might offer some insight into what it feels like to have no future and this itself may clear the way to appreciating 28 Days Later.I guess it's one of those rare horror films which not only enlighten the viewer with nice, gory slaughters but also with a share of psychological goodies.
28 Days Later successfully takes the zombie genre to a new level, this movie is far more than just a horror flick.
There are some great characters, that you actually care about, some you'll like, some you'll be glad to see killed, but all solidly performed.The story is well written and avoids the clichéd cheesy scripts that are too often attached to the horror genre.
And I must add that the direction is exactly what you would expect from 'Danny Boyle' top class.For me though the real difference between this movie and many others made in this genre is as follows - The infected (the zombie like folk) are more menacing, they turn instantly and they move fast, a combination that would instill fear in every one of us.I don't mean to run down the zombie movie genre - I am a huge fan of most of these films, but lets be honest its been done to death, re-animated and done again, and this was the first movie to break the mould and transcend to a new level.If you like your horror flicks, then this is certainly worthy of your attention.9/10.
Jim is rescued by Selena and her friend who tell him what has happened and start a search for other survivors and a quest to find the cure, promised by a military unit stationed in the north.I excitedly arrived at the preview for this looking forward to a tense British horror movie to make me jump with fear.
The opening sequences of this "28 Days Later
" are downright astonishing and for a moment you suspect that you're about to watch to most brilliant horror film in a long, long time.
Jim is one of them, as he just awoke from a coma, completely unaware of the vile events that took place the past 28 days
Even though the story isn't very original (Romero's "The Crazies" come to mind as well as "Last Man on Earth" and "The Omega Man"), Danny Boyle succeeds in portraying a gripping mix of drama, action, suspense and oh yes gore!
Now, I really wished I could end my user comment here and conclude that "28 Days Later
" was a simply great new horror film but unfortunately the script takes a complete U-turn halfway and becomes a repetitive lesson in which Boyle and writer Alex Garland try to convince us that mankind still remains the biggest threat of all.
After a group of activists unleash rage infected apes, Britain becomes home to those infected with the virus, wiping out everybody in their way and for a group of survivors, they must do anything to survive.28 days later is a mix of strong intelligent thinking, an artistic approach to direction and an endless spinning narrative that engages viewers right in to the very core of the gritty and energetic film that is Danny Boyle's work of genius.A horror is a horror usually for the appearance of an abnormal being or 'monster' and here we see a human preaching concept of animal rights gone horribly wrong when the 'rage' virus affects people.
Boyle's sweeping landscape shots are to die for and the thrill factor in the chases is to live for, consistent and perhaps one of the finest directed British films.Murphy, Harris, Gleeson and Burns all do themselves justice without being too screamy and abnormal as most protagonists in the genre today.The sequel 28 weeks later though not directed by Boyle maintains that level of sublime scenery and adrenaline soaked excitement with a core desperate and energetic storyline whereas this 2002 hit carries a feeling of drama with the line of characters and their lives in the new world.Whereas there are lapses and the end feels rushed 28 days is exciting and penetrates the mind with some unbelievable direction and location with the writing on top form..
the daughter of Frank, she was very good in this,, there really is no NAME actors or actresses in this movie and that's what i like, you don't need that for this particular kind of film.
28 Days Later had an amazing plot, great actors, a great director, and most of all, it wasn't like all of the other horror movies.
Not to say these movies are not up to Zombie par but the heart pumping vision of Danny Boyle's film will make you short of breath rather than fighting to stay awake.
So if you're a Horror\Thriller fan and have a strong stomach for some well placed gore than I would strongly suggest giving 28 Days Later a test run, for true Zombie movie fans I think you'll find this a nice twist..
28 DAYS LATER...Aspect ratio: 1.85:1Sound format: Dolby DigitalSurvivors of a virus which turns infected victims into murderous zombie-like creatures struggle to stay alive amidst the chaos.High-concept horror from TRAINSPOTTING director Danny Boyle and novelist-cum-screenwriter Alex Garland (THE BEACH), produced on a modest budget and filmed with digital video cameras (transferred to 35mm for theatrical exhibition).
STAR RATING:*****Unmissable****Very Good***Okay**You Could Go Out For A Meal Instead*Avoid At All CostsThose who read the James Herbert novel '48 will be familiar with the concept behind 28 Days Later.What if you and only a handful of other people were the sole survivors of a deadly killer virus and aside from finding enough food,fuel and water to survive,you also had to evade a gang of blood-hungry infected people with a psychological yearning to kill?It's an original,intriguing but ultimately off-puttingly nightmarish idea.Aside from this,28 Days Later is a film that's worth watching if for nothing else,its brilliant visual style.The look of a deserted,ransacked London is just one of the many breath-takingly original and exciting looks to the film.Danny Boyle is truely one of the pioneers in terms of British film-making,and can push us through to the next-level in rivalling Hollywood.****.
The early scenes are the most memorable, as we see the deserted city of London explored by a formerly comatose Cillian Murphy, ignorant to the devastation that the virus has caused.Stealing the show is actor Naomi Harris, with her brilliant portrayal of Selena, while Danny Boyle's direction and John Murphy's music are close seconds..
28 Days Later showed those tepid Studios that zombies are scary, and that people have an appetite for zombie flicks.Dawn of the Dead got remade, and it gave George Romero a B-12 shot right where he needed it.
And it was an approach that resulted in a fairly entertaining movie, which did bring some new and interesting things to the genre.What works in favor of "28 Days Later" is the storyline and the way that director Danny Boyle told the story.
It was a thrill ride to follow Jim (played by Cillian Murphy) from waking up in the hospital and throughout the movie right up to the end.The effects in "28 Days Later" are quite good, and that is something which also helps the movie quite a lot.
Even though it's technically a virus, I think grouping 28 Days Later into the zombie category is still acceptable since it's the majority of people in an apocalyptic world turn into unconscious deadly beings.
I'd rate 28 Days Later in my top five favorite horror flicks, close to #1, just because the atmosphere feels like reality and a dreadful mood sets in every time I sit down and watch it.
The movie has fantastic camera work, characters/acting, plot, effects, theme song, cinematography and just about all aspects of film-making I can think of.
Dead are the Zombies of Old. Although I found movies like Night of the Living Dead, Dawn of the Dead, C.H.U.D., and Resident Evil frightening, and the zombie creatures in each pretty disturbing, the infected of 28 days Later are by far the most spine chilling.
This movie proves over and over again, that people are doomed not because they're evil, but because they are cretins.The movie starts with the creation of a zombie threat that leaves small handfuls of people trying to find their way to safety.Instead of putting the characters in the sort of jeopardy inherent to the situation, they behave with the sort of reckless abandon that you'd hardly see in normal London let alone a zombie zone.Time and again a character chooses to wander off on their own, not because the plot demands it, but because the body count demands it.A sort of artsy strobe effect is used during violent scenes that at first highlights the horror, and eventually annoys the eyes.If you want to see a movie that avoids most of the above pitfalls, see George Romero's, "Dawn of the Dead".
There are no zombies in '28 Days Later...' Much has been made about this movie being a George Romero tribute, and in some ways it is.
`28 Days Later' could easily be the fourth installment in George Romero's `Living Dead' trilogy only this time the zombies have a bit more get up and go to them.When Jim wakes up out of a coma one day, he discovers that not only is he the only person in the hospital but virtually the only person left in the entire city of London.
Although `28 Days Later' is little more than a rip-off of those earlier zombie classics, director Danny Boyle does bring a certain level of artistry to his handling of the material, particularly with his apocalyptic visions of a London and an English countryside utterly bereft of human beings.
She gives no chances for anyone lagging behind and often remarks that "living is as good as it gets." However, there is optimistic contrast to her bleak personality.With a hard hitting beginning we expect to film to run downhill as soon as it gets far enough to have a contrived romance between Jim and Selena, and thank goodness "28 Days Later" isn't that stupid.
(unfortunately, often referred to as a "zombie" movie, though it's not) he tackles horror with excellent precision.28 Days Later opens with scenes of violence being watched by a monkey on a TV screen as he lays strapped down in a lab.
He then journeys to find his parents and then a safe place to stay, and meets a few people along the way: Selena (Naomie Harris), a survival-obsessed, leader-like woman who is with him for most of the film, Frank (Brendan Gleeson), a light-hearted, good-humored guy who probably a SWAT member before the epidemic and has holed up in his apartment with his daughter, Hannah (Megan Burns); a shy, quiet girl, Mark (Noah Huntley), a sort-of nervous, side-kick type of guy, and a squad of soldiers at an army base, led by Major Henry West (Christopher Eccleston).
Romero zombie flicks from Night of the Living Dead (1968) to Dawn of the Dead (1978), Danny Boyle's "28 Days Later..." is a bloody nightmare of a film and one hell of a ride that I've had the pleasure of experiencing.
It's different than most zombie movies because this time around, somebody placed adrenaline on these creatures to make them more scary than before.The film begins after a protest outside of London, England where a bunch of PETA freaks decide to let loose a bunch of caged experiment chimps where they don't know what they've been infected with until one of them catches the disease where all hell starts to begin.28 Days Later after the incident, there's not a single soul walking around the streets or bridges of London.
No cars honking or crashing except a lone survivor by the name of Jim (Cillian Murphy in a leading heroic role) gets out of bed to see that he is the only man left on the face of England until he realizes that the apocalypse begins and there are other survivors including Selena (Naomie Harris) and her male friend, Mark (Noah Huntly), they try to see if they could find any weapons they could use to hunt the human creatures down.The way the zombies attack in this film is much more different than having the flesh bitten off, the blood of a zombie has to hit the eye or the inside of your mouth where within a couple of seconds, that person becomes a zombie and has to be killed.After Mark is attacked by zombies and killed by Selena, her and Jim run through the streets of London where they meet up with Frank (Brendan Gleeson) and his daughter.
The four of them embark on a journey where it plays like Romero's "Dawn of the Dead" with the characters making London their own personal ground stealing stuff before being chased by zombies and fighting off soldiers in a hideaway mansion."28 Days Later" is truly a virtuoso in horror cinema where in this decade, Danny Boyle must've taken notes to find out how to make a successful horror picture.It sure as hell worked for me..
Between hundreds of zombie movies that popped theaters for the last few years, there're no doubts that 28 Days Later together with Romero's second "dead" trilogy produced (and being in production) during this decade are by far the best ones already produced.
The concept of humans being more dangerous than the infected isn't new, but Boyle does a great job here and it creates a tense final act to the film.Cillian Murphy was great as the main character, Jim, who we first discover as he awakes from a coma and finds the entire city eerily deserted (making for one of the coolest sequences in the film).
That's not to say that '28 Days Later' hasn't taken influences from elsewhere, some of the scenes are reminiscent of horror classics such as Day of the Dead'.At the beginning of the movie we see a group of animal rights activists break into an animal research laboratory to release some monkeys.
you would see an infected (technically its not a zombie) run through the camera scene before anything would happen.This is why we hated the movie (those of us who hated it) We went in expecting a great horror movie along the lines of The Exorcist, Nightmare on Elm street (1st one only), friday 13th(1st one), night of the living dead, 13 ghosts.
In a sense it's Boyle's version of Romero's classic Dawn of the Dead (1978), which is just one of the many films that 28 Days Later... |
tt0477348 | No Country for Old Men | The film opens with a shot of desolate, wide-open country in West Texas in June 1980. In a voice-over, the local sheriff, Sheriff Bell (Tommy Lee Jones), tells of the changing times: in the old days, some sheriffs never wore guns, as did his late father, who was the sheriff before him; in the modern day and age, however, Bell once sent an unrepentant teenage boy to the electric chair who had killed a girl simply because he wanted to kill someone, had been "fixin'" to do it for some time, and would do it again if he had the chance.Along a desert highway, Anton Chigurh (Javier Bardem) is arrested by a deputy (Zach Hopkins). They return to the empty police station, where the deputy calls Sheriff Bell. He tells the Sheriff about an odd device in Chigurh's possession (a captive bolt pistol). The deputy thinks it may be an oxygen tank, but it is actually a device used to kill cattle in the slaughter house. The deputy has his back to Chigurh, who sneaks up behind him and just as the deputy hangs up the phone, uses the handcuff chain to garrote the deputy. After cleaning himself up in the station bathroom, Chigurh steals a squad car and once on a desert highway, uses the car's lights and siren to stop a random motorist (Chip Love) driving a Ford sedan.He politely asks the man to step out of the car. Chigurh then asks the man to hold still and presses the captive bolt pistol attached to the compressed air tank against the puzzled driver's forehead. He squeezes the trigger and it fires the bolt into the man's skull, killing him. Chigurh drives off in the man's car.Elsewhere in the desert, Llewelyn Moss (Josh Brolin) is hunting pronghorns. Setting the sights of his hunting rifle on one, he fires, scattering the animals. Walking to where the herd stood, he notices a trail of blood. Realizing the pronghorn left in a different direction from the blood trail, he spies a wounded pit bull hobbling away. Retracing the dog's trail, Moss eventually comes upon several pickup trucks parked in the middle of the wilderness. Mexican criminals and pit bulls lie dead on the ground; only a mortally wounded driver remains alive.The driver begs Moss for agua, but Moss says that he has no water. Moss asks the man where the "last man standing" - the winner - is, but doesn't get an answer. He carefully takes the man's submachine gun off the seat and a magazine from his shirt pocket. Under a tarp in the bed of one pickup, Moss sees what appears to be a great deal of heroin.Moss tracks the only criminal to have escaped the shootout to a tree where he finds the man has died. He finds a large catalog case filled with two million dollars and a .45 caliber pistol. He takes the money and gun. He returns home where he hides the submachine gun under his mobile home. His wife Carla Jean (Kelly Macdonald) is irritated that he has been gone all day and he refuses to tell her where he found the pistol and catalog case. She asks him what's in the case but doesn't believe him when he off-handedly tells her it's full of money.That night, Moss guiltily wakes up, deciding that he should take water to the wounded driver. He arrives around dawn and parks a short distance away on a rise. He carries a gallon of water to the scene of the shootout, but discovers that the wounded man has been killed by a shotgun round to his head.Looking back to where he'd parked his pickup truck atop the rise, Moss dimly sees in the predawn light another truck now parked alongside his. Two men get out and appear to slash his truck's tires. He tries to hide behind under one of the trucks, but is fired upon by the men who are now approaching in their truck, using bright searchlights.More gunmen appear, disable his truck and fire on him, hitting him in the shoulder. Moss flees with the pickup pursuing him, but is hit in the shoulder by a shotgun round just as he reaches a river embankment. As Moss tumbles towards the river with dawn breaking, the two men, apparently Mexicans, send a pit bull after him. Evading continued gunfire, Moss dives into the river and swims downstream, eventually crossing to the other side with the pit bull gaining on him. On the opposite bank, Moss frantically ejects an empty shell from the .45, reloads the gun, and kills the dog at the moment it leaps at him.He bandages his wounds, realizing he is facing dangerous individuals. He returns home and sends Carla Jean to stay with her mother in Odessa while he travels separately with the money.After filling up at a gas station in the dead man's Ford, Chigurh goes to pay for some candy from the gas proprietor (Gene Jones). The proprietor tries to make polite conversation out of simple friendliness, but Chigurh is upset at the inane small talk, and the owner finds himself in a strange, tense confrontation. The man is genuinely perplexed by his customer's anxiety, and tries to defuse the argument by saying he needs to close the station, which only further irritates Chigurh due to it being still midday. Chigurh requires him to call the flip of coin to decide whether the man is to win everything, apparently whether the man will live or die. The clerk guesses heads and Chigurh gives the man the coin. He tells him not to mix it with any other coins.Later that night, two well-dressed men take Chigurh to the site of the failed drug deal. He removes the VIN tag from Moss's truck door and examines the corpses. The well-dressed men give him a tracking device on which they said they're getting "not a bleep." that he can use to find the catalog case of money, which has a transponder hidden in it, although it has not received any signals. Chigurh picks up a pistol laying next to one dead men and kills both of them.The following morning, Sheriff Bell (Tommy Lee Jones) and Deputy Wendell (Garret Dillahunt) respond to a report of a burning car, and recognize the Ford belonging to the dead motorist. They follow tire tracks to the shoot out site, where Sheriff Bell recognizes Moss's truck. He and Wendell carefully look over the scene and then decide to call in federal authorities. The heroin is gone from the back of the pickup.Chigurh appears at Moss and Carla Jean's trailer and uses the captive bolt pistol to break the lock. The trailer is empty but hurriedly vacated, but he finds in the unopened mail a phone bill that reveals the couple has made a lot of calls to Odessa, TX. He tries to intimidate the trailer park manager (Kathy Lamkin) into revealing where Moss works and seems to contemplate killing her, but when he hears noise in the adjacent room, leaves.Moss puts his wife on a bus and reassures her that he will call her in a couple of days. He takes a cab from the bus station to a motel, where he rents a room and hides the money case deep in the HVAC duct using the clothes bar from a closet. Moss leaves the hotel and buys boots and socks. Moss takes a cab back to his motel but a truck parked near his room makes him suspicious and he directs the driver to take him to another motel.Chigurh meanwhile calls numbers on the phone bill to try to figure out where Moss is headed. He then begins driving, trying to anticipate where Moss is headed.The next morning Moss purchases a tent for its poles, duct tape, wire cutters, and a 12 gauge shotgun and ammo at a local sporting goods store. He returns to the second hotel room, where he saws off the shotgun barrel and stock. He returns to his first hotel and rents a second room immediately behind his first room. It shares the HVAC duct with his first room. In the second room, he uses the tent poles, duct tape, and coat hangers to fashion a hook that he uses to retrieve the catalog case full of money from the HVAC duct.Chigurh is driving past the motel when the tracking device goes off. He finds the motel, and by the frequency of its beeping he deduces which room the signal is coming from, Moss's first room. Chigurh rents a room and takes off his boots so he can quietly walk up to the room where the signal is coming from. He uses his captive bolt pistol to break into the room. Chigurh finds three Mexicans in the room and kills them with a suppressed shotgun. The Mexicans' gunfire alerts Moss in the opposite room. Chigurh searches the room for the case, finally noticing the HVAC duct. He opens it to see the tracks where the case was dragged. Moss escapes into the dark with the money and hitchhikes out of the area. The driver (Mathew Greer) who picks him up tells him he shouldn't be hitch-hiking because it's dangerous.The next day, in a high-rise office building in Dallas, a bounty hunter named Carson Wells (Woody Harrelson) arrives in a businessman's (Stephen Root) large office. The businessman is upset about the many killings perpetrated by Chigurh. He wants Wells to contain the situation. Wells tells the businessman that he has had past dealings with Chigurh and would know him by sight. Wells also compares Chigurh to the bubonic plague and calls him a psychopathic killer. The businessman hires Wells to control the "situation" with Chigurh and to retrieve the money.In a border town, Moss rents a room in an older, rundown multistory hotel. Unable to sleep, he is apparently trying to figure out how Chigurh tracked him down to the previous motel. He searches the case and finds the transponder that Chigurh has been using to find him. He hears suspicious noises and calls the clerk who had checked him in at the front desk. The clerk (Marc Miles) had told Moss he'd be on until the next morning at 10 a.m., but he doesn't answer. He sees the shadow of feet under his door, but then the hall lights go dark. Chigurh shoots out the lock with the captive bolt pistol, hitting Moss, who fires his shotgun into the door. Moss then drops the case out the second story window and follows it. Chigurh shoots at him from the window but misses. Moss is wounded in the side by the door lock.Moss stops a pick-up truck driver (Luce Rains) and tells him to drive him out of there, but Chigurh kills the driver. Moss ducks down and drives the truck around a corner, crashing into a vehicle. He hides behind a nearby car, watching in a store window for whoever is following him. He shoots and wounds Chigurh. Wounded himself, Moss drives the pick-up to the nearby Rio Grande where he buys a jacket from some passing youths on the border bridge, and he also tosses the money case into some brush along the bank. He covers his bloody shirt with the jacket and, posing as a "drunk Mexican" waves the bottle of beer drunkenly at the half-sleeping Mexican border guard as he stumbles past to cross over into Mexico; the sleepy guard is unconcerned with his identity. In the morning he is awakened by members of a Norteño Band who he pays to take him to a hospital.Sheriff Bell continues to be disturbed by what he saw in the desert and the apparently deteriorating state of morals in the world. He goes to visit Carla Jean in Odessa and asks her to put him in touch with her husband. Almost absentmindedly, he tells her how a local farmer was nearly killed by an animal he was trying to slaughter, and how slaughterhouses now used compressed air guns to kill cattle immediately. In the border town, Chigurh, wounded in the thigh by a buckshot round, sets a car on fire as a diversion and nonchalantly steals medical supplies. In a motel room, he cuts off his pants and treats his wound.Carson visits Moss in the Mexican hospital and suggests that he just hand over the money so Carson can protect him. Moss refuses and Carson tells him in which hotel he is staying. On the way back across the border, Carson sees the catalog case from the bridge. Back at his hotel, the same one at which Moss was staying, Carson is confronted by Chigurh. Carson tries to strike a deal with Chigurh for his life but when the phone rings, Chigurh kills him. Moss is on the phone, and Chigurh tells him that if he brings him the money, he won't kill his wife, though he can't do the same for Moss. Chigurh lets Moss know that he knows exactly where he is and, instead of coming to kill him in the hospital, he is going to go to Carla Jean's mother's house. Moss tells Chigurh he will kill him then hangs up.Moss leaves the hospital and retrieves the case. He calls Carla Jean at her mother's in Odessa and tells her to fly to El Paso to meet him. Chigurh meanwhile goes to Dallas where he kills the businessman for hiring not only Carson but the Mexicans as well. His truck breaks down and a chicken farmer (Chris Warner) with a flatbed full of chicken cages stops to help. Chigurh asks where the nearest airport is. The farmer names El Paso, and Chigurh asks him if the chicken cages can be removed from the truck. Sometime later he is washing the chicken feathers off the back of the truck at a car wash.The Mexicans who have been watching Carla Jean in Odessa follow her and her mother (Beth Grant) to the airport. One of the Mexicans helps her mother with her luggage and she tells him she and Carla Jean are going to El Paso. In the airport, Carla Jean calls Sheriff Bell and tells him where Moss is staying in El Paso. At the hotel, a woman (Ana Reeder) sun-bathing by the pool flirts with Moss. She invites him to her room for beer, but he says that he's married and that he knows what beer leads to, and declines her offer.Sheriff Bell is driving up to Moss's motel when he hears automatic gunfire and sees a pickup truck speeding off. At the motel, Sheriff Bell sees a large number of empty shell casings on the ground by the pool, where a woman is floating dead. He then sees Llewelyn Moss dead in the open doorway of his room. The money case is missing.All Sheriff Bell can do is comfort Carla Jean when she arrives. Later that night, Sheriff Bell and the local sheriff (Rodger Boyce) have coffee and bemoan the declining morals of American society. Afterward, Sheriff Bell returns to the motel and nearly misses being killed by Chigurh who had been searching the room for the money case.Sheriff Bell visits his uncle, Ellis (Barry Corbin) to tell him he's retiring because he is too disturbed by the violence he's seen. Ellis tells him he's being vain and relates the story about how Sheriff Bell's grandfather had died: shot by 8 outlaws, he bled to death in his wife's arms on his front porch as they watched. Meanwhile, Chigurh visits Carla Jean, who has just buried her mother. She understands why he's there but still finds it meaningless. Chigurh flips a coin but Carla Jean refuses to play his game. Carla Jean dismisses Chigurh's game, saying that he's the one who decides on whether or not to kill her, not the coin. He is unmoved, however, insisting on his lack of a free choice in the matter. During this exchange, we see two boys ride past the house on bicycles. Chigurh leaves the house and stops to check his boots, apparently for blood.Driving off, he is looking at the same two boys in the rear view mirror when he's struck broadside by a car speeding through the intersection. Chigurh gets out of his car, his arm bone protruding out of his elbow. The two neighborhood boys come up to him to see if he's all right. Chigurh pays one of the kids for his shirt, which he uses to make a sling for his arm, and he asks them to tell the authorities that he had already left. Chigurh limps away down the street.At Sheriff Bell's house, the sheriff ponders what to do for the day at breakfast with his wife, Loretta (Tess Harper); he is restless in retirement, but she rebuffs his offer to help out around the house, as he will just throw off her established routine. He recounts a dream he had about his sheriff father. Bell dreamed that he and his father were riding a mountain pass in the night. His father, carrying a horn with embers inside that glowed like moonlight, rode ahead into the darkness and disappeared. Though he couldn't see anything in the dark night, Bell dreamed that he kept riding forward since his father would have a warm fire waiting for him. | comedy, dark, neo noir, murder, boring, suspenseful, realism, dramatic, violence, mystery, atmospheric, plot twist, good versus evil, insanity, tragedy, revenge | train | imdb | I would have liked a bit more development in his character, but what little there is helps his performance greatly.Supporting turns from Woody Harrelson and Kelly Macdonald are also done well, but are overshadowed by the main cast by both Brolin and Jones.And even more of an overcast is Bardem as the ruthless Chigurh.
Instead, the unholy trinity of temptation, cynicism and pure, dark, evil take center stage in this modern western directed by brothers Joel and Ethan Coen.Based on the 2003 novel by Cormac McCarthy, the movie unfolds in the dusty Texas borderlands as hunter Llewelyn Moss (Josh Brolin) stumbles upon the remnants of a desert drug deal gone bad, complete with a case containing two million dollars.
Succumbing to temptation, Moss makes off with the money setting in motion a chain of events that leaves a trail of blood spattered carnage across the State as he is pursued by the ruthless, coin tossing hit man Anton Chigurh (Javier Bardem) among whose killing weapons of choice is a pneumatic air gun.Bearing little in common with pretty much any previous Coen film with the possible exception of Blood Simple, No Country for Old Men is a dark, bleak, ode to the baser elements of the human soul, and a spit in the eye to the noble ones as well.With a structural trademark hinging upon breaking the conventional norms of predictability, No Country is a movie that will unsettle you at successive turns - in the way deaths are dealt out; by its palpable tension that can almost be cut with a knife, and its periodic deviations from the narrative norm the latter likely the only Coen brothers "quirk" for which their movies are renown.Switching back and forth between the game of cat and mouse being played out by Moss and Chigurh and the investigation of unfolding events by cynical aging Texas Sheriff Ed Bell (Tommy Lee Jones), the Coens weave a web of dangled threads that one can't help but expect will be neatly tied together at story's end, only to tie them up in ways that buck the storytelling norm and manage to be both unsatisfying and true to their nature at the same time.Unforgettable among this tableau is Bardem's Chigurh.
It was not very long before I watched 'No Country for Old Men' that I watched the other remarkable film of 2007, 'There Will Be Blood.' Back then I thought that Paul Thomas Anderson has delivered the Best Picture of the year with his oil epic, but after watching the Coen brothers chilling and violent adaptation of Cormac McCarthy's 2005 novel, I knew right away that here was a film destined to be even a greater film than any I've seen this past year.It's not easy to watch 'No Country for Old Men.' The first time I saw it, I found myself dazed enough to not be able to stand-up immediately even after the whole end credits have finished.
On the literal level, it is a simple cat-and-mouse chase thriller movie, but from within its roots lie a very profound philosophical and penetrating analysis not only of the characters and the situations involved in the story, but also of the kind of world we are living in today and the more monstrous sides of it we often choose to ignore.The story revolves around the chase between a guy named Llewelyn Moss (Josh Brolin,) who stumbles upon a stash of money in a drug deal gone wrong in the middle of the desert and a psychopathic but surprisingly "principled" assassin named Anton Chigurh (Javier Bardem).
Also remarkable is the photography (done by Roger Deakins) of vast scenes in the desert where even what the ordinary moviegoer would consider as "empty scenes", where no action is played out, tells a story in a visual manner, where even when there is no dialogue or action on screen, the sweeping images speak out for themselves.'No Country for Old Men' is rich in such bravura kind of film-making.
This style is present throughout the film and one of the particular points that makes it more than just a chase movie.I must say that I can't help but agree to most people when they say the Javier Bardem's Anton Chigurh is the most disturbing character (and yet mesmerizing) to grace the screen since Anthony Hopkins introduced us to Hannibal Lecter in 'Silence of the Lambs.' Chigurh effectively radiates evil and embodies violence in a very intelligent and forceful manner that touches the fear in all of us.
All at the same time the movie is a character study on the effects of evil and innocence lost, an exploration on the themes of fate and chance, an analysis of the freedom to choose and its consequences, a reflection on evil and good as forces of society and the investigation of basic human emotions such as hope, fear, love, violence and aspiration in the face of a variety of situations..
Jones too was good in a strong supporting role as a close to retirement sheriff who is on the outside shaking his head at the carnage and mayhem unleashed by the simple finding and taking of a satchel full of money.The real gem and glue of the film though is Javier Bardem's menacing character who has his own brand of justice, which is extremely harsh and well insane.
The man exuded controlled evil, and I found myself not breathing when he came onto screen, yet couldn't take my eyes from him - a truly mesmerising presence.Tommy Lee Jones turns in a belter of a performance, and mention should also be made of Kelly MacDonald who nails a faultless Texan accent alongside a multi-layered performance (despite the paucity of her screen time).Beautifully shot, as you would expect, and with some (welcome) moments of humour amongst the gore, this is a very very fine film.
This was a big part of the development of the Moss character in the book, with it being clear that Moss was loyal to his wife and would not take advantage of the teenager even when propositioned, and afterwards the hanging question of what his wife would think when he was found dead in a motel with a teenage runaway.Anyway, book versus film aside, this movie features some truly brilliant performances, and is an astounding achievement in storytelling and filmmaking.
Film Review: "No Country For Old Men" (2007)The best picture / best director winner at the 80th Academy Awards Ceremony on February 24th 2008 has nothing lost of its razor-sharply observed motion picture thriller infusions, where directing duo Joel & Ethan Coen let silent scenes with crystal-clear sound design and pin-pointed dialogue exchanges reign adapted from a novel under the same film-given title by Cormac McCarthy to further Hitchcockian suspense elements in abandoned Texan small town hotel location, where "No Country For Old Men" finds its climatic action highlight under bullet-piercing precision between the character of Llewelyn Moss, performed by utterly stubbornness actor Josh Brolin, confronting an invisible menace of everywhere delivering actor Javier Bardem as contracting serial killer Anton Chigurh.The overall 1980 setting, skillfully provided by production designer Jess Gonchor and costume designer Mary Zophres gives the film its flavoring taste, presenting itself undeniable as one of the directors most comfortably produced motion pictures, exceeding their thriller origins from 1984's presentation of "Blood Simple." under 25 Million Dollar budget.
Joel & Ehtan Coen own the picture in every scene providing story twists by the minutes to keep the suspension level high throughout under further initially thanks to cinematographer Roger Deakins, who provides painterly-like static shots and then again moves the camera vertically on the exterior highways and horizontally in the interior hotel corridors to bring the audience a hypnotically cold rushes of blood to their heads that every encounter of action hits like daggers to the senses.Actor Tommy Lee Jones gives the picture stability with two monologue surrounding "No Country For Old Men", letting the spectators indulge on times in the state of change, where thoughts gets liberated and with them the fundamental existence of anarchy and its inhabited physical as psychological violence in every human being striving its way through cinema with a new kind of seriousness in treating essential problems of the human condition that life must end toward death, forced by another or giving-up in old age, seem to be freedom of choice in some one's own liking; questions, which will not get answered but thought-provokingly asked by the Coen Brothers in such a stylized cinematic manner that the picture keeps on staying instantly fresh in its perception after ten years of release; arguably deserved its upper-hand over the character-wise more accomplished picture "There Will Be Blood" with the Best Picture Oscar for the year 2007.© 2017 Felix Alexander Dausend (Cinemajesty Entertainments LLC).
As Chigurh pursues Llewelyn, others are close behind including Sheriff Ed, a drug cartel, other trackers and Llewelyn's girlfriend, only a few of whom are cut out for this game of cat and mouse.Ten years after the release of the film and it is well understood how it made or sealed the careers of Javier Bardem (Chigurh), Josh Brolin (Llewelyn), Tommy Lee Jones (Ed) and not least of all the Coens who are some of the best directors in the business.
Tommy Lee Jones as Sheriff Ed Tom Bell balances his dangerous chase for a monster assassin with the equally dangerous chase for a good ole' cowboy that comes down hard on the bad side of some very bad people.Josh Brolin as Llewelyn Moss finds himself in a dangerous dilemma when he brushes up against a bloodbath of a drug deal gone terribly bad and a satchel with 2 million dollars inside.
The rest ensues as a thrilling triple narrative, from a determined man with 2 million dollars on the run, only hoping to escape the mess that he stumbled upon, an old man sheriff facing an evil like none he's ever seen, and a psychopathic killer, an unstoppable evil with no remorse and a extraordinary determination to find what is his.With its blood-soaked scenes, grimy West Texas setting and haunting terror filled moments between characters, No Country for Old Men is both riveting and beautiful.
No Country for Old Men is not necessarily the Coen Brothers' best movie, I consider Barton Fink, Fargo, Miller's Crossing and The Big Lebowski better.
-SPOILER-START- How they expected to get away with showing a movie for 1.5 hours, closely following the protagonist, and having him being killed off-screen in a 12 second scene, is beyond me.-SPOILER-END- And since when is mumbling some cod-philosophical verbal diarrhea a good replacement for closure in a movie which desperately needed some sensible conclusion?
Woody Harrelson is badly miscast as a contract killer in a throw away role.What ultimately makes No Country for Old Men a disappointment is the handling of the villain, Anton Chigurh played by Javier Bardem.
The fascinating character that Chigurh is (he seems to be searching for the meaning of life as well as the stolen money) at the film's beginning degenerates into a Schwarzenegian Terminator manqué by the final reel and this strains the credulity of the movie beyond its breaking point.With Country the brothers Coen may be out of the rut that plagued there last few works but their wheels are still spinning..
I was never really a fan of the Coen Brothers and their work, but the reason why I loved this movie is due to the fact that it points out the violence in the world and how far people will go to get money or drugs.
It would seem to be a return to form, but there's a wandering coldness to the film that leads to grave dissatisfaction.The most disappointing aspect is that there's a near perfect forty-five minute "mini film" riddled with white knuckle suspense involving the cat-and-mouse shoot-em-up between Bardem and Brolin that is lost inside yet another dour opus where Tommy Lee Jones plays a grizzled but good-hearted authority figure philosophizing about the sad state of the world for the umpteenth time.
Turns out I didn't.This film probably warrants a score of about 6 due to some high strong performances and the general quality of film-making, but these are wasted as the story has huge holes and the ending is just nonsense.Those people clogging up the bulletin boards trying to explain how there is some deeper meaning are running themselves in circles creating whole chunks of backstory and assumptions that just aren't provided in the movie.It is the emperors new clothes in a movie, if you claim to see the invisible overcoat that just isn't there then maybe you need to look again..
The movie DID have some terrific moments,but when you string a series of moments together for 2 hours and the storyline does not offer up some basic sets of logic (like a more impressive law enforcement effort after a cop is killed) you come to expect in our age of senseless violence, there is still an audience, sitting there (no matter how smart or stupid they are),waiting for some small semblance of "cohesion" in a story...to give a hint that the people IN the story are not soooooooooo far disconnected with all of the things in the world that the audience sees in their everyday life.
And I don't understand how anybody could be happy with the ending, which does not resolve anything that happened before it.I don't always agree with film critics or popular taste in movies but "No Country for Old Men" sets a new standard.
If it didn't take itself so seriously (this movie thinks it's way more important than it actually is) and had just stopped trying to be so annoyingly 'profound' and concentrated on the plot then I would have enjoyed it so much more.There is ¾ of a good movie here but the last ¼ of the film is spent practically preaching to the audience and that is unforgivable in my opinion after what has come prior to that.NCFOM has left me bewildered at the critical acclaim it has received although there are a few professional reviewers who will at least stand up for themselves and call this movie for what it is, a potentially great movie let down by a poor closing act!
If this doesn't end my year in the top two films of the year then we are in for one hell of an awesome year of movies.The new film from two of the best filmmakers working today No Country For Old Men shows the talents of the Coen Brothers on top form.
One scene featuring Bardem in a gas station is up there with the best scenes i have ever seen on film.I have not gone into the plot here because I saw this film having not read Cormac McCarthy novel and knowing little other than the basic log-line - a man out hunting comes upon a scene of dead bodies, guns, drugs and money on the Mexican border and comes to the attention of both those behind the scene and a local world-wearied sheriff - and i think that's the way to see this film.Go in knowing as little as you can but knowing at least this: this is a serious, violent, slow-paced character piece from the Coens.
The bad guy escapes death by the skin of his teeth AGAIN the money disappears and the sheriff retires but not becoming so philosophical that the whole movie just ends right there at his dinner table with him rambling on about some dreams he had.Again I would love to figure out this movie.I am a 40 year old movie buff Academy Award trivia expert I own over 700 movies I've been a member here for 6 years And I have a college degree.Maybe I ate too many milk duds or something but it went right over my head.If you are looking for a Donnie Darko, Eternal Sunshine of the Spotless Mind MUST SEE A SECOND OR THIRD TIME TO FULLY UNDERSTAND kind of movie then go for it!If you think you are going to see a Titanic, The Green Mile or Silence Of the Lambs kind of movie where the plot unfolds at a normal pace and doesn't make you search for answers and meaning then don't go see this thing.
The Coen Brothers have succeeded in making what is possibly the most nihilistic film in the history of cinema, and in doing so they have divided the audience like Moses parting the Red Sea. A lot of people love this film and feel it is one of the greatest ever made, while I'm on the opposite side, thinking the film is too frustrating to be enjoyed.The story, as you may know, revolves around Lleweleyn Moss (Josh Brolin) and, upon his discovery of a crime scene (a drug sale gone horribly wrong), the theft of two million dollars.
Then they have both hero and wife murdered off camera, and again you honestly cannot believe that it happened.The worst thing of all though is the ending, you keep thinking that the bad guy will get caught, but no he gets away, after killing like 1 million people, and the film closes with our Sheriff who's done jack anyway talking about some dreams he had.
Not to mention bloated dead bodies of dogs and humans and a "man who wouldn't die"."No Country for Old Men" has Javier Bardem playing Anton Chigurh, a monstrous motive-less killer (unless you count the money, but how does he know about it?) He slides in and out of scenes, you are always chilled but like the clichéd train-wreck victims you see reeling on the side of the road, he never engages you, you never speculate on what made him this way, he is simply a nerveless, passionless cypher.Actually the clichés were too many to count in this truly, truly disappointing effort from the Coen brothers.
I kind of feel like this is one of those movies that got cut too many times before the film reached the studios, and as a result we're left with a story that doesn't have a plot line. |
tt0087928 | Police Academy | Due to a shortage of police officers, the newly elected mayor of an unnamed American city has announced a policy requiring the police department to accept all willing recruits, effectively abolishing fitness requirements, educational levels, and medical standards. Not everyone in the police force is happy about the new changes.
Carey Mahoney (Steve Guttenberg) is an easy-going man who has repeatedly gotten himself in trouble with the law when standing up to arrogant people. Mahoney is forced to join the police force as an alternative to jail, a proposal by Captain Reed who has been lenient on Mahoney because of knowing his father, who was also a policeman. Mahoney reluctantly agrees to this, deciding that he will get himself thrown out as a loophole. However, the chief of police, Henry Hurst (George R. Robertson), outraged by the Mayor's lowered requirements, decides that the new cadets should be forced to quit rather than being thrown out.
Lieutenant Thaddeus Harris (G.W. Bailey), who trains the cadets, agrees with the plan and employs tactics to make their lives as miserable as possible so that they do in fact quit. However, Commandant Lassard (George Gaynes) is the only one who doesn't agree with both Harris and Hurst's schemes. He wants to give the new cadets a chance. Harris is also implied to be seeking Lassard's place as the leader of the academy. Harris asks for the help of two cadets he takes a liking to, Copeland (Scott Thomson) and Blankes, to inform him of any improper conduct done by the other cadets. Harris appoints them as squad leaders to help him force these cadets to quit.
Mahoney tries several schemes to get thrown out but eventually he has a change of heart and decides to stay for good, having fallen in love with another cadet, Karen Thompson (Kim Cattrall). While in the academy, Mahoney becomes friends with fellow cadets Larvell Jones (Michael Winslow) a human beatbox and sound effects man who was arrested with Mahoney before they came to the academy (Mahoney pulled some strings with Reed to let Jones go with Mahoney to attend the academy); George Martin (Andrew Rubin), a ladies man; Eugene Tackleberry (David Graf), a gun-obsessed adrenaline junkie who was an ex-security guard and was a military veteran; Leslie Barbara (Donovan Scott), an overweight cowardly man; and Moses Hightower (Bubba Smith), a giant of a man with incredible strength.
At Lt. Harris' request, Blankes and Copeland try to learn where a weekend party, organized by Mahoney, is going to be held, to investigate it for any cadet unlawful behavior. Wary that they're using an intimidated Barbara to force him to reveal where the party is, Mahoney tricks Blankes and Copeland into attending a party at the Blue Oyster gay bar where the horrified men are intimidated into dancing the whole night. Mahoney's party turns out to be relatively sedate.
At night, Martin tries to sneak into the women's bunk for some fun, as he always does, but is caught by Sgt. Callahan. He is pulled into a room by Callahan and she throws him on the bed, pounces on him and they have sex. The next day, after a voice training exercise, Martin confides to Mahoney that he had fallen in love with Sgt. Callahan and that he speaks with a fake Spanish accent in order to get girls.
Mahoney helps Hightower prepare for a critical driving test. They go for a practice drive the night before the exam by stealing cadet Copeland's car. They are chased by the police for crashing into another car and speeding, but Hightower manages to escape and in the process greatly sharpens his driving skills. After he passes the driving test, Hightower is very thankful to Mahoney. Unfortunately, immediately afterwards, when Copeland racially insults fellow cadet Laverne Hooks (Marion Ramsey) for accidentally running over his feet during her driving test, Hightower is offended and lifts and overturns the police car in which Copeland is seated, despite Harris' demands and Hooks' pleas for him to stop. This leads Harris to promptly eject Hightower from the academy, much to Mahoney and many of the other cadets' dismay.
Shortly after this, Mahoney and Barbara are having lunch in the cafeteria and talking about Hightower's expulsion. Mahoney is finally fed up with the academy, but refuses to quit. Blankes and Copeland attempt to get Mahoney to fight them so they can give Harris a reason to expel him, but Mahoney resists. Having enough of their misconduct towards Mahoney, Barbara stands up for him and shocks everyone by throwing the first punch, hitting Copeland with a lunch tray. After watching Copeland faint, an offended Blankes punches Barbara back for foiling them, which promptly gets Mahoney involved in a brawl with him. After the fight, when Lt. Harris asks them who started it, Mahoney takes the blame for throwing the first punch to protect Barbara, which finally gives him the green light to expel his most despised cadet.
Before Mahoney actually leaves the premises, however, a major riot breaks out downtown, inadvertently caused by cadet Fackler who always attracts accidents to others around him. Mahoney decides to join the academy students in the mission to pacify it. The resulting police emergency forces the cadets into real action for the first time, and they are accidentally transported to the very epicenter of the rioting instead of the planned peripheral area (due to Lassard giving the wrong location). During the riot, one criminal manages to steal two police revolvers from Blankes and Copeland. The two run to hide from the criminals but, to their horror, end up at the Blue Oyster bar again. Barbara manages to avoid the rioters, but finds himself confronted by the same men who bullied him when he was working at a picture developing booth, who are now apparently stealing some furniture. Despite their attempts to bully him again, Barbara gives them a beating after having learned self-defense. Soon he orders the men to return the furniture and leave, only to learn that the men were actually moving their own things out due to the riots.
The outlaw with the stolen police handguns then proceeds to capture Harris in the confusion, taking the officer to the roof of a nearby building as a hostage. Mahoney attempts a rescue but is taken as a second hostage. Just as both are about to be killed, Hightower suddenly appears on the rooftop. The former cadet manages to fool the madman into thinking he is a fellow crook and demands that he kill Harris. When the criminal tries to pull the trigger, Hightower knocks him unconscious and he falls onto the stairs. When he wakes up to kill Hightower, Hooks quickly apprehends him by entering the back door to the building (which she attempted to tell Sgt. Callahan about earlier, but she couldn't hear her).
Mahoney and Hightower are both reinstated as cadets and graduate from the academy a few days later. For their rescue of Lt. Harris and capture of his kidnapper, they also receive the academy's highest commendation and medals. All of the cadets graduate with flying colors (minus Blankes and Copeland), finally winning a respectful salute from the reluctant Harris. | comedy, cult, violence, absurd, comic, romantic, entertaining | train | wikipedia | null |
tt1001526 | Megamind | Megamind is shown falling at the beginning of the film and he explains how. Many years ago, Megamind was a super-intelligent alien who was evacuated from his homeworld as a baby, as was Metro Man; the two later arrive on Earth, falling into the paths of super villainy and superheroism respectively and grow up as rivals fighting to take control over Metro City. Megamind is consistently defeated by Metro Man and is in prison. After using a holographic watch to escape with the aid of Minion, a talking fish with the robotic body of a gorilla, he kidnaps Metro Man's supposed love interest, reporter Roxanne Ritchi and holds her hostage to lure him into a trap. Finding that copper is Metro Man's one weakness, Megamind's plan to obliterate him with a death ray powered by the sun succeeds, and Megamind finally takes over the city.
His joy is short lived though, as without a hero to fight, he finds his life as a villain has become meaningless. He goes to the Metro Man Museum, which was dedicated to him on the day of his death and nearly runs into Roxanne. He uses his holographic watch to disguise himself as the museum's curator Bernard, and she innocently gives him the idea of creating a new superhero to take Metro Man's place.
After creating a formula from Metro Man's DNA, Roxanne intervenes in his plans and he accidentally injects the serum into Hal Stewart, Roxanne's dimwitted cameraman, who has an unrequited crush on her. Under the guise of his "Space Dad", Megamind tries to mold Hal into a superhero named Titan, as it was the only name he could trademark but this was misheard by Hal as "Tighten". Unfortunately, Hal's ambitions are crushed when he sees Roxanne and Megamind as Bernard on a date. However, Megamind's disguise malfunctions during dinner and she rejects him, causing him to lose track of his invisible car which contains the diffuser gun capable of removing Hal's powers.
On the day of their planned battle, Hal doesn't show up and Megamind finds that he has been using his powers for ill-gotten gains and wants to team up with Megamind to take over Metro City. Megamind informs Hal that he tricked him, revealing his Space Dad and Bernard disguises. This enrages Hal, and he tries to destroy Megamind, who activates a failsafe to trap Hal in copper as it was Metro Man's weakness, but that too fails. After he escapes, Megamind pleads with Roxanne for help, and they go to Metro Man's hideout to search for clues to why the copper didn't work. Instead they find Metro Man, still alive; having felt pushed into the life of a superhero, he chose to fake his death (and by extension, his weakness to copper) so he could retire in order to do something that he wanted to do: pursue a career in music. He refuses to help despite the danger, but encourages Megamind that good will always rise up against evil.
Not seeing himself as a hero, Megamind gives up and returns to prison. Meanwhile, Hal kidnaps Roxanne and holds her hostage to call Megamind out of hiding. Megamind begs the Warden to release him to face this threat, inadvertently apologizing for an argument he'd had with Minion earlier that caused the two to separate. Minion reveals himself under the Warden's disguise and the two leave to face Hal together.
At Metro Tower, Hal threatens to send it toppling into the city with Roxanne tied to the roof. Megamind appears and tricks Hal, freeing Roxanne, and the two flee as he throws the tower at them. Roxanne gets away, but Megamind is struck by the tower's antenna and appears near death. Metro Man finally appears and chases Hal away from the scene as Roxanne discovers that the Megamind that saved her was actually Minion, and that Metro Man is actually Megamind in disguise. He successfully intimidates Hal, but accidentally mispronounces the city's name Metro City as 'Metrocity' as Megamind often did, and Hal returns. Finding the invisible car, Megamind grabs the diffuser gun just as Hal hurls him into the sky. To avoid falling to his death, Megamind dehydrates himself and lands in the fountain in front of Hal. He immediately rehydrates; his de-powering gun lands in his hands and he fires it at Hal, removing Hal's powers and returning him to normal. Now hailed as heroes, Megamind and Minion appear at the reopening of Metro Man's museum, now dedicated to Megamind instead, while Metro Man, in disguise within the crowd, silently congratulates his former rival.
In a mid-credits scene Minion is doing the laundry when a re-hydrated Bernard pops out of the washing machine. After chiding Megamind about cleaning out his pockets, he knocks Bernard out with the Forget-Me Stick. | comedy, cute, feel-good, good versus evil, satire, romantic, entertaining | train | wikipedia | Some of the great parts of the movie are present in the first few minutes of the film, where we see how Megamind came to be a villain.
It also enables the rest of the film to explore the development of Megamind's established character and whether he is really stuck with the 'role' he's been given--and it all plays out very well as he discovers the path to one's destiny and identity with his rival Metro Man and his love interest, Roxanne.
Really love to see how people can still come up with good and original stories that still have a happy ending, much like the latest Shrek movie.
Megamind, the big-headed alien always picked the last and took for granted while his rival Metroman was the school popular and the handsome boy who everyone wanted to be his friend are always in a conflict and everyone favoring Metroman, Megamind takes this chance to be a villain and extract revenge upon his rival.Seeing the cast was quite the surprise seeing Will Farrell, Brad Pitt and Tina Fey, while i'm a huge fan of Farrell i went to this movie and it was really good, voice acting is top notch, the comedy stands out and i really liked the soundtrack since most of the songs are old-school.This movie is recommended for everyone you will laugh and Will Farrell will draw smiles on the audience, if you get the chance to see it in 3D then go for it since the action scenes are powerful and breathtaking..
Has high replay value because I've seen this movie countless of times now.The voice acting are all spot on; David Cross, Tina Fey, and most especially Will Ferrell are stand outs.
Like I say, 2010 is the best year for animated movies.The story is like "What will happen if the villain defeated the hero?".
While October sees none, November's first animated film (the second one being "Tangled") is "Megamind", a similar movie to "Despicable Me" but in a Supermanalized version."Megamind" uses concepts from Superman such as a foreign planet is on the way to destruction while one little young of the species is hoped to survive and live in another planet.
The level of the animation seemed quite good and the voice actors are perfectly suited for their roles - Brad Pitt as the superhero Metroman, Tina Fey as the beautiful reporter who keeps getting kidnapped by the evil Megamind voiced by Will Ferrel.
Megamind is a great movie with a very well written storyline and a terrific voice cast.Its very funny and the characters,including the villains,are very likable,certain parts are a clear parody of superhero movies,and each one is very clever and you can tell that these writers are fans.Will Ferrell was perfectly cast as Megamind,this character is unique and wacky,and it is obvious from the moment we hear him speak that no one other than Ferrell could have voiced him.The movies soundtrack is outstanding,each song is very recognizeable and used at correct moments,there are also several twists throughout the movie and for an animated family film,it is very unpredictable.Megamind is a very fun movie and I would recommend it to anyone looking for a good comedy or family film.
'MEGAMIND': Three and a Half Stars (Out of Five) The second CGI animated blockbuster this year to revolve around a super villain learning to be good (the other being 'DESPICABLE ME', which I watched the same day).
It features a large voice cast of A list actors including Tina Fey, Jonah Hill, Brad Pitt, David Cross, Ben Stiller (who also served as an executive producer on the film and was originally cast in the title role) and Will Ferrell as 'Megamind' (after both Stiller and Robert Downy, Jr. backed out of the role).The film opens with an 8 day old big headed blue alien boy being sent away from his planet by his parents before it blows up.
They both attend the same school, in Metro City, with equally impressive powers (one's a genius and the other has super strength and flight) but due to the one babies rich upbringing and good looks he grows up to be an idolized superhero named Metro Man (Pitt) and the other (the blue alien) grows up to be a despised mastermind villain known as Megamind.
All i can say is wow.....a beautiful film relating to superman and a satire to current superhero movies.From the beginning i was so engrossed in this movie that i had not being able to,in animated movies,for a long long time.There are comedic scenes......there are emotional scenes...the battles are intense.....basically THIS FILM HAS GOT IT ALL..................and when you think you've seen it all.....there is an OH MY GOD moment at the end......although i will admit that the chick here looks a lot like the chick from MonstersVSaliens............still,I RECOMMEND THIS MOVIE TO EVERYONE..........10/10....enjoy this heartwarming movie......cheers..
But Megamind gets more than he bargained for when his creation comes to life.Though "Megamind, " directed by Todd McGrath, has the distinction of being one of the only family-oriented animated films ever to feature a bad guy as its main character, the movie may be too cerebral and esoteric to completely enthrall children and too undisciplined and gimmicky to appeal all that much to adults.
It is hard to be laugh out loud funny without being offensive or crude these days, but Megamind exceeds with flying colors.Will Ferrell and Brad Pitt have a fierce villain/hero rivalry that escalates quickly.
Add in Jonah Hill as the dorky camera man in love with Tina Fey and you have a hit.The animation is great, the music is wonderful, and the dialogue is the best.
It's similar in style and quality to "Monsters vs Aliens." Voice-acting seems good; Will Ferrell, Tina Fey, Jonah Hill, Brad Pitt, Ben Stiller, are all decent.
Jonah Hill Fantabulous, Titan is just a total looney but this movie teaches us to care and love even those who who might not be who you normally like.I could honestly go on forever - this not just a must watch movie, this is a must own !!!Great for for the whole family and entertaining from start to finish -this is a movie for you if you just need a good laugh :).
He is not the most dashing leading man around, but he is one hell of a funny man.This latest feature from DreamWorks Animation is a fine testament to that: The title character's over swollen skull and blue skin makes him one of the most disturbingly ugly animated characters of all time, but like the actor who voices him, he is one hell of a funny creature.We feel for you, Mr. Ferrell, we truly do.When we first meet Megamind, he is falling to his death.
In an unexpected turn of events, Megamind defeats and kills Metro Man. To balance the equation of good versus evil, Megamind creates a new superhero Titan, who eventually becomes a super villain.
Back in 2001, when Shrek was released, the studio DreamWorks Animation loomed to be an authentic rival of Pixar, with the potential of even surpassing it for not being subject to the marketing whims from Disney.However, almost 10 years later, it is clear that Shrek was an exception, because even though DremWorks made a few good movies after Shrek (Shrek 2, Shrek Forever After, Over the Hedge and Kung Fu Panda), I think that most of the films produced by that company range from mediocre to horrible.But the studio keeps trying, by copying formulas and always trusting that the abuse of references to the popular culture will rescue them.Megamind is another bad animation movie from DreamWorks.Despite the solid voice acting, Megamind did not make me laugh even once.The actors make their best to bring the forced and lacking of any spark dialogs to life, and the few commentaries which are barely likable only stress the lack of originality and ingenuity from the pathetic screenplay.Co-screenwriters Alan J.
Schoolcraft and Brent Simons tried to make a tribute to the world of the comics, and the references to the archetypes which abound in the super-hero movies are not absent; however, the simple repetition of clichés is not a synonymous of real humor.In fact, with so many interesting "deconstructions" of heroes and villains (from The Incredibles and Despicable Me to more mature movies such as Defendor and Kick-Ass), Megamind feels redundant and unnecessary...something which could have been ignored if the film had been funny; but well, I already spoke about that.And if you think that this is only the typical reaction from an embittered old man like me, I have to add that the whole cinema was alarmingly silent, even during the most elaborated "comical" sequences.And no, not even a soundtrack full of classic rock was enough to dispel the unlikeable air of corporate committee which is noticeable in every scene of Megamind.On the positive side, the animation is good; however, any visual attribute is immediately forgotten when we face the poor story.I lost the count of all the times I looked to my watch during the "exciting" final battle, because I was desperately waiting for the holy end credits to come.And I was surprised when I checked that the running time of Megamind is only of 95 minutes, because I truly felt that it was near the two hours.In conclusion, Megamind is a disastrous hybrid between Despicable Me and The Incredibles, but without the pleasantness from the first one or the ingenuity from the second one.In other words, Megamind is a badly done copy which came too late and with a boring and insipid screenplay.In summary, another false move from DreamWorks, at least in my humble opinion..
A wonderful little kid friendly animation with superb casting of the voices of Will Ferrell, Brad Pitt, Tina Fey, Jonah Hill, David Cross and J.K. Simmons.
He keeps kidnapping Roxanne Ritchie, a journalist and keeps challenging Metro Man. Later in the story, Megamind feels the void that the absence of a hero has left in him, and he decides to create another hero to challenge.The movie was funny and the writing was well thought-out.
On the surface, Megamind looks like a spoof of the "superhero genre." But when you actually watch the film, it actually has some pretty well done character development and asks some interesting questions.
The supervillain Megamind finally defeats his nemesis, the superhero Metro Man. But without a hero, he loses all purpose and must find new meaning to his life.Of the animated films in the last ten years, "Megamind" does not seem to get a lot of love.
I also liked the insights into the superhero genre and seeing the caricature hero & villain both evolve in the course of the movie.It did start to get predictable in the last half, to the point where I started guessing lines of dialogue (much to the amazement of my boys) and correctly foresaw plot twists.
Megamind will be fun for both children and adults alike (unlike recent animated films-like Rango- that try too hard to target adults and forget that kids want to have a fun time as well).
This isn't an original or memorable film, but it does manage to entertain and I really had a fun time with the movie.While Megamind (Will Ferrell) is going through a near death experience he tells us the story of his life from the very beginning.
This hero happens to be Titan (Hal), who actually turns into a villain himself instead of saving the city, so now Megamind will be forced to become the hero.The plot has several similarities to many superhero stories, and we might be reminded of other similar animated films such as The Incredibles, but Megamind still works as an entertaining animated film because it has an excellent voice acting cast.
You don't have to remind yourself that you are watching a cartoon like in other movies that try to fool you by making these animated films look real and authentic.
Farrell and Brad who we have never seeing together in a real movie just makes lot of sense in this animation.'Megamind' is a nice family entertainer.
But no challenge, means no fun, so Megamind soon ventures to create himself a new super-foe (while simultaneously falling in love with journalist Roxanne Ritchie (Tina Fey))...The animation genre has a knack for extremely well-written narratives, possibly due to the immense budgets for creativity, which are necessary for their development.
Finding themselves landing on earth, one becomes a city's protector because of the good nurturing done, while the other got the shorter end of the stick landing inside prison, and through a series of misfortune decided that enough's enough, and throws his weight on the other side of the moral spectrum.The film turns the superhero genre on its head, and one of the most obvious spins the storytellers here have a field day with is Jerry Siegel and Joe Shuster 's Superman, with Metro Man clearly modelled after the Last Son of Krypton with his do-gooder ways and blessed with similar superpowers of flight, strength and that heat vision, and Megamind that of Lex Luthor, but infused with a lot more comedy which also came courtesy of a fishy sidekick aptly called Minion (David Cross).
That, as well as the usual never judging a book by its cover and the likes of the usual moralistic messages in Alan J Schoolcraft and Brent Simons' story, makes it rather preachy at times.But for comic book and superhero fans, this film probably addresses square on why villains appeal, because they make the heroes look good, and if there should be the disappearance of either side, the entire sense of purpose would probably vanish, and interest waned.
With a host of voice talents such as J.K. Simmons, Justin Theroux and even Ben Stiller at its disposal lending cameo appearances, Megamind has what it takes to entertain, and although I didn't watch this in 3D, none of the scenes witnessed do require that format, other than for a handful of deliberately created ones which I thought Metro Man's flight in the beginning of the film en route to his rescue of Roxanne, will probably take the cake..
As my title suggests ,if you go in expecting Pixar, you will be disappointed , but if you expect another Will Ferrel movie, you will have tons of fun, And it is interesting to watch a Will Ferrel movie in CG and without the adult toilet jokes, you don't see that everyday.This is a kind of movie which can be enjoyed both by adults and kids, it has a decent story , good animation and I liked the supporting cast, it's not great or epic as the Incredibles ,it's just simply funny...
Minion (the always solid David Cross) is an enjoyable foil for Megamind and Metro Man (Brad Pitt) turns out to be a fun twist on the superhero.
Villain Megamind (Will Ferrell) is an alien sent to Earth growing up alongside good guy Metro Man (Brad Pitt).
But Megamind also starts to fall for reporter Lois Lane, I mean Roxanne Ritchie (Tina Fey).Like most Dreamworks films the animation is excellent and the action sequence with its camera movements were exciting.
This is one of the best movies i have ever seen, despite it been animated the story line is awesome and creative, coming out with a brilliant trend to swap the villain, mega-mind in place of the long lost hero, metro-man.
Megamind is a anti-hero type of a movie, with some moments of humour, and excellent voice acting by the impressive cast, along with great animation from the work team.
So he makes a normal human into a superhero,but that fails misrabely when the guy becomes a supervillain himself,and Megamind now must save Metro City!The Voice Acting by Will Ferrell as Megamind is very good, and also along with great voice acting from Brad pitt as Metro man, Jonah Hill as Hal, and Tina Fey as Roxie(who is Megamind's crush).Great work from the animation team, making the movie of Megamind a bit like a parody version of Superman,and also well done by the director Tom McGrath,because its never easy to make a animated movie.Finally,Megamind is a quite enjoyable movie with some moments of humour,and people of all ages will surely enjoy it..
Performance wise, well everyone did a decent job, so I'll give honourable mentions to the voice talents of; Will Ferrell as Megamind, Tina Fey as Roxanne Ritchie, Brad Pitt as Metro Man, Jonah Hill as Hal Stewart/ Titan, David Cross as Minion and Ben Stiller as Bernard.The whole story is told from the point of view of Megamind which makes for an interesting dynamic.
I recently saw Dreamworks animation's Megamind, a film about a failed supervillain who discovers he makes a better good guy than bad guy.
"Megamind" is one of the better animated movies to have made it out of 2010, end of story.
The colors were plenty and splendid and the animation itself was amazing.The cast of voices in the movie was amazing as well, with great names like Will Ferrell, Brad Pitt, Tina Fey, Jonah Hill, Justin Cross, Ben Stiller, and more.
I thought that Megamind wasn't going to be a good movie but I was wrong.It was a lot better than I thought.It had several actors in it that I really like.Megamind (played by Will Ferrell)is a really funny character who is the movies villain and despite everything he does he cannot get anywhere.My favorite characters are Metro Man and Megamind.It was a really funny movie and is well worth the money to see it in 3D.The 3D effects are great.It has a great soundtrack.I am going to see this in 2D next time I go to the movies.I want a second serving.Best animated movie of 2010.It had a great plot with a mix of comedy and action.9/10 is my rating. |
tt0384642 | Kicking & Screaming | Phil Weston (Will Ferrell), is an average person who had to endure his father Buck Weston's (Robert Duvall) over-competitiveness throughout his childhood, an upbringing which has left permanent mental scars. Now middle-aged and married, with a young son named Sam, Phil runs a small vitamin store, while Buck operates a local chain of sports stores.
Buck is coach of the Gladiators, the most successful little-league soccer team in the district. Sam is on Buck's soccer team, but to his dad's annoyance his grandfather keeps him on the bench, a humiliation he also visited upon his son decades prior. Buck eventually transfers Sam to the Tigers, the league's worst team.
At Sam's first game with his new team their coach is absent. Rather than forfeit, Phil decides to coach the team, a position he takes up permanently. However, despite Phil's best efforts the team does not seem to improve. In desperation Phil recruits Mike Ditka (played by himself), who is Buck's neighbor and hated enemy. Enticed by the opportunity to beat Buck, Ditka accepts the position. Despite grueling training, the team continues to lose.
Ditka introduces Phil to two exceptionally talented Italian boys working in a local butcher's shop. Phil succeeds in gaining their Uncle's permission for them to play for the Tigers. They have an immediate impact, scoring repeatedly. The resulting winning streak makes them serious contenders in the league. After finally winning a couple of games and Phil said that his team was going to go to the finals, Phil and Buck make a bet, if the Gladiators win then Phil would sell his store and work for Buck. If the Tigers win then Buck would hand over his most prized possession, 'The Pelé Ball', a soccer ball struck by the famous player which Phil caught as a child and Buck took from him.
Meanwhile, Ditka also introduces Phil to coffee, which rapidly changes him from a mild-mannered caring dad, to an obnoxious, over-competitive coach, not that different from his father, abusing kids and parents alike. The team's mantra becomes "Get the ball to the Italians", which, though effective, demoralizes his team. In the ultimate over-competitive act he benches his own son for the entire semi-final game.
The Tigers make it to the finals where they face off against the Gladiators. At half-time, the score is two-one to the Gladiators. In a heart-to-heart discussion with his son, Phil realizes the error of his ways. He tells his team to do exactly the opposite of what he taught them. Although the Gladiators score one more goal after half-time, they don't give up hope. Phil gives the goalie a vision test with glasses from the crowd. From there, Ambrose scores one goal—making the score three-two. After another goal, the score is tied. The team rallies and produces a spectacular team performance to win 4-3, with Sam scoring the winning goal against his uncle Bucky (Josh Hutcherson), (Buck's child who was born on the exact day as Sam) using a move that he practiced when his dad benched him in the semi-finals.
Honoring the bet, Buck tries to give Phil the ball, but Phil refuses. Making peace with his father, they merge their businesses, realizing there is more to life than winning.
The film ends with an adapted version of the "He's Got Balls" commercial originally produced by Buck. In it, the entire Tigers team appear, announcing the merger of Phil's vitamin shop—Phil's Pills—and Buck's Sporting Goods Store. The team shouts, after the "He's got balls" line, "And vitamins."
Closing credits are set to a cover The Beatles song We Can Work It Out. | flashback | train | wikipedia | He takes over coaching his son's Little League soccer team and goes nuts trying to win at all costs.Kicking & Screaming seemed like it wanted to be the Anchorman of kid's movies, but it just lost me.
There were some really funny parts, one involving the team needing to help out at the Italian kids family butcher shop, but overall, it just tried to hard to be a quirky movie that adults and kids would enjoy.All in all, not Will Ferrel's best movie, but definitely not horrible.
If there would of been better props, we could say this movie could equal Little Giants(1994), another good comic sports film.Between a one two ten, I give a seven and a half thanks to the director's effort to bring in Mike Ditka to help out..
But in most movies, Wills best moments are making others seem funny when they play off of him.In this movie where the Bad News Bears do soccer in a way, Will Ferrell makes Mike Ditka look good.
If You're a Member of a Soccer Family, You'll Love It. If you're a parent with kids in AYSO soccer, or a kid that plays(ed) the game, then you'll love this mindless, uplifting comedy about a coach going to the extreme to help his Tigers soccer team win.
Kudos especially to Robert Duvall and Mike Ditka who really played their parts well and added a lot of variety to the movie so that it is not completely saturated with Will Ferrell (who also balanced his father/son roles well).
You may be surprised to learn that rather than just being another overly silly Will Ferrell movie, Kicking & Screaming is actually a brilliantly poignant exposé on the foibles of the human condition.
While a movie like Crash chooses to tackle the heavy issue of human relationships within a racially diverse atmosphere, Kicking & Screaming goes a different direction and touches the soul of two topics that are near and dear to my heart: sports competition and coffee addiction.I don't know about you girly girls, but all us manly men are well-rehearsed in sports competitiveness.
Whether it be Robert Duvall (a real man who says the only daily vitamin he needs is a steak) going toe-to-toe against Will Ferrell in a passionate game of tether ball or Duvall and Mike Ditka constantly trying to outdo each other or Will Ferrell becoming so addicted to coffee that he installs a cappuccino machine on the bench and forces Ditka to resign as assistant coach, the chemistry just works.It's a chemistry that is hard to accurately depict in writing.
When Duvall starts to taunt Ditka because he's been reduced to coaching little league soccer, Ditka responds by holding his hand out and saying, "I couldn't hear ya; my Super Bowl ring was making too much noise." The self-referential tone works perfectly.The kids can get a little too cutesy at times, which will play well with soccer moms, but they do have some genuinely funny moments.
Sure, I didn't care for some of the cutesy kid stuff, and things *do* get predictable and silly, but what are negative elements for me will be looked upon more favorably by younger audiences and sappy parents.To find a movie that will keep adults consistently laughing throughout without resorting to material that'd make you squirm if you're sitting next to mama or the kids, you usually have to look for the Pixar label, so I tip my hat to Kicking & Screaming for succeeding.
But not Will Ferrell, he only improved his career after his goodbye to SNL, with great comedies like Old School, Anchorman, and even, Elf. Whenever you go see a Will Ferrell film you have the strong expectation of it being really good.
Yes, those thinking 'Kicking and Screaming', would be the next great Will Ferrell movie are sadly mistaking.
I was one of those people, and that's why I left the theater so incredibly disappointed.The movie is a little league soccer flick, and it circles around the all-too-familiar plot of the dipstick son trying to live up to his non-supportive father.
He owns a vitamin store, and is always trying to gain the respect of his father, Buck Weston (played by Academy Award Winner Robert Duvall), who owns a chain of sporting good stores and viciously coaches a little league soccer team, which Phil's son is a part of.
By the end of the movie, you really don't care anymore, and you're looking at your watch frantically to see how much of this waste of film is left.It isn't so much 'Kicking and Screaming' is a horrible movie, it's just not a good one by any stretch of the imagination.
He tries different plays with his team, even though they are not the best.Will Ferrell gets back at his dad for being such a stuck-up person and then realises quite near the end of the film that he is acting like his dad was to him.Will Ferrell is quick to act and explains that he was an idiot to the team and finally puts his son in.
will Ferrell is very funny, and you can see how a lot of his stuff is ad libbed, and that might be a certain type of comedy only appreciated by certain people, but I enjoyed it, and will continue to do so as I got the DVD and there are some good outtakes and deleted scenes on that as well...Don't over analyze movies too much, that can take the enjoyment out of a lot of movies..
He starts coaching a kids' soccer team, but as they get closer to the championships, he finds himself turning into his manic father.The premise isn't exactly new and a movie like this one tends to be on the predictable side.
But this is still a movie about cute kids and life lessons.Phil Weston (Ferrell) has had to deal with his uber-competitive father (Duvall) all his life.
This is perhaps the first youth sports league in which players are actually traded, making it ideal for highlighting tropes about Doing Your Best and Just Having Fun.With the help of neighbor Mike Ditka as assistant coach, and his introduction to coffee, which he's never drunk, Phil indeed becomes a competitive monster.
There are a lot of jokes about his growing caffeine addiction, as well as the team's game strategy of always passing to the two soccer prodigy Italian immigrants, whose father lets them play only if they remember the mantra of the family butchery, "meat comes first!" Sadly, "Kicking and Screaming" seems largely stuck in a retarded stage of development in which immigrant caricature and mispronunciation of Asian names (Ditka refers to little Byung Sun as "Bing Bong") pass for laughs.
By the final game you guess between which teams the filmmakers seem to realize that neither side is worth rooting for, and abruptly force a moral epiphany on Ferrell as if it were a straitjacket.There's a lot of potential for sharp satire in the culture of sports parents, but its insistence on simplistic moralizing prevents "Kicking and Screaming" from being anything more than a kids' movie.
Sam is riding the bench on the best soccer team in the league, which just happens to be coached by Phil's father, Buck (Robert Duvall).
The Tigers start winning, and they get to play in the championship game against Buck's team.This movie is one of those stupid and funny types.
Will Ferrell (Phil Weston), Robert Duvall (Buck Weston) and Mike Ditka make a hilarious trio in this wonderfully entertaining film.
I'm only going to say it once, and probably never say it again, but Will Ferrell is an absolutely unfunny actor, regardless of what people think.OK, I'll let "Bewitched" and "Anchorman" aside, but this movie really shows how unfunny this man is.
Kicking And Screaming, is about Phil Weston, who works at a vitamin store and lives with his wife Barbara, and his son Sam. Phil's dad Buck Weston, is very competitive and owns a sporting goods store.
I wasn't bored at Kicking And Screaming, but I didn't laugh and didn't leave the theater thinking it was a great movie.
Radical things can come in many different packages and this time it comes in the form of a goofy family comedy.Keep in mind I have a five year old son, so i am sometimes forced to sit through some horrendously boring or obnoxious movies.
Every once in a while a movie comes along that a parent can enjoy just as much as their kid, this is one of those times.Wil Ferrel plays an overly sensitive goofy dad who must take over the coaching duties of his son's pathetic soccer team.
As in any sports movie, there is a rival team which in Kicking and Screaming is Wil Ferrel's overly competitive and overbearing dad played by Robert Duvall.
In order to beat his dad Ferrel gets the help of neighbor Mike Ditka who plays himself and a couple of little Italian kids.It follows the path of any sports movie marketed towards kids.
My son was laughing just as much when Wil Ferrel became addicted to coffee and started getting caffeine rages or when Wil Ferrel started kicking a ball as hard as he could around his house and blamed it on the kids.Seriously check it out if you are the slightest Wil Ferrel fan, have a kid or just like goofy comedies..
Then I saw the clip on Conan and decided I was going to see it."Kicking and Screaming" is a movie about Phil Weston (Will Ferrell) whose son plays on his father's (Robert Duvall) soccer team, the Gladiators.
In his last few movies (old school, elf), Will Ferrell whines and just seems kinda clueless--and after awhile---this is not funny.I think the producers should have developed Will's son character a little more and the relationship between Will's son and Will's father's son and Will.
For some reason, kids and competition often spells disaster for their middle aged parents, and it is this phenomenon which forms the premise for master comedian Will Ferrell's latest film, "Kicking and Screaming." Ferrell plays Phil Weston a mild mannered drug store owner who never excelled at sports despite being pushed by his over-competitive father, Buck Weston, (Robert Duvall) who perennially coaches a top little league soccer team.
Once he assumes the coaching position, Phil can't avoid his competitive urges and recruits Mike Ditka, who happens to be Buck's disgruntled neighbor, and a few Italian soccer phenoms to help turn around the abysmal Tigers.The weak point of "Kicking and Screaming" is that it really offers no insight into the world of youth league sports (any film that has Mike Ditka assistant coaching youth league soccer has obviously strayed from the realm of reality).
The kids are great and generate some laughs on their own, but the parents are given minimal screen time.The film's center piece is Ferrell, who delivers another fantastic performance.
Phil Weston (Ferrell) has never been good at sports and his father is a succesful children's soccer coach.
Phil faces a challenge, but not by himself, he asks for help to his father's neighbor and rival, real-life former American football player/coach Mike Ditka.Overall it's an entertaining film, carried almost entirely by Will Ferrell, although the scenes featuring the new additions to the team, the italian butcher-trainee kids are a joy to watch.
Kicking and Screaming marked the first sports movie that Will Ferrell starred in.
Will Ferrell stars as Phil Weston, a loving dad who wishes that his son would get more playing time in recreation league soccer.
The cast was decent, the kids were very funny specially the little Chinese, the two Italian boys great soccer players, Will Ferrell begins with a decent and moderated performance but as the movie continues he began to transform in the same Ferrell that screams and makes faces and that mostly of the time is very funny, but in this movie I feel that he exaggerates, he looks so overacted and even annoying.
An average film is Kicking and Screaming and only because of Will ferrell.the movie is a pretty funny film with lot's of sequences with Will freaking out on the kids.Will Ferrell plays a similar character to Greg from T.V's Yes,Dear.He's a sensitive sissy who decides to show his father just how good of a guy he is when he decides to coach a losing soccer team.It's your typical father acts like a jack@$$ then realizes he's being a jack@$$ and learns a valuable lesson movie.The only unique thing and the only thing keeping it away from the crap o meter is the comical genius Will Ferrell.The film is full of corny touchy feely situations and lines not to mention an extremely cheesy final game but for the most part it's pretty entertaining.It is a family film that is pretty much the same as Bad News Bears,or The Big Green, but it isn't unbearably horrible like the three ninja's movies.Up and comer Josh Hutcherson who is snatching all the roles lately gives a great performance as does Robert Duvall but Steven Anthony Lawrence is brutally unfunny and extremely annoying.His lines are always weird but not funny weird just plain bizarre.The little Asian boy was funny just because half the movie your thinking "jeez that kid is tiny".Will Ferrells over the top goof ball acting that seems to have left Jim Carrey is what keeps this soccer flick a good movie..
Mike Ditka plays Buck's neighbor, who teams with Phil to help coach.Will Ferrell was good in this, but he's played this character before.
well what a surprise was this, i found this in a bargain bin at the local video shop.got it for the kids but it was me who laughed and enjoyed this little movie.the coffee jokes were brilliant and will farrell has great comic timing.
it looks like robert duvall had great fun makin the movie and was good to see him in an other comedy.
As has happened with most such films before it (many helmed by directors far more adept than Jesse Dylan), the result is an empty movie orphan which satisfies neither audience.And it doesn't help that the film looks like it was directed by a 12-year-old -- with spare change, on a Saturday afternoon -- who has never even WATCHED soccer before.It's tough to call this a truly awful movie, because there are a few laughs scattered here and there, mostly because Ferrell is able to mine one or two golden nuggets from the mostly barren script.
I expect more from executive producer Judd Apatow, who scored a slam dunk with his cast for the TV show "Freaks and Geeks." I guess he used up all of his casting inspiration on that show, because this is perhaps the least memorable kid cast ever.As you probably know by now, Ferrell plays Phil Weston, an over-his-head youth soccer coach saddled with a sad-sack team who feels he's a disappointment to his father (Robert Duvall), also a coach, but more successful.
Oddly, Ferrell is able to get some help from a guy who hates Duvall even more....coach Mike Ditka--who is pretty funny in this very off-beat role.The first 75% of the film is pretty conventional.
Will Farrell decides to coach his son's youth soccer team with mixed results in "Kicking & Screaming", an admittedly hilarious but somewhat mediocre family comedy which basically works best as a time-passer and nothing more.
The filming of the soccer was well done -- in other words, realistic.Robert Duvall is 74 years old in this movie but doesn't look a day over 60.
Will Ferrell, love him (which I do) or hate him (which a lot of people do) you can't ignore him, which is probably due to the high volume of films he has appeared in recently the past couple of years you'll have seen the grinning idiot in 'The Wedding Crashers', 'Starsky And Hutch', 'Anchorman', 'Elf' and 'Old School' to name but a few, and here he appears as Phil Weston who takes on the coaching of a kids 'soccer' team, but soon his Father's competitive edge starts to usurp.Every cliché in the book is rolled out in this rather average, but ultimately, rather enjoyable comedy flick.Ferrell is manic as usual, though there is some good support from Robert Duvall, and a great turn from NFL coach Mike Ditka as Duvall's warring neighbour.The kids too are pretty charismatic, the film ends exactly as you would expect but it's still a solid 90 minutes of sports comedy cheese..
The acting is poor, Will Farrell and Robert Duvall who are both usually great actors are anything but good in Kicking and Screaming.
Kicking and Screaming is more of a family movie with lessons to be learned (by people of all ages!), but fans of Will Ferrell will not be disappointed.
Kicking & Screaming tells the story of a loving father and husband,Phil Weston, (Will Ferrell) and his obstacles with the local children's soccer league.
His son, Sam (Dylan McLaughlin) played on the team coached by Phil's father, Buck (Robert Duvall) until he was suddenly traded to the athletically-challenged Tigers.
His son, Sam (Dylan McLaughlin) played on the team coached by Phil's father, Buck (Robert Duvall) until he was suddenly traded to the athletically-challenged Tigers.
Now Phil is the coach of the worst team in the league and tries to have fun with the game, but loses his sense of mind when he became addicted to coffee and winning.Will Ferrell should stay away from kid friendly comedies (Bewitched, Elf).
I was kicking and screaming for this film to be over.The kids are nowhere as funny, cute, or good at anyone from the Big Green.
In the movie, Ferrell's son gets kicked off his soccer team-by his own grandfather!
(The latter was played by Robert Duvall.) He actually gets traded to another soccer team which Ferrell winds up coaching. |
tt1261862 | Icarus | There were those who called him Icarus. Everyone else knew him as a divorced father working for an investment company. But they didn't know his other side his dark side. Because Icarus (Dolph Lundgren) was at his best when he was killing people. For years, he'd worked as a sleeper agent in America but when the Soviet Empire collapsed, he found himself in a foreign country with no one to trust.
Determined to break from his dark past, he started over with a new identity. But you can only escape your past for so long. When a sudden mishap in Hong Kong blows Icarus' identity, past and present collide and the assassin realizes he is now the target. The people that want him dead will stop at nothing to get to him. And that means going after what he cares about most his wife and daughter.
Fighting for his life, Icarus is forced to face the demons of his past to protect the loved ones in his present. He must fight to save the only thing he's ever done right in his life. He needs to uncover who is after him and protect his family, before it's too late. | revenge, neo noir, murder, violence | train | wikipedia | null |
tt1441953 | Testament of Youth | The film starts with the image of a cheering crowd, celebrating the end of the war in 1918. Vera Brittain goes through the crowd, the only one not cheering, and ends up in a church, where several women are praying.
In 1914 Vera fights to become a student at Somerville College, Oxford. While her father is against it, her brother Edward supports her, along with his close friend Roland Leighton, and their friend Victor. Together the "three musketeers" and Vera have a good summer, swimming in a lake together and having long walks in the countryside. Roland, who is himself an aspiring poet, supports Vera in writing her own poems and pursuing her dream of becoming a writer someday. Roland and Vera start a shy romance. With the support of her brother Vera convinces her father to let her visit Oxford. The First World War breaks out and all three musketeers enlist. Vera helps convince her father to let Edward join the army.
When she arrives in Oxford she sees, for the first time, two amputees being assisted. In a newspaper, Vera sees that four of the pages of the paper consist of only the names of the fallen (i.e. the dead). Vera volunteers to join the VAD Voluntary Aid Detachment as a nurse tending the wounded in a hospital. Some of the other nurses know that she is from Oxford and therefore try to "break" Vera. For the first time Vera is confronted with the wounded from the front, when she has to wash a stinking soldier, brought covered in mud and blood from the battlefield in Flanders to the hospital in London. Roland comes back on home leave and is traumatised by his experiences at the front. After a talk with Vera he proposes to her and they decide to get married on his next home leave. They have a good day together after which Roland has to get back to France, this time accompanied by Vera's brother Edward. Vera's father has a breakdown after his son leaves. In the hospital a stream of wounded soldiers arrive. Roland writes that he has been granted a leave at Christmas, and has been sent far behind the lines and is safe. Just before Christmas, he is killed and Vera finds this out via a telephone call received on Christmas day. Vera eventually finds out that Roland did not die "bravely and painlessly", as the letter she receives from the Army states. Due to a lack of morphine he suffered a long time at a casualty clearing station in France, shot in the abdomen. Later, her friend Victor is blinded by a gas attack and arrives at the hospital. Vera proposes to him, so they "can take care of each other", but he refuses, although he has been in love with Vera for a long time. The next night he dies.
Vera decides to go work in France herself. Her father is very proud of her. It's August 1917 and in France the situation of the wounded is very bad. Due to a lack of surgeons often the nurses have to perform amputations. Vera works in a hospital behind the lines, where she is first tasked with treating wounded Germans. Although she and her superior at first seem to not care much about the wounded enemy, they later both comfort a dying German soldier. After a big offensive the hospital is so crowded that the wounded have to lay in the mud outside. In a huge pile of corpses Vera discovers her brother, who is still alive. His infected wound gets treatment and he is saved. After that he is sent to Italy, which seems to be good news, because the fighting there is lighter. Edward wants Vera to proceed her academic career after the war, by visiting Oxford. Vera's mother has a nervous breakdown and Vera goes home. There she takes over the households, by cleaning the house and hiring a maid.
Edward is killed on the Italian front.
The day of the truce comes. Like in the first minutes of the movie, Vera is shown as she marches stoically through a cheering crowd, to end up in a church where some women are praying. Honouring her brother's wish, Vera finally goes to Oxford, where she has nightmares about Roland's and Edward's death. Winifred Holtby, another student at the college, helps her cope with her trauma and to get back into the everyday world.
At a political discussion, about whether to punish or to forgive the Germans, most of the audience is for a "revenge treaty". George Catlin, who calls for a "forgiving peace" is booed upon. Vera gets on the stage and gives a speech about how she held the hand of a dying German soldier and that he was not different from her brother or her fiancé. Therefore she calls for a "No more" to war and revenge.
The last scenes show Vera swimming in the lake, where she swam with the "three musketeers" in 1914. She promises not to forget the dead and the screen turns to black. | flashback | train | wikipedia | null |
tt0455275 | Prison Break | Season 1The first season follows the rescue of Lincoln Burrows (Dominic Purcell), who is accused of murdering Terrence Steadman (Jeff Perry), the brother of the Vice President of the United States. Lincoln is sentenced to death and is incarcerated in Fox River State Penitentiary where he awaits his execution. Lincoln's brother, brilliant structural engineer Michael Scofield (Wentworth Miller) , is convinced of Lincoln's innocence and formulates an escape plan. In order to gain access to Fox River, Michael commits an armed robbery which results in his being sentenced to Fox River. In prison, Michael befriends the prison doctor Sara Tancredi (Sarah Wayne Callies) when he pretends to suffer from Type 1 diabetes, in order to gain daily access to the prison's infirmary. The brothers' fight to ward off the execution is aided by their lifelong friend Veronica Donovan (Robin Tunney), who begins to investigate the conspiracy that put Lincoln in jail. However, they are hindered by covert agents, members of an organization known as The Company. The Company was responsible for framing Lincoln, and they did so because of Lincoln's father, Aldo Burrows, and his former connections to the company. The brothers, along with six other inmates, Fernando Sucre (Amaury Nolasco), Theodore "T-Bag" Bagwell (Robert Knepper), Benjamin Miles "C-Note" Franklin (Rockmond Dunbar), David "Tweener" Apolskis (Lane Garrison), John Abruzzi (Peter Stormare), and Charles "Haywire" Patoshik (Silas Weir Mitchell), who come to be known as the Fox River Eight, escape in the season finale.Season 2The second season begins eight hours after the escape, focusing mainly on the escapees. The fugitives split up and journey to locations across the country with the authorities close behind them as they each pursue their individual goals. Brad Bellick (Wade Williams) gets fired from the prison where he worked as a guard and chases after the inmates himself for the reward money. Several of the escapees reunite in search of a large cache of money buried long ago by another prisoner. Federal agent Alexander Mahone (William Fichtner) is assigned to track down and capture the eight fugitives, but is revealed to be working for The Company, which wants all eight men dead. When Sara discovers her dead father, Governor Frank Tancredi, she meets with Michael, remaining with him as the brothers try to bring down the current President, a Company member. To ensure the brothers' safety, Sara allows herself to be arrested and faces trial. During the trial, the testimony of former Secret Service agent Paul Kellerman, who used to work for the Company-controlled President, exonerates Lincoln and Sara. Several of the escapees are killed or recaptured, but the brothers make it to Panama. Michael, T-Bag, Mahone, and Bellick are arrested by the Panamanian authorities and imprisoned at the Penitenciaría Federal de Sona.Season 3The third season follows both Michael inside Sona and Lincoln on the outside in Panama. Sona is a prison that has been run by the inmates and guarded only from the outside since a riot the year before. Burrows is quickly contacted by Gretchen Morgan (a Company operative who was in charge of operations in Panama) who kidnapped his son LJ (Marshall Allman) and Sara Tancredi (Sarah Wayne Callies), the woman Michael loves. He is told that The Company wants Scofield to break James Whistler (Chris Vance) out of Sona. The season follows Michael and Whistler's trials in formulating an escape plan, as Michael has to deal with extreme tension and as Lincoln deals with the Company's operative Gretchen Morgan (Jodi Lyn O'Keefe). Sucre gets a job at the prison to aid Michael in his escape plan. When Lincoln attempts to rescue Sara and LJ following a clue provided by Sara, Gretchen claims to have beheaded Sara and sends Lincoln a head in a box as a warning. As the season ends, the pair manage to escape along with Mahone, and another inmate McGrady leaving behind several accomplices including T-Bag and Bellick. Sucre's identity is discovered by a prison guard and he is thrown into Sona just after the escape. LJ and Sofia (who was captured for a guarantee that Whistler would go with her) are traded for Whistler, and Michael seeks revenge against Gretchen for Sara's death.Season 4The major storyline for the fourth season concerns a team recruited by Homeland Security agent Don Self (Michael Rapaport) to obtain Scylla. Although the team initially believes it to be the Company's "black book", it is later revealed to contain information on an advanced renewable power cell. Over the course of the first half of the season, the team obtain cards to access Scylla, and break into Company headquarters to steal it. In the first half, Sara is discovered to be alive, Bellick is killed, and Self is revealed to be a double agent and is planning to sell Scylla to the highest bidder. Reluctantly, Lincoln decides to join the Company to get it back, while Michael suffers from a hypothalamic hamartoma. He is treated and operated on by the Company. He later learns that his mother, Christina is still alive and was an agent of the Company, who is revealed to acquire Scylla to sell to the highest bidder. Eventually, the series ends in Miami, where Scylla is recovered by Michael and the team, the General and the Company are taken down, and Christina is killed. In Prison Break: The Final Break, a story is told explaining what happened following the events of the last episode (before the four-year flash-forward) and the strange scar on Sara's shoulder. This story involves the incarceration of Sara in Miami-Dade county penitentiary due to budgetary cutbacks; there are cots installed there acting as the county jail. With the General and T-Bag in the adjacent Men's facility, the General wants Sara dead and offers a $100,000 bounty. Largely echoing season one, Sara is involved in common prison fare before Michael hears of the bounty, and plans are devised for her escape. And in the end, Michael sacrifices himself for his brother, wife and child. It was also his choice to do, due to his disease, a brain tumor.
(Piyush) | murder | train | imdb | Prison Break is one of the best new series.
What few people knows is that Michael is the architect of the prison and so he knows his way around.The characters are really good.
Wentworth Miller also does a great job as Lincoln's brother, Michael Scofield.The story may seem a little incredible and some facts may be wrong, but never the less it's made quite believable.
The mood, style and action is well captured in really good looking shots followed by really nice music.If you should start to watch one new series this year, it should be Prison Break..
Before I had started watching Prison Break years back, I had heard multiple different things about it.
This review will explain my experience with the show.Overall, I think Prison Break is a great show.
Season 4, was actually quite good in my opinion, and ended the series in a good way for the time.
I hope they don't plan to continue any further, as I can't imagine what more story there is to tell.In all, Prison Break is a great drama that I definitely recommend if you're into character driven shows like Breaking Bad, The Walking Dead, etc.
The show is about a guy named Lincoln (Dominic Purcell) who gets arrested and framed for a crime that he didn't commit and now his brother, Michael (Wennworth Miller) installs himself in prison for one reason, to get his brother out of jail!
If you thought like I did(how can you make an entire series out of one prison break?), give it a try, you won't be disappointed.
my phone was ringing off the hook because everyone i told to watch was doing so, and was reacting the way i did.if the rest of the season is just 10% of the first night, it will be better than advertised!fox hit a home run right out of the ballpark with this show.
Prison Break is now on its third successful season and shows no sign of this wonderful drama ending.
If you're not still watching, you've lost a lot thing.Prison Break...
I bought the magazine, had the wallpaper, and even made my own custom Prison Break RINGTONE.And now I don't even watch this show...Here's how they ruined it for whatever reason: Beginning with episode 19 of Season 2, it was becoming clear that everything that had been so meticulously crafted by the writers in the previous episodes and season, was becoming completely UNDERMINED by the new direction of this show at this stage.
So things that were once key (the money, the president's brother, the tape recording, the F'n PRESIDENT) was just completely wiped out of existence, and this disenfranchised many people.We had been on this great roller coaster ride, seeing the character arcs of people coming to a climax, as well as the story, where everything that had been invested could finally have its exciting, explosive payoff.
He then says: "Oh by the way, look at this great new painting I started!"Audience: "That looks pretty good, but can we see the finished version of your other painting, you know, the one we've been coming to see for weeks now, some of us traveling distant miles?" Painter: "Oh, about that, I actually went ahead and started my new painting on the SAME CANVAS as my old painting, so I kinda painted OVER it." Audience: (*grabs shotgun*) That painter should've finished the damn painting he started, not undermine his work in exchange for the cheap ploy of beginning a new project in hopes of keeping the admirers coming back.
That place is a F'n joke.--Remember how in the off season they were saying things like "the show will be completely reinvented, it will take on a very very new tone and direction that we haven't seen before." Right, that's why Scofield's back in prison and trying to break out AGAIN.--Every single character this season is PAPER THIN.
Acting is good, the story is touching and I am getting emotional.Thank you prison break for making another good season and I hope there will be more.
Not sure what to expect from Season 2, but I hope, love blooms between Micheal and Sara, and most importantly, not more than 3 seasons, otherwise, might end up with less audience, unless there's a new twist in the story, as always shown in every episode of this show.
Now, I'm not going to say anything plot-wise because I'd like people to watch the show and decide for themselves, but I can say for a fact that this is a) not a paid review; and b) being an extremely critical viewer, these above "issues" do NOT interrupt the level of entertainment I get from this show.
okay, so we're saying that in the original series it wasn't "ridiculous" that a guy who's *apparently* really intelligent tattoos his whole body just to break his brother out - because his brother was framed by this crazy conspiracy!?
At the very least, they're casting POC actors to fulfill these roles in Prison Break, and thank jebus for the diversity we're seeing across our screens!Ultimately, this show brings back real good memories of the bond we had with these characters.
Seven years a lot can happen in the life of the real performers, but the true fans appreciate all the old-main characters back in the show and right now I can't be more excited to see the development of these show, especially the "character work" of the always magnificent, Robert Knepper(T-Bag).
It's too early to tell if these TV show will be of the same quality as the first four seasons of Prison Break but I have high expectations on this sequel.
The only band thing is the length of these season with only 9 episodes, when way back to 2005 the old Prison Break has more chapters in each season but at the same time is an advantage because the chapters, if the script is amazing, will be full action, drama and great performances.
i think prison break is one of the best series i have ever seen it is full of actions the series begins with Michael Scofield the main character he is a desperate man in a desperate situation.
I found it to be the most unpredictable thing I've watched for a long time.I thought season 1 was awesome and am thrilled Fox have agreed to make a 2nd season.
I loved the original Prison Break series; season one and two were absolutely amazing.
The characters in- and out of prison might have been over the top, but they were likable and relatable nonetheless, and the plot (including the whole government conspiracy) was plausible enough not to ruin the fun of anything.Now, ten years later, we find ourselves in Yemen with dulled down main characters, unrelatable characters and a nonplausable conspiracy.I don't know what I expected out of this reboot, but I had sure hoped for something better.
Maybe things will get better.I think shows like Homeland may make this show not look so great in comparison.
The original show is one of the best shows I have ever watched and this season is no different.
Its ability to shock, entertain and mislead the viewer is truly ingenious and a bench-mark for all producers of today's TV series.I mustn't lose myself in criticism, when after all; I have invested very many hours watching the show and is the reason why I give it 5 stars.
His conflicted morality makes for exceptional viewing as he kills and tortures his way through the otherwise boring trail of events.Overall, Prison Break is better than adequate for tired, brainless rainy-day's in front of the TV, but offers very little of anything intelligent or innovative..
I just finished my season one box set of PRISON BREAK and it has amazed me.
The initial story is simply a man trying to break his innocent brother out of prison, but its a roller-coaster ride from there on as we see people find out and want on board and complications keep smacking them in the face at every turn.
I didn't see him as much as I would've like to on the show, but what time he was there he shined - the best acting job on the show goes to him.The other actors are amazing too and the lead actor Wentworth Miller is just perfect.
He reminds me of Clint Eastwood so much and I like Clint and thats a great compliment, odd that he too escaped from Alcatraz lol.The story is amazing and the fact its shot in Joliet prison makes it creepier and more realistic, I have never been in prison so I don't know the talk and the way the guards act etc., but this seems real enough.
I think there was a right amount of killings, heavy racial conflict, the touching subject of prison bitches and rape, the crooked guards and such, it seems very real so good job on that.All and all if you watch this I promise, you will find something you like about it, its flawless in my book, the only bad thing about it is that it doesn't go on forever.
Such a shame that this poorly written, pathetic mishmash of bland dialogues and inferior action scenes bear the name of 'Prison Break' - a TV show that at its best moments (seasons 1+2) was a sophisticated and inspiring piece of art.This is a product of low quality.
The plot is utterly bland, the more the show progress, the less sense it makes and the more you feel like you wish they didn't created this mess.There aren't any thrilling moments in this series.
Having just recently watched all 4 seasons of Prison Break prior to this release and after seeing Wentworth and Dominic both in Legends of Tomorrow, I have been insanely excited for Resurrection and it has NOT disappointed at all.
I love Prison Break, I even re-watched the whole series just so I could remember everything before I started to watch the new one.I must say I loved the show even more after re-watching.
i never watched one episode of prison break on television, but i was curious to what it was about and if it was any good so i bought season one on DVD last week.
season two is about half way through on television now and i haven't watched one episode but want to...
I think Prison Break is the best thing I've ever seen on TV.
I would rate 9 for the 1st season as there were very good ideas and interesting characters.
Basically, Prison Break is the exact example of a show that carried on for many seasons from a plot that was great but just not fit to last for so long..
I'm a fan of Prison Break and I've watched the first 4 seasons several times.
Anyway, I've watched the first episode of season five and I must say it's very disappointing to say the least.
It feels so low budget, poor quality, cheap and just embarrassing to watch compared to the amazing seasons of Prison Break we're so used to.
Also Scofield's intelligence and planning wasn't as impactful or thought out like in the former seasons, and sometimes even a little far-fetched, though it was still entertaining to watch and had some good moments regardless.All in all, if you just like seeing more of Prison Break and you liked season 3 & 4, I'd say go for it.
PRISON BREAK was initially was planned for a 13 episode first season and later became and international phenomenon weeks after it was aired.
Furthermore it makes this TV show one that is hard to forget.VerdictExhilarating at every turn with cliff hangers that will keep you wanting to watch one more episode before you turn your TV off PRISON BREAK indeed is one of those shows that I would recommend to your TV SHOW wish list.PRISON BREAK did not disappoint me the first and certainly was equally entertaining the second time I watched it.
It's with absolute certainty that I say that this isn't the last time I will watch the FOX RIVER EIGHT break out of prison.TITLE: PRISON BREAK CREATED BY: PAUL SCHEURING GENRE: TV SERIES CRIME / DRAMA / MYSTERY SEASONS : FOUR (2005-2009) RATING: TV 14 RATED: 09/10.
I actually found the fourth season,the one most derided by prison break fans,better than the 2nd and the third, though by now the plot gets stretched and m any loopholes start to appear.
Oh my GOD ..This show is the best show or movie that I've ever seen ..Excellent story , Excellent writers , Excellent performance by the actors and the actresses , Excellent directing and it is a combination of action , romance & human feelings .In one word I can say it's FABULOUS .Maybe sometimes you'll say it's beginning to be boring but I assure you dear reader that you'll be amazed by the different situations of the story from one episode to another !!Be sure that you clear your mind and relax when you watch this magnificent show ..
Great stuff.I can guarantee that no other program on television will keep you on the edge of your seat like Prison Break does.
I took the 'Prison Break'(PB) season 1 collection from my friend and having recommended to see PB from many others I started watching this on last weekend and trust me.
Everything about the characters, the plot, and not just the 'breaking out' aspect kept me watching from start to finish.Many people noticed the change by Series 2, and so did I, but it was obvious, because of the way the storyline permitted it.
But, I thought Series 2 was still excellent and I was completely absorbed in Michael Scofield's world, the MiSa storyline, T- Bag's evil ways and Sucre's light humour.It won't be to everyone's taste, but if you love high- suspense, fast- paced, action, thrillers, or even romance, then give Prison Break a try!
It seemed like he was on top of things, which presented the viewer with a strange sense of reassurance throughout the season.And off course is the thrill of a prison break always a high level one.
When I'm watching prison break episodes I have to remind my self to breathe.
Prison break is like a drug, you want more.
The series should have been ended properly in the second season, but I guess it was doing too good.
Solid writing and acting and it kept us interested and wanting to watch the next episode throughout.
But after season one they just keep the show going (how many times will they break into and/or out of a prison?) without much of an idea for a good story to keep going with...
Even season 1 which lots of casual viewers see as the best season of Prison Break, had much to offer, from the suspense to the mystery of what's in Scofield's head, from the real attempt to make life in prison actually believable to the building of intriguing characters that stood out.
Unfortunately, after all this time, coming back means something new needs to be laid on table and it didn't happen with Prison Break season 5.
Action scenes are short-coming and half-cooked.In short, it was a real struggle to not have dropped this season after the very first episode (Alert: It's not going to get better, don't get your hope up for nothing).
I started watching prison break on Netflix.
Regardless of the popularity of prison break series, I stopped watching it after watching few episodes of season 2.
Lately I had been watching 'Prison Break' and I must say I have never seen anything like that, not a movie nor a TV serial.
The actors have let their characters seep into them.All in all, Prison Break is a must watch series for everyone who loves suspense, thrill and drama.
Good thing is it ends only in 4 seasons, so you can actually watch it.
This new "Prison Break" story line is awful & implausible.
as such low point has been reached here that "prison break" becomes "american idol".i only give it 4 stars out of respect to season 1 to which i would have given 8 or 9 at best (original idea at least).
The plot is basic like any normal movie or series, characters have no interest neither in acting nor in each other, like they lost contact and the acting is really awful, makeup is really bad, and the effects are awful this season is just a waste of time really.
pathetic how down graded the story-line is , for the 1st time watching a prison break season i got bored.
through out the episodes only for like max 20 minutes in total the story line came to the previous prison break quality..
My advice: Don't watch Prison Break.
First of all I want to say I watched the first episode with an open mind wanting it to be good and enjoyable like the old Prison Break we all loved 10 years ago.
Prison break is one of the best shows ever made.
Sarah Tengredy who was the doctor at Fox River prison where her and michael first met was also a very interesting character throughout the series.
I want them to go back in prison and this time have some more new characters..
For any show that want to revive there series take notes from Prison Breaks revival!!
First episode was brilliant I was so impressed with all the performances and it was good for them to bring most of the fan loved characters back!
Watched half of the 5th episode so far and cant watch it anymore, don't waste your time..I feel pity for those who paid for making this season - RiP Prison Break!!
Look at the final episode, time around 41:46 to 41:50 and you see the inside of Fox prison. |
tt0079475 | The Little Convict | An old artist (Rolf Harris) sets up some paintings at Luna Park, Sydney, planning to sell them, but has trouble attracting any people until he performs "Jake the Peg". Most of the crowd move on again when the performance finishes, being uninterested in his paintings, so he starts telling his granddaughter about their origins.
We then travel back in time to a British convict ship, the "Northern Star", as it sails towards a tiny colony on Sydney Cove with sixty-four convicts on board. Six of these convicts are a young boy named Toby Nelson, his older sister Polly, "Big George" Tomkins, a blacksmith, Jake "Dipper" Davey, a professional pickpocket who had only been nabbed when he became old and slow, William Watts, a "village idiot" who was on board for stealing a pig from a farmer - he had been caught when he tried to sell the same pig to the same farmer on the same day, an action that led to him being nicknamed "Silly Billy" after his trial - and Jack Doolan, a highwayman who had used some money he had robbed to buy bread and cheese, which he was passing around to a group of hungry people when the constabulary found him. Jack had given Toby the reins of his horse and Polly some of the bread and cheese, which led to them being charged as two of "the Doolan gang".
After a journey of eight months, the Northern Star sails through the headlands into the harbour on whose shores the colony is built. The convicts are greeted by the Lieutenant Governor, Colonel Lindsay Lightfoot, left in charge of the colony while the Governor is inspecting Norfolk Island. He reads out the rules of the colony and warns the convicts of the consequences of disobedience of orders. Toby and Polly see each other for the first time since the ship left England - women convicts had been kept in a separate area - but their reunion is cut short by a tall officer, Sergeant "Bully" Langden.
Bully tells Colonel Lightfoot's aide, Captain Pertwee, that the military need five men to work on the Government farm, and he selects Big George, Jack, Dipper, Silly Billy and Toby for the task. Polly is taken away from the docks by Colonel Lightfoot's wife Augusta to assist her cook and laundrymaid. Toby falls to the ground before the convicts can be given the order to march. When Bully kicks away a cup of water that a woman tries to give Toby, Big George confronts Bully, who has to be rescued by several other soldiers. He decides to fix the troublemaking by marching the convicts straight to the blacksmith's shop, where they are each fitted with heavy chains around their ankles.
Early next morning, the five convicts are aroused by Bully's deputy, Corporal "Weazel" Wesley, who issues them with a small ration of bread and some work tools before marching them out to begin their first day's work. Toby starts to struggle when the day gets hotter, but Dipper is the first to fall, gasping with pain and holding his bad leg trying not to collapse. The other convicts carry him to the shade, give him some water and fan him with his hat. He starts to recover when Weazel finds them. Jack cheerfully invites Weazel to join their "picnic", but Weazel aims his rifle at Jack's heart. A shot is fired, but Bully, who had fired the shot at a group of kangaroos in the scrub, calls on Weazel to help him. They soon find another slower target in the form of a koala and shoot it dead. Toby tries to rescue the baby koala who is on his dead mother's back, but he is caught by Bully, who throws the baby koala back into the bush.
That night, Toby is too unhappy to either eat dinner or talk to anyone. As his friends lay down in their rough bunks, Dipper brings out a small round object, and as he opens it up, it begins to play some music. The object is a gentleman's watch with a music box in it, the only possession Dipper can truly call his own - it was given to him by his father, and long ago had been worn by Dipper's great-grandfather. The music sends Dipper's friends to sleep, allowing him to creep out of the hut and distract the guards by throwing some pebbles. As they chase after what they suppose is an intruder, Dipper sneaks back to the work site, finds the baby koala back near his mother's body, tucks him in an inside pocket that the baby thinks is his mother's pouch, and returns to the hut, distracting the guards again with some wild animal noises. In the hut, he takes out the baby koala and puts it in the crook of Toby's elbow. Toby wakes up and sees the koala and his face turns to joy, but no one, least of all Dipper, will admit to knowing how it got there.
