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tt1136608 | District 9 | The film opens with a documentary-style series of interviews that introduce the story: twenty years prior, an alien ship arrives above Johannesburg, South Africa. It hovers above the city for three months without any contact; eventually humans take the initiative and cut into the ship. They discover a large group of aliens who are malnourished and sick. The aliens are later assessed as being "workers", with their leadership mysteriously missing (it is hypothesized that a plague may have wiped out all of the leadership-caste). Grainy footage shows part of the ship (supposedly a command module) falling to Earth, but nobody has been able to find it, leaving the ship still hovering but inoperable.The creatures are given permission to leave their craft and live on Earth but are housed in a squalid government camp. The alien race's true name is never learned; they are primarily referred to as "prawns", a derogatory term referring to the bottom-feeding sea creature they resemble or, more rarely, "non-humans". Overcrowding and militarization eventually turn the area into a slum known as District 9. A massive black market is set up between the aliens and a group of Nigerians primarily led by Mumbo, a paraplegic warlord. In addition to inter-species prostitution, the Nigerians exchange canned cat food for alien weapons, of which the cat food has an effect similar to catnip on the aliens.The present story takes place in 2010. Patience over the alien situation among the human population of Johannesburg has run out and control over them has been contracted to Multi-National United (MNU), a private company that shows little regard for the aliens' welfare. MNU's actual agenda is their interest in the aliens' advanced weaponry, but its integration with alien biology makes it useless to humans.An MNU field operative named Wikus van der Merwe (Sharlto Copley) is tasked with moving 1.8 million aliens to a new camp, District 10, located 240 km from Johannesburg, with help from private security forces working for MNU. MNU teams serving warrants for the relocation of the aliens find caches of contraband items, including weapons, in many alien shacks. Wikus himself oversees several inspections and is assisted by Koobus Venter, a belligerent MNU military operative whose tactics with the aliens are ruthless and cruel. In another shack, not far away, an alien named Christopher distills a mysterious black substance that has taken him 20 years to find the components for and stores it in a small black cylinder. While serving and eviction notice to Christopher, and searching his shack, Wikus finds the cylinder which squirts its contents into his face. He becomes almost instantly nauseous and collects the device as evidence.Wikus returns to his office and grows increasingly ill throughout the day, the side-effects of the black fluid becoming more prominent. He returns home that evening and collapses at a surprise party in his house. He is rushed to a hospital where a doctor discovers his left arm has metamorphosed into that of a prawn. Wikus is taken into custody and a series of tests and experiments are performed on him; these reveal that his alien DNA allows him to operate alien weapons with both his human and alien hand. The scientists discover that his DNA is currently "in balance" with the alien DNA, which is gradually transforming him completely into a prawn. With the permission of Wikus' ruthless father-in-law, they decide to harvest his body for biological material at this critical point, to have the greatest chance of replicating his ability to use alien technology in other humans later. To reduce any complications in harvesting, no anesthetic will be used. However, during the attempted vivisection Wikus overpowers his captors and escapes, fleeing from MNU. He finds refuge in District 9.Wikus returns to the run-down shack of Christopher, who has a small son. It is hinted that Christopher might be a surviving member of the prawn leadership caste, as he shows much more knowledge of how alien technology works, possesses or at least found the command module, and interacts with MNU officials more articulately than other aliens. Although initially hostile towards Wikus, Christopher eventually agrees to help him reverse the transformation if Wikus will retrieve the fuel in the cylinder he'd seized. Christopher promises to undo the mutation by getting Wikus aboard the mother ship hovering over Johannesburg, and shows Wikus the ship's command module, which has been hidden under his shack for 28 years.Wikus steals some alien weaponry from Mumbo and his gang, with Mumbo vowing to capture Wikus and eat his mutated arm (his witch doctor believes this will give him the power to operate the alien weaponry). With Christopher's help they launch an assault on MNU and successfully retrieve the fuel sample. While there, Christopher discovers that MNU has been conducting horrific experiments on his people. Wikus and Christopher fight their way back to District 9 and Christopher begins preparations to leave. He tells Wikus that he must first return to his home world to seek help for his people before he can cure Wikus which will take three years. Furious, Wikus knocks Christopher unconscious and powers up the ship himself. The MNU mercenaries target Wikus and destroy one of the command module's engines, causing it to crash land inside District 9.After Wikus is captured by MNU, a battle between the MNU mercenaries and Mumbo's gang breaks out. After a protracted firefight, the Nigerians capture Wikus. Just before Wikus' arm is chopped off, Christopher's son activates several systems in the mothership, including the autopilot routine of a mechanized battle suit; it slaughters Mumbo and his men after they fire on it. Wikus enters the alien walker battle suit, and after initially attempting to flee, returns and rescues Christopher. Armed with a lightning cannon, tracking missiles, and a high-powered machine gun, Wikus begins to fight the MNU men. After being knocked over by an anti-tank sniper round, he convinces Christopher to return to the shuttle without him, over Christopher's objections. Christopher promises Wikus that he will return in three years to repair his body. Christopher then boards the shuttle and activates a tractor beam which returns the command module to the mother ship.Wikus is shot in the back and the walker suit ejects him. Wikus, heavily wounded, begins dragging himself away from Koobus Venter, the sole survivor of an MNU squad, but is quickly caught. As he prepares to shoot Wikus, other prawns appear, attacking and dismembering Venter.The film concludes with another series of interviews and news broadcasts, providing human opinions on the events that unfolded. The aliens are successfully moved to District 10, which now has a population of 2.5 million and is growing. One of Wikus' coworkers hacks MNU's database and publicly exposes their illegal genetic experiments. There are many differing theories on Wikus' fate. Some people believe that he either left on the mother ship, is in hiding, was captured by MNU or a government agency. Some interviewees hypothesize that the aliens are planning to return with a full army and declare war on humanity. An interview with Wikus' wife reveals a small metal rose was left on her doorstep (Wikus has earlier demonstrated his affection with handmade gifts). Her friends have told her that it could not have possibly been Wikus, but she appears unsure. In the final scene, an alien with a bandaged left arm is shown in a junk yard fashioning a rose out of scrap metal. | comedy, boring, mystery, realism, murder, bleak, allegory, cult, violence, atmospheric, flashback, psychedelic, humor, action, satire, alternate history, sentimental | train | imdb | null |
tt0368447 | The Village | Covington is a 19th-century Pennsylvania village that is isolated from the rest of the world. The woods that surround the village are off limits to all the villagers because mysterious creatures live there. Many years earlier, the town elders and the creatures reached an understanding that the villagers would not go into the woods, and the creatures would not enter the village. A boundary was set up around the village, along with warnings on etiquette and colors to wear regarding keeping the creatures at bay.After one of the elders named August Nicholson (Brendan Gleeson) loses his son to an untreatable disease, one of the town's young people named Lucius Hunt (Joaquin Phoenix) goes to the village elders, and requests to leave the village and travel to "the towns," in hopes of finding medicines and other remedies that may prevent further losses, or possibly cure the mental ailments of one of the town's other young persons, named Noah Percy (Adrien Brody). His request is quickly denied by the village elders.Lucius himself is considered a rather strange young man by the village. He keeps to himself, rarely speaking to most people. When Kitty Walker (Judy Greer) comes to Lucius in hopes he will marry her, he refuses her request. Lucius has been childhood friends with Kitty's youngest sister, named Ivy (Bryce Dallas Howard). Blind since she was very young, Ivy claims that Lucius has a 'color' around him, that she can sense. One day, while in a small area near the border to the woods, Noah presents Ivy with some red berries. They do not grow in the village, and Lucius believes that Noah has travelled into the woods, and has not been harmed by the creatures in it. This causes Lucius to grow more determined, and he again goes to the elders to request again to travel to "the towns." Lucius believes that if the creatures allowed Noah into the woods without causing him harm, they will do the same to him.Lucius' second request is denied, and his mother Alice Hunt (Sigourney Weaver) advises him to stay home and forget about the outside world, claiming it to be a dangerous place that took the life of his father. Upset by these proclamations, Lucius explains that he sees that his mother eyes Ivy Walker's father Edward (William Hurt) in a 'certain way,' even though he is married. Lucius also makes note of a black wood box that his Mother has, which is locked. Each of the elders has a box, that contains remnants of the elder's pasts before they established Covington. Lucius wants his mother to open the box and reveal her past secrets, but she refuses this as well.The next day, Lucius has patrol duty along the borders of the village. Unseen by the others, he steps over the boundaries, and wanders a ways into the woods. The sound of something nearby catches his attention, but all that is there when he looks are some wavering branches. Later that evening, Lucius visits the Walkers' house, where he has a conversation with Ivy. Ivy explains that in the time that has passed, her sister has decided to marry another young man in the town. Ivy says that Lucius is brave for wanting to go beyond the village, but she feels his actions are unwise. Before Lucius leaves, Ivy informs him that now that her sister is to be married, she is free to have suitors court her.Shortly thereafter, the alarm is sounded, and the creatures in the woods are said to have entered the village. Lucius returns to the Walker's residence, where he manages to get Ivy into the house before she is attacked by one of the creatures.The next morning, red marks are found slashed across many of the doors in town. A town meeting is held, to which Edward Walker explains that he feels the creatures feel threatened. Lucius comes forward, claiming that his trespass into the woods beyond the borders was most likely what brought the creatures into the village. Lucius is ashamed at what has happened, but even so, Edward praises that he is a very brave young man.Sometime afterward, a celebration is held for the marriage of Kitty Walker and Christop Crane (Fran Kranz). During a lively dance, children's screams are heard, and several report that some of the creatures have returned to the village. The party is called off, as the villagers find skinned animals hung above the porches of several houses. This action on the part of the creatures causes the elders to grow concerned, and extra watch groups are put out.Lucius visits the Walker's residence in the evening, finding Ivy sitting on the porch. While talking, they finally admit their fondness for each other, and tell the elders the next day of their plans to be wed. The news travels fast through the small village, and Lucius is soon visited by Noah. Noah seems distraught at this news, and shocks Lucius when he stabs the young man repeatedly. Noah shortly thereafter leaves Lucius, and is found with blood on his hands. When a search is made to figure what has happened, Ivy goes to tell Lucius, only to find him on the floor of his small blacksmith's shop, not moving. Ivy is further worried when she cannot see his 'color.' For his actions, Noah is locked in a small house.Lucius's wounds are too severe to be treated by the methods known in the village, and it is very possible he will soon die. Ivy goes to her father, requesting to go to "the towns" to retrieve medicines to save the man she loves. Edward is at first unsure about this, but soon after takes Ivy aside, and takes her to an old shed. Edward explains that the towns are a wicked place, and that Ivy's Grandfather was a wealthy man who was killed by a person in "the towns."Edward opens the old shed, and Ivy is frightened when she senses the creatures inside. However, Edward explains that the creatures are not real - they are merely suits created by the elders to keep the other villagers from straying beyond the borders of the town. Edward then gives Ivy instructions on how to reach "The Towns," giving her his own permission to leave Covington to save Lucius, as per her request.After Ivy has left, Edward goes to Alice, and explains that Ivy's quest to save Lucius is 'all he can give her,' in the wake of his secret feelings towards her. Edward then goes to the other elders and explains what he has done. While many are distraught, Edward claims that what he has done is meant to protect Covington's way of life. As the elders will not live forever, it is through the young people such as Ivy and Lucius that their way of life will be preserved.Ivy packs supplies, including a gold pocket watch given to her by her father as payment for medicines. Ivy is accompanied into the woods by Kitty's husband Christop, and another young man named Finton Coin (Michael Pitt). Christop has taken no more than a couple steps outside the village's borders, when he grows frightened. Even though they are wearing yellow colored clothing (considered a 'good' color), and even though Ivy claims she has a bag of magic rocks to protect them, Christop turns back. Finton accompanies Ivy for another day, before he too is overcome with fear. Ivy allows him to go back, and continues on her own.Ivy soon comes across a large pit that almost claims her life. After making her way around it, she hears a strange sound, and senses what she believes to be one of the creatures, even though her father told her they were not real. The creature charges her several times. Using her memory and remaining senses, Ivy manages to lead the creature back to the pit, where she tricks it into falling in. It turns out (unknown to Ivy) that the creature was actually Noah in one of the costumes. He had found the costume beneath the floorboards in the house where he was being kept, then put it on and escaped into the woods. Noah's fall badly injures him, and soon, he ceases to move.Ivy continues on her way, and soon comes to a large wall. Carefully, she begins to climb over. As she does, several of the village elders open their locked black boxes. Contained within are mementos of their past life. It is soon apparent that Covington only has the appearance of being in the 19th century. The actual time is the present day.The village of Covington came about as an idea by Edward Walker. After his father was murdered by a business partner, Walker joined a support group for others who had lost their loved ones to violence. Walker was a history professor at a local University, and had the idea to start a small isolated village, to insulate the members of the group from further harm or loss. Walker's father was very wealthy, and Edward had the village built deep in the interior of the Walker Wildlife Preserve. A large wall surrounds the preserve, and precautions are made to keep airplanes from flying overhead as well, to keep up the illusion of the village being a rural and rustic place.Back at the wall, Ivy has made her way over, when she is startled by a strange sound, and the voice of a young man. The sound is actually the siren on the young man's vehicle. He is part of the patrol unit making sure people do not attempt to get into the preserve. Ivy is at first frightened by the young man, given what she has heard about people in "the towns." However, she soon senses kindness in the young man's voice, and he offers to help her get the medicines she needs.Ivy is told to stay by the wall, while the young man leaves and returns with the supplies, along with a ladder. Ivy gives the young man the pocketwatch she has as payment, and makes her way back over the wall, and back into the woods, completely unaware of the modern-day world she has set foot into.Ivy soon returns to the village.Word spreads of her encounter with a creature that she killed in the woods. Noah's parents are distraught over the news of their son's death, but Edward Walker sees a silver lining in this altercation. Edward had convinced Ivy that the creatures were fabrications by the elders. But having encountered what she thought was a real creature, she most likely now will be deterred from considering returning into the woods or telling Lucius about what Edward told her. She may even now think that her father told her these things to build her up to be brave for the journey.Edward Walker also proclaims that they will go out later on and recover Noah's body, bury him, and claim the creatures killed him. In silence, the elders vow to keep going on with their charade, as Ivy returns to the Hunts' residence with the medicines, and sits down next to Lucius, as the elders watch her take his hand. | suspenseful, boring, murder, psychological, stupid, thought-provoking, cult, atmospheric, flashback, plot twist | train | imdb | null |
tt0036367 | So Proudly We Hail! | In 1942, an Army plane brings eight nurses from the Philippines to Australia. They are the only female survivors from the hard-hit Army base in Corregidor,and are put aboard a ship to the US. Their leader, Lt. Janet 'Davy' Davidson (Claudette Colbert), does not speak, and the doctor on board asks the nurses to tell their story so he can try to help her.In 1941, these peacetime army nurses were traveling to Hawaii for their assignment. After Pearl Harbor they are diverted to meet a convoy of ships. When one ship is torpedoed, they pick up survivors. Cold Lt. Olivia D'Arcy (Veronica Lake) is added to the nurse group, but is downright hostile. Finally she divulges that her fiancé died at Pearl Harbor, she tried and failed to kill herself, and now she just wants the Japanese dead.Lt. Joan O'Doul (Paulette Goddard) begins a flirtation with Kansas (Sonny Tufts) but refuses to get too involved. Lt. John Summers (George Reeves) and Davy keep running into each other aboard ship, clicking in a more understated way.The nurses are assigned to a hospital in Bataan, under overworked head nurse Capt. 'Ma' McGregor (Mary Servoss). When Davy finds out that Olivia was assigned to care for the Japanese prisoners, she rushes there, but finds that Olivia could not bring herself to harm them.Due to the approach of the enemy, the camp is evacuated. At the last moment Joan rushes back to get her beloved black nightgown, delaying the nurses departure and killing their escorts. The Japanese are so close that escape seems impossible, so Olivia grabs a grenade and steps grimly toward them. When she pulls the pin, sacrificing her life and killing the enemy, the nurses are able to escape.Their next hospital is little more than beds in a jungle, caring for thousands of wounded men. Malaria and dysentery are rampant and supplies are scarce. Everyone is stunned when they learn that General Douglas MacArthur has left the island and that the supply convoy was sunk.After moving to another base, Davy realizes that Joan has been overworking to try to compensate for the loss of Olivia. The Japanese bombard the hospital, killing and wounding many. Orders are received to evacuate Bataan, and everyone crowds the roads heading for the harbor at Marivèles. Everything that floats is used to escape to the island of Corregidor.In the tunnels of Corregidor, constant air raids and no supplies increase the pressure on the nurses. Desperation for supplies finally forces the assembly of a small group of men who will try to reach Mindanao. John is one of the volunteers, but he and Davy decide to marry before he goes. After his departure, secret orders are given to evacuate the nurses simply to prevent them being captured: it is obvious that Corregidor will be lost. Davy does not want to leave because she fears for John. Word comes that the volunteer mission failed, and Davy goes into speechless shock.The nurses finish telling the whole story to the doctor. He locates a letter from John, written during his mission and given to someone before pressing on. It includes the deed to his farm in American. At the time of writing he was safe, and hopes to meet her there after the war. However, he also states that even if he doesn't survive, the effort of fighting the war is worth his sacrifice, for the freedom of the United States. Hearing his words, Davy is roused from her catatonia and speaks. She lifts her face and smiles. | flashback | train | imdb | This film centers around the true horrors that the courageous nurses who served in WWII at Corregidor went through.
Amazing performances by all, including the great Claudette Colbert, George Reeves (from Superman fame), Veronica Lake (In certainly her finest performance), and Paullette Goddard who was nominated for an Academy Award.
The script for this film was written by using the stories from journals, and diaries of the actual nurses who served at Corregidor.
This film was well written, had outstanding acting, mature subject matter for the time period, and was an historical achievement for putting courageous women in the spotlight.
Women are nurses, managers, business owners, mothers, and some how they manage the time to be wives.I enjoyed this movie a great deal because of it's accurate portrayal of the power of women.
Another fine film from AMC's 1998 "Veterans' Day Movie Marathon."This one details (in flashbacks) the daily ordeals of a company of Red Cross nurses serving in Bataan and Corregidor during WWII.
For a change, Paulette Goddard plays the nurse with most of the male admirers (Sonny Tufts in particular), with Veronica Lake showing up late in a decidedly unsexy role (about which I can't say much more than that, lest I ruin it for you).
"So Proudly We Hail" was a timely film when it was made and 60+ years later its message is still relevant as an historical event..
Thank goodness there are movies like this to remind Americans that the war was a total effort by almost everyone.
This movie is also a reminder that most Americans during the war saw the fall of Bataan and the Phillippines as the major tragedy of the time.
It opened to popular acclaim at New York's Radio City Music Hall where it played to contented audiences who were both entertained and impressed by the war realism depicted as nurses undergo the rigors of work among the wounded.It's still pretty impressive, although some of the flag-waving gets a little heavy and the suds flow pretty freely when the nurses discover romance.
In lesser roles, Veronica Lake and Paulette Goddard acquit themselves well, with Goddard receiving a Supporting Actress nomination.Sonny Tufts achieved instant popularity with his role as the bumbling Kansas and George Reeves had one of the best roles of his career as Colbert's love interest.What makes the film remarkable for its time is the way it handles all of the action sequences--and there are plenty of them.
Still, it has holding power and is an example of one of the finer films of the period to deal with the role of women during World War II..
Brutal re-telling of a true story of American Army nurses In the Pacific theater during the Second World War..
Like "Cry Havoc" (also made in 1943 but with a small cast and a modest set), this is a film about American Army nurses stranded on Corregidor, Philippines during the horrific time when General MacArthur was ordered to retreat to Australia.
Both films are fascinating and moving because they were made during the War, before its outcome was known.The performances of the very large cast of "So Proudly We Hail" are uniformly good -- with the exception of Ms. Goddard, whose mannerisms are annoying.
For the ladies, they might like this "war movie," a lot more because it pays tribute mainly nurses and all the romances are probably just the ticket.But for 126 minutes, I would have liked to see a bit less courtship scenes, which included some corny dialog.
Her role was the most interesting.The movie succeeds in paying tribute to unsung heroes of any war: the nurses.
She's just as compelling as many of the rest of the supporting cast which includes Sonny Tufts as a goofy soldier who falls for Paulette Goddard, and George Reeves as an Army man who takes a shine to Claudette Colbert.
It's largely Colbert and Goddard who provide the spirit and occasional heartbreak of the film as we watch them both praise and whine about how the war is going.
Excellent, realistic performances by Veronica Lake, Paulette Goddard, Sonny Tufts, Walter Abel, Hugh Ho Chang, even George Reeves.
I don't understand why this film isn't mentioned among the best of American-made war movies.
(Yes, there are non-PC references to "Japs," as with every other American war movie of the era.) Disregard any disparaging critiques posted here and SEE THIS FILM..
Claudette Colbert heads up a team of army nurses caring for the wounded and dying in "So Proudly We Hail!" It's a great ensemble of fine actresses, including Paulette Goddard, Veronica Lake, Barbara Britton and others.
These nurses are in the Phillipines when MacArthur pulls out and they become stranded on Corregidor.The film is told in flashbacks, when the women are actually on their way home by ship, and Colbert, who plays "Davy" (Janet Davidson) is catatonic.
It's a rough one, filled with bombings, filth, malaria, little food, exhaustion, and dying.When "So Proudly We Hail!" was released, no one knew how the war would end as we do now, and the fall of the Philippines was seen as a major defeat for the U.S. I suspect that although the impact of seeing it today is very strong, it must have been a lot stronger for wartime audiences.As mentioned, it was wartime, so Hollywood didn't have a lot of men to choose from.
I've always thought in real life, with all that charm and charisma, she must have had to beat men off with a stick."So Proudly We Hail!" gives as realistic a depiction of the conditions of war and the tremendous work of the nurses who served.
The film got four Oscar nominations and great roles for some of Paramout's female stars like Claudette Colbert, Paulette Goddard, and Veronica Lake, all playing nurses and also joined by Barbara Britton, Mary Treen, Dorothy Adams, Ann Doran and so many others.Claudette is in charge of this group which sets out from San Francisco for assignment at Pearl Harbor.
The battle and evacuation scenes were very well done, one of the nominations that So Proudly We Hail got was for Special Effects.Colbert gets herself involved with George Reeves and this was probably his best big screen performance.
Of course we all know he went on to be television's Superman and the tragedy that came out of that.The military's no fraternization policy got a second wink when Goddard gets herself involved with Sonny Tufts in the film that got him his first notice.
The other Oscar nominations that So Proudly We Hail got was for Best Supporting Actress for Paulette Goddard, for Screenplay, and for Original Story.
The film has held up remarkably well over the past several generations and it's a great tribute still to our army nurses in any war..
Director Mark Sandrich and Screenwriter Allan Scott have interviewed eight U.S. Army nurses surviving the perils of World War II during its devastating raids on Pearl Harbor, in Hawaii, and Bataan and Corregidor, in the Philippines.Paramount Pictures produces this resulting dynamic anti-war film, "So Proudly We Hail!" (1943), complete with many barbarian attacks on innocent lives and a great amount of bloodshed under treacherous conditions.Its leading ladies and several well-known supporting actresses portray U.S. Army Lieutenants, serving as nurses to care for wounded Service personnel and civilians during the war-torn Pacific Campaign.
This stars Claudette Colbert as Janet "Davy" Davidson, Paulette Goddard as Joan O'Doul, Veronica Lake as Olivia D'Arcy, Mary Treen as Sadie Schwartz, Ann Doran as Betty Peterson, Barbara Britton as Rosemary Larson, and Mary Servoss as Captain "Ma" McGregor, with Yvonne De Carlo in an uncredited roll.George Reeves as Lieutenant John Summers plays opposite Miss Colbert as her romantic leading man, with Sonny Tufts as Kansas to interact with Miss Goddard, with Walter Abel as Chaplain and James Bell as Colonel White.The story is told primarily in flashback sequence, with narration by Paulette or Mary to introduce its scenes, after eight Army nurses arrive in Brisbane, Queensland, Australia, in order to explain the one among their group not responding to human contact.It all begins on the evening of the group's deployment from San Diego, California, early in December of 1941, and their nearing their proposed station in Hawaii, but they must change their course to head toward the Philippines, in the aftermath of tragedy.Along the route, shipmates witness the bombing of a different ship, and survivors are rafted onto board their vessel, one of their new passengers an Army nurse, Lieutenant Olivia D'Arcy, who has been stationed at Pearl Harbor during the invasion.Olivia, however, does not wish to participate in the shipboard merriment of the Christmas Eve gathering, at which the perennially flirtatious Joan wears her black lace negligee as an evening gown, to boost community morale, while the altruistic Janet attempts to reach an understanding with her distant new nurse.From here, most of the on-land action transpires in Bataan and Corregidor, employing very graphic scenes of the results of enemy aerial bombings and gunfire.Veronica Lake forsakes her Peekaboo hair style to sport the School-Marm look characteristic of this era because Defense Plant employees emulating her famous cascading coiffure have unfortunately been finding their hair to catch into machinery gears.All-in-all this makes for a very downbeat but heavily worthwhile film, containing nice touches of pleasantries along the way, all worth revisiting over the years, but upon this most recent viewing, the electricity went out throughout the community (during a bombing scene in the film) after a vehicle struck a utility poll down the road, thus magnifying the poignant effects of this film amid the atmosphere of actual sirens in the backdrop of the outdoor and indoor darkness..
what a flawless film...the acting...paulette goddard sublime...lake..her first real good effort and colbert gracious and sonny tufts...really credible.
One, "In Harm's Way", is told from the viewpoint of two Patrol Boat captains and this film, "So Proudly We Hail!" concerns an ensemble cast of nurses stuck on Bataan during the final weeks of this battle.
And, among the guys they fall for during the war are George Reeves (TV's Superman) and Sonny Tufts.What I really liked about the film is that although the characters are fictional, the action is very real.
Those prisoners of that surrender were the ones subjected to the infamous Bataan Death March.The action and pathos of this film feel real because they are based on real human beings faced with critical issues of life, death, hatred, love and courage in the face of fire.So worth your viewing time!.
The primary characters are the Army nurses, with powerful leads played by Colbert, Goddard, Lake and Britton.
Two male characters, one by TV Superman George Reeves (long before his red cape days) and one by Sonny Tufts who lends a humorous, homespun aspect to the storyline, are welcome additions.As with any US movie made during the Second World War, the Japanese are portrayed as a murderous, evil, unscrupulous enemy.
Dark and serious.George Reeves plays the soldier who falls in love with Colbert, giving her someone to worry about while she works to keep the hospital base running despite short supplies and occasional Japanese air raids.
Not a single nurse in 1942-1945 who served in the Philippines died during the Japanese invasion or later in Japanese prison camps.In contrast, the death rate among males in both situations, which included the Bataan Death March (in which the nurses did not participate), was absolutely horrific, and included slave labor in Japan by being transported there by unmarked Japanese hell ships routinely sunk by unknowing U.S. submarines where starved, sick, suffocating men locked in holds drowned by the thousands.There were endless aspects of the movie that tried the viewer, even in 1943: maudlin speeches by the chaplain, nurses, and others (including a speech in a love letter at the end of the movie) every 15 minutes or so; front line soldiers and a Marine (who for some reason wanders around all alone in an Army unit, on the voyage over and in the Philippines when he should have been with his fellow Marines in the 4th Marine Regiment) who nonchalantly stroll back and forth at will from the front lines to the rear to schmooze with their girl friends; fraternization (absolutely forbidden) between a nurse and the (apparently) lost enlisted Marine (who is a PFC in his blouse and a Pvt. in his shirtsleeves); absolute confusion as whether these nurses were Red Cross (civilians) or U.S. Army and Navy; the usual tiresome 1940's litany of wisecracks; not a single, solitary mention of the U.S. Army medics and Navy Hospital Corpsmen who, unlike the nurses, indeed WERE in the front lines, decimated, and left behind with their patients (no Australia for them); Claudette Colbert and Paulette Goddard obviously too old for their roles; Veronica Lake with hair shoulder length; endless, childish cat fights; and a scene with Veronica Lake, Japanese soldiers (who don't fire but obligingly gather around), and a hand grenade which has no competition for the 20th Century's Prize for the Hands Down Stupidest Scene Ever Filmed in a War Movie.
Along with Veronica Lake, and Claudette Colbert as the lead.All were very good, however, it was Paulette that got the Academy Award nomination as "Best Supporting Actress" for this film.
One can only imagine the hell they must have lived without such short respites as we movie-goers get."So Proudly We Hail" has an impressive cast of women actors of that time -- Claudette Colbert, Paulette Goddard, Veronica Lake and many more.
Unidentified nurse, "I don't know if that's an air raid warning or mess." Janet (Claudette Colbert), "Either way, it's a warning." This movie – for its subject matter, script, performances, and quality of production, ranks among the very best of war films of all time.
Paulette Goddard, in her greatest role, shines in an all star cast that includes Claudette Colbert (It Happened One Night), Veronica Lake, George Reeves ("Adventures of Superman"), and Yvonne De Carlo (American Gothic, "The Munsters").It is a real war movie that is a tribute to the brave nurses that served in WWII.
These nurses were truly superwomen, working long hours under impossible conditions.There is no rah rah rah for the USA in this film, as it was made during the war, and we really didn't know how it would turn out at the time..
You pretty much know you're getting an heroic picture about Americans in battle when watching a war movie from 1943, so that helps set the stage up-front.
However, it is one of the few films that bothered to show the sacrifices that Red Cross Nurses, Doctors, and medical staff made during World War II.
Because of that, it is an important film to see so that we can all appreciate their important contribution.I just got done seeing it and I entered "World War II Corregidor" into Google and read several web pages that go into detail about the role Red Cross Nurses played in World War II.
Paulette Goddard was nominated for an Oscar, but to me the real standout performance of this film came from Veronica Lake.
This WWII film looks at the lives of a group of nurses as they serve from Pearl Harbor to Bataan.
I saw it with a bunch of other 11 year old boys.My impression then, and my lingering impression now, it that "So Proudly We Hail" stands as the toughest, strongest, most inspirational movie of World War II.
I also remember that all these young guys were awe-struck by the actions of these brave American women, These days movies of World War II can be a bit wimpy.
What was burned into my memory at age 11 were the scenes of the nurses trying to keep hold of a massive field hospital (during the evacuation of Bataan) under heavy attack from Japanese aircraft -- evacuating a hospital while being bombed and assaulted by machine guns -- that was brave work.Trouble is: in 2012 there are no longer any movies where 11 year old boys (or girls) can attend with their friends and (1) learn something about the real world, and (2) be exposed to adult role models such as the nurses and soldiers of World War II.
The film stars Claudette Colbert, Paulette Goddard, Veronica Lake, Barbara Britton and George Reeves.This powerful film set and made during the Second World War focuses on army nurses.
They see horror just like the soldiers do and work so hard to bring comfort to the injured and dying.This film made at the height of the Second World War focuses on a group of American nurses lead by the strong Lt. Davison(Claudette Colbert).
The group of very different women become friends as they work together to try and do what they can to help the wounded and dying in the Philippines.For the time there's some very graphic scenes in this including the attack on the hospital in which a nurse is killed and the unforgettable moment where another nurse sacrifices herself so that her trapped colleagues get a chance to escape to safety.The film also shows how difficult it is for the nurses to deal with the horrors they face and how uncertain the safety of medical personal was just like that of the soldiers.The entire cast are superb but the standout performances for me are Paulette Goddard as the fun loving Joan, Claudette Colbert as the head nurse trying to look after her girls and the glamorous Veronica Lake as the traumatised Olivia, her storyline is very dark and truly unforgettable and Lake proves here what a good actress she was.
Goddard flirts with several officers while Colbert carries on a romance with George Reeves (Superman!) and Lake fosters a blind hatred for the Japanese due to her husband's death at Pearl Harbor, which prompts her to tuck a grenade in her bustier and march into a group of Japanese soldiers with a *BANG* early on in the film. |
tt0290329 | Bijitâ Q | The film's plot is often compared to Pier Paolo Pasolini's Teorema, in which a strange visitor to a wealthy family seduces the maid, the son, the mother, the daughter, and finally the father, before leaving a few days after, subsequently changing their lives.
The film starts off with a question: "Have you ever done it with your Dad?"; the viewer then sees Miki Yamazaki, a young prostitute, trying to persuade her father, Kiyoshi, into having sex with her. Her father is videotaping the scene for a documentary he is preparing on Japanese youths. Once it appears the father is letting himself be persuaded, she tells him the price (50,000 Yen). They have sex, the father ejaculates after a very short time and the disappointed daughter informs him it will be 100,000 Yen now, because of this. The father then realizes the camera has been on all along.
In the next scene, called "Have you ever been hit on the head?", a man (Visitor Q) hits the father over the head with a rock for no apparent reason.
The film then moves on to a scene titled "Have you ever hit your mom?" In this scene, the mother, Keiko is working on a jigsaw puzzle, and her hands are shown to have red marks, showing where she was beaten. Her young son, Takuya, comes in and starts throwing things at the already broken apartment walls because he is unhappy with the toothbrush his mother bought him. He then hits his mother with a rug beating stick. Later, bullies from the son's school come to the front of the house and shoot fireworks through the son's bedroom window. The mother is later seen injecting heroin. It does not seem to have a huge effect on her, though, suggesting she is a regular user.
On his way back from work, the father is yet again hit on the head by the same man. They both arrive at the father's home and the mother serves them dinner. The father announces that the man will be staying with the family for a while. The son comes down while they are eating and starts beating the mother again. This does not surprise or bother the father, or the visitor. Later, the father is seen watching one of his old tapes, and it turns out that he was raped by a group of teenagers.
The next day, the father is on his way to work when he sees his son being beaten and robbed by some children from school. He films it from a distance and appears very pleased with the footage.
The mother, meanwhile, is getting ready for work. The viewer discovers her body is covered in marks from where the son has hurt her. She also has a limp.
The father meets with a female co-worker (Asako Murata), who believes he is going too far in his work. The mother, working as a prostitute, is whipping a customer with a belt (at his request). She then goes to buy some drugs.
When she gets home, she discovers the pieces from her jigsaw have been arranged so as to form a trail through the house and ending at a photograph of her daughter. The visitor is at home and he introduces her to lactation sex (squeezing her nipples to make her lactate, a recurring theme in this film). The son sees this while hiding behind the door.
At dinner, the mother is much happier than usual, and has prepared a nice meal. The son, however, is sullen and throws a bowl of hot soup at her face. The wife—instead of being downtrodden, as usual—comes back with a carving knife and throws it at the head of her son, who dodges just in time. Everyone is very pleased, except the son. However, the father becomes exhilarated when the schoolchildren start attacking his house with fireworks again, which he videotapes. Meanwhile, the mother and the visitor continue to eat peacefully.
Next day, the son is bullied again. The father is taping his son from his car with the visitor and his female co-worker. The co-worker gets fed up with the father and tries to leave. The father follows her on foot and sexually assaults her while the visitor, emotionally neutral, tapes the scene. The father unintentionally chokes his victim to death.
He takes her body back home and puts her in the greenhouse. The visitor is still taping, at the father's instruction. The father sends the visitor to get garbage bags from the mother. But when the visitor asks her for them she takes her clothes off and reveals she is dressed in a garbage bag. She then makes herself lactate and produces a rain of human milk that covers the floor while the visitor watches from underneath an umbrella.
During this time, the husband is drawing on the woman’s body to mark the best places to cut it up so the smaller pieces will fit in the bags. He tapes this for his documentary. Becoming aroused, the father has sex with the dead body. He then notices she is getting wet and is amazed that this is possible for a dead woman. When he brings his hand up, however, it is covered in feces. He then discovers that his penis is stuck inside the corpse due to Rigor mortis. The mother comes out to help and rushes to the shop to buy lots of oils and vinegar. She empties the bottles into the bath with her husband and the corpse. This does not help, though, so she gives him a shot of heroin, which frees him. They are both exhilarated.
The visitor has filmed the whole scene.
Later on, the couple is having fun dismembering the female co-worker's corpse when the son turns up in the front yard with the same children beating him. The parents rush out and with great pleasure they finally kill all the bullies using the axes and knives they were using to cut the co-worker's body to pieces. Later, their son is shown lying on the floor in the puddle of maternal milk. He thanks the visitor for the chaos he brought to their family which helped them become closer than ever.
The visitor leaves the family. Afterwards, encountering and being propositioned by the prostitute daughter on the street, he hits her on the head with a rock. The final scene shows the daughter too has returned home due to the visitor, and she and her father share a nursing session on the mother. | dark, comedy, cruelty, murder, cult, violence, psychedelic, absurd, satire, sadist | train | wikipedia | I've seen over half a dozen Takashi Miike movies, so I'm aware of how bizarre his output can be, but nothing can quite prepare you for how extreme 'Visitor Q' is!
He's also breathtakingly prolific, having completed around twenty projects since this, which was released only three years ago(!) Miike's best known movies in the last few years include the ultra-violent live action manga 'Ichi The Killer', the slow psychological thriller 'Audition', and the zany, feel good zombie musical 'The Happiness Of The Katakuris'.
But, instead of falling into a dogma-like movie, Miike pushes the plot to its most unacceptable extremities, sometimes flirting with the fantastic genre.Miike plays with multi point of views, particularly during the opening scene, in which the girl takes photographs of her father before they sleep together.
Such was the case with Visitor Q a very strange journey, but ultimately a very shocking, entertaining and thought provoking one.The story is about this incredibly dysfunctional family in which everyone is living in their own little world.
I think that many of the themes explored on this film are very relevant for the Japanese culture and I'm sure Miike is just venting all those frustrations out through this artistic outlet, but Ill be damned if all this social commentary isn't relevant to any other culture.Then there's the Visitor Q.
Anyhows, I'm sure many people will have their own interpretation as to who the visitor is and what he represents...so Ill leave that up to you.All in all I thought this movie was hugely entertaining, just because of the fact that I couldn't believe some of the things that were happening on the screen as I watched.
This was the fourth Miike film I've seen (Audition, Ichi, Gozu...well 5th if you count his short from Three Extremes) and I think this was by far the most bizarre and disturbing.
Possibly the Most Screwed-Up Film You'll Ever See. Another world exists, and we are given a glimpse into that world: where sons beat their mothers, fathers are attracted to their daughters, and random strangers take up residence in a home and begin to run the household as they see fit.
While the violence is much less than I've seen from Miike, the bizarre sexual aspects are pushed to new limits.I don't know what I can write here without being obscene, but it's hard to describe this film without at least mentioning a few of the extreme sexual cases presented: incest, necrophilia, sex with feces, a woman who enjoys making herself lactate until she's flooded the room.
I really liked it, if for no other reason than that every time I thought it couldn't get weirder, I was wrong.If you watch the opening scene and don't mind what you see, watch this film.
You're stuck there in the best seat in the house, centre of the row in your own special sweet spot that you swapped three times before you got just the right seat - and after about what feels like 13 hours you are still trapped there, uncomfortable and itchy, thinking "When the F*** is this film ever going to END???" (You know the feeling - think of A.I. and The Village).Well, Visitor Q delivers a weird variant of that feeling.
This movie must have come from the mind of some daranged psycho because besides having necrophilia, pointless murders, and incest...this movie also combines scenes where the mother repeatedly gets her butt kicked by her family as she injects herself with drugs and then later becomes a chronic lactater.
I can see how some people may enjoy this film for its darker than dark humor, but if you want to see a movie about 'Mother's Milk' and rigormortis, watch Gozu instead.
The "amateur" style of cinematography gives the reality feel, so its "purposely" made to look "cheap" as others have commented.First look of this film may look like a sex or violence exploitation movie.
This film is a twisted nonsense of a movie, set in Japan about a dysfunctional family who end up with a strange violent guest who just sits back and watches the 4 members of the family at their worst.
They are actually quite similar, however, even down to never, in both cases, revealing exactly who is this visitor who has turned the whole family upside down.I feel sorry for those who bagged this film here, as they are not equipped to appreciate it for what it is.
"Visitor Q" is a failed attempt at black comedy which focuses on what might be the world's most dysfunctional family including physical abuse from beatings to murder to incest to sodomy to necrophilia to a lactating mom who nurses her husband and adult daughter, etc.
Meet the Yamazakis: father Kiyoshi, a failed TV reporter, is diddling his sexy prostitute daughter Miki; disturbed teenage son Takuya is being bullied at school, but dishes out the violence at home; and mum Keiko is turning tricks to fund her drugs habit.Into this extremely dysfunctional family unit comes a strange visitor who brings peace and harmony to the household through the power of lactation.Even by Takashi Miike's standards, Visitor Q is one hell of a weird ride, and is undoubtedly the director's most outrageous work to date (and considering this is the same guy who gave us Ichi the Killer, Gozu and Audition, that is really saying something!).From its opening sex scene between Kiyoshi and Miki (which narrowly avoids being overly explicit thanks to some judicious blurring) to the breast milk drenched finalé, this deranged shot on DV feature presents enough sex and violence for the most depraved of film fans, and even manages to answer that age old question "What should I do if I get my penis trapped inside a dead woman's vagina?'.Exactly what message Miike is trying to convey with this film is anyone's guess, but for wall-to-wall deviancy, you'll be hard pushed to find anything better (or should that be 'worse'?).I give Visitor Q a rating of 8 out of 10 purely for it's ability to render even the most jaded of viewers speechless..
One would think that a film about the dissolution of what may be the basis of Japanese society - the family unit - would be full of pathos and the edginess of portraying dysfunctionality, yet what Visitor Q achieves here (especially towards the end), is something more transcendent, and by that fact, more moving, than that.
Not one that we know, of course, but one where each member in the family unit drown themselves in their deviancy, distancing themselves further and further away from each other.Yet, all this sexual deviancy and wanton violence never seem pointless, for (as it is seen as the film progresses) it seems that the reason why the people in the movie become more deviant and the further away from each other, stems from their desire to return to the early beginnings of family, when things like sex and violence were out of the equation; when things were a lot less complicated.
To put it simply, in a strange way, the more extreme they act, the more they want to return to family, which is what makes it especially resonant in a time when family is losing its importance.So when the film opens, we see these people lost in their own devices, and vices; sinking deeper and deeper down into the murky depths of deformed humanity.
Ahead of this violence, Miike gave us a beautiful, strong and touching portrait of motherhood, some serious questions about Japanese society and family and he found a way to make a lot of references to classic cinema, mocking classic horror movies and saying hello to Pasolini throughout the visitor.
He asks the good question at the good time with Visitor Q.Like Miike challenged me, I challenge you, reader, to view this movie and to like it.
Miike's "family" movie blends gleeful perversion with domestic drama.This dysfunctional family expresses itself in drug abuse, indifference to violence, incest, necrophilia and alienation.The comic aspects arise from these extremities and are presented matter-of-factly.The necro sequence, which follows a rape that ends in homicide, is one of the film's funniest and grossest, and its Miike's ability to walk a line between repellant and surreal that wins the day and grabs one's attention.This is a very entertaining, provocative movie that is never predictable or a minute too long.Originally made for TV and shot on video for $80,000.
Takashi Miike is one of the most creative directors from Japan."Visitor Q" is about a family with some seriously messed up issues that comes together when a stranger-who introduces himself by smashing a rock into the head of the father character-descends upon their household and inspires in them their basest urges.This film is seriously twisted:it contains prostitution,drug-use,sexual assault,incest,asphyxiation,defecation,an incredible amount of lactation,rape,murder,necrophilia,and just plain insanity.Some scenes are so over the top that you'll scratch your head in a total disbelief.Highly recommended,especially for fans of Japanese cinema.10 out of 10-what else?.
This film is shocking but fails in the way it tells you the story, "they were a flawed family but the strange visitor make them happy"...
Most people today wants to be extreme, watch films like this, trying to be cool, justifying films like this that are pure BS and calling it art, even with the "happy" ending this movie doesn't leave you with anything good but a irresponsible display of brutal thoughts turn into a movie.
Finally I can say this movie confirmed something I thought a while ago, Gerardo Bloomerfield is a Mexican horror storyteller, for me the most shocking of his stories is "Abejorros", if you want to be shocked, read it, is in Spanish but you can translate with Google, I respect a lot of things, but seriously, the emotions that this kind of movies or stories put inside you are not worthy to be experimented, at least you are some twisted new age viewer willing to put interest in this kind of empty films.
If you want some shocking experience watch "El Topo" from Jodorowsky, really good movie that follows a context, not just plain mental crap justified with a "happy" ending..
There are some really disturbing sences in this film where his son beats up his mom, who is also a prostitute and also a heroin addict, and has to inject herself everyday."Q" a strange man comes and lives with the family but before he injures the father by hitting him in the head with a large stone, who he later becomes friends with.
well..explaining visitor q in a few words is quite difficult.The amazing thing about this film is that while it shocks you, the same time you can't help but laugh at the weird and comical situations.
This gets all combined with its absurd story, that strengthens all of its other themes, making this an odd as well as an unique viewing experience.Despite all of its heavy visual themes, with violence and sex, the movie is above all things also strangely entertaining to watch.
The whole thing is filmed like a reality TV show and Miike was way ahead of his time on this one.
As usual, he throws in scenes that will disgust pretty much ANYONE but "Visitor Q" is missing the elements of stomach-turning violence and torture that we have come to expect from this director and I think this is one of his better films for the lack of that.So, grab a pizza, a few buddies, your mom, dad, and sister and watch this one on a school night!
I watched this movie and I gotta tell you..It is not that disturbing when you finally realize that things can get better even for a messed up family like the one in this movie.
Father: cares more about his son and wants to do something good for the youth by making a documentary film about sex and violence amongst the youth.
First he hits the father with a rock twice which makes him - the father - think about how unsafe and brutal his society has become and decides to make a documentary about violence and sex abuse among the youth (the night he was hit on the head he couldn't get much sleep, grabs his camcorder and goes out to his car to watch a film featuring him being sexually abused by a couple of bullies) which later on made him stood up for his son - with the help of his wife - by killing those bullies which led to him finding his long-time buried feelings for his wife.
for the eye of a couch potatoes this kind of movies will look disgusting and agitate there fear-anger, for the eye of the inquisitives mind its pure blissfulness.the last scene consequently gives us a beautiful glimpse of what nature truly is the high "goddess"-power.thank you takashi miike.
switching between father, mother, son, daughter, and the visitor throughout the movie makes you constantly wonder who's eyes you're seeing the current scene through.the ending of the movie was so beautiful, it almost made me cry.
"Audition" and "Dead or Alive", the two Miike movies I've seen so far, gave me an inkling as to what I could expect from "Visitor Q", but at the same time, Q was so different.
Miike has evolved significantly from Audition (which was excellent), and has managed to create a film that portrays the antisocial, detached feelings of the modern family in a shocking light.
Though Visitor Q is presented in a strange manner, it works well with the odd subject material and Miike is subtle enough in his direction that the viewer will not be confused by the end of the movie.For Takashi Miike fans this is the epitome of all of his work (only rivaled by Audition).
Without the witness there can be no choice made, no freewill, only control, and we've been controlled for far too long.The film definitely has it's humorous moments, amidst dysfunction and a non sugar-coated reality that exists everywhere.In a world so lost and uncertain due to generations of neglecting inner self and personal feeling, a family is focused on to see what dregs of humanity the constrained culture has brought them to.A mother beaten by her son, who doesn't know simple acceptance of herself.
Or when things start getting particularly disturbing (necrophilia, yeah) and the juxtaposition of father to mother in these scenes is extraordinary in deranged comic timing.After it ended, with the final shot leaving a look on my face like a dog in front of a different piece of food in the bowl, I knew that Visitor Q is a work that goes beyond taking an ultra-serious look at the world of these psychotic criminals- or at the least social introverts and with sexual intentions that go over the edge- it worked a lot better than it might have at doing just a straightforward mockumentary of reality-TV.
It sets the tone for the film.Visitor Q feels like a series of increasingly effed up events within a strange and thoroughly dysfunctional family.
Visitor Q is a film for people with open minds and those people who only watch Hollywood movies should stay well clear of this.
She just milks herself.That's not even the half of it.Some people might like this film because it has some "sick" stuff in it, but who CARES when the entire thing is utterly and absolutely POINTLESS?Typical Japanese crap.
Visitor Q (2001) ** (out of 4) Bizarre Takashi Miike film about a failed TV reporter who decides to make a documentary about sex and violence.
To do so he has sex with his now prostitute daughter and also films other strange parts of his family including his son who beats his mother, who just happens to be a drug addict.
This would deter most people but if you are open minded and willing to break out of your shell this movie is oddly funny and touching and has a really good message about family.If this is your first Miike film I would strongly recommend seeing Audition, Ichi the Killer or the Dead or Alive trilogy before seeing this as this is easily his most disturbing film.4/5.
Overall, its an extreme black comedy, anybody who doesn't see this is totally missing the point.Not many filmmakers can pull off extreme subject matter in a *sort of* tasteful way, as this Miike guy can - so check this one out if you can.Watch it with an open mind and you will come away with a compelling and thoughtful movie, this is one that you wont see on TV, and hey isn't that such a refreshing thought.Recommmeded dark comedy!.
"Bizita Q" ("Visitor Q") directed by Takashi Miike Japans, well the worlds most busiest director, is a fantastic film.
And so we sort of have Seul Contre Tous meets Pink Flamingos, although it really is unlike any other film I have ever seen.The thing about Miike is the plot seems to be almost unimportant to him, he is it appears to me to be more concerned with individual scenes that could be watched on their own, like an artist concentrating on one image at a time- the cockfight from city of lost souls or the opening of dead or alive, and this is very true about this film- hey I don't know what the final plot twist involving breast milk was really about, and I'm not sure I wanna know.
I'd recommend watching the more palatable Happiness of the Katakuris first, and if you don't like that films off beat humour, stay far far away from visitor Q.Miike reminds me of Ed Wood in a good way.
If you can watch the opening scene in VISITOR Q and laugh nervously then you might just make it through this dark gem of a movie.
After seeing Takeshi Miikes film "Audition" I was expecting some disturbing images from "Visitor Q".
If you are a fan of Miike, Japanese film, or extreme movies in general, put this at the top of your list. |
tt0468489 | Half Nelson | Dan Dunne (Ryan Gosling) is a young middle-school history teacher at a Brooklyn school, with a teaching style that rejects the standard curriculum in favor of an approach based upon dialectics (specifically Engels' three laws of dialectics, though this is never referred to by name).
Though he seems to have it all together in the classroom, on his own time he is found frequently snorting and freebasing cocaine. After a basketball game, Dan's ex-girlfriend, Rachel (Tina Holmes) turns up, evoking emotions that he cannot handle. A short while later, one of his students (and a player on the girls' basketball team he coaches), Drey (Shareeka Epps), catches him getting high in the locker room.
Meanwhile, Drey has to deal with a single-mother (Karen Chilton) who is always at work, a brother, Mike (Collins Pennie), who is in prison for selling drugs for neighborhood dealer, Frank (Anthony Mackie) and an absent father. Drey's lack of supervision makes her a target for Frank's operation and he encourages her to become involved in his business.
As Dan and Drey begin to get a better understanding of each other as friends, they both know what the other one should stay away from and what they need, but is struggling to get by themselves. Dan perceives that Frank is a bad influence on Drey and tries to intercede on numerous occasions. And Drey tries to get Dan to open up about his drug habit to no avail as he feels uncomfortable talking with a student about it.
After a tense conversation with Frank about Drey, Dan goes to Isabel's (Monique Gabriela Curnen) house, another teacher at the school, with whom he had one previous date. He forces himself on her, trying to right his apparent disinterest in her on their last date, but after she defends herself and runs off, he feels bad and decides to leave. The following day, he further takes his stress out on Drey, telling her to talk to friends her own age when she finds him, hoping to hang out. Drey, a little upset at this, is pushed further into the company of Frank, and he has her do her first drug deal.
Dan goes to his parents' house for dinner, where his brother, Jeff, and his girlfriend, Cindy, also attend. He says little, and does not enjoy himself much, but a joke of Jeff's that Cindy tells him makes him laugh. The same night, Drey is out with Frank, dealing. In the film's pinnacle scene, Drey arrives at a place to deliver some drugs and walks into a room of stoned drug users. The person revealed to be the buyer is Dan as he walks out of the back room and slumps down at the sight of Drey being the drug runner. There is only a slight shameful nod from him as he holds out the money to hand to her for the drugs. This exchange is the culmination of what each was trying to get the other to stay away from, and is finally brought to its climax by them encountering the other doing just that. The next day, Dan is not at school, and his students are told that he is being replaced by a Mr. Light, without much explanation. This changes something within Drey as she refuses a lift home from Frank, choosing to turn from that path.
She knocks on Dan's door and he answers. He goes into the bathroom, shaves and cleans himself up, before sitting down to drink a glass of water. Drey sits down and joins him. The film ends with Dan telling the same joke he heard from Cindy, but the timing is all wrong. Drey says, "That was horrible", and they both laugh. | humor, boring | train | wikipedia | Set in Brooklyn, New York where he currently lives, Ryan Fleck's first full-length feature, Half Nelson, is a gritty, sensitive, and emotionally harrowing film that meticulously avoids the inspirational clichés of many teacher-student films and the obligatory violence of films set in the ghetto.
In the case of Dan Dunne (Ryan Gosling), an idealistic eight-grade history teacher in an inner city school, he turns the attack on himself, inspiring his students by day and drugging himself at night with crack cocaine.Dan is a well-liked teacher and basketball coach whose parents (Deborah Rush and Jay O.
A former girl friend from his period of rehabilitation (which he said didn't work for him) tells him that she is now getting married which pushes him further into a downward trajectory.The emotional highlight of the film is a confrontation between Dunne and Frank (Anthony Mackie), a suave drug dealer and associate of Drey's older brother who recruits Drey to be his collector.
Ryan Gosling delivers a performance in HALF NELSON that is a marvel to watch and to see the talent which this young man/actor brings to the film and screen.
Gosling adds HALF NELSON to his outstanding work in the films THE UNITED STATES OF LELAND and the gorgeous NOTEBOOK.Shareeka Epps as a young, struggling student, is a perfect foil to Gosling, and her intelligence and strength matches that of Gosling as they both deliver scenes that are memorable and tremendous.
From the classroom to the basketball court, to the painful addiction scenes, Epps and Gosling make HALF NELSON come alive with anger, pain and the true pathos of life represented in America today.With the final scene in the film, one can only hope that the characters may move from despair into lives which might give them a sense of hope, and finally a chance, as with the lessons of history, to move beyond their unhappy past into a brighter and more rewarding future..
"Half Nelson" is a spare, original story with exquisitely natural and fresh performances delivered by Ryan Gosling, Shareeka Epps and Anthony Mackie.
At times, I found myself laughing and smiling through what is a rather disturbing story because of the way the characters react to the circumstances they find themselves in.I can't say enough good things about this film and highly recommend it because it is well conceived, directed and performed.I hope it receives support and recognition during the film award season so that a wider audience will find and see this independent film..
The 'dialectics' indie filmmakers Ryan Fleck and Anna Boden created in "Half Nelson" is realized by Ryan Gosling and Shareeka Epps' unarguably nuanced performances.
Here in "Half Nelson," he appears to disappear into Dan Dunne, a high school teacher with an ideal and a crack addiction problem.
As Dunne wrote on the blackboard in the beginning: 'Dialectics,' the film "Half Nelson" is in itself dialectics demonstrated.Gosling's Mr. Dunne the history 'teach' doubling also as basketball coach, meeting (a solid matching delivery from) Shareeka Epps' Drey, the 13-year old student who 'found' him and 'witnessed' his secret - theirs is a relationship, naturally portrayed, of two 'opposing' forces as dialectics as can be.
Well-rounded supporting cast, especially Anthony Mackie as Frank the 'friendly' dealer who may want to do right by Drey but only in the way he knows how within the realms of selling drugs (reminds me of w-d Boaz Yakin's "Fresh" 1994, brilliant debut performance by Sean Nelson as the 12-year old interacting with a dealer 'mentor').Kudos to all involved on "Half Nelson".
A lot to learn from this film." "Wonderful character development (and great actors!) Very real movie." "Makes you think.
Thank goodness he chose to take part in this somewhat small and controversial movie.A story of two people floating about, wanting to do the right thing, but truly adrift--not knowing how to get there.One is a child, bombarded by the desire of others to get her into the drug business, and the other is her teacher, a drug addict who feels it's his duty to protect her...
In fact, here's the summary: A drug addict history teacher and a clever young black student develop a strong friendship and end up changing each other's lives.
The message is another thing to rave about as well because the movie isn't only trying to tell the viewers that "drugs are bad...especially if you're a teacher" but also you'll note that the main character (Ryan) has no racial distinction.
"Ryan Gosling stars as Dan Dunne, a young teacher whose edgy yet brilliant approach to history inspires his inner-city students to think for themselves.
The marvelously written screenplay is full of nuances, which serve the main point - showing the interconnecting ways drug addiction can infect the human spirit, when people like those played by Mr. Gosling and Ms. Epps are needed to play much more positive roles in a troubled world.Gosling's "Academy Award" nomination for "Best Actor" is clearly understandable; and, Epps could have easily won some "Best Supporting Actress" consideration.
Dan (Ryan Gosling) is a drug-addicted high school history teacher.
Directed and co-written by first-time feature director Ryan Fleck, this 2006 drama pulls no punches and offers no cheap sentiment in the story of two people intractably bonded by their mutually desultory existences - Dan Dunne, a crack-addicted Brooklyn middle school history teacher, and Drey, a 13-year old student in his class burdened by an overworked mother, a brother in prison, and an insinuating drug dealer named Frank.
Ryan Fleck's writing and directorial debut is sober and even somewhat glum, but it boasts a tremendous and committed performance from Ryan Gosling in the lead role; an understated and sweet performance from the young actress Shareeka Epps in a supporting role; and an intelligent, thoughtful, spare screenplay that avoids falling prey to easy sentiment.Gosling plays Dan Dunne, a young history teacher from a liberal family who himself has liberal ideas and a charismatic way with his students.
What's more important is that Drey will be o.k., and one of the things I liked most about "Half Nelson" was its suggestion that many times the most effective role models are those who show us who we DON'T want to be, rather than those who we want to emulate.Gosling proves himself to be a young actor to watch with his performance here.
A charismatic elementary school teacher by day, and a self-destructive drug addict by night - right from its premise, Half Nelson makes its mark as one of the most intriguing and fascinating films of the year.
The character of Dan Dunne and his interactions with his students are explored thoroughly by director Ryan Fleck's brilliant minimalist script, which remains wonderfully realistic, thankfully objective and endlessly interesting all the way through.
Rather than seeming like an elaborate archetype of a drug addict persona, his passionate but self destructive Dan Dunne bristles with sheer realism - this is a real guy we're watching, dealing with genuine problems in a consistently believable fashion.
Half Nelson, the first feature by director Ryan Fleck, steers clear of the inspiring clichés of teacher-student films and the usual violence of films set in the ghetto.Half Nelson is a character study, with a meager plot stretched into a one-act film.
It's a performance that will make the audience cringe with anguish and sympathy as Gosling takes one self-destructive step after another.It isn't surprising to hear that Half Nelson was once a short film by Fleck titled Gowanus, Brooklyn.
Fleck veers from the norm in his direction, giving an extremely claustrophobic look into the lives of the characters.Half Nelson, although somewhat painful to watch, will stay with you for a long time..
Or maybe they do, and "Half-Nelson" is their ode to it.All in all, this film perpetuates the theory that liberal white teachers are doing children of color favors by "sacrificing their ideals" (as stated in the "Story" section of the official website) to teach in inner-city schools.
A drug addicted teacher is trying to redeem himself and recover but falls further into his addiction.A young African-American girl is being drawn to the wrong side as she is left alone.They both have one thing in common.They are alone and lost and they are full of despair.They are searching for a friend that understands them,a friend they can share their feelings with.They befriend but can't maintain their friendship.This relationship is often misunderstood or misinterpreted but they know that they are friends and they are trying to help one another.But they are separated by their conditions.Dan is deteriorating in his recovery from drugs.And Drey is further isolated and drawn to the wrong side of life.But in the end they find each other and see themselves as each other's hope.Everything about this film is real.It's emotions are real,characters are real,situations are real.You can easily relate and connect with the characters and the situations they are in.It's extracted from our everyday lives.And it's an inspirational film with hope spreading out.It's not one of those clichéd and overly familiar tales about hope and redemption and finding oneself.It's unconventional approach makes it a standout film.A wonderful character study and compelling drama.It's disturbing to see one go through so much personal suffering.The nightmare of losing yourself.Some of the moments in the film really are hard-pressed but they were necessary.And they are done with mastery.This film is bound to bore those who look for those clichéd and conventional inspirational fares.But for those who are looking to get rid of those clichéd inspirational dramas,this is worth every look.It's the kind of film that keeps you going.Rich in its performances and film-making,Half Nelson is another classic example of why Hollywood is the best.Independent cinema should be more recognized and it is.Gosling and Epps are a revelation.The chemistry and their individual performances are strikingly authentic and emotional.Mackie is brilliant as well.Fascinating look at life and its tragedies and hopes.Beautifully directed and written,with a different cinematography to aid the film.Its philosophical terms and historical references makes it a wider experience.I really loved its pacing and its authenticity.A really touching and feel good drama that must be experienced,thoughtful and intense.Definitely one of this years best Indie offerings..
While Shareeka Epps, the young actress in the film, looks like she has potential, she is given few lines and all she does is WATCH her teacher get worse and ask him to stop futilely.Finally it ended and I knew I didn't enjoy.
I have always liked Ryan Gosling's choices and work, but this is by far his best project."Half Nelson" is the first movie I have seen since "The Godfather" where I simply couldn't find words to express my feelings toward this film.
This was not a terribly good movie.It had all the pretense and PC dogma to make all the right people swoon over it, but in reality it was a frivolous and utterly pointless exercise in film-making.The whole thing comes off like a checklist for political correctness.
I myself had avoided this picture for close on two years, I looked at the summaries and presumed that it was yet another preachy life affirming film about a white teacher working in an inner city school and winning over the troubled black kids, how wrong I was.
As we enter the final quarter, we the audience are intently observing these two people and their interwoven paths of destiny, filmed in an earthy fly on the wall style, it's with much credit that all involved here have created a moving and believable piece.Ryan Gosling (Dan) continues his surge up the A list of modern day actors, boasting a number of affecting performances on his CV, this is yet another turn to cement his well earned reputation as a leading light of his generation.
The acting is good by Gosling and the young girl but there is precious little character development or plot so you end up not knowing that much about them really and hence, caring what happened to them.
I am a fairly patient person but I found myself fast forwarding scenes where gosling is staring at walls in his apartment or making tea.Even the ending summed up the film, you;d need a degree in psychology to really work out what it all means and I know a lot of people on here will say thats the point and "its open to interpretation" but thats a lot of hogwash.If you want to watch a flick about the effects of drug addiction try requiem for a dream or trainspotting, this will just bore the pants off you..
Slightly different than what was expected, Half Nelson is a very solid film that shows a good and real meaning, where there are people in the real world such as Ryan Gosling's character, having troubles and doing what is must in order to survive with such addictions.
Junior high school history teacher and girls' basketball coach Ryan Gosling crawls into a crack-clouded fog once he gets home; one of his inner-city students knows his secret, yet she is harboring troubles of her own.
Instead, it's a character study of two people, both flawed and frustrated, who have at least one thing to hope for: one another.Half Nelson doesn't walk down the predictable path of dire revelations and grungy lost causes as most films about drug addiction do.
Half Nelson is a film that ticks all the requirements for indie movie making; shot largely with hand held cameras in close up, a soundtrack that consists of whining miserablists and a lead character played by a bleary eyed Canadian with a groovy designer beard.
So much so that they even manage to make the slow pace and dream-like atmosphere into a watchable little gem that despite not being as good as some critics would have you believe, is still worth rooting out.Gosling plays teacher Dan Dunne.
Consequently, Half Nelson doesn't really feel like a movie but a snapshot of two people's lives at one potentially crucial moment when they overlap.The story admittedly isn't especially interesting in its own right and at times it slows to a crawl, but it's held together by the two leads.
Shedding some light on a grey concrete urban 21st century American world.The performances of Ryan Gosling (Dan, the teacher) and Shareeka Epps (Drey, the student) are insightful and outstanding.
HALF NELSON Written by Anna Boden and Ryan Fleck Directed by Ryan FleckA teacher tries to open the minds of a class of inner-city high school students.
Ryan Gosling gives a quietly moving performance playing a young middle-school teacher with a drug problem.
His character, Dan Dunne, forms a friendship with one of his students named Drey (Shareeka Epps).
Thrown students giving presentations to the class, Dan feeling trapped in his life, and a thoroughly effective examination of impoverished city life, "Half Nelson" is both devastating and one of the most unforgettable independent films of our time..
Ryan Fleck's "Half Nelson" stars Ryan Gosling as Dan Dunne, a troubled history teacher.
Make of this metaphor what you will."Half Nelson" is reasonably well directed by Fleck, dodges most "teaching movie" clichés, and features a good performance by the usually comatose Ryan Gosling.
Very hard call between Gosling in this film and Peter O'Toole in Venus in terms of outstanding acting in a difficult and provocative role.Particularly amazing scenes include the moment when Drey, the young student first finds Dan in the female toilets at the school, shaky and on the verge of collapse from drug use.Another is when he attempts to tell Frank, a local dealer, to stay away from Drey.For me the emotional centre of the film comes at the moment when Drey walks in on one of Dan's 'rave' parties and they look at each other for a brief moment as the money changes hands.
Like 'Sherrybaby', 'Half Nelson' is a familiar film elevated by a standout performance from Ryan Gosling.
The young Canadian actor makes this movie about a drug-addicted teacher one with heart and personality, but doesn't always come off as a personable and engaging film.
It is a little miracle of a movie.Dan Dunne (Ryan Gosling in a breakout performance) is an idealistic, fervent teacher recently graduated from college with a profound desire to make things different - in education and in the world.
A great character role by Ryan Gosling as Dan Dunne, an imaginative and creative high school teacher with a drug habit.
But one day, one of his students, a troubled girl, witnesses his secret and that secret will bring them together along a shared path.Ryan Gosling has been in so many great movies but this one of his best early roles as leading man.
Shareeka Epps does very well as the troubled girl and she holds her own against Gosling.Overall, Half Nelson is a beautiful drama about how two similarly depressed people are able to connect even though they don't find much in life.
So if you are a Ryan Gosling fan, if you like dramas or if you just want to see a really good film, check out Half Nelson..
Rating: 8.5/10Half Nelson follows the story of Dan Dunne, a school teacher, with a drug problem he is trying to get rid of.
This movie focuses on the lives of Dan and Drey anyway so Ryan Gosling and Shareeka Epps are in the spotlight.
Ryan Gosling is fantastic in this film once again, and he portrays his character with great power, one of his best performances in my opinion.
Probably better remembered for his short lived television series Young Hercules, and recently in the straight to DVD movie Stay, he puts up a rather stoned performance (ok, so his character is a junkie) that seemed to want to tug your heartstrings in his weary, isolated outlook of life, yet leaving you feeling rather nonchalant given his substance abuse.To his students, Dan Dunne (Ryan Gosling) is the teacher full of unorthodox ideas, challenging authority and doing things his way.
Dan Dunne (Ryan Gosling) teaches history at Brooklyn high school attended mostly by black and Hispanic students. |
tt1087472 | Safehouse | A beautiful business partner. A peaceful marina. A good life for former FBI agent Cooper O'Neil. At least it was, until the day his former partner arrived at the marina, dead and carrying a thumb drive that everybody seems to want. Not knowing who to trust, Cooper begins to piece together the puzzle, sinking all the while into a web of intrigue and deception. The mysterious thumb drive is the key....to a diabolical plot headed by a madman with an ax to grind. Welcome to Safehouse, where your friends can be your enemies and where games can be deadly!
Starring Thomas Calabro (Melrose Place) and Robert Miano (Donnie Brasco), the film takes you on a thrill ride with many twists and turns to an uncertain ending! [D-Man2010]Ex-FBI agent Cooper O'Neil thinks the dangerous times in his life are in the past; that is, until his former partner shows up dead at his marina home. O'Neil's old partner had a coveted thumb drive in his possession when he died, and now the ex-agent is forced back into the life he left behind to keep the thumb drive from the wrong hands. [D-Man2010] | revenge | train | imdb | Unforgettable. Initially I had mixed thoughts on how to vote. But I have deemed the film unforgettable so I had to go with a 10. I really won't forget some of the scenes ever. Performances by Robert Miano, Sheila Cutchlow and Clayton Myers were superb. Robert's Miano's character, Slavatore, is naturally ruthless. Sheila Cutchlow, playing the role of Samantha, is exceptionally polished exhibiting much strength and beauty. She really looked stunning on screen as well. I was mesmerized by her features and seemingly effortless work. I especially enjoyed Myers' character, Teaberry. I will never forget the scene where Johnny Alonso, playing Cooper O'Neil, approaches him for a favor on Teaberry's houseboat. You have to see this movie for that scene alone! Though it is an action movie, it did not lack humor. That scene was HILARIOUS! And who other than Frank Lama could play a better FBI agent? The film is a twisted in my mind as entertaining, interesting and serious yet comedic. Loved the locations. Nice cast!. The casting is off (its lead is too young) in an otherwise okay action film. Retired FBI agent is caught up in a web of danger when his new life is put into the cross hairs of various parties who want a mini computer drive that out hero finds on the body of his ex-partner who turns up at his marina dead. Good but unremarkable action film moves along at a good pace and does what it does before getting off. Its like anyone of a hundred other low budget action films that are flooding the market, only its slightly better than a good portion of them. I like the film for what it is, a nice way to pass an really undemanding evening. I think I would have liked the film better had the casting been a little bit better. Its not that the performances are bad, they aren't, rather its that the actors are too young for what they are doing. Johnny Alonso as our hero is probably ten years too young to be an ex-FBI agent. He's fine doing his heroic stuff, he just doesn't carry the weight of an experienced agent. Worth a look on cable if nothing else.. Good movie!!. We recently downloaded Safehouse. Although the story was a little typical I loved the movie and I love the cast. I've been a Thomas Calabro fan since his days on Melrose Place and Robert Miano from Donnie Brasco (he looks like my dad) lol Unfortunately Thomas' character was a bit weak, and the handkerchief prop got real annoying, it wasn't his best performance. But still, it was nice to see him on screen and he was good in the role. Robert Miano always plays a great "bad" guy. I've seen Robert pop up in movies lately and I really like his acting. Half way thru the film, I realized the lead Johnny Alonso is the same actor from One Tree Hill, another show we use to watch a lot in college. His hair was much shorter in Safehouse than it was on OTH, but his boyish looks and charm gave him away. I agree with the other comment that Johnny might have been a couple years too young to play a retired FBI guy, but with his strong acting performance he carried an interesting character all the way thru the film and we viewers can over look the age thing. I think the fat assassin who came to warn Cooper, was a little too old and too fat for that role. But thats just my opinion. Samantha played by Sheila Cutchlow did a nice job too. Sheila and Johnny had good chemistry. I especially liked the "couple bickering" at the end of the movie. Teeberry Jones played by Claiton Meyer was good comic relief. It would have been nice to see what exactly happened to him at the end, but the phone voice on the credits was a good touch. The FBI man who spoke to Cooper and Emily on the dock who looked like a handsome Rock Hudson was good too. I liked the tension Johnny and FBI Rock Hudson had. Wasn't thrilled with Emily. If Johnny was too "young" looking for his role, she was too "old" looking for hers. She had good moments though, but casting could have been a little better for her role. Maybe a Sarah Michelle Geller or a young Jenny Garth looking type? We're FOX and WB fans.:) The rest of the unknown actors were okay, but it was obvious some of them had little or zero experience before this movie. The opening scene was very cool looking and that hooked us into going forward with the rest of the movie. The end scene between Robert Miano and Johnny Alonso was very good too. I think some physical action instead of the gun stand off would have added to the ending. Cinematography and editing were excellent. Nice job guys:) |
tt0216746 | Bad Girls from Valley High | Danielle (Julie Benz), Tiffany (Nicole Bilderback) and Brooke (Monica Keena) are the three most popular and most nasty girls in their high school. While the leader Danielle is used to getting what she wants, she is unable to attract lonesome ex-jock Drew (Jonathan Brandis) due to his mourning over the death of his girlfriend Charity Chase. Although Charity was believed to have committed suicide, this wasn't the case as Danielle, Tiffany and Brooke lured Charity to a cliff, hoping to terrorize her into breaking up with Drew, but ended up killing her by accident.
A year to the day of Charity's death, Romanian foreign exchange student Katarina (Suzanna Urszuly) arrives during the class of clumsy Media Arts Professor Mr. Chauncey (Christopher Lloyd). Katarina and Drew immediately become friends. Jealous from this, Danielle tries to do everything in her power to stop this friendship developing into love. In an attempt to get close to Drew, Danielle works at the elderly home where Drew is also working. While there, she is assigned to look after an old lady (Janet Leigh) whom she believes is in a coma. Danielle, Tiffany and Brooke use this opportunity to raid the old lady's cupboard and eat her box of chocolates.
In the following two weeks, the three girls begin to notice that something strange is happening to them, they are receiving back pains and their hair is turning gray - to their horror they discover that they are aging at a rapid speed. They believe this has something to do with Katarina whom they now think is in fact Charity's ghost coming back to seek revenge. The three decide the only way to regain their youth is to kill Drew and let his spirit be with Charity. On the night of Danielle's 18th birthday party, the three lure Drew to the same gorge where Charity died and attempt to shoot him. Katarina shows up and says she is not Charity's ghost. Danielle briefly ponders this but decides to shoot them both anyway. However, Brooke (the kindest of all the three) says that they have gone too far and tries to prevent Danielle from pulling the trigger to which Drew disarms her (due to Danielle being distracted by a party guest dressed in a clown suit from her party who is secretly Mr. Chauncey and she shoots him), and both Tiffany and Danielle are overcome from exhaustion.
After they're carried to the old age home, Tiffany is hooked on a life support machine and Danielle is barely alive. At that moment, Mrs. Witt, the old woman who Danielle was meant to be caring for, shows up and reveals that she was Charity's grandmother. Also, while she had been briefly unable to speak due to a stroke, she had very good hearing and sight and overheard Danielle bragging about Charity's murder. The grandmother then reveals she poisoned the chocolate box (knowing that the girls would eat it) with an aging chemical (thanks to her late friend's husband that works with biological warfare technology). While Danielle and Tiffany had eaten most of the poisoned chocolate, Brooke wasn't near death as she didn't eat as many and demonstrated self-control. In response to this revelation, Danielle flips the bird at Mrs. Witt, and then dies, with Tiffany presumably following shortly afterwards.
At Danielle and Tiffany's funeral, everyone is in attendance, including Drew and Katarina (now an official couple) attends. Brooke is also in attendance after a plastic surgeon's operation give her a 50-year-old's appearance. Chauncey forgives her as he knew she wasn't as cruel as Danielle and Tiffany, and she regrets what she has done.
Danielle and Tiffany are then revealed to be in a luxurious room with their youth restored and are convinced that they are in heaven. But it is revealed that they are actually in hell as they are forced to forever endure the company of their school's most annoying dork, Jonathan Wharton (Aaron Paul), who is completely devoted to Danielle's every move. As such, he reveals that he committed suicide just to be with her forever and briefly morphs into the devil, to her and Tiffany's horror. | comedy, cruelty, murder, plot twist, flashback, revenge | train | wikipedia | Shamefully Good...Almost.
Having two actresses that I think are really good - Monica Keena ("Dawsons Creek", "Freddy vs.
Jason") and Nicole Bilderbeck ("Clueless" and "Bring It On") intrigued me to watch this film - plus it seemed in the style of the fantastic "Mean Girls".
Instead, the film was a bit of a let down, though it had some good moments.
Julie Benz gets most of the screen time, and she is pretty decent, while Monica Keena and Nicole Bilderbeck are good, this is not their best work.The rest of the cast didn't fare much better.
Suzanna Urszulay was uninteresting as the new girl, Jonathan Brandis (R.I.P) was nice to look at, but rather bland, and Chris D'Elia was only funny until he became annoying.
Janet Leigh (R.I.P), gives, as usual, a terrific performance in her small role, though I wonder what she was thinking when she signed up for it.
Christopher Lloyd is funny as the school teacher.The film seems to try a bit hard in places, and fails.
It also seems of poor quality, for example, when the three girls are in the school, there isn't the usual back ground noise you would expect, and it is very noticeable.
There are far worse films that one could watch, but there are far better ones also.
Only the actors redeem this film..
Mildly entertaining.
I watched this movie circa 2005/2006 and didn't think I wasted my money on the rental...
it was enjoyable.Do not take it too seriously.
It was filmed just off the mark from the 90s/00s boundary in 2000 (which is why it gives off that 90s vibe) and apparently ran into financial difficulties during post production and thus did not get released to the general public until 2005.It's a typical high school teen comedy flick except with a supernatural / curse theme.
The movie is pretty mundane in its use of the "bitch girl" clichés but if you are seriously just looking for a way to kill some time and the chick flick genre is your penchant...
this movie isn't half bad..
Thanks Jonathan!.
It's good to know that Jonathan Brandis and Janet Leigh's finals films are available for their many fans.
Both actors had such talent.
Janet's long career strewn with gem's of her stellar talent.
And Jonathan's shining efforts, tragically cut short, a loss to the film making community.
Final films of many artist are not always what we'd call the finest examples of their craft.
But the fact that two years after their deaths, that the public still want's to see their work must mean a lot to their family.
I had the pleasure of knowing Jonathan for a brief period in the 90's and he was the most charming and friendly of persons.~Jonathan thank you for all your gifts you've left us.~ ~Janet--- you sure could scream!.
Definite acquired taste for a girls night in.
I give it a 4 for effort.
This is not a great or meaningful l movie by no means, but one for a girls night in and a bottle of wine.
I actually watched it with my very mature 8 year old son,we thought it was funny stupid.
He actually asked to change it, but when the girl *tooted* in the gym he got interested, LOL!
I love how they threw in a great actor, Christopher Lloyd.
So I would NEVER suggest this movie to anyone, but if you are bored or have nothing to watch or you are just adventurous and curious and just want to watch another movie, then go for it!!!I gave it a 4 out of ten for effort..
Terrible.
Put this in the same category as "Death to Smoochy" a movie about characters that are incapable of eliciting audience sympathy both the good guys and the bad guys alike.
Everyone is wasted in this, and the prat falls of Chris Lloyd are below Disney Channel standards.
The actress who plays Katarina, though nice to look at, is just a confusing and ugly mess of traits that seem arbitrary and wholly unrealistic.
This smacks of a cheap Mean Girls cash in, but where Mean Girls had a heart this has a gaping black hole.
Not a likable or intriguing character among the bunch.
Just absolutely terrible.
The twist is obvious from the outset, and the ending is beyond cruel given the tone of the film prior to it.
Just an embarrassing mess..
It's funny in a pathetic kind of way.
I wanted to watch this movie because it was Jonathan Brandis' "last movie" so to speak.
Well it has very little to do with him or his acting.
They don't even test his acting.
Here are my main observations on this movie.1) This is a movie just reeking of mid to late 90's culture and it was released in 2005?!
That had me rolling.
I'm sure this was only released to the public based on the death of Brandis and Leigh which is sad.
But dude, is this valley girl type movie dated or what?
even for 2005 the people who saw it were shocked to see how much fashion had changed.
Nobody cared about Valley Girl crap anymore.
It was 10 years since Clueless!
I think one girl had a cell phone, it was 2005.
This is what happens when you release movies years later.
The world goes and changes on you.2) Julie Benz as a high schooler?
She was 28 playing a 17 year old and when you first see her on film there is no getting around the fact she does not belong in high school.
Neither does Brandis for that sake.
It's so sad.
**It's funny to note a year after this came out on DVD she plays Dexter's girlfriend in the hit Showtime show of the same name.
That's how dated this movie was, even then.3) Christopher Lloyd.
His pratfalls were relentless and pathetically hilarious.
If he died right after this movie we would have felt so bad for him when we saw this.
Maybe he was really in the red that year and had to do what it took.
Why cast him in the first place?
Way too qualified.4) Chris D'Elia and Aaron Paul are actually very funny in a sub moronic way.
Aaron's character is insanely hyperactive to say the least.5) The end is just cruel and goes against the grain of this thing.
Give it a try, it has be seen to be believed.However, I do like that this movie doesn't take itself seriously and the director clearly used a light hand with this one.
I rate this movie a 5 out of 10.
It's just too pitiful and funny to hate this popsickle stick movie.
Watch it for Aaron's performance alone..
Solid teen (black) comedy.
Although released to video in 2005, "Bad Girls From Valley High" was actually shot in 1999 and shelved for legal (or financial) reasons.
The plot revolves around three selfish uppity girls (Julie Benz, Nicole Bilderback & Monica Keena) who are responsible for the death of a girl (Tanja Reichert) of whom the leader (Benz) is jealous.
A year later a mysterious exchange student appears (Suzanna Urszuly) and the girls start to wonder if she may be a ghost of vengeance, particularly as they start prematurely aging.
Jonathan Brandis, Chris D'Elia, Christopher Lloyd and Janet Leigh have important peripheral roles.It's too bad this movie fell into obscurity because it works well for what it is.
It's got the pizazz and quirkiness this type of film requires and a number of laugh-out-loud scenes, plus there's no unnecessary raunch or general obnoxiousness, except of course for the main "Hun" girl (Benz).
Tanja Reichert is a highlight, but she appears so briefly she's almost not worth mentioning; and Keena is a cutie but they don't do enough with her.
But Lloyd is his usual entertaining self.
Brandis would commit suicide four years later and Leigh would pass away in five.The film was shot in Vancouver (but the story takes place in Washington) and runs a short-but-sweet 84 minutes.GRADE: B.
"A brilliant teenage comedy".
'A Fate Totally Worse Than Death' is quite a provocative title.
In my country this film is called 'Bad Girls From Valley High' which I think was made to hide what sort of film this really is.
This film is about three teenage school girls named Danielle, Tiffany and Brooke who are each the closest of friends.
They are also vain, selfish and quite mean.
They will do anything to get what they want especially Danielle who only has eyes for fellow student Drew and she will eliminate any other girl who becomes attracted to Drew.
Well now these mean and selfish young girls are about to suffer their worst nightmare.
Someone has placed a curse on them, and the curse is rapid aging.
Their hair turns grey, their skin goes wrinkly, and they become weaker and weaker.
So these beautiful teenage girls change into ugly elderly women within a matter of days.
They are literally rotting!
For such beautiful girls this is a fate far worse than death!
This film had good performances by all the actors.
I really liked the high school teacher in this film who is played by Christopher Loyyd a comedian who is best known for his role as Dr Emmet Brown in the 'Back To The Future' films.
This film is based on a novel by Paul Fleischman who writes funny novels for teenagers and if his books are this good I might consider reading them.
So I recommend this film for anyone who likes comedies about teenage girls..
Really bad may be a bit of a spoiler.
OK first things first, everything just looked so fake, it was the most pointless movie i ever had to watch , there was barley any story line and the main character looked about 40 at the start anyway, then wen she got changed to look older .
u could hardly notice the difference, i watched this movie 4 times because i thought that there may be something to get that only i was not getting, on the final time i watched it with a friend and she was sat there like :S errrrr why are we watching this..
and then it dawned on me ...
i really do not know why i would watch this once let alone four times..
this probably will not be useful but all I'm trying to say is.
Do not watch it, don't waist you time, its not worth it .
you could make up a better movie in your head..
sucks.
Worst film I've seen in my life..
I'd give this film a negative score if I could.It's about 3 despicably moronic, selfish girls who eat chocolate then grow old and die...need I say more?
This film was one of the only bad films my dad has ever recommended and truthfully to this day I can't comprehend why I actually sat through such a disgusting film based around these horrible people.
I don't think I'll ever understand it.
Just please trust that the title of this film will escape you the second's it's turned off....and that's for the better because you are never going to want to see it again.Do not see this film.
It'll be 2 hours of your life you will NEVER get back.
The effects are awful, the concept sucks, the acting sucks and the ending is ridiculously annoying. |
tt0107943 | The Remains of the Day | In 1950s England, Mr Stevens (Anthony Hopkins), the butler of Darlington Hall, receives a letter from Miss Kenton (Emma Thompson), who worked with him as housekeeper during the years prior to the Second World War. Twenty years later, Lord Darlington (James Fox) has died and his stately country manor has been sold to a retired American Congressman, Mr. Lewis (Christopher Reeve). Kenton reveals that her marriage has failed and that she is nostalgic for the days when she worked at the house. Stevens (now one of the few remaining servants from the Darlington era) goes to visit Miss Kenton, ostensibly to persuade her to return to service.The film flashes back to Kenton's arrival as housekeeper. At the time, Darlington Hall was frequented by many politicians of the interwar period, men who decided important affairs of state while there. Stevens, loyal and perfectionistic, calm and efficient, had to manage the household so that the servants seemed almost invisible, and he took great pride in his skills and his profession. He clashed with Miss Kenton, his equal in the household hierarchy, but displayed only understated irritation with her and others. Indeed, his utter focus and emotional repression were most fully displayed when his own father, also an employee, was dying; Stevens continued his duties without pause.Miss Kenton was equally efficient and strong-willed but warmer and less repressed. Relations between the two eventually warmed and Kenton even teased Stevens. It becomes clear that she had fallen in love with him, and perhaps he with her, though his feelings are left ambiguous. She tried to break through the wall, but Stevens' coldness was too formidable. Finally, she struck up a relationship with another man and married him, leaving the house just before the outbreak of World War II. Before her departure, she insulted Stevens, clearly out of distress that he had never expressed any emotional interest in her, but he still refused to be moved. When she cried in frustration, the only response he could muster was to call her attention to a domestic task.Lord Darlington used his influence to broker the policy of appeasement towards Nazi Germany. He irritated Congressman Lewis, one of the dignitaries at a conference, who argued in favour of the foreign policy being conducted by "professionals" rather than by "gentlemen amateurs". After reading the work of Houston Stewart Chamberlain, Lord Darlington commanded that two German-Jewish maids should be dismissed, considering their employment inappropriate. Stevens carried out the order but Miss Kenton almost resigned in protest, fearing that the girls would have to return to Germany; her own need for employment caused her to avoid following through. Darlington later regretted his decision and asked Stevens to reinstate the maids, but they could not be located.Darlington died a broken man, his reputation destroyed after he had been denounced a traitor in the Daily Mail. When asked about his former employer, Stevens at first denies having served or even met him but later admits to having served him. He recognises his former master's failings and indicates that he has regrets about his own life, as does Miss Kenton (now Mrs. Benn). However, Kenton declines Stevens' offer to return to Darlington Hall, announcing instead that she wants to remain with her husband, since their daughter is soon to present them with a grandchild. After the meeting, Stevens departs for Darlington Hall in a downpour of rain. Kenton cries, while Stevens, still unable to demonstrate any feeling, simply raises his hat.The film's final scene shows Stevens making the final preparations to Darlington Hall in preparation for the arrival of Congressman Lewis' family. As the two men enter the banquet hall, where a table tennis table now lies, Congressman Lewis reflects on the banquet that he attended in this room in 1935 and admits embarrassment over his comments. He asks Stevens if he remembers the comments, to which Stevens replies that he was too busy serving. Symbolically, a pigeon then flies into the room through the fireplace and becomes trapped in the hall. The two men eventually coax it out a window and it flees to freedom, leaving Stevens and Darlington Hall behind.In this movie appears Wolf Kahler who will later play Ludendorff, chemist and Fritz Shimon Haber's close friend in Haber. | romantic | train | imdb | Writer Ruth Prawer Jhabvala and Director James Ivory adapt Kazuo Ishiguro's poignant novel with such delicacy that it gets under ones skin in a deeply profound way difficult to express in a few words.The plot opens in the 1950's as meticulous and emotionally repressed butler Stevens (Anthony Hopkins) reviews a lifetime of service in Darlington Hall.
Excellent film that was overlooked in 1993 due to the dominance of "Schindler's List", "The Remains of the Day" is an exquisite film which examines the relationship between two servants in England (Anthony Hopkins and Emma Thompson, both Oscar-nominated).
During the present-day of the movie it appears that Hopkins and Thompson will finally proclaim their love for one another, but in the end that is not even a real certainty.
But there is just enough humility to this sad tale of unrequited love to make it completely believable.Anthony Hopkins excels as the impenetrable Mr. Stevens, Butler of a lordly country house in the final days of the British Empire, and Emma Thompson is superb as his foil, Housekeeper Miss Kenton.
I am disappointed to see reviewers refer to this movie as anti-war or a story of unrequited love or Lord Darlington as a Nazi or WWII as a nuclear holocaust.
It is a movie that has great acting, is beautifully filmed in and around one of England's great mansions, and tells a fascinating and complex story as well.It is true that the movie is about, in part, what many in the audience would believe is a romance that never has a chance because of Mr. Stevens' devotion to and pride in the occupation he has chosen.
The film does a wonderful parallel examination of the man's life set against the tumult of the 1930s that effectively did away with the British Empire and made him and others like him, as people curiously obsolete.An extremely rare example of sanity when dealing with the subject of War. Most films as we know too well, concentrate on the futility and bottom line cost in humanity, which is to be expected since generally speaking, an artist will always present this point of view.
On the way his memory slowly flows back to him (and he also realises that his formal master was not an impeccable man after all)...when Mr Stevens and Miss Kenton bid farewell again, she looks into his eyes while her tears roll down her cheeks...a very sad scene.'The Remains of the Day' is about love that is never obtained...love that is never verbally expressed...love of which you finally has to let go...having read the book (which is finely written), I realise that this film is a wonderfully successful adaptation.
Impeccably cast and produced in typical Merchant-Ivory manner, this understated drama features superb performances by two of the finest actors in modern cinema, Anthony Hopkins and Emma Thompson.
This movie is James Ivory's best, and one of Anthony Hopkins' and Emma Thompson's better films.Did you ever care to know what British upper class life was like in past centuries for both nobility and gentry (their servants?) This show humanizes life for them all, revealing their common foibles and their collective challenges.
On the other hand, we are given Anthony Hopkins, a well-meaning but horribly under-informed man, who, by an accident of birth, makes mistakes in his personal life that eventually lead him to regret.The juxtaposition of the two characters allow the viewer to consider the nature of both official and personal decisions - that good nature and a desire to serve a perception of 'what is right' can lead honorable people to despair.This complex and demanding subject was handled superbly by James Ivory, (the director) and his actors.
But when the new housekeeper falls in love with him and he can't show his feelings and when his master starts close relations with Nazi sympathizers, he finds it more and more difficult to do his job in the most perfect way...If someone had told me before watching this movie that I would love it, I would never have believed him or her, thinking that they were exaggerating.
I guess it was the obvious contradiction between what he wanted to do and what he was supposed to do and the constant tension in his relationship with Miss Kenton, that kept me interested.Another reason why I liked this movie so much is the excellent acting.
The Remains Of The Day is a masterly,superbly crafted film,and this is coming from someone who generally dislikes the 'Merchant Ivory' school of British 'heritage cinema',which usually looks pretty but lacks any real emotion,depth or understanding.
With this film,this approach is the perfect one,centering as it does around a man who gives his entire life to service in a great house as head Butler.As expected,the film moves at a very slow pace,but it is quite fascinating right from the start,detailing the workings of 'Darlington Hall' in minute detail.
However,it is also a very Frustrating film,because Antony Hopkin's character is so rigid,so seemingly devoid of emotion,so steadfast in his refusal to do anything that might alter and better his life,that one feels like giving him a slap and shouting to him "sort yourself out!".For example,when his father dies,he simply carries on with his duties.
Both are first class at expressing a vast range of emotions, and Hopkin's refinement and awkwardness is a joy to watch.James Ivory's direction is excellent, the camera is often close in on the characters which emphasises the awkwardness felt by Stevens.
There is good mix of smooth camera work and some hand held moments which keep the film fresh and moving, not to mention a few great wide shots, look out for the beautiful shot of the English countryside during sunset when stevens' car runs out of petrol.
The excellent cinematography is used to its most effective in a scene when Miss Kenton is in distress and stevens enters the room , Hopkins remains off camera and all that can be seen is Thompson's face with an opened door on the left hand side of the screen.
To make true generalizations about anything, in this case life itself, you must particularize--whatever the medium.And so it is that a story which is particularly that of an English butler who has either consciously suppressed his love or unconsciously repressed it--or maybe both--gives us the details of emotion and behavior that we recognize as truthful generalizations that are actually reflective of the details of our own individual lives.
And now it seems to me--now that I have just seen this film--that I face the remains of my own day, but I still find myself hoping it is not too late.Anthony Hopkins has given a performance that is aesthetically perfect and emotionally profound--his acting has touched me as I am sure it has touched many others.
What defines this trip, in his world an odyssey, is the scenes of the past that connect the present, the moments in his life at Darlington Hall that he's truly chosen to remember, which use Lord Darlington's playing host to the world's preeminent officials as a context, in which it seems periodically like hope for Britain is being determined.Bit by bit we start to become conscious that things were not as they seemed, that Darlington was not as judicious as he thought, that Stevens, in one of Anthony Hopkins; many sterling lead performances, was blind to the truth surrounding him.
An loyal butler (Oscar-Winner:Anthony Hopkins) thinks about the life, he had with his previous master Lord Darlington (James Fox) and the romance, he could have had with the housekeeper (Oscar-Winner:Emma Thompson) in the post World War 2.
But his previous master challenge him to a maintained servitude, since his master was an Nazi Sympathizer.Directed by James Ivory (Howards End, Jefferson in Paris, Surviving Picasso) made an fascinating period drama with great performance and unusual story of forbidden romance.
Perhaps it because of the reticence of Anthony Hopkins, the Head Butler, to ever reveal his feelings.The movie which is for the most part a period piece of the years before WWII, interestingly and accurately depicts how some of the upper class English were naive and willing to appease the Germans but the main plot was the relationship of the Head Butler with others under his supervision, and in particular with the Head of the Household.
Also, since the book is a first-person account, and the film (very wisely) does without first-person narration altogether, the emphasis has changed ever so slightly, but Ishiguro's material is good enough to stand being looked at more than one way.Anthony Hopkins, Emma Thompson and Hugh Grant are accused of having a narrow range; the accusation may even be correct (as I think it is in the case of Hopkins).
Other films come and go from my top 5, but RotD has been in my top 2 since the first time I saw it more than 20 years ago (1 and 2 switch about).Anthony Hopkins' performance is, in my opinion, the best piece of acting I've ever seen.
In fact there is not a bum note in the whole thing - performance, story, authenticity, emotions, realism.The rest of the cast are almost as perfect; from the ******** posh idiots (the scene where they 'prove' that politics is beyond the wit of the common man is awful but brilliant) and the famous faces; Emma Thompson (I'm more than a little in love with her here), Hugh Grant (funny, sharp-minded and charming), Edward Fox (the benchmark for posh but well meaning and so easily led due to basic morality), Peter Vaughn (dying old man, again!), Lena Headey (so different from Game of Thrones), Christopher Reeve (always great to see him doing more than Superman and sad to remember who he was before the accident).
The Pigeon at the End. After several years I watched again The Remains of the Day, the movie made in 1993 by James Ivory.
It is the beginning of the thirties, the master of the place is actually a sympathizer of Nazi Germany, advocating for them, while his butler is simply too loyal, too committed to his work, to make a judgment.Based on the novel, James Ivory made a movie that is exquisite.
Catching up on several older Anthony Hopkins films, who would have thought this story about an English butler, his master being a major player in appeasement of Adolf Hitler, his love life unfulfilled, would be a thoroughly engrossing two hours.
The best scene of "Remains Of The Day" comes near the end, when Stevens enters the room of a sobbing Emma Thompson.
Yet, to say that the film is plot-less would be as unfair as untrue: another successful product of the director and producer's duo: James Ivory and Ismail Merchant, the film offers another riveting slice of the British aristocratic life, this time during the inter-war, this time for a story even more enthralling because it is told from the servants' perspective, from the diary of William Stevens, the butler.As Stevens, Anthony Hopkins delivers such a solid performance, in all nuance and subtlety, that we can't doubt the man has been or could have been anything but a butler, obviously belonging to a tradition as old as the hills and whose William Stevens Sr.
We know, when the movie opens that Stevens still work in the same manor, that his Master Lord Darlington died, and an American Congressman, played by Christopher Reeve, bought the house.
As a character study, the film is a wonderful examination of lives made of unmade choices and 'what if' questions, as a romance, it happens to be admirably poignant and brilliant, because feelings are so intimate and real that they can hardly be expressed, let alone from a man of such a few words like Mr Stevens.
Anthony Hopkins, Emma Thompson and unrequited love equals a truly wondrous film.
If you want an impeccably acted, beautifully filmed and an altogether poignant study on unrequited love, watch "The Remains of the Day".
Anthony Hopkins is simply mesmerising as Stevens, the emotionally repressed butler with an unwavering sense of duty who embarks on an intense relationship with the housekeeper Miss Kenton.
'The Remains of the Day' is an engaging period-drama, but, it's the Brilliant Performances by Sir Anthony Hopkins & Emma Thompson, that leave the biggest impact on it's viewer.
Anthony Hopkins plays Mr. Stevens, a man who has given his entire being to his master and who allows himself no thoughts or emotions outside of his duties.
With little time for nobody, including himself, Hopkins' character realizes how he had let his life slip by, and the woman that tried to get to know him and be his friend, Emma Thompson.
Through his eyes we see the what took place in the hall over the last 25 or so years, including the lead-up to World War 2, Stevens' undying devotion to his job and master and his relationship with the housekeeper, Miss Kenton.Wonderfully engaging, interesting and moving movie.
Anthony Hopkins is superb as Stevens, capturing well the robot-like blinkeredness of a butler who believes duty, dedication and dignity are everything, at the expense of feelings and expression.Around Stevens are spun a few other stories, making the movie quite multi-faceted.
It also provides some great "what if?" moments.Nominated for eight Oscars in 1994, including Best Film, Best Director for James Ivory, Best Leading Actor for Anthony Hopkins and Best Leading Actress for Emma Thompson, unfortunately The Remains Of The Day did not win in any category..
Perhaps you could say that about Remains of the Day but the performances are so good and the cinematography so stunning I have no problem overlooking the deficiencies.Hopkins and Thompson are both at the top of their games in this movie.
It tells the story about a butler named James Stevens who whilst executing his profession with the utmost dignity at a large mansion called Darlington Hall for the Lord of Darlington, hires a housekeeper named Sarah Kenton.Subtly and precisely directed by British filmmaker James Ivory, this quietly paced fictional tale which is narrated from the two main characters viewpoints, draws a heartrending portrayal of a middle-aged man who is courted by a compassionate woman whom he keeps at distance by remaining utterly professional whenever they interact.
This somewhat political, oppressively romantic and conversational period drama which is set on a country estate in post-war England during the 1930s and 1940s where a woman tries to reach into the feelings of a man whom is completely dedicated to his work and where human emotions are disguised by manners, is impelled and reinforced by it's fragmented narrative structure, subtle character development and continuity and understated and memorable acting performances by Welsh actor Anthony Hopkins and English actress Emma Thompson.
If you like a very well acted film, which gives a great deal of time to think over what is really going on, Politics, Romance that is not followed up with or a person who cannot show any emotional feelings, enjoy this film..
As usual, Merchant and Ivory give us a cinematic gem with "The Remains of the Day." The film actually goes back and forth in time between the eve of the Second World War and the late 1950s.
The Butler (Anthony Hopkins is truly a tragic figure who because of pride and upbringing cannot get himself to express his true feelings toward Miss Clinton(Emma Thompson).What maybe even more tragic he cannot tell his own father as his father is dying that he loves him.
As I turned the lights up in our TV room, my wife and I looked at each other and both said, "What was THAT??" In this case "that" was "The Remains of the Day," a story about a butler who has the range of emotions of Chance the Gardener in "Being There," and the personality of drying paint.Playing this role was a tough assignment, but give credit to Anthony Hopkins for pulling it off.
It is a sumptuous and subtle character piece of a butler Mr Stevens (Anthony Hopkins) who devoted his life to duty and service.
Mr Stevens ended up never having a life of his own and he did not recognise the warm feelings for him from the head housekeeper Sally Kenton (Emma Thompson.)The movie starts in the late 1950s when a former American politician Trent Lewis (Christopher Reeve) becomes the new owner of Darlington Hall, a place he visited in the 1930s for a conference and instantly fell in love with.Lord Darlington (James Fox) the former owner is portrayed as a well meaning but naive man who got taken in by Nazi sympathizers.
it is the film of Emma Thompson and Anthony Hopkins..
The main character is Mr. James Stevens (Hopkins), the devoted butler of Darlington Hall in England, the film starts in 1950s, when Darlington Hall has been acquired by a retired USA Congressman Mr. Lewis (Reeve), and Stevens takes his days off to visit an old friend, the former housekeeper of the manor, Miss Kenton (Thompson), who left twenty years ago to get married, but currently is single and seems to be very willing to resume her old post.
A butler (Anthony Hopkins) who sacrificed body and soul to service in the years post World War I realizes too late how misguided his loyalty has been.This is a very interesting film.
I thought this was a fascinating film, thanks to strong direction by James Ivory and great performances by Anthony Hopkins and Emma Thompson.
Giving career high performances Anthony Hopkins and Emma Thompson reunite in "Remains Of The Day" based on a novel of the same name, by the British author Kazuo Ishiguro.
It is centred in an English country house just before and after the Second World War, Plot In A Paragraph: The film is the story of 2 loyal servants - Mr. Stevens (Hopkins), the butler, and Miss Kenton (Thompson), the housekeeper - at Darlington Hall in pre World War II England. |
tt0365748 | Shaun of the Dead | The film begins in The Winchester, a traditional London pub. Shaun (Simon Pegg), his girlfriend Liz (Kate Ashfield) and her two friends David (Dylan Moran) and Dianne (Lucy Davis) are socializing while the overweight and foul-mouthed slacker Ed (Nick Frost) plays away on the slot machine. Liz is trying to encourage Shaun to strengthen their relationship and be more adventurous, rather than just reminiscing in the pub and hanging out with Ed. Liz reminds Shaun how she hasn't even met his mother yet, though they've been together for more than two years. The scene ends with Shaun staring vacantly towards the camera, clearly displaying anxiety.The movie's intro credits roll, continually panning right through scenes of regular people performing everyday tasks. We see ordinary people moving supermarket trolleys, working behind tills (cash registers), waiting at the bus stop, or mindlessly listening to street music, all staring and acting zombie-like (a reference to the satirical elements of 'Dawn of the Dead').Inside his house, Shaun wakes up and joins Ed in the living room where he joins in a video game on the PlayStation. Ed reminds Shaun that he has to go to work and Shaun begrudgingly goes to get ready. While Shaun is getting ready, his second flat-mate and college buddy Pete confronts him about Ed's behavior. Pete is fed up with Ed lounging around all day, freeloading off them and not bothering to find a job. Shaun defends Ed by saying he's harmless and fun to have around, to which Pete replies "Why? Because he can impersonate an orangutan? Fuck-a-doodle-do!". Both Pete and Shaun leave for work, with Shaun asking Ed to take down any phone messages (everyone's, not just his own) that come during the day. Just as Shaun leaves, Liz calls to leave an answerphone message for Shaun, asking him to book their restaurant dinner an hour earlier. Shaun doesn't hear the message.The next sequence of scenes sees Shaun side-tracked by a series of bizarre events, including newspaper headlines describing attacks on members of the public, people collapsing at bus stops, and television news reports of more attacks and military involvement. Shaun arrives at work, an electronics retail shop, where he is manager. Shaun's step-dad, Philip (Bill Nighy), pays him a visit to remind him of his bi-monthly visit to his mum. The pair have a very frosty relationship and Shaun clearly does not like his step-father. Shaun holds a staff meeting for his team of clearly bored and feckless teenage staff. He tries to discipline a colleague for using his mobile phone on shop floor; while doing so he receives a personal call from Liz. To save looking hypocritical he is forced to pretend it's a work related call, and ends up ignoring a bemused Liz who's called to remind him about booking dinner earlier that evening.Later, when Shaun is purchasing flowers for his mum, he notices a homeless man (Patch Connolly) outside staggering and trying to eat the pigeons, before vanishing when a bus cuts across the scene. On his way home, Shaun gets off the bus early as traffic is gridlocked, we see more accidents involving people passing out in their cars. On the walk home Shaun bumps into his old flame Yvonne (Jessica Hynes). She asks how he's getting on with Liz, which triggers his memory about booking the table for that evening. The scene cuts back to Shaun's flat as he desperately tries to call the restaurant to change the times, only to hear that they are fully booked. Liz then phones and Shaun explains that he forgot all about it, then suggests maybe they go to The Winchester...Liz then hangs up.Shaun grabs the flowers he'd bought for his mother and makes his way down to Liz's flat in an attempt to make amends with her. At first Liz refuses to let him in so Shaun tries and fails to scale the wall outside and enter through a window. Liz eventually relents and lets Shaun in to the flat, where she launches into a tirade. She lists all the promises Shaun's broken, and tells him how she's tired of putting up with a relationship that's clearly going nowhere. In her rage she finishes the relationship as David and Di stand by awkwardly.That evening, Shaun makes his way alone to The Winchester through the pouring rain, throwing his mother's flowers in a wastebin outside the pub. He meets with Ed and they spend the night joking and drinking heavily. A figure outside the pub batters against the window and moans, to which Ed simply retorts 'Piss head!".Drunk and still singing, the duo make their way outside... not noticing a zombie teenage girl tearing someone's head off. They mock a moaning zombie as another drunk... and make their way back home. They continue to sing and play loud techno music until Pete storms downstairs in a rage at being woken up by the noise. He throws the record out the window and launches into a barrage of swearing, verbally attacking Ed and telling Shaun to sort his life out. Ed notices that Pete's hand is bandaged and Pete tells him that a 'crackhead' bit him and he has a splitting headache. He shouts at them one last time for leaving the front door open, again, and returns to his room.The next morning arrives and Shaun decides to go walk down to the corner shop for a drink, and a Cornetto for Ed. Still hungover from the previous nights drinking, Shaun is completely oblivious to the carnage surrounding him: smashed cars, blood-stained floors and windows, corpses lying on sidewalks and front porches, police and ambulance sirens in the distance, and hordes of zombies slowly flooding the streets. Back at the flat, Shaun skips through the TV channels, past entertainment channels and news reports of the incidents. Ed, looking out of the window, tells Shaun there's a girl in their garden.Out in the garden, they try and get the teenage girl's attention. When she turns around she is a deathly-pale, white-eyed zombie. They think she's drunk, until she attacks them. Thinking that she's just a nuisance, Shaun pushes her back and she trips and impales herself on a metal stump. Shaun and Ed are seen looking very shocked as the zombie girl slowly stands up as if nothing has happened. Panicking, they choose to go back inside only to be confronted by another male zombie. They make it past him and return to the safety of the house.Back inside, Shaun dials 999, but the line is engaged. The pair sit down on the sofa watching the news, when a blood-covered, tuxedo-clad zombie with a severed arm makes his way inside (Shaun left the front door wide open again) the pair attack it by throwing any object they can. Only for Ed to kill it by smashing a glass ash tray on its head. The pair then decide to take on the two zombies still in the garden, again, by throwing any household object they can, at their heads. When Ed finds the record Pete threw out last night and throws it at the male zombie, it sticks into him like a blade, prompting their second idea...They go through Shaun's record collection and throw every record they dislike (the Batman soundtrack, Dire Straits) and use them as projectiles. When that plan fails, Shaun bashes down the shed door, and the pair arm themselves with a cricket bat (Shaun) and a shovel (Ed), they then beat the zombies to death.Back inside, the shaken Shaun and Ed are finally aware at what is going on and they are now watching the TV news reports advising people to contain anyone who has been bitten. At this point Shaun and Ed then remember Pete and the bite he claims to have gotten the previous day. They call upstairs to him, but get no response. Shaun then tries to call Liz but can't get through. His mum, Barbara (Penelope Wilton), then calls him, she tells him that some men were trying to attack her and Philip outside their house, but only Philip was bitten, much to Shaun's relief. Shaun and Ed then go through plans to rescue his mum and Liz, kill zombie Philip, and rendezvous at The Winchester.Preparing to leave, Shaun goes to the toilet, only to discover a naked zombified Pete in the shower (he had apparently turned while he was preparing to shower). Wasting no more time, Shaun and Ed head outside to Pete's car, only to attract the attention of every zombie outside on the street--they now number in the dozens. They drive at high speed, listening to the radio reports of a coming apocalypse and witnessing zombie attacks on every street corner they drive past. They make it to Philip's and Barbara's house and screech to a halt outside. Philip's Jaguar immediately catches Ed's eye and he convinces Shaun to let him wait in the car 'as a lookout'.Inside, Barbara greets Shaun warmly and makes him tea. Shaun goes to kill Philip while Barbara is distracted. He finds Philip hasn't become a zombie yet, but is very ill. After some discussion, Shaun convinces them to come with him and Ed. Outside, Ed has intentionally crashed Pete's car so they can ride in Philip's Jaguar. As they get into the Jaguar another zombie attacks and bites Philip in the neck--a wound which will prove mortal. The four quickly get in the car and drive to Liz's apartment building.At Liz's flat, Shaun tells Ed to stay outside in the car on lookout again. Dozens of zombies are swarming outside, and Shaun dispatches them quickly with his cricket bat and makes his way to the front door. When he gets cornered again, he makes his way into the flat by climbing up to the fourth floor window. Inside, Shaun convinces Liz, David and Di to come with himself, Ed, Barbara and Philip to The Winchester for safety. The four make their way outside clubbing the zombies to get to the car. It's here that Shaun finally introduces Liz to his mum.On the way down the road, Ed is intentionally mowing down every zombie he can. Philip, bleeding profusely, tells Shaun he took a tough attitude towards him was to help him become better, and hoped Shaun would look up to him. He tells Shaun he loves him before he dies. Shaun, in an emotional state, orders Ed to pull over and tells Barbara that Philip is dead. She looks and says "no he isn't". Shaun then panics as he sees that Philip has instantly become a zombie, and shouts for everyone to get out of the car.Out in the open and vulnerable, the six head for a short-cut, making their way through the back-alleys of the local houses. They bump into Yvonne and another group of five people (who all strike similar resemblance to Shaun's team) who are also trying to survive. After some quick talk, Shaun and Yvonne embrace before parting ways.They start to pass through the back gardens. When they come to a garden where the Winchester is just over the other side, Shaun sees that his mum is missing from the team, and quickly jumps back into the previous garden, where he fends off another zombie. Liza and Di join in to help, passing a tennis pole to use as a weapon, Shaun then impales the zombie against a tree, imobilising although not killing it.Shaun checks over the fence to see if the coast is clear, only to his horror to discover that there are hundreds of the undead swarming the street in front of the Winchester. Shaun has an idea: Dianne is a actress-in-training, so she gets the other five to mimic the actions and sounds of the zombie impaled behind them so they can sneak through the crowds of zombies unsuspected. At first the plan seems to work, but as they make it to the doorway, the zombies start to become suspicious. The group tries to get into the building only to realize that the pub is closed and locked up; then Ed completely gives them away when he just cannot resist answering his mobile phone and starts chatting. Shaun knocks away the phone and berates the stupid and irresponsible Ed, saying that he has spent his whole life covering for Ed's failures and foul-ups. He ceases when he sees that ALL the zombies have turned their attention to the group. Aware that the game is up, David quickly throws a trash bin through the window, smashing the glass, for everyone to get inside. To make sure the zombies don't follow them, Shaun waves and shouts and gets the zombies to chase him (or simply, stagger after him), causing a distraction while the others scramble inside. Barbara spots the flowers Shaun had bought for her and discarded, and takes them into the pub.Hours pass and Shaun has not returned, David suggests blocking up the shattered window since the street in front of the pub is still deserted, although Liz is insistant that Shaun will return, leading to David complaining about the entire situation they're in. Shaun eventually makes it back (through the back door) saying that he "gave them the slip". The group manages to board up the front shattered window and secure the locked doors.Night falls, and the group of six are bored and decide to see there's anything on the TV. As there's no electricity in the pub, Shaun goes into the back room to turn on the main circuit breakers. When he turns the lights on, he's shocked to discover that the zombies have followed him back and are massing outside the back door.Back in the main pub, both the local and major TV channels are broadcasting only "stay tuned" screens. Shaun whispers that the zombies followed him back, and they agree to keep very quiet. However, Ed being Ed, messes it up again by turning on a noisy video slot machine. Zombies now surround the outside of the pub in the front and back entrances and battering at the doors to get inside. Just then, the zombie pub landlord crawls in to attack. With the electricity on, the juke box turns on and starts to play "Don't Stop Me Now" by Queen. Shaun, Ed and Liz all grab pool cues and (in a classic scene) club the zombie to the song's beat. Dianne joins in by throwing darts at the zombie, only for one to land in Shaun's head. Ed tosses the Winchester repeating rifle from the bar to Shaun (who thinks it's deactivated) and kills the zombie by smashing its head through the juke box. Asking why Shaun didn't just shoot him, Shaun tries to explain it's not functional only to be blown back when he pulls the trigger. The Winchester rifle is fully loaded.Packed together, the group join to defend against the masses of the undead. As they start to charge through the front windows, Shaun fires but misses several times, with the others' directions being much help, except when Ed calls out the same way they do in their video-games. Di notices something's wrong with Barbara, and goes to her aid. She reluctantly reveals that she was bitten by the zombie they impaled with the tennis pole, but has kept it quiet so as not to worry Shaun and the others . Every one of the group comes to her need except for David, who's been left with the rifle. Barbara thanks Shaun for the flowers, then collapses dead in his arms. David cocks the gun and aims for Barbara, coldly saying it has to be done before she zombifies and attacks them. Shaun explodes in a fit of rage, holds a broken bottle to his neck and threatens him to stop aiming at her. Ed does the same, Dianne says this isn't fair, so he gives her the broken bottle (to point at Shaun) and Ed points a corkscrew at David, leading to a Mexican stand-off, which ends just as quickly when Barbara rises as a zombie. Shaun takes the gun, emotionally apologizes to his mum, and shoots her dead.When David says he did the right thing, Shaun retaliates by punching him. David tries to shoot Shaun, only for the gun to run out of shells. He then decides to leave. Dianne scolds him; he apologizes, but Dianne says he should apologize to Shaun. When he tries, zombies smash through the window and pull David through, completely dismembering him. Dianne irrationally opens the front door and charges for the zombies in a blind effort to save David. Her fate is left unknown (although in the "Plot Holes" section of the DVD, it's revealed that she survived.)The zombies break into the pub at all corners, including Pete, much to everyone's surprise. Pete and others swarm over Ed and bite into him, and Shaun shoots Pete in the head finishing him off. Shaun and Liz then jump over the bar and hide behind it, dousing the bar with brandy and setting it afire. Ed, severely wounded, makes it over the bar to join them. The box of rifle shells was left in the burning mess, and they begin to explode adding to the fire. With only two shells to spare, the three survivors make their way into the cellar, and find a lift down there that will lead to the outdoors.With the lift and the trapdoor not working, the remaining three are trapped in the cellar as the building is now on fire. Shaun contemplates the last two shells for Liz and himself. Ed says "I don't mind being eaten". They share a last cigarette between them, only to see the power switch for the lift when they light up. Shaun tries to get Ed to come with him, but Ed knows he's done for anyway as he's bitten, and decides to stay. Liz and Shaun say their farewell to Ed and make it out into the street.Prepared for more fighting, luck comes their way as the military arrives and opens fire on the zombies. Accompanying them is Yvonne, who says they're evacuating any survivors. Shaun and Liz follow, holding hands.The next scene opens with several TV shows and reports saying that months have passed since the outbreak, and that captive zombies are now being used in everyday life, for menial jobs such as trolley stacking (table clearing in restaurants, collecting shopping carts, etc.) and used as part of silly game shows.Shaun wakes up... in the same zombie-like way at the beginning of the film... and he is sharing the flat with Liz, the two of them now a couple again. They plan a peaceful day together. The film ends with Shaun saying he's gonna pop out to the shed, where the zombie Ed is chained up so they can play video-games together. | comedy, dark, boring, murder, stupid, cult, violence, horror, humor, satire, entertaining | train | imdb | Shaun of the Dead is quite a surprising and brilliant piece of work which I suspect will achieve the accolade of instant cult status as word of mouth snowballs this film to richly deserved recognition.Simon Pegg, both the joint writer and the main star of the film, has been a comedic force for some time, most notably in the fantastic BBC2 series 'Hippies' (which inexplicably bombed in the ratings) and the cult Channel 4 series 'Spaced'.
Both programs hinted at Pegg's saliently dead pan comedic manner (and writing skills) which comes to full fruition in 'Shaun of the Dead'.In a nut shell, this film is a romantic comedy with zombies (or zom-rom-com) who appear for no good clear reason (although some tantalizing clues are offered).
Pegg's Shaun is a genuine loser and extremely recognisable too, he's an everyday man who works for an electrical retailer and his life is just plain dull and disappointing - and this is where all the comedy comes from in this film.
Director Edgar Wright, who co-wrote the film with Pegg, also demonstrates that there's little difference between glassy eyed commuters and their undead brethren.The plot rips along beautifully and parodies both the romantic comedy and zombie genres, while at the same time remaining true to them.