Four weeks on, Polly has become Augusta's only servant girl, and spends time shopping at the store so she can hear the news of the convicts. She finds out that Bully was reprimanded by the Lieutenant Governor for leaving the prisoners while he was shooting at the kangaroos. After Polly hears that Toby is allowed to keep his pet koala and Bully is ordered to remove Toby's leg-irons, Augusta sees Polly smile for the first time.
At tea that night, Polly hears from Captain Pertwee that one of the convicts has been injured and, according to the surgeon, may not live. Terrified, she runs up the streets of Sydney Town towards the convicts' hut, but finds out that it is not Toby who is dying, but Dipper. The convicts had been felling trees, and Dipper had suffered another one of his leg cramps, but was ordered to continue working by Bully. Unable to move, Dipper couldn't get out of the way of a large and heavy trunk when it crashed to the ground so quickly that the other convicts weren't able to help him. With his last bit of strength, Dipper presses something into Toby's hand and tells him that he wants him to have it. When the other convicts have moved away, Toby shows the object, the music box watch, to Polly.
In the days that follow Dipper's burial, Jack's behaviour changes: he stops making cheeky remarks to Bully as they work, he no longer calls Corporal Wesley "Weazel" to his face and is allowed to hold the reins of Bully's mare as he quietens and calms it each morning. Toby often sees Jack looking towards the distant Blue Mountains, and one night hears Jack and George whispering to each other, and knows that Jack is planning to escape, not wanting to suffer the same fate as Dipper. All seems normal at the work site the next morning, until George starts breaking all of the tools in pieces, drawing the attention of the soldiers and allowing Jack to untether the friendly horse and quietly turn it towards the mountains.
Later that day, George is made to pay for assisting in Jack's escape: he is given fifty lashes while tied to a large wooden triangle in the public square and thrown into a punishment cell on Bully's orders where he will spend every night for the next six months while he works at the blacksmith's shop during the day. Weeks later, Toby mouths the word tonight to George as he and Billy pass the cell on their way to work. That night, Polly—whom the Lightfoots have given permission to visit George in the punishment cell—and Toby smuggle some food from the Governor's kitchen and see George in the cell. George longs for Jack to help him escape the cell and Toby comes up with a plan to search for Jack in the bush, taking the bundle of food intended for George and his own pet koala. A noise causes Bully and Weazel to wake in the guardhouse and see Toby's shadow between the wire fence and scrub. Toby runs for his life and doesn't stop until he cannot hear the shouts of the pursuing guards behind him.
As he continues to search for Jack in the night while keeping a tall mountain peak in front of him to stop him going around in circles he gets a feeling that someone is following him, but he hears little and doesn't see anything when he stops to look. He is sure that if it is one of the guards, they would make much more noise. He eventually flops onto the ground exhausted and sleeps until the early dawn when he is woken by a kookaburra and some cockatoos. He eats some of the provisions and then resumes his search.
That evening, with his throat sore from calling Jack's name and all of the food Polly had provided gone, he is close to exhaustion when he finds a clearing with the remains of a dug-out fire. He feels the fire's ashes to see how warm they are when the sound of a snapping twig causes him to turn around. He sees a young Aborigine with a spear in his hand and a dingo at his side. But although Toby is terrified at first, he soon realises that the other boy is actually a friend. They get to know each other with their arms and some sand providing them with ways to overcome their natural language barrier. Toby eventually finds out that his new friend is named Wahroonga and he had been following Toby through the bush to make sure that no harm came to him or his koala. Wahroonga introduces Toby to his animal friends—a dingo and a cockatoo—and shows him how to find water and food and invites him to stay the night in a gunya, an Aboriginal sleeping shelter on the edge of the clearing.
Next morning, after Toby explains that he is trying to find Jack—a man riding on a horse—Wahroonga leads him along a dry river bed until they find a horse's hoof prints. They spend the next few hours following the river bed looking for more prints and other small clues to Jack's possible escape route. At one point, Wahroonga motions to Toby to stand still as he hears a horse neighing and they hide behind a bush as two bushrangers pass them. Just as Toby and Wahroonga are ready to leave their hiding place, they hear a third horse approach them. They try to bury themselves in the sandy creek bed, but Toby hears the horse slow and stop. Then footsteps approach them and a foot taps Toby on the shoulder. He is scared when he first turns around, until he realises that it's Jack Doolan.
After introducing Jack to Wahroonga, Toby tells him stories of his adventures in the bush, but when Jack thinks Toby has run away too, he tells him about what has happened to Big George and why he ran away. Jack follows the path the bushrangers took earlier and above their camp, he gets Toby and Wahroonga to roll a large boulder down the hill into the camp. It smashes into one of the huts, giving Jack a chance to unleash both of the horses and send one into the bush while he gallops back to the boys on the other. Moments later, Jack is back on his horse with Toby, Wahroonga and the koala on the other, with the dingo following them and the cockatoo overhead as they make their way back towards Sydney Town.
On the edge of the convict settlement, Jack tells Toby that they will need to distract the guards to allow them to get near George's cell, and they will need some tools to break down the cell door. Toby remembers seeing tools in the storehouse next to the cell. As the guards are being served tea and stew, Jack gives a signal and Wahroonga gives a soft whistle to the cockatoo, which flies toward the line of soldiers and causes them to scatter in all directions. Another signal from Jack causes Wahroonga to whisper a command to the dingo which snaps and snarls at the soldiers' horses causing them to rear and plunge, break their tethers and bolt toward the bush. The soldiers set off in pursuit and leave the settlement unguarded. Wahroonga keeps watch as Jack and Toby head for the storehouse. They find no tools there, only barrels of rum and oil. Jack gets Toby to open the oil barrels while he takes the rum and pours some into the soldiers' tea mugs and the rest into the boiler of tea. He makes it back to the store house just as the soldiers return with their horses.
The soldiers drink the tea and line up for several cupfuls from the cook, who eventually tastes the brew for himself, all getting drunk on the rum Jack had put into it. As they boisterously continue drinking the tea, Jack sends Toby to collect Silly Billy while he heads for the guardhouse to get the keys to Big George's cell. With all three convicts back in the storehouse, Jack begins to pour some of the oil on the ground while Toby and Billy take the key and unlock the punishment cell. Silly Billy yells at George in case he is asleep, but Bully hears the noise and tries to rouse the soldiers. Jack hurls the last barrel of oil to the ground and hops over it before it spreads everywhere. The convicts think they will be trapped by the soldiers, but one by one the soldiers slide on the oil and fall to the ground. Despite his drunken state, Bully stays focused on Jack and while kneeling, he aims a rifle at him. At that moment, a boomerang thrown by Wahroonga hits Bully on the back of his neck, sending his gunshot through a window of the Governor's house (causing a frightened Polly to drop the oil lamp she is carrying) before he falls unconscious to the ground.
At the first shouts of the commotion made by the drunken soldiers, Colonel Lightfoot, convinced by his wife Augusta that the Aborigines were attacking the settlement, had dashed out of the house with a sword in his hand leaving her on her own. She hears light footsteps and sees a flickering gleam of lights, and when the door opens, she faints out of fear before she can find out what happened. Polly is also trembling with fright - the lights come from the flame of the dropped lamp which ignited on the now-spreading oil. The fire engulfs the house so fast that Polly and Augusta are trapped inside.
As the four convicts begin their escape, Wahroonga sees the flames coming out of the house and signals to them. Big George recognises it as the Governor's house, and leads a mad dash toward the building. There is smoke and flame coming out of every window as they arrive, and they can hear Polly's and Augusta's cries from within. George finds a large water barrel with a bucket beside it, throws some water over himself and Jack and gets Toby to throw more water on them as they smash the door off its hinges. Inside, George follows the sound of Polly's cries and sees her and Augusta at the bottom of a staircase, with a fallen beam blocking their escape.
George bends over and puts his shoulders underneath the large beam, straining his body to slowly ease it up enough for Augusta and Polly to leave. Hearing a squad of soldiers led by the Lieutenant Governor himself, Toby contemplates escaping, but throws more buckets of water on Billy, Jack and himself before they rush in to guide Polly and Augusta out of the house. With all five of them outside, George heaves the beam off his shoulders and rushes to join them as the house begins to collapse behind him. Polly and Augusta fall into the arms of their respective brother and husband. A couple of hours later, the four convicts explain to Colonel Lightfoot all of the things they did, why they did them and who had helped them. Toby tries to introduce Wahroonga in the middle of his story, only to discover that he has disappeared into the shadows of the bush along with his dingo and cockatoo, which gives a farewell shriek on its way towards the mountains.
The artist wraps up his story by telling us that Bully is found guilty of being drunk on duty and locked away in the same punishment cell into which he had thrown Big George, until his temper improved, while the Lieutenant Governor grants the brave convicts who saved his wife full pardons and grants of land on which they could start their own farms - a happy ending for Billy, George, Jack and Polly. He starts to tell us about Toby, but then looks at his watch and realises that he has to end the story because it's getting late. He tells us that the watch plays a little tune when he opens it up, and he has had it for several years, ever since it was given to him by a dear old man named Dipper. He then points his granddaughter to the nearby merry-go-round, where the people that she sees on it bear likenesses to the characters from his paintings and the animation. | romantic | train | wikipedia | null |
tt0117665 | Sleepers | Told through the narration of a grown-up "Shakes", four young boys: Lorenzo "Shakes"(Joseph Perrino), Michael (Brad Renfro), Tommy (Jonathan Tucker), and John (Geoffrey Wigdor) are the best of friends growing up in Hell's Kitchen in New York City. Their family lives are hard, involving broken homes and spousal abuse, and the boys turn to street antics and volunteering as altar boys to escape. Father Bobby (Robert De Niro), an ex convict turned priest, watches out for them and tries to mold them into upstanding members of society. Despite their good hearts the boys get into all kinds of trouble, including sneaking into confessionals and pretending to be priests and playing pranks on nuns. Shakes becomes an errand boy and fast friends with a street kingpin named King Benny who runs all the illegal activity in Hell's Kitchen.One fateful day Michael suggests they knock off a hotdog vendor out of boredom. When Shakes runs off with a hotdog the vendor gives chase, leaving the stand unsupervised and allowing the three other boys to feast in his absence. Michael suggests that they leave the cart teetering on the edge of the subway entrance so when the vendor comes back he'll have to struggle to keep it from falling, giving them time to escape. In a tragic turn of events, the cart crashes down the stairs hitting and almost killing an elderly man.The boys are sentenced to a year in the Wilkinson Home for Boys. Because Shakes arrived at the scene of the cart crash later than the others (and because of the vouching of Father Bobby), he's only sentenced to 6 months. The boys hardly fit into the home which is filled with boys who have committed much more serious crimes and are subject to their ridicule and beatings. Worst of all is a guard named Sean Nokes (Kevin Bacon) who quickly turns the boys lives into a living hell. He begins by humiliating them along with three other guards, Henry Addison, Adam Styler and Ralph Ferguson (Jeffrey Donovan, Lennie Loftin and Terry Kinney respectively). Nokes embarrasses them in front of the other inmates by making them eat off the floor. The abuse escalates to beatings at night. He and the three other guards drag the four boys into the basement of the home where they repeatedly beat and rape them. It's suggested that this abuse becomes a nightly occurrence for the boys.The boys, no longer innocent and filled with shame, write to their parents to tell them not to visit; afraid they'll know what's been going on. Father Bobby refuses to stay away and urges Shakes to not let the home change him for the worse.The home holds a football game between the guards and inmates once a year for all the town to see. Michael convinces Rizzo, an intimidating black inmate to not let the guards win this year out of fear of the consequences but instead fight back as hard as possible. Rizzo agrees and the four boys and a few other inmates fight dirty and beat the guards in front of the whole town. Disgraced and angry, Nokes and the other guards throw the four boys into solitary confinement, starving them for two weeks straight. Shakes wakes up in the infirmary and is told by Michael that the guards beat Rizzo to death.As Shakes' release date nears, the four boys agree that once they get out of the home they won't breathe a word about what happened there to anyone and bury it as deep in their minds as possible.---------More than ten years later, two men walk into a pub and order a drink. Shakes' narration describes them as two of the most dangerous men in Hell's Kitchen. Both are members of the gang The West Side Boys. Both are murderers and drug users. The blonde man walks towards the bathroom and notices Nokes sitting by himself and eating dinner. He stares him down and Nokes reacts with annoyance. The blonde man tells him to enjoy his dinner and enters the bathroom. He returns to his dark-haired friend at the bar and tells him to look closely at Nokes. The dark-haired man recognizes him too and they both approach him. They sit down and introduce themselves as grown-up Tommy and John (Billy Crudup and Ron Eldard). Nokes says they were wimpy kids and he tried to make them tough. They point their guns at him. He tells them they're going to burn in hell. John says "You first", before they shoot him dead. Several people in the bar witness the shooting and hide their heads as Tommy and John walk out.Meanwhile, Shakes (Jason Patric), now a newspaper columnist, meets with Michael (Brad Pitt), now an assistant district attorney. Michael says he's going to take the Sean Nokes murder case as the prosecuting attorney. Shakes reacts with anger before Michael tells him he's going to take the case to lose. Not only that, he's planning on revealing the corrupt Wilkinson Home for what it really is. He asks Shakes to help him bring his plan to fruition. Michael hands Shakes years of research on the three other guards who had tortured them all those years ago.Shakes meets with Carol (Minnie Driver), a childhood friend of the boys and ex-girlfriend of Michael, and asks for her help finding files for the case since she has access as a social worker. She tells him that she's with John now and asks why he never asked her out. He said he never had the guts because she was Mikey's girl.Shakes enlists the help of King Benny who makes sure the fallen and disgraced drunk, Danny Snyder (Dustin Hoffman), is Tommy and John's defense lawyer, making it seem even less likely the two men will walk. Shakes meets with an internal affairs agent to give him information on Adam Styler, who has now become a cop, and his cocaine habit as well as his illegal trafficking activity. King Benny meets with drug kingpin Little Caesar, revealed to be Rizzo's older brother, and tells him the truth of Rizzo's death at the hands of Henry Addison in the Wilkinson home. Little Caesar was told Rizzo died of pneumonia.Shakes and Carol meet with Father Bobby and ask him to be Tommy and John's alibi for the night of the murder. Father Bobby doesn't want to swear to God and then lie on the stand. He asks why he should lie to let two guilty men, who will surely kill again, go free. He asks why Nokes' life means nothing to Shakes. Shakes tells him and Carol everything that happened while he, Michael, Tommy and John were at Wilkinson's. Afterward, Father Bobby says he has some thinking to do and tells them goodnight.In court, Michael successfully begins to throw the case, conveniently forgetting to present the jury with a motive. With the help of a list of questions and answers Michael previously provided him, Snyder successfully displays one of the witnesses as a "scared woman who had too much to drink", making it questionable whether Tommy and John were ever in the bar to begin with. Michael calls a character witness for Nokes by the name of Ralph Ferguson. Ferguson tells the jury that Nokes was a good man and didn't deserve to be killed by two street punks. Snyder uses Michael's question list to grill Ferguson on the goings-on of the Wilkinson Home for Boys. He asks him about the beatings and rapes and whether he and Nokes participated. Ferguson, realizing who the defendants are, breaks down and confesses. He's dismissed by the judge but told not to stray too far from home since there are people who will "want to talk to him".The next day Father Bobby gets on the stand, swears to tell the truth, and says that Tommy and John were with him at a Knicks game the night of the murder. Michael asks him if he has any proof. Father Bobby produces three ticket stubs.The jury finds Tommy and John not guilty.Addison's body is found in a swamp by La Guardia airport. Shot to death by Little Caesar's men. Adam Styler is arrested by internal affairs.The four friends and Carol meet for a private party. They share stories of their childhood and sing "Walk Like a Man" for Carol. Shakes' narration explains that this was the last night they would ever be together. Not long after that, John's body is found in an apartment stairway next to a bottle of booze that killed him. About a year after that, Tommy's body is found by the river with five bullets in his head. Both of them never reached thirty. Michael moves to England, becomes a carpenter, and never marries. Shakes still lives in Hell's Kitchen and writes for the paper. Carol is an unwed mother, compliments of John, and named her son John Michael Thomas. She calls him 'Shakes'. | cruelty, murder, neo noir, sentimental, thought-provoking, sadist, violence, flashback, revenge, storytelling, prank | train | imdb | I believe that one reason that Sleepers(1996) didn't get the praise it deserved is the film deals with things that were already present in Mean Streets(1973) and Once Upon a Time in America(1984).
I wasn't expecting it to be so deep and emotional but the story is told in such a way that you can really feel the fear and other feelings that the characters are experiencing.Of course I think the cast was fantastically chosen, I especially give praise to Kevin Bacon, Jason Patric, Joe Perrino and Dustin Hoffman for their great acting.
Who knows.All I can say is, this film is quite special because without having action-packed scenes and surprises round every corner, it still keeps me glued to the seat.The last thing I just HAVE to mention is that this movie introduced me to Ron Eldard who is a sensational actor.All in all....
A well-adapted, epic story of the childhood innocence of four boys brutally snatched away, and the subsequent revenge that took place so many years later.
Perfectly paced, it is a long film whose length is never an issue; exciting courtroom drama, realistic sense of time and place, gritty yet sleek cinematography, and convincing performances from a cast that is actually to die for: Jason Patrick, Billy Crudup ("Big Fish") Dustin Hoffman, Robert De Niro, Kevin Bacon, Minnie Driver and Brad Pitt in the same movie; it is a rare lineup.
Brad Pitt and Dustin Hoffman try like heck to make their plotline ring true, while Jason Patric and Minnie Driver just sit there and whine as if the story itself provides the tension they lack.Plotwise, the second half provides only one real moment wherein the wounds begin to heal, with the testimony of one of the villains.
Based on Lorenzo Carcaterra's 1995 novel of the same name, this legal drama comes in-tact with skilled direction & proficient performances to lead it's narrative.After a prank goes disastrously wrong, a group of boys are sent to a detention center where they are brutalized, physically & mentally.
Disturbing drama about four kids sent to a juvenile jail where they were sexually abused, only for them to grow into men years later and seek vengeance on the man (Kevin Bacon) who abused them.
A good effort on all accounts, but the film falls apart somewhere in the second half, and seems a bit too bent on making the audience cringe during flashbacks than really trust the story as it sits.
With revenge on their minds, DA Michael takes the case with the aim of making getting his friends off while also exposing Noakes for who he was; meanwhile Lorenzo sets out to help him with the set-up, while also taking revenge on the rest of the guards.Sold on the back of the heavy star cast, I went to see this film at time of release and must admit that I wasn't that impressed by it that much.
Rewatching it recently I had no reason to change my mind with a film that lives on the surface and, although providing some powerful moments to get the audience on its side, has much a simplistic moral outlook that it significantly damages the telling of the story.
The final third brings matters to a close and is easily the most engaging as many viewers will find the flow of the story enough to hold their interest.However for me what I couldn't shake off was the lack of questioning in the film; other than a thoughtful Father Bobby silently wrestling with his conscience (in just one scene!) the film never even hints that what the men might be doing is morally wrong.
Very likely the answer is yes, but with Levinson driving we are not to know; for him this is a straight drama with right defeating wrong in a manner that makes for a nice courtroom drama.The simplicity of the writing and delivery leaves the cast with very little to do in the main group of roles.
Minnie Driver is present for some reason I didn't get but the only performance that gets close to being interesting is that of an older Kinney; despite everything else he gets the closest to producing genuine interest in me (sadly the film has no interest beyond him doing this as part of moving the story forward).Overall then a star-heavy film that wears it's worthy credentials on its sleeve and refuses any debate or examination in favour of a straight drama.
"Sleepers" is about four boys who grow up in Hell's Kitchen, get sent to reform school, are abused by the guards, and seek revenge as adults.
De Niro is superb as always but has great support in Brad Pitt, Jason Patric, Minnie Driver and Dustin Hoffman.
Powerful, thought-provoking story of four boyhood friends growing up in the crime-ridden neighborhood of Hell's Kitchen New York during the late 1960s, until being sent off to reform school following a childhood prank that went awry.
The youngsters are incarcerated into a boys' detention home for 18 months after a prank on a hot dog vendor goes horribly wrong; there, they are molested regularly by a group of guards, and twenty years later two of the kids--now hell-raising adults--get their revenge by shooting the most vicious guard to death in a restaurant.
The way the plot plays out, with a genuinely original take on the whole courtroom procedure, is rather brilliant...yet, on the other hand, the details of this story make the film difficult to wade through, and Levinson's style (flashing back to the attacks in blue-tinted staccato takes) is off-putting.
Dud movie from dud director Barry Levinson.Levinson can manage to suck the life out of any story he decides to commit to film, because he tries to apply the same sheen of tasteful artistic prestige to everything whether it's appropriate or not.
Presented as a true story that depicts the revenge of 4 boys who were brutalized by sicko guards while in a state correctional facility.I don't understand why you cant just say you made something up.
The story keeps evolving until one point, when the movie shifts into a courtroom drama, that has not the qualities a traditional trial should have, and dramatically changes pace from the fast lives of the Hell's Kitchen boys.
As I said, the real thing that keeps our viewing interested is Robert deNiro, Dustin Hoffman, Minnie Driver, Brad Pitt, and Jason Patrick, and that ethereal John Williams' score that triumphs again with a unique work.
Sleepers was one of the best movies I have ever seen.The strongest scenes which were very moving were when the four boys were at the Wilkinson school.This exposes us to the kinds of possibility that can happen at reform schools, although I doubt it ever occurs.To me the abuser got back what he needed, and he got it good.It was not the best way for revenge, I agree.
I was kept on my seat for the entire 2+ hour duration.However, the movie's biggest flaw is character development - I had trouble even telling the four main characters apart for a lot of the movie, and I wish they had been given more fleshed out personalities to go with the intricately woven storyline.This is still a great film, though, and I'd highly recommend it to anyone with time on their hands and an insatiable lust for a full-throttle thriller..
I wished the writer-director Barry Levinson had rewritten the script one last time.But this is a decent film with a cool plot and characters.
Kevin Bacon was superb in a role that he must feel he is being type-cast into, while Hoffman had no presence or place in the film to speak of, Pitt gave a simplistic, if steady performance while Patric didnt look like he wanted to be there.
Sleepers is a great film talking about four boys living in Hell's Kitchen, New York during the 1960's.
As adults, two of them, John(Ron Eldard) and Tommy(Billy Crudup)are killers, another one, Michael(Brad Pitt), is an attorney, and the main character Lorenzo "Shakes"(Jason Patric)is a journalist(I think) and soon, all four men seek their revenge against the same guards who robbed their childhood.
The movie had great actors also including Kevin Bacon, Robert DeNiro, Minnie Driver, and Brad Renfro.
Hardly convincing tale of revenge that was based on the book by Lorenzo Carcaterra of how two childhood friends, one is a district attorney (Brad Pitt) and the other (Jason Patric) who works at the New York Post when they decide help two others childhood pals of theirs (Ron Eldard and Billy Crudup), now hoodlums who are accused of savagely shooting a former guard (Kevin Bacon), who had tortured the trio several years ago at a boys' home.I had the misfortune of watching this movie as a sophomore in high school and how it irritated (and absolutely offended) me hasn't left my mind.
The scenes at the boys' home weren't only difficult to watch, but pain-staking especially what happened at night.If there's one bright spot that manages to rise above the mess of a badly organized movie, it's the performances given by Patric, Robert De Niro, Minnie Driver, and the late Vittorio Gassman that make the film somewhat watch-able.What "Sleepers" resembles here isn't only a waste of great cast and director Barry Levinson, but simply a terrible waste of time.For anyone who was insulted by this movie's weak attempt as a revenge part dramatic thriller, try "In the Name of the Father", "The Shawshank Redemption", or "Escape from Alcatraz"..
An absolute waste of a night at the movies.I was looking forward to seeing this film because of the cast alone.What I got was one of the most contrived (true) stories ever, I've seen better storylines on some TV movies,and I thought the actors knew this as well, they were just going through the motions.
Barry Levinson directs this film based on the book by Lorenza Carcattera about four friends growing up in Hell's Kitchen, New York...
An excellent cast including Robert De Niro, Kevin Bacon, Dustin Hoffman, Jason Patric and Brad Pitt make this film an absolute must for any film fanatic.
Although two Hollywood greats are present in this film (Hoffman and De Niro), the parts they play are such, that you don't really notice them and that's a good thing.
Dustin Hoffman is fun as a washed up lawyer who gets involved, Minnie Driver shows up as a tough NYC gal who gets involved with Patric, Robert De Niro has a nice bit as a kindly priest who counsels the boys even until adulthood, and there's further supporting work from Jonathan Tucker, Bruno Kirby, Frank Medrano, Brad Renfro, Terry Kinney and more.
When a prank with a hot dog vendors cart goes horribly wrong, four young friends from New York's Hell's Kitchen district are sentenced to serve time at the Wilkinson Home For Boys.
These traumatic events change the boys and their friendship forever, notably in 1981 when the four of them are pulled back together as the sleeping ghosts from their past are awakened.Sleepers is directed by Barry Levinson and boasts an all star cast to tell its three tiered story.
In the adult section are Brad Pitt, Jason Patric, Billy Crudup, Minnie Driver, Ron Eldard, Robert DeNiro, Kevin Bacon, Dustin Hoffman & Jeffrey Donovan.
Based on the novel written by Lorenzo Carcaterra (here played by Perrino & Patric), who unremittingly states that the story is based on true incidents, Sleepers has however been renounced by both the New York correctional authorities and the Manhattan District Attorney's office as being a work of fiction.
Average drama movie with a great cast.The movie has average production quality and although there is a great cast,these well known actors here were merely going thru the motions.The story was good but destroyed by a bad script/screenplay.There are also questionable scenes that causes intelligent viewers to not buy into or care about the main characters or the seriousness of the story.This movie could have been much better.Only for big fans of New York area crime dramas,child abuse dramas and fans of the lead actors here......
And then what happened to some of the now grownup boys might be seen be some as justice for what they did to the guards as well.All in all, this is a movie which, even with a priest in it who never seemed to put a foot wrong, hinges on revenge, in its many forms.
"Sleepers" (1991) starts out as a coming-of-age film about four boys in 1966-1967 from Hell's Kitchen, Manhattan, and then morphs into a juvenile prison picture, which covers the first hour.
So this movie could have been great I mean what a cast which includes Deniro, Patric, Pitt, and Hoffman.
This movie is supposedly a real life fictionalized version of events that happened to the author of both the screenplay and the novel this film was based on, writer Lorenzo Carcaterra.
until I read the book and discovered a whole other dimension to it.The movie is about the revenge they gain after their torment in the correctional facility, and allows Kevin Bacon and Brad Pitt maximum air-time.
I found that the whole point of the book was to connect with the characters in their childhood and then see them changed as adults, but with such big names as Robert DeNiro, Brad Pitt and Kevin Bacon, they reduced the teens story (with the true actors being those of the tormented and struggling teenagers) and hurried on the courtroom scenes.
The talents of Robert De Niro, Brad Pitt, Minnie Driver and Dustin Hoffman weren't exploited like they could have, they just did their job, nothing more.All in all, there really are better (more independent) films with the same uplifting theme.
and then we get Jason Patric with his clear speaking voice and no trace of New York in him at all!Besides that, this is a good movie about four kids who pay dearly for a childhood prank gone wrong, undergoing severe physical and emotional abuse in the juvenile corrections facility that they serve time in.
The fact that this account was written by Mr. Carcaterra, one of the survivors strengthens the impact of the film.Besides the outstanding child actors whom I have mentioned, Brad Pitt does a fantastic job as an embittered attorney and Robert DeNiro is great as a wiseass priest.
Of course they know what the real story in the killing is and set in motion a plan for revenge after a fictional hero they learned about in The Count of Monte Cristo.The flaw with Sleepers is the fact it is based on the premise that because of juvenile records are sealed, no one will get the connection between Pitt and Patric, the defendants, and the victim in the case.
Doesn't prevent it from being a well done film and the same is the case with Sleepers.DeNiro and Bacon come off best as the two influences on the kid's lives for good and evil respectively.
By this point, Sleepers is legendary, not only as a film that told of the shocking true story of abuse inside of juvenile prisons, but for launching the careers of some of today's best known stars.
I would desperately feel the need for some justice too, logically.Sleepers showed me from the beginning to the end, as an example and replacement to all similar stories, how the live of abused victims could turn out, and if you take revenge, crucify and kill the offender, it only eases your pain for a certain moment, but the wounds will never really heal.
I personally have a strong feeling for justice, maybe that's way I like the movie so much, next to the fact that the actors are convincing in their roles and the story lives without unnecessary action-overloaded scenes, it's never lame nor boring, you will like it, if you can be touched with serious subjects in live..
Those afflicted, herein at the "Wilkinson Home for Boys", are four childhood friends, from New York's "Hell's Kitchen": Joe Perrino and Jason Patric (as Lorenzo "Shakes" Carcaterra), Brad Renfro and Brad Pitt (as Michael Sullivan), Jonathan Tucker and Billy Crudup (as Thomas Marcano), and Geoffrey Wigdor and Ron Eldard (as John Reilly).
I first saw the movie years ago and i have always liked it then i bought it and watched it again and it became one of my favorites.The way Lorenzo, John, Tommy and Michael get along together as best friends in Hells Kitchen in the 60s is what i loved about it and why i liked movies such as "stand by me," and "stephen King's IT."I just read the novel "Sleepers," and how the movie took all the neccassary scenes from the book.
Sleepers follows four young boys from Hell's kitchen in the mid-late sixties, care-free and cheeky until one of their minor scams ends up nearly killing a man.sentenced to no less than a year Wilkinson juvenile detention centre, the kids witness and receive horrific acts from the guards- random beatings, humiliation, sexual abuse etc, particularly by one guard- Nokes (kevin bacon).
Sleepers portrays the lives of four young boys when they are sent to a detention center for a stupid prank and ended up being brutalized and sexually abused by the guards while there.
Sleepers is a great movie, because it show us and make us feel the situation of this kids in a world(a kind of jail) that is not for them, no matter that their life is not the better.
Real good: Robert DeNiro, Dustin Hoffman, Brad Pitt and the kids..
I enjoyed the earlier segments more than the later and felt somewhat cheated out of a great movie's promising second half.The film details the lives of four friends growing up in Hell's Kitchen as well as the mistakes they make.
Such individuals are Jason Patric, Robert De Niro, Dustin Hoffman, Brad Pitt, Kevin Bacon, Minnie Driver and Barry Levinson. |
tt1608290 | Zoolander 2 | The film starts in Rome, where two assassins on motorcycle are chasing Justin Bieber (playing himself) through the streets. The singer kills one of the villains before heading to the home of Sting for sanctuary, but nobody comes for him. Justin is cornered at gunpoint, but he tells the assassin that they will be stopped. The villain pumps him full of lead before disappearing into the night. With his last breaths, Justin takes a selfie while making the "Blue Steel" look. He looks for the perfect filter before sharing and then dying.The Fashion Division at Interpol receives Justin's selfie, which is another in a series of final selfies left behind by other recently-murdered celebrities, like Demi Lovato, Usher, Lenny Kravitz, and Ninja from Die Antwoord, all of whom flashed the "Blue Steel" look before dying. Spanish Interpol Agent Valentina Valencia (Penelope Cruz) declares that there is only one person who can understand what this means, but nobody has seen him in years.We are treated to a recap of the last 15 years. Derek Zoolander (Ben Stiller) was once the hottest male model, until his life began to take a turn for the worse. After opening 'The Derek Zoolander Center for Kids Who Can't Read Good and Who Wanna Learn to Do Other Stuff Good Too', the facility collapsed due to the fact that it was constructed using the same materials used to make the tiny model of the place. The collapse killed Derek's wife Matilda (Christine Taylor) and disfigured his best friend Hansel (Owen Wilson), destroying Hansel's modeling career. Derek is left alone with his son, Derek Jr (nicknamed DJ), but he loses custody after going crazy when he fails to make spaghetti. Derek then announces his retirement from modelling to go become a "hermit crab".Derek lives in a cabin in a part of New Jersey that contains blistering cold weather. He is unexpectedly visited by Billy Zane with an invitation from the current hotshot of fashion, Alexanya Atoz (Kristen Wiig), to join a fashion show in Rome run by fashion icon Don Atari (Kyle Mooney). Derek refuses to return to the outside world if it means not being able to be with his son. Billy encourages him to go back out there and try to get DJ back.We find Hansel living in the desert (or "Uncharted Malibu Territories") with a random group of strangers that he calls his "orgy". He receives a shock when he learns that ALL the members of the orgy are pregnant... including Kiefer Sutherland. Frightened by the concept of parenthood, Hansel abandons the orgy and runs into Billy, who presents Hansel with the same invitation from Alexanya.Derek and Hansel are reunited in Rome, but Hansel is still pissed at Derek for ruining his career. The two of them are escorted to the location of the fashion show by an adult-faced child called VIP (Fred Armisen). The two meet Don Atari, an annoying hipster, plus the hottest fashion icon of the moment, All (Benedict Cumberbatch), whose gender is a mystery to Derek and Hansel.The two participate in Atari's fashion show, where they have to wear tacky red jumpsuits that say "Old" and "Lame". All descends from the ceiling in a demonic outfit to whip Derek and Hansel before they have a massive barrel of prunes dumped on top of them. Humiliated, the two leave until they are approached outside by Valentina. She asks that they join her at Interpol to determine what is happening to the beautiful people of the world, and she promises to help Derek find his son.At Interpol, Valentina shows Derek and Hansel the selfies of the dead celebrities and asks if they're all "Blue Steel". Derek explains that all of his looks, despite seeming similar, have slightly different characteristics to set them apart (basically just how he arches his eyebrows). The look they did is similar to one he did for a weird water ad with Naomi Campbell called Aqua Vitae. We see the ad featuring Derek as a half-man/half-cow that gets milked. The computer deciphers Aqua Vitae to mean "fountain of youth." Valentina also locates DJ, stating that he lives in an orphanage right there in Rome.Derek and Hansel go to the orphanage and see some kids playing soccer. Derek spots one boy with similar hair to his that sort of flashes one of his own looks. Thinking this is DJ, he goes over to the field, only to discover that a chubby little boy in the group (Cyrus Arnold) is really DJ. Horrified at having a fat son, Derek wants to walk away, but Hansel convinces him to stick around and catch up with the kid. Derek takes a look in the fountain and sees a vision of Matilda telling him to be with their son, and to watch out for the headmaster, who is really the Evil Breakdancing DJ (Justin Theroux) in a wig that only fools someone as dumb as Derek.Derek takes DJ out for gelato, but he screws up when he takes a selfie while driving and causes the car to flip violently across the street. DJ takes a cab back to the orphanage, telling Derek he wants nothing to do with him and that Matilda made a mistake falling in love with him.Meanwhile, Hansel has found a new orgy, which includes Christina Hendricks, Susan Sarandon, Ariana Grande (in bondage), and a baby hippo. The other orgy finds them, and they are all heartbroken... especially Kiefer. Hansel takes to the rooftop to wonder who he is, just like Derek is across the street, along with Katy Perry and Neil Degrasse Tyson on the other side. Valentina then shows up and tells the guys to rejoin her.The three go to the home of Sting to learn from the man himself that in the beginning, God created Adam and Eve...and Steve, the world's first male model. Apparently, he had a looked called "El Nino", which was so powerful that any body of water he looked into could not reflect his beauty back to him. It is said that descendants of Steve have been killed through the centuries to find the Fountain of Youth and obtain eternal beauty, and it turns out that DJ is the last descendant. Derek, Hansel, and Valentina return to the orphanage and find it empty. Derek realizes that the headmaster was the Evil DJ, meaning that the real mastermind behind all of this is his old nemesis, Jacobim Mugatu (Will Ferrell).Mugatu is kept locked up in a top secret fashion facility for the worst fashion criminals, including MC Hammer and John Malkovich. Mugatu is strapped to a chain with no use of his arms. He manages to trick Derek into switching places with him and then proceeds to escape easily since all the guards are idiot male models.Mugatu goes to the House of Atoz to meet with Alexanya, his accomplice. Don Atari is there too, but after getting sick of listening to him, Mugatu snaps his neck with his feet. Little does he know that Hansel has followed him to gather intel. He reports to Valentina, who has gotten Derek out. The two swim back to Rome like torpedoes.Mugatu has DJ locked up in a room to fatten him up, as he has been doing for years since he ran the orphanage from prison and made sure that the boy got fat to prepare him for this day. Hansel shows up after Mugatu leaves and tells DJ that his father is coming to look for him because he loves him and really wants to be with him.Derek and Valentina arrive at the location of the sacrifice to find fashion superstars like Tommy Hilfiger, Anna Wintour, Kate Moss, Marc Jacobs, and Alexander Wang all gathered for the ceremony. Mugatu prepares to sacrifice DJ until the heroes arrive to stop him. Mugatu is forced to admit that there is no Fountain of Youth, but he just wanted to get all the people in fashion that shunned him and to kill them all, and that he is only trying to kill DJ because he hates Derek. Mugatu also admits that it was his company that constructed the reading center, and therefore it was he that was responsible for Matilda's death. Mugatu hurls his ceremonial knife at DJ. Derek steps in and tries to use "Magnum" to stop it like before, but the knife goes through his cheek. Mugatu opens the floor to reveal a pool of lava beneath them, and a bomb that he plans to throw in to kill everyone. Alexanya then arrives to fight Valentina. She pulls off Alexanya's face to reveal that she is Mugatu's other accomplice Katinka (Milla Jovovich). The two of them have a sexy fight that makes all the straight men in the room stare. He drops the bomb, but Derek regains his "fire" and uses Magnum to hold to bomb. It starts to slip, until Hansel uses his own look to stop it, along with Sting, who comes out of nowhere to reveal that he is Hansel's father. The three of them cannot hold it, so DJ (had it being called fat) steps in and unleashes "El Nino", to the amazement of everyone. Together, they hurl the bomb at Mugatu, which explodes and kills him, releasing confetti everywhere.Derek and Valentina come together, having been attracted to each other for a while, but Derek hasn't been able to move on from Matilda. Her ghost reappears and gives him her approval, since she's dead and nothing can bother her. She also tells Derek that Mugatu live-streamed the event around the world, giving Derek and Hansel the popularity they've missed for so long. They get excited and have a "lava pool party".The epilogue shows that after Derek and Hansel underwent lava treatment, their facial scars were removed, and they made a successful return back to the modeling world. Derek and Valentina married and had their own daughter, who develops a look of her own. They also started a new center of their own for 'Girls That Want To Be Models, But Also Want To Transition Into Law Enforcement'. Hansel becomes a father to all the children in his orgy. DJ becomes a world famous plus-size model and is part of a power couple with Malala Yousafzai. | murder, intrigue, flashback, absurd, satire, revenge | train | imdb | null |
tt0045883 | Hondo | At a remote ranch in the desert of New Mexico, homesteader Angie Lowe (Angie Lowe) and her six year-old son Johnny (Lee Aaker) come upon a stranger (John Wayne) drinking water from their river, carrying only a saddle and a rifle. The man tells them only his last name, Lane, and that he is part Apache and was exploring Indian Territory as a US Army Cavalry scout. His horse was stolen a few days earlier, and offers US Army scrip in exchange for one of her horses. Angie tells Lane that her ranch hand had quit recently and hadn't had a chance to break one of her two horses for riding, so Lane offers to break the horse himself. He also asks where her husband is, and she says he is hunting in the mountains and should be back soon.Johnny watches with fascination as Lane takes one of the horses, and saddles and rides the bucking and untamed animal with ease. Lane also offers to do a few chores around the ranch, including sharpening an axe blade and chopping firewood. Lane deduces by the neglected work around the ranch that her husband has not been at the ranch for some time, a fact she is forced to admit. When night falls and the weather grows inclement, Angie offers to put Lane up in her home on a floor bed in the corner. Angie discovers that the butt of his rifle is inscribed to "Hondo" Lane, a name she knows to belong to a criminal, and she pulls a pistol on him and fires, but there is no cartridge in the first chamber. She had left it empty so that Johnny wouldn't shoot it accidentally.Hondo returns to his Cavalry post, leaving Angie and Johnny alone at the ranch, where he meets up with his scout sidekick Buffalo Baker (Ward Bond) and reports to his commanding officer that the Chiricauhua Apache lodges in the area are banding together and attacking settlers. At the ranch, Angie and Johnny are surrounded by menacing Apaches led by Chief Vittorio (Michael Pate) and his sub-chief, Silva (Rodolfo Acosta). Angie is not nervous as she has always let them water their horses at her ranch and they had never hurt her. On this occasion, they threaten and grab Angie. Johnny emerges from the house with the loaded pistol and shoots at Silva, hitting and breaking his weapon. Vittorio is impressed by Johnny's bravery, and makes him an Apache blood brother by cutting Johhny's thumb with a knife and giving him an Apache name. Vittorio wonders where Angie's husband is, and she tells him that he will return soon. Vittorio tells her that the boy needs a father to guide him, and unless her husband returns soon, she must take an Apache husband.A night or two later in a saloon, Hondo calls a friend from his poker game, but one of the poker party objects. He and Hondo get into a fight, and Hondo beats the man up badly, driving him out the door. Buffalo Baker tells Hondo the man called himself "Ed Lowe" (Leo Gordon), and Hondo suspects he might be Angie's missing husband. Feeling guilty, he leaves the fort to return Angie's horse back to her. Seeking revenge for the bar beating, Lowe and an accomplice follow Hondo through the desert as he makes his way back to Angie's ranch. Hondo camps near a river but leaves it when he detects three Indians stalking him nearby. Lowe enters the camp and he and his friend are attacked by two Indians. The friend is killed, but Hondo shoots and kills an Apache about to kill Lowe. Lowe is briefly grateful but turns his gun on Hondo in retaliation for the bar beating. Hondo defends himself, killing Lowe. Hondo finds a photo of Johnny alongside Lowe's body, confirming that Lowe is Johnny's father and Angie's husband.Continuing towards Lowe's ranch, Hondo runs into an Apache party, who pursue Hondo through the desert. He kills several but they eventually capture him. They take Hondo to the top of a nearby mesa when Vittorio appears. They stake him out and begin to torture and prepare to kill him because he is an Army scout. An Indian shows Vittorio the picture of Johnny from Hondo's saddlebag, and Vittoria thinks Hondo is Angie's husband. He orders the Indians to untie him and declares that he must fight Silva for honor, as he is one of Angie's potential suitors. Hondo and Silva fight using knives. Silva wounds Hondo in the shoulder, but Hondo pins Silva to the ground. Hondo puts his knife to Silva's throat, but Vittoria steps forward and Hondo spares Silva's life, temporarily buying his own life in return. Vittorio takes Hondo to Angie's ranch, and when Vittoria asks if Hondo is her husband, she lies, saving Hondo. The Chief warns Hondo to raise Johnny in the Apache way and leaves them.While Hondo recuperates from his wounds, he shows her the picture of Johnny that he tells her he took from Lowe's body. She asks if he died well, and Hondo pauses before saying that he had. Over the next few weeks, Hondo and Angie grow closer. Hondo and Angie express their growing love for each other. Hondo attempts to reveal the truth of her husband's death, but is interrupted by Vittorio's sudden appearance. Vittorio tells them that the pony soldiers will soon return. He asks Hondo not to join them and to keep the Indian's location a secret. Hondo promises to do the first but not the latter, and Vittoria shows respect for Hondo's truthfulness. Angie tells him she loves him, and they cement their relationship with a kiss.The Army arrives at the ranch, commanded by an ambitious, inexperienced young Lt. McKay (Tom Irish) and accompanied by scouts Baker and Lennie (James Arness). McKay is determined to take all the settlers in the area back to the Army post to protect them and defend the territory against Apache attacks. Lennie reveals that he discovered Lowe's body and matched the horse tracks to Hondo's horse. He wants Hondo's Winchester rifle in exchange for keeping quiet about how Hondo bushwhacked Lowe. Angie overhears Lennie's demands.Hondo prepares to leave, but before he goes, he tells her the truth about her husband's death. Hondo is also intent on telling Johnny, but she persuades him not to, telling Hondo she didn't love her husband any longer and had grown tired of his womanizing and gambling. She says it would be an unkind thing to tell the boy about the true nature of his father's death and that the secret won't follow them to Hondo's ranch in California. Hondo responds to her emotional plea with an Indian word that seals a squaw-seeking ceremony, "Varlabania", which he tells her means "forever". The Army leaves to move further on into Apache territory and as promised Hondo refuses to go with them but tells them where Vittorio and his party are.The Army returns after being ambushed by the Apaches, suffering heavy casualties including wounds to Lt. McKay. Vittorio had been killed, causing the Apaches to retreat so they can regroup and select a new chief. Hondo leads the Cavalry and settlers back towards the fort, taking Angie and Johnny with them. The group is attacked by the Apaches, now led by Silva, but the group circles their wagons. They escape the encirclement twice but the Apaches continue their pursuit. Hondo loses his mount and is attacked by Silva, but Honda kills him, retrieving Lt. McKay's uniform shirt from his body. The Indians retreat again to choose a replacement chief.Lt. McKay says the General Crook will be arriving in the territory with a large force to pursue the Apache. Hondo sadly notes the end of the Apache "way of life." | cult, murder, violence | train | imdb | The colors are rich and vibrant including the many Mexican blue sky shots.The story has a tired and horseless army scout Hondo Lane (John Wayne) coming upon an isolated ranch where he meets Mrs. Lowe (Geraldine Fitzgerald) and her young son Johnny (Lee Aaker).
Along the way they are attacked by the Apache and..................This was one of John Wayne's better westerns however one can't help but compare certain aspects of the story with that of "Shane" released the same year.
Wayne's pal Paul Fix appears briefly as Major Sherry.John Ford directed the final battle sequence when Director John Farrow had to leave to fulfill other contractual obligations.The DVD release has an excellent commentary by Leonard Maltin (who also serves as host for the variopus segments), film historian Frank Thompson and Lee Aaker.
With its distinctive peppermint-striped titles, the movie is one of John Wayne's best westerns and he happens upon a young woman at her isolated ranch and warns her of the threat of Indian uprisings.
It deals with Hondo Lane (John Wayne) , a scout for the US cavalry, he meets Angie Lowe (Geraldine Page)and falls in love with her , in this typical and entertaining western of the the 50's .
Hondo Lane becomes stubborn guard Angie Lowe (Geraldine Page in her first movie character) alarmed about the pending Indian uprising and then he turns into a figure father to her son named Johnny.
Today, it is a simple matter to view "Hondo" at any time, and appreciate it for the highly impressive Western that it is.In the film--based on the early Louis L'Amour short story "The Gift of Cochise"--Wayne plays a part-Apache cavalry scout named Hondo Lane.
When we first encounter him, in the year 1870, the footsore Hondo stumbles onto the New Mexico homestead of Mrs. Angie Lowe (Geraldine Page, the renowned NYC stage actress, here in her very first film) and her young son Johnny (appealingly played by child actor Lee Aaker).
Already half in love with the woman whose husband he has just shot down, Hondo returns to the Lowe homestead with a double mission: to tell the mother and son the news of what has just transpired, and to protect the pair from an uprising of (justifiably) angry Apaches, who have recently gone on a murderous warpath....Truth to tell, "Hondo" strikes this viewer as an unusual choice for Al Bundy's favorite John Wayne film, what with its emphasis on romance and courtship (indeed, for the first 25 minutes of the picture, Hondo and Mrs. Lowe do nothing but talk and grow close to each other), as well as father/son ties (then again, young Johnny is a lot more cute and loving than Bud Bundy could ever hope to be; perhaps Al saw in Johnny the son that he never had?).
Page deservedly garnered an Oscar nomination (her first of eight) for her work here, ultimately losing the Best Supporting Actress statuette for that year to Donna Reed, for her fine work in "From Here to Eternity." Kudos must also be given to Australian actor Michael Pate, who would go on, 14 years later, to reprise his role as the Apache chief Vittoro in the short-lived ABC TV program "Hondo," starring Ralph Taeger (I know, I know...who?) in the title role, as well as young Aaker for his winning performance.
Likewise, the great character actors Ward Bond, Leo Gordon and James Arness (two years pre-"Gunsmoke") all manage to make the most of their small but crucial roles."Hondo" also features fine work behind the camera.
That entrance of him walking up to Geraldine Page's small ranch must have put his large frame practically in the laps of the theater audience.Wayne plays Hondo Lane an army scout who is part Indian himself.
A bond also forms between Lee Aaker and the Duke.For one of John Wayne's major films, Hondo has a remarkably short running time as compared to some of the epic westerns he did for John Ford.
In the less than 90 minute running time for Hondo, it deals with Page's no good husband Leo Gordon and the trouble the Apaches are giving the local settlers.Playing the head of the Apaches, Chief Vittorio, is Australian actor Michael Pate.
But while Stevens' film moves at a slow, deliberate pace, meticulously creating a near mythic vision, "Hondo" director John Farrow, working from a script by longtime Wayne scribe James Edward Grant (from Louis L'Amour story), cuts the exposition down to basics, giving the film a much leaner 'look', with a climax (actually directed by John Ford, as Farrow had scheduling problems with another film) that is so fast-paced that it can leave a viewer in 'midair', expecting more.
As a result, "Hondo" isn't held in as high esteem as "Shane", but is certainly a rewarding, entertaining experience, with one of Wayne's best pre-"Searchers" performances, and Geraldine Page earning an Oscar nomination in her film debut.Filmed in the broiling summer heat of Mexico, utilizing massive, cumbersome dual cameras to create 3-D (which both Wayne and Warner studio head Jack Warner felt was the wave of the future, but would be passé by the film's release), the production was grueling, yet formed lasting friendships.
Australian Michael Pate, playing the key role of historic Chiricahua Apache Chief, Vittorio, was stunned to find Wayne, during a dangerous riding sequence, running along, off-camera, to protect him if he fell (Wayne, impressed by the actor, would cast him, ten years later, as another Indian chief in "McLintock!").
Geraldine Page, picked by Farrow for her fresh, 'natural' look, carried her stage training and 'attitude' into the filming, which did little to endear her to the cast, and Wayne felt little chemistry between them (although her performance would be a standout debut).With colorful characterizations, a chaste romance, plenty of action, and little of the obvious '3-D' gimmicks (only noticeable in the titles sequence, and two Indian fight scenes), "Hondo" was a HUGE hit when released, and has endured as one of John Wayne's most popular westerns!.
In Hondo, he is the title character, a white who was raised by Indians and discriminated against by them because he's not indian, but distrusted by the whites also because of his Indian sympathies.This was the only John Wayne movie filmed in 3D; it's been shown several times on network TV that way.
John Farrow directs this western story that stars John Wayne as Hondo Lane, a dispatch rider for the cavalry who encounters a woman named Angie Lowe(played by Geraldine Page) and her son, whom he feels compelled to protect, since they are surrounded by Apache forces.
this John western may not be considered a classic like The Searchers,but i sure liked it,for a number of reasons.John Wayne was good,as he usually is,though i have yet to see a movie where he puts in a bad performance.Lee Aaker,who plays the kid,puts in a pretty good performance.but i really do have to single two people out here in the acting department.Michael Pate,who plays Vittorio,the Chiricahua Apache Chief,is outstanding,as is Geraldine Page(making her film debut)as Angie Lowe.as for the the story,it's typical of most westerns,but it is action packed,and the dialogue is well written.i haven't enjoyed a western this much for quite awhile.for me,Hondo is an 8/10.
"Hondo" is notable because it is an early cinematic "A" Western.The film's title derives from the main character, Hondo Lane (John Wayne), a tough gunfighter and scout with a sense of ethics, a loner who does not like liars.
Ward Bond, Michael Pate, and Lee Aaker all give credible performances in support roles.Although there are more grandiose "A" grade cinematic Westerns, "Hondo" is a fine example of a story that is slightly more low-key, with an emphasis on complex characters.
Army scout Hondo Lane (John Wayne) and his trusty dog Sam protect a woman (Geraldine Page) and her son from Apaches.
When Hondo came out, 3-D was at the end of a very short life, so they had to show the film without it.Hondo is one of the best of John Waynes' westerns, and among the film's great qualities I would point: a)the story by Louis L'Amour.
John Wayne creates a memorably laconic character, although in retrospect, he and Geraldine Page make a most unlikely romantic pairing but the latter, who was then only known for her stage work and whose first true appearance in film this was, acquitted herself extremely well in the role of the lonely but determined homesteader woman living alone on her farm with her young kid (Lee Aaker) on Apache territory and, indeed, most surprisingly for a film of its type, walked away with a Best Supporting Actress nod at that year's Academy Awards!
The film also gives notable roles to Ward Bond (as a boorish Cavalry scout), Michael Pate (as the respectful Indian Chief who takes a liking to Page's son) and James Arness as a less reliable Cavalry scout.John Farrow handles James Edward Grant's rather talky script - whose central relationship between Wayne-Page-Aaker brings forth the inevitable SHANE comparisons which, interestingly, was released earlier that year - quite admirably and, although John Ford himself had a hand in it as a second unit director, there is a terrific battle sequence which concludes the film.
That seems to be one of his most famous movie poses of all time.The film itself is a little rough during the opening and closing titles, yet by and large, looks pretty clean considering it's age and the big, clumsy 3-D camera they used to film this thing with.One of the first Louis L'Amour novels to hit the screen, this one involves Army scout Hondo Lane protects woman (Geraldine Page) and her son (Lee Aaker) from marauding Apaches led by Vittorio (Michael Pate) who wants her to marry one of his braves and become his squaw.
The cast in addition to Wayne who is very good and the interesting and intelligent Page, included Australian Michael Pate and Rodolfo Acosta, Ward Bond, James Arness, Lee Aaaker as Mrs. Lowell's son, Tom Irish, Leo Gordon, Paul Fix, Rayford Barnes and Frank McGrath.
I think countryway_48864 is on the money: John Wayne's Hondo is a different kind of character, not a Thomas Dunson or Ethan Edwards.I also always have wished that Fellows and Wayne and James Edward Grant, the screenwriter, had included some of the little, authentic touches from the novel that filled out the character of Hondo: his wearing Apache moccasins, for example (see the scene of Paul Newman lacing them up in "Hombre," if you want to know what real Apache mocs looked like), and teaching Johnny to know whether the man he is trailing is white or Indian, just by his footwear and the way he walks.
This entry in the John Wayne marathon is based on a Louis L'Amour short story and earned an Oscar nomination for Geraldine Page.This was your typical western movie with the lying white man and the rampaging apaches and the upset settlers and, of course, the calvary to the rescue.Lots of battles and and an interesting story as Page kept saying her husband would return any minute and even the apaches, who watered their horses and left them alone, didn't believe her and were trying to force her to take a brave to raise her son.Great action and a great L'Amour story..
In spite of a hackneyed script,John Farrow managed to make a very interesting film ,transcending all the clichés and telling us an absorbing story.The keyword of his work is "fatherhood" : the "small warrior" is in need of a father.Both Vittorio and Hondo feel it and they both try to make him a man in their own way:the Indian wants her mother(Page) to become one of his brothers' squaw while Hondo (Wayne)dreams of a true home but knows that he is like his dog (who is nor really his anyway)whose place in this world is nowhere.Best scene: Page's house surrounded by Indians and "Small Warrior" singlehandedly "taming 'em (he is only six but he does tame them!).Farrow renews the subject of the "husband no longer at home" : we will know which kind of man he is in the last minutes of the film.One can regret the final battle but it does not spoil your pleasure ."Hondo" is really an enjoyable western where the Indians are not demeaned in the wake of "Broken arrow"..
Wayne plays a Shane-like character who befriends and protects a woman and young son who are living alone in the middle of Apache country during the Western wars.
While a John Wayne picture first and foremost, "Hondo" does represent the film debut of celebrated stage actress Geraldine Page, here playing a "handsome woman" living out West in the 1870's with her young son; they are caught in the middle of an Apache uprising, and though she has earned the respect of the Indian tribe, their ongoing strife with the white man leaves her vulnerable.
Hondo (1953) *** (out of 4) Classic Western has John Wayne playing Army dispatcher rider Hondo Lane who comes across a small farm being ran by a widow (Geraldine Page) and her young son.
Quintessential John Wayne western, the Duke plays tough but principled cavalry scout Hondo Lane who ends up sparking the widow (Geraldine Page) of a blackguard whom he was forced to shoot.
The rest of the cast are fine, Australian actor Michael Pate plays Vittoro (presumably a proxy for the actual Apache chief Victorio (1825-1880)) and Wayne's buddies Ward Bond and James Arness are along for the ride as a couple of colourful cavalry scouts.
While not exactly known as THE John Wayne movie, Hondo Lane is (along with Rooster Cogburn) one of the quintessential Wayne characters, a character I cannot help but look at (at least in my dreamworld), as some kind of macho response to Alan Ladd in Shane!While Ladd plays the morally upright Shane, who rides onto the ranch of a couple of dignified settlers, becoming the idol of worship for their young son, Wayne swaggers onto the spread of the conspicuously absent Leo Gordon (who's off gambling) and plain-faced Geraldine Page, where he proceeds to act like a bit of a smart-ass, making passes at the woman and helping toughen up the boy (who gets more attention from the local wild Apaches than his own father) by pushing him into a few semi-dangerous situations.
Average Cowboy versus Indian action/drama which was shot with good 3-D Cinematography.Wayne looks great here but the movie was sloppily and hastily put together.It needed better script,screenplay and editing.The story was standard fare.Only for fans of the genre and big fans of the lead actors......
After encountering rampaging Apache Indians, John Wayne (as Hondo Lane) and his dog lick their wounds at Geraldine Page (as Angie Lowe)'s ranch.
Gordon co-starred in "Gun fury" with Rock Hudson, which was released the same year and is arguably the better film.What's most interesting about "Hondo" is the significant role the Apaches play in the story and the amount of screen time Vittorio and his subordinate have.
Army despatch rider Hondo Lane (John Wayne) discovers a woman (Geraldine Page) and her son (Lee Aaker) living in the midst of warring Apaches, and he becomes their protector.Some of this is your standard Western fare, with the white settlers at odds with the Apache warriors.
Nicely directed by John Farrow the picture has become well established over the years as one of John Wayne's better westerns.From a novel by Louis L'Amour it had a fine screenplay devised by James Edward Grant and was glowingly photographed in Warnercolor by Robert Burks and Archie Stout.John Wayne is Hondo Lane a dispatch rider for the U.S. cavalry in 1874 who, after having his horse shot from under him by Indians stumbles across an isolated ranch occupied by a deserted woman (Geraldine Page) and her young son (Lee Aaker).
"Hondo" opens on some of the aspects of George Stevens' "Shane," with the arrival of a lone figure, a U.S. cavalry dispatch rider, Hondo Lane (John Wayne) and his dog (Sam) to an isolated ranch in Apache Territory...Lane is received by a young courageous frontier woman Angie Lowe (Geraldine Page) and her 6-years old son Johnny (Lee Aaker).
Angie tries to convince Hondo that she is not alone, that she lives with a husband, and that she is not worried about apache uprisings, because there is a peace treaty, and the apaches will not "bother" her at all...During his 24 hours stay, Lane knows that Annie is an abandoned woman, and after kissing her, he learned much more...Lane leaves the place, but after finding out that the Indians are killing and destroying all around the land, decides to return for the young woman and her boy...Under the lead of a stylistic director, "Hondo" may be very likely the finest Wayne psychological Western not directed by John Ford...
With long tracking shots and interesting camera angles, "Hondo" is far better in the way of capturing the abrasive solitary man manifested in "Red River." There is nothing really surprising about Wayne's part, but I think it does stress something that's a real Wayne attribute, and that is his honesty and straight forwardness
With a kind of short, curly, blonde hair, Geraldine Page is excellent in her Oscar-Nominated debut, specially in the scene of her confession to Lane about her late husband: 'He was a liar, a thief, a coward and a drunker...
The film's main relationship develops between Hondo and Angie Lowe (Geraldine Page), the woman who was abandoned and left in Indian country by her drunkard husband.
Wayne's co-star Geraldine Page earned her first Oscar nomination (Supporting) and L'Amour his only (Best Writing, Motion Picture Story).This slightly above average Western also features Ward Bond and James Arness as Army Indian Scouts, and Michael Pate (among others), as well as an uncredited wonder dog (like Lassie). |
tt1131729 | The Boat That Rocked | he movie opens with the information that during the 1960s, even though British rock was at its peak, British radio refused to play rock music. This led to the creation of pirate radio stations, which kept their ships anchored off the coast and played rock music 24/7.A boat approaches the Pirate Radio ship and drops off Young Carl (Tom Sturridge), a young man who has been expelled from school for smoking marijuana. He has been sent to spend time with his godfather Quentin (Bill Nighy), who owns the ship, allegedly to straighten him out. Quentin introduces Carl to the rest of the crew: The Count (Philip Seymour Hoffman), an American DJ who is the star of the station; Simon, a slightly awkward guy who dreams of finding romance; John, who does news and weather; Dave, who is extremely popular with the ladies; Angus, whom no one really likes but who runs a "crazy" comedy show; and Felicity, a lesbian who cooks for the boys. Carl is to room with Thick Kevin, who is unbelievably stupid.Carl's first night on the boat is a raucous party and we see scenes of the DJs running their shows spliced with the British people who listen to them. Millions of Britons are tuning in to Pirate Radio, and this greatly disturbs Sir Alistair Dormandy (Kenneth Branagh), who is put in charge of eliminating the problem of Pirate Radio. With the help of his new assistant, Twatt (Jack Davenport), they begin working to put Pirate Radio out of business.Twatt's first plan is to eliminate funding for Pirate Radio by making it illegal for British companies to advertise with them. Quentin breaks this news to the crew, explaining that in order to try to recoup their losses, he will be bringing in the famous DJ Gavin (Rhys Ifans). This disappoints the Count, who is used to being #1 on the station and is jealous of Gavin.During Carl's time on the boat he meets Mark, the late night DJ who never speaks and is referred to as "the sexiest man in the world." While they are sitting on deck, they begin discussing their conjugal visits: since they never go ashore, and the only woman on board is Felicity, the men each bring out a woman every other weekend. Dave decides that he is going to help Carl lose his virginity by bringing a girl to his room, turning out the lights, and sending Carl in his place. Despite his reservations, Carl goes along with the plan, only to have the girl turn on the light and see him before he even makes it to the bed.Gavin's arrival has brought in international advertising to the station. Dormandy and Twatt are disappointed by the failure of their plan, and set out to find another way to shut down the station. Dormandy gives Twatt a deadline to figure something out, and Twatt leaves determined to find a loophole that will work.Carl's birthday approaches and Quentin invites his niece, Marianne (Talulah Riley), to spend the evening with him. Before he goes to dinner, Carl runs to Dave's room and asks for a condom, which Dave provides. After a successful dinner, Dave stops in and comments, "I see why you wanted that condom!" When Marianne confronts him about this, Carl apologizes, saying he was stupid, and throwing the condom out the window to show good faith. After this display, Marianne kisses him and says, "I think we might need that condom," at which point Carl runs back to Dave to ask for another. Dave is out, but suggests he ask Gavin. Gavin provides him with a condom and some inane advice about being gentle, but forceful, and Carl heads back down to his bunk. Marianne is gone, but he hears a noise from Dave's room, and opens the door to see Marianne in bed with Dave. He leaves, depressed.At breakfast the next morning, an older hippie guy sits down at the breakfast table. The crew looks at him cluelessly, and the Count asks who he is. The man introduces himself as Bob, who does the early morning show. He has been on the ship for two years. They all kind of nod, and when he leaves, one man says, "So that's Bob!"Twatt approaches Dormandy, excited to announce that he has discovered a way to shut Pirate Radio down for good. The radio signals have jammed distress signals from boats, leading to the sinking of one British boat and the deaths of some sailors. They begin to draft a bill to outlaw Pirate Radio in the name of maritime safety.While in his bunk one day, Carl and Kevin are talking and Kevin says he believes that Carl is on the boat not because his mother wants him to straighten up, but because it's time for him to meet his father. Kevin suggests that Quentin is father, and comments "Sometimes I think they should call me Clever Kevin," before falling out of his bunk.Simon, who has become good friends with Carl, is thrilled to announce he is getting married. His new wife, Elenore (January Jones), arrives on the boat and the ceremony is broadcast on the radio. Their first night together is unsuccessful, and the next morning Elenore explains her real reason for marrying him: she and Gavin fell in love, but he wouldn't marry her, and the only way she could get on the boat was if she married a DJ. She only married Simon to get to Gavin, and announces that she'll be moving in with him. Simon is heartbroken and has the marriage annulled. When the crew confronts Gavin, Simon asks if he slept with her before she left, and Gavin admits that he did. The Count decides to take it outside.The Count challenges Gavin to a game of chicken: whoever climbs the furthest up the boat's mast is the winner. Both men reach the top, and Gavin dives from the high point into the water, which forces the Count to do the same or be seen as weak. The next scene is the two men who are severely injured (Count's arm, Gavin's leg, from the fall), speaking on the radio about having settled their differences. Gavin also apologizes to Simon on air.Carl's mother, Charlotte (Emma Thompson), comes to visit for Christmas. On his way to meet her, Carl runs into Bob in the hallway, and says, "Tell your mom that Muddy Waters rocks. She'll know what I mean." Carl spends some time with his mother, who gets along with the rest of the crew, and asks her if Quentin is his father. She laughs and says no. On her way off the boat, Carl delivers Bob's message, to which Charlotte replies, "Oh God, he didn't tell you, did he?" Carl realizes that Bob is his father, but Charlotte leaves the boat before they can discuss it. The next night he goes in during Bob's radio show and says, "I think you're my dad." They never get beyond that because News John arrives and they cannot discuss it openly.The British public is largely against the Maritime Safety bill proposed by Twatt and Dormandy, but they resolve to push it through anyway. They know that Parliament will accept the bill and eliminate the problem.A boat arrives at the Pirate Radio ship carrying Marianne and a friend, Margaret. Margaret is a lesbian, much to the delight of Felicity, who has been alone for some time. Carl and Marianne reconcile and Carl loses his virginity. When he steps outside of the room, the whole crew is waiting for him to hear the details of his first time. They all cheer, as do people across Britain, and Margaret and Felicity peek their heads out of the room down the hall at the noise, which draws more cheering.The Maritime Safety bill passes and Pirate Radio is to be shut down at the new year. Dormandy is thrilled with the result.The crew learns of the shutdown of their station and is disheartened, but resolve to keep going with the station--eventually all agreeing to damn the law and play the music. At midnight on New Year's, Dormandy, his family, and Twatt are listening to the end of Pirate Radio. They go silent at midnight, to toasts from Dormandy and Twatt, but a minute later come back full swing. Enraged, Dormandy sends Twatt and several boats out to arrest the men.When Twatt and the naval officers arrive at the place where Pirate Radio docks, they find a fishing boat instead. Pirate Radio is on the move. Unfortunately, as they're moving, their engine explodes, which will cause the ship to sink. During the sinking, they continue to broadcast, asking for help and giving their coordinates between songs. Twatt phones Dormandy to ask if they should help, and Dormandy says no.Carl runs down into the sinking ship to find Bob, and manages to pull him to safety but forcing him to leave his record collection. While on the deck of the sinking ship, the men talk with each other and wait for the inevitable. The Count stays below to broadcast until the last possible minute. As the ship nears sinking, Simon spots hundreds of boats heading their way: Pirate Radio listeners who heard their coordinates and are there to rescue them. All of them get on boats--including Simon, who finds his #1 fan and kisses her, and the Count, who emerges at the last minute--and head back to England.A postscript notes that there are now many radio stations that play all kinds of music, all of the time. | comedy, entertaining | train | imdb | Although the film received its fair share of criticism for its historical inaccuracies and feeble plot, in my view, the film does exactly what its authors set out to achieve and - not only in terms of the soundtrack - rock it really does.If you're looking for an evening of pure escapist fun, feeling generally nostalgic and cool about the legacy of the 60s fashion and music, and would like to forget history for a while and go with the party mood, go see this film - you won't be let down and you'll get what you're looking for: an amazing soundtrack (although, as many didn't hesitate to point out, not entirely historically accurate), with the likes of The Rolling Stones, The Kinks, Dusty Springfield, The Hollies, Jimmy Hendrix, Buddy Holly, and many many more, with the charismatic Bill Nighy and a bunch of other not-quite-so-ordinary eccentric characters, more or less familiar to you, depending on how you enjoy British (and American) comedy (e.g. IT Crowd).
Even if you don't know the actors, even if you're not into the music of the 60s, you've got pure feel-good fun thrown in to top it off for a great evening of the 60s Rock'n'Roll partying.
And it's partying in the true 60s sense of the word.On the other hand, if you're looking for profound plot development, historical accuracy and consistency, or a true story of a real pirate radio station Caroline that inspired the story, or, in fact, would like to see a true depiction of the life in the UK in 1966, do NOT go see this film, because you might leave disappointed.It's as simple as that.So, a definite recommendation for cinema viewing because of the necessary volume that the speakers allow you there to enjoy the music to the fullest (and, let me say one more time what music it is!), but stay out if you're not in a party mood.I give it 8/10 for the feel-good, cool entertainment it brings and....
Writing is good, plot is solid, Acting is fantastic, story line is great and the best movie score/soundtrack I have heard in recent history.
Richard Curtis' first 'non romantic comedy film' is really another romantic comedy film- it's just that the romantic bit gets swamped within 20 other sub-plots so you try and not notice.The Boat That Rocked sees Carl ( Tom Surridge ) go aboard Radio Rock- a pirate radio station owned by Quentin ( Bill Nighy ) whose DJ's (Phillip Semour Hoffman, Rhys Ifans, Nick Frost, Chris O' Dowd, Rhys Darby, etc.
Nick Frost is cheeky as Dr Dave and finally Rhys Darby- fresh from Flight of the Conchords- simply shines in his role as the unpopular and daggy Angus who nonetheless gets arguably the best line in the whole movie.Overall the Boat That Rocked is silly and entertaining fun.
If you think of "Four weddings and a Funeral" or "Notting Hill", you will be a little disappointed, being here the overall tone not so brilliant, dialogues not so sparkling, however, the both humorous and moving atmosphere of Richard Curtis's comedies is still recognizable.I think the real protagonist in "The boat that rocked" is music, that sound pop-rock that in the 60's began to move the world, and to be opposed by the establishment as a dangerous weapon in the hands of the multitudes, as a threat to a well consolidated but no longer valid system.
And thus becomes, in my opinion, the most vivid scene that of those hundreds of records floating on the water, the symbol of a generation, of an era that was then ready to explode, and that no strict establishment could have wiped away, even once illegal radio stations were shut down.No revolutionary message is conveyed: it's a good-humoured and at intervals melancholic tribute to a generation who, maybe ingenuously, but deeply, and truly believed in out of time-values, friendship, respect, love, and believed that music was a strong, and powerfully effective means to convey them.
This film is about a pirate rock radio station in British North Sea in the 1960's.I have watched several movies about British music history, and I have enjoyed none of them.
'The boat that rocked' is your average English comedy.Its highly original setting, on a 1966-clandestine Sixties' pirate-radio ship, surely warms the heart of everyone around at the time -- listening in when you were supposed to sleep or to do your homework.
Those with a good memory will also have noticed that several pop songs date from 1967, or even later than that.I wouldn't call 'The Boat that Rocked' a great film; nevertheless it entertains from beginning to end..
People sleeping with obese men, for no reason; stupid dares; intermittent referrals to the government trying to close them down...my god, the list goes on and on.After watching, I had no idea who this film was about, and it seems like it they said to themselves "okay, there was a boat that was a pirate radio station in the 60's- lets dress up some funny characters, make them look like they don't care, and create scene after scene of unrelated crap and churn out a movie that people will spend their money on and we'll do NOTHING to deserve it...Im sorry, but I've never seen such a useless waste of movie time ever, and i sat through inspector gadget with Mathew Broderick!!!
I'm just a little too young to be aware of the impact of the pirates at the time although I've heard the odd nostalgic radio documentary retelling the story and to be absolutely honest, that medium probably served the story better as the subject does not justify a two hour plus movie like this.Actually the more I think about it, with its obvious references to the actual disc-jockeys (who all washed away their rebellious principles by signing up to the BBC en-masse and thus became familiar to the wider public, yours truly included), you have to wonder about the moral compass of a movie that lionises anodyne jocks like Tony Blackburn, Dave Lee Travis, Bob Harris, Stuart Henry and others.
Even the inclusion of a miscast Philip Seymour-Hoffman revisiting, presumably, American renegade Emperor Rosko doesn't help the movie float (sorry) and a mock-grandiose conclusion, where yet again Curtis rallies all his cast and a horde of extras for the grandstand finish, only heightens the shortcomings.Women are treated as mere chattels, fame-obsessed fans desperate to sleep with their medium-wave heroes at the drop of a light-switch, but of course being politically correct a token black guy finds himself on board, alongside a lesbian tea-maid, who even manages to score with a pretty lesbian fan herself.The comedic scenes are telegraphed in from Carry On Doctor At Sea, plus I doubt a four-letter word was ever broadcast on-air as is made out here.
The only thing that made me smile was the Python-like recreation of Jimi Hendrix's notorious "Electric Ladyland" album-sleeve (again from 1968 however, pop-pickers!), albeit with a bevy of naked women in tow.In fact the best and most rebellious thing about the film was the soundtrack, a reminder of just how tumultuously wonderful the British music scene was at the time.
The characters are beyond caricatures - some are just bizarre - and waste some good acting/comedy talent (I'm not including Bill Nighy in that - despite Curtis' constant use of him and an okay turn in Shaun of the dead, I really can't see the point of Nighy as an actor or a comic).The script is lazy, flaccid and way overlong and the whole premise (of a pirate radio station - which could have been a good one) is lost in the general mish-mash of in jokes and stilted set pieces.Even the title is a cringeworthily bad pun which is beyond ironic.
I know people will say it's just a feel good movie and will point to the money it will no doubt bring in, but at a time when resources in the UK film industry are scarce I think Curtis' films are increasingly becoming wasted opportunities.British cinema is capable of so much more.
Pirate Radio has a few things going for it - big hits from the sixties, well-known comedy faces, plenty of rock music stereotypes, alcohol fuelled scenes, hot women.
Full of clichés, disjointedly edited scenes, totally gratuitous sex, and humor that's just not funny, this inappropriately worshipful treatment of Radio Caroline mythology can only be compared to "Space Cowboys." That's right, the space movie, which, with an amazingly talented cast, an intriguing and exciting story, and competent special effects, also managed to be a complete bomb.I wanted to like this movie; actually I wanted to love it.
It has been a good while since I have seen a film as good as "The boat that rocked", it was quite simply superb.The film is a fantastic insight into the pirate radio theme, with some superb acting, huge dollops of laughter, some sad moments but a whole lot of fun, the boat that rocked is set to become a "feel good" classic.Aside from this there is some gorgeous music from Rock and Roll's finest hour so far, if you enjoy such classics as the rolling stones and the kinks, you should see the film for the music alone.All in all I was blown away by how good this film was, It has got to be one of my favourite films of all time simply because it just hit the spot on a "good time film", you will come out of the movie feeling great.There are two things on earth that no tyrant,no government and no "oppressors" will ever be able to stop, one is music and the other is laughter, this film has both..
While watching this film, I really related to its emotive origins of the freedom and novelty of the world of music and its effect on the world.Quite simply, if you like a great soundtrack, some very entertaining humour from some great actors and a colourful feast of hedonism and debauchery then this is for you.I will give this film 8 out of 10 as I believe it celebrates in a very colourful fashion, an era that has long been due a fantastical perspective to really lift it out of history and into the eyes and ears of audiences across the UK.
And in my opinion the main strength of "The Boat" is that it rocks you ever so gently into liking all the characters on it and being just that little bit envious about the freedom they are enjoying and sharing, and also wishing the fun never ends.If you don't like this film for one reason or another, you might feel vindicated by its patchwork story, by a partly anachronistic soundtrack, by its lightheartedness and unpretentiousness, or even by its premise that all is well in the world of rock and that we are immortal while we dream.If you like it, I hope it is because it made you feel drunk with happiness and whispered into your ear about the beauty of youth and hope and friendship.I doubt one could or should ask for more..
In that respect his work holds a mirror up to society and reflects back life's highs and lows, joys and disappointments and frustrations and satisfactions in a realistic way - with only the occasional exaggeration or use of poetic licence.The Boat that Rocked deals with a subject, Pirate Radio, and an era, the "swinging sixties", that is surely ripe for social comedy and humorous treatment.
Pirate Radio is a fun and entertaining film bolstered by great music and a strong ensemble cast.
Pirate Radio is not really romantic despite the track record of the director (screenplay writer of Notting Hill and 4 Weddings and a Funeral), nor is it extremely laugh-out-loud funny but it's certainly entertaining and worth watching especially if you love music from the sixties.
This movie is great because of its witty British humor and because of the great characters involved, there was the main character Carl whom you where instantly fond of, then there was the roommate which was dumb and made you laugh each time he did something, Quentin who was a cool man that was the head of these rock pirates, then there was The Count who was the American Dj he is a great actor but also a really funny one.
Finally , a movie with a soul that is ,well, as big as the Rock 'n 'Roll .The story about the illegal pirate station that was broadcasting 24/7 at the end of the 60's somewhere in the North Sea ,and the material , o boy , the music that has endeared this genre to practically everyone on this planet .And the fact that the government forbade this music in Mother England , that was something new to me ( talking about the democratic gene ?
From that rickety old boat, a select group of radio DJs would not only empower a generation of music lovers who wanted more than a half hour of pop music a night broadcasted by the BBC, but they would find a family and in turn create living memories of laughs, parties, sex and, well; rock and roll.
Throughout the course of Radio Rock's voyages of the airwaves, we are compelled to feel for the struggle that these people are going through, but not only because of the freedom they stand up for, but because we also feel their bonds; the government, with their cold-faced callousness in trying to shut down rock and roll radio, are a threat to that family, and the sense of protective empathy that Curtis evokes is palpable.Despite the many ties that bind film and rock music together however, there remains a distinct lack of such movies catering to the subject matter itself, never mind even including a soundtrack aligned to the pop world.
Again, it's hard to single out anyone in particular because it's the kind of feature that works best when taken as a whole, but be sure that all involved give standout performances that really are a joy to watch beginning to end.When it comes down to it though, the entirety of The Boat that Rocks' viewing experience comes down to one of breezy, theatrical entertainment punctuated by the energy of the cast and silly fun balanced with heartache drenched in pathos that slowly develops within the script.
It's based on an awesome topic that interests again a lot of us Brits and most importantly it looks damn right hilarious!.Unforunatley recent comedy's have proved to show all the laughs they have to offer in the 3 minute trailer then leave you with nothing to see when it comes down to actually watching the film.Well this film is definitely not one of those.The Good Well the film is hilarious anyone who likes anything about comedy will love this which is straight away most people there are some hysterical scenes and enough laughs to keep you going right to the end.Laughs aren't all this film has to offer its actually very appealing to any fans of the rock genre.
But no need to be surprised since writer-director Richard Curtis' previous effort was the even sappier "Love Actually".And the weak spots are more or less the same: an overlong, sketchy and paper-thin narrative with lots of fake uplift and superficial emotions, cardboard characters and little sense of plot development, up to a terribly overblown finale.That's a shame because the premise is solid, the wonderful actors enliven their likable parts, the sixties flavour is intact and the tunes are great.But the pic's silliness and predictability are serious drawbacks, despite some laughs here and there.5 out of 10 pirate radios.
But the soundtrack is possibly one of the best movie soundtracks ever and as a huge music anorak type person I loved the end credit sequence with the album covers.Don't get me wrong, Pirate Radio is not an atrocious film, it harmless and worth watching for a bit of fun, It's just this is the music of my youth, I recall whilst growing up, listening to Radio Caroline a pirate radio station that broadcast from a ship offshore right up until the late 1970's and I was just expecting and wanting something much more from the film, something celebrating that wonderful British 60's and early 70's culture, a film that given the subject could have and should have become a great British Cult Music movie, it's quite saddening because Pirate Radio never will and Curtis completely missed the opportunity.
Pirate Radio is a fictionalized and idealized story of one boat full of a wacky cast of characters who all share one thing in common, a love and a passion for music.
"Pirate Radio" will certainly not be taking home any awards, but for a two-hour movie with great music and humor it's good enough..
I thought that the idea, the music and the people around the country dancing along and listening to the radio were all done well - however - although I thought that the characters played by Philip Seymour Hoffman, Bill Nighy, Rhys Ifans and a cameo role by Emma Thompson were good and enjoyable, it was very, very noticeable that the rest of the cast were incredibly weak, and the story / plot line was very poor – and it (I believe) is the weakest of all Richard Curtis's recent works - and the ONLY saving grace holding it together is the music (which would have carried any film on it's own anyway) - ultimately, (excuse the pun) I think that Richard Curtis has really missed the boat with the adaptation of this – when this film had all the ingredients and the potential to be a much, much better movie.See the film for the music alone ...
I can think of very few films with a more enticing soundtrack than THE BOAT THAT ROCKED (aka PIRATE RADIO), and for that alone it is worth watching. |
tt0103939 | Chaplin | The film is structured around lengthy flashbacks as the elderly Charlie Chaplin (now living in Switzerland) recollects moments from his life during a conversation with fictional character George Hayden, the editor of his autobiography.
Chaplin's recollections begin with his childhood of extreme poverty from which he escapes by immersing himself in the world of the London music halls. After his mother Hannah Chaplin has an attack of nerves on stage during a performance, the four year old Chaplin takes his mother's place on the stage. Hannah retires from performing and is eventually committed to an asylum after developing psychosis. In the years that follow, Chaplin and his brother Sydney gain work with variety show producer Fred Karno, where Chaplin becomes a hit with his comedy drunk act. He begins a relationship with his first love Hetty Kelly; the night before he is due to leave for America he proposes to her but she declines, reasoning she is too young. Chaplin promises to return to England for her when he is a success.
Chaplin is sent to America by Karno and is given a job by Mack Sennett, the most famous comedy producer in Hollywood. While there, he creates his iconic Tramp persona and due to the terrible directorial capabilities of Sennett's wife Mabel, Chaplin is allowed to direct his own movies. Before the year is over, Chaplin directs over 20 movies. After Sydney joins him in America to become his manager, Chaplin decides to break away from Sennett to have complete creative control over his films with the goal of one day owning his own studio. In 1917, Chaplin completes work on The Immigrant which causes some concern over the film's political subject matter and starts a brief romance with actress Edna Purviance.
Years later at an industry party thrown by Douglas Fairbanks, Chaplin meets and begins dating child actress Mildred Harris. Chaplin eventually becomes wealthy and profitable enough to set up his own studio and becomes "the most famous man in the world" all before his thirtieth birthday. Chaplin reveals to Fairbanks that he is to marry Harris as she is pregnant, but later at a party thrown by William Randolph Hearst, the pregnancy is revealed to be a hoax. At the same party, Chaplin has an uncomfortable confrontation with J Edgar Hoover about actor / directors and their responsibilities with regards to audiences, this confrontation sparks a forty year long vendetta and Hoover attempts to ruin Chaplin's reputation.
Chaplin and Mildred separate after the premature death of their only child and Chaplin's utter devotion to his films. During the divorce proceedings, Harris's lawyers attempt to steal Chaplin's movie The Kid reasoning that it is an asset, however Chaplin and Sydney finish editing the film in a remote hotel in Salt Lake City, Utah, and smuggle it successfully back to Los Angeles.
The brothers eventually arrange for their mother to join them in America. Chaplin is initially happy to see her but has been away from her for so long that he is unable to cope with her worsening mental illness. In 1921, seeking a break from film-making and his private life, Chaplin returns to England to attend the UK premiere of The Kid. He reunites with Karno and hopes to locate Hetty, but Karno sadly informs him that she died in a flu epidemic shorty after the war. Chaplin also discovers that although most are happy to see him, his success has meant that the poverty stricken working class British no longer consider him to be one of their own and resent him for not fighting in the war as they did.
Back in America, Hoover is beginning to investigate Chaplin's private life, suspecting that he may be a member of the Communist Party, and Chaplin is forced to consider the implications the introduction of "talkies" may have on his film-making career. Despite the arrival of sound pictures drawing nearer, Chaplin vows never to make a talkie featuring the Tramp.
In 1923, Chaplin makes The Gold Rush and marries his leading lady Lita Grey, with whom he goes on to have two children, however Chaplin later confides to George that he always thought of her as a "total bitch" and dedicates no more than five lines to her in the finished autobiography. Years pass and although Chaplin finds a new wife in Paulette Goddard he feels a sense of guilt and sympathy to the millions of Americans who have recently been made unemployed due to the Wall Street Crash (Chaplin avoided losing all of his money in The Great Depression by selling most of his shares the year before). Chaplin decides to address the issue in his next movie Modern Times (The final movie to feature The Tramp) but his complete dedication to getting the movie finished puts excessive strain on his home life and eventually results in the breakup of his marriage.
At an industry party Chaplin causes a minor scandal when he refuses to shake hands with a visiting member of the Nazi party. Fairbanks (with his health in great decline) comments that Chaplin looks a lot like Adolf Hitler, providing Chaplin with inspiration for his next movie in their final encounter before Fairbanks' death in 1939. Chaplin's film satirizing the Nazis The Great Dictator is a huge hit throughout the world but Hoover tries to portray the film as a work of anti-American propaganda.
Chaplin settles down with and marries Oona O'Neil, an actress who looks identical to his first love Hetty Kelly and the woman he will spend the remainder of his life with. However Chaplin is hit with another scandal when it is alleged that he is father to the child of his former lover Joan Barry and despite a blood test proving that the child is not his, Chaplin is ordered to provide financial support for the child. His reputation severely damaged, Chaplin stays out of the public eye for over seven years until re-emerging to produce a new film Limelight.
In 1952 during the height of the Joe McCarthy scandal, Chaplin leaves America with Oona on a trip back to Britain, but subsequently finds out that the U.S. Attorney General has revoked Chaplin's permit to re-enter the United States.
In 1972, 10 years after Chaplin and George complete his autobiography, Chaplin is invited back to America in order to receive a special Lifetime Achievement award at the 1972 Academy Award ceremony. Though initially still resentful at being exiled from the country and fearful that no-one will remember him, the audience happily rejoices upon seeing his classic film clips. Chaplin stands on the stage and is moved to tears when the audience provide him with a standing ovation. | dramatic, cult, flashback | train | wikipedia | You can't help noticing how this corresponds with the constantly youthful look of the Tramp (in Modern Times, for example, Chaplin was in his late 40s but looked like a teenager), and the coins tossed on stage may have played a significant role in helping him realize that this could be a good way to make money.Charlie moves to America to pursue his dream, and we see the landmark events that punctuated his dizzying rise to stardom.
There are dozens of other references to the development of his cinematic personality - such as his sudden realization of how to make the Tramp appear rich to the blind girl in City Lights without talking, as well as the dance of the dinner rolls, which Charlie performs here at a dinner at an expensive restaurant - but there is an even more significant portrayal of Charlie's beliefs and his values in this movie that are more recognizable as well as more memorable to people not familiar with his earlier and less known work.Charlie Chaplin was one of many filmmakers' in the earlier times of the medium that resented and disapproved of the coming of sound to the movies.
He was a fascinating personality both onscreen and off, which is another element of his life that was necessarily and skillfully presented in this film, this time directly in the dialogue in what is probably the single most important line in the entire film `If you want to understand me, watch my movies.' Chaplin's ever-present sympathy for the underprivileged is subtly but effectively portrayed as two poor people approach him on his way out of a nice restaurant, right at the beginning of the Great Depression, asking for his autograph.
I watched it many a time and enjoyed both the biographical aspect and the comedic one but it has also increased my interest in silent comics of this great era.The film begins by exploring the early life of Charlie, his Brother Sid and his Mother as they try to scrape a living.
He puts in an amazing performance, his London accent is excellent and ability to do slapstick even better he also really makes you believe that the great man is alive and on the screen again.The film rightly concentrates on the private life of Chaplin and the development of the cinema.
His Jewish connections are also highlighted by the Great dictator, which shows his sensitivities to the European Jews were more at heart than just a making a heap of cash by having a laugh at Hitler's moustache and goose stepping troops.The film doesn't get bogged down by Chaplin's hectic love life, as Dickie explores Charlie's political beliefs and how J Edgar Hoover was convinced of he was a communist party member.
Chaplin isn't really a great bio-pic, but there are moments when Richard Attenborough's direction shines and it's consistently got an amazing Robert Downey Jr. performance as the title character.
What made me pleasantly surprised is what Attenborough *did* decide to show with Chaplin the private man; I thought that he would cut out much of the stuff with Chaplin's penchant for young (usually underage) girls, or some of the things regarding his mother, but most of the notorious facts are put in for good measure to counter-balance some of the pompous, though fascinating, scenes of "cinematic history." Now as a fan of Chaplin's films and the given acknowledgment that he's one of the most talented comic actors and filmmakers of the 20th century, I do get a little choked up seeing that final clip-show at the Oscars of great clips from his most famous movies.
And it's interesting always, from just a movie-buff stand-point, to watch the history behind Chaplin's transition from vaudeville to Max Senett's film company to slowly becoming an independent and world-famous auteur/star.
But for the most part the writing and the direction make it entertaining just on that conventional, rise-fall-rise-fall-struggle-success-at-end story with maybe less drugs and a bit more politics than one might usually see (save for one fantastic scene when Chaplin and his brother and friends are sneaking around the film footage of The Kid from the brass who want it for tax purposes).What makes it almost outstanding, however, is Downey Jr. He's funny as Chaplin when he needs to show how he was a great clown (i.e. the 'old-drunk' bit), he's melancholy when needed, he plays Chaplin as young, middle-aged, and old perfectly, and there's just the slightest details that keep you glued to the screen to see what he'll do next.
The direction is very good; I particularly liked how some of the straight scenes were filmed in a comic, surrealist style (Chaplin's escape from the police w/ his cans of "the Kid" reels is staged like a Keystone Komedy), while some of what might have been more comic elements are played straight (Chaplin's attempt to convince his brother that "The Tramp" cannot talk in a movie is both funny and serious, for example).
Perhaps the problem is that, Chaplins life might not be the most suitable for a MOVIE,purely because his life was so eventful, and might have translated itself better as a TV Mini Series, but for getting the best out of what screen time available and still coming up with some very credible work, you must hand it over to Richard Attenborough and everyone at Carolco.
Just as good are Ellen Mirojnick and John Mollo's costumes designs, in fact, Chaplin offers a production so rich that at once i forgot that this was a period film, and felt transported back to the various different time zones the movie had to offer, and this is a good sign of a genius at work.
Charlie Chaplin himself was a couple of years before my time, but Downey JR is so fantastic, so realistic in the role that i didn't for one minute doubt the genius of the REAL Chaplin and in fact only became a fan of the little tramp after seeing this Biopic, as though the missing pieces of Chaplins life had come together to complete the jigsaw.
However, the story hops around a few too many times, and the scenes with Anthony Hopkins are weak and obviously placed in order to clarify things to non- Chaplin fans who watch the film.
Robert Downy Jr is good , especially when he's playing a young Chaplin and the rest of the cast do a good job but i cant help but feel this film never really works.
The women were very interesting: from Geraldine Chaplin playing Charlie's insane, pathetically-sad mother to beauties like Milla Jovovich, Diane Lane and Moria Kelly, the latter playing Chaplin's final and devoted wife "Oona." Also in here are some big names: Anthony Hopkins, Dan Ackroyd, Penelope Ann Miller, Marissa Tomei, James Woods, Nancy Travis and Paul Rhys.
For my money this is one of the weakest of Attenborough's catalogues.It does however have a HUGE saving grace in Robert Downey Jr who as Chaplin the star is simply brilliant.I personally disliked the plot device of Anthony Hopkins as Chaplin's biographer and found it quite irritating.While all performances are solid, especially Kevin Kline if you see the Thief of Bagdad then watch this he really does capture something of Fairbanks charisma and energy, the film is strangely the same: another girl (Literally often) appears, disappears etc; it became almost formulaic after a while.Great in its scope, and the sets, attention to detail etc; are good - just didn't me the first time I saw it or this time - perhaps tellingly the real Chaplin with the Kid at the end is magnificent.Definitely worth watching for Downey's tip-top performance as the young Chaplin, but the rest is too linear and flat to make a great film..
It is worth it.Other actors were fantastic too, and there is quite a list of big names who performed wonderfully well: Kevin Klein (as Douglas Fairbanks), Anthony Hopkins, Marisa Tomei, Dan Aykroyd, Geraldine Chaplin (portraying her own grandmother, and what a portrayal!) etc.Photography, sets, costumes, everything was just as one would hope it would be in a biopic about such an important artist as Chaplin.
He plays him as a tortured bad boy and somehow makes the audience (like the film's director) turn a blind eye to the more scandalous aspects of Chaplin.Downey skillfully navigates director Richard Attenborough's loving yet ambivalent handling of Chaplin's scandals.
Robert Downey, Jr. does a fantastic job as Chaplin, and deserves all the credit he has gotten for his performance.But the fact is, Chaplin's life is too complex and multi-faceted to fit into a two-and-a-half hour film - maybe even into a four hour epic, like "Lawrence of Arabia".
jailbait), starting from his first crush Hetty Kelly (Moira Kelly), to first wife Mildred Harris (a barely 16-year-old Milla Jovovich striking the bull's eye of the ingénue seduction with flaming lips), an ill-fated union with the independent Paulette Goddard (a classy Lane), until his last spouse Oona O'Neill (Kelly again to finish the circle), a none-too-subtle way of intimating that the right one is actually the one who gets away, which to a certain degree, cunningly shifts the blame on Hetty, the undertone seems to suggest that if she had accepted Chaplin's marriage proposal before he would put his name on the map in the celluloid boom town, his subsequent failed marriages would have no place in the history, a low move that hurts the film's integrity.
The frame narrative is actually set in Switzerland where an aging Chaplin discusses his biography at length with a fictive writer George Hayden (Hopkins), the tactic doesn't quite work out, not just because Downey Jr.'s somewhat unconvincing warpaint (he looks rather hale beside Hopkins and the sparks in his eyes cannot disguise his real age of 26), but also it is padding out the story, only to prepare audience for the coda when Chaplin is given an overdue gong in the 1972 Academy Award ceremony for a special Lifetime Achievement, with footage of Chaplin's films playing to make the most of one's nostalgic admiration, but the emotional punch never packs, after 140 minutes, we still have a very indeterminate image of Charlie Chaplin, is he a Communist?
But in the end of the day, CHAPLIN has its inherent edge, it is a film about the king of comedy, so at the very least, it is never tedious on the eyes, not with a charismatic Robert Downey Jr. fleetly mimicking the tramp's slapstick (he makes them look as effortless as Chaplin himself) and conscientiously emanating Charlie's more subdued affect when he has his own hurdles to grapple with, may it be the resistance to the sound cinema, or a bigoted lawsuit from his former lover Joan Barry (Travis).
I think this movie is good reference to learning the history of film- you can see many movie stars at the time- such as Mary Pickford and Fairbanks, and I think that it is a well made movie because it did a great job in making it look really like Chaplin's life, and didn't miss out on the many historical events.
Now I must admit there are some things of Chaplin's personal life that were of interest, but too much time was wasted on his various tyrsts and his unending appetite for young ladies.Downey Jr. plays Chaplin to the best of his tremendous acting ability and was definitely merited in getting the academy award nomination.
Perhaps with the exception of Geraldine Chaplin who did a wonderful job playing her own grandmother.I was very touched by the end of the film in which we see Charlie in the dark at the 1975 Academy Awards wacthing clips of his movies.
The old chestnut of flashbacks from an old man works to produce a story but doesn't help make a person; I was happy with the rough facts and the historical context it gives to some of Chaplin's films but I never felt much about him as a person.Part of the problem with this is Downey Jnr himself.
It was interesting to explore his history, and the film history along with it, and that is why I gave it a 6, and not something like a 4 or 5.The acting from Robert Downey Jr. was also very well performed and performed, which helped carry the film a lot, especially considering how good he is at doing a British accent.In conclusion, it is a film worth watching, just for the history, but it definitely isn't a masterpiece..
Whilst Robert Downey Jr makes a good stab at Chaplin's physical characteristics, the film falls at the first hurdle, as Attenborough has failed to depict the disparity between the Charlie that walked onto the Keystone lot, and the one that exited the gate a year later.
No wonder there are no later works of Chaplin.Most of the cast continued to be famous actors in their own right, Mila Jovovich was very convincing as seductive Lolita, whereas the movie continuously fails to provide any background information that would explain why 16 year olds would be left to wine and bed with much older gents in a time period that frowned upon so many other things.I would have loved to know why Chaplin didn't continue his directing career from Europe, like Roman Polanski did?All in all, a fantastic movie that provides insight into the baby days of Hollywood..
Robert Downey Jr. was made for the role: not only is him as funny and charismatic as Charlie, but he actually looked and acted exactly like him as the 'Little Tramp' character.
Geraldine Chaplin (Charlie's real life daughter, who plays his mother here), Kevin Kline and Paul Rhys are good in their supporting roles, as are the many others in smaller roles (Anthony Hopkins, James Woods, Kevin Dunn, Moira Kelly, among others).The ending is excellent.
The narrative of the movie that tries to let it with some kind of a explanation behind each scene, moving through the past to the future is a little annoying sometimes, but it can't take the credit of the movie that tries to do a Chaplin's narrative-biography.I strongly recommend to watch, if you don't like Charles Chaplin's work, you might be interested in see what is his real history and the wonderful performances of the film..
It captures the genius of Chaplain and sets the right tone for the time it was depicting.Robert Downey Jr really deserved an Oscar for this.Apart from Jamie Foxx' near perfect depiction of Ray Charles in Ray, Robert Downey Jr does one of the best acting jobs portraying such a well known person.All the supporting cast are also excellent and although this is a long movie I never once get bored while watching it.It is rare to find a fairly recent movie that could be termed a classic, but Chaplin is one of those films..
In one sense, Richard Attenborough's film can hardly go wrong, and Robert Downey Junior is very good in the role, although as with many biopics, a linear treatment of the highlights of 80 years of life can seem undramatic: things happen, good or bad, usually after another character warns Charlie not to do them and he does them anyway.
Easier money, I guess...).Great supporting cast: Kevin Kline as Douglas Fairbanks, Geraldine Chaplin (Chaplin's real-life daughter) playing Chaplin's mother (her real-life grandmother), Paul Rhys, John Thaw, Moira Kelly (in two roles), Anthony Hopkins, Dan Aykroyd, Marisa Tomei, Penelope Ann Miller, Diane Lane, James Woods and Milla Jovovich, plus David Duchovny in a minor role.A must-see, not just because it is a biopic on one of history's greatest geniuses, but also for Robert Downey Jr's performance..
Sir Richard Attenborough's biographical film of the life and times of Charles Chaplin is a little thin as a narrative, but it is so charmingly creative and ultimately moving, it's hard to care about any deficits.
And everybody's talents all come together in a mesmerizing scene at the end that is so powerful that it compelled and begged me to forgive the movie for all of the flaws that I observed in the preceding hundred and twenty minutes.Mr. Attenborough's film does not realize its full potential and he should have realized that Charles Chaplin's life was so expansive that it would be difficult to contain it all within one film, but he did succeed in making a nice little biopic.
It was very interesting to learn more about the life of perhaps the worlds greatest and most known comedian of the 20th century.I like slapstick humor, so naturally I also have a great interest in Charlie Chaplin and his movies.
There are lots of well known big name actors in the movie such as Anthony Hopkins, Geraldine Chaplin (who plays her own grandmother in this movie), John Thaw, James Woods, Nancy Travis, Milla Jovovich, Kevin Kline, Marisa Tomei, Dan Aykroyd, Diane Lane, Penelope Ann Miller, David Duchovny, Paul Rhys, Maria Pitillo.
Robert Downey Jr. did an excellent job at capturing the magic of the tramp, especially during sequences where they recreated iconic scenes from actual Chaplin films.
When it comes to the development of motion picture Charlie Chaplin is a really important person and even if you are only a little bit interested in his life and the history of motion picture, you should watch this movie.
But the movie has more pro's than con's as i said earlier Robert Downey Jr. does a great portrayal as Chaplin and the supporting cast also does an excellent job with Dan Aykroyd and Paul Rhys in particular.
Chaplin (1992) *** (out of 4) Richard Attenborough's flawed but entertaining look at the life and career of Charles Chaplin features a terrific performance from Robert Downey, Jr. who picked up an Oscar-nomination for his work.
I just watched this film for the second time tonight and I must say that despite all its flaws, Chaplin is a must see if just for Robert Downey Jr's performance. |
tt3393786 | Jack Reacher: Never Go Back | A small crowd of people is gathered outside a diner. The police arrive and find four men on the ground beaten up. An onlooker tells the cops that one man took them all on and beat them down within seconds. Sheriff Raymond Wood (Jason Douglas) and his deputy enter the diner to find Jack Reacher (Tom Cruise) sitting by the counter with some blood on his face. Wood cuffs Reacher and prepares to take him away until Reacher says that in 90 seconds, the phone will ring, and Wood will be wearing the cuffs on his way to jail for kidnapping and selling undocumented immigrants on military soil. The phone rings, and Wood answers, giving his name. Seconds later, military police cars pull up and arrest Wood.Later, Reacher speaks on the phone with Major Susan Turner (Cobie Smulders), who helped him capture Wood and is surprised to find Major S. Turner is female. He calls back a few times while traveling about and finally mentions he probably owes her a dinner. She agrees, asking when he will be in D.C. and he tells her he will be there, eventually.Reacher arrives at the military HQ and finds Col. Morgan (Holt McCallany) sitting at Major Turner's desk. Morgan informs Reacher that Turner has been arrested for possible espionage. Reacher speaks to Sgt. Leach (Madalyn Horcher) to learn who has been assigned as Major Turner's attorney. Sgt. Leach informs Reacher she has been ordered to not give out any information on Major Turner's case. Reach then asks what attorney Sgt. Leach would recommend to her D.I. if he needed one. Catching on, she quickly recommends Col. Moorcroft.Reacher finds Col. Moorcroft (Robert Caprini) and asks about Major Turner. Moorcroft tells him they found a hard-drive in her house with classified information on it. He, then, brings up a paternity suit filed against the military that claims that Reacher is the father to a daughter from a woman named Candice Dutton. When Reacher asks him what the Major has to says, Col. Moorcroft informs Reacher he hasn't been allowed to see her yet. Reacher leaves and tells Moorcroft to get back to him when he remembers what his uniform stands for.Moorcroft has a change of heart and gives Reacher a file on two soldier, Cibelli (M. Serrano) and Mirkovich (Nicole Barre), who were both murdered at close range in Afghanistan, and it is believed that Turner was involved in their deaths. From a distance, Reacher is being watched by a man known only as The Hunter (Patrick Heusinger).Reacher follows his supposed daughter Samantha (Danika Yarosh). After a while, Sam catches on and calls Reacher out for following her. He asks Sam if she is Candice's daughter. Sam thinks Reacher wants her mother due to the knowledge of Candice's previous job as a prostitute. Sam walks away from Reacher.The Hunter finds Moorcroft in his home and brutally beats him to find out what information he gave to Reacher before killing him.Reacher returns to the HQ to find Morgan, a few officers, and a lawyer named Lt. Sullivan (Jessica Stroup) waiting for him. Reacher is accused of killing Moorcroft in his home. He is then taken into custody.When Reacher is detained, he spots some men arriving, knowing they're there to kill him and Turner. He asks Lt. Sullivan to get him a sandwich and then escapes. He takes down an officer named Espin (Aldis Hodge) and takes his uniform before heading over to Turner's cell. Sure enough, the men are there to kill her. Reacher takes them all down and gets Turner out of there. They are both spotted and chased out by the officers. They make their getaway by stealing a police car.Reacher and Turner get Morgan in his house after realizing he's involved in the scheme. They get their information out of him and leave. Later, The Hunter shows up at Morgan's home and beats him to death with his phone since he knows Reacher's prints are on the phone.He contacts Leach and secretly asks her for help. She informs Reacher that Morgan was murdered and that Reacher's prints were on the phone. Looking through more of the information form Col. Morgan's computer, Major Turner finds surveillance photos, including some of Sam. He and Turner go to Sam's foster home and find her foster parents have been murdered. Sam bursts out from under the kitchen sink with a knife in self-defense. Reacher and Turner calm her down and take her away.Reacher and Turner take Sam to a private school, Pembroke, for her protection, since Turner has a connection there. As Sam talks to some of the schoolgirls, she pulls out a phone, which she told Reacher and Turner that she left back at the house. The two pull her away and decide they need to get out of there, and they throw Sam's phone away to remain undetected.Reacher gets a call from Leach with information on a man named Daniel Prudhomme, a specialist in Afghanistan that saw Cibelli and Mirkovich get killed. Leach also mentions a company called Parasource, which is a private military firm. The three make plans to head to New Orleans to find Prudhomme. Sam gets out a credit card from a bag she stole from one of the schoolgirls so that they can buy their plane tickets.On the plane, Reacher spots two contractors from Parasource on the plane. He beats them unconscious and gets information off their phones. On the rest of the plane ride, Reacher pretends to sleep as he overhears Sam talking to Turner about who her father could be.In New Orleans, while riding a bus, Reacher comes clean to Sam that it's possible he's her father, and that's why she's being hunted along with him and Turner. She doesn't believe Reacher's claims until he mentions that Candice filed the paternity suit.Reacher and Turner find Prudhomme (Austin Hebert) in an abandoned building full of junkies after getting tipped off by Prudomme's wife, who hasn't seen him in months. Turner interrogates Prudhomme and he tells them what he knew about Cibelli and Mirkovich's deaths, as well as what he knows on Parasource.Reacher and Turner get in touch with Espin and have him speak to Prudhomme to learn the truth. As Espin is escorting Prudhomme out, they are ambushed by assassins. Prudhomme is shot and killed, and Reacher jumps in to fight and kill the villains. Reacher also protects Espin, and they manage to get away.Reacher, Turner, and Espin meet up with other military officers at a base to confront General Harkness (Robert Knepper), the CEO of Parasource. Turner accuses him of selling arms to insurgents, and that the cases he and his men are unloading are empty. Some cases are opened but, to Maj Turner's surprise, they actually contain arms. As she is about to be arrested, Reacher goes to an open case and finds opium hidden in the arms, leading to Harkness's arrest. Moments later, Reacher gets a call from The Hunter, saying he is going after Sam after she called for room service and used one of her stolen credit cards and it gets flagged.Reacher and Turner race back to the hotel to save Sam. Sam sees The Hunter and his goons going down the street during a Halloween parade, so she escapes the room. The villains chase her through the streets with Reacher and Turner trying to catch up to them. They kill The Hunter's goons before facing him on the roof. The Hunter has Sam held at gunpoint and threatens to throw her off. Reacher drops his gun and kicks it to The Hunter, leaving Sam with an opportunity to grab The Hunter's gun out of his hand (as Turner taught her earlier). Reacher tackles The Hunter off the roof. They fight a little while longer until Reacher breaks The Hunter's neck and throws him off another ledge.With her name cleared, Turner is reinstated to her old position. She and Reacher promise to keep in touch and make dinner plans.Sam later finds Reacher in a diner. He is ready to find out whether or not she really is his daughter, but Sam determines that she's not, since Candice was serving Reacher coffee, and the two of them did not recognize each other. Later, the two bid each other farewell. Sam tearfully hugs Reacher and slips a phone into his pocket.The film concludes with Reacher hitching for a ride down the road. He gets a text from the phone from Sam that asks, "Miss me yet?" He smiles and sticks his thumb out. | comedy, suspenseful, neo noir, murder, violence, intrigue, flashback, revenge | train | imdb | null |
tt0084516 | Poltergeist | In the suburban housing development of Cuesta Verde, California, the homes are modern and comfortable. Steve Freeling (Craig T. Nelson) is a successful real estate agent who works for a firm headed up by Teague (James Karen), a developer. Steve lives in one of the Cuesta Verde homes with his wife, Diane (JoBeth Williams), and their three children: teenage Dana (Dominique Dunne) and preteen youngsters Robbie (Oliver Robbins) and Carol Anne (Heather O'Rourke).Strange events begin to occur when Carol Anne begins sleepwalking and carries on a seemingly one-sided conversation with a TV set that's turned on but has no signal. Soon thereafter her pet bird dies, and the family conducts a small burial service. Later that night, Carol Anne awakens again and talks to the television, while a spectral manifestation erupts from the television screen and enters the walls, causing an earthquake that only the Freelings feel. As the family wakes up, Carol Anne mysteriously announces, "They're here."The next morning, glasses inexplicably break at breakfast, and forks bend by themselves. When Diane asks Carol Anne who she meant when she said "they're here," she answers, "The TV people." At first the ghosts play harmless tricks and amuse the mother, including moving and stacking the kitchen table chairs. Diane and Carol Anne discover an area in the kitchen where an unseen force will pull anything, including people, across the floor. Of course, Diane must convince Steve that night by showing him. He then announces that "Nobody's goin' in the kitchen until I know what's happening."During a terrible thunderstorm, a gnarled tree outside the kids' bedroom window suddenly comes to life and grabs Robbie (Oliver Robins), Carol Anne's brother, through a window. However, this is merely a distraction used by the ghosts to get Carol Anne's parents to leave her alone. Using a force like a wind tunnel, they take Carol Anne through her bedroom closet into their dimension. Steve rescues Robbie, and the family believes that a tornado caused the trouble, until they realize that they can't find Carol Anne. They search the entire house including the pit for the new swimming pool until Robbie hears Carol Anne through the TV.Steve meets with a small group of parapsychologists from UC Irvine, stating that "We just want you to find our little girl." Dr. Lesh (Beatrice Straight), Ryan (Richard Lawson), and Marty (Martin Casella) are awestruck by the manifestations they witness. With the parapsychologists present, Steve shows them things they've never before seen. He opens the door to the children's room to reveal toys and other objects flying around by themselves and disembodied laughing voices reverberating throughout the room. Previously, Ryan described a Matchbox car taking seven hours to move seven feet, calling it "fantastic. Of course, this would never register on the naked eye." After they see the Freelings' house, they are all humbled.Over coffee (and a coffee urn that moves by itself), the parapsychologists explain to the Freelings the difference between a poltergeist and a haunting. They determine that indeed, it is a poltergeist they are experiencing.The group witnesses several paranormal episodes where they hear Carol Anne talking to Diane through the TV, see spirits, and hear the pounding footsteps of some terrible force, which subsequently injures Marty. Marty also suffers a terrifying hallucination where he seems to tear off his own face. The parapsychologists leave, with the exception of Ryan, admitting they need more help. Shaken and overwhelmed, Dana leaves to stay with friends. The Freelings also send Robbie to his grandmother's house for his safety.Later that day, Steve has a conversation with his boss, Teague, about a new housing project going up. They talk about how Steve's company has built over cemeteries in the past, even where the Freelings live now. Whenever the company needed land to build or expand housing communities, they'd move the cemeteries, coffins, headstones and all. Teague shows Steve a new housing development the company is building not far from where the Freelings live. As the two walk by a hillside cemetery, Teague tells Steve that he can have a new house right in that spot, with a large bay window overlooking the valley. Steve remarks that the house can't simply be built over a cemetery. Teague tells Steve that the company has moved whole cemeteries before: the coffins were dug up and moved, along with their headstones, to new locations nearby. Teague then reveals that much of Cuesta Verde was built on the location of one of these relocated cemeteries. Steve seems quite astonished at the news, stating that "that's sacrilegious."When the parapsychologists return, they bring a spiritual medium, Tangina Barrons (Zelda Rubinstein), a tiny woman who uses her psychic sensitivity to ascertain facts about the disturbances. Tangina tells them that Carol Anne is "alive and in this house." According to Tangina, the spirits haunting the home have left this life but have not gone into the spectral "Light." They are stuck in between dimensions, watching their loved ones grow up, but feeling alone, causing them to feel lonely and even angry. Carol Anne was born in the house and has strongest connection to it. Only 5 years old, she gives off her own life force that is as bright as the Light. It distracts and confuses the spirits, who think Carol Anne is their salvation. Hence, they have taken her.However, Tangina also warns everyone that a malevolent spirit also exists in the next dimension. It likes that the spirits are confused and lost, and uses Carol Anne as a distraction so they cannot move on into the Light. Tangina says "it lies to her and tells her things only a child can understand. To her, it simply is another child. To us, it is the Beast."They realize the entrance to the other dimension is through the children's bedroom closet. Tangina tests the dimensional portal with a few tennis balls that drop through the living room ceiling below the kids' closet. By tying a rope around a live person who can enter, and presumably exit the other side, with enough time to grab Carol Anne, they could bring her back. Tangina intends to be the one to go into the light, but Diane insists, saying that Carol Anne will only come to her mother. With the rope around her waist, Diane goes into the portal and Tangina coaxes the agonized spirits away from Carol Anne to the real Light. While Tangina is in her trance-like state telling the lost spirits to cross over into the Light, Steve panics and pulls on the rope, meeting the Beast face-to-face. Diane falls through the living room ceiling clutching Carol Anne and bearing new streaks of grey hair, presumably from fright; both Diane and Carol Anne are also covered in ectoplasm. After Steve revives both of them in the upstairs bathtub, Tangina pronounces that "this house is clean."Unfortunately, though the spirits have seemingly moved on, the Beast hasn't, and wants revenge. On their final night in the house, Steve leaves Diane alone with the children so he can go and talk to Teague, who presumably is trying to get Steve to reconsider leaving. While Robbie and Carol Anne are getting ready for bed, Robbie's clown doll comes to life and pulls him under the bed. Diane, relaxing in the master bedroom, hears her son's screaming voice and tries to investigate, but is pulled against the wall and ceiling by an unseen force. Robbie manages to rip the clown doll to pieces but a strange, mouth-like portal appears in Carol Anne's closet and attempts to suck the children in.Diane tries to get to her son and daughter but runs into the Beast itself, in the form of a snarling, skeletal demon. It blocks Carol Anne's and Robbie's door and lunges at her, causing her to fall down the stairs. Diane runs to the backyard to seek help from her next-door neighbors, but slips into the freshly-dug swimming pool. A rainstorm has filled it with rain and mud, and as Diane tries to escape, coffins begin erupting from the earth, releasing skeletal corpses into the pool. Her neighbors hear the commotion and arrive to help Diane out of the pool, but they refuse to enter the house with its windows now blazing with ghostly energy. Diane runs back into the house alone to get Robbie and Carol Anne. She finds Carol Anne and Robbie barely able to fight the energy that tries to suck them into the portal; they dangle from their bed frames, hanging on only by their hands, while their feet sway toward the closet door. Diane manages to pull them to safety and they run from the house.Coffins and bodies begin exploding out of the ground throughout the house. Steve pulls up in his car with Teague as a passenger, and they both see the dead bodies erupting from the ground. Steve recalls the earlier conversation he had with Teague, where Teague revealed that Cuesta Verde was built over the site of a relocated cemetery. It is now obvious that Teague never really relocated the cemetery, he simply built the housing development over top of the graves after moving only the headstones. Realizing this truth, Steve rebukes him in anger. Dana arrives in her boyfriend's car and is hysterical over what is happening to the house. The Freelings get into Steve's station wagon and they drive off. The Beast grows so angry that the house implodes through the portal into the other dimension as stunned neighbors (including Teague) look on. The weary family checks into a hotel for the night. Not wishing to tempt fate, Steve pushes the television set outside their room. | mystery, paranormal, cult, horror, haunting, good versus evil, suspenseful | train | imdb | null |
tt0079944 | Stalker | A "stalker" is a guide who takes people through "The Zone," a place located outside an unidentified city, the result of an extra-terrestrial incursion. The State has closed it off from the outside world with barbed wire and it is closely guarded by armed police and soldiers. Inside The Zone there is "The Room," which is said to grant ones deepest wish to anybody who enters it."Stalker" opens with the credits rolling on the background showing of a shabby bar. An atmosphere of despair is reinforced by a strange electronic music. Soon after, Professor Wallace tells about the sudden appearance nearby of a miracle of miracle: The Zone.The next scene shows a dingy room where three figures, a man, a woman, and a child, are asleep together in a wrought iron bed. Next to the bed is a pair of crutches. The man slowly gets up, dresses, goes to the kitchen sink and washes himself. The woman, his wife (Alisa Frejndlikh), joins him and scolds him for returning to his old ways, which will surely land him back in jail. The man argues briefly for her to let him go, that he must go, and he finally pushes her aside and leaves the room. As he leaves, his wife curses the day she ever met him and reproaches him for having begotten such a child. She falls to the ground, weeping.The man, Stalker (Aleksandr Kajdanovsky), goes to the waterfront to meet with a couple, a well-dressed woman and a man, Writer (Anatoli Solonitsyn). He rudely dismisses the woman and, together with Writer, walks back to the bar shown in the opening of the film, where a third man, Professor (Nikolai Grinko), is waiting for them. No sooner as these two men meet that they start bickering with each other. Stalker will guide these two men through The Zone. Writer explains that the reason for his trip is to recover his lost inspiration while Professors motivation is purely scientific curiosity.Stalker and the two men leave the bar for their dangerous mission into The Zone. They drive through a desolate urban landscape of broken down and abandoned buildings, littered potholed streets, carefully avoiding police patrols. After sometime, sneaking behind a train, they enter through open gates the buffer area of The Zone. They hide for a while, and following the train again through another check-point, and all the while being shot at, they penetrate into The Zone itself. Having taken refuge in an abandoned building, they regroup, and Stalker sends Writer ahead to look for a railway flatbed car, which will take them inside The Zone itself. Writer loses in nerves and turns around right away, having second thoughts about continuing the trip, so Professor calmly volunteers for the mission.All three men journey on the flatbed car silently and solemly through changing landscape in a single three-and-a-half minute odesey to the The Zone. As they reach, the film turns from sepia color to full color. There is a striking contrast between the lush green, but littered landscape of The Zone and the dilapidated surroundings previously encountered. The atmosphere is still except for the calls of cuckoo birds heard in the far. "There we are... home, at last," says Stalker and proceeds to talk about another stalker, his mentor, Porcupine. Before absenting himself for a while, Stalker hands Professor some white cloth and some steel nuts and tells him to tie a piece of this gauze to each of the nuts. During his absence, Professor relates the story of Porcupine and of The Zone. When Stalker rejoins the group, their journey through The Zone begins, with Stalker every so often throwing one of the nuts to indicate the path to follow. All along, Stalker relates how dangerous and tricky The Zone is, and that it demands respect. Rules that apply outside The Zone are no longer valid inside it. For example, the shortest path between two points is no longer a straight line, but a convoluted path. As they soon arrive in view of The Room, Writer rebels against this rule and proceeds straight on toward The Room, but stops short when he hears a voice warning him: "Stop, don't move." Writer returns precipitously to Stalker and Professor who swear that they had not spoken a word. Professor suggestion that Writer scared himself starts another argument interrupted by Stalker who again reiterates the danger in The Zone, full of deadly traps, and what kind of persons is allowed to enter The Room. Professor now gets apprehensive and refused to go on, but Stalker dissuades him, and the group continues on.Professor, having forgotten his knapsack, wants to go back to fetch it. Stalker tells him it is impossible because it is too dangerous. Stalker and Writer continue their journey, wading knee-deep toward a waterfall. Arriving at the cascade, Stalker notices that Professor is missing. Since it is not possible to retrace ones path in The Zone, they proceed and as they passed through an archway in a tiled wall, they meet a serene Professor having a drink by a fire, with his knapsack nearby, just where he had previously left it. Stalker recognizes this as a trap. Another argument ensues during which Professor and Writer throw biting insults at each other.A long, puzzling and complex scene follows, during which a mysterious dog appears. This long scene is complex in so far as the positions and the spatial relationships between the three characters keep changing in unnatural ways. The background of electronic music adds to the strangeness of the scene. Writer and Stalker talk about the redemptive power of art. A voiceover, that may be Stalkers wife, recites some biblical passage, and so does Stalker.A quick cut shows the group arriving at the "meat grinder," a dark tunnel, dimly lit through hole in the ceiling, and a floor covered with puddles. Writer is designated in a draw to go first, while the rest of the group follows at a safe distance. When Writer reaches a door, he pulls out a pistol, but Stalker convinces him to throw it away. They continue through the door, wadding chest-deep in filthy water, up a stairway, and into a room filled with moguls of sand. Writer, who had proceeded in the wrong direction, standing next to a deep well where he has just dropped a large stone, delivers a long monologue about the emptiness of his life and the meaninglessness of work. Stalkers deliver a poem, which was actually written by Arseny Tarkovsky, about fate.In the following scene, the trio finds itself in one of the small rooms bordering a pool full of refuse, and in which there is a telephone (note that this is not The Room). A heated discussion begins regarding each of the mens real objectives for wanting to reach The Room. Stalker leads the two men through an opening in the wall and stop at the threshold of a brightly illuminated room, and, chocked with emotions, he tells his companions that they are now about to experience the greatest moment in their lives. In The Room, they will be able to fulfill their most sincere wish.Writer refuses to go in first, as he does not want to humiliate himself by prostrating himself. Professor produces a hand held nuclear bomb he had carried all along in his knapsack, as he does not want the power of The Room to be used by the wrong people for the wrong reasons. Stalker struggles with Professor trying to take the bomb away, with Writer intervening several times, tearing Stalker away from the Professor. Writer brings all sorts of accusations against Stalker, questioning his motives and his honesty. To which a tearful Stalker responds that he is a failure and that all the people he brings to The Room are also failures, but he can nevertheless help them. Eventually, Professor takes his bomb apart and throws the pieces in the water. The last scene shows, the three men sitting on the floor, outside The Room, with Writer, his arm over Stalkers shoulder, and Professor leaning against their backs.In the next scene, in black-and-sepia film, we are back into the bar with the trio standing around the table, almost as at the opening of the film. Outside are Stalkers wife and his daughter, Monkey (Natasha Abramova). The wife enters the bar and leaves together with Stalker and the dog, leaving Professor and Writer behind. Stalker is carrying his daughter on his shoulders. They walk along a polluted river, with the power plant in the background belching toxic smoke.Once at home, Stalker is very depressed, and his wife reassures him of his worth. Direct to the audence, she delivers a long monologue, saying that in spite of all the adversities she has endured over the years, she does not regret having married Stalker. She professes that their marriage was blessed, because if there would have been no sorrow, there could have been no happiness either.The final shot, in color, is an enigmatic one. Monkey is heard in a voice-over reading a poem by Fyodor Tyuchev. She then appears to move through telekinesis three glasses which are on the table. A train passes, rattling The the, its rambling mixing up with segments of Beethoven's "Ode to Joy," as the film fades away on Monkey's vacant face. | dark, psychological, boring, paranormal, psychedelic, philosophical | train | imdb | null |
tt0077928 | Midnight Express | This movie is based loosely on Billy Hayes' book Midnight Express about his five year experience in the Turkish prison system. The movie was exaggerated for dramatic effect.October 6, 1970. Opening scene has a xenophobic soundtrack of machine guns, Muslim prayer cries, and synthesizer music and a glimpse of Istanbul, Turkey during twilight with shots of the Bosphorus Strait, a mosque, and the downtown area with seagulls flying about . It is portrayed as a very spooky, forbidding place.While finishing up on his vacation in Istanbul, Turkey, American college student Billy Hayes (Brad Davis) is in his hotel room and straps several pounds of hashish (about two kilograms) to his body. The film's soundtrack consists of an increasing heartbeat.Billy is at the airport, nervous at being caught smuggling, goes to the washroom to wet his face and attempt to relax himself, and makes his way with his girlfriend, Susan (Irene Miracle), through customs. Billy perspires heavily, noticed by the middle aged, chain-smoking customs agent who checks his bag. After his bags are searched, both Billy and Susan board a shuttle bus to their plane. Billy smiles and is relieved thinking he is out of danger. However, as the bus pulls up to the plane, he notices that a large detachment of armed police and soldiers have taken up positions just outside the plane. Unable to detach and discard the hashish, and sweating heavily, Billy is arrested on the spot when he is frisked by a young Turkish policeman. Billy is taken away and back to security and searched, his bags being thoroughly searched and all items such as cigarettes, camera film, and toothpaste are searched and destroyed. He is forced to stand around in his underwear. Afterwards, the Turkish security chief of the airport makes his stand for several press photographs of him holding the confiscated drugs with the smiling customs officers and then slaps them around after Billy reveals more hashish in his boots they didn't find.A little later, Billy is forced to stand naked with the customs officers staring and grinning at him and an unidentified southern American man (Bo Hopkins), presumably an agent with the DEA, walks in. He is calm and kind with Billy and takes him to a local police station where he is is interrogated where Tex translates for a local Turkish detective whom offers Billy freedom if he points out who sold him the hash.He takes Billy downtown the next morning to the bazaar where he claims to have purchased the hashish and tells Billy that the recent terrorist airline hijackings have made the Turks much more fanatical about airport security and that the potency or type of drug that Billy was caught with doesn't matter: the Turkish government wants to appear tough on smuggling. Billy is at the restaurant that seems to be a popular place with young American hippies, where the sale happened and tries to run from his security escort. He is quickly caught by Tex himself, whose previously friendly attitude suddenly changes for the worse as he his holding a gun to his head.During his first night in holding, Billy has his hair cut short, put into a filthy cell by a trustee (Paolo Bonacelli) that refuses to give him a blanket for warmth because he's not selling at the time, then sneaks out of his tiny cell and takes a blanket in storage. He is later rousted out of his cell by the trustee and taken to a large guard resembling a picasso bull named Hamidou (Paul L. Smith, who later played Bluto in Popeye), the chief of guards, who takes him to another filthy room, the basement, trusses Billy's ankles in the air and hits the soles of his feet repeatedly with his club for stealing the blanket as well as hitting a trustee. Billy's feet swell immensely and he is left in horrific pain.However the next morning, a small group of prisoners, Jimmy (Randy Quaid), a towering, dumb, and hot-tempered American, and Erich, a kindly Swede, get him on his feet and walking (they tell him his feet will continue to swell and his recovery will be longer if he doesn't move around). Jimmy was sentenced for attempting to rob a mosque and Erich was busted for smuggling about 100 grams of hash and given a 12-year sentence. Jimmy is quite sure Billy will receive a stiff sentence, but Erich remains optimistic that he just needs a good lawyer and to talk to the Englishman Max for a lawyer. Jimmy shows Billy around how to navigate the minefield of the prison and not to trust any of the Turks, being a foreigner. The prison resembles an old barracks from the 1800's.Billy is introduced to Max (John Hurt), is a bespectacled, introverted, unkempt, 30-something junkie uninterested in small talk that injects himself with "gastro" a stomach medicine with codeine and has been in prison the longest for drug dealing (seven years and counting), while Erich has already served four years and Jimmy around three. Billy and Erich are conversing with him to get a lawyer and Max is in a haze telling Billy about the Turkish justice system and that all Turkish lawyers are crooked and that he just needs to escape the best way he knows how, to catch the "Midnight Express", a train that doesn't stop at the prison. He refers to him a lawyer named Yesil that got off a Frenchman for smuggling 200 kilos.A few weeks later, Billy's father (Mike Kellin) arrives and embraces him forgiving his mistake and introduces him to Stanley Daniels (Michael Ensign) of the American Consulate and his requested lawyer Yesil to defend him. Yesil is a fat, shifty, greasy-haired, chain-smoking, ever smiling man with gold teeth that promises Billy to get him the right court and judge and not to worry. Their goal is to get bail for Billy and a fake passport to get him across to Greece to leave.Billy appears before a local Turkish court before a panel of three judges to hear his case and defend him. But Billy's shifty and uninterested lawyer does little to combat the charges brought by an angry prosecutor, who wants Billy charged with more than possession: If Billy is charged with smuggling over mere possession, his sentence will be heavier. After the three judges deliberate for an uncertain amount of time, Billy is sentenced to serve a prison term of four years and two months for possession of hashish at the Sagmalcilar Prison. Billy and his father appear devastated while his defense lawyer argues that it is a good thing because the judges (sympathetic to Billy) turned down the prosecutor's request to convict Billy for smuggling or impose a life sentence in order to make an example of him. Billy's father gives him a care package of snacks, cigarettes, writing paper, toiletries, and loses his temper that he's unable to get him out of prison. He warns Billy not to do anything stupid and that they can play with his sentence. They tearfully depart.Over the next several months, Billy slowly adjusts to prison life. Jimmy gets stabbed in the behind for treating a Turkish prisoner badly and Hamidou beats several of the young boys on their soles believing to have raped a new young inmate, with his two pudgy sons looking on and him warning them about what happens if they break the law. He is also told about another prisoner named Rifki, the trustee, who informs on other prisoners for unheard-of privileges and favors and has a special distaste for foreigners. Rifki also sells watery tea, low-grade hashish, steals from his fellow inmates, and seems to have an unlimited (for incarceration) supply of money to bribe the poorly paid guards. When Max offends Rifki, the informant kills Max's pet cat.In June of 1972, Billy meets with his lawyer Yesil again with Yesil assuring him of convincing Turkish officials to lose his records before the high court in Ankara can review his case for the right amount of money. Billy is bored and uninterested at Yesil's visit feeling it's all empty promises.Jimmy shows Billy and Max blueprints to the prison of catacombs underneath to escape by scraping the mortar off and go underneath or simply climbing over the wall. Max dismisses Jimmy's idea as foolish and Billy does not want to risk trying to escape fearing that if he's caught it will add years to his sentence. An angry Jimmy decides to go ahead with it himself, being caught and badly beaten with a leather strap by Hamidou and sent to the sanitarium.In June of 1974, Billy's friend, Erich, is granted transfer to prison in his home country, more than likely leaving there after a short term because of Sweden's lenient laws, and leaves the prison after serving around eight years. Billy farewells with him and marks down his prison time to 53 days.After almost four years in the prison, Billy is informed that his case will be reviewed again. Thinking he's being let go early for good behavior, Billy rushes to meet with Stanley Daniels, the representative from the US ambassador's office in the Turkish capital city of Ankara. However, the representative has bad news; the High Court in the Turkish capital of Ankara has heard a different argument from the prosecutor who has appealed the four-year term verdict, and is seeking to charge Billy with smuggling hashish and make an example of him. The so-called double-jeopardy law of U.S. justice does not exist in Turkey. Any accused can be tried more then once for the same crime on appeal or should new evidence surface.At another courtroom hearing, a distraught Billy rails against the three judges, the prosecutor, his own lawyer, the Turkish legal system, and the nation of Turkey itself. Speaking through a translator, with a mixture of anger and pity in his voice, the chief judge tells Billy that his hands are tied by Ankara and has no choice but to give him a life sentence. Billy is given a minimum sentence of 30 years, with time already served, for smuggling of hashish.A saddened Billy sits in his cell with a sense of hopelessness that night, but now wants to go forward with Jimmy's original plan of escape. The stones used as walls in their section's kitchen are cemented in place with mortar that has weakened greatly in the dank conditions. Jimmy, Billy and Max discover two such stones and are able to remove them, finding a shaft behind them that leads to a system of flooded catacombs under the prison. The three of them spend two nights and hours searching for an escape route and seem to have found it once they remove a stone that has been saturated with water for decades. However, once they do go underneath, it turns out the Turks have long since blocked off every tunnel. The three give up and replace the stones.Rifki finds their secret in the kitchen the next morning after their unsuccessful escape attempt and immediately tells Hamidou. Hamidou suspects Jimmy of being responsible after what happened the first time and drags him off for punishment once again.Billy and Max figure out a revenge scheme: they find Rifki's stash of hidden money and destroy it by burning part and boiling the other part. In retaliation, a raid is performed by Hamidou and Rifki plays a charade with Hamidou and frames Max for hashish possession. Hamidou has Max dragged off for punishment like Jimmy was. Billy loses it after all he's been through and savagely attacks Rifki in the washroom, chasing and beating the traitor until he bites out the man's tongue out. Billy has snapped to this point and taken away by guards, beaten, and sent to the prison's insane asylum.In October 1975, Billy has now been reduced to a catatonic and unkempt mess of a man in prison's ward for the insane where he wanders in a daze among the other disturbed and catatonic prisoners, many of which look retarded. Max is running from guards for an unknown infraction and is grabbed by Hamidou and thrown across the place being severely injured. His activities seem to consist solely of walking in a circle around a pillar with other prisoners. One day a prisoner, named Ahmet, a convicted child rapist and college-educated philosopher tries to talk to him about "bad machines" to no avail.A group of men are doing their morning Muslim prayers and the guards hit the inmates with their sticks waking them up out of bed. Billy is hit, howls out of sleep, and horrified, making it evident he is suffering badly from PTSD.After 5 years, Billy is visited by Susan, who tells him that senator's are trying to work on his case to get him out, pleads with him to put himself together and get out of there unless he wants to die, and passes him a photo album of his family and tells him it has a picture of his "good friend, Mr. Franklin, from the bank". Susan, feeling devastated at Billy's horribly bedraggled state, also opens her blouse so Billy can masturbate. A guard takes him away with Susan even more devastated.The next morning, Billy is walking the pillar in the opposite direction, which is forbidden in the Muslim code. Ahmet meets him telling him it's wrong that a good Muslim always walks right. His words seem restore some of Billy's sanity and Billy tells him that he himself is the man that makes the machines. Ahmet walks away horrified.Billy goes into the filthy sanatorium washroom and inspects the album closely, finding numerous $100 bills hidden inside totaling around $2,000 in cash. He passes by an almost dead Max to hold on and stay alive that he's leaving and will come back for him. Max wakes up and is somewhat conscious.Billy sees Hamidou taking a restraining belt off a now dead inmate and about to leave. He approaches Hamidou with part of the money and tries to bribe his longtime enemy to take him to the sanatorium that Jimmy had spoken about where the guards are more lax in their duties. Hamidou accepts Billy's bribe to take him there, but instead takes him elsewhere. He's drags Billy to a large dressing room filled with guard uniforms and with pegs set into the walls. Hamidou beats Billy, chats with him about how he's fed up with him, and attempts to rape him when Billy suddenly rushes to Hamidou and pushes him forcefully backwards. Hamidou, flailing and trying to regain his footing, slams into the wall, driving a clothes peg into the back of his head, dying instantly. For a short time, Billy considers shooting the dead man with his sidearm but decides not to.Billy dresses himself in a guard's uniform and reclaiming his money, walks through the prison unnoticed to the front door. As he walks down the stairs, another guard stops him and throws him the keys to the door telling him (in Turkish) to remember to lock up when he checks out. Billy walks out to the street, slowing down only briefly when a police jeep rushes past him. He runs away, the frame freezing on him as he takes a victorious leap. A title card tells us that on the night of October 4, 1975, Billy was able to cross the Turkish border into Greece and flew home to the United States three weeks later. The final shots of the film before the closing credits show Billy reuniting with his family and Susan. In the original version, it was stated after having shown the movie to the Cannes film festival, there was a demand for exchange of prisoners in Turkey to be brought to America. | cruelty, murder, bleak, violence, cult, philosophical, romantic, claustrophobic, revenge, sadist | train | imdb | I've read an interview and I learnt that the real Billy Hayes was truly disappointed with the portrayal of Turkish people in the film.
However, as a person who has spent time in Turkey and read the book upon which the film is based, I know that it is a fictional story.
It begins with a caption "a true story" but the only thing true about this movie is that someone named Billy Hayes was caught trying to smuggle a lot of hashish out of the country and was sent to jail.
This is one movie that infuriates the Turkish government whenever it is shown and I believe rightly so because it caters to the notion that Turkey is some type or barbaric nation with a population that is incapable of human emotion or decency.
The first was Billy Hayes himself, when he first arrived on native soil, having pulled off his alleged escape; he said on TV, "I like the Turks...it's the prison I had a problem with" Easy to understand; few prisons are a joy ride, regardless of nation of origin.
The exterior scenes in Turkey itself have a grayish tint, implying the land is a hell-hole, and even the near-universally acclaimed cuisine gets a black eye.The second thing from the (film's release) period I recall was a discussion on radio that claimed the prison Billy served time in was relatively modern, built in the mid-sixties...
(A 19th-Century British barracks in Malta was used for the prison.) Naturally, some artistic leeway is allowed here, since the movie's purpose is to paint a picture of a living nightmare.I recall reading the book years ago, and when our hero got his unfair sentence, naturally he was in despair...
But, given the politics of our time, if the author of the screenplay wanted to create a demon people for dramatic effect, perhaps it would have been better to have set the story in a fictional or unidentified country.
While this film is entertaining to watch and has its level of suspense at various points it is not a truly `true story' much of it according to the real Billy Hayes never happened and his eventual escape is very different from what is depicted in this motion picture.
In an interview in 1984 producer David Puttnam admitted that the film is based on a "dishonest book".Billy Hayes reveals himself 20 years after his release, that what is presented in the movie is a very exaggerated and fictional version of what happened to him in the prison in Istanbul, Turkey.Finally, after 25 years, Oliver Stone has apologized to Turkey for this film in 2004 when he visited Turkey.
See this (an The Last Detail) if you are a Randy fan.There is a completely unnecessary and inane scene in which the lead character delivers a speech in a Turkish court - cut this scene short and you have a perfect movie.Midnight Express is controversial and though-provoking.
*The following is not a spoiler from the movie but points out an event from the plot* In reality, William Hayes it turns out, was arrested at the Turkish airport for trying to smuggle packs of drugs attached on his body into the U.S., and he was held for a time before being given to the American authorities for deportation.
William Hayes and Oliver Stone themselves it turns out, have already apologized to the Turkish people for the overly dramatized and fictional parts of the movie and the book.
People who are anti-Turkish love praising this movie and insisting that it's a true story all the way while the Turks keep getting rightfully offended.
Even just logic would tell you that at a time where the U.S. and Turkey had such strong relations during the cold war, something like what is shown in the movie would have been unthinkable by the Turkish authorities.
It tells of American Hayes' (Brad Davis) arrest and subsequent conviction for trying to smuggle hashish out of Istanbul, Turkey, for which he was sent to a hellish Turkish prison to serve his time.
I wish they'd shown some of the milk of human kindness I (also) witnessed." By the way it is not just a movie, since its release, the film has been seen all over the world...continuing to work as a campaign regarding the evil image of the Turks..
Life in a Turkish prison might not be anywhere close to a vacation in Hawaii, but the situation is exaggerated 5 million times in this movie.
For those who don't know: There was another American guy who went to prison in Turkey at about the same time as Hayes, for the same crime.
And upon watching this revolting movie, he wrote a book about his experience in the "tourist cell" of a Turkish prison, and he clearly states Hayes is a big time BS thrower and his life in the Turkish prison was exactly as good as a life in any prison could have been.
People might say, that it is just entertainment, but this movie comes up with the ambition to show the world, how brutally corruption in mid-east countries exist.The problem of the whole storytelling is the one-sided point of view.
The problem that I have with this character is that we are never told his name, or why he is even there, but he is certainly a key element in the film, since he is the one who put Billy behind bars after a stupid attempt to escape.Now, I do agree on the fact that the punishment must fit the crime, and at the beginning, the 4-year sentence that Billy's given seems to be just about right for a federal offense such as trying to smuggle drugs from one country to another, but our "hero" never seems to be able to understand the severity of his crime, and never seems to regret his actions, even coming close to demanding that his father "get him out of there".
After his sentence is changed to Life in Prison, Billy goes berserk, and starts a monologue against Turkish justice, and even its people that must have caused quite a controversy back in its day.The supporting characters are all brilliantly played, namely John Hurt in an Oscar-nominated turn as an English prisoner who has been half eaten by drugs and prison life, and who is left behind by Billy at the end, but we never are told what became of him.
Randy Quaid is equally good, albeit, in a more thankless role as a fellow American who was imprisoned for 7 years after stealing a candlestick from a temple.The movie is not easy to digest, but is realistic enough to make you feel for the leading characters, especially Billy, even though we know that he deserved to do the time, we don't feel like he deserved Life Sentence, and so, that is why the ending is so rewarding in our hearts.
This excellent movie deals with the American Bill Hayes (performedd by the late Brad Davis ) who was detained smuggling two kilograms of hashish while trying to board the flight along with his girlfriend (Irene Miracle) from Istanbul, Turkey, in 1970 .
I have been living in Turkey since I was born that is I am living in my own country for 21 years and I have never seen such bad people or such bad behaviour towards people like in this stupid movie.
It is generally believed that "Midnight Express" is one of those rare films which must have had a long life of maximum television reruns in USA thanks to its disputatious content.Those who have seen it will have no qualms in affirming that even after 30 years of its release, Midnight Express continues to offend Turkish people as it had portrayed their nation as a barbaric third world country which has scant respect for human rights.All the fuss is created due to the shocking yet sympathetic portrayal of an American citizen William Hayes who is put in a Turkish prison after his arrest on drug peddling charges.It is true that director Alan Parker and script writer Oliver Stone have done a good job by showing that some prisons can turn out to be absolute hell.What did not work in their favor is the fact that most of scenes related to prison life and William Haye's treatment by Turkish authorities have been grossly exaggerated.
To state that British director Alan Parker's film Midnight Express is a highly controversial work of art would be akin to twisting history.It is a film entirely based on perceptions.One must watch "Le Trou" by Jacques Becker if somebody is looking for a commendable film based on prison life..
Not only are the events at least somewhat fictionalized in a way that makes the Turks look worse, but every element of this film is bursting with what seems like simple disgust and hatred for Turks and Turkey without any foundation.
No culture in the world, now or ever, is even remotely as bad as the Turks are shown here, and I can't think of another film I have ever seen that makes any other nation, ethnic, or political group (not even Nazi-era Germans) look so demonic.
"Midnight Express" is the upsetting true story of an American youth detained at Istanbul Airport trying to smuggle several packets of hashish
This terrific movie based on Hayes' book details the terrible story of his severe experience and final escape
Brad Davis puts on view the frustration, anxiety and severe mental suffering of a tragic figure...
There is no doubt Turkey was shown barbaric; in this movie, Turkish people characterised as foolish and cruel.
Actually both Alan Parker and Oliver Stone agreed that the movie criticised Turkish people unfairly.
You can go and check on Youtube and one gave one link below...http://www.youtube.com/watch?v=TweU77cDrgEThis interview reveals the truth behind the story of the movie "Midnight Express".
Movie is based on a real life event, but the story is far from being accurate.It also happens in some gangster movies, you can feel pity for a guy who is actually doing things wrong, like Godfather, or like the protagonist of Midnight Express, who is a drug smuggler, who is caught by the Turkish authorities while intentionally carrying a great deal of illegal substance.Now, please show some emphaty, imagine an alien guy from a country that you don't like, say Turkey, coming to your country and committing a crime which requires punishment with prison.
He, and his screen writer take the main idea of the book and change it to give us a horror story, and in the process, he makes the fatal mistake in thinking that by giving the viewer a glance about what Billy has to endure in prison doesn't fit the crime he committed.Mr. Parker and his main collaborator, Oliver Stone, have created a film that has the tone of a documentary; the emphasis is on the cruelty experienced in prison.
Actually, the director and the screen play, place the blame in the Turkish prison system, but actually, they succeed in making a hero of this idiotic man.Hayes was a coward and an opportunist who believed he would be able to get away with his crime without being made accountable for it, as he would get a profit from the sale of the drug.
The prisoners can get food from outside, pay their way for basic necessities; it was almost like living in a flea bag hotel in a foreign country.Brad Davis makes a puzzling Billy.
And the fact that is not as famous as the movie is that in 1981, Oliver Stone and Billy Hayes himself gave a press conference in which they have said that they have exaggerated the story.
Special mention to William Hurt in his co-protagonist rol where he leads every time he talks as the dying Max. The Midnight Express passed in 1978 and has left a mark on my life and on everyone who has seen this masterpiece film..
But, every time I told someone I was going on vacation in Istanbul they would ask, "Didn't you see Midnight Express?" "Yeah, it was a bad movie." Sad!.
Oliver Stone deserves some credit here too, since he wrote the script, and successfully characterizes Billy's smuggling as the foolish mistake of a callow young man rather than the plot of an evil mastermind.The film challenges its viewers to care about some unappealing people, and to watch them persevere through some harrowing experiences.
There's nothing about Turkey and Turkish people in this movie.
You can listen to his version of the story where Turks are just like any other people and their "turkish prison" is about as bad as any other prison in the world....
I feel sorry for Turkish people for the way they are depicted in this film and I want them to know not everyone is small minded enough to base their judgement on you solely based on this ridiculous film.Even if this movie was based entirely on fact I still wouldn't feel sorry for the guy who tried to smuggle drugs out of a country with no regards for the lives he would ruin..
I've never been to Turkey, or Istanbul, and I can hold no claims as to what it must be like for a person, American or otherwise, to endure time in one of their country's prisons.
The story of William Hayes is ugly, as depicted in the film, and despite the fact that the real Hayes has said the depiction of some of the characters in the film is not as it was, it does not deter it for myself in the pure emotional intake.The story at first does not sound like it will have a happy outcome- Hayes (Davis, a shattering, torn performance) tries to smuggle Hash for friends back on long island, gets caught, and is thrown in jail 'as an example' among others in a Turkish prison.
What occurs from there is what makes up the bulk of the drama, the hurt, and a 'version' of the truth in the Turskish prison system.The thing to keep in mind in dealing with a film like Midnight Express, is that in cinematic terms, Parker and Stone pull off their goals whether or not they depict the 'truth' to its fullest extent.
There are many known occasions around the world (and in USA) where people pass years in prisons for the crimes they have not committed.In the movie, things about Turkey are totaly fictitious.
Midnight Express is one of Alan Parker's greatest cinematic achievements and it talks about the ruthless prison environment in Turkey as well as the corrupt and ineffective Turkish criminal system.
Im a turkish boy and im proud of being a turk.that movie may be a good movie but its full of exaggerations.Even Billy Hayes admitted that that movie was full of exegerations.Some ppl have some prejudieces about turkey and turkish people.and i don't like that.For ex i watched the movie called 'sleepers' but i dont think that all Americans rape kids in jail..
I know it was not pleasant being in a Turkish prison in the 70's, probably there were a few bad guards, but showing all the Turks in the movie like animals, No, that is pure racism!!Another awful fact in the movie is how the Judge speak Turkish!!
Film details his time spent in prison paying off his debt to Turkish society.What is with Alan Parker?
They talk to Turkish people , they eat Turkish food, as Hayes did and they pay a lot for the experience they lived.I hope one day Mr. Oliver Stone and Alan Parker would make a movie of Abu Gureyb prison in Iraq.I am looking forward to watching that movie.But this time please make sure that it is really a TRUE story..
Turks were furious when the 1978 film depicted their prisons as cruel, barbaric establishments by featuring scenes of rape and torture in movie.Turkey is a secular and democratic country.
Loosely based on the true story of Billy Hayes (collected from his book of the same title), Alan Parker's "Midnight Express" contains some of the most effective and rightly iconic scenes in all of film history -- the opening with the heartbeats devoid of any soundtrack; the "Oh Billy!" segment; and of course the entire idea of Turkish prisons being terrible and abusive.Hayes' story was elaborative to begin with and Oliver Stone -- not exactly one to be known for sticking close to the truth -- exaggerates it even more; so far, indeed, that it almost becomes fictional.
I LIKE it and i simply know what other people think about this movie.
This film is based on the true story of Billy Hayes, a young American student sent to a Turkish prison for trying to smuggle hashish out of Turkey.There because of America's relationship with Turkey at that time, Billy's sentence changes from 4 years to 30 years.Billy has no option but to escape any way he can.This 1978 film won two Oscars Best Music, Original Score (Giorgio Moroder) and Best Writing, Screenplay Based on Material from Another Medium (Oliver Stone).The casting is superb.
Anyway, the atmosphere of the movie is gloomy and depressing, but Billy Hayes and his friends in prison had a good performance.
Good reason to deter people from doing what Billy Hayes did.Midnight Express is probably the best of a tradition of Americans in foreign prisons films like Breakout or Brokedown Palace as other examples.
Each of them adapts to Turkish prison in their own way and they all mentor Davis.The real Billy Hayes said that the portrayal of the Turks was unjust and that we shouldn't judge Turkey by the Turks we see here.
This movie is all about "drug smuggling", not about Turkey or Turkish people.
After trying to smuggle Drugs from Turkey into America, Billy Hayes is sentenced to over 30 years in prison for only smuggling a very small amount of it in.For a true story i actually quite liked it. |
tt0058267 | Kitten with a Whip | ** CONTAINS SPOILERSJODY DVORAK, 17, escapes from a juvenile facility after knifing a MATRON. Hopping a freight, pursued by COPS, Jody gets away. Desperate, she stumbles upon the lavish home of DAVID STRATTON, a senator wannabe, off on a business trip and whose wife, VIRGINIA, is currently away with their child, rethinking their marriage.When Jody spots the newspapers on David's lawn, she knows he's away, and she breaks in, snuggling her way into the bed of David's little girl. That night, David returns home with GRANT, one of his wealthy supporters. As they discuss campaign strategy, David doesn't realize yet that Jody's asleep in the house.David gets up the next morning, attracted by a noise in the room when Jody upends a teddy bear. Angry, David picks up the phone to call the police, but Jody - a compulsive and convincing liar - concocts a story of sexual abuse at the hands of a stepfather. David feels sorry for her, electing not to call the cops, since to do so would mean sending her back to an abusive situation.Instead, David takes her out to buy some new clothes, then drops her off at a bus depot. Meeting with Grant later in a bar, David's about to tell him his adventure when he sees Jody's photo on t.v., realizing that she's a dangerous fugitive. When David gets home, he's shocked to find that Jody has returned. He picks up the phone to call the cops again, but this time Jody extorts him with threats of non-existent statutory rape, just exactly what the senatorial hopeful doesn't need.David agrees to let her stay until evening. Meanwhile, he must fend off Grant, who shows up with his nosy wife, VERA. David begs off with a headache. When night falls, Jody reneges on her promise to leave. Further, she's invited some "teenage" pals over, including RON, BUCK and MIDGE.David lets them in reluctantly, hoping they'll party for a while and leave. The more dangerous of the trio, Buck, gets his hands on David's straight razor, and he soon wounds Ron. They know they'll have to get him to a doctor.They head off in David's big car, soon crossing the border into Tijuana. They manage to lose Buck, then dump Ron off at a doctor's. David takes Jody to a motel. Jody swipes his car keys, saying she'll bow out of his life, but she needs a bottle of booze. David goes off to buy it for her, running into Ron, whose wound has been stitched. He's out to get Jody. David also runs into Grant, Vera and some influential political BACKERS, forced to do some fast talking. He calls some COPS on Ron.David heads back to the motel, where, surprisingly, Jody returns his keys. But Buck and Ron show up, determined to get revenge on Jody. As Buck starts to beat her up, David intercedes, but soon Buck's beating him up. Jody hits Buck over the head with the liquor bottle, then holds the shattered bottle at Ron's throat. David and Jody take off in his car, hoping to get David to the hospital from his beating.Buck and Ron pursue, a chase follows, the cars soon careening off a mountain. David awakes in a San Diego hospital, informed by a STATE TROOPER that Jody blamed herself for everything. David's in the clear. Unfortunately, Jody - along with Buck and Ron - are also dead of their injuries. Meanwhile, David's wife Virginia is waiting to see him, and David, having learned a mightily important lesson, agrees to see her, hopefully to re-ignite the struggling spark of their marriage. | cult | train | imdb | null |
tt0901476 | Bride Wars | The movie begins with a montage of shots of wedding items from a scrapbook box then a voice over from Candice Bergen tells the story of two girls (Emma and Liv) who went to the Plaza Hotel with their mothers for lunch in June and saw a wedding. They then fell in love with the idea of having their weddings in June at the Plaza when they got older. One of the things they picked up at the wedding was a hair barrette, which was dropped by the bride. Emma and Liv started a scrapbook box of wedding items including the barrette and even practiced getting married in their attic with Liv always acting as the bride. It then moves to present day where they are both 26.Liv (Kate Hudson) and Emma (Anne Hathaway) are shown at a wedding of a friend with their respective boyfriends Daniel (Steve Howey) and Fletcher (Chris Pratt). At the wedding they critique it and say how they would change it and then go after the bouquet and a screen shot shows their intensity of trying to get it. Candice Bergen continues to voice over about their behavior.Liv is a up and coming tough Associate lawyer who is used to getting her way and Emma is a teacher who works with a colleague, Deb (Kristen Johnston) who continually mooches her time while doing very little. That night, while Liv and Emma are going through clothes in Liv's closet they discover a Tiffany ring box, which Liv is very excited about in thinking it's an engagement ring from Daniel. Emma keeps her from opening it, and suggests she not tell anyone yet and that Daniel should see her when she opens the ring. While at the bar that night, Liv has told everyone she is engaged, including her brother, Nate (Brian Greenberg). While celebrating, Liv becomes upset and goes outside where Emma comforts her in the fact her parents are not there to see how her life has turned out.Emma and Fletcher are eating Chinese for dinner when they open their fortune cookies, where she finds an engagement ring and says yes to his proposal. She calls Liv who is happy, but also seems a bit upset she was not first in getting engaged. The next day they are running in the park and Emma says she already has an appointment the next day with premiere wedding planner Marion St Claire (Candice Bergen) as they just can't work with anyone but her. Liv then rushes to Daniel's office and asks about the ring and if they are going to get engaged. He takes the ring out of his pocket and talks about how she is always one step ahead of everyone and if she had just waited for that evening he was about to propose, so they get engaged.The next morning Liv and Emma go to Marion's office and ask about June dates at the plaza. Marion says there are three spots left, 2 on the 6th and one on the 27th. Liv takes the 6th, as it was her parents anniversary. As they are leaving, they tell the incoming bride that there is only one date left in June at the Plaza. While out dress shopping, Emma finds a Vera Wang dress which Liv then tries on and chooses. Emma has decided to wear her mother's dress. While shopping, Marion calls to tell them their weddings were booked on the same date, June 6th. They ask about switching with the other bride and then get her name from the secretary (who was fired for screwing up). They chase the bride around a department store while she is scanning for wedding gifts. Being unsuccessful, they then start to talk about who has to move their date and neither wants to compromise. Their fiancés suggest a double wedding and they don't want to share the date. As tensions begin between the two, they agree to not make any decisions until it is figured out. While Liv and Daniel are out looking at invitations, Daniel talks to Fletcher. When Emma asks about Liv, Fletcher comments they were out doing their save the date cards. Emma gets upset and sends out a mass e-mail, which is poorly typed, to her entire address book, except for Liv, telling them all to save the date of June 6th. Liv and Emma are being thrown a joint bridal shower and get into an argument over Emma's e-mail and their behavior.They both continue with their wedding planning by making deposits on their date at the plaza, ordering invitations, picking out cakes, and not speaking to each other. Their friends refuse to take sides, so they have to find maid of honors and they both start calling really old friends and cousins with no luck. Liv hires her male assistant to be her maid of honor and Emma reluctantly asks Deb who says she will then need more help at school if she is going to be her maid of honor.Liv and Emma then begin a series of pranks on each other. Liv steals Emma's dream DJ for her wedding, darkens Emma's spray tanning to make her orange, she sends an alternative dance instructor to their wedding dance lesson who runs them ragged and plans to tamper with their video at the wedding by showing one from their spring break trip. Emma sends Liv cookies and chocolate supposedly from Daniel so she will gain weight and not fit her dress, puts an unflattering photo in their hometown paper about their wedding and changes Liv's hair highlights to blue. They both continue to drive their fiancés nuts with their intensity and fighting. Emma and Fletcher seem to have the most conflict.Liv is attending her bachelorette party at a strip club with three friends when Emma shows up and steals the show with a dance off and swinging on a rope. Liv is upset to lose to Emma and drinks several shots. The next day she is very late to work and shows up with blue hair to present a brief which she has fallen behind on, her boss is unimpressed and she is removed from the case. Emma meets Nate while he is heading to get his tuxedo and he makes a comment to her that he waited around too long.Emma and Liv seem to be missing each other, as they don't have a friend to talk to. Liv sees Emma running at the park, but she can't hear her over her ipod. Emma calls Liv at work, but she does not get through to her, as her assistant can't hear her due to her office sign being moved.The big day arrives and Emma and Liv are getting ready and Emma's dad visits Liv to wish her well and tells her that her parents would be proud. Liv feels bad and decides to switch Emma's movie back to what it should be, instead of the spring break she had substituted. She asks her assistant to switch it back, but he drops the CD in the flowers on purpose so it does not get changed. Emma's Dad comes to see Emma and gives her the scrapbook box they had as girls. He takes out the barrette and puts it in her hair, but Emma says it should have been Liv's. Both girls want to see each other, but it is time for them to walk down the isle. Their eyes meet in the hallway as they are about to enter their rooms and they smile slightly. As Emma enters her ballroom, the video plays of her on spring break. She gets really mad and runs into Liv's wedding and tackles her from behind. They flight and then say they can't do this anymore. As Emma gets up, Fletcher is very mad at her for ruining their wedding and he insults Liv. Emma stands up for Liv and says she wishes she were more like Liv. Emma tells Fletcher maybe they should not get married as he fell in love with who she was 10 years ago. They break up, and he leaves. Emma then takes the barrette of her hair and puts it in Livs; she then walks Liv down the isle. At their reception, Nate asks Emma to dance.It then flashes ahead to one year later, and Emma meets Liv for breakfast. Emma has returned from her honeymoon with Nate. Liv suggests that they toast, but Emma says she is not drinking and Liv says she is not either. They are both pregnant and due on March 3. | comedy, entertaining, romantic, flashback | train | imdb | Liv (Kate Hudson) and Emma (Anne Hathaway) are two life-long best friends who've dreamed of a June wedding at the Plaza since they were kids.
Apparently, if you're a woman and live in Manhattan, the ultimate dream of your life is to get married at the Plaza in June, so when best friends Liv (Kate Hudson with a Paris Hilton/Britney Spears haircut) and Emma (Hathaway) get asked the fundamental question by their beaus, they immediately try to book the right place and date.
What started as a potentially entertaining critique of materialism and shallowness is revealed to be a poorly executed farce, with a succession of lame jokes instead of a plot (then again, one of the screenwriters is best known for performing on Saturday Night Live, where the skits have no connection whatsoever, so that may be an explanation) and two atrocious caricatures instead of leading ladies.In fairness, no one ever expected any true brilliance from Hudson, given the last really good movie she appeared in was Cameron Crowe's Almost Famous in 2000, but surely someone could have told Hathaway you just don't choose something this bland after working with Jonathan Demme (or Ang Lee, for that matter).
Yet judging by the reactions of those around me, I got the feeling that what I was experiencing wasn't exactly gender exclusive.The story here, which revolves around two best gal-pals Liv (Kate Hudson) and Emma (Anne Hathaway) as they try to cope with their simultaneous weddings, is one that is likely to get a few chuckles from females, but less so with their male counterparts.
With little romance to back up the meagre plot, dull, dry characterisation coupled with non-existent chemistry between either the friends and their partners, or even themselves, the vast majority of Bride Wars turns ugly, rather quickly; the movie pushes that this cat fight between Hudson and Hathaway is meant to be fun and airy with plenty of laughs, but it's too transparent and formulated to even move beyond dry caricature.It doesn't help at all that the majority of the performances from the main cast are border line negligible.
It obviously about brides and whatever stuff they love and need, and from what I can figure most of the women (including the 4 women that dragged me there) in the theater enjoyed it.I do agree it is an original idea and does give esp the males out there the sheer intensity of how important this occasion is for women, and also to a certain extent why women may make good friends but the worst of enemies.Overall I give it a 6 on 10 due to a lot of predictability and clichés but I did like the chemistry of the 2 leads stars, the others characters seemed rather bland in fact entirely devoid of personality.Perhaps the only scene for men to enjoy is the bachelorette party - you 'll see - ;) Hathaway looks smokin' hot..
Thereby the are confronted with different problems and even try to ruin each others wedding."Bride Wars" doesn't really stand for movies I usually watch.
The jokes are even a bit dumb and absolutely not funny.Summing up I think that "Bride Wars" is a motion picture made more for girls who also have bright thoughts about their wedding..
Kate Hudson and Anne Hathaway are lovely women and both try their best with poorly developed characters but when it comes to the chemistry it never catches fire, and in more ways than one I blame the script and direction for that.
Despite a vaguely absurd sounding premise (two best friends, both engaged on the same day, are forced to fight for their ideal wedding venue, causing a rift and fighting between one another), the film retained promise, with 'sad but true' kernels of profundity (how easily a friendship can be thrown to the winds and the common theme of the superficial flashiness of weddings overcoming the feelings involved, among others) which could have resulted in a satisfactory satire in the hands of a capable director or careful, intricate script.
Unfortunately, Bride Wars could not be more sorely lacking on either front, and as such, the film as a whole quickly descends into being more of a disaster than either protagonist's pending weddings, with the rare successful trace of broad satire often undermined by the screen writing's tendency to cave to easy, sap- fraught cliché and plot-be-damned circumstance, making even its occasional high points feel deflated and redundant.
Anne Hathaway rules the screens this month in Singapore, with three movies hitting the screens - Rachel Getting Married, Passengers, and now teaming up with Kate Hudson for my second wedding theme movie of the day, Bride Wars.
Alas this film by director Gary Winick had the trailer to thank for in letting every cat out of the bag that there's little surprise left when the girls have a go at each other.Liv (Hudson) and Emma (Hathaway) are best friends since young, where they were subconsciously programmed that they must be each other's maid of honour, as well as to have their weddings at New York's swanky The Plaza in June.
Nobody is getting any enjoyment out of this tripe.Emma and Liv, played by Anne Hathaway and Kate Hudson respectively, are lifelong best friends who both share a dream.
In Manhattan, the lawyer Liv (Kate Hudson) and the school teacher Emma (Anne Hathaway) have been best friends since their childhood.
Anne Hathaway and Kate Hudson are in the "Bride Wars" in this 2009 comedy about two best friends who, due to a scheduling mistake, end up with the same date for their wedding.
No wonder weddings are a dreaded event if "Bride Wars" be the case, as there's not much to be laughed about in this mirthless chick flick about two best friends trying to sabotage each other's matrimonial preparations when their wedding dates were accidentally booked on the same day at their much-sought New York City's Plaza Hotel.
As if getting past the overly contrived premise isn't enough, the film's lackadaisical direction that centers on the increasingly cartoonish brushes between its shrill and dunderhead protagonists prove too much to salvage for the combined charm of Kate Hudson and Anne Hathaway.Hudson and Hathaway play Liv and Emma, childhood buddies who gush from having been proposed to by their boyfriends and the prospect of having their dream wedding at the ritzy locale but instantly turn bitter rivals upon realizing that due to a scheduling foul up, only one of them can proceed.
Such single-minded skirmish merely reduces its characters into irritating dunces when it's supposed to be the source of humor.Hudson and Hathaway may be charming women but no thanks to Gary Winnick's lifeless direction of a hackneyed script, both actors are reduced to annoying females in a drab romantic comedy which has an easy resolution obvious at the start, but won't go there before piling up on the slapstick with such airheaded vigor and patching them up with compulsory schmaltz.
If I had a list of films I regret seeing in the theater this one would be one of them.When a girl who I was friends with asked me to go see this movie I agree because I was being a gentleman and we did have a good time at the theater.But seeing it on TV a few months later turn out be what I was thinking seeing the film.
It just the same old song and dance we have seen in many chick flicks but this one is just pretty much take it to a whole new level.Casting Anne Hathaway and Kate Hudson did get some people to come to the theaters but just what did it have to take for them to get cast in this film.It just amazing to me how some times a movie would just paste someone's name to the poster of the movie and expect them to get help sell tickets Nothing about this movie just feels right there is one funny punch line in the film but that's it other than that the film just feels broken The story of the film is nothing we haven't seen before nor do the characters try anything to be creative.
I don't bash chick flicks but this film was clearly just made not to be serious let alone to make a lot of moneyIt just goes to show that even two big name actresses are not even enough to make the movie worth your time, while they did work well together in the movie the rest of it just feels like it should have been left well enough alone.
Bride Wars, a movie about two inseparable friends since they were kids who dreamed of having their weddings at the Plaza in June but start a fight to destroy each others wedding when the date is set on the same day.
Anyone can enjoy a good light hearted chick flick i personally miss the how to loose a guy in 10 days kind of movies there what make us feel happy ....with everything going on in the world why shouldn't we have the right to make a film like this?
Hudson and Hathaway play childhood best friends Liv and Emma, who always dreamed of getting married at the Plaza Hotel in New York.
Hudson, although seemingly having a bad hair movie, is at her quirky and spirited best playing the strung too tight Liv. What "Bride Wars" misses is more quiet time between gags, so Liv and Emma can just be.
With a good director in Gary Winick and two big stars in the leads (Kate Hudson and Anne Hathaway) this film should have been great.And to be fair it has it's moments, but about half way in the whole friendship of the girls is thrown away and they resort to doing very silly things.While its lovely to see these two glamorous women do lots of slapstick and physical comedy (maybe the reason they both signed on to do this film), the film has such a thin premise that it runs out of steam quickly.A shame, this could've been great..
In Manhattan, the lawyer Liv (Kate Hudson) and the school teacher Emma (Anne Hathaway) are friends since forever who've dreamed their wedding at the Plaza since they were kids.
Live (Kate Hudson) and Emma (Anne Hathaway) are best friends and want to be the maid of honor in each other's wedding.
Worse is that it stars Kate Hudson and Anne Hathaway, two of the smartest and funniest actresses of their generation, as life-long friends who stage a mean-spirited spite war when they find that their respective weddings are booked on the same day, in the same place, at the same time.
Handled with care, I could probably go with that premise but when the climactic moment has one bride tackling the other in the aisle during the ceremony, I had long since checked out.Hudson and Hathaway are Liv and Emma, lifelong BFF's who have dreamed of their weddings since they were little girls, staging their ceremony in front of the mirror.
The guys seem to be props that are set up so the girls won't look stupid going solo at their own wedding.After being proposed to on the spot, Emma and Liv seek out the most sought-after wedding planner in New York, Marion St. Claire (Candice Bergen) who is suppose to resemble the kind of hard-assed business woman that Meryl Streep played in 'The Devil Wear Prada'.
Anne Hathaway and Kate Hudson star in this romantic comedy about two best friends fighting for their wedding day which is booked on the same date but do the two brides make the movie a hit or is it all doom and gloom for the grooms?
The acting was okay, Anne Hathaway did a good job playing as the quiet Emma but Kate Hudson became quite annoying forty-five minutes into the movie as the bossy perfectionist Liv. The writing is same-old, same-old and has been done better a thousand times before but this isn't really a bad entry into the rom-com genre.
The plot wasn't really very creative and was very predictable from the start, two best friends both have big dreams about getting married, both get engaged on the same day and both weddings are booked on the same day so the two brides fight about it.
Kate Hudson becomes very annoying very quickly taking the bitchy role of Liv. Fans of romantic comedy movies will like this but if you're looking for a laugh-out-loud comedy, look the other way.Read more reviews on: www.dudedazzmoviereviews.wordpress.com.
This movie is simply about two girls, best friends since childhood, who by accident have their weddings scheduled on the same day at the same place.
The trailer looks interesting, I have never seen Kate Hudson in any film before and she looks fun, so I decided to see the film.Two girls want their dream weddings at the same place same date so they tried to sabotage each other to make her wedding better than the other.I expected some bitchy fights but their tricks to each other is like watching two 5-year-olds fighting over a doll in kindergarten.It is nice to see them friends again in the end but thought I'd get to more drama.
If the story was real life Kate would have won the battle of the brides.It is a fun DVD I rented but I wouldn't buy it as I don't see it a great movie (it's just a chick flick) to add to my collection.
This was one of the funniest I have seen in years as Kate Hudson and Anne Hathaway start off as close, inseparable friends whose friendship dissolves into war when they find out that their weddings have been scheduled on the same date at the same location.
Kate Hudson and Anne Hathaway touched me with their believable performances as two best friends who shared a dream together and ended up with their friendship triumphing over petty superficiality and disputes.
This evil bridal empire stars Kate Hudson and Anne Hathaway as Liv & Emma, childhood friends who become bitter rivals when their weddings are scheduled on the same date & time at their fantasy wedding hotel site.
I went to see Bride Wars to the cinema because there was not any other option,since I had already seen all the movies which were been exhibited at the cinema I went.Bride Wars is an atrocious and pathetic "comedy" which enormously bored me; but I had somewhat predicted the movie would cause that reaction on me,because it bares some resemblances with the sadly popular TV programme Bridezillas.If someone is lucky enough to have never seen an episode of Bridezillas (I have only seen the first one),that programme shows the extremes to which some women lead into for having the most spectacular and memorable (translation : vulgar and of an extreme bad taste) wedding in history...or,better said,on that week.Bride Wars could have easily been an episode from that pathetic TV programme.Besides,the level of quality of both (which is minimum) is more or less at the same level.If you have seen the trailer of this film...well,you have already seen the movie.The characters completely lack of any development and the conflict is extremely stupid.I think this movie is made for the female spectators because the "troubles" they have to face would be irrelevant for the men.So,although I found it as an irritating movie,I think some women will feel identified with the things the movie shows.But,that is not an excuse for presenting a so poor story.There is not a scene on this movie which is not predictable.And if all that bad elements were not enough,we have a disastrous direction.The main problem from this movie is that the it completely lacks of intelligence,good humor or credible performances.I usually like the work of actresses Kate Hudson and Anne Hathaway and,although they have some likable chemistry when they are together,they do not have too much else to do.Bride Wars is a pathetic movie.Do not make the same mistake I did and do not waste money on this piece of crap..
Bride Wars is a movie about two best friends that become rivals when they schedule their respective weddings on the same day.
That was "Bride Wars", movie where Anne Hathaway and Kate Hudson play best friends forever who turn out enemies simply because they were forced to marry on the exact same date.
This movie is beneath them and there is no reason for them to do it and for them to lower themselves as actors to do this film.Bride Wars is about two best friends since childhood.
I think one of the reasons this movie disturbed me though was due to the fact that there are women like this, one's that are so beyond obsessed with their wedding they don't even realize they're getting married.
It takes an astounding amount of effort to make women like Kate Hudson and Anne Hathaway unwatchable, but Bride Wars accomplishes it.
The movie starts off with Emma (Anne Hathaway) and Liv (Kate Hudson) planning to have their dream weddings at The Plaza in June.
Anne Hathaway and Kate Hudson play life long best friends whom get engaged and schedule June weddings until a screw up leaves only one opening.
Emma Allen (Anne Hathaway) and Olivia 'Liv' Lerner (Kate Hudson) are best friends whom getting marry.
Liv and Emma are best friends who since childhood have planned every detail of their respective weddings.But a clerical error led to them to complicated events in this romantic comedy entitled,Bride Wars.The film stars Kate Hudson and Anne Hathaway together with Candice Bergen, Bryan Greenberg, Chris Pratt, Steve Howey and Kristen Johnston.
What we have here are some fine actors who made a movie of a pitifully trivial story, and the funny parts aren't really that funny.From childhood Kate Hudson as Liv and Anne Hathaway as Emma were best friends.
Anne Hathaway and Kate Hudson play Emma and Liv, two twentysomethings who have been inseparable best friends since childhood. |
tt0486051 | Wind Chill | Prior to Christmas break, a young woman Emily Blunt (listed in credits simply as "girl") accepts the idea from a cell phone texting session to use the campus "Ride Share" program as an alternative to riding the bus back home to Delaware. Finding a posting on a bulletin board, she catches a ride home from a stranger, Ashton Holmes (listed in credits simply as "guy").She arrives late to her ride, finding guy sleeping in his car, a late model sedan. As he pops the trunk of the car for her couple suitcases, his trunk is revealed to be overloaded with his personal belongings. He explains that he has just been "kicked out of my apartment." While he warms up the car, she rearranges his trunk to find room for her suitcase. To make room, she pulls out a random bag of his stuff from the trunk and as they drive away, the oversized shopping bag is seen sitting in the empty parking lot.The girl's anti-social behavior is made clear as she selfishly carries on a cell phone conversation. Finally noticing the pained look on her driver's face, she hangs up her phone. He explains to her the "rules" of ride sharing, they share half the expenses and it's her responsibility to keep up a conversation while they drive. The conversation is very stilted between mismatched pair: the anti-social, loner chick and the square Catholic High School graduate driver who is majoring philosophy. Guy reveals they shared a class together. Girl says it was a huge class and she never noticed him. Guy asks about her glasses, "Did you have Lazik surgery?" Girl is surprised that he knows about her glasses since she only wears them in her dorm room. An awkward pause is filled with the guy changing the subject.As she paints her toenails, ignoring him, they drive alone the open highway. An on screen clock shows they have been on the road for a couple of hours. She asks him to keep an eye out for a gas station, saying she needs a bathroom break. At the filling station, she doesn't want to get out of the car because the polish on her nails hasn't yet dried. He offers to carry her into the station, which, despite her protests, he does.While the guy talks to the attendant, Darren Moore, the girl finds the bathroom, which is dirty and in poor repair. After doing her business, she washes her hands only to discover the blow dryer doesn't work. After wiping her hand on her pants, she finds she cannot open the bathroom door. It is apparently locked. She begins pounding on the door for help, and though she had walked past several people in the diner section of the filling station, no one comes to help her. Eventually, she frees herself (after pulling the handle off the door). She finds the guy still chatting up the clerk behind the counter. She is furious that he didn't come to her aid. He assures her they didn't hear her cries for help, though she says she could hear them talking.As they leave the filling station, the guy verifies his directions with the clerk, as if he is lost and doesn't know where he is going. The girl calls him on it, but he assures her he is not lost. Soon after they resume their trip, he takes a side road listed as Route 606. The snow covered road is reduced to one lane and his older car slips and slides on the packed snow. Despite her protests that they immediately turn back to the freeway, he continues saying "this is a shortcut and we will be back on the freeway in no time."As night falls, an on-coming car approaches them at high speed in a game of chicken. They swerve to avoid it, colliding into a snow bank. A radio news report warns that an incoming storm will bring snow and temperatures down to 30 degrees below zero.As they fight the falling temperatures, they begin to see people outside of their car, from ghostly priests to other manifestations of lost souls. Before they understand that they are spirits, the girl tries to touch one. Her hand is burned. The spirit turns to show that he, too, is a victim of fire. Bit by bit, details come out of the guy's longing for her. How he had texted her the suggestion to use the Ride Share program and posted his number for her to find. How he took the scenic route in hopes of creating a romantic memory. It also comes out that the bag she left behind was a bag of food he had bought for their trip.They think help has arrived when a Pennsylvannia Highway Patrol Officer, Martin Donovan, knocks on their window. Oddly, he doesn't seem to understand their predicament, choosing instead to believe they were parking. Taking the girl from the car, he tries to get her into the back of his car. When it becomes clear to her that he means her harm, she struggles to get away, but cannot. The guy appears behind the officer, welding a tire iron, and beats him across the head, rescuing her. The highway patrol officer was a spirit and the most menacing one of them all.The spirits turn out to be spectors remaining who were victims of the rouge cop who would lure his victims to this deserted stretch of road and kill them, including four monks who witnessed his crimes. They learn of it from an article in a newspaper they are using for insulation against a car window. As the night progresses, during occassional fitful naps, the crimes of the rogue cop are re-enacted with the girl as part of them.As the night progresses, it is revealed that the guy has sustained greater injuries from the accident than he had let on. In a desperate attempt to get help, the girl comes up with the idea of climbing a nearby telephone pole, tapping into the line with the phone from the guy's household belongings, and calling for help. While it is unclear if she is 100% successful (she makes it to the top of the pole and does make a call to 911 that is quickly lost from otherly world interference), she does make her call and returns to the car to find her travelling companion has passed away.Defeat settles in as she tries to figure out what to do. For reasons that are not made clear, she pulls him from the car. Perhaps she is planning on dragging him to help, when a pair of headlights show up. It is a tow truck operator, Ned Bellamy, responding to her 911 call. He loads the body of her dead friend into the back of his cab and they begin driving to safety. The tow truck driver fills in the blanks about the story of how people have been dying along that particular stretch of road since the 50's when the rouge cop was killing them. But even after he was killed, the dying continued, including people inexplicably freezing to death in the cars. It's clear this girl has narrowly escaped a very close call with death when the same car that chased her and her travelling companion off the narrow road in the first place shows up again, this time driving the tow truck driver off the road, too.After the tow truck rolls and crashes, the girl and its driver are shaken up, but still alive. The tow truck driver insists on seeing about the other car's driver. At the bottom of a ravine, he sees a burning wreck. It is clearly the burning wreckage from the 50's of the rogue cop car. As the tow driver shimmies down into the ravine, the girl chases him, yelling for him to stop. The rogue cop is pinned inside his upside down car which is on fire. The priests show up, but rather than pull him from the wreckage, they pull the microphone for his radio from his car, preventing him from calling for help. The car becomes engulfed in flames.The rogue cop crawls out of the burning wreckage, attacking the stunned tow truck driver. As the spirit of the cop touches the tow truck driver, he instantly freezes. The girl scrambles away, back into the damaged tow truck, attempting to start it and failing while the spirit cop reaches her and tries to attack her. That's when the spirit of her Ride Share driver appears, once more defeating the rogue cop's spirit. The girl climbs from the car, seeing the ghost of driver standing in the woods. He apologizes and says he would have explained everything to her if they had had more time. She accepts his good intentions and then follows him through the woods. They pass through the cabin where the priests/monks once lived (and died) and various other signs of the carnage created through the years by the rogue cop until they eventually reach the service station where they had stopped hours ago for fuel and a bathroom break.Paramedics show up to treat the girl and the movie ends with her pulling up a single snapshot she took of the guy, her driver. | paranormal, suspenseful, flashback | train | imdb | But I thought it was fun and weird and full of unexpected depth.I'm not certain in which direction "Wind Chill" is pointing the horror movie--maybe in the direction of the late 60s/early 70s "just slightly off" horror like "Rosemary's Baby" or the old "Night Gallery" TV series--rather than in the direction of grind house horror.
It's a few days before the Christmas holidays when two (unnamed) students share a ride home.After taking a "short-cut" they have a serious accident and find themselves stranded in nowheresville', in the middle of a cold snap and miles from the nearest town, then the 'problems' really begin....I have to admit I'd heard nothing about this film, in fact I'd never even heard of the title, but it proved to be a bit of a revelation.The two leads Emily Blunt (The Devil Wears Prada) and Ashton Holmes (A History Of Violence) are both very good actors and both put in good performances.The film is well paced, not letting you know too much too soon, it's a very eerie looking movie, the the darkness of the night brilliantly contrasting with the glistening snow, reminiscent of the classic "The Shining".In an age of shock horror which has become rife in Hollywood over the past decade it nice to see a good old fashioned horror film in the fashion of say John Carpenters "The Fog" or even Peter Jackson's "The Frighteners" which it had elements that were very similar too.A fine intelligent psychological horror film..
Aside from a back-story that is thrown in at the last minute which never really explains why this is happening to the characters, the film stars and director have helped create some very effective scar sequences which don't always need to be played upon with exhausting music and gore.The story begins with a girl (Emily Blunt, "The Devil Wears Prada") who needs a ride home for the holidays from college because she has just broken up with her boyfriend.
The director Jacobs ("Criminal") is fully aware that the best of horror films are those that have given you time to get to know and feel for the characters before something bad happens to them, even if it is only in the last half.
2007's "Wind Chill" is a mystery/horror film about a college gal (Emily Blunt) sharing a 6-hour ride with a male student (Ashton Holmes) home to Delaware from Pennsylvania.
The story takes a tragic ghostly turn when they get stranded on Route 606 in the bitter evening cold.I should point out right away that "Wind Chill" is inexplicably rated 'R'; there's really nothing in the film that should warrant such a rating -- there's no sex, very little cussing (realistic, not overkill) and hardly any gore.
If you want that see "Cabin Fever" or "Friday the 13th." "Wind Chill" shoots for something more profound, haunting and classy, like "The Mothman Prophecies".The film is what I would call an "isolated environment" movie wherein the main characters are stuck in a confined situation for the better part of the picture, like in "Prey" where a woman and her two stepkids are stuck in a jeep fending off lions or "The Mist" where the characters are barricaded in a supermarket from the onslaught of otherworldly creatures.
I would chalk it up to great writing, acting and movie-making.Think about it, there are essentially only two characters in this entire 91-minute film.
It dawned on me while watching that "Wind Chill" is largely a dialogue-driven picture; the banter between the two protagonists pulled me in and sustained my interest, which isn't easy seeing as how "isolated environment" movies tend to try the viewer's patience & interest by their very nature.Emily Blunt is easy on the eyes (what an understatement) but comes off a bit witchy and therefore unattractive initially, yet this plays into what the film is really about.
Who it is that needs redeemed and why I'll leave to you to figure out, as well as who pays the price.The score is awe-inspiring, in particular the piece at the beginning and end (and during the credits).Although the story takes place in the East the film was shot in British Columbia.
These are great locations, of course, but I'm starting to weary of the fact that 90% of these types of flicks are shot in B.C. Incidentally, the tale obviously occurs in Eastern Pennsylvania in light of a reference to Harrisburg on the radio and the I-476 highway sign (I-476 runs North-to-South from Scranton to Philadelphia).I have a couple of cavils: When they're stranded on the country road it never looks nearly as cold as it's supposed to be, and is it believable that any college student, let alone a hot babe, would know about the junction box and phone jack on top of a telephone pole?
CONCLUSION: The average person who has a taste for this type of moody, spooky picture will conclude that "Wind Chill" is a classy chiller, what ushers it into the realm of greatness is its underlying profundities, stellar cast, writing, acting, music, locations and just all-around magical movie-making.
Soon they are being haunted by the ghosts of all the numerous people who died earlier in the very spot that seems intent on claiming two fresh victims."Wind Chill" is a modest little horror outing whose admirable restraint and sense of atmosphere don't quite compensate for its overall lack of energy and incoherent storyline.
It takes quite awhile for the plot to kick itself into gear, and even when it does, the movie ends not with a bang but with a whimper."Wind Chill" is certainly preferable to an out-and-out gore-fest like "Saw" or "Hostel," but a few more runs through the typewriter (or word processor, as the case may be) might have gone a long way towards making it a more satisfying and scary film.
I'm so used to horror movies not being scary, probably due to being desensitized after seeing so many.Emily Blunt is a great actress and I would love to see her in more lead roles.
Wind Chill has the seeds of an extremely affecting horror film: a twilight December 23 commute home for two unacquainted college kids, who couldn't be more mismatched, a slate gray landscape full of spooky forest-and-snow strewn exteriors, Clint Mansell's doomy score, and Emily Blunt and Ashton Holmes' spot-on performances.Blunt --- a literal bitch on wheels --- swipes a tag from a ride board back home to Delaware with Holmes, a nerdy Philosophy major who may be a good Samaritan, a love-sick stalker, or a psycho --- or a combination of the last two.As a suspense film, Wind Chill does work.
I've seen plenty shitty horror movies in my day, and this is definitely not one of them, and it deserves more recognition.When the plot starts unraveling, and a boy and a girl drive off the road only to be trapped in their car and the cold outside, you immediately want to judge this movie when the girl attempts to call 911 and her cellphone doesn't work.
As the story progresses, the story covers elements of Nietzsche's theory of eternal recurrence, and thats when the film gets real good.Because this movie has a great story that shouldn't be spoiled, I'm going to end the review here and say that if you like psychological horror films or thrillers with a twist, you should definitely give Wind Chill a chance.
British actress Emily Blunt, best known for her comic role in THE DEVIL WEARS PRADA, is great; her character is far from likable but grows on you as the film develops while the unknown-to-me Ashton Holmes is equally good in a sympathetic role.There are no action scenes, no vivid effects and no great moments of drama.
Wind Chill is a movie that was on the border of being a very original horror story told in a new way, but it slightly misfires and ends up settling for mediocrity.
Gregory Jacobs directed this ghostly thriller that stars Emily Blunt and Ashton Holmes as two college students sharing a car ride home for the Christmas holidays who become snowbound after the car breaks down.
Another great claustrophobic thriller,from Clooney,after The Jacket.The message is very important.The atmosphere is really near to the quality of The Mothman Propecies,against this time the music is much less than that film had.Emily Blunt and Ashton Holmes just shines in this drama.The director Gregory Jacobs did not make a gore -fest,the story stay intelligent,and logical.The sound editing is great too,more times than I waited.The ending is just OK.And if you wait a dirty horror with gore -fest,in the swearing-club,please stay away from this sophisticated,intelligent,dramatic,but dynamic horror film.I hope this type of thrillers will live in the future.Personally I enjoyed this more like a slasher,gore,swearing trash movie..
The first hour is surprisingly entertaining because they just sit in a car freezing and see visions of ghosts and stuff, then the last 30 minutes is where they start seeing that they aren't alone and altogether I thought it was pretty good compared to some of the really dumb horror films that I have seen this year.
I think one of the worst horror films I have seen this year would be Dead Silence because it drug out really bad, but anyways Wind Chill is a pretty good straight to DVD horror film that you may find kind of entertaining if you are just wanting to kick back and watch a movie, just don't expect too much because its not awesome or anything..
The fact that she leaves the car to connect through 911 is so beautiful as she knows he is in great danger and in her place you'd think a thousand time before choosing to leave the car.The story of the guy and the girl is beautiful and has very strong elements that almost make it for all the movie.Definitely worth watching..
i don't agree with the rating(5.9/10)this movie has on this site.i actually thought it deserved a higher rating.it's a pretty eerie and creepy movie.it has a great atmosphere of dread and foreboding.at least i thought so.i always felt like something creepy was about to happen,which it did.but it usually creeped up slowly on you.there were no jump out of your seat moments.this is an old fashioned type chiller.there's no gore,no trick shots,no sudden loud noise to make you jump.this one keeps the creepy atmosphered right to the end.there is lots of suspense in this movie,and some fine acting from Emily Blunt,and Ashton Holmes,who play the the girl and the boy.we are never told their names.this movie is very deliberately paced,so if you're expecting a lot of action,this is probably the wrong movie for you.for me,though,i enjoyed it.my vote for Wind Chill is a 7/10.
Ashton Holme's vulnerable 'guy' is performed with a skill belying his age, I really felt the attraction yet frustration he emotes for his passenger however that said this film is really a platform for Emily Blunt.Emily's performance in 'Wind Chill' is mesmerising, even given the script limits Emily shows us how it should be done, Susan Sarandon wasn't wrong when she described Blunt as one of the finest newcomers she'd worked with in recent years, perhaps ever.In closing my one hope that they both are given the opportunity to shine as actors of extraordinary talent.tb.
It's too bad that the movie never has a good payoff to go with its creepiness.A young college student heading home for the holidays (Emily Blunt), catches a ride with another student whom she meets through a college riding board (Ashton Holmes).
And then the tension and mystery started to build in this chilling film.It would be a good movie to watch on or around Christmas since there isn't a lot of good horror movies to choose from during the holiday season.Emily Blunt gave a nice performance.It was different seeing her playing an American role.I have only seen her in 1 other movie before this one.I am used to her English accent.She did sound convincing,but then her musician boyfriend is from Vancouver(Canada)so she's probably used to hearing him talk,or maybe he helped her lose the accent for the role.I could see where the movie was heading after awhile and it gets spooky and complicated.The effects were good and it was good to see Ashton Holmes again who also gave a really good performance.This movie was well worth the rental..
Back to basics horror/chiller keeps the effects simple and manages to thoroughly entertain.First off I can't quite understand the bizarrely low 5.9 score this picture achieves in light of so many positive reviews, but nevertheless.Wind Chill initially comes across, during the first 10 minutes, as a fairly bog-standard teen-style horror as so many other horrors-by-the-numbers have gone the route of.The longer Wind Chill goes on though, it becomes clear this is a distinct cut above the usual fare expected when the leads are as young as the main 2 protagonists are here.The plot keeps itself simple; 'girl' needs a ride home for the holidays and 'guy' provides one.
What you get is not "torture porn," but old fashioned horror that uses techniques like surprise and creepy settings to send a wind chill up your spine.Emily Blunt (My Summer of Love, The Devil Wears Prada) is hooking up with Ashton Holmes (A History of Violence, A Peaceful Warrior) to get a ride home for Christmas.
Supposing that it was all in their shocked minds –after the accident- (like "Jacob's ladder, or "stay" or " wrong turn") seems comforting somehow, but not enough as it doesn't exactly explain everything, and certainly not the final scene of the boy's ghost leading the girl to salvation
Anyway, I was not bored for a single moment watching "wind chill".
And I think it will mean a lot to you too, if you let yourself free to feel its profound tenderness and look at it as a dark story of love, rather than a horror movie!.
You don't need to have seen many horror films to work out what's going on long before the girl and the boy do (neither character is ever named).It is an original idea, but it's reliant on so many films that have come before it that there's unfortunately little to recommend or remember..
The film started slow but Emily Blunt was too good for the viewer to look away so I kept watching despite getting bored at times.
All the while Lost in the Woods and Freezing to Death, Emily Blunt and Ashton Holmes, both Good Actors, try and make Sense of the Non-Sensical and Cuddle to Keep Warm.The Movie must have been a Difficult Shoot, because this is Real Snow here in Real Winter, but the Story is Hard to Weather.
Before the worry of the ghosts, the girl (Emily Blunt), had to worry about the guy who was giving her a ride home.The movie offered some eerie and chilling moments.
Sinister things begin to happen to them in the wilderness."Wind Chill" is takes quite some time to develop the story, as the two people meet, drive and talk in the car in an awkward manner.
I actually stumbled upon this film whilst flicking through the movie channels one night whilst I was unwell and unable to sleep.The fact that I have a slight girl crush on Emily Blunt is probably the reason I didn't switch over and watch 'Misery'.
I hadn't even heard of the film, but as I've seen Misery so many times I could re-enact it in a one woman show I thought I'd give it a go.In a nutshell 2 college students decide to car share whilst returning home for Christmas vacation (even though they guy has really planned the ride as a way to get close to the girl on whom he has a crush).
"There's been some pretty bad accidents on this road over the years."I'm a huge fan of Emily Blunt, and I enjoy horror movies to the point that even the mediocre ones are usually worth me checking out.
Wind Chill is the story of two college students(their names are never mentioned in the movie, i don't know if this was intensional or not, its a bit clever you always find out in the end credits ) driving home for Christmas break who become stranded on a road off the highway after getting into a wreck.
Trapped in the car to escape the desperate cold.The leads in this movie are played by Emily Blunt and Ashton Holmes,who is in a bunch of stuff but no one remembers him,both do a pretty decent acting i describe it as above average,but the problem of the film is not his performance but the plot it centers around, the theory of eternal return: is a concept that the universe has been recurring, and will continue to recur, in a self-similar form an infinite number of times across infinite time or space.
***SPOILERS*** The movie "Wind-Chill" has a "Twilight Zone" like story about these two collage students only known as Girl & Guy, Emily Blunt & Ashton Holmes, driving south from their collage in Pennsylvania to their home in Delaware for the Christmas Holiday's.
"Wind Chill" follows an unnamed college student (Emily Blunt), who ends up catching a ride home for Christmas with a fellow student (Ashton Holmes), whom she doesn't know.
Now it's not the most original story, and it was rather predictable, but Wind Chill in my mind is one of the years best horror movies - hands down!
Which is too bad because it's a pretty surprising and effective little horror movie with a great performance by up-and-coming superstar Emily Blunt.For the record, it's hard to write a review about this without spoilers since the movie keeps shifting directions, which is one of the interesting things about it.Two nameless college kids--Blunt and Ashton Holmes--meet through their college ride board and share a ride home at Christmas time.
But the film is actually a love story trapped inside of a horror movie!
Emily Blunt is the star of this movie and has good chemistry with Ashton Holmes. |
tt1663662 | Pacific Rim | The film begins in 2013. Deep beneath the Pacific Ocean, a fissure opens up, that leads to another dimension. Through the fissure, a giant monster appears, and destroys portions of San Francisco. After many days and countless lives, the creature is defeated by human military forces.However, what seemed to be an isolated attack builds, as more creatures begin to come through the fissure, attacking coastal cities around the Pacific. The World unites to stop the invaders, and build The Jaeger Program: a series of giant mechanical 'monsters,' intended to stop the creatures.Original tests to have one pilot per Jaeger prove unsuccessful, as the test subjects were not able to handle the stress and strain of controlling such a huge robot by themselves. It was then decided that each Jaeger would be piloted by two pilots, their memories linked together in The Drift, synchronizing their movements to maneuver the massive machines.As the Jaegers go to work, they begin to turn the tides, and take down the creatures (known as Kaiju). Pretty soon, the world is enthralled by the Jaegers and their pilots. They become celebrities, and even have merchandise made. As well, the dead Kaiju are soon seen as a black-market commodity, their parts sold off for various collections and medicinal purposes.But just as the war seems to be turning in humanity's favor, the Kaiju's attacks become more frequent and more brutal.In 2020, seven years after the fissure opened, one of the more famous Jaeger duos, Raleigh Beckett (Charlie Hunnam), and his older brother, Yancy (Diego Klattenhoff) have become heroes with an impeccable record of defeating Kaijus. Pilots of the Jaeger named "Gipsy Danger," they are sent off to stop a category 3 Kaiju heading towards Anchorage. The beast is larger and more powerful than previous category 3s and will be a challenge for the team. Though the information on their monitors shows a fishing boat in the path of the attack, the Becketts are told their priority is to protect Anchorage.Even so, they disobey orders, and still save the fishing boat, but end up being brutally attacked by the Kaiju, which rips off the Gipsy Danger's left arm, and tears away a chunk of the vehicle's helmet, sending Yancy to his death. Raleigh barely manages to pilot Gipsy Danger on his own and finishes the battle, using the robot's giant plasma blaster to kill the creature. Raleigh later pilots the Jaeger to a remote beach where it finally collapses. Raleigh walks out, bearing injuries from the battle -- because of the Drift, Jaeger pilots experience the same injuries that their mechanical counterparts do -- and collapses on the beach too, exhausted and emotionally devastated from his brother's death.After the attack, Raleigh leaves the Jaeger Program, and goes to find work wherever he can. Five years later, he finds work along the Western coast of the United States as a construction worker, helping build a giant wall that is meant to keep the Kaiju out out.In the 5 years since Raleigh was with the Jaeger program, numerous countries have called for the program to be terminated due to spiraling casualties of Jaeger pilots in the increased Kaiju attacks and the enormous cost of keeping it funded. Many assume that building the walls will make them safe, but the head of the program named Stacker Pentecost (Idris Elba), claims that the world's leaders are making a terrible mistake. Even though Pentecost claims the program is still viable, it is relocated to Hong Kong and given 8 months of funding before the program will be permanently retired.Working on the wall near Sitka, Alaska, Raleigh sees television reports that a Kaiju has broken through the wall surrounding Sydney Harbor in Australia. Luckily, a Jaeger named Striker Eureka is able to take it down. After seeing the news report, Raleigh is surprised when a helicopter lands near his building area, with Pentecost requesting he come along. Raleigh is reluctant to join the Jaeger program again, however, Pentecost convinces him that he belongs in the pilot's seat.Raleigh is then flown to the Hong Kong Base (known as 'The Shatterdome'), where he meets Mako Mori (Rinko Kikuchi). Mako tells Raleigh that she has studied his moves during his years in action, and how to be a Jaeger pilot, Raleigh notes she seems apprehensive.Pentecost also introduces Raleigh to two scientists under their command. One of them, Dr Newton Geiszler (Charlie Day), is an obsessive 'Kaiju Fanboy,' who studies the creatures through salvaged organs and other parts. The other is Dr Gottlieb (Burn Gorman), who is a more 'practical' man, and is using his mathematical skills to try and pinpoint the frequency of creatures coming through the ocean rift.Within the Shatterdome, the last remaining Jaegers and their crews have been assembled: The 3-pilot Crimson Typhoon (from China), Cherno Alpha (from Russia), Striker Eureka (fresh from its stint in Australia), and (to Raleigh's surprise) Gypsy Danger. However, since her encounter 5 years ago, she has been rebuilt and retrofitted for more extreme combat.Raleigh questions Pentecost on just what their plan is. Pentecost explains that are formulating a plan to drop a nuclear weapon into the channel between dimensions. If it works, the channel will be destroyed, stopping any further Kaiju from coming through. Though the plan of attacking the channel has failed in the past, the program's leaders are confident they will be successful this time if all the remaining Jaegers attack simultaneously.Pentecost soon after meets again with Geiszler and Gottlieb. Gottlieb predicts that mathematically, the number of Kaiju coming up through the rift is increasing. Geiszler meanwhile, wonders if they can learn more about the Kaiju, if they are able to 'drift' with its brain. Having a portion of one, he is eager to test his theory, but is denied by Pentecost.Without his brother, Raleigh is tasked with helping to find a replacement. However, during a training and reflex exercise, Raleigh is a little incensed when Mako keeps calling him out regarding the number of moves to take down his opponent. Inquiring why she is being so vocal, she responds that he could have taken down his opponents with a shorter amount of moves. After winning approval from Pentecost, Raleigh spars with her, and is amazed at her prowess. He proclaims that she should help him co-pilot Gypsy Danger, but Pentecost refuses.Eventually, another pilot is chosen for Raleigh, but at the last minute, Mako is given permission. A test-run of Gypsy Danger within the Shatterdome appears to be going well, until during the Drift session, Mako gets locked into a tragic memory, and almost sets off the Jaeger's plasma cannon within the dome.Following the incident, Raleigh understands more about Mako and Pentecost. When Mako was a child, she lost her family to a Kaiju attack in Tokyo, Japan. Just when it seemed the creature was going to kill her, a Jaeger was deployed that stopped it. The pilot of the Jaeger was Pentecost himself who is revealed to be able to pilot a Jaeger by himself. Even with her becoming unfocused in the drift, Raleigh still wants Mako as his partner, but is again rebuffed by Pentecost.Meanwhile, Dr Geiszler has hooked up a crude connection machine, and hooks into the Kaiju brain in his lab. The strain of the drift is quite overwhelming for Geiszler and Gottlieb shuts it down. Geiszler reports to Pentecost and his men that the link allowed him a glimpse into the other side of the portal. Geiszler had theorized that based on some Kaiju samples, that what they were seeing coming through were cloned creatures, and his drift vision appears to corroborate the theory. Unfortunately, the Kaiju brain has been damaged, and Geiszler needs a fresher brain in order to learn more. Pentecost gives him a small card, and sends him to Hong Kong to look for a man named Hannibal Chau.Geiszler heads to Hong Kong where he finds Chau, who is actually an American going under an alias. Chau is a dealer in Kaiju remains, collecting them from battle sites and dealing them on the black market. Geiszler is sufficiently impressed with Chau's secret room containing live specimens that could be useful in his research. Geiszler tells Chau that he wants an intact brain. Chau balks at the idea since recovering a Kaiju brain is nearly impossible -- the skull bone of a Kaiju is too thick to penetrate quickly and the brains become useless when contaminated with ammonia. Geiszler still bats around Chau's arrogance and questioning demeanor, saying that he can use a Kaiju's secondary brain instead. He mentions how he drifted with a Kaiju brain, leading Chau to question that if he connected to the other side, what's to say those on the other side don't know what he now knows? Chau reveals that he'd also drifted with a Kaiju brain and the result was permanent injury to his left eye and the danger that the aliens can send any Kaiju to find him in the city.Shortly after their discussion, two Category 4 Kaijus surface near Hong Kong. Pentecost sends out the Crimson Typhoon and the Cherno Alpha to fight the creatures, with Striker Eureka as backup to protect the City's coastline.Just as discussion had seemed to point to the Kaiju becoming more dangerous, the two that have emerged come with extra accoutrements. One possesses a pouch in its throat containing acid that melts away Cherno Alpha's armor before they are eventually destroyed. Crimson Typhoon's crew take her into the fight, but she is soon overwhelmed by the two. Cherno is attacked by the larger of the two Kaiju and defeated when they're forced underwater and the monster crushes their reactor, drowning both pilots.The father/son team piloting Striker Eureka abandon their orders to protect Hong Kong, and go at the creatures. However, the other Kaiju lets loose an EMP burst that disables Striker Eureka, and the equipment in the Shatterdome. With 2 hours until the system can be rebooted, Striker Eureka is dead in the water until Raleigh offers a solution: though the newer models of Jaeger are digital, the Gypsy Danger is analog and thus more resistant to EMP attacks.Pentecost sends out Raleigh and Mako, who end up destroying the EMP-armed Kaiju after a protracted battle, but the other one ends up heading into Hong Kong.While Chau and his associates have fled to their bunker, Dr Geiszler has been thrown out into the streets, and into a public fallout shelter. However, when it sounds like the creature has settled directly over them, he begins to panic that Chau may have been right, and that it may be looking for him. As if to answer that the ceiling caves in, and the Kaiju attempts to reach him.Just then Gypsy Danger appears and distracts the Kaiju. The battle goes through many buildings, but takes a turn when the creature suddenly sprouts giant wings and begins to carry the Jaeger into Earth's upper atmosphere. Utilizing the Jaeger's chain-sword, they manage to destroy it before plummeting back to Earth, barely regaining control of the Jaeger as a team to make a safe landing.Raleigh and Mako return to the Shatterdome to cheers as the pilots of the Striker Eureka also voice their thanks and appreciation. During the jubilation, Raleigh notes Pentecost bleeding slightly from both nostrils. In private, Pentecost explains how, in the earlier days of the Jaeger program, shielding from nuclear contaminants had not been considered and that his condition has been worsening over time.Meanwhile, Geiszler has returned to Chau and demands claim over the dead Kaiju's brain. Chau's men attempt to get to it, but find that the Kaiju is actually pregnant before their communication link with Chau goes dead. Just then, an infant Kaiju breaks through a slit in the side of its Mother, and attempts to escape before falling down, seemingly choking on it's own umbilical cord. As Chau gloats over the dead infant Kaiju, claiming he'd known it couldn't survive very long outside it's mother, the creature rears up and swallows him whole, finally dying in the street.Dr Gottlieb soon shows up in Hong Kong with Geiszler's machine, and though the first attempt almost killed him, Gottlieb volunteers to drift with the other scientist, to cooperate in learning more through the infant Kaiju's brain and handle the strain of the drift together.Plans are soon made to set up the Gypsy Danger and Striker Eureka to deliver the warhead to the undersea rift, but due to the father in Striker Eureka's team having sustained an injury to his arm, a replacement must be found. Pentecost surprises everyone when he takes the role. However, the strain of piloting a Jaeger could prove fatal to Pentecost, but he volunteers anyway.As the two Jaegers near the rift, Geiszler and Gottlieb rush into the Shatterdome's control room, and explain that the plan will not work. The channel between dimensions will only allow in a Kaiju, the very reason for the previous failures to destroy the channel with other nuclear weapons: if they attempt to drop the warhead into the channel, it'll just deflect off the breach. The two Jaegers battle two Kaiju guarding the rift as a third Kaiju, a Category 5, larger more powerful than the previous creatures, emerges from the rift.Gypsy Danger and Striker Eureka sustain heavy damage in the battle. Striker Eureka detonates its nuclear core to take out the defending Kaiju and give Gypsy Danger a chance to enter the rift. Gypsy Danger drags a dead Kaiju into the rift, bypassing the code that would reject any non-kaiju. Inside the Kaiju dimension, Raleigh ejects Mako in a life pod and manually initiates the detonation of the nuclear core. As Gypsy Danger enters the other dimension, Raleigh ejects in his own pod before Gypsy Danger explodes and collapses the rift, ending the Kaiju threat once and for all. On the surface of the Pacific Ocean, both pods reach the surface. For a brief period it seems that Raleigh may be dead but he awakens, much to Mako's joy.A mid-credits scene reveals that Hannibal Chau survived being swallowed by the baby Kaiju by cutting his way out with a pocket knife. He angrily asks where the shoe he lost is. | violence, revenge, flashback, good versus evil, romantic, entertaining | train | imdb | etc.The battle sequences are epic, the monsters and robots are amazing, Kids especially will love them, and the action goes on and on.The dialogue is cheesier and hammier than a 60 foot pizza monsters, and coupled with the extended scope of this film can make watching it gruelling if you are not instantly gripped.This will keep any kids gripped for hours (nearly three of them) but if sci-fi isn't your thing get comfy and bring a pillow..
Lately movies that claim to be monsters and action have proved a complete failure, and, to be honest I thought this was not going to be the exception.Any change to see a real action movie with almost unstoppable battles monsters, and a dose of special effects so amazing you just leave you with your mouth open.Of course, not everything is good, but entertaining plot is somewhat similar to that of other films: The hero gets a big pain that leaves the battle, then when the world needs the triumphant return finds the love of his life between the two due to the bad, the nearly died, and finally live happily ever after (like a soap opera).We must clarify that thanks to special effects, battles, and good performances, the plot is not uncomfortable.
Del Toro has crafted an insane amalgamation of Sci-Fi, old-school thrills, special effects and brilliantly entertaining set pieces that all meld together in beautiful harmony, with just enough satisfying human moments and arcs that carry a nice balance of emotion and camp.
Within the opening 15 or so minutes Charlie Hunnam's voice-over establishes the reality of a future where monsters (the Kaiju) repeatedly invade earth, to stem this humans have created giant robots (Jaegers) to combat them in increasingly badass iterations.
Maybe it was the incredible effects shots of robot related destruction used as a throwaway shots, but what I think really sold the opening sequence and the film as a whole is the enthusiasm Del Toro clearly has for the story he's telling.The cast is essentially a rogues gallery of TV's better dramas playing variations on roles they've nailed in the past (see: Elba, Hunnam and Klattenhoff) and some inspired casting of It's Always Sunny's Charlie Day who, as should be expected provides some effective comedic relief.
Added onto this the score comes courtesy of Ramin Djawadi who's masterful use of themes on Game of Thrones is carried over to this film for some great emotional cues and many a rad motif courtesy of Tom Morello on guitar.It's appropriate Del Toro has a Frankenstein adaptation lined up as a follow up project as Pacific Rim can at times can feel stitched together from all the sources of inspiration the film has.
And although the Kaiju battles seem to never be in short supply, the film essentially follows the rule of three when it comes to battle sequences and left me oh so satisfied.In conclusion, I give it points for being one of the funner summer blockbusters in recent memory, for being an original property and for its sheer tenacity to exist which all amount to what is just a darn good time at the movies..
This movie is an absolute waste of good film stock that the producers made in order to "make their nut".There is no plot, no character development, no story and no rhyme or reason to it.
It feels like Hollywood at its best since they just want us to have a good time.I not only hope for a sequel, I hope for loving imitators who don't aspire to pretentious greatness (Rise of the Guardians), don't have something to immaturely prove (Man of Steel), and actually have their own story to tell even if its derivative (Star Trek into Darkness is not only a Rip-off of Wrath of con, but it is practically a sequel that is DEPENDANT on it).This is not the degradation of film, this is the much needed laxative in a world of fast edited adaptations, sequels, and reboots with emo endings..
It's almost a credit to say that every facet of the movie was so utterly atrocious.By far the worst thing Guillermo Del Toro has made or ever will make and I'm sure he'll look back on it and think 'what the hell was I doing?'It pains me to say that Transformers 2 was better which tells you absolutely everything you need to know.
Because Pacific Rim only had the insufficient clout of its pathetic PG-13 rating, all that this "Transformers" rip-off movie amounted to was just director Guillermo del Toro's infantile concept of a 13-year-old boy's wet-dream.I honestly swear that after the 2nd of what seemed like an endless stream of mind-numbing battle scenes, I had developed a serious case of brain-freeze.
The most damaging aspect of this film's story was that it clearly took itself way too seriously for its own good.As far as I'm concerned this film's story was just another variation on that old, stale theme of little boys who want bigger toys.Pacific Rim may have been a colossal $190 million production, but, to me, the overall return on its dollar value amounted to no more than one percent of that sum as far as its entertainment-factor stood.When it came to all of the cookie-cutter characters who prevailed in Pacific Rim, I really resented the emphasis that was placed on a bunch of cocky, self-centered jocks who were the ones intended to save the day.
And the quirky repulsiveness of research scientists, Gottlieb & Newt, actually made me cringe every time these 2 despicable twits made an appearance on screen.At an overlong 2 hours and 10 minutes, Pacific Rim could've easily been edited down to 90 minutes and, believe me, in the long run, it wouldn't have made even the slightest difference to the final outcome of its truly nonsensical story..
Condensing years of devastation and development, into one short montage (the first five minutes of the film covers the entire ark which Pacific Rim is built on: the first encounters of the Kaiju, the initial attempts to stop them and finally, the culmination of the Jaguar program) which contains enough story to fill an entire other movie.
The film is set over a small amount of time, considering the attacks have been going on for years and though it covers many key events in the Kaiju war, it never really feels like you've been delivered the full picture.Now, on the positive side, if you focus your attention to what is on display, Pacific Rim excels.
Sitting through a couple of this year's blockbusters like Man of Steele, Fast and Furious amongst others, needless to say I was quite surprised when I came out immediately acknowledging this was the best movie I've seen all year, not just from this guy-genre type of film.Pacific Rim is over the top and a whole lot of fireworks, but what puts it aside from other run-of-the-mill action flicks is that it takes itself seriously.
This week I watched Nelson Mandela pilot a giant robot in order to fight monsters in Guillermo del Toro's, Pacific Rim
Okay, not quite.Pacific Rim is visually unparalleled in the kick-ass-destructive-giant-robots-meet-alien- monster-mash-up movie genre.
True to del Toro form, Pacific Rim has a lot of depth and isn't simply a film with a narrow backbone to carry a visual and action-filled spectacle.
Guillermo del Toro has already voiced his plans for a sequel, and, after watching the first film, it looks like it's going to be on par with the best of them.Pacific Rim is a must-see film!
However, I think people will quickly get bored with this movie after a whileThe acting form Charlie Hunnam, Idris Alba, Rinko Kikiuchi as well as the rest of the cast was pretty solid and it was great to see Ron Perlman in another Del Toro film without his Hellboy costume this time.
When Guillermo del Toro set out to create Pacific Rim he drew inspiration from Francisco Goya's "The Colossus" and said that the he wanted to give the audience the same "feel of awe" in the battles between Kaiju and Jaeger.
This movie has it all.With Pacific Rim, Guillermo del Toro not only gives you the best robot monster mash-up since, well, ever.
"Pacific Rim", directed by Guillermo del Toro, is a science fiction film that takes a long dormant genre, the Japanese Kaiju monster films of the 1950s and 1960s.
In interviews, del Toro said "We cannot pretend this is Ibsen", so the characters like Becket, Pentecost and Mori are strongly defined people who, through the equally powerful performances from Charlie Hunnam, Idris Elba and Rinko Kikunchi give us a film where we care what happens and mean the final climactic sacrifices are actually poignant, as opposed to manufactured drama with little thought behind it.Charlie Day and Burn Gorman, who play a pair of bantering scientists along with Ron Perlman, who is a black marketer in Hong Kong dealing in kaiju organs, are vividly sketched supporting characters who provide an antidote to the seriousness of the main plot.
This is compounded by the fact that the film's most memorable scene is Kikuchi's flashback, which deals with the impact and aftermath of the monsters, rather than a long, extensive battle scene.Despite this, taken as a whole, "Pacific Rim" is a whole lot of fun and easily the best summer blockbuster of the year.