Brace yourself for some nonstop zombie action and laughs with the delightful horror-comedy "Shaun of the Dead."Armed with a cricket bat, razor-sharp wit, and an attitude, Shaun (Simon Pegg) is perhaps the last guy that you'd want to save the world from the legions of the living dead that have suddenly begun to storm the London neighborhood where he lives.
It could be stated, as this is a running gag here, that we're all dying slow deaths, so it's no surprise that when zombies begin to eat the flesh of the living, Shaun couldn't be any more oblivious to the chaos that has gripped most of London.Shaun loves his dead-end existence of wasting his days at the Winchester, a local pub, with his friend and flat mate Ed (Nick Frost).
The film's money shot arrives about 20 minutes in, when Shaun, hungover from a hard night's drinking, goes to the store and because he's so hungover and is worried about his ex-girlfriend Liz (Kate Ashfield), he doesn't even notice that the street behind him is teeming with the living dead.While in the store buying a beverage, he doesn't notice the bloody handprints on the refrigerator door and he almost slips in a puddle of blood.
I was quite amazed at the response this film got from people in the theater: it seemed that every time something funny happened, the response was almost always with riotous laughter.Straight from Britain, we have what is certainly one of the most original horror movies to come out in a long time.
More or less.Furthering genre-fan fun, director/writer Edgar Wright and co-writer Pegg insert a lot of references to other zombie films--especially when it comes to explaining the source of the "epidemic".
There are interesting, more subtle and original zombie subtexts in Shaun of the Dead, also, such as the "mirrored" scene where Shaun and his crew meet up with Yvonne and her crew.As long as you like outrageous comedy, somewhat gory horror, and you don't mind mixing the two, Shaun of the Dead should provide an enjoyable ride.
Oh.and the dead have started walking the earth!Hot on the heels of recent remake Dawn of the Dead comes Simon 'Spaced' Pegg's black comedy zombie spoof, in which Shawn must save his friends, mum, and ex-girlfriend from the masses of lumbering dead by, erm, going to the Winchester!
This is used to simple comic effect throughout as the 'heroes' seem to have plenty of time to think about things before being attacked.The film balances the humour excellently with a decent zombie-story, and the array of characters within are not there just for laughs, there are plenty of poignant moments scattered throughout.
Watch towards the early stages of the film to see that most of the population could be confused for zombies anyway, and as for the end scenes of the film.well.suffice to say it will keep you laughing right to the end.With a cast pulled from many cult British shows (Dylan Moran from Black Books, Matt Lucas from Little Britain, and nearly everyone from Spaced), and an excellent appearance by Bill `Love Actually' Nighy, there isn't really anything negative I can think of in the film.
The stars of similarly acclaimed series' such as Black Books, The Office and Little Britain are all on show here as well as Jessica Stevenson, Pegg's Spaced co-writer, who plays a jolly-hockey-sticks human vigilante with a stiff-upper lip and can-do attitude ready to give those nasty zombie's what-for.Veteran support comes from Penelope Wilton (a sit-com stalwart from a bygone age) as Shaun's curtain-twitching mother and Bill Nighy as her fearsome second husband who performs one of the most dignified and poignant descents into zombieness ever caught on camera.Despite all the high praise, it must be acknowledged that Shaun of the Dead is still a spoof - a comic tool that you could argue is as low a form of wit as sarcasm.
"Shaun of the Dead" has some great comical moments and yet it has been made with lots of professionalism like this was a serious gory horror movie they were making.
The gore, make-up and visual effects are extremely good and are even something that I haven't even seen in 'serious' Zombie/horror flicks.You might think that this movie is just mainly a spoof of "Dawn of the Dead" (1978) but its really more than that.
Shaun of the dead is in a word, brilliant.I've seen this movie at least 10 times and it never gets old, makes me laugh at each viewing.
Having seen Dawn of the Dead, i was expecting just another spoof (as the name implies) but was pleasantly surprised to find a completely original story with some great comedy moments and superb acting all around (not to mention buckets of gore).
The first of the rom-com-zom genre, Shaun of the Dead will certainly set the standard for future zombie flicks of its kind, and i can see Pegg having a bright future in comedy.
I was really looking forward to enjoying a quirky, English comedy but from start to finish I just could not get into Shaun of the Dead.It should be noted that I'm generally not a fan of zombie movies.
The characters just don't seem to behave realistically, which would be fine if the movie was an outright satire sketch like Monty Python, but it's not.All in all, I give Shaun of the Dead a 6 / 10, still worth a watch..
Okay, even though I surely don't regret having watched this film, I won't be joining the other reviewers around here who all claim it's a hilarious movie and/or the best horror comedy in decades.
Actually, the very best aspects in 'Shaun of the Dead' are the numerous references towards milestone zombie movies, but I fear these sublime findings are a bit lost on wider audiences.
Except with flesh-eating zombies.A brilliantly observed comedy, 'Shaun of the Dead' makes shrewd points about the nature of mass media and consumer culture, the banality of everyday life, love, friendship, fear, and heroism.
To see that people really enjoyed this film...Aside from good looking zombies and one well rendered "day of the dead" homage gore scene, this movie is really not funny, nor interesting.The humor is meant to be understood and appreciated by our own society's living dead.
Amidst this Shaun (Simon Pegg) and Ed (the great Nick Frost) make fun of the undead and go about dealing with the holocaust in their own silly way.There are some pretty hard scenes of heavy emotion is this film (I want say what, but some characters do die) that totally contradict the 'comedy' label it's been stuck with.
Audio commentary from actors Bill Nighy and Penelope Wilton, Audio commentary from the zombies!, Extended bits with audio commentary, Outtakes, 'The Man Who Would Be Shaun': Simon Pegg and Nick Frost impersonate Sean Connery and Michael Caine, 'Plotholes': comic strip sequences with voice-over from Lucy Davis, Simon Pegg and Nick Frost including What Happened To Shaun When He Ran Off?/What Happened To Diane When She Left The Winchester?/How Did Ed Get From The Cellar To The Shed?, Extended edits of the TV Shows within the movie: Coldplay on T4 / Fun Dead/Trisha-'Your nine lives are up!'/Trisha-'I married a monster', 'Remembering Z Day': an interview with Jeremy Thompson, 'Electronic Press Kit' featurette, Vignettes: Simon's cam/Lucy's cam/Joe's diary, 'Edgar Wright's and Simon Pegg's Flip Chart': a presentation of the first draft, SFX comparison from Double Negative, Make-up tests, Photo Gallery: photo's by Simon, Lucy and Charlotte, Poster Designs: from the original Oscar poster to the final official poster, 2000AD Strip: 'There's Something About Mary', TV spots, Official trailer, Official teaser trailer, 'Fright Fest' exclusive trailer.Phew!
As with Hot Fuzz, these directors had the same problem in this earlier production, which most story writers have the hardest battle with: to create a story line with all the strings tied together into a complete movie with a good ending.Although Hot Fuzz turned out to be a real story mess, Shaun of the Dead feels like it is able to stay on track the longer, mainly probably because the story line in a typical zombie movie is so easily predictable to copy.With that said, I can only say that Shaun of the Dead follows the now typical pattern of a great start, with a "meh" ending..
When I got back 5 minutes later, I did not even feel like I missed a part of the film.The only good thing was the way the camera moved around shaun on his way to the grocery store; that was brilliant.
Shaun plots a plan to rescue his mother and Liz and bring them to the Winchester, but his sanctuary is surrounded of zombies and things do not happen as planned."Shaun of the Dead" is a funny parody of "The Night of the Living Dead" with potential of cult-movie.
SHAUN OF THE DEAD (2004) ***1/2 Horror and comedy have been going hand-in-hand ever since Abbott & Costello met Frankenstein over 50 years ago and this latest installment of the you've-got-your-chocolate-in-my-peanut-butter genre splicing from the Brits is a laugh riot shockfest the likes not seen since George A.Romero's 'Living Dead' films and the early splatter fests of Peter Jackson.Set in a rural London burg of overcast skies and proletariat listlessness the film begins with our unlikely hero and slayer of zombies in the pasty skinned form of Shaun (Pegg who resembles Mike White, Jack Black's roomie in 'School of Rock'), an electronics store clerk who seems stunted at the age of 29 going on 13, or so his out-of-his-league pretty girlfriend Liz (the fetching Ashfield) feels as she confronts him one night in his fave pub hangout The Winchester.
Depressed he and Ed go to their watering hole for some soul searching and youth rekindling as they get pissed and rap to 'Whitelines' (in one of several truly funny sequences) as they head home.The next morning Shaun goes thru his gimlet-eyed routine but there is definitely something wrong and what's so dead-on (puns more to come!) is director Wright (who makes a fine big-screen debut from a career in BBC TV programmes and co-wrote the scabrous ingenious screenplay with Pegg) accurately showing just how brain-dead life can be in the numbing daily constitutionals we take for granted replacing the monotony with monstrosity as a horde of zombies from some unknown viral infection spreads quickly as Shaun and his friends soon realize it's the end of the world as they know it!Sprinkled with liberal amounts of humor both scatological and witty in-the-know as well as slapstick with horror (good amount of biting and one of many homage scenes to Romero involving a truly nasty buh-bye a la 'Dawn of the Dead') but not exactly wall-to-wall viscera (although the blood is by the buckets) but shares in spirit more closer to Jackson's 'DeadAlive' with its gonzo-style mix of murder and mayhem and a few echoes of Sam Raimi's 'Evil Dead' Ash character and even Mike Leigh's too-true working stiffs of his oeuvre and Richard Curtis' smart veddy proper British romantic comedies a la 'Four Weddings and a Funeral'.Simon and Frost make a fine comic duo of not-so-dumb and dumber in their bonking on the beans of the undead as well as fine able ensemble including the pretty Ashfield as the slightly-believable gal pal (come on Shaun you're one lucky slag!) and Nighy , late of 'Love Actually', as his stepfather who endures some painful confessions.
The collaborators all have had some significant success across the pond and clearly have the chops in this valentine to the previously mentioned genres (Shaun's blithering mum is named Barbara a nod to Romero's heroine in 'Night of the Living Dead').The film is riotously funny with sharp editing (lots of montages of items being quick-pan slapped about purpose) and a few startles prior to the onslaught that totally sets the mood of this cheeky and scary horror comedy with a surprisingly sweet chewy center.
Having consumed Our 2nd jar of Quality Street this festive season, my girlfriend and I decided to venture out to the pictures to enjoy what promised to be a movie with a difference - Shaun of the dead - which spoke boldly of being a romantic comedy.......with zombies.
Everyone is fleshed out as dimensional characters, who you're actually kind of sad to see die, and trust me when I say, that people die hard in this movie.As they come, Shaun Of The Dead is an amazing horror comedy.
With the exception of a couple of gems like "28 Days Later", zombie movies are now nothing more than extremely violent action films with a slightly supernatural feel.It's a simple movie really, Pegg's character Shaun has lost his girlfriend and realizes that his life is going the wrong way so he vows to get his girlfriend back.
It helps if the viewer is familiar with those films.At times during "Shaun of the Dead" one forgets they're watching a comedy and feels genuine horror and sadness.
There are only two or three extremely violent scenes, but the sense of dread, particularly when combined with the generally fun mood of the film, is effective, and when major characters die, you actually do feel a bit sorry for them, which is a lot more than I can say about most zombie movies that have been made recently.
It is not my intention to make "Shaun of the Dead" sound less funny than it is, but it is absolutely, unequivocally necessary to point out that this is hardly just a random spoof of the zombie genre, it does mock the genre in areas, but it is more of a loving tribute to the genre films of past than a heartless spoof of them, which makes it in a sense similar to "Young Frankenstein".
Wright and Pegg make what seems to be an over indulged film genre back to life and one of the best zombie movies out there.
If you want to subvert the genre have the lead guy bitten or the girl, the rest has been done before.A lot may hinge on whether you like Simon Pegg and Nick Frost or whether you have seen enough zombie films to realise that what they're doing isn't as innovative as other reviewers would have you believe..
Yes, this film had its moments of hilarity but, overall, it had the look, feel, storyline & passable script of a 'made for TV zombie comedy' - which dragged on: The movie could have been reduced to a very funny 4-5 minute sketch as part of a general comedy show.
Shaun of the Dead perfectly mixes buddy comedy, parody horror, romantic love triangles, touching heart, and frankly awesome gory action to create one of the best films of all time.
Shaun of the Dead is one of the funniest comedies if not one of the funniest movies I have seen in such a long time.
People's reactions to the zombie plague (Don't say the "z-word"!) is actually pretty realistic and also funny.The movie uses gore in a good way, and doesn't indulge in it, like the 2004 DOTD remake.
Those expecting a spoof expect to be disappointed as this is a witty original comedy.The idea for this movie was when Simon Pegg wondered what zombie films would have been had they been set in Hackney, and the results prove they would have been hilarious.The plot is simple, Shaun is a loser!!
Shaun of the Dead is a fantastic movie.First off, you will enjoy the film more if you like British humor, like Monty Python or Mr. Bean.
Being a big fan of Romero's Dead films and horror movies in general, I was laughing at things most people didn't get.Once the dead rise, Shaun of the Dead becomes an effective zombie movie, but still retains its comedic elements.
Of course, I didn't think I could go very far wrong with a film that George Romero himself said he enjoyed.Shaun (Simon Pegg) isn't having a very good week.
You do NOT have to be a fan of horror movies to appreciate the sublime satire that is "Shaun of the Dead." I haven't seen a movie this good for a very long time.
The acting is good & the cast make their character's pretty likable.Shaun of the Dead is a decent fun homage to Romero's zombie films, to be brutally honest I'd rather see one of those again than this though.
However it is a good horror comedy and easily the best British film of the year so far - fans of Spaced will notice the joke rate is scaled back but it is still very funny.
Shaun Of The Dead is by the best Zombie Comedy since. |
tt0420223 | Stranger Than Fiction | Harold Crick (Will Farrell) is an IRS auditor who almost compulsively measures, quantifies and rationalizes his life. Suddenly, he becomes aware of a voice narrating his life, "accurately and with a better vocabulary." The voice is that of a writer we learn is struggling with writer's block (Emma Thompson), mostly about the best way to make Harold die. When Harold overhears his impending doom, he takes action, and eventually makes his way to a professor of literary theory (Dustin Hoffman), who helps him understand the implications of the narrative life he is leading. The main story line seems to be around a woman he is auditing, played by Maggie Gyllenhaal.
Realizing he could die at any moment, Harold begins to break free of his limited, orderly life, and joins Gyllenhaal in a romantic relationship. He tracks down Thompson and confronts her with the truth: if she writes about his death, then he will die. But Hoffman is convinced the novel must be written as intended, and Thompson herself is ambivalent. Crick himself reads the novel and encourages her to keep the original ending, which would kill him. Eventually, Thompson writes of the fatal accident, but makes the accident only near-fatal. "If you have someone who willingly, knowingly, goes to his death, well...isn't that the kind of person you want to keep alive?" In the end, there is an ode to Harold, Maggie, Dustin, and most of all, Harold's wristwatch.
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Harold Crick (Will Ferrell) is an auditor for the Internal Revenue Service, living his entire life based on the timing of his wristwatch. He is given the job to audit an intentionally tax-delinquent baker, Ana Pascal (Maggie Gyllenhaal) to whom he is awkwardly attracted. On the same day, he begins hearing the voice of a woman that is omnisciently narrating the events in his life, but he is unable to communicate with the voice. On his way home, Harold's watch stops working and he resets it using the time given by a bystander; the voice narrates "little did he know that this simple, seemingly innocuous act would result in his imminent death". Worried over this prediction, Harold turns to a psychiatrist who attributes the voice to schizophrenia. Harold listens to her conclusion without giving importance to it. When he asks what she would advise if it were not schizophrenia, the psychiatrist suggests Harold turn to a literary expert. Harold visits Jules Hilbert (Dustin Hoffman), a university professor, and relates his story. Jules first comes to the same conclusion as the psychiatrist, as Harold's dull life is not something commonly seen in novels. However, Jules then recognizes aspects of a literary work in Harold's story ("little did he know"), and encourages him to help identify the author, first by determining if the work is a comedy or a tragedy.As Harold proceeds to audit Ana, the two begin to fall for each other, but when Harold refuses to accept cookies that Ana made for him on the grounds that they could be viewed as a bribe, Ana angrily tells him to leave, making Harold believe the story is a tragedy. Harold spends the next day at home to try to control his own destiny, but his apartment is partially demolished by a wrecking crew mistaking the building for an abandoned one. Harold reveals these facts to Jules, who believes that Harold cannot control the plot that has been set for him and should accept that he will die, telling Harold to enjoy whatever time he has left to the fullest. Harold takes this to heart; he takes an extended vacation from work, develops his friendship with his co-worker Dave (Tony Hale), fulfills his life dream of learning to play the guitar, and starts to see Ana on a regular basis, helping her to avoid tax issues by claiming charitable offerings. Harold believes he may have mistaken his story and now reassesses it as a comedy. When he returns to Jules with this revelation, Harold inadvertently identifies the voice in his head from a television interview as noted author Karen Eiffel (Emma Thompson). Jules, a long-time fan of Karen's works, reveals that in every book she has written the main character has died.Harold is able to find Karen through tax records, and learns that she is presently struggling from writer's block in how to kill off the character of Harold Crick in her latest book, Death and Taxes, envisioning numerous ways to have Harold die, while her publisher has sent an assistant, Penny (Queen Latifah), to make sure the book gets completed. When Karen learns that Harold is a real person and has experienced everything she's written, she becomes horrified to consider that all of her previous books may have also resulted in the deaths of real people. She tells Harold she has finally written a draft of the ending and his death, but hasn't typed it up yet. Penny suggests Harold read the book and the drafted ending to get his opinion. Harold is unable to bring himself to read it and gives the manuscript to Jules to review. Jules reads it and tells Harold that the manuscript is a masterpiece, his written death integral to its genius.Though Harold is deeply distressed over his fate, Jules comforts him by stating the inevitability of death - this death at least, will hold a deeper meaning by completing the book. Harold reads the manuscript himself, and comes to the same conclusion and returns the manuscript to Karen, accepting his death. He spends one last night with Ana.The next day, Harold prepares to return to work after his vacation despite Karen's voice narrating the fateful day as she types up her planned ending. Due to getting the time from the stranger earlier, Harold's watch is three minutes ahead, and he arrives at the bus stop early enough to save a child on a bicycle from being run over by a bus, though he himself is hit by the bus. Karen attempts to write Harold's death, but is unable to do so, and instead claims the watch was the character that died, and that fragments of the watch helped to block the right ulnar artery in Harold's body after the collision, preventing him from bleeding to death.Harold wakes up to find himself in a hospital, alive though in traction and with several broken bones, with Ana by his side to help him recover. When Jules reads Karen's final manuscript, he notes that the story is weaker without Harold's death. Karen admits the flaw, although she points out that the story was meant to be about a man that unknowingly dies, and this was not the case.Therefore, she states that she would rather have the story end with Harold alive, changing the dead character to that of the watch which had earlier been personified throughout the film. | avant garde, fantasy, cult, cute, insanity, psychedelic, humor, romantic, storytelling, sentimental | train | imdb | I continually looked forward to seeing the film, and am glad that the great trailer did not reveal everything like I had originally assumed.The film involves Harold Crick (Will Ferrell), an IRS agent who lives his life by a very strict routine.
His writing feels vibrant and fresh, and in a film industry with absolutely little originality or thought, it is just great that movies like this slip through and get green-lighted.
"Stranger than Fiction" is the complex tale of a simple IRS man named Harold Crick (an appealing Will Ferrel) who one day awakes to his own voice-over narration only to find he is the unwitting main character in the new tragic novel from acclaimed author Karen Eiffel (an excellent return to form for Emma Thompson).
Imagine a Charlie Kaufman penned film where all the cynicism and nihilism is replaced with an endearing and heartfelt melancholy that creates a surprising amount of emotional involvement in characters who would've otherwise been over-reaching literacy devices, and you'll get a feel for the sincere type of entertainment Marc Forster's film provides.Forster, with his keen eye and eclectic visual sense, populates the film the sharp and contrasting visual angles, camera tricks, and in-frame oddities (like the play with numbers) constantly keeping the viewer engaged and on their toes.
Most of the audience are concentrating so much on the film's intricate hypothesis and how it is worked out, that only afterwards do we realise what a range of emotions Ferrell has to portray with complete seriousness.Novelist Kay Eiffel (Thompson) anthropomorphises things like Crick's watch (similarly the official website says, in real time, "As the cursor waited anxiously for the site to load, it couldn't help but feel an overwhelming sense of elation.") We sense a life-imbuing process that might even be likened to what an actor does with his character; but the film goes a stage further by drawing a similarity with the essentially lifeless, clockwork existence of the IRS auditor whose only escape is discovering love with Pascal.
Number crunching IRS agent and genuine loser, Harold Crick (Ferrell) one day wakes up to find his life being narrated word for word by burnt out writer Karen Eiffel (Emma Thompson).
I saw STRANGER THAN FICTION (STF) on its opening weekend, and I think it's one of the most engaging, funny, poignant movies about writing, the creative process, and human nature I've seen since ADAPTATION.
Toning down his screechy/crazy qualities without losing his ability to make audiences laugh, Ferrell stars as unassuming IRS agent Harold Crick, who loves his job, so you know his life needs an overhaul!
As Kay's publisher sends compassionate but no-nonsense troubleshooter Penny Escher (Queen Latifah) to help unblock her, Harold seeks help from literary professor Jules Hilbert (Dustin Hoffman), an expert on the problematic author's favorite phrase "Little did he know..." It might be a subject especially dear to a writer's heart (especially in gags like Hilbert questioning Harold on standard literary devices to see if he's the hero of a comedy or a tragedy: "Have you been invited to a country house and had to solve a murder?...To find out what story you're in, I have to find out what stories you're *not* in..."), but I found STF funny, touching, and playfully surreal as director Marc Forster and screenwriter Zach Helm prove to be the new Spike Jonze and Charlie Kaufman, only with a touch of sweetness.
In addition to the excellent Ferrell, Hoffman, Thompson, and Queen Latifah, the great cast includes Linda Hunt and an all-but-unrecognizable Tom Hulce as well-meaning but unhelpful psychiatrists, and Maggie Gyllenhaal as Ana, an anti-establishment baker who refuses to pay taxes on munitions (The Clash's "Death or Glory" plays in the background when Harold visits her bakery to audit her, only to be booed and heckled by Ana and her customers.
I saw an advanced screening of Stranger than Fiction tonight on the Sony lot, as part of the Merrill Lynch media conference being held this week in Pasadena, CA.I hadn't heard much about this movie prior to seeing it tonight, so I had NO expectations, which is really how I like to see a movie (without any preconceived notions, good or bad).The movie was very well acted, and told an interesting story.
For Ferrell, who's probably at the height of his popularity, this was a good move for him, as well as an ideal role.All in all, I really liked this movie, and I would definitely recommend it to friends/family..
The reality is that while he has his moments, Ferrell is the straight man in this picture, a tepid character who contrasts well with Maggie Gyllenhaal's anarchist baker Anna, Dustin Hoffman's Yoda of literature professor, and Emma Thompson's work as author Kay Eiffel, which results in the best performance in the film.
Yes, the title to this movie is 100 percent accurate: "Stranger Than Fiction really describes this bizarre tale of a man whose life is being lived out as a writer of fiction stories types it up.
In other words, the fiction writer's main character is a real-life guy.Emma Thompson comes out of semi-retirement to play the role of "Karen Eiffel," a writer whose novels always end up with the hero getting killed.
Will Ferrell, Maggie Gyllenhaal, Dustin Hoffman, Queen Latifah, and Emma Thompson all delivered some of the best acting seen for years.
Will Ferrell in particular has followed many comedy actors like Robin Williams and proves that he is more than a slapstick joker.This movie needs some awards, big time.
What might have been another slapstick, fantasy movie with cheap laughs à la "Bruce Almighty" or "Click" turns out to be a really clever and touching dramedy in the tradition of "Rushmore" or "The Truman Show".This is the story of Harold, a guy who's starting to hear a voice-over to his life.
These are some very philosophical questions and parts of the movie serve as a great analogy for art, religion and the meaning of life.All of the characters are remarkably well-crafted, particularly the literature expert (Dustin Hoffman) who helps Harold find out if he's just crazy or really part of a novel.
The film starts well with quirky graphics overlaid on the action as Emma Thompson narrates the life of Ferrell's Harold Crick, a stuck up taxman who doesn't live but exists.
The whole premise of the film is that Emma Thompson who is writing the story is trying to kill off Harold but as he gets wind of it and starts to live his life he doesn't want this to happen so sets out to change his own destiny.
Enlisting the help of Dustin Hoffman who is basically revisiting the character he played in 'I heart huckabees' the films few highlights come from the two of them trying to figure out what kind of book Harold is in, in a series of bizarre literary conversations.
At no point in the film do you believe that free-thinking radical none tax paying tattooed young beauty played by Maggie Gyllenhaal would ever fall for the old grey boring Ferrell, let alone start to turn his life around, even though they do say opposites attract.
I was sure - I've seen the trailer several times and I loved the idea the movie was based on: an IRS employee, Harold Crick (Will Ferrell has proved admirably to be able to play serious roles) leads the ordered, quite boring full of numbers and digits life only one morning to realize that he is somehow happened to be a main character in a new novel from famous, neurotic, reclusive, chain smoking author Karen Eiffel (great, great Emma Thompson) who always murders her main characters on the last page of her books.
I don't know if "Stranger than Fiction" is the best movie of this year but it is certainly the best I've seen so far and I wish it all the best when the awards season comes....As much as I enjoyed being in the theater with my husband only, I truly wish more viewers see "Stranger than Fiction" because it is a clever, funny yet moving picture - they don't come like that very often.9/10.
Harold is advised by Professor Jules Hilbert (Dustin Hoffman) to change his monotonous lifestyle while he tries to find Karen Eiffel (Emma Thompson), the author of the story of his life, who is researching means of killing the character, and convince her to change the ending of the story.The surrealist "Stranger than Fiction" has one of the most refreshing screenplays I have ever seen, and it certainly is the best performance of Will Ferrell.
Taking the chance of working with first time writer Zach Helm (a gifted artist whose niche in the business is already secure with this first venture) and assembling a cast of some of our finest actors proves successful in every graphically odd twist and turn of this unusual, compelling and unclassifiable story.Harold Crick (Will Ferrell - finally given a role in which he can prove that he is an actor and not just a foolish pratfall comedian) is a boring, number obsessed IRS agent whose every moment of every day is timed to be exactly the same (with the important co-existence with his wrist watch!)...until one day he hears a voice narrating his life, the female voice of loopy and blocked writer Kay Eiffel (Emma Thompson) who is writing a story that has a 'Harold Crick' as her main character.
When the narrator begins to talk about ending 'Harold's' life, Harold freaks and seeks guidance from a literature professor Jules Hilbert (Dustin Hoffman, in one of his most subtle and refined roles of his career) who knows Eiffel's work and aids Harold in understanding novels, be they comedy or tragedy.
Forster wisely uses graphic superimpositions of numbers and graphs and lines to show us the inside of Harold's intriguing mind, all the while allowing us to draw close to the needy and tender aspect of this nerd of nerds, thus making the involvement with his narrator, his girlfriend Ana, and his doctors and professor wholly credible.Some people (this viewer being one) avoided this film in the theaters because of the fear that it may be just another Will Ferrell bit of foolishness: over the top slapstick physical comedy that grows stale after about five minutes.
Precisely hitting all the notes in making an ensemble cast work, everything just seemed so carefully thought out without feeling contrived
there is simply nothing to dislike about this film.Will Ferrell very successfully transitions from his usual screwball comedic acts to sincere, sensitive and likable everyday IRS agent Harold Crick, who falls in love with his auditee, government-hater and bohemian baker Ana Pascal (Maggie Gyllenhaal, who just marvelously disappeared into the role).
Dustin Hoffman flawlessly plays literary expert Professor Jules Hilbert, whom Crick runs to for help to find out how to stop his life from ending as intimated to him by the voice in his head, while Queen Latifah was able to stand on her own as assistant Penny to Emma Thompson's eccentric tragic novelist Kay Eiffel, who is struggling with writer's block, trying to find out the best way to kill her lead character Crick.Forster makes everything so easy to love: his recurring themes of contrast and interconnectivity blend smoothly with the refreshingly original story, the immensely talented actors that quietly dissolve into their characters (usually very difficult to suspend disbelief with a stellar cast), thoughtful set design (all calm neutrals in modernist designs) and a breathtaking indie-rock soundtrack (said to be this year's answer to Garden State's OST).
Stranger than Fiction is multidimensional; it's not just a clever movie, it makes you think about how you choose to live your life, every minute of every day..
I should have known; Dustin Hoffman hasn't been involved in anything approaching a great movie since 1988, Hollywood stopped making interesting films a long time ago, and yet I was persuaded by the overwhelmingly positive reviews for this.
The way Ferrel's character reacts to it is stilted and unrealistic, in my humble opinion.Besides the life-narration thing, the story is the typical boring salary-man lives boring life, and we're SOMEHOW supposed to feel sorry for him and accept him as representative of a mediocre life when in an actuality he is quite privileged as a tall, fit, healthy man with a good job, and no responsibilities such as a wife or kids.
The film is heartfelt and it's about this guy named Harold Crick (played by Ferrell), whose life is the subject of a certain authors book.
Stranger than Fiction from Marc Foster is a great quirky little movie starring Will Ferrell in an against type role where he plays a straight guy accountant who suddenly starts haring a narration in his head every time he does something.
Stranger Than Fiction is a great movie with a well developed plot and a terrific cast that balance comedy and drama nicely.
He is also joined by the marvellous Emma Thompson, who plays a very complicated role, Maggie Gyllenhaal, who has great, pure chemistry with Ferrell, and Dustin Hoffman, who brings in subtlety and laughter.
I have watched and re- watched this movie over the years since release (sometimes starting at minute 24, the entrance of Dustin Hoffmans character).It was ahead of its time with the integration of H.U.D.-like CGI elements to explain our main character's inner monologue.Will Ferrel is evocative as becomes Harold Crick.
One of my favorite parts of this movie is of course Emma Thompson being the writer unknowingly deciding his fate and Maggie Gyllenhaal is perfect as Ferrell's love interest.
Harold Crick (an understated Will Ferrell) is an IRS agent living a bland life of quiet desperation that's narrated by Kay Eiffel (Emma Thompson).
Luckily, this isn't one of those "writer makes fictional character do dumb things" films a la Rob Reiner's ALEX & EMMA but a fun mix of narrative fiction and schizophrenia.When a psychologist (Linda Hunt) can't help him, Harold goes to a literature professor (Dustin Hoffman, also thankfully understated) who tries to determine what genre Harold is living.
So, I wanted to see what Forster was able to do and it's a really good work !I didn't know Will Ferrell and Maggie Gyllenhaal at all, but they are great actors !
If I was to compare this film to another in acting terms, I would say that this is like Ferrell's "Eternal Sunshine of the Spotless Mind," except that I enjoyed "Stranger Than Fiction" much, much more than that, and so should anyone that watches it.
The acting was first rate in this movie, with supporting characters like Robert DeNiro, Emma Thompson, Maggie Gyllenhaal, and Queen Latifah.
There is also the air of questioning where these characters are outside of their set spots in the screenplay- and Crick, albeit not without some interest is not really the kind of character I would think would make for a great subject for a book by a presumably well-renown, recluse author (played in the best way possible in the one-note terms by Emma Thompson).For the sake of Crick's central change from being very calculated, precisely so, early on, to becoming a man much more based on how he wants to live his life not based rigidly on structure- even in the structure of 'little did he know', which is kind of amusing as a writer myself- there is that sort of contrivance anyway.
As this is such a hard question to base an entire narrative around, it is a pleasant surprise to see that the film succeeds admirably, mostly due to excellent characterisation and a lean script that doesn't waste a word.Harold Crick (Ferrell) is an IRS agent who, for most of his adult life, has just been going through the motions without any feelings or attachments to anyone.
although it is a fairly serious movie, Stranger Than Fiction still has it's odd moments in which Ferrell still brings his usual funny lines and what were most likely ad-libs.
This film is excellent.It's a story about a man, Harold(Will Ferell, in one of his best roles), who has lived his entire life in the most ordered and planned way possible- he does the exact same thing everyday.
While HArold's quest to find a clear difference between the two elements seems to yield mixed results,it starts to clear things gradually to the IRS auditor that his life needs a narrative direction,and he may or may not have much time to figure that out.Directed by untraceable auteur Marc Forrester(unless YOU can link MOnster's Ball and Finding Neverland to this type of film) and written by relative new-by scribe Zack Helm,this movie would be oh SO easy to pigeonhole as an existential comedy or light drama,but it feels like more than that.
the beginning it's a kind of slow but suddenly the story turns interesting with a reflexive ending, (certainly it's stranger than fiction), about characters Emma Thompson was very good on her character, Will Ferrel it's not bad but it's difficult to detach his comedy background to this kind of character maybe another actor was more suitable to this role, Dustin Huffman is at the level expected of him.I certainly recommend this movie, and with justice it must win at least a recognition for that brilliant script.i really enjoy it..
But it's in the quirky supporting characters the film really draws its strength from, especially the always reliable Dustin Hoffman, perfectly understated as a literary professor examining Ferrell's predicament, and the scene-stealing Emma Thompson's delightfully quirky take on the struggling author persona.Is Stranger than Fiction a masterpiece, sure to make viewers re-consider their lives?
Although this movie is described as a comedy, I didn't laugh once the whole film, it was a bit more of a love story, which disappointed me.
Will Ferrell strikes again with a great performance as the main character, and so does the rest of the cast, Emma Thompson, playing Karen Eiffel, who is the unseen force or the writer that narrates Harold Crick, show once again that she is capable of doing a marvelous performance. |
tt0132888 | Blood Freak | Narrator [Brad Grinter], puffing on a cigarette: The one constant in this world is that things change.
There is order in change in that one thing leads to the next thing, and
one seemingly random event can affect the course of the future.Herschel [Steve Hawkes], an out-of-work and homeless Vietnam vet, meets and
befriends Jesus freak Angel [Heather Hughes] when her car breaks down on the Florida
turnpike. Angel takes Herschel home where her hot-to-trot sister Ann [Dana Cullivan] is
smoking marijuana and doing drugs with a bunch of her friends.Narrator: *puff* Angel and Ann are both truth-seekers, although each goes
at it from a different angle.Herschel accompanies Angel to a meeting with her Jesus freak friend
Tom Nolan [?], who offers Herschel a job on his poultry ranch. Angel invites
Herschel to stay with her and Ann until he can get on his feet. The next
day, as Herschel cleans their swimming pool, Ann dons her bikini and tries
to get Herschel to notice her. When that doesn't work, she gets Herschel
to take a drag on a joint laced with something that Ann's friend Guy [Larry Wright]
guarantees will hook him after only a few tokes. Into the bedroom they go,
and off comes Ann's bikini.Narrator: *puff* Because Herschel is a real man, he couldn't refuse Ann's
attentions. But the paths of life are predicatable, and we choose them
over and over again.The next morning, Herschel heads over to the Midway Turkey Farm &
Hatchery. Tom introduces Herschel to Lenny and Gene, who work in the
farm's laboratory. They are currently researching the chemical
"caponization" of poultry. Needing a human to eat the meat in order to see
if there are any side-effects, they rope Herschel into it by offering him
some recreational drugs for his personal use. Later that evening, Herschel
begins to withdraw from that incredibly-addicting grass and is in dire
need of a fix. Ann calls Guy, who brings over some more weed.The next day at work, Lenny presents Herschel with a whole roasted
turkey, which Herschel proceeds to gobble down. After finishing off the
turkey, Herschel isn't feeling so good, so he goes for a stroll in the
yard and passes out in the bushes. Lenny finds Herschel suffering from
convulsions in the grass and he and Gene cart him off and dump his body
elsewhere. Sure that they are going to be caught for killing Herschel,
Lenny and Gene split. Later that evening, the drugs appear to have run
their course, and Herschel wakes up and goes home to Ann. Unfortunately,
Herschel has turned into a were-turkey and can only communicate with Ann
by writing; when he tries to speak, all that comes out is a gobble.
[Herein is one of the most bizarre seduction scenes I've ever seen.] Ann
feels awful, because she thinks it is all her fault, so she calls her
sister Angel.Narrator: *puff* Interesting how, in times of trouble but not before, we
turn to God. Be careful what you pray for.Herschel has learned that he can get his drug fix by hanging users by
their feet, slitting their necks, and drinking their blood. While Herschel
goes around drinking the blood of various drug-abusing girls, Ann talks
turkey with two of her friends, trying to get them to help her find and
take care of Herschel until he reverts back to normal. When Herschel is
spotted by a non-druggie man, he is forced to kill the man. The man's wife
or son (it's hard to tell) attacks Herschel and stabs him in the eye.
Bleeding all over his turkey feathers, Herschel stumbles home to Ann.Meanwhile, Guy is trying to buy more drugs, but his pusher refuses to
deliver unless Guy pays what he already owes. Guy offers him $175 and a
chance to make it with Ann, who is taking a nap in the bedroom. The pusher
agrees. As he fondles Ann's breasts, she wakes up and sees that it isn't
Herschel. The pusher sees Herschel out the window and runs out of Ann's
bedroom. He tries to hide in a garage, but Herschel finds him and cuts off
his leg with a tablesaw. Herschel isn't feeling too steady and falls to
his knees in the grass. As Herschel folds his hands in prayer, Ann's two
friends find him. They cut off the head of a turkey. The final scene shows
people's hands tearing the meat from a roasted turkey. Next to the turkey
is Herschel's turkey head.But wait a minute. Back up a few paragraphs and pick up where
Herschel goes for a walk and passes out in the bushes. Tom finds Herschel.
It was all a hallucination. Turns out that Herschel was badly burned in
Vietnam and became addicted to pain killers. The combination of smoking
marijuana and eating drugged turkey brought on hallucinations. Tom calls
Angel who works at the Drug Center. Angel calls Ann and offers to bring
her to pick up Herschel at the turkey farm, but Ann feels too guilty to
face Herschel right now. Angel explains everything to Herschel, tells him
how much Ann loves him, and they pray together to increase Herschel's
faith.Narrator: *puff* This movie has been a story about the horrors that can
occur when we use the human body as a mixing bowl for drugs. *cough*
*puff* *cough* *hack*Epilogue: Herschel finds Ann walking alone on a pier near the ocean. They
smile at each other, kiss, and walk away in each other's arms. [Original Synopsis by bj_kuehl] | cult, psychedelic, violence | train | imdb | "The natives call it - Tabanga!" in from Hell It Came.Yes, it's about mutant turkeys, good Bible preaching, a hair farm named Herschell, and balding cracker dopers, but Blood Freak goes so much further.
Incredible twisted Christian-Drug-Gore-Turkey Monster film.
Hershel smokes some kind of super addicting pot which causes him to sc**w Ann. He then goes to work for a man who appears to be their father who owns a poultry farm with a built in laboratory run by some dim witted scientists.
When Herschell ignores the advances of a woman, she informs him, "You' re nothing but a dumb b***ard who doesn't know where it's at, anyway!"Herschell ends up getting a job at the father's turkey farm, Anne gets him "hooked" on pot and scientists in lab jackets trick him into eating chemicals that transform him into a turkey headed monster that gobbles, hangs people upside down, slits their throats and drinks the blood, all while dressed in flared bell-bottom pants!One very blood, standout murder scene has a guy getting his leg cut off with a table saw.
But the action stops cold when the on-screen, chain-smoking narrator (played by director Grinter) reads preachy, pro-Christian commentary off of cue cards on a desk!The big, muscular Hawkes sports Elvis hair, thick sideburns and weird, blotchy skin, and is one of the worst actors I can think of.
No one is credited with writing it on the version I have (the original VHS copy), but with lines directed toward Hawkes like, "He's strong, he's handsome and he enjoys being attractive to the opposite sex," I strongly suspect he had his hand in there somewhere.Do NOT miss this movie!Score: (technically speaking) 1 out of 10 / (for laughs) 10 out of 10!.
What can one say about a movie in which a beefy Vietnam vet (resembling a late-60's Conway Twitty) follows a nice Christian young lady home, only to fall for her sister, get hooked on some bizarre strain of pot, eat an entire "experimental" turkey cooked up by some mad poultry scientists (who themselves are hooked on the wacky weed), turn into the ugly cousin of the San Diego Chicken, and become driven to feed on the blood of addicts?
will come up in the process, but I think the word that best sums it up is "amazing".If taken at face value this would appear to be an over-the-top, ridiculous anti-drug christian scare film, but it seems to me like it's more likely a wierd joke by a sadist with a bizarre sense of humor.
My favorite element personally is the crusty narrator who occasionally interrupts the movie from what appears to be a suburban family rec room(?) and gives cryptic warnings about the harm of putting chemicals in one's body, all the while puffing away on cigarettes (at one point the guy even breaks out into a heavy coughing fit!).
Their complete lack of emotion and their stumbling over their own lines (among other things) make me suspect that this movie only filmed ONE TAKE of each scene, regardless of mistakes.I simply LOVE "Blood Freak" and never get tired of it.
For example, look at what happens to poor Herschell, a musclebound Vietnam vet, in the 1972 film "Blood Freak." When we first meet him, Herschell is hooked on painkillers and soon--shades of "Reefer Madness" (1936)--becomes PHYSICALLY addicted to some kind of superpot (patent BS, to be sure).
The "good" characters are annoying and the "bad" ones are obnoxious; actually, the only character I felt anything for was the real-life turkey who gets his head chopped off in one scene.
As far as I know, it's the only Christian/Anti-Drug/Gore/Turkey film ever made, obviously those who came after realized trying to outdo "BF" would be an impossible feat.Highlights include the coughing fit of the on screen narrator, the retina destroying fashions and two of the coolest lab workers.
The plot is so asinine that I really don't want to get very far into it.Hershel eats some drug laced turkey meat and turns into a turkey-man who craves the blood of drug addicts; all narrated by a "cool" smoking guy.
Picture it--a chain-smoking narrator who portrays a god-like role in the film, a killer turkey man, LOTS of late-sixties/early-seventies clothing, and a renegade biker named Herschel.
Before you know it, this guy turns into a turkey-headed monster that kills people and drinks their blood!
All the time while preaching about the evils of doing drugs and putting chemicals in your body, he's chain-smoking cigarettes!This was made in the early 70's and on a very small budget with probably not a real actor in the whole film.
On one hand "Blood Freak" has some of the worst "acting" I have ever witnessed on film including a chain smoking narrator that constantly looks down at his script who at one point goes into a serious coughing spell that is not edited out at all.
On the other hand this is a one-of-a-kind insane combination of drug propaganda, slasher films, monster movies and Christian evangelism that has never been repeated to this day.
With his addiction growing and the need to satisfy his fix overpowering Herschell agrees to an absurd experiment where he eats turkey meat that has been tampered with by two scientists that are probably the worst of the so-called actors in this movie.
Sure enough the infected meat turns Herschell into a turkey-headed beast that must feed on blood.
The plot itself of a man turning into a chicken in some bizarre drugs gone wrong scenario and then killing people is absurd enough as it is, but the outfit worn is what makes it truly laugh-out-loud funny.How bad and hilarious is it?
Studly, hog-riding Herschell gets reeled into the dope scene by a seductive ravenhaired trollop...a free-spirited hottie who loves the party life, and ignores the cautionary advice of her mousy, churchgoing sister.Before long, Herschell finds employment at a turkey farm, which also happens to be the locus of some dodgy scientific quackery conducted by a couple of goofy whitecoats.
Canadian body builder Steve Hawkes plays Vietnam vet named Herschell who smokes a lot of weed and turns into vampiric were-turkey after eating a scientifically-altered turkey prepared by two scientists in their laboratory.He quickly begins to stalk and kill young female junkies and drink their blood."Blood Freak" by Brad F.Grinter and Steve Hawkes has to be seen to be believed.There is even uplifting pro-Christian message at the end.The film is gleefully bizarre and has some amateurish gore scenes including table saw leg cutting.The acting is hilariously bad,the editing is awful and Grinter's speeches are utterly stupid.6 cold turkeys out of 10."How can such a big hunk of man be such a damn coward?".
As it's been said many times before, it can boast the distinction of mixing a pro-Christianity, anti-drug message with a tried and true horror movie premise of a monster on the loose and a generous dose of very tacky gore.
And throughout this things' 80 minute run time, the co-director Brad Grinter (who'd directed Veronica Lake in her final film, "Flesh Feast") pops up on screen, cigarette in hand, to wax philosophical on the nature of fate and the importance of catalysts.Beefy non-actor Steve Hawkes - who was the other director of this epic - stars as Herschell, a Vietnam veteran / biker who makes the acquaintance of "good girl" Angel (Heather Hughes), a sexy but deeply religious gal.
Meanwhile, he gets a job at a poultry farm where, among other things, he agrees to function as test subject and eat turkey that's been treated with an experimental drug.
On top of that, he now drinks blood, which he obtains from the necks of various unlucky junkies.A deadly slow pace prevents this from being completely effective, but overall "Blood Freak" is the kind of thing a cult movie lover will want to have the experience of viewing.
Peoples' reactions to Turkey Man are pretty priceless, and Anns' dialogue is delicious, especially when she wonders what the children of her and Herschell would look like.
What would I tell them about you?" I don't know, but you could start by saying that their dad is a TURKEY.Like any rambling man who dresses like Elvis in the 70's, Herschell is looking for a job.
The scientists are incredible, the turkey head costume amazing as the story unrolls like old fruit leather.Then we come to the narrator, chain smoking and obviously read from cue cards, he coughs and clears his throat.If you enjoy bad movies, steer clear.
Really Bad. Blood Freak (1972) BOMB (out of 4) An incredibly bizarre Christian/Drug/Horror/Moral film, which is quite possibly the worst film I've ever seen.
Blood Freak is so insanely awful on every level that one can easily be forgiven for questioning its authenticity as a genuinely bad film; throughout, I kept asking myself the question 'Is this for real?'.
As such, it must surely stand as one of the most entertaining turkeys of all time (a most-fitting description, as you will discover).Muscle-bound Croatian-born actor Steve Hawkes plays Herschell, a kind-hearted 'easy-rider' type who pulls over on the freeway to help the aptly named Angel (Heather Hughes), a pretty but pious damsel-in-distress experiencing a spot of car trouble.
Anne's next move is to try and weaken Herschell's resolve by getting him high, an approach which proves far more successful than simply flaunting her flawless body: before long Herschell is boffing the brazen brunette, but has also developed a severe addiction for hard drugs (a small price to pay, IMO, given how smoking hot she is).The very next day, Herschell begins his new job as handyman at a nearby poultry farm, working under a pair of dodgy looking scientists conducting biological experiments on turkeys.
Offered extra cash if he takes part in a turkey meat taste test, Herschell is only too keen to get stuck in, but the chemicals used on the big bird react with the strong illegal narcotics coursing through his body, causing him to turn into a turkey-headed monster with an insatiable lust for blood.Possibly the only pro-Christian, anti-drug, mutant turkey film ever made, Blood Freak is mind-bogglingly craptastic from start to finish, its cast lacking even the most basic acting skills (several appear to be reading their lines from cue cards), director Brad F.
Grinter displaying all the visual acuity of a blind person in a very dark cave, the script providing some wonderfully outmoded dialogue ("He sees a chick he digs and he swings, man"), and its 'creature'—Hawkes sporting a papier-mâché turkey head—being one of the most pathetic monsters ever to be captured on film.In addition to all this, viewers are also treated to sporadic appearances from Grinter as the film's narrator, who spouts dull philosophical and theological clap-trap and whose chain-smoking leads to a coughing fit whilst he is delivering a diatribe about poisoning the body with unnatural substances (some have taken this to be a wry clue that director Brad Grinter was well aware of how daft his film was all along; if so, then I guess the guy must have been some kind of genius to have successfully pulled the wool over the eyes of bad-film fans for nigh on 40 years).Blood Freak is one of those films that is extremely hard for me to rate, because it is an enjoyable mess, but for being so completely gonzo and utterly hilarious, I'll give it a 7.5, plus a bonus half point for the unexpectedly gory 'leg onto the rotary saw blade' scene, and for introducing me to the delights of Heather Hughes and Dana Cullivan, both of whom look great in their revealing 70s get-ups (hot-pants and mini-skirts, I salute you!)..
So when I saw the listing for "Blood Freak" on TCM's schedule ("Derelict biker goes on drug trip and transforms into killer turkey") I thought - what a hoot this is gonna be!
This has moments of spontaneous hilarity in the worst possible way, but it's undermined by any and all attempts by its creators (and future role model for Larry Bishop's Hell Ride, Steve Hawkes as writer/director/ego-maniac/turkey) in making it a Reefer Madness style message movie about drugs and, eventually, God itself.
And by the time the filmmakers get to the turkey headed creature-man-thing, looking like a cross between a discarded Skesis from the Dark Crystal and a Docor Who villain, one can join in the fun with the repetitive screaming sound effect and awkward edits.But really, it's just so poorly made- this kind of movie will make cinematographers' heads spin perennially over how absolutely God-awful some of the shots are as being pseudo-documentary and pseudo-horror (or, better yet, pseudo-suck)- and acted (everyone, from Hawkes to every single player, including two actors who look like they wandered off from the Allman Brothers band) and plotted (the ending, which provides a whole "It was all a dream" twist may be the most offensive thing of all), that you'll groan and feel completely sickened with yourself for watching what one hoped to be a ridiculous tongue-in-cheek turkey-killer flick.My advice, and I can't believe I'm saying this, go back and re-watch Eli Roth's Thanksgiving trailer.
SPOILERS INCLUDED What were they thinking; more specifically how does a pro-christian, anti drug film double as a bloody horror movie about a vampire turkey monster?
Ann tells the turkey she still loves him despite the obvious problems what would the children think of their father looking like that
.my god what would the children look like?' Discovering he can only live off the blood of drug addicts the BloodFreak stalks Ann's dopy friends- dragging them into the bushes and drinking their blood.
Things start with a burly biker named Herschell (who looks like the love child of Elvis Presley and Conway Twitty) riding down the highway and happening upon a girl (named Angel...
which is, the best Anti-Drug/Pro-Religion/Turkey-Monster movie ever made!
If your in the mood, you'll probably laugh your ass off during this flick.The Not So Good: If your not in the mood for it, this movie will probably seem like the worst thing ever caught on film.
And second, a warning to those who don't like real on-screen violence inflicted on animals.Okay, first: I bought the BLOOD FREAK DVD mainly because I love SOMETHING WEIRD DVDs, which are full of extras, and also because I love really bad movies.
The thing that everyone has failed to mention is the "twist" ending: that the whole idea of the guy (played by beefy Elvis-look-a-like Steve Hawkes) turning into a monster with a head of a turkey and feeding on addicts' blood is nothing but a DREAM or a HALLUCINATION.
After the guy takes the drug from the turkey farm, the man has this really bad trip and dreams he's turned into the turkey monster.
BLOOD FREAK is still bad but it's not as bad as if the character had actually changed into that turkey monster.
Some moments are truly weird, like when Steve Hawkes's girlfriend sees him for the first time as the turkey monster and starts talking about how the people will perceive them as a couple or how their children will turn out is, for a split second, unbelievably brilliant in its total ineptitude.
It's obvious the actor has an amputated leg in reality and they simply hired him just so the scene when the turkey monster cuts off his foot looks very convincing.And speaking of violence, here's my second point: I also have to warn people who don't like to see animals killed on screen.
LOL!In the end, BLOOD FREAK is a must see for all aficionados of bad films.
We made a movie like Blood Freak and called it entertainment.
They Don't Make Turkey-Headed Killer Films Like They Used To....
Looking for work, Angel hooks him up with a friend of hers for some farm-work - and all is looking well for Hersch, until...Anne tricks Herschell into smoking some drug-laced pot, making him an instant addict, and some scientists at the farm trick Herschell into eating some drug-laced turkey, turning Herschell into a gobbling, blood-thirsty, turkey-headed freak!
Two scientists at the farm give Herschell a turkey stuffed with experimental drugs to eat.
After eating a bad batch of bird, Herschell's head turns into a giant turkey head, and he goes on a killing spree, murdering the local druggies and drinking their blood.
Seeing this guy run about for the next 20 minutes wearing a very cheesy turkey head as he rips open women's throats in order to drink their blood is something I'll never forget and might just be one of the silliest things in film history.So, from the plot, it's pretty easy to see how this could all be rather funny.
Florida has a strange, tacky tradition of horror film-making, from Herschell Gordon Lewis's gore epics to "Sometimes Aunt Martha Does Dreadful Things" (a forgotten masterpiece of the '60s/'70s exploitation boom) to this movie, which manages to cram an anti-drug message, Christian proselytization, and the surreal story of a homicidal turkey monster into eighty-six short minutes.
There's some truly hilarious dialogue here, the scene in which Ann sees Herschell as the Turkey monster for the first time & says 'Gosh Herschell, you sure are ugly' just demonstrates a lack of compassion & then Ann goes on to discuss whether their children would look like him!
The whole film is quite lifeless & dull, it plods along & even at 80 minutes it drags, it takes what seems like ages for the Turkey monster to show & there's a really bad cop-out ending that just reinforces that drugs are bad, very bad.
There's one memorable moment in which a drug dealing rapist has his leg cut off with an electric band saw but otherwise Blood Freak is quite lethargic but it's just so unintentionally funny with hilarious dialogue, bad acting to make you cringe, awful production values & one of the worst monster masks in film history. |
tt0073324 | Lèvres de sang | Ever since his father died, Frederic [Jean-Loup Philippe] has been unable to remember
anything about his childhood, even though his mother has told him all
about it. One night, while at a party, Frederic notices a photograph of
some castle ruins near a beach. They look familiar to him, and he recalls
an incident that happened 20 years ago, when he was 12. He was lost. It
was getting dark, and he went to the castle where he was invited in by a
young girl [Annie Briand] dressed all in white. He spent the night there and became
infatuated with her. To thank her for her kindness, Frederic placed a toy
on her steps before he left to go home.When Frederic tells his mother [Natalie Perrey] about the memory, she denies that it
ever happened, so Frederic pays a visit to the photographer to find out
where the photo was taken. The photographer tells him that she's been paid
not to reveal the location but later relents and tells him to meet her at
midnight at the aquarium and she will tell him then. To kill time,
Frederic goes to the cinema. As he watches the movie, he notices the girl
in white standing in the doorway. He follows her outside. She leads him
into a cemetery and down into a crypt where he finds four coffins. He
opens one of the coffins to find several bats inside.Unknowingly, Frederic has released four vampiresses. Frederic runs
outside where he meets a woman who claims to be the girl he met 20 years
ago in the ruins, even though she looks nothing like her. She leads him to
a room in an old abandoned building. When he asks her to identify the toy
that he left with her 20 years ago, she cannot, confirming Frederic's
suspicion that she is working for the same people that paid the
photographer to keep quiet. For some reason, they do not want him to find
the girl. Suddenly, the woman bolts from the room, locking the door behind
her. While the girl in white watches, two of the vampiresses unlock the
door and release Frederic.It is now midnight, and Frederic goes to the aquarium where he finds
that the photographer has been murdered. A man with a briefcase walks
past, and Frederic follows him into the Metro. When the man pulls a gun on
him, Frederic kicks the gun from his hand, pulls the cord to stop the
train, and runs away. The man follows, cornering Frederic on a balcony.
Meanwhile, the two vampires throw a switch that turns on myriad fountains,
which afford Frederic with cover, and he is able to escape.Frederic tells his mother about seeing the girl in white. She tries
to convince him that he is mad and, while Frederic is changing clothes,
she calls the hospital. When Frederic leaves the house, he is immediately
captured by two ambulance drivers and taken to the hospital where he is
placed in a straitjacket and told that he is going to receive electroshock
therapy. While pacing in his room, Frederic sees the girl in white. He
begs her to speak to him if she truly exists, and she mouths the words "Je
t'aime". Then she disappears. Two nurses come to take Frederic to the
psychiatrist, but they turn out to be the two vampires. Instead, they
attack the psychiatrist, untie the straitjacket, and allow Frederick to
escape.While running down the street, Frederic sees a blind man selling
postcards of the ruins, so he buys one and learns that it is called
Sauveterre Castle. Certain that the girl in white is calling for his help,
Frederic catches the train to Sauveterre. It is just as he remembers it.
He even finds the toy that he left lying on the castle steps. He walks
through the castle looking for the girl. Eventually, he comes upon a room
where he finds books, dolls, toys, candles, a coffin, and a picture album
with his picture in it. Just as Frederic attempts to open the coffin, his
mother appears.She tells him the story of the girl in white. Her name is Jennifer,
and she's a vampire. Jennifer was imprisoned in Sauveterre Castle when she
was 16 in order to prevent the vampire curse from spreading. It was
Jennifer who killed Frederic's father. The corpses of the four vampires
freed by Frederic were moved to the abandoned vault in Paris. While three
men track down and stake the four vampires and build a bonfire to burn
their bodies, Frederic's mother sends him back into the castle with orders
to kill Jennifer and bring her head. But Frederic cannot do it and,
instead, brings the head of a statue which he tosses into the bonfire.After everyone leaves, Frederic returns to the castle and awakens
Jennifer. She tells him how she learned to project her sight and then her
spirit while she lay in her coffin waiting for Frederic to come. He allows
her to turn him into a vampire, and they both get into her coffin and let
the tide carry them out to sea. [Original Synopsis by bj_kuehl.] | pornographic, gothic, flashback | train | imdb | Another wonderfully evocative, dream-like film from Jean Rollin..
He specializes in haunting, sensual, visually impressive movies that frequently concern memory, or memory loss, and obsessively feature beautiful naked women, usually vampires.
If you haven't seen any of his work, 'Lips Of Blood' is as good a place to start as any, but frankly I've never seen a bad movie by him yet.
I'm hooked!Jean-Lou Philippe stars (and co-scripts) as a thirty something man who becomes obsessed with a photograph which reminds him of of his almost-forgotten childhood, which is sketchy at best.
He attempts to track down the location in the picture, and this brings back memories of a beautiful and mysterious girl (the lovely Annie Belle/Briand, who also worked with Deodato and D'Amato) he once met.
He finds himself uncovering a family secret and his life goes in a direction he could never have anticipated.'Lips Of Blood' is yet another wonderfully evocative, dream-like film from Jean Rollin.
The films of Jean Rollin will be an enigma to many who have not experiencing his work, yet for those who allow themselves to be taken elsewhere by his cinema it can prove a highly rewarding experience.
Lips of Blood) is a beautifully lyrical, slow burner that has the uncanny ability to take the viewer into an ethereal, dream like world, where the erotic and the neurotic are intertwined.The story of a photographer, upon seeing a poster, is reminded of his childhood where a mysterious female vampire.
Lips of Blood (1975) (Lèvres de sang)- Jean Rollin directed this slower story a man seeking to reconnect to his childhood and the vampire he is destined to be reunited to.
When he finally finds the vampire from the past, Jennifer (Annie Belle); his mother comes to him and says that she has been protecting him from the Vamps and he must help her put an end to them.
He photographs and lights things very well too and Lips of Blood doesn't betray its ultra low-budget origins as much as most of his other films.The storyline, however, is as basic as usual.
Lips of Blood is arguably Rollin's best film, it's certainly one of his most well made.
If your one who enjoys the recent surge in European horror films, by all means watch this delirious, non-sensical, erotic gem courtesy of director Jean Rollin.From nude vampire women roaming the streets of Paris, to spooky castles and graveyards.
LIPS OF BLOOD is the second Jean Rollin film I've seen and I have to say that I enjoyed it more than LIVING DEAD GIRL.
LIPS OF BLOOD hasn't turned me off from wanting to see more Jean Rollin films..
"Lips of Blood" is actually one of my favourite films made by Jean Rollin.The film was shot in just three weeks and basically it's a love story filled with lesbian vampires and a lot of female nudity.The film is relatively slow-paced,but offers plenty of wonderful Gothic atmosphere and a tiny bit of gore.The four lesbian vampires are incredibly hot.The story may be boring for some,but I still think that this film is better than most of the crap being put out today.Unfortunately "Lips of Blood" failed to generate much interest at the box office,so Rollin moved toward hard core pornography.Anyway,if you like Jean Rollin's erotic vampire movies give this one a look.Recommended!.
The renowned French filmmaker Jean Rollin visits themes of childhood, nostalgia, undying love, and the vampire mythos in this typically enigmatic, striking work.
He's aided in his quest by four sexy female vampires.Rollin films are most assuredly not for every horror fan.
Almost from start to finish, Rollin gives "Lips of Blood" a true surreal nature, and the dialogue is often appealingly literate.Our leading man isn't the most charismatic one will ever see, but he's not unlikable.
His various female co-stars fare extremely well, though, especially the radiant young Belle, whom one might recognize from the far more trashy "House on the Edge of the Park"."Lips of Blood" is wonderfully shot, and definitely romantic in its own way.
Bit more story to this one, which actually slows it down a little but this is an interesting enough tale, the girls are of course enchanting and menacing at the same time and Rollin knows well enough how to make the very most of a simple Gothic location..
I read somewhere that director Jean Rollin was especially proud of this movie because it actually has a plot (kind of).
The subsequent murder of the photographer doesn't deter him from going there where he meets the strange woman and the plot begins to unravel (in more ways than one).Without giving it away, the pay-off to this mystery is unbelievably stupid and even requires the protagonist's mother to show up at one point and deliver a long, awkward exposition.
At one point, for instance, the main character is fleeing half a dozen naked female vampires in the seaside castle and then in the very next scene he's fending off a mugger on the Paris subway.
This scene would be no problem in the typical non-sensical Rollin's film, but in a movie that is otherwise trying to be logical it's a little jarring.
The movie also lacks a lot of Rollin's interesting trademark visuals (i.e. vampires emerging from grandfather clocks, virgins in miniskirts lying face down on coffins).
Directors who deal in this kind of fetishistic material are usually at least somewhat interested in the subject-matter, but judging by this film Rollin could care less about vampires.
We have the usual Rollin ingredients on hand, nocturnal settings, catocombs, coffins and semi nude vampires lurking the night.
While at a party, Frédéric (Jean-Loup Philippe) notices a photograph of a ruined castle that triggers childhood memories of a mysterious, attractive young women.
Intrigued, the young man sets out to find the castle and the woman who resides there, his quest aided by four female vampires.When a director's work is referred to as 'dream-like', I usually take that to mean 'pretentious' and 'confusing'.
Jean Rollin's Lips of Blood is, at times, both of these things, and yet I still found myself liking the film to some extent.
It certainly doesn't hurt that Rollin sees fit to fill Lips of Blood with naked and semi-naked Euro-totty, but I also enjoyed the overall surreal ambience, where nothing is predictable.As far as the nudity is concerned, viewers are treated to a photographer's model (Béatrice Harnois) in nothing but knee high boots, the photographer herself (Martine Grimaud) in the altogether, the four vampire ladies wearing nothing but billowing chiffon (they'd catch their death, if they weren't already dead), and the young woman Frédéric is searching for - actually a vampire called Jennifer (Annie Belle) - stripping off at the end of the film.
Jean-Loup Philippe gets his tackle out to keep things fair.The weirder stuff includes a would-be assassin with a Jason King moustache who tries to kill Frédéric for reasons I still haven't worked out (and who is foiled when a vampire switches on a fountain display), Frédéric's rescue from a mental institution by vampire nurses, Frédéric meeting Jennifer wearing David Bowie-style new wave make-up, a blind peddlar woman selling photos of the ruined castle (don't ask me why...
It has surprised me in two differences that I found regarding previous and later Rollin movies: 1) we get to follow the male protagonist's point of view most of the time, and 2) the first half of the movie is shot in a city or at least a large town, as opposed to the early cult classics of Rollin ("Le frisson des vampires", "Requiem for a vampire" etc.), though towards the ending the plot moves on to the good ol' ruined-castle-inhabited-by- naked-lesbian-vampires and rocky deserted beach kind of settings.As the story develops from the male protagonist's point of view, the movie seems to me more entertaining, it has a faster-moving path than other Rollin movies.
Some murders take place, and at this point the movie reminds a good deal of an Italian giallo, in the stylish way they happen, but just at this point, as the plot gives the Rollin twist on its closing, which is somehow slower than the rest of the film but again beautiful, in its macabre way.We must remark the elegant soundtrack, with predominant wind instruments and violins..
A photograph of a castle, ominously overlooking the ocean, waves crashing onto the rocks beneath brings back long buried memories of first love, and the castle itself, in one rather dull man's childhood.Compelled to find the castle, and a girl from the same time of his youth who protected him.
The nude girls at the photographer's might have been tossed in at the last minute just to add more nudity and pad out the run time, but it has a bit of a surreal, trashy, "Where the hell did that come from?" feel to it.
As do the bats in coffins in underground chambers beneath a Gothic cemetery.Vampire girls, wearing flowing, nearly transparent wraps, almost sleepwalking through the cemetery late at night is another surreal touch; the tall blonde in purple (who is this actress?) is remarkably beautiful.Here is another film, like Rollin's Le viol du vampire, in which is almost best to not concern oneself with the plot or acting in this erotic Euro horror, but just sit back and enjoy the visually striking, colour-saturated photography in cemeteries and fountains, and nearly nude girls slowly walking through the cliff-side castle..
Horror mixed with surrealism is not for everyone, but to those who enjoy the mix, Jean Rollin is a master.
He makes low budget films, but he adds rich color and fascinating aspects that make you forget that.Frédéric (Jean-Loup Philippe) is running through the streets of Paris trying to find s castle seen in a photograph.
Nearly six months later, the mood hit and I plopped Lips of Blood into the Blu-Ray player on a cold Friday night.As the film starts, I was beginning to envision the experience to something more like a Mystery Science Theatre viewing.
There was dry dialogue at a cocktail party and the opening scene where two men bring two covered bodies down to some kind of cellar seemed more laughable than anything worthy of attention.But then Lips of Blood began to grow on me, and by it's conclusion I was thankful for this unique and atmospheric work.Lips of Blood centers on Fredric (Jean-Loup Philippe), a man who is both obsessed and beset by a picture of a landscape that reminds him of his youth.
Frederic can remember the castle in the picture and he begins to have other memories of the location such as a woman for which he will spend most of the film searching.Frederic's obsession leads him to a cemetery where he opens multiple coffins unleashing female vampires onto the streets of Paris.
It also leads him to being taken away by doctors and forced into a straightjacket that is, until two of the female vampires come to his assistance.Frederic's obsession with female and the photo bring him to the brink of insanity and he finds himself hospitalized and put into a straightjacket for a short period of time until rescued by two female vampires that he unleashed unknowingly the night before Most of Lips of Blood has Frederic running around the streets of Paris tracking down his childhood memory while naked women parade across the big screen biting unsuspecting victims (God Bless you, director Jean Rollin).
This erotic vampire film features a young man on a strange quest after recognizing a castle on a poster.
He seems to remember the castle from his childhood and eventually finds it with the aid of a strange woman dressed in white.Where does Jean Rollin get his locations?
The French cult director often was strong on the visual side and created a dense, dreamlike atmosphere, in this case especially in the dark, deserted city streets, but "Levres de sang" also has a good story to tell about a voyage into the subconscious, a quest for love and death.
Briefly, a young man rediscovers traces of his forgotten childhood: the familiar ruin of a castle a photographer has taken pictures of, a mysterious woman in white he believes he met many years before...
Needless to say that Rollin always had gorgeous (vampire) women in his films, but here also the male actor Jean-Loup Philippe deserves mentioning.
Its amateurish, strays a bit from vampire mythology and boy were those French girls hairy in the 70s but I actually liked the basic plot.
Lips of Blood (1974)*** (out of 4)A different take on the vampire legacy has a young man (Jean-Loup Philippe) seeing a photo of a castle, which gives him a flashback to when he was a child.
Director Jean Rollin made a wide range of vampire films in his career and it's probably safe to say that this one here was his strangest.
I think the film works best if you go into it expecting some sort of twisted and surreal fairy tale involving the living dead.
As usual, the director takes his sweet time telling the story, although thankfully the pacing here is much better than in a lot of his films.
The pacing actually works well with the film and it especially helps set up our lead character and makes this journey worth taking.
The pacing of the film allows one to really get into the mystery of the events going on but it also allows Rollin time to build up some atmosphere.
This atmosphere, like many of the director's best work, is the strong point and you can't help but feel the cool breeze of the night and the dampness of the tombs once the vampires do start to come.
As you'd expect from a Rollin film, the nudity is quite high as our lovely vampires don't mind walking around naked.
We even get some pretty silly and gratuitous scenes like one where our lead goes to a photographers place and then gets treated to a couple nude women.
You have to question the "story" told by the mother towards the end of the film and once everything is said and done you can't help but think there must have been much easier ways to do things.
From our end as viewers, we need to stay lucid enough to make it work.The story here is about the quest for a subconscious image from childhood; it involves a seaside castle and a young woman, a repressed memory about these.
For most of the film we wander towards it, starting with a scene inside a movie theater where our protagonist gets up and follows the woman through a door.
The vampires, although very effective, backlit in the distance, traces of blood on their lips, lose their effectiveness when close up due to the outsized fangs being a little too large (a common problem in Rollin's films, but not his first, 'Rape of the Vampire', in which the fangs were more subtle and effective) causing the actresses to appear to smile to reveal them.Also, at the end, when two vampires encase themselves in a wooden coffin that goes floating off to sea, it is worth remembering that running water is deadly to such creatures, so the hope is that the coffin is sealed.
And yet I regret criticising that, because – as with all films by Rollin – the whole project is written and directed as a kind of dream-like fairy-tale, not bound by the limitation of rules, even vampire lore.
Indeed, the scene at the end, typically filmed on 'Rollin's beach' is one of his best known, and is poetic and effective even now, fusing perfectly 'the beauty of obscenity'.So too, is the death scene of the Castel twins (featured on much of the accompanying merchandise).
This isn't quite as effective use of them as in the earlier 'The Nude Vampire', but they are still seductive and mesmerising and ethereal and sinister, all at once.The central performance by (co-writer) Jean-Loup Philippe as Frederic is very strong.
Kudos, also, for doing something very rare in vampire films (especially at this time) – actually using real bats.
Agonizingly, to bring it into profit, Rollin re-edited his work, adding scenes of a pornographic nature and renaming it 'Suck me, Vampire.' Yes, truly.
Jean-Loup Philippe bored me to tears as Frederic, the young man on his search.
Jean Rollin's typically outré, dreamy, and deliberately paced film deserves appraisal for attempting a fresh and lyrical spin on the usual bloodsucker premise, but the occasionally too draggy and meandering narrative and a bland central performance by Jean-Loup Philippe as the obsessive Frederic who's determined to figure out his dark family past prevent this movie from completely working.
Moreover, Rollin makes good use of natural locations (the ruins setting in particular is very creepy), does his usual ace job of creating and sustaining a pleasingly surreal and spooky midnight-in-the-graveyard misty atmosphere, and pulls off a strangely poetic and surprising final scene that's both haunting and touching in equal measure.
This being a Jean Rollin film, the expected dodgy acting and plethora of gratuitous nudity is firmly in place but does not distract from the weird and wonderful goings-on.
Jean Rollin enjoys an impressive cult status and his 'hot-vampire-chicks films' in particular are notorious.
It's obvious that Jean Rollin lives is his own private dreamworld and this entirely translates itself in his films.
Hopefully, Jean Rollin films are to be categorized as being 'acquired taste'.
It has all his usual calling cards: vampires wandering around in see-through night gowns, Gothic castles filmed outdoors, "dreamlike" (read: nonsensical and lazy) plotting.
It has none of the striking imagery that he could pull off in movies like The Nude Vampire.One misstep is the guy who plays the main character.
More of a "I don't want to watch this guy anymore" kind of way.You can't even begin to care about whatever's going on in this movie when you have to watch him all the time, but this is Jean Rollin, so it's not like there's much going on anyway. |
tt0315983 | House of Sand and Fog | The movie begins on a foggy night with a young woman sitting on a widow's walk. Below, ambulances are leaving the house. A police officer asks if she is Kathy Nicolo.On the day it all began, Kathy was awakened by a 6:00 a.m. phone call from her mother, who lives on the east coast. Kathy lies and says her husband is there when in fact he left her six months earlier. After revealing that Kathy's brother's wife is pregnant, her mother says she is coming to visit friends in two weeks and will drop in. This is unwelcome news. The house is a mess, with unwashed dishes in the kitchen and unopened mail spilling across the floor.Suddenly there is a sharp knock at the door. Outside, Kathy sees two police officers and two other men. She is informed that the house is being seized for non-payment of a business tax and that she must vacate the property at once. Stunned, Kathy tries to explain that she inherited the house from her father and there is no tax owed. But the tax office has sent her several notices, none of which she opened. One of the police officers tells her that unless she moves her belongings out, they will be auctioned along with the house. He advises her to call friends or family to help her move. But there is no one to call. The officer takes pity on her and introduces himself as Lester Burdon. He knows of some movers who owe him a favor. He sends the other officer for cardboard boxes so they can help her move. By the end of the day, Kathy's belongings are in storage and she gets a room at a cheap motel. She is a house cleaner and cannot afford anything nicer.Colonel Massoud Behrani was forced to flee Iran with his family. He and his wife Nadi have two children, Soraya and Esmail. They are all American citizens now. Soraya is being married and her parents throw her a lavish wedding. With that out of the way, Behrani must begin saving money for his son's college education.No one knows that he works two menial jobs to support his family. By day he is a highway worker and at night he works in a convenience store. He has saved money and plans to invest in a house he can fix up and sell for more than he paid. In the newspaper he sees an advertisement for the auction of a seized property. It is the house taken from Kathy Nicolo. Behrani attends the auction and buys the house for a fraction of what it is worth. He is advised to add a widow's walk to increase the resale value.Kathy's visit to Connie Walsh, a lawyer, doesn't go well. Clearly there has been a mistake. She recalls signing a paper months ago that she owed no tax, but since she didn't open her mail she was unaware of any problems. Kathy is stunned to learn that the house has already been sold. Connie says she can sue the county but that would take months. Or their office can contact the owner and ask if he would be willing to sell the house back to the county for what he paid. Kathy is adamant that she must have the house back in two weeks for her mother's visit. Connie warns her to let them handle it and on no account approach the owner.Nadi does not want to move but Behrani gives her no choice. She is reminded of the time back in Iran when he cut down several beautiful trees at their summer home so they would have a better view of Caspian Sea.Kathy drives to her former home and is outraged to see the widow's walk being constructed. She orders the workmen to stop but they tell her to speak to the owner. Then Kathy steps on several nails and cuts her foot badly. The workmen help her to the door. Nadi is kind to her and bandages the foot. Her English is not good so Kathy doesn't really explain why she is there.Reporting all this to Connie results in a letter to Behrani, explaining the mistake and requesting that he vacate the house at once rather than later. Behrani is outraged and pays Connie a visit. He has had the house appraised and its current market value is $174,000. If the county wants to pay that amount, he will sell the house back. But he will not sell it for what he paid for it at auction.Kathy is in her storage unit when Lester drops by. He is off duty and in the area, so he decided to check on her. They go out for drinks, although Kathy explains that she is a recovering alcoholic. She brings Lester up to date on what is going on with her house. He is sympathetic and gives her his direct line at the station.The motel owner tells Kathy that her credit card was declined and she must leave. Wearily, Kathy asks if it could wait till Friday when she will get paid. The answer is no and Kathy is now forced to live in her car. She is already drinking again and now she starts smoking. Lester comes to the rescue and installs her in a nice motel room. They begin an affair after he leaves his wife and children, which he has been wanting to do for a long time.The widow's walk is finished and Behrani is showing the house to prospective buyers. Then Kathy pulls up in the driveway. Behrani lies and says she is there to pick up some tools left behind by her construction worker boyfriend. He grabs her arm and forces her back in the car. As she drives off, she yells that the house is stolen. The buyers decide that they are no longer interested.Soraya and her husband are back from their honeymoon. Behrani and Nadi host a party for them on the widow's walk. Kathy and Lester drive by and are disgusted by the merrymaking. Lester squeals the tires as they make a u-turn and leave. Even though they are in Lester's car, Kathy feels Behrani's eyes on her.Lester and Kathy move to a fishing camp owned by one of his friends. There is no electricity or running water so they use lanterns and a gas stove. He notices the bruise on Kathy's arm where Behrani grabbed her and decides to do something about it. After putting on his uniform but removing the name tag and whatever else might identify him, they drive to Behrani's.When Behrani comes to the door, Lester identifies himself as Officer Joe Gonzalez. He tells Behrani that it is illegal to post a sign on a telephone pole, as Behrani did when he advertised the house for sale. Lester then attempts to intimidate Behrani by asking if he is in this country legally. Behrani identifies himself as an American citizen. Esmail and Nadi come out of their rooms in time to hear Lester threaten to deport the family unless Behrani sells the house back to the county. After Lester leaves, Nadi angrily asks Behrani what he has done. The quarrel escalates and he slaps her. Esmail helps her out of the room and Behrani spends the night alone.Lester returns to his car where Kathy is waiting and tells her it is obvious that Behrani isn't just off the boat. The next day, Behrani goes to the police department and reports Lester to Internal Affairs. He remembers that Lester was wearing an unusual pin, one with two pistol barrels crossed and the letters FTO. Since there are only eight field training officers on the force, Lester is easily identified.It is his day off and Lester has gone home to see his wife, who has told the children that their separation is only temporary. The phone rings and it is Internal Affairs, ordering Lester to come in at once. Meanwhile, Kathy is back at the camp waiting for him. When he doesn't come, she decides he has reconciled with his wife. She goes to the Behrani home and tells Nadi everything. Nadi is very sympathetic and promises to talk to her husband. Behrani arrives just as Kathy is leaving. In a fury, he grabs her and shoves her into her car, shouting that she is nothing and to tell her idiot deputy that his superiors know what he did. Kathy drives away and calls her brother from a phone booth, intending to ask for his help but he cuts her off. She then goes to a liquor store, where she purchases several bottles. She decides to burn the house down. If she can't have it, then neither can Behrani. After filling a gas can, she opens the trunk and sees Lester's gun belt. She takes the gun and leaves the gas can sitting on the sidewalk.Behrani looks outside and sees Kathy once again parked in his driveway. He runs out and starts yelling until he sees the gun. Kathy is aiming it at her head, sobbing wildly. He takes it away from her and carries her into the house. He and Nadi put her in Esmail's room to sleep it off.Lester goes to the camp and finds the meal Kathy had prepared for them still on the table. He realizes she must have gone to the Behrani home and might be in danger. Meanwhile, Kathy has gone into the bathroom and swallowed Nadi's pain medication. When Nadi realizes what she has done, she makes Kathy throw up the pills. Behrani and Nadi are in the process of getting her back to the bedroom when Lester breaks the kitchen door down. He charges in and seizes the gun, which was left on a table. Holding the family at gunpoint, he demands to know what they have done to Kathy. Esmail explains about the pills and produces the empty bottle. There is nothing to do but let her sleep off the effects.While she is sleeping, Lester orders the family into the bathroom and locks the door. They remain there the entire night. By morning Behrani has come up with a plan. He offers to sell the house back to the county, then give Kathy the check in exchange for her signing the house over to him.Kathy wakes up and Lester sees she is fine. He tells her of the offer made by Behrani but Kathy is skeptical. She asks several times if they can't just leave. But Lester points out that she will need money to make a fresh start. Over her protests he leaves, taking Behrani and Esmail with him. Earlier he unloaded the gun and gave Kathy the bullets to keep. The Beharnis do not know they are being held hostage with a useless gun.Behrani tries to get Lester to allow Esmail to wait in the car but he won't. Keeping the gun hidden, Lester marches them toward the county office. He is very nervous at seeing a number of police officers about. Then a rookie cop stops him to thank him for all he learned by riding with Lester.The trio start up the steps leading to the county offices. Suddenly Behrani grabs Lester and yells at Esmail to get the gun, which he does. It was Behrani's intent to hold Lester captive while Esmail got help. But the plan fails. Esmail is confused when officers draw their weapons and order him to drop the gun. When he doesn't, they shoot him in the chest. Behrani drops to his knees and cradles his son, wailing aloud. An ambulance arrives and takes Esmail to the hospital, while Lester and Behrani are taken into custody.Covered with his son's blood, Behrani prays aloud that the boy will live. Lester confesses to everything and Behrani is cleared. He runs all the way to the hospital, but Esmail has died. After saying a tearful goodbye to his son, Behrani returns home. Meanwhile, Lester is booked into the nearest jail. He tries to call his wife but she doesn't answer.Nadi falls ill with a headache and goes to bed. Kathy then leaves the house and drives to the pier. She stays there for a while.When Behrani arrives home, Nadi is just waking up. He cannot bear to tell her about Esmail. After changing his blood-soaked shirt, he brings her a cup of tea laced with an fatal overdose of medication. She drinks it and soon dies. Behrani then dresses himself in his Iranian colonel's uniform and puts a plastic bag over his head. Lying next to his wife, he commits suicide by suffocation.Kathy returns to the house and finds the bodies. She rips the plastic from Behrani's head and performs CPR but it is too late. She realizes it is her fault and curls up on the bed. Eventually the police come.The movie ends with Kathy answering the officer's question. Yes, she is Kathy Nicolo. He asks if this is her house and she says no. | dark, depressing, flashback, melodrama, tragedy, sentimental | train | imdb | Since antiquity, tragedy has been regarded as the highest and most important form of drama for its ability to arouse the deepest sense of pathos and empathy from its audience.Remind yourself of this if you choose to watch 'House of Sand and Fog.' I can state emphatically that 'House' is one of the most artfully directed and acted films of the last five years, but make no mistake: it is a tragedy, and only the hardest and most jaded of hearts will emerge from the experience undisturbed.
As in the novel, the story is filtered through alternating perspectives, the foremost of which are Behrani (Ben Kingsley), a Persian ex-pat and a former high-ranking officer under the Shah in Iran, and Kathy Lazaro (Jennifer Connelly), a severely depressed recovering alcoholic tenuously holding onto sobriety but nevertheless gradually self-destructing after the collapse of her marriage.The two characters are drawn together, appropriately enough, by the house of the title, a small but elegant coastal property in fictional Pacific County, California (the novel sets the house in Malibu).
Kathy has become a victim of a bureaucratic snafu--she has been erroneously charged with delinquency on taxes for a non-existent business--but due to her textbook depressive refusal to open and answer her mail, she wakes up one morning to find that the county has evicted her and put her property up for auction.Enter Colonel Behrani, a regal man of aristocratic bearing whose ruthless determination to maintain the standard of living his family has always been accustomed to is simultaneously honorable and pathetic.
The house is seen in an early flashback, an eerie montage wherein a younger Behrani in full-dress service uniform observes as a row of enormous trees are severed at the trunk so that the sea will be visible from the balcony where he stands.To elaborate the plot further would be too revealing, so I'll simply say that the lead performances in this film are sublime.
Both actors master these demanding roles such that the audience feels a broad scope of contradictory and ambiguous emotions towards their characters; neither is completely sympathetic nor despicable, and though in the Aristotelian sense Behrani is the story's tragic hero, it's resolution remains ambiguous, as does the ultimate responsibility for the tragic denouement.The direction of the film has its occasional hitches, but many of Vadim Perelman's shots are brilliantly captivating.
The Northern California coastline is exploited to maximum effect, and Perelman offers numerous shots and angles of seamless appeal--they are original and engaging without feeling forced or consciously 'film-schoolish.' It's quite a beautiful movie to look at, from the meticulous arrangement of the Behrani's luxurious furniture and decorations to the patience with which Perelman lets his actors' nuanced facial expressions and physical gestures unfold the depths of their characters.I have some slight reservation about recommending the film simply because its tragedy is so unmerciful.
"House of Sand and Fog" is by far the finest film I've seen this year, and probably the best I've seen since the dial turned from the 1990's into the new millennium.Vadim Perelman makes a movie so astoundingly beautiful that one has to think he's been doing this for years, but this is his first film.
A jaw-dropping conclusion completes a powerful, unbelievably sad piece of work.After a couple years of not finding a movie that stirred me, this is it, what we all look for in movies -- a harrowing story, beautifully filmed, cathartic and elegant.
Unfortunately that gap is shown for what it is: wider than ever.The character of Kathy is portrayed brilliantly by Jennifer Connelly as an emotionally unstable young woman caught up in the turmoil of losing both her husband and her family's home within eight months of each other.
Her character is pinned against Ben Kingsley's Colonel Behrani when Behrani buys Kathy's auctioned house in order to return his own family to a sense of stability.
His character is defined by strength, beliefs and pride, and Kingsley gives an excellent performance, Shakespearean in stature.The film itself is emotionally draining, and you feel you're being taken on that roller-coaster drop along with Connelly's character, but don't for a second think that you shouldn't see it for those reasons, it's a journey that is superbly rewarding as a movie and an education in the miscommunication of people.
They become utterly engaging and you totally disengage from life around you.There's a strong supporting cast, although the performance from Jonathan Ahdout is not too convincing, those around them are, I think a particular mention is required to Shohreh Aghdashloo who provides an emotional balance for the coldness of Kingsley's character and an emotional mirror to the devastation of Connelly's character.Two things are mentioned in the audio commentary that I didn't really pick up on until then, but retrospectively you realise these contribute greatly to making it a great movie.
This has the effect of treating the audience with respect and realising that they have intelligence, and it also makes for an excellent way of keeping the pace of the movie.Picture Presented: The picture is crisp and sharp, a superb use of lighting in the movie moving from the bright opening beginning of the story it darkens through time to the bleak and dismal closing scenes.
Combining Kingsley, Vadim Perelman and Andre Dubus III, you are treated to a really wide view from story conception through development, filming, acting and ultimately post production.
Amazing how seemingly small and insignificant events can quickly snowball to dramatically change the lives of those involved.This movie had my rapt attention from beginning to end and is one of the best films I've ever seen.
It works as a reminder that there is good and bad in all of us, and breaks your heart in the process.Behrani (Sir Ben Kingsley) has just bought a house on auction for him and his family (wife Nadi played by Shohreh Aghdashloo and son Ismail played by Jonathan Ahdout).
Of course, this doesn't justify some of his actions, but one gets the sense he really would do anything for his family.So I wholeheartedly recommend House of Sand and Fog with the disclaimer that it is a very sad film.
Everyone does a great job, particularly Jennifer Connelly and Ben Kingsley (nothing short of what was expected from both).This isn't a feel-good film, it's a film about society and human nature, with lessons to be learned.Enjoy it for what it is, not for what you want it to be..
Suffice it to say that the law does not work this way in the real world.Unfortunately, the totally illogical and unrealistic plot twists annoyed me so much that I couldn't take any of it seriously, so I never developed any feeling at all for the characters.I didn't enjoy this movie, and wouldn't recommend it to anyone who knows anything whatsoever about real estate law, immigration, police work, or home improvement contractors..
An Iranian expatriate family, now U.S. citizens near San Francisco, get mixed up in a real estate bungle centering around a house near the sea--the sand and the fog.This is a grim tale, and the movie tips toward grimness more than the book, so by the end of watching you will be miserable.
Having said that, I will add that I had to watch a "feel good" movie afterwards so that I could go to sleep when I went to bed."House of Sand and Fog" is powerful.
The all-mighty goddess of love (e.g. Jennifer "future Mrs. Mackey" Connelly) is wonderful (though only a living angel would look as radiant as her in such a f**ked up emotional state) and does a superb job with the toughest emotional scenes (ps: I would have sacrificed TEN TIMES what Ron Eldard's character does to be her shoulder to cry on...lol).
The dignity and grace with which this great actor tries to handle the ridiculous ending the director forces on his character really makes you feel for him as an actor who was unfairly cheated of the better film his superior performance deserved.
Before watching this movie I was thinking that it will be a good movie because of the presence of sir ben kingsley & jennifer connelly and it came out as one of the most powerful & thought provoking movies I've ever see.I wasn't expecting such a good work from a rather new director.It gives you a ride through deep emotions & won't let you decide whats wrong & whats right.It makes you believe that not everything in this world can be either right or wrong.Not only the performances of sir ben kingsley & jennifer connelly were absolutely stunning but others also played their part pretty well.This movie is a must watch if you are into serious cinema..
Perelman doesn't force the viewer to take sides; instead he presents a balanced and unbiased account of the events that occur in their lives, while maintaining the characters as the focal point.The cinematography and score are simply breathtaking, and I was surprised at how underrated and undervalued they seemed to be to viewers; I felt that the cinematography and score enhanced the movie greatly.There is little else I will say here, as it is hard to convey all the elements of this film in a single review or comment.
When a house comes up for sale at way below market value, he sees a chance to make things better.Populated by characters with flaws that are all too human, House of Sand and Fog shows how ordinary people get dragged down by the most mundane of circumstances.
After the immediate auction, the house is sold in a very low price to the Iranian Colonel Behrani (Ben Kingsley), a refugee who sees the chance to give some stability to his family and make a profit in the resell of the property to raise money to send his beloved son to the university.
Kathy has a relationship with the abusive officer Lester (Ron Eldard), who tries to force the family leave the place, ending his attempt in a tragic way.The debut of the Ukrainian director and writer Vadim Perelman is an impressive and depressive magnificent movie, I dare to say a masterpiece about the intolerance and prejudice of part of the American people against immigrants, mainly of Arabian origins.
The story shows in one side, a unstable ex-addicted and without background and support of her own family house keeper losing the house her father paid off for thirty years due to her own negligence, ignoring the correspondences from the City Hall; in the other side, an Iranian refugee, wealthy and powerful in the past, and presently a hard worker trying to save any cent to accomplish the American Dream, who sees the chance to give some stability to his family and makes the necessary money to send his son to the university, after marrying his daughter, being impossible not feel sorry and empathy for both characters.
The two people that really bothered me, which also means they did a fine acting job, were the characters played by Jennifer Connelly and Ron Eldard.This is one intense movie and I will provide this public service message to you: if you are on depression medicine, stay away from this film!.
Without any doubts this is Ben Kingsley's best performance since the greatest Gandhi unlucky for him the year 2003 was the year of fantastic performances by Bill Murray and Sean Penn.Another interesting fact that this is a debut for the Ukrainian writer/director Vadim Perelman and he absolutely did a wonderful job, because no offence- if you are making a debut with academy award winning actors such as Ben Kingsley an Jennifer Connelly you've got to have the guts to deal with them the right way and he sure did in a very smart way, Vadim has a bright future ahead of him.Another unpolished diamond is Shohreh Aghdashloo the surprise package of a really fantastic performance, a very well deserved Oscar nomination.The story of the film itself is very emotional yet very realistic, and the focusing point is really very interesting.This is one hell of a fantastic film.8/10.
The only thing saving this from a zero rating is Ben Kingsley's acting, but all I kept thinking through the whole movie is, "Let me out of this plot!" I wonder if anyone else feels the same way about this film, because so far I have read nothing but rave reviews......
It is time for us to go home to our destiny."There are no good or bad characters in House of Sand and Fog. Just a lot of flawed individuals who seem to unintentionally make matters worse at every turn.
This isn't a feel-good movie, to say the least.The story is about a conflict over a house that is very important to several different people.
Combine that with solid writing, a good score, and a great cast (lead by Jennifer Connelly and Ben Kingsley), and you have a movie that is a fine example of the drama genre..
Aside from this semi-satisfying ending, I found the movie as a whole, very well-made, original in substance and form, and I would recommend it to all, though one must consider that this is rated R for a reason, there are a lot of things in here that should not be seen by minors, teenagers, and young adults, almost I would argue.The cast was great, though I disagree with the choice of Ben Kingsley.
The DVD rental was more than welcome, but considering the dramatic, tragic nature of the movie, buying it for your collection does not make much sense to me, unless (i) you exchange a lot of movies with your friends, (ii) you're deeply depressed, (iii) you're somehow immune to depression, but love to watch sad movies.Jennifer Connelly (Kathy) - 9/10 - Amazing nuanced performance, and she's just drop-dead gorgeous.Ben Kingsley (Behrani) - 8/10 - Does a great attempt at emulating the farsi English accent, but I am pretty sure that it does not really work for all Iranian viewers.
Something is wrong with "House Of Sand And Fog" and unfortunately, no matter how nice and moody the directing debut of Vadim Perelman is and how visually attractive the film looks; it is not enough for me to love or even like it.
That's a shame, because "House Of Sand And Fog" boasts several excellent performances -- especially Kingsley's, whose Behrani is a man of honor, loving father and husband yet the man of the iron will and determination who once gave the orders and people would follow them.
After all, she is in her home land and thinks that nothing can happen to her since she has all the rights in her court.Ben Kingsley's powerful performance as the Iranian colonel whose dreams of financial independence come to a tragic end shows such intensity that he smolders the screen every time we see him.
Every aspect of this film is wonderful.It is not a feel-good movie but the story, the characters, plot lines, dialog, cinematography is very well done.I loved this movie so much I watched it for the 5th time recently.The cast is perfect.
This is movie about people who believe in something and people who are completely lost,which typical representatives are of course also typical Americans,local cop and a girl that lost her home because of her negligence.Two worlds that are meeting in this somehow timelessly tragedy kind of correspond to global state of this double- minded,schizoid world that we are living in: family that has lost everything-homeland,way of life but nevertheless saved pride,dignity and loyalty of all it's members and as an antipode two lost souls,raised in emptiness of broken western civilization,without any moral or any other compass at all,with no belief or even a little scent of it,where children are treated like just a things,collateral trouble in eternal pursuit for "happiness","accomplishment" and other foolishness of modern "liberation" that nobody is buying anymore.Iranian colonel although just a refugee in a foreign world has more personal integrity in spite of his rigidity and almost fanatic will to preserve a smallest trace of lost world,gardens and restaurants of old Tehran then deputy leaving his wife and children just because he found new love-or we should say:new season love...till next season.However,with or without judgment of any participants of this tragic but deeply truly story,for me personally this is Kingsley's role of life-definitely brilliant.In the ocean of nihilism that we are all drowning in,this movie is really refreshment.Masterpiece..
A particularly striking example is when Colonel Behrani saves Kathy, and the ensuing hospitality that the family shows.Jennifer Connelly also gives a good performance as a depressed person, and I feel sympathetic towards her.
Buoyed by two strong lead performances and a masterclass of cinematography, House of Sand and Fog works to illustrate the best tendencies of an adult drama, even coming around to make us feel significantly impacted by the end.Starring: Jennifer Connelly, Ben Kingsley, Shohreh Aghdashloo, Johnathan Ahdout, and Ron Erland.
House of Sand and Fog is superb film dealing with two unlikeable characters, their awkward fight over property and their struggle to jump to better their lives quickly.
Armed with a dramatic screenplay, powerhouse performances and a beautiful score and cinematography, House of Sand and Fog gets interesting as it proceeds and sucks the viewer in like quicksand.But somewhere around three quarters into the film, an out-of-nowhere twist spoils the entire show!Beginning with the concept and story – it is excellent.
house of sand and fog, is one of the best drama i have ever seen.the acting , plot , direction and music are really superb and wonderful.i will not forget this film very soon.the acting was really wonderful.ben kingsley as behrani, a strict person ,who has his own dream.
Damn, this guy is good!!The film itself only rates about a 7 because you never really feel for the Jennifer Connelly character.
Jennifer Connelly does a very good job of playing her role; I just didn't really care much for her character.Ben Kingsley, on the other hand, is doing nothing but trying for a better life for his family. |
tt2077909 | Zombies: A Living History | Zombies: are they real? Every culture creates its own version of a zombie. There have been diseases in history that have mimicked behavior of a zombie virus. The plausibility is there. You would never be up against one zombie.you would be up against thousands or millions of zombies. How would you survive? There would have to be total destruction of the zombie spine. Death is mans ultimate fear. There is something more frightening when the dead come back to life and become our worst nightmare. Jonathan Mayberry (Author of Rot and Ruin and Dead of Night) says they are like insectsyou are surrounded on all sides. You cant outrun them, you cant kill them. Max Brooks (Author of World War Z) says that zombies come after the whole human race. Modern zombies come from a film made in 1968 by a as then unknown director George Romero (Night of the Living Dead). George Romero rewrote the book about zombies says Max Brooks. What started as a low budget horror movie became an international sensation. More than half of all zombie movies have been made since September 11, 2001. Romero did not invent the zombie. Its been around as long as man has walked the earth. The Epic of Gilgamesh was the first mention of zombies. Ishtar said I will raise up the dead and they will eat the living and the dead will outnumber the living. The word zombie means animated corpse which comes from the Haitian voodoo religion. In China the living dead are called Jiang Shi. The dead must be given a proper burial or they come back and torment the living <paraphrase>. Arabia 7th century called the Ghoul (had an immoral life). Female demon. In some of the oldest legends a Ghoul was a prostitute per Jonathan Mayberry. The name Ghoul became the name for a zombie in George Romeros Night of the Living Dead. Scandinavia 8th century called the Drauger. Norse mythology. It delights in what it is. England 12th century Revenant. Cleric William of Newberg documented zombies. He wrote One would not easily believe that corpses come out of their graves unless there were many cases supported by ample testimony. HOW TO FIGHT A ZOMBIE: : Katana, Machete 18th century, Mace, Crowbar, Battle Axe 11th century, Entrenching tool, Attack the Legs (hook and take off balance),Spear, Ice Scraper (20th Century), Head Shot, Karate moves . To understand zombies you have to begin at the end death. Corpses out in the open can pollute the water system, diseases, the body is broken down into over 400 different kinds of chemicals. The smell of death. Burials in locked and sealed coffins, tombs, underground, were our way of making sure the dead would not come back. In 2009 2 bodies were dug up by archaeologist and they had rocks in their mouths. Archaeologists speculated that they were buried this way to prevent them from dining on the living. The Greek invented a word for the dead rising Maschalismos which means to mutilate the body so it doesnt come back from the dead. The Chinese restrained the body. The Norse would take the dead body out of the house feet first so it wouldnt recognize where it had come from. We now bolt a coffin shut. A good death and a bad death. A bad death makes the spirit vengeful. The resurrection of Christ is symbolic of coming back from the dead in positive ways. Hes the anti-zombie. Zombies are always hungry. Cannibalism is a fear. Fear of being made into food. In Greek mythology the Titan God Chronos ate his son to prevent them from taking over. Chronos was the father of Zeus. Zeus killed Chronos. The Donner party (1846) is mentioned as an example of modern cannibalism. 48 settlers survived. In 1879 in Alberta Canada Swift Runner he had butchered his wife and 6 children. He said he was possessed by the Windego. Windego psychosis. 1991 Jeffrey Dahmer wanted complete power over the living and the dead. He would drill a hole in the victims head and fill it with acid. He tried to create a zombie. In Papua New Guinea ritualistic cannibalism occurs today. Mad Cow disease has symptoms of zombies. Zombies want to spread a virus. Night of the Living dead clips are shown. Plagues break down the bonds of society and destroy humanity. The Great Plague in Asia thru Europe in the 14th Century killed off a third of its population in 2 years known as the The Black Plague or Bubonic Plague. The Wrath of God. By the year 1400 the population fell by 100 million. In 1918 -1919 a more deadly plague struck..The Spanish Flu spread across the world killing nearly 50 million people in less than 3 years (H1N1 or Avian Flu.) End of the first World War people traveled more which spread the disease. In times of Pandemics denial can quickly turn into panic. In our time SARS, Mad Cow, West Nile Virus, H1N1. When Zombies Attack!: Mathematical Modelling of an Outbreak of Zombie Infection at Carleton University in Canada the collapse of society as zombies overtake us all. - Human civilization would collapse. Throughout history there is a primal fear of a hoard (Rome 5th Century Visigoths). Mid 13th Century Mongol hoard stormed into Baghdad. WW II the hoard were the Nazis. Today Terrorists. No way to negotiate. Followed us home like zombies. In a lot of zombie fiction we see something we created something biological. Prometheus and Pandora myths are cautionary tales. Golum in Jewish mythology. In 1816 Mary Shelley wrote Frankenstein (The Modern Prometheus) about our advancements in technology and when humans try to play God. Galvanization of the dead man tries to reanimate the body. 1968 was the height of the Cold War. Today biological weapons have become our Frankenstein. Anthrax attacks traced to a US biological weapons lab. Need survival skills. Fortify your home. Bugging In. Bugging Out is a last resort. Instructions on how to survive. In May of 2001 the CDC published an official memo on how to survive a zombie apocalypse. Zombies are the perfect 21st Century threat. Explanations of what would happen if a zombie apocalypse hit. Communication, Military Strategy, Global Response, Historic Lessons. Post apocalyptic societybasic needs. Need to form communities. The zombies are not the thing to fear, the thing to fear is what humans are capable of doing when they are afraid. THE END and GOOD LUCK. | violence | train | imdb | null |
tt0279111 | Gods and Generals | The film centers on the life of Thomas Jonathan "Stonewall" Jackson, the God-fearing and militarily brilliant yet eccentric Confederate general, from the outbreak of the American Civil War until its halfway point when Jackson, while on a night ride with his staff to plan the next day's battle, is accidentally shot by his own soldiers in May 1863 while commanding at the Battle of Chancellorsville. It also follows Joshua Lawrence Chamberlain and Winfield Scott Hancock. Chamberlain is a Maine college professor who is appointed a Lieutenant Colonel and becomes second-in-command of the 20th Maine Volunteer Infantry Regiment. The film prominently features the Battles of Bull Run (1st Manassas), Fredericksburg, and Chancellorsville. The film's original running time clocked in at nearly 6 hours (much like the original running time of Gettysburg). The longer version featured the Battle of Antietam (Sharpsburg) as well as an entire plot following the American actor and future assassin John Wilkes Booth and his colleague Henry Harrison (from Gettysburg).
This film opens with Colonel Robert E. Lee's resignation from the Union Army, accompanied by the perspectives of various politicians, teachers, and soldiers as the south secedes from the Union and both sides prepare for war. Major Jackson, who is a professor at Virginia Military Institute in Lexington at the outset of the war, leaves his family behind to do battle at Manassas Junction. Jackson is asked by a retreating General Barnard Bee for assistance against the Federal army who is pursuing them after a brief stand on Matthews Hill. In rallying his shaken troops, Bee launches the name of Stonewall into history and the Confederates rout the Federals at Henry House Hill. Jackson maintains steadfast discipline in his ranks during the battle despite suffering a wound to his left hand from a spent ball.
Meanwhile, Chamberlain makes his transition from teacher to military officer and practices drilling his soldiers, and is taught military tactics by Col. Adelbert Ames, the commander of the 20th Maine Volunteer Infantry Regiment. He is called to battle at the Union invasion of Fredericksburg. The Southern forces lead a fighting retreat as the Union army crosses the river and storms the town, and there are scenes of the subsequent looting of Fredricksburg by the Union Army. Outside the city, Lee, Longstreet and Jackson have prepared an elaborate defense on Marye's Heights outside the town, and the movie focuses on Confederate defenses behind a formidable stone wall. Several Union brigades, including the Irish Brigade, attempt to cross an open field and attack the wall, but are thrown back with heavy losses by Confederate rifle and artillery fire. At one point, two Irish units are forced into battle against one another, to the anguish of a Southern Irishman who believes he is killing his kin. Chamberlain leads an unsuccessful attack against Jackson's defenses, led by Brig. Gen. Armistead and finds his unit pinned down in the open field. He survives by shielding himself with a corpse until nightfall; eventually he and surviving members of 20th Maine are ordered to retreat and spend 2 nights in the field on the battlefield, sleeping with the dead. Chamberlain and the defeated Union soldiers depart Fredericksburg. Jackson and Lee return to the city, and Lee is confronted by an angry senior citizen whose house has been destroyed by Union artillery.
Jackson spends the rest of the winter at a local plantation, Moss Neck Manor, where he contracts a friendship with a little girl who lives there. Later, Jackson discovers the child has died from scarlet fever and he begins to cry. A soldier asks why he weeps for this child but not for the thousands of dead soldiers, and another soldier states that Jackson is weeping for everyone. Jackson is soon reunited with his wife and newborn child just before the Battle of Chancellorsville.
Outside Chancellorsville, Lee identifies that the southern army faces an opposing force almost twice their size. Jackson calls upon his chaplain, Beverly Tucker Lacy who knows the area, and asks him to find a route by which the southern forces can infiltrate in secret. Jackson then leads his forces in a surprise attack on an unprepared Union 11th Corps. Although his men initially rout the opponents, they quickly become confused in the melee, and Jackson's attack is stalled - While scouting a path at night, Jackson is caught in no-mans-land between the 2 armies and badly wounded by his own men, who had mistaken him and his staff for Union cavalry counterattacking. During his evacuation, his litter bearers are targeted by artillery and drop Jackson on the ground. He is then taken to a field hospital where his arm is amputated. Lee remarks that while Jackson has lost his left arm, he (Lee) has lost his right. Jackson dies shortly after, of pneumonia he had contracted during recovery. The film concludes with a scene showing Jackson's body being returned to Lexington, Virginia, accompanied by VMI Cadets and covered by the new confederate national flag, just recently adopted, followed by text explaining that shortly thereafter, emboldened by their victory at Chancellorsville, Lee decided to take the Army of Northern Virginia and march on an invasion of the north, through Pennsylvania - a journey which would culminate with the Battle of Gettysburg. | violence, historical | train | wikipedia | null |
tt0091860 | River's Edge | The movie opens with a boy, Tim, throwing a doll into the water from a bridge. He hears a yell, and sees Samson/John sitting on the shore. The boy pedals off, and Samson smokes a cigarette by the naked corpse of Jamie. Samson leaves in a daze, and Tim spots him at a convenience store. While Samson haggles with the clerk because he has no ID to purchase beer, Tim steals two beers and leaves them for Samson. Tim asks Samson for dope, and gets in Samson's car. They drive to Feck's place for marijuana, but he's not home.
As Tim returns home, his brother Matt is arguing with his mother. His little sister Kim wants Matt's help for a funeral for her lost doll, and we learn that the family is dysfunctional. Layne arrives to pick up Matt, and Tim asks to come along. Layne refuses, and Tim bicycles off, despite his mother's complaint. Layne and Matt arrive at Feck's house, where Feck is playing saxophone for an inflatable doll. Layne gets marijuana from Feck, and Feck talks about the girl he had to kill. At school, Layne and Matt smoke pot with Clarissa, Maggie, and Tony. Samson/John arrives and takes them to see Jamie's body. Matt is nervous and leaves, and Layne starts planning how to get alibis.
Mr. Burkewaite teaches his class about radicals, and Clarissa flirts with him. The murder story starts to spread, and Layne tries to borrow Mike's truck. Mike refuses, but is willing to drive. They see the body, and Layne tells them to help bury her. No one is willing to help, including John. Clarissa is uncomfortable with the secret, but Layne threatens her. She's too scared to call the police, and later calls Matt, but Matt is too shy to talk. That night, Layne rolls Jamie's body into the river. John buys him beer, but doesn't seem to care that Layne is trying to protect him. At John's house, they see police cars. Layne panics, but John is calm. They go to Feck for help, and Layne leaves John with him. Feck recognizes a kindred spirit, and they begin to talk.
Matt brings detective Bennett to the place where the body was, and the cops fish her out of the river. Bennett grills Matt about the murder. Matt's mother picks him up from the police station, and he gets in a fight with her boyfriend Jim. Tim appears, and Matt chases him. Tim threatens Matt with telling Layne about Clarissa's phone call, and Matt hits him. Tim runs off, and meets up with his friend Moko. They borrow his father's car and head to Feck's.
Layne, Clarissa and Matt go to Tony's house to extract his confession, but Tony's father drives them off with a shotgun. Layne gets annoyed and kicks Clarissa out of his car. Matt gets out and walks with her On the way, they stop at the convenience store and bump into John and Feck, buying beer. Layne arrives at Feck's, and Tim/Moko hide. After Layne leaves, Tim and Moko enter and search for Feck's gun, but find his stash of marijuana instead. They get wasted at Feck's. Meanwhile, John and Feck break into a store and steal ammo. Matt confesses to Clarissa that he told the cops about Jamie. They begin to make out. John and Feck wind up at the river's edge, and John starts messing with Feck's doll. Feck realizes John is crazy, and tries to calm him down. John starts firing Feck's gun, and brags about his murder. Matt hears the gunshots, but doesn't stop making love to Clarissa. They fall asleep in the park.
Layne is cruising around, looking for John and popping pills. Feck muses about getting old, then fires a shot. When he comes home, Tim and Moko attack him and take his gun. In the morning, the police find Layne, passed out in his car, and take him to the station for questioning. Matt returns home, and his mother screams that she's leaving her kids. Reporters interview kids at the school, and Bennett questions Layne. In class, Burkewaite rails about morality, and that no one cares about Jamie. Clarissa is distraught. Tim watches Matt and Clarissa, holding Feck's gun. Layne calls Feck, and the police break in on Feck, so Layne hangs up. The kids go to the river's edge to skip school, and Matt sees Feck's doll in the river. Layne arrives and tries to attack Mike again. Matt intervenes and tells Layne that he turned John in. Layne runs off, then finds John, dead. Tim shows up and tries to shoot Matt for hitting him, but Matt talks him out of it. The police arrive and cart everyone off.
At the end, Feck is in the hospital, confessing to his original murder and to killing John. Later, at Jamie's funeral, the kids finally show emotion. | murder, cult, violence, flashback, melodrama, romantic | train | wikipedia | null |
tt0209095 | Leprechaun in the Hood | Sometime in the 1970s, treasure seekers Mack Daddy O'Nassas (Ice-T) and comrade Slug (Barima McKnight) break into a small room inside of a disco nightclub. The duo come across a trove of gold guarded by the statue of a petrified Leprechaun (Warwick Davis). Mack Daddy only presents interest in a magical flute which is said to hypnotize its listeners into a euphoric trance that has them fall underneath the control of the flute's player.Slug continues to collect the rest of the gold as well as removing an amulet from around the Leprechaun's neck, thus unfreezing him. The Leprechaun sets to work recovering his gold by killing Slug and converging onto Mack Daddy for the highly coveted flute. Mack Daddy outwits the Leprechaun by safely securing the amulet back around his neck in an elaborate manner, therefore re-freezing him.Fast forward to modern day Los Angeles, California. Mack Daddy has used the wealth of the gold and power of the flute to skyrocket in the hip-hop industry earning him the title of a famous record producer and pimp. Three vengeful, aspiring rappers named Postmaster P (Anthony Montgomery), Stray Bullet (Rashaan Nall), and Butch (Red Grant) conspire to rob Mack Daddy of his riches by breaking into his office after Mack Daddy refuses to sign them onto his record label and instead, insults them.Unexpectedly, Mack Daddy walks in on the robbery startling Postmaster P who shoots and presumably kills Mack Daddy. Butch removes the amulet from around the Leprechaun's neck which Mack Daddy kept in his office the ensuing years. The Leprechaun springs to life and orders the three to return his gold. Confused, the three rapidly fire at the Leprechaun in succession before fleeing. Mack Daddy is revealed to have been spared by a golden medallion he was wearing around his neck and also escapes when he discovers the Leprechaun is alive.Mack Daddy arrives at the Golden Parrot, a local bar, where he is confronted in the restroom by the Leprechaun. The Leprechaun severs his finger before Mack Daddy leaves. The Leprechaun, then kills a bartender before hypnotizing three waitresses (Daya Vaidya, Chloe Hunter, & Lori J. Jones) into becoming his Zombie Fly Girls, gorgeous, yet deadly femme fatale who are recruited to do the Leprechaun's evil bidding.The following day, the trio cash the stolen gold on technical equipment to be used to enter an upcoming music competition. Postmaster P is revealed to have secretly taken the flute and begins to discover its hypnotic effects. Unfortunately, the Leprechaun can sense whenever the flute is played and uses this as a tracking device to catch the three hoodlums.Later that night, the Leprechaun kills antique store owners Jackie Dee (Dan Martin) and Chow Yung Pi (Jack Ong) to recover his gold. Meanwhile, Mack Daddy and his bodyguard (Eric Mansker) confront Postmaster P, Stray Bullet, and Butch at a house party. Mack Daddy orders them to hand over the flute, although Stray Bullet and Butch are not aware Postmaster P is in possession of the flute. When Mack Daddy is temporarily subdued due to his injury the trio use this to their advantage by jumping off the rooftop and safely landing onto a fire escape, making a fast getaway. Afterwards, Postmaster P reveals to Stray Bullet and Butch he has the flute, but refuses to give it up believing it holds a strong power.The following night, the trio pay to stay at the apartment of Fontaine Rivera (Lobo Sebastian), a transvestite prostitute. Once the flute is played, the Leprechaun arrives, kills Fontaine, and begins to search the apartment for the flute. Postmaster P, Stray Bullet, and Butch hide in the bathroom while Butch concocts a combustible fluid made by mixing household chemicals. Once the Leprechaun is lured into the bathroom, they combine the concoction with electricity and he is set ablaze. The trio escape and come to the consensus they need sanctuary. They decide to stay at the local church for the night.The next morning, the church's pastor, Reverned Hamson (Ivory Ocean) strikes a deal with the men that if they perform for his morning congregation, they can continue to use the church as their safe haven. Afterwards, Mack Daddy and his bodyguard show up and pursue the trio through the upstairs of the building. The Leprechaun arrives during the ensuing chaos and kills Mack Daddy's bodyguard, disgusting Mack Daddy who runs away.The trio barricade themselves in Rev. Hamson's office while the Leprechaun prepares to break down the door. They wheel a wrought-iron safe over and open the door, prompting the Leprechaun to inadvertently tumble into the safe, thus rendering him powerless. The trio make a deal with Rev. Hamson to watch the safe while they travel to the competition being held in Las Vegas, Nevada.Once they leave, the Leprechaun summons one of his Zombie Fly Girls to kill Rev. Hamson and release him from the safe. The Leprechaun confronts the trio in their dressing room in Las Vegas, resulting in Postmaster P surrendering the flute and ultimately costing Stray Bullet his life.Postmaster P and Butch plan to avenge Stray Bullet's death and recover the flute. Butch finds out the Leprechaun has taken up residence at the Golden Parrot where he has been luring prostitutes up to his lair who eventually find themselves never coming back down. The duo disguise themselves as female prostitutes and subdue the Zombie Fly Girls, thus gaining them access to the Leprechaun. Postmaster P administers a marijuana joint laced with a four-leaf clover knocking the Leprechaun unconscious. They steal the flute and race downstairs where Butch is shot and killed by Mack Daddy.Postmaster P is offered to join alliance with Mack Daddy who brandishes the amulet--the only thing that can stop the Leprechaun. Postmaster P refuses just as the Leprechaun regains consciousness and kills Mack Daddy. The Leprechaun commences in a final showdown with Postmaster P over the flute. Postmaster P successfully outsmarts the Leprechaun and returns the amulet around his neck, freezing him.Sometime later, Postmaster P has gone solo and has made it to the finals of the competition. He raps about his struggles to make it to the top of the hip-hop industry earning him a standing ovation from the audience. After his performance, Postmaster P removes his sunglasses revealing that he is under the Leprechaun's control. | cult, violence | train | imdb | OK, it wasn't that bad, I just really wanted to get to use that line for once (my friend who went to see Lep 1 in the theater yelled it out during the movie and got a standing ovation).My same friend also made a good point about watching the Lep series in general: you know exactly what you're getting up front.
It's not like going to see, say, Play It To the Bone or 8 Heads in a Duffle Bag where you think you might actually laugh once or twice at something or enjoy the movie at some points, but end up wanting to punch everyone involved in the face (even Joe Pesci).
Of course, couple things also happened that I didn't WANT to happen but had a horrible premonition that they were going to, such as the Leprechaun smoking a blunt and rapping (though not at the same time, Thank God).
There was one particularly funny moment when the heroes are hiding from the Leprechaun that was worth the money I paid to rent it, because it was exactly like a scene from Scooby-Doo (in fact, I think it WAS a scene they stole from Scooby-Doo, but at least they stole from something amusing).
There's another scene where two characters are having a very serious discussion about how to go after the Lep -- this is after a tragic event occurs, so I figured the movie was going to stop trying to be funny-- and you see that one of them is holding "Leprechauns For Dummies".
So, while on the negative side, we have the fact that the movie is completely stupid and mindless, with little gore, and really cheap production values, we do have the positives of a few good laughs and the fact that it would pi$$ off Spike Lee.
I've seen a lot of horror movies WAY worse and more insulting to viewer's intelligence, so I didn't really want my money back after I rented it..
The Leprechaun films have always been silly horror movies that never try to take themselves too seriously (In Las Vegas?
Warwick Davis once again returns as the murderous, magic, Oirish fellow, this time causing all manner of trouble for a trio of young rappers when they steal his horde of gold to pay for some audio equipment.With such unforgettable visual treats as Davis' character puffing weed, Lep hanging with a group of hot, zombie ho's, a death by afro-comb, a cross-dressing homie meeting a bloody end, an utterly pointless guest appearance by Coolio, and even a rap song from the little green fellow himself, it's hard not to have a good time with this film.Don't believe the negative comments here on IMDb; some people are just naturally unable to have a good time!
The flick unfolds just like the other sequels, with no explanation of how the Leprechaun got to his location, or even a reference to the other movies.
They happen to swipe the lep's stolen magical flute, and before they know it are being stalked separately by Mack Daddy and the now awakened Lep. Along the way we see the Lep smoke weed ("What a curious aroma"), go to bed with a drag queen, and make a few pop culture references ("Come hand me gold you thieving hoods, You've got more loot than Tiger Woods!!").
Rent Leprechaun in the Hood and watch it on a weekend when you don't feel like going out.
Now, obviously you don't watch "Leprechaun in the Hood" expecting anything more than standard horror-comedy fare: some scares, some gore, some jokes, and some T&A.
When 3 would-be (and I DO mean would-be) rappers rob the music tycoon's house, they accidentally free the evil leprechaun, who hounds them and creates a group of "zombie fly-girls" to exploit the hood.
1st watched 3/17/2007 - 3 out of 10(Dir-Rob Spera): Fair little green man movie with him getting involved with rappers this time.
The movie then comes to the current day where a group of wanna-be rappers try to get on the good side of Ice-T's character but it doesn't happen.
The rest of the movie the rappers are on the run from both Ice-T and the Leprechaun and doing different things to try and elude them until they can make it to Las Vegas, where they hope to compete in a rap contest.
The Leprechaun has a little more personality in this one and he's back to his rhyming one-liners but the movie doesn't deliver much in the fright area and there's no real lesson learned here either for the young rappers.
The final scene has Warwick Davis as the Leprechaun doing his own rap tune which is kind of a hoot and probably the best part of the movie, but we have to wait 90 minutes for this, though.
Because if they did, shame on them, the guy can't act, and it painfully obvious watching this turkey of a movie.Ice T didn't go a bad job in this film, considering he had to keep a straight face reading his lines.
Aside from such lovable and memorable characters like "Mack Daddy" and "Local Drag Queen" this movie also contains such memorable scenes as Leprechaun trying to get hand job from young boy in drag.
It would have been another flawless entertaining leprechaun movie, just like all the others in the series, if only it didn't contain certain content.
If you thought that the leprechaun franchise could not possibly go in any wierder directions after having the last movie take place in space, you probably haven't seen what happened when this little green devil payed a visit to the hood.Sadly, the endlessly entertaining protagonist doesn't get as much screen time as he should, the human characters are the most stereotypical black guys ever put to film and even if the movie has professional rappers Ice-T and coolio in the cast, they are the only characters in the movie who do not get to rap..
Others will, and do, dislike them for mostly being cheap, far from scary, too dumb to be entertaining and not very interesting.Finally decided to see all the 'Leprechaun' films to see which above extreme they would fall under, being on a horror franchise roll recently.
Disliked the first film as far as the previous three films go, and while the next two were marginal improvements they were not particularly good either while up to this point of the series the fourth film fares the worst.'Leprechaun in the Hood', while a marginal improvement over 'Leprechaun 4: In Space', for me is among the weakest of the franchise.
Apart from a few bright spots most of the film is poorly executed for reasons that are similar and even the same as the previous four films.Once again, Warwick Davis is the best thing about 'Leprechaun in the Hood', like he was with the previous four films so that was not a surprise.
Ice-T came over as really out of place and was just annoying.Very like as with before, 'Leprechaun in the Hood' is particularly undone by the script and story.
I really loved this one ( though the 3rd is my most favorite ) , warrick davis still did a wonderful job like always :)I love how much magic lep used and his funny great rhyming ,The cast did really good but I didn't watch for them , truly it was boring when that loveable lep wasn't in it And I simply love the ending :) plus leps song " Lep in the Hood " was just so great :).
Three would be rappers steal jewels and gold from a pimp played by Ice-T, and unwittingly release the evil leprechaun, who once again kills everyone who gets in the way of him finding his gold.
The leprechaun was wisely never made out a dark or serious of horror villain, so placing him onto the mean streets of the hood only adds to the comedic elements of the character and franchise.
On paper this sounds a good idea: Warwick Davis, despite his dubious Irish accent, is very entertaining as the witty, deadly Leprechaun, and I love hip-hop, I've seen Ice-T several times live here in the UK.
The film feels flat, the gore & humour isn't on par with previous episodes, every other word is f*** or muthaf***er, it's too long (even at 90mins) & the Leprechaun rapping at the end is excruciatingly bad.
Hoping to break into the music business, a rap group inadvertently steals a magical flute from a mischievous leprechaun, reviving him in the process who sets out on a rampage to get it back and forcing them to stop him.This one here wasn't that bad and had enough going for it to be entertaining.
The film's biggest issue is the fact that there's a lot of time spent on integrating the leprechaun into this particular environment by overloading the rap genre in here to the point of getting irritating with all the different segments here that features show-stopping moments to get them performed.
Okay,so maybe this movie does have some stupid moments,but I want to hear from somebody that none of the Leprechaun movies had some dumb scenes.I thought so.But this is actually a pretty entertaining horror-comedy that deserved more positive reviews.3.3 stars?Come on people.Did your brain die or have you lost interest in movies that mix horror and comedy together.Because 'Leprechaun in the Hood'does a good job with it's own blend of horror and comedy.There are 2 characters in this movie that I think did a better job than the others.They are Warwick Davis and Ice-T.Warwick Davis does a great job at playing an evil leprechaun and Ice-T knows what he's doing when it comes to trying to take the lead role.6.7/10B-.
i mean, its a series about an evil leprechaun.this movie obviously finds the leprechaun in the hood, chasing down three young wannabe rappers.
thrown into the mess is ice-t playing a music mogul who has used the leprechaun's magic flute to gain his fame.the first five minutes of the movie that are set in the 70s are just fantastic.
the way it is filmed is actually very good, the comedy is great, and it totally ignores all the other movies in the series and starts new.
even though they tried to set it in the hood again, they failed to make it as fun as this movie.if you are like me and like bad horror movies that are actually kind of good, check this one out..
A comedy that tries ever so hard to be funny but which fails at every step, LEPRECHAUN IN THE HOOD turns out to be way worse than the original, Jennifer Aniston-starring movie (I haven't as yet watched any of the movies in between, but on the strength of this I doubt I'll bother).
It's a micro-budgeted attempt at crossing a traditional comedy horror with a blaxploitation movie, and it really is that bad.Warwick Davis (who REALLY must have needed the money) returns to the fold as the Irish menace who sets his sight on some black rappers and gangsters.
And when Butch, Postmaster P, and Stray Bullet find out that Mack Daddy is in possession of one of the Leprechaun's magic charms, the inevitable five-way confrontation in the 'hood' is set to begin.
This is one Leprechaun you don't want around your 'hood.' I felt that the film's weakest point was Ice-T's performance as 'Mack Daddy.' I've seen Ice as a New Jack Hustler, and I've seen him as an Original Gangsta.
It wasn't even the Evil Leprechaun that made the Movie, it was the three people trying to make it big and running into him that was so Awesome.This Movie was not Scary, Just VERY Hilarious, so Don't say I didn't Tell or Warn You!As far as Relation to others in the series go, The Special effects on this one are Noticeably better.
Also, watch for Warwick Davis' "Lep in the Hood" rap.
Probably the best part of the film was that it had no storyline, character development, explanation for production or hope of success, making it my choice for movie of the new millennium.
This probably explains why they never give him any screen time on Star Trek:Enterprise, because he can't carry a scene to save his life.To top it all off, this movie was full of some of the most vile stereotypes I had ever seen in a film.
But the truth is, Leprechaun 5: In the Hood, was a great film.
This time out a pimp (Ice-T) steals the gold from the leprechaun (Warwick Davis) and manages to get the medallion around his neck turning him to stone.
This fifth film in the series pretty much puts the horror elements on the back burner and instead we have the leprechaun getting into all sorts of situations.
This movie really isn't much good but with its title "Leprechaun in the Hood" it became an instant cult-classic.In all truth and honesty, this movie is just plain bad.
It certainly has some cult value in it, with its rapping thugs, living in the hood, crossing paths with the little, green, Irish, Leprechaun.
Now the Leprechaun's back in Los Angeles in the ghetto side where a bunch of rapper wannabe's get in the little green guy's way while he's doing justice to those that get in his way regardless if they're good or bad.The only noticeable person was Ice-T as a greedy executive while Warwick Davis probably needed the money to play the green guy again.Skip this movie!.
Leprechaun in the HoodThe good thing about being a little person in the ghetto is that the bullets from the drive-bys go right over your head.Mind you, the small person in this horror-comedy also has magic to protect him.Imprisoned by a record producer (Ice-T), a malevolent leprechaun (Warwick Davis) is released by unsuspecting rap-artists: Postmaster P.
It begins with Ice T's character "Mack Daddy" and a friend who, will looking for gold, come across the leprechaun who is stone-like thanks to a magical gold chain wrapped around his neck.
But still, "Leprechaun in the Hood" is not a horror movie.
Just with a tad too much music and singing.The story in "Leprechaun in the Hood" is basically the same as in all previous four movies.
apparently years earlier mack daddy had robbed the Leprechaun,, so now you got mack daddy and the leprechaun trying to get back the gold and a special magical flute that put some kind of mysterious spell on you,, all in all i think that this is even funnier than the third installment when he goes to Vegas,, very entertaining movie here..
so far this fifth movie in the "Leprechaun" series is probably the best.it is much better than the fourth entry,and a bit better than the third.this time,the scene is a bit different.the leprechaun finds himself involved in the gangster culture and also the rap scene.this movie is fairly funny at times,and the first few minutes are as close to a riot of laughs as this series has come.this is probably the bloodiest entry yet.i think the Leprechaun is much more menacing in this one,than the previous ones.there's no shortage of the "F" bomb and other sears.in fact they come fast and furious.if you don't like coarse language,steer away from this one.there'e also a lot of sexual innuendo,some of it pretty sick.still,this isn't too bad a movie.it's especially interesting to watch the Leprechaun do his rap thing.for me,"Leprechaun 5:in the Hood "is a 4.5/10.
With a scary scene of Warwick rapping, this was a fun movie to watch.5/10.
Leprechaun 'N the Hood is a great movie.
Diehard Lep fans will enjoy this film, the kills are gory, the acting is actually good for a change, and Warwick Davis continues to dominate.
Why was this a thing at that time?In the other movies, we at least got to see the leprechaun die and lose.
Instead of giving us, Ice T's gangsta raps, the movie plays it, over silly, by having the Leprechaun do one himself.
Not only, does the movie spend most of the time, with these three idiotic unlikeable characters who are not entertaining, but they hardly give anything for the Leprechaun to do.
It's sad, how wasted, Warwick Davis's character was in this film, because the Leprechaun make up work is pretty impression and Warwick Davis does have some charm to pull this movie, off.
In the end, this movie is probably, the second worst horror film.
In my opinion, 2003's 'Leprechaun: Back 2 tha Hood' does use the hip hop concept a lot better than this movie, however that is also a stinker.
Towards the end of the film after lots of fighting, shooting, blunt smoking, hoe abusing, benjamin making and rapping Postmaster P is offered to join alliance with Mack Daddy who has the gold medallion -the only thing that can stop the Leprechaun.
I asked him what it was and he said it was the 5th installment of the Leprechaun horror series and described it as "like a bad sexual story that you don't want to know but yet cannot resist hearing" -- how do you turn that down???
Technically Leprechaun in the Hood has the look of a made for TV film, the special effects are OK at best, the film's soundtrack is populated by foul mouthed rap music which I didn't like too much & as a whole it's generally quite well made in a low budget horror sort of way.
For what it was I liked Leprechaun in the Hood, I thought it was quite often funny, had a certain charm & personality & has decent character's.
Such a great actor and don't give him the huge amount of time in a movie he deserves.The acting level of the film was low but the storyline was also incredibly bad.
Leprechaun in the Hood contains everything a good movie should have:Ice-T pulling a baseball bat out of his afro to fight off a leprechaun.A leprechaun rap. |
tt1655442 | The Artist | It's 1927 and we meet silent movie star George Valentin (Jean Dujardin) on top of the world. He's behind the screen; in front of it an ecstatic audience is enthralled by his latest starring role. As the credits roll, Valentin takes the stage for what a virtuosic display of bowing, his canine sidekick performing some cute tricks too.Outside the theatre, adoring fans and press push and surge to breathe the same air as their hero. A pretty young girl at the front of the crowd drops her wallet, and makes the most of picking it up to slip under the security cordon. There's silence as Valentin looks shocked, confused, angry even - but it's all his joke and, laughing at his own power to create such confusion, he gamely poses for photos with the young lady to the delight of the assembled press, and to the chagrin of his stern, world-weary wife who reads of the escapade in the papers the next day.The young girl - one Peppy Miller (Bérénice Bejo), we learn - having shared a moment with her hero is inspired to follow his path, and turns up at the studio to audition, successfully, as an extra. Valentin himself arrives at the same studio where he is again the star, this time of 'A German Affair'. On entering the studio the star is enthralled by a pair of legs he sees rehearsing on the other side of a screen. He joins the dance from his side of the screen, and beckons to the set builders to remove the screen, hoping to surprise the girl. It's he, though, who is surprised to discover the legs belong to the same Peppy Miller from last night's crowd and this morning's papers.Years pass, one presumes in a similar fashion. One day though, Al Zimmer, the immaculately stereotyped cigar-chomping, braces-pinging studio boss (John Goodman) calls Valentin in to see the latest technological innovation - a primitive attempt to record sound with motion pictures. Valentin scoffs at the footage, but is clearly ruffled by it. He dreams a nightmare where everyday sounds are exaggerated (for the first time here the film takes on a diegetic soundtrack) culminating in a confusing cacophony where a feather lands with a boom. Only his own voice is stifled; despite the soundscape around him, he is mute.Valentin's instinctive suspicion of the technology proves well-founded, when he - once the king of the silent movie - is quickly marginalised, and eventually fired by Zimmer. Audiences want change, he's told. It's time to move on.Devastated by his sudden fall to insignificance, Valentin takes to drink. Peppy, meanwhile, has done well out of the new 'talkies'. Now the doyenne of the Hollywood set and as wealthy a pin-up herself as her mentor once was, she gives a radio interview in a café in which she attributes her success to the simple truth that audiences want change. "Out with the old, in with the new," she quips. From an adjacent table, unseen, Valentin listens in before theatrically 'making way' for young Peppy, dramatically taking his leave.Valentin's circumstances go from bad to worse. A self-funded attempt to make a return to the era of silent film ("Tears of Love") flops, and the rest of his savings are wiped out by the 1929 stock market crash. When the whisky runs dry, the ex-star auctions off everything he owns. His dour wife leaves him (perhaps the one bit of good fortune he has enjoyed since the days of stardom) and he is forced to sack his loyal butler Clifton.He visits a bar and passes out after envisioning a hand-sized miniature of him dressed as his "Tears of Love" character scolding him and miniature savages attacking him with spears. Clifton finds him on the floor of the bar and takes him to Valentin's apartment.Valentin stands in a home film projector room and has a vison of his shadow moving by itself while the screen is blank, and then off the screen.Finally, in a climax of drunken rage, Valentin sets fire to his old film reels, and, with them, his apartment. Attempting to save one canister in a sudden moment of regret, he is overcome by fumes, and it is only thanks to the endeavours of his ever-loyal dog that he is rescued by a nearby fireman.Peppy has discreetly been following Valentin's fortunes and is shocked to learn of the fire from the newspaper. She leaves a shoot to visit him in hospital, and, stopping short of declaring her love for him, takes him to her grand villa to recover. Waking briefly, Valentin realises his luck and the pair embrace.However, while Peppy is out at a shoot, Clifton arrives and reveals that he is now employed by Peppy, tosses a film script at the bed and what appears to be a Whitman Sampler on the nightstand, and gives a short speech about the drawbacks of being too prideful. But Valentin appears disdainful of the talkie script.After Clifton leaves, the convalescent Valentin roams the villa, and discovers to his horror a room full of the very possessions he himself had previously auctioned off. His pride deeply wounded by her having come to his rescue without his knowledge, he flees the house and returns to the embers of his burned-out apartment to root out his old pistol. Returning home and realising Valentin has left in anger, Peppy gives chase in her car, guessing his intention.Valentin sits in his chair with the gun in his mouth, while the dog frantically pulls at his trouser leg.The intertitle flashes up: "Bang!"But it is outside that we find the source of the noise; Peppy has crashed her car into a tree. She leaps from the wreckage and consoles Valentin just in time to avert catastrophe. She tells him she has secured a role for him in her next production. Valentin is sceptical, saying the audience doesn't want to hear him talk. Peppy tells him she has another idea, and the film ends with Al Zimmer toasting the next entertainment sensation as Valentin is back in the studio, and back to his ebullient self with Peppy as his tap dancing partner. The consummate artist, Valentin has found a way to use the new sound-recording technology without lowering himself to a speaking part. | dramatic, romantic, action, boring, sentimental | train | imdb | «We didn't need dialogs, we had faces» said the narcissistic Norma Desmond (Gloria Swanson) in Billy Wilder' "Sunset Boulevard", referring to the Silent Era, when she used to be big
before the 'pictures got small'.The reason of this introduction is that after watching Michel Hazanavicius' critically acclaimed: "The Artist", I strongly felt this was the perfect illustration to Norma Desmond's iconic eulogy.
From beginning to end, my eyes never ceased to be amazed by the communicative smile of Jean Dujardin as George Valentin, the aging silent movie star and the sparkling eyes of Berenice Bejo as Peppy Miller, the young and flamboyant starlet.
I sincerely believe he deserves an Oscar nomination, because he just doesn't play an actor from the Silent Era, he embodies the Era with the same level of demented craziness as Norma Desmond, in a brighter and more light-hearted side.Valentin's self-absorption echoes Desmond's cynical ego while his gaudy 'Don Lockwood' mask (Gene Kelly in "Singin' in the Rain") hides the more poignant face of his insecurity.
A clever credit-billing montage depicts her consequent ascension to stardom until she finally dethrones George and makes a has-been out of him.If I mentioned the performance of Dujardin, Berenice Bejo also deserves some accolades because she succeeded in looking so "old" from our POV yet so fresh and modern in the film, with the appealing feel-good and optimistic attitude she constantly brings on screen.
Along with this conflict, the evolution of George and Peppy's romance never feels forced, quite an accomplishment when we consider how slightly over-the-top silent movie stars used to act.Both Dujardin and Bejo are indeed powerful in an Oscar-worthy level and at that moment, I can't continue without mentioning the third character of the film, George's dog.
Anyway, I applaud Hazanivicius for not having reduced "The Artist" to a flashy spectacle with no substance, with the word 'homage' as the director's convenient alibi, and make a touching romance about two people who met each other at a pivotal time in the history of film-making, each representing a side of cinema, the old-school silent generation: Chaplin, Keaton, Pickford and the exuberant talkers: Grant, Hepburn, Davis
And I'm glad he found the true note to reconcile between these two universes at the end
didn't I tell you Dujardin was the lost son of Gene Kelly?"The Artist" plays like a missing link between "Singin' in the Rain" and "Sunset Boulevard" and it's indeed one of the best films of 2011, with the absence of words as an endearing 'beauty spot'..
The lost art of the silent film is once again brought to life and that era is impressively recreated, whether it be the acting style, the sets, the locations (shot in Hollywood), the shimmering black and white photography.
The acting is superb, the chemistry between all of the actors is sizzling, the comedy is absolutely hilarious, the storyline grips you and never lets go, the music is superb, and you feel emotionally connected with the characters and story.If you check my previous reviews, you will see that I am most often moved to write a review when a film was really bad, but this film caught me completely off guard and I just had to express my overwhelming satisfaction with this filmmaking experience.I can't imagine how difficult it must have been to try and finance a period film with two stars who were not well known outside of their own country.
My wife and I went to see The Artist this past Saturday and I was left with an overwhelming feeling of "meh." Which is really surprising, given the almost universal, glowing praise this film has been getting--what with Golden Globe awards and Oscar nominations, etc (not to mention all the 10-star reviews here on IMDb).I just didn't see anything special here.
(Note: the story borrows shamelessly from both SINGING IN THE RAIN and A STAR IS BORN and is fully consistent with the era's cornball aesthetic.) And even if you ARE familiar with silent cinema, "Oscar worthy" is going to seem like a stretch.
(By comparison, I saw AMELIE at the same theater ten years prior, and it received a ten-minute standing ovation at the end.) If I'd known at the time that I'd just seen the year's BEST movie, I would have been depressed over what this portended for the year-end releases.You simply can't help being aware of the limitations of silent movies -- and thankful for the quantum improvement that the introduction of sound made -- no matter how deft the filmmakers are in recreating the look and feel of a bygone era.
It's an interesting idea to try making a silent film (in fact, I thought the places where the film did use sound effects were rather silly), but I think they should have tried to make a more substantial movie instead of relying on the style as a gimmick.
It all started last Christmas when I, like many others started hearing a lot of hoo-ha about this new film coming out called The Artist which was silent, black and white, and up for all sorts of prestigious awards.
I had high hopes for THE ARTIST, a modern-day black and white silent movie that promised to be a charming celebration of movie-making in the silent era and a film which swept the board at the Oscars.
Unfortunately it's a movie that's not as good as it thinks it is, one which happily copies that which has come before rather than providing much in the way of originality.The story involves a famous silent film actor who finds his career in the doldrums after the arrival of 'talkies', sound films which effectively bankrupt him and end his career.
Ironically, the fact that it wasn't a color talkie with modern special effects actually helped me to pay attention to the wonderful film; the score/soundtrack (best soundtrack, in my opinion, since I saw "Fantasia" back in the seventies), the facial expressions and bodily movements, and the absence of speaking "spoke" to my emotions rather than to my intellect.
The acting in "The Artist" was superb (I especially enjoined the leading man's and leading lady's performances), the costumes were authentic (I loved the fact that men actually dressed up and wore ties to the movies), the vehicles were works of art (rather than the plastic bubbles we drive today); I felt nostalgic for a time when class and compassion reigned supreme..
Fabulous acting, superb score, great cinematography and look out for a star turn from a little performing dog which is quite amazing at times.With lots of classic touches woven throughout this movie, expect to laugh out loud, cry real tears and go through a roller-coaster of emotions as you will no doubt watch in fascination, the vivid recreation of an exceptional time in the history of cinema (the advent of talkies)and the history of the America (Wall St Crash/Great Depression).Though it is a silent film, sound is used in a very clever way.
Watching The Artist, feels like someone was clearing out an old Hollywood Studio and stumbled upon one of the greatest silents (if not films) of them all and suddenly the lost masterpiece is revealed to the world.Emerging from the Cinema and into the crisp night air of Leicester Square, my thoughts were on one thing...how many Oscars will this instant classic win come February?
The film has been nominated for 10 Oscars, including Best Picture, Best Performance by a Lead Actor (Jean Dujardin) and a Supporting Actress (Berenice Bejo).
Please don't be scared off because the movie is silent or in black and white because the story is really entertaining and despite being colorless it is brighter than any other film released this year.
This time, the nostalgic authors take us to 1927, the era of silent black-and-white movies and booming movie industry.The Artist is very different from the other two films mentioned.
I liked Hugo pretty much, but I think The Artist is a highly superior movie, because its overflowing charm fascinated me from the very beginning and provoked a constant smile on me, until leading to a magnificent ending.The first thing which draws the attention in The Artist is the fact that it was filmed like if it was really done in the late 20s or early 30s, in black and white, without sound and with a musical accompaniment in order to accentuate the emotions from the scenes (oh, and I also have to mention the interstitial banners with selected dialogs from the characters).
So, The Artist could be grouped into the modern tendency of "retro" cinema; however, the truth is that the anachronistic style of The Artist is not a gimmick (like it has been in many movies), but an essential part of the narrative, so as a consequence, the shape enriches the substance, and vice-versa, telling the story with a big ingenuity and an obvious love for that incipient period of cinema, when the formulas we can find nowadays were forged.Director and screenwriter Michel Hazanavicius made a brilliant work at capturing the atmosphere, rhythm and texture of mute cinema.
We tend to watch old films almost like involuntary comedies, full of apparatus expressions and excessive melodrama, but the actors were testing the limits of the new medium, and their best exponents (such as Buster Keaton, Lillian Gish and Lon Chaney) discovered the balance which was perfectly captured by Dujardin and Bejo.The screenplay from The Artist is perfectly written, and it even includes some ingenious implementations of clichés which end up taking an unexpected twist.
Movie extra Peppy Miller (Bérénice Bejo) is a star on the rise who's admiration for George's work runs much deeper than the film's they share.
Directing was decent, although I do believe in order to make a film more interesting, the cinematography (or the way it is shot), could have been a lot more innovative, but since the filmmaker resorted to attempting to "copy" silent films, the entire cache of the picture got lost.**** WARNING - SPOILER BELOW ****But the story.....well here it goes: The film basically shows our protagonist who is on top of his acting game and is a "superstar", who then "bumps into", or rather she "bumps into him"....an "extra" or an onlooker on set, whom he is charmed by....of course our film's leading lady, and our film director's wife in real life.
He does not "give her a start" in the movie industry...just because he adds a "birthmark" above her lip in the beginning (clever Cindy Crawford copycat citation there by the way....) does not mean she should be rescuing him.In the end...everyone's happy....the wimp is rescued by a "strong" lady who was always obsessed with him, she didn't actually love him, she loved "the image" of this successful man....in today's real life example for instance, it would be the same as a regular girl obsessed with George Clooney or Brad Pitt, but the story in this film wants to make us believe that she loves him, when she actually does not, but only in a movie can they attempt to get away with something like this.
I don't think so....nice try though.Of course, for people that go to movies in a movie theater "on a date", when they are all "into each other" and are concentrating more on each other's lips and are boiling with emotions because they can't wait to finish the movie and go home and shag....add a little popcorn and soda and smiling characters on screen with somewhat existent story line in today's day and age will pass for today's average viewer, but for someone that understands what makes a real film work, I would say....pass....or see it only for Dujardin's acting.To close....I was not disappointed to be honest after I completed watching this because after getting used to so much garbage that comes out on screen during the course of the last 10- 15 years, finding a truly unique picture with a profound storyline these days is a surprise, therefore I did not expect much...but was curious why George Clooney lost the Oscar to Dujardin.
Hey prominent Hollywood producers, forget the noise, forget the color, forget the high resolution, certainly forget the 3D (wait maybe if I do a silent movie in black and white with 3D effect, I might win an Oscar!!!), do something ancestral colorless, oh, and resuscitated this daguerreotype and your favorite nearest museum, then you could create a masterpiece!!!!Si Cadaver.
While the latter depicted an ageing former silent star verging on madness, and the latter a production company making the difficult transition from silent movies to musicals, what The Artist has going for it is that it's shot and acted exactly like a silent movie, and does so with such dedication and love that it transports you back to the time where you feel as if you're witnessing this change first hand.It would be easy to make a mockery of silent movies.
I think Hollywood has lost it's collective mind by giving a best picture Oscar to a black and white mostly silent movie in the 1.33 to 1 format.
The Artist takes us back to a time when cinema was about entertainment, when new technology was used to improve things rather than swamp the product with an 'aren't we clever with computers?' attitude.It has moments of great humour and great poignancy, many of these moments enhanced by a mere facial expression from the fantastic Jean Dujardin (Best Actor Oscar with any luck), ably supported by Berenice Bejo and ....Uggy the Jack Russell in a scene-stealing performance.
Unfortunately, as is usually the case with the Weinstein movies, it falls short of expectations.On its own, "The Artist" is a fun experiment: let's shoot a silent black and white film, using many of the mechanisms of that film era, from cinematography to screenplay.
The film is getting a lot of attention and appreciation for this unique style, but it also excels in the very basic ideas of what makes a film work.The Artist is built around the story of George Valentin (Jean Dujardin), a silent film star whose light begins to fade as talking pictures arrival in Hollywood and what begins as this charming love letter to silent cinema becomes a fascinating and emotional journey with a complex character.
Who would have thought that the trio of writer-director Michel Hazanavicius, his wife actress Berenice Bejo and actor Jean Dujardin, all probably better known for their comical spoof of the spy genre with the OSS 117 movies, could have pull out all the stops and made such an affecting romantic film that epitomizes all things great about an era of cinema long gone, providing that pitch perfect nostalgic feel and homage to the black and white greats of the old days where films meant dressing up, the acting almost always exaggerated, the reading of inter-titles, with a live orchestra at the front of the hall playing the soundtrack and providing the emotional cues of the film.
While watching The Artist it brought back to mind some memories of the good old days where I took on a course module just so to watch Pulp Fiction, but got enthralled by the fascinating silent, black and white classic films such as King Vidor's The Crowd, and The Son of the Sheik starring Rudolph Valentino, amongst other greats.Technically Hazanavicius' film can't get any better than this, and his meticulous research during pre-production shows in the delicate touches put in the film, from costumes and dressing, to set and art direction, right down to the technical details of framing, camera, and transitional scene techniques used to tell the silent film story right.
The support cast of James Cromwell, John Goodman and Penelope Ann Miller were great, but none stood out other than Uggie the Jack Russell Terrier who single handedly stole the limelight each time it's on screen!Ask anyone these days to watch a black and white, silent film and you'll probably be scoffed at, but to anyone who has not watched The Artist, it is truly their loss.
There can be a lot of potential in this rising/falling star plot, but the story didn't mine any of that territory.The only time the plot sparkled was when the director did something interesting with sound and sight about 30 minutes in (don't want to give it away for the victims of this scam who might watch it) - at that point I thought the story and perceptual experience was finally going to be interesting, but the director abandoned that promising approach.Two weeks ago I saw Hugo, and the silent film excerpts and shooting scenes in that movie were interesting and enthralling, and the ones in this one were not.
George Valentin (Jean Dujardin) is one of the most successful and beloved silent movie stars, and along with his canine companion and sidekick, Uggie, charms his ways through Hollywood.
When his next movie, "Tears of Love" opens alongside Peppy's newest Talkie, and proceeds to bomb, he slumps into a deep depression that leads him to fire his butler and closest friend, Clifton (James Cromwell), and on two occasions, attempts to commit suicide, until Peppy comes to his rescue, and saves not only his life, but also his career.What makes "The Artist" so terrific is the director and cinematographer's decision to shoot the film in black and white, and make it silent, to add to the authenticity of the time period and the subject.
As George Valentin, Jean Dujardin plays a famous but ageing silent movie star when he literally bumps into Peppy Miller (Bérénice Bejo).
the end of the silent movies era.As I am writing, "The Artist" is one of the major contenders for the Best Picture of the year Oscar having received already the awards from many prestigious organizations and made the countless critics lists.
If you really fancy silent movies from long long ago en do not mind the lack of sounds in general en lack of voices from people talking to each other and you like the thin story's from 80 years back you must see this film. |
tt0386117 | Where the Wild Things Are | Max (Max Records) is a young boy who feels misunderstood and wants to have fun all the time. He makes an igloo out of snow, but his sister's friends gang up on him and smash it. After making a scene in front of his mother's boyfriend, Max bites his mother and runs away. He keeps running until he stumbles upon a small boat; he climbs aboard and sets sail.After a few days at sea, he reaches the dangerous, rocky shore of a strange island at night. He leaves the boat on shore and walks toward voices he hears in the woods. Max eavesdrops on a few creatures arguing. One of them, Carol (voice: James Gandolfini), is destroying the huts and screaming. The other wild things are yelling at him, telling him to stop. Max runs out of the trees and joins Carol in destroying the huts. The wild things are angry about this and want to eat him. But Max tells them that he was the king where he came from, and he has "special powers," so the wild things can't eat him. Carol crowns him king of the wild things and the island. Max's first order of business is to "let the wild rumpus start!" The wild things and Max dance and run around the forest destroying things.The wild things introduce themselves: Ira (voice: Forest Whitaker), Carol, Douglas (voice: Chris Cooper), the bull, Judith (voice: Catherine O'Hara), and Alexander (voice: Paul Dano). K.W. (voice: Lauren Ambrose) is missing; she's gone to hang out with other friends, apparently after a disagreement.Carol shows Max his "Kingdom" and shows him his secret hideaway, where has built a miniature of the island. Carol says "There should be a place where only the things you want to happen, happen." Max thinks that with effort from all the wild things, they can build a place like that. Over the next few days, Max and the wild things build a large fortress of rocks and sticks.Tension grows between Max and the wild things when Judith starts to think Max isn't a good king. They have a dirtball fight and many of the wild things get hurt, especially during the fort battle between the "good" and the "bad" wild things. K.W. and Carol argue because of an intentional face slap which was supposed to be a joke but got serious when it really hurt. K.W. takes Max to see her friends Terry and Bob, who turn out to be owls. They go back to the fortress and the wild things (minus Carol) greet them with open arms. Carol throws a fit and is angry that they are letting two outsiders into the group. K.W. runs away with Terry and Bob. Max and the wild things are sad, sitting in the rain. Judith demands to see Max's "special powers" and wants K.W. to come back. The wild things discover Max isn't a king and that he has no powers. Carol is angry with Max, telling him he didn't keep everyone safe, and that he is an awful king.Max runs away with Carol pursuing him. K.W. hides Max in her stomach until Carol leaves. Max then decides it's time to go home. Things seem to be better when he and the wild things all go to the beach, where Max's boat is. Carol is in his secret hideaway crying when he realizes he is being stupid and sees a heart with his initial that Max made for him. (Carol made a similar one for Max on the fort earlier.) Carol runs toward the beach. Max gets into his boat and says goodbye to all the wild things. Carol finally arrives and is unable to speak, so he howls. The other wild things join in and Max howls back. After a brief boat trip he runs back home and his mother greets him with open arms, and feeds him. | fantasy, whimsical, cute, psychedelic, romantic, storytelling, sentimental | train | imdb | null |
tt1618442 | The Last Witch Hunter | The warrior Kaulder (Vin Diesel) seeks out witches with his allies, the Axe and Cross. The witch hunter is haunted by the thoughts of his dead wife Helena (Lotte Verbeek) and daughter Elizabeth (Sloane Combs). The men walk through the woods before encountering a horde of witches, which the men proceed to slay. Kaulder takes out a number of witches, but his main target is the Witch Queen (Julie Engelbrecht). Kaulder battles the Queen until she knocks him into a pit within a large tree. She takes the fight down there with Kaulder as the tree begins to catch fire. Kaulder takes his blade and sets it on fire to kill the Witch Queen with "iron and fire", ready to perish himself. However, before the Witch Queen dies, she curses Kaulder with immortality, so that he may always live with his suffering.800 years later in the present day year of 2015, Kaulder is on a plane where he finds a young witch, Bronwyn (Bex Taylor-Klaus), who is in possession of some weather runes that Kaulder is seeking. Outside, a storm is pounding the plane until Kaulder gets his hands on the runes and calms the storm.Kaulder continues to work in New York City with the Axe and Cross, made up of special priests called "Dolans". Kaulder's current ally is Dolan The 36th (Michael Caine), who is approaching retirement. His successor is set to be the 37th (Elijah Wood), a young man eager to work with Kaulder. 36th warns 37th of how intense Kaulder can be.37th calls Kaulder one day to inform him that 36th has passed on. After the Axe and Cross hold their service for 36th, 37th becomes initiated as the next Dolan. He tells Kaulder that he remembers him from his childhood since Kaulder killed the witches that killed 37th's parents, and he has been waiting all his life to fight with Kaulder.The two go to 36th's apartment to find answers. Kaulder notices three dead insects scattered close to each other and senses something suspicious. He discovers that the place has been cursed with dark magic, implying that 36th was murdered.Kaulder brings 37th to a bakery run by Max Schlesinger (Isaach de Bankole), who uses magic creatures in his food to enchant customers. He has done shady dealings with witches and warlocks, leading them to suspect that Max gave something valuable to a warlock named Ellic (Joseph Gilgun), who was sent by someone worse to look for something in 36th's apartment. Kaulder brings Ellic before a council of witches led by Glaeser (Rena Owen) to determine Ellic's fate. He is imprisoned by them.Kaulder and 37th go to 36th's body and realize that he's not dead, but cursed, and the only way to break the curse is to kill the witch or warlock that did it to him. Back in the apartment, Kaulder notices a book that 36th left clues in. On three separate pages, the words "remember", "your", and "death" have bloody fingerprints on them. Kaulder knows it's a message, and he states that there's only one way for him to remember his death: magic.Kaulder goes to a witch bar run by Chloe (Rose Leslie), who is a special type of witch known as a Dreamwalker. As he enters the bar, all the other witches and warlocks head for the hills, knowing of the witch hunter's brutal reputation against their kind. Kaulder approaches Chloe and asks for a memory spell to remember his death. She injects such a spell into a cherry for Kaulder to consume. He pops the cherry in his mouth and lays back, making Chloe think he's passed out. She takes the opportunity for a witch hunter selfie, but Kaulder is still awake. He then swallows the cherry for real and sees himself walking toward the burning tree where he fought the Witch Queen. He enters and sees his charred corpse, but before anything else can be shown, a warlock named Belial (Olafur Darri Olafsson) pulls him out of the spell and has Kaulder chained to the floor. Kaulder breaks the bones in his hand to release himself as Belial lights the bar on fire. Kaulder and Chloe get out of there in time as the place is destroyed.Chloe wakes up in an apartment and wanders through it. Dark forces begin to rip through the apartment and she briefly appears to be pulled into the walls where she sees a monstrous entity. Kaulder's arms then appear to pull Chloe out until she reawakens to the real world. She's pissed at Kaulder for causing the destruction of her bar, but he still needs a memory spell to figure out what he needs to remember from his death. Knowing that Chloe is a Dreamwalker and that she doesn't need a liquid potion to help Kaulder, he gets her to take both of them into his mind to remember the day he died. They find his charred body again, but this time, they hide as the Axe and Cross arrive. They see the Witch Queen's corpse crumble, leaving her heart still beating. The Dolan tries to stab it, but the burnt Kaulder awakens and screams in pain. Realizing that the heart can't be destroyed without killing Kaulder for good, the Dolan takes the heart with him, leading present day Kaulder to figure out that the Axe and Cross betrayed him and let him endure immortality.Chloe receives a phone call from her friend Miranda (Aimee Carrero), whom she last saw as Kaulder arrived at the bar. The two find Miranda dead after Belial got through with her. He calls them from Miranda's phone to taunt Kaulder.Kaulder and Chloe go to a place where witches are disguised as beautiful women with the power of magic gems that conceal their ugliness. They find the leader, Danique (Dawn Olivieri), who puts Kaulder under a trance where he sees Helena and Elizabeth. Chloe enters Kaulder's mind and breaks him out of the trance. They then interrogate Danique over her business with Belial. She confesses that he helped them obtain the gems in return for helping him obtain the heart of the Witch Queen. Before they leave, Chloe crushes Danique's gem, making her look like a hag once again.Belial locates the Witch Queen's heart with the council of witches, all of whom he murders. He releases Ellic and takes Max to use him as a cocoon to bring the Queen back after burying the heart in the dirt next to Max. Kaulder arrives and finds Max held up by roots. Belial appears from behind but Kaulder kills him with a dagger to the throat. The Witch Queen is already half-alive until she uses a root to grab Kaulder and use his immortality (which she says was always meant for her) to fully return. She peels off Max's skin and emerges in her true form before setting off to unleash her plague upon humanity.Kaulder returns home to find 36th, reawakened after Belial's death. Although Kaulder thinks he's failed in stopping the Witch Queen and is discouraged by the Axe and Cross's deception, 36th encourages him to do what he's always done best.The Witch Queen uses Ellic as a vessel to unleash her plague. Kaulder and Chloe find him in a trance. Chloe enters Ellic's mind to kill him and stop the plague while Kaulder goes after the Queen. Chloe fights Ellic in his mind and pushes him down a hole where he lands on his face and dies, holding off the plague. Still, the Queen's dark magic is spreading across the city. Kaulder battles her and nearly kills her until 37th enters, holding Chloe at gunpoint. He reveals that the witches Kaulder killed in 37th's youth weren't attacking his parents, they WERE his parents. He gives Chloe to the Witch Queen in the hope that she will grant him the magic that he was born without, but the Queen refuses and kills 37th. The Queen possesses Chloe and continues to spread the plague. Kaulder resumes his fight after being motivated by a vision of Helena and Elizabeth. As the Queen uses her powers against Kaulder, he grabs his sword and hurls it into the Queen's chest, where it combines with falling lightning bolts to destroy the Queen once again. As her body crumbles, her heart is exposed again. Kaulder is ready to permanently get rid of her and himself, but Chloe stops him.Despite retaining his immortality, Kaulder is more at peace than before, now having found a new reason to keep living. He joins Chloe as they drive trough the city on another adventure. | comedy, gothic, murder, paranormal, violence, flashback, good versus evil, psychedelic, revenge | train | imdb | null |
tt1142988 | The Ugly Truth | Abby Richter (Katherine Heigl) is a morning show TV producer in Sacramento, California. Abby firmly believes in true love and is a big supporter of complex self-help books such as Chicken Soup for the Soul and Men Are from Mars, Women Are from Venus. Coming home from a disastrous date, she happens to see a segment of a local television show, The Ugly Truth, featuring Mike Chadway (Gerard Butler), whose cynicism about relationships prompts Abby to call in to argue with him on-air. The next day, she discovers the TV station is threatening to cancel her show because of its poor ratings. The station owner has hired Mike to do a segment on her show.
At first, the two have a rocky relationship; Abby thinks Mike is crass and disgusting while Mike finds her to be naive and a control freak. Nevertheless, when she meets the man of her dreams, a doctor named Colin (Eric Winter) living next to her, Mike convinces her that by following his advice she will improve her chances with Colin. Abby is skeptical, but they make a deal: If Mike's management of her courtship results in her landing Colin, proving his theories on relationships, she will work happily with him, but if Mike fails, he agrees to leave her show.
Mike succeeds in improving the ratings, brings married co-anchors Georgia and Larry closer and successfully instructs Abby to be exactly what Colin would want through a number of pointers including: always laugh at his jokes and say he is amazing in bed. Mike is invited to appear on The Late Late Show with Craig Ferguson and is offered a job at another network. Abby is forced to cancel a romantic weekend away with Colin, during which they had planned to finally sleep together, and instead fly to Los Angeles to persuade Mike to stay with her show.
They drink and dance and Mike admits he does not want to move because he wants to stay in Sacramento near his sister and nephew. In the hotel elevator, they passionately kiss, but go to their separate rooms. Mike, dealing with the intensity of his feelings for Abby, calls on her room only to find Colin has shown up to surprise her. Mike leaves. Abby is upset and soon realizes Colin only likes the woman she has been pretending to be, not the real her. She breaks up with him.
Mike quits and takes a job with a rival TV station in Sacramento, and ends up doing a broadcast at the same hot air balloon festival as Abby. He cannot resist intruding when she kicks the new "Mike Chadway" imitator off the air and begins ranting about what cowardly weaklings men are. The balloon takes off while they argue. Abby says she broke up with Colin, and Mike admits he loves her. Abby kisses him while they fly off, all of which is broadcast due to a camera mounted in the balloon. The film ends with Abby and Mike in bed. When Mike asks if she was faking it, Abby responds, "You will never know it." | romantic, comedy, cute, entertaining, adult comedy | train | wikipedia | The comedy is "r" rated with a little raunchy adult humor that can be shocking at times but that is in line with the movies theme of male/female relationships.Katherine Heigl and Gerard Butler were both great in the film.
And Katherine Heigl is once again perfect doing comedy.If you are expecting to see a typical romantic comedy you will be surprised, because this R rated film is geared toward the men in the audience as well as the ladies.
It truly is designed for both men and women with fantastic views on romance, sex, attraction etc from both sides.Acting is great, story is great and the chemistry between Katherine Heigl and Gerard Butler works very well on screen.To sum this film up I have to say watch it.
And, two, that direction would be south, Abby believes, for they have hired a brash, I-don't-mince-words talk show host, Mike (Gerard Butler) for a reprise of his late-night call-in program, The Ugly Truth.
But being a romantic comedy, Abby and Mike instead fall for each other as usual, you know how the story goes.Now things I would've done different, if you don't want spoilers then don't read on: there is a child that comes into Mike's apartment, he and Mike get along great, I'm thinking that's his son; instead it's his nephew.
I'm not saying it's impossible, but I'm finding it hard to believe that girls who look like Katherine Heigl are having the hardest time finding love.But there are some positives in the film, honestly I did have a good time watching this film over all, it was just the ending that killed the movie.
We have some sick jokes but get a great laugh, Abby is going to a baseball game with Colin, her crush, and she accidentally spills her drink on his lap and starts rubbing his pants to clean them and the kiss cam lowers in on them with a bad angle looking like she's just having fun with his hot dog.
That all men want is sex therefore woman should accept this and dress like whores, act like whores and overall listen to misogyny.This film hurt me, it made me sick, I'm so glad only saw review because nothing about this movie appealed to me.
It's beyond me.There only one ugly truth here hypocrisy, making a film that attacks men rather than woman is just as bad as sexism against woman.Trust me girls, this movie isn't realistic to any degree of real people.So it just depresses me, how much people love this movie: http://www.imdb.com/title/tt1142988/Gender wars is a pathetic use of anyone time, once you see people as anyone other than the shallow superficial crap you think of us as, then truly there will be less of this contrived and jaded nonsense.God this movie annoyed the hell out of me.Don't watch..
Heigl is like in her previous movies very good, she is made for this type of movies and Butler is a real surprise, he did excellent in his very first romantic comedy.
I'm playing such a bitch; why is she being such a killjoy?" The Ugly Truth star Katherine Heigl there, talking to 'Vanity Fair' in 2007 about Judd Apatow's 'Knocked Up.' Fast-forward a couple of years, and stone me, if Heigl's not playing another shrewish, humourless and uptight media-professional, in yet another opposites-attract romantic comedy.
This glamorous professional remains inexplicably single - until the execs pair her up with shouty shock jock Mike Chadway (a dodgy-accented Gerard Butler) to boost the ratings with his lame 'Men are from Bars, Women Need a Penis' shtick.
"Beats the s*** out of me, but I am." And that, boys and girls, is how you tidily dispose of character development when your script ain't worth a fart.Its leading lady exec-produced this (rarely a promising sign), and so did her mum, but this film seemingly exists only to utterly humiliate Heigl via three farcical set-pieces; the lowlight of which sees her remote-controlled vibrating sex knickers (a gift from Mike, with the honest-to-goodness words "this isn't for you, it's for your bean") being 'accidentally' activated while she's out having dinner with clients.
Personally as a woman I liked "Knocked Up" I thought that it was intelligent, witty, and great fun- unlike this piece of garbage called "The Ugly Truth." Hiegel thought that "Knocked Up" made women look like shrews who didn't like to have fun well this movie brought the shrew up to the upteanth billion factor.
I have not laughed so much over a movie as I did watching "The Ugly Truth" This was film was hysterical and Gerard Butler and Katherine Heigl were great in the roles.
One night, she comes home from a disastrous date and happens to watch a segment of a TV show, "The Ugly Truth", hosted by "shock jock" by Mike Chadway (Gerard Butler).
"what men really want" , "what women really look for", "loving the 'me you want to see' or loving 'the real me'", all those little tidbits would have made benefited from a more central role in the film which would have given this movie a "fresher" feel instead of the stale standard story.I was personally very entertained by "The Ugly Truth" especially in the laughs department, not just because the jokes were extremely funny, but that they were also well written, witty and made sense without being offensive.
"The Ugly Truth" won't convert staunch action movie junkies or epic fantasy aficionados anytime soon, that's for sure, but just sit back relax and enjoy a good laugh that is easy on the brain.
I have no idea how Katherine Heigl or Gerard Butler can watch this movie without being completely embarrassed and ashamed.
I went to watch this movie, not with high hopes (after all the whole opposites attract formula has been used millions of times in romantic comedies, so it wasn't very original) but i thought it could be fun.
I mean the trailer had it's moments, and i am a Gerard Butler fan, i thought maybe he could have good chemistry with Katherine Heigl (she did OK in knocked up).
I am a big fan of Gerard Butler, but i don't know what he was thinking, is like he accepted the movie without even reading that awfully unfunny script.
I was not very interested in watching another romantic comedy with attractive main actors who hate themselves on the beginning for then falling in love, before some artificial obstacle imposes on their way to happiness.However, the subversive tone which was promised on the trailer of The Ugly Truth and its competent supporting cast made me to risk myself and go to watch it.The result was another mediocre and boring romantic comedy.There are some irreverent details on the screenplay from this movie, but they were not enough for hiding the tiring formula it follows and the huge number of clichés it has.One of the few things I liked on this movie was the appearances of competent comedians on supporting roles.They unfortunately do not appear too much, but I smiled with the brief appearances from Bree Turner, Cheryl Hines, John Michael Higgins, Bonnie Sommerville, Nate Corddry and Nate Lewis.All of them have unknown names but very familiar faces because of their frequent appearances on sit-coms and movies on the roles of best friend,neighbor or other peripheral roles.I do not have much more to say.The "ugly truth" from this film is that it has a forced premise, it is boring, there are too many clichés, it follows the cloying recipe from a lot of romantic comedies and that Robert Luketic (who has a wide experience on the romantic comedy genre)'s direction is absolutely insipid.I do not recommend this film..
However, unlike Apatow, who has figured out how to make films that are insightful as well as funny like "The 40-Year-Old Virgin" and "Knocked Up" (ironically featuring this film's star, Katherine Heigl), Luketic shows no such finesse as everything in this film feels labored with the principal actors Heigl and Gerard Butler overplaying their opposites-attracts roles to near-cartoon proportions.
Moreover, there are so many absurd gross-out gags inserted in this film that it feels like the creators (including executive producer Heigl) completely miscalculates who its target audience appears to be.The strictly by-the-numbers plot centers on Abby Richter, an uptight, overachieving producer for a ratings-challenged morning talk show in, of all places, Sacramento.
I have just come from a movie theater where I saw the new romantic comedy "The Ugly Truth" starring Katherine Heigl and Gerard Butler.
It was directed by Robert Luketic with three screen writers, two of whom worked with the director on an earlier hit, LEGALLY BLONDE.With a title that suggests the great Leo MacCarey comedy THE AWFUL TRUTH, this movie has been taking an awful lot of criticism, mostly directed at Miss Heigl, a beautiful and competent actress who has, it seemed, been called upon to carry a script which is mostly distinguished by the fact that her character, as written, is composed of a number of seemingly immiscible characteristics, none of which are ever sorted out; and which seems to attempt to move between standard screwball, standard romantic comedy, with occasional Farrelly-Brothers-style freak-out jokes tossed in, with no presagement, rhyme nor reason.The whole thing ends in such a predictable manner in a sky filled with balloons that the film might have been written by simply taking discarded parts of other scripts and tossing them in.In short, while Miss Heigl does not distinguish herself in this indistinguishable mess, laying the blame at her feet strikes me as cruel and foolish.
Her show has problems with the low ratings and the TV direction hires the cynical chauvinist Mike Chadway (Gerard Butler) that hosts the popular and gross mannish show "The Ugly Truth" about what men and women really want in a relationship.
But out of the blue, Colin arrives in Abby's room and she has to take a decision."The Ugly Truth" is a delightful romantic comedy supported by the beauty and charm of Katherine Heigl and her chemistry with Gerard Butler.
Abby (Heigl) is forced to increase ratings of the TV show she produces by allowing Mike (Butler) to show the women in the TV audience what men really want from women.After 10-minutes, I shut this down.
As much as the actors want there to be more involved with the movie, the bones just aren't there, and after a few early giggles, The Ugly Truth is exposed as a poor effort.The Ugly Truth opens with Heigl's character Abby as a depended-on news producer who's love life is in shambles due to her obsessive need for control (she has a checklist of ten things she expects in a man).
Katherine Heigl and Gerard Butler do try to bring some life into their roles, but the two have no chemistry together and it doesn't help that their characters(and all the characters of the film for that matter) are so shallow and clichéd that I couldn't care for them at all.The worst assets were the script and the story.
If you want to see good clean comedy watch "The Proposal" instead.I assumed the script was written by single men who think acting like morons attracts women; interestingly, it was written by three women...perhaps they thought they had something to prove.
If you want to see good clean comedy watch "The Proposal" instead.I assumed the script was written by single men who think acting like morons attracts women; interestingly, it was written by three women...perhaps they thought they had something to prove.
Gerald Butler, I don't know you very well, but you did an amazing job in this movie.Maybe you should actually consider giving advice on how to get people with a boyfriend or girlfriend.If it worked with Katherine Heigl, it can work with anyone.If there is anything that I can say about you 2 people in this movie, it's that you have done a wonderful job as the main characters.It actually feels like I walked out of the theater with a breath of fresh air.Although this movie isn't excellent, it does deliver plenty of entertainment that fans of Mrs. Heigl and Mr. Butler will just love.In fact, they should do another romantic comedy together.It'll definitely spark some attention between them.I just know it.This movie has a significant similarity to one of the lines in the movie.In the movie, Katherine Heigl said, "There are no problems, only solutions".
'The Ugly Truth' is a solution for anyone who has a problem not enjoying romantic comedies.The movie may be a little predictable, but it's still enjoyable..
Though predictability and believability are the films biggest flaws, the chemistry and wit between Katherine Heigel and her co-star Gerard Butler keep it from being another run of the mill Romantic Comedy.
The Ugly Truth is a fun movie with a very good flow, a well-chosen pair to reflect the leading characters successfully and many funny (even hilarious) parts that make you laugh out loud.
Almost each and every dialogue between Abby (Katherine Heigl) and Mike (Gerard Butler) is filled with adult jokes or implies sexual content, but it achieves to keep it at a good quality and does not go down to a cheap level or end up in boring clichés.
This romantic comedy had two gut wrenching bully laugh scenes along with a more in your face sexist look at the differences between men and women which in some ways could be closer to the truth than more "enlightened" people may want to admit.
The Ugly Truth is funny and if you don't laugh then I kinda think that maybe it's not the movie that's rude and wrong headed, it's you..
In fact I would see this 20 more times in theaters before I even rented Bruno to see it again, and yes I think this could be a movie where you watch it more then once.Gerard Butler hasn't really proved to me what he can do with his acting skill till now, and I pray that he does more comedic roles.
Katherine Heigl was also good, maybe better then she was in Knocked Up, but still kind of same old Katherine.Now before the movie started I told myself that I would seriously mark this movie down a few points if the ending was as totally predictable as I thought it was going to be, but after how surprised I was, I decided to go a little easier.Conclusion: Girls, see it with a guy.
I had lots of laughs and liked seeing the relationship between Heigl and Butler turn from hate to love and i found this more as a romantic comedy than a chick flick.
It' not like the classic romance where love was obtained the old fashion way by holding hands and using manners.Katherine Heigl is an uptight and by the book California TV news producer who's programs are starting to fall in ratings.
Very inappropriate for high school aged kids who love the romantic comedy formula and go to these movies because they feel good that the couple ends up together happy.
All three of us knew the ending when we saw the trailer, but we had also felt this way about The Proposal trailer and had found that film really really funny, so we thought we'd give The Ugly Truth a try.
I feel bad for Katherine Heigl, I like her as an actress and I know she can be funny because I've seen Knocked Up. This film is just terribly clichéd and really rather dull, dull, dull.
I have no idea what drew either Katherine Heigl or Gerard Butler to think this was a worthwhile project.The messages put forward by the film are extremely toxic e.g. that the best way for a women to get a man is to strip herself of her own identity and change herself completely into a stereotype of 'what men want'.
I rented this because I like Gerard Butler and he owes big time with his next few movies otherwise I'm signing off of him for good.
It would be refreshing to have a film uphold a principle regardless of its consequences.Paradoxically, while discovering the movie rewarding on both counts, the truth was so ugly that I don't wish to see it again, and can better appreciate Katherine's fine acting skills in her earlier performance.Here's a succinct summary: The male lead portrays a sexist pig believing that men want only one thing, and women who romanticize for something more are losers.
Gerard Butler play's yet another brilliant role and Katherine Heigl gives a pretty good performance but all that is destroyed by the very unfunny and tacky last 20 minutes of the film.
She has so many hangups that she can't ever seem to get very far.Gerard Butler is Mike Chadway, a profane bachelor who comes on board at the TV station with the show "The Ugly Truth" which paints all men as uncaring morons who only want one thing, sex, and will do anything to get it.Abby is of course appalled, but Mike gives her a challenge -- if he can tell her what to do and say to get the affections of the guy of her dreams, a handsome young doctor who lives near her, will she accept Mike?
Believe it or not, there are people like Abby Richter (Katherine Heigl) and Mike Chadway (Gerald Butler).
Mike host a TV Show call 'The Ugly Truth' where he advice women into getting relationship with men by being an over-the-top misogynist.
Both Butler and Heigl work well, but the movie gets kind of ugly at times..
Kathrine Heigl stars as a character that she plays a lot and Gerard Btutler stars in his best film of the year, The ugly truth.
Abby's news channel hires Mike Chadway(Gerard Butler), the host of a guy's show called The ugly truth.
The movie stars Katherine Heigl as Abby, a TV-news producer who has some trouble with men.
But then it's films like this that you watch for the journey rather than the destination, and 'The Ugly Truth' differs somewhat from other rom-coms in that it's ruder and more sexual in nature.Abby Richter (Katherine Heigl) is a successful T.V. producer for a morning show in Sacramento. |
tt0062374 | Titicut Follies | I saw "Titicut Follies" over seventeen years ago. Thus, what I write is from fading memory. I can't remember all the details. I only wish I could forget about the details I do remember. I'll never shake the indelible anguish I was left with.I saw it once.
I never want to see it again.Plot?
There IS no plot.
Scenes are beyond graphic.This documentary represents the antitheses of Hollywood "airbrushing."For as much as Hollywood values implausible shock, this shock is synthesized, and it will always pale in comparison to the jarring reality of Titicut Follies. Joan Miró, himself, on his best surrealistic day, from the abyss of his blackest subconscious, could not have captured the cruel absurdity these patients / inmates experienced.
Cast in stark black and white, one is reminded of the daily austerity the inmates were faced with every day at the Massachusetts Institution for the Criminally Insane at Bridgewater.Humanity?
There IS no humanity.
The title of the film is eponymously borrowed from the name of the annual talent show in which the inmates participated, perhaps the only scintilla of happiness they had ever known.Compassion?
The documentary is rife with ridicule, while cruelty REPLACES compassion.Massachusetts state government presumably went to extremes to censor this film. It was an embarrassment for bureaucrats and pundits alike. It was therefore banned from public viewing for twenty-five years. To this day, the costs of buying / renting this film are prohibitive.Out of misery comes reform.
Because of the genius of director Frederick Wiseman, state government was forced to take an honest inventory of the way it treats its wards, not only in Massachusetts, but also across the country. Reform did come, albeit slowly.I'll spare the reader what graphic details I do recall. Suffice it to say that this documentary will alter the viewer's life in some small but significant way ... forever. Even the most hardened and jaded viewer will know empathy after watching it. | insanity | train | imdb | null |
tt0324197 | Le temps du loup | Immediately before a global catyclysm, Anna and her family arrive at their holiday home in the countryside only to find it is occupied by a family of complete strangers. The occupants refer to the cataclism and tell her the rules of society no longer apply. Then, without provocation, Anna's husband is shot dead. Anna and her two children flee and roam through the woods. At one point, they reach a shelter, filled with hay. They decide to spend the night there. Ben, the youngest child, still seems in shock, and he no longer speaks. At night, he disappears, and in a panick, Anne ventures out to find him. His sister lights handfuls of hay with a lighter, hoping the light will attract her brother. Unfortunately, sparks set the shelter on fire, and the building completely burns down. Ben re-appears the next day. They move on and reach a railroad with some kind of farm building next to it. Although they aren't really welcomed by the occupants, they are tolerated and allowed to stay. A boy tells them that a train sometimes passes there, and they hope to stop that train in order to travel on it to a better place. In the mean while, one man, Koslowski, at leasts tries to uphold some laws and rules there, but people are desperated, cold and impolite. Anne's daughter, Arina, makes friends with a young runaway. When he is suspected of theft, he must leave the compound. Arina keeps giving him food, while he hides in the woods. Her brother, Ben, eight, hasn't spoken since he witnessed the murder of his father. They start a daily routine, with people joining in the chores, such as collecting firewood. A couple of days later, a large group of people arrive at the compound. Strong in number, they use the farm' s facilities. Then Anne makes a shocking discovery: one family of the newly arrived are the ones who were occupying her holiday home and who killed her husband. Although most people believe their accusations, as their emotions are genuine, there is no proof, it is their word against the word of the other party. A make shift judge declares there's nothing he can do. At night, with so many people around, Arina and Ben can't sleep. They witness how a young girl is being raped, while a knife is being held to her throat. The girll commits suicide the followign day. Another family, Polish immigrants, are accused by the newcomers of being thieves, and the husband is almost lynched.
That night, Ben, who overheard a lore about 36 angels jumping into fire in order to save society, builds a fire, takes off his clothes and prepares to jump in the fire. A guard manages to save him with a trick. In the struggle that follows, Ben's shouts and screams. These are the first words he speaks since his father's murder. The guard holds him in his arms and tries to comfort him. | violence, murder, storytelling | train | imdb | Le Temps du Loup is not about the third world, anyone who thinks that third world countries look any thing like what is happening in Haneke's film is out of his/her mind.
If, at the start of Time of the Wolf, you are aware of Michael Haneke's 1997 shocker, Funny Games, you may believe that this film will be treading similar grounds.
However, unlike the familial hostages of Funny Games, the remaining Laurent's make their way to a local for help, and the audience is startled by the matriarch, Anne's (Isabelle Huppert), admission that they had buried the father.
We are certainly not in the regular world; this place is different, a point that is further exacerbated when Anne is asked if she is aware of what is going on.Time of the Wolf is unfamiliar territory concerning its central concept of a post-apocalyptic landscape.
Some sort of cataclysm has occurred all we really know is that most water supplies are tainted and we follow a mother and her two children (the father is with them when the film opens) as they vie for survival.
The characters are often devoid of extreme emotion during the crises they face in the film, so the viewer assumes that whatever happened that changed the world must have been graphic and brutal.Haneke is an exceptional filmmaker and has quite an eye.
This approach lends a striking realism to the movie.Some of Haneke's films -- especially "Funny Games" -- are marred by heavy-handed social commentary.
A very subtle film about individual and mass psychology after an unnamed cataclysm.Also a cautionary tale about having plenty of fresh batteries, lighters, and a good knife, or knives, on hand (you never know when you're going to have to skin your own dinner; hey, call me extreme when that unnamed cataclysm comes around).An added bonus: no digital effects (although I think they got lucky with fog one day, and made a beautiful scene with it), no manic editing as a substitute for storytelling, no facile heroics, no predictable deus ex machina...it will cleanse the visual palette.
"Temps Du Loup" is probably Michael Haneke's most successful attempt at presenting his bleak outlook on mankind.Vaguely set in a post-apocalyptic world, the film works both ways: a.
When those who do watch it tell you how bored they were, act shocked and say, "oh my goodness, how is that possible?" This is a great example of what I'd call an "anti-film." Imagine going to a contemporary art gallery for a reception, and you are the first one to arrive.
Rather than having "zombies" pop up every so often and chase the leading characters around, why not show the quiet desperation people feel when they know that there are forces about to destroy them, but they don't understand those forces, and don't know exactly how (or when) they will be destroyed (which could mean actual death or a psychological "meltdown").I was hoping this would be the case for the film "Blindness" (which I saw before this one), but instead experienced a bland, rather conventional construction that was not compelling on any level.
It is bizarre to watch a film as relentlessly gloomy; as impeccably shot and as seemingly brim full the notion that great danger might very well be lurking around the corner just hit the wall and die in the way that Time of the Wolf does.
Here is the post-apocalyptic movie wherein we do not get the feeling the apocalypse has actually happened; here is the film depicting the fallout to a great terror wherein we actually feel unthreatened, unthreatened by not only what this newfangled world looks like but additionally by the very item that brought everything to what it now resembles.
It is a strange thing indeed; not anything that transpires within, but how relentlessly dull Austrian director Michael Haneke actually makes the end of civilised life in France actually look.
To think that the likes of then-recent French films La Haine and Irreversible actually set themselves within functioning societies as we know they exist, yet still managed to construct what felt like a bubbled universe of decay and hatred, is extraordinary.In its purest of forms, the film is barely much more than a cluster of people bedded down in a single location for its entire duration - during this time, people sit; stand; speak; argue; walk around and wait for a train to arrive.
This was fine, when it was Sydney Lumet's 12 Angry Men. Ah yes; the train: the reason for the likelihood of a train coming and going is that these people occupy a railway side signal booth, a small but large enough structure in the remote ruralness of somewhere-or-another which they all inhabit as the skies cloud over, the grimaces on the characters' faces tighten and everyone lives in fear of........some wild dogs.The lead is Isabelle Huppert's Anne Laurent, a woman whose husband is killed in front of her and who must flee a holiday property with her two children, Ben and Eva, when what appears to be a group of squatters ambush them upon arrival.
Haneke was much more pleasurable, if that is the correct word, when he subverted traditional codes of a certain branch of the horror film in Funny Games.In terms of characterisation, at least Hillcoat's aforementioned The Road had this often quite touching central bond between a father and son as the elder readied the younger for the day he may no longer be around.
Although the story of people trying to survive in the aftermath of a disaster is nothing new, Haneke's bleak vision of an imploding society packs not only a punch but also a long, increasingly unbearable squeeze.
This is perhaps Haneke's least accessible work,which is not writing that his other works are entertaining stuff.The star Isabelle Huppert becomes some kind of walk on in the second part which makes me think that the movie would have been better without her (and using non professional actors à la Robert Bresson) This movie shows groups of people,leaving the cities (which we do not see) for...
That bible's Apocalypse it won't be anything but the man devouring the man, because the wolf of the title is the man himself; the humanity perishing by its own sins.Haneke portraits this Final Judgement with his usual coolness and brutality, and puts the spectators in front of such uncomfortable and disgusting situations (anyway, none of them are unnecessary or gratuitous mmm OK, maybe we don't need to watch how someone cuts a horse's throat-).
He just puts his camera and lets the reality show up: some would sell their children for a glass a water, some would give their lives to save them
And for an extreme-brand new film from Michael Haneke there's nothing better than a veteran and full of talent actress like Isabelle Huppert.
There's nobody more appropriate for surviving in such an inhospitable and post-apocalyptic world than Cabrol's muse.Haneke-Huppert connection works greatly again and knocks us out like a Tysson's punch right to our faces.My rate: 8/10.
This film is about what it would really be like if the end of the world came.Do not make a mistake here, just because there is no wise-cracking bad guy leading hoards of murderous cut-throats, it does not mean there is no drama or danger here.
There is cruelty and compassion.The main portion of the film deals with a group of people who are waiting at an abandoned train station in the hope that a train from the south might come to rescue them.
Time of the Wolf is a realistic and gritty look at what would happen after an apocalyptic event where only a few people have survived.
I like post apocalyptic themes as much as the next guy, but i did not entirely enjoy the follow through of Time of the Wolf.Giving a synopsis sounds great.
the director shows us a post-apocalyptic world where everyone tries to survive no matter what, but there is no explanation as for what happened to why are characters put through such ordain.
it seems as the director was hoping the shock caused by the gory details would prevent viewers from asking qyuuestions.30 minutes into the movie you can feel that somehow the cast have lost their heart for the project - and this is the sentiment the audience come to share very quickly.
Nothing continues to happen for the remainder of the film, save for a few events that are confusing due to the fact that I don't really know or care who any of these people are.
However, this movie promises to showcase the "terrifying...danger" of the new world, and last time i checked, overlong shots of nothing happening coupled with occasional histrionic shrieking do not a good film make.
People are mean, racist, xenophobic, and greedy, without social structures to guide them, but maybe, just maybe, if they cling to their humanity and mercy, things could get better, the world can be reborn, etc.The little boy character was trite, running away, at just the right moment when the paced lagged, cus thats what traumatized little boys in these kinds of movies do.
Time of the Wolf (TotW) is stylistically recognizable as Haneke's work, and is certainly a well-made film.
Most of the characters are very convincing, and the film's greatest strength is the horror it creates in showing normal people break under the stress.A difficulty with making a post-apocalyptic story is that there are only so many things one can do with it.
Often loudly.Add to all this the fact that the director goes out of his way to make sure that we "Americains stupides" are faced with as many grim realities (like burning horses or dead, maggoty sheep) as possible, and you've got yourself a heck of a fun time.Anyway, this movie is technically lacking, cinematically lacking, and boring.
This without mentioning the cast, especially Isabelle Huppert, who once more proved to be the finest actress alive.If only Hollywood paid more attention to other countries movie industry...And I am sure this film is going to win 2003 São Paulo Film Festival, in case you don't know, the third biggest independent film festival in the world.10/10.
At the end of it's evening screening there was a standing ovation and at the same time a concert of booing from the crowd.Le Temps du loup is a fantastic movie that puts us white westerners suddenly in the situation of black people in a the third world country.Imagine not having any food, nor any water, you cannot trust other people cause they could kill you for taking over whatever provisions you may have.Isabelle Huppert and her children are desperately looking for something to eat, their clothes are getting dirty, at night it is dark!
The train will not stop for them waving at it.If you like Michael Haneke previous film (La Pianiste), you will possibly love Le Temps du loup.
But whatever it was, people were getting down to the bare essentials of what it means to be a human being and it did not seem like much time had gone by since the event occurred, so it must have been pretty bad.
Where The Time of the Wolf (Le Temps du loup) differs from its many sci-fi cousins (which it externally resembles but somehow doesn't feel like at all) is in its minimalism and the rawness of the experiences it depicts, the sense of shock and confusion.
Haneke is a risk-taking director and this is a movie that's willing to appear disorganized and boring: that's the only way he can capture the true chaos of a world where the social order is breaking down, where there is no communication, no government, no sense of what will happen next.
The sheer chaos of civil disorder is conveyed in the film's structure by the way Isabelle Huppert (Anne) and her son and daughter Ben (Lucas Biscombe) and Eva (Anais Demoustier) merge into the crowd that gathers in a depot where people (including Béatrice Dalle, Patrice Chéreau and Maurice Bénichou) wait for a train to come and rescue them and no longer seem central any more.
In the course of the daily comings and goings of people at the depot the man who shot Huppert's husband at the beginning of the film appears, and in the absence of witnesses or judges, nothing can be done.
Because so many of the encounters are sudden and inarticulate, ideas aren't developed as fluently in The Time of the Wolf as in Haneke's last two films, Code Unknown and La Pianiste (2001).
But The Time of the Wolf is equally powerful and thought provoking and this stunning trilogy confirms the Austrian who makes films in French as one of the world's most brilliant and provocative directors.
I really liked this film, especially Isabelle Huppert, whose role as an average Parisian boheme-bourgeoise wife and mother is so totally different from her Piano Teacher, another great Haneke film.
Like in his film "Code Inconnu," Haneke gives us his version of the nightmares that are happening in the world.
However, the beauty of this film was, it somehow managed to let hope and warmth shone through.I think the reason some people didn't like it was because it forced you to face the truth.
This defies description in a lot of ways, sure it is set after the sewers of France have stopped working and all the water supplies have been polluted and I assume most of the world's population has died or failed to show up for filming but this seemed a little self indulgent for me, sure I like a thinking movie but this gave no reasons for anything, it seems a bit too open for me, I like a bit of a journey but this picked me up in the middle of nowhere, drove me through the middle of nowhere and you know where it dropped me off.
I certainly didn't and don't know how I stuck with this film until the end!By the way, if you are tender-hearted, PLEASE DO NOT WATCH THIS MOVIE.
Yes, they are cerebral, and a welcome change from the mindless movies with frat boys and fart jokes.Any chance to see Isabelle Huppert (8 Women, The Piano Player) is a good thing.It is a post apocalyptic world.
I'll be looking up the others.I do have a few remarks to make in the light of some of the negative comments posted here.If your benchmark for movie greatness is the pace of Indiana Jones and the Temple of Doom, or you require buckets of explicit gore, or explosions at five minute intervals, or you cannot survive in a cinema without a rock soundtrack, or you are not prepared to engage with credibly complex characters, simply don't bother to see this film - you will find it unbearably slow, quiet and boring.
This is not a movie made with a teenage dating audience in mind.I suspect that that this film will be more resonant for European than for American audiences, but if you want to see a director and a great ensemble cast try to convey the disorientating reality of social breakdown - and the necessity of acts of imaginative reintegration - with slow-burning intensity but without resort to melodrama, this is well worth your time..
I have seen two other Haneke films, La Pianiste and Funny Games, and being a fan of those I thought I'd give this one a look.
This was director Michael Haneke and star Isabelle Huppert's reunion, and it's a good film, but one that takes too long and isn't as good as it thinks it is.
"Time of the Wolf" is a pessimist and depressive view by Michael Haneke of a society without rules, basically the end of the civilization.
Hope that the world never comes to this point, probably is what many viewers will think watching this movie.
The interesting thing is that this is not hammered home by corny plotlines but comes out of the way the film is shot - no all-too-obvious lighting effects: we squint to see what's going on, as much in the dark as the characters.
Fire is to become a very important motif in the film.Haneke does not dwell on the reason for the "end of the world" because the theme of the film is to question how and why people our humanity makes us cling onto civil society and morals even when all appears to be lost.
Either way, almost uniquely for Haneke, what is an otherwise bleak film appears to end on a note of hope.A terrifying and un-sensationalized vision of how modern man, without the embellishments of modern day society, quickly reverts to a primeval hierarchy, barter and mythology but that we can saved by the essential humanity that lies within us all..
He looked like a reasonable guy who was able to keep his family together until the end of the movie.
I loved how Haneke had crafted a "quiet" film about the end of the world, the apocalypse.
But in the end it doesn't really matter as the cause of the catastrophe is not what TIME OF THE WOLF examines, it is how people deal with the end of the way things used to be.The performances are brilliant all around and I thought the film was very visually beautiful not despite but because Haneke shot it like a Dogme 95 film with only natural light and no fancy camera tricks.
Michael Haneke's films, though being sort of surreal at moments, never really dip into the world of fantasy.
A sort of practice that has been forgotten in the world of CGI.Speaking of characters, this film has plenty but don't spend time trying to get to know them. |
tt0073453 | Night Moves | Harry Moseby (Gene Hackman) is a retired professional football player now working as a private investigator in Los Angeles. He discovers that his wife Ellen (Susan Clark) is having an affair with a man named Marty Heller (Harris Yulin).
Aging actress Arlene Iverson (Janet Ward) hires Harry to find her 16-year-old daughter Delly Grastner (Melanie Griffith). Arlene's only source of income is her daughter's trust fund, but it requires Delly to be living with her. Arlene gives Harry the name of one of Delly's friends in Los Angeles, a mechanic called Quentin (James Woods). Quentin tells Harry that he last saw Delly at a New Mexico film location, where she started flirting with one of Arlene's old flames, stuntman Marv Ellman (Anthony Costello). Harry realizes that the injuries to Quentin's face are from fighting the stuntman and sympathizes with his bitterness towards Delly. He travels to the film location and talks to Marv and stunt coordinator, Joey Ziegler (Edward Binns). Before returning to Los Angeles, Harry is surprised to see Quentin working on Marv's stunt plane.
Harry suspects that Delly may be trying to seduce her mother's ex-lovers and travels to the Florida Keys, where her stepfather Tom Iverson (John Crawford) lives. In Florida, Harry finds Delly staying with Tom and a woman named Paula (Jennifer Warren). Harry, Paula, and Delly take a boat trip to go swimming, but Delly becomes distraught when she finds the submerged wreckage of a small plane with the decomposing body of the pilot inside. Paula marks the spot with a buoy, and when they return to shore, she appears to report the find to the Coast Guard.
Harry persuades Delly to return to her mother in California. After he drops her off at her California home, he still is uneasy about the case, but focuses on patching up his own marriage. He tells his wife he will give up the agency, something she has wanted him to do for a long time, but then he learns that Delly has been killed in a car accident on the set of a movie.
Harry questions the driver of the car, Joey, who was injured. Joey lets him view footage of the crash, which raises Harry's suspicions about Quentin the mechanic. He goes to the home of Arlene Iverson and finds her drunk by the pool, not particularly grief-stricken over the death of her daughter. Arlene now stands to inherit her daughter's wealth. Harry tracks down Quentin, who denies being the killer, but tells him that Marv Ellman was the dead pilot in the plane and that Ellman was involved in smuggling. Quentin manages to escape before Harry can learn more.
Harry returns to Florida, where he finds the body of Quentin the mechanic floating in Tom's dolphin pen. Harry accuses Tom of the murder, they fight, and Tom is knocked unconscious. Paula admits she did not report the dead body in the plane because the aircraft contained a valuable sculpture that they were smuggling piecemeal to the United States. Harry and Paula set off to retrieve the sculpture. While Paula is diving, a seaplane arrives and the pilot strafes the boat, machine-gunning Harry in the leg. The seaplane lands on the ocean, but when the pilot sees Paula surface with the sculpture, he charges the plane at her and she is killed. The impact of the pontoons on the surfaced sculpture shatters the seaplane, and as the cockpit submerges into the ocean, Harry is able to see through the glass window beneath his boat that the drowning pilot is Joey Ziegler.
Harry unsuccessfully tries to steer the boat which is now travelling in circles.
=== My Night at Maud's ===
An often quoted line from Night Moves occurs when Moseby declines an invitation from his wife to see the movie My Night at Maud's: "I saw a Rohmer film once. It was kinda like watching paint dry." The exchange from Night Moves was quoted in director Éric Rohmer's New York Times obituary in 2010. Penn himself was an admirer of Rohmer's films; Jim Emerson has written that, "Harry's remark, as scripted by Alan Sharp, is a brittle homophobic jab at a gay friend of his wife's." Bruce Jackson has written an extended discussion of the role of My Night at Maud's (1970) in Night Moves; viewers familiar with the earlier film may recognize that its protagonist and Moseby have related opportunities for infidelity, but respond differently. | neo noir, murder | train | wikipedia | Private investigator Harry Moseby (Hackman) has his hands full retrieving a teen runaway (Griffith) from the Florida Keys back to Los Angeles.
In Los Angeles, the private detective and former athlete Harry Moseby (Gene Hackman) is hired by the retired obscure Hollywood actress Arlene Iverson (Janet Ward) to find her 16 year-old missing daughter Delly Grastner (Melanie Griffith).
It is however one of Hackman's best outings - whether he liked it or not.Lots of great detail - the contrast between Hackman's study with the black and white TV where sports will kill his eyes and Yullin's tasteful home, which makes us share Hackman's loathing of the character, feeding dolphins, the glass bottom boat or the theatre viewing (which respects the different format of the two cameras for once.) The performances are consistently vivid, reflecting well on Penn, with soon to be stars Griffith (particularly memorable) and Woods running level with largely forgotten character people.
It stars Gene Hackman, Jennifer Warren, Susan Clark, James Woods, Melanie Griffith, Edward Binns, Harris Yulin, Kenneth Mars and Janet Ward.
Music is by Michael Small and cinematography by Bruce Surtees.Former footballer turned private detective in Los Angeles Harry Moseby (Hackman), gets hired by an ageing actress to track down her trust- funded daughter Delly Grastner (Griffith), who is known to be in Florida.
And that's the lasting reputation of the film, that it pulls off this kind of modernized noir world with originality.The director is Arthur Penn, who's great "Bonnie and Clyde" kicked off the shift into New Hollywood sensibility.
Hackman is the one great actor here, however, and if there's a key problem with "Night Moves," it's that he almost but not quite supports the film alone.
It also benefits from being from that new golden era of cinema, the 70s, where the films showcase a gritty side to characters, often played by some of the best anti-hero actors of all time -- Hackman, in this case.
A two-bit private investigator named Harry Moseby (Gene Hackman), who has problems with his wife, goes in search of a runaway sixteen year old girl.
Background music sounds cheap, canned, and nondescript."Night Moves" may be a great movie for fans of Gene Hackman, who does a nice job in his role.
All other characters orbit Hackman's character, and exist solely to give Harry Moseby a reason to exist.But I was more interested in the film's mystery element, and that was left muddled, convoluted, and poorly plotted.
About the best I can say for "Night Moves", apart from Hackman's good performance, is that there is some technically well-done stunt work near the end, involving a small plane on pontoons..
The plot starts in a rather straightforward way: We have a former footballer, Harry Moseby (Hackman), who now makes his living as a private detective, and gets hired on to what seems a standard missing person case.
As Moseby starts his investigation however, he realizes that nothing is as straightforward as it seemed; if you add the complication that his marriage has got into serious trouble, then you can realize that he is probably in a situation which he can barely handle...Although the plot is quite fascinating in itself, providing us with several twists until the very end, the secret of the film's attractiveness lies in psychology: Director Arthur Penn does a magnificent job in showing us how a beaming, full of dynamism and self-confidence Moseby, is getting entangled in a situation which progressively drives him to successive bottoms.
The film offers other good performances as well, including the young James Woods and Melanie Griffith who are in the beginning of their careers."Night Moves" is also full of subtle symbolism, with Penn providing us with plenty of arty material.
***SPOILERS*** Like the champion chess games that we see private detective Harry Moseby, Gene Hackman, play and replay in the film "Night Moves" the case that he's taken on to find former Hollywood starlet Arleen Iverson's, Janet Ward, 16 year-old runaway daughter Delly, Melanie Griffith, has a number of important moves that he, like the chess-masters who he's studying, completely overlooked.On the first night on the job on the Delly Grastner case Harry catches his wife Ellen, Susan Clark, leaving an art movie with the co-owner of her antique shop Charles, Ben Archibek, and takes off with a stranger (to Harry) the limping Marty Heller, Harris Yulin, and then make out with him in the back of his car.
The movie "Night Moves" unwinds slowly from an missing person case to a multi-million dollar smuggling operation involving Yucatan artifacts that has a number of Hollywood-types, who end up dead, involved in it.
Harry, who during the movie has an affair with Paula and at the same time gets Ellen to come back to him doesn't know what he up against and is slowly made to understand just who his friends and enemies really are in the film by all the chess pieces falling into place..
"Night Moves" is one of the better neo-noirs of the '70s, with Hackman in a similar role to the one Nicholson perfected in "Chinatown" the year before.I think the contribution that the filmmakers of the '70s made to film noir was to create a character who was as lost in the plot as we were.
What I missed personally was the lack of real confrontation between the detective and his "enemies", the characters of them were rather schematic.Most of the names within the movie do not require introduction even for current film lovers - Gene Hackman, Jennifer Warren, Melanie Griffith, James Woods, whereas the last two give pleasant and memorable supporting performances.
Gene Hackman plays former football player now private detective Harry Mosby who is hired by a former Hollywood star to find her wayward stepdaughter(played by Melanie Griffith) His attempts to locate her lead him to a shady mechanic(played by James Woods) and some Hollywood stunt men.
This proves to be far from a simple missing person case, even after he does locate her...because that doesn't conclude things, but instead leads to a bigger mystery, and a murder.Directed by Arthur Penn, this is an intriguing and solid mystery that doesn't unfold the way you would expect, leading to an exciting climax on the ocean between a boat and a plane.
And that's a real movie-making accomplishment, whether the story is taken as a murder mystery, a character study or an existentialist exercise.Anyway, if you don't mind looking through a glass darkly, this is the PI film to catch.(In passing—for those really into unlocking the puzzle, catch the thread 'Night Moves ending- huh?' on the Discussion Board.
Our subject movie title is a play on words involving a chess gambit using the "knight" pieces demonstrated by our PI Harry Moseby (Gene Hackman) during the course of the film.
(It's written by Alan Sharp who also scripted cult favourites like Peter Fonda's 'The Hired Hand' and Peckinpah's final movie 'The Osterman Weekend') Gene Hackman had made 'The Conversation' with Coppola the previous year, why 'Night Moves' isn't thought of as highly is a mystery to me.
A teenage Melanie Griffith understandably gets a lot of attention, as does her future 'Another Day In Paradise' co-star James Woods (looking very skinny and intense!) but there's also fine acting from lesser known performers like Jennifer Warren, Janet Ward, Harris Yulin and Susan Clark.
NIGHT MOVES (mystery-thriller, 1975) Private detective Harry (Gene Hackman) is hired by ex-model-turned-actress Arlene to find her missing 16-year old daughter, Delly (Melanie Griffith).
A tricky mystery ensues and Moseby has to rely on all his experience to solve it.Critique: Tough, sometimes confusing thriller packs surefire acting, direction (by Arthur Penn) that is reminiscent of the classic film-noir of 1940s and 50s crime flicks.
Gene Hackman plays Harry Moseby, a modern-day private eye in Los Angeles who is hired by a former-actress to find her runaway 16-year-old daughter.
Cited by many critics as one of the best and most important American movies of the 1970s, Arthur Penn's Night Moves hasn't stood the test of time in terms of popularity.
But no film has been as successful at cutting to the heart of what drives these self- loathing deadbeats and the manipulating bombshells distracting them as Arthur Penn's Night Moves.Private investigator and former American football star Harry Moseby (Gene Hackman) works freelance, preferring to gulp down coffees during long stakeouts on his own time than to be on the payroll of a larger agency.
A conversation with mechanic Quentin (James Woods) leads Harry to a thrill-seeking movie stuntman, and then to the Florida Keys, where he discovers Delly hiding out with her stepfather Tom Iverson (John Crawford), and a striking woman named Paula (Jennifer Warren).As a straight-forward detective story, Night Moves will likely divide an audience.
Surely a better film could have secured for Gene Hackman and director Arthur Penn.
What separated Arthur Penn's vision from that of Altman's down and dirty Marlowe or the successful private dick up against a huge behemoth of a case of Polanski's is that we get to know this character a lot better early on than we do in other detective movies and, notwithstanding the hazardous nature of the case at hand, feels grounded in a sense of reality that is uncommon to the genre.
Penn also realizes that it's not always about story but about mood; those Florida scenes are exceptionally staged, given moments of shock (the discovery of the body, not to mention the nudity right before it from young Melanie Griffifth) and those scenes in the night or in Harry's bed for a sex scene.
Even the way he'll place music in certain scenes is fascinating; what could be used as something to pump up the adrenaline for the fight between Harry and Tom with the Spanish music station is more like a subtle backdrop, meant more for the location than the actual physical event.While I'm also leaving out other great things about the technical side of the picture- Dede Allen's editing, which goes without saying how brilliant another end-edit job she does at the ocean/plane climax, not to mention the careful but firm handling of all the actors- Gene Hackman is most likely the best reason to seek out the picture.
It's not just his former football gig that mucked Harry up, but his inability to reach out to his father, or to his wife before it was too late, and we see this disconnect portrayed wonderfully by Hackman here, even in moments that might slip some viewers by like the 'Where were you when Kennedy...' question.I may have not spent too much time saying what the plot is about.
Leisurely paced, often tedious modern film noir, somewhat redeemed by fine performances (especially by Gene Hackman) and some admittedly well-handled scenes (the two final deaths in the movie are very memorable).
In "Night Moves", Gene Hackman plays Harry Moseby, a private investigator from L.A. who takes on the case of a missing daughter.
As he focuses on his cases, he misses the peripheral details of his own life and the clues to remedy the situation.The film's title is a variation on "knight moves", which refers to a famous chess game and implies that Harry might be more successful in life if he thought creatively (instead of getting bogged down in minutiae).Directed by Arthur Penn, "Night Moves" may not appeal to viewers who prefer traditional story arcs.
It features Jennifer Warren in her second big screen role, a young James Woods two years after "The Way We Were", and teenage Melanie Griffith in her first credited performance.
I mention this because viewers might wanna consider that when they are thinking about watching the movie.The story is about a rather earthy and non-glamorous private investigator, Harry Moseby (Gene Hackman).
Given a script which is at least competent, certainly fresh and bordering on perceptive in places - plus a largely excellent cast (poor Susan Clark is horribly miscast as the wayward wife, about as bad as you might expect Doris Day to be) - you'd think that the creator of Bonny & Clyde and Little Big Man would have done so much better with the tools at his disposal.Gene Hackman manfully keeps on trying to blow life into the lead character of Harry Moseby, and the script helps him do so, but the whole effort lacks conviction.
So that taught me something about good and bad editing.When young Melanie Griffiths appeared in her very first credited movie role, nailing her part with utter conviction, she made every other player look pedestrian, including the highly experienced Hackman.
You can enjoy "Night moves" as a simple thriller , but not only ending should suggest you that this is more of an art drama .Gene Hackman is superb as the rude detective .
When Arthur Penn's Night Moves was filmed, Melanie Griffith was sixteen years old and as beautiful a young lady as you would ever find on this planet.
Harry Moseby (Gene Hackman) is a terribly flawed L.A. private detective and former football star.
Harry and Paula are on a boat with Delly diving when she finds a dead man in a crashed plane.This is a lesser known gem from Hackman in the same era as his classic 'The Conversation'.
Much Admired Neo-Noir from Director Arthur Penn and Starring Gene Hackman and a Very Young and Very Nude Melanie Griffith in Her First Credited Performance.
But as he is able to locate people, Harry can divert from his marital problems.Harry's front man Nick (Kenneth Mars), who collects old Mexican statuary, leads him to frumpy alcoholic Arlene Iverson (Janet Ward), a most promiscuous and aging B-grade movie actress, to retrieve her 16-year old runaway stepdaughter Delilah "Delly" Grastner (an uninhibited 16 or 17-year old Melanie Griffith during filming).
One of the more interesting and overlooked mystery films of the 1970s is Arthur Penns' "Night Moves", a snappily written and neatly plotted (by Alan Sharp) concoction about Harry Moseby, played by Gene Hackman.
The relationships are well developed, with Hackman getting some good chemistry going with both Warren and Clark; the scenes with these performers tend to be the best in the film.
Although there's nothing remarkable about the investigation that follows, it soon leads into a complex mystery that involves a number of murders, a collection of suspicious characters and an investigator who's constantly baffled by the events that go on around him.Harry Moseby (Gene Hackman) is the down-on-his-luck, L.A. private detective who's hired by a former actress to find her promiscuous 16-year-old daughter, Delly Grastner (Melanie Griffith).
Gene Hackman shines in this excellent and hauntingly downbeat 70's private eye film noir mystery thriller gem.
Gene Hackman gives a typically fine and compelling performance as Harry Moseby, a former pro football player turned brusque and scruffy private detective who takes on the deceptively simple case of finding the brash and alluring 16-year-old runaway nymphet daughter (a very young and enticing Melanie Griffith in her first substantial film role) of a boozy, faded erstwhile actress (superbly played to bitchy perfection by Janet Ward).
If you want to see the reason that Gene Hackman is probably one of the best American actors EVER, watch "The Conversation", "The French Connection", "Unforgiven", "Hoosiers", hell almost anything other than "Night Moves".SPOILERS AHEAD!===========================================I wanted to point out two specific things that I found particularly terrible about this film.
Private eye Harry Mosby (Gene Hackman) in Los Angeles is hired to bring back the daughter of a former film star and has to go to the Florida keys to get her.
Since Mosby and his wife have reconciled earlier in the film, I think it's fair to assume that they will try to make a go of it together, rather than ending up dead or lost, like every other character in the movie.
The classic ending for every film that never had any real plot to begin with.I like Penn a lot and also just recently watched his Little Big Man, which I consider a masterpiece.
Hackman plays a washed up football player now working in a dead end job of a private detective in L.A. His wife is unfaithful, and he gets emotionally invested in a sleazy case that involves a runaway teenager.The setting shifts to Florida with another dreary subplot and miserable characters.
Somehow, the sleazy Los Angeles characters are linked to those in Florida, where a totally confusing ending takes place on a boat.Typically a competent film director, Arthur Penn seems like an amateur in this half-baked thriller/detective yarn.
NIGHT MOVES (1975) **** Gene Hackman, Susan Clark, Jennifer Warren, Ed Binns, Harris Yulin, Kenneth Mars, Janet Ward, James Woods, Melanie Griffith.
Little gem from the '70s with Hackman in top form as ex-athlete turned private eye Harry Moseby (great name), whose preoccupation with his disintergrating marriage leads him into a missing persons case involving a long-in-the-tooth B-movie has-been (Ward) whose daughter (a surprisingly young, comely Griffith) she wants found.
If you can look past the 70s mustache and Donald Trump comb over that Gene Hackman is sporting in this film, Night Moves is an enjoyable twist on the classic private eye story.Harry Moseby (Gene Hackman) used to be a pro football player.
Middle aged former movie actress Arlene Iverson (Janet Ward) hires Harry to track down her wayward 16 year old daughter Delly (Melanie Griffith).
That sets in motion a chain of events that sends Delly to her mother in Los Angeles but eventually leads Harry back to Florida to discover what's really going on
with murderous consequences all around.Being born in 1971, I didn't have much chance to see many 70s movies like Night Moves.
The story also creates a nice mix of the grown up, touchy-feely stuff between Harry and his wife and the rapid-fire pace at which the plot of Harry and Delly unfolds.Night Moves is a treat for all Hackman fans or anyone who likes their mysteries with more drama than melodrama. |
tt2383068 | The Sacrament | Patrick, a fashion photographer, receives a letter from his estranged sister, a recovering drug addict named Caroline, that invites him to visit Eden Parish, a utopian, drug-free community founded by a religious leader. When Patrick investigates, he discovers that they have moved to a new undisclosed location only accessible by helicopter. Intrigued by the mystery, Patrick's co-workers, reporter Sam and cameraman Jake, suggest a feature documentary on the topic. The trip goes well, but the helicopter pilot warns them that he will leave with or without them the next day; they promise to be prompt. Issues first arise when they meet the guides at the airfield. Expecting only Patrick, they are taken aback by a film crew; they contact Father, the Jim Jones-esq leader, who authorizes their entrance.At the commune itself, armed guards delay the entry of the film crew. Feeling uneasy, Jake and Sam begin to regret the trip, but Patrick is able to smooth things over when his sister appears. Caroline enthusiastically welcomes them and apologizes for the misunderstanding. Caroline leaves with Patrick, and Jake and Sam are given their own cabin. After settling in, the two attempt to find members to interview. Several of the people open up to them and tell stories of how Father has saved them and given them new-found hope. The commune's nurse, Wendy, reveals that the commune has a well-stocked medical center funded by donations from the members, who sold off all their possessions.Privately, the filmmakers express their skepticism but admit that the members seem happy and have accomplished much. Caroline arranges an interview with Father, and Sam prepares a list of questions. However, Father will only agree to do the interview during a public meeting. Father, an older Southerner, greets them warmly and at first answers the questions openly. However, his answers to further questions about the true nature of the community become more evasive and vaguely threatening. Near the end of the interview, Father raises the subject of Sam's pregnant wife, which Sam had mentioned earlier to Wendy. Taken off-guard, Sam fumbles and loses control of the interview, and Father politely but dominantly cuts it short with roaring applause from his followers, who proceed to engage in a party.During the party, Savannah, a young, mute girl, passes a note requesting help to Sam. When the filmmakers inquire further, they discover a dissident group that wishes to leave, alleging abuse and brainwashing. Jake does not want to get involved, but Sam insists that they help despite the fact that the helicopter can not fit them. When Sam and Jake attempt to locate Patrick, they find that he has been take aside for a threesome, and an inebriated-seeming Caroline explains that they need Patrick's money. Growing increasingly distrustful of Father and the commune, Jake and Sam anxiously wait out the night, unable to sleep.In the morning, they find that the dissidents have become outright rebellious. Sarah, Savannah's mother, insists that they at least rescue her daughter, and Jake returns to the helicopter to delay its take-off. The pilot flatly refuses to help, but gunshots cut the conversation short. Jake flees into the forest and circles back to the helicopter; the injured pilot tells him to get the others. At the camp, Sam attempts to break up a fight, and a guard attacks him. Caroline angrily denounces him, and he is taken hostage. Father convenes the commune and forces everyone to commit mass suicide by taking cyanide-laced drinks. Anyone who refuses is shot dead. When Jake returns to the camp, he finds almost everyone dead except for roving, armed guards.Patrick, also held hostage, panics when Caroline injects him with a syringe, and she holds him as he dies. When Jake finds her, she refuses to leave the camp, saying that she has nothing left, and she self-immolates. In another cabin, Jake finds Savannah and Sarah hiding; Sarah herself kills her daughter to spare her from execution, and guards shoot Sarah dead while Jake hides. When Jake finally confronts Father himself, he finds Sam bound to a chair. Father commits suicide, and the two filmmakers flee back to the helicopter, where they escape. | brainwashing, cult, horror, murder, dramatic | train | imdb | null |
tt0486655 | Stardust | Tristan Thorn (Charlie Cox) is the son of Dunstan Thorn and a captive princess called Una. The couple met only one night and fell in love instantly. Unfortunately, when Tristan was born, she was not allowed to keep him and instead sent him to live with his father. She put in his basket a "Babylon candle" and a letter to Tristan explaining everything.The story then jumps forward eighteen years to Tristan as a young man, in love with the prettiest girl, Victoria (Sienna Miller) in a small English town (Wall Village). He is desperate to bring her a newly fallen star by her birthday as that is the only way she will agree to marry him. He uses the candle to fly to where the star landed, which is not in England but in a magical land called Stormhold. Tristan soon discovers that the star is not what he expected. The star is actually a beautiful, immortal and spirited woman named Yvaine (Claire Danes). Despite this, Tristan is determined to marry Victoria. Tristan uses a silver chain that his father obtained while trying to free the princess to take Yvaine to England, promising to use the last of the magic candle to take her back to the sky afterwards.However, Tristan is not the only one seeking the star. Yvaine is in terrible danger because the surviving sons of the King (Peter O'Toole) are looking for her because only the jewel that she wears can secure the throne for one of them. Septimus, one of the princes, later finds out that a star's heart grants immortality. Septimus wants to devour her heart so that he can rule the kingdom forever. Additionally, the three witches known as "The Lilim" Mormo, Empusa and the eldest and the most powerful, Lamia (Michelle Pfeiffer) want her because they can recover their beauty and eternal youth by devouring the star's heart.As Tristan sets out to protect Yvaine and bring her back to Victoria at the other side of the wall his journey brings incredible encounters with the pirate Captain Shakespeare (Robert de Niro) and a shady trader (Ricky Gervais) among others. Yvaine and Tristan fall in love - Yvaine confesses her feelings to Tristan after the witch, Ditchwater Sal, turns him into a mouse, Yvaine not realizing that he can still understand her.After being changed back into a human Tristan is too woozy to continue the journey, and the two stop at an inn. Tristan tells Yvaine that he returns her love. While Yvaine sleeps, Tristan cuts a piece of her hair and goes back to England to tell Victoria that he no longer loves her. However when he tries to give Victoria the hair he finds that it has turned into stardust, or rock. He realizes that Yvaine cannot enter England and stay in human form and hurries back to the other side of the wall to find her.Unfortunately, he arrives too late. Una, having seen Yvaine solemnly head towards the wall, races to warn her. Lamia, too, heads towards the wall. The princess stops Yvaine just in time, but Ditchwater Sal, who's been keeping the princess captive, attacks her and drags her back to the cart. Lamia confronts Sal and kills her, which sets Una free. However, Yvaine and the Princess Una are both captured by Lamia and taken back to The Lilim's castle, Yvaine to be killed and the princess to be a servant.Tristan meets Septimus at the castle, and the two decide to attack the witches together. Septimus is about to attack Una when he sees that she is his sister, daughter of the King of Stormhold (the ghosts of the other six brothers are delighted to see her). Tristan, with the help of Septimus, manages to defeat Empusa, but Lamia kills Septimus.Tristan is forced to fight the prince's animated corpse and witches alone. Tristan defeats Mormo and the animated corpse of Septimus, and then confronts Lamia in a fierce battle. During the battle, Lamia nearly kills Tristan, but Yvaine, now knowing that Tristan really loves her, is able to unleash a powerful wave of light that disintegrates Lamia.Tristan picks up the jewel that Yvaine's been wearing. As it is restored to ruby red Tristan becomes the next king of the land of Stormhold, with Yvaine at his side as queen. Una, Tristan's mother, was the king's daughter, making Tristan the last male heir. It is stated that the two will live forever since Yvaine "gave" him her heart when she fell in love with him. After several generations pass, the two lovers use another Babylon candle, a wedding gift from Una, to return to the sky, where they become twin stars. And they still live happily ever after. | comedy, fantasy, gothic, murder, bleak, whimsical, cult, violence, cute, atmospheric, flashback, good versus evil, psychedelic, action, humor, romantic | train | imdb | I went to a small advance screening of this movie on July 19th, knowing no more than the names of a few of the actors and that it was a fantasy/adventure quest of some sort.The plot line really is nothing like I have seen, and a unique story is certainly appreciated with everything else that is currently in or coming soon to theaters.
And even though I might have known what was coming at points, I still couldn't bear to stop watching the screen; to my knowledge, not a single person left the theater during the entire movie.My one gripe is that there seems to be almost no marketing for this film, and as brilliant as it is I can't figure out why..
I wish the movie was doing itself as good press as it deserves!For anyone that loved The Princess Bride, Labyrinth, and other truly funny and original fantasy adventure, this is one of the great ones.
The 14 year-old in me is immensely happy that they're now able to make really good looking fantasy movies, and that they're all the rage, what with Lord of the Rings, Harry Potter and The Chronicles of Narnia making loads of cash at the box office.
(One of the witches is played by Michelle Pfeiffer, who does fabulous young-old transformations of looks and manner.) The 'good guy' they meet on their way is Captain Shakespeare (Robert de Niro).
I thoroughly enjoyed this movie and was drawn to its original plot (based on the Neil Gaiman novel which I am now looking to read) and colorful characters.One of the most striking things to me actually was how self contained the story is.
Unlike so many sci-fi fantasy movies out there right now which leave open-endings and such this was a pure fairy-tale, satisfying in and of itself with no need for a sequel.Original.
"A great film for all ages to enjoy, and the new THE PRINCESS BRIDE for this generation." Perhaps a bit lofty an assessment but I'm still confident that years from now, there will be the same "Oh, I love that movie," response to this as there is now for The Princess Bride.(Edited for grammar and stuff.
Michelle Pfeiffer was wonderfully wicked, Charlie Cox made Tristan come to life, Claire Danes gave emotion to the stars, and I will never look and Robert De Niro the same again.Acting - I give this component 10 points.
Stardust was a very good fantasy movie in the vein of the Princess Bride with its whimsical tone and romantic aspects.
Different from the book, but in a good way - less whimsical, more comical, still deeply sweet and enchanting.The special effects are absolutely spot-on, and make magic feel a natural and proper part of the world of Wall without being overtly spectacular and intrusive.Proper attention has been paid to storytelling and pacing, and the casting in the main is a triumph, with the ghostly Princes (whose roll-call read almost as a "Who's Who" of currently cool British comedy - Rupert Everett, David Walliams of Little Britain fame, two of the blokes from Green Wing etc) stealing most of the best lines and pretty much all of the films' funniest moments, which exist in abundance.
Ricky Gervais' cameo, for example, was far too much just "Ricky Gervais doing his usual David Brent from the Office comedy persona" for my liking, and in my opinion, created an unwelcome and jolting break from the magical spell of the progressing story (though in fairness, from memory I believe the Ferdy character in the original book WAS pretty "Ricky Gervais"-esquire when I think back on it)....But this is a minor quibble in an otherwise immaculately cast and scripted fairytale with a good mixture of action and romance.
Charlie Cox, as the protagonist Tristan, captures the correct mixture of naivety, subtle comedy and self-realisation required for a story like this where a "humble young boy embarks on life-changing quest"; Claire Danes as Yvaine is beautiful, feisty and just ever so slightly alien or ethereal, a perfect interpretation of her stellar role; Robert De Niro, in the cameo every reviewer is talking about, is indeed deserving of praise, rollicking good fun (looks like he's having a ball, too)...
As magically fairy-tale-like as The Princess Bride, Stardust is most definitely the most wonderful fantasy spectacle of the 2000's as well as the 1990's.
Exciting, hilarious and equipped with wonderful imagery as well as unforgettable characters, Michelle Pfeiffer and Robert DeNiro's especially, I challenge anyone to watch this movie without a smile.
Thankfully it's brief.Plot and Pacing: They've clearly gone for the in-joke feel of The Princess Bride here, which is a bizarre decision, seeing as this is a straightforward fairy tale whereas The Princess Bride is clearly a spoof.Not only is the tongue-in-cheek tone incongruous but it never truly feels like a true fantasy world for what I think is due to numerous references and locations.The plot is the standard chase film.
It's nothing new for this genre from composer Ilan Eshkeri.The standout easily is Take That's song Rule The World that plays in the end credits, capturing the warm romantic theme with aplomb.Overall: An entertaining romantic fantasy adventure that has charm and some good performances to help overlook it's lack of identity and inherent flaws.
While I don't consider myself a big fan of fairy tale movies, Stardust intrigued me based on seeing Michelle Pfeiffer in the trailers as a villain (especially since I was about to see her as the bossy Velma Von Tussle in Hairspray).
The story line is a bit odd and the whole wall thing is never really explained, but the execution is fine, even building up strong suspense.Charlie Cox plays Tristan, who falls for the wrong girl (Sienna Miller), and agrees to fetch her a fallen star ...
Another encounter involves the brilliant Ricky Gervais as a fast talking trader and that is good for a couple of laughs.Not your typical chase, coming of age, or fantasy film, but director Matthew Vaughn's ("Layer Cake") effort deserves an audience.
Claire Danes and Charlie Cox as the protagonists Yvaine and Tristan are entirely appropriately cast, and by the end of the movie you will fall pretty much in love.
Michelle Pfeiffer was perfect as the leading witch (she had a title, but I forget it).Overall a wonderfully rendered fairy-tale style film with few flaws with an epic score that will draw you into it's world and leave you with a sense of deep satisfaction and warmth.Hooray for decently made fantasy films!.
Meanwhile, three evil witches led by Lamia (Michelle Pfeiffer) seek Yvaine to eat her heart and make them young again, and the two sons of the dead king also search Ivaine because she wears the necklace with the powerful ruby."Stardust" is one of the most delightful movies that I have recently seen.
The engaging story has fantasy, adventure, romance, comedy, a clumsy hero, a nice heroin and evil villains with a wonderful screenplay; awesome direction of the director of "Layer Cake"; stunning cast and magnificent special effects.
But somehow, the lowered expectations helped in a genuinely satisfying experience."Stardust" is set more than a century ago and tells the story of Tristan (Charlie Cox), a young man from Wall, England, who sets out to the other side of a wall, to a magical kingdom, in search of the star that fell from the sky so that he can get the hand of Victoria (Sienna Miller) in marriage.
Add in the fact that Yvaine has found a diamond necklace at the site where she fell, which is the object of desire of two king-wannabes, who now has to find Yvaine to retrieve the necklace.What ensues is an old-fashioned fantasy film that plays more as a fairy tale for grown-ups, which while never reaches the heights of last year's "Pan's Labyrinth," succeeds in presenting a dazzling imagination and wry humor that keep you engaged during its running time.
The battalion of intersecting plot lines make for an overall uneven experience but co-writer/director Vaughn and co-writer Jane Goldman keep the proceedings lively with the script's banteringly amusing nature.Leads Cox and Danes generate genuine chemistry so much so that it's easy to categorize their pairing for a romantic comedy that all the more that calls to mind "The Princess Bride." The supporting cast that include Robert De Niro and Pfeiffer easily ham it up without going overboard.Overall, "Stardust" is a magical experience.
When I saw the previews for this movie I knew I'd love it but I had no idea how much I'd love it - This movie is so entertaining - A young man sets out on a quest to find a star to bring to his "Crush/Love interest" to win her hand in marriage - Little does he know, He is not the only one chasing the star - Brothers fighting for the throne are after it - and Some witches want the star - Michelle Pfeiffer, Robert Deniro, and Claire Danes - are the bigger names - And boy do they play their parts well (Especially Ms Pfeiffer) - Magic, betrayal, and love are only a portion of what's in store for you when you watch this movie - Trust me it's a must see - Very original and entertaining from beginning to finish -.
This fantasy-fiction adaptation has a similar bipolarity: The romance of Tristan (Charlie Cox) and Yvaine (Claire Danes) in a strangely magical kingdom just beyond the town Wall's wall is part naïve Princess Bride, part degenerate Pirates of the Caribbean, and a modicum of Lady in the Water.(Tristan has made a promise to his love that he'll catch a falling star by venturing over the wall into the kingdom.) Mind you, I enjoyed the childlike part and the raunchy in equal measure with a unicorn and a man turned mouse on one side and a pirate in drag on the other (Robert De Niro as Shakespeare).
The computer graphics are not the most stunning of the year (a positive condition for those of us surfeited with CGI)), the flying ship hardly realistic, but Michele Pfeiffer's aging body does show some sophisticated effects.Supporting the bipolar air of Stardust is Claire Danes in the titular role (Yvaine is a star landing on earth in the form of an attractive young woman).
Withing this setting the narrative holds no real surprises, and without giving anything away the moral line of Good vs Evil and True Love triumphing - or not as the case may be - is all to familiar to anyone who has any grounding in basic faery tales and fantasy fiction.Allowing for the constraints that the basic storyline gives the film, the film does allow its own elements to breath, and there are no strings left untied that I could see.The performances are all great fun, and all cast members seem to be really enjoying themselves, although there is one 'turn' that steels the show.
Of course, this didn't stop Tristan's dad from weaseling his way across years earlier; an event which led to Tristan's advent on the scene.Fixated upon winning the hand of the comely Victoria (Sienna Miller), Tristan pledges to cross the wall and bring back the remnants of a falling star seen shooting from the heavens into the land beyond, and from there Tristan's adventure begins.Upon arrival on Earth, the star takes the human form of Yvaine (Claire Danes) and her capture, by either the surviving sons of Stormhold's dying king (Peter O'Toole), or the evil witch Lamia (played with screen-eating aplomb by Michelle Pfeiffer) will yield the throne for the successful prince, or youth and immortality for the witch and her sisters.As Tristan's quest unfolds, he and Yvaine encounter a hoard of lightening-harvesting sky pirates captained by Robert De Niro, who practically steals the show with his comedic portrayal of a swash buckling swordsman with a secret passion for chiffon and the can-can - a performance that had me giggling like a schoolgirl throughout.Vaughn keeps the story moving forward at a brisk pace, never allowing things to get bogged down in sentimentality or overly drawn out scenes.
In many respects Stardust hearkens back to Rob Reiner's 1987 movie The Princess Bride which also managed to find the perfect blend of comedy, fantasy and romance and wrap it all up in an enchanting fairy tale that could be enjoyed equally by young and old alike.With cameos by Ricky Gervais (The Office), David Kelly (Waking Ned Devine) and Rupert Everett, Stardust will envelope you in its charms and leave you feeling like a child all over again and reassure you that the sense of wonderment and enchantment still glows, even within the hearts of jaded adults..
Michelle Pfeiffer was all right but I think her character also was built on "evil looks" and she is not that terrifying although the "inn scene" was great.These kind of movies must not be expected to be as gigantic and dramatic as The Lord of The Rings which is the prime example.
A wonderful cast reads like a Who's Who of contemporary British acting talent (with the exception of non-actor Gervais) so it was curious to see Claire Danes in the "star" role - she is neither English nor classically beautiful in the Fairy Tale sense.I must, however, give her 10/10 for her impeccable English accent - few things irritate me more than when American and British actors are cast as the other nationality, and I can think of no other actor from either side of the pond who has mastered the foreign accent better than Danes.
Indeed, so many of the supporting players give exceptional performances, that alone makes the movie worth watching.A lovely story, wonderful scenery and the odd if obligatory special effect combine with solid acting and directing to make this a must-see for all the family..
Stardust is an entertaining fantasy adventure film that has it all, and should appease any fan of the genre.Matthew Vaughn's second directorial effort is quite different from the work he did before and after it (the excellent Layer Cake and Kick-Ass, respectively), and it proves that he can make a good movie in nearly any genre.
If that movie's mix of action, humor, romance, and colorful characters (Robert De Niro has a ball as a rather unique pirate, and Michelle Pfeiffer and Ricky Gervais also steal every scene they're in) appealed to you, then you're in luck.
Despite the lackluster trailer and casting the unstellar-looking Claire Danes as Yvaine the Star , the movie came out as a well executed, entertaining adaptation of Neil Gaiman's book Stardust.It's wonderful how director/writer/producer Matthew Vaughn was able to sensitively add all the elements of fun, action, romance and suspense and still give the movie a GP rating.
I'm particular about movies depending on the very mood that I exhibit at any given time, but this film caught me completely off guard in its capability for both originality and level of surprise.After The Lord of the Rings, I thought that perhaps all we had to look forward to in the fantasy genre was for the Harry Potter series to finish its run.
I adore the book, I love Neil Gaiman, and I like fantasy movies.
Vindictive witches, a magical star that moonlights as a beautiful woman, seven brothers--all possible heirs to a vacated throne--picking each other off, a Medieval Las Vegas, a gate guardian who does kung-fu, flying pirate ships, wild swashbuckling sword play; this movie has it all.A great fairytale style adventure for adults, although a little too violent in places for kids.
Watch the film to recapture your childhood stories that were full of witches, princesses, princes, magic good and bad and above all love.
Throw in an evil trio of witches (led by Michelle Pfeiffer) looking for the secret of youth and the dastardly Prince Septimus and Tristran's simple act of crossing a wall, picking up a rock and walking back turns into an epic adventure of romance, swashbuckling and fun.By now, with all this talk of Unicorns and such like, there's bound to be a few people out there whose eyes are rolling at the thought of yet another fantasy adventure clogging up the screens, but Stardust has an edge on the competition.
The movie plays like a fairy-tale for adults, but at the same time, it subverts the genre, thanks to some brilliant writing, and some fantastic ideas and characters, brought to life by a stunning cast.Claire Danes as the star in human form is great, Michelle Pfeiffer (who hasn't been in movies recently), has great fun as one of the witches, Charlie Cox makes an appealing hero, Rupert Everett makes a small but memorable appearance as one of the kings sons hoping to be crowned king, but Robert De Niro steals the film with his turn as Captain Shakespeare a sky captain who catches lighting, while hiding a secret from his crew.
It has the perfect balance of fantasy adventure, humanist story and (very British) adult comedy.There are so many outstanding performances here but hats off to Deniro and Danes they are an absolute delight.Aside from the excellent effects and the stunning sets the real magic is the relationships between the characters - how they are written and played, it really captures your heart and stays in your mind afterwards.I left the cinema feeling like a five year old wishing I could find the chink in the wall.
This is one of the best films i have seen in years , a magical excellently written ,fairy type tale that has good performances from all the cast , with just the right amount of humour to lift the whole film , and make it special .
Wow.I just got back from a preview screening of Stardust, and I can't tell you enough how much I enjoyed it.Not since "The Princess Bride" has there been a film that blended humor, romance, action, adventure, drama, and fantasy so well. |
tt0078405 | The Toolbox Murders | A person is driving around Los Angeles at night, and a flashback shows a car wreck, an ambulance, and a little girl lying dead on a gurney. The car stops and a person grabs a toolbox from the trunk and heads to a two-story apartment building. The unseen person walks into an apartment, and the resident, Mrs. Andrews, walks out of the bathroom, letting the man know that she called a couple of day ago. The unseen man attaches a drill bit and heads towards the woman. The woman breaks a bottle and holds the fractured glass against him, but the man grabs her arm and drills into it. She runs to the bathroom and locks the door, but the man drills through the door, gets inside, and punches Mrs. Andrews. He carries her to the main room where he drills her to death while a record plays. He puts the bloody drill back in his toolbox, puts on a ski mask, and leaves the apartment.A little later, Debbie (Marciee Drake) returns to her apartment and changes clothes. She opens a door to get something in the hall closet and the ski-masked killer punches her out and carries her to the stop of the building complex stairs where he beats her to death with a hammer. He takes the body back into the apartment and places it on the floor. Maria (Evlyn Guerrero) another tenant, arrives at the front door to ask about the mess outside. When she gets inside, the killer keeps her from leaving, and stabs Maria to death with a screwdriver. In another apartment, the ski-masked killer sees a woman with a man, and avoids the room. An elderly woman sees blood at the top of the stairs and calls out to a man, and they both knock on Debbie's front door. The man opens the door and sees the two dead women.A little later, the police are on the scene and they speak with Van Kingsley (Cameron Mitchell), the owner of the building. They ask for a list of tenants, and he tells them that he screens all of the applicants. The next morning, teenager Laura (Pamelyn Ferdin) talks with her brother Joey (Nicholas Beauvy) and leaves for school with one of her friends.That night another one of the tenants, Dee Ann (Marianne Walter) is getting ready to take a bath and the humming ski-masked killer is outside with his tool box. He cuts the chain lock on the front door and walks into the bathroom where he sees the woman in the tub. Dee Ann sees the killer and jumps out of the tub and throws a towel at him. He shoots a nail gun at her but misses. He reloads and misses again. In the main room, Dee Ann tries to persuade the killer to put the nail gun down, but after a quick flash of the girl and the accident, the killer shoots and hits Dee Ann in her stomach. She leads against a wall and he fires the nail gun into her head.In Laurie's apartment, she is on the phone with her boyfriend when the killer walks in just as she is hanging up. He grabs her from behind and she struggles until she passes out. A little while later, Joey returns to an empty apartment and he gets a drink for his alcoholic mother when she comes home. They hear screams and run outside where the tenants have crowded around Dee Ann's apartment. The police led by Detective Jamison (Tim Donnelly) arrive where they talk to Joey and ask him where he was the last few nights. Joey, anxious to find his sister, heads to Mrs. Andrews' place where he sees Kent (Wesley Eure) who is there to clean up the bloody mess. The two discuss that wreck which resulted in the death of Kent's cousin Cathy. Joey says that he wants to know here Laurie is, and the two head over to Dee Ann's apartment. After looking around, Kent sees a bloody nail in the wall, and he surmises that the killer used a nail gun to kill Dee Ann. The two boys leave.Joanne (Aneta Corsaut), Laurie and Jody's mother, heads to her place of employment, a local bar, because she does not want to be home to think about the kidnapped Laurie. Joey and Kent drive to his uncle's house for cleaning equipment. In the garage, the see Vance who simply hands Kent some money and shuts the back door. The boys get some supplies and leave. Vance watches them leave and goes to the bedroom, where Laurie is bound and gagged on the bed. He brushes her hair and talks to her about his daughter Cathy and the evil world. He says that he killed all those women at the apartment building because they were evil. Laurie calls him 'Daddy' and asks to untie her. Vance says that he cannot lose her again and he leaves Laurie to cry alone.Meanwhile, Jamison goes to the bar to talk to Joanne about Laurie's disappearance, but does not seem to get any useful information from her. Kent goes to his uncle's place and sees Laurie there in bed and gently raps on the window. The next day, Joey goes to Mrs. Andrews' apartment, where Kent is cleaning the place. Jamison is looking out the window with binoculars. Jamison tells Joey that the killer forced his way into one apartment, but may have conned his way into the others. Joey asks if the killer had to con his way at all, and Kent quickly eyes the two. Joey leaves, gets his mother's car keys, and heads over to Vance's place. Inside the garage, he finds the toolbox and a bloody drill bit. Kent enters and tells Joey that he is crazy for believing that his uncle is a killer. Kent says that if there is anyone who can believe Joey's claims, the would be in so much trouble with his uncle. Kent throws some gasoline on Joey and tells him that he must protect his family. He lights some matches and throws one on Joey who burns to death.Kent walks into the bedroom where Vance is with Laurie, and he tells his uncle that he is sick and insane for keeping Laurie there and killing the other women at the apartment complex. Kent further agitates his uncle by saying that he and Cathy had sex on several occasions. Vance angrily chases Kent out of the bedroom and into the kitchen where Kent arms himself with a knife. Vance grabs the knife and the doll that he is holding loses its head. The deranged Vance screams: "you killed my Cathy!" Vance lunghes at Kent and onto the knife and falls to the floor. Kent picks up the doll, puts its head back on and cleans the blood off while Vance lies still where he fell.Kent returns to the bedroom and cuts Laurie's restraints with scissors. Laurie is overjoyed and thanks Kent and persuades him to call the police. Kent tries to kiss Laurie, but she turns away. Kent suddenly slaps her and climbs on top of her ignoring her screams as he presumably rapes her.A little while later at nightfall, Kent and Laurie are lying side by side in bed and Kent is talking about the possibly of marriage. Laurie asks about her brother and Kent avoids the question by saying that they will be together. Laurie apparently figures out that Kent may have killed Joey. Laurie turns and eyes the pair of scissors on the night stand next to her and grabs them.In the final shot, a benumbed Laurie, still holding the scissors and with blood splattered all over her white dress, slowly walks through a deserted parking lot of a local shopping center as she heads for home as dawn starts to break in the distance. | violence, cult, cruelty, sadist | train | imdb | And I LIKE horror folks.The first 20 minutes or so features a series of murders of young women by various items from a toolbox - drill, hammer, nail gun,etc.