Instead of the brain dead grim pessimism of the dark, gritty movies of today we finally get a story where we can see some hope humanity can rise above its own pettiness and become better.Characters: Its easy for characters to be engulfed and forgotten when larger than life events occur but in Pacific Rim their personalities rise against the tide and do not let themselves disappear.
Pacific Rim has a well balanced story and Effects combo that carries you with it.The story takes it's time to build up but the movies starts straight in with action and grabs your attention straight away and you can't help keeping on watching to find out what the hell is going on.
Idris Elba was perfectly cast to deliver those lines with a punch (couldn't help but think of him in Luther in some scenes!!) The other actors carried their roles with panache and depth which made it more believable.All in all a good action story which I would easily watch again!!!.
Remember "Cloverfield?" (this movie explains that one) Roll all of these up with today's effects and Guillermo del Toro's weird design sensibility and then tell yourself, "Let's take this one TOTALLY over the top" and you've got "Pacific Rim." As an action flick, from the first shot it never stops or even slows down.
This film makes "The Avengers" look sedate.Besides being an extremely entertaining, good old fashioned monster flick, "Pacific Rim" is a tribute to the strength of international cinema, involving artists and production teams from every part of the globe.
The graced performances of Idris Elba (Golden Globe winner, Luther), Rinko Kikuchi (Oscar Best Supporting Actress, Babel), Charlie Hunnam (Sons of Anarchy), and Ron Perlman (Golden Globe winner, Beauty and the Beast) were seen as clever and entertaining.Some before even seeing the film might have said that this movie was all visuals and has no real plot, but they were proved wrong.
But wend I saw Pacific Rim yesterday I knew I saw wrong.Pacific Rim is the best movie I have seen this year is action, the story is great the fighting scenes are mind blowing.
Originally set to direct The Hobbit films, he has, instead, switched gears and created a new film populated with mega monsters and super robotic warriors in an exciting, action spectacle, Pacific Rim. What sets this apart from most apocalyptic battles is its well developed characters and relationships.
Movies such as The Transformers and the recent super hero films have raised the stakes of massive battle sequences in an urban setting, but Pacific Rim enlarges the playing field even more.
Gundams, Evangelions, Laganns all relied on the pilots mind as well as skill which is fully represented in Pacific Rim.I can agree with people questioning the methods used to fight giant aliens and most people would assume large caliber weapons from distance rather than close combat but remember this is a world that invested trillions into a robot fighting force lets all pretend its a great idea...also remember it worked wonders for humanity until larger monsters started to break through.
In full 1080 on a big screen surround sound you can start to think this is what a Gundam movie might look like if Americans embraced it.Sadly most people who watch this film will be turned off by the worlds technical settings and obvious attempts to recreate Japanese anime.
The thing about a movie like this is, we all want to see the big robots fight the big monsters.
The effects are perfect and the design of the Jaegers and Kaiju are creative and on par with previous Del Toro's visual feasts like Pan's Labyrinth.The characters are very likable with special mentions to the great performances of Idris Elba, Rinko Kikuchi and Charlie Hunnam.Rinko Kikuchi in particular is very talented as she makes her character adorable and bad-ass at the same time.
For "kaiju-eiga" (Japanese monster movie) fan-boys, "Pacific Rim" has been one of the most eagerly anticipated summer blockbusters for several years now, and for good reason.
Now with "Pacific Rim," famed Mexican director Guillermo del Toro's big-budget take on the genre (as well as serving as a delightful homage to his childhood fan-boy obsessions in comic books, Godzilla, Japanese Anime', pop culture, and fantasy) has arrived.Equal parts "Avatar" (2009), "District 9" (2009), 1998 "Godzilla," Iron Man, "Top Gun" (1986), "Transformers," and del Toro's own fervent imagination (together with co-screenwriter Travis Beacham), and featuring an epic score by Ramin Djawadi (which comes close to rivaling the best of the famous Japanese film composer Akira Ifukube), "Pacific Rim" begins sometime in the near-future, when mankind is at war with giant, other-worldly sea monsters called "Kaiju" (the Japanese word for "monster") bent on our destruction.
And, it'll be impossible to miss him, but del Toro's regular go-to guy Ron Perlman (best known from del Toro's earlier "Hellboy" superhero movies and "Blade II") also shows up as a leather-skinned, back-alley Hong Kong black marketer named Hannibal Chau.As a director and screenwriter, del Toro has always given his films rich character and thematic depth, and philosophical complexity (and not to mention a fine sense of humor, which many big-budget blockbusters these days often tend to lack); "Pacific Rim" does not rank up there with his most famous picture to date, "Pan's Labyrinth" (2006), but it's actually much closer to his aforementioned "Hellboy" films and "Blade II" (2002).
The film's core theme revolves around the benefits of working together - "two heads are better than one," as they say - and this is taken to a somewhat literal degree here, in which empathy (the ability to understand another person's feelings) is seen as a bona-fide superpower in and of itself that is capable of allowing just two people to power towering robots to effectively battle an unspeakable threat to humanity.It is this purely humanistic touch that takes the spectacle away from the many dazzling special effects-driven action sequences that "Pacific Rim" has to offer and instead places it on the human characters at the center of it all.
If you like giant robots, Japanese style monsters, and are 12 years old or younger go see this movie, (chances are you will still hate it)..
I love all types of movies--on the one hand I like movies that really make me think, but on the other hand, I find enjoyment in movies where I can shut my brain off and just enjoy some good action (Transformers, Battleship, Fast and Furious, etc.) I never go into movies like that expecting some masterpiece of a story and acting, but at least it's enough to keep me entertained.That being said, I thought Pacific Rim was awful, the only redeeming quality of which was the CG.
You don't go to watch a love story and complain that there isn't enough action, so why do you go and watch a "robots Vs monsters" movie and complain that the plot lacked complexity?
If you are looking for a deep and twisting plot, an amazing love story, incredible realism, or a deep character development, watch a different movie.If you want bad-ass 25-30 story tall robots fighting bad-ass 25-30 story tall sea monsters, YOU'RE IN LUCK!
This Movie is so freaking Awesome even thought i didn't know the exciting of this movie until two weeks before it being released and i was not a fan of Del Toro or giant robots vs giant monsters but when i saw this movie i loved it very muchthe acting was OK 7/10 the characters really makes you care about themthe visual effects were awesome 10/10the plot was great 8/10but i had a little bit problems with the movie like why there is only on female character in the whole entire movie!and why didn't gypsy danger start the fight with that sword that he havebut just for your information the action sequences in the movie lasts for like 40 minutes!!!!!!overall:Best Robots vs monster movie in the history you can even see it with your family.
At first glance, 'Pacific Rim' may seem like Guillermo Del Toro selling out – it's his first blockbuster with a budget shy of $200 million, featuring giant robot battles.
Now, with the threat worse then ever, Jaeger commander Stacker Pentecost (Idris Elba) calls Raleigh back into action so that they can "cancel the apocalypse".'Pacific Rim' might not be as deep or nuanced as some of Del Toro's previous work, but as a giant monster movie it's faultless.
As pure entertainment, this is one of the best films of the year so far, it's a Kaiju movie that also looks and feels like a live- action anime film.
'Pacific Rim' looked to me like a mindless action movie in the trailer.
Guillermo del Toro's Pacific Rim was one of my most anticipated movies this summer. |
tt0088161 | Splash | While on a boat at Cape Cod in 1964 with his family, Allen Bauer sees something in the water and dives in, much to the alarm of his family. Unknown to them, Allen has actually seen a little mermaid. However, no one else sees her as Allen is plucked from the water and returned to his parents, much to the sadness of the mermaid as she watches the boat leave.20 years later, Allen (Tom Hanks) now runs his family's produce distribution business, as well as continues his boyish search to find true love. Along with his feelings, Allen must also contend with his lecherous but still caring brother Freddie (John Candy), who takes love a bit less seriously than his brother. Allen lives with his girlfriend but she breaks up with him over the phone, leaving Allen depressed and despondent.After attending the wedding of a work associate (Bobby Di Cicco), Allen gets drunk and for some reason, decides to go to Cape Cod while his brother runs off to Rio de Janeiro with two attractive single women. Arriving at the Cape, Allen comes across a short-tempered scientist named Cornbluth (Eugene Levy), who is there to search for mermaids in the waters off the town (unknown to his two bumbling crewmembers, or Allen).Allen charters a small motorboat to get to a nearby island, but a mishap sends him over the side. After almost drowning, Allen finds himself on land with a beautiful naked blonde woman (Daryl Hannah), who quickly disappears back into the water (once in the water, her legs become fins, unseen to Allen). Allen pleads to know who she is, but she does not respond.In the water, the mermaid finds Allen's wallet, and swims away, but not before having a chance encounter with Cornbluth. After swimming away, she goes to a sunken ship, and using the information in his wallet and some old maps in the sunken ship, finds out where Allen lives.A couple days later, Allen returns to New York, and on the same day, the mermaid shows up naked at the Statue of Liberty, with Allen's wallet. Allen receives a call from the NYPD, and heads to the station where the girl is being held. After she is released into his custody, Allen takes her to his apartment.The next day, Allen shows up for work happier than usual, much to the shock of Freddie, to whom Allen decides to give more of the responsibility of the family business. Upon returning home later in the day, Allen is shocked to find the woman is missing. The doorman claims she got in a cab going to Bloomingdale's, and Allen heads there immediately. He finds her there with a whole new wardrobe, and also finds that she is now able to talk. When Allen asks how, she explains that it was by watching television in the store's electronics department. As they walk home, Allen tries to ask her where she's from, but she is scant on details, only to say that she can only stay for 6 days, before the moon is full. When asking her for a name, the concept seems foreign to the woman. As he notes that they are approaching "Madison Ave," the woman decides she likes this name, and so Allen decides to call her Madison.Allen then spends the next couple days away from work getting to know Madison. One evening, he hears her in the bathroom with the door locked, and the water running. When he asks to be let in, she panics and demands that he wait. Allen instead grows worried when he hears a strange thump on the floor (Madison's legs had transformed in the water and she'd flopped out of the tub), and knocks in the door, finding Madison wrapped in a towel on the floor, claiming she didn't want to let him in because she was "shy."The next evening, Allen gets Madison a gift, and takes her out for a walk. When the come across a fountain with a mermaid on it, Allen recounts how it reminds him of something, but can't recall just what. Allen also notes that they are planning to remove the fountain and build condo's in the area, which Madison finds sad, thinking the fountain is beautiful.Freddie then informs Allen that he has managed to get tickets to an dinner event that the President of the United States will attend. Allen is impressed, but asks if he can take Madison instead of Freddie along. Freddie playfully teases his brother that he's in love, but Allen insists he's not. Allen goes on to explain that he just isn't sure, and that something just seems strange when it comes to Madison, noting the incident with the TV's as well as the bathroom.Meanwhile, Madison's appearance at the Statue of Liberty has made it into a local tabloid. Cornbluth sees the story, and informs his colleagues in New York. However, one of his colleagues named Dr Ross finds Cornbluth's mermaid theory to be ridiculous. Cornbluth is sure that when she is not in the water, the mermaid's fins become legs on dry land. He then sets out across New York attempting to find Madison and throw water on her. In his attempts, Cornbluth ends up offending the same couple twice and is beaten up.As the days tick away before Madison leaves, Allen attempts to ask her to marry him. However, she refuses Allen's offer, and he grows irritated at her, regarding how secretive she has been about where she comes from. Madison then runs away, and Allen attempts to find her, before returning to the produce center. Shortly after arriving, Madison returns, and this time decides to accept Allen's proposal.Allen is eager to get married now, but decides to do so after the event with the President, planning to drive to Maryland to wed. During the dinner, Madison decides she'll tell Allen her big secret and he agrees to leave with her so they'll have privacy. However, as the two of them are leaving the event, Cornbluth sees Madison, and ends up spraying her with water, revealing her secret to Allen, and to a contingency of press.Both Allen and Madison are taken to a secret location in the New York Natural History Museum, where Allen is also suspected of being part-fish. Allen and Madison are kept in isolation, but Madison is soon put into Allen's tank. She attempts to apologize for not revealing her secret, but Allen silently refuses to listen to her.After it appears he is not of Madison's species, Allen is released, only to be mobbed by press outside his apartment. Freddie manages to get Allen out of there, and they return to the office at the family business. Allen is still upset that in his search for love, the one girl he fell madly in love with has turned out to be a fish. Freddie chastises Allen for his attitude, claiming that in the last few days, his brother has been happier than he's been in years and certainly happier than (Freddie) has ever been with a woman.Cornbluth meanwhile, has been allowed to view Madison, but has not been allowed to voice opinions regarding her care and well-being. The scientist in charge of project, Dr Ross, explains his plan to see how Madison reacts to other marine life before his people dissect her. Cornbluth voices his dissension, but Ross just chides him along.Now feeling miserable for what he has done, Cornbluth is surprised when he is found by Allen at the dentist. Allen has decided that he loves and wants to save Madison, and needs Cornbluth's help.Along with Freddie, the three of them infiltrate the lab, and make off with Madison, leaving Freddie behind to distract them for a bit. Cornbluth and the two brothers impersonate Swedish biologists and are able to bluff their way past the half-Swedish guard when Freddie speaks his language having learned it from watching watching Swedish pornography.Madison's escape is soon found out, and the military begins a chase through the Manhattan streets. Cornbluth at one point jumps out in an attempt to buy some time, but ends up almost being run over.Finally, off a pier on the Hudson River, Madison and Allen say their farewells, with Madison explaining to Allen that he can come with her, but if he does, he cannot come back to land. It is also here that she finally reveals that she was the little girl he saw in the waters off Cape Cod, and Allen is overjoyed to know that it was all real.As the military at first closes in, Allen has Madison swim off, but as he watches her leave, he dives in after her, though he is unable to swim. Just as when he was a boy, Madison rescues Allen, but soon, the two have to contend with divers trying to stop the two of them.After a small skirmish, Madison grabs Allen's hand, and they swim away. Thanks to a kiss by her, Allen is now able to breathe underwater, and after some time swimming, they make their way to a distant underwater kingdom. | romantic, entertaining, flashback | train | imdb | Tom Hanks is charismatic and likable enough and was perfectly cast as Allan Bauer, a successful businessman who falls in love with a beautiful mermaid named Maddison.
SPLASH (1984) **** Tom Hanks, Daryl Hannah, John Candy, Eugene Levy, Shecky Greene.
Excellent fantasy comedy directed by Ron Howard about produce salesman Hanks who, unbeknownst to him, falls in love with a mermaid (innocently played nicely by Hannah) in Manhattan and asking the immortal question: Is love blind?
Great acting from Tom Hanks and Daryl Hannah and a story line that can be taken funny as well as seriously.
Clever man meets mermaid comedy with Hanks fitting the bill as a lonely New York bachelor who falls in love with winsome mermaid Hannah.
Over-achieving little film that was directed by Ron Howard and stars Tom Hanks as a young man who finds the woman of his dreams (Daryl Hannah).
Splash is a really well-made Hollywood fantasy comedy, with early Tom Hanks already developing into the charismatic everyman and Darryl Hannah and John Candy at their best.
But under the comedy and sweetness I have always thought there was a disturbing undertone of extreme pessimism--just what kind of ugly and cruel society do we live in, in which the mermaid Madison's only prospect is that she will be tortured, from which Hanks' character ultimately has to flee, never to see his beloved brother again?
Not that we are dating mermaids, but it is a movie that has Alan (Tom Hanks) in a very real situation of been in love with someone who he is trying to figure out who she is but she wont give the answers or really open up.
The boy never forgets about what happened that day, although everyone insists he was hallucinating.Years later, now a man (and played by Tom Hanks), another trip to Cape Cod brings dejavu: Hanks falls off of a tour boat and is rescued by an all grown mermaid (played by Daryl Hannah).
A mermaid (Daryl Hannah) falls in love with a man (Tom Hanks).
But that's about it.I found the movie very slow (this does NOT need to go on for 2 hours); Levy was horribly unfunny as the scientist; John Candy (who could be good in the right role) is also unfunny as Hanks' brother; there are plot loopholes you could drive a truck through; I really didn't find it all that funny (I think I laughed 5 times--that's not good for a 2 hour movie); we have the boringly predictable military as the enemy role and there's an ending I just couldn't buy at all.The only scenes that really work are with Hannah and Hanks.
SCTV funny-men Eugene Levy (as Walter) and John Candy (s Freddie) try to choke some laughs out of their roles, but the comedy herein is dead in the water.
Barely.**** Splash (3/9/84) Ron Howard ~ Tom Hanks, Daryl Hannah, John Candy, Eugene Levy.
Tom Hanks, Ron Howard and Brian Grazer are legendary names in Hollywood today, and it's impressive how far they've come from a story about a woman emerging naked from the sea to flop into the arms of a 20-something produce distributor.Distilled to its essence, "Splash" is just that – a lonely bachelor's fantasy played out on screen.
It's what writers Lowell Ganz and Babaloo Mandel (who previously collaborated with Howard and Grazer on "Night Shift"), with Bruce Jay Friedman ("Stir Crazy") do to craft this hetero-male daydream into an entertaining fish-out-of- water story (literally?) that gives it real legs (sorry).Although viewers (mostly men) will be drawn to this fantasy pretty quickly, Daryl Hannah also gets to play a goofy, atypical female lead role, which can't be underestimated in the film's success.
Whether it's naked Madison emerging on Liberty Island and not thinking anything of it, the excellent bathtub scene or the deranged Walter Kornbluth's (Eugene Levy) attempts to expose Madison to the world, these create highly memorable and impressionable moments whether you're a kid seeing this movie on TV for the first time or a casual fan of light comedy looking to be entertained.With a little more story and character development (Why is there a coral reef in Cape Cod and why would a mermaid be there on her own?) and the avoidance of deus ex machina, "Splash" could have even gone beyond fantastical comedy and become something a little more meaningful.
And after watching it for the first time recently, the relationship build up of Allen (Tom Hanks) and Madison (Daryl Hannah) seemed a little flimsy in my opinion.
And that's what's so strong about this movie other than the comedic performances of John Candy and Eugene Levy is the chemistry of Daryl Hannah and Tom Hanks.
This is one heck of a great family film, wich could be enjoyed by young and old.The youthful energy of Tom Hanks just splashes across the screen in this movie.
We Flow Together Once & Forever Love Came For Me. My brother bought this for me on DVD as a Christmas gift in 2006, every year on Valentine's Day I watch it because I'm a big fan of the romantic comedy genre.Director Ron Howard with the help of writing team Babaloo Mandel & Lowell Ganz created a timeless, funny and enchanting romantic comedy that's so magical it's also classic.
His portrayal of a lonely businessman who falls for a woman with a secret was comical and sweet.Darryl Hannah is lovely and whimsical as the mermaid, she doesn't act like a dumb blonde but rather a curious beauty trying to navigate through a world she's never been in before.
The song Love Came For Me sung by Rita Coolidge during the part where the happy couple swims away together and while the credits rolled was a moving moment.Splash is one of 1984's best films not just for the comedy but also for the romantic fantasy displayed,I'd give it a 6.9/10..
an unusual,quirky,warm,believable,lovable and some what funny love story between a human man and a 'REALLY ATTRACTIVE,ENCHANTING mermaid....one fine summer day,an 8 yr old boy was rescued from drowing,off the coast of cape cod when he was vacationing with his family by a 'strange,fairy-like',girl of his own age,who seemed to appear mysteriously from nowhere.20 years later, as fate would have it,he again drowns in an ocean one day and the same girl,(now both grown up),comes to his rescue.later on,she eventually comes to search for him out of the water,finds him,then eventually comes to live with him and they fell madly in love with each other.but she has a terribly guarded secret.just what could it be that she's guarding so painstakingly??!!!.confusion and chaos happens when the man she loves and the world finds out about her 'odd secret'...a must watch especially for lovers of warm,soft and yet a different type of romantic movies!!!....definitely!!!..
Since then I've always tried to catch it every time its been on TV over the past few years, and unsurprisingly it is quite often thanks to it being a wonderfully moving, feel good film that features superb performances from a talented cast along with a terrific script and Ron Howard's splendid Direction.
So I ended up seeing it for the first time in over a year today and it was just as refreshing and joyful as it was for me before.Tom Hanks and Daryl Hannah are brilliant in the leads and have a lovely chemistry together that really makes the film work so well and must be one of the best if not THE best chemistry i've ever seen in a romantic comedy.
However, another large factor that makes it work is the comedic elements that are played to perfection by John Candy and Eugene Levy, although Hanks and Hannah get several as well.
"Splash" is the story of a love between a new york Bachelor and a mermaid he meets in Cape Cod. She saves him from drowning and eventually meets up with him in the big apple.
Tom Hanks, Daryl Hannah, Eugene Levy and John Candy give fantastic performances and the New York images are just breathtaking:)Katrina.
It always seems so fresh to me.It is a light romantic comedy, with a young Tom Hanks, lonely, going through life with mismatched relationships, until by chance he meets a mermaid.........and then the film progresses from there.The acting by the leading characters seems so natural; they are not trying too hard to be slapstick funny, but through the great dialog, direction and timing, they make it a thoroughly enjoyable film to watch.
Splash is one of those romantic comedies that leaves viewers entertained and enchanted at the story about the love between a man and his mermaid girlfriend.
The chemistry between Tom Hanks & the gorgeous Daryl Hannah was charming and sweet, they made a cute couple in this adorable movie.When Allen Bauer was eight years old he had an accident while on vacation with his family, he fell off a ship into the water and was rescued by a mermaid (MacKarvich).
20 years later Allen, (Hanks) is grown up and running his father's fruit produce business with his older, bachelor fun loving brother Freddie (Candy).One day Allen returns to Cape Cod because of old memories, to this day he still remembers the accident but doesn't know for sure if there was a mermaid.While heading to Cape Cod Allen has another accident and is rescued by the same mermaid, she travels to New York to find the man she saved twice.
Meanwhile scientist Dr. Walter Kornbluth (Levy) is determined to find and show people that this girl is a mermaid, after a few days Allen's fallen in love with her not knowing why she acts so strange or comes from a place with no music, ice or clothes.
I found this movie to be enchanting and very romantic, Eugene Levy's performance as the mad scientist was comical and funny, John Candy's laughable and his role as Allen's brother was hilarious..
Tom Hanks and John Candy are simply brilliant and never looked back, while Daryl Hannah is cute, sexy and believable as the mermaid.
Alan Bauer (Tom Hanks) is knocked off his boat, only to be saved by non-speaking mermaid, Madison (played weakly by Daryl Hannah).
They fall in love and she moves to New York to live with him.However, this mermaid/man relationship has its drawbacks as Madison struggles to find living on land easy, and her vocabulary is limited, at best.Adding to the chaos and drama, (played by Eugene Levy, last seen in the 1999 teen flick 'American Pie') is a scientist determined to capture Madison for testing.So with the help of Alan's older brother Freddy (funny-man John Candy), they try and free Madison so that they can live 'happily ever after'.A nice romantic comedy with a great sequel (Amy Yasbeck is a better actress than Daryl Hannah, in my book).
Tom Hanks and Daryl Hannah supported by Eugene Levy and John Candy are hilariously divine!!!
He lovingly gives his advice to Tom Hanks' character in a way that only a pervert could love!Eugene Levy, the pesky scientist-turned-mermaid-seeker, is funny and clever in his antics.
He ends up scoring a broken arm, busted tooth, and a damaged reputation.I would have loved to see a "Splash II", but considering that it would all have to be filmed underwater, I don't think anyone would give it a try.Tom has gone on to make it big with such greats as "Saving Private Ryan", "Forest Gump", and "That Thing You Do" but I still consider his "debut" to be "Splash".
Its not a great movie by any stretch of the imagination but I cant say I'm disappointed with it either.+John Candy+Music brings charm to the romance+doesnt try to do too much-A bit too silly at times-Predictable-PG rating?6.2/10.
Tom Hanks breaks out in this light, charming, modestly funny fish-out-of-water comedy (har har) about a man's lifelong encounters with a lustily enamored mermaid.
Ron Howard directed this hit comedy that stars Tom Hanks as harried businessman Allen Bauer, who as a young boy almost drowned off Cape Cod, but a young mermaid saved his life, and many years later as adults, when the same thing happens again, the mermaid(played by Daryl Hannah) follows Allen home to New York, where she comes ashore nude, making quite an entrance!
Every man's (and boy's) fantasy is played out when the beautiful Madison (Hannah), who happens to be a mermaid, comes to shore looking for the man she loves, Allen (Hanks).
Tom Hanks and Daryl Hannah are both superb in this, and John Candy is absolutely brilliant in a supporting role.
This one of Tom Hanks' earlier movies, where he stars as Allen Bauer who is looking for true love, and finds it in Madison (Daryl Hannah) whom, unbeknown-st to him, is a mermaid.The romance and chemistry between Allen and Madison are pretty heartfelt and touching, with Allen looking to balance his busy work life and finding a companion to Madison adjusting to life in the city.
Her only have seven days to remain in the human world before she returns to the sea serve as a pretty suspenseful backdrop to the story.Not bad acting from Tom Hanks and Daryl Hannah, with a steady-paced plot that can be both dramatic and funny.
Hanks is a busybody who runs into the mermaid again, except he doesn't recognize her (would you?, and he falls in love with her.My favorite scenes are the Statue of Liberty scene, the department store scene with the TV sets and where she learns English, and where Eugene Levy is spraying the wrong people with water trying to prove that she's a mermaid.This is a must for anybody who loves comedy and a movie with Tom Hanks, Darryl Hannah, and/or John Candy in it.
Here he stars alongside a very attractive Daryl Hannah in a nice little romantic comedy that at one point gets rather risqué for a PG rated movie during a certain emerging at the Statue of Liberty scene.
In the first of Ron Howard's and Tom Hanks' collaborations, Hanks stars as Allen Bauer, an unlucky in love man who travels to Cape Cod, where he meets a beautiful woman, who has a secret, she is a mermaid.In perhaps a forgotten gem of the 80's, Howard delivers a heart warming tale about one man and his unlucky in love life, and how the extraordinary can bring out the hearts desires in a truly good funny and ultimately tale.Hardly his best role, Hanks still delivers in a cliché hero role as Allen, someone all men can relate to.
Before both Ron Howard and Tom Hanks became known for making gooey message movies, they teamed up on this very likable comedy.Hanks plays a man searching for love and finds it in the form of Daryl Hannah.
Eugene Levy is a scientist who wants to capture the mermaid for his own fame, and John Candy is Hanks's loud-mouth brother.Full of memorable scenes, like Hannah scarfing down a lobster, shell and all, at a posh restaurant.
The plot of course has unfulfilled clerk Allen Bauer (Tom Hanks) meeting up with a mermaid (Daryl Hannah) who turns his life upside down.
Tom Hanks meets a mermaid played by Daryl Hannah when they're kids, then meets her again years later in New York when she saves him from drowning.
The highlight of the movie is certainly the chemistry between Tom Hanks and Daryl Hannah, it is very sweet, at times quite heartwarming, it was certainly a complicated relationship to pull off and they did not seem to have any trouble with it.
The leading actors and actresses do a remarkable job; some being Tom Hanks as the man in love and Daryl Hannah as the beautiful and hilarious mermaid.
John Candy plays Tom Hanks' older brother with Eugene Levy playing a crazy scientist who tries to prove that mermaids exist.
John Candy plays Tom Hanks' older brother with Eugene Levy playing a crazy scientist who tries to prove that mermaids exist.
These two provide some of the film's hilarious comedic moments.The romantic chemistry between Hanks' Allen Bauer and Hannah's Madison are just well done.
These two provide some of the film's hilarious comedic moments.The romantic chemistry between Hanks' Allen Bauer and Hannah's Madison are just well done.
Later, Allen realizes that Madison was the little girl mermaid that rescued him when he was a young boy in the film's opening flashback sequence.Splash was directed by Ron Howard, who is, of course, one of Hollywood's great filmmakers.
Later, Allen realizes that Madison was the little girl mermaid that rescued him when he was a young boy in the film's opening flashback sequence.Splash was directed by Ron Howard, who is, of course, one of Hollywood's great filmmakers.
Splash is a fantasy romantic comedy film directed by Ron Howard, written by Lowell Ganz and Babaloo Mandel, and starring Tom Hanks, Daryl Hannah, John Candy, Eugene Levy, and Dody Goodman.
Splash (1984): Dir: Ron Howard / Cast: Tom Hanks, Daryl Hannah, John Candy, Eugene Levy, Richard B.
Tom Hanks, Daryl Hannah, Eugene Levy and John Candy star in Ron Howard's 1984 fantasy-comedy.
Ron Howard does keep things very jovial, and this, along with Tom Hanks' infectious turn as the love-lorn mermaid admirer, probably makes the pic the reasonable entertainment that it is.Daryl Hannah is a little wooden in the movie that made her a household name, and John Candy plays Tom's slovenly brother.
Splash is a Touchstone Pictures romantic fantasy comedy about a young man named Alan(played by Tom Hanks)who hasn't any luck with women.
Overall its a thumbs up if you love romantic fantasies and Tom Hanks in general along with mermaids.John Candy as Freddie is hilarious in this movie RIP John Candy..
Good early movie with Tom Hanks, by Ron Howard..
Such is the case with Daryl Hannah in SPLASH.**Spoilers ahead**Daryl's portrayal of MADISON, a mermaid who comes to New York with nothing but a lost wallet she found that belongs to ALAN BAUER (Tom Hanks), is brilliant.
Tom Hanks does a fine job as Allen Bauer and Daryl Hannah is great as Madison; making her unbelievable character believable.
Splash (1984): Tom Hanks, Daryl Hannah, John Candy, Eugene Levy,, Shecky Greene, Dody Goodman, Richard B. |
tt1054122 | Goemon | As a child, Ishikawa Goemon's (Yōsuke Eguchi) entire family was assassinated for political reasons. His mother (Ryo) sent Goemon away for safety minutes before he witnessed her death. Running away with his caretaker, they were attacked by bandits but he was saved by the great Nobunaga Oda (Hashinosuké Nakamura). Goemon followed Nobunaga and Hattori Hanzō (Susumu Terajima) was assigned to train him in the ways of the shinobi (ninja) along with his martial brother, Saizō (Takao Osawa).
After many years of training, Goemon was assigned to protect Oda's niece, Princess Chacha (Ryōko Hirosue). They developed feelings for each other, but status differences kept them apart and eventually she departed. Before leaving, Chacha gave Goemon her favourite fan as a memento. Oda rewarded Goemon's faithful protection of Chacha by giving him his double-bladed sword. Meanwhile, Oda's generals, Toyotomi Hideyoshi (Eiji Okuda) and Akechi Mitsuhide (Kazuaki Kiriya), conspired to kill Nobunaga. The two made a secret written covenant, placing their signatures onto a black scroll. Mitsuhide, not trusting Hideyoshi, had his men hide the contract. After assassinating Nobunaga, Hideyoshi betrayed and killed Mitsuhide, took credit for slaying Nobunaga's killer and became the next ruler of Japan. With Nobunaga dead, the two young ninjas parted ways for different pursuits: Saizo hopes to be elevated to Samurai status and chose to remain in service to Nobunaga house, but Goemon chose to leave and be free. As a parting gift, Goemon broke his double-bladed sword in two and gave one-half to Saizo.
Years later, Goemon became a master thief and something of a Robin Hood. Sarutobi Sasuke (Gori), an inexperienced bounty hunter, tried to arrest Goemon, but failed and became his private servant instead. During a festival, Goemon infiltrated and robbed a treasure repository that contained a mysterious box with foreign writing on it. Ishida Mitsunari (Jun Kaname), a high-ranking samurai under Lord Hideyoshi, tried to retrieve this box to destroy it, but Goemon escaped with it, leaving behind only his calling card: a red sticker with the Japanese character "Go" on it. Goemon, unaware of the value of the box, threw it away and distributed the gold to the poor. A young pick-pocket, Koheita, picked up the mysterious box and kept it as a memento. The following day, Goemon learned of the box's value from Sasuke. Intrigued by the box, Goemon returned to the city to find it. Searching around the slums for the box, Goemon heard a scream and finds Koheita and his mother, who had just been callously murdered by cruel and petty local samurai. Goemon saved Koheita and retrieved the box, but also took Koheita under his wing.
Saizo and his ninja squad, working for Mitsunari, appeared and confronted Goemon. Refusing to turn over the box, Goemon fled and was pursued by Saizo's ninjas. Goemon evaded all of his pursuers except Saizo, who remained close behind him. In a showdown between the former brothers, Saizo informed him that the box Goemon carried was referred to as a "Pandora's Box" by foreigners, and the two engaged in a duel. After Goemon was overpowered and about to be killed by Saizo, Hattori Hanzo appeared and intervened, causing Saizo to withdraw. After returning to the city, Goemon examined the "empty box" and discovered a map to a mysterious treasure. Following the map, Goemon and Sasuke were led to the destroyed Buddha statue where Akechi Mitsuhide had hidden his contract with Hideyoshi. Goemon became angry once he learned that Hideyoshi was involved with Nobunaga's death. Hattori Hanzo then reappeared, under the command of Tokugawa Ieyasu (Masatō Ibu). Hanzo offered his old student a bag of gold for the contract, which Goemon readily agrees to. Seeking vengeance for his murdered lord, Goemon infiltrated Lord Hideyoshi's castle, where he killed Lord Hideyoshi and discovered Princess Chacha. Startled by another person entering, Goemon hid himself in the ceiling of Chacha's room, losing Chacha's fan as he did so. To Goemon's surprise, the real Hideyoshi entered the room. Goemon had only killed his fake double. Suddenly, one of Lord Hideyoshi's guards discovered Goemon and shot him in the chest, blowing him out of the castle and into the moat. Later, Goemon was secretly rescued and recovered by Saizo.
Goemon was then contacted by Hanzo, who took him to a waterfall to meet Chacha. The princess had come to bid him farewell and returned the fan as she had reluctantly agreed to become Hideyoshi's concubine. Afterwards, Lord Tokugawa arrived to ask Goemon to assassinate Hideyoshi in order to save Chacha and the country. Elsewhere, Lord Mitsunari offered Saizo samurai status in return for killing Lord Hideyoshi. Goemon and Lord Tokugawa crafted a plan to assassinate Lord Hideyoshi during a celebration on his royal boat, but upon receiving his secret signal, Goemon changed his mind and did not complete the plan. Moments later, all of Lord Hideyoshi's escort ships were destroyed by explosives set by Saizo and his team; they captured Lord Hideyoshi and tried to assassinate him by hanging him from the ship's mast with a steel chain. Lord Mitsunari, believing Lord Hideyoshi to be dead, then turned on Saizo and shot him. However, Lord Hideyoshi survived the assassination attempt and Saizo survived the gunshot wound. Lord Hideyoshi, unaware of Lord Mitsunari's betrayal, interrogated Saizo and threatened to kill Saizo's family unless he revealed who hired him.
Meanwhile, Goemon tried to rescue Chacha, but because Lord Hideyoshi was still alive, she refused to leave. Later, against Sasuke's warnings, Goemon rescued Saizo from prison. Unfortunately, Lord Mitsunari killed Saizo's wife in reprisal and left a note on her body telling Saizo he had taken Saizo's child. Saizo was later recaptured and Lord Hideyoshi decreed Saizo should be boiled to death during an elaborate public execution. Hideyoshi told Saizo he would spare his child's life if he would reveal his name so he falsely identified himself as Goemon. Yelling in the huge crowd, Goemon tried to stop the execution but he could only watch in horror as Lord Hideyoshi kicked Saizo into the cauldron and then threw in the child. Sasuke, in shock over all of the carnage, blamed on Goemon and abandoned him.
With the help of Saizo's surviving team, Goemon stormed through the palace and eventually reached Lord Hideyoshi. Goemon wanted to know why Lord Hideyoshi had betrayed Lord Nobunaga. Hideyoshi explained it was his insatiable hunger for power that had driven him and Goemon eventually killed him. With Hideyoshi dead, there was a power vacuum that the strongest fought for. Tokugawa and Mitsunari raised their own armies to decide who would be the next ruler of Japan; but Goemon, tired of all the deaths and suffering, decided to intervene.
Goemon charged into the battle, wearing Lord Nobunaga's armor and carrying the repaired double-bladed sword. The armies were fearful and confused as they saw the crimson armor of Nobunaga. Goemon fought through the armies until he confronted and killed Mitsunari during a solar eclipse. Superstitious over the eclipse, Mitsunari's army fled in fear. Goemon then charged through Tokugawa's army, but Hattori Hanzo appeared and intercepted him mid-way. Goemon immobilized his former master by pinning Hanzo's foot to the ground with a broken sword blade. Approaching Tokugawa, Goemon closed the distance seemingly with apparent intent to kill, but was intercepted by Sasuke (who had joined Tokugawa's army). Mortally wounded by Sasuke, Goemon staggered and it was revealed that he was only holding Chacha's fan; instead of trying to kill Tokugawa, Goemon only planned to get him to promise that there would finally be peace and then leave. Goemon tries to make his way back to Chacha, but falls to the ground from his wounds. In his final moments, he admires the fireflies and stars while Chacha cries, never to see Goemon again. | depressing | train | wikipedia | I rather hate those movies that pack the trailer with best they have and then there's nothing left than those 30 seconds of glory.A pity I can't talk about the story to avoid spoilers, at this time I would just explain why it was excellent for me:*the way Kiriya re-wrote this little piece of history and made a great thing out of it and one worth watching in a movie.*it has anything that a blockbuster shall have but keeps a pure and decent heart and yes, done at an extremely low budget under one million $.*the CG is (in my opinion) not intended to look like Iron Man Hollywood stuff but rather like Final Fantasy and I really hope people not being snobs about this because this is not the point.
Besides, I never felt that the CG isn't good or not good enough, I didn't even feel it was a CG because the story moves on so fast and takes you in its stream, you don't have the time or need to think twice.*there are no gaps and goofs or illogical actions in the story line*the style is very solid: the mix of Asian/Western costume design or architecture is continuous through the entire movie and nothing looks like a mistake or an accident or bad taste.
The mix of true historical elements and modern elements (dance, etc) keeps things real while traditional elements (like the firefly) constantly remind us it's also a fairy tale that we are watching.*you will get to see all martial arts you would dream of and better than that though you will not get tired with repetitive & unnecessary war/fight scenes.*the cinematography is amazing at all times thanks to the elaborate costumes and architecture but the way that camera moves is one of the best new things too.*all actors match their roles, great casting and especially the lead actor Eguchi Yosuke is so universally good, he could stand right next to Johny Depp in let's say Pirates of the Caribbean and be as good at it.
Hirosue Ryoko is also a wise choice and quite familiar to us from her earlier international hit Wasabi or the recent Academy Awards winning "Departure"(Okuribito)Last I shall say, I'm not that much into (Japanese) directors trying rather desperately to impress the (Western) world through their forced/artsy/bloody/cruel/avant-garde/decadent/sexual stuff, I think a nicely shot good story is what we all badly need and this is the hardest part of it to get a thing that will improve human race.
"Legend of Goemon" reminded me of of "Casshern", that movie was also directed by Kazuaki Kiriya.
The movie is a feast for the eyes from the beginning till the end, and superior to Casshern in acting, music, story and character-development.Also, the budget of this movie was a mere 9 million dollars!!!
"Ninja Assassin", from last year, made in Hollywood, was produced on a 40 million dollar budget and is a lesser movie in all areas compared to "Legend of Goemon".I totally agree with all the positive reviews of this movie and want to only mention that if you're looking for a live-action anime kind of movie and you like moveis with lots of ninja-action you MUST watch legend of Goemon as soon as possible!.
On the other side of the coin, Lord of the Rings, though amazing for its depiction of monsters and creatures of the imagination, ultimately had the purpose of bring THEM into OUR world.GOEMON, like Casshern, is an attempt to bring us into another world, similar to our own but in so many ways, different.
The vitality of the film is its lust for a life of its own and, its characters, while largely archetypal, serve the mythic aspects the story perfectly, because that is what myths are made of.GOEMON is a film that shouldn't be weighed against standards set outside its context.
This fantastic tale of Goemon, a master-less shinobi turned master-thief, is a compelling action drama, with some genuinely funny light-hearted moments.Like a mixture of Batman and Robin Hood, Goemon is a man unto himself, and a national hero.
He lives by his own rules until his self-proclaimed freedom meets his past, and one robbery starts a chain of events set to turn his life upside down.It's a great story of vengeance and betrayal, and if you add that to some great acting by the leads Yôsuke Eguchi (Goemon), and Takao Osawa (Saizo), and put it all through the beautifully shot stylings of Japanese cinema, you get this enthralling piece.Only a couple of clichés in plot development and editing stop me from scoring the film higher, but with such minor faults, I couldn't recommend it more!.
I watched this movie without any expectation, but I have to say, this is one of best movies I ever saw.Japanese traditions and feelings, samurai history, epic battles and yes, a lot of lies with not so good special effects, but it really doesn't matter.The movie starts a little slow, it has almost 130 minutes long, and could be resumed to 100 easily.
Helmed with a bold fresh eye for visuals by Casshern director Kiriya Kazuaki, Goemon is a multi-layered historic action epic tinged with fantasy and impressive swordplay.
With elements of Western legends such as Robin Hood and the mythical Pandora's Box thrown in, Goemon is ultimately the story of one man's battle with his need to be free and his destiny.The film perhaps would've been better in two parts, or even as a trilogy, to allow time to completely unlock each integral character's own story and ambitions.Goemon is a stunning visual treat, but too convoluted in essential plot points.
After all, that's the only feature film he had done since, and it comes with plenty of CG used to create backdrops which no longer existed, and effects used to overload the senses, making what's on screen seem very much like a computer generated comic book, with characters possessing superhuman prowess that are of course second nature since nothing is impossible in the virtual world.
I had the opportunity to view this film on board an airplane, but it's a good thing I held out in the hopes that it'll make it to the big screen here, since Kiriya brings back the same technical formula for the telling of his tale of legendary ninja bandit Goemon Ishikawa.Played by Yosuke Eguchi in the titular role, the folklore of Goemon is just like that of Robin Hood, where a man of nobility becomes the bandit of the land, robbing the rich and distributing the wealth obtained to the poor to ensure the narrowing of the rich-poor divide.
This of course allows Kiriya to heap on loads of artistic license in his tale, which is relatively complete with an origin story, political intrigue, a romance and plenty of fight sequences which will make the action junkie in you whoop for joy.Which of course is the mainstay for anyone who's watching this.
If there's a minor gripe, then it'll be moments where such powers get forgotten, which of course helps the narrative at its convenience, otherwise we'll be faced with an indestructible superman that will make it rather boring.Themes of friendship, loyalty, betrayal and vengeance become staple in this period fantasy film, especially when we learn of Goemon's allies, which include his ninjitsu peer Saizo, played by Takao Osawa whom I thought resonated more with the story given the plight he got put through.
Also, the episode with Saizo highlights how Kiriya focused a little more on the emotional aspects of the characters involved in its more dramatic moments, and the writer-director's knack of fusing together historical events (such as the Battle of Sekigahara and the ascension of the Ieyasu Tokugawa) and personnel into the narrative, making it a richer experience for the audience, and lending itself some grandeur in terms of epicnessDespite clocking slightly over two hours, there are enough twists and turns here given changing loyalties, and supporting role appearances by other legendary characters such as Hattori Hanzo (Susumu Terajima) the famed swordsman.
Ryoko Hirosue has a flower vase role here as the love interest of Goemon who decided to do a noble thing of being sacrificed as a concubine of the deranged warlord, but does little else other than to continue reminding Goemon how infatuated he is with her.The initial moments do require some getting used to as the visuals are built upon CG created landscapes, but it'll soon build on you that without which a film like this could probably not be easily made.
It's Kazuaki Kiriya's signature visual style, and I had enjoyed Goemon very much so when it found some balance between its action scenes, and its dramatic moments.
I will always remember the part of goemon buro, as the story took a complete twist from the real history which kiriya and Osawa hugly impress me for this part onwards.Neverless i will be also waiting to get a blueray verion of this for the parts which impress me and Osawa acting on this.
Horrible, Boring and Stupid.Horrid sets not out of place from a '50s technicolor yuchfest, squallid costumes, pointless dialogue, monodimentional characters (this fault is almost made up by the abundance of pointless supporting), bad CGI - that alone often spells death from a martial arts action flick, and Goemon is nothing more - soppy story and truly dreadful acting, make this horrible piece of filmcraft easily comparable with Transfomers 2: easy to see how it must have cost a lot to make, and almost impossible to see how it could have been made with no redeeming qualities whatsoever.The film takes the legendary character of Goemon Ishikawa and ..
"Goemon" was a movie that I had really looked forward to watching, after having found it by sheer luck on Amazon and then read reviews about it.And having seen it now, I feel somewhat disillusioned.
There is a lot of levels to the story, and also a really great plot that offers some nice surprises along the way.As for the people cast for the movie, well they did great jobs with their characters and they put on good acting performances.
However, the Japanese friend I saw the movie with only did slightly better at following the interchangeable characters and convoluted storytelling.*The acting was so-so.
but don't look him up just yet or you may ruin the plot.If you don't like fantasy-style ninja films then there's not much point watching this, because it's wire-fu tripped out on CGI - which, admittedly, was a little jarring at first, but the style thankfully soon grows on the viewer.As for the story itself, the eponymous master thief ninja steals something along with gold intended for peasants, which kick starts just over 2 hours of political intrigue and high octane action...
so, since I love ninjas and action, why the medium score?I won't fault the CGI because otherwise, the film could not have been fully realised, but I can see how it would turn many off; the characters and their history with one another all works well and developments are - for the most part - well written, however, there are certain aspects that just don't add up (I shan't mention them now to spoil the film) and the ending simply doesn't make sense.Yes, it's worth watching Goemon for the experience, but don't expect it to become your new favourite (ninja) film, and expect to be more than a little miffed and confused when the end credits role..
Goemon came as a fairly pleasant surprise.Yes, it's incredibly effect & CGI heavy, but that's fine, because it's very obviously an art film and works entirely within its own context.
i have to say, i was very disappointed.i expected another beautiful and complex movie with philosophical aspects with less cgi shortcomings than casshern that warrants at least a rating of 9/10 but unfortunately, that is not what goemon delivers.instead, what we have here is a mix of something like azumi and house of the flying daggers with mostly just superficial hints of casshern.
goemon is basically yet another martial arts epic that adds only little to the genre.usually, if a martial arts film just amuses me, i rate it 8/10, if it has incredible style too, 9/10 and 10/10...
characters and the overall story felt a little deeper to me than what usually goes on in such movies but it is still nowhere near casshern.
i think one of the main reasons for that are the comical characters that are way overused for a movie that carries a serious atmosphere most of the time.
if you maybe don't even know casshern and you expect an amusing martial arts epic you might be disappointed because of some sluggish cg work and might be annoyed with what happens at about two thirds of the movie but you will still get plenty of nice entertainment and a little more depth than usual.
If you are in the right mood, this is a really entertaining, action packed ninja movie that has almost everything a fan of this genre could want.
The action sequences are among the most thrilling I have ever seen in a martial arts flick and Goemon's double bladed katana sword engraved with the emperors Stamp "spread militarism across the land", is one of the coolest ninja weapons ever seen in a movie.
Goemon is the movie that make me see Japanese film industry in a different angles cause back when I was young in my mind a stunning big budget movie that heavily on the special effects can only pull off by none other than Hollywood so to see a epic ninja movie that look like an anime movie or to be more accurate:"The longest game cutscene ever" is pretty mind blowing at the time.When I look back at Goemon now in 2018 the special effects definitely look dated and sometime laughable but the move itself still an over the top ride with all kind of cool stuff so check it out.
Certainly the DVD cover, the IMDb description, and the first 15-20 minutes of the film fulfills that expectation: we get a lot of action sequences following our hero Goemon, the legendary 16th century Japanese Robin Hood character, as he performs rapid fire feats of martial arts & agility that would make Superman turn in his cape.
(Aside: we'll talk about the controversial cgi in a minute, let's focus on story first.)But what begins as a seemingly predictable comic book tale of good vs evil becomes a much more complex epic saga, as characters' loyalties and motivations change, as secrets are revealed, and as the characters themselves evolve and question their own actions, showing us that this is far more than a mindless good vs.
Here in "Goemon" we have a similar hyper-stylized look that's not necessarily supposed to seem realistic, and that could be a plus or a minus depending on how you like your flicks.The bottom line is that the story and character development, not the look, is what really impressed me about "Goemon".
While this gives Goemon a unique look quite different from the bold colors and elegant action of many modern martial arts epics, it also makes the movie look frantic and artificial.
Look, if you're not into science fiction, just stay away from it forever.About Goemon, well it's a folk hero who is kind of the Japanese equivalent of Robin Hood, there was a bunch of video games based on his ninja skills as well.Just like I loved Casshern, I loved Goemon and if you really don't get the story, then you don't have any imagination in you and you should remain in the boring reality based films instead..
If you take some comic book styling, in the tradition of 300 or Sin City, computer game imagery, massive CGI set pieces, love and lots of violence, you have Goemon.
(I might have missed a few details here, like I said it was some time ago that I watched it, but that's really the gist of it.) Then we have the action scenes.
As someone who had enjoyed reading up on the Azuchi–Momoyama period a lot, I was eager to watch this film as soon as I saw that trailer to see how the writing would go in regards to the Hideyoshi conspiracy theory and Goemons death.And they handled it very well.Seeing the characters handled as they were in comparison to the real life counterparts was for the most part spot on and the little differences are excusable as they add to the character developmentThe acting is very good (Note: I do not speak Japanese but I am basing this off body language and voice tone)The only thing I can imagine that would put people off is the below average special effects.
But I can look past that when comparing it to the low budget this thing and the questionable amount that actually went into the effects.If you are looking for something with a lot of action, I recommend it.If you are wondering how they can take a real story and tell it with another approach, you may enjoy what they have come up with.If you want to see how good a film can be on an extremely low budget, then I more then recommend this because I was blown away at such a sight..
"GOEMON" trailer looked really cool, so I had a very high expectation from this movie, but as with "CASSHERN", I was disappointed by disastrous CG and atmosphere of this film.CG was absolutely horrible even in Japanese standards.
I especially liked the execution of "fake" Goemon with boiling pot, which explains the disputed cause of Goemon's death.The action and CG in this film are plain stupid, but the historical context and the ideas of this movie were very enjoyable for me..
Goemon is the second film from Kazuaki Kiriya, a visionary young Japanese director whose first film was the epic sci-fi fantasy Casshern.
Goemon is a mix of fantasy, history and martial arts action, albeit with a hyper real sensibility. |
tt0144117 | The Boondock Saints | This film opens with mass in a Boston Catholic church, where Irish American fraternal twin brothers Connor McManus (Sean Patrick Flanery) and Murphy McManus (Norman Reedus) pray while a sermon is read, mentioning Kitty Genovese, a real-life crime victim brutally murdered while her neighbors watched without intervening. As the priest begins his homily, the brothers approach the altar and kiss the feet of a crucifix. They depart as the priest reminds the congregation that they should fear not just evil but also the "indifference of good men". The brothers conclude that the priest finally understands, Connor stating, "I do believe the Monsignor's finally got the point..." and Murphy replying, "Aye".Connor and Murphy work at a local meatpacking plant. While celebrating St. Patrick's Day in a neighborhood bar, three Russian "soldiers", led by Ivan Checkov, enter and order everyone to leave, as their organization has decided to evict the pub. In the ensuing bar brawl, Connor, Murphy, and the patrons publicly humiliate the mobsters, who the next day ambush the brothers in their home. As Murphy is dragged into a nearby alley to be executed, Connor escapes to the roof and drops a toilet, along with himself, off the roof and onto the mobsters, killing them and rescuing Murphy.The Russian mob's involvement summons FBI agent Paul Smecker (Willem Dafoe) to the murder case, and he surmises that the mobsters' death was not a professional hit but self-defense. As the police begin a manhunt for the killers, Connor and Murphy arrive at the police station to clear their names. During the initial interrogation, the brothers impress Smecker with their multilingualism (including Gaelic, Russian, French, Spanish, Italian, and German) while recalling the specifics of the barfight and subsequent self-defense the next morning. Smecker believes their story and allows them to stay overnight in a holding cell to evade the press. That night, Connor and Murphy receive a vision from God telling them to destroy all that is evil so that which is good may flourish.The brothers resolve to rid Boston of "evil men" with the help of their friend and former mob package boy David "The Funnyman" Della Rocco (David Della Rocco). The brothers trade in the weapons and valuables stolen from the mobsters' bodies for their own, and use Connor's knowledge of Russian to locate a meeting between Russian syndicate bosses at a local hotel. Crashing into the room through an overhead air duct, the brothers draw their guns and fire, killing the 8 underbosses. Forcing the leader, Yuri 'Big Man' Petrova (Victor Pedtrchenko) to his knees, the brothers recite a short prayer:"And shepherds we shall be, for Thee, my Lord, for Thee. Power hath descended forth from Thy hand, That our feet may swiftly carry out Thy command. So we shall flow a river forth to Thee And teeming with souls shall it ever be. In Nomine Patris, et Filii, et Spirits Sancti."The two then execute him, placing pennies over his eye sockets, in which both of his eyes were shot out. While the brothers are preparing to leave the hotel, they are surprised to find Rocco dressed as a bellboy knocking at the door with a tray of food. They decided "to fuck with him" and pull him into the hotel, concealing their identity with masks, and threaten to execute him. Eventually they reveal their identity to Rocco, who decides to join the brothers in their mission. Once again, Agent Smecker is brought to the front of the murder case. The fact that all the killings involved the Russian Mob leads Smecker to the theory that the executions were the result of the feud between the Russian and Italian mobs.The following day, the brothers try to convince Rocco that he was sold out by Italian mob boss Papa Joe Yakavetta (Carlo Rota), because he was sent to the hotel with a six-shooter .38 revolver despite the fact there were nine mobsters in the hotel room. Rocco soon realizes this after killing two of Yakavetta's men at a deli later on, who hint to Rocco that he really was sold out. In retaliation, Rocco and the brothers hunt down and kill Vincenzo Lipazzi (Ron Jeremy), underboss of the Yakavetta crime family at a local strip club. Also killed at the Strip Club are two street criminals with no connection to organized crime (thus disproving Smecker's mob war theory). The three vigilantes proceed on a series of increasingly violent missions, cleansing the city of vicious criminals and others who have eluded justice. Papa Joe, believing that the mob killings are an act of revenge from Rocco for setting him up to be killed, contracts the infamous contract killer Il Duce (Billy Connolly), to deal with the vengeful package boy.Rocco insist that he and the brothers murder a hitman that Rocco had briefly worked with. According to Rocco, the man was responsible for murdering an entire family and had burnt their remains in a dumpster. They head to the hitman's house and murder all of his men. After a hand-to-hand fight, Rocco beats the hitman to death with a cue ball. As they leave the hitman's house through the front door, the trio is ambushed by Il Duce, and in the resulting shootout the trio manage to chase Il Duce away. Rocco's finger is shot off and each of the brothers receive serious, but not mortal, gunshot wounds which they cauterize with a hot iron.Hours later at the crime scene, Smecker discovers the finger and secretly takes it to conduct his own investigation. Discovering that it belongs to Rocco, whom he previously met, Smecker begins to unravel the mystery surrounding the various murders. His sympathy for the brothers conflicting with his professional desire to bring them to justice, Smecker (a flamboyant homosexual) goes on a drinking binge at a gay bar before seeking advice from a nearby Catholic church. Bemoaning the futility of the courts that fail to punish evil men and his uncertainty with the MacManus brothers' actions in a confessional, Smecker is oblivious to the fact that Rocco, who has tracked Smecker to the church, is forcefully directing the priest's responses to preserve the Boondock Saints' identities. Connor sees Rocco follow the priest into the confessional and, disgusted with the blasphemy, pulls Rocco's head through the other confessional at gun point. In whispered tones, Rocco tries to explain to Connor the circumstance while still holding his gun to the priest's head. Smecker is advised, reluctantly by the priest, that the Saint's are acting as messengers from God and that "the laws of God are greater than the laws of man." Inspired by the advice, Smecker decides to help the brothers.The McManus brothers and Rocco infiltrate the Yakavetta headquarters to finish off the family, but are captured by Papa Joe and his henchmen who recently arrived to protect Papa Joe from such an attack. Papa Joe executes Rocco to intimidate the brothers. The brothers manage to free themselves and tend to Rocco while Smecker, disguised as a female prostitute, distracts the other mobsters. Smecker kills the remaining mobsters only to be knocked unconscious by Il Duce who mistakes Smecker for a woman. As the brothers say their family prayer over Rocco, Il Duce arrives and sneaks up behind them.As he hears them recite the family prayer, and upon seeing that the man he was hired to kill (Rocco) is dead, he lowers his weapons and joins them. It becomes apparent that Il Duce is their long-lost father, as the brothers had previously refused to teach Rocco the prayer because it is only passed down in their family. He then joins them in their mission to rid the city of evildoers.Three months later Papa Joe is sent to trial, and though there seems to be enough evidence to convict him, the reporters on scene anticipate his acquittal due to his Gotti-esque charisma. The trial is forcibly interrupted when the two brothers and Il Duce, aided by Agent Smecker and several police officers, infiltrate and lock down the courtroom. The three then publicly declare their mission to destroy evil and recite their prayer one last time, killing Papa Joe with several bullets (and a shotgun blast) to the back of the head. The media dubs the three "Saints", and the movie ends with various "man-on-the-street" interviews in which various Boston citizens reflect on the question "Are the Saints ultimately good, or evil?" | comedy, dark, neo noir, murder, cult, violence, flashback, insanity, revenge, queer | train | imdb | The Boondock Saints is one of the most pleasant surprises I've had in my years of watching indies, and it proves conclusively that you don't need a massive budget to do a terrific action film!Two blue-collar Boston Irish brothers (Sean Patrick Flanery and Norman Reedus, who are both terrific!) rid their favorite pub of an influx of Russian gangsters, and soon decide they are on a Mission from God to execute all the 'heavy hitter' criminals from the city.
You actually like the brothers, and may be hard-pressed NOT to root for them, even if you do feel a bit guilty about it!The Boondock Saints is a fabulous film, one that deserves your attention!.
This film had the sad history of being blackballed in the United States due to the incident at Columbine...which is a real shame, because it is a treasure...written and directed by Troy Duffy, Boondocks is set in Boston...it is the story of fraternal twin Irish boys (Connor and Murphy McManus) who work in a meat packing plant...when their friend, Doc, is being stiff armed by the Russian Mafia, the boys and their friends step in to help...and away we go!
Dafoe's character is Paul Smecker, a gay FBI agent specializing in organized crime...Rocco plays an Italian Mafia package boy who is a close friend to the Irish brothers...the central theme of the film is the indifference of good men...Connor and Murphy are not indifferent, and after helping their friend, Doc, the two embark on a crusade to rid the streets of Boston of criminals...with the assistance of their comical and zany friend, Rocco...This film had positive elements on all sides...humor...a moral message...and incredible actors...you will no doubt find yourself repeating the many memorable quotes from the film...I am a woman, and not at all into your typical "shoot 'em up" guy films...this is not another one of those films...it has become an underground "cult" sensation...See it...you will not be disappointed!.
Preliminary remark: the comments refer to a pre-release version that was shown at the "Fantasy Film Festival" in Cologne, Germany, in August 1999."Boondock Saints" is a clever, funny, sufficiently violent movie with an overall high entertainment value.
The action/shooting scenes are well-choreographed with a fine eye for the detail, but it's the main characters, their dialogues and developments around which the movie is develops rather than the action sequences.On top of this, we get a fractured time/place structure that's already familiar from movies such as Kubrick's "The Killing" or Tarantino's "Reservoir Dogs", but "Boondock Saints" takes it to new extremes - and thus it's fun to watch.Of course, the characters are a bit shallow every now and then and one would love to learn more about their background, but that's only a slight criticism.
The social commentary should probably be looked at as more of a plot device than intelligent thought, but I found myself watching this movie repeatedly and enjoying it more the second and third time around.
However, Memento uses it to keep the movie watcher guessing until the very end, whereas Boondock Saints puts the pieces on the table, letting you try to put them together, but then will continue handing you pieces until the picture becomes clearer.Clearly the movie is designed to be over-the-top, both from Williem Dafoe's character to the action sequences themselves.
Writer-director Troy Duffy dives into the murkiest depths of the "law," and its apparent futility in modern times, and how it takes two Irish fraternal twin brothers, Conner and Murphy (Sean Patrick Flanery and Norman Reedus - both of whom are a little too convincing in their roles), to stir up enough debate about vigilantism to become media heroes.
The only real annoyances were Willem Dafoe's character being a know-it-all, and David Della Rocco who screams his head off throughout the whole movie.
But I held in there for the full duration of the movie just so I could write a review about it today.Well, here's the premise: two Irish Catholic brothers in South Boston, on an apparent mission from GOD, start killing members of a Russian mafia.
But, to watch it in the context of your friends telling you that it is a legitimate good film makes it one of the worst pieces of junk ever.
Capsule review: Think Dirty Harry or Death Wish as vomited up on the screen by formerly molested altar boy who has just seen Pulp Fiction.It's an "angry white dude" vigilante movie for the oi/fascist/skinhead crowd, since Dirty Harry just isn't cool anymore, Clint Eastwood's too old, Charles Bronson doesn't have enough tattoos, and well, Rambo's too establishment.
While the first 45 minutes still seem to deserve the benefit of the doubt, and there are some nice things about the film (Willem Dafoe's flamboyant character, specially), it is clear after the confessional booth scene that the plot is going nowhere.
Finally, the message that it's good for vigilantes to kill the brainless ethnic stereotypes that pass for mafiosi in this movie (as well as random guys at a strip club; I guess they're criminal scum as well) whenever they feel like it will appeal to armchair suburbanites scared of those big city lowlifes whom they've heard about on the news--it will seem ludicrous to anyone else.
As for the director's debut: He needs a lot more practice and I'd like to know how he goes from an absolute nobody to getting such a movie budget to make such a horrid film.
But I was so impressed and appalled, I registered with IMDb just to post this glowing tribute!) Subtract the ingeniously varied F word bleating from the mouths of the salon coiffed pretty boy cast, shoving their fully erect pistols into various faces, and blowing brains against walls, over and over and over again, and you essentially have a silent movie of a high speed slaughterhouse with MTV soundtrack.To understand the "story" of this film, you simply take the "logic" of the National Rifle Association, multiply by the number of executions of Gov. Bush's last year in Texas, and divide by the average IQ of a 13 year old puppy killer.
The film looks alright, and the editing is almost as good as you would expect from a first film, but largely it's a gimmick film and a derivative one at that.Duffy clearly has an agenda (and a pretty crappy worldview.) I think he would be well served to learn more about the world before he creates propaganda on how to fix it.Lord help us that he is making a sequel..
Let's even skip all the poorly made attempts of "black humour", which for Troy Duffy just consists of having the "heroes" molesting corpses of females, saying the f word a million times and using a toilet as a weapon in the most improbable way you could think of.No no no, forget all that, what it boils down to it's this: Boondock Saints is not a fun movie to watch, at all.
It's like if the movie was repeating itself to just cover the fact that the plot is invisible, an insult to your intelligence, that the action is sub-par and that the whole movie has no reason to exist other than bore you to death with it's absurd fetish of violence and it's "unique" sense of humour.There's just so much stuff to point out, i'll just throw one more example right away: there's a scene where our two "heroes" and a third character are shooting each other within a very small range of distance.
The movie is 100% sure that it has created a "cool" action piece, and that it's pro-vigilante/religious fanaticism message is something to be taken seriously.There's nothing to like here, not even in an "ironic" way.
If someone ever told me to name the top 5 absolute WORST movies ever made, the first one I would think of is this worthless piece of amateurish filth.Honestly, there is not one single redeeming quality of this entire "film".
You can now watch Michael Bay movies with a big smile on your face, thinking "hell, this ain't so bad!" But me, I'd rather try sneezing with my eyes open than have to suffer this kind of agony again.The only reason why I somehow managed to do the impossible and watch this from start to finish is because I was in a state of physical shock after seeing how incredibly awful it was.
It will be a lot more healthy, satisfying, and a lot less likely to cause gastrointestinal cramps...and chronic diarrhea.Troy Duffy should quit film-making and find something that he's actually good at..
In terms of production Duffy tries to throw gritty gangster film in with stylish action movie but just ends up with scenes that don't flow together at all.
The attempts at adding quirkiness to most of the characters are cack-handed at best and simply makes them seem unbelievable and at times embarrassing to watch.The only possible saving grace for The Boondock Saints is the plot idea of not showing the various set pieces within the standard chronology of the narrative but only revealing them after the detectives have theorised on what happened.
The laughingly bad scene of how the two brothers help each other escape the Russian mafia lair after they're held captive is like a case of a bad director without a budget or creativity, so it just cuts to flashbacks all the time as a failed means to plug in the huge holes.
Did you see so many Pepsi cans being drunk at the breakfast table by these two Boondock "Sugar Saints?" How apparent was it that the director Troy Duffy (who does a horrible cameo appearance of himself at the Irish bar in the beginning of the movie, acting like an ugly midget from a gay porno movie) blew the money for the film on partying and ended up with half the time of the film just of guys getting drunk on camera and shouting the f-word louder and louder (like ornery obnoxious drunks, which is what Troy must have been while making this abomination of a stinker).
If you're searching for a good movie in this much, watch "Overnight," the documentary on the making of the film which shows Troy Duffy's ego running havoc and he's reduced to yelling at himself while flat-down drunk on a street corner.Sure there's some of his paid people that come on here and now try to sell it as a cult film (more like Jonestown Cult).
Boondocks Saints is a cut-and-paste version of better movies and blatantly lifts dialog from another films.
The ease of the crime and the general local opinion that they did a "good thing" only encourages them to carry on and, with masks and heavy weaponry, set out to take down those that the law cannot touch but Smecker and the authorities are only a few steps behind them and the criminals themselves have weapons to strike back.A few years ago I saw the documentary Overnight which charts the implosion of the writer/director of this film and shows how fame reveals just what one is like in this case, arrogant and obnoxious.
The best thing about the film is the structure, which sees us following Dafoe in regards seeing the aftermath of the action sequences before we see the action itself this I liked and thought it added some interest to the delivery that the very simple plot didn't.Other than this though the story is quite straightforward and offers nothing particularly good in the way of dialogue or content.
The closing credits are the closest it ever gets and that is too little, otherwise it does nothing to challenge the viewer or even to promote a political view it just uses it to produce a generic action film.Of the cast, all credit must surely go to Dafoe for the wonderful way he hams it up.
Connolly is there for the money and his character is superficial at best and a cameo from pornstar Ron Jeremy is just a pointless and obvious bit of casting.The Boondock Saints is a cult film but it is far from a good one.
Dafoe's recreations of the crimes was inconsistent in both intensity and composition (ie the way shots were put together).After i saw "Poolhall Junkies", i realized that the two movies were similar in quality of production value, but somehow "Poolhall" managed to keep my attention.Don't rent "Boondock Saints".
Poor acting, bad writing and aimless script aside, the film's worst sin is how badly it wants to be cool/funny/stylish and how miserably short it falls of that goal.
I have no idea how "Boondock Saints" ever got produced, but it makes me believe that getting a film made in this country isn't about talent, or a good script, or decent acting or directing, but rather, who you meet or know.
Hint : you can tell a genre switch is coming up whenever the soundtrack switches from traditional Irish folk music to electric guitar.Add some incredibly bad acting, Willem DaFoe as an unrealistically gay FBI agent (or an "unorthodox" agent as the back cover puts it), blatant Quentin Tarantino rip-offs, and a stupid plot about a couple of dorks who kill in the name of God, and you have got yourself one seriously bad movie.
If you liked this movie, please go rent Straw Dogs or A Fistful of Dollars or Hard Eight or any other gangster/vengeance film that doesn't suck and then get a life.
So I eventually had some free time and headed out to my friends house to check it out.Big Mistake.Before the film even started they were telling me "Man you're gonna love it!" and "Dude this movie is soooooo badass!" and "Wait until you see this one scene, its so damn cool!" I'd to put part of the blame on my friends over-hyping as to why the movie was terrible, but thats just not the case.
The only reason people think they like the film is because of the violence, but I am 100% honest when I tell you that the best violence in the world could not help this awful movie.This is definitely one of the worst movies I have ever seen.
The action is so bad it's comedic, the characters are poorly crafted and underdeveloped, the soundtrack is one of the worst ever set to film, and the lame attempts at humor irritate far more than they amuse.
Let's see, choppy directing that sucks, bad actors (except Willem Dafoe who could do nothing with his poorly written part), bad action, awful script (simply putrid), a foolish fan base, one dimensional characters, etc.
The two leads (Flanery and Reedus) have particularly poor Irish accents that they can't even sustain throughout, and how the usually great Willem Dafoe ended up in this abortion of a movie is anybody's guess!
I like Willem Dafoe and he doesn't do a bad job; but my God there are a litany of unbelievable events that make this thing pretty tedious to watch.
Writer-director Troy Duffy hasn't any talent working with actors, and this cast is strictly on their own (which may explain why Willem Dafoe turns in his very worst performance).
People who like this movies need to start watching some good movies..
Here we have a movie that tosses the stylings of Tarantino ("Reservoir Dogs"), Rodriguez ("El Mariachi"), Woo, Scorsese, Winner ("Death Wish"), Stone ("Natural Born Killers" in particular) and even Singer ("The Usual Suspects") into a blender, and the end result is uniformly awful all around.The Plot: Sean Patrick Flanery (proving there's no life after "The Young Indiana Jones Chronicles") and Norman Reedus ("8mm") play devoutly religious Irish brothers living in Boston; when the Russian mafia begins to infiltrate their territory, they become relentless vigilantes, not only offing the Russians, but any generic scum who crosses their path.
The plot, however, is such a mess--perhaps deliberately so--that the film jumps from one clumsily-executed setpiece after another, pinning us to the wall with so much badly-edited 'action' that one questions whether the filmmakers were so naive to think we wouldn't take notice.As written and directed by novice auteur Troy Duffy, "The Boondock Saints" is pretentious, would-be crime thriller dreck that carries a pungent aftertaste of arrogance on the filmmaker's behalf.
It's always frustrating to see that a movie like `Plan 9 From Outer Space', whose only failure is the lack of budget and that otherwise has a complex statement and very good directing is labelled `The Worst Film Of All Time' and movies like `Boondock Saints' are not.
I have never wanted EVERY character in a movie to die before until I saw this film.
I'm not saying that I am a genius or know everything about movies, but if you gave me any amount of time i could make a better film than this.
This is the kind of trash that frat guys must think of as cutting edge cinema.In a nutshell, the film is about two violent Irish brothers that decide to kill people that they perceive as being 'evil'.
But the people who write the bad reviews not only trash the movie but deem anyone who liked it childish or just plain idiots.
Possibley the worst film I've ever seen.This movie sucked.
I know he has now been cast to reprise his role in All Saints with a more prevalent showing but with such a bad first film and a part two without Mr. Dafoe, I feel Mr.Connelly's talent and time will be wasted with this role.
Even if you like this movie, how can you think it's made in any way like a Tarantino film?
They'd love the message in this film.That's one of the main reasons why I think this is one of the worst movies ever made. |
tt0099395 | Def by Temptation | Joel [James Bond III] is almost to the end of ministry school when he feels the need
for a break before taking on the final plunge, so he calls his brother
"K" [Kadeem Hardison], an aspiring actor in New York City, and asks "K" whether he can come
stay with him for a little while. "K" is only too happy to show his little
bro around the wild city. First stop is the One Step Down club that "K"
visited the night before. It was here that he met the girl of his dreams [Cynthia Bond],
and he is hoping to run into her again. What "K" doesn't know is that she
is a demon succubus who picks up men in the bar, takes them home to her
apartment, has wild sex with them, and then kills them.Before "K" can hook up with the girl again, she has already laid her
latches on Joel and pretends not to recognize "K". At first, "K" thinks
she's playing a joke on him, but it soon becomes apparent that she's not.
The next day, when she drops by the apartment to pick up Joel, "K" notices
that she casts no reflection in a mirror, and he becomes concerned. He
consults his detective friend Dougy [Bill Nunn] and asks for advice. Turns out that
Dougy has been following her for years. He's been watching her pick up men
at the bar, and the men she picks up are never heard from again. Dougy has
a long list of her victims from as far back as the 1800s who all seem to
have been murdered by the same modus operandi, same satanic rituals
performed before killing the victims, and fingerprints that are not human.
Her file name is "Temptation".In order to gain more knowledge about Temptation, "K" and Dougy pay a
visit to a psychic. Madam Sonya is able to tell them that Temptation, whom
she calls "It", exists to corrupt the part of man that seeks God and good.
"It" uses man's sexuality to place them in a state of lustful existence.
"It" incarnates periodically for the sole purpose of seducing and
destroying souls. "It" is an ancient demon, and she lured Joel to New
York. As Madam Sonya [Melba Moore] is telling them how to destroy the demon, Temptation
takes over Madam Sonya's body and warns "K" and Dougy that she knows about
them and will not let them live."K" decides that it's time to take matters into his own hands. First,
he tries to warn Joel about Temptation, but Joel insists that he can take
care of himself. Next, he calls their Grandma [Minnie Gentry] back in North Carolina, who
has been having bad dreams about Joel. Finally, "K" and Dougy head over to
the club to kill Temptation. They get the bartender to fix her a drink
using holy water as the mixer. As Temptation lies thrashing on the floor,
Dougy tries to thrust a knife through her heart, but she makes Dougy turn
the knife on himself. Fortunately, "K" is able to turn the knife away from
Dougy. Knowing that they're fighting something bigger than they can
handle, "K" and Dougy run from the bar, but Temptation catches up with
Dougy."K" runs home, but Joel isn't there. "K" takes a drink from a soda
bottle in the refrigerator and begins to hear voices. Grabbing a knife, he
tracks down the voices to the television but, when he goes near, he is
sucked into it. Joel has gone to Temptation's house, where she is busy
trying to get him to drink liquor and become sexually aroused. She kisses
Joel, and he immediately passes out. Joel awakens to find himself lying in
his childhood bed next to Temptation, his deceased father [Samuel L. Jackson] standing over
them. Joel realizes that this cannot be his father just as Grandma bursts
in the door, but Temptation belts her one, then does the same to Joel.
Temptation transforms into her demon-self and tries to strangle Grandma.
Joel crawls to where his Bible and cross have fallen, grabs the cross, and
holds it up to Temptation until she explodes. Grandma and Joel hug each
other.Epilogue: A car drives up to the One Step Down. It is chauffeured by "K".
Dougy gets out of the back seat and saunters into the club, putting on the
same act that Temptation used to use. Joel, walking down the street,
assures himself that he and Temptation will meet again someday. [Original Synopsis by bj_kuehl.] | cult, blaxploitation | train | imdb | I thought the casting was perfect, particularly in Kadeem Hardison (who's career I had thought should have been, by rights, much larger), and Cynthia Bond, who's feature turn as the succubus was terrific—both terrifying and seductive at the same time.
There were references to this film being firmly in the genre of "blackspoitation," but again, given the obviously low budget and other factors, I thought they did a bang up job with what they had to work with.
Compared to say, "Vampire In Brooklyn," a big budget studio film starring Eddie Murphy, this little film succeeded in every important way, and in comparison fared so much better for all the reasons you watch a movie in the first place, two hours of solid entertainment.
In this regard, I think the film succeeds quite well—funny, scary, hip and funky, with a strong undercurrent of the mystery of faith.
In New York City, there is a beautiful temptress (Cynthia Bond) who seduces men at bars then takes them to her place only to murder them and drain their blood as she's actually a vampire.
Joel (James Bond III) is a student from out-of-town who just came to the city to seek the advice of his actor friend named K ( Kadeem Hardisan), he also shows Joel a good time around the big apple especially at bars then has the help of Joel and a detective to find out what's behind these bizarre murders.Very interesting and underrated vampire blaxplotation thriller from writer-director-producer-star James Bond III.
What works in this movie is a good storyline with some sex and violence around, the movie was released by the popular independent studio known as "Troma" in theaters and has gained a small cult following.
The acting is very good especially the writing on the dialog, there's also some great cinematography that captures the mood and feel of this flick.If your into vampire flicks or supernatural horror movies then i suggest you watch this one!
Also recommended: "Vamp", "Dracula" (1931), "The Hunger", "Vampire Hunter D", "Basic Instinct", "Bram Stoker's Dracula", "Near Dark", "Buffy The Vampire Slayer"( Movie and Show), "The Forsaken", "Innocent Blood", "Blackula", "Tales from The Hood", "Fright Night 1 & 2", "Vampire Hunter D: Bloodlust", "Blood The Last Vampire", "Blade Trilogy", "American Werewolf in London", "The Lost Boys", "Daughters of Darkness", "John Carpenter's Vampires", "From Dusk Till Dawn", "Salem's Lot" ( 1979 and 2004), "Once Bitten", "Lifeforce", "Demons", "Suspiria", "Interview with the vampire", "Queen of the Damned", "The Night Flier", "Evil Dead II", "Lair of the White Worm", and "Martin"..
Def By Temptation: High Caliber Horror.
"Def by Temptation" is one of the sleekest, most genuine independent horror films to come out in the past 20 years.
It is easy to dismiss its credibility due to the reputation Troma has built for itself (and the film does include plenty of creative gore), but it is one of the most poignant and original works of the modern horror genre.
An original story, talented actors, great low-budget special effects and a skilled eye on the part of director (and writer/producer/actor) James Bond III for genuinely creepy visuals make this a horror film on the same scale of such other cult classics as "The Hunger" and "Nadja".
It is a rarity to find a horror film that still focuses on old-fashioned traditions such as plot and character development, and this film has a refreshing amount of both.
James Bond III is pioneer in the spirit of Oscar Micheaux, and has truly created a horror masterpiece with "Def by Temptation.".
(Unfortunately a fixed film budget can only go so far when you're making a horror film which requires special effect's on the order of the, 'Exorcist'.) Mr. Bonds point was well taken here!
This movie had more of a religious theme than a horror theme.
It is low-budget but a good first effort for James Bond, III.
There are a lot of know people from the 80's and 90's in the movie who, I am sure, were just there for the publicity; however, some of the actors actually did a pretty good job, including James Bond, III, who also played in Spike Lee's SchoolDaze along with Samuel L.
If this movie would have had at least a couple more million dollars in the budget, It would have been a hit and everyone would know about it..
I think most of the bad reviews for this movie are from people who aren't familiar with the Troma franchise.
"Def by Temptation" is certainly the work of an amateur, but I can tell that James Bond III put his passion into the movie and he did make a moderately good effort.
I can't lie and say that the movie doesn't look low-budget, but its cheapness adds to its charm.
The acting is often good, since quite a few of the actors are alumni from Spike Lee's films.
Bill Nunn, who many might remember as Radio Raheem in "Do the Right Thing," gives the strongest performance and to this day I feel like he's one of the many underrated actors who never gets proper recognition for his talent.
Jackson is on the cover of the DVD and video, he's only in the movie for about 15 minutes.
Kadeem Hardison, who many remember as Dwayne Wayne on "A Different World," does a fine job in the lead role, as does the female lead who plays the Temptress.
Bond's performance just seems way too subdued and his emotions seem forced.I understand he's supposed to play a laid-back, repressed, Bible-toting individual, but he plays the role a little too low-key.
The concept of an all-black horror movie has been done before in films like "Blacula," but it's not a concept that has been repeated very frequently.
Even in our supposedly politically correct times, the black characters still tend to die off significantly quicker than the white characters in scary movies.
The movie takes itself more seriously than you'd expect, but it never gets too serious.
From a technical standpoint, the film's best aspect is its lighting, especially during the bar scenes.
The DP is Ernest Dickerson, who's worked on Spike Lee's films.
The camera-work is sometimes shoddy, with some bad eyeline matching during the dialogue scenes, but the lighting is great.
It helps date the film, but not in a bad way.
This movie is so bad it hurts.
I really like low-budget movies, as far as there is any vision you can explore or at least: something.
Stylish erotic horror film really takes the bite!.
Rarely does Troma release a "high-quality" movie.
DEF BY TEMPTATION is an exception, however, so it's no big deal that Tromaville gets whatever their fans can chew on.
Watch this only if you're into laughably bad make-up effects or "Diff'rent World" actors destroying their careers.I like a lot of celluloid garbage but this merits a 10 on the no effing way scale.A stake through the heart!
When you look at the title of this film, what do you think the word Def means?
Now, I cannot be certain, but if you watch this film than look at the title it only makes sense.
A word of advise to those looking to title films out there ...
The acting was amateur, the cinematography was preschool standards, and the overall plot of this film reached further than I could when I was in high school.
This may have helped as well because then viewers would not have been so anxious to see just Jackson or Hardison, they would have wanted to see what this film was truly about.
This was nothing more than Troma capitalizing on two more famous people than the main character played by James Bond III.
Not even Jackson could perform well in this film.
I needed more substance, and I think this is what was generally missing from this film.
I felt that they had spent too much time on her, because she was the "beauty" part of this film, and therefore rushing the remaining portion of the movie.If you were to ask me the question about "K" and Joel being friends, I would not have believed it.
If you watch some of the comments before the film, there is an interview with a gentleman from Troma that talks about how the camera guy left at the end of the film to "bigger and better things", and you shouldn't be able to tell the difference in one camera style from the other.
The end of this film was nothing like the beginning, and the change of camera style was very evident.
It did make me interested in seeing more Troma films, but definitely stay clear of the one entitled Def By Temptation.Grade: * out of *****.
They are seen talking about the movie for less than two minutes each in videos in the special features section.
There is only one audio track for the movie, and no commentary track by anyone.Cynthia Bond, playing the "Temptress" is not pictured or even credited on the box.
Still, she's one of the main stars of the movie, and that's hardly fair to her to not credit her on the box.Not sure what this what was shot on.
Another Below Average Black Exploitation Horror Film.
The only reason I'm even putting any comments in for this film is because I just finished reading an interview of Samuel L Jackson and someone asked him if he was still in contact with Troma.
Def by Temptation is an all black cast vampire movie starring the writer/director James Bond III, Kadeem Hardinson and Mr. Samuel L Jackson himself.
The acting is pretty bad, but in a funny kind of way.
It's about as good as Eddie Murphy's Vampire In Brooklyn, but funnier and scarier at times.
There's nothing great about Troma's "blaxploitation" horror outing about a seductive vamp preying on men in New York.
Ernest Dickerson's ("Jungle Fever," "Do the Right Thing") cinematography and Samuel L.
I Should Have Been Wise To DVD Blurbs By Now. I saw this on DVD and if you`ve seen the DVD case I`m talking about you`ll know that both the name and face of Samuel L Jackson is the most prominent thing on the DVD cover but don`t be fooled because when you play the DVD you`ll notice Jackson is credited fourth in the opening credits .
So let`s see Jackson`s face and name are plastered all over the front cover and he`s credited as being fourth in the opening credits behind three other actors I`ve never heard of !
Well guess what - It`s not , and DEF BY TEMPTATION isn`t the only DVD cover to con a potential audience into thinking they`re going to be watching a star name in a recent movie .
Have you ever noticed DVD covers never mention what year the film was made ?
Strangely though despite it having a grade Z budget the cast give performances far in excess than the film probably deserves , but the story is just basically " Female vampire goes on the prowl for victims " which isn`t exactly riviting Please note that Samuel L Jackson only appears in three short scenes.
The movie was poorly written but i thought it was some really funny scenes in there.
Boy did she get really ugly in the end i wonder if John C Terrell will get naked in something again that was such a funny scene to watch will never forget it.
This cheap and cheesy all-black horror film is about a female demon in human form who goes around killing sexually promiscuous men.
A pity, then, that the execution is all wrong in this often laughable amateurish effort, which was unsurprisingly distributed by the team at Troma.Everything about this film is bad, from the dated attempts at stylish direction to the rubbish acting (the possessed woman goes way over the top) and the even-more awful gooey effects.
I used to see this film around on VHS and DVD back in the day although I never got around to purchasing it, and now I can see why.Really, the only reason anyone would go out of their way to watch this film these days is to see a few famous actors in early roles.
The blame for this film's failure can be laid at the door of writer/director/star James Bond III, who definitely bit off more than he could chew.
As a blaxploitation horror film, it's a dog..
As a blaxploitation horror film, it's a dog..
Licensed to make weak horror movies..
Directed by and starring James Bond III from '70s TV show The Red Hand Gang, Def by Temptation is an all-black horror ruined by dreadful dialogue (much of which sounds like it was improvised?), choppy editing, zero scares and an ending that makes absolutely no sense whatsoever.Kadeem Hardison plays 'K', a streetwise New Yorker who meets an attractive woman (Cynthia Bond) in a bar who is, in reality, a succubus who picks up men, has sex with them and then feeds on them.
Before 'K' can become lunch for the demoness, his best friend Joel (James Bond III), a minister in training, catches her eye.
When 'K' realises the truth about the temptress, he teams up with an undercover government agent to try and save his pal from becoming prey.Dreadful early '90s fashion, lots of neon and smoke, and a surfeit of tacky directorial stylings (the worst being the sex scene during which a saxophone player, silhouetted in the background, warbles a tune) all go to make this an amusing time capsule, but as a horror film it's a dud.The aforementioned incomprehensible finale sees Hardison eaten by a television (his remains spewed out of the screen), and Joel somehow transported to the home of his mother (at least I think that's what happens), where he is confronted by his dead father (Samuel L.
K(Kadeem Hardison)must find away to stop a succubus/vampire/temptress(Cynthia Bond)from securing the desires of his young minister brother, Joel(James Bond III, who also produced and directed)who is visiting him from a bible belt town from North Carolina.
He'll seek help from ladies' man wannabe Dougy(Bill Nunn, well cast)who frequents a popular pick-up bar.
The plot and decision to use all black performers adds a special ingredient to the horror genre.
James Bond III is weak in the lead, but has enough charismatic supporters around him to sell the picture.
***SPOILER***Like the moron I must be, I rented this movie because I like vampire films and I like Samuel L.
Maybe I didn't do enough research or something, because when the video box says that the movie "stars" Samuel L.
Jackson and is what Vampire in Brooklyn should have been, I foolishly thought that (a)Samuel L.
Jackson would be in the movie for more than 5 minutes (b) It would be about a vampire (c) it would be better than Vampire in Brooklyn.
If you are looking for a fun movie to "MST" with friends at a late night Halloween party...this is a good choice.
One of the best movies with which Troma ever got involved..
James Bond III's ambitious "Def by Temptation" has entertaining characters, is done with style, and its theme is pretty universal; it doesn't necessarily have to apply just to religion.
It deals with the challenges one faces on their way to finding their purpose in the world and the battles they fight with themselves.The writer / producer / director also stars, as Joel, a divinity student from North Carolina who's uncertain of his future and thinks that visiting his brother 'K' (Kadeem Hardison), a film actor, in NYC will really do him some good.
He won't find a better example of this aspect than the super sexy form of a predatory barfly, known only as Temptress (Cynthia Bond).
'K' comes to realize that this lady is bad news and tries desperately to save his brother.The movie is enhanced by the moody and striking lighting schemes courtesy of the talented Ernest Dickerson, who of course went on to be a fine director in his own right, although Dickerson would have to leave the production early, forcing Troma boss Lloyd Kaufman to step in.
Bonds' movie is equal turns gory, atmospheric, comedic, and erotic, and is overall an impressive effort.Bond himself is admittedly quite low key in the lead role, but is inherently likable and one does want to see this guy rise to the challenge he's facing.
Hardison lends his strong comic energy to his role; one particularly funny scene has Joel modelling various choices in clothing.
Jackson as Joels' minister father, although fair warning to those who want to watch this movie for him: his screen time is quite limited.There's a lot of blood splashed around for all of us gore hounds watching; an early scene where the red stuff pours out of a shower faucet is visually powerful; the eventual demon makeup is not too bad although Bond never does stress the horror elements of his movie too much.
There IS a fun moment where a character is yanked into a TV, and that's certainly one of the highlights.Those looking for B genre pictures that are above the norm would be advised to give "Def by Temptation" a look, as it really is nicely done.Eight out of 10..
I note that IMDb member "babygraceblue" rated this film 10/10, titling his/her review "Def By Temptation: High Caliber Horror".
yet another very suspicious rating, and when I checked the member's record, I find he/she has reviewed only TWO movies in 17 years!
This "movie" is not worthy of being called a movie ~ and do the people playing the characters actually consider themselves actors?
This picture is a painful, amateurish attempt at movie-making, pitiful and despicable.
The cinematography stinks; I honestly cannot think of one good point about this dreadful flick.
Was it supposed to be a horror film?
I've rated and reviewed thousands of movies over decades (horror is one of my favourite genres), and recommend running away from this horrible thing. |
tt0368933 | The Princess Diaries 2: Royal Engagement | Five years after the first film, Crown Princess of Genovia Amelia "Mia" Thermopolis (Anne Hathaway) has just graduated from Princeton University's Woodrow Wilson School and is returning to Genovia with her bodyguard Joe (Héctor Elizondo) and beloved cat Fat Louie. There, she will await her reign once her grandmother, Queen Clarisse (Julie Andrews), steps down as Queen. During Mia's 21st birthday party, she dances with all the eligible bachelors in hope of finding a husband. She becomes attracted to a handsome young gentleman named Nicholas (Chris Pine). During the course of the night, Mia's tiara falls off and is caught by Parliament member Viscount Mabrey (John Rhys-Davies) who secretly plans to steal Mia's crown. While the Parliament is in-session the next morning, Mia stumbles upon a hidden room that allows her to secretly listen in. Viscount Mabrey reveals his nephew, Lord Devereaux, is another heir to the Genovian throne. Despite Queen Clarisse's objection, the only way Mia can assume her duties as Queen is if she marries within the month. Clarisse invites Lord Devereaux to stay at the palace, while Mia is shocked to discover Lord Devereaux is Nicholas. Mia's best friend Lilly Moscovitz (Heather Matarazzo) surprises her by visiting. Together, they pick through potential husbands. Mia eventually chooses Andrew Jacoby (Callum Blue), Duke of Kenilworth and days later they are engaged. Mabrey plans to have Nicholas woo Mia and dissolve the engagement.
For a ceremony, Mia is to ride sidesaddle but does not know how. Queen Clarisse provides an ancestral wooden leg decoy to make it look like she's riding sidesaddle. Mabrey spooks Mia's horse with a rubber snake and Joe rushes to Mia's aide, but accidentally tears off the wooden leg. Humiliated, Mia flees to the stables, where Nicholas fails to comfort her. At a garden party, Mia and Nicholas quarrel about Mia's relationship with Andrew; Nicholas tricks Mia into admitting she doesn't love him. Angered, she argues but instead gets bombarded by a kiss. At first, she kisses him back but then backs away. Nicholas pursues her even more, which causes both of them to fall into a fountain. Queen Clarisse finally tells Mia that her behavior with Nicholas needs to stop.
During the Genovian Independence Day parade, Mia sees some boys picking on a little girl (Abigail Breslin), and abruptly halts the parade to comfort the girl. Learning the children are orphans, Mia has a vendor give them all tiaras and lets them walk with her in the parade. Everyone is impressed by her act of generosity, while Mabrey sees it as a political maneuver. Mia later decides to convert one of the royal palaces into a temporary children's center. That night, Mia has her bachelorette/sleepover party, where Queen Clarisse surfs on a mattress and sings a duet with Princess Asana (Raven-Symoné), one of Mia's good friends. In the meantime, Mabrey realizes Nicholas has fallen for Mia, but Nicholas says that Mia will never love him. Nicholas comes upon Mia as she is practising her archery as part of her coronation rites. He helps her succeed in getting the arrow to hit the bullseye, something she had been struggling with. Nicholas then informs Mia that he is leaving, but asks to see her just one more time before he goes. She declines, saying she is under close guard.
That night, Nicholas appears outside Mia's window and asks her to come out. Lilly encourages her to go, and Mia sneaks out. They ride out to a lake where they share secrets, dance and eventually fall asleep. They awaken to find a man in a boat videotaping them. Mia thinks Nicholas set her up, while he insists had no idea. By the time Mia gets back to the palace, the scandalous footage is already being broadcast. Andrew is disappointed and kisses Mia to see if there is a romantic spark between them. They realize they do not love each other, but do not call off the wedding for the good of Genovia. The wedding is to take place the following day, and Mia's mother Helen (Caroline Goodall) comes with her new husband Patrick (Sean O'Bryan) and their newborn son Trevor. Nicholas decides against attending, but his surly housekeeper Gretchen, informs him that Mabrey engineered their televised scandal.
Right before the wedding, Joe informs Mia that Nicholas is innocent. Queen Clarisse encourages Mia to follow her heart, something she has never done and has now cost her Joe, the only man she truly loved. Mia reenters the church, and asks the members of the Parliament to consider the women in their families and if it would be right to force them to marry those they don't love. Mabrey cites the law again, suggesting that Nicholas be named King, only for Nicholas to arrive and refuse the crown and disown his uncle. Mia proposes the law on royal marriages be abolished, and Parliament unanimously gives its assent. Encouraged by Mia to have her own happy ending, Clarisse proposes to Joe and they are promptly married.
About a week later, Mia is preparing for her coronation when Nicholas shows up. He professes his romantic love for Mia on bended knee, and they share a romantic kiss. The next day, Mia is crowned "Her Majesty Amelia Mignonette Thermopolis Renaldi, Queen of Genovia", with all in attendance in the royal palace.
An epilogue shows that Genovian Parliament now allows female members, one of which is Charlotte. And Queen Mia officially opens the children's home. | romantic | train | imdb | null |
tt0082398 | For Your Eyes Only | While visiting the grave of his deceased wife, Tracy (whom was killed in the film On Her Majesty's Secret Service), James Bond (Roger Moore) is called back to MI6 headquarters. A helicopter arrives to transport him. During the flight the pilot is killed by electricity that surges through his headset and a familiar voice begins to taunt Bond over the chopper's loudspeaker; it is that of Blofeld, Bond's deadliest villain. As Bond struggles to gain control of the chopper, he notices a man in a motorized wheelchair nearby. Bond manages to reach the pilot's seat but cannot operate the 'copter. Blofeld, controlling the 'copter with a small console, flies the chopper into a giant foundry building, with the intention of letting it crash. Bond sees that a set of cables have been wired to the chopper and he rips them out, regaining control of it. He flies after Blofeld and hooks his wheelchair on the end of the chopper's landing skid. Though Blofeld pleads for his life, Bond vengefully drops him down a nearby smokestack.In the Adriatic Sea, a fishing ship, the St. Georges, trawls off the coast of Albania. Inside is a hidden control room for British defense. The spy ship is equipped with ATAC (Automatic Targeting and Attack Communicator), a valuable defensive and offensive device that the Soviet Union would like to obtain. When the ship's decoy fishing crew hauls in a net, it brings with it an old anti-warship mine which explodes, sinking the St. Georges. At MI6, M's temporary replacement, Bill Tanner (James Villiers), is informed of the incident. When he asks how deep the water is off the coast of Albania, he is told it isn't "deep enough." Hoping to find the St. Georges and the ATAC discreetly, Tanner orders a British underwater archeologist, Timothy Havelock (Jack Hedley), to find the St. Georges. Meanwhile, Tanner's KGB counterpart, General Anatole Gogol (Walter Gotell), is told that the ATAC is in play, and instructs an unknown contact to procure it for him.Havelock's daughter, Melina (Carole Bouquet), arrives by plane at her father's yacht near the site of the St. Georges' sinking after taking a vacation in France. While she reunites with her parents, the plane she was brought in suddenly strafes the yacht with a burst of machine-gun fire. Both Havelock and his wife are killed, however, Melina is unharmed. She looks on with a look of despair and rage on her face.In London, James Bond is called into M's office to meet with Tanner and Minister of Defense, Frederick Gray (Geoffrey Keen). He is ordered to find the ATAC, his first lead being the man, Hector Gonzales (Stefan Kalipha), a pilot and Cuban national who killed the Havelocks. Tanner orders Bond to find Gonzales near Madrid and interrogate him for information.Bond goes to Gonzales' home where he's throwing a party. Bond observes that Gonzales is meeting with a mysterious man (Michael Gothard) in an elegant suit and octagonal wire-framed glasses, and deduces that he is paying Gonzales for the assassination he performed. Bond is captured by a security guard and brought to Gonzales who identifies him immediately as British Secret Service and orders him taken away. As he dives into his pool, Gonzales is struck and killed by a crossbow arrow fired by an unseen assassin. The distraction allows Bond to escape. The man with the glasses does not intervene and instead leaves with the money that he intended to pay Gonzales with. As Bond makes his escape, one of the security guards chasing him is killed also by a crossbow bolt. The shooter is revealed to be Melina Havelock, who has been seeking revenge for the deaths of her parents. Before they can escape in Bond's Lotus Esprit, it explodes when a guard tries to break one of its windows. Bond and Melina use her car, a small, clunky Citroen, in a furious chase where they evade Gonzales' men in a wild chase through a small town and through an olive orchard.Back in London, Bond reports back to MI6, where the upset Tanner reprimands him for failing to obtain any information from Gonzales. However, Bond, with Q's assistance, uses a highly sophisticated database called an Identigraph, to identify and locate the mysterious payoff man. The man is revealed to be Emile Leopold Locque, a Belgian assassin who has worked as an enforcer for numerous crime syndicates. The most recent intel suggests he is operating in Cortina d'Ampezzo in Northern Italy.Bond travels to Cortina and meets Luigi Ferrara (John Moreno), an Italian Secret Service agent who tells him that Locque may be associated with an organization called the White Dove (indicated by the pin Locque and it's members wear). He directs Bond to his most reliable contact in the Greek Underworld, Aris Kristatos (Julian Glover). Kristatos identifies the White Dove's leader as Milos Columbo (Chaim Topol), the kingpin of Greece's heroin trade. Kristatos asks Bond to be an escort for his young skating protege, Bibi Dahl (Lynn-Holly Johnson), while she watches the biathlon. Bibi tries to seduce Bond in his hotel room, but Bond refuses her advances due to her young age.At the biathlon, Bibi points out a friend of her's, Eric Kriegler (John Wyman), a competitor in the event. Bond bids Bibi farewell and leaves the event; as he skis away, he is attacked by a small group of thugs on winterized motorcycles. One of them is Kriegler himself, who tries to kill Bond with his sniper's rifle, another is Locque. Bond is able to escape his attackers, killing several of them in the process.Bond meets Bibi later at the Olympic skating rink where Bibi is practicing. He asks her about Eric and finds out that he is an East German defector. After Bibi leaves, he is again attacked, this time by three hulking hockey players. Bond beats them all and returns to his car. There he finds that Ferrara has been killed. In Ferrara's dead hand is a White Dove pin.Bond goes to the business section of Cortina the next day and spots Melina buying a crossbow. As he approaches her, they are both attacked by men on motorcycles, much like Bond the previous day. Bond kills both attackers and orders Melina to leave Cortina. He also tells her that her need for revenge may get her killed too. She agrees to return to her father's yacht and wait for word from Bond.Bond travels to Greece to continue his investigation of Columbo. At a nightclub, he meets with Kristatos and asks how to meet Columbo, not knowing that Columbo's men are secretly recording their conversation. Columbo is at the same club and is sitting with a woman, Lisl von Schlaf (Cassandra Harris), a countess. She becomes openly insulted by one of Columbo's comments and proceeds to leave. Seeing an opportunity to learn more about Columbo, Bond approaches Lisl and offers to have Kristatos' valet, Apostis (Jack Klaff), drive her back to her hotel. After Apostis leaves, Bond and Lisl spend the night together. Lisl confesses that Columbo knows that Bond is a secret agent, and has asked her to learn more about him. Unbeknownst to either of them, Apostis is secretly listening in on their conversation.In the morning, the two walk on the beach and are attacked by Locque and another White Dove member, Claus (Charles Dance). Locque kills Lisl by running her down in his dune buggy, and he and Claus capture Bond. Claus is suddenly shot by a harpoon and several men wearing the White Dove emblem appear out of the surf and capture Bond.Bond is taken to Columbo himself on a yacht, who tries to convince the spy that Kristatos is actually the real villian and the one behind the search for the ATAC. As a means to prove this, he invites Bond to accompany his men to Albania, where Kristatos is using a shipping warehouse to process heroin. Bond reluctantly agrees, and they find Locque overseeing a shipment of raw opium smuggled in enormous rolls of newsprint. They also discover some old naval mines, implying that the sinking of the St. Georges was no accident. As his men provide cover, Locque wires explosives to one of the mines, taking the detonator with him to a nearby escape car. Locque detonates the explosives to cover his escape, but Columbo's raiding party are able to flee the warehouse before it explodes. Using an underground tunnel, Bond is able to get to the shipyard's entrance before Locque does. He opens fire on Locque's car, hitting the assassin in the shoulder and causing him to lose control of the vehicle, which careens off the road. As Locque's car precariously teeters on the precipice of a cliff, Bond shows him the dove pin he'd gotten from Ferrara, throws it to Locque; the tiny shift in weight causes the car to slide off the cliff. Bond gives the car a hard kick and it plummets, killing Locque.Bond travels to the Havelock's yacht and finds Melina. Bond asks Melina if her father possibly left behind any information about his work for the British government. Melina shows Bond her father's journal and they discover that her father had been diving in an unusual underwater location.The two go there in her father's mini-submarine and find the St. Georges. The enter the wreck and find the ATAC attached to an explosive charge which had failed to be activated. Bond disarms the bomb and takes the ATAC when the two are attacked by a diver in a JIM suit. Bond manages to escape the killer and attaches the ATAC bomb to the JIM suit, destroying it. Nearly out of breathable air, he and Melina return to the mini-sub but are again attacked by another mini-sub. They are able to escape this man as well.They return to the surface to find that Kristatos, accompanied by Kriegler and Apostis, has seized the Havelock yacht and killed the crew. Kristatos takes the ATAC with the intention of selling it to the Soviet government; Kriegler is revealed to be his KGB contact. Using Melina and Bond as "bait" they tow them behind Kristatos' yacht hoping that sharks will eat them. Bond is able to snap the line binding them and they retreat to a SCUBA tank Melina left on the ocean floor. Kristatos, assuming Bond and Melina are both dead, leaves.The two make it back to their yacht and hear her father's parrot reveal the destination of the ATAC, a location only called "St. Cyril's." Q informs Bond that there are over 300 locations with the same name in all of Greece, however, Bond knows that Columbo will know where Kristatos has retreated to.The St. Cyril's that Columbo knows of is a monastery in the northern mountains of Greece and sits atop a series of sheer cliffs. It is only accessible from the ground by a cabled basket; Bond must scale the cliff to reach the machinery controlling the basket. As he climbs, he is found by Apostis, who tries to loosen the spikes and climbing rope Bond is using as a safety line. Bond is able to make it up the cliff far enough to throw a spike at Apostis and send him off the cliff. He makes it the basket house and lowers it for the rest of the crew to come up.General Gogol is on his way to the monastery to collect the ATAC. Kristatos attempts to flee with the ATAC, with Columbo and Melina in hot pursuit. Kriegler attacks Bond, nearly overpowering him due to his size, before Bond defenestrates him and races after Columbo and Melina. Kristatos and Columbo fight. Kristatos knocks Columbo out, only to be cornered by Melina, who seeks to kill him to avenge her parents' death. While Bond and Melina argue over whether to execute Kristatos or simply arrest him, Kristatos pulls a switchblade out of his jacket. Before Kristatos can attack Melina or Bond, Columbo regains consciousness and kills him with a throwing knife. Gogol arrives and genially asks for the ATAC; Bond suddenly throws it over the side of the mountain where it shatters hundreds of feet below. Gogol is visibly shocked at first but Bond replies "Detente, Comrade! You don't have it, I don't have it." Gogol suddenly smiles and leaves, obviously humored.Melina and Bond share a romantic evening on board the Havelock yacht when a call arrives from MI6 on Bond's wristwatch. The British Prime Minister, Margaret Thatcher wishes to speak to Bond personally. Bond gives the watch to Melina's parrot and the PM is tricked into thinking she's still speaking to Bond, who has joined Melina for a nude moonlight swim. | revenge, murder, violence | train | imdb | It is definitely the best Roger Moore's James Bond 007 film since The Spy Who Loved Me!
Great actors like are: Roger Moore, Carole Bouquet, Julian Glover, Topol ,Lynn-Holly Johnson, Michael Gothard, Jill Bennett, John Wyman and Walter Gotell.
Aiding Bond is the beautiful sharpshooter Melina Havelock (Carole Bouquet) and an old acquaintance of Kristatos's named Milos Columbo (Topol).I really miss movies like this one today I really do, I miss them so much.
For Your Eyes Only is a 1981 British spy film and the twelfth in the James Bond series to be produced by Eon Productions, and the fifth to star Roger Moore as the fictional MI6 agent James Bond.
Certainly 'For Your Eyes Only' and the follow up, 'Octopussy' are the best of the Moore years, and I don't think it would be overstating it to say that Glen may have single handedly saved the franchise.By the end of the 1970s Bond had turned from Ian Fleming's masterspy into an entirely comic book creation, culminating in the preposterous shenanigans of 'Moonraker' in 1979.
The scene with Bond and Melina dragged behind the speedboat, for example, is taken directly from the novel of 'Live And Let Die', and many characters appear in Fleming's short story of the same name.Add to the mix a fine cast, notably Carole Bouquet as another strong character in the list of 'Bond women', and you have a satisfying and thrilling entry in the series..
Moore's outing with overwhelming action and spectacular scenarios , the film teams Bond with an archaeologist as endearing ally ( a beautiful Carole Bouquet) in an effort to stop an industrialist from selling a mechanical artifact .