(Maybe he's a country purist and is offended by their lack of Hank Williams?) Anyway, after that the movie rapidly gets duller and duller, a girl gets kidnapped, some inept cops investigate the murders and are baffled, even though you'll pick the killer as soon as you see him.
The great Cameron Mitchell is a masked maniac who kills the inhabitants with nail guns, screwdrivers & hammers, before kidnapping Laurie Ballard, a typical yet innocent 15 year old (played by Pamelyn Ferdin who is such a vegetarian that apparently she didn't even accept meaty roles).
Better than Tope Hooper's drab and lifeless 2004 re-make (or re-imagining, rather)Eye Candy: Marciee Drake gets topless; Kelly Nichols gets fully nude; and extra nudity in the DVD menus & Extras My Grade: B- Blue Underground DVD Extras: Commentary with producer Tony Didio, cinematographer Gary Graver and actress Pamelyn Ferdin; an interview with actress Marianne Walter (AKA Kelly Nichols); Poster & still gallery; movie poster reproduction; Cameron Mitchell biography; TV spot; 2 Radio spots; and Theatrical trailer.
The acting was, at the best of times, marginal and the plot...let's say it wasn't exactly ground-breaking: At the same time though I doubt that director Dennis Donnelly (who has also worked on episodes of 'Dallas' and 'Airwolf'...if I recall from my childhood) was attempting to change the world with the tale of a deranged Ski-mask wearing killer wielding, amongst other items, nail guns and chisels.
"The Toolbox Murders" opens with a string of brutal and bloody killings at a small apartment complex in Los Angeles.An unknown assailant wearing a ski mask kills various sexually active and 'lewd' women.The nude murder scene of Marianne Walter with a nail-gun is the most noteworthy and has to be seen to be believed.Unfortunately after four gory and misogynistic murders the film becomes pretty tiresome kidnap/captivity/detective psychodrama.Come on!The first half of "The Toolbox Murders" blew my mind with its sleaze and unflinching violence.The climax is also disappointing and abrupt.The acting is good with excellent central performance of Cameron Mitchell as the Toolbox Slasher.Overall,"The Toolbox Murders" is a solid exploitation sickie.A must-see for fans of "Maniac","Don't Go in the House" or "Born for Hell".8 out of 10..
Cameron Mitchell stars as Vance Kingsley, the owner of an apartment building who kills "sinful" women (using assorted tools, of course) who commit "unatural acts." He then kidnaps a teenaged girl (Pamelyn Ferdin, who's wonderful) to replace his own deceased daughter.What a mess!
His weapon of choice is whatever he pulls from his toolbox.Dennis Donnelly paces the killing spree nicely as the killer taunts his victims before he drills, hammers, screws, and nails them (yes, I got the blatant symbolism).
I think the only actress that would dare do this at the moment is Milla Jovovich.Sadly, the movie then stalls a little as it changes from murder to a mystery as our bad guy kidnaps a girl, then it's about finding her as well as the toolbox man.
The original "Toolbox Murders" isn't a bad exploitation movie but it's far from achieving classic status.
Dennis Donnelly's low-budget grindhouse film moves quickly once the opening credits have finished - we are shown a series of violent attacks in an apartment block on a number of attractive women.
Accompanied by a funky '70s soundtrack, the gore sequences aren't memorable in the way that they are in a good "Friday the 13th" installment but the scenes are shown in such rapid succession so there's no time for boredom to set in.Sadly, the film runs out of steam towards the end.
Much decried 70's gore/sexploitation flick, most often noted only as a misogynistic opus, does (in fact) actually have some interesting views on the psychology of loss and dementia.At a Californian apartment complex, one dark night a masked intruder stalks the building and violently murders several of the female tenants.
After the lengthy opening murder spree, the film settles down into something more like an Italian giallo feature, with the police following red-hearings and the violence (while still very brutal) comes in mostly quick bursts.A note on the violence; yes, it is very bloody and yes, it is almost exclusively targeted at women.
The murders also take on a sexual nature in that a couple of the girls are done-in while in partial or full undress; on one occasion, the killer waits until a girl has finished masturbation before doing his thing.It isn't until the final 3rd of the film that is begins to develop into something more than cheap exploitation.
Unfortunately, after several effective, gruesome deaths (which all take place in the first 15 minutes of the film), the movie becomes another one of those "God-made-me-do-it" cheese-fests, where the killer justifies his madness by citing his strict religious upbringing (which might be THE most tired cliche in the Mad Slasher Handbook).
Essentially, however, this is an artlessly made (there's no style to the killings, although the weapons used - like a nail-gun and a screwdriver - are fairly original), rampantly misogynistic horror film with no redeeming qualities whatsoever.
The fact that we get to know who the killer is pretty early on in the movie (the hairy arms gave it away) also takes away a lot of the tension and mystery atmosphere of the movie.Even though the movie gets gory in parts, I mean the murders are being committed with the contents of a toolbox, how can it not be gory but it's just never really shocking.Still fans of this sub-genre will probably most likely still enjoy and appreciate this movie.5/10http://bobafett1138.blogspot.com/.
The film details the murders of "sinful" women who perform "unnatural acts" by a madman who has recently lost his own daughter.It has been said that Cameron Mitchell's performance is "over the top", but I don't believe so.
The opening sequence, which sees a young woman butchered with a drill, gives way to an even better scene where we watch a hot naked chick killed with a nail gun.
But for some reason, the film doesn't follow these scenes up with anything similar in quality, and after the good opening; The Toolbox Murders becomes rather routine.
When a young man's sister is kidnapped, he decides to track her down himself and after being asked for advice by the police(?), we get treated to the discovery of the identity of the not so helpful repair man.Considering the huge amount of potential this had to be one of the truly great slasher films, The Toolbox Murders is a huge letdown.
The Toolbox Murders (1978)** (out of 4) Notorious horror film has a couple young men trying to solve a grisly series of murders that have happened at the same apartment complex.
The death scenes are graphic at times with the most famous one being the bathtub/masturbation sequence with Kelly Nichols, which certainly packs a strange punch.What really kills the film is that it switches to a mystery/detective film and it falls apart.
terrible flick is boring awfully acted and non shocking i the dialog is horrible it has a bit of dubbing and its not really that entertaining and not gory either i expected a gore fest but what i got was a lousy piece of pathetic trash of a flick Cameron Mitchell is the only strong actor in this the others are laughable the script has lots of problems for example are we really supposed to care about any of these characters and care if they die and this is also badly written and the whole thing feels kinda rushed this could have been a shocking little flick bur it instead it is a boring stupid waste of film that should have never been made trust me folks stay from this one it's a stinker there is one good thing though a somewhat decent ending and a solid performance earn this * Out of 5.
Plenty of nudity, at times it felt more like a soft porno then a horror, it does nothing to enhance the film, I'm sure it was done purely to get audiences.So I've slated it, but I couldn't switch it off for some strange reason, I had to stick with it, the conclusion is pretty shocking, but satisfying in a way.Not one I'll repeat watch, but I'm glad I've finally seen it.
A ski-masked maniac kills apartment complex tenants with the contents of a toolbox.Blue Underground does a great job of bringing forgotten movies to the mainstream, and making them look good in the process.
Likewise, the slasher movie elements end and settles into a police procedural rut with a subplot between the lead detective and her mother which ultimately goes nowhere as her brother plays amateur sleuth when he agrees to clean the crime scenes, ultimately turning up evidence in the case but is altogether ignored with most of his findings being dismissed until the finale when it becomes altogether obvious.
With the inept Jamison refusing to believe it's kidnapping, Laurie's brother Joey (Nicolas Beauvy) starts to investigate the disappearance along with Vance's nephew Kent (Wesley Eure).Traditional gore-hounds tend to turn their noses up at this movie, as after the extremely bloody opening half an hour, the film grinds to a halt and spends time developing it's somewhat tedious plot and characters.
The Toolbox Murders is one of those early pre date slashers that came out even before Halloween and has become well known among slasher fans due to it's entry on the Video Nasty list back in the 1980's, This is a film that I have seen many times, I dunno why I've never reviewed this movie before, no reason just never got round to it."The Toolbox Murders" starts out with a bang, as we get too see various sexy looking women getting murdered in an apartment building, (dunno why people still live there why don't they just move) not that it's a bad thing, just adds extra cheesiness.
And when it comes to the final moments of this film it does kind of fall flat as it tries to be shocking, which does work in a way.The performances in this movie are quite strong especially from veteran actor Cameron Mitchell who gives a chilling yet convincing performance that's rather menacing and yet quite engaging.
Eventually (SPOILER ALERT), we come to realize that the murders are being committed by the hotel's manager (Cameron Mitchell), who is targeting "immoral" young women as his victims.It seems that his daughter was killed in a car crash after having gotten involved in sex and drug related activities.
The film is about women in a Los Angeles apartment who are stalked and murdered by a ski-masked killer with various tools.
The first thirty minutes of the movie is just basically a bunch of women in a Los Angeles, California apartment complex getting murdered with contents of a toolbox (hammers, drills, screwdrivers, nailguns), and it is pretty graphic.
But hey, at least they tried something new, not many horror films get the deaths over with so quickly and focus more on the solving of the crime and the killer's captive.I saw this film on DVD, so it included some cut footage that I guess had been banned (I'm assuming it was the bathtub scene and maybe some extra gory shots of the murders - it was a pretty violent slasher film).
Here's a little tip for those unfamiliar with Mitchell - if you're watching a horror movie from the 60s or 70s and Cameron Mitchell shows up, expect him to go nuts and start killing people.
It twists the genre on it's head and gives it an entirely different angle on female roles in horror.The film starts with some suitably gory murders, seemingly setting the stage for a by-the-books slasher movie.
(SPOILERS) She eventually is capable of saving herself; no man is needed.The direction is fine, the acting is okay for a low-budget '70's horror movie, but the uniqueness of this film is its greatest quality.
Spoilers!THE TOOLBOX MURDERS is one nasty little horror film.
In what Stephen King called his favorite death scene in a horror movie, the girl runs around the apartment completely nude, barely avoiding the flying nails.
This is slasher movie pop-art.Similar to how the only thing people talk, or remember, about "Trilogy of Terror" is the Zuni Fetish Doll, the opening cascade of misogynistic gore is all anyone remembers about "The Toolbox Murder." It's far to say the fame peaks early.
Marianne Walter, better known as veteran porn actress and makeup artist Kelly Nichols, has a memorable bit as a victim who pleasures herself in the bathtub (to the strains of a touching country ditty dubbed "Pretty Lady") before the Toolbox Murderer comes calling.Basing itself on some supposedly "true story" (as text at the end indicates), this is undeniably entertaining stuff for those with a taste for the sick and seamy, and it just grows more and more grim as it goes along, accompanied by an incredibly haunting score by George Deaton.
Having stated in other reviews I've done that I'm a big fan of slashers and a collector of horror movies, it was pretty obvious, The Toolbox Murders was on my to-review list.
There's somewhat of a happy ending too.The Toolbox Murders is just one of these movies where if one little thing had of been left out, it wouldn't have been really worth the watch.
In the film, Cameron Mitchell plays a really wacked-out killer stalking women he views as "sinful" and sadistically punishing them with murder by various types of garage tools.
This late 70s exploitation slasher film begins brilliantly with a series of murders done by a man dressed in black with a ski mask, using tools from a toolbox to kill his victims in different ways.The first part of this film alone goes well with other slasher films of the 70s and 80s but unfortunately half way through the film, you find out who the killer is and most of the time after that you pretty much have him talking to a girl that he kidnapped and tied up on a bed.
I like the fact that director Dennis Donnelly employs a nontraditional storytelling formula (at least for the horror film) here; it makes "The Toolbox Murders" oddly compelling, if not consistently interesting.
The movie shifts from the deadly seriousness of the murders and Pamelyn Ferdin's abduction to Nicolas Beauvy and Wesley Eure awkwardly exploring the apartments where the killings occurred, and this portion of the film bears more resemblance to an episode of "ABC Afterschool Specials" than anything else (which I'm sure was not Donnelly's intention).
The considerable strength of "The Toolbox Murders" lies in its early scenes; after that, it really becomes a different movie, and not a particularly good one.
This sick little number has all the poise and artistic elegance of a porno flick, but some truly shocking and memorable sequences and the haunting image that ends this film leave the viewer feeling genuinely disturbed and unnerved, making The Toolbox Murders a movie that ultimately presents its uncompromising vision adeptly.The film is flawed on many fronts, and at times tedious, so this certainly isn't a candidate for the "classic" category.
Yeah, it doesn't feature wall to wall gore and the 7 minute body count like later films such as Maniac and Friday The 13th and the ensuing arrival of the notorious slasher in the early 1980s and the toolbox murderer takes no more female victims after the first half hour but this vintage exploitation sleaze left a wonderful taste to my palate.
But at it's heart The Toolbox Murders is pure exploitation of the kind which simply doesn't get made anymore, female masturbation, barking mad psycho's with silly motives, a totally bizarre twist ending that comes from nowhere, some gory & brutal murders looking like it was all filmed on a budget that probably wouldn't cover Tom Cruise's cigar bill!
There is some good gore here with a woman being killed with a drill, one has a hammer whacked into the top of her head, someone is stabbed with a screwdriver & the famous nail-gun murder along with someone being doused in petrol & being set on fire & a stabbing, all of these scenes are drawn out, bloody & pretty brutal looking.
30 minutes in, and The Toolbox Murders is shaping up to be one of the greatest exploitation movies in cinema history: four sexy women, all living on the same apartment complex, are violently butchered by their power-tool wielding, ski-mask wearing landlord (Cameron Mitchell, playing yet another nut-job).
After all, he doesn't want her ending up like all of the 'wicked' women that he has been disposing of, does he?From this point on, the film becomes much more of a psychological horror/suspense movie, as a terrified Laurie lays bound to a bed whilst her brother Joey (Nicolas Beauvy) tries to find out what has happened to his little sis, with the 'help' of Kent, his nutty landlord's equally nutty nephew.And although nothing in the latter part of the film quite matches the grisly sensationalist and misogynistic action to be witnessed in the opening scenes, Donnelly doesn't entirely forget that this is an exploitation flick, and sees fit to include a rather nasty moment in which Joey is burnt to death, and another which sees poor Laurie raped by her brother's killer (this occurs off-screen, but still leaves a nasty taste in the mouth).The Toolbox Murders is a classic grind-house slasher which I thoroughly recommend to like-minded gore-hounds and lovers of trashy horror everywhere.
There is an explanation to the motives of murderer - quite pointless in this kind of movie.Music creates interesting contrasts especially in the opening sequence.Not the best of its genre but I would say worth seeing if you like weird horror. |
tt0098084 | Pet Sematary | The Creed family moves from Chicago to the small town of Ludlow, Maine. They end up befriending their elderly neighbor, Jud Crandell, who takes them to the isolated pet cemetery (misspelled "Sematary") behind the Creeds' new home.Later, Louis Creed is working at the University of Maine when a young student named Victor Pascow is brought in with severe injuries from a car accident. The young man dies, but not before warning Louis (by name) of the pet cemetery. That night, in what is seemingly a dream, Victor visits Louis, warning him about the burial ground beyond the pet cemetery. Louis wakes up to find his feet covered in dirt.Church, a cat owned by Louis' daughter Ellie, is killed by a truck on the road in front of their house while Rachel, Ellie and Gage are in Chicago. Jud takes Louis to an ancient Micmac Indian burial ground, the "real cemetery", to bury the cat. Louis asks if a person was ever buried in the grounds. Jud replies, "Christ on His throne, no. And whoever would?" Church comes back that night, but an evil shell of himself, attacking Louis and smelling of death.
Sometime later, Louis' young son Gage is killed by a truck on the same road. Louis considers burying Gage in the burial grounds. Jud tries to dissuade him from doing so, telling him about a young man from town, Timmy Baterman, who died in service during World War II. Timmy's father, Bill, placed his son's corpse into the Micmac burial ground, only to have it reanimate and terrify the townsfolk. Jud and three of his friends tried burning down the house with the son in it, but Bill was attacked by Timmy and they both perished in the fire.Rachel begs Louis to go with her and Ellie to Chicago, but he declines. Louis heads to the cemetery Gage is buried in, intending to exhume his son's body. He is met at the graveyard by Pascow, who warns him not to proceed.
On the flight, Ellie has a nightmare, stating that "Paxcow" warned her that Louis is going to do something really bad, and that he is trying to help because Louis tried to save his life. Rachel realizes who her daughter is talking about and calls Jud after Louis does not answer the phone. She asks if he has seen Louis, and then tells him she is returning. Jud warns her not to, but she has already hung up.Louis takes his son's corpse to the Micmac burial ground. Pascow's spirit unsuccessfully tries to stop Louis. Louis returns home, exhausted from his activities. Gage later arrives and enters his father's room, removing a scalpel from one of his bags. Gage enters Jud's house and kills Jud while Church watches.
Rachel arrives home, hearing something that sounds like her late sister, Zelda, calling her name, then Gage's laughter. Rachel enters Jud's house and finds Gage in an upstairs bedroom. Gage tells her he brought her something and shows her Louis' scalpel. Rachel hugs her son in disbelief and is murdered.
Louis wakes up to find Gage's muddy footprints on the floor, his doctor's bag open and his scalpel gone. He receives a call from Gage saying, "Come play with me daddy! First I played with Jud, and then I played with mommy. We had an awful good time. Now I want to play wiff yewww."Preparing shots of morphine, Louis heads to Jud's house, running into Church once more. He distracts the cat with a raw steak, then kills him with a shot of morphine. He heads into the house, once more taunted by Gage. Louis searches the house only to have Rachel's corpse fall from the attic, hanged by her neck. Gage attacks his father, but Louis injects the boy with a morphine shot, killing him. Louis soaks the house in kerosene and sets it on fire, carrying his wife's body out. Pascow watches, and tells Louis he is sorry, and not to bury Rachel in the same place. Louis replies that he waited too long with Gage, and that it will work with his wife because she just died. Louis walks through Pascow, who vanishes screaming.At home, Louis plays solitaire while he waits. At midnight, Rachel comes through the kitchen door. She coos "Darling..." and the two embrace kissing as it is revealed that her face is ravaged and oozing cranial fluid. Rachel reaches for a steak knife on the kitchen table. The screen blacks out as Rachel stabs him while Louis screams. | psychological, gothic, murder, cult, violence, horror, flashback, suspenseful | train | imdb | Mary Lambert does a great job with this film and manages to bring across King's creepy story pretty well.
This scary and rather gory adaptation of Stephen King's great novel features outstanding central performances by Dale Midkiff,Fred Gwynne(who sadly died few years ago)and Denise Crosby and some really gruesome gore effects.Director Mary Lambert has a wonderful sense of visual style,and manages to make this one of the few versions of King's work that is not only worth seeing,but genuinely unnerving.The depiction of the zombie child Gage(Miko Hughes-later in "New Nightmare")is equally noteworthy,as what could easily have been a laughable character is made menacing and spooky.As for the people,who think that this one isn't scary-watch it alone in the dark(eventually with your squeamish girlfriend)and I guarantee you that "Pet Sematary" will creep you out.Some horror movies like this one or "The Texas Chain Saw Massacre" shouldn't be watched in group.Recommended for horror fans!.
In the trivia section for Pet Sematary, it mentions that George Romero (director of two Stephen King stories, Creepshow and The Dark Half) was set to direct and then pulled out.
One wonders what he would've brought to the film, as the director Mary Lambert, while not really a bad director, doesn't really bring that much imagination to this adaptation of King's novel, of which he wrote the screenplay.
There are of course some very effective, grotesquely surreal scenes (mainly involving the sister Zelda, likely more of a creep-out for kids if they see the film), and the casting in some of the roles is dead-perfect.
But something feels missing at times, some sort of style that could correspond with the unmistakably King-like atmosphere, which is in this case about as morbid as you're going to get without incestuous cannibals rising from the graves being thrown in (who knows if he'll save that for his final novel...) As mentioned though, some of the casting is terrific, notably Miko Hughes as Gage Creed, the little boy who goes from being one of the cutest little kids this side of an 80's horror movie, to being a little monster (I say that as a compliment, of course, especially in scenes brandishing a certain scalpel).
But there are some other flaws though in the other casting; Dale Midkiff is good, not great, as the conflicted, disturbed father figure Creed, and his daughter Ellie is played by an actress that just didn't work for me at all.In terms of setting up some chilling set-pieces, only a couple really stand-out: a certain plot-thickening moment (not to spoil, it does involve a cool Ramones song), and the first visit to the pet sematary (the bigger one), including the sort of mystical overtones King had in the Shining.
Jud tells Louis Creed that when you bury a human being (or any kind of pet) up in the burial ground, they would come back to life.
Pet Sematary delivers great scares, some pretty good acting, first rate plot, and mesmerizing make-up.
Once upon a time, Stephen King novels and short stories were adapted to the screen and told by top notch directors using A-list actors.
Mary Lambert created several stylish music videos for Madonna, but I'm afraid her direction on Pet Semetary shows her inexperience.Dale Midkiff, familiar for his appearances in cinematic and episodic television, mumbles and drawls his way through a very poorly drawn character.Denise Crosby, the wife/mother, is a favorite of mine from Star Trek - The Next Generation (Tasha Yar).
A couple of days later, Church returns, alive, but from hell.This movie was one of two horror movies that could actually scare me, aside from "The Exorcist." The greatest performance would ever be Zelda, Rachel's sister with spinal meningitis, or Victor Pascow, a ghost who tries to help the Creeds from making the mistake of bringing back things from the dead.The music in this movie plays an extravagant part.
However, when the family cat is hit by a truck, Louis doesn't want his daughter pained about the death of the cat she loves and Judd knows this, so he tales Louis beyond the 'Pet Sematary' to an old American Indian burial ground and miraculously the cat is revived, but it is not the same old friendly cat...
Dark as dark can be, surprising non-hollywood ending, terrifying atmosphere, amazing book adaptation, outstanding cast, educational (don't play with afterlife), in short - everything an excellent horror should be...My favorite horror movie, straight 10+..
The Creed family formed by the father , a successful doctor named Louis Creed (Dale Midkiff) , mother (Denise Crosby) and two sons has moved to a little community, at Maine place , but shortly after they move , their son is murdered by a great truck that thunder pass near his newly purchased rural home .
The father learns by a neighbor (Fred Gwynne) that there is a graveyard where you can bury your loved ones , and then he plans come back to life his kid ; as he attempts to revive his three-years-old little boy with the magical resurrecting qualities of an Indian burial ground .
I am a fairly big fan of most of the films that have been based on Stephen King's books - this one rates as one of the scariest and most memorable.I have just finished rewatching it for about the tenth time and I still find it heart-wrenching as well as scary.The scene where Gage is on a sure collision course with the monster truck is one which stands out.
Pet Sematary is my single favorite King book with The Shining and Carrie being numbers 2 and 3 respectively, both of which were made into real winners of films, but this one is a steaming pile.
When he's in top form he really shines, but when he's having an off period, well, he writes screenplays like "Pet Sematary." Maybe the novel was better.In this flick we are introduced to Louis and Rachel Creed (Dale Midkiff and Denise Crosby), the east coast's, maybe even the world's stupidest, most irresponsible and neglectful parents/pet owners.
Anyway, long story short, after their daughter Ellie's pet cat Church gets run over by truck, helpful Jud tells Louis (in confidence) to accompany him to the conveniently located local Indian burial ground (hey, didn't the idiots in `Poltergeist' have one of these literally damned things underfoot also?).
I won't spoil the rest of the fun (?), but suffice it to say these Indian burial grounds are a real pain in the ass for the unlucky schmucks who mess with them.All this, plus a flashback or two featuring Rachel's Amanda Plummer-like dead sister Zelda (played by a guy) who croaked of spinal meningitis, some visits to Louis by this Casper the friendly, recently departed college kid ghost and you've got what is at best an unintentionally funny comedy film.
Pet Sematary is a late-eighties adaptation of Stephen King's horror novel, and King himself wrote the screenplay for the film.
The main plot concerns an ancient Micmac Indian burial ground close by, which has the power to make the dead living again, albeit as horrible zombies.In my opinion, Stephen King movies usually works very well as mini-series because the characters are more fleshed out and their inner lives are explored more thoroughly.
There's no time for this here though, so the characters feels a bit hollow and we don't get to know them all that well.Relative unknown Dale Midkiff and Denise Crosby lead the pretty anonymous cast, the best acting performance of the movie is Fred Gwynne as old-timer Jud Crandall.Overall, this plays pretty much like a standard horror flick, more or less, with average acting but with a better-than-average script and it builds tension well.
Another in a long line of comic book creep shows by Stephen King presents a typical American family (mom, dad, two cute kids) whose new house in rural New England adjoins an Indian burial ground where nothing stays buried.
Moving to a new home in the Maine countryside, a man finds a special burial ground behind his house and tries to use it to save his family only for things to take a wrong turn when the returned beings aren't the way they were before.A rather curious affair, as this one's reputation tends to make it far better than it really is and seems to have gotten by based on rather dubious merits.
Rather, taking Pet Sematary at face value, it's a good story: young doctor and family move to Maine, meet a wizened neighbour, but then get into trouble because the ground is sour.
She should've been frigid, but they have two children....Stephen King stories, like the films of Harold Ramis, often suffer from the same debilitating problem: unraveling, cheesy plot and/or effects at the end.
When his young son gets killed by a truck, Louis dares to break the barrier once more.Director Mary Lambert doesn't have quite the vision to bring some style to this Stephen King story.
Glad he did because it provides a very solid grounding for horror and deals with the very real horrors of overwhelming grief.The film gets the tonal flows right, the family dynamic is neatly pitched in readiness for what is to come later, the house and the titular Pet Sematary of the title are eerie personified, and Fred Gwynne is on hand for a sage old characterisation.
After the death of the family cat, the doctor's neighbor lets him in on a secret: there is a sacred Indian burial ground where buried pets come back to life.
We all know that burying things in the sacred ground will bring them back to life, and that's without even having to see this film.There is much good to say about this one: an amazing talent in Gage Creed, the little boy.
Howard Maxford is considerably more critical (as usual -- he is the most negative horror critic I know) and says it is "over-extended" and could have made a good half hour of television.Stephen King has made some good films and some bad ones (how much this is his fault or the fault of the directors is debatable).
Stephen King is my all time favourite horror author, I love all of his books that I have read, Pet Sematary is one of them.I thought they did well with the film.
I understand because it would make the film 5 days long.I also realised that made the film a lot more graphic than the book.Stephen King did an excellent job writing the book and doing the screenplay, Mary Lambert did well at directing the film.They make a good team together..
Homeowners Dale Midkiff and Denise Crosby discover, much to their chagrin, that things buried in an Indian burial ground behind their property will return to life in this exceedingly lame adaptation of perhaps Stephen King's most chilling bestseller.
You want a good horror from Stephen King, try 'The Dead Zone' or 'The Shining'.
When Louis comes face-to-face with tragedy, he learns of a mysterious place beyond the pet cemetery, an old Mic Mac burial ground that holds mysterious powers.The biggest problem is easy to pinpoint: Screenplay by Stephen King.
We have the Creed daughter experiencing psychic visions (it wouldn't be a bad Stephen King movie without those), a friendly ghost that tries to influence Louis, back story between Louis and Rachel's father, Rachel's tragic past and family drama time.
That sounds like a good idea, but when you don't care about the characters, it's impossible for the film to be effective.I really wanted to give this movie a shot, but I found so many things that bothered me about it.
"Pet Sematary" is not; overall it's a big mess and you might remember it being scary and disturbing but that's only because you're remembering a few key scary scenes, which come at the very end of the movie and are actually better taken out of context.
that one horrifying scene with zelda goddamn....enough said that scene can give the most toughest movie watcher nightmares for eternity.I mean judd's words ," you know louis sometimes dead is better" those words are like very chilling.the whole scene with gage dying was very upsetting yes he has lost someone he truly loves and judd telling him about the burial ground.
he lost his mind and had to bring little gage back wow very awesome film sad to hear about Fredd G's Death he was an awesome actor and yes HE PLAYED THE PART VERY GOOD IN THIS MOVIE..
You will need it when you try to figure out why anybody would put money into a project like this one.One of Stephen King's best books has been turned into one of the three worst adaptations of all times.
From the premise and the fact that the author, Stephen King, was working on the screenplay, this reviewer expected something a little better than the average horror film.
However, judging from the results of the film, this reviewer is not excited to read it."Pet Sematary" is based on the novel written by Stephen King.
There are such bone-chilling moments, especially at the movie's climax, that make this one of the best Stephen King adaptations of all time.
Pet Sematary told us a story of secret burial ground hidden in the backyard of a newly moved young family of Dr.Louis Creed, that soon become a forbidden fruit when he knows that a buried body can be resurrected there.This film actually quite lovable to me.
If you're a fan of Stephen King's work then Pet Sematary is a must watch.
"Stephen King's very scary horror story about a different cemetery is more scarier than I expected.".
Directed by Mary Lambert, this 1989 adaptation of the 1983 novel is scarier than you think.This specific Stephen King story involves around Dr. Louis Creed (Dale Midkiff) who moves into a new house with his family.
However, they come back to life in bad way.Pet Sematary is very scary, but the story is written in a complex tone by Stephen King himself.
The R-rating to this movie is understandable.Pet Sematary has a good story to it, but it is disturbing.
Believe it or not, occasionally someone succeeds to adapt Stephen King story in a good movie.
I finally got around to watch this after seeing it being broadcasted in TV almost every month as a kid, everyone I know has seen this movie and for a while I felt like I needed to see it all the way through, it turned out to be better than I remember (I had only seen parts of it on TV) but its still nothing special.Its somewhat well made, its quite charming, and the atmosphere really sucks you into the film and gets you in the right mood to enjoy it, that's probably why I gave it a good rating, its enjoyable to watch but in retrospect its not really all that great, it could fall apart very fast if you think about it too much.I like that it has enough balls to show things that you wouldn't usually see in a mainstream horror movie at the time.
The acting isn't always the best, the characters could be a bit annoying, many things happen in a very convenient way just to get the story going, I don't think this movie knows what it wants to be, its tone its kind of confusing at times and the ending its pretty crappy.
I actually thought the scary characters in the film were more scary than they were in the book.One of Kings better film adaptations (apart from stand by me & the green mile)Definitely worth a watch for horror fans!7.5 out of 10.
Few horror experiences can compare with reading Stephen King's Pet Sematary for the first time.
Naturally, it would be quite difficult to fully capture the novel's full terror in a film, but with the help of Stephen King's faithful screenplay and competent direction and acting, Pet Sematary is as scary an adaptation as we could possibly want.Pet Sematary is a relentlessly brutal horror story about a close, loving family whose world is gradually torn apart in the most devastating and horrible manner imaginable.
With consideration that I have not read the book, I felt Pet Sematary was a better than average horror movie.
i would say that the graphic in it is not as good as Sleepwalkers though, yet another Stephen King film about creature like vampires that are afraid of cats who are also very strong creatures that can rip you apart.
I've read many books by Stephen King but none of them are quite as dark as Pet Semetary.
Being a Stephen King fan and a horror film fan, I would like to recommend this film to anyone who genuinely wants to see a scary film.
However, when they made the movie, I have to admit that it was the only "horror" film that I have seen in my life besides The Exorcist and The Night Of The Living Dead that really scared and disturbed me.
All the horror and evil and the nightmarish quality of Stephen King's book comes thru in this film!
But we don't watch horror films for the acting, and what drives this movie is a really disturbing plot.
But don't expect too much horror, neither the books or movies by Stephen King does a very good job scaring you.
It's not nice to read it, but it's not particulary scary either.But Pet Sematary is a fairly good movie after all..
I never read the book, and am normally NEVER frightened by Stephen King movies, but this one seemed to have just the right balance to keep me terrified even years later.........
And this is only the beginning.Based on the book by Stephen King, "Pet Sematary" still stands out as one of the spookiest films ever made, in my opinion.
But if you can handle all the gore and creepiness, this is a rather good horror movie, with an interesting story.One more thing. |
tt0090633 | An American Tail | The film begins in the small Russian village of Shostka as the camera zooms in on the Moskowitz house. Then, the camera pans down to a tiny door marked Mousekewitz, the dwelling of a mouse family that includes Papa (voiced by Nehemiah Persoff), Mama (voiced by Erica Yohn), their son, Fievel (voiced by Phillip Glasser), their daughter, Tanya (voiced by Amy Green), and a baby, Yasha. Inside their tiny living quarters, Papa plays his violin while Mama takes care of the baby. Fievel comes running into the room asking about Hanukkah presents. Papa presents Tanya with a new babushka and gives Fievel a new hat (Papas hat that has been passed down from father to son for generations). The hat is far too big, but the boys mother tells him he will grow into it.
As part of their Hanukkah celebration, the Mousekewitz children encourage Papa to tell them the story of the Giant Mouse of Minsk, who was as tall as a tree and scared all the cats. Mama doesnt like even a mention of the word "cats," and asks them to talk about something else. The children want to hear about America, which Mama thinks is just another fairy tale, but Papa appears to drift off into a dream world as he talks about the opportunity of a new and better life in America where mouse holes are everywhere, bread crumbs are on every floor, mice can say anything they want, and, he knows for a fact, there are not cats.
Just then, they are attacked. Humans and mice run from their homes as the Cossacks attack the humans and their homes, while the "Catsacks" attack the mice and their dwellings. Brave little Fievel tries to scare the cats away by banging loudly on a skillet with a spoon, but he is chased and almost killed by the cats. Suddenly, the pogram is over and the Cossacks and Catsacks withdraw. Afterwards, as they survey the damage, Papa whispers, "In America, there are no cats." The scene shifts to a Hamburg, Germany shipyard where a band plays an oom-pah tune as the mice, including the Mousekewitz family, climb a rope to board a ship bound for America. Fievel creates problems with his wide-eyed wonder and constant questions. Once they are on board, the mice shout their goodbyes to the other mice on the pier as the ship departs. During the voyage, Papa plays his violin in the mouses small section of the ship away from the humans. Just like all children, Fievel asks, "Are we there yet?" Tanya is afraid theyve made a poor decision to travel to America, but Papa reassures her that everything will be all right as long as they stay together.
Later, Fievel discovers a barrel of herring and Papa tells him about even larger fish in the ocean. The mischievous boy wants to see them. When he tells his mother about the fish, she says theyre lucky they didnt see cats. The dreaded word causes all the mice to shutter. Papa reassures all his fellow mice passengers that America will be wonderful because there are no cats there. His statement leads the mice to tell horror stories of cats as they sing "There Are No Cats in America." After Papa sings a verse, all the mice join in the chorus; then, an Italian mouse sings about the cat problems in his country, after which the mice all joyfully sing the chorus; next an Irishman sings a verse, after which the mice celebrate and sing the chorus again.
Soon, a storm hits and the ship rocks, which causes a lot of seasickness. While Fievel is warming himself by the stove, a piece of burning coal burns his tail. When he jumps, he is washed him around the ship until he ends up at the bottom of the stairs leading to the deck. He is fascinated when a wave washes some fish down the stairs, so he climbs up to see more. Out on deck, he is overcome by the storm and the waves. Fievel imagines all sorts of sea monsters in the waves of the storm. After one particularly large wave, Fievel is washed overboard and the ship sails away into the storm.
The following scene is of Castle Gardens, the immigration depot in New York City. As both humans and mice go through immigration, they are given new American names. When the Mousekewitz family passes through they are sad that they are now a family of four not five. The immigration officials change Tanyas name to Tillie. Next, we see a small bottle flowing on the water. As a chorus sings "Give Me Your Tired, Your Poor," the words written on the Statue of Liberty, the audience sees Fievel inside the bottle. As he peers through the bottle, he sees the Statue is under construction. When the bottle washes ashore, a French pigeon, Henri (voiced by Christopher Plummer), who claims to be building the statue, discovers him. After Henri cleans up the little immigrant, Fievel talks despondently about the possibility that he will never find his family. Henri, in a Maurice Chevalier-type voice, boosts the boys confidence by singing "Never Say Never." Fievel and three female pigeons join in the song. Afterwards, Henri instructs one of the females to fly Fievel to immigration.
The next scene is the city, which is full of immigrants humans and mice and they are all being hustled by con artists. One of the slickest of the scoundrels preying on the unsuspecting newcomers is Warren T. Rat (voiced by John Finnegan). His constant companion is his cockroach accountant, Digit (voiced by Will Ryan).
Upset that he has made fifty cents less today than yesterday, Warren T. spies the innocent Fievel, introduces himself and claims he can take the boy to his parents. Fievel follows the rat anticipating the reintroduction to his family right away.
Meanwhile, at the Mousekewitzs new home, an old, discarded physicians bag, Tanya tells her parents that she has a feeling that her brother is still alive. Just as she looks out a window, Fievel and Warren T. pass unseen nearby.
When Warren T. takes Fievel into a building and opens a door, Fievel excitedly looks inside for his family. He is grabbed by a mean character named Moe (voiced by Hal Smith). Fievel has been tricked and is now in a workhouse or sweatshop. Warren T. reminds Moe to send Fievels salary to him. That evening, Fievel ties several sheets together and escapes by climbing down the sheets to the street. Tony Toponi (voiced by Pat Musick), an Italian immigrant mouse, gives Fievel an Americanized name, Philly. Once he is out of the workhouse, Fievel unknowingly walks right past his familys home in the doctors bag. As Fievel wanders the lonely streets, we hear "Poor Wand'ring One." Once, the boy hears someone calling his name, but its another mother calling her son named Fievel. Later, he hears someone playing a violin and thinks its his Papa. He is very disappointed to discover the sound is coming from an Edison cylinder recording. When the lady of the house changes the cylinder, Sousas march, "Stars and Stripes Forever" blasts from the speaker, which causes Fievel to fall into the player. The sight of a mouse frightens the lady who chases Fievel out a window.
After some more wandering, Fievel runs into Tony Toponi again, who volunteers to help find the kids family. At the same time, Tanya and Papa leave their home to search for Fievel and at one point, Tony and Fievel walk directly above Tanya and Papa and neither sees the other.
During their search, Tony and Fievel happen to pass a rally where a pretty Irish mouse, Bridget (voiced by Cathianne Blore), is trying to convince the other mice to organize in order to defeat the cats. Tony is immediately smitten with Bridget. While Tony gets acquainted with Bridget, Fievel tells the crowd they have nothing to fear because his Papa told him there werent any cats in America. Just then, from behind a crate, a cat pounces on Fievel and almost eats him. After a frantic chase where Fievel avoids becoming the cats meal, Bridget suggests she and Tony take Fievel to see Honest John (voiced by Neil Ross), a local politician, who knows all the mice in the city. Just as soon as Tony, Bridget and Fievel leave, the Mousekewtiz family emerges from under the rubble that is left from the cat attack. Mama sarcastically asks Papa, "there are no whats in America?" Papa sheepishly snickers.
When the new trio of friends arrives at Honest Johns, Gussie Mausheimer (voiced by Madeline Kahn), the richest mouse in the city, is also there to complain about the cat attack. She recommends a "wally" (Gussie cant pronounce "r"s) of all the mice, rich and poor, to decide a course of action against the cats. When Gussie leaves, Honest John is ready to help Fievel find his family until he discovers that the Mousekewitzs are too new in the country to be registered voters. He is only interested in helping if votes are his reward.
That night, Fievel sleeps in a water tower where Bridget lives. She encourages the boy and tells him she is certain his family is out there somewhere just waiting to be found. After Bridget leaves, Fievel gets out of bed, goes to a knothole in the wall, looks out over the city and, as the moon rises, sings "Somewhere, Out There." From her doctors bag home, Tanya joins Fievel in the song. They dream of reuniting their family.
At the rally in the park, Fievel is on the speakers stand with Bridget and Tony, while his family is in the audience, but once again, they dont see each other. Gussie delivers a stirring speech about coming to America for freedom freedom from cats. When she asks for ideas concerning a course of action, no one offers any suggestions until Fievel steps forward and whispers an idea into her ear. She smiles, whispers the idea to Honest John, and then announces to the crowd that they have a plan.
Early the following day, all the mice go to Dr. Digitalus Museum of the Weird and Bizarre, which is located on a pier. They collect various objects from the museum and begin to build a large contraption. Tony wakes up late, so he grabs Fievel out of his bathtub bed and they run towards the pier to help the other mice. Fievel has trouble keeping up, trips and falls into a sewer grate. When he thinks he hears his Papa playing his violin, Fievel drops down into the sewer and follows the music. He finally discovers the source of music in a place marked "Mott Street Maulers." The music is coming from a player piano and a violinist. Inside, a group of cats are playing poker. One of the cats is Tiger (voiced by Dom Deluise), a large orange cat, who is pretty dimwitted.
When the camera pans up to the music, the violin player is Warren T. Rat. Warren T. complains he cant play because of his nose, so he removes his false nose and ears, which reveals that he is really a cat. Fievel blurts out "He's a cat!" Warren orders the other cats to capture the intruder. Tiger tries to help, but is more trouble than help. A big chase ensues. Just when it seems Fievel has escaped again, a paw grabs him and pulls him back into the sewer.
Back at the museum, Gussie explains the plan to the other mice. They are going to scare the cats onto a ship that is bound for Hong Kong with the contraption they have built. Since the ship departs at 6 a.m., the mice must lure the cats to the pier at that precise time.
Fievel is being held prisoner in a birdcage in the sewer and is being guarded by Tiger. When Tiger finds out that Fievel lost his family, he empathizes because he lost his family too. We also learn that Tiger is a vegetarian cat. Once Fievel and Tiger become friends, they perform a song and dance routine together titled "A Duo." Digit, the cockroach, sees the prisoner and his guard frolicking together and tells his boss. Fievel manages to escape, so Warren T. fires Tiger.
Back on the street, Fievel heads to the pier with the cats right behind. Inside the museum, the mice are sleeping, but Fievels frantic screams wake them up. The cats are ten minutes early, but since the cats are there, the mice in charge of the secret weapon release it. Since it is too early, Honest John and some other mice finally stop it. In front of the museum, Tony shoots Warrens fake nose off exposing him as a cat. Then, Warren sets fire to the museum. Gussie, who is watching the clock, commands the secret weapon be released. Fievel grabs a piece of burning wood and burns the rope that is restraining the weapon. When it begins to move, it throws Fievel up against the wall and knocks him out. Out of the burning building the contraption, the Giant Mouse of Minsk (from the story Fievels Papa had told them), comes rolling down the pier and frightens the cats. They run down the pier, into the water and are lifted onto the departing vessel by the ships anchor.
During the mices celebration, Tanya hears Honest John say, "We owe it all to Philly." She asks Papa, "Who is Philly?"
Leaking kerosene causes the fire to spread and the pier is consumed in flames. Bridget and Tony look for Philly but all they find is his hat. Tanya hears them calling Philly and reminds her father that immigration changed her name to Tillie. She runs towards the calls; Papa and Mama follow. When they meet Tony, Mama recognizes Fievels hat. Fievel is revived by the firemens water hoses. The force of the water washes him through a hole in the floor. He ends up in Orphans Alley where he meets a group of street urchins who convince him to give up hope of ever finding his family. They tell him if his family really cared, they would have found him by now. Fievel cries himself to sleep.
The next morning when Fievel awakes, he hears someone calling his name, but he thinks it is just a dream. Gussie, Tony, Bridget, and his family are riding on Tiger searching for him. Fievel finally pays attention when he hears Papa playing his violin. When he shouts "Papa," his father hears him, jumps off of Tiger and runs towards his son for a happy reunion. The others soon join the celebration. Papa returns Fievels hat, which, to everyones amazement, fits. Papa says, "My son! Now, you are a mouse." The following scene shows Henri flying Fievel and Tanya to see his finished statue. Papa and Mama are flown by another pigeon and Tiger is transported by multiple pigeons. They all admire the Statue of Liberty. The statue even winks at Fievel and Tanya. Fievel asks Henri about all the other land they see from the air. He tells the boy that all of it is America. Fievel wants to see it. Henri assures him that he will someday. As Henri flies them away from the statue, Fievel and Tanya say "Goodbye."
The closing credits roll over drawings of the statue. Then, "Somewhere Out There" is heard again as performed by Linda Ronstadt and James Ingram. | good versus evil, murder | train | imdb | null |
tt0079758 | Prophecy | Tracking two lost lumberjacks through the night, a rescue team nearly follows a hound over a cliff. Two men rappel down to retrieve the fallen hound, but they are killed. The third, hearing screams down below, rappels down to investigate, where he finds his team mates dead, only to be killed himself by an unidentified creature.Dr. Robert Verne is fed up with dealing with the squalor of city tenements. He does not feel he is making a difference. He accepts a job from the United States Environmental Protection Agency to write a report on a logging operation near the Androscoggin River in Maine. The loggers are in a dispute with the local American Indian "Opies" (i.e., "O.P.s"), the original people.Dr. Verne's wife Maggie accompanies him on the trip. She is pregnant but is apprehensive to tell her husband as he is set against having children. When they fly in, they meet a man, Travis Nelson and his two children Paul and Kathleen who are embarking on a trek into the wilderness. They also meet Bethel Isely , the director of the paper mill, who is to be their host. He tells them about his missing rescue team and lays the blame at the feet of the Opies. The latter have their own explanation: Katahdin, a vengeful spirit of the forest that has been awakened by the activities of the loggers. Isely describes Katahdin as "larger than a dragon with the eyes of a cat".As Isely drives the couple to their cabin, their path is barred by a party of Opies. They refuse to let Isely's people pass and a fight ensues between the leader of the Opies John Hawks Armand Assante and Kelso (Everett Creach), one of Isely's heavies. The heavy is armed with a chainsaw while Hawks has only a double-bit axe. The scuffle ends with Hawks laid on the ground with the chainsaw nearly at his throat. The Opies relent and let the cars pass. Verne and Maggie are visibly shocked by the incident.While fishing, Verne sees a huge salmon devour a duck. Later, after he and Maggie have eaten his catch, they are attacked in their cabin by a deranged raccoon. Verne kills it and sends a tissue sample to be tested.The next day Hawks and his wife Ramona Victoria Racimo approach Dr. Verne to put over their side of the story. If Verne is concerned about the environment then he should include the people in his assessment. Something is making the people ill: still births, mental illness and birth defects are rife. Hawks takes Verne and Maggie to the home of Hector M'Rai, Ramona's grandfather. Hector claims to have seen Katahdin and describes him as "part of everything in God's creation". Verne sees plant roots growing on the surface that should be underground; Hawk nets a bullfrog-sized tadpole from the water to show Verne; Hector has cigarette burns on his hand but feels no pain. As the evidence mounts the idyllic setting gradually takes on a sinister hue.Verne and Maggie tour the paper mill to look for incriminating evidence but the chemicals used in the processing are demonstrated to never leave the plant. Isely tells them that the water is routinely tested for purity. As they leave, however, Verne notices mercury deposits on Maggie's boots. It is a mutagen that causes birth defects and progressive nerve damage. It has long been used in logging as a fungicide because it is cheap. It will not show up in Isely's water purity tests because it sinks to the bottom. Verne needs more evidence and determines to take blood tests from the Opies.That night, the Nelson family, who have set up a camp in the woods, are suddenly assaulted by Katahdin; a ferocious bear with one of it's sides containing horribly mutated skin. The horrified Paul tries to flee, but the beast swats him into a rock, killing him. The next day as Verne and Maggie are taking blood samples, Isely and Sheriff Bartholomew Pilgrim arrive to arrest Hawks and his men whom they mistakenly believe to be the ones who killed the Nelson family. Hawks, however, escapes. Verne, Maggie and Ramona take a helicopter to the campsite to investigate the killings. Verne and Ramona find huge scratch marks on the trees while Maggie finds two mutated bear cubs trapped in a salmon poacher's net. One of the cubs is still alive and Verne is determined to save it so it can serve as empirical evidence of the contamination. However, the weather has turned and the pilot, Huntoon, refuses to take off in the high wind.They make for Hector's home and Verne sends Hawks to fetch Isely and the sheriff. Verne sets up an emergency room in one of Hector's tepees and helps the cub survive. Maggie is clearly distressed by the ordeal so Verne takes her aside and assures her that it will all be over soon. Shockingly, she reveals to him that she is pregnant and she has eaten contaminated fish like the mother of the cubs.Isely and Sheriff Pilgrim arrive and see the mutant cub. Isely is contrite, knowing that Hawks and his men weren't the killers. Hector arrives, when suddenly Katahdin attacks the camp in search of her cubs and kills everyone in sight. Everyone else seeks shelter in tunnels beneath Hector's home. All goes quiet so Pilgrim decides to check it out. He pokes his head up out of the tunnel and Katahdin kills him.The next day, the survivors make their way out of the forest. The helicopter is not an option as Huntoon was severely mauled in the beast's initial attack. Isely heads up to Mount Emery to try to reach a radio tower and call for help. Isley finds the radio tower but the monster immediately finds him and before Isley is able to call help, Katahdin kills him as well. The others find the Opie village mysteriously isolated and the Opie people gone, but take a truck and try to drive out along the winding forest road. Katahdin turns the truck over and finishes Huntoon off by devouring his head. The others run off through the forest with the beast in pursuit.They arrive at the river and swim across. The cub continues to bite Maggie but Rob pulls it off her and holds it underwater, drowning it. Hector stays behind to make Katahdin flee but fails and he is killed as well. Katahdin seems reluctant to follow them at first, but then enters the water and vanishes. They believe she drowned but then she suddenly emerges. They take shelter in a log cabin, but Katahdin tears down the walls. Maggie is knocked unconscious by debris, but Ramona is crushed. It is later revealed that she survived the incident.Verne finds a Winchester Model 1892 rifle in the cabin and shoots the monster twice with some effect. Hawks shoots arrows into Katahdin's hide until the beast sends him airborne with a mighty swat from her paws, then he lands on the ground, dead and bloodied. Verne picks up an arrow, then Katahdin hoists him up, only to be stabbed repetitively in the face and eyes until she collapses into the lake. Rob notices that the monster still moves slightly and leaps onto the beast and stabs her a few more times until her corpse finally sinks below the water.Verne and Maggie fly over the forest the next day, but not knowing that there is another mutant animal still alive in the forest. | violence | train | imdb | Reviewers would be accurate to attack the cheesy effects, hokey dialogue at times and overall loss on energy in the film toward the climax, but there's much more going on here.Prophecy is, at best, a) a departure for John Frankenheimer, b) a 70's horror movie with a social conscience and, c) not withstanding amateurish special effects, predictable dialogue and long-view shots of Talia Shire looking petrified beyond speech, an actually entertaining, somewhat surprisingly satisfying film.
The focal point of the movie, the beast itself, operates as a deranged ecological locomotive ( actually sounding like one onfilm at times ) hell-bent on taxing mankind for its misfortune.Remarkably ( and most likely accidentally) the film achieved a perfect "of the moment" time slice capture of the late 70's era, replete with the worries, political movements, ambiguities and uncertainties of the time all woven within the backstory of the Indian's struggle against the papermill, global overpopulation, bigotry and commercialization at the expense of nature.Beautiful scenery ( courtesy of British Columbia, circa 1978/1979), believable performances, particularly from Richard Dysart and Armand Assanti, combined with circumstances and sequences never actually realized on film before combine to make a pretty meaty B movie.
Of these four films probably the most neglected, and deservedly so, is John Frankenheimer's ecological horror film starring Robert Foxworth, Talia Shire, Armand Assante, Richard Dysart and a carnivorous, drooling fifteen foot mutant bear.Working from a ludicrous script by David Seltzer, author of The Omen (1976 & 2006), the film makes a plaintive plea about the dangers of a contaminating industry on the natural environment and how it could spawn obscene freaks of nature that may one day bite back.
The monster is pretty grotesque and occasionally looks fearsome, but usually looks like nothing more than a big gray blob.The baby monster bear that Shire cradles through the second half of the movie is much more freakish looking.
The idealistic Dr. Robert Verner (Robert Foxworth) is invited by his friend Vic to travel to the Maine with his wife Maggie (Talia Shire) working for the Environmental Protection Agency to prepare a report about the dispute between Indians "Opies" (meaning the original people) and the lumberjacks.
"Prophecy" is a movie directed by John Frankenheimer with a lame ecological journey to the Garden of Eden of the original people.
He also gave this ridiculous eco-monster movie enough discipline and artistic snap to raise it above the level of mutant frogs, bunnies, and snakes, all croaking, hopping, and slithering around the late 70s.I don't dwell on plot in my reviews; I like to talk about what makes the movie worth expending your precious minutes or not, so here is what one geek loves about this silly, fun flick: Even with the overly intense performances, the Marcus Welby music, the clichéd-to-the-point-of-exasperation mean, old corporate polluters, the fact that Talia Shire's face seems to be melting off her head (cheap shot, I know), and the monster--think of Shaq in latex, p.o.'d, with fangs and Mad-Eye Moody peepers--you have a scary, fun, and interesting movie.
Hey, Stephen King liked it, although he was right in pointing out how silly it was to put the Indians in teepees in Maine.I wonder if Robert Foxworth, Shire, and Armand Assante get fan mail for this 8th grader of a movie.
Some contaminants have caused the wildlife to mutate and create animal mutations that have become bloodthirsty, destructive, killing machines - in particular some huge bear-monster thing which we really never get a real close look at long enough to see just how bad the special effects really are.
Prophecy is one of those horror films that wants you to believe that the message it has underscores all the lame special effects and other flaws.
We get to see a raccoon acting wildly, a giant salmon, giant tadpole, a pair of rather ugly looking mutant bear cubs and, best of all, a huge mutated bear that is going on the rampage killing and eating people, including the local sheriff and a family of natives.Prophcey contains some great scenery and was actually filmed in British Columbia despite the story being in Maine.I'm not too familiar with any of the cast, which is lead by Robert Foxworth, Talia Shire and Richard Dysart.Prophecy is worth viewing.
***SPOILERS*** Not feeling any fulfillment in life as a doctor working for the city in the rat infested slums of Washington D.C. Dr. Robert Verne,Robert Foxworth,gets a dream job working for the EPA, Environmental Protection Agency, and sent with his wife Maggie,Talia Shire, to the clean air healthy living surroundings in far off picturesque Maine.
What no one realizes is that the paper mill is using high and dangerous amounts of mercury that's polluting the nearby Androscoggin River and turning everything in it,or that drinks from it, as well as its water supply of the region into mutant monsters!It's one of these mutants a 12 foot tall brown bear who's been tearing people apart whenever he runs into them in the forest.
Now this is what a monster movie should be like: an interesting story that doesn't rely on the creature to keep things moving along; realism wherever possible; a decent cast of B-movie types who you can play "who's gonna die next?" with.Much of the success of PROPHECY lies in the presence of director John Frankenheimer, who brings a sheen of professionalism to the proceedings that many other minor monster flick directors can't hope to equal.
This is a film which inhabits the same ecological disaster type territory as LONG WEEKEND and FROGS, and proves to be just as entertaining: the story of a mutated bear-creature rampaging in the woods as a result of industrial pollution is a good one, and PROPHECY never disappoints.Along with the interesting story, this film benefits from a strong leading cast who bring life to what could be otherwise rote characters.
Armand Assante plays perhaps the world's most unlikely Native American and Richard Dysart bags the great role of the company man responsible for the pollution.The monster effects are great – I'll forever take prosthetic and model effects work over CGI – and the horror scenes ultra effective, with the bit with the boy in the sleeping bag an example of 'one seen, never forgotten'.
"Alien" was a fair hit at the box office (with a far better monster) while "Prophecy" didn't do very well, causing director John Frankenheimer to plummet into a depression.I first saw the film as a kid because I was intrigued by the 15-foot grotesque monster.
At the same time, I could not stop watching because I probably cared for the main characters, but more likely because the horrifying bear was so well animated that I thought it could actually exist.Then again, I was only a child and thus, easily impressionable but back in the day, I also watched "The Thing", "IT", "The Abyss" or "Alien" but it was only Prophecy that really haunted me for nights and still somehow comes back now and then as the movie that really caused terror to my young mind.As I write this lines, I remember how my sister Julia and I would challenge each other to resist the instinct of covering our eyes or to look away when the monsters showed up.
Robert Foxworth plays biologist Dr. Robert Verne, who, along with his wife(Talia Shire) flies to the remote wilderness of Maine to investigate claims by the local Native American tribe(led by Armand Assante) that a paper factory is poisoning the environment, resulting in polluted waters and deformed children.
It was apparently inspired by a real environmental disaster in Japan and since it was directed by John Frankenheimmer, I was genuinely intrigued to check out this film that I had been dismissing for so long mainly because of the infamous exploding sleeping bag scene.It starts out nicely with a violent sequence that proceeds to set up the main characters and plot; Native Americans are demonstrating against loggers working on a paper mill and taking away their land.
Maybe I am fond of them because I use to see them on TV as a kid or maybe because the cinematography makes me feel like I am watching a Disney nature film but I just love 70's/80's "B" horror movies.
Talia Shire( Maggie Verne) gave a good supporting role, taking care of a monster like baby and just blaming her husband for everything that went wrong!
Alas that was not to be.Frankenheimer ,who shone during the sixties with such works as "birdman Of Alcatraz" ,"seconds" and "Mandchourian candidate "was much less successful in the seventies.Two of the works I mention had already broached the fantastic,with startling results.Besides,"prophecy" begins well enough,with an ecological and sociological plot.They killed lots of Indians by shooting buffalos and thus starving them;here it's much more subtle:they do away with them-and actually they do not intend to,or at least that's what they say-by poisoning their food.Beautiful landscapes ,old legends and the grandpa character were assets.But in the last third,as soon as the monsters appear,it's Punch and Judy all over again .A subplot - Talia Shire's pregnancy- does not seem to matter anymaore at the end of the movie.The movie ends up with the obligatory "unexpected" trick :it's not over when you think...well you get the picture..These last thirty minutes resemble a poor man's Cronenberg movie (parasite murders,1975)and destroy everything..
I saw "Prophecy" when I was seven years old, and like other reviewers, were terrified by the camping scene, where a father and his two kids are mauled by a bear-like creature.
And watch poor Talia Shire when she discovers the mutant baby - she can't seem to decide if she's laughing or reacting in horror.Director Frankenheimer tries his best to make this an artsy-fartsy "significant" movie but any hope he had is undercut by David Seltzer's pretentious script.
What were Talia Shire, Robert Foxworth and Armand Assante thinking when they saw the script, they had to have known this movie was dentined to be added to the hall of shame with the like of showgirls.
The worst thing is at the end of the movie we get to see the full mutant creature, it looks like a bear with a plastic dog head glued on.
Tenement doctor accepts a government job easing tensions in the forests of Maine, where lumber czars are taking land away from the Indian tribe; meanwhile, toxic waste attributed to the business has created its own rampaging monster, which looks like a melting grizzly bear and walks upright like a man.
Good actors Robert Foxworth (looking a bit like Grizzly Adams himself), Talia Shire and Armand Assante are wasted.
effects were great for 1979 (great year)story was solid, acting was good, giant bear of death, freaking the greatest thing in a movie I've seen since "feast"(well since before feast) trivia of my life you couldn't give a crap less about:i was watching this film while my son was being born it was on a all night horror movie-a-thon,my kid was born October 30th, i had it on in the background ...doctors thought that was a little weird ...i thought it was a great movie (4), vocalistGOD IN A MACHINE.
While investigating, Verner discovers that a chemical leak from the mill has been causing mutations in the wildlife, resulting in a massive, monstrous, bear-like creature that roams the land killing at will.In early Hollywood movies, the Red Indian was a whoopin' and a hollerin' savage intent on scalping heroic cowboys, but by the '70s, the white man was feeling a tad guilty about stealing the Indians' land and then depicting them as bloodthirsty brutes, and so tried to atone for their actions by thereon portraying the native American as a peaceful, noble breed, living in harmony with the environment, while showing Caucasians to be untrustworthy rogues.
Director John Frankenheimer's Prophecy is not only guilty of this ridiculous politically correct reversal of stereotypes, but it fails to offer horror fans much to get excited about: the plot is predictable eco-warrior garbage, there is little to no gore, and the monster is utterly laughable.Several scenes do, however, make this one just about worth a watch, albeit for the wrong reasons: brave Native American John Hawk (played by Italian/Irish actor Armand Assante) locked in a chainsaw vs.
It's definitely a horror film with a message, an ecological one, although it's laid on with an awfully heavy hand.Written by David Seltzer of "The Omen" fame, it spins a yarn about classical musician Maggie (Talia Shire), who accompanies her doctor husband Rob (Robert Foxworth) to upstate Maine where's he to do some investigating at the advice of a friend.
What they and others discover is that methylmercury poisoning has turned the local wildlife into big mutant killers - one bear in particular."Prophecy" begins extremely well, with an intense chase sequence at night, and delivers some good moments as it plays out.
Robert Foxworth and his wife, played by Talia Shire move from NYC to Maine to investigate some environmental protection shenanigans involving a river and Indian village being poisoned by something causing stillbirths and making tadpoles and trout grow to quadruple their normal size.Oh yeah, there's also a gigantic thing wandering around that looks like if you took a yeti and turned it inside out.Interesting premise.
Birdman Of Alcatraz''Grand Prix' Black Sunday' Ronin' Second's 'The Gypsy Moth's All of the above are fine film's, sadly 'prophecy is not but it's still an enjoyable splatter come ecological 'message' movie, It stars Robert Foxworth' Complete with 'Monster' afro and hairy beard!, Talia Shire' Richard Dysart' and Armand Assante,Foxworth plays a doctor from the EPA (Enivironement Protection Association) sent from the mean street's of new york to the picturesque Maine, where he along with his wife Shire, investigate strange going's at a lumber mill where apparently it is revealed that they are using chemicals that pollute the local wildlife,where in true B movie style their are Large Tadpoles!
Armand Assante, (in another trade mark ethnic role) plays' an Indian who is not one bit pleased with the treatment of his people, Richard Dysart, play's the slimy mill Boss, Entertaining stuff!The only downside to the bear's appearance is it's all too obvious that it's the old 'Guy in a suit routine' had they kept old Grizzly's appearance down to a minimum (a la Jaws' it should have worked,Another curious thing about this film is it's rating PG?(Pretty Gory!
The plot is great, unlike most films of this type,(SPOILERS AHEAD)the local papermill uses a chemical to soak its logs in, the EPA is brought in to check things out, the Native Americans are wanting the White people to stay off their land and quit demolishing their land, and then there is a deformed mother bear looking for her cubs.
If you are looking for a great "turn the lights out" scary movie that has some solid "darn-near-soil-your-underwear" surprises, this is a pretty good start.The challenge that many contemporary horror flicks have even today is the inability to do the one thing that Prophecy does.
But, I go camping all the time, and after Prophecy, I don't care how cold I get I will never sleep in a mummy bag, I live in logging country and I will never eat the fish from a lake near a paper mill, and I will seriously think about going back to suburbia if I see tadpoles the size of bass.That is the real treasure in Prophecy, a scary movie that does what it is supposed to do, scare you.
If the monster at the end looked like the monster through out the movie this film would be a solid 8.
The performances are tolerable with the likes of Talia Shire (who's always looks a stunned dear in headlights), Robert Foxworth, Armand Assante and Richard Dysart.
One of the most famous bad movies, PROPHESY concerns the mutated wildlife of a Maine forest(due to mercury poisoning based on solution used to soak cut timber before processing in a paper mill)and those who are under their attack, specifically a doctor/ecologist, Robert Verne(Robert Foxworth), his pregnant wife, cello musician Maggie(Talia Shire), and two Native American activists who are protesting their trees being cut down by the paper mill, John Hawks(Armande Assante)and his wife Ramona(Victoria Racimo).
Nevertheless, they were all movies in which half the film was over before something happened, then you were lucky if you got a good view of the monster (before anyone saw the zipper on the rubber costume, of course).
Practical effects, memorable story though a bit of a lackluster finale.If you like your beastie films you can do worse and Al Gore is super serial about this one.The Good: Looks great Manbearpig The sleeping bag death was ridiculous yet hilarious The Bad: Couple of weird writing decisions Assante is just terrible Lead was very lifeless as was Shire I was rooting for the monster Things I Learnt From This Movie: Manbearpigs cannot swim but can breath underwater Am I the one only one who expected the giant fishy to eat Manbearpig at the end?Mathmatically half man, half bear and half pig might not be feasible.
Now, I'm not stating that Frankenheimer's "Prophecy" is a brilliant film, but it does do what monster movies are suppose to do.
Yet these are minor gripes about what, in truth, is a pretty effective monster movie.Okay, the first act's a bit slow, but that's because director Frankenheimer has adopted the old-fashioned method of using it to create a realistic set-up and explain the back-story in ways that both look and sound authentic.
The acting isn't good but it really doesn't need to be, you purchased or rented the movie not to see great acting but a big monster bear that goes on to kill a lot of people and eventually gets killed by the hero.
But since the bear looks terrible, it makes the end of the movie disappointing and not terrifying like Jaws was.Other problems: For an Indian tribe ingesting mercury all this time, not one Indian showed any deformity of any kind in the village (effects dept. |
tt0031448 | The Hound of the Baskervilles | The first of two of the Twentieth Century-Fox Rathbone/Bruce Sherlock Holmes movies opens with the 20th Century Fox logo and theme, followed by title and credits shown over a panning shot of the moors. That transitions to a note, "1889 In all England there is no district more dismal than that vast expanse of primitive wasteland, the moors of Dartmoor in Devonshire." We see Baskerville Hall, it is late evening and a man runs through the countryside back to the house. A hound bays, and Sir Charles (Ian MacLaren) running, clutches his chest and falls to the ground. A convict (Nigel De Brulier) witnesses the poor man's demise and decides to rob the body of its valuables but is scared away by a man calling out. Mrs. Barryman (Eily Malyon) opens the door, sees her master dead and screams. At the coroner's inquest, Barryman (John Carradine) provides testimony about finding his boss. He relays that he sought the assistance of Dr. Mortimer (Lionel Atwill) who was having dinner with the Stapletons. John Stapleton (Morton Lowry) and his sister, Beryl (Wendy Barrie) are also present at the inquest. The coroner (Lionel Pape) asks Dr. James Mortimer the cause of death. Mortimer replies, "Heart failure, sir." Before he can expand on his answer of what might be bothering Sir Charles, his wife, Jennifer (Beryl Mercer) signals to her husband not to answer. Mr. Frankland (Barlowe Borland) insists that Sir Charles was murdered. Since Dr. Mortimer is emphatic it was heart failure, the coroner's verdict is death by natural causes. Frankland is not satisfied. He stands and yells, "Call it what you like. Sir Charles was murdered. There's more than one person in this room, knows I speak the truth."In London, at 221B Baker Street, Dr. Watson (Nigel Bruce) reads a newspaper. He spots an article, "Sir Henry Baskerville arriving from Canada, Young Heir will assume title and estates, Death of the Late Sir Charles Baskerville still a mystery." Watson asks Holmes (Basil Rathbone) why he wants all the clippings about the Baskervilles. Holmes reveals to his friend, "I have an idea, Watson, that that young Sir Henry isn't destined for a very long existence in this world." He prophesizes that Sir Henry will be murdered. Mrs. Hudson (Mary Gordon) enters the room carrying a walking stick and tells of a gentleman caller earlier who left it. Holmes asks Watson if he knows of a Dr. Mortimer, the name on the stick. Holmes tests Watson's ability to reconstruct the owner of the stick, which Watson gets wrong on just about every point. Dr. Mortimer comes back for his stick as Holmes predicts. Dr. Mortimer asks Holmes to help his friend, Sir Henry. Mortimer relates the story of the Baskervilles and their meeting with violent and sudden deaths. Mortimer admits to withholding certain facts from the coroner--namely footprints near the body of a gigantic hound. Dr. Mortimer is an executor of the estate. He reveals an old document and shares it with the detective. "Legend of the Hound of the Baskervilles."Dr. Mortimer tells of the story of Sir Hugo in 1650. He kidnapped a woman and kept her prisoner in his house. Sir Hugo (Ralph Forbes), drunk, goes up to his room to show his friends the woman, but she is gone. Angry and humiliated, Sir Hugo ventures off on his horse to track down the wench. They find the girl's dead body. A large hound attacks Sir Hugo and kills him. The curse is born. Holmes only reply is, "Interesting, very interesting." Holmes suggests bringing Sir Henry to Baker Street when he arrives the next day.A ship arrives and Sir Henry Baskerville (Richard Greene) thanks the officers and crew. Dr. Mortimer greets Sir Henry and introduces himself. They travel by cab to the Northumberland Hotel. Along the way a rock is thrown through the window of the cab. Attached is a note of warning, made from words clipped from the newspaper. Holmes examines the note and claims the words have been snipped from the London Times. He asks Sir Henry if any other unusual happenings have occurred. Sir Henry tells Holmes that one of his new boots was stolen when he left them to be cleaned. Mortimer and Sir Henry return to the hotel. Holmes instructs Mortimer to tell Sir Henry the whole story of his family. Holmes and Watson follow Mortimer and Sir Henry. Holmes tells Watson to keep an eye on the Hansom cab following Sir Henry. A gloved hand holds a revolver out the window of the cab, but Holmes yells at the driver and he rushes away. Holmes does get the number of the cab.At the hotel, Holmes asks Sir Henry what he intends to do. Sir Henry tells Holmes that he intends to go to Baskerville Hall. Holmes tells Mortimer and Sir Henry about the attempt on the heir's life. Sir Henry notices his brown boots are back, both of them, but now a black boot is missing. Watson arrives with John Clayton (E.E. Clive), the cabby of No. 2704. Holmes invites the man to sit down. He asks about his fare who shadowed Mortimer and Sir Henry. Clayton reveals the man was 35 and had a beard. He claims the man revealed his name as Sherlock Holmes. Everyone has a good laugh. Holmes tips the man and he leaves. Dr. Mortimer and Sir Henry plan to leave for Baskerville Hall the next day. Holmes suggests Watson accompany the pair to Dartmoor as he still has business in the city. Holmes asks Watson to provide daily reports.A horse drawn carriage carries Sir Henry, Mortimer and Watson through Dartmoor. Dr. Mortimer points out some sites of interest, including the Grimpen Mire. They pull up to Baskerville Hall. Barryman and his wife greet the three men. Barryman attends to the luggage. Dr. Mortimer tells Sir Henry that a few modern touches were added by his uncle, but the room downstairs is as it was during the time of Sir Hugo. Berryman shows Sir Henry to his room upstairs. Watson composes his first note to Holmes. He opines, "I wish I could describe the dreadful eeriness of this place." Watson hears a noise and sees his door handle move. He grabs a revolver and walks to the door. Sir Henry quietly enters Watson's room. Sir Henry tells Watson that someone is prowling around the house. They investigate and see a barefooted Barryman standing at a window with a candle. They confront the man and he lies about checking to see the window was fastened. Sir Henry sees a pinpoint of light in some rocks. Watson lights a candle and moves it up and down. The light goes on and off. Barryman was signaling someone so the pair dress and leave the house to investigate. Barryman and his wife watch the pair leave the house. They come to the crags and spot a torch burning. The convict spots the two men from a higher rock. He flings a rock down, hitting and extinguishing the torch. Watson fires his revolver at the fleeing man, who manages to escape. They decide Barryman is a man worth watching. They walk back to the house and hear a dog howling.Watson composes his next letter about their evening encounter. Sir Henry exits the house and greets Mrs. Barryman. He walks out towards the moor. Barryman tells Watson that Sir Henry ventured out on the moor. Watson takes off after Sir Henry and is greeted by Stapleton who tells Watson about the moor and Grimpen Mire. They hear the dog howling. Beryl Stapleton screams at Sir Henry to stop. She explains that he nearly wandered into the Mire. Stapleton and Watson join Sir Henry and his step-sister, Beryl. Stapleton and Beryl invite Sir Henry over for dinner the next evening. Watson composes another report in which he admits he does not like Stapleton.Frankland is invited to dinner and accuses John Stapleton of being a graverobber. Stapleton admits he removed a Neolithic man's skull from the ancient graveyard. Frankland accuses Dr. Mortimer and his wife of strange behavior. Mrs. Mortimer is asked about a séance, but she initially declines. Dr. Mortimer proudly announces his wife has consented to try to contact the spirit of Sir Charles. She asks for the hand of Sir Henry, and then begins to ask for Sir Charles to contact them. The neighborhood dogs begin to howl. Watson turns on a light and asks Frankland what he thinks the noise was. Frankland tells him, the Hound of the Baskervilles. The party breaks up and Sir Henry talks to Beryl and plans outings for them, such as fishing and horseback riding. They make a date for the next morning. Watson composes another report indicating that Sir Henry and Beryl are in love.Some mornings later, Sir Henry and Beryl ride out to High Tour, where the old ruins are located. They laugh and joke at the site of an ancient ruin. She recounts a childhood spent on the moors. Sir Henry professes his love and they kiss. Watson encounters the pair and they announce their engagement. An old beggar, Holmes in disguise, interrupts claiming he was just crossing the moor with wares to sell. Watson gets a note asking that he meet at the old stone hut. The convict grabs some old clothes from Mrs. Barryman, and then runs off. Sir Henry goes out for a walk, and Watson goes to the old stone hut for his appointment. Watson notices that the place has been recently occupied. The old beggar approaches and admits he sent the note asking for the meeting. Watson, trying to impress, claims he is Sherlock Holmes. The old man then claims to be Watson as he removes his disguise. Holmes tells Watson he wants to return to Baskerville Hall. He is convinced murder is to be committed, and he suspects someone, but has no proof. A dog attacks a man and Holmes and Watson investigate. They hear the dog howl. They find a body and are convinced it is Sir Henry because of the clothes. Upon closer examination they discover the man is the Notting Hill murderer; He escaped from prison last month and has been hiding on the moor ever since. Holmes observes that his death is a result of wearing Sir Henry's clothes. The scent on the clothes was the cause of the attack. Holmes reminds Watson of the missing boot. Actually both missing boots back in London. The brown one, never worn, would have no scent of the owner. John Stapleton shows up and immediately recognizes Holmes.Holmes and Watson enter Baskerville Hall. Holmes asks to speak to Mrs. Barryman. Holmes and Watson enter the study to speak to Sir Henry. Barryman returns with his wife. Holmes speaks to Mrs. Barryman. He tells her about her brother. She fears he will be caught and executed, but Holmes explains, "No, Mrs. Barryman, he's beyond the law now. He's in more merciful hands." Mrs. Barryman collapses into a chair and sobs. Mrs. Barryman takes the blame for aiding a felon and escaped convict. Holmes tells Sir Henry that all is cleared up. Sir Henry explains he is going to marry Beryl and honeymoon in Canada. Holmes expresses his joy at the news, and then is distracted by a portrait of Sir Hugo hanging on the wall. They discuss the value of the work, and agree it is by a minor painter and worth little, but Holmes observes, "One day it might prove to be of the greatest value."Holmes and Watson take the train back to London. Holmes explains the murderer was in London weeks before and orchestrated the boot exchanges and attempt on Sir Henry's life. Holmes explains that they will return to Dartmoor immediately to catch the man red-handed, but that involves gambling with Sir Henry's life in the process. A celebration is underway at the Stapleton's home. Holmes and Watson take a carriage to the Baskerville Hall, but the carriage breaks down along the way. They decide to cut across the moor to get to the house. Sir Henry decides to cross the moor to return home. Dr. Mortimer warns him against such a move. Beryl and Sir Henry kiss goodnight and Sir Henry walks home. Beryl enters the house. Stapleton bids his sister good night, and then he turns off the hall lights. He enters the study and dons a pair of gloves. He retrieves the black boot, stolen from Sir Henry, from a secret compartment in the desk and leaves the house. Holmes and Watson and Sir Henry are on the moors walking. Stapleton goes to an old crypt and pulls back the trap door enough to allow a large, vicious dog to get the scent from the purloined boot. He flings the boot and then releases the hound which runs off. Holmes and Watson and Sir Henry hear the dog, as does Beryl from her bedroom in the house. She looks for her brother. The dog catches Sir Henry and attacks him. He is mauled badly as Holmes and Watson approach and shoot the dog. It is wounded and runs off. Holmes and Watson attend to Sir Henry. Watson helps the injured man back to the house as Holmes searches for the dog. Stapleton, armed with a run, follows the detective. Holmes returns to the old graveyard and finds Sir Henry's boot and the underground lair that housed the dog. It is littered with beef bones and a water dish. Holmes jumps down to get a better look and Stapleton closes the hatch and locks it, trapping Holmes.While Holmes digs his way out with a pen knife, Stapleton runs off to Baskerville Hall. Stapleton enters to check on Sir Henry, who is being tended by Mrs. Barryman and Watson. Stapleton lies to Watson, telling him Mr. Holmes asked to see him at once. Stapleton convinces Watson he can provide Sir Henry with the necessary first aid. He doctors a drink with poison and hands it to Sir Henry. Sir Henry sniffs it, but Stapleton warns him it may be a little bitter, but not to worry. Just before he drinks the poison, Holmes enters the house and calls to Sir Henry. Holmes "accidently" knocks the drink from his hand. Dr. Mortimer and his wife, Beryl, and the Barrymans enter the room. Holmes explains that Sir Henry was still in danger and now Beryl. Holmes explains that the murderer is, and walking over to the picture of Sir Hugo and covering the hair and beard, Stapleton. Since he is next of kin, the death of Sir Henry would allow John Stapleton to inherit the estate. Stapleton pulls a gun and rushes from Baskerville Hall. Holmes had taken the precaution of posting policemen along the way and signals them with a whistle. We close with Sherlock Holmes claiming he has had a strenuous day and wishes to turn in. He calls to his friend, "Oh, Watson, the needle." | murder, storytelling | train | imdb | null |
tt0046911 | Les diaboliques | A second-rate boarding school on the outskirts of Paris is run by the tyrannical and mean Michel Delassalle (Meurisse). The school is owned, though, by Delassalle's teacher wife, the frail Christina (Clouzot). Delassalle also has a relationship with Nicole Horner (Signoret), another teacher at the school. Rather than antagonism, the two women are shown to have a somewhat close relationship, primarily based on their apparent mutual hatred of Michel, who is physically and emotionally abusive to both, as well as unkind to the children.
Unable to stand his mistreatment any longer, Nicole devises a plan to get rid of Michel forever. Though hesitant at first, Christina ultimately consents to help Nicole. Using a threatened divorce to lure Michel to Nicole's apartment building in a town several hundred kilometers away, Christina sedates him. The two women then drown him in a bathtub and, driving back to the school, dump his body in the neglected swimming pool. When his corpse floats to the surface, they think it will appear to have been an accident. Almost everything goes according to their plans until the body fails to surface. Michel's corpse is nowhere to be found when the pool is drained.
Nicole sees in the paper that the police have found the corpse. However, when Christina goes to the morgue, she finds it is not actually Michel's body. There she meets Alfred Fichet (Vanel), a retired senior policeman now working as a private detective. He becomes involved in the case, much to Nicole's chagrin.
When Christina and Alfred come back, a boy is punished for breaking a window; the boy says it was Michel who punished him. After hearing this, Christina becomes very upset and is unable to join in the school photograph. When it is printed, somebody looking like Michel is seen at a window behind the group. Nicole becomes worried and leaves the school.
Christina, overcome by fear, tells Alfred everything. He does not believe her, but he investigates the pool. That night, Christina hears noises and wanders round the school. When she realizes that someone is following her, she runs back to her room. There she finds Michel's corpse submerged in the bathtub, which is full of water. Michel rises from the tub, and Christina, who was said to have a weak heart, has a heart attack and dies. It is then revealed that Michel and Nicole have set up Christina from the beginning, with Michel acting as dead to scare Christina to death. However, Alfred hears their celebration and figures out everything, telling them they will get 15 to 20 years, depending on their lawyer.
Some time later, the same boy who had earlier broken a window breaks another. When asked how he got his slingshot back, the boy says that Christina gave it to him. A final title screen tells the audience not to reveal the ending to others. | suspenseful, mystery | train | wikipedia | Set in a French boarding school for boys, "Les Diaboliques" tells the story of two teachers, Christina (played by Vera Clouzot), and Nicole (played by Simone Signoret), who conspire to kill the sadistic headmaster, a man who also happens to be Christina's abusive husband.Like most murder mysteries, the story is highly improbable; nevertheless, the film is still hugely entertaining, thanks in part to plot twists and turns that even Agatha Christie would admire, and to the film's B&W lighting, that renders a noirish, sinister atmosphere.The first half is interesting and tightly plotted.
And, Simone Signoret is as wonderful here as she is in all of her other movies.English subtitles require a little more work for viewers who cannot understand the French dialogue; yet, the story, the acting, and the cinematography should more than offset this minor irritation.
Background music occurs only during the film's title sequence and closing credits; this general absence of music thus enhances suspense.Although not strictly speaking a whodunit, "Les Diaboliques" is a classic murder mystery that has earned a well-deserved reputation for setting the standard for cinematic suspense.
"Les Diaboliques" has one of the best plots you will ever find in any mystery or suspense thriller.
The excellent directing, acting, and writing combine with the story itself to make it a memorable experience.If you enjoy quality mysteries or thrillers, you will almost certainly enjoy this one - and if you have not seen it yet, you might just want to buy or rent it now, before you read any more reviews.
The few implausible elements in the story do not detract at all from the enjoyment.A great plot does not all by itself make a good movie, and everything works especially well here because of the expert pacing by director Henri-Georges Clouzot and good, mostly understated acting by the main actors.
Once again, see it before you find out any more.Even if you do not normally watch black-and-white films or foreign movies (this is in French), if you enjoy thrillers, watch "Les Diaboliques" as soon as you have the chance..
The music theme played during the opening credits with the organ and the singing schoolchildren still makes the hairs in my neck stand up, even at this very moment.The story revolves around the tyrant schoolmaster Delasalle (Paul Meurisse) of a seedy boarding school, his wife (Vera Clouzot) and his mistress (Simone Signoret).
When subsequently his suit is returned from the dry-cleaners and the schoolchildren repeatedly testify they've seen Delasalle, they start to panic and the strange occurrences surrounding his supposed resurrection slowly drive them into insanity and complete paranoia.Justifiably hailed as one of the most suspenseful films ever made and often compared to Hitchcock's work.
The entire cast is terrific for that matter with Charles Vanel as inspector Fichet another standout.Clouzot takes his time to build up the story very precisely but once the mysterious things start to happen every scene adds to an almost unbearable tension.
Another terrific suspense film from Henri-Georges Clouzot, Les Diaboliques (also known as "Diabolique") is a tense story of murder, suspicion and revenge.
The plot revolves around two women, Christina (Vera Clouzot) and Nicole (Simone Signoret) who conspire to murder the brutish man who is Christina's husband and Nicole's lover Michel, played by the delightfully sullen Paul Meurisse.
The tension continues to mount until the hair-raising climax.This movie is on a par with some of Hitchcock's best work, although Clouzot doesn't mix much humor in with the suspense, as Hitch often did.
Unlike his previous film, The Wages Of Fear, Clouzot doesn't spend a whole lot of time on the set-up of the plot, but gets right to the meat of the matter, and from there Diabolique rolls along very quickly with barely a letup in the action.I can't believe it took me so long to see this masterpiece.
And then the bad stuff starts to happen.Ugliness...shock...suspense...shock...mystery...eeriness...awful shock.I remember, though it must have been forty years ago, the climactic scenes with my neck hairs standing up, sweat on my face, clutching the theater armrests like I was in danger of falling, and finally realizing I was weeping- not tears of sadness, tears of helpless terror.I envy anyone seeing this for the first time..
Headmaster of a boarding school, Michel Delaselle (Paul Meurisse) is a brooding bully of a man, one day his wife and mistress decide enough is enough and plot to kill him, trouble is that once they murder him, his body disappears and reported sightings of him are adding to the ladies' paranoia.Thus is the setting for director Henri-Georges Clouzot's brilliant suspenser.
While Alfred Hitchcock's "Psycho" may have been dealing with extra thematic material beneath its horrific surface, providing additional dimensions that the French film didn't have, "Diabolique" (or "Les Diaboliques" as it's known in France) is a thriller whose atmosphere and sense of mystery equal that of the great Hitchcock classic.
Concerning the wife and mistress of a school headmaster who conspire to murder him together, Henri-Georges Clouzot's film took a while to get going for me but once it did I found some solid enjoyment out of it.A lot of what makes it work comes more from the work of the two women at it's core.
Based on the Pierre Boileau and Thomas Narcejac novel CELLE QUI N'ETAIT PLUS, Henri-Georges Clouzot's 1955 DIABOLIQUE is easily among the most influential films of world cinema, leaving its mark on everything from Alfred Hitchcock's VERTIGO and PSYCHO to William Castle's THE TINGLER--but even so, and while Hitchcock's masterpieces can be said to at least equal the Clouzot original, few if any of the films spawned by DIABOLIQUE ever bested it.Variously known as DIABOLIQUE, LES DIABOLIQUES, and THE DEVILS, the film presents a complex story.
Christina Delasalle (Vera Clouzot, wife of director Henri-Georges Clouzot), is a remarkably beautiful and considerably wealthy woman who has the misfortune to suffer from delicate health, personal timidity, and brutish husband Michel (Paul Meurisse.) The two operate a boys' school that Christina owns, and among the teachers is hard-nosed Nicole Horner (Simone Signoret), who has become Michel's mistress but who finds Michel every bit as unpleasant as wife Christina.An unlikely alliance springs up between the two women, and together they conspire to murder Michel and thereafter run the school for themselves.
While Signoret's performance of the angry mistress is the more widely celebrated, she is equaled by Vera Clouzot, who has the more complex role and whose performance must carry the weight of the film's most disturbing moments; together they create a truly remarkable synergy of the most lethal kind.I have seen DIABOLIQUE in several different releases, and while the Criterion DVD is somewhat glitchy it is easily the best version available; one should avoid all other releases, particularly the truly atrocious release by Madacy.
Like Stanley Donen's 1963 thriller CHARADE, Henri-Georges Clouzot's DIABOLIQUE is one of the best Hitchcock films that Hitchcock DIDN'T make!
Without giving away its twists, I'll only say that DIABOLIQUE gives new meaning to the phrase "cruel to be kind." Vera Clouzot (yes, the director's Mrs., or should I say Mme.?) and Simone Signoret are electrifying as, respectively, the long-suffering wife and mistress of manipulative, sadistic headmaster Paul Meurisse.
What if I tell you that Master of Suspense, Alfred Hitchcock was heavily influenced by this film when making Psycho, which is regarded as in most circles as the greatest thriller of all time.
This has become my favorite foreign film of all time and on the top ten list for best classic horror/thriller movie.
French thrillers always feature a strong social background:see Claude Chabrol's movies for instance.Such is the case with "Diabolique".In ,say,"Vertigo" (which,like"Diabolique,was inspired by a Boileau-Narcejac novel),the social background is nowhere to be seen;that doesn't prevent Hitchcock 's movie from being a masterpiece though.Clouzot's screenplay is much different from the original novel.The action doesn't take place in a lousy school on the paper.Clouzot wanted to be "realistic" ,that's why he literally created the two-bit boarding-school and the grotesque teachers.The actors were so good they survived their unbelievable characters.Another significant difference between Clouzot and Hitchcock:the former saves the "surprise" for a final that leaves you on the edge of your seat,the latter-in "Vertigo"- tells the audience the whole truth before the last third,and studies his character -who does not know- and his psychological reactions.Generally,in France ,critics favor Hitch over Clouzot,but the two directors can't be compared because their approaches are diametrically opposite.This is not legend.It is fact:this is the greatest French thriller ever.I'm overjoyed when I read all those enthusiastic reviews from abroad after all the negative ones I 've read in my native France.Thanks to you,all IMDb users!!.
French director Henri-Georges Clouzot, whom some have compared to Alfred Hitchcock, is so plot-driven as a filmmaker that he tends to skitter over minute details, such as a forgotten set of keys in a suit or another set of keys at the bottom of a swimming pool.
Granted he was already an iconic director, there are chances that without "Psycho", everyone would have praised "Diaboliques" as the most suspenseful and horrific thriller ever instead of any Hitchcock's film, so it's very probable that the Master of Suspense took the case personally.
The feeling of a set-up, intended to drive Cristina into madness, reminds of another Hitchcockian non-Hitchcock classic: "Gaslight", but with a darker undertone, more macabre, indeed more devilish.I wouldn't go further, out of respect to Clouzot who made his wish explicit at the end of the film, hoping no one would see the film after the dreadful remake, because 80% of the legend -not the quality- that elevated "Diaboliques" to its iconic status, depends on the gripping climax and the heart-pounding four minutes before.
Clouzot's films always featured a gallery of colorful characters, whom the viewers could identify with, and "Diaboliques" is no exception: Pierre Larquay, the elderly teacher, a young Michel Serrault, George Poujouly, the kid from "Forbidden Games", Noël Roquevert and on the top of all, the scene-stealing performance of Charles Vanel as Inspecteur Fichet.
As small as it was, Fichet inspired one of the most beloved TV characters: "Columbo", another reason to thank Clouzot for "Diabioliques".So, if you're a fan of "Columbo", of "Hitchcock", of French cinema, of movies with twist endings, there's no excuse not to see "Diaboliques", one of the best thrillers ever..
It starts as a drama and then later some of the characters must done something horrible, but the true suspense comes after something very "not according to a plan" happens.I liked the performances in this movie.
Although some of the acting could be a tad overdone, there really isn't anything to complain about in that department.The story is about a Headmaster, Delasalle (Paul Meurisse) and his wife (Vera Clouzot) and mistress (Simone Signoret) looking for a way out of his tyranny.
If you have seen the remake but not the original, please go back and see how good this film was with Clouzot's masterful script and direction and shot in glorious black & white.
Set and made in France in the 1950's, no other director but Henri-Georges Clouzot himself could have done better, not even the master of suspense Alfred Hitchcock, who intended on making this film via the novel.Although I did see the 1996 remake first starring Sharon Stone as Nicole and Isabelle Adjani as Mia (Christina in the 1955 version), no one can quite describe the magic this film had in comparison to the remake.
Her acting is superb and almost masterful.The time I waited to see Les Diaboliques was worth it, making this film more than just another movie I bought from the store, but a masterpiece, a classic in film history.
With "Les Diaboliques",Clouzot offered his beautiful and gifted wife, Mrs. Véra Clouzot,and also Charles Vanel and Mrs. Signoret,an imperishable aesthetic existence.This film is one of the finest instances of a director coming with the right stuff at the right time--making an astonishing masterpiece exactly when he was expected to do it--not out of the blue,not unawares--but a purposeful and deliberate and expected for masterpiece.(To give here only 3 examples:Jean Renoir with The River (1951) ,The Golden Coach ,French Cancan (1954) and Elena and Her Men ;Marcel Carné with Children of Paradise and Juliette Ou La clef Des Songes ;Robert Bresson with Au Hasard Balthazar (1966),Mouchette (1967) ,many others;etc.,etc., etc., etc..But I do not wish to seem to imply that this case is exceptional;many examples could be further given:all the great ones, Bergman,Bunuel, Fellini,Mihalkov, Kitano,Tarkovski,etc.).In other words,these are all instances of directors unvanquished by their previous glory and who continued making masterpieces after they became famous.They knew how to score.The glory did not spoil them."Les Diaboliques" is one of the best,the most perfect movies I've ever seen.Clouzot,the script,the dialogs,the cast,the cinematography,everything is hugely entertaining.Mrs. Signoret is one of the best and finest actresses that ever lived and worked (I share this passion with my mother!),and an ideal cast.Peter Falk,doing his "Columbo",looks almost as if he is a Vanel--wanna-be.Everything is there,in Vanel's Fichet,and Vanel does not need tens of episodes to draw his policeman Falk is good and amusing,etc.,but Vanel did it first,and with genius.Among the most alive policeman roles in movies' history!Mrs. Clouzot is also thrilling to watch,a very accomplished actress....And Clouzot,what a power,what a strength!I would rather see 45 times a Mrs. Signoret movie,than 45 Mrs. Stone movies!(It looks like Mrs. Stone did appear in 70 movies,till now!)I see "Les Diaboliques" was given a weighted average vote of 8.4 / 10.
Classic suspense film from Clouzot "the French Hitchcock".
Diaboliques, Les (known in the US as Diabolique or also The Devils) is one of the greatest suspense films.The acting is solid.Paul Meurisse plays Michel Delasalle a nasty head master of a boys school.
Film Review: "Les diaboliques" (1955) - Here comes the ultimate thriller of century, two women, one brunette, shy, over-thoughtful and carefully scared ever step of the way; the other, short-haired blonde, powerful, smoking-coolness striving to plot the perfect murder of the man in their midst.
Director Henri-Georges Clouzot (1907-1977) exceeds himself in suspenseful motion picture entertainment after the already high-tension road-movie "The Wages of Fear" two years earlier to present a screen story that keeps its contemporary means, given the audience female characters of sharp-shapes and edges to perform the righteous kill of the business endeavoring male as machoistic, always hungry swine.
To say anymore would be diabolical (see what I did there?)An amazing cast (especially the director's wife Vera Clouzot as the sparrow-like wife and Simone Signoret as the uber-cool mistress) are amazingly directed by the master Henri-Georges Clouzot.After making Wages of Fear, Clouzot optioned the rights to this film to make sure a certain Mr Alfred Hitchcock didn't get his mitts on it.
It is about two women who conspire to murder their lover and the mysterious series of events that occur after his body disappears.The two protagonists', Nicole Horner (Simone Sgnoret), and Christina Delasalle (Véra Clouzot), performances helped add the horror aspect to the movie.
A slow-burn thriller about the fragile wife of a sadistic boarding school master and his mistress, who hatch a plan to murder their husband/lover to pay him back for all the abuse they've both had to endure.Vera Clouzot, real-life wife of the film's director, Henri-Georges Clouzot, plays the wife in the movie, but Simone Signoret, as the cool-headed and cynical mistress, steals the show.
After this murder is body is disappeared and some strange events begin to happen and disturb the two women.I liked this movie because of the plot which had much of suspense and mystery in the whole duration of it something that I found very nice and interesting for a movie.
Equally good was the interpretation of Simone Signoret who played as Nicole Horner.Finally I have to say that "Diabolique" is a very good and interesting movie to watch because it combines very well mystery with thriller and the result from this combination is success..
It's undeniably a chilling and well made horror film which is patient and unpredictable unlike most of its kind.The direction isn't up there with Alfred Hitchcock but it's a well done movie with plenty of suspenseful moments.
They were never developed fully in the protagonists I would've liked to see, and that I have seen in other suspense thrillers.Though for its time, Diabolique enjoyed some mainstream success for being a movie of macabre (something that outside of perhaps Hitchcock films, was not something done too often).
Henri-Georges Clouzot's "Diabolique" is a suspense film based on a novel by collaborators Boileau-Narcejac, best known for writing the novel which formed the basis for Hitchcock's "Vertigo".
One cannot imagine a wife (Vera Clouzot) and a mistress (Simone Signoret) knowing each other, much less plotting together to murder the husband (Paul Meurisse), who is abusive, but that is the plot of this thriller that reportedly was snatched from Hitchcock by just 30 minutes.
Watch for Charles Vanel's performance as a "Columbo"-like Inspector Fichet.A good but not great movie, LES DIABOLIQUES is only worth a rental if all the Hitchcock films are already checked out..
Director Henri- Georges Clouzot doesn't waste any time getting us emotionally involved, with a man (Paul Meurisse) abusing both his wife (Véra Clouzot) and his openly acknowledged mistress (Simone Signoret), and in making it apparent that the two are plotting to kill him.
Considered a Horror Film, in the Hitchcock mode, has been Imitated and Ripped-Off so many times by now that the unfolding Suspense is Lessened by now Familiar Plot devices, therefore Today, the Surprise Ending will seem Familiar, although the Denouement has a few Shots of Creative, Cutting-Edge Cinema.The Movie does contain certain Realism and Reflection of Social and Cultural Behavior that was Not Evident in Mainstream American Cinema for Years.Quite well Acted, however the Children's School is a Poor Choice for the Setting and is a Distraction.
Henri-Georges Clouzot's "Les Diaboliques" is an authentic pioneer of murder mysteries/conspiracy thrillers. |
tt0338325 | Paparazzi | Bo Laramie (Cole Hauser) is a rising movie star who has finally achieved major success with his latest film.Persistent photographers Rex Harper (Tom Sizemore) Wendell Stokes (Daniel Baldwin), Leonard Clark (Tom Hollander), and Kevin Rosner (Kevin Gage), harass Bo and his family, which includes his wife Abby (Robin Tunney), and their 8-year-old son Zach (Blake Bryan). The day after the big premiere of Bo's new movie, Bo takes Zach to soccer practice, where hes immediately troubled by the sight of Rex, snapping pictures of Zach on the field.Bo initially takes the high road, politely asking Rex to back off. Though Rex pretends to back off, he soon returns and gets punched by Bo, who is then sued for $500,000. Rex then vows to destroy Bo's life. Later, while Bo, Abby, and Zach are out in their car, Rex and his crew drive up beside them, in four different vehicles, and start taking pictures.Distracted, Bo is forced to stop at an intersection, and their car is rammed by a pickup truck. Rex and his crew rush out of their vehicles to snap photos of the wreck that they caused. While Bo is not seriously injured, Abby's spleen is removed and Zach is in a coma.Bo talks to LAPD detective Burton (Dennis Farina). Burton says that Rex, Wendell, Leonard, and Kevin each gave him the same story, that they drove up on the wreck some time after it happened. Burton says that until he gets any witnesses, that's all he has to go on.The next day, Bo accidentally causes Kevin to wipe out on his motorcycle, careening onto a precipice. Bo tries to save Kevin, but Kevin says "You think we were up your ass before? I'm gonna own you now, slick." Bo, flashing back to the wreck, lets Kevin fall to his death.Det. Burton learns that Leonard used to be an attorney until he got himself disbarred for distribution of narcotics. Leonard is still on probation for possession of illegal firearms. When Leonard was an attorney, he had once gotten Rex out of an attempted rape charge. Bo is also not the first actor who ever punched Rex before one of the Baldwin brothers did. After Baldwin punched Rex, Rex sued him, and then moved into a boat on a local marina.Bo next goes after Leonard. After calling 911, Bo describes Leonard's car, and says that the driver is waving a gun all over the place. Leonard is pulled over and finds a gun that he didn't know was in his coat pocket. When Leonard pulls it out, the cops shoot him dead.Rex and Wendell are convinced that Bo will target them next. So, they plant tiny cameras in Bo's house. Abby runs into Wendell who threatens to kill her son if she tells the cops. Soon after that, Deputy Walker (Forry Smith) and Deputy Wilson (Donal Gibson) come by. Burton sent them to provide extra security.Rex is furious that Wendell attacked Abby, because that gives Bo even more reason to go after them. Bo sneaks out past the two deputies and makes his way into Wendell's house. Bo is infuriated upon discovering that there are cameras planted in his house. Wendell arrives home, and Bo confronts him with a baseball bat. In the morning, Bo puts the car back where it was at, and he notices that Burton is on his way to the house. Bo races to the house, and lets Burton in, who shows Bo a video that was taken by a camera in a button of Leonard's shirt on the set of the movie. Burton thinks someone planted the gun in Leonard's coat.Rex arrives at Wendell's house, looks through a window, and sees Wendell's body. Rex goes back to his boat, finding the bloody bat. Rex realizes that Bo is trying to frame him.With police approaching, Rex grabs a gun and ducks out of his boat. At Wendell's house, Burton notices the video feed from the cameras in Bo's house. On the feed, he sees Rex entering the house with the gun. Rex goes to Bo and Abby's bedroom and opens fire, only for Bo to hit Rex and throw him to the floor. He viciously beats Rex, gloating about how he got his revenge.Rex is arrested. As he is led outside, he is relentlessly photographed by paparazzi. Later, as Bo is preparing to finish up the movie he's been filming, he's called to the hospital, where Zach has awakened from his coma. Later, Bo, Abby, and Zach are at the premiere of 'Adrenaline Force 2', the sequel to the movie that made Bo a star. Abby is now pregnant with a girl. After the film is shown, Abby and Zack leave covertly, as Bo goes to meet the press out front, by himself. | revenge, murder | train | imdb | In Beverly Hills, the Montana family-man actor Bo Laramie (Cole Hauser) becomes a superstar with the franchise of his action movie "Adrenaline Force".
This is Hollywood's revenge movie against the Paparazzi, those goon photographers obsessed with getting celebrities' pictures at all costs, totally invading their privacy and often using the pictures in a dishonest way to invent gossipy stories for the tabloids.
In this film, the photo guys mess up and the victim - an actor (Cole Hauser) - takes revenge by going after them.
Tom Sizemore nailed the role of a true scumbag.Keep an eye open for Chris Rock, the coolest Pizza Guy you are likely going to see any time soon.If you are looking for an entertaining end of summer movie this certainly might be worth your while to check out..
The film actually lived up to the trailer, which made me want to see it.Cole Hauser carried his role of Bo Laramie well.Tom Sizemore oozed the right amount of SCUMBAG for the role, but that comes as no surprise to me.My only real problem was the rather blatant lobotomy they gave Dennis Farina's character.
The ending is OK, I don't think there will be a Paparazzi 2, but you never know these days :)All in all a good, enjoyable movie you can watch without overpowering your brain..
Working on Forrest Smith's screen play, the director show us how an actor, Bo Laramie is the victim of a group of photographers that follow him and his family from openings galas to daily situations that will be turned into sensational articles for the naive to read.Basically, the film is Bo's revenge on the same people that cause an accident that leaves his young son in a coma and his wife in a critical condition.
While the film doesn't show anything new, it is not as bad as some commentaries make it out to be.Cole Hunter, as the movie star, Bo Laramie, has some good moments.
Tom Sizemore, Daniel Baldwin and Tom Hollander are seen as three of the pest photographers intent in ruining the star's life.There are two cameos by Mel Gibson, the producer of the film, and by Chris Rock, that are a surprise in that they appear out of nowhere..
There's always some story of some actor taking a weaselly photographer to court.Or you could do it the way Bo Laramie does.Laramie (Cole Hauser) is a former Montana carpenter who has, by pure chance, become a star in Hollywood through various xXx-style action movies.
He responds by punching out Harper, only a group of his Paparazzi pals (including Danny-the best Baldwin, the psycho killer from Heat, and some highly annoying English guy you can't wait to see hanging from a tree) catch the whole thing on film and whore out their footage to the highest bidder.Now with a personal vendetta between them a childish game is promptly brought to an end (or only just beginning) when they involve Laramie and his family in a Princess Diana-style car wreck.
But Tom Sizemore (aged "34", according to a TV show in the film) and Daniel "I live in a Sombrero house" Baldwin, renegade "bad seed" employees of 'Paparazzi' magazine have other plans for Bo. They terrorize him in his lovely Malibu home, take incrimininating photos of him and Sierra at the local Wild Oats, and inflict a tacky car chase-by-way-of-Lady Diana accident harming his family.
It's the latest movie produced by Mel Gibson (he has a funny cameo in it), and it's another one of the few conservative, fun, get the bad guys movies that are becoming so rare in the Theaters nowdays.Cole Hauser (one of Bruce Willis' navy seals in Tears of the Sun) plays the main character, a new action hero in Hollywood who finds his family being stalked and harassed by Paparazzi.
You know the movie's got to be good when the headlines refer to it as "A Mean-Spirited Revenge Movie", "Mel Gibson's Insanity" and "A Crude, Violent Tale."Cole Hauser actually makes a pretty good action movie good guy here.
In the real world rarely people get away with a murder especially in California with the powerful police force, so I don't how (Cole Hauser) played as Bo Laramie got away with three.In conclusion I liked the movie and others will too, it wasn't too long or too short and the story was interesting, it kept me to curios about the ending..
Relax and have fun at this film.Cole Hauser plays a great movie star.
Up-and-coming action movie-star, Bo Laramie, is almost killed with wife and child in a traffic accident, as the family was being chased by paparazzi photographers.
I think you dropped something.I guess it's some indicator of how bad PAPARAZZI is, that two days after seeing it, my partner and I were coming out of a MUCH better movie, and it took us nearly an hour to recall having seen this one.
And if you doubt that, check out the poster art in the movie for Bo Laramie's film series, a suspiciously familiar franchise called 'ADRENALINE FORCE'.Cole's Bo is a newly-minted action star just beginning to find his feet in the world of Holly-weird, about to have his life and career turned upside down by those Nikon-eyed nincompoops who can make or break you in La-la land with a few well-placed shutter clicks.
As the nastiness of the paparazzi's attack on their family escalates, there are some faint glimmers of how great some of her scenes with Cole could've been as her character wrestles with doubts about her star hubby's fidelity and truthfulness, but hey, why spoil such a great B-movie plot with crap like "nuance?"To some extent, one of the best character guys working right now, Dennis Farina, just about phones this one in; shocking coming from an actor who can always be dependable in even the biggest stinker this side of GIGLI.
It smacks of something that Mel himself might have written (and who's to say he didn't?), a near-parody of a rage-fueled revenge fantasy about burning down the super-leeches with zoom lenses, whom he feels have made his life a living hell.The whole "Princess Diana crash scene" angle seems to be where the screenwriter started, and it does distinguish the film in a nauseating yet fascinating kind of way, and provides the ample motivation and even justification that 'Bo' needs, when he makes his transformation from peeved action star to Dirty Harry Callahan without the Mag. But is it worth your nine bucks, bottom line?
B-pictures can be made as well as they were back in the old days, and with so many high-gloss blockbusters with low-maintenance plots hidden beneath the veneer, there are bound to be a few good ones here and there you may bump into, (see CELLULAR.)As for PAPARAZZI, if you want to be just as entertained as you would be by actually going to see it, here's my advice: go to your local supermarket and get all the fixin's you need for a great barbecue.
The joke: Cole Hauser as Bo. The greatest performance I've ever seen that came out that same year: Tom Cruise as Vincent in the movie "Collateral." Definitely worst acting, dumbest plot, and cheesiest action scenes I've ever seen..
The film plays it straight: the Hauser character shows no charisma, the bad guys are the lowest of the low, and we know how it will all end.Why make this?.
The guy looks like he's never acted in a movie in his life.
When I saw the preview to this movie I said in disbelief, "That guy is playing the hero?" Many actors where offered the lead for this and Cole Hauser was the only idiot that they could get.
In the therapy scenes his acting was so terrible that I found myself saying, "Is this guy for real?" Another ridiculous thing about this movie that I remember is how the first paparazzi dies and Dennis Farina informs Hauser.
I could understand if Sizemore just said, "I am going to destroy your life." But "eat your soul?" The bottom line is, the movie has a good plot, but it all goes down the drain from a horrible script and horrible acting.
Cole Hauser was pretty darn good, but the best performance hands down goes to Tom Sizemore, as the sleezy lead photographer.
Then they harm his family, and thats where they crossed the line, now its pay back time......All in all Paparazzi is a fun flick, the story is not too bad and the random cameos in the film make it fun.
who have had problems w/paparazzi.I thought the movie was enjoyable, with pretty good acting.
While Mr. Farina sniffs around mysteriously dropping dead photographers, Bryan remains in a coma, director Paul Abascal films "Adrenaline Force 2", and Hauser meets producer Mel Gibson in anger management.
Matthew McConaughey, Chris Rock, and Vince Vaughn are other actors appearing in small roles.*** Paparazzi (9/3/04) Mel Gibson : Paul Abascal ~ Cole Hauser, Robin Tunney, Dennis Farina, Tom Sizemore.
And one look at director Paul Abascal's resume gives us a likely reason--this is his only feature film as helmer so far, although he has close to twenty television credits on his resume, plus an impressive list of titles behind him as a Hollywood hairstylist (which causes me to try to remember the hairstyles in Paparazzi .
BECAUSE PAPARAZZI ARE EVIL CHILD KILLERS, REMEMBER?The movie star (handsome-enough and little else Cole Hauser) is portrayed as a fresh-scrubbed, corn-fed farm-boy who had just made it big and is suddenly, mercilessly hounded by the press.
4) He's super nice to almost everyone, including the coach of his son's soccer team and the young grocery store clerk.This film is basically Hollywood's revenge - everything bad about the paparazzi is magnified (because yes, I agree, they certainly are bad) and everything decent about the film stars is thrown up in our face (he just wants to watch his son's soccer game!
This is on of those films.Paparazzi takes place in sunny California where actor, Bo Laramie (Cole Hauser), has become the hottest ticket in Hollywood.
I think the reason why is that you can tell the people who made this film enjoyed themselves and had fun making it as they poked their pointed sticks at the Paparazzi industry.
That is of course once you stop laughing at Mel Gibson for choosing to have the hair stylist from Judge Dredd, Paul Abascal, direct this film.Some of the terrible things about this movie beyond the acting are the incompetence of the police.
Instead of wasting 90 minutes, just read about the assaults on paparazzi by Sean Penn and Alec Baldwin.Not one creative brain in this movie.So laughable and predictable I was surprised on what a lackluster effort this was.Tom Sizemore played a slimy scumbag which doesn't veer too far off from his real life persona anyways.Lame.
This film, produced by Mel Gibson's Icon Films, is the proof that celebrity photographers are the spawn of Satan.Rising star of action pictures Bo Laramie (Hauser) begins to realize that living life in the fast lane isn't what it's all cracked up to be after the glitzy Hollywood premiere of his first name above the title franchise-to-be 'Adrenaline Force' when he is accosted at his young son's soccer match by vile photog Rex Harper (Sizemore at his slimiest) a slick, gusto chasing jerk who provokes Bo to hit him getting the knockdown on video and Bo promptly into anger management.Laramie attempts to remain cool but when push comes to shove or rather when Harper and three of his low-life cronies roust the Laramie brood by boxing their car in with their vehicles leads to a nasty spill on the road (again echoes of Lady Di) that lands Bo's clan into the hospital (his boy is in a coma and wife Tunney has her spleen removed; venting spleen - get it?) Cue Bo seeing red and all bets are off.Despite his attempt to get the law on his side with world weary Farina as a police detective a la Columbo (he's seen it all and hates the paparazzi as well) assigned to the case Laramie inadvertently takes the law into his own hands when one of the vile camera-clickers accidentally gets killed in his vicinity.
This leads to Bo to go all action star on the remaining trio with guilty pleasure brio.Hauser, who looks uncannily like Paul Newman circa 1961, does the best he can with the material at hand giving a rather likable turn as a family man who simply wants to enjoy his new found fame without the horrors he's faced with (seemingly) unable to stop from coming.
Farina, always a pleasure to watch on screen, has some fun as well but sadly the sweet Tunney is reduced to the suffering spouse.Novice screenwriter Forrest Smith gleefully adds to the tackiness of the timely storyline with nifty full-proof ways of getting revenge that seem to be exec producer Gibson's wet dream (he has a funny cameo as do a few of his Hollywood buds) while director Abascal a former show biz hair stylist also acquits himself as best he can with the proceedings of vengeance is a dish best served cold.
Paparazzi is one of those ones that probably sounded pretty silly on paper, but one of the studio execs had a good sense of humour on a morning after getting laid and said "aw hell, green light this just for kicks." It doesn't hurt to have Mel Gibson as a producer either, who also makes the teensiest cameo.
The concept is simple: action film star Bo Laramie (Cole Hauser) is harassed by a sleazy hyena pack of determined celebrity photographers, until they take it one step too far, resulting in tragedy.
The same can be said of the newer Cole Hauser, who gives it his all in "Papparazzi".Big-time movie star Bo Laramie (Hauser) is being stalked by Rex Harper (Sizemore) and his group of reporters (Kevin Gage, Tom Hollander, and Daniel Baldwin), which eventually leads to a breathtaking accident that injures his wife (Robin Tunney) and son.
Entertanig crime-thriller with important message,and feels like actually also for those are in the title,this will makes them think how to work in the future.There is a cop in the story,who is very smart,but some of the users do not understand all of the twists,and we actually have some mild twists.This film works as dark comedy,but decent for that in all terms,good acting,script,and short roles for famous actors.All of us waited this movie,maybe is not all of us will tells the truth honestly,but this film was a good lesson as warning for those does not respect you all the time,in any way it would be important to others.7/10-has interesting elements,and message..
The film shows nasty paparazzi hounding an upright, decent family man (Cole Hauser) who's just become a major movie star.
Bo Laramie (Cole Hauser) is a new rising action movie-star in Hollywood.
This film about sleazy paparazzi and Hollywood actor fighting back is certainly an fascinating curio movie.
The movie was much better than I could have hoped for.While expecting a bit more from reading the plot 'complex revenge' it was just a simple kill the guys who almost killed me and my family.The acting was good, Farina is a good detective, nice and not too annoying, though he comes off with an underlying no nonsense if hes pushed.Looking at Hauser's credits he was in one on my favourite's Good Will Hunting.
Hes good here, playing a movie star with some real nasty paparazzi after him, including 2 who worked as lawyers and cops.People may go to these lengths for disgraceful photos, thats because they can go for thousands of dollars.You have to expect the victims to retaliate at some point, though maybe he went too far..
It's sad that there are still bad movies like this one with so many good actors.
I think Cole Hauser has the style and moves to be the next big secret agent.Not James Bond since you have to be British.Plus, I am so glad to see that someone (Mel Gibson) is following in Hitchcock's tradition.I hope to see Mel in every film he directs.I loved it!!!!!!!!!!!And as for as any Paparazzi or the general public-- DO NOT have the right to invade ANYONE's privacy, famous or not.Paparazzi or peeping Toms, in my opinion, is NOT a professional like everyone wants you to believe..
However, I have no doubt that many film stars encounter people like this.Probably the thing that brought the movie down a bit for me was utilizing Cole Hauser as a leading man.
These psychos would have deserved it.I think Cole Hauser is a good actor, for what he is, but he's probably best in a character or secondary role.Not a bad movie, although a little disjointed.
While some people may not like that aspect of the movie, I thought it was refreshing and made me find the film much more interesting than the run-of-the-mill Hollywood formula.
The paparazzi in this film are portrayed as monsters that do really bad things which is why Daniel Baldwin and Tom Sizemore both fit the role perfectly.
The basis of the story is a good one however it all gets a little far fetched with the Columbo like character of Tom Sizemore and loses credibility with the average "over-acting" of the paparazzi characters.
Also in the back of my mind were the real life battles stars like producer here, Mel Gibson have had with paparazzi intrusions into their privacy.
The revenge plot begins, and the action takes off.The film looks great, it has an independent feel, with just the right amount of Hollywood to make it not seem like a USA movie of the week.
I've never liked the way action movies so often end with the hero killing the villain, but I know that's just the way Hollywood works. |
tt0938330 | Silent Hill: Revelation 3D | Heather Mason (Sharon) has a nightmare in which she runs from faceless men at a fairground. She hides in the merry go round as the faceless men gather round closer and closer. Pyramid Head is shown chained to the center, riding a bike contraption that causes the merry go round to go in circles. Men strapped as horses on the merry go round yell at heather. Alessa also appears, claiming that she cannot be beat and Heather must not come to Silent Hill. Heather is consumed by fire and her screams are heard in reality. Her father, Harry (Christopher) wakes her up and explains that it was just a nightmare and as soon as they make their new house feel like home, her dreams will return to normal, but she must promise to not ever go to Silent Hill. Harry is then killed from behind by a creature of Silent Hill, Heather screams and wakes up for real this time.Heather draws something in her notebook, assumedly something about her dream. At breakfast, it is collected that they have changed their names, location/home, hair color, etc. many times in the past to enable them to keep running. Harry gives Heather her early birthday present, a white vest she had been looking at at the mall. She puts it on and heads for her first day of school. The rules are, she must go to school and come straight home so that she will be safe. While Heather is away her father looks at her drawing book, rips out the pages and puts them in a wooden box with a symbol carved on top. It is shown that he saves all of Heather's Silent Hill drawings in an envelope. He looks into the mirror and a flashback is shown. He speaks to Rose, Heather's mom and his wife, and it is shown that Rose and (Sharon) were once trapped in Silent Hill. Rose found a portal that only allowed one person to return to reality, she saved Sharon by passing her through the portal. Rose says shes trapped but there is nothing (Christopher) can do but he must protect Sharon now because they (Silent Hill) will come looking for her because they need her. The portal closes and Rose is gone but Sharon returns to Chris with no memory of what happened. He lies and tells her that she was in an accident and her mom is dead. A medallion of some sorts with a symbol (same symbol on the box) falls from Sharon's hand when her father holds her. The flashback ends. On her way to school, Heather comes near a homeless man, for a quick second he has no face and Heather, in fear, backs up and is almost hit by a car. A strange man approaches her, apologizing, he thinks he recognizes her but Heather waves him off and walks to the school bus. In class she is introduced as a new kid by the teacher. When a mean girl asks her if she gets all her clothes from goodwill and the teacher pushes her to talk about herself, Heather explains that she moves around a lot so no one should bother learning her name or anything about her because she definitely wont remember or care for them. Impressed, the teacher also introduces the second new student, Vincent Cooper, who jokingly says he cant top Heather's speech. In the crowded hallway, there's an announcement on the P.A. but it quickly turns to static. Confused, Heather looks up to find the hallway deserted and the dimmed lights flickering. She hears children chanting Burn the Witch! and looks inside the window of a classroom to find kids in a circle in an old fashioned classroom pushing a girl around (reference to the first Silent Hill movie). She steps away to look into another window, the children turn around to look at her. As she steps away again, a faint voice calls her real name Sharon Da Silva. The hallway turns into a hellish Silent Hill hallway. An armless creature begins his way towards her when suddenly Vincent comes up behind her, bringing her back to reality.They both talk but she rejects rudely his offer of having some coffee together.The same weirdo who talked to her at the bus stop is awaiting her. Heather walks back to school, bumping onto Vincent, who stares back at the man and Heather.She phones Dad telling him about the strange man. They set out a date at Happy Burger at the mall. Back at home, somebody is trying to enter. Dad says he loves her but he's taken.Heather waits and waits at the mall, sitting at a bench. He looks at a clown who's serving a birthday cake to a child called "Heather". The clown waves at her and happily dances around, while happy children are running and playing all over the place. When she sees "Happy birthday, Alessa" in a balloon everything becomes gory and terrifying. The strange man calls her Sharon and runs after her. The hamburgers they eat are being cut at the kitchen by a butcher (Jason Best) from a tortured man who's hanging down as cattle in the kitchen, and then they are fry-cooked by Sergey Shpakovsky. Heather can't talk to her father. The man runs after her and tells her that he's Douglas Cartland. He has been paid by the Order of Valtiel to find Sharon Da Silva. Heather/Sharon still thinks that they are being followed because the police accuses Harry of killing her mother, but Douglas tells her that she had been imprisoned in a place called Silent Hill. They want Heather back.They are attacked by a monster (Chad Camilleri) with a blade as an arm and a strange head and he cuts some fingers from Douglas. They run into the lift and the monster jumps on top of it. The attacker takes Doughlas away, who wants to really help Heather. She enters the rubbish room where a cleaner scares her. She takes off her jacket. When she leaves the school, the police are there, taking away the body of Douglas. That bloodied coat will lead them to the culprit, says Detective Santini (Jefferson Brown), holding a photo caption of Heather. Vincent is one of the bystanders and asks her what she saw inside. Vincent and Heather walk together. Frantically, Heather tries to contact her father, who won't pick up his mobile phone. Vincent lends his coat to Heather, who's trembling with cold.Heather looksat some priests waiting for her. Vincent can only see a jogger. In the bus, there's a strange man (Peter Schoelier) mumbling and trying to seduce her. The conversation moves to the unexisting different between fantasy and reality as Vicent's crazy father (Malcolm McDowell) Leonard used to say.Back home, Dad is not there. Heather calls out for him, but only Vincent approaches her. They both see the huge writing on the wall "COME TO SILENT HILL". Heather can't call the police. Heather recognises the round symbol, and tells Vincent that Silent Hill is the place of her nightmare, where Harry told her never to go. They check on the box with Heather's cutouts; she can't remember clearly wheyn she was adopted, and they also find the pendant which used to be Heather's, but one side is missing. Heather's got a gun.The police knock, possibly on a matter related to Cartland. Heather takes Vincent with her as she can't drive. The police busts the door open. They stare at the writing on the wall. To the enquire of Detective Cable (Milton Barnes), Santini says that Heather is a murder suspect.Heather reads Harry's letter to Sharon. Harry tried to protect Heather/Sharon at all costs. He didn't kill a random thief that day; he was a member of the Order told to take Sharon to Silent Hill, where she should not EVER EVER go. The Order needs Heather, he doesn't know why. - Images in sepia of Harry taking away Heather's school file from Ipwich High School. Harry has written books and books about the monsters and Silent Hill along the years. The story is that the British built a colony prison in a hill which used to be a cemetery for Native Americans, called the place of Silent Spiritis. The Order of Valtial have been waiting for 100 years for a child to be born, who will be the vessel for their god, who in turn would create a new world. There's also a newspaper cutout with the news about a fire going underground the town of Silent Hill, in the old mines. The place had to be abandoned, and the mines are still burning. Harry thinks that the Order of Valial tried to kill the demon Alessa, trying to burn her, but Alessa took revenge and brought darkness to the town.They arrive to the end of a road. Vincent insists on stopping. They arrive to Jack's, a derelict motel. Vincent advises not to go to Silent Hill. They hug each other. Heather dreams about Alessa invading the town with darkness. When she wakes up, she insists on going to Silent Hill. Vincent tells her not to do, because she belongs to the Order. She was born and raised in Silent Hill, but he was sent to the world to make sure she would come back with him. Vincent tells her that going back to the real world is possible for a short while, as long as there is a sacrifise and pain as price. He lifts up his shirt and he's been tattoed the sign of the order with a knife in his own flesh. Vincent tells her that they are taught that Alessa is keeping everybody in suffering and that Heather is part of that evil, but Vincent now believes that, if Heather is part of Alessa, she is actually the innocent part. In order to kill Alessa, she must be completed first; then the Order will be freed. Heather's father is kept alive in a Sanctuary under the city by Claudia Wolf (Carrie-Anne Moss), Vincent's mother. Heather is adamant to rescue Harry, and Vincent tells her that she will need the other half of the amulet.Throughout all this conversation, lights are flickering in and out, showing that evil is approaching. Leonard Wolf, Vincent's father, has got the other half in the asylum. Vincent wants to help Heather and go with her. Lights go out because the darkness is approaching.Walls start bleeding. Everything falls off. Behind, they can see the real scenery of terrifying Silent HIll. As Heather is part of Alessa, she can free the darkness in herself to enter the usually hidden realm. A monster takes Vincent but leaves Heather untouched - Heather needs to enter Silent Hill by her own volition. The darkness recedes and Heather wakes up in messy motel room No 10 in Silent Hill.Smog and fallen ashes surround the road leading to Silent Hill. People stare at Heather from behind closed windows. Churchbells are heard. Tied to a stake, with a huge placard saying TRAITOR, it looks that is Vincent's destiny. Dahlia (Deborah Kara Unger) arrives from behind the pole, and tells Heather that she shold not be there, because she'll be used. Heather knows who she is: Alessa's mother, who allowed the townspeople to burn her daughter as a witch. She was deceived; she thought Alessa was special, and that they would help her. Heather thinks that they all got what they deserved. Alissa didn't die - she was badly hurt but with her rage, her powers increased. She took revenge on the town and put the good innocent part of her soul in an innocent newly-born baby and the baby was Sharon, says Dahlia. Sharon was at Toluca County Orphanage and was adopted by unaware parents - Harry and Rose. She can't save Harry without condemming herself.Darkness arrives, everything seems to fly up and Heather runs. Inside is safer. There are broken dummies, including one which is alive, a young girl, who becomes a dummy and a girl (Rachel Sellan) who's about to become one. That girl is freed and says that the monster - a huge spider made of dummy parts - is approaching. The spider takes the head of the newly-transformed dummy, and includes it within itself. The head comes alive and screams. The spider finds them because the exit door is locked. It takes the other girl, who had lost herself in the woods, but Heather is able to leave.Claudia says that darkness convinced Vincent, but he says that Claudia's darkness created Alessa. Harry is tied down to a sculpture of the faceless monster. Claudia says that Vincent, in his madness, succeeded, and that where her sister Christabella failed, she will succeed as well. Vincent is taken to the asylum, while Harry wakes up.Heather finds the asylum and Leonard's medical file. He is in room 12, so she takes that key. Heather kills a monster who jumps on top of her. Heather finds the room. With her torchlight, she can see blind Leonard. He was chained by Claudia, her own daughter. Leonard looks like a monster himself anyway. Leonard laughs at the wailing sighs of Vincent. Leonard is an ongoing project, so he's not become a monster yet. He tells Heather to place the amulet in his hand, and she does, pointing his gun at him. Leonard recognises the seal which was used to take a child outside. The amulet unlocks the true nature of things. Leonard says that she has already found the other half, because it's hidden inside of him. He uses the half of the amulet to stab himself and rejoin the two pieces. Leonard can see and tries to kill Heather but she shoots him.The newly-born monster frees himself and takes Heather with him, but she takes the whole amulet out and the monster becomes only dust and ashes.Now she has the amulet whole again. She tries to talk to Alessa. Imprisoned men grab at her until the monster with the blade arm appears. He starts cutting arms with its axe. Heather crawls onto a hole.This corridor leads to a torture chamber. Several nurses are holding clubs, axes, butcher knives... They are blind, so they only move when they listen to something. They kill the two nurses who took Vincent there. He can't free himself without making noise.Heather appears. Vincent tells him that Harry is at the sanctuary under the fairground and that he can help her. She frees him and with noise, the nurses stab the air and them. The use the hospital bed as a shield. Heather can't understand how they can live like that, but Vincent says that it's all he's known in his life. Vincent still tries to convince her of leaving without her father. The fair starts working.They hide from some soldiers of the order in gas masks. They don't breath air directly because they think it corrupts them. Vincent kisses Heather and lures them away. It's exactly as in her nightmares. A soldier appears but takes off his mask and dies. The merry-go-round is working, and tongues of fire surround Heather. Alessa appears, first a child, then a teenager.Pyramid Head makes the merry-go-round move. Alessa says that each person has their personal nightmare in Silent Hill when Heather confronts her. Alessa tells Heather that she's not welcome. When Heather tells her to go to hell, Alessa says they're already there. They embrace each other, Alessa trying to kill Heather and Heather saying that she loves her regardless. They exchange looks until Alessa disappears in dust, Heather passes out and the merry-go-round stops.Heather wakes up. A door opens. Sharon/Heather meets her father, still tied. Claudia tells that darkness has invaded her sanctuary. Claudia wants to kill Harry so that his blood will feed the new god which will be born from Heather. Claudia says they need Heather's body. Vincent is present throughout all this conversation, but he can't do anything to help Heather.Heather offers the amulet to Claudia, saying that she wants to see what Claudia really is. When Claudia touches it, she shows herself to be a monster like any other of Alessa's servants. Claudia fights Pyramid Head. Heather and Vincent unty Harry while Pyramid Head kills Claudia's nightmarish figure.The three of them, Vincent, Heather and Harry leave. Harry says he can't leave. Harry wants to rescue Rose. Heather did her task, and he must do his. Harry tells Vincent to take care of Heather. Harry goes back inside Silent Hill.Both Heather and Vincent walk through a road. They thumb a lift from a lorry. The lorry driver is Travis Grady (Peter Outerbridge) and they finally leave Silent HIll.The second afterwards they finally leave the town, three police cars and a prison bus enter the smog-filled town. | mystery, boring, violence, alternate reality, horror, flashback, revenge | train | imdb | Unfortunately Silent Hill: Revelation sets out to do two things: A) Continue the story SOMEWHAT from the first film to satisfy Silent Hill fans while having characters reveal story lines piece by piece in "plot dumps" that seem forced and out of place.
I'm going to forget for a second that I've played Silent Hill, I'm going to switch off my brain and look at this film as a standalone project, a generic horror film about a creepy town called Silent Hill.And as somebody who has forgotten all knowledge of the game series that this film is based on, it would be nice if the film itself could fill me in on the situation a little, instead of throwing 3d effects at the screen and trying (Poorly) to relay a story that makes so little sense that it almost becomes funny.Things happen for no reason and have little build-up or explanation, and it isn't too enjoyable thanks to the hokey acting from the majority of the cast, even stars like Sean Bean and Kit Harington turned in mediocre performances, though with the writing the way it was one can't exactly blame them.Now as someone who has seen the first film, this "sequel" (With the most original sequel name ever might I add) has little to do with the first.
The first ended in a bitter way that held no real place for a sequel to come in, so this whole film just seems tacked on for some extra cash.But I'm sure the real problem here is the shameless butchering of source material.If this film went under any other name or concept, it would be a badly acted straight to DVD movie that only plays on the Sci-fi channels, but because of the capitalisation on the name "Silent Hill" and the intellectual property of its creators, this film has been given a free pass, a pass which it did not use wisely.Once again, without any spoilers, it is safe to say that this film does nothing in the ways of conveying the moods and feelings of any of the original games, nor does it try to follow any of their stories, which would be just fine if they didn't spend every other minute shoving fan- service in my face, as if to say "Look!
Take a good long look at it!" Worst of all, the little nods that it gives to the game series are such big parts of the plot that you cannot ignore the fact that they are being used completely out of context, and it gets avid gamers like me really mad.All in all, newcomers to the series who like horror films will have a tough time understanding it, people who enjoyed the first film will probably lose interest fast, and anyone who has played the games will spend the entire film sitting in frustration.
The characters take a while to actually enter Silent Hill, and when they do the film quickly devolves from creepy moments to explaining the story, which is not particularly compelling.
Sure, I knew the move was going to be a bit gimmicky (being shot in 3D and all), and the trailers hadn't looked too promising, but as a fan of the Silent Hill series, I thought that maybe I'd still enjoy the film.
While the special effects are pretty solid, they just don't make up for the poor plot and dialogue which really are sub-par, even by horror movie standards.I really wanted to like this movie, but even as a fan of the material I found myself unable to appreciate it.
Overall, the story and dialogue were better in the original movie.If you're looking for a straight adaptation of Silent Hill 3, look elsewhere.
Now I'm okay with movies that didn't follow exactly like the original plot from games, books, etc like the first Silent Hill movie, I think it is still fine.
Maybe it's too short, maybe Silent Hill 3 is just not suitable to be made into a movie because the story is all about Heather trying to find the truth about herself, and since we already knew that at the beginning, what is there to tell anymore?
the script is cheesy and the story develops in and incredible amount of short time, but it had what I wished for, as a DEVOTED fan of Silent Hill franchise, I saw a LOT of references to the game and other Silent Hill titles, as a fan of the first movie, it's a coherent sequel, maybe the story is obviously not the most brilliant, but come on!
The acting is also good, it's just that I felt that the movie went so fast that we can't feel love for anyone but Heather (Adelaide Clemens has my 100% approval as Heather) the music is really good also, for the ones that are expecting to hear again a lot of tracks taken direct from the games, you will be disappointed, most of tracks are remixed themes from Silent Hill 3 & 2, but it works well...Another thing I wanted to point is the 3D, really, don't judge the movie just because it's in 3D!
a lot of scenes, characters and monsters had a lot of potential but the movie was too short to developBut I enjoyed it, a lot, was a cool acid like trip on the theater, really, not the best story, but actually felt like the 3D ride through hell they promised since the beginning ;)Funny?
It felt that the script was so rushed and it was trying to cover up many story lines from the game and the first film that could leave many non-silent hill video game fans very confused, but the fan will know exactly what's going on.
I found the story to follow the actual Silent Hill 3 game quite well, and I enjoyed all the little nods and references to other games from the series, especially the creepy reference to Downpour at the end.
The first Silent Hill movie was pretty good, although it strayed far away from the video game story at times and felt a little like a TV movie.
The plot is really interesting and twisty and it's understandable for everyone, not only video game fans who know the background of the story (like it happened with the first movie).
Silent Hill 2 has not come down to just an expensive video clip full of visual effects like what happened to the latest Resident Evil movies where the whole script can be written on just one sheet of paper with the most informative dialogues being: "I need to recharge ammo", "Cover me" and "Run. I'll try and stall them to give you time to get clear." The monsters are disgusting and creepy, every motion they execute curdles the blood.
'SILENT HILL: REVELATION 3D': Four Stars (Out of Five)3D sequel to the 2006 horror film based on the popular survival horror video game of the same name.
Vincent is not a bad guy of course though and sees Heather's true beauty, so the two join forces in surviving 'Silent Hill' and unraveling it's mysteries.The film is like a true nightmare and is played out in beautifully grotesque elaborate detail; the set design, effects and 3D are all spectacular.
I know nothing about the games but I did like the original 'SILENT HILL' movie and would put this second installment right up there with it.
The 3d is handled well, with a few gimmicky bits but mostly bringing you into the misty town of silent hill in ways never before accomplished.The big question is do you need to be a fan of the game to enjoy it?
It helps to have seen the first movie, but with the exposition this is not a must.Overall a really enjoyable film that captures the awe and horror of silent hill.
The only way the movie resembles the game is that it just reuses some of the monsters from the original game, and even adds new ones, which isn't anything worth talking about.The plot from the original game was butchered, and the movie was made into an action film, it was as if i was watching a Resident Evil movie.Anyone who's played the SH series, know that the actors playing the characters don't even come close to their original counterparts,example: Heather's "Go To Hell!!" quote is just so cheesy and Claudia's response.
LOL pretty lame and cheesy.Final Thoughts If you are a Silent Hill fan from way back you're going to HATE(not dislike) this movie, because it is almost as bad as the Dragon Ball Evolution reproduction.If you are new to Silent Hill, then you're just wasting your money watching a lame, cheesy movie filled with predictable characters and plot, in 3D.
That being said, I'm pretty sure Silent Hill: Revelation 3D is the worst movie I have ever seen.I know what you're thinking:"Really?
Radha Mitchell and Sean Bean did a good job in the first movie and the story was good enough for someone like me who haven't played the video game.
Overall it was good entertainment (still talking about the first Silent Hill movie).This new one, on the other hand, is a complete waste of time and money.
Fans of the game are going to find a lot to love in this sequel to the original Silent Hill movie.
Fans of the first movie who appreciated the sets and costumes which captured Silent Hill's atmosphere won't be disappointed.What this film ultimately does right is that it remembers that Silent Hill isn't just a horror game meant to scare you.
This movie will not haunt you for nights and days as you go to bed at night, but you will feel like you accompanied Heather on a very, very dark journey.Hardcore purists may still have problems based upon the original film's butchering of the game's plot.
If the first Silent Hill wasn't scary enough for you the first time around "Silent Hill Revelation" is a must see.In the movie Adelaide Clemens played a character named Heather also known as Alessa an evil demon child.
There were other things that bothered me about the plot, but the visuals and atmosphere outweighed the bad for the most part and made this film okay to me.So with some work, I think this story could have been as good as the first movie.
Yes, call me "flavorless" in actual great films but in the end I bought Silent Hill: revelation 3D was actually pretty good.
As a person who is oblivious to most of the actual Silent Hill game lore, understanding this film after watching the first wasn't really hard.
And you know the direction is bad when they couldn't even make Sean Bean's character look good.I don't know a great deal about the storyline from the games, but it seemed like they left a door open for a sequel.
Would only recommend this movie to die hard silent hill fans who just wanted to see a sequel, whether good or bad.
I liked the first Silent Hill movie a lot, but thought it weakened toward the end.
After all, every other video-game movie had been utter garbage before the original Silent Hill film.
There are probably some "Silent Hill" video game fans who mortally crush this film to bits.
I'm a huge Silent Hill fan, and I am one of the few people that actually liked the first SH movie.
I saw the first Silent Hill film never having seen/played the game and really enjoyed it as a stand alone horror film.
I found it creepy, sinister and atmospheric with decent acting, pretty much all I ask from a horror film.I saw Silent Hill Revelation, again after not being a fan of the computer game, and was very disappointed.
After watching this film, I got Silent Hill fever all over again.In general, this was a pretty bad horror movie; I thought it wasn't really scary, and overall it was kinda week.
The setting and the music and many other things about the first Silent Hill were loyal to the game, but story wise it wasn't anything like it.
The music was well done, original game music creator mixed with the movies atmosphere pretty much made it feel like your playing Silent Hill.
Yet unlike the first film, which soundtrack was not released, Silent Hill Revelation's will be released digitally on October 30th and on CD in December.A critic I read said "It feels like a video game" and this critic gave the movie a pretty poor review.
The plot in it simplest form is 4 words;"they want her back."That pretty much sums up the plot.But honestly, who goes to these movies for a plot?I went to have good creepy time immersed in a 3d nightmare.And that is exactly what I got.I think this is one of the cases where the trailer is truth in advertising.Yeah, they showed some of the best parts, but those parts WERE in the movie.In the effort to keep this spoiler free, let's just say that the heroine keeps going in and out of reality and the nightmare world of Silent Hill, until she actually goes there.Some of the scenes -especially the early ones - reminded me of the nightmare sequences of a Nightmare on Elm Street movie (especially when she went into what looked like a boiler room!)There is a lot of gore, frightening images, and genuine creepy atmosphere.
then you'll understand the story and you'll not only enjoy, but even will be surprised of realizing new things.And if you are just a gamer and you are just fan of the silent hill game series, then please don't watch it cuz I know you will rate it under 4 just because it wasn't just like the game.
Basset writes (and I use that term loosely) and directs (again, loosely) this sequel to Christophe Gans' far superior 2006 film "Silent Hill." Starring Adelaide Clemens, Sean Bean, Kitt Harrington and featuring supporting roles by the likes of Malcolm McDowel and Carrie-Anne Moss, this should have been a solid film.Taking place several years after the original film, we discover Sharon De Silva was miraculously returned from the "Dark World" to her father (Sean Bean) by her mother Rose, through the use of some sort of talisman.
if you have seen the first film or even played the video game, then this this is for you, story line stays with the series to the t, the plot is easy to understand not hard to follow, the actors aren't top main actors but i think that made it better, it's Strong Lead has talent she showed passion and feeling in her role, making it believable and easy to connect with, the rest of the cast were known but not huge, bur supported the lead excellent, the special Fx were visually appealing and made the movie all that much better,the story is interesting and captivating, action and thrills from the start, all in all i give this movie 4.5 joints up,,,, I highly recommend this film, and would say that if you have to pay you will get your money's worth.....
Okay so let's start with some pointers: First, this movie is not for people who haven't seen the first movie, or if they never liked the first one.Second, if you've seen the first one, then try to re-watch it to jog your memory about what this story is actually about.Now let's start with Pros and then Cons for this sequel: Pros: Truly takes you back into the Silent Hill's originality.
It's a poorly made film that fails to be a decent horror movie and feels more like a TV drama with monsters.If after reading this review you feel you still need to see it in the cinema then I recommend seeing it in 2D if you can as the 3D is poor throughout and isn't worth paying the extra money for.
It was terrible.Now, to get things straight, I am a HUGE Silent Hill fan, of both the games and the first film (though not as much).
If you are a horror movie lover, silent hill fan, or watching just to see how Sean Bean dies next, you will be disappointed with this film.
Everything about the look of the movie is bad: The story is stupid, the directing is amateur, the acting is poor, the special effects are for 90s television, and there are new monsters that aren't even half as good as what was in the game.
I wont go into the plot and spoil anything, but for those that have played the games this story is a much better telling of Silent Hill than the first.
I was looking for a movie that felt more like a Silent Hill game and this, like the latest in the Resident Evil series, seemed to be more in tune with what a "gamer" would want.
I'm guessing that there are only a few moments which really stand out (things like axes etc thrown at/near the screen).Basically, if you liked the first Silent Hill movie, or are a fan of the game, you'll probably get some enjoyment out of this film.
SILENT HILL: REVELATIONIt was not too bad, but it was not as good as the first film.The story carries on from the original with Sean Bean's character running from town to town with his daughter, always changing their identity.
The scares aren't good, the acting isn't the best, but as a video game adaption to film I thought this movie was FANTASTIC!
I have seen the horrible "Double Dragon" and all the "Resident Evil" movies, and nothing comes closer to being true to the games like the Silent Hill flicks.
So in conclusion, silent hill revelation is a great movie sequel with good graphics, monsters, scenery and acting.
The movie gives a lot of little "easter eggs" to many different silent hill games, and I mean, who doesn't like to see a few easter eggs!?. |
tt0865907 | Into the Blue 2: The Reef | The film begins in Honolulu, Hawaii, with someone dumping large containers into the ocean and then going to meet with a few men in suits expecting to get paid. But because he dumped the containers and altered the schedule of those container shipments to the customer, he is killed.
We are then taken underwater in the blue ocean as Sebastian (Chris Carmack) and his girlfriend Dani (Laura Vandervoort) are dive surfing with a model. We learn that the group own a snorkeling business that rents out equipment for clients. Sebastian does not want to do this line of work forever.
For Sebastian, there are countless treasures in the ocean that he has been in search of for a long time but one that he has been searching for four years is the Spanish ship San Cristobal, which sank somewhere near the North Reef and is rumored to have sunk in the ocean with a large treasure.
Sebastian believes that if he finds this treasure, this will give him and his girlfriend the opportunity to live a better life.
Sebastian hangs out with his friend and employee Mace (Michael Graziadei) and his girlfriend Kimi (Mircea Monroe), Dani's best friend, who are a couple that have a difficult relationship because Mace tends to get involved with other women. While Mace and Kimi have a crazy relationship, Sebastian and Dani are very much in love.
While at work, they are visited by Carlton (David Anders) and Azra (Marsha Thomason), a couple who wants to hire them for diving in the North Reef for a week because they are looking for the San Cristobal.
Of course, Sebastian has been trying for several years to find it but Carlton happens to have a map which may lead them to the treasure. So, both Sebastian and Dani agree to help the couple. The four go on various diving expeditions to find the treasure.
We then get to see some of the beach life as all six individuals enjoy the beach. Dani, Kimi, Sebastian, and Mace get involved in separate beach volleyball competitions. Sebastian and Mace go against their main diving competitors, Avery (Rand Holdren), who dates a girl named Kelsey (Audrina Patridge), who loves to lecture him when he gets into trouble by messing around with women.
While at a club, another customer hits on the women and grabs the arm of Azra, who quickly puts him in a headlock. This raises the first red flag for Dani, who becomes suspicious.
The following day, we learn that Carlton is not really looking for the San Cristobal. He actually helps big clients smuggle treasure to other locations. Both Carlton and Azra tell Sebastian and Dani that if they help them find the two containers, they will earn $500,000. Also, we learn that if Carlton does not find the containers in a week, the men will kill them. The reason why he is willing to pay them a lot of money is part of an apology because the men who hired him know the names of Sebastian and Dani and their lives are in danger too.
So, now both Sebastian and Dani are forced to help Carlton and Azra find the two containers but while they are at sea, Avery takes notice and he starts looking to find whatever they are looking for.
With their lives threatened, Dani convinces Sebastian that they must look to see what is in those containers and why their lives are being threatened. Something terrible could be in those containers and they need to check them without bringing Carlton and Azra along.
Thus, the two take their boat out to sea late at night to dive and see what those containers are. What they find in the containers is not a treasure but a bomb. When they return from their boat after the dive, they are greeted by Carlton and Azra, who have been hiding in their boat and are ready to kill them. Carlton tells them that in container one there is the casing and in container two there is a nuclear warhead. One without the other is useless but together they make a powerful weapon. Their goal is to create a second Pearl Harbor.
Dani jumps off the boat to try to get help. She is found in the morning one mile off shore and is put in the hospital. At the same time, Azra and Carlton kidnap Mace and Kimi from their apartment and bring them back to the boat. They spend the night bound and gagged with Sebastian, and the next morning Carlton threatens to kill Kimi if Mace and Sebastian fail to retrieve the containers from the bottom of the sea. Azra tries to kill Dani in her hospital room, but she runs away and a chase ensues. Meanwhile, Sebastian and Mace try to bring up the containers for Carlton. Mace purposely messes up and Kimi is killed. Sebastian and Mace rebel, ending in Carlton and his bodyguard dead. Dani outruns Azra and Azra kills her boss so she can disappear again. Dani, Sebastian, and Mace reunite. They then have Kimi's funeral.
The movie concludes six months later where Sebastian and Mace find the San Cristobal and buy their someday boat. | violence, murder | train | wikipedia | i thought i would give this movie a chance because i must admit i really enjoyed the first.
into the blue 1 was pretty good so a sequel was hard to do.
the story was fine if not a little outdated and the acting was fine apart from a few silly actors letting the side down.as u can probably tell there is not a lot to write about this apart from that if you enjoyed the first 1 then you will probably enjoy this as well...just not as much.give it a try and let me know if my rating of fair or unfair;).
I wasn't all that impressed with either 1977's "The Deep" or the film it inspired 28 years later, 2005's "Into the Blue." They were decent oceanic thrillers but that's about it.
I liked the actors in both -- Nick Nolte, Robert Shaw & Jacqueline Bisset in "The Deep" and Paul Walker, Scott Caan & Jessica Alba in "Into the Blue" -- but unless you're rabid fans of Bisset and Alba (or the guys) neither film ever rose above the level of average.2009's direct-to-video "Into the Blue 2: The Reef" is a sequel-in-name-only that successfully builds on the template of those other two films, delivering a far more entertaining experience IMHO."Into the Blue 2" simply has a more engaging story, more dazzling filmmaking and better, more numerous bikini-clad babes.
Although the main cast is relatively no-name (Chris Carmack, Laura Vandervoort, Marsha Thomason & Dave Anders), they do a splendid job; plus the film is highlighted by two solid cameos of Parvati Shallow ("Survivor") and Audrina Patridge, both incredibly gorgeous.
Up to that point the story is pretty much just a fun, light-hearted beach/diving flick.
The dramatic change in tone works in the film's favor and keeps it from being one-dimensional.Since "Into the Blue 2: The Reef" is a direct-to-video release it cost a fraction the expense of "The Deep" and "Into The Blue," the latter of which cost a whopping $50 million, believe it or not.
This makes an interesting study: Filmmakers can make better films at a fraction of the cost; it's simply a matter of ingenuity.
"Into the Blue 2" was shot in Hawaii whereas the other two were filmed in the Caribbean.The runtime is 92 minutes.GRADE: A-.
Bush started with his second period as a President of the United States; North Korea announced its possession of nuclear weapons; Pope John Paul II died after a long illness; and a movie called Into the Blue appeared.The existence of this movie is not as bad as the other things that happened on that year,but the film itself was execrable.Now,in 2009,the United States have another President,there is another Pope,new Korean nuclear weapons...and the film Into the Blue 2: The Reef,which is better than the original one...but that's the same as saying: "getting your fingers cut is better than getting your head cut".This sequel is a really bad film which kept me tremendously bored and uninterested.The cast of Into the Blue 2: The Reef is composed by TV-series actors who completely lack of any credibility and dramatic weight,but who are perfect for showing their bodies.Chris Carmack (The O.C.),David Anders (Heroes and Alias),Laura Vandervoort (Smallville),Marsha Tomason (Lost) and Audrina Patridge (The Hills) bring hollow and boring performances.I liked some previous movies from director Stephen Herek (Critters and Bill and Ted's Excellent Adventure specially) but on this movie,he cannot generate even the minimum level of tension,emotion or entertainment.The characters from this movie are not only badly performed,but they are also repulsive.Honestly,I wanted all of them to die.The cinematography from this movie is also lame and it seems to have been made by a technical team who makes promotional videos for Hawaiian hotels.Into the Blue 2: The Reef is a horrible movie which is better than the original film,but that's the same as nothing,as I previously said.Avoid this crappy film at all costs..
x stands for a peak-of-irrelevance-person, whose irrelevance i will not undermine by memorizing her name and positively shall not be mistaken for an actress.x is part of a plague that infected television and made real what we would have thought ten years ago is a sick joke: people who have no life watch people having no life.Speaking of sick joke - whose idea was it to hire x as ...
no, i correct: INSTEAD of an actress for this movie?
Anyhofromthehills, this film has x in it and you just know that is it's terminal flaw.
Which is - come to think of it - a good thing as it makes you run to the hills and hide from it..
If you think that maybe this movie is not as bad as the reviews say....don't, unless you want to laugh at really really bad movie- making.
If you think that maybe this movie is not as bad as the reviews say....don't, unless you want to laugh at really really bad movie- making.
If you think that maybe this movie is not as bad as the reviews say....don't, unless you want to laugh at really really bad movie- making.
while generally i find it a turn off when seeing 100% "preaty people as utterly unrealistic(this coming from a blonde one myself), for this particular feature it is bearable since it is an exotic adventure movie to start with = all comes down to exercising the imagination.but the main aspect i truly enjoyed was the music score; great combination of uplifting sounds compounding many musical genres.
this is a good movie to watch while preparing to leave for vacation...yes, very commercial at times but the feature does not pretend be more then what it is; a light pure entertaining plot(does not take itself too serious but good enough script to keep viewer in suspense)and full of visually rich cinematography(humans and nature).if you liked "into the blue 1"-2005 and/or feel in an adventurous mood, then this one is for you.quiet a few scenes are literal rip-offs from the first one.
my favorite actress was Marsha Thomason, great touch in moving plot forward .
The picture starts perfectly and initially it was so excited but the main thing starts at the middle of the film, where the villains come into the picture.
Initially started off after the villains come in is they wanted to search the Sand Cristobal which the hero and the heroine are searching for 4 years and after some time they turns the real story of the lovely couple into a disaster by telling what they actually wanted.
But in the starting itself they will show us that two huge boxes are thrown into the ocean which is the main theme of the story.
The villain people come to search them and take them home but ....Cheers.....
My first review of 2010 is "Into The Blue 2: The Reef".
The story is about two divers played by Chris Carmack and Laura Vandervoort who love to explore hidden treasures at a bottom of a local reef.
One day after a day of exploring they are approached by a couple played by David Anders and Marsha Thomason.
They tell the young divers that they want to hire them to explore the reef and find a rare artifact about Columbus' hidden treasure that is reported at the bottom of the reef.Next day the four dive to the bottom of the reef and of coarse after a whole day of diving they find nothing.
A few more days past and the two hired divers found out that they a part of a major deadly plot in which they can't escape otherwise they will be killed.
One contains a nuclear reactor and the other contains a core.The movie also has a back story about another person (brother of the lead character) trying to patch things up with his girlfriend, I reckon this part of the story was a waste of time, this also includes a very steamy sex scene between the couple which to me is a complete waste and wasn't needed to be shown.However apart from that, this movie does have some good underwater photography and the colors blend in well which is why it receives 4 stars.
Brainless film about a good looking but brainless couple who decide to live their dream and take people on diving tours.
Great looking direct to video movie could have been so much better if it wasn't so interested in primarily looking good.
Performances are serviceable and the plot is actually not bad, or would have been had the director and producers not redirected the plot into making sure we see lots of shapely people in bathing suits (or in what I'm guessing the reason for the "unrated" moniker a few fleeting bare breasts).
The film never generates any tension nor rises above the level of a forgettable TV movie.
If you get roped in to seeing this you won't pluck your eyes out since the eye candy is pleasant but we really need to stop producers from making films that are excuses to have a paid vacation..
Oh boy, this is the sort of film that makes you feel sorry for Hollywood screenwriters.
I mean, everybody's got to pay bills, so you figure you'll take a job writing the direct-to-DVD sequel of Jessica Alba movie.
And then your producer says you've got to write a part for an MTV reality star, create an entire second set of characters because the leading lady won't take her top off, inject an Iraq/Afghanistan war theme into the movie because somebody wants to pretend they're relevant and to top it off, you've got to jerry rig an ending out of spit and bailing wire when the production runs out of money.
No wonder writers drink
and so many of them commit suicide.Sebastian and Dani (Chris Carmack and Laura Vandervoort) are a young, impossibly good looking pair of lovers who run a diving business in Hawaii.
Then one day, they're hired by an international couple who say they're looking for the same ship wreck.
Carlton and Azra (David Anders and Marsha Thomason) are wealthy and mysterious and turn out to have a hidden agenda.
And then they have another agenda hidden under that which gets explained in a scene that is literally jaw droppingly stupid.In the midst of all that, a few girls show their breasts, there's some nicely filmed underwater scenes and the movie rolls out a total of 8 montages to kill time.
The rule in cinema is generally that more than 2 montages means your film sucks, but 8 takes it to a completely different level.
8 montages moves beyond considerations of good and bad and almost turns this motion picture into a force of nature, like an earthquake or Galactus.Now, this is a talented enough cast, director Stephen Herek looks like he knows what he's doing and the dialog isn't atrocious, but this script is dragged to the bottom of the sea by way too many creative requirements.
The folks who made Into The Blue 2: The Reef wanted there to be nudity, and naked breasts do show up at regular intervals.
Usually the lead actress is a big part of that, but these guys gave that part to Laura Vandervoort, who refused to get nude.
So, writer Mitchell Kapner was tasked with inserting a secondary female character into the story to do the nudity that Vandervoort wouldn't, which also required the insertion of a secondary male character so she'd have someone to do a sex scene with.To his credit, Kapner tries to give those secondary characters their own storyline but it detracts from both the two leads and the villainous couple they face off with.
It's this obtrusive third wheel that boggles up the plot, takes away characterization time from the stars of the show and it's blazingly obvious that it's only in the film because Vandervoort wouldn't show her glorious ta-ta's.The screenplay is burdened with too many other things like that, from two painfully bad scenes with Audrina Patridge from MTV's The Hills to a treasure hunting movie ludicrously morphing into an espionage flick with an anti-war message to an ending so cheaply pulled off it can't possibly have been the original idea.
This production spent a good chunk of money shooting a lot of expensive underwater footage and then it's big, explosive conclusion is almost Ed Woodian in its staging and execution.I haven't seen Into The Blue, though I'm fairly certain Jessica Alba doesn't take her clothes off in it.
Maybe if she had, these producers would have felt compelled to get an actress who would do the same, which would probably have made Into The Blue 2: The Reef significantly better.
Good plot but things thrown in for no reason.
I loved the first movie but this one seemed to grasp sexual content and nudity too much, one scene was thrown in just for this content.
It did not move the plot forward and it did not define a single character.
However, this movie did a great job with filming.
The whole film also contributes to the ending where Sebastion and Dani come out on top and defeat the villains.
The movie also makes me respect Dani more too because she was suspicious of their new clients the whole time.
I respected Dani much more after this film.
Great movie.
Come on give me a break , some people wouldn't know a good movie if it bit them in the...
For one thing there wasn't that much skin in the movie as some would exaggerate that it does also no it doesn't have A list actors in it .
The movie was very entertaining .
The acting was great for non A-list actors very entertaining and great story.
If you like ocean movies which I do, judge for your self .
Just cause I like ocean movies doesn't mean I like them all.
I bought this one for my DVD collection to go right beside the first one that was also a great movie.
I only gave this 10 stars cause of the bad reviews it received that it didn't deserve at all .
Oh my goodness, where do I start?
I remember hearing about this movie back in 2009 when I saw it on a shelf at Target back then.
I remember being curious about it because I kind of enjoyed the first movie but in some ways, I was a little iffy about it.
I remember wanting to watch it but I didn't buy it until October of last year but I didn't actually watch it until a few weeks ago, and man, I really wish that I didn't.I am going to say this: I have SOMEWHAT of a thing for unrelated direct-to-video sequels.
I know that a lot of them turn out not to be so good.
Some just happen to have the name slapped on it and it's the same thing but it turns out to be really bad.
Few are actually good, and this is not one of those movies.
It was really bad.Now I am not going to deny that the movie has a lot of eye candy.
It had some great visuals of Hawaii, great underwater sequences and of course, great looking women.
Laura Vandervoort, Mircea Monroe, Marsha Thomason, Audrina Patridge, even some of the other female characters who we didn't get to know were all smoking hot.
Now on to the negatives.The plot is almost a replica of the first film, yet there were some differences.
Plus, it felt kind of predictable who the villains were.
Right at the beginning, I kind of sensed that the British people were going to be revealed as the villains more than halfway through the movie but I saw it coming from a mile away.
Also, another thing that I thought that was badly done was when they killed off Mircea Monroe's character.
I get that in a lot of movies, there has to be at least one casualty in the protagonist group, but I really didn't think that her character needed to be iced unless the writers wanted it to resemble the first film.
But in the first film, the reason the other girl died was because she got bit by a shark but she was somewhat of an antagonist anyway.
This movie, on the other hand, didn't have a reason to kill her off and then later on, have a little funeral for her and then it was like it didn't happen.
The actor could have shown that he was more broken up about his girlfriend's death than he actually did.There are some more negative things that I could point out.
Also, the mini subplot with Audrina Patridge's character coming up and talking all fast was really pointless and her boyfriend wasn't even a major character in the movie.
Also, Laura's character making a fast recovery from hypothermia.
But that's not the bad part, the bad part is that we last saw her wearing a hospital gown but when we saw her meet up with her friends, we see her wearing a different shirt and you see the bikini string coming out of the shirt collar.
Okay, for one thing, she wouldn't had enough time to go and change her shirt because she had to meet her friends to help them.
Even she did have enough time, the best thing she could do is just get a shirt, not a bikini top along with it.
I thought that was a major error when I saw it.I could really go on about how bad this movie is.
The first movie wasn't special either, but I found it entertaining in some areas.
This movie, on the hand, had so many errors and it suffered from bad writing and bad directing.
Some of the acting was decent, particularly from the villains, but other than that, it was a bad movie.
Don't ever waste your time watching this movie. |
tt0318403 | The Lion King 1½ | The film is told through the perspective of Timon and Pumbaa through the literary device known as a frame story. The two are shown in silhouette form watching the original film. Timon interrupts the film to fast-forward to his scenes, but Pumbaa's protest prompts Timon to share his backstory.
Timon is a social outcast in his meerkat colony on the outskirts of the pridelands. While unconditionally supported by his mother, Ma, Timon dreams for more in life than his colony's bleak existence hiding from predators. Uncle Max is nearly eaten by hyenas Shenzi, Banzai and Ed due to Timon's day dreaming. This becomes the last straw for the colony, prompting Timon to leave to find a better life. He meets the mandrill, Rafiki, who advises him to find his place in the world via "Hakuna Matata" and to "look beyond what you see". Timon takes this saying literally and observes Pride Rock in the distance. Believing Pride Rock to be his paradise home, Timon ventures to the rock and encounters Pumbaa the Warthog on his way. The two quickly form a bond and Pumbaa accompanies Timon.
The pair arrive at Pride Rock during the presentation of the new prince to the Pridelands' animals (to Timon's annoyance, believing the crowd to be a long line to claim Pride Rock as real estate). Timon then "looks beyond" pride rock to find a small cove near a pond. To Pumbaa's reluctance, the pair cut through the crowd, but Pumbaa nervously claims he doesn't "do so well in crowds". Pumbaa explosively passes gas, causing nearby animals to faint but prompting animals further away to bow to Simba. The pair make a home at the cove near the pond, but are awakened one morning to the sounds of Simba singing "I Just Can't Wait to be King." The pair leave due to the "noisy neighbors", and find a new home at the Elephant Graveyard. They are scared away from there after witnessing Mufasa fight the Hyenas, and Timon decides to make a home in a glowing green cave. Scar's rendition of "Be Prepared" scares the pair off again, and Timon then chooses to find a home in a hot gorge. The pair are then chased by the Wildebeest Stampede (that results in Mufasa's death in the original film), but miraculously survive albeit being thrown off a waterfall.
Exhausted from their adventure, Timon decides to give up, until Pumbaa (who had been talking about a magical place that raised skepticism from Timon) turns Timon's head to a luxurious green jungle. The pair finally settle there with the philosophy of "Hakuna Matata". During their time there, they encounter a homeless lion cub named Simba in a nearby desert, nearly dead. The pair rescue young Simba and decide to raise him under their philosophy. Scenes are shown of Simba's chaotic upbringing from a hyperactive and affectionate young cub, to an ambitious and egotistical adolescent, to a laid-back and content young adult.
Years later, Nala appears after chasing Pumbaa and reunites with Simba. Believing "Hakuna Matata" to be in jeopardy, Timon and Pumbaa attempt to sabotage their dates, but fail. After witnessing Simba and Nala's off-screen argument, Simba disappears, to Timon's horror. Nala and Rafiki explain that he had run off to challenge Scar, and need their help. After Nala leaves to follow Simba, Timon, who is hurt that Simba had left them, unsuccessfully tries to persuade Pumbaa to stay, believing he has everything he wants in the jungle. Pumbaa leaves to follow Simba, and loneliness starts to overcome Timon. Rafiki appears again and helps Timon realize that his true Hakuna Matata is with the ones he loves, prompting Timon to take off after Simba, Nala, and Pumbaa.
Timon catches up and reconciles with Pumbaa, before then journeying on to Pride Rock. After helping Simba and Nala with a distraction (the "luau" dance), Timon and Pumbaa evade the hyenas and run into Ma and Uncle Max who came looking for Timon (after Ma met Rafiki earlier in the film). Timon proposes that they help Simba by getting rid of the hyenas. Whilst Simba battles Scar, Ma and Uncle Max are directed to construct a series of tunnels beneath them, and Timon and Pumbaa use various tactics to distract the hyenas while the tunnel is being made. When the tunnels are finished, Max quickly knocks down the sticks, breaking the ground under the hyenas. However, the last few get stuck and the plan fails. Cornered once again by the hyenas, Timon bravely dives underground and breaks the remaining sticks, completing the cave in, and causing the hyenas to be ejected through the tunnels. Immediately afterwards, Scar is thrown off the top of Pride Rock by Simba.
Simba accepts his place as king of the Pride Lands, thanking Timon and Pumbaa for helping him. Timon takes Ma, Uncle Max and the meerkat colony to live in the predator-free jungle to complete his "Hakuna Matata." Pumbaa and Simba celebrate with the meerkats, who praise Timon as their hero. In the final scene of the film, Ma, Uncle Max, Simba, Rafiki and many other silhouetted Disney character cameos join Timon and Pumbaa to re-watch the film in the cinema. As the film fades to black, Pumbaa reminds Timon that he still doesn't do well in crowds. | psychedelic, entertaining | train | wikipedia | Cute, Harmless Fun. Being a fan of the first Lion King, I was definitely looking forward to this movie, but I knew there was really no way it could be as good as the original.
I know that many Disney fans are wary of the direct-to-video movies, as I have mixed feelings of them as well.While watching The Lion King 1½, I tried to figure out what my own viewpoint was regarding this movie.
My favorite parts of the movie include the montage of Timon & Pumbaa taking care of young Simba and the surprise ending featuring some great cameos.I could have done without many of the bathroom jokes though, like the real reason everyone bowed to baby Simba at the beginning of Lion King 1.
That feature is definitely a lot of fun!!So all in all, The Lion King 1½ isn't a perfect movie, but it's cute and entertaining.
This is a straight-to-video movie, so it should go without saying that it's not going to rival the first Lion King, but that said, this was downright good.My kids loved this, but that's a given, they love anything that's a cartoon.
The big shock was that *I* liked it too, it was laugh out loud funny at some parts (even the fart jokes*), had lots of rather creative tie-ins with the first movie, and even some jokes that you had to be older to understand (but without being risqué like in Shrek ["do you think he's compensating for something?"]).A special note on the fart jokes, I was surprised to find that none of the jokes were just toilet noises (in fact there were almost no noises/imagery at all, the references were actually rather subtle), they actually had a setup/punchline/etc, and were almost in good taste.
In true Mystery Science Theater 3000 fashion, we see Timon (voice by Nathan Lane) and Pumbaa rewind the tale of The Lion King to a point before the familiar story.
The Lion King is not only a outstanding animated kid's film, but one of the best movies ever made.
Those movies are better off seen in the video stores (in the "new releases" area), rather than seeing their theatrical posters outside the theaters.This one is merely a spoof of the first film (although the events in "Simba's Pride" hasn't taken place yet), on Timon (voiced by Nathan Lane) and Pumbaa's (voiced by Ernie Sabella) point of view.
Original voices from the first film, like Matthew Broderick, Woopie Goldberg, Cheeche Martin and Robert Guillaume, return to their voicing roles from the first film, while Julie Kavner and Jerry Stiller give some hilarious comedy relief as Timon's mom and grumpy uncle.So doesn't this sound fun.
Don't expect the production values of a theatrical release, but do expect the highest quality of direct to video release.It is set up as Timon & Pumba begin watching the original Lion King in a darkened theater and abruptly switch tracks and begin narrating their own story.
The voice talents are all well performed, though I couldn't help thinking of Marge Simpson every time I heard Julie Kavner.Many of the jokes in the movie will be well recognized by viewers as recycled over the generations, but are presented more with the familiarity of comfortable quirks of old friends than annoyingly repetitive.The music has made me realize how much I enjoyed and miss a good musical integrated with a Disney feature.
The only problem was the reprise of the 'Dig A Tunnel' at the end of the movie, switching its lyrics and tune from defeatist to uplifting.Story line is pretty well done, and the integration of new plot elements is done almost perfectly, though the final bit during the hyena chased stretched the storyline credibility a little.
Lion King II:Simba's Pride is the BY FAR the best direct-to-video sequel that Disney, or any other studio, has made for an animated feature.
I know Disney always displays lack of creativity when making "straight-to-video" films - but rehashing the plot of the original film with a "new perspective" is an all-time low...soon they'll just be re-releasing the original films with new animation and new songs and be calling it a "new version of the movie we all love." Nathan Lane surprisingly returns to his role of Timon yet again.
Timon and Pumbaa the animated animals from the world of the original "Lion King" embark on a narrative journey to tell us the original story the way it REALLY happened...as they see it.Of course Timon is now the hero of the story, yadda yadda yadda, blah blah blah...The musical sequences are lame and the animation is crap.
This film is a spin-of of "Lion King", focused on the characters of Timon and Pumbaa.
For example, in the original Lion King Rafiki tells Timon and Pumbaa that Simba has went to fight Scar, but here, it is Nala.
Classic scenes from the original such as the sunrise, the animals bowing to baby Simba, the "Be Prepared" musical number, the stampede that KILLED MUFASSA, and just about every serious moment are ruined by Timon and Pumbaa's unfunny commentary and fart jokes including cutting to QVC footage, Pumbaa breaking wind numerous times, and literally pausing the movie to parody Mystery Science Theater (disrespecting fans of that show as well).
This movie may not be a complete disaster because of its decent execution of the story it is telling by itself, but the way it literally pastes jokes on the original film to pander to the little kiddies is a disgrace.
The Lion King 3 or 1 1/2 as it's known to some other countries i think is good, i found this movie very intresting because it told us what Simba got up to when his father died and when he ran away from pride rock as his uncle scar told him to run away and never ever return.
"The Lion King" is without a doubt my favorite Disney movie of all time, so I figured maybe I should give the sequels a chance and I did.
By focusing on Timon and Pumbaa, who pretty much stole the first film,all the omens seemed good for this entry.The problem for me is that the idea of them retelling the story from Lion King 1 from their own point of view wasn't enough to sustain a film,which considering the short run length doesn't bode well.
The entire movie is actually being watched in a theater by Timon and Pumbaa, kind of like "Mystery Science Theater 3000".
The plot is pretty good, since were looking at Timon and puma's side of the story (and a bit of samba's', since he was kicked out of the pride lands and ended up in a jungle with Timon and puma.) Secondly, the characters are interesting and in a way, unique.
The last song in the film just adds to it.The Lion King 1 ½ is good for the kids, but miles away from the original.6/10 Good: Well, it's interesting and funny for children.Bad: It seems way too corny and simple to even have the name "The Lion King" on it.
Yes, it is build on "The Lion King", but the original movie was a masterpiece, so why shouldn't it?If your children loved "The Lion King" make sure *NEVER* to put them anywhere near "The Lion King 2", and bring them this movie instead.And with vocal talent of Nathan Lane, Julie Kavner and Ernie Sabella to name few, it is a great cast and movie.People, I rather see this movie 10 times then watching some of Disney's "not-so-great" movies (and the list there is L----ong)!I suggest to everyone to see "The Lion King", and a day after see this movie.
It even has the original voices of Adult Simba, Timon, Pumba, Rifki, The Three Main Hyenas from The Lion King.
So far, I've seen it three times and I would love to watch it again with the other Lion King movies.
The comedy duo Timon and Pumbaa are back for more laughs and to tell their version of the story "The Lion King".
I really like the first lion king it was pretty well darn and quit funny and sad the 2nd one was okay it did had a few problems but I like this movie its not my favorite Disney movie but its quit good to watch the story is about Timon and Pumbaa who also appear in the short series called Timon and Pumbaa now are the main characters of this film the story is about Timon telling people about his life and not being happy and wanting to have a new life he tells his mum what he is looking for and sits off on his adventure and where Pumbaa and both make a became best friends and said that friends stick to gather in the end the story is very well done will its not as good as the first 2 but quit well done story is pretty good but its not as good as some other 2000 Disney films from the early 2000s but its not that bad its better then Inspector gadget 2 that awful direct video but all in all its fun for people who love direct films but if you are true lion king fan you might be a bit upset.
It does have its problems, it is too short(then again this is a problem most of the sequels have), some of the story, the Lion King but in Timon and Pumbaa's perspective is predictable but it is a great concept and there are a few parts such as the ending that felt a tad rushed.
However, it is vibrantly animated, the music is very good, there are some surprisingly funny jokes(like Timon and Pumbaa's stalling during the climax), the dialogue is well written and hilarious and the voice acting is very well done.
Timon and Pumbaa journey off into finding their dream place and find it and soon find it and also Simba who they raise but soon they must choose between their dream place or helping Simba face his evil Uncle Scar and proclaim his right as the Lion King of Pride Rock!
Filled with wonderful characters, animation, and story and music Lion King 1 1/2 is in my opinion the best of any sequel and better than Simba's Pride even though I will admit I really did like that one too!
Lion King 1 1/2 is a great Disney sequel the whole family can enjoy!
this Disney animated feature isn't really a Lion King movie.it's basically the story of Timon(the Meerkat)and Pumba(the Warthog)and how they first met.it eventually shows the some of the events from the original Lion King from their point of view.it obviously condenses the events a lot,and their are actually only a few moments from The Lion King here.i thought it was an OK movie,but i found it a bit slow and i thought some scenes went on too long.the song are not as memorable.at least i didn't think so.at least the same voice actors were used as in the original.this movie is fairly short,about 70 minutes,not including end credits.as an aside,this movie was produced after Lion King II: Simba's Pride.all in all this is an entertaining movie,but it doesn't have the same impact of the original Lion King.for me,The Lion King 1.5 is a 6/10.
Though "Simba's Pride" wasn't exactly bad, it did suffer some problems: lack of an good script and bad characterizations, which made impact of what otherwise a okay film.Anyway: It's nice to see Timon and Pumbaa's personalities blossom again in the way that we (or certainly me) loved about them in this film; in "Simba's Pride" they were completely annoying and I didn't liked the "Timon and Pumbaa" series neither.This film could easily have been a stupid one, but fortunately the filmmakers didn't took the wrong turn and instead focused to make this film at times extremely hilarious.
Storywise, this is Timon's story and although the filmmakers try to integrate his tale with Simba's, it makes the screenplay feel a little rushed at times.But hey, those details doesn't impact this otherwise amusing movie.
Like the previous sequel (The Lion King 2) I was glad that Disney brought back most of the original voice actors which makes a big difference and they kept a good level of traditional animation.
It starts with Timon's first home...For anyone with a good sense of humour who liked the first films of just about any age, enjoy "Lion King 1/2"!
Like in the original lion king, weren't Timon and Pumbaa with Simba when he beat Scar?
Just like Tom Stoppard's beguiling film, we get to view the action from the point of view of two of the minor characters from the original: Timon, the meerkat with a penchant for breaking into song at the drop of a hat, and Pumbaa, the warthog with flatulence issues.
With more laughs than any other third-in-a-Disney-series movie, Hakuna Matata is worth watching - if only for the hot tub scene which is still funny despite being a little bit predictable..
This one, being the third part to The Lion King (Simba's Pride is the second.) actually has an original idea to it while still involving the fun of the first.
And it was kinda funny how they would stop it at random parts and let Timon and Pumbaa comment on it.This was a really great movie, and I would definitely recommend it to any Lion King fan..
It takes a unique slant on the story, it follows the origins of Timon and Pumba, which you know by now from the advertising, but it does so while cutting in and out of the original Lion King story line, and always in funny ways.
I like this even more than the original movie, or Lion King II, which was pretty good.
All of these things tell viewers parts of the story they've never known before.Timon and Pumbaa are responsible for a lot of the humour in the original "Lion King", but as I stated in my review of "The Lion King II: Simba's Pride", they're not they're not as consistent in that sequel.
As the main characters in "The Lion King 1½", they're occasionally funny, like they are in the second film, but have not returned to full comic form.
Having it where Pumbaa farts and that's why all the animals kneel down, while it is funny, it completely kills one of the best scenes in the "The Lion King".
"The Lion King 1½" is a fun comedy film, and it's certainly one of the better direct-to-video sequels.
Upon watching this film, one can only assume the following: Disney STILL isn't sorry, Ei$ner STILL thinks they can make a good spin off, Nathan Lane has NO pride, and 13-year-old boys LOVE fart jokes and puns.
But the only thing that slightly ruins the treasures of this film for me, are the interruptions of the Timon and Pumbaa in the theater silhouette scenes (I really think the film creators could've done better without this aspect and given more time to developing the original plot for Timon especially with his family and meerkat colony), and especially all of the non-Lion King Disney characters that come in at the very end.
This semi-sequel to the Lion King sees to spin off side characters Timone and Pumba, retelling the original story through their eyes, including the story of how they met.
The animation is as good as ever, if a little less flamboyant than the original, but the plot here is all about taking it easy, Hakuna Matata.Timone and Pumba decide to watch the events of the first film, frequently stopping mid-film to joke about parts of it, like a real audience.
The Lion King told the story from the side of Simba the young lion, 1 and a half is from the view of Timone and Pumbaa, a less than perfect duo made up of a meercat who left home because he could not dig tunnels without burying his friends and neighbors and a warthog who has an odor issue.
The movie is a little short on substance, but Disney does a good job of filling time with various sketches starring Timone and Pumbaa as they "watch" the movie with us.
As the only true direct-to-video Disney movie that I own, The Lion King 1 1/2 is a good step up from several others (at least from what I've heard others say about them) in that it doesn't entirely soil the original film.
The movie is about The Lion King from Timon (a meerkat) and Pumbaa's (a warthog) perspective.
While viewing their journey together and seeing their story intertwine with the original The Lion King movie, Timon and Pumbaa frequently interrupt the film to add their own funny comments.
(That jungle Timon and Pumbaa found, by the way, was tribute to the original title's name for The Lion King, "King of the Jungle.") Again, I feel this movie appeals to the kids mostly, but some adults might find humour in it..
"The Lion King 1 1/2" is a comedy affair that involves everyone's favorite meerkat and warthog, Timon and Pumbaa.
The story, for those who haven't read the other reviews, is about how Timon and Pumbaa meet, and how they affect events in the original Lion King.There are actually some very funny jokes in the movie.
While being a parody, the Lion King 1 1/2, Timon and Pumbaa's story is well told from beginning to end.
Still I like it better than Lion King 2, partially because of the refreshing way to tell the stories.
Things I like the most out of the movie are clever ways to show the involvement of Timon and Pumba in the story even before they met Simba without interfering with the old plot.
It tells the same story as the Lion King, but from Timon's and Pumba's point of view, which is hilarious.
We can now see how the two legends met, and their adventures before meeting Simba.It's not as good as the first, it's not a great movie, but it's entertainer, funny and original. |
tt0196229 | Zoolander | News footage datelined Kuala Lumpur: newly elected Prime Minister Hassan (Woodrow W. Asai) of Malaysia promises to increase the minimum wage and eliminate child labor. The screen rolls up to reveal a large, dimly lit space in a warehouse. Clothing designer Jacobim Mugatu (Will Ferrell) has been called on the carpet by a secret international cabal of fashion industry moguls. The cabal is disturbed because the new prime minister's policies will cut deeply into the fashion industry's profits. They direct Mugatu to assassinate the PM using a brainwashed agent -- someone who isn't too bright. Apparently they've done this sort of thing before. Mugatu reluctantly agrees (he'd prefer to concentrate on the upcoming show for his new collection), but wonders where he'll find someone dumb enough.Cut to a photo shoot where male model Derek Zoolander (Ben Stiller) is being made up while reporter Matilda Jeffries (Christine Taylor) interviews him for an article in Time magazine. Derek says he decided to become a model "the first time I went through the second grade," when he realized how good-looking he was. He shows Matilda a couple of the "looks" -- facial expressions -- he's best known for, including Blue Steel and the "softer" Le Tigre. They look exactly the same. The rest of the scene is intercut with footage of celebrities giving sound bites in praise of Derek Zoolander. Derek tells Matilda about Magnum, a new look he's been working on for 8 or 9 years, but says he isn't ready to show it to anyone.The TV coverage for the VH1 Fashion Awards starts, naturally, with the arrival of the key players. First to roll up is Derek, who we learn is three-time Male Model of the Year. He's defending his title against the hippie-ish Hansel (Owen Wilson), a fabulously successful rookie. Hansel arrives on a folding scooter and does tricks with a yo-yo as he walks down the red carpet. Next in are Mugatu, who's picketed by protesters supporting Prime Minister Hassan's fair wage laws, and Zoolander's agent, Maury Ballstein (Jerry Stiller, Ben's father) of Balls Models, who arrives in time to stop Derek from revealing anything about Magnum to a TV interviewer.Inside, Fabio accepts the "Slashie" award for the "best actor 'slash' model and not the other way around." When the Male Model of the Year is announced, Derek mishears the announcement and embarrasses himself by trotting up to accept Hansel's award. In the audience, Mugatu tells Maury that Derek is just the idiot he's looking for to resolve the Malaysian situation. Maury sadly agrees that Derek, now washed up, is "ready."Derek stumbles out of the awards ceremony, stares at his reflection in a puddle, and asks it who he is. (It doesn't know either.) Hansel rides by and taunts Derek. Derek walks through the city watching his billboard pictures changing to pics of Hansel while a Jumbotron TV replays his award gaffe. He gets home and crashes in his bunk; his three roommates are already asleep in adjacent bunks.Next morning, Derek's roommates Brint (Alexandre Manning), Rufus (Asio Highsmith), and Meekus (Alexander Skarsgård), who are also male models, sit around complaining about Hansel. Derek, sporting penguin-print feetie pajamas, interrupts the grouse-fest to wonder if they should be doing something more meaningful with their lives -- helping people. His roommies suggest that orange mocha frappuccinos will make it easier to sort out these important issues. Cut to the boys out for a drive with their drinks. They pull into a gas station and start a playful water fight with the windshield squeegees. Derek sees someone discarding a copy of Time and goes off to retrieve it. He's on the cover, but the coverage isn't kind: "Derek Zoolander: a model idiot?" In the background, the water fight has progressed into a (still playful) gasoline fight. Then one of the boys lights a cigarette and the resulting fireball kills all three of them.Derek gives the eulogy (or eugoogoly, as he pronounces it) at the triple funeral. He uses the opportunity to announce his retirement from modeling (though he's interrupted by the late arrival of Hansel and his entourage). On the way out of the cemetery (St. Adonis), he runs into Matilda, who is failing to persuade Mugatu to talk to her. She apologizes to Derek for the "harsh" Time story and blames her editor for the headline. She asks Derek to help her find background on Mugatu, but he brushes her off.At Balls Models, Derek tells Maury he wants to go home and reconnect with his family. He also wants to do something meaningful with his life; he dreams of teaching underprivileged children to read. Maury reminisces about Derek's beginnings in the business and how he couldn't turn left to save his ass. (He still can't.) He tells Derek that Mugatu wants to hire him, but he can't convince Derek not to retire.Cut to Coal Mining Country, Southern New Jersey. In a snakeprint suit with matching luggage, Derek catches up with his father (Jon Voight) and brothers outside the coal mine. He wants to work with them in the mines. His father is dismissive, but Derek insists.Back in the city, Mugatu is bitchy to a model ("I'm sorry, did my pin get in the way of your ass?") and tells Maury to get Derek back. Derek is doing a fetching but ineffectual turn at coalmining. At a bar after work, a TV commercial in which Derek appears as a mermaid ("mer-man!" Derek insists) is the last straw for his father and brothers. Although Derek pleads that all he ever wanted "was to make you proud of me, Pop," he's disowned and sent packing. In the parking lot, he asks the stars "who am I?" When his absurdly tiny cell phone rings he assumes it's God, but it's only Maury, calling about a fabulous new offer from Mugatu.In Mugatu's office, after some suggestive byplay between Mugatu and his assistant over an overly foamy latte, Derek is shown the fabulous new offer: an architect's model of the Derek Zoolander Center for Kids who Can't Read Good. Derek is incensed ("what is this? a center for ants?"), but allows Mugatu to placate him after they agree that the center needs to be at least ... three times bigger than the model.Matilda visits Balls Models to interview Maury about Mugatu; Maury claims to know nothing about him. He advises her to get a push-up bra.Meanwhile, Mugatu shows Derek the new collection he'll be representing: Derelicte, "inspired by the very homeless, the vagrants, the crack whores who make this wonderful city so unique." He introduces the tall and sinister Katinka Ingabogovinanana (Milla Jovovich), Derek's minder. She takes him to a very exclusive day spa, where he's to get a massage and brainwashing.Archie (Matt Levin), a flunky at Time who has the hots for Matilda, gives her a big pile of information he's gathered about Mugatu -- but reports that he's found nothing before 1995. A mysterious tipster whose hand is encased in an odd glass contraption calls Matilda and directs her to Pier 12, the location of the spa. She sneaks in and has an awkward conversation with Derek (who unlike Matilda is completely unembarrassed by his post-massage erection) before being thrown out by Katinka, who insults Matilda's wardrobe for good measure. The brainwashing sequence features lots of little animated Mugatus and explains why child labor is a good thing. It conditions Derek to kill the Malaysian prime minister -- who will be the guest of honor at the Derelicte show -- when he hears the '80s hit "Relax" by Frankie Goes to Hollywood.A week later, Derek wakes up with a start in his bunk at home. Matilda's at the door; she's been looking for him for days. He doesn't quite believe that he was at the day spa that long, even when she shows him the date on a newspaper. He thinks she's coming on to him (which she denies) and turns her down. As she leaves, he mentions that wearing her hair pulled back is bad for her complexion, and performs a quick makeover of her 'do. She looks great (but startled), and wears her hair down for the rest of the movie.Katinka seems to have staked out Derek's place. She sits in her car muttering about how much she dislikes Matilda.Back in the Time office, Archie reports his latest discovery: Mugatu's male models "have a bad habit of dying young in freak accidents." Matilda realizes that Katinka is going to kill Derek and rushes off to find him, but the door person at the party he's attending won't let her in.At the party, Derek saunters around receiving congratulations from celebrities on winning the Derelicte gig. When Hansel bumps into him, he takes offense. Derek challenges Hansel to a "walk-off." Most of the party-goers repair to the old Members Only warehouse to watch the two models resolve their differences. Matilda catches up with Derek on the way, but he won't take the time to listen to her.A crowd gathers at the warehouse, where there's a runway and a "corner" for each contestant, as in a boxing ring. David Bowie offers to officiate. "This'll be a straight walk-off, old school rules," he says. "First model walks, second model duplicates, then elaborates."They take turns walking down the runway imitating each other's moves until Hansel comes up with something Derek can't reproduce: he removes his underwear without taking off his pants. Derek hurts himself trying to pull that off.Riding home with Matilda, Derek shrugs off her warning that Katinka is out to get him because he's despondent at losing another contest to Hansel. He confesses that Hansel could have beaten him with a much simpler move: a left turn. Derek has never been able to hang a louie. As Matilda tries to reassure him, she gets another call from her tipster, who wants to meet her at St. Adonis Cemetery. Derek comes along.Derek and Matilda stroll the cemetery reading gravestones. Derek notices that none of the male models buried there lived past 30. The tipster turns up and notes that he himself made it past 30. He won't tell them his name. He says they've stumbled on something big: the fashion industry has used male models to carry out "every major political assassination over the last 200 years," including Lincoln (who was targeted because abolishing slavery wiped out the free labor the fashion industry relied on) and Kennedy (because the Cuban embargo cut off the supply of Sansabelt slacks).Matilda drops her flashlight and the tipster absent-mindedly reaches for it with his left hand, which is covered with an odd glass contraption. Derek recognizes the hand as that of J.P. Prewitt (a scruffy David Duchovny) -- "the world's greatest hand model!" The glass contraption is a home-made hyperbaric chamber meant to preserve Prewitt's hand. Prewitt explains that models make good assassins because they're in good shape, they're famous enough to get past security, they don't think for themselves, and they're used to following directions. He also mentions that when they've completed their missions, assassin-models are killed. Just then, Katinka and some goons start shooting at them. Prewitt tells them to get hold of Maury Ballstein's computer; Maury has protected himself by documenting all he knows about the fashion-industry cabal and the assassinations. In parting, Prewitt offers Derek some encouraging words about Blue Steel and the long-anticipated Magnum.In search of a hiding place where no one -- and especially Katinka -- will think to look for them, Derek and Matilda go to Hansel's. Hansel is willing to let them in, but first, he makes Derek explain why he's "been acting so messed-up towards me." Derek admits that he feels threatened by Hansel. Hansel says he's been acting messed-up towards Derek because he's intimidated by Derek's reputation, and in fact Derek inspired him to become a male model. "I freakin' worship you, man."Hansel shows them around his loft, which is huge and full of friends. The three of them sit down together and get high on "tea," and Hansel asks Matilda why she dislikes models so much. She confesses that when she was young she was the fat kid in her class, and she used to pore over the photos in fashion magazines yearning to be thin like the models. Eventually she became bulimic, for which she blames the models. Hansel and Derek don't see the problem with throwing up after meals -- they do it themselves -- and want to know whether it caused guys to show more interest in her. She admits that her sex life is pretty much nonexistent. Hansel suggests they "give in to the power of the tea" and get naked. They all -- including Hansel's friends -- have a lot of sex.Next morning, Derek tells Hansel he's falling for Matilda. Matilda comes in and reminds them that they have to get hold of the evidence of the assassination plot before the Derelicte show starts in three hours.Derek and Hansel sneak into Maury's office dressed as maintenance men. Matilda instructed them to find the files on Maury's computer (an orange iMac) and email them to her, but they can't figure out how to turn the thing on. Before leaving for the show, Derek gives Hansel his tiny cell phone, asking him to give it to Matilda if anything happens to Derek. Hansel, having grasped that the files (he's thinking paper) are inside the computer, takes the computer and heads for Derelicte himself. Meanwhile, Matilda checks in at the office, where Archie at last has the goods on Mugatu: Mugatu was kicked out of Frankie Goes to Hollywood before they made it big with "Relax." He broke into fashion by inventing the piano-key necktie.When she figures out that Mugatu used "Relax" to trigger the conditioning that will induce Derek to kill the Malaysian prime minister, Matilda rushes to the fashion show. Backstage, Derek confronts Maury about the assassination plot, causing Maury to have a change of heart. Derek hits the runway as Matilda arrives and tangles with Katinka. She tells Hansel about the trigger. "Relax" starts playing and Derek's conditioning kicks in, but Hansel has broken into the DJ booth. During a break-dance fight between Hansel and the DJ, the music switches from "Relax" to Herbie Hancock's "Rockit" and back. Every time "Relax" comes on, Derek advances down the runway toward the prime minister. Hansel saves the day by shutting down the sound system just as Derek gets his hands around the prime minister's neck.Mugatu publicly accuses Zoolander of trying to kill the prime minister. Hansel comes to Derek's defence, revealing the brainwashing and claiming that he has evidence in the computer -- which he proceeds to drop from a catwalk above the stage, expecting to find paper files in the debris. Mugatu thinks the evidence has been destroyed and he's home free, but Maury changes sides and calls his wife to bring his backup files. Mugatu denounces Derek ("Blue Steel, Ferrari, Le Tigre? They're the same face! Doesn't anyone notice this? I feel like I'm taking crazy pills!"). Then, determined to complete the mission, Mugatu throws a shuriken (a stylish M-shaped one) at the prime minister. Derek jumps in front of the PM, turns left (for the first time ever) to face the shuriken, and unleashes Magnum. The Magnum look is so powerful that everyone who sees it is amazed and the shuriken stops dead and falls to the floor. Everyone has something to say about Magnum's beauty and general awesomeness. Even Derek's father, watching the show on TV back home in coal country, is finally proud of him: "That's my kid. That's my son!" Magnum looks exactly like Blue Steel, Ferrari, and Le Tigre.Cut to the future: Derek, Maury, and Hansel are at the Derek Zoolander Center for Kids Who Can't Read Good (which, it turns out, is a modeling school and which looks much like the architect's model -- but much more than three times larger). They're making a promotional video. Matilda turns up with baby Derek Jr., who has just started to display his first "look." It's exactly like Blue Steel, Ferrari, Le Tigre, and Magnum. | comedy, murder, stupid, bleak, cult, flashback, absurd, psychedelic, satire, brainwashing, entertaining | train | imdb | But whatever it is, it makes for a terrifically fun movie.Ben Stiller is Derek Zoolander, three-time male model of the year, whose brainpower never quite caught up to his really, really ridiculous good looks.
Directed by and starring Ben Stiller, Zoolander is a very funny movie, if you know what to expect.
Audiences went into Zoolander expecting another Ben Stiller, Meet the Parents-type comedy, and when they got an offbeat movie about the fashion industry's plot to assassinate the prime minister of Malaysia, they didn't know how to react.
To enjoy Zoolander, one has to forget all expectations and see the movie for what it is supposed to be: ridiculous.Derek Zoolander (Stiller) is the fashion industry's number one male model, but his career is slouching and boy beauty Hansel (Owen Wilson) provides tough competition.
Jerry Stiller, like Wilson, always manages to find humor in every role he plays, and in Zoolander this remains especially true.
Yes, it's one of the dumbest films you'll ever see, but it's supposed to be stupid, a satire on the shallow people and world of male fashion models.Ben Stiller is outstanding as "Derek Zoolander," the brainless model who's number one male model status is upended by newcomer "Hansel," played by Owen Wilson.
In light of Wilson's recent real-life drug problems, I couldn't help but think "how can these actors play absurd roles like this and be normal?" It's almost understandable by so many in the film business are whacked!
Of course, it's stupid overall, but it's a spoof, like the Austin Powers films.Film fans and celebrity geeks will enjoy all the cameos in here, along with the wild outfits - male and female - and all the goofy looks on the faces, mainly Stiller's poses.
The movie's main characters did great jobs, and had good charisma between them, there were tons of other actors putting in small bits (some of which were amazingly funny, I laughed out loud in a few parts, and I almost never do that).
In Entertainment Weekly, Ben Stiller described this feature-length adventure of the moronic male model he created for the VH1 Fashion Awards as "MANCHURIAN CANDIDATE meets EYES OF LAURA MARS." Me, I can sum it up in two words: "AUSTIN Posers." No, better yet, I'll boil it down to one word: "endearing." That's right, endearing!
Derek (Ben Stiller) and Hansel (Owen Wilson) are the worlds greatest two models.
Ben Stiller and Owen Wilson have teamed up on so many films and still haven't been able to be funny.
"Zoolander" is no exception, where they compete as top male models in a dumb and stupid plot that results in a bunch of forced jokes, regretful performances, and overdone performances that just simply are not funny or daring in any way, shape, fashion, or form.
Previously liking the principal cast of this film, (including Owen Wilson and Will Ferrel), I was more than a little dissapointed after seeing what a clumsy mess Zoolander turned into.
Derek Zoolander (Ben Stiller) is a washed-up model who has been brainwashed to kill a foreign Prime Minister.
Ben Stiller plays Derek Zoolander, a male model who is far from the sharpest tool in the shed, which is showcased in the most hilarious of ways.
Suddenly, Derek's world as THE top model is disrupted when Hansel, brilliantly played by Owen Wilson, arrives on the scene and disrupts Zoolander's throne with Hansel's seemingly effortless, avant garde approach to male modeling.This is my very first review, so I apologize for the lack of well-articulated perspective.
The film was so bad that my wife actually got angry in the middle of it, asking how it was possible that this film was ever produced.I have nothing against Ben Stiller, in fact I think he is one of the most brilliant comedy-actors around, but in this film he not only misses the target, he shoots blanks!Maybe it's just me not being able to relate to the humor the film is built around, but on the other hand I am a guy that laughs fairly easy, and understands most jokes I see on screen.
Well, watching Zoolander probably isn't going to give you any accurate representation of what being a male model is really like but it's definitely a hilarious spoof on modeling and fashion industry.
His role this film shows character diversity in Stiller not seen in his past films and it works.The sheer stupidity of the main characters Derek Zoolander (Ben Stiller) and rival male model Hansel (Owen Wilson) are the primary sources of the genuine laughs found in Zoolander.
Set in modern day New York City, the plot revolves around a sinister fashion designer named Mugatu (Will Ferrell) and his plot to brainwash male model Derek Zoolander to kill the Prime Minister of Malaysia.
One example of the hilarious stupidity in this movie: Early on in the movie there is a `Male Model of the Year' awards ceremony Zoolander, being accustomed to winning the award several years in a row runs to the stage despite the fact Hansel's name had been announced to accept the award.
Ben Stiller and Owen Wilson are compliment each others roles very well and are extremely funny together.Bottom Line- 7.5 out of 10: Better than `fair' but not great, lots of laughs to be had but it relies on the same `stupid' humor the entire movie.
Stiller Sr., Stiller Jr., Wilson, and Ferrell are quite capable of being funny, and a spoof of the fashion industry is a good idea, but the movie is ruined by a terrible script.
...and this is one of the worst movies ever.I really don't want to disappoint people who like it but I HAVE NO CHOICE!In my opinion this movie should be banned,because there's a big possibility of getting as dumb as Derek is.I literally felt my brain cells exploding during watching it.Ben Stiller had to be in really bad situation when he took this role.
God damn how can this film be avg`ng 6.1-10 some one said its stupid funny well its stupid thats for real but funny isnt a word id use to describe what I saw :(Zoolander belongs in the zoo in the monkeys cage where they can play frizbee with it :)After watching this movie I think my cat left home he has never been seen since :( -3 out of 10.
When the two worlds meet at the "Male Model of the Year" awards, Zoolander is left wondering if there is more to life than being "really really really good looking" and tells his manager he wants to start a "school for kids who can't read
.good".
where is my receipt.....and is there anyway I can return it....??ok...Ben Stiller = funny Owen Wilson = funnyBut this is the stupidest movie I have ever seen...well not the stupidest(and trust me I have seen quite a few).
The plot is old and outdated and out performed lately by other movies(i.e. austin powers), the characters, playing the role of dumb models aren't even remotely believable.
Derek Zoolander (Ben Stiller), an immensely famous yet immensely dumb male model at the end of his career, is brainwashed to kill the prime minister of Malaysia, by one of the only people who never hired him, Mugatu (Will Ferrell).
The complex world of the male modeling profession, including the inherent rivalries and the significant impact the industry has had on history is explored and revealed in `Zoolander,' a brilliant comedy directed by and starring the versatile Ben Stiller.
But like Chaplin and Fields before him, it will undoubtedly-- and unfortunately-- be some time before his true genius is widely and sufficiently recognized.Owen Wilson, as well, is a talented actor/writer/performer who has demonstrated his own unique style in such films as `Bottle Rocket,' `Shanghai Noon' and `Meet the Parents,' and here makes Hansel the perfect counterpart of Derek Zoolander.
He brings Hansel to life with facility, and makes him a memorable character.The supporting cast includes Will Ferrell (Mugatu), Jerry Stiller (Ballstein), Milla Jovovich (Katinka), Matt Levin (Archie) and features cameos by David Duchovny, Cuba Gooding Jr., Lenny Kravitz, Vince Vaughn, Jon Voight, Billy Zane, Natalie Portman, Winona Ryder, David Bowie, Andy Dick and Fabio.
Owen Wilson is flawless as Zoolander's flaky new-wave rival Hansel (he's so hot right now) and Will Ferrell makes the most of a criminally-brief amount of screen time in his own inimitable way.
Ben Stiller seems to think that fame is rather silly and he shows his contempt for it in the form of male super-model Derek Zoolander.
The intellect-challenged, self-absorbed Zoolander pouts, struts and mispronounces wonderfully throughout this comedy that's aimed at being stupid.The "plot-line" begins when Derek is targeted by a clandestine fashion alliance in need of a dim-witted, male super-model.
Stiller plays a world-renowned male fashion model who is brainwashed to kill the new Malaysian Prime Minister.
It is fun to search for all these tidbits, see all the cameos of people like Stephen Dorff or David Bowie and my absolute favorites were Zoolanders quote of "The Godfather" and the surprisingly intelligent side blow to "2001 - A space odyssey"!Furthermore, as a child of the 80s I really enjoyed the homage which was shown to this decade in the movie, especially the music.
It is dumb, but with such infectious comedic energy by Stiller and friend Owen Wilson poured on screen, it is funny enough to look past how ridiculous it gets.
This film follows acclaimed fashion model Derek Zoolander (played by Ben Stiller), a three-time consecutive award winner who is on his way to claiming his fourth prize as "Model of The Year".
Ben Stiller and Owen Wilson cook up an infectious comic energy in nearly scene they both meet on screen, and the energy unravels into funny laugh-out-loud sequences including a fashion showdown scene, another segment owing homage to '2001: A Space Odyssey', and the final scene showcasing their attempts at turning the tables on the comically antagonistic Will Ferrell.
Zoolander is a comedy loaded with laughter and infectious charisma, and Ben Stiller, Owen Wilson, and Will Ferrell deserve the credit for this.
And, Plot, acting, visuals all came together -- even though the story dances on the edge of absurdity.Ben Stiller & Owen Wilson are excellent in this film.
Every time it did 'go deeper' that moment was immediately shot down by some goofy joke, further proving that the movie was trying to be anything but deep or emotional.Overall Zoolander is a lot of fun.
A critique of designer fashion and America's image-focused celebrity culture where the not-particularly-glamorous Ben Stiller has fun playing a male model.
The 2001 film ZOOLANDER is a comedy about two male models, the eminent Derek Zoolander (Ben Stiller) and the up-and-coming Hansel (Owen Wilson), who with the help of an investigative reporter (Christine Taylor) must thwart the plans of a megalomaniac fashion designer (Will Ferrell) to maintain third-world child sweatshop labour.
Most of the humour in the film comes from Stiller's portrayal of Zoolander, a dimwitted manchild with a heart of gold, and the fact that the actor playing this male model isn't remotely glamorous.
I would have rated this rather higher only five or six years ago, but now the movie feels painfully awkward at times.If there is one aspect of the film that has stayed fresh, it's Owen Wilson's Hansel.
And sure, ZOOLANDER still has a lot of funny dialogue, and the audience can pleasantly sense how much fun Stiller, Wilson and Ferrell had while shooting it, but this isn't an especially great film and even its prominence in pop culture seems to be on the wane..
If we define comedy as the genre of movies dedicated to making people laugh, then Zoolander is probably one of the best comedies of all times.
When a scheming fashion designer named Mogatu unleashes a plot to assonate the Prime Minister of Milasia he brainwashes male model Derek Zoolander to do the job for him.
What we have here is a parody of the fashion industry that will prove hilarious to some and painfully stupid to others, but who can honestly say that they wouldn't want their children going to the Derek Zoolander Centre for Kid who can't Read Good?
Ben Stiller is hilariously stupid as Zoolander, Owen Wilson is equally as stupid and funny as Hansel, Zoolander's competition who seems to be parodying Doors front man Jim Morrison more than a male supermodel.
Ben Stiller, Owen Wilson and Christine Taylor star as the leads along with many talented actor making cameos in a film that makes no sense.
Bin Stiller plays Derek Zoolander, the world's premier male model and Owen Wilson plays Hansel, the up and coming star threatening Zoolanders status.
As a lot of comedies, Zoolander is disappointing and doesn't live up to the expectation.The story is rather enjoyable to follow and the fashion theme was interesting and had potential, but it isn't crazy enough and the gags, too rare and not enough striking, struggle to crack the viewer a smile which is prohibitive for a comedy, some are actually really bad.Apart from Mugatu played by the inevitable and always excellent Will Ferrell, the characters lack consistency, a characteristic that, in the end, applies well to the movie in its entirety.
I thought that Zoolander was going to be a very mediocre comedy.But I was very wrong.The movie is extremely funny and I could not stop laughing with it.There are a lot of great cameos.I'm not going to say the people who make them to don't ruin the surprise.Ben Stiller is very funny and he always makes me laugh.The movie works very well as a satire to the fashion world.Zoolander is not the best movie in the history of the cinema;but it made me laugh a lot and I had a great time watching it.So,I recommend it if you wanna see a really funny movie.Stiller shows he has a lot of talent for comedy.Rating:8.
That said, I feel that Zoolander is a very funny, entertaining film, especially considering that it's a relatively current film.When I first saw it on TV (I rarely go to the movies anymore - too many bad ones are getting good reviews) I thought I would only watch it for a few minutes.
Hi, first i would like to say that i gave this movie a 10 because it is just hilarious, i find Ben Stillers acting more humorous every time i watch "Zoolander".Other great actors including Owen Wilson, and Will Ferrel could not have a done a better job with their Characters.
I didn't find Ben Stiller to be very funny in this movie.
This movie has many good memories to recall and when I watch it I think of all the good times my family and I had while watching it.I know that sounds dumb, but ohh well.This is one of my favorite movies.One of the parts that we find hilarious is when hansel and derek are doing the walk off, they make the same faces and everything.I think that owen Wilson and ben stiller work very well together..
All male supermodel Derek Zoolander (Ben Stiller) wants at the moment is to discover whether there's more to life than "being really really really ridiculously good-looking." But badguy fashion designer Mugatu (Will Ferrell, in an inspired, hilarious charicature) has other ideas: he's looking for the dumbest guy in the fashion industry to assassinate the president of Malaysia.It strings its gags together with the form of an espionage thriller: the plot of which has badguy Mugatu looking for a really Laugh-out-loud comedy performances, fun satire of modelling industry and terrific chemistry between duo Stiller and Owen Wilson.It has enough terrific lines and moments that a group of friends will see it together and feel like repeating the lines to each other for weeks on end.
Ben Stiller plays "Derek Zoolander", a 3 time "Male Model of the Year" award winner, when his streak of wins is stopped by Owen's character, Hansel, he starts to doubt his career and wants to go back home with his father and brothers as a mine worker.
It's a peculiar character for Ben Stiller and that's exactly why it works, not to mention his laser-focus dedication to the character (which also includes directing the movie) and it's also refreshingly gentle-minded: The satirical send-ups of the fashion industry and male models aren't hard-biting, which makes the whole thing go down smoothly.
But, it's also good for a few laughs and is a very amiable time-passer filled with lots of amazing cameos.The film is about a narcissistic idiot male model, Derek Zoolander (Ben Stiller).
However, the film is still works quite well because it is still quite funny and pokes a lot of fun at the fashion/modeling industry.
Derek Zoolander (Ben Stiller) is a fashion icon who's stupidity matches his Blue Steel looks.
Now having seen it numerous times it gets funnier and funnier with each viewing to the point that I'm laughing even before the jokes arrive.A clueless fashion model Derek Zoolander (Stiller) is brainwashed into assassinating the prime minister of Malaysia in order to stop him banning child labour laws that the fashion world needs for cheap materials.
Derek Zoolander is a dim-witted, but well meaning male model who is brainwashed into a plot to kill the Prime Minister of Malaysia.
Derek Zoolander (Ben Stiller) finds his life turned upside down when he fails to defend his male model of the year title (losing to Hansel - Owen Wilson).
"Zoolander" stands out in Ben Stiller's sometimes uneven film career as one of his most memorable movies.
I see that another Zoolander film is in the works right now with Ben Stiller repeating his character of the brain dead male model.
Although Zoolander's gags occasionally fall flat i think most people will get a portion of laughs of all kinds at Ben Stiller's and Owen Wilson marvelous characters..
The character of Derek Zoolander represents the vapid male model of today and is hilariously portrayed by Ben Stiller. |
tt0076590 | Rabid | Rose (Marilyn Chambers) and her boyfriend Hart (Frank Moore) are taking a little spin in the Quebec countryside on Hart's motorcycle when they have an accident. A family in a camper van stops in the middle of the road to argue about directions, and Hart must swerve to avoid them, going off the road and crashing. A patient at the nearby Keloid Clinc for Plastic Surgery witnesses the accident and calls for an ambulance. At the clinic, Murray Cypher (Joe Silver) pitches a promising franchising deal to Dr. Dan Keloid (Howard Ryshpan) and his wife Roxanne (Patricia Gage). Keloid is unconvinced, afraid that he'll become the "Colonel Sanders of plastic surgery". Just then, an ambulance containing Hart and Rose arrives. Hart has a broken hand, separated shoulder, and a concussion, but Rose, having been pinned under the motorcycle, is more severely injured. Dr. Keloid recognizes that Rose needs immediate surgery and decides to perform a radical procedure on her, one which uses morphogenetically neutral grafts of her own skin to patch the injured tissues in and on her chest and abdomen. The treated skin will be able to form new tissue of whatever type it is grafted to, but it also might lead to cancer.A month or two passes. Hart has already gone home to Montreal, but Rose still remains in a coma at the Keolid Clinic. Then one night, one of the other patients, Lloyd Walsh (J. Roger Periad), hears Rose screaming and goes to her room. She has awakened and is pulling out her I.V. drip tube. In an attempt to warm her and calm her down, Lloyd holds her, and Rose causes some sort of vague injury to him as she holds him. When examined a few hours later, Lloyd can't remember anything afterwards, and the doctor doesn't know what caused his injury to his right arm. They know only that his blood isn't clotting from the small wound and that Lloyd's right side has no feeling. Dr. Keloid thinks that it might have been a mild stroke and transfers him to Montreal General Hospital for further evaluation.Over the next few days, Rose leaves the clinic periodically to feed; her experimental procedures have caused a wild card mutation in her body, and now the only thing she can subsist on is human blood. To help her attain it, a bizarre new organ has developed in Rose's armpit; through a small sphincter opening, a large red phallic spike emerges to pierce her victims and draw blood like a syringe. First she feeds on a cow in the barn of a nearby farm, but she vomits up the blood, realizing that she needs only human blood, so she feeds instead on the drunken farmer who wanders into the barn. The next night, Rose attacks a young nurse in a hot tub, and then hides her unconscious body in a freezer.The next day, Lloyd discharges himself from the clinic. He hails a taxi to take him to the airport. But during the trip, Lloyd, already looking deathly pale, transforms into a foaming, green-eye zombie-like person and attacks the driver, biting out part of his neck making the driver lose control of the car. The taxi breaks through a bridge guardrail and the car falls to the freeway below where it is totalled by an approaching truck, killing both the driver and the infected Lloyd.At the clinic, Dr. Keloid is examining the unconscious Rose. He notices the strange opening under her arm, but Rose wakes up and the phallic syringe emerges and strikes him in the hand.At a nearby diner, the farmer, infected the previous night by Rose, walks in, bleeding from his left eyeball where Rose's stuck the phallic thing, and after asking for chicken, he attacks and bites a waitress before he is subdued by the cook and a few patrons.At the clinic, Rose phones Hart to come to her aid, for she feels that she's in trouble. Hart calls Murray Cypher to tag along with him. Later that day, Dr. Keolid goes into the O.R. to operate on a patient when he suddenly begins foaming at the mouth and also transforms into a green-eyed zombie who proceeds to hack off a nurse's finger with surgical scissors and drinks her blood. A few orderlies attack the vicious Dr. Keolid, as Rose takes advantage of the chaos and confusion to make her escape from the clinic. She hitches a ride to Montreal from a passing truck driver, who has food in the cab of his truck. After he offers some to the famished Rose, she eats it and it seems to satisfy her momentarily, but she then vomits it back up, eventually feeding on the driver as she has done to the others.Hart and Murray pass the diner where the infected farmer attacked the waitress, and then arrive at the clinic to find more police cars and a rabid and vicious looking Dr. Keloid in the back of a police van, growling and foaming at the mouth. The police tell Murray and Hart that they think it's a new strain of rabies. Hart panics when he learns that a body was found in a freezer, but to his slight relief, it's the nurse that Rose killed in the hot tub.Meanwhile, Rose hitches a ride with another car driver, leaving behind the unconcious truck driver whom is infected. He is woken up by a highway patrolman and goes on his way. The trucker returns that night to a depot where he transforms and attacks his colleagues at the place, infecting some of them before being subdued.At the police station, the chief of police, Claude LePointe, meets with Hart, Murray and a few public health officials who talk of an epidemic. Just then, as Hart and Murray watch a TV broadcast of various other reports of attacks, an officer, who was apparently bitten by the infected Dr. Keloid at the clinic, appears growling and foaming at the mouth. The infected officer attacks Hart only to be shot dead by the other officers. To stop the disease from progressing, everyone at the scene, including Hart and Murray, are to be held at the police station for 48 hours. Hart calls Mindy Kent (Susan Roman) who is Rose's best friend, and is pleased to hear that Rose has been in touch with her. Over the phone, Hart tells Mindy to keep Rose at her apartment until he can get there.Meanwhile, Rose arrives in Montreal, meets with Mindy, and asks to stay with her in her apartment for a few days, but refuses to explain why. Mindy watches another TV broadcast detailing a new strain of lethal rabies that is now reporting all over Montreal. That night, Rose goes out to the local red-light district and visits a sex cinema. A leering patron sits next to her to fondle her, only to become a victim himself.The next day, Claude LePointe is riding in a limo with a local health official to inform the mayor that the situation is getting out of control. Just then, the limo is blocked at a construction sight, and two infected crewmen attack, putting a jackhammer through the limo door and dragging the shocked driver out to feed on him, while the official and LePointe barely escape by driving away in reverse.Elsewhere, Mindy is riding on a subway train when an infected woman attacks another passenger, causing panic and forcing Mindy and the rest of the passengers to flee after the train arrives at the station.On TV, Dr. Royce Gentry talks about the dozens of rabies cases popping up all over the city, and advises a "shoot-to-kill" policy to prevent the infected from infecting others. Rose goes out to a local shopping mall filled with Christmas shoppers. Another leering man approaches her to make small talk, and to try to pick her up. As Rose agrees to walk with him, he asks her for a light, but she tells him that she doesn't smoke. The man asks another man standing nearby for a light, and the man turns around... an infected zombie who proceeds to bite and infect the man Rose is with. Panic breaks out in the mall as two armed security guards appear and shoot the infected man dead, as well as an unfortunate man dressed as Santa. The guards shoot the wounded man who tried to pick up Rose as well, since he is now infected. Rose again slips away unnoticed.When Mindy arrives home, Rose hides in her room, in blood-hunger. She tells Mindy not to come into her room for she is not feeling well. Meanwhile, extreme martial law is declared in Montreal and all the surrounding areas. Dr. Royce Gentry makes another TV appearance to announce that the current rabies shots don't appear to be working. But he and his men have developed a vaccine to administer to those not infected with the virus. Those already infected, however, must be killed to prevent the epidemic from spreading any further.At a National Guard road block to check for people infected, Hart and Murray view a long convoy of soldiers in NBC suits and riding on garbage trucks heading into the city to assist the local authorities with the body disposal. Hart then takes Murray home and drives off to look for Rose. When Murray walks in his house, he is attacked and killed by his wife, now infected.As Hart drives through the deserted city, a infected maniac jumps on his car, but is shot dead by a militia marksman. Soldiers in bio-warfare suits remove the infected man's body to dump it in the nearby garbage truck and spray disinfectant on Hart's car windshield and permit him to carry on his way.At Mindy's apartment, she watches a news report about a possible "carrier" of this lethal disease which has now been traced back to the Keloid Clinic, who is possibly immune. Rose walks into the room. A little later, Hart arrives to find Rose feasting on Mindy's body. Hart finally realizes that Rose is the carrier of the virus and tries to reason with her to seek treatment, but Rose refuses to believe him. She is in denial that she is feasting on blood and the one responsible for the city-wide epidemic that has now claimed thousands of people. She tries to run, but he chases after her. In a struggle, Hart falls down a fire escape ladder and is knocked out. Rose runs into the apartment building lobby, where she picks up another man in the lobby and has him take her back to his apartment.To see if Hart's accusations are true, Rose infects the guy with her phalic piece and then locks herself in the man's apartment and intends to stay there until she can see whether or not he becomes sick. Rose dials Mindy's phone number, and Hart stumbles back into the apartment to answer it. Rose tells Hart what she is doing, but he knows what will happen and frantically tells her to get out of the man's apartment. Hart sits helplessly at the receiver as the infected man in his apartment wakes up, growling and foaming at the mouth, and approaches Rose....The next morning, Montreal is nearly deserted. The streets are quiet except for distant gunfire and the sound of police and ambulance sirens. Soldiers in bio-ware suits find Rose's stiff, open-eyed body, laying next to some garbage cans in an alley. The body collectors pick up her body, toss it in the back of a garbage truck, and drive away, not realizing that she is the carrier of the virus.... and possibly the solution and antidote to the mayhem that continues to plague the city.[Original Synopsis by bj_kuehl] | cult, horror, murder | train | imdb | The second big-screen feature from Canadian horror genius David Cronenberg was this twisted well-done low budgeter.Following a motorcycle wreck, a young woman receives skin grafts that cause her to have a murderous thrust for blood - which leads to a deadly plague.Rabid is one nicely done little shocker.
Frank Moore is also good as Chambers' boyfriend who must save her before disaster strikes.While granted that Rabid isn't as great as the films that Cronenberg would later unleash (The Brood, Videodrome, Dead Zone etc.) it is never the less a solid sophomore effort that well-foreshadowed the greatness Cronenberg would achieve in his later films.*** out of ****.
It's an interesting, original take of vampirism, especially the aspect that her victims get sick and turn homicidal ("Rabid," I guess).In my opinion, this is Cronenberg's best 70s movie (I enjoyed it more than THEY CAME FROM WITHIN/SHIVERS and THE BROOD, also good horror films).
The film carries its director's signature on it in terms of content, but lacks the Cronenbergian style that viewers would later see more developed in films such as `Videodrome,' `The Fly,' and `Dead Ringers.' Here, in what is essentially Cronenberg's second `commercial' feature film, we as an audience are treated to many of the same themes that pop up in the later films of this master of the sci-fi/horror fusion genre: faceless medical/scientific corporations that do more harm than good, a main character that is reluctant to serve whatever purpose he or she is destined to perform for good or evil, and a pervading sense of an impending plague or epidemic that cannot be prevented.
Bob Silverman, a minor player in a few of Cronenberg's films, also shows up for a brief cameo, although those used to his idiosyncratic performances may be left a little disappointed.On the whole, `Rabid' is an interesting film to watch if for no other reason than to get a sampling of the director's unique sense of story and theme.
Rabid (1977) ** 1/2 (out of 4) After a motorcycle crash, a young woman (Marilyn Chambers) is given a certain plastic surgery, which has a major side effect when she wakes up as it turns her into a rabid creature wanting human blood.
Whoever she bites also gets infected and soon the plague is sweeping across the nation.David Cronenberg's rather bleak horror tale is a pretty good film, although it does suffer from a few flaws that keeps it from being much better.
Meanwhile Hart is seeking for her."Rabid" is a horror film by David Cronenberg that becomes better with time.
David Cronenberg perhaps maybe didn't get too ambitious as he forged ahead in the 70s as a low-budget director of bloody, outrageous horror films in Canada, but it was probably a good chance to learn tricks of the trade he'd know for the rest of his career.
It's rough and with a terribly bleak ending, and it's got a certain pizazz that should keep it humming on genre fans shelves in the years to come.Marilyn Chambers is one of the reasons the film got made- Ivan Reitman chose her over Cronenberg's (more interesting) choice of Sissy Spacek- though it is and isn't her exactly that makes Rabid a little sleazier for some reason that it might be without her.
Those are when Cronenberg strikes it best as a pure genre director, not going too deep into theme (aside from that of the unawareness of disease and infection, a theme that would grow stronger in the 80s to be sure), plus in the shock value of the actual creature that sprouts out of Chambers mouth, which is probably even *better* concealed and revealed than with the parasites in Shivers.
A collision between motorcycle and motorhome on a country road leaves Hart Read(Frank Moore)and his girlfriend Rose(Marilyn Chambers)badly injured.Read is stable enough to be shipped to a hospital,but Rose is shipped to the clinic.The operation to save her life appears at first to be a complete success,but soon all hell breaks loose.Marilyn Chambers is pretty believable as Rose-even Cronenberg was surprised that she didn't do more mainstream movies.The film has some great moments of terror-the shooting of a man trying to get into a car and the immediate washing down of the windshield that follows,is a perfect example."Rabid" isn't as gruesome as "Shivers" and "The Brood",but if you are a fan of Cronenberg's movies you can't miss it.Highly recommended..
Sure, it had plenty of bad acting (though Marilyn Chambers was good-*gasp*), was a bit too long for what it was, and was uneven overall, but I could definitely see the genius that was too come from this very young Cronenberg.
After a nasty motorcycle accident, a young couple, Hart (Frank Moore) and Rose (porn star Marilyn Chambers), are taken to a nearby plastic surgery clinic, where Rose undergoes a revolutionary skin grafting technique that results in the growth of a bloodsucking tumour.
As the disease rapidly turns into a city-wide epidemic and martial law is imposed, Hart attempts to locate his missing girlfriend, unaware that she is the carrier of the disease.With crisper cinematography and more confident direction from David Cronenberg, Rabid is a technically superior effort to his 1975 film Shivers, but doesn't manage to be as satisfying an experience thanks to a script that becomes a tad too repetitive at times, strays a little to close to George Romero's The Crazies (1973) for comfort, and perhaps most importantly, fails to answer burning questions about the nature of Rose's condition: the needle tipped, phallic mutation, which emerges from a sphincter-like orifice from under Rose's arm, is as grotesque and unsettling as anything Cronenberg has conjured up since, but it's existence is never adequately explained, most likely because no amount of in-depth exposition could ever be convincing enough.On a more positive note, Chambers does reasonably well in her first non-porn lead role, there are some genuinely nasty moments for which makeup guy Joe Blasco provides some pretty decent effects work (I particularly enjoyed the 'finger snipping' moment, and the impressive use of a pneumatic drill by one of the infected), and Cronenberg occasionally ditches his sober approach for the odd spot of delightfully twisted humour, such as the scene in which a mall Santa Claus gets accidentally machine-gunned by a trigger happy cop (well, I found it funny!).Whilst Rabid certainly doesn't qualify as essential Cronenberg, it is still worth a look if you're a fan of the man's work and merits a reasonable 6.5 out of 10 from this viewer (generously rounded up to 7 for IMDb)..
The story A young woman develops a taste for human blood after undergoing experimental plastic surgery, and her victims turn into rabid, blood-thirsty zombies who proceed to infect others, which turns into a city-wide epidemic.This is not that scary at all, but that dose not mean, it not a good movie.When the people become rabid, they do look a bit scary and when they attack, so-what bloody then gory.
What attracted me to this film were basically 2 things: seeing Marilyn Chambers in a "mainstream" role, and seeing one of Cronenberg's earlier works.RABID sets a premise expanded on future films such as SCANNERS, THE BROOD and THE FLY, where science goes berserk, although in this film we clearly see David Cronenberg acquiring the skills he became so known for in those latter day movies.
Cool to know that the excellent Ivan reitman was producer on this & this is very well directed by david & the rabid people look cool like i said it's just a low-budget bit of gross fun & nothing more it's not a masterpiece but it is excellent & very rewatchable, I love these 70s & 80s Horror flicks so i enjoyed this lots & would make a cool double feature with Shivers.
Soon, a full scale epidemic is overtaking the city of Montreal, and Rose goes about not knowing that she's become the carrier of this plague.Due to the substantial controversy surrounding writer / director David Cronenbergs' breakthrough film, "Shivers", funding for this sophomore effort was refused.
The bad news is that, like "Shivers", he must deal with the debit of an insipid leading man, in this case Frank Moore as Hart, Roses' boyfriend.The makeup effects by Joe Blasco and Byrd Holland are top notch, the use of locations is excellent, and executive producer Ivan Reitman does a fine job of utilizing stock music.Chambers's role doesn't require her to do a whole lot of acting, but she's good in scenes requiring her to be seductive.
The victims eventually turn into rabid zombie creatures and terrorize Montreal!The not-so-subtle messages about the dangers of plastic surgery and hubris in the medical field aren't all that effective, and it never really makes sense why or how this woman ends up incubating a spiked phallus in her armpit.
"Shivers" in 1975 had revealed a director."Rabid" is more of the same,but not as devastating,by a long shot.Once the girl is infected,nothing -or so little- will change the humdrum routine of the plot which only consists of assaults (the title does not lie for that matter),and which is nothing but a rehash of vampires movies.The humor,which was fierce in "shivers" goes down the drain here.Only one funny line (so to speak);the journalist asks the official how to protect oneself against the sickness:"don't let anyone bite you!" is the limpid answer.After Cronenberg's excellent debut ("Shivers") it wasa let-down,which "the brood" and "scanners" did nothing to rectify.It was 1983 before he was again in clover with "dead zone" thanks parly to Christopher Walken's presence..
"Rabid" is more properly elaborated and definitely more sophisticated-looking than its predecessor "Shivers" (released two years before) but the plot and tone are very similar, which sometimes makes it feel like a rather repetitive and unoriginal horror film.
All of Cronenberg's obsessions (clinics and hospitals, dangerous sex, the body in decay) made it into Rabid, an effective, entertaining, and unsettling horror movie that REALLY seems like a response to the AIDS epidemic, even though it predated that real-world nightmare.Porn star Marilyn Chambers turns out to be an actual actress; it's a shame she didn't get more chances to break into legitimate movies.
David Cronenberg's third feature-length film, but Like most his early work this movie is fascinating.
My only niggle is the amount of time Rose spends naked in the film, in many scenes where it is simply not relevant, and it seems like Cronenberg exploited Chamber's past movie career by asking her to do this and boost box office takings.
After having a motorcycle accident Rose (Chambers) has to undergo surgery with a new technique but things go wrong and she becomes addicted to blood and people who are bitten are turning into some kind of zombies.
An outbreak is soon on the cards as the infected go on a biting rampage, spreading a strange disease which causing the host to turn rabid and zombie- like.Only his fourth feature, and only his second horror after Shivers (1975), this is not Canadian director David Cronenberg's finest achievement.
These infected people are turning wild rampaging blood-thirsty zombie-like creatures in the city of Montreal.Written and Directed by David Cronenberg (Eastern Promises, The Fly, Videodrome) made an interesting horror film that certainly has some of Cronenberg's trademarks and themes on his future films about the flesh and human nature goes wrong.
I had an occasion to meet the lovely and talented Marilyn Chambers, star of this David Cronenberg classic, recently and even though it was a horror movie convention, she seemed almost unwilling to discuss this film which is her only attempt at "mainstream" acting.
Her character suffers a tragic motorcycle accident and is carted off to the hospital only to return with an added "appendage" to her armpit that looks like a vagina from which emerges a parasitic creature, very "phalic" in shape as Ms. Chambers puts it, that sucks all of the blood from it's victim and turns them into rabid zombie-like creatures.
Basicly a re-run of Shivers on a larger scale,(This time half of Montreal is infected)but much slicker and professional.Featuring another weird disease created by Cronenberg,this time the unfortunate Rose (Marilyn Chambers) is the carrier of a strange vampiric appendage that emerges from her armpit to drink blood and infect the poor victim.The cause of Rose's affliction is unclear,only that her experimental skin grafts performed by a private clinic,is the culprit.Not quite as gory as Shivers but close,the first victims wounds after an attack by rose are wincingly realistic,and theres a nasty scene where an infected surgeon cuts off a nurses fingers with a pair of scissors.Cronenberg creates a city in a mass panic very well,most noticeable when a store Santa is gunned down in a military crossfire!Chambers gives a sympathetic performance as Rose,as she tries to comprehend what has happened to her.Rabid reinforced the view that Cronenberg was a name to watch in s.f/horror cinema.If you haven't seen it then do so,this is classic Cronenberg..
Not only would a person be scared of leaving the house for fear of being bitten, but also the way killing the crazies and disposing of them would be carried out.The fact is though that I watched a movie that had several things happen that ultimately resulted in random people turning mad and attacking people and kept thinking it has been done so much better in other films.
The premise is basically about an uncontrollable epidemic that starts when a young girl, Rose, (Marilyn Chambers) is injured in a motorcycle accident with her boyfriend and is taken to the closest hospital, which also happens to contain an experimental surgery room overseen by a crazy Doctor.
Only one scene shows Rose displaying any sort of emotion and that is when she accuses her boyfriend of causing all of this to happen.David Cronenberg is a talented director - but unfortunately he didn't handle this film very well.
Marilyn Chambers may have been a porn queen at the time, but her performance in this commercial flick is atrocious (credit producer Ivan Reitman, who disregarded the director's first choice, Sissy Spacek), as is the rest of the cast (Frank Moore may LOOK like Christopher Walken, but he has none of the guy's acting skills), who aren't given much to work with, since the characterizations are pretty sketchy.
Her acting in this movie is pretty good, I was suprised.Great funny lines like " what the fu*k are we running here a nursery." "You carry a plague youve killed hundreds of people!."The best thing I can say is that it has some great shots of Marilyn Chambers beautiful figure.
Low-rent thriller from young writer-director David Cronenberg, involving Ivory Snow model-turned-porno actress Marilyn Chambers in a horrific motorcycle accident; she survives, but awakens in the hospital with a curious thirst for human blood.
MORD39 RATING: *1/2 out of ****RABID is built around an idea which I would ordinarily enjoy, but it's presented in such a dull and confusing way that it ultimately results in an ineffective film.Porn star Marilyn Chambers should have stayed on her back in bed somewhere; while she appears physically right for the part, I disagree with most reviewers who claim that she can act good enough to pull this off.
Here, a young woman suffers a horrific motorcycle accident and, during the experimental surgery to save her, she contracts a disease (much like rabies) which makes her hungry to bite people (albeit with a weird extra spike protruding from her – you'll have to watch the film to see what I mean by that, as it's a little hard to describe!).Basically, it's a slow burner.
Body-horror master, David Cronenberg is at it again with RABID, his second feature film after SHIVERS (aka THEY CAME FROM WITHIN).
It had been about 10 years since I had last seen RABID, so I'm glad I gave it another go-round...Following a motorcycle accident and experimental skin-graft, porn legend Marilyn Chambers inexplicably grows what looks like an anus in her armpit that houses a penile looking appendage with a spike on the end that she uses to suck blood from her victims for nourishment and spread a rabies-like disease that causes victims to turn into green-foam spewing zombie-like freaks that cause havoc all throughout Montreal...The reason WHY Ms. Chambers grows the armpit-anus-wiener is never really made clear, but that's to be expected from Cronenberg, and doesn't really detract from the film.
His works in horror were most openly and frankly sexual although often repugnant and were often the result of many nightmares and newfound phobias; a writer and director with the power to affect jaded horror audiences, yet tell a vitally moral and heartfelt tale about the lesser desired individuals within our societies.'Rabid' was his second venture into film and was maybe a lesser moral tale although watched closely delivers many messages for the modern man and woman, the so-called liberated and free to choose.The main character Rose was portrayed by then and now legendary porn star Marilyn Chambers whom Cronenberg placed great faith in as a relatively inexperienced actress and to everyone's surprise, she delivers on so many levels, giving the viewer an unbelievably beautiful but deadly, calculating but no doubt lost and scared Typhoid Mary who spreads a plague of mutated rabies across Canada.Rose is involved in a motorcycle accident.
The recent sad death of Marilyn Chambers revived my memories of her one and only contribution to mainstream cinema - David Cronenberg's horror picture 'Rabid' - when it played in my part of the world in 1979 on a double-bill with 'Shivers', one of the director's earlier pictures.
David Cronenberg's 1977 sci-fi/horror film stars Marilyn Chambers, Frank Moore and Joe Silver.
As always, Cronenberg deals heavily in deeper themes than simple horror, injecting sexuality and desperation for an interesting twist on an almost vampiric outbreak.It starts off with Rose (porn star Marilyn Chambers) getting in a motorcycle accident with her boyfriend, Hart (Frank Moore), in the Quebec countryside. |
tt1582507 | House at the End of the Street | The story opens with a scene from the point-of-view of a psychotic killer, who looks like a teenage long-haired girl wearing a night-dress, killing first their mother and then their father with a hammer in the middle of a stormy night. The events are blurred and warped as if the killer is deranged or drugged.Four years later. A newly divorced woman, Sarah Cassidy (Elisabeth Shue), and her teenage daughter Elissa Cassidy (Jennifer Lawrence) find the house of their dreams in a small upscale town. But when startling events begin to happen, Sarah and Elissa learn the town is in the shadows of a chilling secret. As told by the neighbors: four years earlier a teen girl named Carrie-Ann Jacobson killed her parents in the house next door and then fled into the woods. The townies believe that Carrie-Ann drowned in the river yet her body has never been found, leaving others to believe that she lives in the woods. Ryan Jacobson (Max Thieriot), is the sole survivor who at the time was looking after his ailing aunt far away. Ryan now lives alone in the house; the neighborhood hates the house as it drives down their property values. Bill Weaver (Gil Bellows), a local police officer, appears to be Ryan's only supporter.Against the wishes of Sarah, Elissa and Ryan begin a relationship. He tells her that he accidentally injured Carrie-Ann while they were swinging one day, he was supposed to be watching her while their parents were inside - his mother was getting high while his father watched TV. Carrie-Ann fell off the swings as she wanted to go higher, and Ryan says that she got brain damage which makes her extremely aggressive. Ryan returned to the house just after the murders with his aunt, who died a year ago before Elissa and Sarah moved in. It is revealed to the viewer that Ryan has secretly been taking care of a woman who appears to be "Carrie-Ann" in a hidden room. No locals know of the existence of "Carrie-Ann". Carrie-Ann escapes the room on two occasions and appears to attempt to attack Elissa. During the second escape attempt, Ryan accidentally kills Carrie-Ann while trying to hide her from a teenage couple and keep her quiet. In his grief, he visits a diner where a student waitress attempts to comfort him, giving him a slice of cake on the house.While visiting Elissa's battle of the bands, several high school students vandalize Ryan's car and attack him. In defense, Ryan breaks Tyler's (Nolan Gerard Funk) ankle and runs home. The remaining students decide to burn his house down. Elissa stops the fire. Elissa then looks in the garbage and finds a packet of tampons. She also finds a blue contact lens and a purse with a student I.D. inside of it on the counter. She hides these facts from Ryan. Whilst inside, Elissa finds Ryan's secret room. She is attacked by Carrie-Ann as Ryan arrives home. At this moment, it is revealed that the current Carrie-Ann is actually the waitress from the diner who has been held captive and made to look like Carrie-Ann.In order to keep Carrie-Ann's presence a secret, Ryan knocks Elissa out and ties her to a chair. He reveals that Carrie-Ann actually died during the swing accident but that he still needed Carrie-Ann in his life. He knocks out the student and says he will make Elissa his new Carrie-Ann.It becomes apparent that the first "Carrie-Ann" rather was another victim attempting to escape from Ryan. When Weaver arrives, Ryan says Elissa isn't there, but Weaver decides to call her house phone (which has been call-forwarded to her cellphone) and then hears her cell phone ring inside the Jacobson house. In a scuffle with Ryan, Weaver tells Ryan that he has always defended him, but Ryan gets angry and stabs Weaver to death. Elissa escapes but is chloroformed by Ryan and thrown into the trunk of his car. She awakens and escapes. Sarah arrives at the house and hears Elissa's screams, but is stabbed by Ryan. During a struggle, Ryan is shot several times by Elissa using Weaver's gun and finally knocked out by Sarah.Elissa and Sarah move out, and Ryan is shown in a mental hospital. To explain how he became disturbed and why he killed his parents, a flashback reveals that after the death of Carrie-Ann, Ryan's parents forced him to act as Carrie-Ann and abused him if he refused. | psychological, murder, flashback | train | imdb | This movie was a pleasant surprise to me because I thought it was going to be more of a "horror" movie...I wouldn't call it that, I'd call it a terrific suspense thriller with good twists here and there.