After his first introduction in ¨Live and let die¨ as tough and attractive James Bond of the Ian Fleming's famous creation , Roger Moore went on playing various 007 , and ¨ For your eyes only ¨ is one of the best .
Following the tracks all lead a nasty billionaire , a maniacal villain who schemes the selling of the powerful machine to a Russian general (Walter Goetell).This solid , slick thriller with magic mix of action-packed , dazzling stunts, gadgetry, and romance provided by sexy company as Carol Bouquet, Lynn Holly Johnson and Cassandra Harris (first wife of Pierce Brosnan until her death) .
In addition , there appears the usual as Lois Maxwell, ¨MoneyPenny¨ , Minister of Defense as Geoffrey Keen and Walter Goetell as Russian general .The picture contains comic-strip adventure , sensational pursuits , silly set pieces, great stunts, tongue-in check humor, automovile chase, frantic unstopped action , an impressive tour over razor-sharp coral reefs, amazing gimmicks and stimulating images like are the happenings on the spectacular pursuits on the snow, the overwhelming underwater scenes, and the breathtaking battles .
The chase and suspense formula wears strong in this entry .The action-packed includes , exciting underwater fights, and cliffhanging assault of a rousing mountaintop fortress filmed in Meteoro monastery .Enjoyable title song by Sheena Easton and stirring musical score fitting to action by Bill Conti (Rocky saga's composer) ,following the John Barry's classic style .
Aiding Bond is the beautiful sharpshooter Melina Havelock (Carole Bouquet) and an old acquaintance of Kristatos's named Milos Columbo (Topol).As good as it is, 'For Your Eyes Only' starts out terribly.
Some would see this as hypocrisy, whereas it is the words of a Bond who has come to analyse the hardship of a licence to kill.With Julian Glover portraying a more down to earth villain and the plot centering around the Cold War, For Your Eyes Only is a great 80's Bond film, with scatterings of what would be developed into the Timothy Dalton years, such as the serious Bond and the more down to earth story telling.
While it did not outgross Moonraker, it's financial intake was close and while it does possess the entertainment factor that both Moonraker and The Spy Who Loved Me did, it is an artistic success, with great performances, an engrossing storyline, wonderful characterization and superb direction from John Glen in his directorial debut for a Bond film.
Suffice it to say that it is one of my favorite "the bad guy gets it" moments in just about any movie.I also recall that when the film was new, the application of synthesizers in the music (most obvious in the title song, and more subtly applied in the score) was very cutting-edge and tasteful; there were clearly synthetic effects to be heard, but they were not poured on liberally.(Everything in moderation?) It's a little harder to notice in this day and age of synthetic everything, but the careful incorporation of obviously synthetic sounds lent extra style.
The film is much more Fleming-like, that is until Dalton comes in.The story is very interesting because it's more of a spy movie, Moore has some work to do here!!!
The Bond girl played by Carole Bouquet is very good, not just a pretty girl!The acting is much better than Moonraker, John Glen eases into the directing quite comfortably.The photography is wonderful, very realistic colour use.There are some fun stunt sequences, the ski chase is fantastic.The film score is fun, but a product of its time, unlike Barry, the music doesn't transcend the generations!Overall, 'For Your Eyes Only' is a satisfying Bond picture.
The story is a little more complex,the villains not so easy to identify.the action is more down to earth than the sheer excess of Moonraker.Julian Glover makes for a sneaky Villain who tries to use Bond for his own gains.This was the start of the John Glen Bond movies And quite a vintage they were too.lots of action all of which is less over the top but certainly just as exciting.the music by bill conti has been slated over the years but i think its a great score.this plays very well on dvd.as for Moore that one scene where Bond kills for revenge is easily his best performance he really does convince his angry enough to kill..
Sadly, this one did not perform as well as other Roger Moore James Bond movies as it did not do nearly as well as the previous film, Moonraker.
I guess it matters little these days, and why should I care now that I alone think this is one of the best Bond films.The movie features a lot of action, but the mission is almost a rather unremarkable one.
It opens with an action sequence in a helicopter that is unrelated to the decoding device plot, but it is fun to watch and the only time Blofeld and Roger Moore's Bond cross paths.
Gone is the over reliance on hi-tech wizardry, Moore (in his best performance as Bond) is back to being down to earth, being a Bond using his wits and toughness to get out of tricky situations, and the film goes for short sharp shock action scenes instead of giant battles enveloped by even bigger sets.
They attempted to bring 007 series back to its roots and they stripped down/away everything to a point where very little of the over-the-top action I usually enjoy in James Bond movies was left: in the end, the film plays more like a TV movie or, in my humble opinion, an After School Special than a cinematic adventure.
spy adventure that has bond taking on the usual assortment of ruthless killers and beautiful women.There are some first class action scenes in this movie including some great underwater photography as Bond the the girl battle the bad guys on a sunken ship for a very 1970s looking computer.
On his travels, he also meets and teams up with Melina Havelock (Carole Bouquet), who is reeling from a family tragedy, and must detect who are allies of theirs in their encounters and find the ATAC.Moore continued his suaveness and charm in this movie, which I thought had a more faster pace in the plot and more exciting action sequences than the previous Moore entries, from the car chase to the thrilling ski chase - all set to a very 80s-style music score by Bill Conti.
The rest of the movie is full of the usual action, gadgets, nice stunt work and brilliant special effects.Moore keeps on going with another wonderful job playing James Bond, keeping it entertaining and fun, but also displaying a seriousness about him during his mission.
An elaborate villainous lair is not missed, that said, this entry is less extraordinary compared to the rounded and highly enjoyable Spy Who Loved Me (1977).James Bond is once again played by Roger Moore, the opening scene closes a chapter on his wife's death setting a serious tone for Moore's performance and the rest of the movie.
There's less gadgets and while the steelier Bond is welcomed with the ending subtle and poignant, Bond girl Carole Bouquet (once the 'face' of Chanel) is less than stirring, mainly due to her lack of dialogue.Bond bad guy Kristatos played by Indiana Jones and Star Wars actor Julian Glover is bland and forgettable, lacking weight especially when compared to other serious Bond outing villains like Kananga and Licence to Kill's Sanchez or more recently Dominic Greene to name a few.
Even though Bill Conti's score is uneven, at times pure genius and other 80's rubbish tech-no pop, John Glen's directing, Maibaum and Wilson's writing ensure that this entry is more spy action thriller.In retrospect, despite being a relatively less inspiring Bond credit must go to For your Eyes Only for simply bringing the series back to earth and on track..
Sadly, this approach was not to last, and the series returned upon its rather tragic path it had been heading during the Moore era.A rather rough and tough Bond film, showing more character development in the main hero and a good collection of villains and sidekicks.
Definitely the best James Bond movie of J.B Mk. III - The Roger Moore Era - I think.
This is not the best of the Roger Moore Bonds(The Spy Who Loved Me) but it isn't the worst(a tie between Octopussy and A View to a Kill) either- it is a film with its pros and cons and as an entry in the Bond franchise it is actually pretty solid.CONS: There is nothing new really in the plot, there is little really of surprises.
It was so cool that Bond finally got his revenge on Blofeld.The action in this film is as thrilling as ever with another unbelievable ski chase and a tense mountain-scaling sequence, but for the first time since "On Her Majesty's Secret Service," Bond has a certain vulnerability to him that makes you feel for him.The locations in Greece and Italy were spot-on and the theme song by Sheena Easton is another classic Bond song.
Bibi, however, was incredibly annoying and had no place in this otherwise excellent picture.Second to "The Spy Who Loved Me" as Roger Moore's best Bond film, this return to the style of Fleming's Bond is another one of the series' highlights.RATING: A-.
And the film earned an Academy Award nomination for the title song, sung beautifully by Sheena Easton.Roger Moore has always been my favorite Bond and For Your Eyes Only shows him at the top of his game..
The bobsled chase is amazing (sadly, a stuntman died during the making of it); the underwater scenes when Bond and Melina are searching things inside the sunken ship is mind-blowing and there's even the villain's mini-submarine involved; a lethal henchman played by the great Michael Gothard (quite an ironic casting since his character here doesn't mutter a word while in Ken Russell's "The Devils" he was the loudest voice in the room, also a diabolical evil guy), who steals the show whenever he appears.
I like Bouquet but it's a shame that she had to be dubbed..Following the death of Bernard Lee (M), Desmond Llewelyn's Q gets an enhanced role here and Locque (Michael Gothard) is identified as the man they want to find.In the Italian Alps there is a slightly disturbing scene where the 16-year old Bibi (Lynn-Holly Johnson) attempts to seduce Bond, being played by 54 year old Roger Moore.
Helping him in this mission is Carole Bouquet as Melina Havelock, out for revenge against villain Kristatos(played by Julian Glover).Film is a more serious, straightforward adventure then had been seen in awhile, which is a most welcome change of tone, though the opening sequence with Bond battling a familiar looking villain is pretty amusing, though in a good way.
It Is Very Hard To Direct A Film Like This And Get It Right, John Glen Was On & Off, Sometimes Terrible(Liscence To Kill), Sometimes Good(Octopussy(Hmmm...)) But Above All THIS Is His Best.Roger Moore Gives The Best He Can To The Role But Overall The Strength Is Melina's Backstory.
Roger Moore's 5th adventure as Bond, and after reaching silly heights in 'Moonraker' it's great to see Bond back on Earth again, and all the ingredients are here for a very entertaining thrill ride, the action, the stunts, the gadgets, stunning locations and beautiful women, not to mention some of the most convincing acting in the Bond series.On a mission to retrieve a nuclear submarine control system from a British ship that has sunk in foreign waters, 007 is up against the worlds superpowers in a race to prevent global devastation.Roger Moore's finest adventure as Bond, and one of the best Bond films there is.
I believe that Moore could be the best Bond actor if he starred only in 'For your eyes only' and 'The Spy who loved me'.Second, there is no juicy villains.
Despite having some weaknesses, it is one of the best film in the saga "James Bond 007" with Roger Moore.
An extraordinary range of exterior locations delivers "007" spreading his wings to be up in the air, navigating a helicopter to dispose an unfortunately-neglected character of "Blofeld" since "Diamonds are Forever" (1971) in a forgettable pre-title-sequence, underwater wreck diving with deep sea robotics, an super-accelerated chase scene at an Italian alps ski resort before an exciting showdown leads James Bond climbing up a mountain top accompanied with his fellow sidekick Milos Columbo, protrayed by highly authentically actor Chaim Topol and actresses Carole Bouquet and Lynn-Holly Johnson in their early 20s, bringing the light and the dark into romantic as erotic play for actor Roger Moore, who in his fifth portrayal as "007" handles it with such understatement at the age of 53 that punchlines as "No Head For Heights" while kicking a contemporary Mercedes-Benz with antagonist's right hand behind the steering wheel of a razor-sharp rocky cliff.
Cinematography by Alan Hume (1924-2010) delivers plain, but well-executed coverage with no surprises in a since 1977 "The Spy Who Love Me" kept CinemaScope (2.35:1 aspect ratio) film format that presents promoted editor John Grover panoramic on-location widescreen photography, live-action stunt work, especially in a stunningly-paced skiing scene, choreographed by Willy Bogner and his associates, plus the fair character close-ups, which holds its suspense to the end, preparing recurring international audiences for more Roger Moore charm, humor and strikes of boldness in two more "007" pictures already in his mid-50s.
l'd watched this picture in January 1998 on television now for first time on blu-ray which provide a fantastic view of this kind of picture that was shooting in amazing spots on Greece...Roger Moore was too old to play 007 in the 80' but still works...in this time he goes to Greece to find out where the ship wreck and get the communication device called ATAC which the Russians are interested,among great actors on the movie Topol play a decent Greek who helps bond on this mission...and of course Carole Bouquet who was always beauty mainly in underwater shooting...gorgeous Bondgirl!!!.
I thought that it did the movie justice and the chemistry between Moore and Carole Bouquet who plays Melina Havelock was great.Although "Moonraker" made more money at the box office, "For Your Eyes Only" is definitely one of Moore's best efforts as the Suave Super spy..
This is the one with the annoying young American figure skater, Topol, and the opening helicopter sequence with Blofeld (his final appearance in the films).FOR YOUR EYES ONLY has just about everything you could want in a Bond movie.
Even the skiing has been done before, in ON HER MAJESTY'S SECRET SERVICE and THE SPY WHO LOVED ME (1977).The theme song is sung by Sheena Easton, who has the distinction of being the only singer to be shown during the opening titles of a James Bond film.
The action is more grounded, in that Bond must rely on his wits and his combat skills to save the day, rather than some wild and wacky gadgets.FOR YOUR EYES ONLY is #12 in the James Bond series, and is the fifth film to star Roger Moore as 007.
Among all the James Bond films of Roger Moore, For Your Eyes Only is the best and most compelling I've seen.Coming off the massive success of Moonraker, the producers decided to bring 007 back not only to Earth but also to a style that resembles the Bond movies of the early-to-mid 1960s.
In line with the "tradition" of Moore Bond films, FYEO has some over-the-top action sequences and chases (skiing on a bobsled track)to heighten the pace.
This is, in my mind, the best James Bond film Roger Moore has done.
Certainly the best of Roger Moore's appearances as Bond, For Your Eyes Only dispenses with over reliance on gadgets and over blown action scenes of the type that pretty much sank the previous instalment Moonraker.There is a good performance from Bond and leading Bond lady Caroline Bouquet mainly thanks to them having a decent intelligent and well worked out script to work with.
This is the first John Glen directed James Bond adventure and the plot changes from the outlandish screenplays of adventures such as Moonraker and The Spy Who Loved Me. Roger Moore probably puts in his best performance as Bond.
This is director John Glen's first Bond film, and it is by far his best, with Roger Moore looking older but much more comfortable in the role. |
tt0039109 | Willie the Operatic Whale | As the story opens, strange operatic vocals are soon heard far out at sea. Some sailors soon report something that leaves many flabbergasted: the vocals are emitting from a whale!The public and a number of notable people are split: some refuse to believe, while others accept the miraculous story.The story soon reaches the desk of opera Impresario, Professor Tetti-Tatti. After thinking long and hard, the Professor can only come to one logical conclusion: the whale has swallowed an opera singer!The Professor charters a crew and publicizes his quest. A lone seagull named Whitey just happens to see a newspaper article telling of Tetti-Tatti's search, and takes it out to sea to show his friend: Willie. Willie hasn't actually swallowed an opera singer, but can really sing. When the seagull shows Willie the newspaper, Willie assumes that the Professor is looking to audition him, and given Tetti-Tatti's credentials, Willie feels his dream of singing at the Metropolitan Opera may finally come true!Willie soon comes upon the Professor's boat, and begins to sing music from "The Marriage of Figaro." Tetti-Tatti demands that his crew harpoon the whale (thinking by killing it, he'll save the opera singer inside, as he believes), but the crew soon grows enamored by Willie's vocals, and applaud for more.Willie soon proves to be a 'singing miracle,' when he begins singing in 3-part harmony, able to sing in Tenor, Baritone, and Bass. The crew is impressed, but Tetti-Tatti now believes that this whale has swallowed 3 opera singers!Willie continues to sing, as the audience is drawn into his imagination, as he imagines himself on the stage of the Metropolitan Opera, singing numerous other arias.However, Tetti-Tatti soon breaks free from the crew, and harpoons Willie, killing him.In the closing narration, we see Whitey the seagull who was Willie's friend, dejected over the loss. But the narrator explains that the audience should not feel anger towards Tetti-Tatti, and that some people just aren't used to miracles.The narrator closes by explaining that somewhere in heaven above, Willie still sings, but in 1,000 voices. The closing image shows Willie in angelic garb, singing in a choral tone, before we see the gates of heaven showing that the performance is sold out to see Willie perform. | psychedelic | train | imdb | null |
tt0107178 | I Can Make You Love Me | At 22, Laura Black seems to have it made. After graduating UC-Davis in engineering, she leaves her parents' home in Virginia to head for KEI Systems, a Silicon Valley hi-tech firm specializing in defense contracting for the armed services. On the first day at her new job, her supervisor, Chris, introduces her to Richard Farley, a software engineer employed in a division outside Laura's. After lunch that day, Richard invites Laura to a tractor pull, which she turns down. Farley appears to think nothing of it at first, but the worst is yet to come.Laura soon finds a roommate & starts settling in at KEI, during which Farley continues to offer his attentions with nothing more harmful than baked blueberry bread, sitting in Laura's office awaiting her arrival at 7 a.m. But when Laura gets involved with the company's aerobics classes, Farley can soon be seen stealthily watching from outside. While at a company softball game, Farley approaches Laura & asks to go out later to 'discuss the terms of our relationship'. Laura angrily chews him out and insists there is no 'relationship', other than a professional one. Her best friend, Glenda Moritz, tells Laura if Farley is becoming a problem she should address it with management, after which she cracks a joke and the two of them start laughing. Farley takes personal offense but keeps his distance.That week, Farley angrily approaches Laura at work with a gift. She angrily refuses, but Farley refuses to leave until it's opened. When Laura opens it, she discovers a toy bulldozer, after which Farley sneers, 'if you act like a child, I'll have to treat you like one', and accuses Laura of making 'childish, silly faces' at him during the game. Using a ruse, Farley tricks an HR employee into unwittingly giving him Laura's address. The notes then begin to arrive, either at work or Laura's home. When her roommate urges Laura to act on Farley's implied threats & menacing, Laura brushes it off - until a few days later when the two of them come out to go to work & discover the tires on Laura's VW Cabriolet slashed. Reporting to work late, Laura is immediately confronted by Farley, who menaces her with a veiled threat - 'Either you must live in a bad neighborhood or someone's trying to make you pay attention.' He then goes on to offer to help Laura pick out new tires - even to pay for them. She ignores him & walks into work, after warning him that police had advised her to get a restraint order. Farley then threatens her again. Even when not threatening her, his presence is menacing, such as when he snaps photographs of her in her driveway.After this, Laura goes to her HR department to complain about Farley's unending harassment, but is met with stonewalling. It is apparent the company values Farley's security clearance over Laura's right to be free from harassment, but Penny, the HR manager, agrees to talk to Farley and order him to stay away from Laura. Farley takes the advice to heart, but only at work - he soon enrolls in the aerobics classes Laura attends, and then follows her home afterwards. He also corners her at a gas station, forcing her to flee in a panic. Even when Richard's landlady, Nancy - who he also works with - tells him Laura isn't interested in him, Farley continues to find ways to get to her. Exasperated, Laura tells her roommate she is moving out, but her roommate insists on going with her. The two of them find a new apartment that is in a gated community and apparently much more private.Frustrated by Laura's efforts to stop or avoid him, Farley stealthily breaks into Laura's office at work after hours and obtains access to her security clearance application. By doing so, he obtains the addresses and names of her parents in Virginia, and her two sisters - one in Oregon & one in South California - in addition to Laura's new home address. The fiendish Farley then confronts Laura at work the next day, but when she threatens to call the police, he reveals how much he knows about her family, even events in her life that happened a decade before. He then threatens to go after one of Laura's sisters - or even her mother - if Laura tries to run. Angry & frightened, Laura asks Farley what his intentions are - and why. His response is, 'All I know is, you and I were meant to be together - FOREVER'.By this point, Laura has simply had enough. At her parents' home for Christmas in Virginia, a package arrives for her from California. Knowing she doesn't have anyone else there, Laura opens it - and to her horror, inside is an album titled 'Our summer vacation', with a doctored photograph of Farley and Laura's face superimposed on someone else. Laura breaks down in tears, and tells her family the story of the last six months of harassment she has endured at Farley's hands. Her father angrily volunteers to fly out and make the HR people listen, but Laura talks him out of it & vows to address it herself.Following the holidays, Laura goes back to HR and angrily confronts the manager, but the response is the same - they are more worried about jeopardizing his security clearance. Penny does, however, agree to restrict his access to keep him away from her. Farley is also ordered to attend counseling under threat of termination.Not long after, Laura goes out to a bar with some of her girlfriends, where she meets Sam Waters - an engineer who works for another company. He asks her out, and she agrees. After being questioned by her girlfriends about the handsome young engineer, Laura heads for the bathroom, where she is immediately accosted by the now-menacing Farley. He angrily berates her for getting him in trouble with HR, and then shows his violent side while continuing to threaten her if she does not give in to his demands. He leaves with a chilling message - 'This could escalate, Laura. I might scare us both with what I'm capable of doing.'Immediately after, Farley is hauled into a meeting with Penny and a management official, who find that Farley simply refuses to accept that his harassment is illegal and could lead to firing. Emphasizing they want him to stay, Penny tells him in no uncertain terms that his behavior must cease. Farley then levels a veiled threat at Penny, saying that he has guns, would commit suicide, and that 'others would go'. When Penny asks if he is threatening to kill her, he replies simply, 'Yes - not just you. I'd take others as well', before getting up & walking out. Penny is clearly frightened by this threat, but she wastes no time in terminating him with management's approval.Next day, Chris looks up & sees Farley coming down the hall. He motions to Laura, who glances up to see her nemesis being escorted off the property by security with the contents of his desk in a box. As he passes, Penny comes in, and tells them that Farley has been terminated by KEI, effective immediately. She suggests Laura get out of town for a few days, which Laura does.Unfortunately, the harassment did not end with Farley's termination. He soon finds a similar position with another company, and is quickly up to his old tricks of sending menacing letters and again showing up at KEI. When Laura protests, she finds out the company refused to terminate Farley for harassment but rather for performance issues. Laura is furious - again the company has put Farley's interest ahead of hers.Even when Laura is out on a date with Sam, Farley shows up at their restaurant but does not approach them. Sam angrily gets up to confront Farley, but Laura talks him out of it. He warns Laura that she HAS to take Farley's menacing conduct more seriously, and teaches her how to use his 9-mm semiautomatic in self-defense. Laura is apprehensive, but Sam insists - with a promise he will pick it up the following day if it really bothers her. Laura agrees, kisses him goodnight, and goes to get ready for bed. Hearing a noise in the garage, Laura finds Farley in it, leaving a note on her car. She has the gun at the ready behind her back if he approaches, but he leaves without approaching her.
Laura soon comes up for promotion at work, but her security clearance has not come through. Chris tells her Farley is probably the reason behind it, and encourages her to get a restraining order - which she reluctantly agrees to do. Farley is served with a temporary restraining order at his workplace, and Laura soon finds out that she will have a court date later in the week to make the restraining order permanent.Farley proceeds to a gun shop & purchases a Mossberg 12-gauge shotgun and over 2,000 rounds of ammunition. He also buys a huge motorhome and starts making his way to Laura's workplace, planning to wait for her to get off work. Unaware Farley is on his way, Laura phones her dad, and tells him about the pending court date the following day. Once Farley arrives, he arms himself with a Benelli shotgun, a .22 Magnum pistol, a semiautomatic 9-mm handgun, a Ruger M-77 rifle, and his new 12-gauge Mossberg shotgun. Stepping out of the motorhome, he calmly walks up to the front entrance of the KEI building. As he approaches, he meets Lawrence Kane, another man with whom he had previously worked. Kane whispers under his breath, 'You can't be serious', when he sees Farley, but Farley simply says, 'Cowboys and Indians!', then blasts Kane at point-blank range with the shotgun, sending him backwards onto a parked car and killing him. As another car approaches Farley, he blasts the car with the shotgun, missing the driver, who quickly retreats. Then Farley fires the shotgun into the plate-glass front doors and marches into the building, shooting at any moving target. As he makes his way up the stairs, he encounters a man coming down, and quickly guns him down with the Mossberg shotgun. Software engineer Helen Lamparter, a friend of Laura's, hears the shooting and runs to the man's side. Farley, halfway up the stairs, turns the shotgun on her and kills her instantly. Making his way to the 2nd floor, Farley kills newlywed 23-year-old Wayne 'Buddy' Williams with the shotgun and continues making his way across the floor. Hearing the shots, Laura's best friend Glenda Moritz comes out of her office - right into Farley's path! Glenda pleads for her life, but the psychopathic Farley levels the Mossberg at her and fires a single round, sending her crashing through the door and backwards into her office, fatally wounded. He then heads for Laura's office, where he ambushes her and seriously wounds her with a shotgun blast to the shoulder. Laura drops to the floor, appearing dead, so Farley leaves her office after he hears voices in the hallway behind him. As employees flee the building, the first police car arrives and officers quickly conceal themselves outside the main doors. Upstairs, Farley attacks 2 men who are making a run for it. Killing the first one with a shot to the back, he wounds the second in the stomach, but the man attempts to escape again. Cornering the man, Farley fatally wounds him with a second shotgun blast to the stomach.By now, the officer in command, Captain Olson, has arrived, and is assuming the worst. But even as employees are evacuated from the building, Olson's second-in-command spots Laura's old supervisor, Chris, running into the building. Officers are unable to stop him as he runs inside & up the stairs.Laura, meanwhile, has desperately tried to dial 911, but finding the line busy, improvises a bandage from a sweater to staunch the bleeding from the gaping shotgun wound in her upper arm. Fleeing her office, she comes across the body of one of the men shot in the back while escaping, and can hear Farley blasting away at the computers & hardware with his shotgun and .22 Magnum pistol. Farley returns to Laura's office, but finding her gone, starts hunting the second floor for her.Outside, the SWAT team has arrived, led by Lt. Bannister. They are quickly filled in by Captain Olson and a command post is set up in an adjacent building. The SWATs are informed of Farley's military history and prepare for what they are likely dealing with. Olson also is informed that Laura - Farley's motive for the shootings - is still trapped in the building. Lt. Ruben Grijalva, a hostage negotiator, also arrives and is filled in by Captain Olson. It isn't long before Farley contacts Grijalva and contemptuously sneers that he plans to 'gloat for a while' and 'would rather kill people than animals - it's not sporting to kill animals'.Laura continues to try to find a way out - and as she does, she passes by Glenda's office. She looks in to discover a horrific scene; her best friend Glenda is fatally wounded by Farley's shotgun blast, and Laura makes her way to the 2nd floor reception area, hiding to conceal herself from Farley as she can still hear the shotgun & pistol. She soon gets into the HR office where 2 women, holed up inside, try to stop the bleeding from Laura's shoulder. After several minutes, though, Laura flees the office, determined not to die, and hides under a desk in a room adjacent to where Farley is talking to police.Lt. Bannister argues for a 3-pronged attack, but Capt. Olson vetoes it as he fears the risk is too great. Laura, calling what she thinks is security's number, reaches Lt. Grijalva and advises him of her injuries. The lieutenant advises her to keep talking in the hope she will not pass out from blood loss, but eventually she does.Regaining consciousness, Laura calls Lt. Grijalva back. He informs her there is no way to send in rescuers to help her; she will have to sit tight. Hearing Farley blasting through the door, Laura hangs up the phone & hides under the desk just as Farley enters the room. The fiend spots the SWAT team moving up towards his position, and contacts Lt. Grijalva and threatens to start detonating explosives unless the SWATs are called off. Capt. Olson calls them off, and Farley continues to rant to Grijalva about his 'persecution' by KEI and Laura's angry rejection of him, refusing to acknowledge any role his conduct might have had. Hearing him in the same room, Laura uses the opportunity to slip through a destroyed security door and down a back staircase to the main floor, where she emerges from the main entrance into the hands of the SWAT team. Lt. Bannister & 2 SWATs help Laura to an ambulance, and she is raced to the hospital.When Laura arrives, she is immediately sent to surgery to repair her damaged shoulder & stop the bleeding. Farley, meanwhile, continues to negotiate with Lt. Grijalva, initially insisting that 'I'm gonna die here, and I'M going to decide when'. He does, however, ask for a diet cola & sandwich from Togo's, which Lt. Grijalva agrees to in return for Farley throwing some of his weapons out one of the building windows. Lt. Bannister offers to have a SWAT sniper take Farley out, but Grijalva argues to try to get Farley to surrender first. Capt. Olson agrees, on the condition that if Farley is unwilling to surrender - 'Get him in front of a window.' Lt. Grijalva agrees, and gets the sandwich & diet cola that Farley requested.When it arrives, Lt. Grijalva points out to Farley that even once he throws out the weapons, there is still the problem of getting the food to Farley. Farley acknowledges this, and Grijalva suggests that he surrender himself. Farley is initially skeptical, but Lt. Grijalva persuades him that he could teach computers in prison. After a few minutes, Farley agrees and emerges from the buliding, into the hands of the SWATs and Capt. Olson's second-in-command, Lt. Shagan. Shagan promptly cuffs Farley and reads him his rights, and as Farley is walked to a police car Grijalva appears with the food Farley had requested. Putting the food in the front of the car, Grijalva watches as the police car drives slowly away with Farley. The film ends with the final outcome of the real-life case: Richard Farley was found guilty of 7 counts of capital murder, and is awaiting the death sentence in San Quentin prison. Laura Black, after 7 major surgeries, regained some use of her shoulder, and as of filming was still working for the company. Following Laura's case - and other tragic stalking cases - the state of California became the first to pass an anti-stalking law. | violence, romantic | train | imdb | This type of film could seem over-the-top, but thanks to a believable performance by Richard Thomas, and a surprisingly decent performance by Brooke Shields, the viewer is interested in the story, and not distracted by personalities.You will see some interesting information regarding stalking, as well.
This film was made in 1993, and I was surprised that the company was not held liable for Laura's problems with this man.As this is based on a true story, we see Richard Thomas gradually unraveling as he stalks Laura (Shields), he seems initially harmless, then obsessed.
top notch for t.v. this was not a bad movie at all and i have to say,having been a fan of Brooke shields for years i think this was her first outing at actually being able to show her acting strength.she has just gotten better and better but i was totally impressed with her performance.the movie itself can slow in parts a little bit the last half hour certainly makes up for it.i did not expect such an entertaining finale from a t.v movie.although Richard Thomas did a great job,this is Brooke's film as her screen time shows and she made the most of it.the only let down with the film are the co-stars .the look of them and their acting abilities are woeful and you wonder how they got their jobs-all except for Laura Blacks flatmate that is,who does a fair job..
The first time I saw this I thought, he can't be that good an actor, he must be a maniac in real life.
Brooke Shields was perhaps at her best in this part, but the whole movie hinges on if you buy into Thomas as the stalker and it does it quite well!.
This movie was very creepy to me because this kind of thing happens every day.What I can never understand, though, is why people don't notify law enforcement when things start to get out of hand (one has to be careful with employers, as they're quite often "good-old-boy networks" only concerned about protecting their own, as well as covering their own behinds).
However, this film was made in 1993, before workplace and school shootings became fairly commonplace.....That withstanding, I've never been a victim of stalking, but you can bet that I would also never let things get as far as they tend to do with many people (maybe it's the way I was raised, or because I have a pretty good self-esteem, who knows).Nevertheless, I find these types of films much more captivating and closer to home than the usual stuff out there.It's too bad that there are such people in this world........
STALKING LAURA, a true story about one man's increasing obsession with a work colleague which leads to eventual tragedy, is an astonishingly good film and quite possibly one of my favourite made-for-TV movies of all time.
On the face of it, it looks like every other TV-movie ever made: matter of fact, routine, bogged down with the 'true story' hook.
Indeed, for the first half of the production, all is familiar and safe, rather than gripping.The film is anchored by Richard Thomas delivering a completely surprising turn as the villain of the piece.
Thomas underplays it, selling us his nice-guy John Boy Walton character with a few hidden undertones; a little too insistent here, a gaze lingering too long here.
Brooke Shields was good and too gorgeous for words.Just a word re: a previous reviewer saying she should have just gone out with him once and that she was a snob..
This was the first movie I watched with Richard Thomas in as a mature man.
The scene where Farley looks up at her with that longing and surety in his incredible eyes and says, you and I were meant for each other, Laura, all I know is we were meant to be together-forever is what did it for me.
Richard Thomas gives a terrific performance in the kind of movie we've seen millions of times, even as true stories.
Up until a few months ago I had never seen I Can Make You Love Me or read the story about Laura Black and after watching the film I was left feeling sickened and horrified.
This movie tells the story of how a man's four year obsession and stalking of a female employee ended in a tragic conclusion.I had seen Richard Thomas in Death In Small Doses and he's a brilliant actor with great talent his portrayal of real life killer Richard Farley sent chills down my spine as he played a man with a sick obsession.
Brooke Shields delivered an incredible performance as Laura as the film progressed it amazed me how she had the courage and bravery to escape the rampage alive and how she reacted when her boss told her about the real reason why Farley got fired .At 23 years old Laura Black (Shields) is about to leave her parents home in Virginia after accepting a job at K.E.I. in Sillicon Valley California, on her first day she's introduced to long time employee Richard Farley (Thomas) whose immediately attracted to her beauty after lunch he invites her out she politely turns him down.Over the next few days he is shown waiting for her in her office with fresh baked bread to show how he feels and then watches outside her aerobics class as she removes her sweater to reveal her outfit.What happens next is a four year nightmare for Laura as Farley continues to follow her repeatedly even going so far as to slash the tires on her car, trick other employees into giving him her address, enrolling in her exercise class,breaking into the office to get more info on her, breaking into the garage at her apartment building.
There was a scene when she goes home to visit her family for Christmas and receives a gift entitled our summer vacation which causes her to break down crying.What made the situation even more difficult was his threats to go after members of her family if she tried to leave or learn that she was meant for him.She made many complaints to her boss about what she endured because of him only to be told that they didn't want to jeopardize his security clearance over her right to be safe.It made me feel angry the company should have done more to help keep her protected from harassment.The final straw comes after she files a restraining order and it pushes him to the edge and the result is a shooting rampage which claims the lives of several employees and injured others including Laura.After the film California became the first place to enact an anti stalking law and other cities have followed since.
Still the story was carrying itself on the shoulders of Richard Thomas.
(I think I remember the credits say "based on a true story", so when I say "wanna-be-authentic" I'm referring to the atmosphere the movie creates, OK?!) The plot devices are naive, the dialogue is kind of odd, the characters are rather one-dimensional and act in an exaggerated way.Richard Thomas however is really convincing as the psycho.
Brooke Shields' performance on the other hand is awful, I almost lack the words.Still, the movie manages to be kind of thrilling.
Based on true story of Laura Black ( Brooke Shields ).
This movie was fun to watch because I get to see Brooke Shields.
I don't think Brooke Shields' acting was bad.
This film was done pretty well and the acting by Richard Thomas and Brooke Shields was good as well.
Especially Richard Thomas who can play a good guy and in this case a psychopath very well.
This film based on a true story really brings the reality of stalking to a horrific conclusion.
It brings to light why California like other states finally had to recognize the inherent dangers of ignoring threats by sick people such as Farley.
But when dealing with a person like Farley, they've had that in them for a long time and in Laura Black's case she was the innocent who was targeted by that nut.***SPOILER ALERT*** One scene that cracked me up was when Richard Thomas was in the ladies room at that restaurant and he's talking to Brooke Shields.
This is a truly frightening story of a real stalking case.
In fact, the story this movie revolves around pioneered the anti-stalking law in California and likely inspired other states to do the same.Richard Farley (played by Richard Thomas, in a role at the other end of the spectrum from his role in The Waltons) is an office nerd-of-sorts who thinks he has a shot with Laura Black (Brooke Shields), a new co-worker at a Northern California high-tech firm.
(This event actually happened).*SPOILER FOLLOWING*Farley continues his pursuit until, after threatening the HR people at his company (another real event), he is fired and banned from the property.
In a sequence that shatters actor Thomas' wholesome image, he goes 'postal' and ruthlessly guns down several people, including Laura, who managed to escape.
This segment seems to follow the real story almost right down to the last detail, including those surrounding Farley's surrender.I have heard of the story surrounding Laura Black, and this movie fit most of the particulars almost to a T.
The depth of the writers' attention to the details of the Laura Black stalking made this movie that much more frightening.
After finding it on Amazon under the title 'Stalking Laura', I read about the true story surrounding the events of this movie.
His performance as Farley shatters the wholesome image most people remember him for, as 'John-Boy' in 'The Waltons'.
Brooke Shields is somewhat effective as his victim Laura Black; she is not a weak-kneed, helpless victim.
For those not familiar with the story, here's a little about it.Richard Farley is a software engineer for KEI, a Silicon Valley technical defense contractor.
Laura Black is a new graduate from UC Davis who is starting work there.
Most of the scenes in the movie are ones that actually occurred, including Farley's threats to the HR people and the horrifying mass-murder at his old firm.
Having said that, anyone giving this movie an over critical review really needs to take a look within themselves.While Brooke Shields and Richard Thomas are the stars of this tele-film, the support of the ensemble cast that gives it an even stronger foundation.
While liberties were taken with more minor things in comparison to the main thrust of the saga, a number of them were psychologically geared to cover ground on the way far too many viewers took the ridiculously naive positions that either Laura Black led Richard Farley on or that she was "misunderstanding the situation.Even dismissing those things, as well as the comparison of "John Boy" in the role of a disturbed man who was in real life "built like a bear", the heart of the movie is about how a delusional personality can go that intensely spiraling out of control.
A man who went from being self-disciplined enough to spend an entire decade in the military to the first ever stalking-connected workplace massacre all because he believed people "thought he was weak" or "a joke" doesn't make anyone feel sorry for Richard Wade Farley, and it shouldn't because it can't.
That he "never had a criminal record" nor "committed a single act of violence before" (that is according to his defense at the time...)casts him in an even more despicable light as it spotlights more what he always was: an abusive bully who mastered the mask he wore all of those years looking for the right target.Laura was portrayed as having said "What did I do?" when she was loaded in the ambulance.
The film, and how it ends, gives that answer: Laura Black didn't do anything, except be the perfect target for a disturbed sociopath who, even if she HAD agreed to the "one date", would NEVER have let her go.
"Stalking Laura" AKA: "I Can make you love me" was a excellent movie.I have watched this movie over 100 times.
This movie also makes you think about people.
Richard Farely was a normal guy, until he met Laura Black and became obsessed and keeping tabs on her.
But Richard Thomas played it well.
Brooke Shields played her character really well too.
She even looked like the real Laura Black.All I'm saying is, this movie will get you hooked.
When Laura makes it clear that they're going to remain just friends, Rich quickly changes for the creepy, and next thing you know he's shooting up the corporate office buildings and murdering Laura's colleagues one by one!
Stalking Laura had a few sad moments, such as the poor guy who gets shot and hides in the bathroom, only to start bleeding to death and get shot to death when Rich discovers his hiding place.
She was the victim.Laura has just graduated and is leaving her tacky little Virginia town to work as an engineer in Silicon Valley, a high-tech looking city with an introduction soundtrack that along with the powerful buildings really reminds me of that stupid animated kid's film, the Brave Little Toaster, for some reason.
And when Laura arrives, she meets a friendly group of technicians, along with a kind of nerdy guy named Richard (Rich) Farley.
And at first he seems like he could be a really good friend, but it begins to get creepy when he hangs around Laura's gym class watching her do aerobics, and when he shows up in her office very early in the morning offering her blueberry bread.
Soon she moves to a high-tech security home with her landlord friend, but Rich shows up in her garage, and threatens to murder her bosses, until they finally fire him.That's when he snaps.He buys a trailer and a bunch of guns, watches several influential crime-type drama movies, then shows up in the morning shooting up the whole corporation, killing or injuring many of Laura's friends.
"Stalking Laura" is the feel good romantic comedy of the year that's finally available on DVD.
Richard Thomas stars as our shy, misunderstood hero Richard Farley who's determined to win the heart of a cold, career minded co-worker (Laura Black) portrayed with bitchy hilariousness by Brooke Shields.
Determined to win her love despite the objections of an overzealous and litigious HR representative, clueless bosses and Laura's wacky best friend, who all try their best to prevent the unlikely interoffice romance, a cute office game of "Cowboys and Indians" shows just how far Richard will go to win Laura's cold heart.I can't think of a better way to spend a chilly Tuesday night, than to curl up on my sofa with a Togo's #23 sandwich (it's the best) and a quart sized diet cola (extra ice, I like to chew on the ice) and my copy of "Stalking Laura".
If I could give this movie and 11 I would, but take my word for it, I CAN make you love Stalking Laura..
Based on a real-life case from the 1980s, this is a pretty well-made TV movie about a disturbed guy stalking a female co-employee, leading up to a murder spree.
The first half of the movie chronicles the stalking and the second half the violent hold-up at the work place.
Brooke Shields plays the victim and proves that she can act provided with a decent script and/or solid direction.
Unfortunately, the currently available DVD from a Canadian label called New Star Video under the title Stalking Laura has got horrible image and sound quality despite the box claiming "Digitally Remastered - Enhanced Audio": It actually looks and sounds like a rip from a 2nd gen.
Originally aired on CBS network under the full title I Can Make You Love Me: The Stalking of Laura Black as a Tuesday movie..
On February 16, 1988 Richard Wade Farley shot dead seven people at the headquarters of the computer company where he had previously worked in Sunnyvale, California and injured four others.
He was subsequently convicted of seven counts of first degree murder and sentenced to death, although the sentence has not yet been carried out and he is currently sitting on death row at San Quentin prison.The cause of Farley's murderous rampage was his obsession with a young co-worker named Laura Black.
Farley had persistently pressed Black to go on a date with him, and when she refused began stalking her, sending her unwanted letters and gifts.
Eventually he was dismissed from the company, but this did not diminish his obsession with Black, whom he continued to stalk for four years between 1984 and 1988, even though she changed address several times during that period.
The real Richard Farley appears to have been an unattractive, unprepossessing figure, considerably older than Laura Black, so it was surprising to see him portrayed by the good-looking Richard Thomas.
For anyone of my generation Thomas will always be John-Boy from that impossibly wholesome TV series "The Waltons", so I found it difficult to believe in him as a homicidal maniac.Brooke Shields rose to prominence in the late seventies after the scandal surrounding her film "Pretty Baby".
Moreover, it also concentrates on the years during which Farley was stalking Black more than on the killings; apart from Black herself, those individuals who were actually killed or injured remain for the most part faceless and nameless.
Something like this might have worked in a made-for-cinema feature film, but the producers of this movie went for the safe option, evidently calculating that a TV audience would prefer to watch something where the primary character is an obviously sweet and wholesome girl-next-door type who finds herself in danger though no fault of her own.
****Spoilers***As far as bad movies go, I loved this one.
Yeah, it's a sad, sad, sad, horrible situation in real life, but seeing this guy blow away all the characters you just got to know, is pretty amusing. |
tt0048127 | Gojira no gyakushû | Two pilots named Shoichi Tsukioka and Koji Kobayashi are hunting for schools of fish for a tuna cannery company in Osaka. Kobayashi's plane malfunctions and is forced to land near Iwato Island, an uninhabited strip of rocks formed by volcanic eruptions. Tsukioka then looks for Kobayashi and finds him safe, with only a wrist sprain. While talking, the two men hear some strange sounds and find two monsters fighting. Tsukioka immediately recognizes one of the monsters to be Godzilla. The two monsters then fall off a cliff, into the ocean.
Tsukioka and Kobayashi report to the authorities in Osaka, and find out that the other monster Godzilla was fighting is Anguirus. A group of scientists with the two pilots research Anguirus in a book written by a Polish scientist. Godzilla and Anguirus lived around the same time millions of years ago, and there was an intense rivalry between the two monsters.
Archaeologist Kyohei Yamane, who experienced Godzilla's attack in 1954, is also present at the meeting, and shows a film (composed of clips from the 1954 film) of the original Godzilla attacking Tokyo. He confirms that this Godzilla is a second member of the same species, and that it and Anguirus were probably brought back to life by the same hydrogen bomb tests that awoke the original Godzilla. Yamane states that there is no way to kill Godzilla, and that Daisuke Serizawa, the inventor of the Oxygen Destroyer, had died and burned the formula. Yamane, though, suggests that the military should use flares on Godzilla to attract the monster away from the shore as Godzilla becomes angry when it sees lights because the hydrogen bomb's bright explosion had awakened and mutated it.
Godzilla arrives on the shore of Osaka. While a blackout of all city lights is enforced, JASDF jets are sent to shoot flares from their planes to lead Godzilla away from the shore. Godzilla sees the flames, and, as Yamane predicted, starts to leave.
Meanwhile, a prison truck transports dangerous criminals to another part of the country. All of the criminals, using body language, convey to each other that the cover of darkness caused by the city's blackout provides a great opportunity to escape from prison. The prisoners beat up the two policemen guarding them inside the truck, and run away. A few of them find a gasoline truck, and use it to escape. The truck crashes into an industrial building and starts a massive fire.
The fire, much brighter than the planes' flares, attracts Godzilla back to the shore of Osaka. A few minutes later, Anguirus swims to shore and attacks Godzilla. The two creatures fight an intense battle, while destroying several buildings, including the tuna cannery that Tsukioka and Kobayashi work for. In the course of the battle, the criminals are drowned in the subway when it is flooded by the thrashing of the two monsters. Godzilla finally bites Anguirus's neck, and throws it upside down into a moat near Osaka Castle. Godzilla then fires its atomic ray at Anguirus, burning it to death in the ruins of the famed castle.
Kobayashi is transferred to a Hokkaido plant. During a company party, Tsukioka and Hidemi, who came to visit, and Kobayashi are notified that Godzilla destroyed one of the company fishing boats. The military and Tsukioka begin a massive search for Godzilla. Tsukioka spots Godzilla swimming to the shore of a small, icy island. He notifies the cannery, and Kobayashi takes off in his plane to switch shifts with Tsukioka.
Kobayashi dives his plane towards Godzilla to distract it from walking back into the ocean. Tsukioka, who has transferred to the air force, travels on a jet with an old friend. They drop bombs on Godzilla but are unsuccessful. Godzilla then wades towards shore. Kobayashi dives towards Godzilla again but Godzilla fires its atomic ray on Kobayashi's plane. The plane then crashes on an icy mountain, killing Kobayashi.
Tsukioka is devastated but realizes that the military can shoot missiles at the mountain, and bury Godzilla in an avalanche, thereby freezing it to death. The jets fire their missiles, and bury Godzilla in snow and ice up to its midsection.
The jets return to base to reload, and Tsukioka is authorized to fly in his own jet. The jets return to the icy island, only to find that Godzilla is digging its way out of the previous avalanche. They fire a fresh round of missiles at the mountain, triggering a new avalanche, burying Godzilla up to its neck. Tsukioka then fires his own missiles, burying Godzilla completely, thereby finishing the job. The men return home and receive the homage of a grateful nation, and Tsukioka and the woman he loves are at last able to go forward with their lives in peace. | cult | train | wikipedia | Tsukioka informs scientists (including Dr. Yamane from the first "Godzilla" film) and the army about Godzilla and an unknown monster that looks like a prehistoric Ankylosaurus.
Many pilots die in the final battle against the monster, as the army tries to cause an avalanche to bury Godzilla...This is the little-known second film of the legendary Japanese Godzilla series, and the last that was filmed in black & white.
Like in the first "Godzilla", the black & white photography adds to the plausibility of the special effects, therefor they work really good most of the time.
Perhaps the real reason why "Godzilla Raids Again" is not as popular as the first film of the series is because most people are more familiar with the butchered and dubbed English version titled "Gigantis the Fire Monster".
However, when you look at that disaster of a film and compare it to Toho's original Japanese version, with no dubbing, no narration, no music or sound effect changes, you have one of the best 1950s monster movies.
It symbolizes a different kind of horror that wasn't expressed in the first film.The original 1954 classic "Godzilla" symbolized the horrors of nuclear war and the way that it can ultimately change the lives of people forever.
A lot of the great sound effects of the monsters as they fought in Osaka were replaced, as was Masaru Sato's original music score.
But in the dubbed version, for reasons unknown, it was replaced with a wispy sound effect, like a leak in a hose.Ignoring the existence of "Gigantis the Fire Monster", the special effects used in "Godzilla Raids Again" are very fine for the age.
Unfortunately, they weren't as good as the Japanese Academy Award-winning effects presented in the first Godzilla film.
And unlike in the English version, the monsters don't continuously roar at each other, they mostly growl and snarl when fighting and roar once they have a brief stand-off every now and again.But still, "Godzilla Raids Again", while it's an amazing monster film, has its flaws.
When it was first proposed that this film would be released in the United States, the title was for the American version was to be called "The Volcano Monsters" and it was to be written by noted schlock master Ib Melchior, the man behind such B classics as "Reptilicus" and "The Angry Red Planet", and his partner Edwin Watson.
Tsukioka and Kobayahi leave in a hurry, but soon the two prehistoric creatures find their way back to Osaka, and bring ultimate destruction with them.This the second Godzilla movie ever made, is in black and white, and, you can believe it because it was made in the 50's and there weren't that great special effects then.
What can our heroes do to stop them?With some of the original cast but mostly new faces behind the camera this sequel to the 1954 classic lacks much of the charm of the original but still showcases special effects that were far ahead of their time.Yes compared to everything we're used to now it all looks so very silly but it's hard not to recognise and appreciate how much effort went into this.Sadly the sfx team fell a bit short and though things look great they aren't a patch on the original movie.
The subtlely is also gone and that's a real shame as a tad more may have eased the pressure for creature effects.A passable sequel and impressive for its time but pacing issues and a naff finale don't allow it to compare to it's predecessor.The Good:Way ahead of its timeSome of the original cast The Bad:Poorly pacedWeak endingSFX are inferior to the previous years effortMuted footage from first film was a bafflingly bad decisionSped up fight scenes look daftThings I Learnt From This Movie:If you add the Benny Hill music to the monsters battle it fits perfectly.
The monster battles look somewhat like Sumo matches, but the film is so action packed and full of destruction that you won't mind that bit of goofiness.
'Godzilla Raids Again' is a monster movie masterpiece and also works as a disaster film.
If you have any interest in Godzilla, Kaiju or monster movies you need to add this film to your collection!.
I remember as a kid that great feeling of checking out the listings in the new TV-Guide for monster movies and seeing something like "Godzilla Raids Again" on at 2am, where I would have to fight to stay awake.
There was such a great feeling of atmosphere when you were a kid, the lights out except for the TV, 2am, watching an old b/w monster movie trying to stay awake for the whole thing after you convinced mom to let you stay up (we certainly didn't have a VCR in the 70's).
And thanks to adding a second monster, it is another success -- the only thing more fun than Godzilla destroying Tokyo (or Osaka this time) is seeing him battle other large monsters.The English version is full of excessive narration that adds nothing, excessive stock footage that is little more than "paranoid hyperbole" to quote Steve Ryfle, and more weak attempts to Americanize the film.
Even thought it shows Godzilla's new slim look and features fast paced action and sequences, it still kind of passes as a sequel but doesn't live up to what a sequel should live up to since it takes place maybe several months or a year after Godzilla's first attack.The first Godzilla set fear into the heart of the Japanese people in the year it came out.
Godzilla was a symbol of how cruel us men were to create destruction and war along with the creation of the atom bomb, which was used against Japanese, and mutated a lizard like creature into the terrifying Godzilla (Gojira).Godzilla's Counterattack (or Godzilla Raids Again in the official English title) features not one, but two monsters created by the same origins.
The thing that irritates me about this film is that two monsters fighting and destroying a city in the process should be scary but there's no scenes that would frighten anyone.
And now, thanks to the newly released remastered original version of this film, I can still visit that world, to share its fears and hopes.Although the film lags somewhat after the destruction of Osaka (it does pick up, very neatly, towards the end), it certainly is still in the running for 'best kaiju ("giant monster") movie ever'.
It reminds us that, as far as the monsters are concerned, we humans are the puppets - and not very interesting at that.A potent mix delivering a great kaiju film.P.s.: the Japanese version is far superior..
First Godzilla sequel isn't on the level of the original film, artistically speaking, but it is entertaining as a simple monster movie.
The story this time has Godzilla (called Gigantis in the English version and explained to be a different creature from the first film) fighting with another monster called Anguirus.
The first thing that caught my eye was the presence of Takashi Shimura (Seven Samurai, Akira, Rashomon, Throne of Blood), a major character actor in Japan with over 200 screen appearances.Then, you hear the voice of George Takei, Sulu in Star Trek, in his first film.Another voice you hear is that of Marvin Miller, who I remember well in the late 50s as Michael Anthony, the man who delivered the checks on The Millionaire.This is the American version of the film, as there was no narration in the Japanese version.In this story, we have two monsters; Gigantis, closely related to the original Godzilla and a new monster named Angilas.
Godzilla Raids Again followed a year later in 1955 and features a new monster, Angurius, a porcupine-like beast and Godzilla's first foe.
With few exceptions, this would be the template for all subsequent Godzilla films.For some silly reason, when Godzilla Raids Again was released in the US in 1959, it was renamed Gigantis: The Fire Monster.
The original Japanese version and the US Gigantis: The Fire Monster (retitled back to Godzilla Raids Again, but with no other corrections) are included in this set.
After this film, Godzilla hibernated for 7 years and returned in one Toho's most famous monster battles..
Godzilla gets his first battle with another monster in this film.
Godzilla doing battle with another dinosaur that he may have come across in previous years, great idea.GOdzilla looks pretty much the same as he did in the first film other than his teeth.
The scenes in which Godzilla and Anguirus fight through out Osaka are easily the highlight of the film.
The title of the film is "Gigantis the Fire Monster" rather than Godzilla Raids Again.
THis usually happens in Godzilla films but in this one going from one version to another it is obvious that the dialogues are different.A great follow up film to Godzilla King of the monsters.
It is one of the better Godzilla films ever made and definitely one that impacted the rest of the series in terms of having monster fights.
The similarity between an atomic bombed city and a monster destroyed post-World War II Japanese city was no accident.I saw this movie at the drive in when I was eight years old, it sparked a life long love of dinosaurs for me.
Well yes, but a new Godzilla emerges, along with a second giant monster called Anguirus, who are constantly fighting each other, threatening to destroy what's left of Japan.
Ultimately Godzilla comes ashore at Osaka, followed by Angilas, and the ensuing battle destroys much of the city, despite the Japanese Defence Force's puny efforts at defence.
The subtitled Japanese version I watched (and am rating) is an enjoyable monster romp, with both creatures simply forces of destruction and man's cities just venues for their battles.
There are some weak points in the special effects (e.g. a technical error led to the monster fights being shot sped-up rather than slowed-down, much to the detriment of the scenes) and inconsistencies in the story (e.g. why use burning gasoline barrels to hem in a monster that has already waded through an immolating city and is attracted to fire?), but overall, "Godzilla Raids Again" is a fine, early entry into the long running series.
There is silly voice-over prologue about the space age (including a brief shot of Flash Gordon on his way to Mongo), a completely senseless 'origins story' (admittedly a weak point in the Japanese version as well) with stop-motion segments of "The Lost World" mixed in, the dubbing actors mix up the names of the monsters and weak idiomatic translation leads to expressions such as "Ah, banana oil!", the excellent original musical score has been mostly replaced, and in a final affront to kaiju fans (likely a rare breed in the mid-'50s), "Godzilla" is renamed "Gigantis".
If you want to view camp silliness to confirm your low opinion of Japanese suit-mation monster movies, watch "Gigantis"; however, if you want to watch a solid sequel to the iconic 1954 film "Godzilla", watch the Japanese original (with subtitles, as I did, if necessary)..
This is also the first time Godzilla fights another monster.The flaw is that there's probably too much going on in this movie.
This is the first of a seemingly infinite number of sequels to the original Japanese Godzilla movie.
Actually, I think the main fault with the film is that it tries to put it in too much as it has both the monster fight and Godzilla destroying a major city.
This film does not have the socio-political commentary of the either 'Gojira' nor the tone-downed American version 'Godzilla.' Nor does this film have the same emotional impact of it's predecessor as well.Nonetheless, this is an enjoyable and dramatic monster movie, better than most of its American cousins, although not quite as good as a Ray Harryhausen film.
Black and white is obviously kinder to the worst sort of cheap effects than color is.The actors never descend into kitsch, making the non-action scenes relatively believable and entertaining, and while this film may have some consistent flaws it is a solid follow-up to "Gojira" and enjoyable once again in a completely different way to 85% of the movies that would follow, which deliberately and knowingly became more and more ridiculous.7/10.
This isn't the best Godzilla film I've seen but it's a lot better than some of the other film For Example(Godzilla Vs Megalon).So It's Decent but nothing amazing so this is it.The movie starts off with two pilots landing on an island and discovering two monsters fighting each other Godzilla and Angrius.They fall into the sea while fighting and the pilot head back to Osaka to tell people about what they seen.The military go on a hunt to find both monsters until Godzilla appears in Osaka bay and Angrius also appear and they start fighting destroying the cities into bits from factories to buildings and the Osaka Castle.Angrius is defeated by Godzilla after biting it in the neck.and burning it into flames soon enough the two pilots go to Hokkaido for an assignment until they are notified about Godzilla destroying a ship at sea.one of the pilots goes to find Godzilla and finds him in an icy island and and comes back with the air force and they bury him in a iceberg in the end.Now the plot is simple and straight forward but pacing in this film is bad at times it feels that the movie is about 3 hours the reason I say this is because this film is focus on the characters not Godzilla or Angrius.But the sad thing is that the characters are flat and dull.hardly any development which is bad.as for the acting with hardly any development in characters what do you think?Not one memorable performance some of the actors are either a bland performance or Dead-Pan.so that's what I got to say about the actors.As for special effects it's really what saves this movie the scenes with Godzilla and Angrius are great.with their fights in Osaka and the end with the bury of Godzilla of the iceberg.as for the Godzilla suit Godzilla needs to see a dentist because his teeth are messed-up.As angrius he fares better with the spikes his crocodile snout is great so as for special effects I give a thumps-up.overall its an average Godzilla film something will see in the average Godzilla films..
Despite being a bit slow and predictable at the beginning (it's a little too much a rehash of the original Godzilla at first although Anguirus has been added to the proceedings), I felt things picked up pretty well at the end and I found myself really getting into this during the final showdown between Gigantis and our pilot heroes Kobayashi & Shoichi..
This is a direct sequel to the first "Gojira", and the first to have another giant monster for Godzilla to fight.
This isn't a review of Godzilla Raids Again, but the really poorly dubbed and edited US version called Gigantis the Fire Monster.
Since the original Big G was throughly destroyed last time, a second "Godzilla" conveniently arrives on the scene, and for some reason is given a porcupine-like crawling dinosaur called Anguirus to tussle about with.
When the big guy returned in the 60s he was in color and teamed up with some kind of other monster and they would battle like the grapplers in the WWE.These films are cheesy, but they are a lot of fun if you don't take them seriously..
Adding to this Takashi Shimra, who was so memorable in the first film (this is a direct sequel to Gojira to that point and, at least in its uncut Japanese form as I saw it, carries the serious tone for the most part), is barely in the movie, there to basically say 'yeah, you guys can't stop it.' You don't say!That said I wish I could give it a pass for a few reasons, such as the cinematography, while not on par with the work in Hondas film, is still great to look at, and I admired and was mightily entertained by the climax where the humans are able to fight back using avalanches on a snow bound mountain to take out the KIng. But by this same token the fight midway thru between Godzilla and Angirius is ironically sillier than some fights in the 60's and 70's flicks by way of the film speed and lack of much music (it sounds like a small technical complaint but trust me it's evident).
This is the first movie where Godzilla fights another monster.
This is the first movie where Godzilla fights another monster.
Generally the effects are good although it's obvious the film was made on a lower budget than the original,and the filmmakers,which were a somewhat altered team to that of the previous one,slightly lack confidence.All in all,an OK monster movie,but definitely one of the least interesting Godzilla movies.
Like a lot of early Japanese giant monster films, the Japanese and American versions of Godzilla Raids Again are almost completely different films (though not quite as different as, say, Varan the Unbelievable).
I'm still trying to understand how paleontologists could figure out dinosaur motivations.Either version of Godzilla Raids Again/Gigantis the Fire Monster is worth a watch, especially for the kaiju/50's Sci-Fi completest out there..
It is really a pretty good Godzilla film and it is THE very first Godzilla movie where the big-G fights another monster.No, the first foe is NOT King Kong, like alot of people think.
The second best Americanized Godzilla film from the original series, as far as I am concerned.
A new Godzilla, here referred to as Gigantis, is seen battling an Anguilus (later known as Anguirus and Angilas) on a remote Japanese island.
Of course, you can't judge a Godzilla film without mentioning the monster scenes, which were good here.
Instead of Gigantis attacking the city as in the first film, the monster is more concerned fighting his foe. |
tt0138524 | Intolerable Cruelty | Donovan Donaly (Geoffrey Rush) a TV soap opera producer, surprises his wife Bonnie (Stacey Travis) being intimate with an ex-boyfriend. He files for divorce, and Bonnie hires Miles Massey (George Clooney), a top divorce attorney and the inventor of the "Massey pre-nup", a completely foolproof prenuptial agreement. Miles wins a large property settlement against Donaly, leaving him broke.
Private investigator Gus Petch (Cedric the Entertainer) tails the wealthy and married Rex Rexroth (Edward Herrmann) on a drunken night out with a blonde. When they stop at a motel, Gus catches their tryst on video. He takes the video to Rex's wife, Marylin Rexroth (Catherine Zeta-Jones), a marriage-for-money predator. She files for divorce, demanding a large property settlement. Unable to afford a divorce settlement, Rex hires Miles to represent him. Marylin's friend, serial divorcée Sarah Sorkin (Julia Duffy), warns Marilyn that Miles will be a dangerous opponent.
Marylin and her lawyer, Freddy Bender (Richard Jenkins), fail to reach an agreement with Miles and Rex. Bored Miles asks the fascinating Marylin to dinner, where they flirt. While they are out, Petch breaks in and copies her address book for Miles, who has his assistant search among the names for Marylin's accomplice in predatory marriage. In court, Marylin feigns an emotional breakdown over Rex's infidelity, professing that she loved Rex unconditionally at first sight.
Miles then calls "Puffy" Krauss von Espy (Jonathan Hadary), a Swiss hotel concierge located by his assistant. Puffy testifies that Marylin asked him to find her a marriage target who was very rich, foolish, and a philanderer whom she could easily divorce, and that he pointed her to Rex. The divorce is granted, but Marylin gets nothing, and Miles' ancient boss, Herb Myerson (Tom Aldredge), congratulates him.
Marylin wants revenge. She finds the now-penniless Donaly living on the street, still clutching his Emmy statuette. She offers him a chance to reclaim his lost glory if he helps her get revenge on Miles. Soon after, Marylin shows up at Miles' office with her new fiancé, oil millionaire Howard D. Doyle (Billy Bob Thornton). Marylin insists on the Massey prenup, which will make it absolutely impossible for her to claim any of her fiancée's assets in the event of a divorce, over both Howard and Miles's objections. However, Howard destroys it during the wedding, as a demonstration of love.
Six months later, Miles goes to Las Vegas to give the keynote address at a convention for divorce attorneys. He encounters Marylin, who has divorced Howard and presumably collected a sizable share of the Doyle Oil fortune. However, she admits that she is disenchanted with her wealthy but lonely life. Miles is thrilled, and marries her on the spur of the moment. To prove that he has no interest in her fortune, he signs the Massey prenup, but she tears it up. The next morning a disheveled Miles tells the convention that love is the most important thing, and that he is giving up divorce for pro bono work.
A short time later, Miles discovers that "Howard D. Doyle" was just an actor from one of Donaly's soap operas. Marylin has tricked him, and now his considerable wealth is at risk. Miles' boss demands that something be done to save the firm's reputation, and suggests the hitman "Wheezy Joe" (Irwin Keyes). Miles hires him to kill Marylin.
Miles then learns that Marylin's ex-husband Rex has died without changing his will, leaving her his entire fortune. Since she is now the wealthier of the two parties, his assets are no longer at risk. A repentant Miles rushes to save Marylin from Wheezy Joe, but Marilyn has already offered to pay him double to kill Miles instead. There is a struggle; in the confusion Wheezy Joe mistakes his gun for his asthma inhaler, and kills himself.
Later, Miles, Marylin and their lawyers meet to negotiate a divorce. Miles pleads for a second chance and retroactively signs a Massey prenup. Realizing her own feelings for him, she tears it up, and they kiss. Marylin then tells Miles that to get Donaly's help for supplying Doyle, she gave him an idea for a hit TV show, restoring his fortunes in the process: America's Funniest Divorce Videos, with Gus Petch as the host. | revenge, comedy, satire, entertaining, romantic | train | wikipedia | With Clooney hired to represent her soon to be ex husband, he inevitably falls for the gold diggers charms.Directed by the Coen brothers, a directorial team who have helmed oddball comedies such as 'Fargo' and 'O Brother, Where Art Thou?' this is the team's first branch in to a high profile Hollywood film.
However, despite the quick fire dialogue, Intolerable Cruelty is simply not as funny as it thinks, it's cynical message of love and money taking away the romantic push it needs to place it in the league of the Tracy/Hepburn films the movie aspires to.
The support cast is all good as they provide small snippets of humour, whether it be Wheezy Joe or the rude waitress.Overall it is not the cleverest film the Coen's have done, nor the funniest or most satisfying but, as a multiplex pleasing romance with quirky humour, it does work and should be enjoyed as that..
Thinking of the holes, Coens are very talented artists - perhaps we, the audiences are supposed to be smarter than Miles Massey (George Clooney - perfectly cast) - the very successful, always victorious divorce attorney for the rich and famous?
"Intolerable Cruelty" may not be the best Coens' film but it is enjoyable, stylish, and funny.
I doubt that there are two more strikingly attractive actors in movies today than George Clooney and Catherine Zeta-Jones.
Zeta-Jones, in particular, has the kind of classic beauty that puts her right up there with the great screen legends of all time, women like Ingrid Bergman, Natalie Wood and Audrey Hepburn, who, with their ravishing good looks and photogenic quality, came to define the ideal of female pulchritude in their time.Credit the Coen Brothers, who made `Intolerable Cruelty,' with having the good sense to know what they had in these two stars and for exploiting it to the full.
They have allowed the actors to play off their good looks, most especially Ms. Zeta-Jones, portraying an icy gold-digger who specializes in marrying rich men with the express purpose of taking them for everything they've got once the marriage is ended.
It's not that `Intolerable Cruelty' doesn't provide its fair share of laughs; it's just that we feel there should be a whole lot more of them given the pedigree of the film's makers and the high-powered acting of its amazingly gifted cast.In addition to Clooney and Zeta-Jones who hit all the right notes in their playing off one another the lineup also includes Geoffrey Rush, Billy Bob Thornton, Edward Herrmann, Richard Jenkins and Cedric the Entertainer, who steals the few scenes he's in with his manic interpretation of a private investigator who specializes in capturing wayward spouses in compromising positions.Perhaps, `Intolerable Cruelty,' for all its moments of mirth and fun, simply doesn't go far enough into the realm of outrageousness to make the concept really work.
The Coen Brothers, who have proven themselves masters of the absurd in the past, for some reason seem to be holding back in this film, going for the easy laugh and the easy sentiment when what we really want is for them to cut loose and go for the jugular (as Danny De Vito did with similar material in `The War of the Roses' so many years ago).
Maybe Miles and Marylin need to be a little more nasty, a trifle more cutthroat in their demeanor to bring it all to life.`Intolerable Cruelty' offers some hearty chuckles and some definite eye-candy in the person of Ms. Zeta-Jones, but, when all is said and done, the film is mainly just promises and not enough delivery..
A surprisingly smart comedy from Joel and Ethan Cohen, INTOLERABLE CRUELTY is a deft and entertaining comedy about the relationship that develops between a fast talking attorney (George Clooney) and a man-eating gold digger (Catherine Zeta-Jones)who pretty much eats husbands for lunch.
I thought the Coen Brothers look at divorce court lawyers' lives in this comedy with a twist was actually pretty interesting.
I thought the acting was great, especially George Clooney who i liked a lot in the lead, he was perfectly casted for this role.
The script writers deserve much credit for this under rated flick, as do Clooney and Zeta-Jones, who turn out their best performances since the turn of the century.On first viewing this movie can appear just another average comedy with a few names but nothing special.
Yowza!The film failed, as almost all Coen Brothers' movies fail, at the box office because, while delightful and funny, it's also ICE-COLD.
In any case, I'll be one of the "I-Told-You-Sos" when, a decade hence, *Intolerable Cruelty* will be regarded as one of the few intelligent romantic comedies made in recent times.Let me put it this way: if you think a movie in which the two romantic leads put a contract on each other is too "mainstream", you've revealed yourself as a poseur who should leave the amateur reviewing to the grown-ups.
But when he works his magic against Marilyn Rexroth (Catherine Zeta-Jones), he may have picked on the wrong person.I didn't find Intolerable Cruelty very funny.
I've liked most of writers/directors Joel and Ethan Coen's previous films, but Intolerable Cruelty seemed to me to have little of the inventiveness and cleverness of their past efforts.
I have also liked most of the past films that George Clooney, Billy Bob Thornton and Geoffrey Rush have been in, but here they seemed to be turning in just okay performances for bad material.
Heck, I even loved Clooney's turn at Batman (1997's Batman & Robin), Thornton's portrayal of a rocket scientist in Armageddon (1998), and Geoffrey Rush's eccentric millionaire in House on Haunted Hill (1999), but Intolerable Cruelty just didn't work for me.Still, I can't say the film was a complete failure.
Ultimately giving u little time to think about what you are watching which may well be its incentive to cover up the naked emperor standing in front of u, shamelessly waving his procreational tools in your face.Talk about restaurants, take in mind the scene with Clooney and Jones exchanging the one-liners as if it was a ping-pong game which, like with all games, in the end will also have a loser
..why do that?
The list really just goes on and on.Clooney, Jones and a score of familiar others in the acting business go out of their way to make complete fools of themselves in yet another meager tale screenplayed and directed by the Coen Brothers.
I get what they were going for, but it missed the mark for me completely.George Clooney plays a hot winning divorce lawyer who gets involved with a deceiving gold digger (Catherine Zeta Jones) who marries him to make a fortune in the divorce, resulting in plain, cheesy, goofball comedic misfortune.I normally enjoy the Coen's full blown comedies with Hudsucker Proxy, O Brother, Where art Thou?, and Raising Arizona, but this just went too far in my mind.
I thought their acting was less...acting, and more of realistic attempts at chemistry.I liked the story, though I didn't always get the characters' actions and reactions.Some of the camera work and cinematics were interesting; lighting effects made it almost a dreamy/artsy movie.
The real Intolerable Cruelty is subjecting people to this crap AND making them pay for it.George Clooney plays Miles Massey, an expert divorce attorney who is getting bored with being in bad movies.
This whole film is like a drunk and ditzy girl at the party - she might be nice to look at, but don't get too close, or you'll be bored to sleep with her silly conversation, or vomited upon.I like George Clooney, but no actor/actress carries out a good performance in this train wreck.
The Coen brothers, credited with great films like The Big Lebowski and The Man Who Wasn't There, have done just that.
Though George Clooney sunk his teeth (which his character was obsessed with not being white enough) into his character with gusto, Catherine Zeta-Jones just drifted through the movie smirking smugly and looking confident about her beauty.
The whole reason for you watching the film is to find out if the Catherine Z-J character is someone who can be trusted to genuinely love the George Clooney character, or if a last-minute twist will reveal that yet again, she's doing it for the money.
Starring George Clooney and Catherine Zeta-Jones, with a trailer that suggests a witty, sexy "battle of the sexes" kind of movie romp, I rented this - and good grief...
at their best, they are "big lebowski" brilliant.....apt phrasing and dialogue flow into memorable lines, characters are quirky studies and the absurd is somehow made believable...at their worst, they are clunky their pacing is off and their characters grate....george clooney's usual charm has turned reptilian in this smarmy movie...bernie mac is actually very un-funny and his catchphrase is so forced, it sounds old the third time its uttered.
The acting is very good, George Clooney and Catherine Zeta Jones are both good, but Billy Bob Thornton is amazing, he gives the surprise performance of the movie, we all knew he could do it but when he showed up giving such a great performance when I didn't even know he was in the movie, it kinda surprised me.
For the number of big names in this film (Catherine Zeta Jones, George Clooney, Cedric, Billy Bob Thornton, Geoffrey Rush) I definitely would have expected much better.
The film also had a share of scene-stealing supporting characters from Paul Adelstein as the easy crier assistant, Cedric the Entertainer as a private eye, Billy Bob Thornton as a rich Texan and perfect target for Marilyn, not to mention Irwin Keyes who's responsible for the film's single most hilarious moment, but despite all this great casting, the interplays between the two leads are so overused that we're left with a sort of a cinematic Catch 22.
I enjoyed "Intolerable Cruelty" during the crucial moments where Clooney and Jones were interacting but for a movie showing us how far and wrong a marriage could go, there was nothing really out of the ordinary, nothing ingenuous or risqué, the whole thing is played like a little farce, a joke where everyone is on, except for the viewers.
but never to the point that you wish to watch it again, And not being re-watchable is a mortal sin when it comes to the Coen brothers.Don't take me wrong, I don't blame the film for being bad, but for not being as good as its story promises, for not swimming in more unsafe waters.
The one fault of the Coen's in making this movie was a lack of close-ups - a dead giveaway for what they were trying to achieve.At best, this is a funny romantic black comedy, with witty dialogue.
"Fargo" dealt with organized crime, "The Big Lebowski" dealt with how an unemployed bum doesn't have to deal with the world, "The Hudsucker Proxy" showed how a low educated individual can change an industry; now in "Intolerable Cruelty" the Coens show audiences how love is some what odd.George Clooney is Miles Massey, a high powered divorced lawyer that is bored out of his life and feels as he's missing something; until he meets Maryiln played by Catherine Zeta-Jones, a money digger that loves wealthy men and goes after their money.
Other than George Clooney, Catherine Zeta-Jones, Cedric the Entertainer; the film also stars Billy Bob Thorton, Bruce Campbell(in a cameo), Julia Duffy, Richard Jenkins and Geoffrey Rush.This is one of the Coen's best comedies..
I only fuel this statement by the evidence that their film Intolerable Cruelty is an under-nourishing exercise in dramatic filmmaking that features great screen presences chewing scenery and taking in the luxurious set designs they've been placed in.Miles Massey (George Clooney) is a top divorce attorney who agrees to take Rex Rexroth's (Edward Herrmann) case, which involves him cheating on his wife Marylin (Catherine Zeta-Jones).
Intolerable Cruelty suffers from the fact that the material isn't that interesting, the characters are stuffy and vanilla, and the directions taken by the Coens do nothing but make a relatively unengaging, forgettable picture.Perhaps you're a big fan of the brothers Coen and you enjoy this film.
Think if the Coens had been opted out for a random, aspiring filmmaker and the actors taken several steps down from Clooney and Zeta-Jones to indie-stars like Kentucker Audley and Lake Bell, would your reaction still be as strong?
Intolerable Cruelty, the story of a gold digging woman (Zeta-Jones) and the attorney (Clooney) who handles the divorce for her husband is another in a string of comedies from the wonderful Coen Brothers.
Catherine Zeta-Jones and George Clooney are great actors, but this film is just bad.
Maybe bad casting, script.This battle-of-the-sexes screwball comedy - gold-digger (Catherine Zeta-Jones) v divorce attorney (George Clooney) in a film in which tries to be funny, but misses some sort of mark.Eight years in the making - seven years too long.Intolerable to watch and very cruel to suggest others to watch..
The 'pitch' to the studios must have sounded impressive: take one of the best-looking actors, hunky George Clooney, and one of the most attractive actresses, Welsh rose Catherine Zeta-Jones, and team them with those quirky Coen brothers (Joel & Ethan) to produce an old-fashioned romantic comedy in which true love triumphs over the cynicism of the divorce lawyers.
But there also has to be a man who comes along to make everything change, so the movie is also about a charming and supremely adept divorce lawyer (George Clooney) who is completely amoral and win-oriented till he finds love replacing lust with the most ruthless of women (Ms. Zeta-Jones) an outcome which, given the extremism of the behavior already illustrated in the movie, is pretty far fetched -- and in addition makes Intolerable Cruelty soft and syrupy at the core.I don't know if George Clooney and Catherine Zeta-Jones have that magical chemistry together some profess to see in them, but they're both so unquestionably charismatic and good looking, and they perform with such spirit and ease in this movie, that they appear perfectly right together.
Among the things that I like best about most of the Coen brothers' other films are their understated humor and ironic plot twists.
It comes from the funny side of the Coen Brothers work--like "Raising Arizona" or "O Brother Where Art Thou?" And it has some funny moments for sure, but overall it has a formulaic romantic comedy plot and routine construction and filming.
The convoluted cleverness of the director/producer/writer team (Joel and Ethan) isn't really focused here.I have to admit I wouldn't have finished this if it wasn't a Coen brothers movie because I really love some of their films.
At first glance Intolerable Cruelty doesn't seem like a typical Coen brothers movie at all.
Set among the shark-infested waters of Los Angeles' divorce lawyers, Intolerable Cruelty is as cynical a rom-com as you'd ever expect to see, with Catherine Zeta Jones excelling as the professional gold-digger who eventually falls for divorce attorney Miles Massey, played with great comedic zest by the disgustingly good-looking AND talented George Clooney.
Clooney is incredibly dashing, Zeta-Jones is stunning, and more importantly, both are very funny.More a case of talented film makers servicing a genre exceptionally, than virtually reinventing movies from whole cloth.
had sold their soul to Hollywood.But when I finally saw Intolerable cruelty,I took a very big surprise.The Coen bros.did not disappoint me on their most commercial film.First of all,I love that the movie is very unpredictable and that's something really strange for a romantic comedy.The movie is very fun,too.There's no doubt that the Coen bros.are two great directors.Like I said before I was expecting a disaster and it really surprised me.I totally recommend this great romantic comedy.Rating:8.5.
Very good Clooney, Zeta-Jones; like in the famed Sturges/Capra comedies, the entire supporting cast is funny.
Would this be as funny if we didn't know it was by the Coens or without Clooney/Zeta-Jones?
But it was another instance wherein I felt like he was doing all the work in their relationship, and in this film.But back to the weirdos for a moment, Billy Bob's initial cameo forced me to stop and rewind the scene (when he first meets Clooney's Miles Massey).
A good sign."Intolerable Cruelty" contains one of the funniest inadvertent suicide scenes -- no, make that THE funniest inadvertent suicide scene -- ever committed to film.George Clooney has never been handsomer; he really is like a fine wine and gets more delicious as he ages.
It is funny, and, like other Coen Brothers flix, it's a fun salute to previous films we know and love..
I went to "Intolerable Cruelty" with high expectations: a Coen Brothers comedy with beautiful actors in the lead roles, dealing with divorce lawyers and pre-nuptial agreements among the super-rich in Los Angeles.
This is one of the most funniest movies of the year with a zesty and zany acting roles for George Clooney along with the cool and mysterious Catherine Zeta-Jones.
Intolerable Cruelty is brought to us by the Coen brothers, those wacky brothers noted for delivering wit with a wink in films like Raising Arizona, Fargo, O Brother Where Art Thou?, and The Big Lebowski.
And the movie had too much ham support from Paul Adelstein.When its all said and done its a film good for a few laughs, Clooney fans, Jones fans, and for killing a couple hours when you have the time..
The chemistry between him and Catherine Zeta-Jones is an interesting dynamic of the Coen brothers cynical approach to modern love.
George Clooney (who also starred in the Coen Brothers' "O Brother, Where Art Thou?", which was of about equal quality) stars as Miles Massey, a slick divorce lawyer who gets in over his head with an ice-cold gold digger named Marilyn Rexroth (Catherine Zeta-Jones, who looks like the most beautiful woman who has ever lived here) who is divorcing her husband (Edward Herrmann). |
tt0455760 | Dead Silence | This movie starts out with Jamie and Lisa receiving an anonymous package in the mail. They decide that the only way to find out who it is from is to open it up. When they open it, they find a ventriloquist doll.Later on, after Jamie leaves their residence, Lisa hears it get dead silent, then starts to hear voices coming from the room where they left the doll. She creeps in there slowly, pulls back the sheet that they had used to cover up the doll, and the doll murders Lisa.After Jamie, now the prime suspect in his wife's murder, gets interrogated by the police, he returns home to look for clues. He finds a clue in the box that leads him to his home town, also the home town of murdered ventriloquist, Mary Shaw.After a brief visit with his rich father, and his father's new young bride, Jamie finds himself hearing voices in his hotel room.Meanwhile, at the coroner's office, the coroner (Henry Walker) is getting ready to take a picture of the latest victim while his wife (Marion Walker) is hiding in a dark hiding place mumbling.Then, they cut away to Lisa's funeral where the Marion tries to warn Jamie of the curse of the stare of Mary Shaw. Near the end of the warning, you hear her say that he must "bury the doll."Jamie then returns to the hotel where he finds the name "Billy" on the back of the doll. He then immediately gets in a car, with the doll, and brings it to the Cemetery. After a few minutes of searching, he finds a head stone with Billy on it and starts digging. He pulls out the casket only to find it empty, throws the doll in, who then looks right at him, and buries the doll.Jamie is then in his car, when he starts to see shadows of something running and hearing noises. He then sees the doll looking at him through the window and decides to get out and look.In the next scene, Jamie is back at his Hotel washing his face. He is drying his face and has a towel over it. When he removes the towel he finds two surprises. The doll AND Officer Jim Lipton are in his hotel room.The Officer then begins to use the doll to "badger" the prime suspect of Lisa's murder. Jamie begins to tell Lipton about the nursery rhyme associated with Mary Shaw. They continue to talk about the murder a bit and then Lipton leaves and takes the doll with him.In the next scene Lipton is shown shaving and talking to the doll.Then Jamie gets the doll back and heads over to the Henry and Marion's house to talk to them. Jamie starts talking to the Coroner about Mary Shaw when Henry says they don't mention the name Mary Shaw.Henry then tells the story of Mary Shaw, the Ventriloquist who lost her voice. They flash back to Mary putting on a show with the same doll involved with the movie so far. Mary and the doll, now known as Billy, get into an argument with a child in the audience.Then, back at Henry's house, he tells Jamie that the child in question ended up missing. After Mary died, she asked that she not only be buried with her dolls, but that they make her into a doll.Then they flash back to when Henry was a child, and how he went in to look at Mary's corpse and the table falls, sending him and Mary to the ground of the Coroner's office. Then he sees Mary's ghost, but covers his mouth, so as not to scream.Then, back in the present day, Henry shows Jamie pictures of a bunch of townsfolk, all murdered by having their tongues removed.Next, Jamie heads to the old run-down theater while Lipton starts digging up graves at the cemetery. Jamie finds some more clues leading him to believe the haunting is true.Meanwhile, at Henry and Marion's house, Henry walks in on Marion talking to Billy, the doll. Henry then takes the doll from his wife and puts it in his office. Then Henry starts to hear things as he grabs a shovel. He thinks it is Marion and he apologizes to her. He then goes to look in Marion's hiding place only to get locked in. After pounding on the door for a bit, he realizes he isn't alone. He sees Mary's ghost, screams, and then is murdered in the same fashion as all the others.Meanwhile, Jamie goes back to question his dad. Jamie finds out that when his uncle, the little boy from the flashback that was arguing with Mary, went missing, the townsfolk thought it was Mary that took him. They went to Mary, made her scream and then cut her tongue out.Jamie realizes that he could also be a victim since Mary seems to be killing everyone involved with her murder, and their offspring. About this time Lipton shows up and starts questioning Jamie again. Jamie gets a call from the recently deceased Henry telling him to meet him at the theater.Next, Jamie has to run from Lipton who is trying to arrest him to head to the theater. Lipton gives chase but is stalled since he has to find a boat to cross the river. (The bridge is gone.)In the theater, Jamie keeps hearing Henry's voice guiding him to him. He comes up to a room where he hears the voices come from. Then Lipton walks in with a shotgun and says that Henry couldn't be there due to the lack of a boat for him. Then you hear "Henry" say that he is in fact there.They both start following the voices into a room where there are hundreds of dolls in cases with one empty case labeled "Billy". They also find a corpse of a boy made to look like a doll.Then it gets very silent, until the dolls in the cases start to move what looks to be all on their own. They all look to their lefts where the scene shows what looks like another doll rocking in a rocking chair.Jamie says the name "Mary Shaw" twice. The doll stops rocking. Jamie starts talking to this doll who is talking as if it is Mary Shaw herself. Jamie starts asking about specific victims when he finally asks about his late wife Lisa. The doll tells him to come closer so she can whisper it to him. As it starts whispering, it then sticks out a tongue and the scene shows Mary behind the doll sticking her snake-like tongue through the doll.Lipton then blows the doll away and starts shooting other dolls once they realize that Mary is living "through" the dolls. A fire erupts and Jamie and Lipton make a run for it. Then a girder they are running on falls and Lipton falls and starts to scream. Then he gets saved by the ghost only to have his tongue removed like the others.Then Jamie sees the ghost and covers his mouth as he falls through the floor in to the flooded basement of the theater. He then swims out and ends up on the other side of the lake and turns around as the Theater is burning down.Then he gets in his car and remembers the missing doll from the case, Billy, and speeds off. He heads back to Henry's house to look for the dummy Billy. He hears Marion crying. He finds her holding Henry's corpse and questions her about the doll. She claims that his father came and took the doll.Jamie rushes off to his father's house to find the doll. He goes in and heads up stairs and it gets dead silent again. Then he hears someone say "Why did you bury me Jamie? I am in here." He then walks in and finds the doll in a room of the house. Then the ghost of Mary comes out to try to scare Jamie and he throws the doll Billy into the fire place.Then Jamie finds his dad who he discovers is nothing more than a life-sized doll. Then he realizes that his doll "father's" young bride was controlling the life-sized doll and was the ghost of Mary Shaw.He then turns around and sees his stepmom who says "Now who's the dummy?" Then her face turns evil and ghostly and Jamie screams and suffers the same fate as everyone else.At the end of the film, Jamie's voice is heard saying the rhyme below as the camera moves over a photo album with each victim from Lipton to Jamie turned into a puppet with a workable mouth.Beware the stare of Mary Shaw. She had no children only dolls, and if you see her in your dreams, be sure to never ever SCREAM. | revenge, horror, gothic, murder, flashback | train | imdb | There just aren't enough horror films these days about menacing old ventriloquist ladies that are buried with their creepy dolls, who have come back from the dead to seek vengeance on the families that put her in the grave, by tearing out their tongues.
The atmosphere is heavy, the creepy music is provided by SAW'S Charlie Clouser, the colors are washed out, and the sets are surreal.Many will dismiss it as a formulaic, clichéd horror film.
The SAW creators, who are huge horror fans, have fun making their own version of the American horror film by throwing in plenty of classic tropes such as the wise-cracking detective (Donnie Wahlberg) and the crazy old lady that knows more than she should.I was pleased that the film didn't shy away from gore: it wasn't gratuitous, but it did enhance the horror.
It's got plenty of horror elements to provide scares: aged film, folk tales, singing children, antique furniture, voice recordings fading out, flickering lights, dead loved ones beckoning from beyond the grave, photographs of dead families, cackling old women, wide-eyed dolls, billowing curtains, plenty of thunder and lightning, open caskets, dank crawlspaces, and a pervading sense of evil throughout.
From the rest of the audience's reactions, I'd say it did a pretty good job at that.The acting was nothing to write home about, but for this genre, it's more good than bad.Overall, I would say this a horror movie that deserves a trip to the theater.
Dead Silence has thankfully come to show us that Hollywood can still make a scary picture.This movie is a throwback to the golden age of horror films.
Jamie takes it upon himself to solve the legend and curse before he becomes the next victim.Directed/co-written by James Wan and written by Leigh Whannell, the men who brought us the successful "Saw" series, are also behind this splendidly spooky horror film.
I suppose it is, puppets and dolls have become almost a joke in the genre because they are so over-used (as well as creepy little children, among other things), but since they are in the core basis of the plot, they actually come off as being scary.
If you like James Wan and Leigh Whannell's work, I'd really recommend seeing this - it's a pleasant change from your typical horror films, and a nice change of pace from their previous work.
Overall in my opinion Dead Silence is one of the best horror films ever and I liked it better then Saw. I also noticed the Jigsaw puppet in the scene where there was a room full of puppets and a clown puppet on a chair.
However, I will let you know that this movie will be more than worth your time if you truly like the horror genre.As good as it is, it is not without a small amount of horror cliché.
Director Wan's follow-up to his smash-hit SAW (2004) is a crackerjack horror film about a ventriloquist's dummy, which seems to bring death to those around it.
Jamie goes to the old theater in Lost Lake trying to find evidences of his innocence and discovers that Mary Shaw was constructing the perfect doll, and that the spirits have long memories.I like ghost stories and "Dead Silence" is above the average of the genre.
I was surprised to see the cast was that long, because outside of one flashback scene, there were probably less than a dozen people in this whole stinking movie.The entire thing hinges on creepy ventriloquist dummies.
This movie does none of that and instead gives you a script-by-the- numbers small town mystery ghost story, tosses in dummies, and expects that to scare us.
The state of horror films keeps deteriorating with the release of DEAD SILENCE, a super slick looking horror film which is as scary and deep as an episode of Scooby Doo.The idea of ventriloquists and horror have already been used in previous films, so the concept is not that original but the film's pursuit of a "surprise" ending, which wasn't really a surprise, is THE only thing going for it and it is so lame and improbable that whatever credibility the film had before evaporated in an instant.
The ending is truly one for the books.Who keeps making these god-awful horror films that look like a forgotten episode for a cheesy TV show on The CW?.
Sure it had an interesting premise and it was nice to see the resurrection of a dead sub-genre, but it was just lacking in so many aspects, especially with the box office numbers -- barely even making its budget back.So, we're given a simply story about an old ventriloquist whose murdered after being suspected in the disappearance of a local boy, and her vengeful spirit inhabits the dolls in her huge collection.
The movie does have a couple somewhat creepy scenes, but it has zero atmosphere, so a lot of the potential tension and scares it could have offered is lost.In fact, the most effective scares the film had weren't delivered by the dolls, but the old woman herself.
The movie is pretty slow-paced for the first hour, and Donnie Wahlberg's character as the persistent detective bent on outing the widower as the murderer, is presented as more of a nuisance to the story than playing a pivotal role in the film, but he did finally make himself useful towards the end.Then the "twist" was finally revealed at the end that I'm sure many (like myself) saw a mile away.
In the end, Dead Silence was nothing more than a mediocre addition to the genre that offered an interesting villain, but a bland tale of horror and revenge.OVERALL Although the movie offered an interesting premise and villain, the slow-pacing, lack of atmosphere, scares, and a predictable ending, left the film as nothing more than a mediocre fair.
If you are looking for a good storyline with good acting, great scares, just enough gore and body counts then this is your movie!When I saw the poster of the Ventriloquist doll I admit I rolled my eyes and thought "not another one", but I didn't want clichés to spoil my fun so I decided to go ahead and watch it anyway...
"Dead Silence" could have been a lot scarier,but for the most part it is an perfect example of a good horror movie!
Shortly after that the wife dies a horrible death and Jamie looks like the main suspect.The story was essentially about a woman named Mary Shaw who wrought havoc upon the people of Ravens Fair after her death.
This movie is a very nice but under-rated movie, in fact it exceeded all my expectations.It provides a couple of decent scares.The way the story enfolds is very exciting.But the best thing about this movie is that it keeps the audience curious about "What will happen next??".The suspense of this movie entertains us more than the horror.This movie is more of a suspense movie than a horror movie.It has some good acting and the climax is really entertaining.The background music is fantastic and scary and combined with the sets,it helps in creating a very spooky environment.This movie is much better than other puppet horror movies like "Doll Museum" or "Child's Play"..
The plot is the most terrifying thing here (in good way).After receiving an anonymous package that contains a mysterious doll, Jamie Ashen, played by Ryan Kwanten becomes a widower who saw the death of his wife and now he's on the search to discover the truth.
Every time there was a scare to be had, Clouser knew how to make the audience jump.Besides having sluggish dialog, Dead Silence has everything a horror movie could ask for.
Surely,I heard about this movie from IMDb,most of the people had given it thumbs up,so i decided to watch this movie asap.I did last night and I can assure you I wasn't disappointed and i can tell you am a avid horror movie genre fan watched movies from psycho to day breakers a very recent horror movie,i rarely miss any horror movie,thus i was highly surprised as to how i missed s ucha tremendously good movie.the movie has twists and turns with good sequence based horror,gore is limited so don't expect gore too much.just like the SAW by the same duo who made that one,this one has a major twist which I din't see coming although i had made up my mind before watching am gonna crack it but you just can't figure it out,such is the beauty of the picture.Though you feel the puppet concept is taken from the Bride of Chucky in start but my word the movie is not at all based on such ambiguously foolish idea.the puppet is just a medium.The screenplay is fantastic,well the acting is decent and the soundtrack is very good,it has a dark yet very refreshing mood to it.I have to admit i am very pleased with this movie so would you so if you have not watched this one you surely must..
Dead Silence is a reminder that horror films can be good fun..
So would you believe that the fellow who created the Saw series, one of the most depressing horror series ever (Although I love the first film, it too isn't what you'd call a "Fun" film, and the sequels aren't scary or fun, they're just mean.) would make a movie that was genuinely "Fun" above anything else?
Yet Dead Silence, directed by Saw creator James Wan, is simply a "Fun" horror flick that actually delivers a few chills too.What makes Dead Silence work is that it doesn't have the depressing, somewhat oppressive style of a "Saw" film, nor does it have the over the top gore, TNA, or silliness that ruins most teen horror flicks, and it certainly isn't too dull to be a PG-13 horror movie.
A few Parts that got me were: 1) they could have given a little more detail About the Crazy Lady 2) the ending was not at all the way a movie like This should have turned out but I cannot change it, so in all the movie Had its scary parts and it also had the "I saw this coming" parts.
When I read about this film I hesitated due to the fact it was made by the makers of SAW, it tends to make you feel it will be another slasher/gore fest.Once again i must criticise the amount of people who mark a film down because it does'nt have loads of gore - what happened to liking a film because it has a story , is well acted , is not slow paced , has thrills & has a decent twist at the end - THIS FILM HAS ALL THESE ELEMENTS - Good late night entertainment - don't be put off by any bad reviews you may read - you won't be disappointed if you like a good old style horror / thriller - RECOMMENDED !!
The story is unique; how many horror movies have you heard of about ventriloquist women burying themselves with their dolls, who then return from the dead to seek revenge on those who put her in the grave, by tearing out their tongues?
"Beware the stare of Mary Shaw, she had no children, only dolls, and if you see her in your dreams, be sure to never ever scream" Autonomatonophobia-Fear of ventriloquist's dummies, animatronic creatures, wax statues - anything that falsely represents a sentient being.The Autonomatonophobia angle is important in the context of how much you enjoy/get scared by Wan and Whannell's first venture out of the Saw franchise they created.
Sound work is well orchestrated, with Clouser's score able to fray the nerves and Wan's decision to use silence to herald impending terror works clinically well and Leonetti's photography is suitably at one with the atmospherics required for the Raven's Fair segments, with lurid reds, shifting shadows and filtered fog all hitting the spot.As someone who is tinged by Autonomatonophobia and Coulrophobia, I had a scary old time with the film, often finding myself breathing heavy and peeking through fingers when the camera fell on one of Mary Shaw's model creations.
Meaning that even allowing for some undoubted technical flourishes (Wan undeniably has a horror talent), Dead Silence rates about 7/10 to people like me, but below that for the non dummy phobics..
If you hate dolls, ventriloquist dolls, silence, creepy old deionized women, then this movie is definitely going to satisfy your horror taste buds.
This was entertaining movie at part it movie dose drag but not for long , i did find the doll to be really creepy , this movie did have great atmosphere in every scenes which i really liked,.The deaths in this movie not gory but there are some bloody death, saying that wasn't even that much blood in this movie.The acting in this movie was really good from the whole cast.I really liked the movie but wow the twist at the end of the movie shocked hell out me, i did not see that coming at all, it was one hell of a twist and it worked really well, the twist at the end of the movie made the movie a little bit better.I going to give this movie 7 out 10.
I'm an enormous fan of James Wan and Leigh Whannell from their film "Saw", and I couldn't wait until "Dead Silence" came out because I was expecting something that would blow your mind at the end and have sizzling twists and turns throughout the film...and when I saw "Silence" for the first time, I never felt such a horrible let-down in my life.
So, if you're a "Saw" fan and haven't seen "Dead Silence" yet, don't waste your time because it's not good.
In the mean time he finds out a horrific story behind his family's dark history of the death of Mary Shaw, the woman who couldn't live without her dolls.Dead Silence is incredibly scary and the story worked, but there were a few confusing moments, like the doll not being taken in by the police for evidence, and the ending in some ways still didn't make any sense.
But I would really recommend this movie for a good scare, it was good to know that some director still get it, even as cliché'd as horror movies could be, he made everything work and Dead Silence will be a haunting masterpiece for years to come.6/10.
There are scenes which start to build a feeling of tension, only to stop before it reaches an effective level.James Wan could probably direct an effective horror film if he had a decent story.
He must have either lost a bet or owed the director a favor.The mythology here had a really good premise and killer dolls are always good for a few creepy scares if done right but the opportunity for anything worthwhile is completely and utterly squandered on "seen it a billion and one times before" kind of garbage and the premise is never developed into anything past the initial setup.Through the parts I didn't laugh at due to their sheer crappiness I was just bored stupid and couldn't wait for it to end since it hadn't improved some 50 minutes in and I didn't think it was going to.I had really hoped this was going to be along the lines of the Puppet Master movies but obviously with a bit more panache and style since it was coming from the Team that gave us Saw.I haven't been this disappointed in a movie for some time and pulling this kind of stunt is just making me lose faith in the movie industry.
No wonder piracy is on the increase, people are scared that sh*t like this is going to more often than not be the only return they get for their money and are becoming less and less likely to take a risk on what may or may not be a rare gem sitting on the shelf at the video store...It has to be said though that there was a little (unnecessary though it was) twist at the end that was kind of cool if stupid but alas it wasn't enough to save this complete waste of time.....AVOID like your life depended on it!!!!.
The actors and actresses were all very very good and that ventriliquist dummy was seriously creepy.I like the fact that through the whole movie he was trying to figure out the mystery but that left US time to figure it out too.
I wasn't really scared the slightest bit, im very good with horror movies.
"Dead Silence" has the best ending of any horror movie since "The Prestige" and that wasn't really a horror film.The studio got ripped off by the ratings board.
I knew going into this film that I shouldn't expect anything close to the Saw series, and I knew that once that doll was shown that I should probably prep myself for a horror movie paying homage to the 80's films like Leprechaun or Child's Play.
Dead Silence (2007) * (out of 4) James Wan (Saw) directs this horror film, which turns out to be one of the worse I've seen in recent years.
I didn't like the Saw movies and so Dead Silence wasn't high on my list of 'must see' when it came out.
Movie Review: "Dead Silence" (2006)After the immense success of a low-budget short-film-turns-feature production "Saw" (2004), director James Wan gets the engagement with Universal Studios to realize his follow-up picture, again written together with fellow Leigh Whannell.
Overall, "Dead Silence" is just OK horror flick for one dark evening, if you already saw better movies of the genre.
He Mounts this Horror Movie so Creepy that the Story, Acting, and Scares have a lot to Live Up to.
Dead Silence's story isn't bad at all, actually, I thought it was quite good. |
tt0064169 | Le clan des Siciliens | In Paris, bloodthirsty jewel thief Roger Sartet (Alain Delon) escapes from custody with the help of the Manalese, a small-time but well-organised Sicilian Mafia clan led by patriarch Vittorio (Jean Gabin), which includes his sons Aldo (Yves Lefebvre), Sergio (Marc Porel), and son-in-law Luigi (Philippe Baronnet). While in prison, Sartet shared a cell with an electrician (Christian de Tillière) who installed an extensive security system at a diamond exhibition in Rome. The electrician is in prison because, when he returned home early, he caught his wife in bed with a lover and shot them. Sartet offered a sympathetic ear and the electrician supplied him with the complete security system details.Vittorio and a fellow Mafiose, Tony Nicosia (Amedeo Nazzari) of New York, visit the exhibition but find that additional security has been added that make what would have been a simple robbery very difficult. When they purposefully set off the alarm system, they find the local police station is just down the road from the exhibition hall. Nicosia conceives of an alternative plan to steal the diamonds while they are in transit to another show in New York. He sends Jack (Sydney Chaplin), an alcoholic, to France to inform Vittorio with the details.Commissaire Le Goff (Lino Ventura) pursues Sartet with unbridled determination. Sartet killed two of his men in cold blood during an earlier arrest. Guessing that Sartet needs false papers in order to leave the country, Le Goff's enquiries lead him to the Malanese and their arcade game business which serves as a cover for their more illegal activities. While he questions Vittorio, Sartet slips out of the building in a car, right under Le Goff's nose.Jeanne (Irina Demick), wife of Vittorio's son Aldo and an able crook in her own right, becomes increasingly fascinated by Sartet. She has always felt out of place as the only French person in the Sicilian clan. While hiding out in a villa near the Italian border she attracts Sartet's attention by sunbathing nude but as they kiss they are caught in the act by Luigi's six-year-old son Roberto (César Chauveau). Jeanne gets the boy to promise not to mention it to anyone.In Rome, the gang subtly kidnap Edward Evans, the insurance man sent to oversee the transfer of the diamonds to New York. Sartet takes his place and joins the other officials accompanying the diamonds on a regular scheduled flight to New York via Paris. Among the passengers joining the plane in Paris are Jack, Jeanne, Vittorio and his sons. Things almost go wrong when Evans' wife (Sally Nesbitt) turns up and even boards the plane looking for her husband, but Vittorio leads her to believe that her husband will be on another flight.Having tried to contact her husband's hotel in Rome and being told that he has left, Mrs Evans goes to the police. At police HQ, she identifies Sartet as one of the men she saw on the plane while it was grounded in Paris. Told that his enemy has left the country, and guessing what he is up to, Le Goff requests a cigarette, having given up smoking some time ago.Meanwhile, the plane is making its descent towards New York when the gang suddenly hijacks the aircraft. The crew are held at gunpoint and Jack, a former pilot, takes over the co-pilot's seat.Warned of Sartet's imminent arrival in America, the local police race to the airport, but the plane in fact overshoots New York City and lands on a freeway which has been closed off by the local mob. Other Mafia men are waiting in cars. They unload the diamonds from the plane and split up, Jack for Canada and the Manalese for Paris. Intending to move to Veracruz, Sartet hides out in New York while awaiting his share of the proceeds.Back home, late one evening, the Manalese are watching a film on TV which includes a scene of a couple kissing on a beach. Roberto says that it "Looks like Auntie Jeanne with Mister Sartet". Jeanne denies this but the others will not accept it. They lure Sartet back to Paris by withholding his share of the loot. Jeanne calls Sartet's sister Monique (Danielle Volle) to warn him that he is walking into a trap. Monique goes to the airport but when her brother fails to turn up she is confronted by the Manalese boys who are subsequently arrested by Le Goff and his men who had Monique under surveillance.Sartet actually came by an earlier plane. He contacts Vittorio, demanding his share. They meet at a place outside of town where Vittorio shoots both Jeanne and Sartet dead. He then returns home, only to be arrested by Le Goff. | revenge, murder | train | imdb | Classic French gangster film with the three greatest stars : Gavin, Delon and Ventura.
Picture talks about a tough criminal convict -Alain Delon- who escapes and contacts a Siciliens clan ruled by an intelligent old man - Jean Gabin - to prepare a spectacular heist ; then they're pursued by an obstinate Police Inspector - Lino Ventura - .
Meanwhile , the ex-con falls in love with a family member -Irina Demick- .Film runtime is overlong, however is neither tiring , nor boring but amusing as the suspense and thriller is continuous .
The film is considered a French classic movie and one of the biggest about hold-up/mobsters genre.
Since I heard the score for the first time, I tried to find the film and finally I purchased a Region Free, NTSC, widescreen DVD with French, English and Russian Audio tracks and English subtitles.
I have been a fan of French crime/heist/noir/mystery of 1960-1980 films for long time and to see three of my favorite actors (Alain Delon, Jean Gabin, and Lino Ventura) who had made many classics of the beloved genres acting in the same movie added to my excitement.
All three are excellent, and one of the advantages of the new DVD was the chance to see the film in its original French and to hear the real voices of three screen legends.
Aging Jean Gabin, one of the most beloved French actors with the wide acting range who could play successfully the characters as diverse as inspector Maigret and Pépé le Moko is wonderful as Vittorio Manalese, the father and "the Godfather" of the Sicilian Clan, the family which is tied by blood in more ways than one.
It's great seeing Jean Gabin play the sophisticated patriarch of a Sicilian crime family that plots to hijack an airliner with $50 million in jewels.
Alain Delon is his usual moody, wild-man self as the cold-blooded killer who is being sought by the French police and is a constant threat to the upcoming heist.
Roger Sartet (Alain Delon) is a high profile career criminal who is top of the French police wanted list, so when he escapes from their custody for a second time under the nose of dogged cop L'inspecteur Le Goff (Lino Ventura), he goes immediately into hiding as the police try to locate him.
Vittorio Manalese (Jean Gabin) a Sicilian born criminal and godfather of a mob style family, is the man who sprung him from police custody, he has long planned his retirement back in Sicily but is immediately interested in one last heist after hearing Sartet's plan for a big jewel heist in Rome.
All goes well for Sartet until a child's indiscretion alters his fate for good.Entertaining enough crime flick, with some excellent set pieces and made with plenty of style, the funky main theme by Ennio Morricone being a highlight.
Its not a film for the pc brigade however as there is plenty of sexual denouement, Sartet's affair with the beautiful Jeanne Manalese (Irina Demick) producing one of cinemas most outrageous moments of sexual symbolism, its so absurd you just have to laugh..
Le Clan des Siciliens has that typical French crime noir touch: from the very beginning the spectator knows that things will go wrong, but not how.
The Sicilian Clan truly deserves it and every second of the film is tightly acted and directed.
Alain Delon, in one of his best performances, plays a master thief who gets hired by Jean Gabin for the occasion of pulling off a 50 million dollar jewel robbery.