The story is dull and predictable and the acting isn't rocksolid!Jennifer Lawrence played her role well though, she "blows" everyone away in this movie BUT, on the other hand, and I don't want to sound too negative, this flick wasn't a very hard nut for her to crack!The story ;Elissa (Lawrence) moves into a new home together with her mom Sarah(Elisabeth Shue) and finds out that the son of a murdered couple, who lived next door, still lives in the house where his parents were killed.
This film makes an attempt on having such a twist, but personally, for me, it didn't work.Let's start off with the good things: the acting was very good, especially by Max Thieriot as Ryan.
Perhaps the only saving grace comes from a somewhat "star" lister in Jennifer Lawrence, having made her name in X-Men: First Class, and spearheading The Hunger Games most recently, but even then the filmmakers failed to make it count where it mattered, preferring to rely on her many cleavage baring, tight tank tops to try and make a point, not.Elizabeth Shue and Jennifer Lawrence star as mother-daughter Sarah and Elissa, who find themselves a nice abode in the middle of the woods of a small town, where the townsfolk aren't all that keen that their new neighbours had moved in next to a house that bore witness to two killings, which the prologue introduces us to.
Soon, Elissa finds herself drawn to the sole survivor of that massacre in Ryan (Max Thieriot) despite her mother's objections, and we're left wondering if the aloof Ryan is really a real Boo Radley type who is much maligned by everyone else, or is actually hiding something a lot more sinister especially when it had to do with his supposedly missing sister Carrie Anne (Eva Link), accused of murdering their parents in cold blood.Movie goers will probably be able to stay multiple steps ahead of this insipid storyline, if only they can stay awake for the first hour where the movie decided to go all over the place in showing how Sarah and Elissa try to fit in to their new environment, in school and at the hospital, making friends with the police and teenage peers for a rock concert that doesn't materialize because a modestly budgeted film will not allow for one.
I thought we were better than this.Jennifer Lawrence, who woefully deserves better than this film, withheld by its own cardboard limitations, plays Ellissa, a teenager who has just moved into a rural home with her mother Sarah (Elisabeth Shue) on a block that holds many secrets.
Whether it's that, or the fact that the marketing campaign was reduced to "blink and you miss it" type ads, House at the End of the Street isn't the least bit satisfying or memorable.Starring: Jennifer Lawrence, Max Thieriot, Elisabeth Shue, Gil Bellows, and Eva Link.
However, her new movie, HOUSE AT THE END OF THE STREET, is a dreadful psychological thriller that tries too hard to venture into PSYCHO-like territory but comes up terribly short.
From there, it never regains its footing and goes downhill all the way.Flash forward to four years, we are now introduced to a spunky high-school student Elissa (Lawrence) and her recently-divorce mom Sarah Cassidy (Elisabeth Shue), where both of them move into a house at the small Pennsylvania town of Woodshire, in hope to start fresh.
As their relationship blossoms into two lovebirds, little is known to Elissa that Ryan is actually keeping his thought-dead psychotic sister locked under the basement of his home.Despite branded as a thriller and carries such title like HOUSE AT THE END OF THE STREET, it's extremely baffling that the movie is almost suspense-free throughout its wimpy 101-minute running time.
Even by the time the movie starts to act like a thriller for the final half an hour's mark, it's all too late and too little.
Meanwhile, Elisabeth Shue delivers some worthwhile performance as the overprotective mom, Sarah.HOUSE AT THE END OF THE STREET is mostly a boring movie.
The fact the majority of poor Suspenseful horrors have torched us over the years, I think I am finally ready let go of a genre that will always be remembered for its recognition through-out the 70's and 80's.In terms of the review ahead, let's start off by referencing the quotes in the image above; The following movie is NOT deeply scary with a twist that is far from awesome but is in fact decent, a word equivalent to acceptable where I come from.What seems an ideal family dream home, Elissa (Jennifer Lawrence) is the first to find conspicuous events surrounding the landscape of their new home and the rural town within.
Her mother Sarah (Elisabeth Shue) is desperate to remain optimistic and sees the move a fresh start from a troubled past we know little about.Elissa is more than a little helpful after learning a murder had occurred in their new home, leading to flirty chats between herself and ideal genre heartthrob Ryan (Max Thieriot), the son and last remaining member of the murdered family.
The main character, played excellently by Jennifer Lawrence, is likable, in the sense that she feels real in the way she interacts with her mother and moving to a new home and school, and doesn't teeter too far towards a socially inept emo kid, but not a total goody goody either and I am beginning to think Jennifer Lawrence is very capable of choosing good roles that she knows she will be able to tackle.
(Loved her in The Hunger Games and X-Men: First Class) The mother, played by Elisabeth Shue, was protective, caring, but not overbearing and has made plenty mistakes in her past in her daughters eyes and their connection is almost impeccable.When Max Thieriot's character is introduced, who gave a passable performance as well, it starts to get more entertaining.
The only thing this has going for it is Jennifer Lawrence who is clearly too good for the lame material she's given to work with, and the twist isn't exactly terrible in a kind of camp fire style way, but it clearly lacks enough substance for it to be made into a full length movie.
I'm sure plenty of 15+ people will enjoy it too, but I'm going to stick my neck out and guess that its primary fanbase will be around the 15 years of age mark.I've seen a lot of these times of horror/thrillers.
Jennifer Lawrence as Elissa , Elisabeth Shue as Elissa's mom Sarah and Max Thieriot as Ryan are the most important characters in the movie.
I did so for 'House at the End of the Street' (2012), starring the phenomenal work of Jennifer Lawrence and Max Thieriot; and was extremely disappointed to find that it had only been awarded a measly 5.6/10.
With the latest The House At The End Of The Street they showcase Jennifer Lawrence in the lead to attempt to tell a creepy tale that the trailers left enough mystery to not really know where it was going, but does it work?
This film plays more of a slow thriller with very little meat than a full on creepy horror film they wanted you to believe and it ended up just not working overall.If you go into this film knowing that it offers little more than a Lifetime movie vibe with a bit of a thriller twist then you will most likely enjoy it.
This isn't a horrible movie; it just doesn't play as advertised like a lot of films and ends up not delivering what it could have..
Plus I have become a fan of sorts of Jennifer Lawrence, the camera really loves her face, she is a natural to become a real "movie star." While I certainly would not put this movie in my list of top movies, it is rather well made and the story held my attention.The rest of my comments contain SPOILERS so don't read further if you haven't seen the movie.The first 4 1/2 minutes take us right into the center of the mystery, we see a daughter of maybe 13 or 14 kill her mother in the home then go into the bedroom and kill her father, then she runs away through the woods.
It is now 4 years later, Jennifer Lawrence is teenager Elissa, she and her mother, Elisabeth Shue as Sarah , are moving from Chicago to this area and are renting the house just a short distance away, through a small stand of trees.
This teenager named Alyssa played by Jenifer Lawrence moves into this new home with her mother played by Elisabeth Shue, she develops a relationship with this guy played by Max theriot, who still lives in the same house his sister massacred his parents years ago.
It's a stone's throw away from others film of its type, and is your classic high school horror in every way: misfit girl in a new town, cute boy with a dark secret, protective mother, and a house with a bad history and a possible killer on the loose; you get the picture.
The performances in the film are solid; Lawrence, Hollywood's next biggest thing, proves her chops, Max Thieriot plays up the dollface with a dark secret, and Elisabeth Shue handles her material well as usual.And, in all honesty, I have to admit that, as a veteran viewer, I did NOT see the surprise ending coming, although after the film ended I was sweetly reminded of genre classics like "Sleepaway Camp" and the classic "Psycho", which were very clearly guidebooks for the writers.
Maybe lacked a bit of suspense or terror, but did not leave the story less interesting.At the beginning of the film, the actor Max Thieriot makes believe that Ryan was a boy hardened by the death of his parents, but seemed to be a boy seemingly harmless.The end really is fantastic, with great revelations of Ryan, who do understand a little of his life storyI do not regret having watched, and would recommend to anyone who likes the genre of horror or suspense!.
As far as thriller/horror films go, House at the End of the Street wasn't all that bad.
The clever twist lost its appeal for me when director, Mark Tonderai, decided to continue stretching out the scene making each second more and more unbelievable and pointless.The screenplay co-written by David Loucka and Jonathan Mostow centers on a single mother, Sarah (Elisabeth Shue), and her teenage daughter, Elissa (Jennifer Lawrence) who arrive from Chicago to a small town to start a new life.
House at the End of the Street is full of clichés and borrows ideas from other much better horror films.
The film might appeal to some teens and fans of Jennifer Lawrence, but this formulaic film has bad editing and relies on so many horror clichés like the "shocking" sound effects that don't necessarily work very well.
95% of the movies I see are of that genre and so I know a good horror film when I see one.
"The House at the end of the street" is a film that I only wanted to see purely because of the talent that is Jennifer Lawrence.
'HOUSE AT THE END OF THE STREET': Three Stars (Out of Five)Probably the hottest mom and daughter team to ever grace a horror film with their presence (or possibly any film for that matter); Jennifer Lawrence and Elizabeth Shue star as a teen and her mother, who move in to a new house next door to a home where a young girl reportedly murdered her parents years earlier.
Once again we have a common theme that has been done to death, but the producers of this film were hoping that by spending big bucks on Jennifer Lawrence (Hunger Games) and Max Thieriot (Bates Motel) that they could get people to watch their film and it worked, but I suspect most people were sadly disappointing like I was.
'House at the End of the Street' is okay, there's nothing very unique about the plot but the performances and the few plot twists carry it.The performances from Jennifer Lawrence and Max Theriot are really well done.
The plot is pretty basic; it's your standard horror/thriller film with a big twist at the end - to be fair I did not see this twist coming until a few minutes before it actually happened which was good.
Without investigating too much, I'm going to propose a hypothesis in order to explain the release on cinemas of the film House at the End of the Street: it was shot in 2010, but it was shelved for a while because, probably, nobody had any interest in distributing it; however, when actress Jennifer Lawrence became a Hollywood star thanks to the success of The Hunger Games, the producers decided to risk themselves in order to invest on releasing it on cinemas, with the hope that the fans of The Hunger Games would fill the theaters.
There's a glossy, safe Hollywood feel to the whole thing which sanitises it; it's as if you can watch and be reassured (despite the scares) that it's never going to be too nasty and that there will be a happy ending once it's all done and dusted.The would-be mystery plot sees Jennifer Lawrence and her mother Elisabeth Shue moving into a rural property where they discover some brutal murders were committed at a neighbouring house.
I'm disappointed that this was written by one-time director Jonathan Mostow, who directed some nice movies before his talent seemed to fall apart.The much talked-about Lawrence isn't really a draw in this film, as her acting is average at best.
But if you're looking for a well written movie, with good acting, a lot of suspense, if you're looking for a great thriller, with some scary moments, and, of course, if you love Jennifer Lawrence (lol), than go for it, you'll love it ;).
Jennifer Lawrence stars as the requisite new girl in town living with her Mom for the first time, Elizabeth Shue looking pretty good.
There were a couple parts of the movie that were interesting, such as the storyline with the sister, Carrie Anne, but the movie tries too hard to become something that it is so unbelievably far from becoming; and that is a good horror movie!The storyline in "House at the End of the Street" is so predictable that even a blind person could see it coming.
However, for us more mature of mind, and us that have grown up with proper horror and thriller movies, then "House at the End of the Street" is a very tame and dull experience..
I was pleasantly surprised, then, when it hooked me right from the start and carried my interest all the way through!For a basic plot summary, "House At The End Of The Street" sees Elissa (Lawrence) and her mother Sarah (Elisabeth Shue) move from Chicago to a more rural locale.
Lawrence shines again (when has she ever not?!), Thieriot nearly steals the show on occasion with his nuanced performance, and for older film buffs, it is fun to see Shue back on the big screen.Overall, I think that most viewers will be surprised by "House At The End Of The Street" for its ability to differentiate itself from the more mundane suspense/thriller fare that has cropped up recently..
The house at the end of the street is not a horror movie .
A mother (Elisabeth Shue) and daughter (Jennifer Lawrence) move to a new town and find themselves living next door to a house where a young girl murdered her parents.
These things are what have led to it being savaged by critics, but backed by a trio of strong performance from Jennifer Lawrence, Elisabeth Shue and Max Thieriot, boosted by a genuine narrative surprise and the fact that Tonderai is able to do the peril motifs with suspenseful impact, ensures House at the End of the Street is at least a decent enough time waster.
I think the title, while accurate has the unfortunate effect of reminding us of other flicks like "Last House on the Left" which also wasn't a bad movie but just a different type.This film really was a suspense thriller as opposed to horror.
The whole story makes you think you are watching a horror film, which you sort-of are, but not.It follows a girl who moves into a new house in the middle of Nowhere, USA.
After playing Ree in Winter's Bone, Mystique in X-Men, and Katniss in The Hunger Games, Jennifer Lawrence is always going to be the epitome of tough girl for me.There's a good twist in the movie that I didn't see coming, but the ending turns into one of those long, drawn-out climaxes that I've seen repeated quite a few times.
House at the End of the Street (2012) ** (out of 4) Elissa (Jennifer Lawrence) and her mother (Elisabeth Shue) move to a small town where they house they bought turns out to be next to one where a young woman murdered her parents.
HOUSE AT THE END OF THE STREET continues a long line of rather bad horror films to be released in 2012 and it's really a shame because there are some good performances here and it's too bad they were wasted.
**Alert: Spoilers Included**I watched an advanced press screening for this film, and I have to say it was not the dead-girl-haunts-house horror story I was expecting, which turned out to be a very good thing.
Thieriot and Lawrence have great chemistry making their character arc together even better.I could list for you two dozen movies right now that House At The End Of The Street rips off blatantly and un-apologeticaly. |
tt0833476 | Jhoom Barabar Jhoom | The film begins with a mysterious Romani people gypsy-like musician (Amitabh Bachchan) leading the crowds at Waterloo station in London in a dance to the title song.
At the station, two strangers, Rikki Thukral (Abhishek Bachchan) and Alvira Khan (Preity Zinta), wait for their respective friends arriving on the same train. Rikki is a fun-loving Punjabi from Bhatinda who lives in Southall, while Alvira is a sexy, elite class Pakistani from Lahore who is more assimilated into British culture. The two share a table in a café together and to kill the time they talk about how they met their partners-to-be.
Rikki says that he met his fiancé, Anaida Raza, at Hôtel Ritz Paris, the same night that Diana, Princess of Wales and Dodi Al-Fayed left the hotel to take their last journey together. Rikki explains "When two lovers die, another two are born", as he fell in love with Anaida that night. Alvira says she met her fiancé, the dashing lawyer Steve Singh, at Madame Tussauds in London when he saved her from death by a falling Superman wax model. The encounter changed her life and she was smitten by the lawyer who also helped her sue Madame Tussauds for substantial damages.
As Rikki and Alvira talk they begin to enjoy each other's company and their different backgrounds cease to matter. They exchange numbers and go to meet their partners. However, it is then revealed that they had not gone to meet their respective partners. Rikki is in fact at the train station to meet his business partner, while Alvira is meeting her relatives. As they leave the station separately, they realise they are in love, but believe their love is unrequited, each of the other.
The two get in touch when Alvira calls Rikki, pretending it was a wrong number. They decide to meet up at a disco where there is a dance competition but both try to maintain that they are engaged. Out of desperation, Rikki hires Laila (Lara Dutta), a prostitute, to pose as Anaida, and Alvira fools and then blackmails Satvinder (Bobby Deol) to pretend to be Steve. The four meet at a club and take part in the dance competition, while throwing insults at each other. Rikki and Laila emerge as the winners but Alvira is jealous and storms out in tears.
Satvinder goes to Rikki's flat and tells him that he has fallen in love with Laila. He also tells him that Alvira is not engaged to him. Rikki, realising what has happened, goes to see Alvira, who is at first moping in bed and later tries to convince her cousin not to marry her. Rikki calls her from a neighbour's window. Then they confront each other and confess that they love each other and start to date while Satvinder and Laila go to Hollywood.
The film ends with the mysterious gypsy musician showing how Rikki and Alvira invented the stories about the non-existent lovers by taking inspiration from Alvira's newspaper and Rikki's comic book. | romantic | train | wikipedia | I saw Jhoom Barabar Jhoom while travelling in Rajasthan, in the Raj Mundir in Jaipur, which is, with some justification, described as the best cinema in Asia (and it certainly beats watching a film in a 'Multiplex' on a screen the size of a large TV in London).As the film ended and the huge audience of all ages rose, making its way into the grand, pretty foyer, I turned to an Indian man in his thirties next to me and asked him in Hindi if he liked it.
Not only this but there is something magical in the air at Waterloo Station, for a wondering busker, Amitabh Bachan, looking like a sixties drop out, is somehow mysteriously involved in the lively plot.The two leads, Bachan's son Abishek, and Preity Zinta, make engaging leads and, alongside the wonderfully outrageous Laura Dutta and Bobby Deol handle the film's sense of fun and comedy vigorously (though perhaps the nods to the famous Bachan/Deol partnership in Sholay goes too far).Another thing about Jhoon Barabar Jhoon is its sure sense of place, something few Indian films set in Britain can claim.
But that's where the fun lies.Abhishek Bachchan and Preity Zinta are introduced in very beginning of the film who from there carry forward a total mindless and fun filled sequence of events.
The crew involved in making the film and star-cast should be punished to watch the movie 10 times and I'm sure they'll also become unconscious.All the stars have been wasted of their potential, no screenplay, poor direction and confusing all the way.
I felt the person who would get the most mileage out of the movie would be the fashion designer/stylist of the movie which had a lot of outlandish costumes none more so than the attire of the Big B in the title song.The first half felt awkward although there were a few funny moments thanks to the Lara and Abhishek.
I felt Lara Dutta and Bobby Deol were the standout performers from the movie as they had the opportunity to portray characters that had different shades to it.
Abhishek took a bit of a risk by playing such a loud character...he does go a bit over the top at times but I still think he is a good actor and he has his moments.
There was not enough chemistry between the lead pair although you could see that they are buddies.The music was excellent although Shaad Ali managed to drag all life out of the catchy title song since it pops up all over the film.
It simply has to be the worst movie of 2007 because it was complete lame about two strangers Abhishek & Preity met in a train station and told each other that they are already engaged, then they told their story when they first met.
Preity wanted to sue the owner of Madame Tussaud's and Bobby was fighting her case but all of a sudden the judge started singing like a squirrel and they started dancing & singing the Kiss of Love song.
The song numbers have been an artistic tradition Hindi films, and what particularly amazes me about all these films is the complete irrelevance of the song numbers to the film's story itself (unless it's a film like Dil To Pagal Hai, where the music is part of the script).I think Jhoom Barabar Jhoom is a brave attempt to make a film with the songs being part of the screenplay.
The fact that a great actress like Preity could even think of appearing in this film makes me want to slap her.
Jhoom Barabar Jhoom is a wonderful, eye-candy treat -- beautifully staged and filmed, full of snappy dialogue, an intriguing round-about plot with unexpected twists and turns, and tongue-in-cheek humor (such as a spoken reference to the London wax museum images of Amitji and Ashji --his real-life father and wife -- by Abhishek).
- Amitabh has a great recurring performance in this film, beautifully and memorably decked out as a composite Willie Nelson/vagabond/gypsy/hippie guitar player in his fringy coat-of-many-colors, complete with jewelry and feathers, entertaining the travelers at the train station while making musical observations on the romantic plot evolving between Abhishek and Preity, in two of their best performances to date.
Lara and Bobby were also great in their supporting roles, playing polar opposite characters from the first to last half of the film.
What if their love stories (flashbacks) took you through events such as Princess Diana's funeral and places like Madame Tussauds wax museum and a mad song and dance sequence at none other than Eiffel Tower!!!!Sounds Over The Top ????Wait that is just the first half !!!!What if
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You thought the first half was Over The Top????Then the second half is 'OVER whatever you can BLOODY IMAGINE'So what do I think about Shaad Ali's third directorial venture !!!!IT BLEW MY MIND AWAY.JHOOM BARABAR JHOOM ROCKS BABY !!!!Because somewhere between the 'Over The Top' phase and 'Over the Bloody Everything' phase I realized that this movie isn't supposed to be taken seriously or logically or practically.
He manages to look like a hot and suave Indo-Brit lawyer and then a silly Punjabi mama's boy with amazing finesse.Director Shaad Ali has a flare for comedy and that comes across effectively in the film.
Yes I am aware the above two statements sound contradictory but you'd understand what I mean when you watch the film.Also, Mr. Shaad does a fine job of extracting some 'real life' moments and making them fit seamlessly into the film which is as close to reality as Taj Mahal is from Eiffel Tower.Performances by Abhishek Bachchan and Lara Dutta ( in whatever little role she has) are brilliant.
Yes I am aware the above two statements sound contradictory but you'd understand what I mean when you watch the film.Also, Mr. Shaad does a fine job of extracting some 'real life' moments and making them fit seamlessly into the film which is as close to reality as Taj Mahal is from Eiffel Tower.Performances by Abhishek Bachchan and Lara Dutta ( in whatever little role she has) are brilliant.
And despite Abhishek's best efforts, you almost end up hating both the main characters, purely because the film has bored you senseless by the time proceedings really begin.
And by this I mean the introduction of the other two main characters (Bobby Deol and Lara Dutta) - this time in person rather than in the imaginary world of AB and PZ.Bobby Deol does a very good job considering that he is offered very little in the way of screen time.
Despite both BD and LD having peripheral parts in the film - they both, in my eyes, walk away with the honours as the most entertaining pair on screen.Amitabh Bachchan is wasted and only appears every time they need to break the monotony of the main characters.
Idiots don't fall in love.) If there is anything in the movie, then it's the lush cinematography, great editing works, that breathtaking 360-degree rotated view of Taj Mahal, the dance sequence in front of the Eiffel Tower, the Superman falling sequence at Madame Taussad, Lara Dutta's French accent + the swearing and everything, and Preity Zinta (her Brit accent does not seem to work out for me.) Abhishek Bachchan needs to seriously think about his selection of roles and Bobby Doel, welcome back.
Bobby Deol shows he has a comedy side to his acting, a great role to cast him in.Overall this is a fun film where you leave your brain at home and enjoy the ride from start to end.
I can't understand that many people don't like the movie ....I think many peole didn't understand it..You can sense the joy that went into the making of Jhoom Barabar Jhoom right from the time the title makes its appearance....Amitabh has a great cameo, Abhishek is different but good too - Preity is always beautiful...in this one i like here better than KANK...Lara and Bobby are great ..I've always like this couple...but I was surprised that i enjoy Bobby's play most...he plays this character with a lightness...and I have really enjoy it when he was on screen...have wait all time that he appears...I can only say go watch it!!!!
Also this movie has one of the greatest song clips that have been filmed in a long time.
Subtle and romantic are two words I'd never use to describe this film.It all begins with a nice song and dance number by Amitabh Bachchan.
Well, I may not be as objective in my judgement as others, as Preity Zinta stars, in this wonderful movie - but the weave of the story was sharp, and I had a great time watching it unfold.
and rest had no scope to perform.The song Jhoom Barabar Jhoom starts getting on your nerves by the time the movie reaches the end.
such a crap film....urghhhhh.still cant believe the whole film was based only on one single song 'jhoom barabar jhoom'...not a single song was good.Don't know what the dance director or dress designer did.prety's make up was good but oh my god ..abhishek looked like a village stage artist ,,bobby did well.Lara was OK..i couldn't understand why did Mr.big B played in such a weird role.very unrealistic and stupid story line.after shathya and bunty aur bubly...i think nobody will expect such a film .there was few fun in the film but it didn't cover the stupidity of the story.
This movie was so entertaining but it's really extremely enjoyable for everyone Superb story-line good screenplay great editing best direction perfect background music Songs are really splendid and entertaining Abhishek was superb Bobby was excellent Lara does well preity is good Amitabh is good in a supporting character Overall my rating is 7/10.
It is funny stylishly photographed and choreographed and Preity Zinta, Bobby Deolm, Lara Dutta and Abhishek Bachchan delivers some of the best acting I've seen from them – as usual you can see on Abhishek Bachchan whether he thinks the script is any good, as he is not a man to give at the door, if he doesn't like the script, it is like he is on holiday, or has gone on strike (just check Bluffmaster or the Dhoom films) but in this film it is obvious he likes what he is doing, he is involved and is obviously having fun.
Jhoom Barabar Jhoom is in point of fact the closest I've seen any Indian film come to Bend It Like Beckham.
From the way Abishek and Preity's characters tell their off-beat love stories to the way the movie climaxes, it is one funny moment after another.
The musical numbers are very stylized and full of humor as well, with Abishek chasing Lara Dutta and his "Ticket to Hollywood" and Bobby and Preity staying away from the "Kiss of Love" which has a very Moulin Rouge feel to it.
I found myself laughing every time Abishek said,"I got class!" And who can forget Bobby's "I hate you!" Jhoom Barabar Jhoom is a zany, off-beat love story with some great visuals and a very creative way of telling the story.
The story was good but what really saves the movie is the wonderful songs, my favourite being the title track.
but...only the first half is a wee bit boring.....good thing the interval comes after 55 minutes when the movie has started!......post interval the romantic song b/w the main protagonist comes......obviously to show the LOVE spark b/w them!
which i did!.....what choreography.......fantabulus........then the movie is suddenly ended.....so no scope of stretching it.......i feel.......yes story could have been improved....but then yash raj banner gives you lot more in return.......preity n abhishek combo....lara looks hot....n has some humorous lines in d movie....n for bobby....hmm he is OK.....amitabh is the new item boy.....lol......songs.....cinematography.....is to watch out for!!.
And that's Jhoom Barabar Jhoom: just enough of a story to carry things along -- Abhishek Bachchan as a confidently badly dressed Punjabi who deals in pirated Hindi dvds from Pakistan, and Preity Zinta as an Anglicized Pakistani girl who manages a high-end store: they meet in Waterloo Station and fall in love (we can tell!!
If you know old Hindi movies you'll have some extra fun, but if you don't you won't miss a thing that matters.) My favorite scenes include Bolnaa Halke Halke, a Bollywood "if I loved you" fantasy which joyfully traffics in all the conventions of the Big Romantic Song, including faraway nature settings, many costume changes (salwar-kameez for Preity, genius-level gaudy long Nehru coats for Abhishek), a tracking camera that circles the couple too many times and too fast, and the Taj Mahal.
JBJ is a classic example for theory that a great ensemble of a big production house, star-kids, a beauty queen, a queen bee and a great musical score does not guarantee a great film.The supporting cast has over shadowed the main leads, Lara was a delight to watch with her street antiques, while Bobby was the cute mama's boy.
One fails to understand why a classy girl like Alvira falls for the piracy-specialist Rikki.This movie has everything in the book for a good film, except a story, which was clearly missing from the big picture.
It was like watching a movie of nicely choreographed music videos, all the songs make you jhoom literally, and cinematography was top notch.
'Jhoom Barabar Jhoom' starts, intervals, the interval of the post interval (that is an interval that takes place when you've finished watching three thirds of the movie) and ends with Amitabh Bachchan's 'item number' (which is the title song itself).
Yash Chopra this banner has given several hits, many nonsense films have worked from their bannerSo here comes JBJ after the success of D:2 and average business of TRRPThe film brought Abhishek Bachchan(riding on the high of GURU that time) The usual Preity Zinta, useless Bobby and the trying hard to make a place for herself Lara DuttaPoor Bobby and Preity felt doing a YRF film will give them a hit hence they signed it But ??????The film became a turkey The film is a boring nonsense film you can sleep instead of watchingThe first half is monotonous, i watched it in the theatre and fell like sleeping, The film goes on and on with the fake stories and the endless bak bak by Abhi and PreitySecond half is better when the true identities are revealed but then except some funny scenes the film is again bad The dance competition though well handled is too long and the climax is crap And what was Amitabh doing in the film?
dancing like a joker Even the characterization of Bobby as a nerd is forgotten in the dance competitionDirection by Shaad Ali is terrible, can't believe the same guy gave us SAATHIYA Music is okayAmongst actors Abhishek looks like a South Indian actor with that long oily hair and the beard and he tries very hard and does well in some scenes but irritates in many scenes Bobby Deol is bad in the first half, in fact you can't hear his lines properly in some scenes In 2nd half he is better but nothing great Lara Dutta emerges the best of the lot, does a great job and that brings us to Preity Preity who is called a sensible actress, can't believe she did such a crap film, she is the most irritating here Amongst rest Amitabh must stop doing his son a favour and monkeying around.
But even those get annoying...seeing Amitabh Bachchan (in a pointless cameo) and company repeat the title song 6 times throughout the movie is enough too drive a person insane.
On the other hand, Lara/Bobby gave credible performances as Abhi and Preity's love interests and lended some life to the film.
I bought this movie because of its cover which looked colorful and the title was nice.What ever this is pathetic.Worst from Yash raj who has given us great movies like Chandni,Lamhe,Darr,Dilwale Dulhania Li Jayenge,Dil To Pagal Hai etc.The story oens when Rikki and Alvida meet they tell the story of how they meet their fiancé.Thats first half.Second half revels that the fiancé tale was false.Now Rikki wants to meet Stevee they find other people Sukhwinder and Lila.Abhisek gives a disastrous performance in an unusual character.Lara is so sexy but she could not save this movie from being the worst movie she gives an annoying performance as Anaida and Terrible performance as Lila.Preity who is talented gives her worst acting to date.Bobby is useless.Piyush is irritating and unfunny.The others are mediocre at best.The cinematography is eye pleasing with beautiful locales of London,Waterloo station and Paris and not to forget hotel Ritz and many more.Song picturisaations of Kiss of Love,Ticket to Hollywood,JbJ(Not the Bachan one) are extremely eye pleasing.Costumes are smashing.Bachan just plays a stupid joker coming 5 times without no reason and singing the mediocre title track.Everything else is bad.Script is Awful,Screenplay is Awful,Songs are forgettable.Direction is usual plain bad.Avoid at all costs(even the soundtrack also avoid it).
Nevertheless, Preity Zinta was really gorgeous, Lara was beautiful, Abhishek and Bobby were eh.The only thing I loved were the songs which make me wanna dance.
This is probably the first Yash Raj Film that didn't live up to all the hype created :( Yet Shankar, Eshaan, and Loy live up to their standard when it comes to GREAT music which really makes you want to Jhoom Barabar Jhoom!!!.
The only saving grace was that of Lara Dutta's real character appearing in the second half of the movie.
Meanwhile, Abhishek meets Preity on the station and they end up describing their love-stories (Lara Dutta and Bobby Deol torment us as a part of this narration).
Because Bobby is a great actor, and Yash Chopra makes good movies.
The story between these tho was too predictable.It was funny that Amitabh Bachchan played in a song in this movie.
Lately they have also been known for promoting some young talented directors."Jhoom Barabar Jhoom" (JBJ) is the third movie coming from Shaad Ali after his previous two-"Saathiya" and "Bunty Or Babli". |
tt0084827 | TRON | Kevin Flynn is a software engineer, formerly employed by the computer corporation ENCOM(INT) (EN Commercial( International)), who now runs a video arcade called Flynn's. He wrote several video games, but Ed Dillinger, another ENCOM engineer, stole them and passed them off as his own, earning himself a series of promotions until reaching Senior Executive VP. Having left the company, Flynn attempts to obtain evidence of Dillinger's actions by hacking the ENCOM mainframe, but is repeatedly stopped by the Master Control Program - MCP for short - an artificial intelligence written by Dillinger. However, since its inception, the MCP has become power-hungry, illegally appropriating business and even government programs and absorbing them to increase its own capabilities; it informs Dillinger of its plans to subjugate the Pentagon and the Kremlin, and expresses interest in China with its request for Chinese-translation programs, blackmailing Dillinger into compliance with records of his theft of the games.
Flynn's ex-girlfriend Lora Baines and fellow ENCOM engineer Alan Bradley warn Flynn that Dillinger knows about his hacking attempts and has tightened security. Flynn persuades them to sneak him inside ENCOM where he "forges Group 6 access" for the group. He goes to a terminal in Lora's lab to continue searching for evidence of Dillinger's theft. In response, the MCP uses an experimental laser to digitize and download Flynn into the ENCOM mainframe cyberspace called the Grid, where programs are living entities appearing in the likeness of the human "users" who created them.
Flynn quickly learns that the MCP and its second-in-command, Sark, rule over programs and coerce them to renounce their belief in the Users. Those who resist the MCP's tyrannical power over the Grid are forced to play in martial games in which the losers are destroyed. Flynn is forced to fight other programs and meets Tron and Ram between matches. The three escape into the mainframe during a Light Cycle match, but shortly afterwards Flynn and Ram are separated from Tron by an MCP pursuit party composed of tanks based on code Flynn wrote. When Ram is mortally wounded and dies, Flynn learns that as a User he can manipulate energy and matter inside the Grid, effectively allowing him to influence the environment and reality of the realm. He uses his abilities to make a destroyed pursuit ship piece itself together, effectively repairing it. He disguises himself as one of Sark's men with his powers and meets Tron again.
Tron reunites with his love, Yori, and at an input/output junction receives instructions from Alan about how to destroy the MCP. Tron, Flynn and Yori board a "solar sailer simulation" to reach the MCP's core, but Sark's command ship destroys the sailer, capturing Flynn and Yori. Sark leaves the command ship and orders its destruction, but Flynn keeps it intact with his powers while Sark reaches the MCP's core on a shuttle carrying captured programs.
While the MCP attempts to consume the captive programs, Tron confronts Sark and critically damages him, prompting the MCP to transfer its powers to him, thereby transforming him into a giant. Tron attempts to break through the shield protecting the MCP's core while Flynn leaps into the MCP, distracting it long enough to reveal a gap in its shield. Tron throws his disc through the gap and destroys the MCP and Sark, ending the MCP's tyrannical rule.
As programs all over the system begin to communicate with their users, Flynn is sent back to the real world, quickly reconstructed at his terminal. A nearby printer produces the evidence that Dillinger had plagiarized his creations. The next morning, Dillinger enters his office and finds the MCP deactivated, and the proof of his theft publicized. He slumps at his desk, elated that he is no longer at the Master Control Program's mercy, and yet defeated in that he is no longer under its protection either.
Flynn takes his rightful place as ENCOM's new CEO and is greeted by Alan and Lora on his first day. | fantasy, mystery, allegory, cult, alternate reality, psychedelic, action, comic, revenge, sci-fi | train | wikipedia | In short, TRON like its video game counterpart is fun.And for that, and a host of other reasons, it will remain on my list of favourite films.End of line..
If it were released into theaters today, "Tron" would be a smash hit, 'cause the movie-audiences of today would understand it a heckuva lot better than the movie-audiences of 1982."Tron" tells the story of a young computer programmer named Flynn (Jeff Bridges) who gets sucked INTO a computer, and must fight for his life playing life-or-death video games, run by the evil Master Control Program.
With the aid of a good warrior program named Tron (Bruce Boxleitner), and Tron's significant-other Yori (Cindy Morgan), Flynn must put a stop to the MCP and set things right in the computer world once again before returning to his own world.With breathtakingly beautiful computer-animation (and the very first film to use computer-animation extensively), and presenting an original, dazzling world where energy lives and breathes inside a computer, "Tron" was way ahead of it's time.
Now that time--and people's knowledge of computers--has finally caught up with "Tron," now would be the PERFECT time for the world in general to take another look at this amazing film.Message to Disney: put "Tron" back in theaters!
Much like the design of Maria in Metropolis, the look of Tron is never going to be laughable or quaint.The storyline is lacking a little bit; you can see the ideas the script writers wanted to insert, but there are too many ideas for only 2 hours of film.
Even though CGI had been tried before, Tron took it to the next logical step: creating whole CGI rendered scenes (e.g. tanks, cycles, Recognizers).The film is confusing at times, and 18 years later you can safely say the script wasn't actually the best.
It's like when video games first came out, compared to what they are now.However, a few years ago when the DVD came out with the widescreen and 5.1surround sound, it made it somewhat-respectable again in parts and made it still fun to watch.The story was never that great.
Even more importantly, this strange world Clu and Tron inhabit is equally firmly based on the way computer operating systems work, and that is the reason why Clu (in real live a computer hacker) knows how to handle it.Using this world as the basis for a movie was pretty audacious, especially in 1982.
How in the world Disney green lighted such a good project in the hands of an amateur?I'm dazzled with the positive reviews of the many viewers of this wrecked project quoting that this was an underrated film when the time of its release.
This cult movie deals with a computer genius named Kevin Flynn (a brave young man well played by Jeff Bridges who with his charisma keeps afloat the film ) , a youth once known as the world's leading video-game developer .
As he is sucked inside a powerful computer where he must fight for his life but with the help of the fearless partners and friends (Bruce Boxleiner and Cindy Morgan as Tron and Yori respectively ) embark on a life-or-death journey across a cyber universe , a universe created by Kevin himself that has become far more advanced with vehicles, weapons, digital outdoors and a ruthless villain (a computer generated David Warner) who will stop at nothing to prevent their escape and all sorts of bizarre things begin to happen .This exciting movie is full of thrills , action-packed , fights , tension , suspense and overwhelming races , but also several commercial elements , including computer-simulated violence .
With shots and ideas stolen directly from Star Wars, something must have gone wrong at a fundamental level to make Tron look like Star Wars's ugly cousin.The suspension of disbelief is important for a viewer to have when watching a movie.
He gets zapped into another dimension, which happens to be a video game dimension as he races against time with cyberfriends to battle a evil foe who has controlled the cyber world.A masterpiece of the sci-fi fantasy genre from Disney, this movie has groundbreaking special effects and early CGI for it's time.
The plot is a little complicated but the movie is highly entertaining and the special effects are just spectacular including the famous racing scene.Also recommended: The Running Man, The Matrix Trilogy, Star Wars, The Fifth Element, Total Recall, Blade Runner, The Dark Crystal, The Last Unicorn ( Another Bridges 1982 masterpiece).9/10..
They were prophesying a world in which computers took over our day-to-day tasks (see Dr. Gibbs' great soliloquy towards Dillinger), video games became a way of life, and computer animation changed the way movies are made.It's no wonder that the minds behind Tron went on to form Pixar Animation.If Tron is watched by someone remembering that it was made when Gibson's ideas of "cyberspace" were only twinkles in science fiction's collective eyes, and see Tron as a forbearer of movies such as "The Matrix" (thematically) and "Toy Story" (technically), then to discount this film as silly or cheesy sci-fi would be a real shame.Every sci-fi or animation buff should see this movie..
I can't imagine a movie like this would work now that the technology is in no way limiting what can be done with 3D-software.The airbrush work is sleek in the same minimal way as the wire-frame day-glo vector stuff.The black & white human figures complete the totally ageless look of the CG sequences of this film.I think this is one of the most underrated scifi-films of all time, and sincerely believe which will rise in artistic recognition as time passes and these beginning steps of computer graphics are just a page in the history books.This is really an image of a very, very short span of time when computers were entering our world, but still missed a recognized position in people's imagination and everyday life.I didn't know it beforehand and only realized it when the ending credits hit the screen, but visually this was a co-op between Jean "Moebius" Giraud and Syd Mead.
The French band Daft Punk was inspired by the film's electronic score and video game like sound effects, so much so that they even assisted Hans Zimmer in composing the score for Tron's sequel.
Tron still holds up incredibly well 31 years after it's original release and while the effects can be a bit wonky from time to time, they give the movie a certain edge and stylized feel.
When I think of this movie, shades of blue, red, orange and black come to mind, for those are the colors seen frequently throughout the picture and the fact that some of the effects look grainy at times really makes the film's environment look more digitized in my eyes.
Jeff Bridges is great as always, playing the fun loving schmuck Kevin Flynn who "plays video games better than anybody" and Bruce Boxleitner is a gallant Alan Bradley/Tron who is determined to take out the MCP and bring balance back to the cyber world.
And the sound effects really make this film feel like a video game movie.
Every time a character walks, there's this slight "clink" noise and the sound effects for the disk throwing, the light cycles and the character deaths makes me feel like I'm standing right in front of an arcade cabinet playing a game from the golden age.
The visual beauty of the film has never left me and I still can visualise the electronic world as a luminous land of electric sparks and stars.The story line was pretty good and although the well known games of the time were not used I don't think it detracted from the finished product.
This is because the technology is catching up so fast that something that looked realistic a couple of years ago now looks crap.The effects in TRON were of their time, and there is nothing before or since that compares simply because there has never been a movie like it.
Flynn is a user and Tron is a program, and overall I think they wouldn't have won if they didn't work together.The CGI images were pretty good for a movie in the early 80's.
The Master Control Program, has chosen you to write a good or bad review of the movie "Tron".
"So THAT'S what a computer looks like inside!" In 1982, as a small, excited boy viewing Tron at the cinema, I'm sure I uttered these innocently erroneous words to my friend next to me.In fact, even now in 2001, reflecting upon the fantasy world inside the computer network brought to life in Tron, I still believe it has a sheen that lives on undated by today's immense cinema CG effects.
He maintains this all of the way through to the ubiquitous fantasy-style ending, the scale of which satisfies the unwritten requirements set out in fairy tales and folklore of centuries past.Supporting characters Tron (Boxleitner) and Yori (Morgan) ably assist in ushering the movie through a series of action and chase sequences, and it is the differences and similarities between the programs and their real-world counterparts which endears you to them.
Of course, all fantasy stories require a larger-than-life villain, and the brilliant but often-overlooked David Warner terrorizes all other programs as Sark, in key scenes overshadowing the menace of the Master Control Program.Along the way, we are treated to a series of `in-jokes', for example the BIT character causing confusion with its supposed inability to say more than Yes or No. At times, the pace slackens, and in these moments, the romantic interplay between the three real-world characters and their fantasy counterparts is merely hinted at, instead of coming to the fore.
The fact that this film didn't make the big dollars at the box office doesn't mean it wasn't a good concept, it just meant that people who didn't understand this new technological onslaught weren't about to shell out their hard earned money to see it.Yes, it certainly looks dated, but everything looks that way from the point of view of 20 odd years into the future but some of the tech we take for granted today was there - for example, Dillinger's touch screen desk shows some forward thinking in an age of chunky push buttons and knobs.Throughout the film, there seems to be a hidden message about the danger of allowing one all encompassing power to take control of smaller and weaker ones - an unintentional allusion to the dangers of a one world government perhaps.
I recently watched this film again, and I must say that it still looks good.Tron is the story about Kevin Flynn, a young ,hotshot computer programmer who is determined to find the proof the he is the creator of five of the most popular video games from the man who stole them.
When Flynn gets too close, the artificial intelligence super-computer ,MCP, digitizes Flynn into the video game world he created, to fight for his life, all for MCP's amusement.This film may have been for too ahead of it's time in 1982.
A more developed story, substantial dialogues and, yes, a director capable to do their job in a better way than Steven Lisberger, master and commander of this sadly overrated movie.I'm dazzled with the positive reviews of the many viewers of this wrecked project quoting that this was an underrated film when the time of its release.
I was trying not to sleep in many parts of that long race between the characters (something like a car chase scene but instead of cars running chips and programs chasing each other).I'm only watched this movie because I heard that "TRON Legacy" is going to be released this year so I thought "Let's see what this movie has of interesting".
Even now, although admittedly for me I'd go with the Tron Legacy generation of effects, if I put myself in the shoes of someone in the early to mid eighties, this film sweeps one off their feet.There's something otherworldly yet familiar about the world Lisberger propels the viewer into, with programs and the interface with users.
The characters are great, the story is something you can follow enjoyably and the created world is a treat for the eyes, especially the gladitorial combat scenes (give me a light cycle any day).One thing that I have felt from watching Tron Legacy is that it has kept the spirit of Tron, in terms of what the film and the characters strive to achieve, free data movement and uncorrupted access amongst the aims.
For sci-fi and/or computer nerds there would be lots to enjoy, but whilst the special effects are impressive, even more so if you think that they were done on computer which was revolutionary back then, the story feels a little dragged out.It will be interesting to see how the new film Tron: Legacy with it's Daft Punk soundtrack and modern special effects will fare amongst a world of CGI laden films.More of my reviews at my site iheartfilm.weebly.com.
It was a great film to watch as a sci-fi hungry kid.Now, almost twenty years later I decided to buy the special edition dvd which was released last year, mostly because I wanted to see it again, but also to see how well/badly it had aged.I had expected it to be a nostalgic, but unimpressive rewatch - full of bad matte lines and badly animated cgi.
Sure it's cheesy, but I think that's forgivable in films that a) don't take themselves too seriously, and b) actually have a brain.The dialogue is for the most part pretty snappy, which is a welcome relief considering how tempting it must have been to turn it into a melodrama, and the actors manage to say awkward words like "deresolution" without it being too distracting.Of course the metaphor of programs as little people who live inside your computer is stretched beyond what (in 2003) anyone would buy, but you can still sense that the screenwriters actually knew something about computers.
The movie's effects were really impressive for the time and even live up today.The one thing I noticed about the reviews of Tron was that they only seemed to talk about how good the visuals were and didn't talk about anything else.
And, of course, the amazing neon effects and the action going on in the film.I re-watched TRON (1982) as an adult and I like the film even more that I did as a 10 year old kid - strange isn't it.
The special effects were top-of-the-line, cutting edge for 1982 and they still hold up to any modern day effects we see in movies today.TRON (1982) has never been just an ordinary science fiction film - so I do recommend it to fans of sci-fi, computers and gaming.Rated way to low on IMDb - it's a great movie!
There's no doubt that you have to be a bit of geek if not a lot of a geek to love "Tron." At times the production design looks like a cheesy neon laser tag set and the special effects are ancient -- especially more than 25 years later.
It's a one-of-a-kind work of imagination that was decades ahead of its time."Tron" stars a younger Jeff Bridges as Flynn, a former software program developer who wants to get back at the head of his former company, Ed Dillinger (David Warner), who stole some of his computer game programs and used them to get to the top.
this movie was the first movie with a computer in it.It also has various arcade games(mostly at Flynn's arcade,did I see Atari Football?)I know I saw Asteroids Deluxe.my favourite scene in the movie is possibly the lightcycles one.I also like the bit where the recognizer takes of part of the bridge and a tank with it.Ha ha!Took him a long time to get into the computer though.Could have been quicker.I have this movie on Special Edition DVD.
Today, the graphics are outdated, but in their role, depicting the world inside a computer, they are perfectly sufficient.I believe Tron is not for everyone's liking, but as a modern age fantasy, it's a great movie..
Tron may look dated compared to today's standards but it was among the first films to use visual effects and still is the best.
This movie was really ahead of its time and had more influence in the development of the world of films than most people realize.
This movie features groundbreaking special effects for its time, even if the story and characters are a bit bland.
Tron is a 1982 Science Fiction film directed by Steven Lisberger and stars Jeff Bridges, David Warner, and Bruce Boxleitner.
It was distributed by Disney and I consider it my favorite film of all time.Tron follows the story of a "young, bright" game programmer and arcade owner Kevin Flynn (Bridges), whose job is taken away by another employee of ENCOM, Dillinger (Warner).
TRON is ridiculously out of date, but it should be fondly remembered and watched at least once, not for the poor pacing, silly story or horrendous, hammy acting (Boxleitner and Morgan are the real offenders; Bridges and Warner are over the top but are entertaining and effective); but for its visual innovation, which was uniquely monochromatic for its time (early influences on both The Matrix and Sin City, perhaps), and for the fact that it created a computerized world with no CGI whatsoever, making it several years ahead of its time.
Add some great music throughout that fits the mood and style and it's no wonder it has survived the test of time.When Flynn (Jeff Bridges) emerges from the computer near the end of the movie, we feel like we've been to another world and back, and I really enjoy "Tron" for bringing us through that journey.
The digital world in this film basically looks like a video game from around the time this was made, with graphics which are fairly simple but still pleasing to the eye. |
tt0074991 | Obsession | In 1959, Michael Courtland (Cliff Robertson), a New Orleans real estate developer, has his life shattered when his wife Elizabeth (Geneviève Bujold) and young daughter Amy are kidnapped. The police strongly recommend that he provide the kidnappers with shredded blank paper instead of the demanded ransom, and he agrees to the plan. This leads to a bungled car chase in which both kidnappers and victims are killed in a spectacular explosion. Courtland blames himself for the deaths of his wife and daughter.15 Years later. Courtland is morbidly obsessed with his dead wife, and regularly visits a monument he has had built in her memory. The monument is a replica of the church (Basilica di San Miniato al Monte) where he and Elizabeth had met many years before in Florence, Italy. His real estate partner Robert LaSalle (John Lithgow) convinces Courtland to tag along on a business trip back to Florence. While there, Courtland revisits the church, and suddenly comes face to face with a young woman named Sandra (Bujold again in a dual role) who looks exactly like his late wife. The already slightly unhinged Courtland begins to court the young woman, and subtly attempts to transform her into a perfect mirror image of his dead wife.Courtland returns to New Orleans with Sandra so they can marry. On their wedding night, Sandra is kidnapped and a ransom note is left behind by her abductors. It is an exact replica of the kidnappers' message from fifteen years before. This time, Courtland decides to deliver the demanded cash. He withdraws massive quantities of money from his accounts and business holdings, financially ruining him and forcing him to sign over his interest in the real estate business to LaSalle. In the process, he discovers that his entire ordeal, including the original kidnapping, had been engineered by LaSalle as a way to gain sole control of Courtland's company share holdings. The now nearly insane Courtland stabs LaSalle to death.Knowing that Sandra must have been a willing accomplice in the plot against him, he goes to the airport to kill the escaping woman. On the plane, Sandra has a flashback to her part in the scheme; she is in fact Courtland's daughter, allowed by LaSalle to survive the explosive traffic "accident" from years before that had killed her mother. LaSalle had told her lies about Courtland over the years, convincing her that her father had not paid the ransom because he didn't love her. Sandra, who now loves Courtland, attempts suicide on the plane and is taken off the flight in a wheelchair. Courtland sees her and runs toward her, gun drawn. A security guard attempts to stop him but Courtland smashes the briefcase full of money against the guard's head, knocking him unconscious. The briefcase breaks open and all of the money flies out. Sandra, seeing the fluttering bills, stands up and shouts: "Daddy! You brought the money!" Courtland now realizes for the first time who Sandra really is, and father and daughter fall into a deep embrace. | violence, neo noir, flashback | train | imdb | null |
tt0892791 | Shrek Forever After | The movie begins just before Shrek (voiced by Mike Myers) rescues Princess Fiona (voiced by Cameron Diaz) in Shrek. Desperate to lift their daughter's curse, King Harold (voiced by John Cleese) and Queen Lillian (voiced by Julie Andrews) meet with con artist Rumpelstiltskin (voiced by Walt Dohrn), who requests becoming king of Far Far Away in exchange. Just before the king signs the contract, a page bursts in and announces that Princess Fiona has been saved. In the present, a disgruntled Rumpelstiltskin wishes Shrek was never born and seeks revenge.Meanwhile, Shrek has grown tired of being a domesticated family man and celebrity among the local villagers; he even tires of his friends' visits. This leads him to yearn for the days when he felt like a "real ogre." He takes his family to Far Far Away to celebrate his children's first birthday with the villagers and his fairy tale friends. Many things at the party annoy Shrek: a little boy constantly asking for Shrek to roar; Donkey (voiced by Eddie Murphy) licking the cake and the three little pigs eating it; his kids crying. After he lets out a roar of frustration, the entire crowd cheers. Puss in Boots (voiced by Antonio Banderas) brings out a replacement cake, but Shrek smashes it and storms off.Outside, Shrek rants to Fiona about how he was a "real ogre" and villagers feared him -- when he could do what he wanted when he wanted to -- before he rescued her. Fiona gives up trying to talk sense to Shrek and goes back inside. Rumpelstiltskin, hiding behind a garbage can, has witnessed the whole thing and plans his revenge.Shrek wanders down the road and meets Rumpelstiltskin, who has faked a carriage accident. Shrek grudgingly helps him. Rumpelstiltskin in return offers to help Shrek by giving him a ride. Over "eyeball-tinis" and roast rat, Rumpelstiltskin convinces Shrek to sign the "Ogre for a Day" contract; in return all he has to give up is a day from his childhood he wouldn't remember being erased. Shrek agrees and signs the contract, and abruptly lands in a world where he is still feared by villagers. He enjoys causing mischief until he finds wanted posters for the ogress Fiona. He races back to his home, which he finds reclaimed by the tree and empty. Witches capture him and take him away in a caged carriage pulled by Donkey; Donkey doesn't know Shrek in this alternate world.They reach Far Far Away, which has been turned into a town of poverty and misery, except for Rumpelstiltskin's luxurious castle, which uses ogres and Shrek's friends for slaves. The witches deliver Shrek to Rumpelstiltskin, who is celebrating his opulence with witches. He tells Shrek that the King and Queen signed over their kingdom to him to end Fiona's curse; instead they disappeared. Shrek realizes that the day he gave up was the day he was born. Rumpelstiltskin tells him that since he was never born, when the day ends so does Shrek; he never met Fiona and his kids don't exist.Shrek angrily breaks free of his bonds and fights the witches, taking one of their brooms. He grabs Donkey and flies through the glass of a large window, pulling the giant jewel-encrusted ball that hangs from the ceiling (which gets damaged as it gets stuck in the window).Safely in the forest, Shrek tries to convince Donkey to trust him but Donkey runs away in fear. Shrek finds an ogre child's doll and cries. Donkey has come back and asks Shrek why he's crying; Shrek tells him that he was tricked into signing Rumpelstiltskin's contract. Horrified, Donkey shows Shrek how to find the exit clause by folding the contract; Shrek re-folds it to reveal "true love's kiss" with the explanation: According to fairy-tale law, if not fully satisfied "true love's kiss will render this contract null and void."Shrek remembers that he never rescued Fiona and they go to the castle where Fiona was being held captive; Fiona is gone, obviously after many years. Shrek presents Fiona's favor (handkerchief) to Donkey to help find her, but Donkey takes off after smelling something sweet. Donkey falls for a trap baited with waffles, and gets pulled underground. Shrek follows him and finds other ogres who have formed the resistance; the ogres demonstrate a war call by blowing their ears like trumpets. Fiona, in ogre form, comes out -- the leader of the resistance. They all hide when witches patrol overhead. Fiona tells them that they wont have to hide after tonight.At his castle, Rumpelstiltskin plots with the witches how to catch Shrek so he won't be able to kiss Fiona and break the contract. Rumpelstiltskin decides to hire a bounty hunter.Shrek and Donkey eavesdrop on Fiona, who is briefing her lieutenants on the counter-attack for Rumpelstiltskin's raid tonight. Shrek wonders how he will be able to kiss Fiona before sunrise. He goes to Fiona's tent and encounters Puss-in-Boots, who is fat and retired and who Fiona keeps as a pet. Fiona enters and Shrek tries to woo her with gifts, but she kicks him out.The Pied Piper arrives at Rumpelstiltskin's castle and proves his expertise by making the witches dance. Rumpelstiltskin agrees to hire him.The ogres eat Shrek's gifts and exclaim that these types of gifts won't work on Fiona. Donkey tells Shrek that Fiona only cares about the ogres' cause. Shrek seeks out Fiona and interrupts her practicing in her target room. They spar and become friends, but Fiona sends him out immediately afterwards.Puss in Boots has eavesdropped on Shrek and Fiona, and informs Shrek that Fiona had possibly found her true love there with him. Shrek replies that he knows of her curse and recites it. Puss in Boots tells Shrek that he must tell Fiona something that only her true love would know.Rumpelstiltskin's carriage and his witches leave the castle. The ogres leave their hideout and wait for the time to ambush. Fiona scouts ahead and Shrek follows her; he tells her that he knows about her curse. This distracts her and prevents her from giving the signal to attack. The ogres become impatient and attack the carriage and find it empty, and The Pied Piper emerges from the fake pet goose.Fiona is suspicious of Shrek, but he tells her private things about her. The Pied piper plays his flute, breaking the moment and making them dance. They join all the other ogres, who are also dancing. Puss in Boots rescues Shrek and Fiona but they eventually wreck their wagon. Fiona leaves, but Shrek tries to stop her, even asking Puss in Boots for help, making Fiona suspicious. She kisses Shrek in anger, confusing Shrek when nothing changes. Fiona tells him that true love didn't rescue her from the tower; she saved herself. Fiona leaves, angry and bitter. Shrek realizes that Fiona doesn't love him.The ogres are in cages in Rumpelstiltskin's castle. The Pied Piper informs Rumpelstiltskin that Shrek and Fiona are together. Rumpelstiltskin announces to the citizens of Far Far Away through the Magic Mirror (and all the other mirrors) that he is offering a reward for Shrek -- a contract to grant them all their wishes. Shrek, Donkey, and Puss in Boots hide as all the villagers storm out of town looking for Shrek. Shrek captures The Gingerbread Man (voiced by Conrad Vernon), who explains the bounty to Shrek.Shrek bursts into Rumpelstiltskin's castle, where everyone is trying to cash in on the bounty. He signs the contract in exchange for freeing the ogres. Shrek is happy that the ogres are freed and Fiona is safe, but Rumpelstiltskin shows him that she is also a prisoner, because she isnt "all ogre", and recites her curse.Outside the castle, Donkey informs the ogres that they will bust into the castle the same way they busted out. Inside the castle, Rumpelstiltskin hoists up his new decorated ball, and celebrates by announcing he will execute Shrek and Fiona by Dragon in a grand ceremony. Donkey and Puss in Boots interrupt; then the ogres, who were hiding in the decorated ball, trumpet their ears and burst out. While the ogres battle the witches, Donkey tries unsuccessfully to woo Dragon. Shrek and Fiona team up to subdue Dragon and free themselves. The ogres defeat the witches, so Rumpelstiltskin attempts to leave on his goose, but Shrek and Fiona capture him.Fiona exclaims that they make a good team, but Shrek begins to vanish due to the approaching sunrise. Before Shrek completely vanishes, he tells Fiona that they have kids, including Felicia. Fiona tells him that she always wanted to have a daughter named Felicia. He gives her the doll he found and tells her that the best part of the day was that he was able to fall in love with her again. Fiona has fallen in love with him too and kisses him before he completely vanishes.The sun rises and Fiona is still an ogre -- true love's form. The kiss worked, and everything starts disappearing around Rumpelstiltskin. The contract has been nullified and Shrek is returned to his world just as he roars at the birthday party. Happy again with his family and friends, Shrek trumpets his ears, surprising Fiona. He tells her that she was the one who rescued him.Shrek and his friends celebrate in the forest to "I'm a believer" by Smashmouth. Rumpelstiltskin is in a cage. Shrek is truly living happily forever after. | comedy, fantasy, action | train | imdb | null |
tt0127349 | Waking the Dead | The first scene of the movie introduces Fielding Pierce (Billy Crudup) as he is watching news footage showing that Sarah Williams (Jennifer Connelly) has been killed in a suspected car bombing. The reporter indicates that Sarah was an activist from Chicago involved in helping refugees from the Chilean government and that her death may cast new light on the movement. Fielding is completely distraught over hearing this news and the movie begins.The first 3/4 of the movie unfolds on parallel timelines in the 70s and early 80s: the progression of Fielding & Sarah's complicated, volatile relationship and Fielding's ascension into power as an upcoming politician dealing with the recent loss (and haunting memories) of Sarah.Fielding meets Sarah as he is returning, in uniform, from duty in the Coast Guard and meeting up with his brother, who is a editor. The brother, Fielding and Sarah all go to lunch where Fielding is very ouspoken in his political ideals about current events. Sarah and Fielding are both immediately intrigued by each other, Fielding's attraction being more sexual and blatant and Sarah's attraction more of curiousity and intrigue. A few dates quickly lead to a sexual relationship despite an obvious difference in political thinking between the two. Sarah asks why Fielding wants to be a senator and his very serious reply is that he doesn't- he wants to be president. Sarah is later quoted as saying "Ambition is the ice in the lake of emotion." And when Fielding tries to comfort Sarah's fear of his Coast Guard duty leading to a Vietnam tour, she replies "but if you go over there, you'll be shooting at the guys that I want to win." Their intense love outweighs their differences, though, and their relationship quickly becomes serious.Meanwhile Fielding is a young politician being groomed to be congressman by the current govenor because of a scandal involving Jerry Carmichael 's (Ed Harris in a cameo role) resignation due to his homosexuality. Fielding seems ambivalent about the offer to be put on the ticket, perhaps because of the nature of the resignation- as he indicates- or pehaps because of the impact of Sarah's influence on his current ambitions. Either way, the governor and his top advisor Isaac (Hal Holbrook) are not comfortable with this lack of enthusiasm and do not offer much hand holding. This confrontation sets the tone for the later timeline in Fielding's life as his insecurities and haunting memories of Sarah eventually lead to hallucinations and his emotional breakdown. Fielding is now dating Isaac's daughter, but their relationship is clearly not as intense as his past relationship with Sarah. Conversations with his sister Caroline (Janet McTeer) and visits with his dad quickly lead to discussions about Sarah and how is haunting memories are leading to him seeing Sarah again. His family is supportive without offering any helpful advice other than to focus more on the political path ahead of him.Sarah and Fielding's relationship takes them to Chicago where they share an apartment as he continues law school and she begins missionary work for a local church led by Father Steven (John Carrol Lynch). Fielding's involvement with Isaac soon begins, and Sarah's aversion to the whole political process becomes more threatening. After a uncomfortable encounter with Sarah at one of Fielding's political events, where her disdain for the situation leads to a verbal attack on one of the attendees, they attempt to reconcile on the subway afterwards. They cannot reach an agreement and she proclaims "It is so infuriating loving you!" Fielding chuckes and says that the feeling is mutual. Sarah's long hours away from home, spent working at the church, lead Fielding to foolishly suspect Sarah is having an affair with Father Steven. Their intense bond holds them together through their disagreements and insecurities.Fielding starts the campaign trail even as his memories of Sarah convince him that she may still be alive and is watching him. He even chases someone he believes to be her through town and eventually ending at a church. But his search is fruitless and only further shows his descent into emotional breakdown. His relationship with Molly becomes troubled as he emotionally withdraws from her also. When she tries to reach to him, he does not offer any recognition of her or his feelings.Sarah's missionary work leads to activist work in Chile where her and Father Steven bring back political refugees of the government. At one uncomfortable dinner at the church with Fielding. The refugees are appalled to hear that Fielding is hoping to enter politics, an american institution they feel is overrun with corruption. Fielding tries to convince them he is not entering politics to become corrupt but to affect change. They are not conducive to this idea. He chastises their hypocrisy by observing that as awful as they try to hint his government is, he can't help but to notice when they needed help they ran to this country for freedom. When he turns to Sarah for help, she offers "You are alone in this conversation." Fielding then replies he is alone in this whole room and he is "choking on the collective sense of superiority." Fielding and Sarah's political difference and growing distance is shown at its worst, as no make up scene follows. Soon after Sarah leaves for her fatal trip in Milwauke. | anti war, dramatic, murder, flashback | train | imdb | A small film that only enjoyed limited release in theaters and isn't getting much attention on DVD either, is Keith Gordon's latest, `Waking the Dead'.
His world is turned upside-down when he meets Sarah Williams (Jennifer Connelly), who just wants to feel like she `lives on the planet'.
Anyone who has every loved another will know that you see that love wherever you go; and the lead actor's portrayal of that emotion is at genius level.The most emotionally charged scene is at the restaurant of the election results are known, and I for one cannot recall any movie where a particular scene is so intensely sensitive or almost uncomfortably realistic.For quiet and justifiably restrained but wonderful adult entertainment, this is the best film I have seen in years.
What made this film so hauntingly beautiful was that fact that the ghost being chased wasn't just Sarah - it was who they both were in their youth, and the overwhelming emotion and honesty that is first love.
I thought Billy Crudup and Jennifer Connelly both did amazing jobs - the intensity of their performances is what really drove the story.
Following in the big footsteps of "The Chocolate War", "A Midnight Clear" and "Mother Night", Waking the Dead" is perhaps the most cohesive and satisfying film by Keith Gordon to date.
He meets Sarah (played by the always lovely Jennifer Connelly), a free-thinking social activist, and they begin a whirlwind romance.
In the midst of dealing with the loss/reincarnation of Sarah, Fielding is forced into making hard choices about what kind of man he is going to be; a member of the political machine or a true servant of the people.
Based on initial assumptions, this could easily be taken for the usual chick-flick weeper, and dismissed for that reason and because it does not follow the usual rules of narrative, but jumps before and after the key romance: but don't be fooled--while not intellectually complex, this is a film of some suspense and a good deal of character development, a film about how love could upend our expectations and about our reactions to sudden and permanent loss.Waking The Dead is so crammed with genuine performances from the ensemble that if you allow yourself an immersion in Billy Crudup's confusion, you cannot help but think about those who perhaps you have lost and what they mean to you now; both Crudup and Connelly exude dedication, and one key scene stands out as an exemplar of acting technique coupled with intuitive choices; in his director's commentary, Keith Gordon reveals himself to be the sort of guy you'd like to know, not only for his direct honesty, but simply because he's fun to listen to.
Billy Crudup and Jennifer Connelly are Fielding and Sarah; he the idealistic politician and she the faithful revolutionary.
When the actors are already front row centre, the director should get out of their way.What grabbed me about 'Waking The Dead' was that both Fielding and Sarah are trying to make the world a better giant rock.
I LOVED IT!Yes, the story of an up and coming politician falling in love with a beautiful, left-wing activist is a bit trite but no more so than the 70's in which they shared their life together were naive, idealistic and a necessary part of the evolution of American social conscience.I thought the performance by Jennifer Connelly as 'Sara' was astounding.
If you're not in love with Sara by the end of this movie, you should check into the Emergency ward of your local hospital because there's no heart in your chest or warm blood flowing in your veins.Billy Crudup's performance as 'Fielding' could be interpreted as "flat" only to those who would say that life imitates art and not the other way around.
Case in point, during his celebration dinner with family after winning the election, his declaration of his burgeoning insanity is extremely convincing and frightful.Aside of great individual performances, the overall chemistry between Sara and Fielding was tangible, necessary and believable, as this is a story about love and why true love is endless.
To top it off, the haunting presence that was Sara after she was presumably killed, lends an element of mystery and hope in a metaphysical and real way, to a movie that could have been just another, too sweet love story in the hands of lesser director.Though Waking The Dead has its flaws, they're too few to dwell on.
Most of us that have been through similar experiences , always expect to identify ourselves with characters in motion pictures but in most cases, we kind of feel frustrated that movie plots don't generally allow the performer to go all the way, cutting their role immersions short Billy Cudrup didn't let that happen and this time we fared better.
Basically, Billy's character follows a political career path and Jennifer's heart is more into helping people(no matter if the'yre on the right side or the wrong side according to society.) This causes a conflict in their relationship and Jennifer leaves Billy, but Billy still loves her and sees visions of her as he continues upward in his career.
This is the sort of movie a 14-year-old girl wanting an adult love story might like; it displays precisely that sort of idealized emotional maturity.
WAKING THE DEAD (2 outta 5 stars)Writer/director Keith Gordon has made some really fantastic movies that most people never see or hear about (A Midnight Clear, Mother Night) so I was very excited about seeing this one.
After watching it just now, I am emotionally exhausted, and my mind is in overdrive analyzing every perfect piece of this well thought out puzzle, and reeling trying to process and deal with the raw sadness and electric, haunting nature of the mystery that encases the story like a chilling road map of the two main characters emotions.
It starts as a simple romantic movie between Fielding Pierce ( Billy Crudup ) and Sarah Williams ( Jennifer Connelly ) then moves on smoothly into the complexities of politics ( domestic and international )..
The political aspect of the film is dull and drags quite a bit, but every time Jennifer is re-introduced into Crudup's life it draws you back in.
Other actors make a fine supporting cast and I especially enjoyed Fielding's interaction with his father, it was important for the whole story and the film.This is about giving up the ghost, accepting the truth that the one you loved is gone from your life and can never return.
The movie surely gives something for the viewers to think about.Excellent performance from Billy Crudup and Jennifer Connelly.
I think everyone who has seen this film will agree with that.Overall, I recommend this movie to those who has a deep yearning to feel the touch of unconditional love,those who have great ambitions about doing good to society, and anyone...anyone at all who like to watch a movie that is not shallow.Oh, by the way, love the song at the end of the film.
the best part about it is how the viewers have to decide, for themselves, whether sarah really did come back, or if fielding is just imagining it.i don't know what it was about this movie.
Waking the Dead is a unique love story in that the end is not necessarily a happy one, yet you feel a real sense of satisfaction and closure.
I must admit I am a sucker for small movies, because they really bring out the best in the makers and performers.Waking the Dead is a tale of the spirit, hidden behind the issues of politics and love.
The story takes place in the early 70' and early 80's jumping into flashbacks throughout the film.Fielding(Crudup)is an ambitious young man destined to be on the top America's political system.
Now that he senses her, or thinks he does, will that re-kindle his old ambitions, his hope of actually doing good and helping people?Waking the dead has left me with a haunted feeling for days after each viewing.
And as intrigued as I was by the love story, the true gem of this movie was the nervous breakdown suffered by Fielding Pierce.
Billy Crudup played the role beautifully, actually sending chills down my spine as I saw him slipping away from reality and questioning his own existence."I just want to be good," Fielding tells his dad as he's on the verge of tears.
Fielding's ambition, pureness, and especially his lost love (Jennifer Connelly was near perfect as Sarah Williams) make him such a loveable character, that his breakdown really has an effect on the viewer.
He's always been interesting to watch, in whatever I've seen him in, but because this film is so infuriating in so many ways I found myself more appreciative than ever of the skill of this man.A story of undying love should be a wonderful and moving thing, but for me the great flaw of this film is that I didn't for a moment believe that these two people would want to be together longer than to share a cup of coffee -- and even then not without the direct intervention of some satanic power.Since they have nothing in common and no shared points of view or interests, the fact that the film simply steps over this problem as if it isn't even there asks too much of the viewer.The character of Sarah (Jennifer Connelly) is so committed to her views of political-social right and wrong that she trashes her lovers career hopes over and over without the slightest concern for the ramifications for him.
The acting, the editing, and the too-loud background music leave much to be desired.I have not read the book, but the hints of a deeper story makes me think that this might have done better as a slightly longer 2-part TV movie.
Fielding Pierce (Billy Crudup) watches a TV report of a bombing in Minneapolis killing his activist love Sarah Williams (Jennifer Connelly) along with Chilean dissidents.
An aspiring politician (Billy Crudup) falls in love with an activist (Jennifer Connelly) in "Waking the Dead" from 2001, directed by Keith Gordon and adapted from the eponymous novel by Robert Dillon.When Fielding Pierce meets his brother's assistant Sarah in 1972, the two fall in love with one another.
It affects his campaign work, to the consternation of those trying to get him elected.This is a movie that's almost painful to watch, because Billy Crudup and Jennifer Connelly pour such passion and emotion into their love affair, that you feel his pain when she's gone.
I think the love story was the most compelling element of this film - though these two people want to do good in the world, they approach it in different ways, and that separates them.One of the last scenes is deliberately ambiguous when it really shouldn't be -- if you look at the message board you will see a description of a deleted scene and what is in the book.It's a lovely story.One other thing - a lot of people did not like Sarah.
(There are Spoilers) Trying to put his long deceased lover Sarah Williams, Jenniffer Connelly, out of his mind up and coming Chicago politician Fielding Pierce, Billy Crudup, is hunted by her throughout the movie "Walking the Dead" as if Sarah was his guilty consciences.Sarah had been killed in a car bombing some ten year's earlier in her being involved with an organization that protest the conditions in Chile.
Which may be due to his guilt ridden conscious or the result of a combination of sleep deprivation and prescription drugs, as well as alcohol, in his non-stop 24 hour around the clock campaign to get himself elected?***SPOILER ALERT*** The movie makes it's point in a very confusing way where we in the audience as well as the confused and befuddled Fielding don't really know if the supposed long dead Sarah Williams is really alive or the product of Fielding very fertile imagination.
Maybe a movie that really touch my taciturn and melancholic emotions.A movie with a single lightness and full of allusions to our deepest desires of loving somebody unconditionally.At the same time this work shows the impossibility to annul ourselves or to annul the "other"in a affection relationship.Sarah Willians; character of Jenifer Conelly; is attired with an almost mystic aura.Your silhouette of sweet little girl , your simple beauty in the middle of a Gothic fog, is the great piece that feed this movie, that is just a very common story, about two common people.I confess that t I din't know her(Jenifer Connelly) before to watch this movie.
The shock of Sarah Willians caused in me is inexplicable.The great merit of the director Keith Gordon(besides this amazing character)was trying to demystify, even of a soft way, the romantic love, that accepted only the unconditional pleasure between two people.Sarah Willians and Filding pierce,were not what we could say "twin souls" .
I enjoyed this movie, thought it was a touching love story about two people living in very different worlds.
I thought Connelly and Crudup were great, and very touching.Many times, romantic movies focus on how bright and happy the couple is, how they fit so well together.
The story goes like this: Fielding Pierce, is a pollitican that is still haunted by his dead lover, Sarah.
I just ran "Waking the Dead." I've also read a few of the comments here on the site.The point of the film is not the love story, nor is it insanity.
Billy Crudup and the lovely Jennifer Connelly (co-stars of "Inventing The Abbotts") give wonderful performances as the young couple in question...every one of their scenes are realistic and delicately portrayed.
The realistic sex scenes and arguments between Billy Crudup and Jennifer Connelly make it easy to forget that you are watching fictional characters.
If I was him, I'd be more screwed up then ever if she did that to me.Nonetheless, Waking the Dead remains one of the most beautiful, even handed and intelligent movies I have ever seen.If you're in love with someone, if you used to be, or if you just wish you were - watch it, you might learn something..
A strange but effective feel good and sad love story about a congressional candidate (Billy Crudup) who is in a very tight special election race, has the memories of a girl (Jennifer Connelly) whom he had loved and was supposedly killed in a horrific car bombing.
With WAKING THE DEAD he's crafted his best film to date, a movie that's simultaneously a powerhouse romance, a moving ghost story, and a thoughtful piece of political commentary on the decline of genuine liberalism in America.
Most impressive are the performances by Billy Crudup and Jennifer Connelly, which in their depth and authenticity are reminiscent of the best acting in John Cassavetes' films.
Keith Gordon, the director, has the patience to unfold his story with a steady hand and uses the cutting back from past and present to mine deeper into the emotion of Crudup's woe.I don't think I've seen a film capture the true hardship and pain associated with the conflict of love versus ideals.
Fielding Pierce, played by Billy Crudup, is running for Congress in the 1980's while being haunted by his love with the lovely Sarah Williams, played by Jennifer Connely.
The movie jumps around in time, but each scene is clearly captioned so that the viewer always knows exactly the time frame.The romance is top notch, the chemistry between Crudup and Connelly is very good, and their both lovely to look at.
Not only does Keith Gordon have a bright future, but the extraordinary Billy Crudup is one of the best young actors in film today.
The movie is about how falling in love for the first time irrevocably affects the lives of not only the couple, but everyone around them.It hurts to watch handsome Billy Crudup & beautiful Jennifer Connolly fall in love.
Billy Crudup and Jennifer Connelly are aptly paired in this unusual love story.
The earlier periods are essentially the story of the romance between Fielding Pierce (Billy Crudup) and Sarah Williams (Jennifer Connelly), young people of similar leftist ideology, but very different views of how to achieve political goals.
It's fine for a film to be a mix, but Waking the Dead feels like it's working too hard.I'm not really sure where the currency is in this story that drew Gordon to it.
Billy Crudup and Jennifer Connelly are good actors, but their chemistry doesn't work very much.
I tried, but just didn't enjoy the movie like they did, though I have to admit that the film was creative and had an interesting style.The story involves a young man named Fielding Pierce (Billy Crudup) and his obsession with a girlfriend (Jennifer Connelly) who was apparently killed in Chile during the time of the Pinochet coup.
There's a real chemistry between leads Billy Crudup, who plays the politically aspiring Fielding Pierce, and Jennifer Connelly, who plays his politically radical girlfriend Sarah Williams, but their dialogue is so pat and forced, even they have a hard time rising above it.
The movie begins by picking up the story in 1974, with a news report of the death of one Sarah Williams (Jennifer Connelly), then flashes back to 1972, when Sarah and Fielding Pierce (Billy Crudup) first met.
1982; Fielding Pierce (Billy Crudup, 'Big Fish') is a young man who is striving to become a Senator, but he begins seeing and hearing the love of his life, Sarah Williams (Jennifer Connelly, 'A Beautiful Mind'), who died in 1974 in a terrorist bombing, along with two Chilean political refugees...
I love this film so much and its as close to perfect as can be...Keith Gordon is one of the most underrated directors working (watch "A midnight clear" for further proof)...Billy Crudup should be in way more movies...Everyone should watch "Waking the dead" as soon as they can.. |
tt0114609 | Tales from the Hood | In South Central, Los Angeles, a trio gang of drug dealers, Stack (Joe Torry), Ball (De'aundre Bonds) and Bulldog (Samuel Monroe Jr.), arrive at Simms' Funeral Home to purchase some drugs from Mr. Simms (Clarence Williams III), the mortuary's eccentric owner. Mr. Simms claims that he found the drugs in an alley and has them safely stored in the mortuary. He asks the dealers to help him get the drugs and, as the four make their way through the building, relates stories about some of his recent "customers". The first casket contains the body of a man named Clarence."Rogue Cop Revelation"During his first night on the job, young black police officer Clarence Smith (Anthony Griffith) is taken by his new partner, Newton (Michael Massee), to the scene of what initially appears to be a routine traffic stop of a well-dressed black man. When Clarence runs the car's license plates, he learns that the man is in fact Martin Moorehouse (Tom Wright), a city councilman and black rights activist who has recently been on a crusade against police corruption. Clarence watches in horror as Newton, along with fellow officers Billy (Duane Whitaker) and Strom (Wings Hauser), brutally beat Moorehouse with their nightsticks and vandalize his car. When Clarence insists that Moorehouse should be taken to a hospital, two of the officers appear to agree.Clarence tells Newton that Billy and Strom should be reported for what they did, but Newton tells Clarence that officers are not to break "the code". Strom and Billy drive Moorehouse' car to the docks. Strom shoots the battered Moorehouse up with heroin, plants some in his car, then pushes it into the water with Moorehouse still inside. Moorehouse is posthumously labeled a hypocrite.One year later, Clarence has left the police force and is now a guilt-consumed drunk. On a walk in his neighborhood, he sees a mural of Moorehouse. Clarence then has a vision of a crucified Moorehouse haunting him with the words "Bring them to me!" In response, Clarence convinces the three police officers involved in the death to meet him at Moorehouse's grave.Once there, the officers begin to insult Moorehouse, with Strom urinating on Moorehouse's grave and then ordering Billy to do the same thing. As Newton and Strom prepare to kill Clarence, a zombie-like Moorehouse bursts from the grave to drag Billy beneath the ground by his genitals. Moorehouse's coffin bursts from the ground, opening to reveal Billy's mutilated corpse with Moorehouse clutching Billy's still-beating heart.Strom and Newton flee in horror. A lengthy chase ensues, with the two cops fleeing by patrol car. As Newton is driving the vehicle, Moorehouse jumps on top of the vehicle and decapitates Strom. Terrified, Newton exits his vehicle. With Moorehouse still on top of the patrol car and carrying Strom's head, Newton shoots the gas tank, causing the patrol car to explode. Moorehouse then chases Newton into an alley, where he telekinetically throws used hypodermic needles into the cop's body, pinning him to a wall mural. After Newton is killed, his body melts into the mural, becoming a painting of himself crucified.His vengeance nearly complete, Moorehouse accosts Clarence, asking him why he did not help him when he was being beaten. The story ends with Clarence in a mental hospital. Two orderlies outside his cell mention that he killed the officers and that he used to be an officer himself. Moorehouse is never mentioned.Stack, Ball, and Bulldog think Mr. Simms is crazy after hearing the story. After they look at the second casket, Mr. Simms tells them about a boy named Walter."Boys Do Get Bruised"Walter Johnson (Brandon Hammond) is a quiet and sensitive boy who shows up to school one day with bruises around his cheek and eye. Walter's caring teacher, Richard Garvy (Rusty Cundieff), notices the bruises and asks what happened; Walter claims that he was attacked by a monster. A few days later he again shows up with a bruised arm. While the other children play, Walter sits inside and draws a boy named Tyrone, one of the school bullies. Walter crumples the drawing up causing Tyrone to suffer spontaneous injuries.Later that night Mr. Garvy visits Walter's home and asks Walter's mother, Sissy (Paula Jai Parker), about the monster. Sissy claims that Walter's injuries are the result of his own clumsiness; she then tells Walter not to reveal anything about the monster to anyone else.As Mr. Garvy is leaving, Sissy's boyfriend, Carl (David Alan Grier) comes home: seen through Walter's imagination, the audience learns that Carl in fact is the monster. Thinking that Walter has told his teacher about him and called him a monster (a tattoo of the word "Monster" can be seen on Carl's arm), Carl terrorizes Walter and then whips Sissy with a belt when she intervenes.Mr. Garvy turns around to check on Walter and sees Carl abusing Walter and Sissy: Mr. Garvy bursts into the house and begins to fight Carl. With Carl's attention elsewhere, Walter grabs a drawing he made of the monster and begins to fold and crumple it. Carl becomes mangled, helpless and unable to accept defeat. Sissy stomps on the wadded-up paper to end the threat. Finally Mr. Garvy gives the paper to Walter, who burns it, completely immolating Carl. Sissy and Walter look on as Carl burns alive and appear to be relieved to be free from his brutal abuse.Later, Carl's burnt corpse is in the coffin in Simms' Funeral Home. Mr. Simms shows a doll, instead of a corpse, to Ball, Stack, and Bulldog, explaining that it isn't any ordinary doll."KKK Comeuppance"Duke Metger (Corbin Bernsen) is an obnoxious and racist Southern senator (based on the real-life senator David Duke), and a former member of the Ku Klux Klan. The senator is in his office filming a campaign commercial when he sees protesters outside the office: Jewish and African-American groups have teamed up to protest against Duke for being a racist, a former Klansman, and for setting up his office at an old slave plantation. One individual, Eli (Art Evans), warns the reporter that the plantation is haunted by dolls animated by the souls of tortured slaves.Meanwhile, Duke and his African-American "image-maker" assistant Rhodie (Roger Guenveur Smith) notice a large painting of Miss Cobbs, a hoodoo witch, and her dolls. Duke says racial slurs to Rhodie, who attempts to ignore his rantings. Duke also refers to the dolls as "Negro dolls." One of the dolls is seen under the floorboard as Rhodie leaves.While Duke and Rhodie are working on Duke's media skills, Rhodie falls down the stairs to his death (it is later learned that the doll seen under the floorboard earlier was the cause). At the funeral, Eli warns Duke to leave the house before he ends up like his deceased assistant or worse. In the limo after Rhodie's funeral, Duke notices the doll and orders his African-American driver to pull over so he can throw the doll out the window into the street.Later, after noticing a blank spot on the painting, Duke comes in contact with the doll he threw out on the street and has a fight with it. When Duke throws a vase at the doll, it disappears and attacks Duke out of nowhere, trying to eat him. Duke is injured, but he manages to stop the doll by beating it with an American Flag. He also damages the painting, from which blood pours.Duke takes the doll outside to his porch and ties it to a dart board. He then blasts the doll with his shotgun and goes back inside to rant at the painting. But in the midst of his rant, Duke realizes more doll images in the painting have faded to white. After Duke begins chasing several small footsteps throughout the house, he finds the previously blasted doll in the hallway, reattaching its head. The doll attacks again and chases Duke into his office. Duke manages to lock the doll outside and tries to figure out a way to help himself. He sees that the painting has all the doll images faded to white. Terrified, Duke turns around to see an army of dolls. He covers himself in the American flag as the dolls converge and devour him. Miss Cobbs then disappears from the painting and manifests herself in the room, holding the first doll in her arms. Satisfied, they both smile as they witness the carnage taking place before them.Back in the present, the dealers are getting impatient and want the drugs they came for, not wanting to listen to any more of Mr. Simms' strange stories. Ball notices a corpse in another room alerts the others to come and see it. When Simms asks them if they knew the man, Bulldog says it was just someone they had seen around their neighborhood. Mr. Simms explains the final moments of the man known as Crazy K."Hard-Core Convert"Jerome "Crazy K" Johns (Lamont Bentley) is a violent gang member and homicidal psychopath who has killed many people mercilessly. He is driving down the streets of Los Angeles in his Mustang. Coming to a stoplight, he notices the car of an enemy he's been trying to kill for a long time and follows him. Crazy K parks in a neighborhood and has a brief argument with the enemy, then shoots him. In retaliation, three other men attack from a house nearby. The men shoot Crazy K, and just as they are about to kill him, the police arrive at the scene. Due to one of the shooters firing at the police officers, all three gunmen are shot and killed by the officers. Crazy K is badly injured but survives, only to get arrested and sent to prison.As described by a prison guard Crazy K has received a life sentence for suspicion of murder three times along with other charges. Dr. Cushing (Rosalind Cash in her final film role before her death) arrives at the prison and transfers Crazy K to another facility, hidden deep underground. Crazy K meets an inmate (Rick Dean) who is a homicidal white supremacist and raves about killing black people and the end of days for blacks, which upsets Crazy K and causes him to punch him in the face. Then the man asks Crazy K the races of the victims he killed, silencing Crazy K because he, in fact, is guilty of killing African-Americans. The man grows fond of Crazy K and he tells him that there will be a few black people who will be spared as long as they think like him. After speaking to the man, Dr. Cushing reveals that she put him there to meet someone who is just like him.Crazy K is put through a process of torture to have him learn the consequences of his actions. Dr. Cushing tries to make him a new man and help change his violent life of murder. His head (with K printed on the front) is shaved off and he is "clean" if he regrets all his violent actions on other people. Crazy K is put through a slideshow of images involving the KKK and victims of lynching along with gory footage of gang violence and warfare along with a montage showing all those he has killed. Dr. Cushing goes into fact that Crazy K killed many innocent African Americans without remorse or second thought.Crazy K is put through the next stage, in which he is put in a sensory deprivation chamber. He is confronted by all the souls of his victims and must explain why he killed them. He keeps giving true or false answers until it eventually leads to a young and innocent little girl who had nothing to do with Crazy K; she was killed when a bullet from Crazy K's gun came through her wall and hit her in the chest. Crazy K doesn't accept responsibility. Dr. Cushing warns him that he won't get another chance for forgiveness. The souls haunt him more and more, but Crazy K grows increasingly uncaring of his actions. Having refused a chance for redemption for his sins, he is transported back to the moment when he was shot. Crazy K is brutally shot dead by the three gunmen, and the story ends with his corpse lying abandoned on the street."Welcome To My Mortuary" (ending)When the fourth and last story ends, the three drug dealers are revealed to be Crazy K's killers. They become angry and demand to know how Simms knows of their murder as they threaten to kill him and demand their drugs. Simms leads them deep into the funeral home and tells them their "reward" is in three closed caskets, each of which has their corpses inside. The dealers are terrified to learn that they are dead; at the whim of Simms their guns burn red hot, forcing the dealers to drop them.Simms explains that after killing Crazy K, some of Crazy K's "boys" killed them in retaliation. Bulldog then asks Simms why they are still alive if they are dead. Simms, growing more eccentric by the second, tells them that they are not in a funeral home, but in Hell. He transforms into Satan, and the walls of the funeral home shatter, revealing the fiery reality of where they had been all along. The drug dealers scream in horror at Simms' transformation into the Devil. Their fate is to burn in eternal damnation along with others, as Satan laughs. | violence, murder, blaxploitation | train | imdb | A white supremacist politician haunted by forces of injustices past highlights the third story, while the fourth focuses on a gangbanger undergoing frightening behavior modification.TALES FROM THE HOOD benefits enormously from solid writing and an entertaining pace.
Though definitely not for all tastes, TALES FROM THE HOOD is a surprisingly solid horror anthology.* *Cast Note: Clarence Williams III, who plays the funeral director, is best known as Linc from THE MOD SQUAD television series..
Tales From the Hood, another horror anthology film dripping with EC comics-style ghoulishness, strings together four stories told by a wild-haired, macabre funeral director (Clarence Williams III) to a trio of gangbangers seeking their missing drug stash in a mortuary.
In the first story, "Rogue Cop Revelation", three white, racist cops murder a black politician; all the while a black police officer is watching the entire thing.
A year later, the politician from beyond the grave contacts the officer so he can get revenge on the cops who killed him.In the second story, "Boys Do Get Bruised", as some people have claimed, is an interesting twist right out of "The Twilight Zone".
The boy tells the teacher he got the bruises from the "monster" that lives in his house.In the third story, "KKK Comeuppance", a former Ku Klux Klansman-turned-politician moves into a mansion that was once the sight of a horrible slave massacre that occurred around the end of the Civil War. There is a lot of distrust towards him, because of his shady history.
It is here that elements of "A Clockwork Orange" begin to come into play.Being African-American myself I feel "Tales from the Hood" is one of the most important "horror" films to come out of the nineties.
The issue of gang violence is something that really needs to be addressed."Tales from the Hood" is a very good movie no doubt, despite its flaws.
But you need to watch this movie, not expecting a horror film, but a very important social studies lesson..
If you're a fan of any of these, I'd have to highly recommend Tales from the Hood, especially if you're also into Blaxploitation, from which it also takes some inspiration.In the time honored tradition of horror/exploitation movies everywhere, the guilty are punished with gory deaths and lessons are learned (frequently too late).
Like The Twilight Zone it is a segmented film (although all directed by Rusty Cundieff) that spans across a good variety of horror genres.
Cleverly (and without being preachy or offensive to white people), Cundieff disguised his agenda with rich characters and a bone chilling conclusion.The HIGHPOINT of this movie for me is the film's proverbial ringleader- a funeral parlor director.
I noticed that the four stories in this movie touched on four topics in today's society: Domestic Violence(David Alan Grier, Brandon Hammond, Paul Jai Parker, Rusty Cundieff), Police Brutality(Anthony Griffith, Tom Wright, Michael Massee), Racism(Corbin Bernsen, Art Evans, Roger Guenveur Smith) and Black-on-black crime(Lamont Bentley, Joe Torry, De'Aundre Bonds, Samuel Monroe Jr., Ricky Harris).
And probably the best horror movie from the hood with a nearly all Afro-American cast ever made (because I can't really say I've ever seen a ghetto-horror flick that was actually any good).
With Spike Lee being executive producer, you can rightfully expect that this movie will carry important themes & topics like racism, politics, police brutality, guilt, child abuse, brothers killing brothers, etc.
The first involving corrupt cops is routine and obvious; the second is a unique take on child abuse that is creative and fairly creepy; the third involving vengeful voodoo dolls is at times shocking, at times corny, but eerie and crafty in its own right; the fourth about gang violence and rehabilitation is highly imaginative and something to marvel at; the film's unique amalgam of horror and social commentary isn't always on target, but the special effects are convincing, and the performances rock solid, making this a fairly impressive showing for all those involved.
Those negatives sound like a typical film made by him.I really liked Clarence Williams III as the funeral parlor director spinning these stories.
I am a big fan of the whole "tales" type of movies and i thought that this film had a great way of taking four horror stories and giving them an urban twist.
Of the 4 tales told int the film i mostly enjoyed "Boys Do Get Bruises" which offered an interesting way of dealing with child abusive by showing how a "monster" doesn't necesarily look like one.
A tribute to movies like "Dr. Terror's House of Horrors" and "Tales from the Crypt", "Tales from the Hood" presents some horror vignettes centering on life in the black ghetto.
It has three urban youths being told a bunch of purportedly "horrifying" tales by a creepy funeral director (Clarence Williams III).The first deals with a black police officer who does not stop his white cop friends from beating a black man to death.
Just barely a horror tale.The third has a Ku Klux Klan man buying an old Southern mansion where he is attacked and killed by little dolls containing the souls of the black people who were killed by whites.The fourth deals with a black youth being cured of his violent behavior with VERY extreme tactics.This is very well-acted and has a few (very few) moments but I mostly hated it.
If you want a good film that tells short stories I would recommend Tales From the Crypt, Vault of Horror, Creepshow (both 1 & 2), and Tales From the Darkside,and skip this..
This was my first horror anthology, followed by several others It's got a decent script, even though some will say 'I've seen all this before' but to me, clichéd doesn't have to mean bad, if the right people are in it/behind and in front of the camera, this was also my first Spike Lee film, so I won't judge it on those merits.
Years before multi-talented filmmaker/comedian/actor Jordan Peele exploded after the success of his directorial debut 'Get Out', director Rusty Cundieff and executive producer Spike Lee also blurred the lines between traditional Horror with the real-life horrors of the Black community; while also having a little bit of fun with its own premise.
'Tales From The Hood' was released timely, during the heightened popularity of urban-black youth films or "Hood Movies" of the 90s; such as 'Boyz n The Hood', 'Menace 2 Society', 'Set It Off', and 'Juice'.
They are greeted by Clarence Williams III, who has an odd manner and tells them four horror stories, that feature clever modern day twists and make some rather important commentry on todays society.
I tried to take this section of the movie seriously, but the director made it very difficult, and the ending had on me the same effect as the ending of 'Training Day' (an EXCELLENT film, but as my friend put it, it looked like Denzel was feeling the Holy Spirit).Oh, and the framing story.
Clarence Williams, III is an excellent actor and does a great job with what he's given, but the idea that three (laughably stereotypical) gangbangers looking for their drugs would sit down and listen as a creepy old guy tells them stories- it's ludicrous.
Aside from Williams, the acting is terrible, and the God-awful special effects that accompany the final seconds of the movie pretty much destroy any impact that the ending may have otherwise had.I realize most people will give this a higher score because it attempts something that is conceptually sound and intriguing: horror from a black point-of-view.
While this movie tends to be very predictable, as stated before by other viewers, and it is somewhat heavy-handed with the racial stereotyping, foul language, and blood and guts, Tales From the Hood does manage to create some good old-fashioned horror in the Tales From the Crypt vein(no pun intended).
Trapped inside a funeral parlor, a mysterious director recounts four tales of supernatural horror to youths attempting to rob him in order to scare them all straight.The Good Stor(ies): Rogue Cop Revelation-After witnessing the brutal beating of a political activist, an honest cop finds himself tormented over whether or not he should squeal on his fellow officers who committed the crime.
Then it gets to the fun, frantic action and this one gets far more interesting as the doll comes alive and gets vicious, violent and quite intense which makes this one of the better segments.Hard Core Convert-After a series of gang-related offenses, a black youth finds himself in jail with plenty of enemies due to his criminal past.
"Tales from the Hood"- A fun but flawed horror-anthology from executive producer Spike Lee..
Even the "Twilight Zone" movie- a film based on the finest horror anthology series of all time- suffered this fatal flaw.Thankfully and happily, 1995's amusing and thrilling urban-themed horror-anthology "Tales from the Hood" emerges as one of the better attempts at a feature-length horror-themed anthology film, thanks to its unique subject matter, some stylish direction, good atmosphere and a few stand-out sequences.
But chances are you'll be having a lot of fun while doing it.The film's wraparound story involves a trio of thug drug-dealers who arrive at a funeral home to purchase drugs from its flamboyant and eccentric owner Mr. Simms (Clarence Williams III).
But things aren't what they seem...The two stand-outs in the film are definitely "KKK Comeuppance" and "Boys Do Get Bruised." While they do lack a bit of the social commentary and themes present in the other stories, they are by far the most fun and entertaining entries here.
In particular "KKK Comeuppance", which is just a great little throwback to killer-doll flicks like "Puppet Master" and "Trilogy of Terror" and also features some of the best horror music composer Christopher Young has ever written.What makes the film lose points for me are the first and final stories, which I found a bit lacking and even borderline monotonous in comparison to the much stronger middle-chapters.
The film is essentially a blaxploitation versions of Tales form the Crypt, telling several horror short stories but with a racially provocative twists.
Clarence Williams III takes on the Cryptkeeper role as a creepy funeral director who tells three drug dealers he's trapped in his place of business four scary stories, each with a twist.
The best two come in the middle of the film, one about a boy who tells a teacher about a monster who lives in his home, which features an uncharacteristically dark role for David Alan Grier, and another story about a racist southern politician, Corbin Bernsen, who gets his comeuppance by a small army of dolls possessed by the spirits of slaves killed on the plantation where he's now set up office.
The first and third stories - where three terrible white cops, one of them Wings Hauser (which is kind of a redundant statement) get picked off and chased by the un-dead corpse of the black activist they killed a year later; and, the least "Hood" set one where Corbin Bernsen plays the slimiest mix of David Duke (marking this as a Spike Lee production that beats out making fun of David Duke in Blackkklansman by 23 years) and Donald Trump (that hair!) as he is surrounded by tiny black devil dolls - are the major highlights.The second story has the benefit of David Alan Grier (or should I say here, David Alan DAMN) though he's only on screen for seven minutes as the "Monster" that keeps attacking a boy and his mother, though it takes time to get to the finale and up until then dances around what is a bit of an obvious conflict.
And the fourth ends up tying in sort of with the wrap-around conceit of the three guys looking to get "the S***" from Clarence Williams III, and is basically a way more preachier Clockwork Orange but with a gang-banger instead of Little Alex and lots and lots of strobe light effects (seriously, if you have that kind of seizure-inducing reaction to stuff like Incredibles 2, well, you've been warned).It's the one segment that feels too...
It shouldn't bother me so much, but it's the one segment that ages the worst in a film that on the whole really feels alive and angry and has a lot of potent things to say - at least in a consistent EC Horror comics way - about things like police brutality and abusive parents and reparations from slavery - and it's a movie that tries a lot harder (those stop motion dolls nearly steal the show) than it needed to for a flick that had a title sort of capitalizing on the formula of the period.This has cajones, Clarence Williams eating the entire set whole and asking for seconds, and the very ending made me want to applaud..
For the most part this is like most anthology films out there and the fact is that each story has good and bad elements.
For the most part though, TALES FROM THE HOOD is an interesting horror film and one that's worth watching.The best thing about the movie is its cast, which has some very good performances throughout.
The second story has an interesting twist and features the best performances but I'm not sure it should be in a horror movie.
The fourth story is certainly the weakest as it just comes across as a wannabe version of A CLOCKWORK ORANGE.As a horror film the movie isn't all that strong as there's certainly no scares and I'd argue that there's not enough blood or horror elements.
Tales From The Hood is a terrific and underrated Horror anthology that combines fine direction,a good cast,a memorable score and great special make-up effects.
All of those elements make Tales From The Hood a great Horror Anthology and one of the better Horror films of the 1990s.Tales From The Hood tells the story of three Black youths who have come to a funeral home to purchase some drugs from the funeral home's owner Mr. Simms(Clarence Williams III).
While at the funeral home Mr. Simms tells the three youths four different tales of Horror about death,revenge and madness.During the early to mid 1990s when Horror films was seen as "dead" and African-American cinema and Hood/Urban films were being made saw the release of Tales From The Hood,a fantastic Horror Anthology that is one of my favorite Horror Anthology movies and is one of the better Horror films of the 1990s that has thankfully earned something of a Cult status among Horror fans.
Tales From The Hood takes it's inspirations from Movie and TV Anthologies such as The Twilight Zone,EC Horror Comics,Tales From The Crypt,Creepshow(1982)and other Horror Anthologies before it but what sets Tales From The Hood apart is the African-American aspect and how the movie in a thrilling,scary and suspenseful way with bits of dark humor mixes together Supernatural Horror with an urban style and social commentary of a Spike Lee(who executive produced the movie)film talking about real life issues such as Racism,police brutality,child abuse and gang violence which Tales From the Hood stand out from other Horror Anthologies.
The movie gets off to a great start with the first tale Rogue Cop Revelation,a revenge story about police brutality and murder involving a civil rights leader,a young and naive Black rookie cop and three corrupt racist Cops.
Boys Do Get Bruised is probably the most clever and imaginative written of the four stories giving a interesting take on a monster story that is like a Twilight Zone episode but dealing with child abuse with multiple twists and turns(you'll see)at the end of the tale.
Great effects,K.N.B.In final word,if you love Horror films or Horror Anthologies,I highly suggest you see Tales From The Hood,a terrific and underrated Horror Anthology that is worth your time.
Once you see that Spike Lee was drafted in as an executive producer, the social elements of the movie become contextualised to a greater extent.The topics of the cautionary tales cover areas such as police brutality and racism withing law enforcement (Rogue Cop Revelation), domestic abuse against women and children (Boys Do Get Bruised), racism within politics (KKK Comeuppance) and the futility of gang culture and the violence it creates (Hard Core Convert).
All are delivered with a supernatural twist which places the movie strongly into the horror genre and making it not only groundbreaking, unique for it's time, but also helps it to maintain a strength when watched today.I was aware of the soundtrack before I was aware of the film itself as it was given to me shortly after its release in 1995, it would be a couple of years before I was able to track down a VHS copy.
Tales from the Hood is a unique film...kind of a Black spin-off on "Twilight Zone" or "Night Gallery" TV shows.....the stories starkly displaying the horrors and injustices of Black life and those who inflict those horrors...from present inner city scenarios to past slave times.
After coming off of the hilarious "Fear of a Black Hat", director Rusty Cundieff gives us a look at horror in the streets in "Tales From The Hood".
This 1995 horror anthology film stars Clarence Williams III, Corbin Bernsen, Tom Wright, Lamont Bentley and Rusty Cundieff.
As a white American, I view this movie a lot differently than its intended audience...lemme tell you why.The movie is basically a Tales From the Crypt like setting with a black cultured twist.
Its your basic police brutality and one of the weaker stories because its not very realistic, which I thought this movie was supposed to be.Tale 2 is the second best in my opinion.
Back in 1995, I was told about a little movie that featured horror tales from an African-American perspective.
It speaks on "black on black violence" in the African American community and while studying other people's comments about this film, I heard that it draws similarities from "A Clockwork Orange." Even though I said "Tales from the Hood" is the scariest movie I've seen it was still rather quite boring. |
tt2417854 | Lucky Bastard | Darkness. Police explore a crime scene, a San Fernando Valley house. We view the footage of their crime scene video. They find bodies, one after another -- What the hell happened here?One week earlier. The same house. An attractive young woman sits on a couch. This is Casey (Catherine Annette). She is interviewed by Devin (Clint Brink), filming her for an adult video -- but Casey underestimated the appetite of Devin and his cohort Josh (Lee Kholafai) for violent sex. They are interrupted by another porn star, the savvy Ashley Saint (Betsy Rue), who tries to rescue Casey -- but is jumped and assaulted by Josh. It is a violent, terrifying would-be rape. But it is also completely fake. A blooper happens and the performers break out in laughter.Days later, Ashley stops by the company's office to see the proprietor, Mike. Mike invites her to do the companys website Lucky Bastard, in which a lucky fan gets the chance to have sex with a porn star. Ashley flatly refuses, finding the concept loathsome, unsafe and unprofessional -- she is a single mother and her idea of adult content is doing her taxes and shopping at the grocery store. Mike shows her an innocuous application video by one fan, Dave G. (Jay Paulson), and bribes Ashley into the appearance.The company sets out to film the segment. Mike travels in his S.U.V. with Casey and Ashley, as well as Kris (Chris Wylde), the website cameraman, to pick up the contest's winner. Casey, Mikes latest girlfriend/porn star/plaything, asks if she can use a camera as well, and her footage joins with Kriss and cameras in the car to record the proceedings.The crew picks up the Lucky Bastard, Dave G, at the Amtrak station, where Mike and Dave immediately get off on the wrong foot. Dave has worn a Dodgers T-shirt, and Mike chastises him to change it (Major league baseball will sue our balls off!). The extent of Mikes belittling, insulting attitude towards his site's viewers becomes clear. Really? Kris asks. Right off the bat with the contemptuous prick?Inside the car, the filming goes no better: Dave is awkward, trying to please -- but uncomfortable with the interview that Mike insists is part of Lucky Bastard. They take Dave to a restaurant to film him dining with Ashley, where Dave argues that people like him never watch this portion of the website anyway -- we skip to the sex. They're interrupted by the maitre d (Angela Shin) who says they cannot film an adult production on the premises.As Mike argues with the maitre d, Dave tries to talk to Ashley and, in the background, clearly says the wrong thing. Ashley looks horrified, gets up and walks to the car. Ashley explains to Mike that Dave asked her out on a date and knew personal details about her -- what is he, a stalker? Casey suggests that Dave simply apologize, and his heartfelt explanation of being well-meaning and nervous convinces Ashley to give him another shot.The company relocates to a house -- the very same house as in the prologue, which, we learn, was outfitted with cameras for a reality show and thus is set up to film everything that takes place. Ashley and Dave film their sex scene, which becomes a fiasco. Dave climaxes prematurely -- that is, almost immediately, without even taking off his bathrobe -- and pushes Ashley to the floor in a panic.This time, Ashley is furious. She yells at Dave (you cant push a woman!) and rages to Mike that the whole thing is sick and a new personal low. She locks herself in a spare room, effectively freezing the production. Mike pleads with her to let him in. She opens the door and he apologizes, heartfelt; he offers to send Dave home at once and Ashley gratefully agrees.Dave, however, is enraged that he is not being given an opportunity to finish his sex scene -- Im the lucky bastard, he insists. He attempts to steal the video footage of his failure but Mike screams at him (Its mine! I paid for it, you signed the form!) and now Daves humiliation is complete: he has been insulted, belittled, revealed as sexually dysfunctional, physically intimidated, and exposed as weak in every way. And the whole thing is soon to be broadcast on a website.Mike orders his assistant Nico (Lanny Joon) to drive Dave to the station, and Nico -- out of discomfort and fear -- makes the fatal mistake of leaving the car cameras running. You think Im gonna do something? Dave asks. No, Nico replies, Id just feel more comfortable with them on.' Dave has finally had too much: he goes to pee in the bushes -- a ruse to get a rock--comes back, and bashes Nicos head in. Dave is now a monster, unleashed.Back at the house, Mike has summoned a male porn star -- Josh, from the prologue -- to film a scene with Ashley so he at least has something to show on the website. Dave infiltrates the house and, in his rage at being humiliated, one by one stalks, captures, and kills (by baseball bat or handgun) Mike and the crew. Each time, it is a comeuppance for the insults that Dave earlier endured.Finally it is just Ashley and Dave. But she alone has the strength, wits and sex appeal to outwit the deranged Dave. She seduces him, tricking him into untying her. They have sex, and after he climaxes -- whimpering and gentle -- she crushes his genitals, scrambles for the gun, and blows his brains out.She screams a primal scream of agony, then sits, shaken and shocked to be alive. What now? She looks right into the camera, which Dave had left running to film his conquest. She has a wry, angry, knowing look. She has had a complicated emotional relationship with the camera and her role in front of it. For her, that role is over. She gets up and turns the camera OFF. | violence, cruelty, murder, sadist | train | imdb | Lucky Bastard is a "found footage" thriller about a porn website run by Mike (Don McManus) that invites fans to have sex with porn stars.
Dave (Jay Paulson) is an eager young fan given a chance to have sex with the fabulous Ashley Saint (Betsy Rue).
Not only were the cameras not overly irritating, but it actually made sense for the plot of the film to have so many filming at once.The film starts with a rather graphic sex scene by non-porn standards (perhaps not surprising for a film of this subject matter) involving actress Catherine Annette.
Now, this scene notwithstanding, Annette is an actress to watch -- she has excellent screen presence and steals scenes, even eclipsing star Betsy Rue (with all due respect to Rue, who more than holds her own).
But, again, this is about porn so that may be expected.Don McManus is awesome, very funny and I love the beard.
He is not going to become much more well known from this film, but he should -- he has a great personality, a great look about him, and he is the one character in this movie I really found myself identifying with (whatever that might say about me).In the background is producer Jim Wynorski, whose involvement is not entirely clear to me.
People rarely notice editors, but Randel is worth every penny.Although the plot of this film is rather simple, it was brilliantly scripted.
Simple, nicely filmed, good story...Must watch.
Looking at the crazy title, I didn't watch this movie title for weeks after the release.
A member in a movie discussion forum posted naked scenes of actress Catherine Annette.
Though the first few mins of this movie is slow, I failed to move away...never seen story, limited characters but story is impressive.
You will surely love it!The movie starts with crazy bondage sex scene with beautiful actress Catherine Annette (I guess she never done it before and will never do it again)!
While the other reviewers written differently , I suggest you to watch full movie!
I was expecting a very low budget flick with bad acting filmed on a camera phone.
Now I'm not going to claim this was great art or anything but it was entertaining and kept my interest til the end.I'm not much for found footage movies, can't stand them really but they did find a way to use a better quality then most by having it take place in a reality show house equipped with cameras everywhere.
I think that really helped me enjoy this "found footage" So don't let the FF term keep you from watching.I expected acting to be on the porn level but found it to be much better and believable.
The dude who played the lucky bastard was really good.
I think I enjoyed his performance most, watching that transition and thinking of the frustrated nerds I've known.
From the perspective of a life-long die-hard movie enthusiast, I really enjoyed Lucky Bastard and find myself surprisingly haunted by some of the imagery and the darkness of the story's main antagonist.
It would be easy to dismiss Lucky Bastard as something trite and low-brow and seemingly not worth the time to pop some corn.
Any movie in which the backdrop is the adult film industry suffers an immediate stigma and a lot of closed minds unwilling to consider it as a legitimate movie-going experience.
That is unfortunate because there is much to treasure here, from the frequently hilarious dialogue to the spot-on performance of Don McManus to the shocking moments of violence that seem totally plausible in today's world.Lucky Bastard is a highly entertaining exercise in the found-footage genre, lending the impression that we are watching real people in a real situation.
Unlike other found-footage movies that focus on the supernatural and therefore become questionable in their realism, Lucky Bastard unfolds with specific and tangible reality.
These actors know what they're doing to sell the concept of the movie, as do the artists behind the camera.
The very premise, that of a young man who wins a date with his favorite adult film star and visits the set of an adult website to perform in a scene, is 200% believable in the p*rn-saturated cyber reality we live in today.
And if you're paying attention, the movie addresses something far beyond the on-screen dalliances of a hopeful everyman and his dream woman.
When you consider the facts of today's world in which troubled young people walk into shopping malls and schools and IHOPs to open fire with automatic weapons, Lucky Bastard presents a disturbingly potential reality of what can and does happen when you don't know what you're really dealing with.To give away Lucky Bastard's plot turns would do a disservice to the prospective viewer.
I would simply say give the movie a shot if you want to be entertained, amused, titillated, and ultimately shocked.
The latter half of the film is far from humorous, and there are moments that will resonate, especially when you think about the internet-obsessed guy next door who seems harmless yet a little creepy.Lucky Bastard puts a fresh spin on the found-footage genre and is effective in delivering laughs, surprises, and an ick factor that you'll think about after it's over.
It's also worth mentioning that it's one of the few thrillers I can think of that delivers gruesome events in bright daylight, and that stylistic choice really stood out to me and helps distinguish Lucky Bastard as a unique and believable tale.
I think this movie has a very strong appeal to a young, hip audience, and I'm really hoping it can get the attention it deserves and rise above those who would carelessly dismiss it.
It seems the only people that actually enjoyed this movie are those closely involved in its production.
If you want a great film that involves pornography, simply save your hard-earned dollars and go rent Boogie Nights (1997)..
great flick, better than expected.
After excitedly ordering this movie, I was finally able to view it last weekend.
Both I and my co-viewer thought it was excellently acted and a suspenseful flick which was surprisingly better than we both expected.
My viewing tastes tend toward edgy fare and I collect NC-17 rated movies (which are too few and far between unfortunately), and this is one of the best I have seen in the last couple of years.
My favorite character was Ashley, nothing like a kick-ass no-holds-barred female to command attention.
I always have to wonder why people comment on films that they haven't even seen--why do we care about your opinion based on nothing but your own personal bias?
Watch the movie, THEN comment..
Robert Nathan's Lucky Bastard fought strict censor restrictions in order to keep its NC-17 rating, effectively making it the first NC-17 found footage film ever made.
Wisely so, because an R-rated Lucky Bastard would've been far more inferior than the NC-17 version we got as the final cut.
Despite the film being exercised in the genre I run hot and cold with, Lucky Bastard finds incredible ways to be a gripping and suspenseful outing on a genre I wouldn't completely give up on just yet.Just last night, I watched Earth to Echo, a new found-footage adventure for young children that serves as this generation's E.T..
Not only am I fully confident in saying that this is the first and only time the mention of that film and Lucky Bastard will appear in the same review, but I am also saying that through these two films, I have found a reinvigorated sense of what the found footage genre can be if direction and approach are placed in the forefront of the film over gimmicky ideas and momentarily substantial little quirks.
Both films have the ability to leave lasting impressions on viewers, especially Lucky Bastard in its often dirty and deeply disturbing nature.Following lowlit shots of a crime scene, the film opens where a young, attractive woman named Casey (Catherine Annette) is being interview for a potential porn video by two men.
Shortly after the interview, we see her being viciously raped until another porn star named Ashley Saint (Betsy Rue) walks into the home before becoming overpowered by both of the men.
However, a flub by one of the men causes for the staged porn shoot to cut, which is then when we see how this entire setup works.
These "rape porn" videos are shot by a loyal cameraman and managed by the cocky and sleazy producer Mike (Don McManus), who is also dating Casey, but of course not exclusively.Following the shoot, Mike approaches Ashley about the idea of doing a shoot for his "Lucky Bastard" website, a site where a random and ambitious fan and subscriber of the series is picked to have sex with a porn star.
After much convincing, being that some of Ashley's rules in the industry are no anal sex and no amateurs, she finally agrees, recognizing that she has two young children and several bills that need to be paid.
The applicant they settle on is "Dave G." (Jay Paulson), a shy and squirrelly soul, who is clearly nervous about his first time being on camera and shaken when in the presence of the beautiful Ashley.
Little else about the film can be said without leading into grave spoiler territory accept that Dave's behavior eventually begins to take a toll on the cast and crew of the "Lucky Bastard" shoot, leading to some incredibly unforeseen consequences.Lucky Bastard defines the rich elements of unpredictability in a film, so much so that just when you think screenwriters Lukas Kendall and Nathan are writing themselves into a corner, they miraculously find a way out and are able to construct another intricate and tense setup just as gripping as the first.
Nathan fearlessly orchestrates this idea to the fullest extent, not only bringing to life the smuttiness of the porn industry, but also emphasizing that we (you know who you are) are the people that keep this industry in business.
In reviewers' rants about why Lucky Bastard somehow suffers from a lack of originality, let's hope they don't forget to recognize the great performances at hand here that come from more than Betsy Rue as the porn star, who clearly isn't a helpless, damsel in distress.
The performance of the hour comes from Don McManus, who delivers the role of a sleazeball porn producer to such extreme effect, whether he's using his slickness to propel a scene forward, anger to scold and demean, or fear to convince and persuade.
McManus shows the extreme diversity of an actor's emotional leverage in one, ninety minute project to the degree that some have a hard time conveying in over a decade in the business.
Then there's Paulson, who we can't forget, plays the role of the innocuous and sweet man who doesn't know any better to a vindictive soul with similar leverage and effect to McManus.
The unexpectedly refined and winning performances are what keeps Lucky Bastard engaging throughout.However, what keeps the film riveting, never boring, and a rousing great time is just the episodic structure of scenes you didn't expect or predict flowing so well together to create an intense and gripping final product.
There is such a cluster of clever ideas and a barrage of different camera angles that work to make the film a consistently exciting great time.
Few first time directors can make such an ambitious, gifted product, but Nathan - whose credits include working on the original staffs for shows like ER and Law & Order - uses incredible realism and quietly-vocalized questions to his advantage, creating a tense and well-structured piece of cinema from a genre I previously thought was long gone dead.Starring: Don McManus, Jay Paulson, Betsy Rue, Chris Wylde, Catherine Annette, Lee Kholafai, and Lanny Joon.
'Lucky Bastard' is a porn website that invites its members to have sex on camera.Shy and awkward Dave G.
is chosen by porn producer Mike to have sex with porn star Ashley Saint.But it seems that Dave G.
is not as innocent as he appears.I must say that I quite enjoyed "Lucky Bastard".It's a surprisingly clever and absorbing found footage thriller with plenty of sexual activity and graphic nudity.The acting by Don McManus,Jay Paulson and Betsy Rue is especially remarkable.The script offers some surprises,unfortunately the film should be more tense.Still if you are tired of conventional found footage horror/thrillers you may give "Lucky Bastard" a chance.7 murders out of 10..
Smarmy, burnt out middle-aged porn king Mike (Don McManus) runs his own adult film empire in L.A. that specialize in things like live streaming rape-fantasy scenarios.
One of their other sites - "Lucky Bastard" - offers subscribers a chance to come in and film a sex scene with one of their actresses.
Site favorite Ashley Saint (Betsy Rue), a single mother of two who's not lived a charmed life and adopted a tough exterior as a result, decides to do the job for 1500 bucks.
Once David is picked up for the shoot, his odd behavior and constantly- changing stories raise some red flags for the perceptive porn queen, who's faced a dangerous stalker in the past and knows David fits the m.o., but her suspicions are all but ignored by everyone else.
They - along with a few cameramen (David Wylde, Lanny Joon) - then go to a rented Hollywood hills mansion filled with surveillance cameras for the shoot and then things take a violent turn.After David finds himself unable to perform for the cameras (well, he actually "performs" a little too quickly if you catch my drift) and is exposed as a virgin, he's humiliated and mocked by the crew, Ashley refuses to "act" with him a second time and Mike kicks him out of the mansion.
Also getting caught up in the crossfire are Casey (Catherine Annette), Mike's much-younger porn starlet girlfriend who's fighting a losing battle trying to prove she's more than just a piece of ass, as well as a bitchy real estate agent (Deborah Zoe) who apparently rents properties by the hour and the porn stud (Lee Kholafai) called in to replace David.If you're sick of found footage movies and mockumentaries set in dreary abandoned asylums and dark haunted houses, this at least marks a change of pace to that played-out formula.
Aside from some crime scene footage at the beginning telling the eventual fates of some of the characters, it's filmed entirely during the day in bright, sunny California.
Unlike most other films of this type, there's fairly strong acting (especially from Rue and McManus) and a decent (though dialogue-heavy) screenplay.
If you've ever seen any behind- the-scenes footage on adult film sets or documentaries about the people who make and act in these kinds of films, you'll realize just how well- researched this is.
The thriller / horror elements and violent backlash of the psycho toward the end are, unfortunately, far less taut and disturbing than I think the filmmakers intended, mostly due to the shooting format.
I'm not really sure the "found footage" route was the right way to go for this kind of material.There's clearly a message being conveyed here, so at least this has a focused point of view and something to say.
eventually get burned." That in itself sets this up as message movie meant to expose the dangers of the porn industry.
The film does develop a sort of victim / victimizer parallel between the money-centered porn veterans who are completely resigned to what they do and the fresh faces in the industry who are treated as being disposable with no regard whatsoever for their feelings.
Again, this seems somewhat true to the industry based on what I've heard from many - though not all - of the people who have worked in the industry.One thing that did take me by surprise was that this was directed and co-written by an extremely successful TV producer with five Emmy nominations to his name and not an ambitious amateur like I initially thought.
The producer was prolific B movie / soft corn porn king Jim Wynorski, and this is certainly more thoughtful than the brainless T&A films he's typically associated with.
Because of full frontal male and female nudity, lots of raunchy dialogue and two simulated sex scenes (which are about on par with what you'll see late night on Cinemax these days), this earned itself an NC- 17 rating.
Sometimes, "found footage" films feel like the writers/directors were just trying to cash in on a craze and make a film that doesn't necessarily require a script in order to get a big return or just get a film out there
and sometimes they're even worse."Lucky Bastard" is a thriller with no thrills and a horror with no scares.
The actors looked lost on who exactly their characters are suppose to be and just, instead, settle for cheesy acting, it seems like the director had no idea about yelling "cut" or having the editor trim scenes, and the entire concept of bringing in tension was entirely foreign to the production.
The entire film is just one long and terrifyingly bad example of how to not make a thriller.
Every scene lasts way too long and the actors look like they are trying, and failing miserably, at improvising every scene.
The film wastes an entire hour without establishing anything but the most basic of its premises and completely forgetting to seed the ground in order for terror to sprout."Lucky Bastard" only had one thing in its favor
it cured my insomnia.Hello!
My name is Rev. Ron and if you feel like reading more of my rants, ramblings, geek references, bad jokes, and other movie reviews (like a more in-depth look at "Lucky Bastard" and other films that actually remember to include the frightening stuff) you can visit my blog at revronmovies.blogspot.com.
If you hate me now because my opinion on this film differed from yours, you don't need to visit. |
tt0295701 | xXx | An NSA mission to collect information on Anarchy 99, a mercenary group of former Russian soldiers goes awry when the agent's identity is discovered. Anarchy 99 has a biochemical weapon named "Silent Night," missing since the fall of the Soviet Union, and NSA Agent Augustus Gibbons believes the only way to get close is to recruit an agent that would not have any ties to the United States government or any formal training that Anarchy 99 would recognise. He selects Xander Cage, also known as X, an extreme sports professional and host of his own television show, who was recently captured by the FBI for stealing and destroying a prominent California senator's car as an act of protest. Gibbons puts Cage through two tests– stopping a staged diner robbery and escaping from a drug cartel's plantation in Colombia during an army raid, each test seeing Cage demonstrate both his physical and psychological skills as he both defeats his foes and rapidly assesses the situation before him– and offers Cage the mission. Cage is convinced to accept the mission after Gibbons uses a carrot/stick technique, with a clean slate as the carrot and a prison sentence as the stick.
Xander goes to Prague and meets with the NSA support team including Czech agent Milan Sova, who explains that Cage is only in Prague because Gibbons had put pressure on Sova and if he does anything wrong, he will be deported back to America. Cage flips this show of authority by saying that he doesn't want to be there and pointing out that he's never been under anyone's jurisdiction. While scouting an Anarchy 99 party, Xander purposely reveals Sova's cover, which allows him to gain the confidence of Anarchy 99's leader, Yorgi. Through Yorgi's brother Kolya, who is a fan of Cage's show, Xander gains critical information on the military background of Anarchy 99's members. Xander is attending a car deal with Yorgi at his invitation when Sova shows up and starts a firefight. Xander shoots Sova with a fake blood-splatter round to make it look like he is dead, which causes Yorgi to fully accept Xander as a member of Anarchy 99. Xander returns with Yorgi to their headquarters, a castle outside of the city, where he meets Yorgi's girlfriend Yelena. Xander finds Yelena trying to break into Yorgi's safe and, taking her to a nearby restaurant, tells her he is an American agent. Yelena gets a call from Kirill, a sniper working for Yorgi, who reveals they know of Xander's true identity before he starts firing on them. Yelena and Cage work together to help each other escape by staging a fight between them, which results in Cage knocking Yelena out with a serving tray. Cage is then kidnapped by the NSA team and taken to Gibbons, who tells Xander to return home since his cover is blown, but Xander refuses as he fears for Yelena's safety from both Yorgi and a planned attack on the castle by special forces. Xander learns that Sova purposely blew his cover.
Xander sneaks back to the castle and overhears Yorgi's plans to equip a waterborn drone named Ahab with "Silent Night" to release the biochemical in the middle of every major city, starting with Prague. Yorgi tests the weapon on his scientists, killing them. Xander rescues Yelena from Yorgi and kills Kolya. At a safehouse, Yelena explains she is an FSB agent, working undercover to get close to Yorgi two years ago, but six months after the start of the operation, her contacts abandoned her. Xander organises the rest of the NSA team in Prague for an assault on Yorgi's castle. Xander himself jumps out of a plane and snowboards to a nearby monitoring station which Anarchy 99 uses to secure the castle and destroys it by starting an avalanche, but is captured by Yorgi's forces.
Xander is taken back to Yorgi, who reveals he has captured Yelena again and has known about her true identity all along. As the special forces attack starts, Xander and Yelena use the opportunity to escape, killing Kirill and Yorgi, who already launched Ahab towards the center of Prague. Xander alerts Gibbons, who has the Czech military prepare to destroy the Ahab via airstrikes with the unfortunate side effect of releasing some of the biochemical agent. Xander harpoons Ahab from the car, grabs the hard drive containing the priming and targeting information and flips one of the primed bio-warheads, causing the drone to sink underwater. Xander is rescued from the freezing river and Gibbons promises Yelena American citizenship. Xander and Yelena are relaxing in Bora Bora when Gibbons calls, telling him there is another mission. Xander ignores him and goes with Yelena. | psychedelic, cult, comedy, action, murder | train | wikipedia | The way they incorporate their "recruitment program" into the movie is fun and original, and though Vin Diesel doesn't really "act" in it, it's a lot of fun to watch.
For plot, xXx rates a 1.For acting, a 0.For action, a 10.This movie is unbelievably stupid, but somehow people (including me) like it.
Vin Diesel is a pretty good guy to play these new action-heroes.
Vin Diesel has the charisma and potential to be the next big action movie star and has a really cool voice.
It's never mentioned on screen but the implication is that the dead man is Bond, James Bond and throughout the movie where treated to an alternative universe where the world is no longer saved by sophisticated suave secret agents but saved by a loud crass extreme sports loving American Did I use the word " treated " in the above paragraph ?
Okay I disagree with many of the people claiming this was the worst movie of 2002 but Rob Cohen is a very shallow director while Vin Diesel is a laughably bad actor who makes Sylvester Stallone look like Anthony Hopkins in comparison .
The story structure mirrors that of the franchise of cramming in several different locations because it seemed like a good idea at the time , so much so you find yourself forgetting what the original plot was , there's a femme fatale and the bad guy wants to start effectively world war three .
If you enjoy extreme sports, action genre movies and bad guys with eastern european accents, sign up get ready to party.
Therefore they kidnap extreme sports enthusiast and counter culture hero Xander Cage, aka xXx, aka Vin Diesel playing virtually the same character he did in Pitch Black and The Fast And The Furious.
In fact before long they will be making films to appeal to people who think the xXx movies have too much dialogue and not enough nu-metal.
Furthermore, Xander is supplied with technological arms by an agent(Michael Roof), similar to Q-James Bond.The film contains high-energy action, noisy thrills, struggles, emotion and spectacular scenes.
If this is how desperate the government is for spies in the film, then just come out and say it.xXx. Starring: Vin Diesel, Samuel L.
He had some great potential showing in things like "Boiler Room," but he apparently felt that he found his niche in films like xXx, where lines are really corny and go something like: "Do you want some ice before your brain overheats?" It's a shame.This movie (movie, not film: film implies it's more sophisticated) threw away any opportunities for acting by making the characters larger than life (by a scale of about a trillion% ), so any potential care for the characters was instantly eradicated.xXx, in the opening act, offers Diesel's character as a, for lack of a better term, badbutt rebel (how original).
Sure, he was fine providing a voice for the underrated animated movie "The Iron Giant", but in live action he isn't anything like what I would consider a leading man.
But I'm not sure why, I kinda enjoyed "XXX" because it was very cool just to watch.I think just to watch these kind of sports are very exciting, so you just get into the groove of the movie and except everything that is happening.
That's the great thing about Hollywood movies, anything can happen and I love it- just like most of people do.The music is pretty cool, as usual in American productions and the action goes from the bottom to the top in a few seconds.Vin Diesel is probably one of the best American action-flick's actor, he rules in any movie where there're explosions.
One of the worst films I have ever seen.Vin Diesel plays Xander Cage a muscle bound extreme sports fanatic who becomes an agent for the NSA, an organisation so short of talent that they enlist tattooed 'Right said Fred' look-alikes.The plot is pathetic and predictable, the dialogue embarrassing and the acting truly awful.
One of the worst films I have ever seen.Vin Diesel plays Xander Cage a muscle bound extreme sports fanatic who becomes an agent for the NSA, an organisation so short of talent that they enlist tattooed 'Right said Fred' look-alikes.The plot is pathetic and predictable, the dialogue embarrassing and the acting truly awful.
First off, I think I was half-drunk when I saw this movie, and yet it still came through as another flashy, explosion derivative popcorn flick in the genre Schwarzenegger so nicely carved out for Hollywood.Vin Diesel is a half decent actor, but I wouldn't call this movie his holy grail.
XXX's strongest redeeming element is it's mindless action - you can just turn off your brain, because you won't have to think once while watching this movie..
A sort of "Bond for babies", "XXX" parallels every 007 movie ever made with eXtreme action in lieu of class, finesse, and sophistication.
In order to get the bad taste out of my mouth from the humorless, depressing Casino Royale, I treated myself tonight to XXX, which I originally thought was an excellent roughneck American version of James Bond anyway.This movie is just plain fun; the cast is great, the stunts and premises are imaginative, the music is terrific and the quirky humor gets me every time.I do wonder why any mention of Marton Csokas by name is so obviously omitted from the we're-all-one-big-happy-family "making of" material; was there trouble on the set?
Vin Diesel's performance is one the worst I've ever seen in a movie this big.
Asia Argento puts in a decent performance and Samuel L Jackson does what you would expect him to do in a crappy movie like this, plays on routine.
If that movie marks a change in the action genre, I am sorely ashamed to go to the theater today.XXX starts its failures by having an actor who couldn't act to save his neck.
Though movies about spies have been created many times over through the years, xXx still carries an auro of uniqueness.Xander Cage (Diesel) is a character that doesn't nessecarily want to save the world.
I'm not generally a big fan of action-packed films, but after seeing "The Fast And The Furious" I really began to like Vin Diesel and had my mind set to go see "Triple X." Although my main reason to go was to see him, I enjoyed the movie very much.
Too bad that XXX represents a third rate Michael Bay movie, with appallingly soulless action, unexciting villains and a hero so dense that one can't believe such a worthless movie was thought of as a good idea for the man shooting it through his camera.
Watch a real Bond movie for the real thing, don't watch this poser.As far as action flicks go, working your way down from Schwarzenegger to Diesel, is almost as much of a valley as working our way from heavy metal to emo.
Yet again Rob Cohen tries to direct a film for an audience he thinks he understands, and he does it again by trying to make it as flashy, noisy and as incredibly stupid as he can.Logic it seems has no place here and we're thrown every generic character ever to have existed in action movies.
The reluctant hero recruited to take down a mad terrorist, the hard as nails boss, the love interest who has a few secrets of her own, the absolutely nonthreatening Russian bad guy and not forgetting the geeky, and very annoying comedy side kick who provides Vin with his tools.It's got plenty of action, and while I do like a good dose of mindless violence now and again, there is a limit to how much bullet time style, CGI manipulated action scenes I'm willing to sit through before they all start looking the same.
And I don't know what Samuel Jackson was thinking when he decided to star in this, but not even he puts on a half decent performance, only really there to add some star power.How I miss the days of the old, violent 80's action movie, where heroes where believable and action scenes where genuinely on the edge of your seat stuff.
To one of the hairless action guys to come along in years since the heydays of Yul Brenner or Issac Hayes for that manner,Vin Diesel looks and dresses like a bouncer and his reluctant non-acting recalls the insouiciance of little-missed bruisers of yore,such as Jean Claude Van Demme,Chuck Norris,Steven Seagal,Sylvester Stallone,and Dolph Lundgren and others in that category.
With his tattoos,his shaved head and his hyperactivity he's an action hero for the generation weaned on extreme sports,Playstation and Ritalin with a flair for fast cars,secret gadgets,beautiful women,and villains bent on world destruction(the producers copied the formula of James Bond to the exact tee).Since his target is very young,it looks like we'll be stuck with him for a while.
In 2002, it was a film that promised a new breed of action hero: Xander Cage, the US answer to James Bond, in a film that takes a typical spy movie and shakes it up a little.The film plays into all the same conventions as a typical Bond movie, complete with gadgets, a car with weapons, and maniac villains in secret lairs with elaborate plots to release some kind of elaborate superweapon.
The film moves at a fast pace, has plenty of cool scenes, and it is every bit as fun of a movie as other guilty pleasure favorites in the genre (such as Charlie's Angels or Die Another Day).The plot is pretty tight and it feels complete, but it doesn't necessarily feel all that original, despite the unique premise of hiring a hardened criminal as a spy.
Acting is a bit over-the-top, but Vin Diesel is a lot of fun to watch as the main character, the villains are really good, the love interest isn't bad, and everybody else is okay.
The music score is decent; the film does tend to bust out with a lot of obnoxious rock and metal, but it fits.xXx is one silly action flick that can't really be taken too seriously, but as an absurd guilty pleasure, it is quite entertaining and fulfilling.
"xXx" is an entertaining spy/action film because it puts a nice twist to the genre by including an outcast as a main character & featuring some impressive stunts.
Vin Diesel also reminded of what he was like in the Riddick movies, it seems he was always the guy flying around cutting bad guys to shreds.
This is an action film that the young and old will enjoy, Also alivable in a Two-Disc Unrated Director's Cut. Followed by xXx:State of the Union without Vin Diesel.
The film in my opinion is actually well done, has a good story, plot line, decent acting, and plenty of action to keep you entertained.
I never found myself wanting to turn it off although a lot of the scenes had me feeling truly embarrassed for Vin, who plays a much better Riddick than Xander Cage (I mean, come on, the lead character's name should give you a clue as to what kind of movie this is).
I have read all the bad comments about XXX - knocking the movie's unfounded comparisons to the James Bond films, slamming Vin Diesel's acting ability, charisma and screen presence, and thoroughly lambasting the film's cookie-cutter Euro-baddies and illogical story line.You know what?
STAR RATING:*****Unmissable****Very Good***Okay**You Could Go Out For A Meal Instead*Avoid At All CostsIt's hard to believe nearly ten years down the line after directing the moving Bruce Lee biography Dragon director Rob Cohen is churning out a movie as mindless and uninspired as XXX.Promoted heavily upon it's release and with a sequel already in production,it's obviously the type of movie that Hollywood has thought up to get audiences running in droves.And,like cattle,it's box office performance in the US would suggest this has been so.As you watch the film,you can see it's been made-up like a crowd pleaser.But if you look past the eye-floss,all you see is a very tired and weak story ,podgily garnered from your average James Bond film.Vin Diesel is admittently a very credible action hero,and could well have a career ahead of him starring in similar movies.And some of the action and stunts are breath-taking (the scene where he causes the avalanche near the end has to be seen to be believed,especially on a THX sound system).But in order to fully succeed,an action film needs a good script,an engaging story and really catchy dialogue.XXX lacks these three vital ingredients probably more so than any other recent action movie,and it certainly shows.So sadly,in it's case,it's more like two strikes......then you're out.**.
There is more action in this movie than I can remember in most of the classic Bond films put together.
I had been waiting for this movie since Vin Diesel's last film, Fast and the Furious, and I gotta tell you, I was not disappointed.
The action sequences were awesome, Vin Diesel was, of course, amazing, and I thought the movie itself was great.
but yes, overall I definitely recommend this movie to anyone who loves great action stunts, extreme sports, spy movies, cars, and Vin Diesel..
The movie describes the story of a sports daredevil, Xander Cage (Diesel)who is just about at the end of his free ride in the world, with all the s*** he gets away with.
I've seen all 20 of those James Bond films, and "XXX" puts them all to shame!As far as Action/Adventure movies go, in "XXX" the Action is hotter, the sex is hotter, the humor is funnier, and Vin Diesel is much more masculine that Sean Connery!
This is a much better movie than those classic Sean Connery Bond flicks.I prefer Van Diesel's performance of Xander Cage even to any of the Action/Adventure roles of Arnold Schwarzenegger or Sylvestor Stallone.I grew up in the 60s, and the American spy films such as Dean Martin's Matt Helm franchise, or James Coburn's two Flint movies were "cool," but they were never quite as good as the actual James Bond films.Thus far, I'm finding the 2002 spy films, "Minority Report," "Austin Powers in Goldmember" and "XXX" to be much, much better than the James Bond films.The coming attractions trailer for Eddie Murphy's "I Spy" also looks like it will put the Bond franchise to shame, as well.It wouldn't surprise me at all if the latest Pierce Brosnan Bond, "Die Another Day" doesn't even come in first place at the Box Office.MGM should begin sending out an "SOS," because all the cookie cutter Bond films are so locked into that James Bond formula that it's just "Same Old Stuff," "Same Old Stuff," "Same Old Stuff," "Same Old Stuff...."The fact that People magazine named Brosnan "Sexiest Man Alive" this year means little more to me than being named "Employee of the Month."Let's face it, James Bond shouldn't be played by an actor who keeps turning down invitations to join the AARP.Vin Diesel and Sean Connery also have something in common: They're BALD!
But you will also be an idiot.If you go to this movie expecting to see lots of stuff blowing up, and Vin Diesel doing all types of stuff that could never actually happen, you will get everything you want and more.
I love action & Vin Diesel, so this was a movie I'd been waiting several months to come out.
I ask what better reason to go see an action movie?James Bond = boring, XXX = XTREME!.
If you like action, if you like "The Fast And The Furious," and if you like Vin Diesel, then you'll love "XXX."
There were some very thrilling action scenes (the avalanche was well done, just like the bridge stunt) and the plot was a 'best of' every Bond movie you've ever seen.
Asia Argento should stick to the movies of her daddy, and the villain was a carbon copy of (again) every Bond villain you've ever seen.I'm not sure if I like the idea of Diesel becoming the new action hero.
Anyway, Diesel was good in Fast and Furious (a movie way better than this one)but I really don't think he's leading man material.If you want to go to XXX, you'll probably have a fun time, but chances are you'll start to forget the movie before the end credits role.
I love big budget action movies as much as the next person, but this is so shallow and poor, its not possible.I almost wish I could turn back the time ten years, cos then this film would be the best I've ever seen.Asia Argento, and the villian are hardly villianous.
Vin Diesel needs something much better than this to start a career and Samuel L Jackson is wasted.The only good bit was the snowboarding bit, but it was too little too late.The submarine looked like a childs toy...and I could go on and on about how dire this film is, but I won't.If you're over the age of 15 and really have to see it, then wait till rental...otherwise go and rent Con Air or Face/Off and see how action movies should be done..
If anyone thinks this movie represents a good action flick, then may I assume that they haven't been alive for very long and so haven't seen the real thing.Cheap and obvious effects, one-dimensional acting and a ridiculous plot serve to make even the tired clichés of the Bond films seem like art by comparison..
It has laughably unbelievable action sequences, no matter how experienced XXX (Vin Diesel's title charater) is at extreme sports.
As Xander Cage, Vin Diesel is tolerable...can't say if Samuel Jackson is running out of work, though...for most of the movie he just walks around clapping his hands and ....
Vin Diesel may well be the next big thing in leading men of action, but this sure wasn't the vehicle. |
tt0072684 | Barry Lyndon | PART I: By what means Redmond Barry acquired the style and title of Barry Lyndon.In the opening scene, set in 1750s Ireland, the father of Irishman Redmond Barry (Ryan O'Neal) is killed in a duel by a businessman over a disputed sale of some horses. This detail is related by the film's narrator (the voice of Michael Hordern), who comments ironically on the events that transpire. The widow (Marie Kean), disdaining offers of marriage, devotes herself to the raising of her son.While still in his teens, Barry falls in love with his older cousin, Nora Brady (Gay Hamilton). A wealthy English army officer named Captain John Quin (Leonard Rossiter) meets and begins courting Nora, leading the jealous Barry to challenge Quin to a duel. They fire pistols at ten paces and Quin falls. Believing that he has killed Quin and will be arrested by the British for murder, Barry flees.On the road to Dublin, Barry is robbed and his horse stolen by a middle-aged highwayman (Arthur O'Sullivan) and the man's son. Penniless, Barry enlists in the British army and finds himself in boot camp. During training, Barry gets into a brawl with a local bully named O'Toole (Pat Roach), and is forced to fight bare-knuckle against the guy. Barry wins the fight by dodging all of O'Toole's blows and knocks out his opponent, which earns him popularity from the rest of his fellow recruits.After basic training, Barry and his unit are sent to France to fight in the Seven Years' War (1756-1763) between the alliance of Great Britain and Prussia and the alliance of France, Austria and Russia. While still in a training camp, Barry learns from an old friend, Captain Grogan (Godfrey Quigley), that Captain Quin is not dead after all and has married Nora. The whole duel was a ploy by Nora's relatives to make Barry flee from Ireland so she can marry Quin.After the death of Grogan in a skirmish, Barry, fed up with the brutality of war, deserts from the British army. Posing as a British officer, Barry travels through the allied German states along the Rhine, hoping to get to neutral Holland and from there hopefully get back to Ireland. Barry has a brief affair with a local German woman (Diana Koerner) whom he shacks up with while her husband is away at war.Later, Barry meets a Prussian officer, Captain Potzdorf (Hardy Kruger), who quickly sees through his disguise. Given the choice of joining the Prussian army or being turned back over to the British where he will no doubt be tried and shot as a deserter, Barry enlists in his second army. After Barry saves Potzdorf's life by dragging him out of a burning house during a battle with French troops, Barry is promoted and receives a special commendation from the Prussian king, Frederick the Great.Two years later, after the war ends in 1763, Barry is employed by the Prussian Minister of Police, Potzdorf's uncle. It is arranged for him to become the servant of the Chevalier de Balibari (Patrick Magee), a professional gambler. The Prussians suspect that he is a spy and Barry is assigned to try to determine if he is. However, Barry discovers that the Chevalier is an expatriate Irishman like himself. After an attack of conscience, Barry immediately confesses his mission to the Chevalier and becomes his protege while continuing his charade of spying on him for Potzdor. Barry assists the Chevalier in cheating at card games, but when the Prince of Tübingen (Wolf Kahler) suspects the truth after losing a large sum of money, Potzdorf decides to expel the Chevalier from the country. Barry relays this to the Chevalier who persuades Barry to take advantage of this to flee Prussa. The Chevalier flees from his house during the night and crosses the border. The next day, Barry impersonates the Chevalier by doning his wig and clothes, so when Potzdorf arrives to take him to the border of Prussa and Saxony, Barry rejoins the Chevalier, both free at last.Over the next several years, Barry and the Chevalier become successful gamblers as they travel through Europe and gain access to high society. They wander from place to place, cheating the nobles at card games. Barry proves to be very useful; when a loser refuses to pay his debts, Barry's excellent swordsmanship convinces him otherwise. Seeing that his life of being a drifter and gambler is going nowhere, Barry decides to marry into wealth. Some time later, at a gambling table in Spa, Belgium, he encounters the beautiful and wealthy Countess of Lyndon (Marisa Berenson). After Barry has an argument with Lady Lyndon's aged and terminally sick husband (Frank Middlemass), he suffers a heart attack and dies.PART II: Containing an account of the misfortunes and disasters which befell Barry Lyndon.The following year (on June 15, 1773), Lady Lyndon and Barry are married and Barry takes her last name of Lyndon and settles in England with wealth at last. The Chevalier is the best man at Barry's wedding and afterwords, he wishes Barry luck with his new life and goes off on his own. Young Lord Bullingdon (Dominic Savage), Lady Lyndon's 10-year-old son by Sir Charles, hates Barry from the beginning, knowing that Barry is an adventurer and "common opportunist" and is not in love with his mother.In this second part, Barry undergoes a character transformation from being ambitious, naive and innocent, into self-destructive and arrogant who becomes corrupted by his newly acquired wealth and power. The marriage between Barry and Lady Lyndon is not a happy one, although they welcome a new son born the following year, whom they name Bryan Patrick. Barry is unfaithful to her, and expends most of Lady Lyndon's fortune in an effort to ingratiate himself with those who could assist him in his quest to become a peer of the realm while keeping his wife and children in dull seclusion. He eventually comes to his senses and apologises to her for his treatment of her.A few years later, Barry brings his mother over from Ireland to live with him on the estate grounds. After meeting with Lady Lyndon as well as her son Lord Bullingdon (now a teenager played by Leon Vitali), Barry's mother privately warns her son that his position is precarious. If Lady Lyndon were to die, all of her wealth would go to her first-born son Lord Bullingdon; Barry would be left penniless. Barry's mother advises him to obtain a noble title to protect himself. He cultivates the acquaintance of the influential Lord Wendover (André Morell) with this goal in mind, spending much money to grease his way to the top of the social ladder. Barry gains access to more of high society and even once meets with the British king George III at a reception in London. But all this effort is wasted however.One day during a birthday party for Lady Lyndon, Lord Bullingdon crashes the party and announces his hatred of his stepfather. Bullingdon vows to leave his home and never return as long as his mother is married to Redmond Barry whom he continues to badmouth as a "Irish underling". The hot-tempered Barry physically attacks Lord Bullingdon and beats him up in front of all of the important guests. Humiliated by this public brawl, Bullingdon never the less makes good on his word and leaves the family estate and England itself for parts unknown. However, Barry's public cruelty towards his unruly stepson loses him all the powerful friends he has worked so hard to make and he is shunned socially.In contrast to the mistreatment his gave Lord Bullingdon, Barry proves to be a doting and compassionate father to Bryan. Barry now focuses all his attention on raising his son Bryan. Barry cannot refuse the young boy anything and spoils him every chance he gets. Barry even purchases a pony for Bryan to ride despite the fact that the young boy is not a good enough rider. Bryan says that all he wants is a horse (not a pony), so he can go hunting with his father. However, on Bryan's 9th birthday, despite his parents stern orders not to ride his new horse without the company of his parents, the spoiled and rotten boy disobeys them anyway and is thrown while riding from his horse and dies three days later from a head injury.The grief-stricken Barry turns to drink and isolates himself even further, while Lady Lyndon seeks solace in religion, assisted by the Reverend Samuel Runt (Murray Melvin), tutor first to Lord Bullingdon and then to Bryan. After a few weeks, Barry's mother dismisses Reverend Runt partly because they no longer need a tutor (mostly because of Barry's past spending habits), partly for what she says is fear that his influence is making Lady Lyndon worse. Plunging even deeper into grief, she attempts suicide by taking poison, but survives and is taken to a nearby clinic to recover. The Reverend and the family's accountant and emissary Graham (Philip Stone) then seek out Lord Bullingdon. Upon hearing of these events, Lord Bullingdon returns to England where he finds Barry drunk in a gentlemen's club, mourning the loss of his son rather than being with Lady Lyndon. Bullingdon demands satisfaction for Barry's public assault by challenging him to a duel.The duel with pistols is held in a tithe barn. A coin-toss gives Bullingdon the right of first fire, but he nervously misfires his pistol as he prepares to shoot. Barry, reluctant to shoot Bullingdon, magnanimously fires into the ground, but the unmoved Bullingdon refuses to let the duel end, claiming he has not received "satisfaction". In the second round, Bullingdon shoots Barry in his left leg. At a nearby inn, a surgeon informs Barry that the leg will need to be amputated below the knee if he is to survive.While Barry is recovering, Bullingdon re-takes control of the Lyndon estate. A few days later, Bullingdon sends his nervous emissary, Graham, to the cottage where Barry is recovering to offer him a deal: Bullingdon will grant Barry a small annuity of 500 guineas for life if he leaves England forever and ends his marriage to Lady Lyndon; otherwise, with his credit and bank accounts exhausted, his creditors will see to it that he is put in jail. Wounded in spirit and body and with no friends left, Barry reluctantly accepts the deal. Barry goes back to Ireland with his mother to recover from his injuries. He is then said to have gone back to the European continent to resume his former profession of gambler, though without his former success. From there, history loses touch with Redmond Barry's life after that. He never sees Lady Lyndon again.In the final scene, set another few years later in 1789, a gray and middle-aged Lady Lyndon is going over her finances with Lord Bullingdon and a few other accountants. She then pauses to sign Barry's annuity cheque to be sent to Ireland. Bullingdon looks over at her sorrowful face and comes to realize that she indeed loved Redmond Barry despite his faults. Mother and son say nothing to each other and continue to review their financial papers.EPILOGUE: "It was in the reign of George III that the aforesaid personages lived and quarrelled; good or bad, handsome or ugly, rich or poor, they are all equal now." | boring, cruelty, atmospheric, melodrama | train | imdb | In the midst of the many wonderful films made by Stanley Kubrick, it is strange to note how rarely people mention "Barry Lyndon".The film portrays an unusual young Irish man, Redmond Barry, and his endeavours as he is forced to leave his home and tries to make good his life elsewhere.
His life away from home starts out as a career in the British Army; only to evolve in surprising ways and lead to as different places as a position of trust within the Prussian Army and later a title of nobility, gained by what our time can only measure as rather disgraceful means.Some consider Barry Lyndon a slow and tedious film and it is in deed past three hours in length, but this is because of the artistic flow of a film that strays not only to tell a tale about a man who is by no means neither hero nor villain, but also a film which is in no hurry and takes the time for every detail to sink into the mind and heart of the viewer.
The impressive atmosphere and the wonderfully picturesque scenarios along with the fact that the entire plot moves at a calm pace makes this film a very pleasant experience."Barry Lyndon is", amidst Kubricks' many masterpieces, a film so easily dismissed due to length and the fact that it is overshadowed by others, but I deeply recommend this film to anyone who would like to see a film both for the plot line, the story and the pure enjoyment of the images presented.
Kubrick's adaptation of Thackeray's Barry Lyndon sharply divides fans of the great director's work, as the languid pace and seemingly interminable running time -- not to mention Ryan O'Neal's questionable performance in the title role -- are cherished by some and deplored by others.
Not only did Kubrick manage to out do his last epic "2001" but he has created a movie that not only showcases the untapped acting abilities of Ryan O'Neil, but a beautifully lensed film that uses minimal lighting , gorgeous sets, perfect balance, positioning and meticulous timing.
(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon.)Stanley Kubrick's beautifully opulent production takes many liberties with William Makepeace Thackeray's picaresque romance, The Memoirs of Barry Lyndon, Esq (1843), narrated in the first person depicting events from the eighteenth century.
Kubrick, in keeping with a long-standing filmland tradition, certainly has license, and Thackeray won't mind.Ryan O'Neal is the unlikely star, and he does a good job, rising from humble Irish origins to the decadence of titled wealth, employing a two-fisted competence in the manly arts, including some soldiering, some thievery at cards and a presumed consummate skill in the bedroom.
But Barry is rather clumsy at playing at peerage, and bit by bit manages to squander most of the Lyndon fortune until his stepson, Lord Bullingdon (Leon Vitali) grows old enough to do something about it.This really is a gorgeous movie thanks to the exquisite sets and costumes and especially to John Alcott's dreamy cinematography and a fine score by Leonard Rosenman.
There is fine acting support from Patrick Magee as the Chevalier de Balibari and Leonard Rossiter as Captain Quinn, and a number of lesser players, who through Kubrick's direction bring to life Europe around the time of the Seven Years War (1754-1763) when decadence and aristocratic privilege were still in full flower.The script features two dueling scenes, the first showing the combatants firing at one another simultaneously at the drop of a white kerchief, the second has Barry and his stepson face each other ten paces apart, but due to the flip of a coin, the stepson fires first.
I recommend this great piece of cinema to anyone who has an interest in the time period the film is set and any fan of Stanley Kubrick.
(Although most of these are not mine, they helped me appreciate my favorite film.)1) The narrator is unreliable: different because he is not first person like in the novel, but similar by not telling the exact truth.Barry Lyndon is very much in a passionate struggle to shape his life yet the narrator dismisses him as a heartless womanizer doomed ("as fate would have it") for his unsuitability for polite society- which itself acts accordingly to its own fixed playbook ("fine family fortune!") In fact, both Lord Bullingdon and his father mock Barry's non-Lord-liness with the metaphor of stepping "into my shoes".
2) Lots of moments happen offscreen (his father's quarrel about purchasing horses, cousins falsifying the ammunition, Barry mentioning a commander O'Grady, his son sneaking off to the horse stable; there are countless key events described but not witnessed; all of which refocuses the significance of what Kubrick DID intentionally put in front of the camera) Like Richard Schickel said, critics bicker about what Kubrick didn't do; Kubrick lovers enjoy his films in an uncomplicated fashion for what he DID present.Thus the viewer has to actively filter through the narrator's misdirection to appreciate the characters quietly reacting to the impact of missing moments.3) The scene where Barry meets Lady Lyndon at the gambling table is easily encapsulated by two quiet details which communicate so much; 1) Reverend Lunt's eyes as he espies the other two making eye contact, 2) how she is breathing on the terrace.
5) When you consider the theme of three duels by firearms, also include the boxing match and the fencing match; and possibly all three abuses of Lord Bullington; and possibly even the robbery; they are all head-to-head confrontations that shape Barry's fortunes, character, & competence (dramatically!), ...but only the final climactic duel tells us who he has become.This is the key reason I offer these insights: Spielberg is correct in saying every time one repeatedly views a Kubrick film one gets something new; BUT Kubrick himself probably intended a singular perspective: so it is ideal for viewers to appreciate all these enigmas the first (few) times viewing -while being overwhelmed by this flip book of fine art paintings set to classical music.
I'm a big fan of Kubrick's films, so back in the early days of DVDs I bought a boxed set that contained Dr. Strangelove, 2001, Clockwork Orange, The Shining, Full Metal Jacket, Lolita and Barry Lyndon.
A Brilliant Work of Art. Barry Lyndon, directed by my hero, Stanley Kubrick, is probably one of the greatest movies I've ever seen in my life.
He soon becomes the emporer of England, but Lady Lyndon's son think he's only marrying her for her money, and tension grows between him and Barry throughout the years that result in a shot off leg.This film basically tells the same story as Citizen Kane.
Stanley Kubrick's Barry Lyndon was a film that upon first experience was a little sluggish, and compared to the bizarre nature of many of his other masterpieces (Clockwork Orange, Dr. Strangelove, the Shining) is lacking.
Barry Lyndon is the kind of film that, if nothing else, shows that Kubrick wasn't only this madman director of these satires and totally visual experiences (which he was terrific at), but also could do a tender, expressive, and period-perfect film about a world that most of us know from looking at paintings in museums, which is precisely what Kubrick was going for.
Considered one of Thackeray's best novels "Barry Lyndon" comes to light in a brilliant fashion under the direction of Stanley Kubrik with Ryan O'Neal in the title role.A young Irish profligate of the 18th Century finds himself involved in the Seven Year's War in Europe.
Although the choice of stars in some movies seemed odd at the time they were made, over the years, they have grown into their roles.Ryan O'Neal in Kubrick's "Barry Lyndon" is a classic example.
Although narration can sometimes seem a lazy way of telling a story in a film, it works perfectly here; we find ourselves waiting for the commentator to put Barry's often-painful experiences into perspective.Kubrick changed the story a great deal, without losing the essential themes.
He was a guy from New York who could embrace British literature and history, and produce such a believable work as this - it was almost as though he had Thackeray himself sitting in a canvas chair beside him acting as technical adviser.The true genius of the movie is in how Kubrick captures the period perfectly, maintains that beautifully measured pace, and yet delivers a film that is full of wit and tension from beginning to end..
Long drawn-out scenes, lingering close-ups of stiff-faced actors, no rooting interest, a sudden personality shift (for the worse) in the lead character, and minute attention to period detail that seems director Stanley Kubrick's main reason for making this.Kubrick shoots his 18th-century costume drama, based on the William Makepeace Thackeray novel, with nods in the direction not of other filmmakers but rather period painters like Gainsborough and Hogarth.
For that, it is a unique film, one that transfixes many still.Still, it's a hard film to love, at least for me, starting with the main character, a young Irishman named Redmond Barry (Ryan O'Neal) forced to flee his homeland after a duel who gets himself trapped in not one but two armies in the middle of the Seven Years' War. He escapes with a tricky gambler to Belgium where he meets Lady Lyndon (Marisa Berenson) who falls in love with him and offers him an opportunity to rise in the highest realms of society, if only he can control his mendacity and bitter temper.Not a lot to love there, and some say it's either O'Neal's fault or Kubrick's for casting him.
O'Neal surprises on occasion, especially late in the film when he delivers a crying scene as powerful as Russell Crowe's in "Gladiator." Once you get past his weak Irish accent, you may find him as good a man for the job here as anyone.There's also nice character work by Murray Melvin as the dour minister Mr. Runt, Leon Vitali as Lady Lyndon's son by a prior marriage, and Steven Berkoff, unrecognizable as the same man who menaced Eddie Murphy in "Beverly Hills Cop", as a foppish dandy who trifles with Barry to his regret.
Audience identification, too, is hard, except I think some of the charm of this film is in how alien it is, presenting a world we think we know in an askew but somehow more real-seeming way than ever before.It's a triumph in "Barry Lyndon" how fine and layered a visual scheme Kubrick is able to put on screen, and the story, especially in its first half when Barry is on the rise, has its compelling moments.
The first thing that struck me as I started watching Barry Lyndon (which I'll admit that I knew almost nothing about when I put it on) was that it's a period film, something that I have definitely not come to expect from Kubrick.
Granted, I'm a little behind in my detailed look at his filmography, given that more than a quarter century passed between the film's release and me finally getting around to watching it, but I very soon began to see the same Kubrick that I have come to know and love.The film is about a man named Redmond Barry, who we love and then hate and then pity and then admire for his luck and then pity, love, hate, etc.
Like so many Kubrick films, it is prohibitively long at just over three hours, and it is interesting in that it gives a feeling that nothing ever happens from beginning to end, and yet there is ALWAYS something happening.Personally I absolutely loved it.
(Handel's "Saranbande" is constantly in the background during the final half-hour.) Kubrick even has his narrator "spoil" the ending with 40 minutes still to go, because he wants us to marvel at his design rather than be held hostage to the plot (which, given its episodic nature, admittedly isn't much).Finally, Kubrick broke new technical ground with *Barry Lyndon* with the use of camera lenses that, for the first time, could capture indoor light without professional arc lamps and such.
Youthful Redmond Brady falls for his cousin Nora, getting himself into a duel with an English Army Captain and killing him causing him to flee Ireland, be waylaid by highwaymen, join the army, desert, sleep with the farmer's wife, join the Prussian Army, hook up with an Irish card sharp and marry into title and property the massive success he had hoped to become before a swift downturn in fortune.In the hands of a capable actor of the day, Barry Lyndon may well have ranked as one of Kubrick's better films but O'Neal simply rings hollow from end to end going from an overgrown chubby cheeked young adult to a dissipated, aging old man with the healthy glow of Malibu Ryan still in evidence.
When people say the Stanley Kubrick's movies such as 2001: A Space Odyssey, The Shining, A Clockwork Orange, and Full Metal Jacket, Barry Lyndon is the most underrated of his work.
The atmosphere and the setting that reminds me of a game called Assassin's Creed III is able to keep me on track as long as the movie apart from this is a boring historical drama.If you look closely at the screen, you can see how clearly Stanley Kubrick designed the attractive property and cinematography from the fascinating costumes, atmosphere, the dialogue of the 18th century, it such as witnessing a real history back then and we enjoyed in the present times.
The depth of the story which is told in this film not only that but from the use of music that feels thick and feeling like the atmosphere of the 18th century, the cinematography which often shows close-up to zoom out which has its own meaning, until the use of lighting and the atmosphere in this movie that feels the details.Ryan O'Neal as Barry Lyndon is so phenomenal.
Ryan O'Neal was also pretty good, his Irish accent wasn't too bad.For some reason, Barry Lyndon was rarely shown on TV & I had to buy the DVD so I could watch it a few times a year.
Barry Lyndon is a big-screen version of the Thackaray novel which describes the rise and fall of Redmond Barry, a common but fiesty Irishman who (through luck as much as skill) ascends the ranks of British nobility.It's a great pity that this is one of the lesser-seem works of Stanley Kubrick, for this is a highly believable and entertaining recreation of 18th century Europe with none of the stuffiness that many movies and TV shows set in this era substitute for atmosphere.Like Full Metal Jacket, Barry Lyndon is a film of two halves but it hangs together much better, perhaps due to the deliberate intermission and cue cards.
I am fond of Stanley Kubrick's movies, and I honestly think Barry Lyndon is one of his best.
The meticulous details of 18th Century court life make this movie endlessly fascinating, even if many viewers have complained that it's emotionally distant (a criticism that could apply to more than one Kubrick film).I loved "Barry Lyndon" the first time I watched it, thought it was hollow and lacking the second time I watched it, and then went back to thinking it a masterpiece the third time I watched it.
"Barry Lyndon" is one of those movies that reminds us why Stanley Kubrick's what it is, let's start at the weak point of the film, the script is well encaixadinho but contains some holes off the pace at times are lost, though their actions are well defined, and the actions that do not excite although not bad, but the picture of this film is undoubtedly one of the best of Kubrick and consequently the film, scenes recorded without artificial lighting are of a beauty and reality are south reais, the costumes and screen elements are also incredible, rich in detail and takes us directly to the time, perfect, along with all the scene compositions that are really a work of art, zoom them in and out that Kubrick uses all the time is to show us the scene of perfection, this is quite typical in his films, but this is phenomenal, if you pause the movie at any time, you can capture the screen and send frame and put on the wall of your home the aesthetic beauty along with the details and compositions of all scenes are something I can not put into words, the soundtrack does not stand out much, but when it appears is fundamental and guides the tone of the film, "Barry Lyndon" is beautiful , magnificent and triumphant in their technical questions that show all that famous obsession with Kubrick for detail, the three-hour film are a bit unnecessary, the script extends beyond what is proposed, but it is good to have more time to admire the beauty of the movie..
For a film that keeps its title character in frame but at arm's length for virtually its entire 180-minute running time (save for a brief interlude of contented fatherhood), Barry Lyndon is Kubrick's most moving and heartfelt film.
You just can't stop watching this movie.Kubrick continued his fabulous use of Classical music to enhance the action on screen in Barry Lyndon.
He is quite dull in many scenes, but nonetheless he captures this strange dreamlike feeling which on one side drives you nuts and on the other side gently drags you into this imaginary world.The wonderful achievement Kubrick makes is to set up the scenery as if it was a painting, giving it a beautiful surrealistic touch to reality so to say, mixed with the great choice of music and lighting, this simply pays of as this master worked pearl of film-making.Generally this movie is a masterpiece from start to finish, with top notch set up, lighting, filming, music, narrator, acting and story.
The story of the lead character, the people he encounters, the good and bad that comes to his life, is all told through master filmmaker Stanley Kubrick, the film's writer, producer, and director.Barry Lyndon is 3 hours perfection.
Everything from the acting, cinematography, music, to the screenplay is top notch.If you're a true Stanley Kubrick fan, meaning you don't watch his films solely for the sex and violence, and actually enjoy his talents as an artist, check out Barry Lyndon. |
tt1074638 | Skyfall | The film begins in Istanbul, where James Bond (Daniel Craig) finds fellow MI6 agent Ronson critically wounded and the hard-drive of a nearby laptop missing, the contents of the hard-drive not yet revealed. Bond gives chase to the enemy, a professional hitman by the name of Patrice (Ola Rapace), with the help of MI6 operative Eve (Naomie Harris), first by car, then by motorbike across the tiled roofs of the Istanbul Grand Bazaar, until finally the two men end up on a train. Bond is shot in the shoulder by Patrice whilst trying to make his way onto Patrice's car. The two then begin fighting hand-to-hand on top of the moving train, whilst further up the line Eve has taken position with a rifle ready to take out Patrice. Bond and Patrice are still grappling with each other, denying Eve a clear shot. M (Judi Dench) gives the order for Eve to take the shot, which she does. Bond is hit and falls into the river below, seemingly dead.A few months later, M begins writing Bond's obituary. The next day she is ordered to a meeting with Gareth Mallory (Ralph Fiennes), the chairman of the Intelligence and Security Committee. Mallory reveals that the missing hard drive contains the names of every undercover NATO agent embedded in terrorist organisations around the world. Mallory suggests that because of M's poor handling of the situation she should retire, or rather be forced to retire with full honours. She refuses and heads back to work. On the way there M's assistant Bill Tanner (Rory Kinnear) discovers that someone is remotely hacking MI6's database from M's computer. They hurry back to MI6, but are stopped by police forming a roadblock just outside the building. As M is about to protest to the police officers, a large explosion rips through part of the MI6 building, killing several employees.Meanwhile, Bond is alive in some tropical paradise enjoying nights of alcohol and women. He has faked his death and is simply hiding out. However, he decides to cut his vacation short when he sees a CNN news broadcast about the attack on MI6.Upon returning to London, Bond confronts M at her house, where she tells him that he has been declared deceased and his property put in storage. He asks to rejoin the service, M agrees but tells him he will have to retake the tests to become a field agent again. Bond is taken to MI6's new base underground and his evaluation begins.Bond finds himself in poor physical shape. He also finds it difficult to remaster his marksmanship. He painfully removes some of the shrapnel left in his shoulder from where Patrice shot him and sends it off for analysis.Bond is called in to see M, meeting Eve along the way, who has been suspended from field duty and is now assisting Mallory in his transition to M's position. In M's office, Bond is surprised that one of M's less-tasteful desk ornaments, a white china bulldog with a Union Jack flag painted on its back, survived the explosion. M tells Bond he has barely passed his reassessment, and can resume normal service. Bond meets Mallory for the first time; Mallory tells him not to "cock it up" in relation to his new mission.The analysis of the shrapnel from Bond's shoulder indicates that it consists of a specialized form of depleted uranium that is used by only a handful of operatives in the world. When shown photos of three people who use such ammunition, Bond immediately recognizes Patrice. Tanner notes that Patrice is a professional hitman, and is also a ghost, with no other known names or aliases. They have word from the CIA that Patrice will be in Shanghai in two days, possibly on another job. M orders Bond to travel Shanghai to find Patrice, interrogate him for the list, then kill him in response to the death of Ronson. After Bond leaves, Tanner inquires about Bond's return to the field, saying he didn't know that Bond had passed his evaluation. M tells Tanner that Bond didn't pass.Beforehand, she sends Bond to an art gallery to meet the new Quartermaster, or "Q" (Ben Whishaw). Q is young man, who gives Bond a radio locator and new model Walther PPK with a hand-print sensor that makes the pistol usable only by Bond.Bond travels to Shanghai and follows Patrice from the moment he arrives at the airport. Patrice takes a taxi to a skyscraper in the middle of town. As Bond watches from his car, Patrice shoots the security guard on duty with a suppressed pistol, then gets on the elevator. Bond follows him in and hitches a ride by grabbing a bar on the underside of the elevator cab. When Patrice reaches his floor he enters a server room, closely followed by Bond. He makes his way over to a window, assembles a sniper's rifle, and cuts a circular hole in the glass. Patrice aims his rifle through the hole, training it on an elderly Chinese businessman meeting with a mysterious woman in a building across the street. As two bodyguards pull back a canvas to show the businessman a painting, Patrice fires his rifle, hitting the man in the back of the head.At that moment, Bond attacks and wrestles Patrice for control of the weapon. After a short struggle, Patrice is pushed through a broken window, but before he falls, Bond grabs his right arm and demands to know who his employer is. Patrice doesn't respond, Bond loses his grip, and Patrice falls to his death. Across the street, the mystery woman stares at Bond until he disappears under cover of darkness. Bond finds a casino chip from Macau amongst Patrice's equipment.Back in London, M looks at her computer. A message comes to her in the form of a "Click here to claim your prize" ad. When she clicks "here," a YouTube video comes up: their mystery attacker has posted the identities of five agents, and he promises to release five more every week. One of the messages in the communique reads "Think on your sins".Back at his hotel room, Bond receives an unexpected visit from Eve, who breaks the news as to what is going on in London. As they flirt, Eve shaves Bond's face and neck for him. Afterwards, Bond travels to the casino, hands in the chip and is given a briefcase containing 4 million euros for the assassination by the cashier, who mistakenly believes Bond to be the hitman. When Bond receives the money, he spots the woman he'd seen in Shanghai. She reveals her name, Sévérine (Bérénice Marlohe) and asks Bond to buy her a drink. Bond sits at the bar and talks to Sévérine. Although she sounds polite and even smiles several times, it looks very artificial. As they talk, Bond notices that Sévérine keeps looking at her three bodyguards nervously, and deduces that they are controlling her, not protecting her. When Bond tells her he wants to meet her employer, she becomes increasingly nervous and gets up to leave. Bond stops her, mentioning the tattoo on her right wrist indicating that she used to be in the Macau sex trade. Sévérine warns Bond that he is about to be killed, but should he survive he should go on her yacht to meet and then kill her employer.Bond is attacked by Sévérine's bodyguards as he leaves the casino. He uses the briefcase to beat two of them before he is tackled off a footbridge by the third into a pit of Komodo dragons. The third henchman grabs Bond's "signature" pistol and tries to shoot him, but the palm-print ID won't let the gun activate itself. At that point, the henchman is grabbed by the Komodo dragons and dragged off into the darkness to be eaten. When Bond is climbing back up onto the bridge, one of the other two henchmen aims a pistol at him and prepares to shoot him, but Eve disarms him. Bond gives Eve the case with the money, telling her "Put it all on red. It's the circle of life." Bond makes it to Sévérine's yacht and hitches a ride, joining her as she takes a shower.Back in London, some of the undercover agents who were identified in the YouTube video have been executed and their deaths have been posted on the web. Mallory tells M that the Prime Minister has ordered her to appear before an inquiry. M is reluctant, but Mallory is insistent that MI6 be accountable to the people they are protecting, that there are no more shadows to hide in. M counters that the person who is targeting them is from the same place Bond comes from, the shadows.The next morning, Bond and Sévérine's yacht is approaching an island full of derelict buildings. Sévérine suggests that they turn back, but the other crew on the boat surround them. Bond and Severine are taken hostage and their hands are bound. As they walk through the deserted streets, Sévérine reveals that her employer manipulated everyone who used to live here into evacuating overnight by using a computer to make them think the chemical plant had a leak. At that point, Bond and Sévérine are separated and taken separate ways by the henchmen.Bond is taken to a room full of computer servers where he is tied to a chair. As he sits down, an elevator descends from above at the other end of the room. The doors open, and off steps Raoul Silva (Javier Bardem). Silva reveals that he is a former MI6 agent whom M betrayed by leaving him to be imprisoned and tortured at the hands of the enemy; M apparently gave him up because she felt the things he was doing were too dangerous. Silva also reveals that M has sent him out on a mission despite the fact that Bond failed all of his tests, shaking Bond's trust of her.Bond and Silva then head out to a courtyard where Sévérine is standing, tied up and beaten. Silva places a small shot glass of whiskey on Sévérine's head, chides her to stand up straight, and then challenges Bond to shoot the glass off her head. Bond's shooting hand is unsteady, and misses (perhaps deliberately) but Silva wastes no time in shooting her in the forehead. Bond suddenly overpowers and kills Silva's men, but leaves Silva alive. Silva is baffled that Bond wants to send him back to M by himself. Bond then produces the radio transmitter Q gave him, revealing that he isn't alone. On cue, MI6 helicopters begin descending over the island.Back at MI6's underground HQ, M confronts Silva about his attacks, but he questions her as to why she abandoned him, showing her how his hydrogen cyanide capsule failed to kill him and left his face deformed - it destroyed many of his teeth and his left cheekbone, forcing him to wear a prosthetic. M counters Silva's chiding, saying she'll have his name struck off the memorial wall of MI6. Finding herself having to attend a public hearing with the MP, M leaves, visibly shaken. On her way out, she charges Bond and Q with inspecting Silva's laptop for any evidence. She also tells Bond that Silva's real name is Tiago Rodriguez and that he was one of MI6's best agents, who worked out of Hong Kong before the turnover of the protectorate to China in 1997. When he began to operate outside of MI6's authority, M gave him up to the Chinese government in return for several agents they held as prisoners and the peaceful handover of Hong Kong.While Bond watches, Q attempts to access Silva's computer, hooking it up to the MI6 system. He notices that Silva has failsafe protocols that only about six people in the world are capable of creating. Eventually, they manage to decrypt the files. Q determines that Silva's files use obfuscated code to conceal their true purpose.In his cell, Silva confidently stands up and stretches, zipping up his shirt. A guard asks him if he is going somewhere.Meanwhile, M and Tanner are in a tribunal overseen by MP Claire Dowar. The inquiry board carefully scrutinizes and criticizes M for her lack of proper handling of the security breaches and for the deaths of her agents.In Q's lab, Q finds that Silva is using a polymorphic engine to keep his computer coded. Bond notices that some of the letters in the decoder form two words: Granborough Road, which Bond recalls is an abandoned Metropolitan line tube station. Using the word Granborough as a key, the coding on the big screen transforms into a map of subterranean London.Suddenly, the glass trap doors in the floor flip open, to Q's confusion. Bond realizes Silva has hacked them again. Then the words "System Security Breach" show up on the monitor, followed by a skull and the message "NOT SUCH A CLEVER BOY." Q quickly unhooks the computer, trying to contain the damage.Bond sprints through MI6 headquarters to Silva's cell, but when he gets there, it's too late: Silva has killed both of his guards and vanished. Bond notices that a maintenance hatch in the floor has been removed, and deduces that Silva has escaped into the tunnels. Bond travels down a stairway. Further down the tunnel, he can see Silva heading down another stairway. Bond makes his way down the stairs, draws his pistol, and goes through a service door, finding himself in a London Underground tunnel.As Bond walks down the track, Q tells him via headpiece that Silva has clearly spent years planning his move, blowing up the regular headquarters aware that MI6 would move down here, and aware of every emergency protocol. Bond returns that he's worried about what happens next: Silva goes after M personally. He gets to the next service door, but to his dismay, it's jammed. He panics, especially when he hears a train approaching. Bond struggles to push the door open, and eventually resorts to shooting the lock, narrowly jumping into the service tunnel just a second before the train goes by.Silva, meanwhile, makes his way down a stairway at Temple tube station. He comes upon two of his henchmen, dressed as police officers, who slip Silva a package as they pass. Bond enters the tube station through another maintenance door, blending in with a large crowd of commuters. A train pulls into the station. As passengers begin boarding and exiting, Bond asks Q to check the camera feeds for Silva, so he can be sure whether to get on the train. Q is unsure, due to the large size of the crowd. Being one person, he is unable to look at all the feeds at once and he fails to immediately notice Silva boarding the train, now disguised as a police officer. The doors close and the train begins to leave the station, just as Q finally sees that Silva is on board. Bond runs after the departing train, managing to latch onto the last car just in the nick of time. A bystander observes that Bond looks keen to get home.Claiming to be from Health and Safety, Bond gets the operator to open the door and let him on. Bond walks through each car on the train, searching for Silva. Silva, sensing that Bond has gotten on, is making his way towards the front of the train, one step ahead of Bond. Bond notices that the next stop is Westminster, meaning Silva is heading for M.Meanwhile, M's inquiry hearing is going as well as one would expect. There is a brief disruption when Tanner receives messages from Q that Silva has escaped. He tries to warn M, but M refuses to leave and look like a coward.When the train pulls into Westminster, Silva bolts from the first car, and Bond bolts from the second car. Bond pursues him on foot through the crowded tube station. He loses track of Silva momentarily after sliding down an escalator bannister. Silva smirks as he manages to avoid being noticed by blending in with some other police officers on patrol in the station. Silva then enters another tunnel through an unmarked door, followed by Bond.At the hearing, Mallory interrupts MP Dowar for going on for too long, realizing that the hearing is becoming a kangaroo court.Bond follows Silva down a dimly lit corridor into a cavernous room. Seeing Silva's shadow on the other side of the room, Bond picks up his pace. He catches up to Silva just as Silva is climbing a ladder to escape, and fires his pistol several times, missing. Silva acts annoyed that Bond missed him. Bond warns that he won't miss the next time he shoots. Silva replies in kind by showing Bond the latest thing from his 'toy store': a radio. He presses a button, setting off an explosive charge destroying part of the ceiling. Bond asks if that was meant for him. Silva laughs, saying "No! But that is." Just then, a train comes crashing through the freshly detonated hole. Bond dives for cover while Silva escapes.Silva makes his way to the surface. As he exits the station, a police car driven by his henchmen drives up. Silva climbs in and the car takes off.As Silva makes his way towards the tribunal, M gets her chance to speak at the inquiry hearing. She talks about how the questions thrown her way as to why MI6's -00 agents are still relative. She states that she sees a different world than they do, and she sees a truth that frightens her: their enemies are no longer known to them. They do not exist on the map, they are not nations, they are individual people. She suggests the other people in the room look around and ask, "What do you fear?"Meanwhile, Silva and his two men arrive at the tribunal building. The henchmen raise their pistols and shoot the guards manning the security checkpoint without dropping a beat. Simultaneously, Bond emerges from Westminster tube station just as real police and firefighters arrive. He takes off running as fast as he can in the direction of the tribunal building.M finishes her statement by stating her late husband was a great poetry lover, and some of the poems he read have hit a nerve with her. She quotes Tennyson: "We are not now that strength which in old days moved earth and heaven. That which we are, we are. One equal temper of heroic hearts, made weak by time and fate, but strong in will. To strive, to seek, to find, and not to yield."Just as M says the last word, the doors at the back of the courtroom fly open and Silva and his men walk in, pistols drawn. Spectators start to stand and scramble, and Mallory leaps over the table, as Silva shoots a bystander sitting at M's table. The police officers guarding the room try to draw their pistols, but are either shot dead by Silva's men or forced to take cover. The board members and bystanders dive for cover, giving Silva a clean shot at M. As he trains his pistol at M, the two stare at each other for several seconds. As Silva prepares to shoot M, Mallory pushes her down. Silva fires, the bullet hitting Mallory in his left shoulder.As Bond gets closer to the tribunal building, Silva and his men exchange fire with officers on the sides of the room. He enters the building, pistol drawn, and kicks open a side door to the courtroom just as an officer positioned by that door is shot dead. Bond raises his pistol and fires several rounds at Silva, who dives behind a bench and fires back. Bond sees the officer's pistol lying on the floor. He kicks it over to Eve, who pops up and fires several suppressive rounds at Silva. Another officer stationed in the doorway opposite Bond immediately breaks cover, but is shot dead by Silva. Silva then resumes firing at Bond. Mallory sees an opportunity, and breaks cover, grabbing the second officer's pistol while under fire from one of Silva's two men. After a quick exchange, Mallory shelters in the archway of the door, and fires. Several more bullets hit the henchman, and he falls dead. Sometime in this exchange, the other henchman is killed.Bond's gaze goes from Mallory to a pair of fire extinguishers. He shoots both of them, creating a smokescreen in an effort to drive Silva out of the way. Bond fires several rounds into the smoke, missing. Silva fires two rounds in reply. He then kills a bystander breaking cover, and walks outside to his getaway car, which drives off just as Bond gets outside.Tanner rushes M out another door to a waiting car. Just as M's door closes, it takes off before Tanner can get in. Bond is driving the car. As they drive away from the scene, Bond calls Q and asks him to make a phony trail for Silva to follow, in efforts to draw him out of hiding. That night, they change cars to prevent them from easily being tracked; Bond switches to his old Aston Martin DB5, with all the defense systems still working. Bond's logic is that any official car used by M and MI6 will be too easily traceable.Q and Tanner get to work creating an unofficial trail for Silva to follow. Mallory, now wearing a sling as a result of the bullet wound from Silva, surprises them while they are working. They are about to provide an excuse for their actions, but he deduces what they are doing and tells them to carry on.Bond and M travel to Scotland to 'Skyfall', the Bond family estate. There they meet shotgun-wielding estate gamekeeper Kincade (Albert Finney), who offers his assistance in fighting Silva and his men. With the family's rifle collection sold off months ago, the trio improvise a series of booby-traps around the house in preparation for Silva's expected assault. Kincade tells M a bit of Bond's childhood history: his parents died when he was very young, and James hid in the tunnel leading from the house to the chapel on the moors. Kincade also gives Bond his father's hunting rifle, saying he couldn't bear to see it sold.The first wave of Silva's men approach, and are taken care of by the booby traps, the DB5's machine guns, Bond and Kincade. However, M is hit in the abdomen by a bullet. The second wave and Silva himself approach by helicopter. Bond orders Kincade and M to escape through the tunnel beneath the moor that leads to a chapel while he holds off the assault. Bond is pinned down by heavy machine gun fire from the helicopter and by Silva throwing grenades into the house. Bond improvises by blowing up two gas canisters with dynamite. The resulting explosion destroys the helicopter, much of the house and kills all but Silva and two of his men. Bond escapes through the same tunnel as Kincade and M. Silva spots Kincade's torch (flashlight) in the distance and sets off in pursuit. Bond takes a shortcut across a frozen pond but is stopped short by Silva and two of his henchmen. Bond knocks out the first henchmen and kills the second by choking him beneath the surface of the ice. He arrives at the chapel to find Silva asking M to shoot both of them and end their misery. Bond throws a knife into his back, killing him, but M succumbs to her bullet wound and dies, leaving Bond distraught.Bond returns to London, where Eve finds him on a rooftop, contemplating the skyline. She hands him a small box and tells him that M's will had been read that morning, and that she had left Bond something. He opens it to find the white china bulldog with the Union Jack nestled in tissue paper, and smiles. Eve tells him that she has declined fieldwork and taken a desk job, revealing that her last name is "Moneypenny." Bond walks through a tufted leather door beyond Eve's desk and into a familiar-looking office; Mallory has been appointed the new M and hands Bond an assignment folder asking Bond if he's ready to go back to work. Bond replies, "With pleasure, Sir."The film closes with a new gun barrel sequence, a 50th anniversary logo, and a title stating "James Bond will return." | dark, suspenseful, boring, murder, psychological, stupid, mystery, violence, atmospheric, good versus evil, psychedelic, humor, action, revenge, entertaining | train | imdb | Bond 23 and 007 has to literally come back from the dead when a stolen hard-drive makes M (Dench) look bad at a time when a face from her past comes homing into blood thirsty view.There is one sure fire fact in cinema that nobody can dispute, that of there never ever being a James Bond film that all Bondphiles will agree on.
Director Mendes and his team don't take any of the easy options that were clearly available to them to answer the question, they instead build a film around Bond and M as characters, embrace the traditions of the series and hit us hard in head and heart.The plot of Skyfall as written is simple, absolutely nailed on it is straight and true to Hollywood conventions, but what fills out the simple plot is a series of Bondian delights, thrills spills and emotionally splintered kills.
There is other sexual tension in the film as well, not just a steamy shower scene, but the ongoing banter with Naomie Harris' (excellent) Eve that positively fizzes with smirking innuendo.But ultimately this comes down to the love between a man and a woman, the kind that is so different to the type that has so often underpinned a Bond movie.
I myself commented when reviewing Quantum of Solace that it was pretty ace as an action film, but for many it's not Bondian enough, and the truth of the matter is Bond still needs to have a degree of fun, no matter how grim and gritty the story line is.
His capturing of vistas, be it a neon city scape or a mountainous valley, are eye delights, his colour tones are beautiful, I promise you, nobody these days does golden browns like Deakins.It's not the masterpiece that I or gazillions of others hoped for, and it does have flaws (new Q a bit too geeky safe, finale lacks a substantial battle with the villain) and it remains simple in plot, but it's Bond's birthday and the birthday boy has been done proud by the makers.
There have been an extraordinary 23 official films, but few as extraordinary as Skyfall.After a mission goes wrong in Istanbul, MI6 loses a hard drive containing a list of all NATO agents within terrorist cells, and James Bond (Daniel Craig) is presumed Killed in Action.
Like most Bond films, Skyfall starts with an incredible chase sequence in Istanbul and continues strongly from then on, including a very stylish silhouette fight in Shanghai.
In Casino Royale, Bond is a young man who is bold, arrogant and reckless but can get the job done; in Skyfall, Craig is playing an older Bond who is both physically and emotionally vulnerable.The idea of an older Bond was briefly touched on in the unofficial film Never Say Never Again, but that was more to accommodate a 52-year-old Sean Connery being in the role.
Along with M's character arch, the film tackles a theme of facing the past so it can be cleansed.The casting of Javier Bardem was a coup for the series and we as Bond fans are rewarded with a great villain.
He has a complex, tragic background but he is not like other Bond villains looking for control, world domination, money or even self-preservation: he simply wants revenge.Skyfall is a great milestone to celebrate Bond's 50th birthday on film, and the Easter eggs for fans aren't overbearing, but rather nice touches.
Skyfall features a few major references to previous Bond films: Bond getting injured (The World is Not Enough), Bond faking his death (You Only Live Twice), the gun that can only work with Bond's palm print (Licence to Kill) and a similar villain to the one in Goldeneye.
When it looks like it's lagging behind the competition of the other spy action thrillers, the makers have taken note and re-invented the mould, making it more real and exciting.To me, Bond had too much of a rigid formula, the cars, the chases, the girls, the gadgets, the megalomaniac villain's and the spectacular set pieces/stunts.
Other characters are given more screen time and provide an emotion gravitas (We are also introduced to Q, a young model who is still wet behind the ears).In the hands of Sam Mendes and Director of photography Roger Deakins, there has never been a more beautiful shot Bond film.
Some people thought Daniel Craig was too much like Bourne and the Bond style film had been abandoned.
Bond is not burdened with gadgets and still has lots of energy.Ignore the plot credibility (not as far fetched as some plots like Moonraker) and usual level of general film fiction where it comes to computing.All the characters are great, from the MI6 team members to the villain (Silva) who acts like a traditional Bond villain.
Sean Connery just wisecracked and shagged birds, but had that physical prowess which DC has equalled, if not bettered; George Lazenby was more of a pantomime; Roger Moore started out well with his debut, but romanticised 007 to the point where he wore flares and befriended steel-toothed villains who were baying for his blood; Timothy Dalton brought back the hard edge Bond was missing and very underrated (kudos to Jason Segel who acknowledged him in I Love You, Man); Pierce Brosnan carried on that darkness with GoldenEye, which was sadly lacking in future outings, along with a suspension of disbelief audiences couldn't buy any longer.
More importantly, DC can act which is what this role demands...and if like me, you've all watched the Bond films (as DC & Mendes did), Skyfall has done a tremendous job in avoiding past mistakes.
Daniel Craig has now starred in the two greatest James Bond movies ever made (let the criticism begin), and although he also starred in the worst ("Quantum of Solace"), it wasn't all his fault and can be forgiven.
Actually needs brains a bit to watch this one, if you have seen them all I'll bet you get the idea with this one.This was a comeback, I waited something like explode everything, slow motion effects, stupid sequences but really really inspired with this one.One thing I don't get the hype of this movie, it stands on it's own greatly.For bond fans: 9/10.
Largely Really Bad. First off I would like to state I am a big fan of James Bond films, Goldeneye and Goldfinger are the two best one's in my opinion, and Casino Royale was very good also.
Having said that, this film was so bad that I actually walked out of the cinema at the end and vowed to not watch the next one, not out of spite, but because I think it will be just as bad.This is the worst bond film that was ever made, I didn't like Quantam of Solace but at least it had some entertaining action scenes.
Now however they have gone down the route of making a very "dark" Bond film, here a lot of attention is on the characters and their problems and and the plot line which has usually been of Bond trying to save the world in some way is utterly secondary in Skyfall.
Excessive romanticism with combination of Craig as Bond + Mendes is quite apparent, added no doubt by stellar performance by BardemFor a series that projects adventures of one of the greatest spies in the world working for an enviable intelligence agency, the movie should have been slightly more cerebral, have some deduction or logic to arrive at certain conclusions rather than simply a series of action sequences wherein it never seemed like the bad guys were able to get one up against the best, but go one up because there were giant loopholes just waiting to be exploited.Quite a disappointing movie with the only highlight being the title track and a few locales.
The movie is masterfully directed by Mendes and features more than a handful of spectacular action scenes that Bond films are loved for.
Bond then teams with Eve once again to find out who's responsible for the attack on MI6, as more agents are killed, and tracks the culprit to an island in China.I've always found good Bond films to have great elaborate action scenes but to be light on pacing and excitement in between.
It was ambitious to include such "reckonings" incorporated in the film, including major events such as going back to Bond's childhood home (which I was disappointed but not surprised to find was not mentioned by Fleming) The whole film seemed to boil down to one big hunt, in which the villain could easily have killed his target from the start, but prolongs the attempt, making his life very difficult despite all of the very advanced technology at his disposal.
The sharp, sophisticated and tough as nails 007 that I expected to see in Skyfall died sometimes between Casino Royale and Q_o_S...The only time when I was reminded of the good old Bond in Sam's adaptation was when after a last moment escape from a hairy situation his main concern was to adjust his cuff links...For me this is what James Bond it's all about...This agent is anything but provocateur...depressed, lonely, with a bit of a drinking problem, not afraid to get in touch with his feelings and shed a tear towards the end of the movie...The villain is weak, childish and whatever his reasons for seeking revenge I really can't bring myself to care about him in anyway...
If your going to watch it with the expectation (as I had, thanks to all the hype of radio and TV (DONT BELIEVE THE HYPE)) that "Bond is back" and all that Jazz; expect to be disappointed!The opening scene with the chase was good, but it felt like it should've been further into the film.
...and lacklustre.If you like drab colours, muted scenes and grey British countryside, you can find Tourist Information videos on YouTube - admittedly they won't be as beautifully shot as Skyfall - but they'll have the same depth of story.This really was a sickening disappointment, where one expected fights and glamorous locations; instead we were treated to dull conversation in basements, lacking either tension or humour.And it's obvious the Global Recession has effected the budget for this latest effort, because apart from a few skyline shots in Singapore, for the most part we were ensconced in English train tunnels or grey London streets - so take a lesson from the miserly budget afforded for Bond's most recent outing, and don't waste your money..
But if his character can no longer care enough to easily prevent an assassin before the shot, or to delay a game of death long enough to save a women he has determined has been trapped in the sex trade since age 13, why should we care whether Bond himself lives or dies?This film has action you expect and will be entertained by and acting by Marlohe and Bardem which almost make the film worthwhile.
The key to a successful film is if it depicts a moving story and enthralls its viewers, and if one does nothing but to criticize a movie without an attempt at appreciation at any level is, again, appalling.Away from the blind opposition, Skyfall is made great through its exceptionally well-acted cast on all sides, especially Dench's and Bardem's performances (I mean what do you expect).
I feel that Casino Royale was the best film to date; Skyfall was just a disappointment.The first 10 minutes or so were great, Bond's on a mission and there are some memorable scenes (digger coupling the trains), but there are major plot-holes.
Smartly enough, everything is on an even keel- the action feels perfectly urgent but it does not stretch, the drama is poignant and painful, the humor comes in like a fresh breath into the taut proceedings and it all works impeccably as smoothly as the click of a mouse itself.'Skyfall' also proves quite what everyone is saying since 2006's 'Casino Royale- that Daniel Craig is the best Bond we had since Connery.
For a film that happens to be the 23rd installment in a movie franchise, the latest James Bond thriller, Skyfall, is surprisingly original.
In this movie, we learn more about who Bond is and how he came to be the man he is today, than we did in all the previous 50 years of 007 flicks.Of course, most Bond movies are only as good as their villain, and Javier Bardem's Silva may not be simply the best Bond villain ever, he may rank pretty high on the all-time movie bad guy list, too.
Worst of all it was just boring, something I would never think I would say about any Bond film.The movie starts off well enough, a good chase scene in an exotic location and it sets itself up for what could have been a good story.
The movie is also very capably directed by the accomplished British director Sam Mendes.Perhaps, my only criticism would be the grand finale which I felt was somewhat drawn out and could have shortened the 2 hour 23 minute duration.I was surprised at the very negative reviews on the first page of IMDb. I found, overall, this new Bond film to be a powerhouse and I thoroughly enjoyed it..
The Skyfall Lodge (Bond's family home) is especially appalling and some people even laughed in the cinema when they pulled up in the old Aston.The Q character doesn't work at all, not convincing in any way with the fake glasses and daft hair...EON please rethink this for the next movie and also forget the Moneypenny actress because she cannot act, least not in this character anyway.Some of the SFX were good but the opening chase scene was way to long and instead of building suspense most people just got bored.The french actress Berenice was superb as was Rory Kinnear, though for me Craig struggled to capture my attention like he did in Casino Royale.Bardem was underused or poorly directed and never intimidating as a true 'baddie' should be, and why oh why did they dye his hair?
23rd flick out of the divine closet and it took one whole day to sink in; there is a great attempt to change the game.....no flashing of gadgetry, no top of line sophistication......there is a deliberate attempt to go back to basics and start the resurrection Film's holding power is good, it's intense in execution but story-line never reaches that zenith it was expected to....and it is predictable too in some sense Daniel Craig is great as Bond, he has played a mortal Bond beautifully....Bond is no longer perfection now, he has his glitches but he rides on, mental strength of an Agent Bond girl could have been better but Berenice is reasonable Javier as Silva has played the villain - he will go down as a benchmark 'M'- Judi Dench dies in the climax and that is the emotional punch this flick contains- an era ends but Bond plays on...
Casino Royale was a Bond film and a very good one at that, so this mess isn't Craig's fault.Like others I also saw terrible sets especially Skyfall Lodge which looked like something from a sixties TV series, crossroads or it's a knockout!Also I noticed clear as day Craig's stuntman on several occasions, completely ruining for me the roof top motorbike chase.
The lead acting is fantastic, Craig as Bond, which in my opinion is the best who portrayed the Iconic spy, Dench as M, and Bardem as Silva, which by himself takes the movie to a whole new level both as an actor and the character itself, since among the Daniel Craig-led 007's, Skyfall is the first film to bring us a true villain, an archenemy, one that is actually in-par to Bond himself.
To me, the most un-Bond thing about Skyfall was that, 007 was more of a hit-man than a spy, he had one, maybe two "spying" missions, which included lots of killing, the rest was a shoot-em up, more like an open war movie than an espionage one.And as for the temporary feel of the film (in the time of its release), the trailer had a very negative effect, it gave out almost every key scene and one liner in the film, leaving almost nothing to surprise you at the theater, this however cannot be held against the movie's lifetime position since trailers do not live forever, opposing to Bond films which actually do seem to live forever.If I have to place this film among the other Craig-led Bond movies, it falls somewhere between "Casino Royale" and "Quantum Of Solace".
I recently watched Die Another Day with Pierce Brosnan and I couldn't help but notice movies back then (just 2002, not that far away) portrayed James Bond as an invincible character, that is in control in any situation, no matter how absurd (think of Icarus chasing him over virgin ice on the North Pole, conveniently stopping from killing him just so he can pull out a para planner and something that looks like a surf board).
The biggest action sequence is the Istanbul opening where 007 chases a bad guy across cars, motorcycles, and trains, and the rest of the film gets gradually smaller and smaller in scale, until all that is left are Bond, M, and Silva.
if so then OK not so long)This Bond Film works...it's different...it looks great...there's less action (it's true) & focuses much of it's running time on political spy issues similar to those seen on TV's "24" & "Spooks" If the next film is like this then yes i'd be a little disappointed.Hoping we get the gadgets & Bond girls back, some unusual locations, some out-there villains & plots to destroy the world again!This was a film giving us some background to Bond's past & pretty much to give Judi Dench as 'M' a neat and fitting send off. |
tt0041462 | High Diving Hare | Bugs Bunny is drumming up business for a vaudeville show in a remote Western town, during which there is a poster in the background for Frizby the Magician. Bugs mentions that one of the main attractions is the high-dive act of Fearless Freep, and the name sends Yosemite Sam into a joyful frenzy. Sam says "I'm a-splurgin'!" and buys as many tickets to the show as he can.When the show is on, Bugs is not far away from introducing Fearless Freep when he receives a telegram that informs him that Freep has been delayed by a storm and will not be able to appear until tomorrow. After Bugs announces this to the audience, an angry Sam insists on seeing the high-diving act, pulls out a gun on Bugs and forces him to the top of a high-dive platform, then pushes him to the edge of the board, where Bugs bares his claws to secure himself there. Bugs tells Sam to cover his eyes while he puts on his bathing suit, then proceeds to turn the board around to put Sam on the diving edge. Bugs makes some sounds that suggest that he has taken the dive, even giving an audible "SPLASH!", then Sam turns around and walks off the edge of the board and into the tank below. When Sam crashes in, the hoops break off the tank causing it to fall apart, but the water remains intact.On Sam's next attempt to get Bugs to dive, Bugs springs so hard on the board that he sends Sam up and over Bugs' head, separating him from his pistols in the process, then down toward the tank. At that moment, Bugs realises that he forgot to fill the tank with water, so he gets a bucket of water and uses it to throw the water down from the diving board past Sam. The water lands in the tank, but Sam misses the tank completely and smashes through the stage into the basement.The next time Sam walks to the end of the board, he finds Bugs standing on the board upside down and asks him "Great horny toads! What are ya doin' down there upisode-downy?" Bugs replies "I'm not upside down, doc. You are! Look!" When Sam looks "up", he sees the tank, and then falls into it.Sam then tries hitting Bugs verbally with "fightin' words", which leads Bugs to dare Sam to step across a line that he traces on the edge of the board. When Sam steps over the line, he is sent down towards the tank again, but rises up long enough to say to Bugs "I hate you!" before falling again.When Sam gets back to the top again, he finds himself stopped by a door that Bugs has placed on the board. Sam yells at Bugs to open the door, then after banging on it, he turns to the audience and says "You notice I didn't say `Richard'?". Sam backs up and charges at the door, and at the last moment, it is opened by Bugs, who gives Sam an anvil as he passes through that helps him on his way to another splash after his momentum sends him off the board.Sam returns to the platform at the top and finds himself in a setting that looks like a desert. Dressed like an American Indian, Bugs says to Sam "Quick! Him go that way! You take-em short cut! Head him off at pass!" Sam thanks the disguised Bugs, takes the way that he suggests, and dives off the board once again.We then see Sam starting to climb the ladder twice before diving back into the tank as the result of unseen setups. Finally, Sam is sure that he is going to make Bugs dive when he has the rabbit tied up and standing on the edge of the board while Sam saws away at the platform, gloating "Now ya smarty-pants, let's see ya get out-in this one! This time, you're a-diving!", but when Sam finishes cutting through the board, it is the ladder and platform that fall, leaving the cut plank with Bugs standing on it suspended in mid-air. Bugs turns to the camera and says, "I know this defies the law of gravity, but, you see, I never studied law!" The cartoon then ends by irising to the middle. | psychedelic | train | imdb | One-Joke Story...And It Works Every Time!.
Bugs is in front of the Opry House in an Old West town, barking out all the acts trying to sell tickets for the show.
One of them is "Fearless Freep," the high diver.
"That's my boy!," yells Yosemite Sam, firing his pistols in the air.
He buys a lot of tickets and comes into the theater with his guns blazing.At the last second, Bugs gets a telegram from "Fearless" saying a storm has delayed him.
He relays that to the crowd but Yosemite demands to see the diving act, so he forces Bugs to do it!
He follows the rabbit all the way up the steps to the platform, threatening to shot him.The rest of the animated short is what happens afterward as things backfire on Sam. How many times can they play this one joke (Sam, not Bugs, taking the plunge) and still make it funny?
A very clever and funny cartoon..
Friz Freleng takes a chance on a one-joke idea that pays off big time in this hilarious short.
"Due to an unfortunate delay," announces the barker, Bugs Bunny, "Fearless Freep will be unable to perform his high-diving act today." But Yosemite Sam had bought out the house just to see Freep.
If Freep isn't going to dive, someone else will just have to.
And that someone is going to be Bugs Bunny.
Bugs is no high diver; but at gunpoint, he'll have to take his first-ever 500-ft.
Yosemite Sam will find himself tricked into doing the dive himself—many times—before realizing that no matter what he does, Bugs's blissful ignorance of physics will always save him.Friz Freleng said he took a big chance on this one-joke idea.
You've got to love this parody of human nature, as represented by Sam. The little bully doesn't get his way, so he takes it out on the closest person at hand.
Oh, and don't you love what Sam does the first time he tries to force Bugs off the diving board—and thinks he's succeeded?
If the bullies of the world are Yosemite Sams, why can't the rest of us be Bugs Bunnys?This short is available on "Looney Tunes Golden Collection, Volume One," Disc 1..
possibly the best Bug/Sam short.
A hilarious Friz Freleng directed Bugs Bunny/Yosemite Sam short finds Yosemite Sam trying to get Bugs Bunny to perform in his high diving show after his star atraction can't make the show.
What follows with Bugs tricking Sam to dive again and again is vintage Looney Tune style antics that will make you cry with laughter.
Quite possibly my favorite Bugs Bunny/Yosemite Sam paring and that's no mean feat!
This cartoon is uncut (so you get quite a few more jokes that you would have missed if you caught it playing in syndication) on the 'Looney Tunes Golden Collection' on disk 1.
My all time favorite cartoon..
In a series of gags that can basically be boiled down to "Sam falls down" Friz Freleng proves just how important tempo and pacing are.
Friz actually "scripted" his cartoons using blank sheet music pages.
A perfect example is the sequence where we've seen Sam fall enough times that the screen locks to a shot of the a mid-point on the ladder.
We see Sam climb up, and a few seconds later we see him fall past us.
We don't even get to SEE the joke, we just know when it happened, and we know it's funny.
Add the alway perfect Carl Stalling music, and you get an idea of exactly what a Loony Tune is supposed to be..
From Fritz Freleng comes High Diving Hare, an exceptional and hilarious Bugs Bunny vs.
Yosemite Sam cartoon.
As others have noted it is basically a one-joke concept and this was a big risk admittedly, but it was a risk that worked!
The dialogue is sharp, witty, fresh and hilarious and the sight gags(mostly falls from big heights on Sam's behalf) are clever and funny every time.
Bugs is on top form, and Yosemite Sam is a delightful foil.
High Diving Hare also has a good story, that moves quickly enough to constantly maintain interest.In conclusion, if you love Looney Tunes or Bugs Bunny, I do highly recommend this cartoon.
10/10 Bethany Cox. Classic anvil-dropping Bugs/Yosemite Sam. This is a classic Bugs Bunny/Yosemite Sam cartoon and one of the all time greats of the Warner Brothers shorts collection.
The plot is this: Yosemite Sam is eager to see the star of the high-diving act, Fearless Freep.
When Freep fails to show, he forces the fast-talking usher, Bugs Bunny, to perform the act instead of Fearless Freep.
Bugs is extremely reluctant, but Yosemite Sam leaves him with no choice.
He and Sam chase hilariously chase each other around stage, up and down the tall high-diving ladder, and through various classic, anvil-dropping, TNT-exploding Warner Brothers gags, Bugs eventually, as always, comes out on top..
This cartoon isn't a "dive" at all..
"High Diving Hare" epitomizes the phrase "They don't make 'em like they used to." It features Bugs Bunny hosting a high-diving act when he learns that the performer can't arrive.
Incensed, Yosemite Sam - who'd earlier bought about 100 tickets - orders Bugs to dive at gunpoint.
But Bugs tricks Sam into diving.
When Bugs tries to continue the show, Sam once again orders Bugs up the ladder.
But no matter how many times he tries, Sam always ends up diving; Bugs Bunny has some great tricks up his sleeve.
And that end scene was a real hoot.I said it before and I'll say it again: the people who created the classic Looney Tunes cartoons were real geniuses..
Like how Sam shoots of his guns and how the audience clap to the beat before the show is supposed to start.
And when Bugs becomes forced to dive, it gets even better, as Sam himself becomes the star-of-the-show instead..
One of the funniest Bugs Bunny/Sam shows ever!.
I love it how it starts out with Bugs at that old opry house annoucing the events of the evening.
Then when Sam hears about Fearless Freep he goes crazy wanting tickets.
Then it is wild that just right after Bugs gets done annoucing that the Freep's act is the first one to come up he gets a telegram saying that the Freep is not able to make it due to a train or something running late.
Then it all gets so funny when Sam forces Bugs to climb that ladder and do the dive then Sam keeps on falling off instead.
Also a while back when they did a Looney Tunes Sportsman of the year contest and it got to the high diving it showed that Sam was the top high diver because of what he did when he went to see the Fearless Freep's act!.
Set back in the old west, during the days of the old traveling circuses, Bugs Bunny plays a stage presenter who oversells a high-diving act only for the diver to call in sick.
Frustrated and mad at the disappointment, Yosemite Sam demands satisfaction and threatens Bugs to perform the stunts himself.
Again and again Sam leads Bugs up the huge ladder to the diving board and every single time Bugs tricks him into going off himself.
Basically, the entire cartoon is a list of increasingly creative ways you can trick someone, blinded with rage, into doing the same, stupid thing.
Yosemite Sam is an idiot, and anyone with sense would just stop trying.
But because he's so dumb it makes every fall more and more funny.
Should be called: "High Diving Sam".
Of all the Bugs Bunny/Yosemite Sam cartoons, this has remained one of my personal favorites.
The story starts by Sam buying a whole bunch of tickets to see Fearless Freep, the high diving act being promoted by Bugs Bunny at a circus (Sam was splurging).
But the fun begins when we find out that the main attraction can't make the show, so Yosemite makes Bugs be the act, or tries to anyway.What follows is a wonderful series of gags centering around the high diving platform, and Friz Freleng and his crew did an amazing job of building each climb up the platform, followed by someone (guess who) falling down.
There is one point in the cartoon where we have one of those brief Looney Tunes moments of pure genius when Sam keeps falling down and we don't even know what the cause is.Freleng wanted to create a foil for the ultra popular Bugs Bunny that would rival the rabbit's teamings with Elmer Fudd, and Yosemite Sam fits the bill very nicely, thank you very much..
Classic Bugs Bunny short directed by Friz Freleng with a story by Tedd Pierce.
This is one of the Bugs cartoons I saw most as a little kid because it was on a compilation video that my teacher would play on rainy days when we couldn't go out for recess.
It's brilliantly simple as it's basically one gag done over and over but, trust me, it never stops being funny.
The premise is that Bugs is working as a barker for a show where there's a high diving act.
When the diver doesn't show up for the performance, angry audience member Yosemite Sam tries to force Bugs at gunpoint to perform the act himself.
What follows is Bugs repeatedly outsmarting Sam, resulting in Sam being the one to do the dive.
Like I said, it's one gag but it's done a little different each time and never gets old.
Excellent voice work from the great Mel Blanc.
It's a hilarious cartoon that every Looney Tunes fan should see.
For my money it's one of the best Bugs and Sam shorts ever made..
A high water mark for Freleng!.
Friz Freleng's 'High Diving Hare' is one of the director's best and best loved cartoons.
A master class in how to put a different spin on the same gag over and over again, 'High Diving Hare' quickly sets up its premise and then has tons of fun with it.
When high-diving daredevil Fearless Freep cancels his appearance at a carnival, Yosemite Sam will stop at nothing to see the diving act he's been promised.
Holding Bugs Bunny at gunpoint, he attempts to force him into performing the act himself.
Needless to say, it is Sam who ends up plunging into the water tank again and again and again.
Much like when Lucy convinces Charlie Brown that she won't pull away the football when he tries to kick it, 'High Diving Hare' derives its humour from the numerous different ways in which Bugs convinces Sam to take the plunge himself.
By the end of the cartoon, Freleng doesn't even need to show us this, such is the inevitability of the situation.
Instead he resorts to an inspired shot of Sam running up the ladder, a couple of seconds silence and then him plunging downwards.
'High Diving Hare' takes a minimalist concept and milks it dry.
Bugs Bunny.
High Diving Hare (1949) *** 1/2 (out of 4) Classic animation has Bugs Bunny hosting a carnival side show that promises a high diving act but when that act can't show up Yosemite Sam forces the rabbit to take his place.
Of course, things don't go as planned for poor Sam. This is a very entertaining short from the Looney Tunes series that manages to have some great laughs and some very good animation.
Whenever Bugs and Sam go against one another you can expect a lot of fun and that's exactly what we get here.
There are numerous great scenes but all of them center around one joke and that's Sam having to take the dives instead of Bugs.
It's something small but I love the animation of Sam's whiskers when he's falling..
High Diving Hare is a hilarious Bugs Bunny cartoon from Friz Freling.
In this cartoon directed by Friz Freling, Bugs is the carnival barker announcing high diving daredevil Fearless Freep as the big attraction.
Yosemite Same gets so excited he buys hundreds of tickets.
Bugs gets a telegram saying Freep won't show because he's delayed by a storm.
Sam ignores explanation and attempts to make Bugs do the dive.
Simply hilarious especially Bugs' line at the end..
Another great job for Friz.
"High Diving Hare" is a great Bugs Bunny/Yosemite Sam cartoon directed by Friz Freleng.
As Freleng noted, this is essentially a one-gag picture, and indeed, it is delightful and exceptionally funny to see Bugs repeatedly get the best of the obnoxious Sam by tricking him into falling off a high-diving platform into a bucket of water (or sometimes NOT into the bucket!).One particularly memorable gag involves Sam falling off the diving board and briefly rising back in the air to tell Bugs he hates him before plunging back down into the water.
And, as some folks have already pointed out, near the end of the film the camera shows a still shot of Sam climbing up the ladder, followed by a few seconds of silence, and then Sam plunging down into the water without the viewer knowing how the mishap occurred.
As director Greg Ford noted in his audio commentary for another Friz Freleng cartoon, "Ain't She Tweet" (1952), great humor is not so much what you see or hear but what you DON'T see or hear, as the aforementioned scene indicates.And finally, let us not forget the musical contributions of Carl W.
Stalling (I am a professional musician, so it is usually very easy for me to pick out all the tunes and melodies that I recognize in these cartoons), as for example the descending piano glissando in the overhead shot of Sam plunging head-first into the bucket of water.
Very funny running gag film.
Bugs is the manager of a travelling show in the old west.
Yosemite Sam sees the poster for the show and comes to see `Fearless Freep' carry out his daring high dive routine into a small container of water.
However, Freep calls in sick and Bugs is forced to cancel that part of the show.
Very unhappy that he paid his money for nothing, Sam forces Bugs to do the dive himself - but he didn't reckon on how tricky Bugs can be!The reasons that I love Bugs Bunny cartoons can pretty much all be seen in this one short film - it is clever, funny, has great characters and relies on a simple set up to deliver one basic gag in several different ways.
Here, after a bit of set up, the jokes are all based around the fact that Bugs and Sam are on top of a high diving board, with Sam forcing Bugs to jump.
That is not a spoiler as it is the nature of Sam's falls that are funny - they aren't very clever but they are imaginative and are delivered with real humour and relish!Part of this great delivery are the characters themselves.
Sam fills this requirement really well and makes his falls funnier.
I have seen too many Bugs cartoons where he is less funny simply because he has no foil to work off - many great comedians are better with their straightman and the animated ones are no different.
Very much a two-hander, this is a fine example of what they could do.Overall this is a very funny cartoon that is successfully based on one running gag whereby Sam ends up falling from the platform.
The material is simple but the delivery is good and the end result is a very funny cartoon that gets better with each passing fall!.
"High Diving Hare" is a 7-minute Warner Bros cartoon from over 65 years ago, a point in time when cartoons were possibly at their peak.
I always thought Yosemite Sam was a more interesting villain than Elmer and here he finally gets his moment in the limelight.
Sam wants his high diving show and he shall have it, only problem is that he is gonna be the star himself.
He wants Bugs to jump down from the platform, but no matter what happens, it's always Sam who falls.
There were a couple very funny moments in this Freleng/Pierce/Blanc short film and I highly recommend the watch.
An all right Looney Tunes episode..
I am not especially keen on the slapstick and farce of Yosemite Sam and Bugs Bunny episodes, but (the ones I've watched anyway) they always seem to have good qualities stuck into them like good bright paint on a canvas full of not-so-bright colours.In "High Diving Hare", the good points of this Looney Tunes short are the quotes, the theme of the episode and a few of the cleverer slapstick and farce jokes.
Bugs Bunny is a good character as usual here, unfortunately Yosemite Sam is not at his best, but it it does not matter too much.
The thing I personally liked most about this short is the last line at the end (from Bugs Bunny) which is one of my new favourite Looney Tunes lines (I'd love to tell you what it is but I don't want to give away any spoilers).
Overall, a pretty much average episode (in my opinion anyway), but worth watching, especially for slapstick and farce lovers and for people who like Yosemite Sam and Bugs Bunny teamed up.
Enjoy "High Diving Hare"!
Yosemite Sam uses all his Red State "smarts" .
. in a stubborn attempt to terrorize Bugs Bunny during Warner Bros.' animated short, HIGH DIVING HARE.
Warner uses HIGH to warn us that no one is safe when guns are around.
Warner says apples don't kill people--guns do!
Warner's HIGH illustrates this by showing the UNARMED Bugs being able to think circles around the over-armed Sam. Yosemite takes nine deadly falls to Mr. Bunny's none, which is Warner's way of saying that cowardly gun bullies such as Sam die a thousand deaths, as Brave Pacifists like Bugs can go but once. |
tt0065744 | Le frisson des vampires | Isle and Antoine are newlyweds on their way to visit Isle's last
remaining relatives -- two cousins. Upon their arrival to the town, they
learn that the two cousins died just yesterday. Isle and Antoine go on to
the chateau anyway, where they are greeted by two female renfields who
show them to a room.The castle is a strange place -- filled with skulls, candles, and
weird figurines. Isle decides that she must go to the cemetery to pay her
respects to her dead cousins. While there, she meets Isabelle who says
that she was about to be wed to both of the cousins. Isle is so upset by
the deaths that she chooses to sleep alone on her wedding night. As she
gets into her nightgown, the grandfather clock suddenly opens up, and a
woman comes out. She introduces herself as Isolde and takes Isle back to
the cemetery where Isolde bites Isle in the neck.Antoine, feeling lonely and horny, goes to his wife's chamber, only
to find her bed empty. He searches the castle grounds for her and comes
upon a chapel where what appears to be a human sacrifice is taking place.
Two of the participants (who turn out to be Isle's cousins) explain that
the woman must be killed or she will become like them -- the undead.
Antoine goes back to Isle's room and this time finds her in bed. He's
uncertain whether or not it's all been a dream.The next morning Isle and Antoine are served breakfast by the
renfields who tell them that the story about the cousins' death is not
true and that they are, in fact, working right now in the library. Antoine
goes to the library where, instead of finding the cousins, he is knocked
out when all the books start jumping off the shelves. When he comes to,
Antoine stumbles into the dining room where he is attended to by Isle and
finally meets the two cousins. Antoine asks them about their work. They
explain that they have been researching their family's origins, including
the roots of certain ancient and medieval religions. That night, Isle again tells Antoine that she wants to sleep alone.
Antoine gets angry and says that he's not going hang around this crazy
house much longer. Isle sleeps alone, until Isolde joins her and bites her
neck a second time.Meanwhile, Isabelle is recounting to a friend the nature of her
relationship with the two cousins. Apparently, they were once vampire
slayers who were bitten by vampires and died of blood loss. That evening,
Isolde summons Isabelle to the chateau where she learns that the two
cousins are still alive but under Isolde's control. Isolde also tells
Isabelle that she is no longer welcomed at the chateau, then grabs her in
a big bear hug, piercing Isabelle's breasts with two pointed cones which
Isolde is wearing on her nipples. Angry with Isolde for killing Isabelle,
the two cousins rape Isolde.Antoine is sleeping alone again. The renfields come to awaken him by
crawling into bed with him in order to awaken him "naturally" after his
long period of abstinence. When Antoine awakens, the renfields run away
laughing. Antoine follows them to the chapel where he sees a ceremony
about to take place that involves the cousins, Isolde, Isle, and the
renfields. When Antoine breaks open the door, however, everyone
disappears. Not certain whether this was also a dream, Antoine runs to
Isle's bed and tells her that they must escape. Isle says no -- that her
two cousins are the only family she has left, so they stay the night, Isle
in her bed and Antoine on the couch.The next morning, Antoine throws open the curtains, and Isle cries
out that the light hurts her eyes. When Antoine shoots a bird, Isle laps
at the blood. Isle goes to Isolde's coffin. Isolde speaks to her from
within the coffin, telling her that the sunlight will kill her if the
coffin lid is lifted and then Isle will be alone. The other alternative is
for Isle to not open the coffin, in which case she will become like Isolde
and live forever. Isle chooses not to open the coffin.Tonight is to be Isle's initiation -- when she will be given the
final 'kiss' and made vampire. Antoine attempts to break up the ceremony
and carries Isle away. The two cousins follow them to a beach. It will
soon be light. Isolde tries to slip into her coffin but finds it on fire.
The renfields place a crucifix on the tomb door, sealing Isolde inside.
Isolde bites her own wrist and, for some reason, dies. Back on the beach,
Antoine is begging Isle to go with him, but she joins her two cousins
instead and, together, they await the sunrise. [Original Synopsis by bj_kuehl] | pornographic, psychedelic, murder, gothic | train | imdb | On one level, it seems pure exploitation, with its somnolent virgins and lesbian vampires; but it is the prospective male viewer that the film targets - his representative on screen is reduced to an impotent observer, finally breaking down into helpless madness.
Rollin's style is as delirious as ever, fantastic French Gothic sets, seeping red filter, dreamlike pace, bewilderingly inventive soundtrack, resonant set-pieces and unmissably pretentious dialogue.
Jean Rollin's early films are an acquired taste with their accent on mood and atmosphere over linear plot structure.
It's got a prog-rock music score, long-haired hippie vampires, old cemeteries and castles lit in bright shades of red, blue and green.
Rollin's first feature was like a pretentious student film.
Perhaps it's a matter of personal taste, or the lack thereof; I love Jean Rollin movies, and this Rollin film in particular I've seen several times.
Of all the European erotic horror of the sixties and seventies, Rollin's movies most effectively maintain a certain morbid psychedelic vibe, a genuinely Gothic atmosphere, which most of his peers' work only captures fitfully, at best.
"Shiver of the Vampires" was the movie that firmly established my fondness for this entire genre; and if it sounds interesting to you, do yourself a favor and seek it out, especially the Redemption DVD, which is gorgeously mastered from (according to the liner notes) the director's own print..
"Les Frissons des Vampires" can't be considered, in the strict sense, a horror film, because there are no suspense and/or scares waiting for the viewer.
The plot is thin: a couple arrives in a castle, in order to pay the fiancée's two cousins, a visit (they were once brave vampire hunters, but one night they fell in battle, and became afterwards enthusiastic vampires).
These cousins, together with their team (two beautiful servant maids and a solemn vampire girl that emerges out of the most unexpected places), prowl around the innocent guests.
This stuff could lead to a really suspenseful film, but I guess that was not Jean Rollin's intention.The lighting effects create beautiful night colors.
"Les Frissons des Vampires" is slow-paced - maybe if you just relax and don't hang too much on the story, you may experience the film - enjoy its gorgeous colors effects, its poetic-humoristic dialogues (spoken in French, a very sweet language) and its bizarre atmosphere.Welcome to the fantasy world of Jean Rollin.
It was easy to figure out that they were Lesbian Vampires and the must en-trance the victim into getting naked and then dramatically chomping down on her neck as they immediately go limp and fall down with their legs together(dammit!)Nice!
Unbeknownst to them, the castle is home to a horde of vampires, who have their own plans for the couple.This is the sixth Jean Rollin film I have seen in the past week, and the fifth one to feature nude vampire women.
Not sure what is up with Rollin: he needs nude women, vampires, castles and a sea side with a fence (or dilapidated pier) in all his films...I think this one was probably the best of those I have seen.
The rocking music, the actual attempt to have a back story for the vampires...
I am very much a fan of 1970s European vampire movies and Jean Rollin was the best of them.
If you are looking for the best of this genre, this is one of the films to watch..
I especially liked the end where the vampires dies with cheesy special effects and our demented hero is firing his gun into the air as he runs along the beach..
The interesting characters in this are a couple of guys who used to be vampire hunters but, after an "accident" (they got bit) have become unabashedly undead, and never had more fun.
Plenty of T&A, with slow pans over naked babes, a pair of deadly Madonna-like tit-spikes, and other good stuff.
You can probably watch this while you balance your checkbook, but if you like cheesy low-budget horror there's plenty worse..
If you are a fan of the "Twilight" series of supposed vampire films, you will want to stay away from this.
Or, maybe you will want to see what a real vampire film is all about.This is good work from Jean Rollin.
It may be Gothic, but it is painted with rich color and the rock music really applies.It is non linear, which tends to upset some folks, ad it doesn't make sense inn some parts, but the link between vampirism and sex is well defined.People pop out of the strangest places, and there is enough nudity to satisfy the most jaded.You do have to feel for poor Antoine (Jean-Marie Durand).
A couple of striking images can't dilute the fact that this is like watching a tacky porno film with all the juicy bits cut out..
Dreamy European vampire art-film with a modern-day setting, but all the trappings of a more traditional period horror.
Throw in a psychedelic pop score and various hippy motifs and the result is an awkward hybrid of themes and ideas.'Le Frissons des Vampires' is basically a slow series of impressive images set to music, with limited dialogue and a disjointed narrative.
The allusions to vampire eroticism, with semi-clad females and implied lesbianism, are not unwelcome but the results are singularly uninteresting with little to excite the viewer.The storyline - pair of newlyweds stop off at a Castle inhabited by vampires - meanders dreamily (drearily) along, with no points of interest to break up the monotony.
Despite some individual images which are stunning - the female vampire emerging from the grandfather clock - it's difficult to find much to recommend here.
I'm not sure how much of the film's strength was lost to the poor dubbing, but even so I can't help feeling that 'Lust for a Vampire' (1971), despite its lack of artistic merit is better entertainment.For all its striking visuals, Rollin's film falls down on too many basic levels and as naked lesbian vampire films go, it's simply dull to watch..
Shiver of the Vampires, The (1971)** 1/2 (out of 4) Jean Rollin's third vampire film follows a honeymooning couple, Isa (Sandra Julien) and Antoine (Jean-Marie Durand), as they travel to the castle of her cousins.
It doesn't take long for strange things to start happening including the so-called dead cousins coming back.
Following THE RAPE OF THE VAMPIRE and THE NUDE VAMPIRE, I think most people would agree that this is the film where director Rollin started to show what good things he was working up to.
This film here is certainly far from a good movie but there are several interesting aspects that make it worth viewing and there many elements that you can see the director working with and he would eventually perfect these in upcoming films.
One certainly isn't going to mistake the style of Rollin with someone like Mario Bava or Dario Argento but what's so unique is that this French director was able to do something rather original and all his own.
What's so impressive about Rollin's style is that it almost seems so lifeless but when you consider that he's dealing with the undead, this perfectly fits the films.
Compare these to the scenes when the dead are ruling things and you'll see Rollin using beautiful, haunting colors and there's some terrific stuff in the cemetery with some vivid reds that really jump out.
Of course, this being a Rollin picture, the nudity levels were starting to rise at this point, which I'm sure is going to sit very well with the male viewers.
The pacing of the picture is a very big flaw because it moves so slow that there will be times where you think the thing is almost over and then you realize that you've only been watching for a matter of minutes.
The pacing issues aside, overall this is a rather impressive mix of horror and eroticism that fans of Rollin will certainly want to check out..
Ultra low-budget outing from French sex director Rollin has even less plot and an even deadlier pace than his previous films, LE VIOL DU VAMPIRE (1967) and LA VAMPIRE NUE (1969).
What you get is an attempt at creating atmosphere (fog, colorful lighting) and Rollin's trademark before-sunrise coast-finale.
Because I've always been a fan of vampire stories and I like to experiment with different genres, I bought three Jean Rollin films.
Add this to the lack of a decent story line or decent acting and you really start wondering what the hell some of these reviewers are so excited about...They say Rollin is all about atmosphere, but I wonder what atmosphere they're talking about.
If you watched this movie expecting what a 1970s movie about vampires should be, then you probably liked it.
This was my first Jean Rollin movie, having come across his name on related searches on Amazon and seen his name mentioned in conjunction with Jess Franco, I thought I'd take the plunge.
However, even with obvious limitations Rollin seems to be able to produce one atmospheric, visually engaging shot after another, his use of color reminds me a little bit of Ken Russell.
Any notion of plot goes out the window fairly quickly, we're treated to some preliminaries concerning a couple on their honeymoon, but this rapidly degenerates (evolves) into random shots of women in various states of undress wandering though smokey castles and graveyards, in one famous scene, a woman emerges from a Grandfather Clock.
On the downside, Rollin seems to have a thing for over-loud, annoying and repetitive sound effects, he often uses these to ruin a perfectly good scene right at the end.
Overall there is more to like than dislike here, it's no 'Vampyros Lesbos', but definitely worth seeking out if you're a fan of the whole 70s Lesbian Vampire sub-genre..
On the plus side, the score is kinda groovy and the naked babes (it's a French film, after all) make it easier on the eyes, though not enough to recommend..
Strange and heady psychedelic vampire horror oddity from the ever-interesting Jean Rollin.
Isa (a charming performance by the fetching Sandra Julien) and her husband Antoine (a likable portrayal by Jean-Marie Durand) are a recently married honeymooning couple who stop for the night at a moldy old castle.
The couple discover that the castle is the home of a horde of vampires who have very special plans for Isa. Director Jean Rollin, who also co-wrote the offbeat script with Monique Natan, relates the cheerfully outré story at a hypnotically gradual pace, does his usual ace job of creating and sustaining a dreamy'n'trippy oddball atmosphere, smartly explores an intriguing theme about destiny, and makes the most out of the rundown castle and adjacent spooky cemetery locations.
Moreover, Rollins not only further spices things up with a generous sprinkling of sizzling lesbianism and yummy female nudity, but also gives the picture an extra delightful lift with an amusing sense of playful humor and a few startling moments of inspired surrealism (for example, the vampiress who pops up inside of a grandfather clock).
A newly-wed couple unwisely decide to spend their honeymoon in an old castle, wherein the frigid and not at all up-for-it bride discovers the joys of Sapphic undead love thanks to the lovely Isolde, a slightly malnourished vampiress who lives in a grandfather clock.
Also participating in this feast of Gallic ghoulishness are a pair of pretentious philosophising vampire brothers, one of whom is for unstated reasons best known to himself attending this particular Halloween party dressed as Austin Powers.Not a lot else happens, to be honest, but there is much enjoyment to be had here: a gorgeous shot of a slain dove, its crimson blood spattering a coffin; the fey vampires' beautiful maids, scantily clad in diaphanous cloaks and not a lot else; interesting set dressings like a skellington fishtank; and a pounding bass-heavy jazzy score.
Surprisingly good erotic vampire film.
"The Shiver of the Vampires" is one of the better erotic vampire films around.**SPOILERS**On their honeymoon, Isle, (Sandra Julien) and Antoine, (Jean-Marie Durand) decide to stop off at her cousin's castle for a while.
That night, wandering around the castle, he witnesses two men who resemble her cousins alive and performing a black magic ritual with a strange women, Isolde, (Dominique) who later appears to Isle and attempts to seduce her.
When he realizes that all of the inhabitants of the castle are a coven of vampires who want to initiate her into their group, he races to stop them before it's too late.The Good News: This is far better than it should've been.
The film's impressive and continuous Gothic atmosphere is it's greatest asset.
It has its occasional moments of surreal glory as well, including a vampire that sleeps inside a grandfather clock and giant ornate chimney places, only rises at midnight to the accompanying image of a female victim draped willingly around the clock waiting for her to awaken, the image of a female vampire wearing giant spiked black nipple caps to kill a troublesome woman, skulls in a goldfish bowl and the like.
The vampire plot is strong and well-defined, allowing for most of the best scenes to come from their appearance.
There are a large number of scantily-clad women in see-through gowns, a near-continuous stream of stripping for unnecessary events, a naked lesbian couple caressing on a fur blanket, a couple of seduction and sexual scenes and more, and is nicely integrated with the film artistically rather than being there for the sleaze appeal and it's a nicely different touch.
One of the main problems is that the film really fails to make the most of the connections drawn between vampirism and sex.
Despite the great pain taken to set up the allure cast over the wife: she is mesmerized by the female vampire, nothing much occurs of the plot-line until she is led to a cemetery and the vampire bites her neck, the wife instantly collapses.
For a film containing vampires, that is a surprisingly small amount devoted to it's official status.
The dream-like atmosphere maybe a source of frustration to some, as it's quite hard to get into and results in it being an acquired taste, but beyond these, the film isn't that bad at all.The Final Verdict: With abundant Gothic overtones, impressive scenery, lesbianism and only minor flaws, this is one of the better erotic vampires films around.
This is certainly required viewing for anyone interested in the genre or a fan of the European Vampire films, and is a nice starting point for the uninitiated as well.Rated UR/R: Full Nudity, Violence, several sex scenes and Mild Language.
Of all the few Rollin films I have seen (and I intend to see more), Le Frisson des Vampires/Shiver of the Vampire (his third) might be my favourite.
Equally typical, there is plenty of casual nudity which rarely actually comes across in an erotic way, rather as a perfunctory element of the whole, delirious dreams-cape.As one of the two serving girls, once again, is Marie Pierre Castel.
Marie featured in a number of Rollin films, sometimes alongside her sister Catherine.
Huge castles and lush forestry, together with a freezing beach – another Rollin staple – often belie the sometimes stilted acting, especially from the two hippy/vampires.This film is afforded an actual ending, which doesn't always happen.
Often in the Rollin films I have seen, they end very suddenly, possibly as a result of his lack of budget or time constraints.
"Shivers of the Vampire" brings the groovy back.
Despite the signs that something is afoot, like the uncle's mute female servants, the couple stays.
The vampire woman first appears nudged into a grandfather clock.
The lesbian maids (Did I mention they are lesbians?) lunge around the castle in the nude and use an unorthodox method to wake the husband.Pretty pictures only do so much to make up for the maudlin pace.
The acting is more stilted then usual.Yeah, it's pacing falters by the end and there's plenty of vampires musing about what a wretched, unlovable species they are.
The ending does feature an ironic take-down of the film's antagonist and that weird beach appears again.
The film wasn't released in the US until the late seventies, with the new title "Strange Things Happen at Night." I actually prefer that title since it's far more evocative and also an accurate description of what's to come.
This is my favorite of the director's films since "The Nude Vampire.".
This was my first Jean Rollin film.
Rollin, a pre-eminent French director known for his eroticism and surrealism in his "horror" films, definitely has an eye for atmosphere with his particular attentions given to color, shading, set pieces(love the Gothic look and feel of the film), and even the music chosen for the film.
He also has an eye for the female form as well as we get to evaluate that critical approach again and again and again...honestly, Sandra Julien has one of the most beautiful backsides I have ever seen - in film or anywhere else!
The story is very, very thin as Julien and her new husband want to pay their respects to her two cousins as they are on their honeymoon.
That is more plot than the rest of the film which has a female vampire popping out of a clock and all sorts of strange places who turns Julien into her lesbian lover and then we wait for her final turn into a real vampire whilst her husband Antoine cannot understand what is going on.
The two cousins have one good scene at dinner talking about vampirism but really the rest of the film is so slow....not much at all happens.
While this film is not going to keep you on the edge of your seat at all(just wait until you see the anti-climatic end), it was interesting and intriguing and charming in its own way. |
tt0027260 | After the Thin Man | This is the second installment of the Thin Man series, the story picks up from where "The Thin Man" left Nick and Nora.Arriving home after three days on the train, Nick and Nora were looking forward to spending a quiet new year with just each other. But their house was occupied by drunken friends; and Nora's most uppity relative, the spinster Aunt Katherine, called and insisted that Nora and Nick join her New Year's Eve family dinner. Nora did not care for her aunt but she agreed to go, mainly to visit her distraught cousin Selma Landis.Aunt Katherine had not changed her mind about the flatfoot to whom poor Nora was married, but she needed Nick to discreetly investigate the disappearance of Selma's playboy husband Robert. Selma's mental condition was beginning to deteriorate and Aunt Katherine was worried that even with the close supervision of psychiatrist Dr. Kammer, the scandal will break out and ruin the Forrest reputation.After dinner, Nick and Nora went to say goodbye to Selma before leaving, and met David Graham. David used to be engaged to Selma and was still in love with her. Furious about the way Robert treated Selma, David told Nick that Robert wasn't really missing, he just had enough of Selma and wanted a divorce. He even promised David that if he pays him $25,000, he will divorce Selma and get out of the way.Nick and Nora decided to spend New Year s Eve in a seedy but popular Chinese club called Lichee, managed by ex-con Dancer, once arrested and sent away by Nick, and Lum Kee, whose brother was also arrested by Nick and was still in jail.They found Robert at the club. He had become a regular at Lichee because of the starring singer/dance girl Polly Byrnes, and was planning to run away with her once he gets the money from David. Polly was not in love with Robert, and kept things up with Robert just so that she and boyfriend Dancer could scam money from him. Running into Nick and Nora made Robert, Polly and Dancer uneasy, and Robert decided to not wait for cash and told David that he will take anything and leave town that night.David met Robert secretly and gave him a stack of bonds, and a happy Robert went home to pack up. He woke Selma in the process, the two had a fight, Robert said his final word and stormed out. Selma lost her nerve and ran out after him.David was worried about a confrontation between Selma and Robert and he went back to the Forrest mansion to check on Selma, only to find her standing over Robert's dead body with a gun in her hand. David took the gun and disposed of it for Selma, told her not to mention the incident to anyone.A hungry Nora woke Nick up so that he can make her some scrabbled eggs, and while they were in the kitchen, someone threw in a stone with a note attached to it. Asta, who's being irritable lately because he found out that one of Mrs. Asta's puppies was definitely not his, but that of a black Scottish terrier, got to the stone before Nick and Nora. A chase broke out and when Nora finally got the note, the most important part of the note was already eaten by Asta.Nick and Nora went back to bed and slept till early evening the next day. When Lieutenant Abrams dropped by to tell Nick to that they've ran out of leads, Nick decided to follow the clues from the note and visit Polly's ex-con husband Ralph West, now known as her brother Phil.Nick and Abrams found Phil murdered with the same gun that killed Robert, other evidence was planted and took them no where; except a key to Polly's apartment. Having lost all other leads, Nick decided to check out this one.In Polly's apartment, Nick noticed a hole on the ceiling and went to check the apartment directly above hers. The tenant's name was Anderson, a fake name; and in the apartment, Nick found contraptions that allowed a person to listen in and a makeshift ladder to climb down and enter her apartment through the window.As Nick was testing the earphone, Dancer came back to Polly's apartment, he sensed that someone was upstairs and made a run for it. Nick pursued him and was shot at. The shots missed him, but they did shoot open a box, from which the dead body of the apartment janitor Pedro fell out.Nick now knew exactly what happened but didn't have any strong evidence, he and Abrams decided to test their luck and gathered everyone in Polly's apartment, to see if they can trick the murderer into making a mistake.So arrived the suspects: Dancer, Polly, Lum Kee, Aunt Katherine, Dr. Kammer, David, and the grieving widow Selma.It turned out that Robert was not killed over money, but from a deep hatred; the death of Phil and Pedro were just the results of the murderer, the mysterious Anderson, trying to cover his tracks.Anderson found out everything by listening in to Polly's conversations with Dancer, Robert and Phil. He would have climbed into her apartment to plant incriminating evidence had he not been locked out by Pedro. Pedro found out about the special contraptions while doing repair works, changed the lock on the door and called Nick. Anderson heard the phone call and killed Pedro.Anderson then followed Robert until he stepped out of the Forrest mansion and killed him. Knowing that Phil was following Polly and Robert, Anderson killed him too.Crowded and pressured by the cool Nick, jumpy Abrams, and irritating Aunt Katherine, Anderson remained calm. But when it was revealed that the janitor Pedro was once Nora's father's gardener, Nick caught him. All suspects who knew Pedro merely stated that they knew him, only David added a description of him, a description that would describe Pedro the Janitor, not the younger Pedro the gardener.David pulled out a gun and was about to kill both Selma and himself when unexpectedly, Lum Kee came to everyone's rescue. Nora had been wary of Lum Kee the whole time, thinking that he might harm Nick. But It turned out that as Nick sent his brother away, Lum Kee got the chance to go after his brother's girlfriend, whom he likes a lot more than his own brother.Unable to find peace in San Francisco as well, Nick took Nora and Asta on the train again. Noticing that his wife was not paying attention to him, Nick put down his cocktail glass just long enough to get a closer look at what Nora was knitting. It was a baby shoe. | comedy, mystery, murder, insanity, psychedelic, revenge | train | imdb | And if you are a fan of Asta's, he gets more screen time in this outing than any of the others (interestingly, in Dashelle Hammett's book, Asta is female).Of course the chemistry on screen between Myrna Loy and William Powell is unsurpassed, that's why they would ultimately be cast together in 14 films during their careers.