There is also a very good subplot involving Delon and the wife of the one of the Clan boys that runs along the way which is ultimately responsible for the film's very very satisfying finale.
"Clan of the Sicilians" is a real French gangster movie classic from 1969 with three of the most important male actors of that time and genre - Lino Ventura as hard-boiled Parisian cop, Jean Gabin as a dominating Sicilian gangster clan "padre" and young Alain Delon as a hot-blooded, seducing robber.
The whole movie is dominated by the great acting of these three characters, but with enough space left for a dark film noire atmosphere and a thrilling "big coup" plot.
In the glossy world of "The Sicilian Clan," the criminals are professionals who make money the old-fashioned way - they plan robberies.
The picture starts with members of the Manalese family, arranging for the escape from custody of career criminal Roger Sartet (Alain Delon).
That robbery and its aftermath are part of the plot of "Goodfellas." In "The Sicilian Clan" Sartet's character has inside information on the burglar alarm installation at the Villa Borghese, where a big jewelry exhibit is taking place.
Thinking it over, Queens in the 1970s was the most appropriate place to see a crime movie like "The Sicilian Clan." A French crime movie that in part imitated what was happening in Queens..
When I saw the film's poster for the first time, it was so impacting I thought for once that Gabin, Ventura and Delon were allies, all three members of the Sicilian clan.
I was wrong but I defy anyone not to have these three legendary names pop up in their heads when they think of "The Sicilian Clan"Alain Delon is Roger Sartet, a man sentenced to death after a failed armed robbery that cost the lives of two policemen.
Lino Ventura is Le Goff, the Chief of Police who takes Sartet's case personally and can't admit the way he escaped under their nose.
And Jean Gabin is Vittorio Manalese, the head of the 'Sicilian Clan', who wishes he could do a final job before retiring in Sicily.
Delon is the dark, handsome and unsympathetic antihero; Ventura is the moral and solidly built law enforcer and Gabin the wise and experienced criminal patriarch, sharing with Le Goff a profound contempt for Sartet.Henri Verneuil's 'The Sicilian Clan" is mostly renowned for having reassembled the Holy Trinity of French Cinema, maybe at the expenses of the other characters who seem underdeveloped in comparison.
It's all about the magical trio that elevated the film to its legendary status, a sort of French "The Good, the Bad and the Ugly".Befittingly, the film is scored by the Maestro Ennio Morricone who specialized in the late 60's and early 70's in the ultimate tough-guy films, from the Western to the gangster flick.
Death itself is the omnipresent figure, the unsung character of the film, Sartet is a walking dead, with nothing to lose, Le Goff's determination is built on the death of his men and the Mannalese although criminals refuse to kill anyone in their job, but we know that every rule allows a few exceptions.If the film can seem more superficial than Melville's gangster flicks, it remains nonetheless a reference of the caper sub-genre, with a perfectionist and methodical approach.
Mannalese trusts the engineer, but not Sartet, in one of the film's most memorable scenes, he advises him to keep his brains above the belt, he merely escaped from a second arrest when Le Goff found him in a hotel with a prostitute.Mannalese meets a Mafioso fellow, played by a scene-stealing Amedeo Zenarri.
"The Sicilian Clan" features one of the most suspenseful heist ever featured in film and incredibly well done for a French production.Yet we're so accustomed to the genre to understand that the success of the robbery is secondary.
Although the family background is not well developed, it is significant to the plot by making outcasts out of the two French: Sartet, and Jeanne, Irena Demick as Mannalese's sexy daughter-in-law.He didn't touch a woman for two years, almost got himself arrested for an escapade with a prostitute, and she's fascinated by this man who, unlike her husbands, isn't reluctant to use his gun.
The ultra-cool Alain Delon (the French Steve McQueen) is truly superb as the loner hood, and with an excellent cast (including the legend Jean Gabin), thrilling story, stylish direction and yet another masterful score by Ennio Morricone, THE SICILIAN CLAN is a must-see for lovers of heist thrillers..
A number of years before there was Francis Ford Coppola's "The Godfather" – or any other major gangster/mafia film, for that matter – there was Henri Verneuil's "The Sicilian Clan".
Following a very ingenious but dared and risky escape plan, the family recruits the over-ambitious gangster/convicted cop killer Roger Sartet; even though patriarch Vittorio Manalese is reluctant to trust him and in spite of tough copper Le Goff obsessively hunting him down.
"The Sicilian Clan" literally nearly burst from all the talent that is involved; in the cast with some of the greatest names of French cinema (Alain Delon, Jean Gabin and Lino Venturo) but also in the crew with the fantastic cinematography of Henri Decaë and the immortal soundtrack of Ennio Morricone.
During the seventies, and more specifically after the releases of "The Godfather" and films like "Dirty Harry", the police/crime thriller genre boomed in Europe and literally hundreds of excessively violent mafia thrillers got unleashed upon the market.
"The Sicilian Clan" relies more on story and atmosphere instead of on wild action, but the film nevertheless remains an important pioneer..
Another strong thriller by a man who ,although despised by the French "intellectual" critics ,made movies which still hold up very well today ;people are happy to watch for the umpteenth time "La Vache Et Le Prisonnier" "Melodie En Sous -Sol " or this "Clan Des Siciliens " Henri Verneuil was perhaps the only French director of the sixties to come near to the American know-how.His three stars ,Jean Gabin,Alain Delon and Lino Ventura have enough charisma to grab today's audience.Add a solid screenplay ,with never a dull moment,great scenes (particularly the sequences on the plane),a sense of humor (the brat's gaffe ,revealing auntie is having an affair with Delon)and Ennio Morricone 's brilliant score and you have a very entertaining flick ,which you 'll watch again in ten years with the same pleasure..
jewelry heist film with titans of French cinema.
I'll be honest and say I love Jean Gabin and Alain Delon, so I definitely wanted to see The Sicilian Clan, which also stars another great, Lino Ventura.
I'll also add that this film was dubbed in three languages, and Gabin did his own English dubbing.Directed by Henri Verneuil, Gabin is the head of a crime family that plans to hijack a plane with $50 million in jewels on board.Delon is an assassin being chased by the French police and is getting in the way of the robbery plans.
She's very Suzy Parker-like, sexy, and does a good job, though I don't imagine doing a love scene with Alain Delon was all that difficult.Gabin is terrific -- I'd seen so many of his old films it was a shock to see him older.
I don't know about you but sometimes i find these french crime films get so relentlessly dour and gray and existentialist...that even though they can be amazing to watch and awesome to contemplate---fun is never a term i would really use to describe them as....
*maybe lighthearted is the wrong word considering that none of the characters are exactly skipping down the streets with joy--but the film itself is certainly a lot less angst filled then one would expect a french crime film like this to be.Alain Delon is a felon who's sprung from jail while in transit (definitely an awesome scene) at the orders of the leader of this crime family (played by Jean Gabin--who for some reason is using Pinball Manufacturer as his cover--leading to the should be immortal line--Why Don't You Stay Here And Play Some Pinball Detective???) Gabin wants to pull off this daring jewel robbery of a location that Delon's character has some inside knowledge of (delon shared a cell with a guy who used to work at this museum displaying rare jewelery and in exchange for protection--delon gets inside info on both the layout of the museum and the security device triggers--he gets enough info to even map out a blueprint of the lay-out of the place--a little head start on future planning.) Gabin essentially forces Delon to commit this robbery with him and his family---and while Delon isn't exactly happy to do so--he goes along with it.
Meanwhile he's making goo-goo eyes at the wife of one of Gabin's sons---oh gee i wonder if that's gonna be important to the plot later on.Lino Ventura is on hand as the detective tracking down Delon---and he has some wonderful hard bitten one liners throughout.
(Ventura by the way plays the standard issue grouchy detective character so wonderfully here--he really jumps off the screen in some cases--you wonder why he's not better known today among the more famous 60's and 70's french actors.) The plot of the film isn't really all that important anyways--as most of it goes out the window by the second hour anyways--Security at the museum is so airtight--it results in Gabin coming up with a another plan to rob those jewels--one so over the top, so out there, so completely ridiculous--you wonder why you've never seen something like it in a Bruckheimer film in the last 20 years.
Its that kind of go for broke attitude that makes the film a lot of fun--but Ennio Morricone's nearly constant theme music also helps a great deal.
(the music is so omnipresent its almost like its own character here---i would argue that the music plays more of a character here then any of Gabin's sons--many of whom help in the planning of the robbery--but all of em are so interchangeable that you never know who's who...not that it matters since your attention is going to be on Delon anyways.) I would definitely recommend this film--not just to fans of french crime films--but for fans of any ridiculous action movie since it gets so ridiculous that it actually become that rare french crime film that's also fun to watch..
The best feature of this film is the fantastic sound track by the genius composer Ennio Morricone..
Jean Gabin, as a new version of Gattoparde, the delicate colors of humor and nostalgia, the details and the force of image, each of them makes the film a solid expression of legend who can be considered almost a masterpiece..
Absolutely not a good movie, full of clichés about Sicilian mafia, even here depicted as a minor thing, concerning only a few "deviated" families, but all in all perfectly under control.
Henri Verneuil was no Jean-Pierre Melville and "The Sicilian Clan" is no "Le Doulos" or no "Le Cercle Rouge" but it has its own delights, mainly in the form of Jean Gabin and Alain Delon, (the crooks), and Lino Ventura, (the cop on their heels), and a plot that involves the hi-jacking of a plane carrying a fortune in jewels.
The twenty-fourth feature film by French-Armenian writer and director Henri Verneuil (born Ashot Malakian in Rodosto/Tekirdag in Ottoman Turkey), "The Sicilian Clan" is a stylish thriller with a nice score by legendary Ennio Morricone..
Somewhere in Sicily, Vittorio Manalase (played by Jean Gabin) plays the father/leader of a criminal family clan who hires a rather prestigious outsider, Roget Sarte (played by Alain Delon) to plan a heist of a Paris jewelry show.
Despite the presence of that great, gritty actor Jean Gabin and that cupcake, Alain Delon, the characters they play are not only unsympathetic, they are uninteresting.
If you want to see what they can do in a crime caper, watch the far superior Any Number Can Win.Women like thrillers too, but this is not one for us, just for the kind of men who are satisfied if a movie has naked women, fast cars, and guns going bang-bang..
"The Sicilian Clan" stands out as a quality, first-rate, heist thriller from veteran French helmer Henri Verneuil.
No stranger to urban big-time crime sagas, Verneuil directed exciting, memorable films such as "Any Number Can Play" (1963), "The Burglars" (1971), and "Fear Over The City" (1975).
This polished melodrama about the underworld and the plotting of a major heist caper stars three heavyweight dramatic Gallic thespians; namely, Jean Gabin of "Grand Illusion" (1937), Alain Delon of "Red Sun" (1971), and Lino Ventura of "Three Tough Guys" (1974).
Aside from an opening escape from a police van, most of the action in this complicated thriller is fairly realistic and incredibly suspenseful.A notorious cop killer, Roger Sartet (Alain Delon of "Le Samourai"), convinces a Sicilian crime syndicate chieftain, Vittorio Manalese (Jean Gabin of "Action Man"), to mastermind his escape from police custody in exchange for the plans to an international jewelry show that could net millions of dollars worth of ice for the clan.
Ennio Morricone, who scored all of Sergio Leone's spaghetti westerns, provides an interesting but inconspicuous score that beautifully and economically underlines the twists in the plot.***************SPOILER'S ALERT************************ In "The Sicilian Clan," the villains successfully pull of their caper, but they have an 'honor among thieves' falling out that results in their dying or getting sent to prison.
Delon plays a detached, ice-cold thief who is facing jail time for two cop killings when he is rescued by Gabin and his family of larcenists.
The heist was excellent, the chase conducted by the determined police-chief for Delon was as exciting as THE DAY OF THE JACKAL, and the movie would have been perfect had it ended when the hijacked airplane landed on the highway development outside New York.
*SPOILERS* You would think that the Sicilian Clan, in cahoots with their American brethren, would have been ecstatic in pulling off 50 million dollar jewel robbery.
Dear Henri Verneuil,if only more commercial crime thrillers were like The Sicilian Clan.
The film has a huge star cast - Delon, Gabin and Ventura pitted against each other.
Like all 60's heist movies, It follows a lot of plot points that that genre used.
Having just been broken out of jail, Delon proposes the robbery to Jean Gabin who heads the Sicilian Clan.
French Diamond Heist Movie. |
tt0481499 | The Croods | Eep (Emma Stone) is a girl in a family of cavemen living and hunting in pre-historic times. Her family is one of the few to survive, mainly due to the strict rules of her overprotective father, Grug (Nicolas Cage). In their cave home, Grug tells a story to the family, which includes his wife Ugga (Catherine Keener), his daughter Sandy, his son Thunk (Clark Duke), and his mother-in-law Gran (Cloris Leachman). He uses the story of a character who mirrors Eep's curious nature to warn the family that exploration and 'new things' pose a threat to their survival, and says to never not be afraid. This irritates the bored and adventurous Eep, and after the family falls asleep, she leaves the cave, against her father's advice, when she sees a light moving outside.Seeking the light's source, she meets Guy (Ryan Reynolds), a clever and inventive caveboy. She at first attacks him but then becomes fascinated with the fire he creates and is eager to learn more. He tells her about his theory that the world is reaching its 'end' and asks her to join him. She refuses and Guy leaves, but not before giving her a noise-making shell to call him if she needs help. Eep is then caught by Grug (who had been searching for her), and is later grounded for what she had done. Grug brings Eep home and is joined by the rest of the family. Eep tells them about Guy and shows them the shell given to her, only for them to destroy it in fear of 'new things'. An earthquake then occurs, sending everyone running for the cave, only to be stopped by Grug moments before the cave is destroyed by falling rocks. They climb over the wreckage to discover a land with lush vegetation, much different from their usual surroundings of rocky terrain. Grug takes his family into the forest to find a new cave.The family is chased by a "Macawnivore" (a large, macaw-colored machairodont later called "Chunky") and attacked by a swarm of "Piranhakeets" (deadly red-feathered, piranha-like birds). In panic, Eep finds and sounds a horn similar to that which Guy gave her. Guy hears this and rushes to her. Thinking quickly, he creates a torch of fire, which scares the birds away. The other Croods are captivated by the fire, having never seen it before. They steal Guy's torch and accidentally set the land around them in flames. Some giant corn is also lit, which rockets up to the sky, prompting a display of "fireworks" as the kernels explode. After feeling impressed by Guy's intelligence and 'ideas', Grug bottles him in a hollow log to carry him in, then suggests that they take solitude in the cave of a nearby mountain mentioned by Guy. Guy is forcibly persuaded to lead the way and learns of the Croods' way of living, which he thinks of as unusual.After an unsuccessful hunting attempt, Guy, his "pet" sloth Belt (Chris Sanders), and Eep build a puppet to fool and lure nearby Turkey-Fish. After they make their capture, the family greedily devours everything they caught. Grug then tells another of his morale-lowering tales, this time mirroring the events of their day. Guy then tells a story of his own about a paradise he calls "Tomorrow".The next day, the family reaches a path coated in spiked rock which Grug, Thunk, and Gran get pricked upon trying to cross them. A freed Guy tries to flee but then presents one of his inventions called shoes making some out of all the resources he can find for each family member. This gains him some respect from the others except for Grug, who feels jealous of Guy's cleverness. After Guy's ideas help the Croods on their journey, the family members gain something. Ugga, Gran, and Sandy have their first idea to get past carnivorous plants by hiding under flower heads as they pass, Thunk encounters and befriends a crocodile-like dog he calls Douglas, and Eep and Guy grow closer while Grug is stranded in a ravine forcing Ugga to go back for him. The next day, Grug shows the others some of his ideas (like a see-saw, shades made out of wood, and a snapshot that involves the family being slammed with a flat rock) which fail and humiliate him. They soon reach the mountain where Grug is unable to convince the family that settling in a nearby cave is a better option. Angry, he attacks Guy. The two become stuck in tar and Guy reveals his family died drowning in a tar pool and their last words inspired his traditions of "Tomorrow." Grug has a change of heart; he and Guy trick Chunky into freeing them by pretending to be a female "Macawnivore" in trouble.As they are about to reach their destination, an earthquake opens a deep ravine in their path. Grug throws each of them across the gap and reconciles with Eep while creating the first hug with her. Grug then throws her across the ravine and is left behind. He takes shelter in a cave and makes a torch. After seeing a blank rock face, he paints a large cave-drawing of the Croods and Guy together. He then encounters Chunky, who attacks him until Grug's torch is accidentally blown out, panicking them both. The frightened Chunky lies near Grug for comfort, who then has his first good idea. Using a bigger torch and a large skeletal rib cage, Grug manages to lure the Piranhakeets into transporting himself, Chunky, Douglas, and several other animals across the ravine, barely escaping the oncoming destruction. Afterwards, Grug shares the "hug" when he embraces his daughter again, followed by the Croods inventing the group hug.The family discovers that they have found an ocean-like area where the sun goes down over the sea. Grug and his family - including Guy, Chunky, Belt, Douglas and all their various pets - settle down in this paradise-like environment. He stops being so over-protective; as a result the family becomes more adventurous, bringing happiness to them all. | inspiring, comedy | train | imdb | null |
tt0083550 | Amityville II: The Possession | The Montelli family; father Anthony (Young), mother Dolores (Alda), elder son Sonny (Magner), elder teenaged daughter Patricia (Franklin) and two younger kids, move into what they think would be the house of their dreams. Initially things begin well, but everything changes after it is discovered that there is a tunnel in the basement leading into the house - from where is unknown.
An evil presence is shown to be lurking within, unknown to the family. After unusual and paranormal activities, like unknown forces banging on the door at night (when nobody is outside) and an ugly demonic message painted on the wall of the youngest Montelli kid's room, Dolores tries to have the local priest, Father Frank Adamsky (Olson) bless the house but an argument breaks out within the family shortly after Adamsky arrives, and Anthony orders him to leave. Adamsky leaves, disgusted at Anthony's behaviour. He finds his car door open and the Bible on the passenger seat torn to pieces. It is shown all is not well with the Montelli family - Anthony is strict but abusive, and sacrilegious towards the Church, and Dolores is trying to keep it together for the youngest kids. Also, Sonny and Patricia are revealed to have started to have sexual feelings for each other, due to mutual attraction that neither can act on. Soon afterward, the family go to church with Anthony, so he can apologize for being rude to Adamsky; Sonny stays at home, claiming to feel unwell. He soon hears an alarming noise and goes downstairs to get his father's gun. He hears demonic laughter and follows it to the tunnel in the basement. The (unseen) presence pursues a frightened Sonny to his room and he then falls victim to demonic possession. The first thing a now possessed Sonny does is approach Patricia to "play a game" with her - where he is a famous photographer and she is his famous nude model. She agrees to pose naked, and the pair end up having incestuous sex. She later reveals to Sonny when the two are alone that she enjoyed having sex with her brother, and doesn't feel guilty about it.
She goes to tell Father Adamsky this, but has a breakdown before she can confess; Sonny becomes more sinister and demon-like, as his face starts contorting demonically. Startled, he tries to keep his family away, but is unsuccessful due to the demon's influence. On Sonny's birthday, he isolates himself from his birthday party, and calls Patricia who comes up to check on him. She freely offers him sex once more. However, due to his demonic phases and his body's gradual demonic contortions, he sends her away, Using foul language at her as Patricia runs away crying, and tries to tell Adamsky that she thinks Sonny is possessed, but he does not answer. Later that night, the evil spirit tells Sonny to "kill them all". Sonny then goes and gets his father's rifle, shoots his father, his mother, his younger sister, his younger brother; and after a chase, finally kills Patricia.
The next day the cops arrive and pick up the bodies; Sonny is arrested, but lied he does not recall of ever killing his family. Adamsky then realizes that Sonny is possessed and asks the church if he can perform an exorcism on Sonny but they refuse, not believing him. He therefore takes it upon himself to act without the support of the church. After freeing him from police custody, he takes him to church where Sonny attacks Adamsky and escapes after seeing the crosses on the doors. Adamsky soon runs after Sonny and traces him to the house, where he performs the exorcism, releasing Sonny's soul. As the cops arrive, Adamsky asks Father Tom (Prine) to take Sonny away from him. Tom takes Sonny outside, where the police arrest him and take him back into custody. It is then revealed that the demon has transferred itself into Adamsky. What happens to Father Adamsky afterwards is unknown. Sometime later, the house is put back on sale, setting up the events of The Amityville Horror... | gothic | train | wikipedia | The Montelli's are no typical American family, you see this from the start when Sunny returns from buying a pack of cigarettes and has an arguement with his father who threatens to "kick his ass".Yes, "Possession" did copy parts of The Exorcist, but it's still a good film with more gory scenes than the original.If you like over-acted supernatural thrillers, you may enjoy the first.
The movie was based on the actual family who lived in the Amityville house, the DeFeo's, who were all murdered by the oldest son.
The flick starts when a family formed by parents (Burt Young , Rutanya Alda) and children (Diane Franklyn , , Jack Magner) moves to Long Island where is purchased a notorious Victorian home , their house of dreams but they find only devilish horror and full of nightmares .
The new home, which proves to be evil, resulting in the demonic possession of the teenage son (Jack Magner, mercilessly hamming it up as upsetting possessed young , this is his debut theatrical feature film of actor Jack Magner whose only other screen acting credit after this movie was in Stephen King's Firestarter).
There happens a grisly mass killing based on an allegedly real life occurrence in Amityville that turns out to be a haven for demonic forces .The film contains restless terror and great loads of blood and usual poltergeists phenomenon caused by the curse and the ordinary ghastly shenanigans result to be the cracking pipelines , basement ooze ,icky stuff , and doors suddenly slam , among others .
I am not a huge fan of the Amityville Horror (1979), it was okay movie but not that scary, as it was made out to be.This movie starts of with a new family moving in to the house, a father and mother and four kids, two daughters and two sons.At first everything seem normal, until the strange things start to happen to younger two kids, as the house messed one room up but father dose not believe the kids and then he hits the poor kids, then eldest son, then point a shotgun at is father to make him stop what he doing.
(I have never hated anyone, as much as I hated the father in this movie).Soon after Sonny the oldest of the sons, start to act a bit at strange and start to feel sick, then while the whole family is out, we see how becomes possessed by the house.
Small spoiler, I liked the scenes, where we see Sonny get possessed by the house, when we see him screaming in pain, when he stomach he being press down by the unseen evil force, was really good scene, that was scary and really darkthat is one the reason i liked this movie more then first and this is a lot more darker then first movie and the acting was outstanding from everyoneI would have give this movie 10 but I find the ending, a tad boring and disappointing.so I am going to give this movie a 8 out of 10.
Much worse."Amityville II: The Possession" is a prequel to the 1979 semi-classic "Amityville Horror" and is (very) loosely based on the DeFeo murders that took place in the famed house before the Lutz family moved in.
The incest thing was unpleasant (but note the suggestion of incest in the actual DeFeo case, as discussed in the book "Murder in Amityville".The scene where the little boy is chased around the house and finally shot is also quite distressing.But, to be fair, this is a horror movie.
This film, though extremely creepy, is a prequel of sorts to the 1979 hit, "The Amityville Horror." It is loosely based on the 1974 mass murder of the Long Island family who resided in the infamous house.
By the next day this evil spirit took over the body of the Montelli's oldest son Sonny, Jack Magner, and created such havoc in the house that Mrs. Dlores Montelli, Rulanya Alda, became very religious and went to see the local Catholic Priest Father Adamsky, James Olson.
The crude and uncouth Mr. Tony Montelli (Burt Young), who's no Robert Young in "Father Knows Best", acts like a wild lunatic beating both his wife and two little kids Jan & Mark, Erika & Brent Katz, thinking that their responsible for the strange and weird things thats happening in the house.
At a birthday party for Sonny later in the week Sonny holds Patricia in such an amorous embrace that his and Pat's mom, Dolores, gets sicken by it and later tells Patricia just how depraved she and her brother are.The movie "Amityville II" then follows the story of what really happened at the house on 112 Ocean Avenue in Amityville NY with Sonny, like Ronald Defeo who in real life murdered his entire family back on November 13, 1974,in an act of demonic insanity murders, with a shotgun like Roland DeFeo did, his Mon Deloros and dad Tony as well as his two sisters Pat and little Jan and his younger brother Mark.
This is loosely based on the real life DeFeo family who were murdered at 112 Ocean Avenue by Ronald DeFeo Jr. On November 13th 1974.In spite of mixed critical and horror fan reaction, Amityville II was a success at the box office and does in fact have a fan base that believes it is easily the best film of the franchise.
Now that may not be saying much since the first film, which is often considered the best of the bunch, isn't exactly great horror anyway, but Amityville 2, in spite of its obvious flaws, does contain good ideas and moments of genuine spooky unease.
However, for those who like their horror to be about creepy houses and a haunting of some kind, then there is much to enjoy in this prequel.From the off the tone is set as we hear the creepy strains of cherubic warbles, the house, with its distinctive Dutch Colonial face, homes into view and then it's the introduction of the Montelli family, a family soon to be terrorised by one of their own after a demon is released and takes possession of the eldest son.
This movie is based on the story of Ronald DeFeo Jr., the man that killed his family in real life - he was tried and convicted of 2nd Degree Murder.The original Amityville Horror film is based on the real story of George and Kathy Lutz who left the home 28 days after of living there - claiming it was haunted.It is safe to say that Amityville 2 is a prequel to Amityville Horror.
Both films are worth watching if you like haunted houses and demon possession stories.8/10.
The expected "Amityville Horror" plot turns into something more like "The Exorcist" meets the monster movie, which turns out to be a good thing.
By the film's last rites, you see they actually had something going; now, if they only started without the baggage of the "Amityville" Long Island house of horror, and simple did a monster possession movie.
Even if it took a bit from the Exorcist, the possessed guy belongs well to the story, and when he starts to murder his family, I must admit that I've rarely seen scenes that tense and horrifying, especially when he pointed the gun at the kids and u hear the gun fire.
Better than the Exorcist - The murder scene where Sonny kills his sister (that look on his face) - WHOAA!Still gives me nightmares till this day - As for the acting I personally think this was much ahead of it's time, most movies in this genre often fail to pull it off, whereas at this fine piece of horror history will redefine how the chills (those little hairs at the back of your neck)will come alive, and near leave you gasping in sheer fright..
As this is a prequel to the first movie and the first movie told you what happened at the house before the Lutzes moved in, you can see where this is headed.If you know anything about the story behind the Amityville Horror, you know that the Montellis are stand-ins for the DeFeo family, which was murdered by son Ronald.
For those of us that watch movies and are able to separate facts from what is made up or imagined, Amityville 2 is an excellent (although at sometimes hackneyed, schlocky and plain cheesy) horror film that evokes painful emotions as well as an depressing slow moving art house film.The dark pernicious mood is well established with the camera work, sinister lighting, and general hopelessness that settles into Sonny's festering possession.The Lutzs, obsessed with the occult and the financial gains they could take from the atrocity of six murders of the DeFeo family in Amityville, Long Island in 1974.
In 1982, Italian director Damiano Damiani gave us Amityville II: The Possession (1982), a prequel to the original film which tells the story of the ill-fated Montelli family, who move into the spooky building only to regret not having had a full property survey before buying (you know, one that might have picked up on the whole 'portal to hell' thing).Before you can say 'Captain Howdy', the eldest son Sonny (Jack Magner) is hearing malevolent voices through his Walkman, sporting a pulsating cranium (gotta love those bladder effects), and eyeing up his fathers rifle collection...Taking a very different approach to his Amityville predecessor, Damiani opts to pack in as much exploitative content as possible into his movie, throwing in sensationalist topics such as domestic abuse (the father, played by the excellent Burt Young, is a violent slime-ball), incest, and marital rape whilst also delivering lots of cheesy special effects, a little nudity (from the yummy Diane Franklin), some flamboyant camera-work, a touch of outrageous gore, and an Exorcist-style showdown between a Catholic priest and poor possessed Sonny.
The original is a slightly above average horror movie, while the prequel is really just pathetic.In Amityville II, we meet the previous owners of the house on Oceanview Drive.
"Amityville II: The Possession" is a much more frightening and solidly made horror-film than the original, but suffers from a weak script and a complete lack of continuity.
Damiano Damiani's 1982 prequel "Amityville II: The Possession" is a strange follow-up to the original (and generally well-regarded) 1979 "The Amityville Horror." It sets out to tell the story of the murders that happened in the house one year before the original film, and I will admit, this is an interesting idea, as the first film did establish the events as mysterious and truly frightening, but this film has a problem
It doesn't seem to be set within the continuity of the original film, as so many details are changed.
After moving in, Sonny begins to receive strange, disembodied messages from the house through his headphones, and soon is apparently possessed by a demonic force that takes him over from time to time, forcing him to hurt his family and pursue a sexual relationship with his own sister.
After the force pushes Sonny to murder his family (that's not spoiling anything, by the way, we know it's going to happen), a local priest decides to help rid Sonny of the demon that has taken hold of him, and that's what the second half of the film focuses on.The acting is, well
decent.
Also, while the first half of the film felt true to the original movie (by that, I mean in terms of tone and style), the second half of the movie takes a radical left-turn, and the last half-hour felt like a poorly-thrown-together cliff's-notes version of "The Exorcist" without all of the scary moments.
I'm pretty sure the script was written by Wallace after watching "The Exorcist", as there are some moments that are far-too-similar not to notice.Also, as I said before, the film doesn't have any real continuity with the original film, which makes it lose a point or two as well."Amityville II: The Possession" has a lot of problems, but it still works overall as a fast, creepy ride, and despite suffering a weak script, the film is a lot scarier than the original.
Thanks to the slick direction of Damiano Damiani, it is an enjoyable spook-and-puke show with pristine production values.A prequel, not a sequel, this is the "true" account of the family who were the first victims of the house and its cantankerous evil.The oldest son cannot resist the lurking fear so he murders his entire family before finally having his inner demon exorcized by a local priest.Bleeding walls, a trigger-happy Dad and a little incest spice up proceedings.AMITYVILLE 3-D was a wash-out..
The sequel is pretty much everything you want in a movie — if you love movies filled with horrifyingly sick moments of glee.Damiano Damianim, whose 1960's and 1970's western and crime output were marked by a streak of social criticism, directed this film from a screenplay by Tommy Lee Wallace (who not only played Michael Myers in the original Halloween, but would go on to direct Halloween III: Season of the Witch and the original version of It).The film is actually a prequel, telling the story of the Montellis, who are based upon the DeFeo family.
Damiano Damiani, who is better known for his spaghetti westerns, directs this prequel to "The Amityville Horror" which I found wildly entertaining and genuinely creepy.It's exploitation at it's finest: child abuse, spousal abuse, possession, brother-sister incest and gore are the shocking elements used here to show what a demon REALLY does to a family living in this house built on an ancient burial ground.Is it cheesy at times?
In the end I was glad I took a chance with 'The Possession', as while it might be your old-hat haunted house shenanigans it was still very well pulled off and surprisingly exploitive on the matter, especially the stir crazy final half-hour (which is weaker than the strongly gripping hour and feels like its from another entirely different film) that easily borrows ideas form 'The Exorcist' and goes ridiculously bombastic on the rubbery make-up FX.
Now this priest wants to exercise this demon out of him before it's too late to save his soul.Directed by Damiano Damiani made an interesting if very flawed prequel to the popular "The Amityville Horror" film.
This is a prequel to the original 'Amityville Horror' set back before the Lutz family moved in.
The real-life evils and the demonic possession mix well and create an eerie, sometimes disturbing, atmosphere.If you liked the original 'Amityville' that doesn't really mean you will enjoy this one, because they are really only similar in title and house.
This movie takes place prior to "The Amityville Horror" (before the Lutz's moved in and claimed the house was haunted).
The only complaint I have about this film is that it is too long....instead of ending relatively soon after the boy murders his family, it goes on and on with the priest attempting to exorcise the teen...and although this is where most of the special effects occur, you kind of feel bored because all of the characters you were introduced to are gone.
Perhaps it's the lore associated with the book, but the house actually looks like a place that evil spirits would run free, so simple shots of exterior windows carry an implied menace that are far more effective than the floating red eyes that served as scare tactics in the original.Of course, any review of this film would be incomplete if it didn't mention the unsettling creepiness of the incest subplot, which is unfurled in a seedy way that will test even the most acclimated horror fan.
He then proceeds to murder his family with a shotgun one night, but Father Adamsky is determined to exorcise his demons.While the original "The Amityville Horror" may be considered a classic by some, I've always thought that it was a little uneven and not nearly as good as it's reputation, so I didn't know what this prequel would have in store, but I was pleasantly surprised by it.
While nowhere near perfect, "Amityville: The Possession" is an very good horror movie that is much more engaging than the first film.
Loosely based on the book Murder in Amityville which told the story of the DeFeo's, the family who lived in the dreaded house before the Lutzes of the original Amityville.
Haunted house films share the challenge of making something that is often invisible interesting on a movie screen, and this one does a good job (like the original The Haunting) of including scenes in which nothing is really happening except people being scared, feeling a presence, or hearing a noise.
I think AMITYVILLE II works best as an unofficial sequel to THE AMITYVILLE HORROR (which a second poster announced during the movie's theatrical release, presumably in response to legal action), in which the Montellis are an entirely new family who have moved into the house and fall victim to the resident evil spirits, who possess the eldest son and make him reenact the events of 1974.
If you are a massive Amityville fan like me you will know that there is 11 Amityville films and in my opinion this is the best one.Amityville 2:The Possession tells the "true" story of the Montelli's, a dysfunctional Catholic family who arrive in the Amityville house two years before the Lutz's of the first film.
Local priest , Father Adamski, tries to rescue Sonny's soul and returns to the sinister Amityville house to face the demon.This film stars: James Olson, Burt Young & Rutanya Alda.Amityville 2 like I said earlier in the review is my favourite Amityville film in the entire series.
A loose prequel of the Amityville Horror with a different family moving in to the house and trying to deal with the awakening evil. |
tt0466909 | The Omen | Robert Thorn (Liev Schreiber), an American diplomat stationed in Italy, is told that his son died soon after birth. To spare the anguish of his still unconscious wife, Katherine (Julia Stiles), Robert accepts the suggestion of the hospital's Catholic priest, Father Spiletto (Giovanni Lombardo Radice) to secretly adopt another newborn whose mother died in childbirth. Robert and Katherine raise the boy as their own and name him Damien.
Robert's career ascends over the course of the next five years. He is named Deputy Ambassador to the Court of St. James (the United Kingdom), and after the ambassador dies in a bizarre accident, becomes Ambassador and settles in to a large estate just outside London. However, disturbing events start to revolve around Damien (Seamus Davey-Fitzpatrick), the most prominent being his nanny hanging herself at his birthday party, driven to do so by a large black German Shepherd.
Soon afterward, Robert is approached by Father Brennan (Pete Postlethwaite), who delivers an eerie warning and seems to know the truth about Damien's birth, at which point Robert has him escorted out. Meanwhile, photographer Keith Jennings (David Thewlis) finds that several of his photographs contain mysterious signs, later revealed to foreshadow a series of shocking deaths.
A new nanny, Mrs. Baylock (Mia Farrow), is hired and tells Damien that she has been sent to protect him. Tension between Mrs. Baylock and the Thorns rises when the nanny starts to make decisions against their wishes, including bringing a large watchdog (a Rottweiler) to the home without their consent. On the way to the previous nanny's funeral, Damien becomes terrified as they approach the church, attacking Katherine.
That night Katherine experiences a first premonition/nightmare dream about Damien. The following day a field trip to the city zoo ends with various species of primates going berserk at the sight of Damien. Katherine suspects that there is something not right about her son, but Robert brushes off her concerns.
Robert is again confronted by Father Brennan, who tells him that Damien must die and a man called Bugenhagen, located in Megiddo, can show him how. Enraged, Robert sends him away again. Caught in a torrential storm, Brennan attempts to seek shelter in a church, but the door is mysteriously bolted. A lightning bolt strikes the church steeple, causing him to be impaled by a large steel rod which falls from the roof.
Upon discovering she is pregnant, Katherine wants to have an abortion, fearing another child like Damien. Robert refuses to consider it. While watering plants on an upper floor, Katherine is knocked off a chair by Damien riding his scooter, and tumbles over the railing. He ignores her pleas for help and she falls several stories, severely injuring herself and suffering a miscarriage. After the bedridden Katherine begs her husband, "Don't let him kill me.", Robert finally accepts that something is amiss with his son.
Fueled by Father Brennan's warnings and further information from Keith Jennings, Robert and Jennings go in search of Damien's real mother. After meeting a nun in Rome, they discover that the hospital where Damien was born burned down. They then go to a monastery in Subiaco and meet Father Spiletto, now wheelchair-bound and badly disfigured, who tells them where Damien's mother is buried.
They find the grave of Maria Avedici Santoya, Damien's real mother, in the old cemetery of Cerveteri, and discover that it contains the skeleton of a jackal, implying that Damien cannot be human. In the neighboring tomb, Robert discovers the corpse of a human infant with a cracked skull, revealing that his biological son was murdered at birth. He and Jennings are suddenly attacked by a pack of rottweilers, and barely escape.
Meanwhile, Mrs. Baylock visits Katherine in the hospital under the pretense of delivering flowers and then induces an air embolism by introducing air from an empty syringe into her IV, killing her.
After learning of Katherine's death, Robert decides to follow Brennan's advice and kill Damien. He goes to Megiddo and meets Bugenhagen (Michael Gambon), who tells them that Damien is the long-prophesied Antichrist, and the only way to destroy him is to take him to holy ground and kill him with the seven sacrificial daggers of Megiddo. To prove his claims, Bugenhagen tells Robert to examine Damien for the 666 birthmark. Robert at first expresses disbelief, refuses to kill his son and leaves. However, Jennings is determined to go through with the plan, and picks up the daggers. After a brief exchange of words with Robert, he is suddenly decapitated by a falling sign. This pushes Robert to change his mind.
Robert arrives home during a torrential storm. The dog attacks but Robert manages to trap it. He then goes upstairs to Damien's room and quietly cuts away Damien's hair to reveal the 666 birthmark. Mrs. Baylock attacks suddenly, but Robert is able to fight her off and takes Damien outside to his car. Mrs. Baylock pursues them and Robert runs her over with the car.
Robert, pursued by the police, drives to a church to kill Damien on consecrated ground, but as he is about to use the sacred dagger, he is killed by an officer of the Diplomatic Protection Group.
Robert's funeral shown in parallel to the death of the Pope is attended by the President of the United States. After the service is over, the Secret Service informs the President that his car is waiting. The President is seen to be holding the hand of Damien, whom he has presumably adopted. The last shot shows Damien slowly turning to give the camera a diabolical smile. | violence, murder | train | imdb | (SPOILERS FOLLOW) There are elements of "Final Destination", but the original Omen was in fact the first to play with this type of death scene(s), where things mysteriously happen to people through strange accidents,etc.
Having said that, these scenes are a little different from the original (most of them anyway) and again, as a horror fan, you'll enjoy the fact that they don't pull any punches graphically.Acting wise, the film was somewhat weak - particularly Mia Farrow's performance.
My Summary merely refers this film coming latest in a parade of bad horror re-makes ("Texas Chainsaw Massacre", "Dawn of the Dead", "The Fog", etc.).As most know, "The Omen" was a 70s movie about an ambassador who's baby dies shortly after its born and agrees to take another baby in its place without telling his wife.
We all know quite well what time we are living in.Ignoring that, we have the pleasure of watching the truly talented Liev Schreiber tackle the role of Robert Thorn, originally played by the late and great Gregory Peck.
Casting Mia Farrow (as Mrs. Baylock) was interesting, since she so memorably provided a womb for Satan's son in the granddaddy of these films, "Rosemary's Baby".All in all, you're infinitely better off with originals, like "Rosemary's Baby" (1968) and "The Omen" (1976).** The Omen (2006) John Moore ~ Liev Schreiber, Julia Stiles, Mia Farrow.
The original The Omen is a horror classic and one of the scariest movies of all time.
In the remake, the deaths are either watered down copies of the original or changed in such a way that they take away from the story or just aren't as effective, and one death near the beginning of the movie doesn't even make any sense.
Like most of the horror loving community, the news that British classic The Omen was to suffer an Americanised remake wasn't welcome, but I figured I'd give it a fair chance anyway.
Liev Schreiber is a poor successor to the brilliant Gregory Peck, while the likes of Julia Stiles, Mia Farrow Michael Gambon and Pete Postlethwaite all fail to impress in their respective roles.
A lot of the people that see this won't have seen the original, but for those of us that have watching this remake is an excruciating waste of time.
Movie was good, better than expected, don't know why but it reminded me a lot to stigmata, anyways, picture is pretty good all over the movie, characters were chosen fine, i think Julia Stiles is still too young for her character, the kid was amazing, of course never like Harvey Spethens but still, the new Demian's smile was one of the best things on the movie, priests were fine as usual, and the nanny wasn't scary as i expected.
It's an easy, lucrative business practise but the shocking thing is how often directors screw it up when the template on how to make a good movie from the material is right there in front of them.Let me begin with saying that The Omen 2006 is, hands down, one of the worst films I have even seen in my life.
Working from, more or less, the exact script, hack, nobody director John Moore hasn't got a rat-arsed clue and makes a mess of this from the very beginning.Ditching the scope-widescreen photography of the original he shoots the film in plain old 1.85:1, which would be fine if he did something slightly artistic with it.
I have no problem with remakes if they are not cheaply presented and I was entertained by this presentation even though I knew the story.As an admirer of the '76 movie, my main objection to this was the casting, and mainly with two women: Julia Stiles as "Katherine Thorn" and Mia Farrow as "Mrs. Baylock." Stiles is a competent actress but she has a face that could pass for 15 or 16.
But throwing in cheep scary clips that you might see on a Flash homepage, made to scare you for a second, it's basically just a insult to this story.I really wish there was some invention that could take me back a couple of hours in time, so i could spent this time on something more productive, like sleeping or shooting myself.I wish no one the horror of actually seeing this movie!
Meanwhile the father is warned by a priest named Brennan (Pete Postlethwaite in the role of Patrick Thoughton) and a photographer (David Thewlis in the role of David Warner).After the Exorcist , Richard Donner's Omen was one of the most famous films of all time and the major possession movie of the 70s and created an authentic sensation , originating even various sequels: Damien: Omen 2 , The final conflict and Omen 4 .
It's nice that the kiddies can be brought a classic spooky-tale that they are otherwise unlikely to dig up on video, much less see on a big screen.The special effects are more convincing, the sets are less set-like, and the acting is more natural and less mannered (though I detect a bit of a Greg Peck voice/intonation imitation from Shreiber) and it's these sort of weaknesses that can distance today's audiences.This is really the best sort of remake - keeping all the best elements from the original without over-reaching to take the material in some other direction for the sake of being different, or without over-flexing today's FX muscles.
How great to see the best of British (David Thewlis, Michael Gambon, Pete Postlethwaite) and American (Julia Stiles is always good, though sometimes chooses poor material) young hot things and older, stately actors having a ball (Mia Farrow is very effective - playing very much against type).The creepy kid does good creepy too.I liked it.
But the casting was so bad and the acting so weak that the film felt like a lifeless shadow of the original.Julia Stiles as Satan's mom!
Let's just say I finally decided to register myself on the IMDb just to let people out there know this movie was really, really boring.I knew it was based on the original Omen-movie, but I thought the story would be told from a different angle, seeing all those eerie images from the trailer: Damien being born, fast forward to the future, when the earth has succumbed to evil, man turned against man, lots of hell fire,...But nooooo...
It is basically the same plot as the original, and almost everything in the film was the same besides some additions and changes here and there.Robert Thorn (Liev Schreiber) is an American ambassador, and his wife, Katharine (Julia Stiles), has a miscarriage.
As a priest tries to warn Robert of his dangerous son, a reporter teams up with Robert and they together try and determine Damian's origins, for they believe he is the son of the Devil, and they must hurry before more lives are lost and the Antichrist takes over.Considering this was a remake, it really wasn't that bad.
Hardcore fans of the original film may want to dismiss this a terrible remake of an excellent film, but the two movies really aren't different - they're nearly the same, besides the new actors and modern day settings.
The original Omen was such a great film that it was almost impossible for the remake to match it, and I know how they thought they could do this: taking every scene from the original and just changing it slightly.
The original had a spooky atmosphere which is what made it a great movie, but the remake fails terribly to do this.However, I did actually like Leiv Schreiber in his performance, although I still prefer Gregory Peck from the original.
Then again, if it wasn't for the original, it would probably be slightly better, but only slightly.It most definitely isn't as good as the 1976 version, but The Omen does boast good performances from Leiv Schreiber and Julia Stiles.
I loved the original, but I think I like this one much better.It's definitely the better version for the modern movie goer to go watch..
The by now familiar storyline of a politically prominent couple who unbeknown to them are raising the anti-Christ grabs the viewer's attention from the beginning and keeps you entertained throughout.One of the things that I found preferable to the original was casting the more age appropriate JULIA STILES and LIEV SCHREIBER as the parents.
Helmed by John Moore, the man responsible for the excellent Owen Wilson war film Behind enemy lines and last years forgettable The Flight of the phoenix remake, The Omen is given no new twists are turns and stays very faithful to the original.This no doubt will be viewed by some as a weakness, and the film then considered a pointless exercise, but for me and hopefully many more this actually made the film a more interesting experience.
Support is really good in this movie with David Thewlis, Mia Farrow and Pete Postletwaite all delivering spooky and hammy turns in abundance, and in fact rivalling the original films cast, particularly Farrow who is great value in the form of Mrs Baylock Damiens Nanny.
The faults:-1) The actor playing Damien was given too much dialogue, was sinister from the start but ultimately not the least bit scary.2) The lack of a Jerry Goldsmith music score which really made the first film so wonderfully terrifying.3) The actors playing the Thorns - dreadful miscasting and the looked as though they couldn't have cared less.4) Mia Farrow as Mrs Baylock - nowhere near menacing enough.
"The Omen" by John Moore is so strikingly similar to the original that I was able to predict scenes in explicit detail.Thankfully I saw this boring crap for free.The filmmakers added only a few minor changes-for example the opening scene is slightly different.The plot is the same as in Richard Donner's horror classic:Liev Schreiber takes the Gregory Peck role as a US diplomat who discovers that the boy he has raised as his own is actually the son of Satan.First of all the remake of "The Omen" is extremely dull and as exciting as watching paint dry.Seamus Davey-Fitzpatrick who plays Damien is one of the worst child actors I have ever seen on screen.This kid is simply not scary,just annoying as hell.There is absolutely no suspense,even the death scenes are weak.Admittedly the cinematography is slick and the acting is generally solid(with the exception of Damien),unfortunately this remake is completely pointless."The Omen" is the product of a lack of ideas from screenwriters who would rather dust off old scripts instead of trying to come up with something new.Avoid it like the plague..
I can honestly say that I am looking forward to the eventual remakes of Damien: Omen II (1978) and The Final Conflict (1981) I just hope that someone has the sense to remake the ending of The Final Conflict a lot better than the original which was a disappointing dud..
Blindly following the annoying trend of remaking classic horror movies, "The Omen 666" does an GREAT job in ...
i have just come back from a screening of the omen and to my surprise it was a very good remake, i loved that it stuck to the original story and followed that path but even surprising me that it had a lot more creepy moments and the odd jump during this film.
a good strong cast and an impressive performance, anyone that is a fan of the original omen will be very satisfied with this chilling remake.Seamus Davey Fitzpatrick's has delivered an amazing performance and started his career with a huge bang and a good movie under his belt and i am sure Harvey Stephens (1976 Damian) would be proud.
The only actor to stand out is Mia Farrow as the creepy nanny, her acting and the strength of the original concept are the only things that really keep this film going.
A remake this forgettable is insulting to the original movie's legacy.Liev Schreiber isn't necessarily an awful actor, but let's face it, he has NOTHING on Gregory Peck.
If you think I'm being too hard on the kid, I suggest you check out movies like The Sixth Sense, The Shining, or, hell, even the original "Omen".
Julia Stiles plays her supporting role well, though I think her fear of Damien could have been more pronounced - even to the point of madness/hysterics.I was thoroughly enthralled from beginning to end with this movie - it kept my attention and I was excited from scene-to-scene to see where it was going (again, I have not seen the original).
***SPOILERS*** Better then expected re-make of the 1976 horror classic "The Omen" about the return of the Devil/Antichrist on earth in the guise of young Damien Thron,Samus-Davey Fitzpatrick, the son of Robert Thorn, Liev Schreiber, not only the US ambassador to Great Britian but the Godson of the President of the United States.
The 2006 horror/thriller "The Omen" follows the original almost scene by scene with a few new shocks and jolts thrown in for good measures with the only drawback , and it's a big one, being the new versions soundtrack that omits the scary and frightening Latin Satanic Chant in the 1976 movie "Hail Satan".
Who's battle, together with Damien's pet Devil Dog, with Robert at the end of the movie has to be one of the most hair-raising sequences ever put into a motion picture.The new version of "The Omen" is one of the better re-makes of a previous block-buster that in some scenes, like the out of nowhere dog attack on Robert and Jenning at the cemetery, actually improves on the original..
Perhaps the early scenes establishing the characters of US ambassadorial assistant Liev Schreiber and his wife Julia Stiles trundle out a little flatly, but by the time we are deep in dread theories about the rebirth of the anti-Christ, those scenes are long forgotten.The couple's awful little son, Damien, is weird and immediately offputting in the tradition of nearly all horror film trouble children of recent memory, but in his favour, he almost never speaks, merely favouring friend or foe with the appropriate smirk or evil eye.
In spite of this, Julia Stiles gives a nicely realistic performance of a mother struggling to work out what's wrong between her and her son.The death scenes which ensue when various folk start to wise up to the child's satanic origins reminded me strongly of the Final Destination films.
Even though I knew the basic sequence and manner of deaths from the original film, I still found these scenes to be effectively directed and nail-biting, with gory payoffs that won't leave anyone accusing the film of being a Horror Lite.While Stiles cries and grapples with the dawning reality of what's happening with their kid, Schreiber goes around denying it, and he does end up looking a little silly for his efforts.
I had read the reviews and didn't have very high expectations at all, but when I walked out of the movie I realized that for once, the remake was almost as good as the original.
Liev Schreiber, Julia Stiles, Mia Farrow, David Thewlis -- all did a nice job -- exactly what I would expect of actors of their caliber.There were some things I found lacking, such as the musical score was not quite what I had wanted ( then again, how do you improve what the original had without ripping it off?), and the pacing of the movie at times was a little rushed, especially the last third or so.I think lately the critics are just out of touch, they seem to condemn movies while audiences disagree.
The original The Omen from 1976 is good movie.
It doesn't help that the original is one of my all time favourite films but I found this a total disappointment.I think if a classic is going to be remade then they should try to approach it in a different kind of way but this copies the original virtually scene for scene.That leads to inevitable comparisons.The most obvious is the acting in which Schrieber and Styles deliver shockingly wooden performances.I actually thought it was laughable in places.Whereas Peck and Remick had a chemistry that made the audience genuinely care for them it's almost impossible to give a damn about the leads in the remake.The other main difference is what,to be fair,very few horror films (especially modern ones) seem to capture and that's atmosphere.The original had a very eerie feel to it,helped in no small part to Jerry Goldsmith,but it just wasn't there at all in the remake.On the plus side Farrow and Postlethwaite are decent.
Sure it's nice to see Mia Farrow working but this offers nothing to improve upon the classic original.It does the following: Gives a music video director work before the next alt music video Supports the producers view that any horror remake is a good financial move Employs Pete Postelwaite Makes the "committee of producers directing this trash happy they might make some coin Offers nothing new, innovative, subversive HELL the story is about the spawn of Satan have a little fun This is a cynical attempt to make money off stupid people who never heard of Lee Remick.Shame Shame Shame.
This alone is enough to make me wonder why they remade it (why remake good movies when there are so many bad films to fix?).
There is no real suspense, only a few shocks and surprises that, though good, are never quite enough to make this movie anything better than sub-par.Liev Schrieber and Julia Stiles play Robert and Katherine Thorn, the parents of Damien (Seamus Davey-Fitzpatrick) who is the son of the devil.
Even the dialoque was pretty bad in this movie, and the kid who played Damien wasn't even spooky or chilling like the original actor.I don't have to go into plot details because the story is almost identical to the 1976 film.
The Omen's story changed very little from the original but the new version was better acted, showed more to the characters and got more involved with the story, and was actually kind of scary. |
tt1161443 | Pagafantas | La película empieza con un seudo-documental de naturaleza en que se describe la operación "cobra", es decir, inclinarse hacia adelante para robar a un beso a la persona que esta enfrente tuya. El docu dice que cada dos minutos alguien en el mundo intenta esa técnica.José María, llamado también Josemari o Chema (Gorka Otxoa) es un pringado. Está bebiendo solo en un bar- probablemente un refresco, ya que dice que el alcohol le sienta mal - y se decide a atacar a una chica a la que conoce de vista. Él la consuela porque hace poco que ella ha cortado con su novio. Él intenta hacer una cobra, pero ella se retira hacia atras y le arrea una bofetada.Títulos de créditoChema y su amigo Rubén (Julían López) están poniendo a parir a Enrique Bunbury - con toda la razón en todo lo que dicen - mientras intentan ir a un pub, pero es miércoles y el Tito's está cerrado. Rubén quiere irse a casa, que al día siguiente tiene clase. Rubén le echa en cara a Chema que le comió el coco para que cortase con Ana (Pilar Gil), ya que él había cortado también con Elisa, y así los dos podrían salir más durante la semana. Rubén le dice a Chema que Ana le ha dicho que Elisa quiere hablar con él.Chema duerme en el sofácama del salón de su casa. Su madre Gloria (Kiti Manver) tiene que ayudarle a desacerla. La ropa de Chema está en su vieja habitación, donde ahora duerme su abuela, la señora Begoña (María Asquerino), que parece un poco ida. El 'tío' Jaime (Óscar Ladoire) aparece con croasáns, porque parece que se quiere ligar a Glorai. Chema no está nada entusiasmado de trabajar con él en su tienda de revelado de fotos. Jaime se niega a aceptar que hoy en día mucha gente usa cámaras digitales.A la noche, de vuelta en casa, Chema tiene que sacar la basura, los pañales de la Señora Begoña. Cuando tira la bolsa amarilla al contenedor, oye gritos. A una vecina se le calleron las llaves al tirar la basura. Ya que está dentro del contenedor, ¿podría ella alcanzarle una cazadora roja? Chema no quiere admitir que aún vive con su madre así que le dice que las tiró por error. Claudia (Sabrina Garciarena) le da dos besos en agradecimiento. Ella le dice que le debe una cerveza, y él se apunta evidentemente. Claudia no es peluquera, pero quiere trabajar de eso. Ella lo obliga a tomarse unos chupitos con ella.Al día siguiente, Chema se despierta con una resaca del copón. Claudia le dejó escrito su teléfono móvil en la espalda, pero el número no está claro. Chema le llama y quedan en el mismo sitio a las ocho de la tarde. Jaime le deja irse a casa para ponerse guapo, y le cuenta que la manera infalible de saber si le gustas a una chica es saber si te mira cuando te estás yendo, y le dice que su madre se le quedo mirándole una vez cuando él se iba, y se lo dice "desde el respeto".Claudia le dice que se dejó la chaqueta roja en su casa y que ella se la ha lavado. Él se ofrece a que le ponga mechas para hacer una prueba. Claudia le repite al camarero lo que Chema le ha dicho antes, que él es como el Puma pero en viejo. Todos los clientes se rien. Claudia no tiene los papeles, y necesita mucho el trabajo, así que se despiden pronto. Ella parece darse la vuelta al rato de despedirse, pero entonces Chema es atropellado por uno de los camiones de recogida de basura, entonces ella tiene que salir corriendo junto a el para ver si le ha pasado algo. El conductor le dice que Chema le estaba mirando el culo, pero Claudia no parece ofenderse por ello. Chema se despierta con mechas en el pelo y en una habitación atiborrada de posters de Bunbury.Rubén está en una clase de universidad, donde un decrépito profesor (Fernando Mikeljáuregui) está soltando un rollo sobre las asociaciones no reconocidas legalmente. Chema lo saca de clase para decirle que piensa que se ha liado con una peluquera sin papeles; el problema es que, como le sienta mal la bebida, nunca se acuerda al día siguiente de lo que ha pasado. Chema le pide a Jaime que saque una foto de él saliendo con Claudia, para así poder saber qué pasa por las noches cuando salen. Jaime se pone nervioso cuando ve a Gloria. Jaime le dice a Chema que lo peor que le puede pasar es el "abrazo del koala", un abrazo que sólo demuestra amistad, y lo único peor que eso en una posible pareja es el "abrazo del koala con dos palmaditas en la espalda", que demuestra amistad e intento de consolar.Claudia aparece con una moto para celebrar que encontró el trabajo. Jaime y Gloria los siguen, pero la madre echa de menos a Elisa como novia de su hijo. Claudia se da cuenta inmediatamente. Claudia se lanza a la carrera para intentar despistarlos y cruza un parque donde los barrenderos están limpiando, y salta por unas escaleras. Jaime, con su furgoneta, se pega un leñazo, y Gloria se preocupa por la Señora Begoña que va en el asiento de atrás. Jaime dice que seguro que se lo está pasando en grande, por una vez que sale de casa. Claudia menciona que su ex-novio estaba siempre metiéndose en líos en Argentina.Claudia lo lleva hasta su peluquería y vuelve a sentarlo en la silla para hacerle un nuevo peinado. Ella insiste en darle un abrazo a Chema, ya que se han librado de sus perseguidores, pero él intenta rechazarlo, aunque al final tiene que aceptar. Chema se ha puesto una camiseta con el careto de Bunbury, y además presume de haber conocido al cantante cuando empezaba, corrigiéndole incluso la letra de Entre dos tierras, que al principio era "Entre dos cielos". Claudia comenta que es su mejor amigo, lo que desilusiona profundamente a Chema.El peinado de Chema es aún más ridículo. Gloria rechaza la idea de que Jaime y ella pudieran ser novios, después de todo ellos son amigos desde antes de que ella conociese a su marido y padre de Chema. Chema se desilusiona por eso. Después de esta conversación, la señora Begoña quiere hablar con él y le dice que Chema es "un pagafantas", o sea, una persona que no despierta el instinto sexual a las mujeres, condenado a ser eternamente un pato en la pista de baile, el que consuela a la chica pero incapaz de aprovecharse ni siquiera de una chica con el corazón roto y borracha.En un bar, tomándose una hamburguesa, Claudia le dice a Chema que le ha dicho a un pesado que estaba saliendo con él, aunque fuese mentira. Gloria llama a Chema para decirle que vaya a ver si se ha dejado el gas abierto. Claudia se ofrece a ir con él porque no tiene ganas de salir. Resulta que era una mentira porque la familia le prepara una fiesta sorpresa de cumple al chico, pero el les dice que se sigan escondiendo para que no se le fastidie el asunto con Claudia. Incluso los primos de Elche (Ernesto Sevilla y Borja Echevarría) se esconden otra vez detrás del sofá. Al volver del baño, Claudia coge una foto de Gloria y comenta que es muy guapa, que ahora entiende lo del tío de la tienda de fotos, y para que la chica no tenga tiempo de añadir nada más, Jaime salta "sorpresa". La fiesta acaba en un karaoke cantando Entre dos tierras. Jaime dice que él quiere hablar directamente con Gloria para decirle que le gusta, y Chema mantiene silencio sobre sobre la conversación que tuvo con ella.Uno de los primos de Chema, Óscar, le pregunta si está teniendo algo con Claudia, y Chema no tiene más remedio que decir que no. Chema le dice que estuvo en la cárcel por vender drogas a niñas de diez años. Cuando Claudia quiere pegarle a Óscar, es Chema el que se ve una botella estampada en la cabeza. Claudia le dice que se quede a dormir con ella. Chema acaba con un pijama de Claudia y durmiendo en la misma cama que ella. "Hacer un lemur" es dormir con una chica, pasar la noche en vela, pero no atreverse a hacer nada por temor a ser rechazado. Chema está feliz de la vida a vivir con Claudia, cosa que ella le propone.Gloria invita a Elisa (Bárbara Santa Cruz) para que hable con Chema, pero él no se para. Coge sus cosas y se va junto a Claudia. Al llegar a casa de ella, se encuentra a Sebastián (Michel Brown), el supuesto ex-novio argentino con el que Claudia se acaba de reconciliar. Sebastián incluso le agradece a Chema que no haya intentando aprovecharse de ella. Chema intenta quedar bien y como un romántico al hablar de las estrellas, y sólo se le ocurre la "estrella de belén". Resulta que la estrella es la luz roja de un avión que vuela bajo.Chema no coge las llamadas de Claudia, e intenta volver con Elisa, pero ella sospecha que a él le gusta Claudia. Chema lo niega.Claudia lo llama por problemas de sus papeles. Rubén va junto al comisario (Mauro Muñiz) con él, aunque aún le falta una asignatura para acabar la carrera, para los problemas con los papeles de Claudia. El comisario le dice que van a expulsarla de España en 48 horas. Chema se ofrece para casarse con Claudia. Rubén le dice que ninguna iglesia ni ningún ayuntamiento de España los va a casar con tan poco tiempo. Sin embargo, Rubén tiene una idea:Chema y Claudia se casan en un barco pesquero, y el capitán es el oficiante. Jaime graba todo. Rubén y Óscar son los testigos. Una nasa de pesca le cae encima a Chema. Claudia se va a ir con Óscar de todas todas. Claudia abraza al maloliente Chema. Óscar y Claudia son los que disfrutan la habitación del amor que los marineros han preparado para ellos. Mientras la pareja hace el amor, Jaime, Rubén, Chema, el capitán y el resto de marineros se quedan casi a la intemperire bajo una tormenta. Frustrado, Chema le dice a Jaime que no le dé más consejos, que siempre se los está dando, y que su negocio es una ruina.Un año más tarde.Chema ha vuelto con Elisa, pero está triste. Todo trajeado, visita a Jaime, para quien ya no trabaja: ha modernizado la tienda de revelado, y entra una clienta (Teresa Hurtado de Ory) para pedir que le haga una camiseta con una foto que ella tiene. Jaime menciona que Chema se vaya a su fiesta de cumpleaños, que él ahora tiene clientes de verdad.Chema va a ser ascendido en la oficina en la que trabaja. Los padres de Elisa le dicen que se le están acabando las excusas para decidirse y casarse de una vez con su hija, pero el se hace el despistado, e incluso Elisa le dice a su madre que no empiece. Gloria aparece con Claudia, y del susto, Chema rompe la botella del vino. La cena es tensa. Claudia quiere decirles a los padres de Elisa lo que ha pasado. Los padres de ella los echan y le rompen la cara a él. Claudia se dejó la maleta arriba, y el padre de Elisa se la tira encima de un coche por la ventana.Chema llama a Jaime para que les preste su furgoneta - una nueva. Aunque Jaime tampoco parece muy contento, y le pregunta si no podía llamar a otro, al final le deja las llaves. Cuando los chavales se van, Gloria lo ve y lo saluda. Aunque ella lo invita a un café, él le dice que otro día, implicando que nunca se van a ver. Al final, Jaime acepta una manzanilla.Chema lleva a Claudia al aeropuerto, aunque ella no quiere. Llama a Rubén y a Ana, y los dos ponen pasta ansiosamente de su bolsillo para que Claudia se largue de una vez y deja a Chema en paz de una puta vez.Claudia se ríe en las narices de Chema. Sin embargo, después de declararse, él acaba reconociendo que era todo una broma. Beben unas cervezas, y cuando se despierta, está en el avión rumbo a Buenos Aires con Claudia.Claudia le dice que él es como un hermano para ella, lo abraza y le da dos palmaditas en la espalda. La azafata trae una bebida al "señor Bunbury".Chema grita de pánico. | comedy, romantic | train | imdb | null |
tt0081748 | Where the Buffalo Roam | The film opens in the mountain cabin of one Dr. Hunter S. Thompson (Bill Murray), gonzo journalist extraordinaire. He is holed up with his dog Bronco and a plethora of alcohol and drugs, struggling with a looming deadline to produce a magazine article about his eccentric former attorney, Carl Lazlo, Esq. (Peter Boyle). When his fax machine begins beeping with a call from his publisher, he angrily shoots it with one of his many guns (in this case, a .45 revolver); he then "get[s] a grip" and sits down to his typewriter. His voice-over narration reflects what he writes, as it does throughout the film.Fade to 1968, early in Thompson's career. He is holed up on an upper-story hospital room with a loud stereo, a pack of drugs and alcohol, and a nubile student nurse (Sunny Johnson). A nurse explains to a doctor that he arrived there claiming to have been chased by Richard Nixon and attacked by a swarm of bats. At this point, Lazlo, a wild-haired, mustachioed liberal attorney, arrives. Finding Thompson's room barricaded from the inside, he calmly walks through the neighboring (and occupied) room and, after helping himself to some of the patients' pills, climbs out onto the balcony and bursts into Thompson's room from the window. This sends Thompson's drugged-out companion into a nearly-catatonic state (she believes Lazlo to be a giant bat), but Lazlo remains calm as he offers his legal advice to Thompson and eats some food. (Lazlo eating some of Thompson's food is a running theme of the film and suggests that he [Lazlo] is not above sponging off those around him.) As the hospital staff begins to break down the door, Thompson and Lazlo unhurriedly escape and miraculously get down to Lazlo's car and escape just as the doctors and nurses break in.On the road, Thompson simultaneously drives and types Lazlo's running commentary about the sorry state of America's legal system, vis-a-vis their treatment of teenagers on drug charges. They arrive at the courthouse where Lazlo is about to go before a judge to defend a large group of kids who, in various combinations, have all been arrested for possession of marijuana. He insists on taking all the cases to bench trial, which serves only to irritate the judge and district attorney; all the defendants receive very harsh penalties. After one such outrage, when a teenager is given five years for possession of a joint, Lazlo reacts violently and ends up throwing the district attorney over the judge's bench. As the court is hurriedly cleared and Thompson struggles to snap pictures, Lazlo screams at him to "tell the world" what happened.Back at BLAST Magazine headquarters, Thompson's beleagured publisher Marty (Bruno Kirby) paces back and forth waiting for Thompson to deliver his story. Presently Thompson arrives, but teases Marty for a while before finally giving up the story in exchange for the cheque. Thompson's voice-over comes back in as we see Lazlo languishing in a jail cell with one of his defendants.Los Angeles, 1972; in voice-over, Thompson explains that Lazlo quit the legal system and dropped out of sight, and as the 60s ended many counterculturalists, in Thompson's words, "got off the boat," but not everyone did, including Lazlo, Nixon, and himself. Now a successful and popular writer, Thompson is in town covering Super Bowl VI (this is an error, as the 1972 Super Bowl was actually held in New Orleans). He arrives at his hotel in a hallucinogenic state, mildly assaulting his driver before remembering where he is and what he is doing. At the front desk, he terrorizes the clerk by ordering large amounts of electronic equipment and food (including 16 grapefruit), and proceeds to turn his room into a slightly grotesque piece of modern art, complete with toilet paper and variously-placed fruit. When the hotel staff comes to quiet him down (as requested by a professional gambler [Leonard Gaines] who "needs a super rest" for the game), they are sucked into his world and willingly take the marijuana and alcohol he provides.The next morning, Thompson is sitting in the hotel restaurant, eating a huge breakfast and listening to his tape recorder. His recording from when he awoke says that he did so to find that the hotel employees had broken in, drank all his liquor, did all his drugs, and stole his dinner. At the entrance, the aforementioned gambler is speaking on the phone with an associate, bemoaning his sleepless night; just then Lazlo appears wearing a Nixon mask, which prompts the gambler to give up on the game and go home to escape the "nuthouse." Lazlo sits down at Thompson's table, gives him the mask as a present, and then persuades him to give up on the Super Bowl story and go with him to some unknown destination. Outside, Thompson gives his tickets, press pass, and room key to two random guys, and they set off.On the road, Lazlo talks about where he has been the past four years; namely, becoming enlightened. He now is actively trying to promote world revolution, and he does this with a small band of weirdos by smuggling weapons to revolutionaries in impoverished countries. At the ranch, Thompson quickly sees the futility of what Lazlo is doing but comes with him anyway to a rendezvous at a isolated airfield, where Lazlo's group will load up a plane with guns and fly it away. At the airstrip, however, a police helicopter arrives and begins to descend; Lazlo and his group escape in the loaded plane, but Thompson refuses to follow, and the police follow the copter.Later in 1972, Thompson is covering the presidential campaign, but takes some time to appear at a university for a Q&A with the students. The hall is packed and he is very late, and needs to be coaxed quite a bit by the event coordinator to even go on at all, but eventually goes out and wows the crowd with his eccentric views and answers. One student asks about Lazlo and puts forth the idea that he never really existed; Thompson responds that he was real, but he was now believed dead.Back on the campaign trail, he gets on the press plane that follows Richard Nixon (referred to only as "the candidate") around. He stands out starkly from the rest of the buttoned-down reporters, dressed in Bermuda shorts, a loud Hawaiian shirt, and a maroon sports jacket. Onboard, he frightens the young reporter next to him (Michael Cornelison) by producing an enormous hunting knife to slice his grapefruit ("They never search me"), then by speaking into his tape recorder about being divebombed by poisonous ravens on his way to catch the plane. Just then, the candidate's aide Dooley (Mark Metcalf) comes in and throws Thompson off the plane, demanding that he fly on the "zoo" plane with the technicians.The zoo plane is considerably different than the straight-laced reporter plane; the people are all hippies and drugs and alcohol flow freely (even amongst the crew). Also onboard this flight, though, is another reporter, Harris from the Post (Rene Auberjonois), due to overcrowding on the other plane. He sits down next to Thompson and tries to settle down to work, but the loud noise and constant physical distress drive him to distraction. That is, until Thompson produces some "headache pills," his blue ones; Harris takes two, and within an hour he is in the grip of Thompson's powerful hallucinogens. By the time the plane lands, Thompson has switched their clothes and infiltrates the reporter entourage by posing as Harris.As he washes up in the bathroom, Thompson gets a surprise visitor: Nixon himself (Richard M. Dixon, but voiced by Brian Cummings) comes in to relieve himself. Thompson launches into a tirade that the country is divided into the "Screwheads" and the "Doomed," who live in fear of the Screwheads. He asks Nixon what the country is doing for the Doomed, to which Nixon replies, "Fuck the doomed!"Back aboard the reporter plane, on which Thompson has reappeared disguised as Harris, he suddenly spots none other than Lazlo walking across the tarmac, wearing a three-piece white suit. Realizing that the appearance of Lazlo will destroy his chance of continuing on the campaign trail, he hurriedly invites the same young reporter that he terrorized before (who does not recognize him in his disguise) to sit in his row and tell Lazlo that the seat between them is taken. He does so when Lazlo boards, but Lazlo ignores him and sits down next to Thompson. He begins telling him, in an increasingly excited and loud voice, about his new plan: to buy land in the middle of the desert and build a socialist paradise. At this point Dooley arrives and, fed up with Thompson, promptly throws him off the plane for good; when he insults Lazlo, Thompson punches him in the face and the two escape while Thompson holds the reporters and Secret Service at bay with a fire extinguisher (he gets a good shot in on Nixon when the candidate pokes his head out of his door for a moment). On the runway, Thompson watches as the plane takes off and tells Lazlo that he won't help him with his project, because Lazlo is "insane, a raving maniac."Back in the present at his ranch, Thompson finishes the story and sits down next to his dog to read him the end. Reading, he speaks of how Lazlo and Nixon were both gone (the latter being eaten by white cannibals on an island near Tijuana), and that he, Thompson, got out because, through it all, it never got weird enough for him. | flashback | train | imdb | The plot is peppered with "respectable" places being dragged into mayhem, and "respectable" folks trying (unsuccessfully) to cope behind plastic smiles.It even ventures into some higher themes, such as innocent kids being jailed by a heartless criminal system, and Thompson's own struggles between being a practical reporter and a fun-loving idealist (notice how Lazlo repeatedly re-surfaces just when Thompson starts to take on "real" jobs).It's biggest fault, however, was that it failed to achieve any of the higher accomplishments of HST's writings.
It's like they shaved off the surface 50% of Thompson's work and discarded the rest.Compare this to Fear and Loathing, which was darker and more counter-cultural, and contained whole narrations excerpted from the novel.
The latter perhaps has less appeal to the average viewer, but I'd think more to a Thompson fan.All-in-all, this film is a light-hearted romp into anarchy, and worth watching.
Not for the casual Fear and Loathing Fan. I finally watched this movie after watching Fear and Loathing in Las Vegas about 50 times and reading almost all of Hunter S.
Fist of all, as far as the comparison to Fear & Loathing In Las Vegas (1998) goes, these films are completely different beasts.
Fear & Loathing In Las Vegas is a visually dazzling, imaginative, cinematic adaptation of HST's novel and Where The Buffalo Roam is a quirky, splendidly fun quasi-biographical journey and pure snapshot of life.Bill Murray is fantastic in this film.
The whole film itself, mainly because of Murray's characterization and the realistic structured style of the abrupt interconnected randomness of everyday life, is infused with a undying sense of fun and love for words, imagination, writing, and the whole creative process, which seems to me to get more to the core of HST as a man than the various vignettes of Fear & Loathing.Where The Buffalo Roam is wildly entertaining, frenziedly hilarious, and immeasurably fun.
But when the general viewing audience, who presumably do not have a true passion for HST and his works, views both films and are given the choice between the legend and the man, they more often choose the legend, which is usually the trend in history.Whereas Fear & Loathing In Las Vegas has a romance for the stories and the myth, Where The Buffalo has a romance for the man and the process, and both have it for his personal style, politics and priorities..
Thompson's work and having seen Fear and Loathing in Las Vegas, I instructed my faithful DVR to record the movie at 4:30 one Sunday morning.
From the dead on impersonation of Dr. Thompson's mannerisms by Bill Murray to the militant antics of 60's radical lawyer Peter Boyle (Lazlo) throughout the movie, these two more than faithfully portrayed the crazy antics well documented in Gonzo journalism.
Although "Fear and Loathing in Las Vegas" captures Thompson's writing, "Where the Buffalo Roam" gives more of a realistic insight on Thompson and Acosta.
It also captures different stories from some of Thompson's other work, my favorite being the piece from "Fear and Loathing: On The Campaign Trail '72", Thompson's first hand account of Nixon's campaign for office.
This film's problem is that it is too "screenwritten" (Lazlo replacing The Brown Buffalo, "Blast" Magazine replacing Rolling Stone, etc.) and lacks the weird surrealism that a drug-fueled observation of American culture at the end of the 1960s deserves, if not requires.It does play a bit like Caddyshack, as someone else pointed out, and it's hard to get really invested in the characters.
The problem is the script, more than anything else.Fear and Loathing in Las Vegas, by contrast, does well with the surrealism and depravity but fails to make the full point I think Thompson was trying to get across - the decadence and over-the-top performances (especially of del Toro) are distracting, and really all of this is supposed to be about the death of the American dream, and the end of what was (to some) the best decade on record, or at least the one where people thought, for a time, they could make something of American life.
Both movies hint at this but don't go into it enough, in my opinion.Where the Buffalo Roam captures a little of the sadness and the creeping hopelessness of the early 70s (along with an indication of the hangover awaiting that generation in the 70s), but both movies fall far short of Thompson's books and writing in my opinion.I was particularly saddened that both movies left out the "We're looking for the American dream" bit at the taco stand, because I think that was important, and the F&L Vegas story seems decontextualized without it (in terms of having a fairly serious (and sad) point under all of the humor and excess).In any case, both movies are worth a watch but ultimately unsatisfying.
But if you are into Hunter Thompsons work, or Bill Murray, you will definitely enjoy this walk on the wild side7/10.
I also liked this movie, tho, Fear and Loathing was a much better film..
Bill Murray did an outstanding job of capturing HST's voice inflection and mannerisms Granted this film appears more low budget than Fear and Loathing in Las Vegas (also a great movie), however that does not mean it is any less funny or enjoyable to watch.
Virtually every gag falls flat as the movie bemuses you with badly it can mess up something with so much humour potential.On the bright side, it's interesting to see how many scenes Terry Gilliam stole directly from this film for Fear and Loathing in Las Vegas, and how much of Johnny Dep's acting style for that film was taken from Bill Murray..
Now I'm no movie critic and I don't think these comment things should be taken serious at all considering the majority of the people on this thing sharing their two cents haven't spent any time in a film studies course, creative writing course, and have no real true understanding of the art of film.
A d*mn good documentary would be Fear & Loathing on the Road to Hollywood, which can be found on the Criterion Edition of Fear & Loathing in Las Vegas (a fantastic representation of Hunter and his work but thats for another comment board).Bottom line folks, the movie is sh*t.
Thompson book and seen every documentary that has come out and I can give my honest advice, as a person well versed in the Gonzo world, that this movie is NOT HUNTER S.
I loved the book 'Fear and Loathing in Las Vegas' and was so disappointed by the ludicrous cartoon-like portrayal realised by Johnny Depp in the film, 'Fear and Loathing'.
His Thompson was simply buffoon-like and completely one dimensional, and despite everything else being good, (especially Benicio del Toro), for me, Depp ruined the whole feel.Bill Murray on the other hand perfectly captures Thompson's eclectic, cynical intelligence and projects him as a whole 3-dimensional person who is believable, even through his substance-addled behaviour, from start to finish.
It's not funny enough to be a comedy, it doesn't seem to have any point to make & so doesn't work as satire, & it completely fails to convey the insane, savage & hilarious spirit of Hunter S Thompson's writing.Bill Murray, while doing a pretty good impersonation of Thompson's voice & more pronounced mannerisms, really just acts like Bill Murray with a cigarette holder sticking out of his mouth for the whole film.
The angry, driven, borderline psychotic journalist is nowhere to be found in this film, just a kind of goofy idiot that makes you wonder why anyone would bother to make a movie about him, or why anyone would read any of his writing.Peter Boyle as attorney 'Carl Lazlo', a character better known as Dr Gonzo in Fear & Loathing In Las Vegas, or as Oscar Zeta Acosta in real life, is completely & utterly miscast.
It was fun to see Bill Murray as HST, having only seen Johnny Depp as HST in Fear and Loathing in Las Vegas (I watched this movie for the first time recently, Aug 2008).
I think he did pretty well, probably better than I expected.The relationship with Lazlo is very much the center of the movie, which I thought was funny/strange/interesting/disturbing, much like the relationship with Acosta in Fear and Loathing in Las Vegas, only more fun to watch, because Peter Boyle was a genius!
Thompson, and Me".Entertaining movie that could have shown more about how HST worked and how GONZO came about.
To those who have seen both Buffalo and FnL, it should be apparent that either HST really acted like that, or Depp just copied Murray.
Either way, this film falls just short of passable only due to Linson's mis-direction...The film seems to serve better as a pastiche of popular Thompson pieces rather than a cohesive succession of events...with no overarching direction, the movie dovetails into preachy idealism and disjointed plot angles that ultimately don't arrive at a narrative conclusion...Still, as has been the common disclaimer, the movie is necessary for anyone who considers themselves to be rabid HST fans...It should be noted, also, that several critics, and even HST himself, have hinted, if not completely insinuated, that his use of drugs in his work, to an extent, was exaggerated for numerous reasons, not the least of which is to expand and authoritative his voice as that of his disgruntled generation...I cringe when I see so many people who seem to be more fascinated by his drug use than his actual body of work...Obviously he used a fair amount of drugs in his life, but it seems to have cast a permanent, impenetrable shadow over his legacy, as if using copious amounts of drugs somehow solidified his credibility...I like drugs, but this misunderstanding of HST and his work is demeaning both to his family and his future....
Why is this film not more widely known?Bill Murray turns in as fantastic performance as Hunter S Thompson and the whole feel of the movie is really enjoyable.I won't go into the detail of the movie as other users already have.
For fans who thought "Fear & Loathing in Las Vegas" was a bit over the top, there's always "Where the Buffalo Roam"- a look into various different events in the life of Hunter S.
Where "Fear & Loathing" makes full use of Thompson's "point of view" in scenes filled with hallucinogenic ramblings and drug addled visions, "Where the Buffalo Roam" tells the story in a more straight forward manner, from the perspective of an outside observer.
Or maybe I'm just holding him to the high standards Benicio Del Toro created when he portrayed Oscar Zeta in "Fear & Loathing".Contrary to the great similarities I saw between Bill Murray & Johnny Depp's portrayal of Hunter S.
While Peter Boyle's "Oscar" was seemingly straight laced and subdued, only loud when he needed to be, Benicio's portrayal was of the drug addled, out of his mind, loud and crazy all of the time "Oscar", which after reading Oscar Zeta's two books "Autobiography of a Brown Buffalo" and "Revolt of the Cockroach People", seems much more appropriate.
(both books are highly recommended reading, if you are at all interested in radical lawyering).All in all, I would say this film does a pretty good job of telling a straight forward story in a manner that's easily understandable & enjoyable.
Thompson was a crazy, drug addled, mostly unintelligible man - which is why I preferred Fear and Loathing in Las Vegas.
His compatriot in some of his experiences is the equally deranged attorney-turned-revolutionary Lazlo (Peter Boyle).I've read that this so-so picture only kind of scratches the surface when it comes to Thompson, not bothering to really give a measured portrayal of the man or illustrate just what made him so interesting as a writer and personality.
Having said that I will admit that "Buffalo" seems fractured and does not have a definite beginning and ending, but Murray captures a lot of Thompson's mannerisms and the episodes the movie is composed around are all interesting and fun to watch.
If you are interested in Thompson and like Bill Murray as an actor, "Buffalo" will be right up your alley and a comparison with Gilliam's "Fear and Loathing" is interesting, especially when you've already watched the real Thompson in one of the documentaries..
You never hear this movie mentioned when people discuss Bill Murray's best films, but it is one of his classics, and I don't think I ever saw Peter Boyle any better.
As I've seen Fear and Loathing in Las Vegas, who is based on the same story by Mr. Thompson, I saw Johnny Depp instead of Bill Murray sort of all the time.
I was thinking stuff like "hey!, they're talking the same way!" and stuff all the time, but anyways...I'm a huge fan of Mr. Thompson, and this movie really breathes the vibes and feel of his wicked, unbelievable stories.
Where the Buffalo Roam is a great movie showcasing the irreverent life of the gonzo journalist Hunter S.
Thompson (I don't exaggerate when I say the man is my hero), a heavy reader of his books and articles, and a Gilliam fanboy who's seen "Fear and Loathing" approximately 700 times, I was like a kid on Christmas when I found out that there's ANOTHER movie about Dr. Gonzo starring Bill Murray, one of my favorite actors.
Little did I know the disappointment I was in for.While Bill Murray, despite not resembling HST in the least, had his mannerisms down pat in this role, this film completely mangled Thompson's character.
The film touches on actual issues such as the War on Drugs only to create the illusion of some counter-culture message, but it never actually quotes any of Dr. Thompson's biting insight on the era portrayed in the film.I could also cite how Peter Boyle was entirely wrong for the character he was playing and a number of other issues I had with this movie, but in a nutshell, the most glaring problem with "Where the Buffalo Roam" is that it takes some of Hunter S.
Stick with "Fear and Loathing" for your HST dose in film, Depp portrays a better Thompson, Del Toro is an infinitely better Zeta Acosta, and Gilliam as a directer just plain "gets it.".
Bill Murray was hysterical in portraying Hunter Thompson via some of the funniest scenes in any movie ever.
i am a huge fan of Fear and Loathing in Las Vegas, and when i rented this i thought i would be getting the same crazy stuff from F&L, but i was pleasantly surprised when i saw that it actually took a more serious approach, it was still very much a comedy, but it still seemed to take itself seriously, and i liked that.i haven't decided who i thought did a better thompson, bill murray or johnny depp.
I would first like to say that I have never been a huge Bill Murray fan (he plays the title character) but when I saw him in Where the Buffalo Roam, I developed a new appreciation for his style of comedy.
To be honest, the story tend to drag a little (much like Fear and Loathing in Las Vegas; which easily could have been 1 1/2 hours shorter) but the characters are what keep you hooked.
Where The Buffalo Roam, has good direction, a good adapted script, good comedic performances by Bill Murray (who plays Hunter S.
I read his book Fear And Loathing In Las Vegas and loved it.
I also saw the film adaptation of Fear And Loathing In Las Vegas and thought it captured the book perfectly and I loved it.
anyone who is a fan of fear and loathing in las vegas must see this movie.
If you ever have read Fear and Loathing and want to see something that tries to approximate the book, get the Johnny Depp movie.
Bill Murray did an equally good job in playing the wacky journalist and the movie took a more direct approach to Dr. Thompson's life.
Although it lacks the visuals & brilliant imagery of FEAR & LOATHING, true fans of Thompson should love it none the less..
Murray plays an almost slapstick version of Thompson, especially when compared to Johnny Depp's brilliant (but incomprehensible) Thompson in Fear and Loathing in Las Vegas..
But "Where the Buffalo Roam" with Bill Murray portrayed Thompson in a far more realistic light.
Where the Buffalo Roam is a semi-biographic, loosely based on reality, film about Gonzo journalist Hunter S.
While it in no way equals Fear & Loathing as a cinematic creation, Where the Buffalo Roam is a very worthy film by its own right, and as a portrayal of the actual Thompson it's probably better; Murray does a wonderful job, maybe not a eccentric as Depp but closer to the man himself; and the movie is very successful in showing just what made Thompson a unique individual, a cult figure and a landmark personality in the world of journalism.
let's see, first of all i never saw Fear and Loathing in Las Vegas to ever hear about Thompson.
If for no other reason to see the film, therefore, is for Murray, who brings a random absurdity of his own that somehow helps to bring a little more depth than the script allows.So, if I were to recommend which Thompson film to see first, I would go to Fear & Loathing in Las Vegas.
However, if you're more of a Murray fan than Depp's, and might feel tipsy by Gilliam's style, then you might like the slightly safer insanity of Linson's film.
The film plays like a bad Altman movie.Still, "Buffalo" captures a certain spirit.
Before Fear and Loathing in Las Vegas there was Where the Buffalo roam before Johnny Depp there was Bill Murray.
Not filled with wild antics and chaos like Fear and Loathing in Las Vegas more of an insight on the gonzo journalist. |
tt0265086 | Black Hawk Down | In 1993, following the ousting of the central government and start of a civil war, a major United Nations military operation in Somalia is authorized with a peacekeeping mandate. After the bulk of the peacekeepers are withdrawn, the Mogadishu-based militia loyal to Mohamed Farrah Aidid declares war on the remaining UN personnel. In response, U.S. Army Rangers, Delta Force counter-terrorist operators, and 160th SOAR aviators are deployed to Mogadishu to capture Aidid, who has proclaimed himself president of the country.
To consolidate his power and subdue the population in the south, Aidid and his militia seize Red Cross food shipments, while the UN forces are powerless to intervene directly. Outside Mogadishu, Rangers and Delta Force capture Osman Ali Atto, a faction leader selling arms to Aidid's militia. A mission is planned to capture Omar Salad Elmi and Abdi Hassan Awale Qeybdiid, two of Aidid's top advisers.
The U.S. forces include experienced men as well as new recruits, including PFC Todd Blackburn and a desk clerk, SPC Grimes, going on his first mission. When his Lieutenant is removed from duty after having an epileptic seizure, Staff Sergeant Matthew Eversmann is placed in command of Ranger Chalk Four, his first command.
The operation begins and Delta Force operators capture Aidid's advisers inside the target building. The Rangers and helicopters escorting the ground-extraction convoy take heavy fire, while Eversmann's Chalk Four is dropped a block away by mistake. Blackburn is severely injured when he falls from one of the Black Hawk helicopters, so three Humvees led by SSG Jeff Struecker are detached from the convoy to return Blackburn to the UN-held Mogadishu Airport.
SGT Dominick Pilla is shot and killed just as Struecker's column departs, and shortly thereafter Black Hawk Super Six-One, piloted by CWO Clifton "Elvis" Wolcott crashes when shot down by a rocket-propelled grenade. Both pilots are killed, the two crew chiefs are wounded, and one Delta Force sniper on board escapes in another helicopter.
The ground forces are rerouted to converge on the crash site. The Somali militia erects roadblocks, and LTC Danny McKnight's Humvee column is unable to reach the crash area while sustaining heavy casualties. Meanwhile, two Ranger Chalks, including Eversmann's unit, reach Super-Six One's crash site and set up a defensive perimeter to await evacuation with the two wounded men and the fallen pilots. In the interim, Super Six-Four, piloted by CWO Michael Durant, is also shot down by an RPG and crashes several blocks away.
With CPT Mike Steele's Rangers pinned down and sustaining heavy casualties, no ground forces can reach Super Six-Four 's crash site nor reinforce the Rangers defending Super Six-One. Two Delta Force snipers, SFC Randy Shughart and MSG Gary Gordon are inserted by helicopter to Super Six-Four 's crash site, where they find Durant still alive. The site is eventually overrun, Gordon and Shughart are killed, and Durant is captured by Aidid's militia.
McKnight's column relinquish their attempt to reach Six-One's crash site and return to base with their prisoners and the casualties. The men prepare to go back to extract the Rangers and the fallen pilots, and MG Garrison sends LTC Joe Cribbs to ask for reinforcements from the 10th Mountain Division, including Malaysian and Pakistani armored units.
As night falls, Aidid's militia launch a sustained assault on the trapped Americans at Super Six-One's crash site. The militants are held off throughout the night by strafing runs and rocket attacks from AH-6J Little Bird helicopter gunships, until the 10th Mountain Division's relief column is able to reach and save the American soldiers. The wounded and casualties are evacuated in the vehicles, but a few of Rangers and Delta Force soldiers are forced to run from the crash site back to the Pakistani Compound UN Safe Zone. | murder, realism, anti war, violence, dramatic, tragedy, suspenseful, historical | train | wikipedia | null |
tt0099871 | Jacob's Ladder | Helicopters at Nam. We are at the Mekong Delta, 1971. Suddenly, all the soldiers have splitting headaches and go wild. They are attacked. Jacob Singer (Tim Robbins) doesn't even move; he just stares at the mess and cruelty of war. He survives but has to run away on his own. He is wounded.He wakes up alone at a dirty underground wagon. He fell asleep while reading a book. He goes to another compartment where there is an old woman (Antonia Rey) and inquires if they have passed Bergen Street, but she doesn't understand him. There's a tramp sleeping there. He thinks he sees something like a tail. He leaves the train at his station but the doors are locked and chained. The exit is at the other side of the railway, he is alone in the station. He splashes into a pool of water; lights are flickering, another train is approaching menacingly - and he thinks he sees faceless people staring at him from the windows, one of them waving him goodbye.It's a sad, downtrodden New York side he lives in. Finally, he gets home to Jezzie (Elizabeth Peña), who was worried about him being so late. He has a shower and Jezzie showers with him.In Nam, he is crawling in the jungle. He notices a spiderweb. He wakes up in the morning, after having made love to Jezzie. They stare at some old photographs: one of them is Sarah's (Patricia Kalember). There is also a picture of Jacob's dead son, Gabe (Macaulay Culkin) which makes him cry. Jezzie offers some consolation, but she wants to destroy the photographs because they make Jacob cry. Later on, she throws the photographs into an incinerator, except for the one Jacob keeps in his wallet of his late son.Jacob driving while singing. He's a postman now. He flirts at work and goes for a massage to Louis (Danny Aiello), who feels that Jacob is terribly tense today. He comes back to the moment he was found in Nam. Jacob feels so relaxed, suddenly, and Louis looks like an angel to him.Walking down the street in his uniform, a group of young women (Kisha Skinner & Dion Simmons) sing to him Hey, Mr Postman. A car tries to run him over, with the same blurry faces as on the train. He goes to Doctor Carlson's. The reception nurse (Suzanne Shepherd) says that there is no such doctor and never was. She suggests he sees a psychiatric doctor. Jacob bangs on the table, breaking a flower vase. When the nurse picks it up, he notices she's got a weird dead thing on her head. Jacob runs away and is followed by a security guard. He interrupts a group meeting. He says he's waiting for Dr Carlson. The new doctor (Doug Barron) says that Dr Carlson died in a car accident a month ago, it just "blew up".Jezzie thinks he's exaggerating. She touches his back.He is in a house party dancing to Lady Marmalade . A woman wants to read his future. She says that according to his palms, he's already dead. He dances with Jezzie, one of the partygoers, but feels the need to go. He notices a young man staring at him and several birds flying around. He stumbles and his glasses fall after seeing the man become a dizzy faceless man. He sees one of the partygoers strip down and a weird lizard tail hurting and killing her. The party stops because he panics and faints.He remembers about Nam. Jezzie tells him off because she felt mortified at the party. Jacob has a temperature, so Jezzie calls a doctor. She prepares a bath with ice so that the fever goes down. She calls for the help of her neighbours to ask for more ice. Mrs Carmichael (Gloria Irizarry) brought a bag full of ice. Some of them put them in the freezing water and he screams in pain.Back in bed, he thinks that he's with Sarah, and that his son enters his bedroom to complain of the cold. They talk father-to-son. It looks like he's been hallucinating. He wakes up dazed and confused, with Jezzie and a dog looking at him. He closes his reddened eyes, and remembers a helicopter picking him up.Jacob sees pictures in a book of torture and hell. Jezzie screams at him "Anybody home?", and he interprets it as her being a demon, so he pushes her away. She leaves, wishing he was dead. At that moment the phone rings; it's Paul Flanagan (Pruitt Taylor Vince).They meet at a bar. Paul thinks that he's being followed, and is scared to death. They start wondering what they did to them that night in Nam which they can't remember. Somebody is looking at them. They are going out of the bar together. Jacob stops to pick up a penny saying "my lucky day". Paul starts his car and smiles: it blows up, killing him instantly. The man who was staring at them tries to help Jacob, but then he leaves before Jacob has time to assimilate everything. For a second, Jacob remembers how the pilot got shot and blood spilled everywhere.It's Paul's funeral: it's raining, and everybody is carrying an umbrella. Frank (Eriq La Salle) trembles. George (Ving Rhames) spills his bottle. Jacob says to his friends that everything is too suspicious. Jacob and his 5 friends contact a lawyer, Geary (Jason Alexander) to sue the military department. He says it'll be expensive as hell while munching some crappy food. Somebody watches them leaving the office.Later, Jezzie tells Jacob that the lawyer is not taking his case as his friends have all backed down. Frank says that he's backed down because of having been threatened. Jacob insists that Geary take his case. He says that he's just checked his background and he and his friends were left out of the army draws on psychological grounds.Some guys kidnap Jacob in a car. They are official-looking men. A lady with a buggy sees that. Jacob hits the man and jumps out of the car, where a man dressed as Santa Claus (Jan Saint) stares at them. He's begging for money and he steals Jacob's wallet.Jacob is admitted to hospital. A young police officer (Raymond Anthony Thomas) has found him. A nurse (Bellina Logan) tells him that they will do for him everything they can. The resident doctor (Scott Cohen) looks as though he's having fun. Jacob starts seeing a broken bike, and weird demented people all over him. He passes through some butcher's place with human parts all over the place, and watches a faceless man (Alva Williams) trembling again.An evil doctor (Davidson Thomson) is getting ready to operate on him and tells him that he's dead. Jezzie is a nurse there. He insists he's alive and sane. An eyeless doctor (Ed Jupp Jr.) punctures his forehead with a needle and reaches his brain.Sarah and two children visit him in hospital. Jacob insists he's alive. A voice says "Dream on", and Jacob panics again. His doctor tries to take him out of hospital. He's heavily bandaged. The nurses and paramedics cannot stop them. Louis gives him a massage: Jacob says that he was in hell. Louis's treatment is rough and painful, but he says that now, Jacob is well.Jacob checks on his honourable discharge documents. He also sees a drawing made by Gabe. He was playing with his bike, and started to pick up his baseball cards from the road. A car ran over him. He thinks he sees him at home but sees a blurry man again. He caresses his temples.Jezzie enters with some groceries. She asks where he's been, as he's been away for two days. She looks very concerned. She called every hospital in the city, but he was nowhere. The phone rings, and Jacob tells her not to pick it up. She picks up andsays she hasn't seen him all night. Jacob picks the phone up when she asks "what experiment?". Jezzie looks terrified and asks him not to go. He hugs her, says "sorry and leaves. The voice tells him to make sure he's not being followed.Michael Newman (Matt Craven) has been following him for some time, as he was one of the survivors. He claims to have been a chemist who used to work for the Army's chemical warfare division in Saigon. They had invented a new drug called "The Ladder". It was designed to increase aggression, bringing soldiers' most primal urges to light in such a way that the conscious mind could not repress them. The ladder was first tested on monkeys and then on a group of captured enemy combatants, with gruesome results. It was deemed that the drug had created the effect wanted by the army officers, so the next step was to give small doses of the drug to the soldiers in Jacob's batallion in secret. Here it was when all hell turned loose, as each private attacked his fellow soldiers. The result was a carnage, so one of his fellow soldiers was responsible for wounding Jacob, not the enemy.Jacob leaves and takes a taxi. Jacob gives the taxi driver (Sam Coppola) all his money and tells him to take him home. The driver asks where his home is. Jacob finally remembers the moment when he was wounded, and it was somebody from his platoon.The Doorman (Thomas A. Carlin) greets Jacob as "Doctor Singer", saying that it's a long time since they have seen each other. They shake hands.He is alone at home; he sits in the dark and reminiscences about playing with Gabe. He sees Gabe. Jacob and his son hug each other. Gabe takes him by the hand upstairs, into the shining light.Newman is in Nam: he says that Jacob is gone. He and another doctor (Jaime Perry) leave his body behind carelessly.Fade to black.Some captions say that "It was reported that the hallucinogenic drug BZ was used in experiments on soldiers during the Vietnam war. The Pentagon denied the story."End credits.Photographs of Jacob and Gabe walking together, from behind. | psychological, gothic, violence, cult, horror, alternate reality, haunting, flashback, insanity, psychedelic, tragedy | train | imdb | It is like hypnotism, you have no choice...you are unable to think, act, or even believe apart from the intense feelings Jacob's Ladder inspires.Tim Robbins is Jacob Singer, a warm and genuinely likable Vietnam veteran who, in spite of earning a doctoral degree, chooses to find employment working for the U.S. Postal Service.
Each of these people's relationships with Jacob represent more than just the roles they fulfill in his life, they are absolute forces at battle for his sanity, and possibly even his soul.His torment begins to include the past as well, the undeniable love he still has for his ex-wife and painful memories of his son Gabe, who died tragically in an accident (played by a young and virtually undiscovered Macauley Culkin).
As all these elements of the past, present and future collide in shocking hallucinations, Jacob slowly begins to suspect he could be the victim of a secret Army drug experiment gone terribly wrong.With a haunted desperation, he embarks on a journey to find out what on earth happened to him - only his visions / flashbacks / flashforwards have become so delusional that reality and fantasy are hopelessly interwoven and nothing is as it seems.
This is director Adrian Lyne's best by far, and by the way he's no slouch (Fatal Attraction, 9 1/2 Weeks).This is not a horror movie as some may think, it is human drama masterfully disguised as a supernatural thriller.
This is something you have never seen or experienced before in film, and will probably never experience again.Jacob Singer is a postal worker, who, through the brutal effects of Vietnam, mentally breaks down, and starts seeing demons following him, killing his friends, raping his wife......
Integral to a collective grasp of this great and disturbing film however is the need to tie-in the relationship between Jacob the individual, the biblical "Jacob's Ladder" itself and the relevance of "The Ladder" as explained (and seemingly forgotten by most everybody) by the runty chemical weapons boffin at the near conclusion of the film.To those who view the ending as "rushed," "unsatisfying," "obscure" even "dumb" as I recall, I would merely suggest you watch it again and take into account the likelihood is, that it is in fact YOU that has missed what has been so cleverly set out for you.
SIGNS was equally misunderstood by the majority of people that even liked it - there never WERE any aliens!JACOB'S LADDER is Robbins' greatest film - Lyne's too.
Now, having seen it with better 'movie' eyes, I have to say that few films can deliver what Jacob's Ladder delivers.
The Brazilian title of this movie, "Alucinações do Passado" ("Hallucinations From the Past"), wrongly induces the viewer and destroys the dubious sense of the original title: Jacob is the lead character, "Ladder" is the name of the experiment his platoon and him had been submitted in Vietnam; but the interpretation of "Jacob's Ladder" in the Bible is that this is the only means to reach the total ecstasy, the plenitude, however, we need first supersede the obstacles that we find in our ascension.
Jacob's Ladder is one such movie.A Thriller/Film-Noir that sets a standard for the genre, it deals with metaphysical enquiries of the most profound there can be: Life, Death, War, Peace, the World outside and inside one's self, Heaven and Hell, Torment and Redemption.Above all things, it's a voyage through a man's perspectives upon the Past and his Present, through his life and his personal fears and sorrow.The acting is superb; the general mood is dark and sad with a lot of eeriness and yet strangely peaceful at times.The viewer will feel the main character's (Jacob Singer) confusion and sympathise with his personal cause.The Sound Track is beautiful and fits quite well with the general imagery and feeling throughout.The dialogues are meaningful (specially between Jacob and Louis, his chiropractor), which (sad to say) has become a rarity in movies nowadays.Get the movie, get the Extras and enjoy this Gem..
I guess its fair to place the movie in the space between the horror and thriller genres.The story deals with the journey between life and death of a Vietnam casualty.
Reality is blurred to hellish extremes in this film, making it a disturbing yet fascinating experience.Jacob's Ladder begins interestingly enough.
The dance-floor scene filmed in stroboscopic light when Jezzie appears to have sex with something that looks like a demon were made using life-size models and shot in real time.Some think Tim Robbins finest moment were in Shawshank redemption and maybe it was but i certainly can't think of a better choice to put Jacob Singer alive.
The dance-floor scene filmed in stroboscopic light when Jezzie appears to have sex with something that looks like a demon were made using life-size models and shot in real time.Some think Tim Robbins finest moment were in Shawshank redemption and maybe it was but i certainly can't think of a better choice to put Jacob Singer alive.
HELL, I finally got it and fortunately I liked it.We follow the main character Jacob Singer (played by Tim Robbins) who was a veteran in Vietnam through his life that - from the start - gets stranger and stranger.
In fact, it seems quite obvious that JACOB'S LADDER has inspired many recent movies like THE SIXTH SENSE, THE OTHERS, STAY, November (which I watched yesterday!), DARK CORNERS and even some David Lynch's works, just to mention those I have watched.It's really a great film in its message, in the plot, the production (if we remember it has almost twenty years now, we must say the production is excellent!), the cinematography, the surreal scenarios and weird scenes, like the ones at the party or at the hospital.I didn't get surprised by the ending just because of three main reasons: 1) at the beginning I already knew the thematic of the movie; 2) some clues are given along the movie to the final disclosure; 3) but especially this one: I've been watching many films with this thematic in the last years so I'm already prepared to this kind of ending.
This gave the movie a very dreamlike and surreal feeling that I haven't seen duplicated by most other horror/suspense movies - which this movie's uplifting ending and overall message sets it apart from.There are a lot of scenes where I even felt like turning this off if I didn't already know how good it was.
Thanks to its likable main character (lovingly played by Tim Robbins) this film runs from emotions of utter terror; as our hero inexplicably sees demons, to moving sadness; as Jacob recalls his deceased young son.
The moody music score by Maurice Jarre also adds to the spookiness.The cast is excellent, the best of which is Robbins as our sympathetic and heart-felt hero.Jacob's Ladder is the kind of film that offers a mind-blowing journey that most films can only hope for.
Even when you already figure out the ending way before the movie ends, you'll still have a more than great time watching this movie and it won't ruin the experience for you in any way.I said before that this movie is quite similar to modern genre movies and this is true for its story but with its style and approach this movie perhaps feels more like a late '60's/'70's psychological horror movie, such as for instance "Rosemary's Baby" and to some extend also "The Exorcist".It's quite funny.
Jacob's ladder is one of the few movies that has invoked a true plethora of opinions in regards to what it was all about as well as what many individual scenes actually portrayed.It is a journey of the soul and human consioussness, a portrayal of the struggle between life and death as much as good and evil, even if the two are not always distinguishable.Tim Robbins and the rest of the cast give masterful performances, through a story that, although a bit fragmented, paints a fantastic picture of the main character's life.It would be very hard to analyze the movie more without spoiling it with my own interpretations and this movie is all about your interpretation.
It's safe to argue I think that Jacob's Ladder is a good movie, but it felt to me like it could have been a great one.
The camera work and clever direction by Adrian Lyne combine with these story elements to form a very disturbing picture.Unfortunately, this film becomes too convoluted as it tries to identify and define everything that is going on in the story (ie the mind of Jacob).
Upon seeing it for the first time I thought it was rather weird and while not exactly cheating didn't seem all that different to " He woke up and it was all a dream " type endingI've seen the movie a couple of times since which is something of a back handed compliment , after all if you know what the ending is JACOB'S LADDER still has some worth .
The producer and director have probably done the best job possible in making it appeal to a thinking audience but the majority of people aren't a thinking audience and you can just imagine on its original cinema release many female viewers watching the first five minutes thinking there's no way they're sitting through a war movie and walking out , with many of the opposite sex following them after twenty minutes thinking they're going to be watching a domestic drama while after forty minutes the remaining audience are thinking to themselves where the hell this movie is heading I do confess to enjoying JACOB'S LADDER but only in some parts .
I guess since Tim Robbins is a fairly well known actor ( And he plays nice guys like Jacob Singer very well ) these days and shock twist endings are in vogue again , not to mention conspiracy theories JACOB'S LADDER will probably be better regarded in 2004 than what it was in 1990 .
But perhaps the chief problem is that one invests a lot in this character- thanks to Robbins he is somewhat likable- and it's all for not, basically, when it's revealed what the entire film has been.But despite the flaws in the script (for another thing, even at two hours it feels too long), surprisingly Adrian Lyne makes it work, at least partially as a story and more-so as a visionary.
Weird things begin to happen, which combine with harrowing combat flashbacks to make Jacob feel he is going insane.Although "Dr. Singer" is clearly a complex character, we never learn much about what made him who he is, apart from the Vietnam experience and the loss of his young son.
It is much more than a mere plot gimmick, it is an excellent example of imaginative film making at its best.Tim Robbins, in his transition from actor in silly comedies (anyone remember 'Erik The Viking'?) to more credible movies like 'The Player' and 'Bob Roberts', is perfectly cast as a Vietnam vet caught in a nightmare he doesn't understand.
"Jacobs Ladder" (1990) is a dramatic horror mystery told from the perspective of a Vietnam veteran named Jacob Singer, played by Tim Robbins, as he tries to navigate his life through the physical representation of his inner demons.
This film embodies the core principles of the psychological thriller genre, you don't know if the protagonist is just suffering from PTSD, if is something going wrong for real, if his in hell or something like that, what is real and what is in his mind.The acting of Tim Robbins in this film is really outstanding, you can feel the fear and the pain of the protagonist through the film with each dialog, with each scene, you just want him to have some peace.
one of the best psychological thriller movies about Vietnam veteran "Jacob" experienced weird dream while he was in coma the movie will change your mood and make you ponder deeply about death if you're into philosophical movie here's one for you , don't miss it , if you have watched " The jacket" by John Maybury you may find it similar with this one and finally i'd like to mention a quotation i really believed from this movie "if you're frighting of dying the devil will tear your life apart but if you've made your peace then the devils are really angels freeing you from earth" Enjoy ..
If you see this movie merely as a hapless man's ordeal on physical world, you have missed the main point and I recommend to watch again: look beyond the visuals, don't think the events on a linear time scale and pay a strict attention (especially talking of Jacob's chiropractor, Dr. Louis) to the hints scattered throughout the movie.Tim Robbins' performance is flawless and fascinating.
I strongly recommend Jacob's Ladder to the people who like psychological thrillers and soft horror movies.Overall rating: 8 out of 10..
It's safe to say, that Tim Robbins and Elizabeth Pena exceeded any expectation in this movie, both being somewhat risky parts to play in their given roles.The attention to detail in many of the demonic horror scenes is striking and gives a great opportunity to the viewer to re-watch and pick up something different.
Something horrible happened when he was there and maybe due to shock he's blocked out some of the details, we aren't sure.Although the film could certainly be interpreted in different and interesting ways, I feel like it's quite clear what was going on by the end.
In order not to make this an spoiler, I highly recommend to read about the interpretations of the bible verses referring to Jacob's ladder, which you can find elsewhere in the net.Having said that, the film is one of the most bizarre and and creepiest chain of events I have ever witnessed, with some very well placed portions of "nothing happening" filled of quibbling only in the light of those attentive.Having some particular knowledge about some of the Christian interpretations of life and dead, will show you that at the end, there is very little left to interpretation in this movie.A master piece of terror indeed, but probably for a very selective audience..
Jacobs Ladder drills straight down to your thalamus from the start.Based on what might partially be a true story, the film takes the viewer into the out of control mind of a war veteran.
"Jacob's Ladder" is admittedly a movie, which made an immense impact on me when first watched years back, albeit prone to not understanding the full story given my age at that time.
Now but a fluttering memory I decided to revisit the surreal world created by Adrian Lyne in his sole venture into the genre of horror.Jacob (Tim Robbins), a war veteran, who survived a deadly attack by enemy forces in Vietnam, now leads a normal life as a postman.
Even though he keeps flashing back and forth between reality and his feverish fantasies, he deep down knows he is dying.Then at the end he finally does die, and is then at peace with his little boy he lost before.These are just some of the answers I've figured out from watching the movie many times.A great story.
Here's a borderline-surrealist horror film with religious and polemic military undertones regarding Post Traumatic Stress Disorder and the treatment of psychologically unhealthy veterans.Jacob Singer (played well by Tim Robbins) has sustained subtle psychological damage during a combat tour in the Vietnam War. Years later he is living in New York City, employed as a Postal Worker (despite having a Ph.D) and abiding a contented existence with his girlfriend, when he begins to see strange creatures inhabiting his surroundings.
This was partly because of Tim Robbins realistic performance as the main character Jacob Singer, a Vietnam veteran who is started to see demons throughout his daily life.
Adrian Lyne's 1990 masterpiece, "Jacob's Ladder", is one of those films that break the typical (and usually false) conception of what a horror movie should be, and by exploring the dark corners of the mind, shows off the unlimited potential of the horror genre as an art form."Jacob's Ladder" is the story of Jacob Singer (Tim Robbins) a Vietnam war veteran who works as postal worker and is trying to start a new life with his girlfriend Jezebel (Elizabeth Peña) after his ex-wife Sarah (Patricia Kalember) divorced him.
While at first sight all this may sound too ambitious and contrived, Rubin makes it work and the final result is one of the most original movies (not just horror) ever written.While he is better know for his high quality erotic thrillers, director Adrian Lyne does a remarkable job (probably the best in his career) at giving life to Bruce Joel Rubin's story of insanity and horror.
As he worked closely with Rubin in the screenplay, Lyne decided to keep the ambiguity of the film's plot by focusing only on Jacob, but this also allowed him to keep the story's humanity and soul.Tim Robbins is simply perfect as Jacob Singer, and this is definitely one of the best works of this very underrated actor.
As Jacob Singer suffers through a series of unbelievably gruesome events that snaps his mind and leaves him almost insane.There's a very touching and eye-opening scene very late in the movie with Louis, who just rescued Jacob from being lobotomized, trying to explain what's been happening to him without giving away the films surprise ending.
Jacob's Ladder is not a film that will appeal to everyone, but for those with good taste, this is a movie you won't forget..
Jacob's Ladder makes us wonder what is happening all over the movie, but solves the mystery, entirely, in the last seconds (leaving very few clues throughout the film about what really happens).
The only thing I have to add about Jacob's Ladder is this: How often do you watch a film and get to the final scene, and say to yourself "My God...is that what was really going on here...". |
tt0036376 | Son of Dracula | Kay Caldwell [Louise Allbritton] and Frank Stanley [Robert Paige] have always been in love, even since they were children. But when Kay returns from traveling in Hungary, she seems changed. First, she begins to express a morbid curiosity with the supernatural. Then, she brings back with her a gypsy fortune teller, Madame Zimba [Adeline DeWalt Reynolds]. Finally, she has invited Hungarian Count Alucard [Lon Chaney, Jr] to be a guest at Dark Oaks, the southern plantation where Kay lives with her father Colonel Caldwell [George Irving] and her sister Claire [Evelyn Ankers].On the night of Alucard's arrival, Kay throws a welcome party. But only Alucard's baggage arrives on the train; no Alucard. Madame Zimba warns Kay that Alucard is not who he says he is and that death looms over Dark Oaks. True to her word, Madame Zimba suddenly dies of a heart attack after seeing a bat. Later that evening, Colonel Caldwell also dies of a heart attack, and Alucard arrives at Dark Oaks.Days later, at the reading of the will, it is discovered that Kay inherits the plantation and Claire all the money. With no resources to care for the plantation, Kay should be worried, but she is not. In fact, she admits that this is the way she wants it. In addition, Kay does not intend anymore to marry Frank and appears to be seeing Alucard, but no one can find out where Alucard is staying or what happened to the two large boxes that arrived with his baggage. Claire and Dr. Harry Brewster [Frank Craven] wonder if Kay might be insane, and Brewster calls his Hungarian friend Professor Lazlo [J. Edward Bromberg] to inquire about the legitimacy of Count Alucard. Could he really be Count Dracula?One night Kay goes into the swamp where Alucard issues forth from a coffin buried under the water. Later that night, Kay and Alucard are married. Distraught, Frank shoots Alucard but kills Kay instead and escapes to Brewster's house. Brewster goes to Dark Oaks but finds Kay seated in bed and quite alive. Nevertheless, the next day Frank confesses to murder and, when the Sheriff goes out to Dark Oaks, they find Kay's lifeless body lying in a coffin. Frank is taken to jail, and Professor Lazlo arrives from Hungary to offer his help. As Lazlo educates Brewster about vampires, Alucard appears and confirms that he is indeed the son of Dracula. Lazlo frightens off Alucard with a crucifix, and Lazlo and Brewster set out to kill him and to cremate Kay.That night, Kay comes to Frank in his jail cell. She confesses her undying love for him, tells him that she did this for the immortality, and offers Frank the opportunity to share immortality with her, but he must first destroy Alucard. Frank escapes from jail and sets Alucard's coffin afire. The sun rises, and Alucard is destroyed. Frank then goes to Dark Oaks where he kisses Kay's body goodbye and sets her on fire, too. [Original synopsis by bj_kuehl.] | gothic, murder | train | imdb | Its star, Lon Chaney Jr., famous for his previous role in the horror cycle as Lawrence Talbot in THE WOLF MAN (Universal, 1941), which would be followed by some more sequels throughout the 1940s, might have seemed an unlikely choice in playing the blood- sucking vampire, but on the contrary, Junior Chaney brings new life into the old vampire, sporting the usual black cape and an added touch of a mustache.
Overlooking the hypnotic glassy eye stare created at best by Bela Lugosi in Dracula (Universal, 1931), he very well has proved himself as the fine horror film actor, for the time being anyway.Unlike the previous Dracula outings (Dracula and Dracula'S DAUGHTER), which had taken place either in Transylvania or England, SON OF Dracula is set on American soil and stays there.
It begins somewhere in the South where Frank Stanley (Robert Paige) and the family physician friend, Doctor Harry Brewster (Frank Craven) are at a train station awaiting for the arrival of an honored guest to Katherine Caldwell (Louise Allbritton), Count Alucard, whom she had met previously while visiting in Budapest, and is to be driven over to the Caldwell estate, but all they find are his crates and boxes (some of which consists of his native soil).
After the arrival of Professor Lazio, more dark secrets are eventually revealed.Reportedly dismissed as just another horror film upon its release, SON OF Dracula does have its share of bonuses that would have made the 1931 Dracula a visual experience had such advanced technology in special effects been available, along with some real clever touches, including the visiting count using an alias by spelling his name backwards; a very creepy musical score, compliments of Hans J.
The story begins with the arrival of Count Alucard (Lon Chaney Jr.) to America, as the mysterious Carpathian noble has been invited to the country by Katherine 'Kay' Caldwell (Louise Allbritton), a young rich woman with a morbid interest for the supernatural.
Brewster (Frank Craven), as they suspect that there's something wrong with the strange foreigner.Director of many B-Movies before this job, Robert Siodmak would become Universal's most important exponent of the noir style and "Son of Dracula" definitely forecasts his brilliant future in the genre.
The film shows his great talent to combine haunting and atmospheric visuals with a great screenplay (by his brother, Curt Siodmak), and it moves away from the series' roots in German Expressionism to what would be called Film Noir, creating what seems to be the missing link between Universal's horror films and their subsequent Noir movies.While Robert Siodmak's talent is almost unquestionable, the films owes a lot of its success to Curt Siodmak's cleverly written script.
With clever plot twists and a good dose of suspense, Siodmak's plot also feels like horror themed hard-boiled fiction.Many has been written about Siodmak's choice of Lon Chaney Jr. to play the Count's descendant, but while there's no doubt that he was not the best choice for the role, he wasn't really too bad in it.
Robert Paige as the film's "hero" (for lack of a better word) is very effective and his usual co-star Louise Allbritton makes a great femme fatal.
Edward Bromberg are brilliant as the vampire hunters and it could be said that despite the miscast of Chaney the whole cast makes a great job."Son of Dracula" is a top-notch film considering it was conceived as a B-movie.
One of the better sequels of the Universal Studios' films, it's main flaw may be that those expecting a typical Universal horror may be disappointed by its dark Noir theme and its pessimistic tone.Often forgotten among the many other films in the series (not unusual considering that the first two Frankenstein sequels were masterpieces), "Son of Dracula" is a worthy sequel to Browning's classic and definitely superior to the previous "Dracula's Daughter".
This film details the story of a rich American woman, played with gusto by Louise Allbritton, who sends for Count Alucard(Dracula backwards) to make a pact with.
Evelyn Ankers is as always, very easy on the eyes, and though she is given little to do here, she does it fetchingly.Which brings us the the protagonist, Kay Caldwell, (Louise Allbritton) the melancholic daughter of an aristocratic line, and the proprietress of its creepy plantation mansion--"Dark Oaks." This is a juicy assignment, and Miss Allbritton runs with it to the full.From the moment she arrives on the veranda, a striking brunette clad in a billowing, peignoir like gown, she delineates her literally spell-bound character by offering the audience a spell bindingly detached characterization.Who can resist her otherworldly gaze, as, staring outside of the frame, she smoothly articulates her certainty in telepathy, eerily chiding Miss Ankers for scoffing at ESP, and later her asperity at local gossip: "What can they know of these occult matters?-blind fools!" Visually, she is unforgettable, aided by Vera West's outré costumes, (even Miss Allbritton's day wear is mysterious--as witness her scalloped black waistband peplum ensemble with black under-dress, in the will reading sequence) and a black wig, which connects her with another black wigged anti-heroine from that same year--Jean Brooks in Lewton's "The Seventh Victim." To abet these characterizations, and to conceal what seems to be a somewhat paltry budgetary outlay by Universal, director Sidiomak fills the screen with interesting visuals--Miss Allbritton's unforgettable trek through the nocturnal bayou to visit the gypsy, the gypsy's ensuing death in a bat attack, Chaney gliding across the misty swamp, and unsettling, shadowy close-ups of an unhinged Mr. Paige speaking through the bars of a prison.Photographer Robinson is with him all the way, and composes and lights his shots to consistently interesting effect, (note the superb introduction to "Dark Oaks," with the camera panning through a creaking gate at night, whilst the whole frame is overlaid with the violent twist of brambles and vines) by foregrounding his shots with interesting objects on right or left--thereby lending depth and texture to his visual tableaux.The ending with Mr. Paige finding his former love, Miss Allbritton, literally buried within the childhood detritus of her own attic, to which, after placing his ring on her finger, he sets afire, provides a fitting finale.
This was the first movie to use Alucard as an anagram for Dracula.This was considered a lousy horror film for many years--most people complained that Chaney looked WAY too healthy to play an undead vampire and they found the plot slow.
When Lon Chaney, Jr., looking like he's just eaten about two dozen Big Macs, introduces himself at the Louisiana estate of Dark Oaks, as Count Alucard (spell it backwards), the fun begins.
"Son of Dracula" contains one of the creepiest scenes in any Universal horror film, the one involving "Queen Zimba" (played by the delightfully ancient Adeline de Walt Reynolds), and the most downbeat ending.
He's ok as Dracula, but much better as the Wolf Man. Anyhow, He travels under the alias "Count Alucard" (Dracula spelled backwards) to America to marry a woman who is secretly just trying to gain eternal life so that she can spread it to her real love interest who she was supposed to marry in the first place.This is a pretty original story.
Lon Chaney, Jr. makes his debut as Count Alucard as Universal Pictures sought to revive the Dracula series.
As incidents similar to what ravaged his native land start to happen both Craven and Bromberg suspect the undead are alive and well.Although no one could ever be a vampire like Bela Lugosi, Chaney does a pretty good job in the role completing a monster trifecta of playing Dracula, the Frankenstein monster, and the Wolfman for Universal.
Directed by Robert Siodmak, "Son of Dracula" has good story, atmosphere in the Louisiana swamps and special effects.
Count Alucard (Lon Chaney, Jr.) finds his way from Budapest to the swamps of the Deep South after meeting Katherine Caldwell (Louise Allbritton), of the moneyed Caldwell clan that runs a plantation called Dark Oaks.
Robert Siodmak directed this second sequel to "Dracula", casting Lon Chaney Jr. as Count Alucard(backwards!) who arrives at the southern plantation Dark Oaks at the invitation of Katharine Caldwell(played by Louise Albritten) who is engaged to Frank Stanley(played by Robert Paige).
The name of the movie is "SON of Dracula," and Chaney is playing an off-shoot of the Count, not the actual King of Vampires Himself.
Having already appeared as The Wolf Man, The Mummy AND Frankenstein's Monster, Lon Chaney dons a black cape to play yet another classic Universal horror character, Count Dracula (NOT his son, as the title would have us believe).
Travelling under the oh-so-clever pseudonym of Count Alucard, Dracula arrives in America, the guest of occult obsessed beauty Katherine Caldwell (Louise Allbritton), who intends to marry the vampire and gain immortality.For much of its running time, Son of Dracula is quite a shambolic affair, the sloppy plot seemingly going nowhere slowly.
Lon Chaney Jr. is miscast as Alucard/Dracula, very much so, but he gives it a good go and really when viewing the film these days it barely matters.
The effects team deal in some nice mist moments to keep the atmosphere suitably eerie, and with the gorgeous Allbritton's portrayal of Kay Caldwell; Universal Monster Movies slips into film noir territory.
Any fan of the Dracula movies will certainly find this one entertaining and watchable with a good cast headed by LON CHANEY, JR., looking more distinguished than usual as Count Alucard with his eye on making LOUISE ALBRITTON his plantation wife so he can inherit Dark Oaks.ROBERT PAIGE, reliable Universal contract player, and EVELYN ANKERS, as Albritton's sensible sister, along with FRANK CRAVEN as a concerned doctor, head the supporting cast.
Son of Dracula (1943) Lon Chaney Jr. plays Count Alucard, who travels to a Louisiana plantation to unite with a love interest.
Katherine is his latest and Alucard takes her as his bride, while having to contend with her former love interest who is intent on defeating the count while saving his childhood sweetheart.This has got to be one of the worst casting decisions ever, especially in the part of a horror icon like Dracula.
I assume Universal felt Chaney could effectively portray the legendary Count Dracula here, or at the very least could capitalize on his success as the Wolf Man; capitalize on his part as Frankenstein, or continue to reap rewards by trading on the name of his more talented father, horror Icon Lon Chaney.
Amidst atmosphere Southern plantation swamp (Universal backlot)locations, Count Alucard (Lon Chaney) visits a "morbid" woman (Louise Allbritton).
Like the son of another famous Universal monster, this third entry in the series (not counting the 1931 Spanish Dracula) is a solid film all round: marvelous atmosphere, gripping narrative, superb handling.
The film's musty Southern setting ought not to work but it does somehow, for how can one deny the effectiveness of Dracula Jr.'s coffin rising from the depth of a swamp; indeed, substituting his castle in Transylvania with an equally gloomy and mysterious Southern mansion was an inspired touch.Much has been said of Chaney's inappropriateness for the part: well, I liked him overall and he was quite effective in his various confrontations with Paige (particularly during the climax, one of the best in the Universal canon) or vampire hunters J.
The rest of the cast is ably filled as well: Paige and Albritton are unusually animated although, admittedly, their roles aren't those of the typical Universal leads; Bromberg makes a fine Van Helsing surrogate and Craven is equally good as the practical town doctor suddenly coming face to face with the supernatural; Evelyn Ankers and Samuel S.
This time Lon Chaney portrays the legendary bloodsucker Dracula (technically just a descendant, not really his son) and, although I deeply respect him as a horror legend, he clearly felt more comfortable wearing his Wolf Man make-up rather than the vampire cloak.
Local doctor Brewster begins to suspect something is not quite right about Count Alucard and questions Katherine's intentions.Well, this is the first Universal Dracula film that I've watched and it might be a superfluous sequel to the original.
Son of Dracula (1943) its probably one of my favorite sequels from the Universal horror films, its dark, chilling, eerie and fun.Its quite an spectacle, it has all the important elements for a horror film of the time, and does it in its own way and in such a way that makes these tiresome clichés really effective, much of that goes to the direction by Robert Siodmak, a respected figure in film.The Dracula scenes are fantastically executed, they could have been cheesy (and in a way some of these scenes are cheesy, but for the time they did a great job) but they managed to make them work.
Son of Dracula looks far better than most film noir!The other thing that makes this film pure magic is the performance of Louise Allbritton as Kay. Every time I watch this film, I always wish the film had been ALL about her.
Count Alucard (Lon Chaney Jr) finds his way from Budapest to the swamps of the Deep South; his four nemeses are a medical doctor (Frank Craven), a university professor (J.
I also thought the casting of Lon Chaney Jr was a bit strange -- he does a great job, but he was already known as the Wolfman...Overall, I think a stronger film than the predecessor (Dracula's Daughter), but not without its flaws..
It is more likely southern Mississippi or the Mobile, Alabama area because the sheriff's office is clearly marked "County Sheriff." If it were in Louisiana, the office would be marked "Parish Sheriff." Also, another reviewer states Edward Van Sloan reprises Van Helsing in this movie; I think they were referring to Dracula's Daughter.I am not exactly when the rule about vampires having to be invited into your home became canon(a quick consult of David Skal's V_Is_For_Vampire doesn't reveal), but Alucard barges into the Dark Oaks "big house" against the servant's wishes.
Hell--before I even watched it--I read many a book or video review of how awful it was.Ok, maybe I can kind of see the point; so Lon Chaney isn't Hungarian--but, then again--he wasn't exactly Welsh when he made the "Wolf Man." Basically, suspension of disbelief has been the mantra of many a movie & this is a damn good one.Chaney definitely acquits himself in the role of Alucard/Dracula (nevermind the parallels to Chris Lee) and the rest of the cast is first rate.
If you like Lon Chaney Jr., the classic Universal Monsters, great black and white movies, and horror films then I strongly recommend that you check out this film today!.
Son of Dracula (1943) *** (out of 4) Some locals become concerned when the Hungarian Count Alucard (Lon Chaney, Jr.) relocates to the Southern swamps and soon a dead body shows up with bite marks.
Edward Bromberg) who believes that Alucard is actually Count Dracula who has set his eyes on a local woman (Louise Allbritton).SON OF Dracula has fanboys constantly fighting about the true identity of the lead vampire.
Still there is plenty to enjoy for the fans of the genre, such as the typical horror atmosphere and some phony but fun looking early special effects.Nevertheless, you are probably better of watching the other 'Son of' movie; "Son of Frankenstein" or the other official sequel to "Dracula"; "Dracula's Daughter".6/10http://bobafett1138.blogspot.com/.
Lon Chaney Jr. may not be the best Dracula ever to appear on the screen, but he is at least doing okay in the role of the "son." This film has a surprising amount of appropriate gloomy atmosphere, given the improbable story line and locale.
And yes Chaney does a fine job as Count Alucard, really, Dracula.I found the first part of the film good...
This film is actually much better than you might think - much better than some of the others in this Universal series, like House of Dracula, for example, which features a whole roster of horror characters, but no plot whatsoever.
Son of Dracula, on the other hand, does have a fairly reasonable plot, special effects which are excellent for the period, and a very good performance from Lon Chaney Jr. as the Count.
After creating a new monster icon in THE WOLF MAN, Uni finally set its' sights on their original monster success, the one and only Dracula, who gets his own reboot in SON OF Dracula.They cast Lon Chaney Jr in the title role (the only man to have played all 4 of the classic Universal monsters) and brought him to the US (much as they did with the Mummy series), in a story that sees Dracula begin an unholy matrimony with a morbid young woman, who will ultimately prove to be his undoing.As a lover of Universal monsters, I enjoy all of them and their sequels for the Saturday night fun they provide and the memories of how I responded to these movies as a kid.
Son of Dracula is an underrated Universal gem which is sadly overlooked because of people being prejudice to Chaney playing Count Alucard(Spell it backwards you're in for a surprise).
The word of course is 'vampire', and Kay Caldwell's (Louise Allbritton) admonition to Frank Stanley (Robert Paige) not to mention it sets up an ominous betrayal against her mentor and husband, Count Dracula (Lon Chaney Jr.).
But his son, Lon Chaney, Jr. wound up playing Dracula in this sequel and I think he would've made his dad very proud.Count Alucard, a mysterious stranger, arrives in the U.S. invited by Katherine Caldwell, one of the daughters of New Orleans plantation owner Colonel Caldwell.
A plantation owner's daughter Katherine Caldwell (Louise Allbritton) who's deeply into the supernatural awaits the arrival of a Count Alucard (Lon Chaney Jr.) whom she met in Budapest who has much influence over her much to the char gin of her fiancé Frank Stanley (Robert Paige) who is madly in love with her.
Son of Dracula (1943): Lon Chaney Jr, Louise Allbritton,Robert Paige, Evelyn Ankers, Frank Craven, J. |
tt0390384 | Primer | Four engineers- Aaron (Shane Carruth), Abe (David Sullivan), Robert, and Phillip who work for a large corporation during the day, run a side business from Aaron's garage at night, building and selling JTAG cards. With the proceeds of this work they fund pet science projects that they hope will yield applications sufficient to attract "VC attention".
After arguing over the project that the group should tackle next, Aaron and Abe independently pursue work on technology intended to reduce the weight of an object. Although the device seems to work as planned, it has a side effect: a timepiece left in the device shows the watch has experienced about 1300 times the amount of time the device was activated for. Abe reasons that they have created a time machine.After some testing, Abe secretly builds a prototype machine large enough to hold a person and, after traveling back to earlier that day, details the results to Aaron. Abe and Aaron build an additional machine (subsequently called "the box") and decide to cut Robert and Phillip out of the discovery, under the false pretense that the garage has to be fumigated.Abe and Aaron starts using the time machines to make money in the stock market, but as their understanding of how the machines work evolves, they become more adventurous with their trips. Their experimentation is cut short by the unexpected appearance of Thomas Granger (Chip Carruth), the father of Abe's girlfriend Rachel, whose financial backing the group had been trying to procure. Granger's trip appears to have made him comatose, and neither understand how Granger could have discovered the box. Abe is particularly disturbed by this turn of events and concludes that time travel is too dangerous to continue. He attempts to prevent his past self from using the machine for time travel, thereby nullifying all of its consequences, by using a "failsafe" machine, which he previously built in secret, to travel back to a point prior to his first trip through time and also prior to his broaching the subject of time travel with Aaron.Having traveled back four days in time using this failsafe point, Abe goes to meet Aaron and collapses. After Abe recovers, Aaron reveals that unbeknownst to Abe, Aaron had discovered this failsafe box and used it to get control. Aaron brought back another box, creating a false failsafe point to make Abe believe that there was still a working failsafe machine awaiting him, and preventing Abe from undoing Aaron's actions. Aaron then reveals that he has been using a recording to recite their conversation from an earlier time. He continues to explain how he encountered, fought, and was subdued by a previous version of himself who used the failsafe to come back and make recordings after drugging the original Aaron.But Aaron convinced his earlier self that since he has the recordings already made that he should continue to act as Aaron. The earlier Aaron leaves, leaving the later Aaron to his plan to redo the events of a party in which a crasher attempted to shoot Rachel Granger so Aaron can become a hero. Abe agrees to try to change the events of the party with Aaron and the two succeed, though it is unclear how many reiterations it has taken. Their deceptions and their differing views on the use of the machines unfortunately have destroyed their friendship.The continued use of the machines causes brain damage. Aaron seems suffer a stroke when he bleeds from his ears. Then he complains later in the film that his handwriting is poor and he can't read. While Abe stops speaking tech with Aaron and once asks him to write it down.Aaron accuses Abe of coveting his family and Abe warns Aaron never to return or interfere with their doubles. Abe stays behind to continue his plan of attempting to prevent the original Abe and Aaron from this timeline who have no idea of what the others have done from ever using the machines for time travel, suggesting that he would tamper with the machines in the hope that their doubles would think the experiment a failure and move on to other projects.
The earlier Aaron who came back in the failsafe to make the recordings speaks on the phone to an unspecified recipient to which Aaron states he owes a debt.The movie ends with the shot of one of the Aarons and a team of French-speaking workers begin construction on what appears to be a building-sized box.(Originally contributed by Jithin Bhagavati Kalam in Wikipedia, 2007) | boring, thought-provoking, cult, clever, flashback, psychedelic | train | imdb | then here comes "Primer," like a ghost in the night.It's too early to tell where this movie will reside in cinematic history-- revered, forgotten, or somewhere in between-- but it's already won the Grand Jury Prize at Sundance (where it beat out 'Garden State'), and just won't go away.
Remember, Shane Carruth had no idea even how to make a movie when he started making this one, but the end result is something far more fascinating than your typical film-school snob could ever put together.
You remember the first time you saw The Matrix (please, not the awful sequels) and you could barely keep up with what was going on, trying to piece together the pieces of what you were being told into a coherent story?This movie was exactly like that.
This film won a major Sundance award, and normally that means I won't like it (especially the normally pandering audience award winners) but this movie, and first-time filmmaker Shane Carruth, deserves absolutely everything it gets.
That is, the tech jargon is good enough that you don't get distracted and can focus on the story line.Final comment: Yes, it is very hard to follow the story line in this movie.Obviously I'm not going to spoil it, but I think the following fact will help when the movie gets kind of hairy towards the end: Aaron is the dark-haired guy, Abe is the blond-haired guy.This movie now has distribution and you should keep an eye out for it in the fall..
"Primer" is often praised for its clever, convoluted plot that you'll have to watch several times to truly figure out.
This is a myth, though, since if you pay close attention and ignore the film's many irrelevant details and scenes, the plot is a pretty simple tale of a guy going back in time, making a mistake, then going back in time again and fixing that mistake.The film is hard to follow NOT because of any clever or deep writing, but instead because the editing is utterly terrible.
The characters spout technical jargon for too long without serving the plot or theme, and a couple scenes are incomprehensible because of bad lighting, awkward cutting, poor staging, and lousy sound quality.All the dialogue is dry and dull, NEVER giving us the slightest reason to care about any of the characters.
You might enjoy this film if you are a college kid trying too hard to have "different" tastes from others, but if you want an actually compelling or rewarding film experience, ignore all the hype and give Primer a miss..
(If I make a boring film in which people really go to the bathroom, is that brilliant as well?) The cinema verite style here does not work and is not appropriate, and despite the barrage of early 10-star reviews - obviously planted by cheerleaders connected with this project - that signals a failure by the filmmaker to engage his audience, which is, yes, his job.
Actually, I would recommend that people see it, with the caveats that I've given above, because it is an example of a good idea; however, in no way does this film deserve such effusive, histronic praise.
Worse yet since this is a time travel movie when you hear Aaron speak you're not sure if it's Aaron A or Aaron B or Aaron C etc...There are times when the story seems to jump around for no apparent reason like when the characters are all of a sudden in a fountain looking for a cat???????
Even though I too have read Stephen Hawking's book, I could not understand how the thing was supposed to work or what principles it was based on, but that shouldn't be surprising since I couldn't understand the relationships among the four young men, what their wives/girlfriends were dong while all this was going on, the blurry sets, the muffled dialogue, or just about anything else about this movie.
The idea is very interesting and makes you think "outside the box" :) You will see what I mean after you watch the movie.I won't waste your time telling you what it is about, just watch it and if you don't like it, at least you will have gained another perspective on movie making.
I had the opportunity to talk to Shane Carruth the maker of this film and aside from being a really nice guy, he explained that you simply have to watch it a few times and pay attention to the doubles and triples of people.
The movie is alienating to viewers from the beginning.Then when the plot picks up and gets into the time travel stuff, the viewer's experience still suffers because nothing is really explained clearly.
I watched the whole movie and left confused about the basics as to how the time travel machine was even supposed to work.The characters are boring and joyless.
I loved that you could at least hear everything they were saying in this film unlike most big Hollywood flicks where they ruin it with orchestra music and background noise (I have no idea what Tom Cruise said at the end of Collateral and I doubt anyone else does either.) Primer does an excellent job with film quality, especially considering their small budget.
An extremely intriguing and initially confusing tale of causality and human failings, Primer made me think of a much more technically minded Donnie Darko--and the temporal contortions are about ten times more complicated.
It probably doesn't help that the language and tone of the movie is extremely technical, filmed and directed to capture the true-to-life mannerisms and speech of two college physics graduate students.
The filmmaker has managed to build some cult following with the easily swayed by taking the position of "its point is to confuse you..." But that lease unanswered the question of why anybody would want to see a movie whose primary point was to make no sense to the viewer?
I've never thought time travel could be so incredibly boring.I'm the guy who goes on and on at length ad nauseum about bad science in science-fiction movies, but this is the first movie that I didn't care about the science.
I am a big sci-fi buff, but this movie was just sad.Terrible acting, horribly profound story line that you could probably only follow if you are a physics grad student.
I can imagine countless bored people who watched and listened to the movie but didn't REALLY pay attention to it, didn't think with it.
You simply cannot expect to like "Primer" if you aren't prepared to be an active participant IN the film.The film is remarkably good visually, especially when budget is considered.
This movie does not use 'technobabble', it uses genuine scientific concepts as a basis for its events, and certainly some degree of knowledge of physics is needed for a proper understanding of the film.I have seen "Primer" four times and I still don't completely understand it (or, at least I couldn't explain it too well to someone else), even after reading dozens of explanations.
The dialogue itself wasn't really very interesting (imagine a bunch of engineering frat boys engaged in non-stop geek talk, somehow it didn't even seem that "mature") and if the dialogue should have at least served to move the plot forward, well, that is another gripe I have with this movie.
Because of the poor production values, this is barely audible.Still, at least you can understand roughly what's going on, as two dull, joyless yuppie nerds create a machine that can transport objects forward (or is it back and forward?) in time.After that, things start to become entirely incomprehensible, and any narrative structure that the movie may have possessed goes out the window.Scenes take place which don't seem relevant to anything, and are then never referenced again.
I also enjoy intricately plotted films like "Memento" and twisty movies by David Mamet."Primer," unfortunately, proves that an interesting and complex plot can nonetheless result in a poor film.
Films like Inception and Time Crimes are puzzles, but they're explained clearly to us so we can engage with what's happening.
While the filmmaker should be applauded for trying something different, this movie is lacking a few things that would make it work -- interesting characters, a good plot, snappy dialog...
The first 30 minutes or so of Primer is full of dialogues with technical mumbo jumbo like the line above, embellished with overlapping lines of characters speaking at the same time in fast forward.
I loved the feel of "Primer." I can't remember the last time I saw such a unique movie.
The creation part of the movie, even though complex and technical, gave me the same happy, wonderful feeling I got as a kid from watching movies like "Explorers" and "The Goonies." Of course, "Primer" is dealing with grown up issues, but deep down, you realize that these intelligent, grown men are all just kids at heart.
Well, if you're going to make a sci-fi movie about time travel, people are going to expect some real adventure, imagination and special effects, e.g. the original "Time Machine".
I'm sorry to report though that this wasn't the case.The biggest problem with Primer is not its overly confusing plot; its cardboard characters who seem to relish dressing in Cheesecake Factory waiter-style shirt and tie for even the most casual hobbies (like playing basketball); it's not its ear-piercing God-awful score; Razzie- worthy acting; or even the amateur cinematography and set pieces; but rather its dialogue and script are the worst I've heard in my 42 years of comprehending English as my native language.
With Primer, action is a distant second to dialogue - dry dialogue at that.As if the film wasn't boring enough, once they start going back in time, what do they primarily use this extraordinary technology to do?
There's a good reason why in 2017, Shane Carruth has only written and/or directed two films since Primer's release in 2004 - though I will commend Carruth for developing a cure to insomnia.I rarely give out 1-star or 10-star ratings as some reviewers often casually do, as I think such horrible or perfect qualities in a film are extremely rare, but Primer is the absolute worst movie I've ever seen.
Though its production values are terribly low - the film was made for just $7,000 - Primer's discount visuals actually work well within the context of the story itself.
Let's put it this way: this isn't the first time I've seen the movie, and I still had to look up a summary afterwards to work out a few of the details.
By now, one can deduce that Primer is a divisive movie: one half of its audience believe it is a work of genius and the other believes it is a misconstrued waste of time.However, if you look closely at the former's arguments for its genius, you will find suspicious comments.
The premise of the story could have allowed for many revelations about the ethical quandaries of time travel, but instead--since we cannot understand what is going on--we are merely confused.Worse yet, there doesn't even seem to be any post-structural properties to the work, so even post-structuralism--the 'failsafe' philosophy for many, many pseudo-intellectuals--can't be used as an excuse.Thus, I can only conclude that Primer is full of the worst of cinematic bile there is: pretense.
It is, imho, the first _movie_ involving time travel that actually took the effort to think about it seriously.
I watched it on recommendation from a Podcasts suggesting good time travel movies.
The UK DVD cover for Primer describes the film as 'Donnie Darko for grown-ups'; if, like me, you found Donnie Darko hard to wrap your head around, prepare to be completely and utterly perplexed by this baffling and ultimately very boring sci-fi oddity.The basic plot revolves around a group of boffins who spend their spare time building experimental projects in a garage.
Excited by this discovery, the pair build a larger version and, armed with the latest stocks and shares figures, take a trip into the past with the aim of making themselves a fortune.While this might all seem straight forward enough, director Shane Carruth presents matters in such a convoluted and inaccessible manner that it is nigh on impossible to follow the film's finer plot developments, making Primer a very frustrating viewing experience indeed.
As the film introduces more and more ideas, including time paradoxes and doppelgangers, it becomes more and more unbearable.Whether the impossible to unravel plot is a case of deliberate obfuscation taken a step too far or just the result of bad story-telling I cannot say for certain, but when a film is too puzzling to be solved, even after trawling the internet for answers, and proves such a chore to finish even at only 78 minutes long, then I have no choice but to deem it a total failure..
He obviously should have saved that $7,000 and spent his time writing a BOOK called _Primer_, not a film!As for the plot itself, OOOOOH, TIME TRAVEL PARADOXES!
The idea of time-travel is so silly, thin, and well-tread that it would take quite a movie to make it exciting or interesting again--but this movie is neither exciting nor interesting.I do not plan on viewing it again in order to "understand" all the plot complications, because I know that they don't matter.
If _Primer_ had been the first movie or story to take on these notions of time-travel paradox, then I'd cut it a LOT more slack.
But fiction (and popular physics written by scientists such as Hawking, etc.) have covered all this stuff.For a movie about time-travel to be fun and entertaining, it should look a lot more like _Back to the Future_ than _Primer_.
_Back to the Future_ doesn't take itself that seriously, and that's what allows it to open up and have a lot of fun (if you're in the mood for a time-travel movie).But _Primer_ doesn't have fun with itself--it's not about having fun.
_Primer_ is about making the viewer sit through a bunch of boring details to make us feel that it was all something profound by complicating things with time-paradoxes that try so hard to sound deep and scientific, but really aren't.
I have family holiday videos that sounded better than this for goodness sake.The talk was extremely technical so it allows for those who understand it to watch the movie with a smug grin on their faces as they raise a condescending eyebrow at those who are merely trying to follow it's 'gist'.
This is just a movie though, so what the audience sees in Primer is this: two bland, monotone tech industry workers developing a scientific device in a garage, then in a commercial storage space that allows time travel.
The performers in "Primer" are primarily a conduit to a script, and visual storytelling is mostly reduced to, as I suggested above, guys in badly fitted white shirts walking about explaining in overdub, or to each other the complexities of time travel.The film is hard to understand, sometimes creepy and absorbing, and frequently resembles a student film, complete with some odd angle choices, poor quality night footage and very minimal sound design.Although I by no means think that sheer production values make a film worthy of an award, I also have no clue as to how this film won Grand Jury Prize at the Sundance festival in 2004.
It's possible that director/actor Shane Carruth actually DID build a time-travel device to manipulate the outcome of the jurors decision making process, or maybe they were just bluffed by this script-pretentious, zero budget student-level film..
"The story is confusing indeed, so you should watch this movie again to understand it, because Primer is great and..." NO, THANKS!
I feel it's not.So, try to figure out what happened in the movie you just saw, discuss it further and recommend others to "watch it again to understand"...
Most normal people however lost interest in the story at the half of the movie, as it's extremely dull, unacceptably attention demanding and in the end it hardly makes any sense.
And after viewing this movie for the first time I didn't understand more than half of what happened.
Maybe I need to watch it a second time to appreciate this movie or maybe not but really don't feel like it.4/10.
It's interesting that when you read the positive reviews for this film, people say "it's hard to follow, you won't understand it, it's opaque, confusing, etc.
No matter how many times you watch this film, you will probably never be able to understand it.
It just looked like bad movie making.
If you want a good modern time travel movie get Donnie Darko..
Compounding the poor production quality is a completely puzzling story line that lacks structure and features substantial narrative holes making this an impossible movie to follow.It is a mixed up mess of a movie, however there is a good film here somewhere.
Otherwise it makes those dreary 1980's euro-trash films with the single viola sound like a John Williams masterpiece.Script: Well aside from the hole that exist in any time travel movie.
It doesn't talk down to the audience or employ overt stylistic tricks; it's more like a modern reality show following two inventors round, and the way they discover time travel is how it 'would' be discovered; by a couple of geeks in a garage.It's a movie, of course, so things start to go wrong.
I get that not everyone has a big budget to make a film, but that doesn't give an excuse to make an extremely bad and boring movie.
The sound and visuals of this movie are terrible the actors keep talking at the same time in a very muffled way so you won't understand what they are saying which will lead to you not understanding what is going on. |
tt1294688 | Last Night | Joanna is a writer who is married to Michael, a commercial real estate agent. They live in New York. The film begins with Joanna and Michael attending a party with Michael's colleagues. Joanna notices Michael spending most of his time chatting with the beautiful Laura, one of his colleagues, whom he has never mentioned to her before. She suspects him of having an affair and confronts him when they return home. They argue but reconcile later in the night.Michael leaves for Philadelphia the next morning with associates Laura and Andy for a business trip. Joanna goes out for coffee and bumps into Alex, an old love. They meet later that day for a drink, eventually ending up having dinner with Sandra and Truman, friends of Alex. In the conversations while having dinner, the film then reveals the history behind Joanna and Alex and the nature of her relationship with Michael. Joanna met Alex four years ago in Paris while she was working on a story. She has never told Michael about Alex.Joanna and Alex return to friend Andy's apartment, where they discuss their previous romance. It is revealed that they were together during the period Joanna and Michael briefly broke off their relationship. Joanna then goes out to walk Andy's dog Lucy; Alex forgets the keys when he comes down to greet her, and they are locked outside. They then go to a party where Sandra and Truman are at, with the dog. There, they grow even closer and passionately kiss in the elevator. They return to Alex's hotel room after the party. Joanna refuses to have sex with Alex. Instead, they spend the night together embracing in bed.Joanna and Alex's night together is interspersed with scenes of Michael and Laura on their business trip. After dinner with their client, Laura invites Michael out for more drinks, which he accepts. Their conversations at the hotel bar reveal that Michael has never cheated on his wife. They then proceed to the hotel pool, where they swim in their underwear. They continue to talk about infidelity, which further tempts Michael. They return to her room and have steamy passionate sex.The next morning, Michael tries to speak to Laura about what had happened but is unable to. He also discovers a note written by Joanna slipped into his clothes where she confirmed her confidence in his honesty. Fraught with guilt, he leaves Philadelphia early, leaving Laura and Andy alone for the presentation to their clients. Joanna and Alex have a passionate farewell. Alex leaves New York broken-hearted.Michael comes home early to find Joanna in tears. They make plans for the day, trying to resume their normal lives. They embrace, and Michael tells Joanna he loves her and notices Joanna's shoes left over there that were worn the night before. Joanna is puzzled by this sudden show of affection coupled with Michael's early return. Michael then notices that Joanna is wearing her best underwear, which she had not removed after last night. As Joanna prepares to speak, the film cuts to black... | thought-provoking, sentimental | train | imdb | null |
tt0074811 | Le locataire | Trelkovsky (Roman Polanski), a quiet and unassuming Polish immigrant living in France, rents an apartment in Paris whose previous tenant, Egyptologist Simone Choule, attempted to commit suicide by throwing herself out the third-floor window and through a pane of glass below. He visits Choule in the hospital but finds her entirely in bandages and unable to talk. Whilst still at Choule's bedside, Trelkovsky meets Simone's friend, Stella (Isabelle Adjani), who has also come to visit. Stella begins talking to Simone, who becomes aware of her visitors. Initially showing some signs of agitation upon seeing them, Choule soon lets out a disturbing cry, then suddenly dies. It isn't clear which of the two has caused this reaction. Apparently unaware that Choule is now dead, Trelkovsky tries to comfort Stella but dares not say that he never knew Simone, instead pretending to be another friend. They leave together and go out for a drink and a movie (Bruce Lee's Enter The Dragon), where they fondle each other. Outside the theatre they part ways.As Trelkovsky occupies the apartment he is chastised unreasonably by his neighbors and landlord, Monsieur Zy (Melvyn Douglas), for hosting a party with his friends from the clerical office where he works, apparently having a woman over, making too much noise in general, and not joining in on a petition against another neighbor. Trelkovsky attempts to adapt to his situation, but is increasingly disturbed by the apartment and its tenants. He frequently sees his neighbors standing motionless in the toilet room (which he can see from his own window), and discovers a hole in the wall with a human tooth stashed inside. He receives a visit and a letter from one Georges Badar (Rufus), who secretly loves Simone and has believed her to be alive and well. Trelkovsky updates and comforts the man and spends the night out with him drinking at various bars around the city. Gradually he changes his breakfast habits like Simone and shifts from Gauloises to Marlboro cigarettes.One evening, Trelkovsky has a run-in with Stella who is with some friends of hers at a local bar where they talk about the late Simone. After a gathering at friend's house, Stella invites Trelkovsky back to her apartment where she tries to seduce him. Trelkovsky is quite drunk and does not respond to her advances. He tells Stella about finding the human tooth in a wall in his apartment. He then tells a story about a man who lost his arm in an accident and wanted it buried. Trelkovsky instead passes out, leaving Stella to instead sleep beside him.The next day, Trelkovsky returns to his apartment where be becomes severely agitated and enraged when he sees that his apartment has been robbed, while his neighbors and the concierge (Shelley Winters) continue to berate him for making too much noise... despite the fact that he appears to tiptoe around the apartment and watches his TV set without sound. He complains about the robbery to Zy, but the landlord is unsympathetic and refuses to allow Trelkovsky to call the police for he wants the building to remain quiet and respectable.Over the next several days, Trelkvosky becomes hostile and paranoid in his day-to-day environment (snapping at his friends, slapping a child in a park) and his mental state progressively deteriorates as he isolates himself from society. One evening, he imagines himself being attacked by a derelict in the hallway of the lobby in his apartment building while imagining it to be one of his neighbors Madame Dioz (Jo Van Fleet). He buys a wig and woman's shoes and goes on to dress up (using Simone's dress which he had found in a cupboard) and sits still in his apartment in the dead of night.He begins to suspect that Zy and neighbors had driven the previous tenant, Simone, to commit suicide by harassing her, and in his increasingly twisted state of mind, believes that they are trying to subtly change him into Simone so that he too will kill himself. He has visions of his neighbors playing football with a human head in the apartment courtyard, and begins to see himself staring out of his own window and finds the toilet covered in hieroglyphs.After a night of drinking at a local bar, Trelkovsky runs off to Stella for comfort and sleeps over at her apartment and confides in her about his fear that his neighbors are trying to kill him, but she calmly tells him that it is all in his mind. The next morning, after Stella has left for work, he concludes that she too is in on his neighbors' conspiracy when a delivery man arrives outside her apartment with a packaged delivery. In his twisted mind, Trelkovsky looks through the peakhole of the front door and sees Zy there. After the delivery man leaves, Trelkvosky proceeds to wreak havoc in her apartment before departing, and steals her hidden supply of money.That evening, Trelkvosky is drinking at a local bar again when he makes the mistake of asking the barman where he can buy a gun. The barman and the manager throw him out of the bar from where the drunk Trelkvosky wanders into the street where he gets hit by a passing car driven by an elderly couple. The old man and woman stop and exit the car to check on him, and he is not wounded too seriously. An doctor appears and gives him a sedative injection due to his odd behavior. As a result, Trelkvosky perceives the elderly couple as landlord Zy and wife after which the couple return him to his apartment.By this point, a deranged Trelkovsky dresses up again as a woman and throws himself out the apartment window in the exact same manner of Simone Choule, before what he believes to be a clapping, cheering audience composed of his neighbors in the courtyard. The suicide attempt, in fact, wakes up his neighbors (whom Trelkovsky sees as humanoid monsters decending upon him). The neighbors arrive at the scene together with the police just in time for the wounded Trelkovsky to crawl up to his apartment and jump one more time.The end of the movie is enigmatic. Trelkovsky is bandaged up at the local hospital in the same fashion as Simone Choule in the very same hospital bed. When Trelkovsky looks up, two visitors come to visit him the next day. It happens to be Stella... and his own self standing before him in the exact same manner when Trelkvosky and Stella visited Simone in the hospital earlier. Trelkovsky then lets out the same disturbing scream that Simone had screamed. There is the possibility that this scene is not a flashback but that Trelkovsky is really Simone Choule and the whole supernatural cycle is about to start all over again. | dark, comedy, neo noir, murder, cult, violence, atmospheric, insanity, psychedelic, satire, claustrophobic, revenge | train | imdb | null |
tt0083630 | The Beastmaster | The gates to the city of Aruk are raised, and Maax (Rip Torn), high priest of the city's patron god, Ar, rides in with two underling priests. He goes to the central ziggurat that serves as the city's temple, and meets with three witch-women in its interior. The witches appear as shapely women with hideously disfigured faces. The witches tell Maax that he is doomed by a prophecy; he will die at the hands of the son of King Zed (Rod Loomis). Zed's wife is still pregnant with the child, and the prince will grow into a man that will kill Maax. The high priest defies the prophecy and announces that the unborn son will die. Maax sees Ar as a bloodthirsty god who demands the life of Aruk's children in sacrifice, and offering the king's son will prevent the prophecy from coming true.At that moment, King Zed storms into the temple with Seth (John Amos), the captain of the guard, and three other city guards who have swords ready. Zed has heard that Maax intends to offer innocent children in sacrifice to Ar, and he announces he won't allow it. Zed declares that Maax is to be banished from Aruk to dwell in the outlands among the barbarian Juns. When Maax boldly declares that Zed's own son must be cut from his mother, branded with the sign of Ar and sacrificed, Seth advances on Maax, sword at the ready, and King Zed warns Maax that he could have him executed for such talk. Maax looks over both shoulders at his underling priests, who hang themselves. Zed looks on this with only scorn and contempt, and orders Maax removed from the city. Maax is put on a horse and escorted out, passing by an old woman with a cow.This old woman is one of Maax's witch-women in disguise. At night, as Zed and his wife (Vanna Bonta) sleep, the witch creeps into their bedchamber. She pours a foul liquid across their throats, paralyzing them and rendering them mute. Zed and his wife awaken to find the witch focusing on the wife's pregnant abdomen, waving her hands over it. Zed's wife convulses in silent agony as the unborn baby is transferred out of her womb into the cow. Zed can only watch as his beloved wife dies from the violation, and the witch, with a dark cackle, tells him that his unborn son belongs to her, before vanishing.The witch takes the cow out into the fields, and cuts it open, extracting the baby. But as she brands the baby with the symbol of Ar, the dark ritual is seen by a passing traveler who is armed with a sword and a throwing weapon called a kapa. Despite the witch's dark powers, the traveler is able to slay her and rescue the baby. He brings the baby back to his home village of Emir to raise as his own son.The boy is named Dar, and grows into an energetic youth. His father raises and teaches him well. One day, when Dar is a youth, he and his father are practicing swordplay. His father demonstrates how to throw the kapa, and, as a prank, uses it to pluck off the headwrap of a villager named Tiis. The kapa lodges in a tree that Tiis is near, and Dar and his father laugh. But Dar stops laughing as he sees a rustle in the tree line, and then urgently tells his father to run. As Tiis tries to retrieve his headwrap, something concealed by the tree line yanks him out of view, and there are sounds of growling before Tiis is hurled back out. A huge bear has grabbed Tiis and mauled him to death, and it emerges from the tree line toward Dar and his father. Dar's father loses his balance and twists his ankle. He yells at Dar to run and save himself. But Dar slowly walks toward the bear, continuing to stare at it. Dar's father watches in wonder as the bear quietly sinks back down to all fours and turns, walking away. They can do nothing for Tiis, but Dar's father sees that his adopted son has very curious powers neither of them understand; he can touch the mind of a beast. He holds Dar's hand, where the brand is still visible, and tells him that the gods have put their mark on him, and it will be his guide until he finds out why.More years pass, and Dar is a tall, handsome, strapping man (now played by Marc Singer). Dar takes his dog, Todo, and goes out with a number of other young village men to work in a field outside the village.As the men work, Dar picks up a stick and smiles at Todo. He throws the stick for Todo to fetch. But on reaching the stick, Todo doesn't return. He stands his ground and begins to bark. At first, Dar just smiles at his pet and companion, but as Todo continues barking, Dar and the other villagers realize the dog is aware of danger. They all run up to where the dog stands. Far in the distance, a great cloud of dust and the rumbling sound of galloping horses, approach Emir; a band of marauding Jun barbarians.Dar's father and a few other village elders draw their swords and stand at the village perimeter as the Jun horde approaches, but they are quickly overrun by the mounted barbarians. By the time Dar and the village men arrive, the barbarians are attacking everyone and setting the village on fire. The terrified villagers all fight with desperation. Dar manages to grab up a sword and, picking out the Jun leader (Tony Epper), charges toward him. Another Jun barbarian comes riding up behind Dar and clubs him from behind with a flail, knocking him unconscious. The Juns proceed to slaughter all of the villages, women and children included, and even Todo, as he tries to drag Dar to safety, is hit by a crossbow bolt loosed by one of the Juns. As the Juns finish their work, Maax rides up to the village with a number of priests and flashes a terrible smile. Looking pleased, he fails to notice Dar laying on the ground just a few feet in front of his horse; the brand of Ar on his palm. Todo grabs Dar by his clothing again and resumes pulling him away.Dar slowly awakens, becoming aware of the land rushing past him as if he were a great avian in flight. He blinks, and hie eyesight refocuses and returns. He sits up and sees Todo lying near him, a crossbow bolt protruding from his side. Todo had managed to drag him to safety before collaping and dying from his wound. Dar walks in a daze among the ruins of his village; the corpses of many of the villagers have been impaled on the village's wooden beams. Perched on one of the perimeter beams is a great brown eagle. Dar locks eyes with the raptor, the two looking close at each other for a couple of moments.Dar discards his upper garment and pulls a leather gauntlet over his hand to hide the brand. He arranges all the slain villagers in a circular formation, laying Todo across the body of Dar's father, with the father's arm placed around Todo's neck. Dar burns the bodies and takes his father's sword and throwing kapa. He remembers his father's words about the mark on his hand being his guide, and that if anything happened to the father, Dar should look for their enemies, the Juns, and seek his destiny in the valley of Aruk.As Dar begins walking away from the ruins of Emir, he passes by the eagle again. Once more they lock eyes, and Dar forges a bond with the eagle, and it begins to follow him as a companion. (NOTE: though Dar never speaks a name for the eagle, we learn in the two Beastmaster sequels that the eagle was named Sherak, so that name will be used in this synopsis for the sake of uniformity).Dar runs through a shallow stream toward his clothing after having bathed. As he is dressing, two ferrets come creeping through the brush. Dar turns in surprise as the ferrets grab hold of his leather skirt and begin running off with it. Dar chases them, losing sight of them in the brush, and takes a wrong turn, tumbling from a cliff and landing in quicksand. The ferrets, curious, crawl along an overhanging branch of a tree. Dar cannot reach the branch himself, and tells the ferrets that since they got him into the situation, they need to help get him out. The little animals, of course, don't understand spoken human speech, but Dar is no ordinary human. He looks up intently at the ferrets, concentrating. One of the ferrets crawls further along the branch, weighing it down, as the other begins gnawing on it. The branch tips down enough for Dar to grab it and pull himself to safety. The ferret who had crawled along the branch, slips off into the quicksand, but Dar is able to pluck it out and rescue it. Dar names the ferrets Kodo and Podo, his newest friends.Dar continues walking as Kodo and Podo ride in his belt pouch. He pauses along a cliff to rest, Sherak landing near him. Dar starts looking around, concerned. He hears the growling of a great feline and sees several mounted Juns chasing a beast, through the eyes of the beast. He sees one of the Juns snare the beast with a heavy rope lasso, and then sees one end of the lasso tied around a heavy wooden stake driven into the ground. Running to investigate, he sees the Juns tormenting a great black tiger they've captured. Taking Kodo and Podo from his pouch, Dar tells them that the tiger should be rescued.Before Dar can throw his kapa, one of the Juns ambushes him from behind, but Dar his fast enough to grab the Jun's arm and throw him over his shoulder. They both tumble down the hillside to the ground where another Jun readies his crossbow. Dar throws his kapa, and the Jun ducks before again aiming his crossbow, but the kapa circles around like a boomerang, hitting the Jun square in the back. As another Jun rides up, crossbow at the ready, Dar gives a high pitched squawking sound toward Sherak and grabs the one he's grappling with, using him as a human shield against the crossbow bolt. Sherak then swoops down on the mounted Jun, clawing at his eyes through the eyeholes in his leather hood, causing him to tumble from his horse. The two wranglers run for their weapons, but Kodo and Podo dart forward, snatching the bolts out of their crossbows. The wranglers grab their swords and run at Dar, who kicks one away and slays the second. Dar then grabs his kapa and hurls it, cutting through the rope lasso and freeing the tiger, who shows the last wrangler what it's like to face him on even terms. As Dar collects his belongings, he pauses, looking at Sherak and the two ferrets, who are his eyes and cunning; and now having befriended the tiger, he has great strength as well. He names the tiger Ruh and sets out again.Dar happens across two beautiful young women, one blonde and one brunette, swimming by a waterfall. He's intrigued and is moved to some mischief in order to introduce himself. He sends Kodo and Podo to snatch an outer garment by the riverbank. The brunette (Tanya Roberts) runs in pursuit, but quickly loses sight of them. Suddenly Ruh comes into view and stands in front of the girl, growling. As she stares at the tiger in fear, Dar grabs her from behind, telling her that they might escape if they show no fear. He then uses his mental link to Ruh to tell him to stand down and move out of sight.Dar tells Kiri she owes him her life, but he'll accept 'this as payment,' and then kisses her. The girl trips Dar to the ground and kneels astride him, demanding to know who he is. Dar tells her his name, and that his village of Emir was destroyed by the Juns, and he's following. The girl thinks this is funny, as Dar is alone. Dar manages to roll over on top of her and asks, in turn, who she is. The girl's necklace slips from her neck as Dar rolls over. She tells him that her name is Kiri, and she's a slave to the temple of Ar's priests. Dar is horrified to find whip marks across her back and shoulders, under her garment, but she reminds him again, that she's a slave. She can't run away because the priests will kill her family. She tells Dar that he should continue following the Juns, because they will at least grant him a death more befitting a strong man, than the priests of Ar would.Retrieving Kiri's dropped necklace, Dar decides to follow her, but he's given her too much of a head start. As he looks around, trying to pick up her trail, he catches an ominous sight: a great, dark tree on a high cliff, with several cocoon-like objects hanging from it.Investigating, Dar finds the cocoon-like objects to seemingly be alive. Also hanging from the tree is a cage with a man in it, and before the base of the tree is a bird-like carving and a cauldron filled with a foul liquid. When a human head suddenly floats to the top of the cauldron, Dar turns away with disgust, and finds himself looking at several humanoids with only eyes, but no noses, mouths, or ears on their heads, and great bat-like wings wrapped around themselves.Dar draws his sword and breaks open the cage, freeing the prisoner, who tries to flee. One of the bat-bird-men unfolds its wings and envelops the prisoner. The man gives horrible muffled screams as a foul liquid pools at the creature's feet. The creature unfolds and opens its wings, and the prisoner's bones, stripped clean of all organic matter, tumble to the ground. Silently the bat-bird-men advance on Dar and Ruh, as Dar holds his sword at the ready. But as Sherak descends and lands on Dar's outstretched wrist, the bird-creatures retreat quickly. They revere birds as gods, and to see an eagle having befriended Dar means he is protected by their gods. Still wary, Dar starts to leave. One of the bird-creatures gives Dar a medallion with a bird symbol on it.Morning comes, and Dar awakens from sleep. Sherak lands nearby with a squawk. Dar understands the eagle sees something, and goes to look; he's arrived at the city of Aruk.The road into Aruk is lined with wooden poles from which hang dessicated humanoid corpses. Dar looks around with a grim expression, and tells Ruh to stay out of sight.The bridge is extended over the city moat, which is filled with tar instead of water. The gate is up. Dar enters the city and finds the streets all but deserted. He finds a robe hung outside one of the huts and dons it. Alerted to the sound of shouting, he makes his way to the great ziggurat which serves as the Temple of Ar.Maax has usurped control of the city and keeps the people in line through fear. He performs regular child sacrifices, that Ar be appeased and continue to protect the city. Dar watches in disgust as Maax holds aloft a baby boy, and casts it into a burning fire at the top of the ziggurat, as the townspeople bow their heads fearfully.Maax announces that Ar is not yet satisfied, and that another child must be sacrificed. He points, and his priests seize a baby girl as town guards restrain her parents, who scream and weep in protest. Dar pushes his way to the front of the crowd until he reaches the perimeter of soldiers, who bar him from moving further. As the girl is carried to the top of the ziggurat, Dar sees a number of slave girls standing along the steps of the ziggurat; Kiri is among them.Sherak circles the sky high above the city as Maax lifts the baby girl and makes offers of sacrifice to Ar. Dar lowers the hood of his robe and concentrates. Maax places the girl into the slope that leads down into the flames. But as the baby girl slides inexorably toward her death, Sherak swoops from the skies with a majestic cry, seizes the child in its talons and flies off with her. All of the townspeople prostrate themselves on the ground in awe, except for Dar. Kiri starts to fall to her knees when she sees Dar and looks at him in wonder.Maax notices, and looks at Dar intently. He doesn't recognize Dar for who he is, but he does understand that he controlled the great eagle. Maax watches the eagle carry the baby girl, and then looks back to where Dar was standing-- but Dar is no longer there. Looking to save face for himself, Maax points after the bird and shouts to the townspeople that Ar has spoken personally to them, saying he wants their children.Nighttime in Aruk. Dar holds a large, bulging sack, and holds Kodo over it, letting the ferret sniff the sack. Dar then sets Kodo on the ground, and it begins to scamper from house to house, looking for more traces of the same scent.The father of the baby girl sits forlornly in his house when there's a knock at the door. His dread turns to curiosity at the sight of Dar, and then to overjoy as Dar produces his daughter from the sack. The father, Sacco (Ralph Strait), pledges his gratitude and service to Dar, offering him anything.Dar decides to ask Sacco about Kiri, though he doesn't say her name; only that she is a friend. Sacco asks Dar into the house, saying he should at least have a meal. At the table, Sacco tells Dar Aruk's story: most of the young men in the city were slain by the Jun horde, which is how Maax overthrew Zed. The king is now imprisoned within the ziggurat while Maax and his witchwomen sit in the seat of power. The remaining townspeople are bred by the Jun priests so their children can be sacrificed by Maax.Dar asks Sacco again about the slave girl, and Sacco says they've been taken back to the temple to prepare them for their own deaths. The Jun horde has gone north, but Maax promises they will return. Thanking Sacco for the meal, Dar assures him that he and his family will see Dar again.Maax's witchwomen have crafted a magical ring for the Jun priests. Maax tells them to find this man, this 'master of the beasts,' and that the ring will lead them to him.Dar and Ruh are tracking the slave girls when Ruh finds a spring trickling from a tree. Taking a drink from the tree, Dar sends Ruh ahead to scout. Hiding in the tree is one of the Jun priests. The stone in the ring is actually the closed lid of an eye. The eye opens and looks on Dar, and Maax and the witchwomen can see what the eye sees, in their cauldron. The eye falls on the mark on Dar's hand, and Maax realizes the man is Zed's son. He tells the priest to kill Dar immediately.The priest snares Dar around the neck with a leather loop as the other priest, on horseback, approaches to kill Dar. But Ruh is also in the tree, above and behind the priest holding the noose. Ruh ambushes the priest, taking him down and killing him. The mounted priest takes off, and Ruh gives pursuit... and falls into a covered pit that the priests prepared for Dar.The priest aims his crossbow to kill Ruh, when he's whacked from behind by a stout wooden staff. Standing there is Seth, with a young boy in his late pre-teens. The priest tries to snare Seth, who blocks the snare with his staff, and knocks the priest into the pit, where he is killed by Ruh. Seth remarks that to face a beast on its own terms, man finds he is not so strong.Dar arrives, and draws his sword at the sight of Seth and the boy, though he does not move to attack. Hearing Ruh roaring, he moves to the pit and looks, seeing Seth saved Ruh rather than trapped him. Voicing his gratitude, Dar moves to a large log, trying unsuccessfully to tip it down into the pit so Ruh can use it to climb out. Seth and the boy help him in this task. Seth introduces himself and his companion, Tal (Joshua Milrad) as 'pilgrims' on their way to worship at the temple of Ar. Understanding what Seth means by worshipping, Dar says he is also on his way to the temple for the same purpose. Seth invites Dar to travel with him and Tal.Over a campfire, Seth tells Dar how he and Tal have spent three years, since fleeing Aruk, trying to raise an army to fight the Juns. As long as Zed lives, he still remains a symbol of hope for those trying to live free of Maax's tyranny. Tal is Zed's son, and meant to free Zed from imprisonment, and one day take the throne. Dar tells how he's always had an uncanny ability to communicate with animals, see through their eyes and hear their thoughts, as they can likewise do with him.Dar lets Tal hold Kodo and Podo, and empties out his pouch, explaining how they steal anything they find of value. Tal picks up the Jun priest's eye-ring, not knowing what it is, and Dar, also unknowing, tells him he can keep it. But also among the items is Kiri's necklace. They see it, and Seth's demeanor turns stern as he demands to know where Dar found it. Despite Seth's protests, Dar insists it came from a slave girl, and Dar is trying to rescue her before she's put to death at the temple. Seth sternly says they leave at dawn, before walking away. Tal and Seth know Kiri-- she's Tal's cousin.At dawn, Dar awakens from sleep and sends Sherak to scout. Dar crouches by a campfire, seeing all that Sherak sees. Tal and Seth awaken and understand what Dar is doing. Through Sherak's eyes, Dar sees five women in white robes surrounded by priests in red. Seth knows this means the slave girls are prepared as sacrifices. He says they must make plans in order to rescue the slave girls.Seth and Dar hijack a barge that the priests must use to cross a great lake. When one of the priests knocks Kiri down after she stumbles, and she kicks him in the groin, the priest grabs her head and pushes it under the water. Dar and Seth ambush the priests, capturing them and rescuing the slave girls. As they begin to depart, more priests arrive, firing crossbows, and Seth realizes the barge is now too heavy to get away. Kiri kicks the prisoner priests overboard and they escape. With a little 'coaxing' from Kiri, Dar agrees to help free Zed. As they begin traveling over land back toward Aruk, Seth sets out to find and rally as many people as he can find, to overthrow Maax and free Aruk. Dar, Tal and Kiri are to meet him in the Taran Valley in two nights.Night time over Aruk; Sacco steps outside his hut and sees Sherak perched nearby. Sacco frets and mutters to himself, protesting that he's a coward. But he knows and still respects his vow to Dar, and rides out in his wagon to smuggle Dar, Tal and Kiri past the guards, into the city. But the eye-ring on Tal's hand reveals their presence to Maax, who decides to prepare a welcome.Sacco tells Dar and Kiri that he'll wait for them on the ziggurat's north side. Tal, Ruh, and the ferrets go with Dar and Kiri into the temple. As Ruh scouts ahead, Dar leads the way through a corridor that looks like a potential trap; along both sides of the wall near the floor, are grated openings into some kind of prison chambers. Dar thinks he sees the glowing of bestial eyes from through the grates. Suddenly, with guttural bestial growls, numerous appendages-- or perhaps humanoid limbs-- encased in leather and wicked steel spikes, thrust through the grates, swiping madly at Dar. Seizing a chain that runs the length of the corridor from the ceiling, Dar manages to cross to the other side, safely out of reach. On the other side is a lever that, when pulled, shuts the grated openings so that Kiri and Tal can cross through as well. Tal tells Dar that those were Death Guards, a monstrosity created by Maax's priests, which explains why there were no soldiers or other guards out front.Pressing forward, they find a grate in the floor of one corridor; Kiri says that the chamber below has the keys to the dungeon cells. In the chamber, Jun Priests are in the process of preparing another death guard. Tal explains how a human man is made into a mindless monster through torture. First, the priests encase his limbs in spiked leather sheaths; spikes capable of ripping a man to pieces. Then a foul green liquid and green leeches are put into his ear canal to severely damage his brain. Finally his head is placed into a hardened leather hood with a frightening visage on the front. Stripped of all thought and reason, a death guard will mindlessly kill anything it sees; anything that moves.As Tal explains the procedure, Kiri quietly goes into a side corridor and turns a wall torch. A portion of the wall opens up into a chamber looking like a hidden armory.Tal sees where the cell keys are; Dar says that stealing is best left to thieves. He places Kodo and Podo in a loop of string, and lowers them carefully through the grate down to steal the keys. But just as the ferrets reach the keys, one priest happens to turn, and sees them.But that's the least of the problems; the death guard awakens, bursts its restraints and slaughters the priests. Its spikes snap the string, causing Kodo and Podo to drop to the floor of the cell. They are able to grab the keys and run into an air vent beside the door, but the death guard breaks the door down and madly pursues the little beasts.Despite Dar's clear concern, he assures Tal that Kodo and Podo are fast and cunning, and can handle themselves. They need to proceed with the rescue.Kiri emerges from the armory, now wearing leather boots and a leather girdle with a dagger tucked into it. Tal explains to Dar what Kiri truly is; a Trov warrior, an ancient sect of protectors for Aruk. The ziggurat used to be their home. Kiri is a skilled tracker, and can find the cell where Zed is imprisoned.Arriving at the cell, they find it unlocked. As Kiri and Tal enter the cell, Dar turns; he senses that Ruh has caught up to them, but hasn't come into sight yet. He cautiously starts toward an intersection... nearly walking into an ambush; when in fact it is the ambushing priest that is about to get ambushed, by Ruh, who kills him. Satisfied, Dar hurries back to the cell where Kiri and Tal are tending to Zed. Zed is now old, gray, haggard and feeble... and blinded by Maax's priests.The door to the cell suddenly closes; through the small grate in the door, Maax and one of the witchwomen are visible. The witch assures Maax that Dar is the one of whom the prophecy spoke, and Maax decrees they will all be sacrificed in the morning. Ruh comes charging down the corridor, and Maax and the witchwoman hurriedly enter the cell, closing the door behind them to keep Ruh out. Maax orders the witchwoman to kill Dar.Dar draws his sword and squares off with the witchwoman, who flicks her fingers and makes a flash that blinds Dar. Tal runs at Maax and tries to hit him with his fists, but the youth is still not grown or strong enough to hurt him. Maax pulls a knife and holds it at Tal's throat to keep Kiri at bay.Hissing malevolently, the witchwoman backs against the wall and begins to slither up it, and onto the ceiling, preparing to drop down on Dar from above. But Ruh can still see through the grate, and while Dar is still blinded, he can see through Ruh's eyes. He thrusts his sword straight up and then turns in a half-circle, killing the witchwoman.In the distraction, Kiri pulls a slim silver chain from a wrist bracer and snares Maax's knife hand, forcing him to drop the knife. Ruh breaks down the cell door and advances threateningly on the high priest, roaring. Knowing he cannot face down the mighty beast while alone and unarmed, Maax drops down into a hidden back corridor and escapes while Tal tends to Zed. The old king is coming to; he's still alive, still aware, and he assures Dar he can walk.Meanwhile, the death guard continues its pursuit of Kodo and Podo. The clever ferrets run through old pipes along the walls, but the death guard is relentless; when they run underneath a gap at the bottom of a closed door, the death guard simply smashes it apart.Kiri leads the group to a chamber at the bottom of the ziggurat. Tal turns a lever that lifts a heavy stone carved into a skull shape, that conceals a stairway out of the temple. Dar tells Ruh to go first, and to protect Tal, Zed and Kiri while he covers their escape. Kiri begs Dar to come with them, as the stairway is the only means of escaping the city, but Dar says he can't leave without Kodo and Podo.Alerted to the sound of banging, Dar returns to the door. Half a dozen Jun priests with long knives are searching for him. Seeing him peering through the door, they charge at him with bloodthirsty yells. Dar closes and bars the door, and cuts the pulley to drop the skull-stone back over the stairway entrance. This door also happens to be where Kodo and Podo are running toward; still hauling the cell keys with them. They run under the feet of the priests and under a gap in the door, and the priests all turn and scream in terror as they see the death guard running straight toward them.Kiri returns as Dar collects Kodo and Podo. Gathering the rope from the pulley, she tells Dar they can use it to escape via the air shaft. The death guard smashes through the door and mindlessly pursues Dar and Kiri through the shaft. As they climb down the cliffside with the aid of the rope, the death guard swipes madly at the rope with its spike-shod arm. Sherak flies at the death guard, clawing at its hooded head with his talons. The death guard leans too far out of the shaft and plunges to its death.The rope breaks and Dar and Kiri fall-- but Sacco is there, and their fall is broken by the soft hay of his wagon. Sacco snaps the reins for the wagon's horse, spurring it into a run toward the city gates; but Maax has put the gate guards on alert and it is closed. Dar asks if the gate has a counterweight; when Kiri tells him that it does, he puts Kodo and Podo in another loop of string and has Sherak carry them up to the top of the gate tower to gnaw through the heavy ropes that control it, so that it will raise.As the ferrets get to work, Dar and Sacco hear the sounds of monstrous growling. Three death guards are running madly toward them, spurred by a mounted Jun priest wielding a whip. Dar tells Sacco to start full speed for the gate; their only hope is to trust that Kodo and Podo will get it open.The guard in the tower turns and notices Podo gnawing the control ropes. Raising his sword, he takes hold of the ferret's tail and repositions it for a killing blow. Seeing this, Kodo creeps under the guard's skirt and delivers a punishing bite right where it will do the most hurt. Screaming, the guard reflexively brings his sword down, cutting the rope the rest of the way so that the gate's counterweight starts to pull it up. Sacco reaches the gate just as it raises enough so that his wagon can pass through. As they reach the gate, Dar swings his sword and cuts the counterweight rope. The death guards try to slide under the gate, but are not fast enough, and it crushes them all beneath it. Kodo and Podo drop down from the top of the wall into the hay of Sacco's wagon, and he rides off.Everyone is gathered together at the Taran Valley. Seth has put together thirty-five warriors. Zed's spirit is still as strong as ever, but he has become far too single-minded in his desire for vengeance, for his own good. When Dar issues a warning that killing Maax and his priests will only incur the wrath of the Jun horde, and more soldiers are needed to counter this, Zed calls him a freak and shouts that he needs no cowards beside him. Zed's rejection hurts Dar badly, and he leaves the camp with Ruh, a tear rolling down his face. Sitting on a rock, Dar scrawls a rough outline of a circle with a line through it; a symbol of his home village of Emir.Kiri comes up to him, though only for a moment's comfort; she is honor-bound to her duty to Zed, and she cannot speak against or defy her uncle and king. She sadly tells Dar that nobody will oppose Zed after he cast Dar out. Zed is more than just a deposed king; he's still the people's symbol of hope.As Kiri returns to camp, Zed is starting to outline a plan of attack on Aruk to defeat Maax. Tal has dozed off, and the eye-ring on his hand opens. Maax flashes an evil grin as he listens to Zed's attack plan.Seth turns, and notices the open eye in the ring. Maax's grin vanishes as the eye turns toward Seth, and it's clear he sees it and understands what it is. Seth grabs a small stick from the campfire and presses it into the eye, putting it out, before pulling the ring off Tal's hand and tossing it into the campfire. He tells Zed that Maax has overheard the whole conversation and knows the attack plan, and will be prepared. But so utterly single-minded is Zed that he cannot see any turn of events other than total defeat and death for Maax. Seth knows better; it is his forces that will face this fate.Dar awakens in the morning; his animal companions at his side. Looking around, he senses trouble. Getting to higher ground, he sees Sacco riding on a horse, leading another. Dar calls out to Sacco, who tells him that the attack on Maax failed; Zed, Tal, Seth and Kiri were all taken alive, and are set to be sacrificed at the temple of Ar at sunset. Dar quickly mounts the second horse and rides with Sacco back to Aruk.At the temple of Ar, Maax and the last surviving witchwoman stand atop the ziggurat as a wagon brings Seth, Tal, and Kiri. All three are dressed in sacrificial robes; their hands tied with leather strips. Kiri is pulled out of the wagon and dragged up to the top of the ziggurat. Beside the sacrificial fire pit, Zed is tied to a chair. Maax tells the people of Aruk that Zed has defied the will of Ar, and now he and his kin will die.Dar rides into Aruk just as the priests drag Kiri to the top of the ziggurat. The crowd quickly parts as he rides straight for the ziggurat. He tosses his pack into the wagon, and Kodo and Podo dart out, chewing through the leather thongs that bind Tal and Seth. Dar storms the ziggurat, attacking any guards or priests in his way. Sacco and the townspeople throw a sword and staff to Seth and Tal, who join in the battle. Ruh leaps at a guard, who drops his weapon and backs against the wall of the ziggurat, screaming in fear before he is mauled to death.Kiri is thrust down onto the ziggurat as she continues to fight. She bites one priest's hand and starts to break free, before she is clubbed on the head with a sword pommel and knocked out. Maax raises his knife to kill Kiri, but the shouts of the townspeople alert him that Dar is almost at the top of the ziggurat, and all of the townspeople themselves are starting to grapple the guards, wrestling them for their spears. The witchwoman tells Maax that he is doomed; the unborn son has come for him.Maax raises his knife again, but Dar is at the top of the ziggurat, starting to cut through the priests. Maax goes to Zed, holding his knife at the king's chest. Dar finishes all of the priests and swings his sword menacingly in front of Maax. Holding the knife, Maax then reveals to both Zed and Dar that they are father and son; Dar is the unborn child stolen from his mother's womb. His eyes wide, Dar puts his sword down on the floor of the ziggurat roof. But despite this, Maax kills Zed with a rake of his knife through the king's chest, and then lunges at Dar, grappling with him. Fighting his way back to his feet, Dar forces Maax's arms around and down, driving Maax's own knife into his stomach.Retrieving his sword, Dar turns to the last witchwoman, who cowers beside a stone urn. As Dar advances on her, the witchwoman turns away. Dar thrusts his sword at her back, but her cloak is empty; Dar sees a white bird flying away. Dar goes to Kiri, who recovers consciousness and smiles at him. Lifting her in his arms, Dar goes to the edge of the ziggurat's top.Seth, Tal, and the townspeople overpower the remaining guards and rush up the ziggurat in triumph. Maax is overthrown. The townspeople cheer in victory.But in fact, though grievously wounded, Maax is still alive. Pulling the knife from his stomach, he struggles to his feet and staggers toward Dar from behind, intent on killing him.Kodo and Podo have scampered up the ziggurat and reached the top. Maax is almost on top of Dar, who remains unaware of the high priest. Kodo doesn't think twice. Leaping as high as he can, the ferret lands on Maax's shoulder, biting his neck. Maax screams in agony, clutching at Kodo-- and loses his balance, tumbling into the sacrificial fire, taking Kodo with him. Shouting in desperation, Dar darts toward the fire, but cannot reach into it. Kodo is lost. Podo peers sadly into the fire at the loss of its mate before Dar picks the ferret up and holds it against his chest.From his vantage point, Tal sees something on the horizon. A huge dust cloud is moving slowly but inexorably toward Aruk. As Maax had foretold, the Jun horde has returned to Aruk. Seth tells Tal that it's his decision on whether to fight or flee. Tal looks at Dar. Holding Podo close against him, Dar tells the people that it's time to stand and fight.Preparations are made with speed. The bridge is pulled back, and the townspeople furiously shovel dirt over the moat to cover it so that it appears as solid ground. Meanwhile, Dar sits on the steps of the ziggurat. He pulls out the medallion given to him by the bat-bird-men and looks at it. Calling to Sherak, Dar tosses the medallion to the eagle and sends him to the great tree to summon aid.It is night time. The townspeople anxiously wait the arrival of the Juns. As the rumbling of the horde's horses grows louder, Dar mentions to Seth that tar was a rite of manhood and test of strength in Emir. Hopefully the Juns will fail.The Jun horde rides into view, stopping a few dozen yards short of the wall. The people of Aruk and the Jun barbarians stare each other down in a tension filled moment. Then the Jun leader silently raises his massive greatclub and points toward the town, signaling the Juns to attack. The Juns ride forward, slaughter on their minds. Seth's plan pays off as the Juns ride straight into the moat; their horses falling into the tar. The people of Aruk cheer. A lookout just in front of the gate lights a torch and runs to light the moat aflame.But although mired in tar, the Juns are far from down. They begin loosing bolts from their crossbows, taking down the lookout and a sentry perched atop the town gate. Tal runs to the fallen lookout, grabbing his torch, only to be wounded by another crossbow bolt. The wounded sentry manages to release the gate controls to close the gate. Dar and Kiri roll underneath and clear before it closes. As Kiri tends to Tal, a Jun barbarian climbs out of the tar and advances on her, sword raised to cleave her in two. Kiri grabs the torch and thrusts it at the Jun, setting him aflame. Dar runs at the burning barbarian and kicks him back into the tar moat. Sheets of flame roar out across the moat as the tar is ignited. Seth climbs over the gate, joining with Dar and Kiri.More Jun barbarians crawl out of the burning moat; some still riding on horseback. Dar, Kiri and Seth fight with all their fury and strength, taking down several Juns. But still more crawl out of the moat and surround them on all sides, driving the three until they are back to back to back. The Juns fence and poke at them with their swords, looking for openings.The Jun leader spurs his horse, leaping over the burning moat and into the fray. The Jun soldiers part way for him, Pointing his massive greatclub, the Jun leader challenges Dar to single combat. The Jun leader's greatclub has two small blades at the heavy end protruding to either side, and he can detach the pommel to swing the weapon as a flail. He bashes downward and the blade gets stuck in the bridge. Drawing a sword, he picks up the fight. Leaping off the bridge, Dar tackles the Jun leader off his horse and retrieves his sword. Their blades clash and the Jun leader grapples with Dar, slamming him against the bridge so that his sword goes flying, and then throwing him to the ground and retrieving his greatclub. The Jun leader whirls the massive greatclub around by the pommel and chain, again bashing downward, and again one blade lodges in the bridge. Dar stuns the Jun leader with several kicks and grabs the Jun leader's legs, taking them out from under him. As the Jun leader falls, the other blade of his greatclub lodges in his back. The wounded leader struggles to his feet, but Dar looses a swinging round kick to his helmeted head, knocking him down, and then grabs his arm, using it to fling the Jun leader into the flaming tar.Recovering his sword, Dar makes his way back into the circle, back to back to back with Seth and Kiri. The remaining barbarians seem ready to descend on the trio and finish what their fallen leader started. Enough Juns remain that the death of Dar, Kiri and Seth seems certain, no matter how many Juns they take with them.Sherak swoops down, landing on Dar's arm. The rustle of wings signals the arrival of the bat-bird-men. Opening their massive wings, they each envelop a Jun barbarian, devouring their victim. The bat-bird-men rout the remaining Juns; a scant few barbarian survivors fleeing. The leader of the avian humanoids looks at Dar, giving him a small nod before leading his own people back home. The gate is raised and Dar, Seth and Kiri pull a wounded Tal back into the city. The people of Aruk cheer in victory.Some time later, Dar is preparing to leave Aruk. Tal is healing well, although one of his arms will be weak and difficult to use for some time. Dar gives something wrapped in leather to Seth, as a gift to the new king.Seth suddenly grabs Dar's hand, looking closely at the mark there. The brand is a rough likeness of the front face of the temple ziggurat. Having been there when Maax made the pronouncement, Seth knows what the mark means. He tells Dar that he is the rightful king, as firstborn.But Dar has not led a life appropriate to a future ruler. He can't be tied down to a throne. He is sure that Tal will be a great leader, for he already has the best right hand that one could ask for. Dar and Seth clasp forearms in farewell. A number of villagers watch as Dar and Ruh walk side by side toward the gate. As the two pass through the open gate and out of Aruk, Kiri is seen running after Dar.Tal takes the gift Dar left him to the ziggurat temple. Wrapped in the piece of leather is Dar's throwing kapa.Sherak is perched on a totem atop the ziggurat. Seth comes up beside Tal, and the two of them, and Sherak, all look into each other's eyes for a brief moment, before the eagle takes flight again, to rejoin his master.As Dar stands on a high bluff, Kiri comes up behind him. Whether she is bidding him farewell or choosing to go with him is left for the viewer to decide. Kiri kisses Dar passionately as Podo pokes its head out of Dar's belt pouch, sniffing noses with Ruh. Two baby ferrets borne by Podo follow suit. The last shot is Kiri and Dar kissing, from Sherak's birds-eye view as he circles high above. | cult | train | imdb | null |
tt0035317 | Sherlock Holmes and the Secret Weapon | At a cafe in Switzerland, two Gestapo agents plot with a man disguised as an old bookseller to abduct Dr. Franz Tobel (William Post Jr.), the inventor of a new bomb sight. However, the bookseller is really Holmes (Basil Rathbone), who sends the Nazis after decoys while he and Tobel drive to a rendezvous with an RAF plane that takes them to London. They go to 221B Baker Street, where Watson (Nigel Bruce) pulls a gun on them, but Mrs. Hudson (Mary Gordon) recognizes Holmes's voice. Holmes leaves to make arrangements with government representative Sir Reginald Bailey (Holmes Herbert), and Tobel sneaks out while Watson is asleep. He goes to see his sweetheart, Charlotte Eberli (Kaaren Verne), and gives her a message which, if anything happens to him, she's to give to Holmes. The message is in a version of the stick-figure code from the Holmes story "The Adventure of the Dancing Men". On his way back from Charlotte's, Tobel is struck on the head, but a policeman rescues him. Back at 221B, Holmes deduces that Tobel has been with a girl, and even describes her based on clues left on Tobel's clothing.The next day, a test of Tobel's bomb sight is a huge success. Tobel will supply it to the RAF, but insists that he will arrange all production, so no one besides himself will know the secret of the invention. The authorities reluctantly agree not to interfere, and will rely on Holmes to protect Tobel unofficially. Tobel brings a gift-wrapped package to fellow scientist Prof. Frederic Hoffner (Henry Victor). It's the prototype of the part of the bomb sight he'll be producing. Three other scientists will produce the other parts, all unknown to anyone other than Tobel. Soon, Scotland Yard reports that Tobel is missing. Holmes tracks down his secret office, but all they find there is some gift wrapping and the scent of an expensive perfume. Holmes deduces that Tobel called his lady love from 221B that first night and has the call traced. When Holmes visits her, Charlotte hands him the envelope Tobel left, but now it only contains a note - "We meet again, Mr. Holmes." It must have been switched by the "electrician" who came to Charlotte's apartment. From her description, Holmes realizes that he's up against Prof. Moriarty (Lionel Atwill).Holmes disguises himself as a thug formerly in Moriarty's employ and roams Soho until an old sailor leads him to one of Moriarty's places of business. The master criminal won't back down from his plans of treason, and has Holmes put in the false bottom of a sea chest, so he can be dumped in the ocean. Meanwhile a "beggar" (Michael Mark) who followed Holmes to Moriarty's place reports back to Watson and Inspector Lestrade (Dennis Hoey). They see Moriarty's two henchmen carrying away the sea chest. Amazingly, Lestrade figures out the false bottom trick and rescues Holmes. Back at Charlotte's, he takes the sheet of paper that was underneath the one on which Tobel wrote his coded message and finds away to reveal the message from it. Watson recognizes the substitution cypher from the earlier case, but it takes Holmes to figure out the variation that Tobel used. Decoded, the message gives the names and addresses of 3 of the 4 scientists (which is enough for Holmes to deduce Tobel's entire scheme). The final name is gibberish - obviously coded differently. Moriarty has had the message longer, and has already murdered the first three scientists and taken the prototypes of their components. The final name has him stumped - as he's busy trying unsuccessfully to torture it out of Tobel. Holmes realizes that the final name and address, of Prof. Hoffner, were coded in mirror image. Not long after, Moriarty comes to the same realization, and sends men to grab Hoffner (who will be more useful alive than the others) and the final component.When the thugs return, Moriarty opens the package, only to find a note - "We meet again, Professor." Of course, the captured scientist is really Holmes in disguise. Unknown to Moriarty and his men, while they were grabbing the fake professor, the real one went to their car and attached a device that would drip luminous paint on the street. Although they are delayed by a false trail at one point, Watson and the police are able to track Holmes to Moriarty's supposedly impregnable hideout. Meanwhile, Moriarty is open about his intention to murder Holmes, but the latter mocks his lack of originality in means of death. If their positions were reversed, he says, he'd put a needle in Moriarty and start slowly removing his blood, so Moriarty would die by inches, fully conscious the entire time. "The needle to the last, eh Holmes?" says Moriarty, but of course he can't resist inflicting this very form of death on the detective. This elaborate process gives Lestrade and Watson time to arrive and rescue Holmes. Nearby, a gunfight breaks out when police attempt to rescue Tobel, and Moriarty escapes in the confusion. Holmes, though weakened, has anticipated Moriarty and has a gun on him. However, Moriarty runs through his special escape tunnel, complete with a trap door that will send anyone following Moriarty plunging sixty feet into the sewers below. As soon as he disappears, we hear a long scream and a splash. Unfortunately for Moriarty, Holmes had found the trap door and left it open.In an epilog, Holmes and his companions watch RAF bombers on their way to Germany, equipped with the new bomb sight. Charlotte is now Mrs. Tobel. Holmes waxes Shakespearean, quoting from John of Gaunt's "Sceptred Isle" speech in Richard II. | good versus evil, murder | train | imdb | When the scientist and his formulae goes missing, Holmes becomes involved in a rush to rescue the man and prevent nemesis Professor Moriarty getting hold of the rest of the formulae.Although I'm not a major fan of the Holmes films where he finds himself in the modern day world, this is one of the better ones I have seen thus far.
Atwill's Moriarty is good but I always saw him as a leaner, meaner man - Atwill looks more like Watson than Sherlock, even though their battle of wits is good I never felt that he was any match for Holmes, never mind being a nemesis.Overall I enjoyed this film.
Sherlock Holmes (Rathbone) and Watson (Bruce), the detecting duo living in 223 Baker Street , again are up against their old enemy Dr. James Moriarty (Lionel Atwill , he earlier performed Mortimer in Hound of the Baskerville , 1939).
Sherlock Holmes (Basil Rathbone) and Dr. Watson (Nigel Bruce) have been hired by the British government to protect a Swiss scientist Dr. Franz Tobel (William Post Jr.).
Unfortunately the evil Dr. Moriarty (Lionel Atwill) is working with the Nazis and will stop at nothing to get the doctor--and his invention.Moving Sherlock Holmes to the 1940s sounded like a stupid idea but it does work for one reason--Basil Rathbone.
Sherlock Holmes (Basil Rathbone) begins this story in disguise, helping to smuggle famous physicist "Dr. Franz Tobel" (William Post) out of Switzeralnad and under the watchful eye of the Nazis, who want his bomb sight plans.
It's pretty sad, too, when the usual dim-witted Dr. Watson (Nigel Bruce) has to rescue his boss from certain death a couple of times!Yes, there are some credibility issues in this story but if you can put your brain on hold a few times, it's a fun film to watch....and it looks beautiful, thanks to the great restoration job done on this DVD.
The evil Professor Moriarty plots to gain control of both SHERLOCK HOLMES AND THE SECRET WEAPON which could win the war for the Nazis.Basil Rathbone & Nigel Bruce return to the screen as Sir Arthur Conan Doyle's beloved detective and sidekick, Sherlock Holmes & Dr. Watson, in this entertaining little mystery.
Indeed Rathbone, as the cerebral ego, and Bruce, as the bumbling id, seem to actually become the characters they are creating, gleefully keeping their faces straight while engaged in the most utter nonsense.Dennis Hoey makes his first appearance as the dogged Inspector Lestrade of Scotland Yard; teamed with Bruce, these two good-hearted but pedantic fellows actually get to save the intellectually superior Holmes' life twice.
Lionel Atwill, a master of the sinister who deserves more recognition for his talent, does a fine job as Moriarty, making the wicked rascal a foe worthy of Holmes' steel, relishing the scenes in which he gets to inflict torture & pain.William Post Jr. and Kaaren Verne play the Swiss scientist and his girlfriend who are at the heart of the mystery, but they're not given much to do.
Sweet Mary Gordon makes a token appearance as Holmes' landlady Mrs. Hudson.Rathbone spices up his already classic interpretation of Holmes by getting to appear in disguise three times during the story, thereby revealing to the viewer that the great sleuth was a bit of a ham actor at heart.This film--which is based very loosely on elements in Sir Arthur's short stories 'The Dancing Men' and 'The Empty House'--followed SHERLOCK HOLMES AND THE VOICE OF TERROR (1942) and preceded SHERLOCK HOLMES IN WASHINGTON (1943)..
It was an interesting enough idea, I suppose, to set a series of Sherlock Holmes films in the "modern day"...at the time, the WWII era...but those who are familiar with the first two Rathbone/Bruce films might be thrown off by it.
The Fox films were Victorian period pieces, whereas Universal took the opportunity to utilize Sherlock Holmes in the series of modern-day B-movies into which this entry falls, several of which were fairly standard wartime propaganda...pretty much the order of the day for Hollywood films circa 1942-1945.While the film may boast some entertainment value, the plot is actually quite silly.
Holmes relies just as heavily upon chance and educated guesses as he does upon deduction, and it's the bumbling Watson (who was never bumbling in the original stories) who inadvertently provides the solution to the major stumbling block (despite the fact that the solution should have been obvious to someone as brilliant as Sherlock Holmes).All in all, this film has its moments, but fails to live up to the legend of the world's greatest detective.
Sir Arthur Conan Doyle wrote a fair number of Sherlock Holmes accounts but the popularity of the famous detective insured that sequels in both print and on film would extend far beyond the author's works.In "Sherlock Holmes and the Secret Weapon," Holmes, Basil Rathbone, patriotically serves British intelligence in order to secure a Swiss scientist's desperately needed bombsight.
The film is from 1942 and I wonder if the producers and writers realized how vital bombsight secrets were (the American Norden bombsight was guarded almost as zealously as the new radar sets that would change the course of World War II).Holmes and his faithful but expectedly bumbling companion, Dr. Watson, Nigel Bruce, battle Dr. Moriarty, Lionel Atwill.
In the Universal series of modern Sherlock Holmes stories with Basil Rathbone and Nigel Bruce, SHERLOCK HOLMES AND THE SECRET WEOPON is not one of the top films - although it is entertaining.
Arthur Conan Doyle's super sleuth Sherlock Holmes(Basil Rathbone) and his assistant Dr. Watson(Nigel Bruce)work seriously to save the British war effort.
Holmes is again up against his arch enemy, Professor Moriarty(Lionel Atwill), who is now working for the Nazi and they must be stopped for getting their hands on information concerning a crucial new bomb site.
They perhaps should have realised that basically people don't change, that what was entertaining to ordinary people in 1942 would still entertain a select group now (2005) and tightened up on the script and sets!Lionel Atwill was going through his Hollywood rape court case at about this time, I wonder if it was that or particularly effective make-up that made him look so haggard as Moriarty?The important thing about SW though is that this was the first Holmes film Roy William Neill directed, I think he directed all of the rest and produced all but one, thus establishing a marvellous ambient continuity..
But when the inventor is kidnapped right from under the nose of Scotland Yard, Holmes discovers it's not just the Nazis he has to contend with but his old nemesis Professor Moriarty (Lionel Atwill) as well.The second in Universal's highly enjoyable Sherlock Holmes series is also the first directed by Roy William Neill, who would direct every Universal Holmes film after this.
Any movie that features Basil Rathbone vs Lionel Atwill is one where you will be entertained.For some reason, as with other WWII Holmes movies, a lot of reviewers seem to really hate the idea of Sherlock Holmes fighting against the Nazis or for England.
SHERLOCK HOLMES AND THE SECRET WEAPON (Universal, 1942), directed by Roy William Neil, the second in the newly formatted series by the studio, makes this the fourth in the series to star Basil Rathbone and Nigel Bruce in their now legendary screen roles.
Aside from Neil's initial assignment as its series director, SECRET WEAPON also introduces Dennis Hoey as Inspector Lestrade and the return of Holmes' arch rival, Professor Moriarty, in the figure of Lionel Atwill (minus his mustache), a role previously enacted to perfection and nearly stolen by George Zucco in the gas lit London 1890s setting edition of THE ADVENTURES OF SHERLOCK HOLMES (20th-Fox, 1939).For Sherlock Holmes latest adventure some fifty years later, SECRET WEAPON opens in Switzerland where Holmes (Basil Rathbone), the master of disguises and deductive reasoning, is seen as an white haired old man entering a pub coming to the table to interest Braum (Robert O.
Holmes, Watson and Inspector Lestrade (Dennis Hoey) race against time preventing the "secret weapon" from reaching the Nazis, or worse, Moriarty, as he attempts to figure out Tobel's "dancing men" message code.Others appearing in the cast include Philip Van Zandt (Kurt); Henry Victor (Frederick Hoffner); Michael Marke (George); Harry Cording (Jack Brady, one of Moriarty's men); and of course, Mary Gordon as Mrs. Hudson, Holmes' landlady.An slight improvement over its previous installment, SHERLOCK HOLMES AND THE VOICE OF TERROR, with the writers resuming its London blitz World War II setting once again as its basic theme source, once again borrowing portions from Conan Doyle's original story.
Basil Rathbone and Nigel Bruce return as Sherlock Holmes and Dr. Watson in this superior tale of Holmes battling the 3rd Reich and the mastermind genius of Professor Moriarty.
Sherlock Holmes and the Secret Weapon (1943) *** (out of 4) Second in Universal's series has Holmes (Basil Rathbone) and Watson (Nigel Bruce) trying to protect a scientist who has created bomb sight, which needs to stay away from German hands.
Although the previous effort The Voice Of Terror had its limitations and annoyances I still felt that the transition from Fox to Universal Studios, and Victorian in to modern day, was still a success of sorts, yet this film (The Secret Weapon) takes two steps back and feels like it was wrote in two minutes flat.What should be a flag waving trumpet blowing return of Moriarty, is something of a damp squib, we are fed the Anti-Nazi propaganda for so long we barely have time to enjoy the return of the principal rotter of the series, this is unforgivable since up to the point of Moriarty appearing we have been subjected to boorish dialogue, preposterous plot strands, and a sense of going thru the motions from all involved.The final 15 minutes saves the film with Holmes & Moriarty going at each other like vipers, but it still doesn't quite get the bad taste out of the mouth, I'm dusting off my copy of Baskervilles to remind me that good work exists in the series.
Before joining director Neill on the set of "Frankenstein Meets The Wolf Man" as the Mayor, Lionel Atwill played the arch-rival of Sherlock Holmes, Dr. Moriarty, in this 1942 film.
"The Secret Weapon" isn't set in Sir Arthur Conan Doyle's times: the story is transferred to the 1940s and Holmes finds himself battling both Moriarty and the Nazis.
Many a film plot was about bomb sights.In Sherlock Holmes And The Secret Weapon, Victorian Holmes is called up from the past to World War II to protect his blessed isle.
Still the man needs rescuing.The film is based on an Arthur Conan Doyle short story The Dancing Men and what that is all about is a kind of cipher that both Holmes and Moriarty work out almost simultaneously.
I will say this for Sherlock Holmes And The Secret Weapon, at least Doctor Watson isn't the boob that Nigel Bruce played him as in some of the films.
One of the results is "Sherlock Holmes and the Secret Weapon," starring a top Holmes, Basil Rathbone, along with Nigel Bruce, Lionel Atwill, Dennis Hoey and Kaaren Verne.
Dr. Franz Tobel, a Swiss scientist who has invented a remarkably accurate bomb-sight, is rescued from the clutches of the Gestapo by the brilliant Sherlock Holmes (Basil Rathbone), and taken to England.
In order to protect his invention from Nazi spies, Tobel divides it into four parts and sends each piece to a different scientist in London for manufacture.When Tobel is abducted by Holmes' arch enemy, the evil Professor Moriarty (Lionel Atwill), who hopes to get his hands on the bomb-sight for his own personal gain, Holmes (with help from trusty sidekick Watson) must use his incredible powers of deduction to thwart the maniac's plans.Although it took me a while to get used to the rather strange notion of Holmes and Watson starring in what is essentially a piece of wartime propaganda, once I had become accustomed to seeing the detective in full-on 'For King and Country' mode, I finally began to enjoy myself (thanks in no small part to yet another fine performance from always reliable Rathbone).The mystery to be solved might not be as quite as engaging as some of Holmes's other cases (the whole 'Dancing Man'-code thing is hardly riveting stuff and not nearly complex enough to stump the greatest detective of all time for very long), but there is still just about enough intrigue and suspense to make this one worth a go.
Basil Rathbone and Nigel Bruce as Sherlock Holmes and Dr. Watson respectively, the second of the Universal series, where it's again established by means of a written prologue that the famed detective is legendary and spans time.
In this offering, Holmes goes through a few different disguises (with Rathbone's very prominent features, is it likely that people really wouldn't recognize his true identity?) as he protects a physicist from the hands of the Nazis as well as from Holmes' greatest nemesis Professor Moriarty (now played by Lionel Atwill).
It could be the fun that Basil Rathbone has in "The Secret Weapon" wearing several disguises which fool the bad guys and Holmes's assistant Nigel Bruce (Watson) but not the housekeeper (Mary Gordon).
In this 1942 Sherlock Holmes movie, the great London detective (Basil Rathbone) and his assistant Watson (Nigel Bruce) have to fight their arch enemy Prof.
While definitely being one of the lesser Sherlock Holmes films starring Basil Rathbone and Nigel Bruce, The Secret Weapon is nonetheless an enjoyable film about Holmes in a new setting(giving up Victorian London for World War II London).
Dr. Tobel has invented a revolutionary bomb sight that will change the course of the war against the Germans if Sherlock Holmes can outwit Professor Moriarty, played by a rather blustery Lionel Atwill.
It is up to Sherlock Holmes and Dr. Watson to keep Tobel & his secret weapon safe from Moriarty and the Nazis.The mystery takes a few twists and turns that are unexpected.
Basil Rathbone and Nigel Bruce team up for the fourth time as Sherlock Holmes and Doctor Watson for Universal Studios's second entry in their 1940's Holmes series, "Sherlock Holmes and the Secret Weapon." Based on a story by Sir Arthur Conan Doyle, "The Dancing Men," the plot revolves around a scientist, Dr. Franz Tobel, who is secretly brought to London from Switzerland by Holmes; Tobel has invented a bomb-sight that will provide a strategic military advantage to the side that possesses it.
As much as I appreciate Universal's decision to resurrect the Rathbone/Bruce Sherlock Holmes films during World War Two, I can't agree that fighting Nazis was the master detective's true calling.
In 'Sherlock Holmes and the Secret Weapon (1943),' there is never any doubt as to who is performing evil deeds against the Allied cause, and Holmes' battle of wits with long-time nemesis Professor Moriarty plays out more like a James Bond flick than anything else.
Fortunately, for those who can't stomach the war propaganda, you need only wait until 'Sherlock Holmes Faces Death (1943)' for the detective to return to what he does best.Swiss scientist Dr Franz Tobel (William Post Jr.) has just escaped to London after Nazi spies attempted to steal his idea for a revolutionary bomb-sight, a weapon with the potential to alter the course of the war.
When Tobel goes missing, it falls to Sherlock Holmes and his bumbling sidekick Dr Watson (Nigel Bruce) to follow the clues, and it doesn't take long to ascertain that the man behind this sinister business is none other than Holmes' nemesis, Professor Moriarty (Lionel Atwill).
The film, directed by Roy William Neill who helmed all but one Universal Holmes film was ostensibly based upon Doyle's "The Adventure of the Dancing Men," though there is little resemblance aside from the complex cypher than Holmes and Moriarty must decode {the previous installment, 'Sherlock Holmes and the Voice of Terror (1942)' didn't have much in common with "His Last Bow," either}.It's a pity that Basil Rathbone isn't really well-known outside of his Sherlock Holmes character, and I'd really like to explore the other work in his career.
Sherlock Holmes (Basil Rathbone) and Professor Moriarty (Lionel Atwill) engage in a battle of wits for control of a Switz inventor's newest bomb-sight creation.
Unlike "The Voice of Terror", the previous Rathbone/Bruce film, "Sherlock Holmes and the Secret Weapon" is really very uninteresting and bland, and it's got a rather silly plot also.
Sherlock Holmes (Basil Rathbone) and Dr. Watson (Nigel Bruce) are men out of time in this World War II era mystery, centered on the development of an advanced bomb sight by Dr. Franz Tobel (William Post Jr.).
Add the bumbling Inspector Lestrade (Denis Hoey) of Scotland Yard, Dr. Tobel's love interest Charlotte Eberli (Kaaren Verne), assassins, mysterious scientists & a puzzling coded message & Holmes has his work cut out to keep Dr. Tobel alive so he can deliver his bomb sight...Directed by Roy William Neill Sherlock Holmes and the Secret Weapon was the fourth in a series of fourteen Holmes films made between 1939 & 1946 to feature Rathbone & Bruce as Holmes & Watson.
It's one of the paradoxes of Basil Rathbone's wartime anti-Nazi Sherlock Holmes films (Voice of Terror, SH in Washington, and this one) that while the plots and settings are mostly terrible, he is so good in them.
But, there's also a lot to dislike--the stories are set during the war and are often obsessed with plots involving Nazis and other plot elements that you NEVER would have found in the Conan-Doyle stories--a serious affront to fans of the originals.This film is better than some of the series (such as SHERLOCK HOLMES FACES DEATH) but still pales in comparison to the original Nigel Bruce-Basil Rathbone films made by 20th Century Fox that actually WERE set in the Edwardian/late-Victorian period like the stories.
Basil Rathbone does an impressive job as Holmes and Lionel Atwill is suitably menacing as Moriarty, there is also solid enough support from Nigel Bruce and William Post Jr as Watson and Tobel. |
tt0114194 | The Prophecy | Thomas Dagget, a Catholic seminary student, loses his faith when he sees disturbing visions of a war between angels. Years later, Thomas is a detective with the Los Angeles Police Department. Two angels fall to Earth: one, Simon, enters Thomas' home and warns him of coming events, before disappearing. The second, Uziel, a lieutenant of the angel Gabriel, is killed in an altercation with Simon. Investigating the disturbance, Thomas finds in Simon's apartment the obituary of a recently deceased Korean War veteran named Colonel Arnold Hawthorne and the theology thesis about angels which Thomas himself wrote in seminary. Meanwhile, in Chimney Rock, Arizona, Simon finds the dead veteran awaiting burial and sucks the evil soul out of the body.
The medical examiner informs Thomas that Uziel's body is like nothing he has seen before: it has no eyes, no signs of bone growth, hermaphroditism, and the same blood chemistry as an aborted fetus. Among the personal effects found on the body is an ancient, hand-written Bible, which includes an extra chapter of the Book of Revelation that describes a second war in heaven and prophecy that a "dark soul" will be found on Earth and used as a weapon.
Unknown to Thomas, Gabriel arrives on Earth. Needing a human helper, Gabriel catches Jerry, a suicide, in the moment of his death and keeps him in a state of limbo. Unhappily dominated by Gabriel, Jerry retrieves Uziel's belongings from the police station while Gabriel destroys Uziel's body in the morgue. After finding Hawthorne's obituary, Gabriel and Jerry head for Chimney Rock. Before Gabriel arrives, at the local reservation school Simon hides Hawthorne's soul in a little Native American girl, Mary, who immediately falls ill and is taken care of by her teacher, Katherine.
After finding Uziel's burnt body, all evidence of its oddity now lost, Thomas hurries to Chimney Rock. When Gabriel realizes Hawthorne's soul is missing, he confronts Simon. Gabriel says Hawthorne's soul will tip the balance to whichever side possesses it. Should the rebellious angels win, Heaven will become like Hell with earth in its thrall. Simon refuses to reveal its location, and Gabriel kills him, ripping out his heart. Mary shows signs of possession by the evil soul; she suddenly recounts an incident from Hawthorne's harrowing war experiences in first-person perspective. Meanwhile, Thomas examines Simon's remains and questions Katherine. In Hawthorne's home, he finds evidence of war crimes. Thomas visits a church to reflect and is shaken by a verbal confrontation with Gabriel. He is beginning to understand the nature of the jealous angels who hate humans because God loves them most.
At school, Katherine finds Gabriel questioning the children. After he leaves, she rushes to Mary's home and finds Thomas there. As Mary's condition worsens, Katherine takes Thomas to an abandoned mine where she had seen Gabriel. Inside, they find angelic script and experience together a terrible vision of the angelic war. They rush back to Mary's home, only to find Gabriel and Jerry there. Thomas kills Jerry, who thanks him for the release. Katherine stops Gabriel temporarily when her wild gunshot misses him and blows up Mary's trailer home. The three protagonists flee to a Native American site where Mary can be exorcised. In a hospital ICU ward, Gabriel recruits a new unwilling assistant, Rachel, just as she dies of a terminal illness. He needs her because he doesn't know how to drive.
That night, Lucifer confronts Katherine and tells her that "other angels" have taken up this war against mankind, and since then, no human souls have been able to enter Heaven. He knows of Gabriel's plot to use Hawthorne's soul to overthrow the obedient angels. He also knows that if Gabriel wins the war under his influence Heaven will ultimately devolve into another Hell, which Lucifer considers "one Hell too many". The next day, Lucifer appears to Thomas and advises him to use Gabriel's lack of faith against him. Gabriel arrives and attempts to disrupt the exorcism ritual. Thomas kills Rachel, and he and Katherine fight Gabriel.
Lucifer appears first encouraging the tribe to complete the exorcism. Then he confronts Gabriel telling him that his war is based upon arrogance, which is evil, making it Lucifer's territory. Gabriel taunts Lucifer about his past when he fell from grace; Lucifer tells Gabriel he needs to go home and rips out his heart. Simultaneously Mary expels out Hawthorne's soul, a rancid cloud of evil. The "enemy ghost" starts to attack the people but a bright light from Heaven immediately destroys it. With the threat to his evil kingdom eliminated, Lucifer tells Thomas and Katherine to "come home" with him. They staunchly refuse. "I have my soul...and my faith," declares Thomas. Lucifer drags Gabriel to Hell. As morning comes, Thomas comments on the nature of faith and what it means to truly be human. | comedy, gothic, neo noir, murder, cult, violence, flashback, good versus evil, insanity, psychedelic, suspenseful, sadist | train | wikipedia | null |
tt0073629 | The Rocky Horror Picture Show | Over the opening credits a large set of a woman's lips in red lipstick sing the opening song ('Science Fiction-Double Feature').Brad Majors (Barry Bostwick) and Janet Weiss (Susan Sarandon) are two "normal, ordinary, healthy kids" in November 1974 from the small town of Denton, Ohio whom they first meet in Dr. Scott's college refresher course and fell in love. Now as the movie opens, they are attending the wedding of Ralph Hapschatt (Jeremy Newson) and Betty Monroe (Hilary Labow) in which Brad is Ralph's best man and Janet is the maid of honor. Inspired by the events around him, as soon as the other guests leave, Brad asks Janet to marry him in a song ('Damnit Janet') inside the church and she accepts. Joyous, the couple decide to go tell Dr. Scott the good news.Appearing all through the movie, a Criminologist (Charles Gray) comes on and explains that we are about to embark on a strange journey following the misadventures of Brad and Janet. He mentions that despite the storm clouds gathering, the two decided to go for a long drive in the country anyway even though their spare tire was badly in need of air. He claims that Brad and Janet will have "a night to remember for a very long, time."Back to Brad and Janet, as they drive on, the sun sets and, sure enough, it begins to rain very heavily. Janet is starting to feel ill at ease considering how far out they are and that a bunch of bikers keep passing them on the road and suggests that they should turn back before something bad happens. We hear a loud BANG! and the car skids to a stop.Brad realizes he messed up badly by not refilling the spare tire and suggests that the two of them go to an old castle they passed along the way to call for help. Janet isn't so sure this is a good idea, but Brad talks her into it anyway as there's not much they can do otherwise. As they walk through the rain, Janet tries to shield herself with a newspaper, telling herself through a song that no matter how bad things get, there's always a good side and that things will always get better. ('There's a Light... over at the Frankenstein Place')Soon the two arrive on the front doorstep of the castle. Brad knocks and just as the two were about to leave, the door is opened by Riffraff (Richard O'Brien), a tall, gaunt, balding butler in a stark black suit. He glares at them, further unnerving Janet, though Brad tries to be friendly, introducing himself and Janet and explaining that they need a phone as their car has broken down nearby.The foyer is outlandishly decorated with dark wooden furniture, stuffed dead animals and hunting trophies, and random relics and curiosities. Riffraff explains to Brad and Janet that they've arrived on a very special night as "the master" is having a party, where Brad and Janet meet the equally strainge house maid Magenta (Patricia Quinn), which leads into the infamous song "The Time Warp".The Criminologist comes on and explains the steps to the 'Time Warp' dance.Brad and Janet are ushered into a great hall with a throne and a jukebox at it's far end where conventionists of every size and description wearing tuxedos and party hats are dancing and singing the ('Time Warp'). During the song we are introduced to the gold-sequin-wearing, tap dancing Columbia (Little Nell). All of this is too much for Janet and Brad who try to sneak out carefully. Janet begs Brad to leave as the place is creepy, but Brad simply says that they should stay to watch more "folk dancing." Janet refuses as she's "cold, wet and just plain scared!", though Brad tries to reassure her.Janet turns around to leave and sees Dr. Frank N. Furter (Tim Curry) in full drag regalia, wrapped up in a black cloak. She screams and faints. Frank introduces himself though a song as a ('Sweet Transvestite') from Transsexual, Transylvania". Brad asks him for help, explaining his plight, and Frank smirks and acknowledges that yeah, Brad needs help, and offers him a mechanic at first only to change his mind as "Maybe the rain isn't REALLY to blame" and instead decides to "remove the cause but NOT the symptoms."Frank then goes into an elevator and rises upstairs to the applause of the partying conventionists. Riffraff and Magenta strip Brad and Janet down to their underwear. Brad and Janet then are prodded into the elevator and taken upstairs to Frank's laboratory.Brad and Janet are led out into the center of an observing room where they are put on display by Dr. Frank N. Furter, now wearing a lab coat and long surgical gloves. The Transylvanian conventionists watch the events from an above balcony. Frank N. Furter then walks over to a box-like shape covered by a tarp and throws off the covering to reveal a tank. He shouts for Magenta and Riffraff to set the controls and start the machinery as the room darkens. Frank himself laughs maniacally as he turns knobs, dials, and wheels as fluids pour into the tank and a humanoid form appears slowly, skeleton first, much to Janet and Brad's terror.Carefully, Frank N. Furter leads out the humanoid figure wrapped entirely in bandages and cuts them away to reveal a full-grown man with blond hair, tanned skin, blue eyes and a muscular figure wearing only a skimpy golden bikini over his crotch. Riffraff spins some wheels he shouldn't have while cackling to himself, setting the blond man, known as Rocky Horror (Peter Hinwood), loose. Frank chases Rocky through the lab crying his name as a bouncy song about the creation ('I Can Make You a Man'), Rocky feeling a sense of dread plays. Eventually Frank catches Rocky and scolds him for misbehaving, but says he forgives him as he's beautiful ('Sword of Damocles').Then, the deep freeze malfunctions and Columbia squeals, "Eddie!" A burly, heavyset biker named Eddie (Meatloaf) rides out on a motorcycle, dressed in black leather, singing about his former glory ('Whatever Happened to Saturday Night?/Hot Patootie') The conventionists eat it up, enjoying the show, but Frank becomes wrathful that Eddie stole his thunder and takes out a pickax, chasing Eddie into the deep freeze where he is hacked to bits. This puts everyone, even the giddy conventionists into a shocked and somber mood. Frank, tires to pick things up by talking about how beautiful Rocky is in a song ('I Can Make You a Man, reprise'), leading away his new creation to a "bedchamber" in a wedding-style procession.The Criminologist comes on again and mentions that Brad and Janet are in trouble now as they are being led away to separate rooms for the night.While separated, Frank N. Furter comes into Janet's bedroom, dressed as Brad, and seduces Janet. Then he goes into Brad's room, dressed as Janet and tries to seduce Brad. Brad puts up a little bit of a fight, but is talked into it. Afterwards, Janet feels frightened and used and goes to look for Brad. Meanwhile, Rocky escapes from the bedchamber and is running loose, chased by dogs through the rain outside the castle by the gleeful Riffraff. While wandering the castle lost and afraid, Janet encounters Rocky hiding in his tank at the lab. Seeing that he's injured, she tears her petticoat to bandage his wounds, pausing as she realizes she's aroused.The Criminologist comes on and mentions the complexity of human emotions and the dangers of lust. He fades away to Magenta and Columbia who are secretly watching Rocky and Janet in the tank via a monitor in their room.Janet tries to seduce Rocky, explaining that she used to be a virgin, but now she finds she really likes sex and wants it NOW ('Toucha Toucha Touch Me'). Rocky is more than happy to oblige. Meanwhile, Columbia and Magenta watch in secret from the closed circuited TV, laughing and playing with one another, making fun of the events unfolding before them.As the two women enjoy one another, Frank N. Furter beats up Riffraff for letting Rocky loose, while Brad watches with horror. An alarm goes off and Riffraff looks on another TV monitor and mentions that someone is outside by the main gate as they all look and see a middle aged man in a wheelchair buzzing the intercom at the front gate. Dr. Everett Scott (Jonathan Adams) has arrived at the castle. Brad recognizes his old teacher and is happy to see him, but Frank N. Furter is angry that the two know one another, recognizing Dr. Scott as a federal agent investigating UFOs, suspecting Brad and Janet are actually spies. Brad denies this, explaining that Dr. Scott is his science teacher from Denton High, but Frank doesn't believe him.Meanwhile, Dr. Scott enters the castle and finds himself alone in the 'zen room' filled with various smoldering insence. Frank N. Furter takes Brad to the lab where he turns on a powerful magnet to drag Dr Scott's wheelchair up to them... with Dr. Scott still inside it. The clunk of Dr. Scott's wheelchair arriving wakes the sleeping Janet and Rocky who sit up in shock. Everyone in the room is frightened, confused and hurt to see one another here. Magenta appears up and announces that dinner is ready. Attempting to handle things with grace, Dr. Frank N. Furter dismisses everyone for dinner, informing them that formal attire is optional as he stomps off enraged.Everyone meets in a grand dining room for a dinner of roasted beef and vegetables in honor of Rocky's Birthday. Frank demands that everyone sing Rocky "Happy Birthday." Dr. Scott reveals in a song ('Eddie's Teddy') that he's not here to investigate Frank and his household, but to look for his nephew, Eddie, who went missing with a cryptic cry for help in a letter being the last contact he had from him. Sure, Eddie was a no good kid, but he's still family. In response to this, the tablecloth is pulled off the table to reveal Eddie's hacked-up body in a glass case... and the fact that they were being served roast Eddie for dinner. Brad and Dr. Scott are paralyzed with terror, and Janet runs to Rocky's arms. Frank is outraged, slapping Janet. Janet runs away with Frank chasing after her, encouraging her through a song ('Once in a While') to stop sleeping with everyone else as she's now his.Janet, followed by Frank N. Furter, Rocky, Brad, and Dr. Scott end up in the lab again. Frank pulls a switch to "glue" everyone's feet to the floor but his. Everyone tells Frank he's a "Hot dog." In response, he simply flips a switch and turns them all to stone. Columbia comes in and tells Frank he's gone too far this time as now people are really hurt. Frank N Furter simply responds by turning Columbia to stone, too. He then tells Riffraff and Magenta to prepare for the floor show.The Criminologist comes on and hints that in this place where nothing's as it seems, the Floor Show is going to be something very shocking.The next scene we see the statue versions of everyone on stage, now all wearing fishnets, makeup, a thong and the same bustier. One by one they are unfrozen, and they each sing and dance a song ('Floor Show') about how they've changed since they came here. Rocky and Columbia sing about their past times ('Rose Tint My World'). Frank N. Furter, Brad and Janet sing their own version ('Fanfare/Don't Dream It'). Dr. Scott is accidentally unfrozen and realizes that this place is a trap and everyone should run while they still are sane enough to escape. Frank N. Furter comes out like a prized showgirl and sings a solo, starting an orgy in a swimming pool that is uncovered as he sings. After the orgy, Frank N. Furter sings a song praising his wild and untamed household ('Wild and Untamed Thing').This song, however is interrupted by Riffraff and Magenta, now wearing strange uniforms and armed with laser ray guns. Riffraff informs Frank that it's all over as his mission was a failure due to Frank becoming too extreme. He declares that Frank is now his and Magenta's prisoner as he has been made commander, and that they're going back to their home planet of Transylvania in the Galaxy of Transexual immediately. Frank is happy for this, singing about how long he's been wanting to go back to the homeland he was exiled from ('I'm Going Home'). Riffraff stops him again and explains that only he and Magenta are going home; Frank N. Furter is to be killed as Riffraff replies: "say hello to oblivion". Riffraff points a ray gun at Frank, but Columbia screams in an attempt to save Frank. Riffraff quickly turns around and kills her. Riffraff then kills Frank as he tries to run away. Rocky, seeing his creator fall, grabs Frank and climbs the set in the background of the stage, crying in rage and pain. It takes several shots from the ray gun, but Rocky is killed and falls into the pool where he and his creator float dead.Riffraff turns to Brad, Janet and Dr. Scott and tells them to leave now while they still can and they do so. Meanwhile, in a now empty house, Magenta and Riffraff celebrate going home as an incestuous relationship is implied. Brad and Janet, carrying Dr. Scott, escape just as the castle explodes and flies away under a rainbow and blue skies of dawn back to Riffraff and Magenta's home planet, leaving Dr. Scott, Janet, and Brad writing on the charred ground, still in drag from the floor show as it flies away into space. (In some versions the three of them sing one final song about loss of innocence called 'Superheros'.)The Criminologist comes back one last time with the somber, iconic lines describing the flying away of the house:"And crawling... on the planet's face... some insects... called the human race. Lost in time... and lost in space.... and meaning." | comedy, murder, cult, insanity, psychedelic, queer | train | imdb | null |
tt1017460 | Splice | Genetic engineers Clive Nicoli and Elsa Kast hope to achieve fame by splicing animal DNA to create hybrids for medical use at the company N.E.R.D. (short for Nucleic Exchange Research and Development). Their work previously yielded Fred, a dog-sized vermiform creature intended as a mate for their female specimen, Ginger. After successfully mating them, Clive and Elsa plan to create a human-animal hybrid that could revolutionize science. Their employers Joan Chorot of N.E.R.D. and William Barlow forbid them to do this. Instead, they are to find and extract proteins used for commercial drug production from Fred and Ginger. Clive and Elsa pursue their own agenda in secret. They develop a viable prepubescent female creature.
Although they had planned to terminate the hybrid before it reached full term, Elsa persuades Clive to let it live. They discover that she is aging at a vastly accelerated rate. Elsa discovers that the creature is undergoing mental development such as that of a young human child. Elsa names the creature "Dren" after the creature spells out NERD, having seen the letters on Elsa's shirt.
After moving Dren to a new location for fear of discovery, they find she has a dangerously high fever. In an attempt to save her they place her in a large industrial sink full of cold water. Clive places a hand around Dren's neck and pushes her under the water, seemingly drowning her. However, it is found that Dren is amphibious.
While studying Dren, Elsa and Clive neglect their work with Fred and Ginger. At a highly publicized presentation of their work, Fred and Ginger savagely fight to the death. It is subsequently discovered that Ginger had spontaneously changed to a male, but Elsa and Clive failed to notice because they were focused on Dren.
Elsa forms a motherly bond with Dren. After Dren jumps on Clive's brother, Gavin, they move her to an isolated farm. There, Dren displays carnivorous tendencies and retractable wings. She grows into adolescence and becomes bored with being locked up in the barn, but Elsa and Clive fear that letting her outside might lead to her discovery. Clive realizes that the human DNA used to create Dren was Elsa's, not from an anonymous donor as Elsa had told him. After Dren kills a cat and steals Elsa's keys Elsa restrains Dren and removes her stinger, using it to synthesize the protein for which they had been searching.
Meanwhile Dren and Clive have developed a mutual attraction. Elsa discovers them having sex in the barn and becomes upset. Clive accuses Elsa of never having wanted a "normal" child because of her fear of losing control; instead she chose to raise one as an experiment, where control could be assured. Deciding the only solution is to terminate Dren, they return to the farm and find Dren apparently already dying.
William Barlow discovers human DNA in Dren's protein samples and arrives to investigate. Elsa tells Barlow that Dren is dead and buried behind the barn. However, Dren, having metamorphosed into a male, rises from the grave and attacks the group, killing Barlow and Gavin before raping Elsa. Clive attacks Dren to save Elsa, but Dren overpowers him. Elsa intervenes and is about to kill Dren, but she hesitates, which allows Dren to kill Clive. Elsa then kills Dren.
Elsa is later informed that Dren's body contained numerous biochemical compounds for which the company has begun filing patents. Joan offers Elsa, now visibly pregnant with Dren's baby, a large sum of money to go through with the pregnancy, which Elsa accepts. | violence, comedy, murder, romantic, flashback | train | wikipedia | That it remains intellectually stimulating, even when the surface-area film dips into more traditionally hokey horror territory, is its greatest strength.What's so interesting about the story, in spite of what the trailer suggests, is that the creature artificially spawned by genetic engineers Clive and Elsa (Adrian Brody and Sarah Polley) is not an antagonist for the vast majority of the film.
Her general lack of dialogue sometimes forces the performance to rely a little too heavily on pantomime, but that we can both feel for and fear Dren simultaneously is a testament to the range of the actress.Perhaps it's because "Splice" nails the big performances and the big ideas, and because the gears turning behind the action are so consistently fluid, that it's all the more apparent when it stumbles over little things, like stilted motivation issues, and superfluous, grating secondary characters.
It is a film with very few characters, but every moment not spent on that central dynamic feels like time wasted.Still, that minor gripe is forgivable because "Splice" has two hugely important and rare qualities for modern horror—Original thought and fearless storytelling.
Maybe, like me, potential moviegoers just saw a trailer for another crappy horror movie instead of the interesting, offbeat experiment it is.It's Warner Brother's loss, and the audience's..
Vincenzo Natali's visually intense direction is also worth mentioning, and he clearly enjoys playing with a generous budget as compared with his previous features like Cube.This is, however, no modern masterpiece – the plot becomes predictable and contrived in the final third, the minor characters are little more than stereotypes (lax young brother, venal bosses) and the comedic elements of the film don't always sit comfortably with the horror aspects (there is, however, a notable exception in a hilarious scene towards the end).
THis specific plot started with a scene involving the creature and the character played by Adrian Brody, and it was a scene that didn't quite work because there wasn't enough of a build up towards something like that happening.
On top of that the movie goes even farther into absurdity at the conclusion, involving the character played by Sarah Polley and the creature again, taking much of the intelligence of the film out of the equation.In my opinion, the director was onto something in the beginning but then took the story into an unnecessary direction that might've still worked if there had been some real build up to those points which led to the conclusion.
And rounding out this prolific bunch is David Lynch's "Eraserhead," a hauntingly surreal horror film that not only presents parenthood with fearful uncertainty, but treats acts of sexuality and procreation with a metaphorically clinical (but never explicit) disgust.Vincenzo Natali's "Splice" falls somewhere within this noteworthy pantheon of mad science, moral/ethical conundrums, and icky special effects.
For a while, the film plays like something closer to an art-house feature (especially given the presence of character actors like Adrien Brody and Sarah Polley) with intriguing ideas and a solid FX budget.
There are missteps along the way, but for the most part, this is a solid little sleeper.Clive (Brody) and Elsa (Polley) are young scientists who have made a breakthrough in artificial life: two blob-like creatures (one male, one female) with the ability to manufacture an artificial protein for the purpose of nourishing livestock.
Driven by curiosity, the duo wind up creating Dren (Delphine Chaneac), a creature whose accelerated life cycle prompts the creepily maternal Elsa to keep her as part of a more personal "experiment." "Splice" contains subtle, well-played allusions to bad childhoods, long-term psychoses, and the shifting roles of parents in the eyes of children (Clive starts off as vehemently oppositional; later, he becomes a reluctant accomplice who ultimately develops a bizarre affection for the creation), not to mention the tension between parents amid the child-rearing process; watching this trio interact supplies most of the film's compelling, hypnotic moments.
Playing of God. Clive Nicoli (Adrien Brody) and Elsa Kast (Sarah Polley) are scientists of the Newstead Pharmaceutics researching the splice of DNA from different animals to form new genetic beings and find medical benefits to mankind.
"Splice" is a dramatic sci-fi horror film with the story of two young unethical scientists that decide to play God. The plot is unoriginal but is attractive and engaging, specially because the trio formed by Sarah Polley, Adrian Brody and Delphine Chanéac.
Well,I was amazed to be honest,literally amazed when I saw the trailer because it's been a while since I saw a movie made on the same lines as the cronenberg classics.The "man creates rare specimen-turned frankenstein" type of films was widely used in the 70's and most importantly the 80's and I kinda liked that category of sci-fi thrillers so it took me almost 8 months till I finally got my hands on it and thought I was gonna see a typical sci-fi thriller which takes you all the way,but I did'nt see what I expected...The plot revolves around two scientists,a couple,with a taste for doing the extraordinary and finally go for it when the try to splice human with animal DNA against the orders of their superiors which proves a touch costly when the result turns out to be an animal-human hybrid which looks all but friendly,initially it turns out to be friendly but as it grows...things change.My heart tells me to tell you more about the unexpected twists and turns the story takes but I just don't wanna spoil the thrills which I experienced and trust me it's something like never before...When I was seeing this movie I kinda had that perpetual deja vu maybe because it gave me that lurch in the stomach,that kind of feeling you had when you saw classics like "The Fly"..Well ,the reason why I am not giving it an 8 or a 9 is mainly because of the casting..Sarah Polley was anything but impressive in her role,she lacked that energy or enthusiasm of a rogue scientist and was mostly irritating,Adrien Brody did'nt look like a circumspect rogue-scientist,in fact he had that Mr. Nice guy look all through the film but still impresses and I still feel that the role of adrein brody's brother in the film could have been given more screen time to add that moral edge to the movie..Splice is a highly absorbing,engaging and even thrilling sci-fi flick which packs a good punch and carries a rare originality through it's story and screenplay.I could have given it an 8 or a 9 but for the casting.I still give it a decent 7/10..
The whole film has a pulse unlike anything I have seen from the genre in recent years (outside of the enigmatic Avatar), and its low budget grittiness helps the tones and ideas of the picture go a very long way.It is because of these elements that Splice rises out of the gluttony of modern horror and science fiction films.
Much like other great science fiction titles, Splice makes the audience think very hard about the morals being broken at any given time, the consequences of the characters' actions, and the very nightmare before them of whether a splicing experiment gone wrong like this one, could actually happen in reality.If there is anything wrong with the film, it is the final act.
Ironically, a lot of these last scenes are in the television spots that make Splice look like any other horror movie, while the rest of the film tries its hardest to distance itself from everything else.The various creatures that appear during the film, specifically the differing evolutions of the spliced together science project nicknamed Dren, are the true marvel of the film.
The main characters, Elsa and Clive (played by Sarah Polley and Adrien Brody, respectively) were both likable and detestable, and yet all the time believable throughout the film.
The character's themselves were even named after pivotal actors in Bride of Frankenstein (Colin Clive and Elsa Lanchester), an homage to one of the great creatures of Science Fiction films, and a source of inspiration to the director himself.
The pacing of the film started almost magical, like ET, then quickly picked up pace, paralleling the frenetic tension the scientists themselves must have been feeling.It wasn't a perfect movie by any means and it certainly wasn't one of my favourites in recent years, but I enjoyed it.
"Splice" is a science fiction cum horror film concerning Clive (Adrien Brody) and Elsa (Sarah Polley), two young rebellious scientists who are told by their employers to halt their groundbreaking work that has seen them produce new creatures with medical benefits by splicing together multiple organisms' DNA.
Overall, the casting was not credible enough."Splice" strength lies in its strange or rather unusual storyline, amazingly stupid or unique creature design and it's ending, where a lot happens to give an entirely new significance to the movie.
I rated the movie 2, I basically never vote lower than 5.This movie had a lot of potential in that it explored a lot of ideas - I'm going to stretch and say they are, abortion, bio-ethics, sex/gender roles, child abuse, insanity, incest, rape, bestiality, pornography etc.However, it was so predictable, the characters were so foolish and silly that my wife and I just started laughing at various scenes.I'm a big fan of sci-fi and horror so I forgive a lot but this was unforgivable.
Although the main characters made obviously stupid decisions, the movie was decently shot and it made sense.But honestly, beyond that when the plot finally plunges off the cliff, I just felt like walking out of the cinema if not for the fact that I was in the middle of the row.This film is one of the worst I have watched in a cinema-setting.
Splice (2009) *** (out of 4) Interesting, if not totally successful, sci-fi about scientists (Adrien Brody, Sarah Polley) who are working with cloning but decide to take it a step further and add human DNA.
"Splice" is an enjoyable and ethically challenging movie, and it does force you to confront within yourself all of these ethical dilemmas that are around us right at this very moment.Adrien Brody and Sarah Polley are the stars as Clive and Elsa - two young scientists working for a company looking to genetic research to develop now wonder drugs by "splicing" together the genes of various animals.
The scene in which Clive and Dren have sex was troubling on a number of fronts, and really - in the overall context of the movie - served virtually no purpose except to make me (and I suspect many who watched the movie) think "gross!" I also have to say that, while I liked Brody and Polley and there's nothing in particular about their performances that I can point to that didn't work, for some reason I still found them less than credible as super-scientists.Still, even though the ending weakened the movie considerably in my opinion, I still enjoyed it, if only because it made an effort to deal with the hot-button issues we still face in a thought-provoking and entertaining manner.
No surprises then that the experiment is a total mess, quickly evolving from a phallic blob into a fully grown female humanoid with some unique physical attributes and an unpredictable psyche.The main characters' unprofessional methodology isn't the only seriously sloppy thing about Splice: the whole script is a shambles, the opening lab scenes full of incomprehensible scientific hogwash, the latter half of the film seeing Clive and Elsa repeatedly altering personality to suit the clumsy narrative: Clive initially wants to kill his creation, then he tries to help it (smuggling it out of the lab in a cardboard box—great security they have there!), then he screws the genetic abomination on the floor, and then he wants it dead again; Elsa, on the other hand, starts off feeling protective towards the creature (which she affectionately christens Dren), then tries to maim it, is subsequently kind to it, but winds up smashing it over the head with a shovel.
This film introduces most American audiences to Delphine Chanéac who plays the character of Dren, the creation of the two scientists (Brody & Polley), with an eerie animal like performance.
The ethical character in any given scene is quite likely to abandon their conviction in the next scene, although we never really understand why.Splice is an ironically appropriate title for a movie that comes off as an awkward splicing together of drama, parody, comedy, social commentary, and good old-fashioned "monster in the foggy woods at night" horror.
Adrien Brody and Sarah Polley do a fine job in the lead roles to drive the plot forward.While there are things to balk about, there's more thought and image provoking stuff here than you'd find in a dozen typical sci-fi / horror movies.
And despite some occasionally clunky dialogue, the performances are uniformly strong, particularly Polley, giving her all for what ultimately becomes a very silly movie.Brody is solid, but the best part of his casting is that he kinda looks like the result of a gene-splicing experiment in the first place.Sadly, it's all in service of a story that goes completely off the rails in its final act — and sorry, that's about all I can say to avoid spoiling it.
The result is Dren, the first case of human DNA splicing, and the story heads into a twist of family ethics and creature horror movie.Splice has several good points to it.
Psychologically thrilling and terrifying, it would be almost right to call it a thinking persons Sci-Fi. Unfortunately, a few characteristics knock Splice off of that throne, and it stands as something that just barely makes the grade, a few questionable actions and some scenes near the end of the movie all make it hard to swallow, yet still enjoyable.
However considering the movie is still constantly on my mind, long after seeing it I feel like it merits some credit.In the film, we have two brilliant scientists (Polley and Brody) who spend there lives splicing DNA and then the obvious plan to splice human and animal DNA together eventually pops into there heads.
Also the horror movie finale seems too rushed and it comes in a little too late.But despite it's flaws, all the good outshines the bad.It succeeds on it's brilliant and refreshingly original premise despite the fact that the actual end result doesn't fill it out to its full potential.
Unfortunately, the film didn't pull all of its elements together for a coherent entertainment, but for at least two-thirds of it, my interest was held.The product of the genetic 'splice' in this movie is called Dren (nerd spelled backwards) and she is an effective combination of real actors and special effects.
Of everything I saw at Sundance this year (like A Prophet, which was actually an amazing movie) I expected this one to NOT get a major release.But don't worry, Splice is getting re-edited, so maybe all the bad parts will get cut, leaving the 'just OK' parts of the film in.
Splice rewards the patient fan who loves what is possible within the horror and science fiction genres but who also craves something thoughtful, unique, unsettling, and daring too.I preferred "Let the Right One in," myself and I think most people who also enjoyed "Let the Right One In" and found it to be a welcome addition to what's possible within genre films due to a greater emphasis on asking interesting questions (many critics thought it was refreshing and thought-provoking) will also find a lot to like in Splice.
It should also be noted that the film is a rich and mature study of science going a long way to being deeply flawed, a rich character study depicting two people whose lives outside of their work parameters become inexplicably entwined with their lives inside of their work parameters; culminating in a stretch reminiscent of all those shoddy teenaged orientated horror flicks you've seen, but this time with great depth and involvement added instead.The two scientists are Adrian Brody's Clive Nicoli and Sarah Polley's Elsa Kast; hardworking, dangerously advanced people working at an American company named, perhaps somewhat unrealistically, NERD – an abbreviation for Nucleic Exchange Research and Development.
Maybe the finished product is completely different from what we saw, because it makes no sense for the Splice I saw to be getting good reviews.Sarah Polley and Adrian Brody are normally great actors so I'm really not sure what they were thinking when they signed on for this.
This "film" was unbelievably bad I have never left a movie early and I didn't with this but I tell you I spent a good amount of time looking too the door and too my watch hoping and waiting for an ending.
(I think you can get it on Blu Ray).I don't usually review movies, but actually Splice is so bad I had to comment on it - and especially registered on IMDb just to do so.Save you money and time - look for something better to watch..
Now with Splice, his first feature in years, he gives us a good premise about two doctors who are trying to create some new organisms and stumble upon a possibility of making a human-animal hybrid, they do, and then it becomes like a child for them - or at least the 'mother', and then later the father becomes attached as well.Natali's film is unlike so many other horror movies nowadays because it's about SOMETHING.
Every minute I watched this film I thought to myself just one thing, "WHY DON'T YOU JUST KILL THIS DAMN CREATURE."Splice stars Adrian Brody and Sarah Polley as two scientists on the brink of finding a protein that can cure a variety of terminal diseases.
Sadly, just like this movie, it goes on way too long, and gets worse and worse by the minute.Stay far away from Splice, I haven't been so against a film in quite some time.. |
tt0265349 | The Mothman Prophecies | Newspaper columnist John Klein (Gere) and his wife Mary (Messing) are involved in a car accident. Mary, the driver of the vehicle, swerves her car to avoid hitting something in the road. A brain scan reveals a tumor and she subsequently passes away. Later, John discovers an assortment of mysterious drawings which she created before her death, depicting a strange black winged creature she saw on the night of the accident.Two years later, while driving to Richmond, Virginia, Klein gets lost and inexplicably finds himself far away in the small town of Point Pleasant, West Virginia. Klein's car breaks down, as he makes his way to a nearby house on foot to contact help. The owner of the house, Gordon Smallwood (Patton), reacts violently to Klein's appearance and holds him at gun point. Local police officer Connie Mills (Linney) defuses the situation while Smallwood explains that this is the third night in a row that Klein has knocked on his door asking to use a phone, much to the confusion of Klein. Klein ends up staying at a local motel and tries to figure out how he ended up lost from his original destination.Officer Mills mentions to Klein that many strange things have been occurring in the past few weeks within Point Pleasant. While conversing with Smallwood one day, it is revealed to Klein that he had heard voices from his sink telling him that in Denver, 99 will die. Scared that Smallwood has the same ailment that contributed to his wife's death, Klein takes him to a doctor to get checked out. Smallwood is found to have a migraine, but no serious medical condition. While discussing the day's events at a local diner, Klein notices that the news is showing a story on an airplane crash in Denver that killed all 99 passengers aboard. The next night, Smallwood frantically explains that he had met the voices in his head. The being is named Indrid Cold.Later that night, Smallwood calls Klein and says that he is standing with Indrid Cold. While Klein keeps Cold on the line, Officer Mills goes out to check on Smallwood. Cold answers Klein's questions, convincing him that he is a supernatural being. This episode starts a string of supernatural calls to Klein's motel room. One of these phone calls tells Klein that there will be a great tragedy on the Ohio River. Later, Klein receives a call from Smallwood and rushes to check on him. He finds Smallwood dead from exposure to the elements.The entity described as the Mothman becomes a personal obsession for Klein. He meets an expert on the subject, Alexander Leek (Bates), who explains the nature of the supernatural being and details his own experience with it. As Klein reaches the bridge into town, there is traffic congestion originating from a malfunctioning traffic light. As Klein walks onto the bridge to investigate further, the bolts and supports of the bridge begin to strain at the weight. The bridge starts to come apart, making Klein realize that the tragedy that was prophesised to him was in fact the bridge. As the bridge collapes, Officer Mill's car falls into the water below. Klein jumps in after her and pulls her from the river and up to safety. As the two sit on the back of an ambulance, they see that they have just survived the collapse of the Silver Bridge. The epilogue displays a series of graphics stating that the cause of the bridge collapse was never fully determined. It also states that although the Mothman has been sighted in other parts of the world, it was never seen again in Point Pleasant. | paranormal, boring | train | imdb | Richard Gere stars as a Washington Post reporter who inexplicably finds himself in a small West Virginia town where a series of strange goings-on have been happening.
Bizarre, well-made supernatural thriller is all the more chilling for the fact that it's rooted in actual events.Washington reporter ends up in a small West Virginia town where a strange entity is foretelling of a disaster.Although many critics harpooned this film for its seemingly aimless storyline, it's really a forgivable thing since Mothman is such an atmospheric and slickly-directed film.
The filming locations are good and the moody soundtrack is quite effective.For those who like their thrillers a touch on the X-Files side, The Mothman Prophecies is a terrific choice.*** 1/2 out of ****.
The story of the Mothman is one of the most fascinating I've ever come across, and while The Mothman Prophecies takes a great deal of liberty with the story, it's a terrific film all the same.I've never cared for Richard Gere, but I fully admit that he's very good here.
In addition, we get some fine acting performances from Richard Gere, Laura Linney and Will Patton.Don't be fooled, however, with the "based on a true story" tag line.
(**** out of *****)What a wonderful and rich role for Gere who should maybe experiment more in movies that deal with the realms of the unknown.A much respected reporter for the Washington Post John Klein (Richard Gere) is about to have his life turned upside down when his wife dies in an automobile accident that seems to have been caused by a mysterious flying creature which he never did see himself.
The plot takes Gere to the Ohio/West Virginia border where he meets with the local residents who all seem to be having their troubles with strange lights, weird phone calls and a bird like creature which they call the Mothman.
`The Mothman Prophecies' looks simply `weirdly' gorgeous on the big screen.There is not enough Mothman revealed to the viewer but country folk Gordon Smallwood (the well cast and superbly acted Will Patton) creates a much needed conduit into the effects that the Mothman has on the people of Point Pleasant and this is what the film is really all about - The consequences that the supernatural can have on the psyche of a small backward town's population.
Although the ending is Mothman free it certainly does jolt the emotions and evokes a sort of belittling sympathy for the human beings of this planet.Watch this film and then go read the book for a much better look at really went on.
It's already a strong candidate for best horror film of 2002...and even as a hardcore genre fan, I'd have to put it on my list of favorite horror movies of all time.I had been fascinated by the Mothman myth since 1995, when I first read of its existence in a book of legends and folklore.
The film takes some bizarre, allegedly true events that occurred in the mid-60s in Point Pleasant, West Viriginia and updates the strange phenomena to present day using a somewhat fictionalized story.Richard Gere plays John Klein (a character that I assume is based on real life author John Keel), a Washington Post reporter whose wife dies of a brain tumor shortly after a bizarre, seemingly unexplainable car accident.
If he keeps up, one can see Mark Pellington, Victor Salva, and Alejandro Amenbar doing for the horror/thriller genre what John Carpenter, Wes Craven, and Dario Argento did for it in the 70s.Some critics have been apt to attack the film for its reliance on classic horror movie conventions...as if this is a bad thing.
Yet the best element of The Mothman Prophecies is that, like the films of Hitchock, it is intended for its audience, and continues to engage them long after rolling the end credits.
Arlington Road (1999) and The Mothman Prophecies.This One is a Creepy, Haunting, Freaky Paranormal Story based on Real Events and John Keel's Book of the Same Name (1975).
Music video director Mark Pellington has given us a movie that not only interests genre fans, but actually pulls through on bringing you a big case of the creeps.Washington Post writer John Klein is happily driving with his wife Mary one night after going house hunting.
When faced with the observations presented in Keel's book, "The Mothman Prophecies" only makes a few minor changes, including the time the actual events took place.
The script keeps the relationship between John and Connie from turning the movie into a sappy love story, which makes the leading characters more sympathetic and pure at heart, thanks to Richard Gere and Laura Linney's great performances.What really gets to you about "The Mothman Prophecies" is that you are left questioning right up to the end what this creature's motivations are.
I am a West Virginian who visits Pt. Pleasant often because it is an interesting town with Revolutionary War history and such, and I can say that this film is mostly fiction, but that's okay!The true facts are these: Many different people saw the mothman creatures in the late 60's in the Pt. Pleasant area.
Linney continues to amaze with subtlety and I am always looking forward to more of her work.Debra Messing has a brief role, but she does make a mark and get a chance to show that she has dramatic acting chops which she refined onstage in roles such as "Angels in America." I would like to see her in more dramatic work since I enjoy her comedic work on "Will & Grace" each week.I also thought Alan Bates made a marvelous turn in the film as a professor (in more sense than one) of the mothman.
He has some great lines, including, when Gere asks why the mothmen don't explain their presence if they are superior creatures: "You are superior to a cockroach; do you ever bother to explain yourself to a cockroach?"At the end of the film a title says that the cause of the bridge collapse was never known.
Kudos to Pellington and his marvelous cast for making such a thought-provoking and engaging film.It should be noted that Pt. Pleasant has a great sense of humor about the mothmen, and they even have events for people to come and enjoy the lore.
Based on true events, the film examines a series of inexplicable occurrences through the eyes - and mind - of one man played by Richard Gere.
Richard Gere loses his wife in a very strange car accident that is caused by a mysterious figure (which he does not see, but his wife does.) After investigating he uncovers reports of a 'creature' called the MOTHMAN that supposedly haunts a West Virginia town.
One in particular is a great scene where Richard Gere speaks to the MOTHMAN on the phone and he is able to tell him everything that is going on in his hotel room.
A lot of books changed my life.If that's good or bad,I do not know.One of the books which changed my life is The Mothman prophecies.That book changed my general vision of the world.I will not talk about the book;it's not for everybody but I recommend it.Now,I'll talk about the great movie based on that book.The movie did something similar the book did;it does not pay much attention the facts the main character reveals.It pays more attention to human perception's frailty.And it's really great that the movie chose that way because the facts are so bizarre that,without putting attention to the human perception's frailty,it would have been a ridiculous movie.The Mothman prophecies works greatly as a thriller with a paranormal touch.The things the movie shows go from some clichés,typical of the genre(like a telephone which sounds disconnected),to things really sinister,disturbing and intriguing.Richard Gere and Laura Linney bring excellent performances because they give their characters a lot of humanity.The script keeps very well the mystery during all the movie finishing with a great ending.The Mothman prophecies is a great movie with authentic suspense,a great story and very fun..
I sat in front of TV, watching beautiful, dark vistas of Point Pleasant almost frame-by-frame; hell, nowadays old factory and sleepy industrial town are better setting for horror then old castle or haunted mansion.Movie is perfect - I mean that!
The steady cam shots really boosted the films performance in general.Having never read the book and knowing very little about the real events other then a couple wikipedia searches, I was thrown into a whole new world in terms of the subject matter.
And that I think must've have been director Mark Pellington's intention because wow; it's been a long time since I've had the opportunity to see a film that although styled like a horror - really brings out the human aspect of fear rather than a dramatical gore fest with no real back story.One last thing, the score and choice of soundtrack has to be heavily credited; there's some scenes in this film where you start becoming unconscious of your own breathing and really dive right into what's being thrown at you.
After having high hopes from reading about the actual incidents at Point Pleasant in the 60s, I thought that this movie might be good.
In fact, the only thing that kept me from sleeping through the entire movie was the constantly ringing telephones and alarm clocks that keep waking Richard Gere up throughout the film.
It is unbelievable how good the sound is handled in this one, not a single "quick scare" scene, sounds are used to build up tension in you and never to get cheap scares.This movie is the mother of all paranormal suspense thrillers with so much focus on the paranormal that it will creep you out like no other, it is really commendable how much the director knows about this topic and the way people accept it inside the movie.Suffice to say that for me this movie enters the top 10 for all time best paranormal suspense movies I've seen in my entire life, seriously.If you didn't see it, please, go watch it, you wont regret it!.
Let`s face it , he`s a movie star because of his looks not because he has an abundance of thespian talent , but I`ll give him credit for his performance opposite Debra Messing at the start of the film which both poignant and moving .So a thumbs up from me because it`s a haunting supernatural drama , even though I take the true story with a big pinch of salt.
"The Mothman Prophecies" is one of the great horror films of our time.
"The Mothman Prophecies" is one of the great horror films of our time matching the eerie tones of isolation and psychological deterioration from "The Shining" and delivering intelligent thrills instead of cheap scare tactics.
Of the decade so far I would rank it as one of the finest of its genre without hesitation.The film purports to be based on a true story, and although numerous facts are twisted (not least of all that the actual events depicted in the film took place forty years ago and the protagonist of the film, strictly speaking, never really existed), it will easily appeal to those "Mothman buffs" out there as well as it will to regular audiences.
The movie has some nice in-joke references (such as the fact that one character's name, Leek, is "Keel" spelled backwards the name of the author of the book "Mothman" is based upon) and Pellington clearly did his research prior to filming.The movie stars Richard Gere as a Washington reporter who loses his wife (Debra Messing) in a freak car crash.
People are seeing strange things: men in black, demonic beings and a strange winged creature with blood red eyes."The Mothman Prophecies" lets everything up to the viewer's imagination when the reporter gets a telephone call from a man named "Indrid Cold" who seems to have infinite knowledge and an alien voice, Pellington doesn't draw conclusions.
We don't know making the proceedings all the more eerie.Some Mothman enthusiasts have claimed the film really doesn't focus enough solely on the Mothman, and tries to turn into a supernatural thriller rather than a documentary-style production on what actually happened in Point Pleasant in 1967.
It's a very effective scene.Gere delivers a fine, surprisingly powerful performance as a grieving man the character is loosely based on Keel, but there are a lot of dramatic additions, such as the internal conflict involving the death of his wife and his spiritual link with the Mothman himself.
If you like Richard Gere with good acting and lots of action, this is a great mystery..
Richard Gere, Will Patton, Laura Linney, Debra Messing, and Alan bates all acted greatly in this film.
There's nothing wrong with any of that, if the authors wanted the change for dramatic effect, it just points out that this is intended to be a mostly fictional story and not strongly based on fact.Perhaps more interesting, once one has seen the movie, is to read a few of the websites devoted to the "mothman" sightings.
In my opinion, that's the mark of a superb thriller, made even better by a very good performance from Richard Gere in the leading role as a Washington reporter trying to sort out the mystery of Point Pleasant, West Virginia.How faithful is it to the real events that supposedly inspired the story?
Mark Pellington directed this intriguing supernatural thriller that stars Richard Gere as reporter Joe Klein, who becomes interested in reports of a mysterious Moth Man, after his wife was killed in a car accident, and her last words involved seeing such a figure.
Claiming to be based on a true events, "The Mothman Prophecies" recounts the story of John Klein (Gere), a reporter whose wife Mary (Messing) has died in a car accident under unexplained circumstances.
This movie was awesome,and Gere played a good part.They did not go too over board which is great.If you are interested in paranormal/scary stuff with truth to it then this movie is for you.If they had added more special effects or over dramatization then the realness of the movie would not have worked.This is a movie that is a must see for horror fans or UFO/weird flick lovers.If you like Richard Gere as an actor than you will definitely like this movie even if you don't get into the whole paranormal scene.Good acting,good plot,and awesome suspense.Please do not miss this movie as you might think it not worth the watch it is amazing..
As a student of film, "The Mothman Prophecies" is by far my favorite movie of all time.
Even before the film was made, I read a lot of books and web sites (remember the fun Mothman web site at Geocities started in the mid-90s?) about the Mothman events in Point Pleasant and when the movie came out, I was excited and a little disappointed.
I was excited because a movie about the Mothman was being made but I was a bit disappointed that the setting of the film starring Richard Gere and directed by Mark Pellington was set in the present and not in the 1960s, when the real events occurred.
And though the final product has some weaknesses, the overall effect of MP is pretty good because many images and moments linger in the mind days or weeks after watching it.Before reviewing the movie, there are several things to point out between the movie/book vs the Mothman myth.
In fact, the atmosphere of MP is so good that it easily overcomes the film's many weaknesses, like how the story concentrates almost entirely on the Richard Gere character.
It makes the film feel like the disaster was the whole point of the story.But even with these weak points, The Mothman Prophecies is worth watching and absorbing.
That said, Mark Pellington is speedily earning a new fan.Both films are two of the most suspenseful films I have seen, with a couple of the best endings I've seen in movies.A good film to watch with the lights out..
The movie is slow at first, and at times, disturbing, but it isn't a boring movie in general.Richard Gere is John Klein, a reporter for the Washington Post, and two years after his wife's death, he's sent to go to Richmond, VA, but he mysteriously ends up in Point Pleasant, which is a small town on the West Virginia/Ohio border.
At last, a great movie with Richard Gere, Not like Dr. T and his women wich i hated, The story is engaging and mysterious during the whole movie, Mark Pellington is one fantastic film maker, after his great Arlington road,wich i also loved, this one isn´t as dark as Arlington.., but is very moody and stylish, i won´t give away anything, you just have to buy it and keep it.
And I wish Debra Messing had more screen time -- she's very effective though in the brief role she has; I'll be watching "Will and Grace" more regularly after seeing this.What amazed me about this film, however, was Richard Hatem's script -- he had a heck of a challenge in taking John Keel's lackluster, repetitive, scatter-shot book and crafting a story around the events in it (NOTE: DO NOT READ THE BOOK before seeing the movie!
I gave the movie a 2 rather than a 1 only because it had Richard Gere in it who is a great actor.
Keel's book (the man who Richard Gere's character was based on) than the movie featured.Overall, it's a pretty good film and I look forward to Mark Pellington's next movie as I've been impressed with his work on this and Arlington Road so far..
I figured it couldn't hurt to take a chance, especially in light of the fact that many of the "blockbuster" films I had seen lately were flops in my opinion."The Mothman Prophecies" is a story about a reporter, John Klein (played by Richard Gere), and the paranormal. |
tt0458339 | Captain America: The First Avenger | Bright headlights cut through a thick sheet of snow-flakes. A scientist, bundled as warmly as possible, treks through the sleet. Two other men, in matching black cold-weather uniforms, approach the scientist. He leads them to an excavation site which is easily the size of a football field; at the center of the site appears to be a giant wing and fuselage. The black-suited men cut through the fuselage of the mystery craft and enter. Inside they find the remains of a massive, frozen ship. One of the men brushes away at the snow and sees a shimmering red, white, and blue shield encased in ice.Tonsberg, Norway, 1942:Two caretakers for an ancient Viking ruin listen as their town is overrun by Nazis. Suddenly the front door blasts open and in flood multiple Nazi agents. One of the caretakers is killed in the blast and the other frantically begs that the soldiers leave him in peace. They pay no attention to the old man and instead open the building's crypts one-by-one. They come to one sarcophagus whose lid is too heavy to lift. A dark figure appears in the exploded entryway. Johann Schmidt (Hugo Weaving), a high-ranking Nazi and leader of the HYDRA sect, nonchalantly enters. He crosses the room, comes to the difficult-to-open sarcophagus and easily pushes the lid free. Within he finds the skeletal remains of an old Viking clutching a glass cube (the Tesseract). The caretaker pleads for Schmidt to leave it. Schmidt scoffs and tells how this cube would be the jewel of Odin's treasury if it weren't a fake. He smashes it on the floor and goes to the caretaker, asking where the real cube reposes. The caretaker initially refuses but under threat of harm to his family, he relents, gesturing to a hidden drawer across the room. Schmidt pries the drawer open and finds the real, glowing cube concealed within. Schmidt orders his men to shell the city and then shoots the luckless caretaker.At a recruiting station in Brooklyn, Steve Rogers (Chris Evans), a 20-something, 90 lb, 5-foot tall asthmatic eagerly awaits the opportunity to enlist in the United States Army. The army doctor gives a once-over to Steve's medical file, which reads like that of a 90 year old man, and rejects Steve's application as the military 4-F, as this is his fourth failed attempt to enlist.Distraught Steve heads to the movies. He envies the enlisted men featured in the pre-show newsreel, and watches as other audience members tear up. A loud-mouthed, impatient movie-goer begins yelling at the screen "Start the movie! I didn't pay to see this crap!" Steve tells the man to shut up, and is surprised as the man turns around, stands up and towers above him. In the alley behind the theater the bully savagely beats little Steve. Skinny Steve bravely fights back, but is easily overpowered. James "Bucky" Barnes (Sebastian Stan), Steve's best friend, comes running to the alley. He swiftly kicks the bully away and tends to Steve, who is annoyed that Bucky showed up and got rid of the bully right as Steve got his second wind. "Bucky" is now an enlisted-man. His application was accepted and he's been assigned to the 107th infantry.In a celebratory mood, Bucky invites Steve to go dancing with a pair of girls on a double date. Bashfully, Steve tags along. The four head to the World's Fair in Queens. While Bucky canoodles with his dates, Steve watches as playboy inventor Howard Stark (Dominic Cooper) unsuccessfully demonstrates a flying car. Steve breaks away from the group and goes to another recruiting station. Bucky catches up with him and asks how Steve intends to forge his application this time. Unbeknownst to them both, Dr. Abraham Erskine (Stanley Tucci) while passing by, eavesdrops on their conversation. He is fascinated by the gumption of Steve. Bucky wishes Steve good luck on his latest application and Steve heads in to the recruiting station for his fifth physical. Inside Steve sits on an examination table and grows nervous when an MP enters the room, and is soon followed by Dr. Erskine. Dr. Erskine has all of Steve's prior applications, and recognizing Steve's strong will and unwavering conviction, he accepts his latest application.In a secret military installation high in the Alps, Johann Schmidt brings the glowing cube to Dr. Arnim Zola, his Hydra weapon specialist. The cube's seemingly limitless power enables Schmidt and Dr. Zola to power unstoppable energy guns and cannons.Meanwhile, Steve has been enlisted into basic training under the careful watch of Dr. Erskine and Colonel Chester Phillips (Tommy Lee Jones). He and his platoon are told that they are candidates for the government's latest Super Soldier program. Phillips is unimpressed with Steve and is vexed by Dr. Erskine's interest in him. During basic training Steve meets a beautiful, but serious British officer, Peggy Carter (Haley Atwell), who seems to pity Steve. Despite being the smallest and weakest of the platoon, Steve demonstrates the greatest spirit and selflessness. Phillips, still unconvinced, tosses a grenade into the group, and is surprised when Steve alone leaps on top of it, willing to sacrifice himself to save the others, before discovering that the grenade was a dummy. Phillips concedes to Erskine's decision.That evening Dr. Erskine speaks with Steve. The two bond over a bottle of Schnapps and Dr. Erskine reveals that this is not his first time performing this experiment. He tells a story of how as a scientist in Germany, he was ordered by Johann Schmidt to create a serum that would give a man god-like strength. Dr. Erskine created an early version of the serum he intends to use on Steve, only when Schmidt injected himself his body's skin corroded away, leaving him as a sinewy red skeleton. Undeterred by the risk, Steve agrees to follow through with the procedure.The following morning Steve and Peggy wind their way through Brooklyn and come to a stop in front of an old antique shop. Along the way Steve points out various parts in Brooklyn where he's been beaten up. She asks him why he never ran away. He responds that running away, in his mind, was an invitation for further abuse.The two enter the antique shop, exchange pass-codes with an old woman manning the register and descend into a secret military bunker concealed within. Peggy leads Steve to the heart of the bunker where they find Dr. Erskine preparing a medical capsule along with Howard Stark, and Colonel Phillips rubbing elbows with senators and dignitaries. Steve is told to remove his shirt and sit in the capsule. Stark describes that the procedure will first mean injecting muscle re-generators into Rogers' major muscle groups which will then be bombarded with "vita rays." Carter bids Steve good luck and joins Phillips in the overhead viewing chamber. Erskine's serum is injected into Steve's muscles and Steve is enclosed within the vita ray capsule. The capsule glows brightly, Steve yells in pain but also tells them to continue and the procedure is quickly completed. Steve exits the capsule a foot taller and a hundred pounds heavier with solid muscle.Everybody, including Phillips, celebrates the success of the procedure, and descends from the viewing chamber to congratulate Erskine. A lone dignitary, in actuality a German spy named Heinz Kruger (Richard Armitage), stays behind, placing a small satchel on a chair. Moments later the viewing gallery explodes. Kruger descends the stairs and fatally shoots Dr. Erskine twice. He swiftly kills the guards and flees onto the streets with Peggy in hot pursuit. Steve tends to a dying Dr. Erskine, who has just enough energy to point to Steve's heart; Erskine passes. Steve bolts out of the bunker, in pursuit of Kruger.In the street Peggy pursues Kruger, and easily kills his getaway driver. Kruger steals a taxi and aims to run over Peggy. Steve arrives in the nick of time, saving her from being killed by the on-coming taxi. Steve pursues the taxi on foot, running faster than a normal human can (and not suffering the fatigue even a healthy man would). He leaps onto the roof of the taxi, dodges Kruger's gunfire and the two come to a crashing stop at the Brooklyn docks. Kruger shoots at Steve, who holds the star-imprinted door of the wrecked cab in front of him as a shield. Kruger flees to his Hydra sub, which dives underwater just as Steve arrives. Steve dives after the sub, punches a hole through the cockpit's glass and yanks Kruger to the surface. Kruger tells Steve that he is the first of many, that Rogers can "cut off one head," but two more take it's place." He then kills himself with a cyanide capsule hidden in a fake tooth, letting out one last "Heil HYDRA!" before dying.Meanwhile, Schmidt and Dr. Zola are visited by a trio of Hitler's top commanders, tasked with inspecting Schmidt's operation. They ridicule Schmidt, saying that the Nazi party no longer takes him and HYDRA seriously due to his obsession with magic and the occult and playfully refer to him as "The Red Skull", a name that infuriates Schmidt. Schmidt takes the three to his weapons lab where they are shown his unstoppable energy weapons and a strategic map of Europe dotted with targets. One of the three notices a target hovering over Berlin and confronts Schmidt. Schmidt quickly vaporizes the three Nazi officers. Schmidt announces that HYDRA has disbanded from the Nazi party and is now enemies with the world.The following day Phillips and Carter pick up the remains of Dr. Erskine's lab. Both are despondent because the only man able to produce the super soldier serum was Dr. Erskine. Steve is eager to go the front lines of the European Theatre but Phillips would rather he be a lab-rat than a soldier in his army. Steve is approached by a senator holding a newspaper of the prior day's events, emblazoned with a front-page photo of Steve chasing down Heinz Kruger. Steve has become an overnight celebrity and the Senator has an idea that will be mutually beneficial.Steve is enlisted in the USO (United Service Organizations), and travels around the Midwest performing musical numbers in a shoddy red, white and blue costume while carrying a triangle-shaped shield bearing the stars-and-stripes. He takes on the name "Captain America" and the show includes a theme song written specifically for him, features dancing girls and a short segment where he punches out Hitler, played by an actor. Captain America becomes an overnight success, spawning comic books and black and white movies. His antics drum up revenue for the USO.Steve is soon taken overseas, to Italy, where he is to continue entertaining the troops. Upon his arrival the surly and war-torn men tease him and tell him to get lost. He is soon met by Carter, who along with Phillips, is overseeing European Theatre of the war. She tells him that the men are unhappy because many men from their division, the 107th Infantry, have been killed in battle. Steve realizes that this is Bucky's division, and quickly runs to see Phillips. Phillips is unable to find Bucky's name on his casualty list and tells Steve to go back to his job as a movie star and a cheerleader. Steve asks Carter where the men, and Bucky, are being held. She shows him a map, and a known HYDRA weapons factory 30-40 miles behind enemy lines. Steve hastily pulls on a pair of army trousers and leather jacket over his Captain America costume, and a blue helmet with a white 'A' stamped on the front. He aims to steal a jeep and drive into HYDRA's back yard, but she has a better idea.Howard Stark flies them both over the battlefield in his private propeller plane. Steve surmises that Stark and Carter have a relationship and bashfully withholds his feelings for her. Just as AAA guns from HYDRA begin firing on Stark's plane, Steve parachutes in, while the other two escape back to safety. Steve stealthily makes his way into the HYDRA base, taking out numerous guards in the process.Inside, Schmidt and Arnim Zola are manufacturing enough weapons to wipe out every capital in the world. Steve makes his way to the holding cells where he sees hundreds of imprisoned men from the 107th. He frees the men and tells them to make a "messy" exit. Under the leadership of the "Howling Commandos" the prisoners manage to overpower their captors, steal guns and tanks, and escape from the facility, destroying much of it. Schmidt watches Steve by CCTV, and quickly realizes that he must be Erskine's man. He quickly activates several explosive charges that will level the base.Steve makes his way through the facility and happens across Bucky, who is tied down to an operating table. There, he also notices an oversized tactical map mounted on the wall, with various marked installations. Steve frees Bucky, who is surprised to see that Steve is taller than him, and commits the map to memory.The two head up the catwalks and find themselves face-to-face with Schmidt on a retractable bridge. Rogers punches Schmidt in the face who surprisingly stands his ground. Schmidt plays with his face, as it has apparently come free from his skull and quickly peels it away as a mask. The Red Skull stares back at Rogers and Bucky and swiftly enters an elevator. In the elevator The Red Skull tells Arnim Zola to meet him at another one of Hydra's bases and to take his car. The Red Skull escapes the exploding facility in a private plane while Zola sneaks away in Schmidt's roadster. Inside Steve and Bucky have a huge divide to cross to their freedom. Bucky crosses a trembling, buckling support beam and manages to cross to safety moments before the beam plummets into the fire below. Left with no other option, Steve backs up as far as he can and leaps over the burning chasm.Back at the 107th base camp, Phillips dictates a letter to his typist, telling how Rogers disappeared the prior night and likely perished during the battle. Just then Rogers arrives, with nearly 400 survivors of the 107th, leaving the base in a fervor. Rogers submits himself to Phillips for disciplinary action for going out in direct violation of orders, but is forgiven.The news of "Captain America's" success on the battlefield is swept over the world. In London, Steve gives Phillips and Carter his best recollection of the HYDRA base map and tells them that he intends to go to those bases and destroy them one-by-one and wishes to recruit a team of men made up of those he liberated in Italy. Steve meets the Howling Commandos in a bar and they eagerly accept the offer. While there all the men are surprised as Peggy enters dressed in a form-fitting cocktail dress. She ignores all the men, including Bucky, and flirts with Steve, telling him that she'd love to have a dance with him some day.The next day Steve is summoned to the Brooklyn bunker to see Phillips and Stark. Steve is approached by a beautiful female officer who wishes to thank him for his service the best way she knows how. Peggy walks in on Steve kissing the enlisted-woman and angrily storms away. Steve apologetically follows her to Stark's lab, insisting that he gets nervous around women and asks why he should apologize if Carter and Stark have a thing going. Stark quickly shoots down the rumored relationship and takes Steve to his weapons engineering lab. He remarks that Rogers has become attached to the triangular shield, which Steve says is a handy tool in the field. On a table are several prototype shields with sophisticated components, however Steve finds a plain, circular shield. Stark explains that the shield is made of a metal called "vibranium", which is lighter than steel and is vibration resistant and will absorb heavy impacts. He holds the shield in front of him and asks Peggy for his opinion. She playfully/scornfully fires a clip at the shield, which Steve ducks behind. The shield passes the improvised test admirably. As she walks off, Steve passes a sketch of a uniform to Stark.Steve dresses in red, white and blue fatigues, dons a blue form-fitting helmet and stows the newly-colored shield onto his back. Captain America and his soldiers, including Bucky, make their way across Europe, flattening Hydra's bases one-by-one, with Rogers becoming quite skilled at using the shield as a projectile weapon. News of his exploits reach the Red Skull and Zola.High in the Alps, Steve and his men have a mission to capture Zola in his personal train. Three member of the team: Cap, Bucky and Gabe Jones (Derek Luke) zip-line across a massive chasm and storm the train car-by-car. Soon Cap and Bucky are cornered by heavily armed Hydra soldiers. They narrowly defeat the soldiers, however Bucky is tossed from the train and plummets into an icy river below. Zola is apprehended.Zola sits in a prison cell and is visited by Colonel Phillips, who carries with him a steak dinner for Zola. Zola rejects the meal, impressed with the idea that it must be poisoned. Phillips shrugs and eats the meal. He tells Zola that he broadcast an easily decodable message, which has certainly been intercepted by HYDRA, saying that Zola had defected. He also knows that Zola is easy to bargain with since he's the sole HYDRA agent they've captured who hasn't taken his cyanide capsule to avoid disclosing information. Zola, fearing that the lie will result in his death by the Red Skull, concedes to Phillips and tells him information of the Red Skull's only remaining HYDRA base.Rogers sulks in a war-ravaged bar. Carter arrives and comforts Steve, after losing his best friend. Steve realizes that Dr. Erskine's serum rapidly regrows dead cells, rendering it impossible for Steve to get drunk. The two flirt a bit and talk about having a dance, once again.Rogers and his team prepare a battle plan to take down Red Skull at his headquarters. Rogers, dressed in a new uniform, mounts a Harley and charges the base. He easily dodges HYDRA soldiers and tanks and finds himself within the base, surrounded by a HYDRA army. He is taken into custody and led to the Red Skull's private weapons lab. Red Skull asks what makes Steve so special. Steve says "Nothing. I'm just a kid from Brooklyn." moments before members of his team zipline into Red Skull's office.A climatic firefight ensues as hundreds of soldiers, under the direction of Phillips and Carter storm the base, killing many HYDRA soldiers. Red Skull flees to his private hangar, in which a gigantic flying wing is preparing for take off. Steve attempt to catch up with the plane on foot, but is unable. Phillips and Carter arrive, behind the wheel of Skull's roadster, and the three take off after the plane. Just as Steve is about to leap onto the plane Peggy stops him and kisses him. Steve leaps from the roadster onto one of the plane's massive wheels. He sneaks into the craft where he finds dozens of kamikaze planes/missiles, each labeled with a different major American city. Hydra soldiers soon enter the room and Steve battles them, taking out numerous men and tiny planes. One of the planes, labeled New York, drops free. Steve takes off after it and manages to commandeer the craft and crashes it back into the flying wing.Inside the large cockpit, Captain America and Red Skull have a fisticuffs battle. Red Skull fires his cube-energy pistol at Steve who easily deflects the shots using his shield. A shot is deflected into one of the cockpit's center consoles which contains the glowing blue cube. The console is damaged and Skull lifts the cube into the air. Suddenly a portal opens above him, showing starry space. The Red Skull glows brightly and is seemingly disintegrated. His remains are swept up into the cosmos. The cube, still glowing brightly, drops to the ground and burns its way down through the plane's hull before plummeting into the ocean below. Steve mans the plane's controls and radios Carter. He tells her that the plane is on a flight-path that will take them to the Eastern Seaboard. He tells her that their dance will have to wait. He pushes the plane into a dive and crashes it into a glacier below. Peggy can only hear static.Steve awakens in a 1940's hospital. An old-fashioned radio transmits the play-by-play of a Brooklyn Dodgers game. He gets up, looks out the windows and watches as the hospital door opens. A young nurse (Amanda Righetti) who bares a striking resemblance to Peggy enters. She waits for a response from Steve, who suspiciously looks at her. He asks why the radio is playing a game from May 1941... specifically, a game that he knows he attended. She reaches into her pocket and withdraws a two-way radio. Two tall soldiers in black uniforms enter the room, and Steve easily tosses them through a wall. Steve steps through the hole and is surprised to see that the 'hospital' is in fact a movie-set. He runs through the dark corridors, pushes a door open and appears in a modern skyscraper, bustling with people in business suits. He flees the building and finds himself in Times Square, circa 2011. He peers around, shocked by his surroundings, and watches as numerous matching black SUVs encircle him.Nick Fury (Samuel L Jackson) steps out and carefully speaks to Steve. He tells him that he's been asleep, in ice, for 70 years, in a state of suspended animation. The hospital set was meant to gradually introduce him to modern society. Still perplexed, Steve breathes heavily and sadly tells Fury that he had a date, since everyone else he used to know in the 1940s, is long dead or very old now.In a post credit scene, Steve is in an old-fashioned gym. He pummels a punching bag so hard that he knocks it off it's chain and sends it flying across the room. Fury enters the gym, and asks Steve if he's had trouble sleeping. Steve cynically asks if Fury has come with another mission. Fury replies to the positive.Suddenly we see images of all the superheroes, whom include Steve/Captain America, Thor (from the movie of the same name), Tony Stark (from the 'Ironman' movies), Hawkeye, Black Widow, Bruce Banner (from 'The Incredible Hulk') and other Shield agents preparing for battle. Fury, tells him that "They're up." His personal mission to build an army of superheroes is complete, previewing The Avengers. | murder, violence, flashback, good versus evil, action, romantic, sci-fi | train | imdb | Fortunately the film, instead of getting to political, is more old-fashioned pulp like Indy or "Sky Captain," which thankfully never takes itself too seriously (which was one of the flaws of "Thor").I had my doubts that Chris Evans could pull off the modesty and heart needed for the role, but I was wrong.
Falling in line with "Thor," "Iron Man," and "The Incredible Hulk," "Captain America" showcases the rise of Steve Rogers as the title character.
Acting is swell; Chris Evans is surprisingly strong as the main character, and I enjoyed Hayley Atwell, Sebastian Stan, Tommy Lee Jones, Stanley Tucci, and Hugo Weaving in their roles.
Overall, it's a fun ride that respectfully delivers a movie worthy of the legend and sets up for what could be amazing sequels and what will be an awesome Avengers film.The Good The cast is remarkable and every single character played to perfection.
The first half of the movie did a very good job of establishing the story behind the creation of this man and how he was initially just an experiment and then turned into a propaganda piece for the war in order to excite people and inspire them to fight the fight.
But once you notice all of the montages, and how there is zero explanation on who the 'Howling Commandoes' are, you know Marvel may have missed out on a few crucial steps along the way of story development.For the most part, Captain America: The First Avenger is a deeply focused and ridiculously invested story of the origins of an extraordinary soldier who just wants to do his part for his country.
He is a true hero through and through, and watching him in action makes me wonder why it took this long for a good Captain America film to be released.While his accent is imperfect, Weaving is exquisitely evil as the Red Skull.
Special mention also must go to Stanley Tucci, whose Dr. Abraham Erskine is a welcome departure from his atypical roles as of late.While it botches any attempts at perfection (and really did not need to be post converted to 3D), Captain America: The First Avenger still manages to be a wildly entertaining adventure that is even more impressive than you may imagine.
I was truly lucky to catch a preview screening of Captain America and i am ever so grateful because Cap is without a doubt one of the best Marvel-hero films of all time.
Chris Evans was a great choice for Captain America, having his extremely heroic tendencies and his weaknesses (you see them progress from the beginning of the movie).
Joe truly knows how to show us a sci-fi story during a historic time period without having any hiccups or mistakes that could bring the movie down greatly.Captain America is one of the greatest Marvel comic-book adaptations of all time and should not be missed, even if you aren't a comic book fan because Cap has everything any action/adventure movie would have to make it great.
This film delivers a lot of action, an intriguing plot, a tantalizing and beautiful love interest, many humorous moments, powerful messages about internal fortitude and courage, a classic villain, superb acting and many of the basic essentials of any good action movie.
I've read comparisons to Raiders of the Lost Ark and that says it all right there.I'd have to rate Captain America as Great/Fantastic, one of the best comic book movies ever made.
I know that Captain America (Steve Rogers) was a soldier, so expecting some war movie along with the superhero fare.
Very surprised to see Hugo Weaving doing a believable Red Skull (I remember the one in 1991 was horrible...) and when you see Tommy Lee Jones doing army stuff, we gotta believe it, he gives depth...Chris Evans gives Steve Rogers/Captain America a brand new perspective, far from Reb Brown's botched up costume or Matt Salinger's bland personification.
2011 is certainly the year for Marvel Studio, seeing that Thor came out earlier in the year to good reviews and a healthy box-office considering he is a lesser known hero and Captain America has done even better with critics and a stronger opening.
But Rogers wants to fight in the war and is given his chance to take on HYDRA in 1943.I personally preferred Thor over Captain America, but it still a fun summer flick and a solid 7.5/10.
This was certainly a good introduction to character and the start for what should be another successful adaptation for Marvel.The humour throughout the film is deadpan and there are very good performance from the supporting cast, especially Weaving, Tommy Lee Jones and Tucci.
And well, Hayley Atwell is a token Brit so she gets a free pass.The score by Alan Silverstri it self has an old fashion, grand feel to it and there were reminds to films such as the first Hellboy film, starting during World War Two with the Nazis using mythology to gain an advantage to win the war and classic 60s and 70s war films like Where Eagles Dare.Captain America is an enjoyable blockbuster and necessary viewing if you plan to view The Avengers in 2012..
Captain America the first avenger is yet another film which will not change your mindset and also have something unique both in the sense of big on screen action and plenty of WOW moments.
With his serum he successfully transforms Steve into a genetically enhanced super hero and Steve decides to put that power to good use, for his country as Captain America.Captain America: The first Avenger is the type of movie that has many positive assets being the characters, the plot, timing, action and it's amazing tone and feel.
In adapting the comic character, writers Christopher Markus and Stephen McFeely (of the 'Narnia' franchise) have wisely opted not to distort the wholesome hero Captain America has been known to be, and this is precisely why their film stands out tall and strong against the plethora of superhero flicks in recent years.Indeed, moral ambiguity has become de rigueur for the modern-day superhero since the likes of 'The Dark Knight', so much so that the simplicity of old-fashioned true-blue heroism is in fact quite refreshing.
An agonising serum injection later, Rogers is transformed into the buff and muscular Captain America- his newfound powers quickly put to the test when he sets off down the streets of Manhattan barefoot in hot pursuit of a German spy who assassinates Dr Erskine just minutes after the experiment.That spy is in fact under the service of renegade officer Johann Schmidt (The Matrix's Hugo Weaving in another expert villain role), the leader of the Nazis' occult research arm HYDRA building his own personal army for world domination.
This detour into media celebrity also sees the film at its most grounded, as Captain America becomes a larger-than-life symbol used as a morale booster for the public.He finally springs into action when he learns that his buddy Bucky Barnes (Sebastian Stan) has been taken prisoner by HYDRA, and despite warnings from his former commanding officer, Colonel Chester Phillips (Tommy Lee Jones), decides to go deep into enemy territory to rescue him and other prisoners-of-war.
It is there he realises the extent of Schmidt's nefarious plans, the rest of the movie a non-stop thrill-ride as Captain America assembles his army to clean out Schmidt's bases one by one leading up to that final confrontation between the two.Yes, it takes an hour before the action kicks in proper, but Johnston makes the wait absolutely worth it.
ONE LINE REVIEW : Utilitarian use of CGI and thoughtful story make this a don't miss movie RATING : See it in theaters (Rating scale : "See it in theaters", "Wait for the instant download", "Don't waste your time")NO SPOILERSSteve Rogers (Chris Evans) is a 98-pound weakling who wants nothing more than to kick some Nazi butt.
All the players are set and we're off as Captain America goes into battle with the forces of evil.This movie is the beginning of the Avengers series and we're no doubt going to see more of the classic Avengers from Marvel comics in coming years.It is set in the 1940's during the second world war and the costuming and period sets are excellent.
But he has all the golly-gee-whiz Mom-and-apple pie look and delivery that makes Captain America believable.I said of "Green Lantern" that is was the perfect super-hero movie.
He's the creator of"Wanted,Civil War and the Kick ASS comics" he called it the"Worst Superhero ever made"."Review of Captain America:The First Avenger" But Captain America Delivered such a good experience and taking that this film was made by Joe Johnston?
and OK, then eh but he did a little bit better, now out of all his films he's still very well know for October Sky is his best film out of his Direction career.So Chis Evens as Captian America, he probably did a breakthrough performance!Hugo Weaving as Red Skull, as known for doing Megatron he did a mega good job!The Story is good, it better than The Green Lantern for miles Everything good in a movie is in here.
When he says he wants it all, you almost believe him.Most importantly Joe Johnston and the writers know what makes Captain America so endearing and its commendable that they don't over do it.Before watching this movie, I was a bit worried about how Chris Evans would stand up to Robert Downey Jr and Samuel L Jackson in the Avengers.
After creating several other Avengers movies, such as The Hulk, Iron Man and Thor, it was finally time for creating a film about the beloved action hero, Captain America.
I found that I had a smile on my face from beginning to end."Captain America: The First Avenger" proves again that Marvel knows how to bring their heroes to the big screen like no other company can.
It is simply the best Marvel superhero film yet and Chris Evans IS Captain America.
or the lack of type of action I would have liked to see on screen.Red Skull looked great and was bang on, very rare to see a marvel villain actually make the transition so smoothly to film.
I do not see fit to name any other names, however in light of Hayley Atwells performance I think we will be seeing a lot more of her in Hollywood.As for the film its self, Excellent, Critics of this genre need to realize the genre that is being depicted through this movie has conventions and thats why we watch them.From batman to spider man these are the what make super hero movies great.We are seeing the re-invention of the medium through which super hero's are being portrayed and rightly so.
Teaching us to rise up to a challenge, and to never back down from what we believe in no matter the cost.The action that is lusted for the moment you can smell the popcorn will loosen your grip on your drink and have you reeling in anticipation of what Captin America will do next.A great movie which i will be recommending to all my friends This film leaves me excited for the avengers and the other films the paramount/marvel franchises are about to unleash on the world =P.
Fortunately, one of the last "big" Marvel heroes to get his own movie has arrived, and his vehicle, entitled Captain America: The First Avenger, is a rewarding installment that is smart, clever, confident and, best of all, different.Most recent origin stories in superhero cinema are similar.
It definitely stutters throughout, but it's a nice to have another comic book film that knows how to provide plenty of adventure.Story: Set during WW2, a frail man named Steve Rogers continually fails to make the army grade until he is given the chance via a serum that enhances all of his abilities.
This movie is like an intro to Captain America for the real film 'Avengers' which will be coming out in the next 5 months.
I don't know what I hate more about this two-hour snooze-fest: the Uncle Sam wants you posters, the obvious propaganda advertisements for the US army, the Captain America suit and shield, the future technology of even today, existing 70 years ago during world war 2 or the musical part when they invent Captain America and make him perform on theater stages and sing.I also hate how much this movie is in love with itself, how seriously it takes itself and how propaganda/patriotic it is: the name of the hero in itself: "Captain America" makes me wanna throw up.Out of all the Marvel movies this one is the worst because of the propaganda and the awful musical score.It has a lot more action than the equally awful X Men First Class and Thor but it is still way too long.Avengers is definitely gonna be he worst of the movies, putting all of those ridiculous Marvel heroes together in one movie.Only nerds can like these crappy movies..
It's safe to say that Captain America is THE most fun I've had with ANY 2011 movie I've seen, thus far.Chris Evans stars as Steve Rogers, a true patriot if there ever was one in the 1940's.
his outfit looks like its made out of cotton.Hugo Weaving makes a lame red skull who looked like cross between Michael Jackson and the mask his German accent is insulting, offensive and bogus German accent The action sequences are nothing special and boring, they'll make you feel sleepy.the only good thing in it is Tommy Lee Jones and his wise cracking one liners.I can see why this will be a massive hit in America because it makes Americans believe they are the greatest nation on the planet, when they're not..
I especially liked the fact that this movie had Captain America as a very good character.
Instead several sequences were more reminiscent of what Iron Man 2 felt like.As I'm not a CA follower some of the historical nods to certain symbols or the side characters themselves were lost to me but I did enjoy that Howard Stark's character was in the movie as it introduced the origin of Stark Industries and it's technologies of the future.Actingwise Chris Evans did a surprisingly good job.
However, when his comrades need him, Rogers goes on a successful adventure that truly makes him Captain America and his war against Schmidt begins.' And that about says it all.Now, populate this story with a cast of first rate actors - Chris Evans as the magnificent Adonis built Steve Rogers/Captain America, Stanley Tucci as Dr Erskine, Hayley Atwell as the sole 'love interest' Peggy Carter (Natalie Dormer does have a few seconds of screen time, too), Tommy Lee Jones as the military guy in charge, Sebastian Stan as Steve's best buddy, Dominic Cooper (a good guy), and a set of villains starting with Hugo Weaving as Red Skull, Toby Jones as Dr.Zola, Richard Armitage as Heinz Kruger and then fill in the spare parts with the likes of Samuel L.
It's not as entertaining or as energetic as The Avengers or the Iron Man movies; Captain America's style is in accordance with its World War II setting.
Captain America is yet another superhero movie this summer with the same old plot, same tired special effects, lame dialog, and no character development.
I saw Captain America on its second weekend (in 2D) and while I expected a good movie, I was surprised to watch the best action genre movie I have seen in years.
Chris Evans was perfect for the role of the young and brave Steve Rogers who later became one of the first known superheroes Captain America.
Chris Evans was not terrible in that film, but he certainly was not great.With all of this playing against it Captain America managed to go above and beyond what most were likely expecting.
Evans also had an all star cast behind him, including Stanley Tucci, Tommy Lee Jones, Hugo Weaving and Hayley Atwell, who did an excellent job as Peggy Carter.There is a lot of good things in this film.
Captain America's adventure feels like Indiana Jones in its action sequences and at times like a James Bond movie with an ambitious villain who could dominate the world.
I like the Captain America character very much whenever he is presented in the comics as a strategic and spiritual leader of the Avengers team, but I honestly never enjoyed his original adventures, which were written during the '40s as simple political propaganda during the World War II, more than 20 years before than when Marvel Comics adopted him as a fundamental part of its emergent superheroes universe.
All that remains is Captain America, the last to be adapted before the characters can be assembled next summer.It is World War II, and Steve Rogers (Chris Evans) is deemed too small and too weak to join the Army.
What I said about classics like Iron Man, Spider-Man 2, X2 or X-Men First Class holds true for Captain America.I love the range of emotions and development you experience following Steve Rogers from beginning to end of the film.
Here's to Marvel and their success in making more fine films that blend Character, Action and Story together, just like their Comics do!.
Captain America succeeds by taking Steve Rogers' hero origins during World War II and making it the backbone of the movie.
He really brings Steve Rogers to life as a character, instead of just being Chris Evans in a Captain America uniform.
I personally even enjoyed it more than Iron Man actually, because Captain America The First Avenger has much more to it than just great action sequences and a solid story.
(I liked Thor's romance as well but compared to Captain America the romance in that felt too rushed) The movie really does a terrific job of making you feel for Steve Rogers before his transformation.
Captain America is without a doubt the best comic book movie out this summer!
I know we've got an Avengers movie to look forward too but I wish we'd had a little more time of Captain America kicking Nazi butt. |
tt0090881 | Crawlspace | A young woman walks through the hallways of an apartment building, looking for "Mr. Gunther". She walks into a room in the attic and the door closes and locks behind her. Inside the room, she finds rats in cages, as well as a woman (Sally Brown) in cage. Karl Gunther (Klaus Kinski) appears and says of the caged woman: "She can't talk. I cut her tongue off." Karl presses a button and a blade is shoved through the woman's back and sticks out of her chest, killing her. Karl smears some of the dead woman's blood from his finger into an inscribed bullet and loads it into a revolver. He points the gun to his head and the gun clicks. He puts the gun down and says: "So be it."Sometime later, Sophie Fisher (Tané) is in her apartment in the building, which is located in "a big city" somewhere in the USA. A man watches Sophie from her outside window on the ground floor, and Karl is seen also spying on her from behind an air vent. The man crawls through the window and surprises her, but it is only her boyfriend Hank (David Abbott), whom has come to visit her. Hank and Sophie kiss and spend time on her bed as they begin to have sex while Karl continues to watch them.The next day, a man comes to Karl's door of his apartment where he inquires about a vacant apartment advertised in the local newspaper. Karl takes one look at the man and tells him that it has been rented. But seconds after the man leaves, Lori Bancroft (Talia Balsam) enters the small urban apartment building and when she inquires about the vacant apartment, Karl hospitably takes her to it and shows her around the room. Karl introduces himself as the landlord and superintendent of the building and that the apartment was recently vacated by a young woman who disappeared without paying her rent. Karl explains about the building, the neighborhood and of the monthly rent. As Lori looks around the kitchen, Karl turns on the stove and puts his hand over the blue flame while Lori is not looking. Hiding his pain, Karl asks if she will take the apartment. Lori says yes, which prompts Karl to pull his hand away from the flame and shakes her hand with his other one. Later, Karl is back in his secret room in the attic writing in his diary and says that he is addicted to killing for it makes him feel alive. Martha, the tongueless woman in the cage, gives him a note saying: "Please kill me". Karl tells Martha that he cannot because he would have no one to talk to.The following day, Harriet Watkins (Barbara Whinnery), another resident of the apartment complex, arrives at her apartment with some groceries. Karl appears in the hallway and helps her with her bags. Seeing the bandage on his right hand, Harriet is about to ask him what happened and Karl tells her that he accidentally burned himself. Harriet talks to him about "vices" but he seems reluctant to discuss it.Later, all of the women of the building have a get-together to welcome Lori while Karl spies on them from the air vents. He pushes a few buttons on a remote control device and a small door opens in the room and a rat comes out. The women scream and jump up on furniture, but Lori just sits and laughs at it all.Back in her apartment, Lori hears clicking sounds and goes to Karl's front door. She tells him about the sounds, and he says that its probably just rats. In his diary, Karl writes of once being a doctor, practicing euthanasia ("mercy killing") and being ashamed at himself when learning, after reading his father's secret diary, that the Nazis used the same word when killing Jews. Karl plays Russian roulette with his gun hoping to someday kill himself to end his killing spree with what little morality he has left.A little later, Sophie is in her apartment playing her piano and singing, while Karl watches her from outside her window. He ducks away when he sees Hank. Hank notices Karl nearby and correctly assuming that he is also spying on Sophie, he moves in with a switchblade, while Karl pulls out a switchblade knife of his own. Later, Karl is back in his apartment where he puts two eyeballs into a jar of formaldehyde. He goes to his back room, points the gun at his head and pulls the trigger and it clicks. He tries the gun again and gets another click. "So be it," says Karl.A few days later, Josef Steiner (Kenneth Robert Shippy) arrives at the building and goes to Karl's front door. When Karl answers, Steiner claims that he has been searing for Karl for almost three years. Karl reluctantly lets him inside, and Steiner calls him a murderer. He says that in the five years that Karl was the chief resident at a hospital in Buenos Aires, Argentina, 67 people under his care (all with routine illnesses) died, one of them being Steiner's brother. Steiner shows a photograph of Karl's father to him, dressed in a Nazi SS uniform, and some papers where Karl's father described instruments of torture for concentration camps and was executed over 30 years ago for "crimes against humanity". Karl tells Steiner to leave, and the man brings out a photograph of a young Karl, saluting in a Nazi uniform. When he is alone, Karl weeps.Later, Karl writes more in his diary about accidentally killing a healthy patient when he was a resident at a hospital in Nazi Germany in the early 1940s, and feeling no remorse. He began to understand the feelings that his equally sociopath father wrote about: it was god-like to the able to give life and then take it away.In his crawlspace by the vent, Karl spies on Jessica Marlow (Carl Francis), a local soap opera actress, who arrives back at her apartment with her boyfriend Alfred Lassiter (Jack Hiller). Karl begins to make clicking sounds in the vent by hitting his knife on a steel ball, and continues doing so after Jessica and Alfred are in bed having sex. Karl hears a sudden, sharp scream and he quickly crawls away and back into his apartment only to see that a pet cat of his had inadvertently set off one of his traps, leaving only a detached tail behind. "Sorry, kitty", says Karl.Back in Jessica's apartment, Alfred becomes irritated by the clicking sounds and leaves. He hears something outside the hall and goes into Karl's room. A little later, Karl is seen putting a severed finger (with Alfred's class ring on it) into another jar of formaldehyde.As Lori is preparing to take a bath, she hears clicks, and a large rat jumps out at her from the vent in the bathroom. She goes to Karl's front door and knocks but there is no answer. In his room, Karl crawls back and is setting up another trap, pushing a button on the arm of a chair and a spear shoots up from the seat.Another few days later, Steiner goes to Lori's apartment and tries getting information from her about Karl and how much she knows about him. Karl overhears them from his crawlspace behind the air vent and loads a dart gun and prepares to use it to shoot Steiner, but he changes his mind (surmising that it would not be painful enough). Lori asks the nosy Steiner to leave. He then heads up to Karl's door which is open and lets himself inside. Steiner sees swinging steel balls hanging from the ceiling. He sits in a chair and reads from Karl's diary. Karl appears in the room asking what he is doing. Steiner sees him, turns, and accidentally sets off the chair trap. Looking distraught, Karl runs to his back room, loads a single bullet into the revolver, spins it, and pulls the trigger three times only to get three clicks. "So be it," says Karl. He then goes up to his secret room in the attic and runs a film projector showing a movie of Hitler and the Nazis at a political rally. Karl proclaims: "I am my own god, my own jury, and my own executioner". He puts on an old SS uniform with a Nazi cap, looks at himself in a mirror and salutes: "Hail, Gunther!" He decides that now is the time to kill everyone who knows about him before the police show up looking for Steiner and the other murder victims.Later that same night, Lori returns home to her apartment and finds live rats in her refrigerator. Just then, Karl phones her where he tells her to look in her bathtub. Lori enters her bathroom and finds a dead Steiner floating in the blood-stained water with a swastika carved on his forehead. Lori runs out and sees Karl standing outside her window, wearing his Nazi uniform, with his face decorated up looking pasty white complete with blood red lipstick. He is hitting a small steel ball with a knife. Lori tries to run, but steel bars come down before her in the hallway, preventing her from running out of the building. Lori knocks on Sophie's door, forces it open, and finds Sophie dead, sitting at her piano having set off one of Karl's traps. Lori also finds Harriet dead in her apartment too from another one of Karl's traps.Lori runs upstairs to the secret room in the attic and looks for a place to hide. She finds Martha in her cage who points Lori to a hanging key. Lori tries to unlock the cage, but the two women hear Karl coming towards the front door. Martha points Lori to one of the crawlspace entrances in the floor, but that it is booby trapped. Lori takes off one of her sneakers and puts it in the entrance frame on the floor where a sensor activated blade slices off the top of the sneaker. With the trap sprung, Lori is able to enter the crawlspace and begins searching for a way to escape.Karl enters the room and releases a cage of rats into the crawlspace. Lori crawls around to evade the rats and goes to another crawlspace exit only to find herself in Jessica's apartment with a dead Jessica hanging from the ceiling after being caught in another of Karl's booby traps. Karl gets inside the crawlspace and begins crawling after Lori, and eventually speeds after her with a wheeled grate kept in the crawlspace. Lori manages to make it back to Karl's room again and gets Martha out of her cage with the key. Karl crawls out of the crawlspace and hides. Just then, Lori and Martha hear a reaction from Karl. They find Karl with a blade sticking from his chest before he collapses. Lori and Martha run out of the room. Karl's eyes begin to move, and he removes the "blade" from his chest. (This act was staged by Karl apparently to try to lure Lori or Martha close enough so he could kill them... which did not work.)Lori and Martha enter Karl's apartment where they see a phone. When Lori picks up the phone to call the police, she and Martha notice Karl standing in the doorway with a knife. As he approaches the two women, Lori sees the revolver that Karl plays Russian roulette with and grabs it. She points it at him and the gun clicks several times until finally there is a gunshot."So be it," says Karl. | violence | train | imdb | No one with a German accent is.He plays the Dr. Karl Gunther, son of a Nazi war criminal, who's escaped to America from Argentina and becomes an apartment manager.
There's also a woman he holds captive in an animal cage up in the attic, who he keeps as company after he's cut out her tongue.Then innocent Lori Bancroft (Talia Balsam) moves in and Kinski takes a lot of interest in her before going on one final murder spree towards the end.Also notable for being filmed on the same apartment building set as TROLL (1986), with all the action taking place indoors and in the heater ducts.
It's a small film.Like I said, I enjoyed it and would recommend it mainly for Kinski's performance, but don't expect any extras on the MGM DVD because they're aren't any.7 out of 10.
Crazy old landlord, and former Nazi, preys upon the lady tenants of his building via a system of passages.Being directed by David Schmoeller (maker of 1979's excellent Tourist Trap) I expected a better-than-average horror film and was sadly disappointed.
After he brings in a new tenant, university student Lori Bancroft (played by Talia Balsam, the daughter of actor Martin Balsam), he begins to be visited by a Nazi hunter named Josef Steiner (Kenneth Robert Shippy).Kinskis' performance essentially IS the movie.
There are a bunch of rats in this thing, some entertaining makeup effects gags (but not very much blood), excellent production design (by Giovanni Natalucci) and music (by the great Pino Donaggio), and a very nondescript (if attractive) supporting cast, including Tane McClure, the daughter of Doug McClure.
(He does admit that the movie isn't particularly good.)Kinskis' presence and performance raise the rating by a point.Future "Tremors" director Ron Underwood was the associate producer here.
But that isn't to say the notion of a creepy ex-Nazi landlord crawling around in the ceiling and spying on and killing pretty college girls isn't a good one for horror ...just that if somebody else had tried to pull it off, it would never have been so much fun.
He watches a lot of Hitler's filmed speeches on a screen in his attic, even saluting once in awhile--that is, when he isn't busy slithering around the crawlspace to watch his pretty tenants through the vents or distract them with noises they might attribute to mice or rats.His fondness for being a voyeur takes up most of the running time of this brief thriller and the payoff is only a few scenes of real horror in between long stretches of minimal suspense.
A scene involving a man seated on a special kind of chair has a certain stabbing effect, but most of the killings occur off screen and only the results are shown in brief shots.Fans of KLAUS KINSKI will probably want to see this.
Crawlspace (1986) ** (out of 4) Klaus Kinski plays the son of a Nazi who rents out his apartment rooms to pretty women so that he can spy on them and then kill them.
I'm really not sure what the point of the film was, although it's clear the director was trying to get into the mind of a killer yet we never know what the hell Kinski is thinking or why he's doing what he is.
The cast is very weak - Talia Balsam (Martin's daughter and George Clooney's ex-wife!!) is something of a novelty in that she is hardly attractive enough to be the leading lady for this kind of film - and it's only the sight of Klaus Kinski crawling from one apartment to the other to do his peeping - not to mention his limb-laden room where he keeps narrating the entries in his diary - that holds any interest at all for the viewer; some of the killings are grisly enough perhaps but nothing sufficiently memorable..
But his performance as the tortured, enigmatic, and totally twisted Dr. Gunther corruscates with understated brilliance.Scenes from this film will always stay with me: Kinski playing Russian roulette with himself after he kills each victim and announcing "So be it!" when fate spares him and he can keep on killing.
Klaus Kinski plays Gunther, an apparently retired doctor who is the landlord of an apartment block.
I suppose in 1986 this would have seemed fanciful, however in the UK, and after the revealed murders of Dr Harold Shipman, it is somewhat less so now.Gunther has however got bored with these less graphic murders and has now taken to polishing off his all female tenants who he spies on through vents connected by a network of crawlspaces.One of the most disturbing things about this movie is that Gunther keeps a young lady in a cage in his room.
How great for all us male voyeurs to see such a bizarrely grotesque feminine ritual!The big thing the movie has though is Klaus Kinski's acting, it's rare that a director will focus on an actor's face closeup for any substantial amount of time and let an actor show their talent.
From director David Schmoeller, who gave us the enjoyably offbeat slasher Tourist Trap, Crawlspace is an equally bizarre horror starring the inimitable Klaus Kinski as Karl Gunther, a mentally unhinged landlord who has developed an addiction to killing, satisfying his urges by luring his tenants into his deadly, booby trapped apartment.
When he's not in a murdering mood, Gunther can be found crawling through the air ducts of his building to spy on the women who live there, writing about killing in his diary, playing Russian roulette, or wearing Nazi regalia while watching footage of Hitler (Gunther's father was a Nazi surgeon).For an '80s horror film, Crawlspace is fairly light on the gore and scares, but with its star in full on demented mode, the film cannot fail to entertain: whether it be carefully preparing a chair with a spring-loaded spike in the seat (nasty!), crushing rats with his bare hands, travelling at speed through the air ducts on a wheeled toboggan, smearing his face with make-up, or simply chatting to the tongue-less woman that he keeps caged in his room, Kinski's crazed performance is a delight to behold.6.5 out of 10, rounded up to 7 for IMDb..
Responding to a vacant apartment ad, a woman moves in and meets her tenants who suddenly start to disappear around the building, and when he is finally uncovered resorts to torture to keep his secret the remaining tenants are forced to stay alive to survive the experiments.There's really only a few good things about this film.
The film's best is the end with a really creepy and protracted chase through the apartment, starting from the lower floors, up into the attic, through the crawlspaces that are hidden throughout the building and finally concluding inside a secret room filled with leftover artifacts and other things stored away.
Crawlspace is one of the creepiest films you'll ever see; largely thanks to Kinski's portrayal of Gunther, the son of a Nazi war criminal- and seasoned serial killer- who runs a boarding house for women.
And few actors possess the natural creep factor that Kinski exudes.After fleeing from Argentina- where he was a doctor, practicing his trade by, killing off all his patients- Gunther would settle in America; where he would build a mansion that would make Holmes proud: complete with a crawlspace for voyeurism; and all manner of booby traps- to prevent anyone who might discover his secrets from escaping.Gunther keeps one of his former tenants, hostage in a cage, as a pet.
When I saw Klaus Kinski's name shown first as the 'star' of the film I knew it would be BAD because I like everyone else instinctively know that certain actors CANNOT carry a film on their own.You could see most of what was going to happen about 10 minutes before the scene arrived.Kinski to me seemed as if he was trying to speak like the late Peter Lorre but he is neither as good or exciting!Talia Balsam was much better in her role as Lori, one of several boarders in the large house belonging to Dr.Gunther, son of a Nazi who became more insane as the movie progressed.Other parts were played by actors I'd never heard of - either before or since and the budget was probably less than $10K, at least that's what it seemed like..
Klaus Kinski stars as the crazy son of a crazy Nazi, who comes out of hiding to run an apartment house that only rents to women.
Kinski made several films (Nosferatu the Vampyre, Fitzcarraldo, Aguirre: The Wrath of God) with director Werner Herzog before they had a falling out during Cobra Verde.He is immediately attracted to a new renter played by Talia Balsam (No Strings Attached, "Without a Trace", "Mad Men").
A retired doctor (Klaus Kinski), who is also the son of a Nazi surgeon, rents out apartments to young women so he can crawl through the air ducts and spy on them.
This is absolutely true: while the film could have starred anyone, Kinski's look, voice and mannerisms really give him the rich, creepy feeling the character of Dr. Gunther needs.
All else is background to his presence, making him something of an anti-hero.Director David Schmoeller really gets in there with angles, and shows us just how tight those crawlspaces are that Gunther worms his way into.
Dr. Karl Gunther, the son of a Mengele-type Nazi doctor, is the superintendent of this complex with a predilection for renting only to women so he can of course spy on them via his completely dust-free airvent system all the while harassing them with his various rats-in-the-wall contraptions.
None, though that would of been hilarious.Crawlspace needs to be categorized with movies like Chucky, Troll, and Puppet Master as films whose villains you must suspend belief in in order to watch.
I think that this is overall a good movie, Klaus Kinski is perfect for the part of Dr. Gunther and the whole Idea of the movie is great.
He plays former doctor Karl Gunther who now owns an apartment building in America.
people suddenly died, and you didn't even get to see it happen, then one gets 'trapped' in the crawlspace kinski uses to spy on other people (which he doesn't do too well), but its like kinski dont even care and just carries on watching one of his old films.
An ugly, mean-spirited horror movie, directed in a detached, hallucinatory style, like "Phantasm." Klaus Kinski is repugnant as the sadist; his performance is garbage, but can you blame him?
I always wanted to see this film,because the director of it was David Schmoeller responsible for a huge personal favourite "Tourist Trap" as well as the pretty nifty "Puppet Master".The story revolves around a deranged escaped Nazi torturer Dr.Gunther played by Klaus Kinski who has somehow managed to settle in a suburb in California where he own property and rents out apartments to nubile young women so that he can gawk at them through the special crawlspace he has purpose built.
Gawking is not all he is interested in however-his twisted desires very much include torture and murder."Crawlspace" is a pretty average horror film.The score by Pino Donaggio is quite good and intriguing,unfortunately the lack of tension and atmosphere is especially hard to forgive.The gore is also on the tame side with most deaths taking place off screen.Give it a look,only if have enough time to waste.6 out of 10..
I love Klaus Kinski so I enjoyed every minute he was on screen in 'Crawlspace'.
But, having seen a fair few of these, I'd like to recommend this one if only because old Klaus does have a lot of fun hamming it up with the nutzoid old Nazi role and, despite myself, I really enjoy a cheesy schlock horror when it sets out to entertain, as this most certainly does.
**SPOILERS** With his old man, a Nazi concentration camp doctor, being executed after the war for crimes against humanity junior or Doctor Karl Gunther(Klaus Kinski), now in his fifties, had become fascinated with the German Third Reich.
Gunther is also fascinated with young women whom he rents out apartments in his rooming house and loves to watch them in all states of dress and undress.
From the safety of the crawlspace that leads from his dumpy attic apartment throughout all the apartments in his building.You can see right away that actor Klaus Kinski is just itching to break out of his restrained role as the meek and soft spoken Dr. Gunther.
Going so out of his skull that for a moment you think that he's not really acting at all but just being his own wild crazy and creepy self.Collecting body parts of his many victims Gunther also keeps this woman mute Martha White(Sally Brown), who's tongue he cut out, in a cage in his attic.
Gunther end up not only murdering the gentlemen but also cutting out some of their body parts, two eyes and a ring finger, and putting them in jars of alcohol as souvenirs.The movie takes a turn for the worst, for crazy Karl, when his past finally catches with him in the person of young Josef Steiner, Kenneth Robert Shippy, who's been tracking him down for over three years.
Only in the end to get himself blasted by Lori with the last remaining bullet of his .44 magnum that he played Russian Roulette with himself.This is an all star Klaus Kinski movie with him being the only reason to really watch it.
The violence in the film "Crawlspace" was more or less standard in movies like itself but its star, the late and off-the-wall Klaus Kinski, gave what amounted to a unique one of a kind performance.
CRAWLSPACE has an interesting idea behind it but unfortunately, like most of David Schmoeller's films (he directed the boring TOURIST TRAP), the whole thing is just too uninvolving to be memorable in any way, shape or form.
The film feels like it's missing a third of story and the way the film starts sorta echo this impression: we see a woman walking around the apartment complex and eventually discovers Kinski's horrifying background and pays for it.
Kinski plays the owner of an apartment complex who spies on women through a crawlspace which leads to each room via ventilation shafts.
To her intrusively horrific disbelief, in this eerily illuminated room, Nazi war photos adorn the walls to one side, while other side is decorated with scores of caged rats, a kitten, and a caged mute woman staring out passionately.Enter Klaus Kinski as Dr. Karl Gunther.
College student Talia Balsam rents an apartment from landlord Klaus Kinski and soon realizes that it's not just rats running around the building's crawlspaces.
Kinski is absolutely demented, following in the steps of his Nazi doctor father and coming up with clever ways to kill people.
Klaus Kinski is completely insane as an ex-Nazi doctor who killed and experimented on people during the Holocaust, and he now spies on women from the ventilation duct (hence, crawlspace) of his apartment building.
Crawlspace starts as college student Lori Bancroft (Talia Balsam) replies to an advert in a local paper for a an apartment to rent, Lori speaks to the buildings owner Dr. Karl Gunther (Klaus Kinski) & decides to take the apartment.
However what Lori doesn't know is that Gunther is a sick Nazi who is addicted to torturing & killing people as well as spying on his young tenants using a crawlspace to move around.
When a man named Josef Steiner (Kenneth Robert Shippy) the brother of one of Gunther's victim's turns up asking questions & bringing up the past Gunther loses it completely as his depraved secrets unravel & he kills everyone until only Lori is left...Written & directed by David Schmoeller who also has a small uncredited role as the bloke looking to rent the room that Kinski lies to & says the apartment is already gone, made by Empire Pictures which was one of Charles Band's early production companies (before Full Moon) while he was still interested in making good films Crawlspace is a film that I quite liked although not that much actually happens.
I guess it's the twisted somewhat demented script that I like, from Kinski playing Russian Roulette to his torture devices & traps to his German background to Kinski spying on young women to putting Rats in their apartments to even keeping a girl caged in his room with her tongue cut out so he has someone to talk to.
There are a few monologues as Kinski narrates his feelings & thoughts as he puts them down in his diary, from admitting he is addicted to torture & murder to his own bleak past Crawlspace is a sleazy film without much in the way of uplifting moments.
Leading lady Talia Balsam actually ended up married to George Clooney.Crawlspace is a film with not that much to it, Kinski watches various young women & then kills them at the end, but it has enough depravity & sick charm to make me like it.
This movie is good/bad and there are two reasons why this movie is good and the two reasons are:1.The main character in this movie is called Docter Karl Gunther (Klaus Kinski) and i think that he is so dam freaky because every thing he does in this movie is so strange.2.All of the ways people die in this movie are great and the best way someone dies is how a man is sitting in a seat and he accidentally presses a button and a big metal spike comes out and kills him.Over all if u like good suspense horror movies u should watch this movie and my rating for this movie is six out of 10..
Karl Gunther, (Klaus Kinski), has a thing for his tenants. |
Subsets and Splits