It's also fun to remember when you're watching veteran character actress Jessie Ralph play the stodgy Aunt Katherine, you are looking at a woman who was born during the Civil War.All of the key Thin Man ingredients are here: a clever who-dun-it (with more suspects than any other Thin Man film), beautiful photography, exquisite fashions and decor, jokes as dry and plentiful as the martinis, a performance or two of the popular music of the day, and an ending that will surprise you.
Very few sequels ever live up to the film that started the entire franchise--AFTER THE THIN MAN, second in a series of six films starring William Powell and Myrna Loy as Detective Nick Charles and his inquisitive, charming wife Nora, is one of those that just about manages it.
It brings back the characters we've gotten to know in the first film, THE THIN MAN, and subjects them to even more wacky criminal hijinks.This time, Nick (Powell) and Nora (Loy) return to San Francisco just in time for a surprise New Year's Eve party (at which no one recognises them, ironically enough!).
However, Nora's dour Aunt Katherine (Jessie Ralph) spoils Nick's plans to spend New Year's Eve blissfully alone--and most likely inebriated--by inviting the couple to her house to help Nora's cousin Selma (Elissa Landi).
Throw this cleverly-written murder mystery in with a healthy heaping of literate dialogue, thrown out only as William Powell and Myrna Loy can, and you get a classy film that hints at crime, love, sex, power and hatred without ever needing to resort to cheaper tricks.
It's no small wonder that menfolk in the 1930s used to form 'Men Must Marry Myrna' Clubs--she's able to stand up to her man whenever necessary, and even when she's chattering through the night evidently hungering for Nick's scrambled eggs, Myrna Loy's Nora Charles is one of the cutest female characters ever created.
Mustn't be too pretty in the mornings." I won't spoil the ending of the film, but Nora's own revelation to Nick as they take the train back to New York is also as touching and sweet as can be imagined.If you're up for a good romance story, or a good murder mystery, or better yet, a combination of the two, you really couldn't go wrong with this second installment in the Thin Man series.
Some weeks ago I expressed my absolute enthusiasm for 'The Thin Man (1934),' a delightfully humorous murder mystery/comedy classic, starring the inimitable comedic marriage of William Powell and Myrna Loy as husband-and-wife detectives Nick and Nora Charles.
'After the Thin Man' is the first of these sequels, released in 1936.As the original trailer for the film proudly proclaims, 'After the Thin Man' brought back the three writers of the original hit (Dashiell Hammett, Frances Goodrich and Albert Hackett), the same director (W.S. Van Dyke) and, of course, the three huge film stars in Powell, Loy and, of course, Asta the dog (the wire-haired terrier whose birth-name was Skippy).
True to its promise, the film is every bit as witty, hilarious and suspenseful as its predecessor, masterfully melding Nick and Nora's playful banter with another twisted mystery of love, betrayal, blackmail and murder.
And look out for a memorable supporting performance from a young James Stewart, who was yet to hit it big with the likes of Frank Capra and Alfred Hitchcock.The sequel takes place just a day or two after where 'The Thin Man' left off, as Nick and Nora prepare to depart from the train that brought them back home to San Francisco.
The good-natured inter-marital sledging that made the original film so enjoyable still carries a razor-sharp wit, and, in one hilarious sequence, Nick even goes as far as pretending not to recognise his wife so she can be temporarily detained in a jail cell.'After the Thin Man' is one of those very rare occasions when a sequel is good enough to sit shoulder-to-shoulder with its predecessor.
Appearing here in a supporting role, he gets to show off some acting chops he didn't always get a chance to display in his later career.Add to the mix a topnotch screenplay, the chemistry between William Powell and Myrna Loy that is so strong you find yourself believing that only a week has lapsed since their previous outing (rather than two years), at least one sight gag worthy of Groucho Marx (Nick when he and Nora go to visit her stuffed-shirt relatives), and -- oh, yes -- some vintage location footage shot in San Francisco back in the days when "the city that knows how" still knew.
After solving the famous Thin Man case in New York and acquiring a trademark in the process, Nick Charles returns to San Francisco with wife Nora to spend some time with some of her family.
But in the wee small hours of New Year's Day, he gets himself murdered on the streets of San Francisco and two more bodies turn up before William Powell solves the case.James Stewart appears in this second Thin Man film as Landi's patient former boyfriend.
It seemed as though the script wanted to make it so that anyone could have been a suspect (one of which is James Stewart in a fun role)which normally would be a good idea, but can make it a little confusing (and I'll admit that I wasn't paying 100% attention, but the light-heartedness seems to almost encourage you not to take it all seriously...which is why 'The Thin Man' movies are so much fun in the first place!).
In this first sequel to the celebrated film "The Thin Man", detective Nick Charles, (Powell) his socialite wife Nora (Loy) and their beloved terrier Asta are on their way home to San Francisco after a long trip.
It is up to Nick and Nora to help the police solve the crime and clear Selma's name.I thoroughly enjoyed "The Thin Man", and was absolutely charmed and delighted with this sequel.
But while the story itself in "After the Thin Man" was good, and strong enough to stand on its own merit, but the film itself is great because of Powell and Loy. Myrna Loy, one of my favorite classic film actresses, made a career out of being the non-plussed wife or object of affection to varying degrees of spastic leading men.
(Particularly Cary Grant in "Mr. Blandings Builds His Dream House" and "The Bachelor and the Bobby Soxer", both films I would definitely recommend.) Loy's straight-faced elegance is perfection as Nora Charles, a young and beautiful wealthy socialite who married Nick, a detective from the wrong side of the tracks who loves liquor and ribald humor.
"After the Thin Man" also has some hilarious lines, and while a lot of the appeal is in the delivery, dialogue like a scene between Nick and Nora, who are waiting to be let in to her aunt's house, (Nick and her aunt have a mutual dislike for one another) when Nora asks, "What ARE you muttering to yourself?" Nick replies, "I'm just trying to get all of the bad words out of my mind." And then later, when reintroducing her husband to her aunt, Nora says, "You remember my husband, Nick
" her aunt replies with "Hello, NicholASS." (And proceeds to call him that the entire film.) Even Asta has a subplot in this film; when they arrive home in the beginning of the film, he runs back to the kennel to see Mrs. Asta.
All the fun is simply watching Loy and Powell go through their routines with such skill and sophisticated good humor.The surprise is watching a youthful James Stewart make his first noticeable appearance in an MGM film as part of the supporting cast.
Any fan of Myrna Loy and William Powell will surely find pleasure in watching these two at work.As for the revelation of the murderer, it comes out of left field and can't be taken seriously.
It's not as naughty and racy, and the pacing feels much more sluggish.I thought, as good as Myrna Loy was in the original "Thin Man" film, that she was underused and that William Powell dominated the movie.
That is even more the case here, with Loy a decidedly supporting character.But it's still entertaining, and not many films are as good as the first "Thin Man," so it had very high standards to meet.
In the beginning of the film his character adds a well grounded performance in a sea of out of balance characters.Same story writer Hammett, same married screenwriters Frances Goodrich & Albert Hackett, same director Van Dyke and same 3 leads, Powell/Loy/Asta.
But a new character is introduced, Mrs. Asta!James Stewart said later in his career he appreciated this film because the screen writing team of Goodrich and Hackett actually discovered him on the Broadway stage and wrote this part for him!This film starts just 3 days after The Thin Man left off and aboard the same train going from New York to San Francisco.The "dog leash gag" which everyone was talking about in the original Thin Man is repeated as soon as they arrive at the station.The formula of the criminals as Nicks friends continues with an assortment of colorful characters and we now meet some of Nora's high classed (read boring) friends and family.In The Thin Man they celebrated Christmas, in After they celebrate New Years Eve.The best gag in After also includes Asta, a black puppy and a Scottish terrier, but you'll have to discover that yourself.Elissa Landi plays a neurotic young wife, Jessie Ralph plays a pompous rotund lady who intentionally mispronounces names, Sam Levene plays a world weary police inspector, George Zucco plays an odd psychiatrist.
I'm sure this must have been noticed before, but in all honestly, the mystery herein was not very complicated, and not very hard to figure out, and indeed it seems as though the mystery is superfluous to the opportunity to showcase Myrna Loy and William Powell and the beautiful and enchanting dynamics of their on screen relationship.Actually, there IS a story, and the plot is progressive, while leading us down the primrose path, but the twists are slow and obvious and the entertainment is heightened by the delightful repartee between Nick and Nora.
I can't imagine better people to do these roles than William Powell and Myrna Loy. Talk about a match made in heaven.Nick and Nora return from a trip, looking forward to being alone and celebrating New Year's.
"After the Thin Man" is the second film in the "Thin Man" series that stars William Powell and Myrna Loy. Oh, yes, and Asta their talented pet, Scottie.
It's a wonder Nick can function at all with the number of drinks he has - like the previous film, at least the subject of hangovers does come up, which is funny in and of itself, for the moment it is - but Powell is relentlessly charming in the role, giving a look like he may be aloof, and secretly he's the farthest thing from it, hearing every word of a policeman's inquiry into shady characters at a nightclub, or what's said during an interview.
Oh, he may look all out of it here and there, but it's all part of the fun - not to mention Loy, and it would be unthinkable without her, especially as she has to contend with being by this wild-man's side and give the sometimes look of 'Oh, you'.The case has a lot of good twists and turns, and this time the movie is longer than the predecessor.
It's all of a piece and it mostly works splendidly as a mix of serious character development and mystery, and the air of a delightful romp and hoot that might be best watched with a drink and a love-of-your-life by your side.It's not perfect though, and there are a couple of scenes where, seriously, the dog becomes the star of the picture.
It's cute, to be sure, to see all the other dogs and puppies and such, but it's diverting from seeing more of Loy and Powell and the other excellent character actors (a young James Stewart, right before breaking out as a leading man and already showing his chops, especially in the climax, as a 'blue-blood' is one of them).
Amusing followup to "The Thin Man" has Nick and Nora trying to solve another murder mystery while finding plenty of time to flirt and drink.
What saves AFTER from being a routine sequel is the acting of Powell and Loy, along with the marvelous Sam Levene as a pushy detective and veteran actress Jessie Ralph as Nora's dowager aunt Catherine, who looks down on Nick.
Its been two years; Nick(William Powell)and Nora(Myrna Loy)once again show us how to enjoy alcohol and cigarettes all the while solving another murder caper.
Oh there's still plenty to like about the movie - William Powell and Myrna Loy are still a wonderfully banter-ful couple, and the dog Asta is one of the cutest screen pets still, but the movie drags in some scenes, and it just lacks the freshness of the first.This is one of James Stewart's pre-fame roles but I think it must've helped jump-start his career.
Disover the charms of Powell and Loy in After the Thin Man. After the Thin Man is the first movie I've seen in the William Powell-Myrna Loy series and what a treat it is to finally discover the charms of Nick and Nora Charles as well as their dog Asta!
For the suave and debonair couple Nick and Nora Charles (William Powell, Myrna Loy), the detective work that they do shares equal time with romance, quips, danger and mystery.
Nick Charles (William Powell) is asked by the cousin of his wife Nora (Myrna Loy) to locate her ne'er do well husband, missing for three days.
Supporting Actresses Over Act. Landi and Singleton make you grit your teeth at times, but Loy and Powell make all the Thin Man movies a joy to watch over and over..
Two years later, "After the Thin Man" continues exactly where the immensely successful first "Thin Man" movie had left off: Nick and Nora come home to California after solving the difficult Wynant murder case in New York - and find themselves in their own house right in the middle of a wild New Year's Eve party that their friends are giving to welcome them back; although they'd planned to just take a big rest for about a month...But they can't do that anyway, because they're 'summoned' to dine with Nora's distinguished family by her aunt, whose neurotic daughter Selma once more has got love trouble: her unfaithful husband has been missing for days...
Supported by a brilliant cast (especially young James Stewart as Selma's eternal worshiper, Joseph Calleia as the crooked night club owner, and George Zucco as Selma's psychologist, who seems somewhat nutty himself...), Powell and Loy give an equally marvelous performance as in the first 'Nick and Nora' adventure, and director W.S. van Dyke once more grants us a hilarious mixture of crime and comedy - this film certainly established 'Mr. and Mrs. Charles' as the audience's favorite married sleuthing couple, which they remain until today....
I've not seen any of these on TV and I've just bought The Thin Man Collection.Two years after The Thin Man we see the sleuthing married couple, the debonair William Powell and beguiling Myrna Loy, plus dog, Asta take on a new case that involves an early prominent role for James Stewart.
With Nick's constant boozing, chances are he never noticed it.San Francisco bound on the Sunset Limited, Nick and Nora Charles (Powell and Loy) along with their wire haired terrier, Asta, coming off the train finding themselves surrounded by reporters and assortment of oddball character friends of Nick's congratulating him on solving the "Thin Man" murder case.
Through its title, this is the film responsible for labeling Nick Charles as "The Thin Man." Separately or individually, Powell and Loy are in top form playing society sleuths with great chemistry and sense of humor.
The first "Thin Man" introduced us to Nick and Nora Charles (and their dog Asta), and the whole film had a fresh, wonderful feeling to it.
The movie works so well, just as The Thin Man did, because the mystery is complicated, because William Powell and Myrna Loy were probably the classiest and funniest pairing Hollywood has ever come up with, and because the dialogue crackles with wry humor that is just as funny now as it was 70 years ago.
Both the mystery and the characters are interesting, and William Powell and Myrna Loy work together at least as well in this one as they did in the original.
Nora dogs his every step as she attempts to convince her family Nick is a good man even if he wears a "blue" collar.James Stewart, prior to becoming famous, does well as the rejected love interest of the accused murderer.
As THE THIN MAN ends, Nick and Nora (William Powell and Myrna Loy) are headed back to their home in San Francisco, accompanied by Maureen O'Sullivan and her husband.
By the time After the Thin Man was made, William Powell and Myrna Loy had really grown into their characters.
A little long, compared to the other films in the series, but William Powell and Myrna Loy make this kind of movie, which is essentially a comedy mixed with a murder mystery, seem much more fresh than any other MGM film made in the 30's.
Not only does William Powell (Nick Charles) love Myrna Loy (Nora) but they serve as a good illustration of the complementary theory of marriage. |
tt0271027 | Kiss of the Dragon | Liu Siu-jian (Jet Li), a Chinese intelligence agent, is sent to Paris to help apprehend Chinese mob boss Mr. Big (Ric Young), who is involved in heroin smuggling. He meets Inspector Jean-Pierre Richard (Tchéky Karyo), a corrupt and violent French police detective, at a hotel. Richard tricks Liu into believing he is simply providing reconnaissance of a meet involving Mr. Big. The plans are changed when Mr. Big is introduced to two prostitutes, one being Jessica Kamen (Bridget Fonda), an American woman, who takes him to his room to service him. While Liu and the rest are watching through the surveillance camera, Mr. Big kicks everyone out except for the two prostitutes. After pretending to seduce him, one of the prostitutes then stabs Mr. Big. Overseeing the events from a surveillance room, Liu rushes to stop the killing, but Richard enters shortly later to shoot Mr. Big and the prostitute with Liu's police-issued handgun, framing Liu for the murders.
Realizing he has been set up, Liu manages to escape from the hotel with a surveillance tape showing Richard shooting Mr. Big. Chinese liaisons are sent to France after the events to investigate the matter, as Richard makes Liu the primary suspect. However, the liaisons do not believe the story Richard provides. Liu manages to contact one of the liaisons, and passes on to him the tape that reveals the truth. Due to French police surveillance, the meet between the liaison and Liu is spotted, and the liaison is assassinated. Liu is then forced to flee from a horde of cops and even GIGN commandos. After Liu escapes, he is forced to maintain a low profile.
As he considers his situation, he meets Jessica, whose daughter was kidnapped by Richard to force her into prostitution. Liu discovers Jessica was the second prostitute at the hotel during the night of Mr. Big's murder. He realizes she can prove his innocence, but she refuses to go without her retrieving her daughter, Isabel. Liu decides the tape would provide the best evidence, and sends Jessica to Richard's office to steal the tape. Jessica manages to get the tape, so Liu and Jessica head to an orphanage where Isabel is kept. However, Richard anticipates this move after discovering Jessica has stolen the tape, and ambushes the couple at the orphanage. During their escape, Jessica is shot in the chest. Liu manages to get her to the hospital in time, and becomes driven to retrieve her daughter. Liu arrives at the police station where Richard is holding Isabel hostage, and fights his way through Richard's henchmen to his office. Once at the office, Liu rescues Isabel, getting shot by Richard in the process. To save Isabel, Liu kills Richard by sticking an acupuncture needle into the back of his neck in a forbidden location known as the "kiss of the dragon," which stimulates all the body's blood to travel to the brain to cause a painful death via a brain aneurysm. Liu survives the gunshot wound, and returns Isabel to her mother. | comedy, murder, violence, cult, action, suspenseful | train | wikipedia | KOTD is the perfect excuse for action, with minimal plot and impossible odds.Basically, Jet Li plays a Chinese cop Lui Jian who travels to Paris to help the police bring a crime boss to justice.
I know I sure sighed with relief that Liu Jian (played with subtle excellence by Jet Li) wasn't driven by some emotionally haunting past, like the death of a wife and child, as is so typical in super-cop action films.
But despite its few formulaic shortcomings, Kiss of the Dragon still delivers.What really stands out in this film is the way the fight sequences flow with the rest of the story, unlike so many other movies that seem to be constructed around a few preconceived action scenes.
I expect most of these Hong Kong martial-arts films to be packed with action but most feature either a little humor (Jackie Chan) or beautiful scenery ("Hero," etc.) or wild special effects ("Crouching Tiger, Hidden Dragon" and more).....but this one features a mean edge.
I'm not used to seeing these Asian films with a lot of profanity (mainly f-words) or bloody scenes almost to the point of being gross, which one scene was in here.The hero is likable guy played by Jet Li. Despite his martial arts penchant for violence, he has a soft, boyish look to him and doesn't seem to fit the type.
While Li might be criticised for being one dimensional' in his movie roles, it has to be said that he is one of the best martial arts actors going around at the present time.Liu, a Chinese intelligence officer, goes to Paris on assignment and becomes embroiled in a deadly conspiracy.
The finale action sequence has Liu refer to the title of the film, whereby the use of a needle technique called Kiss of the Dragon', which is highly illegal, as it must be, which can disrupt the body's blood flow, making all the blood travel to the head and then killing the person as it tries to escape from whatever cavity it can.
This scene was astonishing to see being played out.The supporting cast in Kiss of the dragon' consists of Jessica (beauty Bridget Fonda), a girl who is forced to take drugs and be a prostitute by French Police inspector Richard (Tcheky Karyo).
Jet Li has done some good movies, such as `Lethal Weapon 4' and Romeo Must Die' where he shows off all his martial art skills.
Quite well choreographed fight scenes with good realistic violence a la Bruce Lee. The plot is rather formulaic, as is much of the dialogue (I expected better from Besson), but the movie has a bit of the 'Nikita' flair (guys going crazy with fully automatic weapons in public places).
It seems as if every movie like this replaces a story and characters with silly special effects and high-tech action sequences involving martial arts fighting.
Jet Li starred in 25 successful Asian films before making his debut in America as the villain in the lackluster "Lethal Weapon 4." His last film, "Romeo Must Die," was a pitiful action extravaganza that borrowed elements from Shakespeare's "Romeo and Juliet." Before this film, I could not stand this martial artist turned actor.
"We went back to the basics," explains Jet Li, "keeping the fighting simple and based more in reality." Liu's principle fighting weapons are not guns or swords, but acupuncture needles, which play an important role in the mysterious "kiss of the dragon" revealed at the movie's climax.
Fights , attacks and exciting combats very well staged by great fighters , in fact , here are only seven wires used in the entire movie, the only scenes involving wire work were when Jet Li had to jump up to kick the pool ball and when Cyril Raffaelli performs his one-and-a-quarter backwards somersault-kick ; the result is a strong entry for art martial buffs .
With even the Chinese embassy unable to bring Liu in, he is forced to try and expose the corruption and take the fight to them.With so many of Jet Li's American movies being pretty messy disappointments, it was no surprise that I just gave this a miss when it came out at the cinema and never got round to seeing it on video.
Of course, this doesn't really compare to the best of Li's Hong Kong material but it is still much better than the rest of his American stuff and is worth a look for fans of martial arts action..
"Romeo is Bleeding" is also quite good, but Li has a story credit on this one and the script was written by Luc Besson and Robert Mark Kamen, the schlocky team behind enjoyably cartoony action films like the Transporter and Taken franchises.
The story isn't really all that great, like most Besson pictures ("Leon" being the main exception), but the action is terrific (Li's regulars collaborator Corey Yuen was the martial arts choreographer on this film).
I really loved this movie...It's even better than Romeo must die.Story is about a China Cop who is sent to France to find a heroin smuggler with the help of french police but soon gets implicated in the murder of the criminal by the corrupt Frenchmen who themselves are part of a crime syndicate involving drugs , murder and flesh trade.The story by Jet li is really good, the action sequences are awesome and show Jet li in his best ever performances, fast moving and active yet humble and simple.The film is fast-paced and thrilling, and will keep you at the edge of your seat for 1.5 hours Watch it...you won't regret it..
Kiss of the Dragon (2001) is another Jet Li's finest action martial artist film!
Kiss of the Dragon was Jet Li's third French movie he ever made that was not a Chinese film.
falsely accused of murder, he must team up with a seductive call girl (Bridget Fonda) to save himself, her and her daughter.The basic plot is about Liu Jian (Jet Li) a police officer from China, comes to Paris to help the vice squad apprehend a Chinese drug lord and his unknown French connection.
The Dojo stick fighting is my favorite scene and the fight between Jet Li and Cyril Raffaelli is my favorite realistic martial arts fight.Overall: Kiss of the Dragon is my fourth favorite Jet Li film that I love to death and I am owning it on Blu-ray disc.
The rating this film gets 10/10.Kiss of the Dragon is a 2001 action film starring Jet Li, Tchéky Karyo and Bridget Fonda.
There is relatively little wire work, unusual for a modern Kung Fu film, resulting in some great fight scenes, especially between Jet Li and Cyril Raffaelli, who plays a henchman.
Despite Li's character being a good police officer and a surprisingly good portrayal of the Communist Chinese government, this film was still banned in the People's Republic of China, a fact that Li was not very happy about.10/10 Grade: Bad Ass Seal Of Approval Studio: 20th Century Fox Starring: Jet Li, Bridget Fonda, Tchéky Karyo, Ric Young, Burt Kwouk, Max Ryan, Kentaro, Cyril Raffaelli, Didier Azoulay Director: Chris Nahon Producers: Luc Besson, Jet Li, Steve Chasman, Happy Walters Screenplay: Luc Besson, Robert Mark Kamen Story by Jet Li Rated: R Running Time: 1 Hr. 38 Mins.
The movie presents some wonderful fight scenes with Jet Li. I especially love the battles with the "twins", two look-alike bodyguards.The beautiful Bridget Fonda, a truly underrated actress, stars as a woman who has been victimized and forced into prostitution.
Martial Arts Movie for Action Fans with Jet Li in Hyperdrive and the Carnage Never Stops.
This is Comic-Book Stuff with Our (Super) Hero Displaying Powers Absent in Mortal Men. It is All Ramped Up, Over the Top, Very Violent, and the Movie Takes No Prisoners.Luc Besson from Behind the Scenes Delivers, Along with His Superstar Jet Li, an Action Movie that Pulls No Punches and is a Ride-Along of Ridiculous Fight Scenes that are Always a Hoot for Fans of this Type of Stuff.
Jet Li faces off against the French police in this silly martial arts action flick, brought to us by Luc Besson and Robert Mark Kamen.
The plot, where Jet Li's character, Chinese intelligence officer Liu Jian, is betrayed by Inspector Richard of the French police, who don't really operate like any police force I've ever seen...
It's a silly, one man army action movie dedicated to Jet Li fans who wanted to see more realistic fight scenes, and that is what we fans get.
With writing credits such as Taken, The Fifth Element and Leon under his belt, you can be pretty sure that with Luc Besson's name attached to it; you're in pretty safe hands.Critics have been rather harsh on Director Chris Nahon's feature debut, but this really is worth a watch or seven.Let's start with the basic plot (however far fetched it may be):We're set in Paris with our Hero Liu Jian (who cares what his name is, we all know we'll refer to him by nothing other than Jet Li) who's come all the way from Beijing to help apprehend a notorious drug lord and his French asset.
From here on we get what we came for: First-rate martial arts kick-assness!!The action is what really makes this film worth watching.
So Jet Li's character teams up with a prostitute played by Bridget Fonda to take down the bad guys with some martial arts and acupuncture skills.
This is also the first movie I seen Cyril Raffaelli in and he does some cool acrobatic fighting in this against Jet Li. Overall this is a entertaining action popcorn flick that is worth seeing with some other friends or relatives that enjoy this type of genre.7/10.
This movie makes the interesting decision to tell you nothing about its story for at least the first 20 minutes, which is nothing but a bravura sequence of martial arts action that is highly enjoyable even though you have no idea what's going on.
Jet Li is a favorite with martial arts lovers worldwide,and this offering of his will not fail to satisfy them.The plot is not original-Li is a Chinese inspector in Paris to help the French police arrest a Chinese criminal,but ends up being in the line of fire himself.
What makes the film special is Bridget Fonda's role.She plays a prostitute who teams up with Li to identify and catch the real villain,Tcheky Karyo who plays the chief of police in Paris.The bond of trust that develops between the two is very absorbing to watch,and looks convincing.However,the fight scenes deserve mention.They are very original and ultra-violent.The scene with Li and the " Twin "is perhaps the most violent I have ever seen Jet Li do on-screen.A very good film ..
A Chinese policeman's ideals are like our childhood memories of a boy scout, and Li plays the eagle scout to the max: trustworthy, brave, reverent...and of course he is always good to his word, Fonda: "...but...you promised." Li:"Yes...I did." Karyo, who I first so loved in La Femme Nikita, is excellent as a sadistic power monger, especially with those dying words, "Kiss my ..." Well...you know.
Where the movie shines is the chemistry between the two leads and especially the action.Not since Bruce Lee have a seen the combination of great martial arts and for want of a better description a COOL lead.
Jet's character never does anything too unbelievable; he does get hurt from time to time, but he thinks on his feet, and it's a joy to watch the terrific fight scenes which had my friend and myself almost feeling some of the blows, you'll be glad you're not one of the baddies in this.Bridget Fonda is a slight letdown in this, as she is not particularly convincing a lot of the time, though she has some very good moments which redeemed her overall.
Overall this is a brutal, well-made, well-paced martial arts action film with a wry sense of humour, showing the Americans how to use a Hong Kong movie star.
"Kiss of the Dragon" is the kind of action flick that has immediately became one of my most highly favorite action films of 2001.There was never a single time when I became dissapointed watching this exciting action packed in your face film that I would gladly buy on DVD.Jet Li is definitely on the rise and it shows in this film.I really appreciate this film as an action film.Jet li reminds me of the ultimate action actor who stepped out of nowhere with a big bang squashing previous action stars like Jean Claude Van Damme.(Face it,Jean Claude Van Damme's films aren't getting that good,especially when "Replicant" is going direct to video.)"Kiss of the Dragon" is in my opinion not the kind of movie I would enjoy but it might also be the one action film that I might as well be addicted to.The fight scenes are incredible and Jet li is the most invincible man I have ever seen..
Luc Besson's "Kiss of the Dragon" wasn't above average in the action department, but it had a heck of a good thriller-like plot, and really good dialogue - much less cheesy than most films of the genre.
Bridget Fonda turns in a shallow performance as the prostitute who is befriended by Li and ends up helping him.Obviously the film is neither plot nor character-driven, and a lot of the action sequences work well.
STAR RATING:*****Unmissable****Very Good***Okay**You Could Go Out For A Meal Instead*Avoid At All CostsDon't even try to follow the plot in Jet Li's latest flick,for it is so contrieved and bears so little significance to anything,it's unbelievable.The acting's truly awful too.Li is his typical blank self,Bridget Fonda is the cliched action movie heroine and Tchecky (hopefully spelt right) Karyo is his routine mad French villain he kinda worked to better effect in Bad Boys.There is only one reason you should part with cash to see this flick:the martial arts.Li is phenomenal here,with some truly rousing one-on-ones that set the screen alight.Disengage brain and enjoy.***.
Tchéky Karyo is brutal in his role as the corupt cop, man i like this guy.Real good police/corruption story blended perfectly with action/kung-fu.Excellent production standards for style.I hope to see a lot more Jet Li movies with these high quality production values,and interesting storys..
So rather than go through the standard *yawn* plot and say what a good guy Jet is and how hard done by Bridget Fonda is as the hooker, I'll explain why you REALLY NEED to see this movie if you are even a passing fan of martial arts flicks.Reason # 1: Jet – nicknamed Johnny in the film – objects to some nasty stuff the corrupt French cops are doing
they decide to kill and frame him in that order.
The fight is great and the concluding move especially cool, but this is merely a brief prelude to
Reason # 5: Johnny decides to stop all this running stuff and confronts his problem head on, by walking into the French Police HQ and taking down everyone – and I mean EVERYONE – in one scene he accidentally gatecrashes a martial arts training session and gives the students an impromptu lesson in just how far they all have to go
all at once.Reason # 6: While the Kiss of the Dragon element is a little hokey (not to be spoiled here), the implementation of the move itself is extremely memorable and immensely satisfying.
He's supported by great actors, Tchéky Karyo & Bridget Fonda.The story is fleshed enough for an action movie, but surely nothing special.
Thus the scene is set for Jet to dodge the police and the thugs while trying to clear his name.Bridgitte Fonda is a great actress - she plays a reluctant prostitute who is meant to show the victim a good time.
and it's nice to know that Li is playing amongst other(fighting) things.The actors in this movie could have done better but in a way i was not expecting theater but entertainment with style ..so..i got it!Please don't look at this movie if you believe martial arts are crap and action flicks are over..
The opening part was impressive because the assault on Jet Li could begin every moment.Bridget Fonda performed less on the prostitute role but the humor makes it acceptable.A must-see movie for every martial-art adept..
I am not a fan of martial art movies, and would probably have avoided it, if it was not produced by Luc Besson (director of the original 'Nikita' and of the '5th Element') and acted among other by the excellent Bridget Fonda and Tcheky Karyo.
Jet Li may not entertain in that way but he is an amazing martial artist and so unbelievably quick, while giving off a bad ass aura and glare that is the nearast to rivalling Bruce Lee himself.In kiss of the dragon, you have a pretty average hollywood actioner with some brilliant fight sequences put in.
I like the fact that the bad guys are Frenchmen and that the setting is in Paris.Enjoy this movie for Jet Li's fighting skills, but do not expect a great plot and script..
Yet as a martial arts movie it fails on one all-important level: The filming of the fight scenes!
Other than that, Kiss of the Dragon is an excellent martial arts film for Jet Li fans and the like.
This is a good martial arts movie, and proves that Jet Li has a place in American film.
The Kiss Of The Dragon is a real good fighting film if you like fast pace martial arts.
Jet Li's Kiss of the Dragon has some really good martial arts sequences, I won't deny that.
jet li was great and spoke english very well, a lot better than he did in romeo must die, a far less fun movie than this kick-ass martial arts extravaganza!. |
tt0172493 | Girl, Interrupted | "Maybe I really was crazy. Maybe it was the 60's. Or maybe I was just a girl... interrupted."Susanna is a young woman of eighteen, and her life isn't exactly what a "normal' eighteen-year-old's is suppose to be like. To her, any kind of sex is casual, and it doesn't matter
who she does it with or when, as long as she gets it.At graduation she falls asleep, proving she has little interest for the norms of prize-givings or anything to do with what's accepted by
society. At her father's birthday
party she is under dressed and is of course moaned at by her hypocritical mother. Here
we learn that her parent's friends are just as false as what is accepted by everyone. And
then it becomes clear that Susanna has been sleeping with her mother's friend's husband.This drives her to try to commit suicide with aspirin and a bottle of vodka to get it all down.
At the E.R. she claims that she doesn't have bones in her wrists anymore, and tells the
psychiatrist at home that the bones grew back by the time she got to the hospital.So she is shipped off to a local mental institution and put in the ward for women only. Here she meets a multitude of people who really do have problems: an anorexic, a girl
who burned herself as a child, a lesbian (at the time was thought of as a mental disorder), a bulimic, and her roommate, a compulsive liar, to top it all
off.The ward is run by Nurse Valerie Owens, who is very clever, but is unable to become a
doctor due to her race. All the nursing staff and the patients are kept marginally sane
by Valerie, and she and Susanna have a complex relationship. Susanna is
questionably diagnosed with having a Borderline Personality Disorder.Things really get started when the sociopath run away patient, Lisa, returns to the ward and turns Susanna's world upside down and inside out. She is a force to be
reckoned with---she is magnetic, rebellious, doesn't take her meds and is unhealthy
for the other patients as she breaks down their self-esteem regularly. Due to the fact
that her last best friend, Jamie, couldn't hack it when she ran away, Lisa befriends
Susanna and together they start a world of trouble.Susanna keeps a diary of all her thoughts and feelings, illustrating in it too, and telling
the tale of her stay through her daily entries.Her ex fling, Toby, comes to visit her and she very nearly tries to have sex with
him in her room. He tells her he wants them to run away to Canada together so that
he doesn't have to go to Vietnam. He tells her she isn't crazy and that the girls in the
asylum aren't really her friends. But she refuses to go with him, subconsciously beginning
to rely on Lisa.Then she meets the head psychiatrist, Dr. Sonia Wick, and claims she is ambivalent, saying it means she doesn't care. But Dr. Wick sees through this mask and decides to
have Susanna see her from now on. Afterwards Lisa is taken in to see the doc, but
doesn't return and Susanna falls into a depression. Nurse Valerie has had enough and
throws her into an ice cold bath to wake her. She tells Susanna, after Susanna attacks
her verbally and says that she doesn't know what she doing, that she is a spoiled, lazy
little girl who is driving herself crazy! And that if Susanna isn't careful she'll throw her
life away on some stupid rebellion.That night Lisa breaks into the ward, wild eyed and crazy, and Susanna runs away with
her so they can get to Disney Land. There they hook up with hippies and eventually
crash at the bulimic, Daisy's, house after bribing her with promises of meds. But all turns
bad when Lisa tells Daisy that she is a freak herself and that this apartment is all a
mask to hide what's really happening. She breaks Daisy down, finally saying that
Daisy probably likes her father molesting her and that it's probably all she's ever known.The next morning Susanna wakes up and goes for a walk, to escape the sound of
Lisa's voice and returns to find Daisy playing a record over and over again and Lisa
in the kitchen. She goes up the stairs and finds Daisy's wrists slit and she hangs herself in the bathroom.
Susanna goes back to the asylum without Lisa, (who runs away again) and starts anew
with Dr. Wick and her diary.When she is due to leave, Lisa breaks out of her padded cell and steals Susanna's
diary. Beneath the ward in the maze of corridors, Lisa reads the diary aloud and
tells the other girls what Susanna thinks of them. Susanna runs away from Lisa
when she begins to chase her with a needle filled with a toxic-looking chemical. Susanna breaks her hand while trying to close a sliding metal door on Lisa and
then they finally confront each other. Susanna tells Lisa finally that no one cares
if she dies because she already is dead and her heart is cold, and that she will start her
life again out of this hospital without Lisa and the others.In the morning she is about to leave, but first visits Lisa and talks to her again. Lisa says that she isn't really cold and that she didn't mean to hurt Susanna. When she leaves she says
goodbye to all her friends, and gets into the cab saying that being crazy isn't about
keeping a secret, it's just about everyone being personified. And by the seventies
most of her friends were out of the clinic and leading lives. The girl who was just
interrupted by herself and everyone else, is finally recovered from being a supposed "borderline". | insanity, dramatic, autobiographical, psychological, melodrama | train | imdb | Her performance was convincing as Suzanna, a confused high-school graduate who is eloquent and insightful on paper yet unable to a rticulate her own desperate melancholy.The movie takes place primarily in the women's ward of a mental institution and follows the dynamic friendship between Lisa (Jolie's character) and Suzanna.
The absolute best thing about this film are the knockout performances by it's 2 main stars Winona Ryder and Angelina Jolie though both characters (hence performances) are very different they stand out nonetheless.
Based on her memoir, the film portrays Susanna Kaysen's short stay in a famous mental hospital, supposedly to cure her `borderline personality disorder.' Set in the late 1960's, Winona Ryder effectively portrays Kaysen.In a tradition reminiscent of Holden Caulfield, the audience knows there is nothing actually wrong with Kaysen, except that she is a typical teenager, and refuses to conform to the life her parents want for her.
Although Ryder does an excellent job portraying the earnestness and confusion of her character, Jolie is the true star of this movie.Adapted from Kaysen's memoir, the film works well to bring Kaysen's' words to life.
From her experiences in the hospital, Kaysen wrote the book GIRL, INTERRUPTED(the title comes from a Vermeer painting), and now comes the movie version from James Mangold and Winona Ryder.Mangold's first two films, HEAVY and COPLAND, were both about main characters leading lives of quiet desperation; the pizza chef in HEAVY unable to express himself, and the partly sheriff in COPLAND who must learn to assume his responsibility with that position.
There are some major themes going on here, like whether Susanna is really crazy, just spoiled, or conditioned to think something is wrong with her, the nature of what "crazy" is in the 60's, and of course being a woman at the time, but Mangold avoids making big statements for the most part, instead concentrating on Susanna's growth into being a little more sure of herself.As has been said before, Ryder brings a lot to the table, not just being a talented actress, but life research, having spent time in a hospital due to exhaustion(this is why she pulled out of GODFATHER PART III as well).
The patients may make fun of the doctors(well-played by Jeffrey Tambor and Vanessa Redgrave) and occasionally challenge the nurses(head nurse Whoopi Goldberg gives her best performance in a long time), but there's no real hatred here, except maybe from Lisa.Angelina Jolie certainly has a flashy role with Lisa, the resident sociopath, but makes her seem real, until the movie betrays her at the end.
It is a testament to this young actor's presence that even as dark and soul sickened and gloriously decaying as her character is, there is not a frame in this film that doesn't feel her infection.Winona Rider is equally excellent as the psychologically confused (or is it enlightened?) hero forced to navigate the depths of her own psyche.
Set in the 60's, the film is an account of the times spent in the Mental Institution by an eighteen year girl, Susanna Kaysen, a character portrayed with astonishing brilliance by the versatile Winona Ryder.
interrupted."Those are some of the most memorable lines from James Mangold's honest, heartfelt drama "Girl Interrupted." The speaker is Susanna Kaysen, played by Winona Ryder.
She began writing vignettes of her experiences in the hospital, writing short stories about a time in her life she had not discussed for two decades."The only thing that ever made me less loony was writing," remembers Cambridge, Massachusetts-based writer Susanna Kaysen, author of her memoir, "Girl, Interrupted." Set in the turbulent 60's, the film details the young Kaysen, who finds herself at a mental institution for disturbed young women.
The audience cares about Susanna before we even understand why she was sent to the mental institution.The film's supporting cast, including Jared Leto, Clea Duvall, Elizabeth Moss, Jeffrey Tambor, Whoopi Goldberg, Vanessa Redgrave, and Angelina Jolie, who won an Academy Award for her performance, actually develops the mood of the film-an essential aspect of its overall impact.
"Girl, Interrupted" should do wonders for Susanna Kaysen's book; after watching the film, it is hard not to want to read the memoir..
When Susanna Kaysen (Winona Ryder) the 18-year old heroine of "Girl Interrupted" enters Claymoore hospital, a psychiatric facility outside Boston, she is diagnosed with the syndrome - but in fact, all she's done is made a hapless suicide attempt and acted slack and mopey and lost in her sober daydreams.
She's more like the original poster child for Prozac Nation: a girl who'd rather interrupt her own life, even if it means going a little crazy, than grow up.Susanna is thrown in with a turbulent gallery of disturbed young women.
The film allows Ryder to trace Susanna's gradual emergence from her "borderline" state as she confronts the cruel truth of mental illness.Directed with satisfying authority by James Mangold, "Girl Interrupted" is really about the thorny neurotic underside of a contemporary young woman's struggle to leave childhood behind.
Angelina Jolie won a rightfully deserved Supporting Actress Oscar for her performance alongside Winona Ryder in this drama which documents a period of time in which a young woman experiences life in an insane asylum.Winona is Sussana Kasan, based on the real life author who wrote her autobiography about her experiences at the institution.
When Sussana is locked away after an attempted suicide, she befriends the other girls, including sociopath Lisa (Jolie) and digs deep inside herself for answers.It's just a tad bit clichéd and the movie runs painfully long.
Ho hum.Angelina Jolie is really excellent as Lisa and she makes the movie, plus Whoopi Goldberg is entertaining in her side role as a warden with attitude.
Winona Ryder's performance as a young woman being treated for psychological problems in the all-girl wing of an institution in the late 1960s is very fine; she's mannered at times and a little coy, but she seems a sweet puppet with her wires cut, a bobbing head doll, and one never grows tired of her.
I was perplexed by some of Mangold's touches (like having one character commit suicide while listening to the Skeeter Davis record "The End of the World", ha ha); but the sneaky trip away from the hospital that Ryder and Jolie take is an amazing section that works rough magic all on its own.
If basing a movie on a mental institution and its patients concocts triteness, then basing a movie on love is as much of a sin."Girl, Interrupted" places us in the eyes of Susanna Kaysen (Winona Ryder), a teenage girl who suffers from depression and is signed into the custody of a psychiatric hospital after a failed attempt at suicide.
Every relationship in our life is short-lived, as we're continually moving forward in our journey towards a fulfilled existence; time does not stand still, and the film makes a conscious effort to constantly accentuate this point.For a movie that was almost entirely shot in a hospital ward, the cinematography is exceptionally good.
It's simply astounding.Though the light that "Girl, Interrupted" attempts to place on mentally unstable people is a little questionable at times, it does a nice, subtle job of exposing the puerile nature of a profession which we could nowadays consider an industry.
While Winona Ryder plays the tossed raft of this story upon which we skittishly cling, Angelina Jolie appears on the scene like a powerful stormy sea ready to capsize us, blow us off course, or merely keep us company while we navigate the rough waters.
Ryder holds the show well enough in the start (much like Henry Winkler in the 1982 movie Night Shift before Michael Keaton's entrance), but Jolie's performance of the sociopathic and charismatic Lisa gives this production a needed jumpstart.
Exciting movie with exceptional acting by Angelina Jolie as well as Brittney Murphey, Winona Ryder, and Whoopie Goldberg.
I also feel like I'm being lied to by her publishers and by feminists who seem to want to "sanitize" the details of her life.The film Girl, Interrupted was, in my opinion, not terrible, but certainly not great.
I'm not talking about her purported "beauty"; I'm just saying that a young woman like that would look way older than her years.None of the film rang true to me, and I don't want to read the book, because I don't think Kaysen is a reliable narrator.
Winona Ryder plays a spoiled, suicidal rich girl with what looks like a repetitive series of ticks and shakes---it's not so much a performance as an overwrought improv exercise in acting class, and not a very convincing one at that.
As for Nurse Whoopie's comment, that Susanna's just "a spoiled girl making herself crazy", would that the script itself were so clear-headed---the movie's just as guilty of indulging its characters, so unwilling to take them to task for their neuroses real or imagined, that there's no dramatic investment in sticking around until the last reel..
Girl, Interrupted (the motion-picture) waters down a heck of a lot of the plot and replaces it with fictionalised and heavily dramatised events completely absent from the real story, however it benefits from an all-star cast and impressive performances from Angelina Jolie and the late Brittany Murphy..
Directed by James Mangold (COPLAND, THE WOLVERINE) and starring Winona Ryder and Angelina Jolie, GIRL INTERRUPTED is the adaptation of Susanna Kaysen's memoir about her time spent in Claymoore for attempted suicide.
It stars Winona Rider and Angelina Jolie both of which give amazing performances in this underrated movie directed by James Mangold who would later go on to directed many other intelligent screenplays such as Walk the Line and 3:10 to Yuma.
Bewildered by their daughter's gesture and eager to fulfill their duty as parents, the Kaysens delegated a psychiatrist, friend of the family, to submit her to a local mental institution.Once there, Susanna made new friends: Georgina, a pathological lier, Polly a young woman with the intellect of a twelve-year-old, who had been badly scarred in a fire, Daisy a secluded anorexic who had been sexually abused by her father and a rebellious captivating sociopath called Lisa.During the day, the girls would trick the nurses to avoid swallowing their pills, which they would afterward exchange among them like candy, while during the night they would force the entrance of the private offices, wonder on the corridors and play bowling in the basement of the mental hospital.Things were getting along fine, just like in the Land of Oz, where people were special, not different, it was strictly up to Dorothy to return to the real world, and all they ever wanted was at reach waiting for them to understand it.
The girl doesn't seem to be mentally unstable at all if you compare her to the other patients at the institute.The storyline of "Girl, Interrupted" is excellent but that will soon become of only secondary importance because the moment you see Angelina Jolie as Lisa for the first time you'll realize who will steal the show.
You can just relax and forget the social issues, there will be a lot of life going on, and ironically the second best and the worst thing about the film is the very same thing this time: seeing Jolie, Ryder and Murphy as the patients kinda make you want to be in there too, but remember, it's only a movie..
Girl, Interrupted is a memoir about a woman who stayed in a Mental Hospital for a while, and retells of the people she interacted with during her stay, and the characters in this movie are portrayed very well, as specially the character of Lisa Rowe.
Winona Ryder is spectacular and Angelina Jolie shines in this awesome movie revolving around a girl who has been committed and learns the meaning of friendship.I enjoyed "Girl, Interrupted" because it is a film delves into a friendship that knows no bounds.
He did a superb job when he chose Ryder and Jolie because they have on screen chemistry that really lights up the screen."Girl, Interrupted" is a movie that takes the viewer places in the heart where no other films have gone before.
But whatever I might have been presupposing, I was definitely rather mistaken.This is a pretty serious film: All the main actresses already named above, as well as Clea Duvall, Brittany Murphy and so on all down the list, turned in excellent performances, with both Ms. Ryder and Ms. Jolie standing out in the main roles.
Based on Susanna Kaysen's book of true experiences in the sixties, James Mangold directed and adapted for screenplay this film, which, almost inevitably, makes us remember and almost obliges us into comparing it with `One Flew Over the Cuckoo's Nest', if only because this film is also focussed on life in a mental institution.
Girl Interrupted is worth watching for the superb performances from Winona Ryder and Angelina Jolie.
There are a handful of good scenes in the middle of the movie--in the best, Ryder and Jolie perform an impromptu version of Petula Clark's "Downtown" for a depressed patient.
But when Whoopi Goldberg, the movie's designated mammy and head nurse, explodes, "You are a lazy, self-indulgent girl driving yourself crazy!" it's hard to suppress a standing cheer.The adaptor-director James Mangold gives the producer-star more adoring closeups since Falconetti played Joan of Arc. Why is it that everyone right now seems to think Mike Nichols is the model for film direction?
Just don't point your f*&$in' finger at crazy people!"Angelina Jolie and Winona Ryder are two good resons to watch this brilliant movie over and over again.
This is thanks mainly to the characters in the mental hospital - the sensitive Georgina (DuVall), aggressive but fragile Daisy (Murphy), the childlike Polly (Moss) and, last but definitely not least, Jolie's volatile rebel Lisa.The film gets better and better as it goes on, the main interest point being the relationship between Lisa and Susanna, but there's a hugely effective subplot concerning Daisy's ordeal, which results in a fantastic and pivotal scene that sends the film into a great final act.The performances are great.
Winona Ryder stars as Susanna Kaysen in this movie adapted from the real Kaysen's book about her stay in a psychiatric hospital in the late 1960's after a suicide attempt.Ryder puts on a generally good performance, but is outshone by Angelina Jolie, playing Lisa, Kaysen's sometimes friend and sometimes tormenter.
I thought Whoopi Goldberg was strangely cast in a rather limited role as the head nurse of the institution, who consistently challenges Kaysen to get better and get out of the place.In spite of the generally good performances, though, the story was a bit slow-moving.
Had Angelina Jolie not won the best supporting actress Oscar for GIRL, INTERRUPTED, this movie would most likely be forgotten within a few months of being transferred from the new releases shelf to the drama section at your local video store.
Angelina Jolie became a star overnight with her performance as Lisa in Girl, Interrupted - she thoroughly deserved the Oscar for Best Supporting Actress.One of the most talented actresses to emerge in the Eighties, Winona Ryder has not been so good since she played the malicious Abigail Williams in The Crucible.
There are some people out there who might like Girl, Interrupted, the latest Winona Ryder movie.
Aside from some angst-ridden whining by Susanna, and her occasional "adventurous" tryst with bad-girl antagonist Lisa, this movie still has the same dull heartbeat as many of its doped-up and drooling extras.Add to the fact that Lisa, the crazy, wild, exhilarating rebel inmate, is played by Angelina "inflate lips to 40 psi" Jolie, who is not one of my favorite actresses, as some of you know.Ryder did a good job.
I thought this film was really great.I thought all the people who acted in this film were really good but I especially thought that Angelina Jolie was excellent.She portrayed her character very convincingly.Not many actresses could play this part and make it work.I have also read the book and found it very interesting but i preferred the film.not many people I know have ever heard of this film.I have seen it many a time and still enjoy it each time i watch it.
Both Winona Ryder and Angelina Jolie present powerful performances with strong supporting actors ensuring the film never flakes in the acting department.
And here is one of the main roles of crazy Angelina Jolie, who, in my opinion, perfectly played a mentally ill girl.Crazy talk touched in this film.
Late Brittany Murphy & Clea DuVall are very good, while Whoopi Goldberg proves her status yet again.On the whole, 'Girl Interrupted' is complicated, at times boring, but the story of Susanna Kaysen surely needs to be watched.
Winona Ryder did a really good job too and this movie really reminded me of some people in my life who like to create or invent problems for themselves.
Or maybe life is."Based on the non-fiction novel of the same name, Girl, Interrupted is about a young woman in the 60's named Susanna (Winona Ryder) who is encouraged by her parents to enter a mental institution for a short time after she attempts to commit suicide.
I don't know how accurate each woman's behaviors were to their actual conditions, but it was interesting seeing that what Susanna says at one point during the movie was actually true; that the people in the hospital really did and wanted the same things that we all do, only to an extreme.I hope I'm not making Girl, Interrupted sound like some documentary on mental health, because that's not what it is at all.
I consider it to be, one of the most educative, intelligent dramas ever created.The film, presents the story of the main character Susanna Kaysen, interpreted by Winnona Ryder, who spent 18 months at a mental hospital in the 1960's.
Winona Ryder is a "Girl, Interrupted" in this 1999 film also starring Angelina Jolie, Whoopi Goldberg, Brittany Murphy, Jeffrey Tambor, Vanessa Redgrave and Clea Duvall. |
tt0805564 | Lars and the Real Girl | Lars Lindstrom lives a secluded life in a small Wisconsin town. It is gradually revealed that his mother died when he was born, causing his grief-stricken father to be a distant parent to Lars and his older brother, Gus. Gus left town as soon as he could support himself, returning only to inherit his half of the household when the father died.
The inheritance has been divided between the brothers: Lars lives in the converted garage; Gus and his (pregnant) wife Karin live in the house proper. Karin's attempts to invite Lars into the house for a family meal are usually unsuccessful; when he does come, conversation is difficult and he doesn't stay long. He avoids social contact, finding it difficult to interact with his family, co-workers, or members of his church. A co-worker, Margo, is interested in him, but he avoids anything more than brief encounters.
One day a large package arrives; that evening Lars tells Gus and Karin that he has a visitor whom he met via the Internet, a wheelchair-mobile missionary of Brazilian and Danish descent named Bianca. They discover that Bianca is a lifelike doll which Lars apparently ordered from an adult website. Concerned about his mental health, they convince Lars to take Bianca for a checkup to the family doctor, Dagmar, who is also a psychologist. Dagmar diagnoses Bianca with low blood pressure and advises Lars to bring her in for weekly treatments. Her aim is to have regular contact with Lars, hoping to get to the root of his behavior. She explains to Gus and Karin that his delusion is a manifestation of an underlying problem that needs to be addressed. She urges them to assist with his therapy by treating Bianca as a real person.
Lars begins to introduce Bianca as his girlfriend to the townspeople. Due to their concern for Lars, everyone treats Bianca as a real person. Lars soon finds himself interacting more with people. During this time, Margo has begun to date another co-worker, which silently bothers Lars.
Lars asks his brother when he knew he had become a man and what being a man means. Gus says when he began doing the right things for the right reasons, even when it hurts. Gus gives several examples, including their father keeping them, and taking care of them, even though he didn't know how. Gus says that he never should have left Lars alone with their father, and he apologizes for being selfish. Their conversation seems to reach Lars and his dependence on Bianca immediately seems to shift.
When a co-worker with whom Margo has been playing pranks goes a bit too far, Lars comforts her. During the ensuing conversation, Margo reveals she has broken up with her boyfriend. She invites Lars to go bowling, which he initially declines before reconsidering. The two spend a pleasant evening together along with some other townsfolk. Lars is quick to remind Margo he could never cheat on Bianca. Although obviously disappointed, Margo replies that the thought never crossed her mind. As they part, Lars takes his glove off to shake Margo's hand – a significant advance in his ability to interact with others; he earlier explained to the doctor that others' touch felt like "burning".
One morning soon after, Lars announces that Bianca is unresponsive, and an ambulance rushes her to the hospital. Once there, he tells his family that her prognosis is not good and that Bianca would like to be brought home. The news spreads through town, and everyone whose life has been touched by Bianca sends flowers or sits with Lars at the Lindstrom home. Gus and Karin ask Dagmar why this is happening, and she reveals that it indicates a significant shift for Lars. They suggest that Lars and Bianca join them for a visit to the lake. While the couple is hiking, Lars gives Bianca a very sad farewell kiss. As Gus and Karin make their way back from the hike, they discover despondent Lars in the lake with a 'dying' Bianca.
Bianca is given a full-fledged funeral that is well-attended by the townspeople. After Bianca is buried in the local cemetery, Lars and Margo linger at the grave site. When Margo states that she should catch up with everyone else, Lars asks her to take a walk with him instead, to which she happily agrees. | comedy, boring, psychological, cute, feel-good, psychedelic, romantic, sentimental | train | wikipedia | Lo and behold, a film that still believes in simple human kindness.There's been a severe lack of that on our movie and television screens lately, which is why I found "Lars and the Real Girl" utterly irresistible.
He's given two of the best performances in the last two years: here in "Lars" and last year in "Half Nelson." The success of "Lars and the Real Girl" depends almost entirely on Gosling's ability to sell this character to the audience, and he does so flawlessly.
In addition to Gosling and Clarkson, Emily Mortimer shines as Lars's caring and worried sister-in-law.It really irritates me that critics were divided on this movie on the basis of it pushing the boundaries of credibility, when they almost unanimously praised "Gone Baby Gone," a film so melodramatic and heavy handed as to be no less implausible, and that goes down as two of the most unpleasant hours I've spent in a movie theatre for a long time.
Has our culture now decided that a film about good kind people is too unrealistic to stomach, and that the only movies that ring true are ones about human depravity?
So far, "Lars and the Real Girl" is one of my favorite films of the year.Grade: A.
It is laugh-out-loud funny, but it is also thought-provoking and moving.Ryan Gosling provides a spectacular tour-de-force as a dysfunctional young man in a small town who only begins to blossom when he starts a "relationship" with an expensive love doll.
But Gosling provides the heart and soul of this remarkable film that never strikes a false note.The movie has an incredibly powerful and positive message about the ability of a community to heal and nurture a troubled soul by treating it with acceptance and compassion.
The product of genius writing by Nancy Oliver (Six Feet Under) and solid direction by Craig Gillespie ("Mr. Woodcock"), this film will force you to step back and think about how you treat those who might be a little different or struggle with social interaction.Ryan Gosling is absolutely amazing as Lars.
The ride picks up steam when his relatives and then the entire town elect to play along.The entire cast is excellent with standout performances by Emily Mortimer ("Match Point"), Paul Schneider, the great Patricia Clarkson as the very wise and very human doctor, and Kelli Garner ("Thumbsucker") looking very homely as the co-worker with a crush on Lars.Not sure how wide of audience this will find, but I highly recommend to all adults ...
His brother Gus (Paul Schneider) and pregnant, caring sister-in-law, Karin (Emily Mortimer) live in the large house on the property.One day Lars meets a friend (the doll) on the internet and has her shipped to his home.
There is a reason this man is pretending that a "sex" doll is a real person, and its a very internal serious pain thats hes going through, which for me, understanding that part of the story, I felt it was mildly inappropriate for people to laugh, but I understood with time.
The local doctor (Patricia Clarkson) suggests that everyone in the small town in which they live go along with the delusion, hoping Lars is just working things out in his head.
Then there's this one character, played by the lovely young Kelli Garner, who has a crush on Lars from the beginning of the film.
The film shows how a small town rallies around a young man's choice of a differently abled girlfriend, showing its generous tolerance, acceptance, and support.
The film follows Lars' relationship with his doll and how those around him deal with the situation and eventually help him out of his shell.Lars and the Real Girl is one of those pseudo-indie movies that get churned out every year for no other reason than Oscar buzz.
Writer Nancy Oliver spills the beans early on when the doctor/shrink character (played by Patricia Clarkson) lays out the film's entire plot for us, and then we can only sit and stare as everything (slowly) unfolds exactly as described and expected.I'll admit it was pretty funny to see Lars' plastic girlfriend mingling with the others at the dinner table, but then the same sight gag is repeated ad nauseam for the next 30 minutes, while the plot of the film remains on hold.
It soon became clear that nothing interesting was going to happen, so I began to focus on other things in the film--like how extremely unlikely it would be that one would attend a work party in contemporary small-town mid-America where early '80s Tom Tom Club and Talking Heads are being played on vinyl.
It's a pity, since Ryan Gosling and Emily Mortimer give solid performances here.If you're the type who doesn't mind turning off your brain so you can be led down the sentimental and meandering garden path by a series of emotional clichés, golden sunsets and some tender piano music, then this is probably the film for you.
An Oscar nomination for the screenplay, and a Golden Globe nomination for Ryan Gosling as Lars, who finds love with a doll bought over the Internet.The shock to his brother Gus (Paul Schneider)) and his wife Kain (Emily Mortimer) is visible to all but Lars, but they play along.
For me was a big surprise the women playing the Margo character, she is such a powerful acting.Directing is doing a very good job in revealing growth of the troubled soul during the film.
As the film begins we meet Lars (Gosling) his brother Gus (Schneider) and his brothers pregnant wife Karin (Mortimer) they are quite a close family but from the outset you can see that Lars is a bit different, closed and a little geeky.
But when Lars turns up with Bianca his new girlfriend, who just happens to be a mail order high class sex doll, everyone really starts to worry about his state of mind.
From here on in the small local community, on doctor's advice, rally together to humour Lars and his new girlfriend, literally everyone is in on the act and all pretend that Bianca is real.
Some would ohh and ahh over the "kindness" of the characters for a poor lonely man, but one has to wonder why people would support someone who was NOT getting badly needed mental health help.All in all a very sad and unfunny film with decent acting, but all adding up to a wasted 90 or so minutes.
I'm pretty sure that most folks who watch this will have the intended notions of what it is all about, what with the well established film templates of welcome delusion and the visitor who transforms a town.But I'd like to point out one narrative device that makes this work as well as it does.
Sadly, this movie is nothing but an obvious rip-off of the amazing short "Anzhela" starring Alexey Diakov (2004) - one of the most watched feature "indie" videos in the World Wide Web, which has long been known, received over two million views just on Youtube - with the only difference being that "Lars and the real girl", alas, is not nearly as sublime as the original, nor about the acting, nor about the affecting audience and definition of the message.
In a hundred years of cinema, there's never been anything quite like Lars and the Real Girl, the new film from director Craig Gillespie and writer Nancy Oliver (Six Feet Under).
Lars (Ryan Gosling) is not quite right in the head; he keeps to himself, he can't bear to be touched, and he resists the efforts of his sister-in-law Karin (Emily Mortimer) to draw him out of his self-imposed solitude.
Before long the whole town has agreed to treat Bianca as real: she attends church, has her hair done, and eventually gets accepted on the local school board.Funny as it is, Lars and the Real Girl isn't really a comedy; and although it's an exquisitely tender-hearted film, it's never sentimental (having a silicon sex-doll at its center pretty much makes sure of that).
This similarity is made explicit in the movie when Lars gives mouth-to-mouth to a co-worker's teddy bear (Margo, played by Kelli Garner, in a lovely, soulful performance).
The local psychologist suggests that the people around him go along with the delusion as a therapeutic exercise for Lars.The film works primarily because of the acting of Ryan Gosling as Lars and the rest of the cast.
The idea is so so fascinating, and the captain of the ship, Craig Gillespie directs the film with ease.The other prime reason why 'Lars And The Real Girl' works, is because of it's more than perfect casting.
I have a versatile taste when it comes to movies, but please, "Lars and the real girl" is literally a waste of time.
After the first few seconds they realize the situation with Lars, no single character thinks - even though the main idea behind the movie states exactly - it's not very normal to date a sex toy.Secondly, it's sort of unnerving people don't realize at all how potentially destructive it could be that downplaying mental illness and making it a quirk of personality and whatnot.
My condolences.Lars and the Real Girl at times is a movie that feels a bit transparent and predictable.
This quirky little film is one of the most charming, surprising movies that I have run across in recent years.In one of his earliest leading roles, you can see the talent behind the star that Ryan Gosling would become.
The premise for "Lars and the Real Girl" sounds like a bad teenage sex comedy, but it's actually a surprisingly touching drama about mental disorders and a community getting together to help one of its members get himself back together.
The basic concept is that a lonely and at least a little bit mentally disturbed man named Lars (Ryan Gosling) brings home a woman he has been "chatting with over the internet for a while".
Truly, truly, truly beautiful, thoughtful, original, striking, melancholic, comedic, compelling, well-acted, well-filmed, well-written film about a man struggling to fall back in love with life.The last time I felt this sad and happy and borderline exhilarated at the end of a movie for what it taught me about love was when I first saw Children of a lesser god.And, like that film- mark my words- watch for Ryan Gosling being nominated- and, like Marlee Matlin, very likely winning- the Academy Award.See this movie.
What a fascinating use of an unusual conceit to produce a movie full of humor, grace, and beauty.The conceit - troubled young man forms a relationship with a life-sized doll - is unusual, and looks like the kind of thing that could only go so far.
Lars and the Real Girl is another really different film, especially different for up-and-comer Ryan Gosling, who gave a fantastically good and extremely memorable performance in The Notebook.
Lars and the Real Girl never disappointsit's one of the best and strangest films I've seen all year..
If only all emotionally ill people were treated by their communities with such patience and kindness!The gifted young actor Ryan Gosling is wonderful as Lars; he wins and then gently breaks our hearts with his soft voice, nervous blinks and aching smile.
This does not mean that Lars and the Real Girl is a failure or a bad film, quite the opposite in fact, but I do think it should be made clear what to expect when going into it.
Even though it's not a first person perspective film, seeing Bianca through Lars's (and eventually the whole town's) eyes shows how much something can affect people's lives positively, if they only allow it.What is remarkable about Lars and the Real Girl is that the characters and story are so well developed that by the end you will see Bianca as a character in the film.
Three standout performances by Ryan Gosling as Lars, Emily Mortimer as Karin Lindstorm and Paul Schneider as Gus Lindstorm are strengthened by the best support acting that I have witnessed in a long time.
A small town man named Lars, so isolated from human contact that he recoils from love and sympathy of any kind, stuns his brother and sister-in-law with the news he met a woman on the internet--unfortunately, she's really a sex doll Lars imagines to be the perfect girl for him.
Ryan Gosling delivers a fully-realized lead performance; shying away from friends and family for fear of being pitied, his quirky half-smiles and quick movements tell people, "leave me be." It's a character we come to know so well, we can anticipate his feelings and reactions without getting broad hints (it's Oscar-caliber work).
Indeed, it may well be unique in American cinema, part romantic comedy, part serious study of mental illness but made with the lightest of touches so that it never offends and in the end is deeply moving, (and always, at every level, believable).Lars is a quiet young man, afraid of any kind of commitment, afraid of communication and afraid of the human touch who finds fulfillment in a blow-up doll called Bianca: (his interest isn't sexual; Bianca is the ideal girl-friend, someone who never talks back and whom Lars can even bring to church).
Likewise, Patricia Clarkson is wonderful,(as ever), as the doctor who treats Lars by treating Bianca and finally there is Ryan Gosling, surely the best young actor of his generation, as Lars.
There are also a few laughs to be sure, but it's not a comedy like "There's Something about Mary." Lars (Ryan Gosling) is as anti-social as they come.
Meanwhile, Lars begins to become attracted to Margo (Kelli Garner).Nancy Oliver's script is actually very simple, but it is made into a film with such tenderness and care that it becomes a complex movie.
Special mention goes to Kelli Garner for creating a character that is not only likable, but we believe that she is the perfect girl for Lars' affections because of her personality and not because the movie tells us to.
Like the somewhat inferior "Juno," "Lars and the Real Girl" is marketed as a comedy, and though it certainly contains a few smiles and laughs, it's actually more of a light-hearted introspective drama.
Nevertheless, I guess it's worth it because "Lars and the Real Girl" is definitely a movie to check out..
"Lars and the Real Girl" definitely proved me he's one of the finest names of this generation, and made me think that he'd actually have been an interesting choice to play the father in Peter Jackson's upcoming "The Lovely Bones", despite being too young for the part (Gosling dropped out before shooting started, and Mark Wahlberg replaced him).
Here, he plays Lars, an extremely shy, delusional young man who develops an emotional bond with a "love doll" he buys on the internet, Bianca (a "half Brazilian, half Danish" dummy that looks a lot like Rose McGowan).
Soon, the whole town accepts Bianca as Lars' girlfriend, in order to support the good-hearted young man.From the synopsis and the trailer, most people probably thought this was a stupid, American Pie-ish gross out comedy, and then ignored it or were sorely disappointed.
One of the best films of 2007, "Lars and the Real Girl" shouldn't be missed.
I can just hear the pitch to finance the movie if it had been the Farrelly Brothers' idea: "See, there's this stupid oddball played by that hunk Ryan Gosling -- well, okay, he's not a hunk but we'll have him work out with a personal trainer for six weeks -- and he gets this terrific idea to buy a life-size, anatomically correct plastic sex doll to be his girlfriend...yeah, you heard me right...anatomically correct.
It's a gentle story about Lars Lindstrom (Ryan Gosling), a nice, delusional young man everyone in his town likes, but Lars is dealing with a lot of problems.
Trailers make this look creepy, but it's actually a touching and original movie, more surprising in its rather far-fetched premise than many another romantic comedy and another rare performance by Ryan Gosling (who when he's good, is remarkable) as the titular Lars.
His odd transition into adulthood and having a relationship is through the bridge of an "anatomically correct" life-sized female doll he calls Bianca.Knowing he needs a girlfriend, but quite incapable of dealing with Margo (Kelli Garner), the young woman at the office who's interested, Lars takes a hint from his office mate and orders the expensive "real girl" doll on the Internet.
LARS AND THE REAL GIRL isn't so much a love story as it is a parable about humanity and how people, when given the opportunity, will instinctively do good -- even when doing the right thing is a tad creepy and more than just a little bit goofy..
Novice film director, Craig Gillespie, would like you to meet Lars Lindstrom (Ryan Gosling).
Lars and the Real Girl is a story about how people project their feelings, emotions, and thoughts onto others.
I loved Lars and the real girl and this is one of the few movies where an actor's performance has won the movie for me.
The film sounds like it was developed with Adam Sandler or Will Ferrell in mind, but the key here is that, while there are laughs to be had, Lars and the Real Girl is intended to be taken seriously.
Ryan Gosling proves with this film that he is the real deal- a good looking actor with some serious thespian skills.
'Lars and the Real Girl' is a beautifully unique story of acceptance and mental illness.
Ryan Gosling plays the broken character of Lars exquisitely and it is definitely one of his best-acted roles.
What a wonderful movie of love and acceptance and support and all the good feels!!
Instead, it is wonderful as the small town rallies to support him.I can't say more without creating "spoilers", so I'll just suggest you watch this move and fall in love with Lars, like I did.Enjoy!. |
tt4352354 | A Wound in Time | Based on the Off Broadway play, beautiful Cuban-American cardiac nurse, Negra Centron (Anissa Smith), leads a sheltered life and is haunted by a childhood secret in New York City's tough neighborhood of Spanish Harlem during 1993. She spends time working long hours at the hospital and seldom socializes. She lives in the same building that she grew up in downstairs from her busy body mother, Millie Centron (Tina Moore) who is vexed by her daughter's relationship with ex-con and lady's man, Tony Perez (Frankie Ramos). After all, Negra was a good girl, raised by a good family and had nothing in common with Tony, even when they were children. Millie still grieves for her husband, Ruben (Ralph Hopkins) even though it has been 20 years since his death, and spends her time keeping tabs on her beloved Negra. Millie has had enough of this strange relationship and seeks the counsel from the neighborhood Santeria priestess, Iya Carmen (Wanda Colon) for insight and resolution. Negra is well liked in the neighborhood, and her mother is not the only one perplexed by this unsavory alliance. Negra's only friend, Chee Chee (Rock Jones) a gay fashion conscious freelance photographer, is also perturbed and makes his feelings known. Tony has a steady lady who is "whipped" by his animal magnetism, Lourdes (Irma Cadiz), known in the neighborhood as the "Latina ticking time bomb", who is not to happy with Tony's relationship with Negra either. She spends much of her time keeping tabs on Tony's whereabouts, often catching him leaving Negra's building. Tony has a buddy, the brother of mob boss Domenic Vico (Tom Caterina) in Harlem's Little Italy, Bobby Vico (Evan Davis). Although Bobby, unlike Tony, is a family man the two have been inseparable since childhood. Bobby is married to Barbara (Michelle Lamelza) who he showers with gifts and calls his "Italian Princess". She has a nice relationship with Tony and accepts him as the good friend of her loving husband. Both Bobby and Tony are small time hustlers but manage to cop big scores once in a while with the inside information from big brother Domenic. Bobby too, is perplexed by his buddy's relationship with Negra and is not happy by the way she is treated by his pal. Clinton Williams (Stacey Griffin), the well dressed successful professional who happily moved away from the neighborhood after college, despises the old neighborhood and the people in it and only comes around to check on his mother. Though his father, Mr. Williams (Conrad Neblett) has long been dead, he still has a major influence on how he sees the world. He too, is not happy about Negra's and Tony's relationship, feeling that Negra is too good for him. His distorted views of the neighborhood and those who live there takes this displeasure to another level. Blue blood playboy cardiologist, Dr. Todd Turnbull Adams (Bill Barry), has a fondness for Negra. He admires her work ethic and finds her attractive. Negra doesn't quite know how to handle his subtle advances, as she has never been with any man, except Tony. Dr. Adams is concerned and wonders why a beautiful woman like Negra goes out of her way to do overtime at the hospital. He finds her to be withdrawn and tense.But during this particularly hot Summer in 1993 things begin to heat up. Iya Carmen finds that there's much more going on, as revealed by the Orisha (African gods) during divining with her cowrie shells, and from the spiritual mass (seance). She must convince Millie that Tony Perez is the least of Negra's problems, for all does not bode well from the ominous revelations... | realism | train | imdb | null |
tt0800369 | Thor | Three scientists, Jane Foster (Natalie Portman), Erik Selvig (Stellan Skarsgård), and Darcy Lewis (Kat Dennings), are in the New Mexico desert in a four-wheel drive van studying an aurora-borealis-type phenomenon. Suddenly a large tornado/lightning storm develops and they drive towards it. The van hits a man inside the maelstrom and they stop. The man, a well-built & handsome blond, is semi-conscious.A voice-over describes a battle in 900 AD between the Jötuns, the frost giants of Jötunheim, and Asgardians; the Asgardians win, seize the power casket, and return to their realm. The speaker is Odin (Anthony Hopkins) talking to his two sons, one the energetic blond Thor, the other a more thoughtful dark-haired boy named Loki. Odin says both of them are worthy but only one can be king.Years later Asgard is having an elaborate ceremony. Thor (Chris Hemsworth) is now being formally recognized as the crown prince of Asgard. Loki (Tom Hiddleston) looks on enviously. Before Odin can make the proclamation, alarms go off; there are intruders in the secure rooms that hold the Jotens' power casket. A large Destroyer robot kills the intruders and saves the power casket. Examining the remains, Odin seems unperturbed, yet Thor is angry and wants to attack. Odin forbids him.Thor gathers Loki and his close friends, Volstagg (Ray Stevenson), Fandral (Josh Dallas), Hogun (Tadanobu Asano), and Sif (Jaimie Alexander), and they ride out to the Bifrost Bridge portal. The guardian, Heimdall (Idris Elba), allows them to pass and the six are transported to the frost giant planet, Jötunheim, a frozen, crumbling wasteland. Suddenly they are confronted by King Laufey (Colm Feore), who taunts the Asgardian heroes. More frost giants surround the six and a battle starts. Loki survives with some magic and has an unusual reaction when he is touched by a frost giant. Laufey releases a huge beast and the Asgardians run for their lives. Thor kills the beast but once again the team are surrounded and things look desperate. Odin arrives to save the day; he apologizes to Laufey for the intrusion and attempts to reinstate peace, but Laufey states that they are beyond diplomacy, that the Frost Giants are now at war with Asgard. He attempts to stab Odin, who blasts Laufey back and takes the young group home.Back at the Asgard side of the portal, Odin lets the four friends go and confronts Thor and Loki. Odin is furious that Thor has dragged Asgard back into war, and tells Thor he is not fit to be king. He strips him of his power, banishes him to Earth and sends his hammer, Mjolnir, after him a few seconds later, saying that whosoever wields the hammer, and is worthy of it, shall have the power of Thor.Earth: Thor gets a little aggressive and Darcy tazes him, knocking him out. The three scientists load him into their van and take him to the hospital. Once again he starts fighting as he wakes up and he's eventually tranquilized. Erik tries to get Jane to leave him be, saying he is some kind of nut, but she is curious, and attracted to him. They go back to the hospital but Thor has escaped. As they drive off in the van, they hit the Asgardian man again and knock him out but this time they take him with them. Jane gives him civilian clothes that belonged to her ex-boyfriend. After overhearing locals discussing a satellite crash 50 miles due west, Thor decides to go there and once again Erik tries to get Jane to leave him alone. Thor walks about the town and tries to get a horse in a pet store. Jane appears and gives him a ride; the two head west in the van.At the satellite crash site -- actually the place where Thor's hammer came to earth -- a crowd has gathered; people are partying and trying to lift the hammer from the crater. Stan Lee cameos as one of the locals trying to pull the hammer out with his pickup truck. Government agents from SHIELD take over the site and confiscate Jane's research notes and computers. After dark, Jane and Thor arrive on the scene. Now the crater is surrounded by guards and tenting. Thor attacks and Jane huddles in safety. After beating up several agents, Thor finally reaches the hammer, but is unable to lift it. He howls at his powerlessness and slumps to the ground, putting up no fight as SHIELD agents close in and take him.Asgard: Thor's four friends begin to suspect Loki had something to do with Thor's banishment. Loki realizes he is not a pure Asgardian and Odin admits Loki was taken from Jötunheim as an infant and raised as his own. Loki is confused and angry as Odin falls into a coma ("Odinsleep"). Loki becomes acting king.Earth: Agent Coulson (Clark Gregg) questions Thor, and when he leaves him alone briefly, Loki appears in the room. Loki tells Thor that Odin is dead and he cannot come back to Asgard. Thor is distraught. Erik arrives to tell the SHIELD agents Thor is Jane's ex-husband and is under the influence of steroids. Somehow he has faked a driver's license. Coulson lets Erik take Thor, who surreptitiously grabs Jane's notebook on the way out. Back in town Erik takes Thor out for a drink; the two chug boilermakers and bond. Thor brings the drunk Erik to Jane's trailer. Thor and Jane go to a rooftop to gaze at the stars, and Thor explains the nine realms and the Bifrost Bridge to Jane. Jane figures the bridge is the theoretical Einstein-Rosen Bridge wormhole.Asgard: Loki freezes Heimdall, then meets Laufey. It was Loki who let the frost giants into Asgard to try to retrieve the power casket earlier. He makes a deal with Laufey that he will let them into Asgard again to kill Odin and have their casket, and in return they will go home in peace. Loki commands the Destroyer to go to Earth and kill Thor.Earth: The Destroyer arrives in the New Mexico desert and starts blasting everything with a heat ray. Thor and the three scientists attempt to get everyone away safely. Thor confronts the Destroyer and asks Loki to leave the humans alone in return for himself. Loki can see and hear what is going on from Asgard. The Destroyer gives Thor a vicious backhand slap and sends him tumbling, apparently dead. Jane runs to the body in tears. However, Thor's selfless act of protecting his friends proves him worthy to once again wield Mjolnir, which frees itself from the crater and returns to Thor's hand. He is restored to full life and vigor and once again fitted in his red cape and armor. He easily defeats the Destroyer and tries to return to Asgard, promising Jane he will return.Asgard: the frost giants invade through the portal, walking past the frozen Heimdall. Laufey goes to Odin's bed chamber and, as he prepares to kill the Norse god, Loki kills Laufey to appear to be the hero. Although frozen, Heimdall is conscious and manages to break free. He brings Thor back to Asgard. Thor flies quickly to fight the frost giants.Loki goes to the Bifrost Portal and sets it up to destroy the ice planet Jötunheim. Thor tries to stop him and the two engage in combat. Thor immobilizes Loki with Mjolnir and starts to destroy the portal to stop the process, smashing away at the bridge itself. As everything crumbles, the two brothers fall into space but Odin is there to hold Thor, who holds Loki's staff. Loki admits defeat and allows himself to fall off the disappearing Bifrost Bridge, into the abyss of no return.All seems back to normal on Asgard, although Odin is sad about how it turned out. Thor pines for Jane but Heimdall assures him that she is looking for him. Back on Earth Jane is in a new lab with new equipment.Post-credits, Selvig has been taken to a SHIELD facility where he meets Nick Fury (Samuel L. Jackson). Fury shows him an object in a briefcase, which he says could be a source of unlimited power. Loki appears then, invisible to Selvig and Fury, and says "Well, I guess that's worth a look," which Selvig repeats. | comedy, boring, cult, violence, flashback, good versus evil, action, romantic, entertaining | train | imdb | The idea of a "classic" director like Kenneth Branagh making a superhero film might initially sound strange, but in the case of Thor that ended up being very appropriate, because the comic always used Shakespearean drama and archaic language to tell the story of the God of Thunder, the political/family conflicts in the Asgard kingdom and its interaction with the universe of Marvel Comics.
And Branagh's competent direction, the excellent performances and the solid screenplay make Thor to be a very entertaining movie.I honestly had always preferred the character of Thor in small doses or as part of an ensemble, like he was on the beginnings of the comic The Avengers and in its modern reinterpretation The Ultimates.
So, I did not have big expectations on a movie exclusively focused in that character; however, Chris Hemsworth brings a brilliant performance in that role, because he could perfectly combine the pompous and operatic "classic" Thor with the dynamic and unstable modern Thor.
I do not know how the purist fans of the Kirby/Lee era will take that mash-up, but I think it was a very good decision, specially because Thor does not only work as an origin of that superhero, but also as an efficient preamble of the highly anticipated film The Avengers, which will be an unification point of Marvel's film universe.For example, we also have the character of Agent Coulson conducting scientific investigations from S.H.I.E.L.D. with his accustomed astuteness and efficiency; we also have a cameo of one of my favorite Avengers (even though without his traditional uniform); and a post-credits scene where a few concepts we are surely going to see in that future movie are established.
As for the action scenes, I found them to be well filmed, with the exception of a few excessive close-ups which made them occasionally confusing; I think that is the only thing I can say against Branagh's direction.In conclusion, I took a very pleasant surprise with Thor, and I can recommend it as a very good re-invention of a difficult to handle superhero.
The cinematic entry for this character, titled simply Thor, is among the better of the Marvel adaptations of recent years, mixing a good sense of fun, strong acting, and some Shakespearian level drama that makes for an especially entertaining time at the movies.Liberally adapting portions of Thor comic book lore to fit in a more modern comic book film reality, Thor introduces us to a centuries old war between the Asgardians, beings that live for long periods of time and can travel through space from their home realm of Asgard to various other worlds, such as Earth, via the Bi-Frost bridge, and the conflict centric Frost Giants, whom the Asgardians conquered some time back.
When the encounter with the Frost Giants ends with tensions re-ignited between the two factions, Odin decides that his son is not prepared to lead his people, and exiles Thor, sans his powers, to Earth.When he arrives on Earth, he is discovered by astrophysicist Jane Foster (Natalie Portman) and her associates Professor Selvig (Stellan Skarsgaard) and Darcy Lewis (Kat Dennings), who are convinced that he isn't a random homeless vagabond that they found in the middle of the desert.
Meanwhile, Loki, who turns out to have some ulterior motives, seizes control of Asgard following the collapse of Odin from strain, and begins to hatch a grand scheme involving the Frost Giants.Thor, much like Iron Man before it, proves that, in the right hands, a comic tale that appears silly on the surface can have hidden depths when properly plumbed.
Sure, Thor has elements that, on the face of it, may lead a bit to some audience snickers (Thor's ability to pick himself up and fly and defeat attackers with little effort are a bit cheesy at times), but the creatives behind Thor, including director Kenneth Branagh, manage to develop a story for Thor that deals with elements of tragedy, pathos, selflessness and, perhaps even more surprisingly, involving character development.
Thor is more about the lead characters at its core, again akin to Iron Man, than some other comic book films and this draws the audience into its tale.When it was first announced that Kenneth Branagh would be taking the reins of Thor as a director, it seemed something of an unusual fit for someone best known for his cinematic adaptations of the works of Shakespeare, but the final results of Thor bare out that Branagh was just the right man for the job.
Considering the larger-than-life origins of the Thor comic, involving beings with the power and appearance of Gods and the various machinations of their story, the material fits fairly well with Branagh's body of work to a great extent.
Especially strong is the development of Loki, who proves to be less of a traditional mustache twirling villain, and more of a misguided soul, trapped between revelations he makes about himself and his past and his respect in his father, making him more of a tragic figure than a black and white comic book antagonist.Thor benefits from strong acting from its leads, Hemsworth and Hiddleston.
The romance between Thor and Jane Foster is practically and afterthought, rushed into the narrative at light speed and then not given any room to breathe or develop, it plays more as a requirement of adapting the comic story than something that works organically in the film.
Trust me when I say Thor REALLY IS as good as Iron Man and is most worthy to be called one of the greatest adaptations ever.Chris Hemsworth as the Norse god Thor, and Tom Hiddleston as his villainous brother Loki show they have the acting ability and star quality to become mega-marquee names in the future.
The action scenes were also good though I thought could have been executed better with lesser use of the fast cut edit style that is too often the norm in action film these days.There is plenty of humour when Thor is on Earth but not in a put-off way as there is a suitable contrast of a serious tone with everything set in Asgard.
Even though the storyline was somewhat predictable, it was still a riveting one.For those like me, who were concerned about how Thor fits into the established Marvel connected universe set by the Iron Man films need not worry.
And even when it's clear that he's done very grim deeds, you can actually understand and accept his motives...and his last scene in the film brings all three of the family men together in a very poignant moment of utter loss.I was pretty surprised how moving this all was, especially when put in the middle of some otherwise-uninspiring hero pablem.So in summary, this movie both met my negative expectation of disappointment and surprised me with some purely moving content.
There were opportunities to delve into characters and their back stories that were simply ignored.Other problems include: Fight scenes that played out like video game ads, with actors trying to strike the right "badass" pose for the cool action shots.
Put on your 3D glasses, and I can assure you, your in for a roller-coaster ride, that is filled with stunning effects, entertaining moments & intriguing performances.Directed by Kenneth Branagh, 'Thor' tells the story Thor, The god of thunder based on the Norse mythological deity of the same name.
Editing is good.Performance-Wise: Chris Hemsworth as Thor, is awesome and carries the film on his shoulders from start to end.
And I loved Thor with the hammer in the action scenes - that is some power to have.This might not be a movie that will haunt your mind, but for the purpose I went to watch it - pure entertainment - it was perfect.
Chris Hemsworth was fine as Thor and Hopkins played a good Odin, but it was the human characters that kill this one.At least Branagh threw in Skarsgard for the Swede inside joke.
As you expected in a Marvel movie, "Thor" is hilarious at times.While some of the action scenes weren't mind-blowing, The visuals were good.
When the Machiavellian Loki sends the Destroyer to Earth to kill Thor, he needs to retrieve his hammer to save not only the humans, but also his Allfather Odin and Asgard from the evil Loki."Thor" is an entertaining adventure based on the character of the comic book published by Marvel Comics.
To me "Thor" stands as the best Marvel comic-book-movie till now, by far...First of all, the characters are really likable and portrayed in a realistic way.
leave "pure" cinema alone.Chris Hemsworth played the perfect Thor (after being bitten by zillions of steroid "bees" to bulk up for the part)Hopkins plays Odin very well, wise, mysterious and powerful like the god of gods should be.Was impressed with Tom Hiddleston has Loki, moving from a friendly innocent role to a mischievous, dark character (just like it was in the norse Myths).Portman did her part, strangely looking very young compared to some other roles, but Chris/Tom lead the play here.Using a color actor for Heimdall (Idris Elba) was a very odd move, considering we're talking about norse gods.
in one word Awesome!I was really curious and excited to see Thor as I love big budget movies and also it's the first time I see Kenneth Branagh directing a movie like this.
Tom Hiddleston however steals the scene as the mischievous brother Loki.Here's another good thing about the movie - the story and acting outweigh the special effects and action sequences.
Branagh deserves kudos for the effort, however some parts do not gel in nicely and there's some action bits that are not too well-filmed.All is forgiven though - "Thor" is an above-average superhero movie, not extremely exciting, but definitely intriguing.
i went in to this film very excited not just about what it setting up (the avengers) but because it is the start of the summer action season that has two other big comic book based movies (captain America and green lantern) and i am very happy to say that it did not disappoint, it felt very close to iron man in tone and pacing but lacked iron mans humour but that is a good thing because if it was trying to make you laugh at every line then you wouldn't believe the beautiful scenery in Asgard could mix in with the plain desert town that the rest of the film is set in, a special mention has to go to Kenneth Branagh and the writers for making the female characters so realistic and strong people not just the normal stereotypical female roles.
The story, the visuals, the strong performance from two relatively unknown actors like Chris Hemsworth and Tom Hiddleston are all factors that contribute to making this movie successful.
Like most every Marvel character, they are very well developed and the film is no exception remaining true to the comic.Thor (Chris Hemsworth) is the son of Odin (Anthony Hopkins) the god of Asgard.
In Earth Thor meets a group of scientists: Dr. Erik Selvig (Stellan Skarsgard), Jane Foster (Natalie Portman), and Darcy (Kat Dennings) who help him rediscover his path.I can imagine how difficult it was to try to make a serious movie out of all this Norse mythology about the nine realms and so on, but Branagh pulls it off by combining humor with the story.
Thor was the first Marvel film to succeed in creating dynamic new worlds that felt as real as the action scenes in New Mexico.Kenneth Branagh and Kevin Fiege brought a lot of comedic and memorable moments that are still referenced in other movies and shows.
When his actions heightens a war between Asgard and the giants, Odin strips Thor of his powers and exiles him to Earth where he is forced to enlist the help of scientists Eric Slevig (played by Stellan Skarsgard) and Jane Foster (played by Natalie Portman) and their intern Darcy Lewis (played by Kat Denning) to help regain his powers.
This movie brought us a great hero that must prove himself to be worthy of his name and a villain that proves to be one of the best in superhero movie history.Chris Hemsworth's Thor is strong, brave, naive and yet still able to change into a better person.
And Darcy was nothing but the annoying "comic relief".Also, hi Hawkeye, nice to see you there for the 2ish minutes you were on screen.+ Hiddleston and Hemsworth + Asgardian aesthetic + Some of the characters (Coulson, Selvig, Sif, Odin, Volstagg) - Others really didn't match up so well - Would have preferred more time off Earth as it is Marvel's first step into the cosmosFinal Score: 8.1/10.
Chris Hemsworth as Thor handles the character well as does his brother in the film played by Tom Hiddleston.
He delivered a film that looks and feels exactly like a live action Thor comic.
It has an abundance of testosterone fueled action, a plethora of mind-blowing special effects, a hint of well-timed humor sprinkled throughout it's 111 minutes running time, and a powerful yet fragile protagonist that you actually care about by the time the credits roll.Hardcore Thor enthusiasts will be fully satisfied with this amazing adaptation of the Asgardian hero, and for the rest of us who have no knowledge or background on the Marvel character, it will still be an enjoyable and unforgettable ride.They cast the role of Thor perfectly, nobody else could have filled his shoes, Chris looks fit and healthy, and exudes the cocky arrogance that is associated with Thor during the first act.
The story is exciting, again a simple tale but as Avatar proved tell a simple tale well and you will entertain, no clever story tricks or sneaky twists, merely an entertaining story, which can, in the right directors hands be elevated above what it is.The graphics whilst not perfect look good, some beautiful Asgardian shots and some amazing 3D moments, I love 3D, it's exciting and Thor is the kind of film it would seem made for, sumptuous, beautiful sets, dripping in colour and scope.Helmsworth and Portman share a good chemistry, I could have used some more of them together but that's all to come, the secondary characters are all fine in they serve the story though there are some moments of over acting that seem excess to the scenes, again though it's a new franchise and a first film so all is forgive.
The Marvel Comic hero Thor of course based on the ancient Norse God of Thunder comes to the big screen in a fine version with very nice computer graphic special effects.
May be because there has been absolutely no importance given to her character development nor much screen time given to her.However, the movie stands out to be a must watch for the story, plot, fights and good performances by most of them..
While standing in the theatre and watching it for 2 hours made me feel like only 10 minutes had past since i've sat down, the story sums up pretty much all the essentials of the Mighty Avengers STORY, Hemsworth does a great job as the thunderer , great acting, a lot of charisma, he was cast perfectly,good accent too, excellent performance by Hopkins and an ever more impressive one by Hiddlestone as Loki.
Wow, I wasn't expecting that, I knew that Kenneth Branagh is a great Director but the way that he translate the story and the comic into life was marvelous.The acting is good, the actors bring the characters to life, Hemsworth brings an excellent Thor (maybe the wrestler fighter Triple H was a better choice because has more the look of Nordic),with an splendid Odin(Hopkins) and a great Loki(Hiddleston).The only failure that I can find is the size of the hammer, if you have seen the trailer you will know what I am saying, I think was too small for the size of Thor but besides that the movie is great.The 3D in this movie was good but sometimes is a bit unnecessary.8/10 for some dialogs and some excessive use of Special Effects..
Hemsworth has some really great lines throughout the entire film, which cause me to laugh out loud no matter how many times I see this film.In addition, the rest of the cast do excellent job as well, the visuals (especially the design of Asgard) are topnotch and the action scenes are creative and fun to follow.Unfortunately the movie falters a bit when it comes to the pacing.
In my opinion it's a comic book movie the way they are supposed to be made.Watch out for a great Stan Lee's cameo and as usual with Marvel movies stay till the end of the credits for a genius post-credits scene.Thor will return in The Avengers..
The trailers did nothing to help my hesitation going into the film, and after watching it, I am even more apprehensive Marvel's future plans.Thor (Chris Hemsworth) is a ridiculously powerful god living in the "realm" of Asgard.
I figured these scenes would be the most satisfying parts of the film, but never figured they would make me totally oblivious of everything else that was happening.But I digress, because it seems like the plotting and story existed only because Marvel needed some time to show Thor off to anyone who does read comics on a regular basis.
However I went to see it as I am really looking forward to The Avengers movie and wanted to go in after seeing the films leading up to it.I am glad to say not only did I enjoy Thor, I enjoyed it a lot.
It has some cool special effects, nice action scene's and some good acting from Chris Hemsworth and the legendary, Anthony Hopkins.I also like the relationship between Thor and Odin.
With so many great performances from the Hemsworth, Portman, Hiddleston, and of course, Sir Anthony Hopkins, Thor is thundering with acting and suspense.I can't tell you how much I like this film. |
tt0105695 | Unforgiven | William Munny (Clint Eastwood) is a widower with two young children. He was once a very vicious gunfighter, but after marrying, gave up gunfighting, drinking, and most other vices. His wife died of smallpox in 1878, but he continues to try to eke out a living with his children on their hog farm, and to try to be the kind of man he believes his late wife would want him to be. It is now 1880.The town of Big Whiskey, Wyoming is ruled rather arbitrarily by a sheriff named Little Bill Daggett (Gene Hackman). Two cowboys, Davey (Rob Campbell) and Mike (David Mucci) are spending their leave at a brothel owned by Skinny Dubois (Anthony James). One of the women, Delilah, makes an offhanded comment that Mike perceives as an insult, so he attacks her with a knife, scarring her face. Skinny and the de facto madam, Strawberry Alice (Frances Fisher) hold them until Little Bill can arrive. The women want Davey and Mike to hang, but Little Bill decides that since they did not murder Delilah, they should be horse-whipped instead. However, Skinny is more concerned with potential loss of business due to Delilah's disfigurement. So Little Bill decrees that instead of being horsewhipped, the men will have to give Skinny some horses. This outrages the women even more, and afterward they meet privately and pool all their resources to offer a reward to anyone who will kill the two attackers.We meet Munny on his farm trying to deal with some sick hogs. It quickly becomes clear that he is not a very good hog farmer, as he repeatedly falls in the mud when trying to grab a hog. In the midst of this he has a visitor, a young man calling himself the Scofield Kid (Jaimz Woolvett), who knows Munny by reputation and would like his help in killing Davey and Mike in return for half the reward money. Munny makes it clear that he is not interested because, since marrying his late wife, he doesn't do the things he used to do anymore. But after the Kid leaves, Munny goes back to his bumbling attempts at tending hogs, and begins to have second thoughts. He sets a can on a tree stump and begins firing at it with his pistol, without hitting it. Finally he goes in the house and gets his rifle, and blows the can away on the first shot.Back in Big Whiskey, Davey and Mike show up with the horses for Skinny. The women throw stones and horse manure at them. Mike has never shown any remorse at any point, but Davey seems genuinely sorry about what happened to Delilah. He pointedly tells Skinny that one of the horses is not for him, and then offers it to Delilah. The women only throw more manure.Realizing that he will need help in the tracking down the wayward cowboys, Munny decides to contact his former partner, Ned Logan (Morgan Freeman). He says goodbye to his kids, telling them if they need anything to see Ned's common law wife, Sally Two Trees. After several bumbling and unsuccessful attempts to mount his horse, he finally mounts successfully and rides to Ned's. Sally, apparently recognizing that whatever Munny has in mind cannot end well, just glares at him without speaking the entire time he is there. If looks could kill, not only Munny and Ned but the entire movie audience would be dead by the end of the scene. But as it is, the two men ride off in pursuit of the Kid. Eventually they catch him, and soon discern that he is severely nearsighted and can't see a target more than 50 yards away.The first to arrive in Big Whiskey in pursuit of the reward is a gray-haired Englishman known as English Bob (Richard Harris). We first meet him traveling on a train with his biographer, named Beauchamp (Saul Rubinek). President Garfield has just been shot (which, of course, occurred in 1881, meaning that some months have passed since the original attack on Delilah), and Bob is lecturing his fellow-passengers on the benefits of monarchy over democracy (despite the Russian Tsar also being assassinated earlier that same year). He and Beauchamp arrive in Big Whiskey, where Little Bill catches him concealing a gun. He brutally beats and kicks Bob until he is nearly unconscious, then throws both him and Beauchamp in jail. At the jail, Little Bill debunks many of the stories Bob has told Beauchamp about his exploits. Soon Beauchamp is out of his cell and working as Little Bill's biographer rather than Bob's. Little Bill finally puts Bob on a train out of town. Munny and his companions see the train carrying English Bob go by as they approach town.A torrential downpour begins, and by the time the Munny party reaches town, Munny is sick with fever. Arriving at the saloon, Ned and the Kid go upstairs to engage the services of the prostitutes, but Munny doesn't do that sort of thing anymore and remains downstairs. Little Bill sizes Munny up as an out-of-towner after the reward money, and beats and kicks him in a similar way to what he did to English Bob, has him thrown out into the street, and sends his deputies upstairs after Ned and the Kid. Ned and the Kid escape through a window, manage to get Munny onto his horse, and ride out of town, where Ned nurses Munny back to health with the help of some of the prostitutes.By the time Munny has regained his health, the rain has stopped but there is snow on the ground. In the next scene the snow is gone, meaning some time has been elapsing as Munny's partners have scouted out their targets. In that next scene, we see Davey with a group of cowboys chasing a calf. A shot rings out, hitting Davey's horse, which falls over, breaking the man's leg and pinning him to the ground. Ned fired the shot, but now he can't bring himself to finish the man off, and the Kid can't see that far, so Munny fires several shots and finally hits him. As Davey lies dying, he complains of being thirsty. Munny calls out to the other cowboys to give the man a drink, and promises not to shoot. They do, and Munny is true to his word.Ned has had enough of killing and leaves his companions to return home, but is captured by Little Bill's men, and we see him being interrogated by Little Bill. Men are also assigned to protect Mike. Munny and the Kid wait outside the house where Mike and his guards are holed up. When Mike comes out to use the outhouse, the Kid waits until he is finished and then shoots him. But the Kid can't deal with the fact that he has killed a man (he has boasted repeatedly of having killed five men, but now admits that this was his first), and resolves to never kill again, telling Munny, "I'm not like you." Munny has him drink some whiskey, but it doesn't help.One of the prostitutes brings the reward money and informs them that Ned has been killed, after revealing Munny's identity. Munny sends the Kid home with the reward money, telling him to leave his and Ned's shares with his children and take the rest and use it to buy some good spectacles. He then rides toward town, drinking whiskey from a bottle as he goes. Outside the saloon, he sees Ned's body upright in an open casket, with a sign saying that this is what happens to assassins in this town.Munny enters the saloon, where most of the townsmen have gathered. He asks who owns the establishment, and when Skinny identifies himself, Munny tells the men near him to move away, and then shoots him. Little Bill calls him a coward for shooting an unarmed man, but Munny replies, "He should have armed himself, if he's going to decorate his saloon with my friend." He then tells those near Little Bill to move away. His shotgun misfires, but he throws it at Little Bill, draws his pistol and shoots him, and shoots several other men attempting to draw guns on him; some of them get shots off before Munny kills them, but none hit him.He then tells everyone who doesn't want to be killed to leave, and all who are able to leave do so. He goes to the bar and helps himself to more whiskey. Beauchamp was not able to leave because of a body lying on top of him. Munny has him give him a rifle lying nearby, which he loads. Beauchamp tries to engage him in conversation about gunfighting, but Munny's response frightens him into leaving as well. Little Bill turns out to still be alive, but Munny hears him cock his pistol, and steps on his hand before he can get a shot off.As Munny aims his rife at Little Bill, the latter complains that he doesn't deserve this. Munny replies, "'Deserves' has nothing to do with it." Little Bill then says, "I'll see you in hell, William Munny." Munny simply replies, "Yeah," and shoots him. As he walks to the saloon door, one of the men he shot previously moans in pain, and he shoots him again.At the door, he announces that he is coming out, that he will kill anyone he sees, and if anyone shoots at him, he will kill not only the shooter but his wife and all his friends and burn his house down. He walks to his horse, and no one shoots. He mounts his horse and as he rides past Ned's body, he announces that if they don't bury Ned right, or if they harm the prostitutes in any way, he'll come back and kill every man in the town.As the closing credits roll, we learn that Munny subsequently moved with his children to San Francisco, where he "prospered in dry goods." | suspenseful, realism, murder, bleak, revenge, sadist | train | imdb | Now, desperately trying to support his children with no income, he is tempted back to his killing ways by the bounty offered by the women of a brothel, one of whom's number has been savagely beaten and disfigured by a drunken ranch-hand.The film follows Eastwood as he wrestles with his desire to honour his wife's memory and his need to feed his children by returning to the killer that, he fears, is his true nature.
Ford, Hawks, Leone, Peckinpah, all of them big names who have defined the Western genre in one way or another across the history of cinema, transforming what started as low-budget action films into an art itself where the American Old West served as setting for tales of mythical heroism, classic tragedies, and legendary adventures.
Actor and Director Clint Eastwood is probably one of the most knowledgeable artists about the Western genre, as his acting career began as the legendary "Man With No Name" in the Sergio Leone's Spaghetti Westerns of the 60s.
As a director, he somewhat continued this legacy through movies like "High Plains Drifter" and "Pale Rider", but finally in 1992, Eastwood released what many consider his final ode to the Western, and his ultimate masterpiece of the genre: "Unforgiven", an epic saga about the deconstruction of the Western myths.Clint Eastwood himself plays William Munny, a former gunslinger who is now living a peaceful life as a farmer with his two children.
However, Munny's past as a notorious thief and murderer will return to haunt him in this last mission, as the Kid shows a true and honest admiration for Munny's fame as a gunslinger, even when Munny himself considers his past as villainous.While better known for his work in science fiction, David Webb Peoples' screenplay proves to be a very accurate description of life in the American west, particularly concerning the aspects of the uses and abuses of violence in that era.
Peoples' screenplay is remarkably well written, as the many characters and their relationships are exhaustively explored, resulting in a character driven revisionism of the western, that in many ways criticizes the genre's origins as violent "Shoot 'em up" films.Peoples' script is definitely the movie's backbone, but it is Eastwood's masterful direction what transforms this meditation of violence into a unique revision of the Western.
Eastwood's style, originated by the influence of Sergio Leone and Don Siegel, and developed through many stages seems to finally have spawned its masterpiece in this film.As William Munny, Clint Eastwood is simply perfect in what at first sight looks like an extension of his earlier "Man with no name" persona.
Morgan Freeman is also very good as Ned Logan, although like Jaimz Woolvett (who plays The Schofield Kid), gets easily overshadowed by Gene Hackman's powerful performance as Little Bill Daggett.
The legendary Richard Harris has a small appearance as another aging gunslinger, English Bob, in very memorable scenes where he demonstrates why he is considered one of the best actors of his generation.After starting his career playing a mythical hero in Leone's "Dollars" trilogy, it is actually fitting that is Eastwood who explores the figure of hero in his many movies.
Eastwood has explored this theme in many ways in the past: first as a true antihero ("High Plains Drifter"), then as a man becoming legend ("The Outlaw Josey Wales") and later as a true mythic hero ("Pale Rider"); all this culminates in "Unforgiven" as the ultimate demythologization of the concept, and his final ode to the Western genre.
While the movie indeed feels a bit "preachy" at times, the story is devised in such a way that it never feels too heavy handed, as it unfolds nicely as a classic epic tale of the West.Personally, I can't praise this movie enough, as it is easily one of the best Westerns done since Peckinpah's "The Wild Bunch", and required viewing not only for fans of the genre.
Widowed and struggling to raise his two children on a paltry farm, he's tempted out of retirement for one last pay dirt job, the consequence of which provides violence - both physically and of the soul.Clint Eastwood signed off from the Western genre with this magnificent 1992 picture, the appropriation and irony of which is in itself a majestic point of reference.
This gives Unforgiven an excellent sleight of hand, for this West is grim and a destroyer of all illusions and it's not controversial to say that this is indeed a good thing.Eastwood is greatly served by the actors around him, Morgan Freeman, Gene Hackman (winning the Best Supporting Actor Oscar for a script he turned down many years before!), Rubinek, Frances Fisher, Anna Thomson, Jaimz Woolvett and an incredible cameo from Richard Harris.
Along with Hackman's win for his brutally tough portrayal of Sheriff "Little Bill" Daggett, Unforgiven also won Oscars for Eastwood for his clinically tight direction, Best Picture, Best Editing and it was nominated in another five categories.
He is now only a killer, in it neither for money or fame as the writer nearly finds out to his tragic detriment.Those who have only seen his Westerns of old or the 'Dirty Harry' movies may enter the cinema with expectations of such like will either be disappointed or pleasantly surprised.
The choice of word 'coward' is to say that they should be killers, as that is apparently what a man is (an exaggeration) as most westerns glorify violence, but the men can't handle it.Clint Eastwood did an amazing job as William Munny.
The story is well presented with Clint Eastwood and Morgan Freeman doing great jobs as old gunmen Munny and Logan.
Clint Eastwood's "Unforgiven" is a nod to the old spaghetti westerns from the sixties and seventies, such as "The Dollars Trilogy" by Sergio Leone, the very films that made Eastwood a major Hollywood player.
He's a man beaten by his heart more than by any enemy he has encountered in the past.Gene Hackman is always good for bad guy roles, mainly because he can create some of the most hateable characters of all time.
Certainly the director of that movie, Don Siegel, were he still alive at the time, would have done a better job with "Unforgiven", as he had as director of earlier Eastwood films.
Rated among the top 10 of all time western epics.Clint Eastwood has directed a masterpiece here.The acting by him too is superb.His role as William Munny as once a notorious evil man is just the best in his career.Munny takes up a last job.He ain't that good enough now.As he used to be once.But circumstances change & then in the end we see why everyone was scared of William Munny.Brilliant character display.Morgan freeman does a terrific performance as Ned.The accomplice of Wiliam Munny.Oscar deserving role.Not to forget Gene Hackman as 'Little Bill'.His acting is just totally out of the box.All in all this movie is a success for the international cinema.A unique movie in its own.Hats of to Clint for this masterpiece.William Munny,a man of notoriously vicious and intemperate disposition.Was he??Truly Oscar deserving..
Worth the wait and i should have watched it about 13 years ago.I like westerns but felt the days of good ones were long gone( with the exception of Maverick and perhaps young guns in a bubble gum sort of way, but those are separate reviews...on to this one.The story is good but not relevant to this piece of art work any story with this quality of feeling would be a winner.
This is about morals and perceptions of them.Yes it is only a movie but for a movie it is touching and intense.The basic story is about a retied "bad guy" needing money and pulling one last mission to make right a wrong done to a prostitute.From there it just gets better, lots of amazing characters, good bad but mostly just normal in a tough time.I wont tell you much of the story..i rarely do in my reviews, but I must say for a Drama this thing rocks.Highly recommended ,it has a slightly melancholy feel to it.I loved it..
Directed and starring Clint Eastwood, this classical Western is a plot that we've all seen many times over.
The movie was made in 1992; they absolutely could have done a better job on making her wounds look worse.Unforgiven definitely had an all-star cast with actors like Clint Eastwood and Morgan Freeman.
Bill Munny, Clint Eastwood's character doesn't speak much of the movie and has the same snarling ho-hum demeanor the entire film.
There are a few memorable and very tense scenes in this film, and a fair share of profanity, too, including too many usages of the Lord's name in vain.Watching the likes of Clint Eastwood, Gene Hackman and Morgan Freeman as the three main stars, however, is pretty entertaining.
Morgan Freeman plays Eastwood's lower-key old partner, "Ned Logan." In the minor roles, Jaimz Woolvett, who played "The Schofield Kid," reminded me of a young David Arquette but I haven't heard Woolvett's name since this movie.Overall, a rough film but a pretty solid western which would have been better and accepted by the public better had the language been toned down..
Joining the Schofield Kid and his old partner Ned, the trio set off unaware of the welcome in store for gunslingers from Sheriff Little Bill Daggett.A rightful Oscar winner of it's time, Unforgiven is one of the better Westerns of the last 15 years or so.
Shattering the ideals and myths that we have been sold by westerns over the years and looking at the effect of violence on men this is almost an anti-gun film with gunfights such is the strength of the despair that Eastwood takes his character to.
So far as I am concerned it succeeded in being neither, just boring, with the characters poorly depicted.I would call this the worst movie that I have ever seen for both Clint Eastwood, and also for Morgan Freeman, who is one of my favorite actors..
No real break outs, Clint Eastwood continues to get accolades for acting and directing as Morgan Freeman continues to get nominated for the next ten years until Million Dollar Baby where he wins for best supporting.
I can think of many anti-violence Westerns that are years or even decades older than Unforgiven -- The Ox-Bow Incident springs to mind, and even Sergio Leone's Once Upon a Time in the West showed the horrible consequences of violence without getting on a soapbox about it.On a similar note, I'd like to point out that The Man Who Shot Liberty Valance had already explored the idea of "debunking" mythological Western figures, while The Wild Bunch exposed an aging gunslinger's fallibility by showing him slip and fall while trying to mount a horse.
Who knows?Ultimately, I feel very little guilt in proclaiming that a fun/violent Western like The Good, the Bad and the Ugly is actually a lot better than Unforgiven, even if it isn't as self-consciously PC.
The good guys are not as good as we make them out to be,and the bad guys are not entirely bad.That is the reality,and Clint does a great job of driving this point home.Excellent work here by all involved,including Clint Eastwood,Gene Hackman,and my personal favorite actor,Morgan Freeman.We are all,whether good or bad,at the very root of our being, human.Great film..
We all know that those times were wild, uncivilized and brutal, so, I guess, there is no need for movies like Unforgiven, since we have plenty of examples of the darker side of human nature around us.On the plus side I have to admit that there is some good acting, specially Eastwood.
But as William Munny goes in the process of achieving it, he realizes his haunting decay as he sees disturbing hallucinations and remembers innocent people that he murdered inconsiderably, and so William dissolves a recognized darkness into his soul that slowly increases as the film goes along.The performances by Clint Eastwood, Morgan Freeman, Jaimz Woolvett and Gene Hackman are all according to character and both remain stable and loyal to the characters themselves and fully replicating themselves as if they were them with changes in emotion, posture, voice and personality.
Clint Eastwood both directs and stars in this Academy Award winning(best picture and director) film, a western featuring Eastwood as aging reformed gunfighter Will Munny, lured out of retirement to collect a much needed bounty on the group of cowboys who cut up a prostitute.
With two brilliant lead actors this film, Morgan Freeman plays an awesome supporting role making his character, and this movie, unforgettable..
Listed as one of the best western films ever, unforgiven boast of a barrel of actors all making sure that their screen time is not wasted, Clint Eastwood is going to go down in the record books as one great movie maker because of this flick, the timing of the movie is just right at every turn, the movie plot is rich with enough events to keep you glued.
This was Eastwood's last western and it was a critical and box office success.The movie plot is about a town where the Sheriff 'Little Bill' (Gene Hackman) is trying to make sure that all is well and peace reigns, then some notorious cowboys go to a whore house and cut a prostitute.Little Bill implements justice in the way he felt best, but the prostitutes wanted to deal with the cowboys as they felt revenge is the best way to deal with the situation.
But his wife is dead and Munny is struggling with farm life and the raisin of two children, so chasing after the bounty was a good idea to him so he called his old comrade Ned (Morgan Freeman) and they go after the cowboys.Unforgiven won four Academy Awards in its year, these awards were Best Picture (Clint Eastwood), Best Director (Clint Eastwood), Best Actor in a Supporting Role (Gene Hackman), and Best Film Editing.
Clint Eastwood himself was nominated for Best Actor, but he lost to Al Pacino for Scent of a Woman.If you have not gotten a taste of this classic movie, maybe it is high time you did, Unforgiven is a wonderful movie to have in your DVD collection, the acting was second to known and the script was both funny as it was thrilling.www,lagsreview.com.
Director Clint Eastwood has throughout his career consistently been top-notch as both star and director, and he really accomplishes greatness with this film.The movie is set during a transitional time when the Old West is rapidly turning into the modern world, but this isn't the only transition it examines.
Clint Eastwood's Oscar-winning western "Unforgiven" is said by some to be an elegy to the genre, an honest and probing examination of killing.
Then, some unexpected events force him to have to decide whether to continue his non-violent life or return to violence.It seems to me that "Malcolm X" deserved Best Picture more than this one did, but Eastwood certainly turns in a captivating performance, as do Gene Hackman, Morgan Freeman, and Richard Harris.
Unforgiven (1992)This is modern western produced and directed by Clint Eastwood.
The film has a terrific cast with Morgan Freeman as his old buddy Ned, a perfectly cast Gene Hackman as a kick-butt Sheriff named Little Bill, and a cool cameo by Richard Harris as the assassin English Bob. Saul Rubinek from the recent Warehouse TV series plays an interesting writer character who just happens to be in the right spot at the right time.The local whorehouse gets in an uproar when one of their own gets disfigured by a local ruffian.
The story centers around Eastwood and Freeman getting recruited out of their now sedentary farmer lives to help the greater good of these women who have no one who will stand up for them as people.In the end, will Clint turn back to his old killer self?
Unforgiven (1992)Plot In A Paragraph: William Munny (Eastwood) a retired gunslinger reluctantly takes on one last job, with the help of his old partner (Morgan Freeman) and a young man.Along with 1984's Tightrope, Unforgiven is Clint Eastwood's darkest film.
Saw it like 4 times, it never gets old and i'm never getting tired of this movie.Basically "Unfogiven" is farewell to western genre, Clint Eastwood was once famous for.
We've had a few good westerns since then and before that, but the simple, character-driven drama in "Unforgiven" just hits home in a way that is hard to match.Just like all good genre movies, this isn't so much about the genre itself, but a simple story with plenty of human elements.
Two very different kinds of westerns, both magnificent in their own way.So Clint Eastwood is the man, that much is clear, but everyone else is good too.
Clint Eastwood's last modern classic masterpiece western film he made!.
We'll both be better off.Unforgiven 1992 is which I believe is Clint Eastwood's last western masterpiece that is a modern classic that he made.
I love Eastwood, Freeman and Hackman they all gave wonderful acting performance in this film, that is pretty good.
Unforgiven is a 1992 American western film directed and produced by Clint Eastwood, who also starred in the lead role.
Unforgiven An outstanding movie to capture the old west, if you expect to see a Spaghetti Western you might be disappointed the way I see it is a beautiful last chapter to the Man with no name, which Sergio Leone created back in 1964.
Around a rather poor and somewhat unconvincing story of a group of bar prostitutes trying to hire a killer to revenge the barbarous cut up of one of them by two cowboys, Clint Eastwood made a good western movie in technical and formal terms with a de luxe cast (himself, Morgan Freeman, Gene Hackman and Richard Harris).
How could Clint go wrong the way he rounded up Richard Harris, Gene Hackman and Freeman Morgan to appear in his movie. |
tt0112573 | Braveheart | In the 13th Century England, after several years of political unrest in Scotland, the land is open to an invasion from the south. King Edward I of England (Patrick McGoohan) has decided to conquer Scotland. After invading Scotland and winning the war by 1280 A.D., Edward (known as 'Longshanks') grants areas of land in Scotland to his nobility which they are to rule, along with the traditional privileges. One of the privileges granted to English lords ruling Scotland was Primae Noctis, the right for the lord to take a newly married Scottish woman into his bed and spend the wedding night with the bride. Longshanks' plan is to breed out the population of Scotland.In the northern Scottish town of Lanark, a young boy named William Wallace, follows his father and brother to a meeting of Scottish nobles, arranged by Longshanks himself. When Wallace Senior and his older son arrive at the meeting place, they see that the Scots have all been hanged, along with their servants. William also sees the hanging corpses and panics when his father finds him.Wallace Senior attends another meeting where it's decided that they will go to war with the English. William wishes to accompany his father and brother, however, his father tells him to stay home and mind the farm. A few days later, Campbell Senior, William's best friend's (Hamish) father arrives at the farm. William's father is killed in battle, as was his brother. Following the funeral, William is given a thistle by a young girl. William's uncle, Argyle, arrives on horseback and tells William that he'll be leaving home with him. That night William and Argyle listen to bagpipers play a tribute for William's dead family. Argyle tells William that the pipes are outlawed. He also sees William's interest in his sword and tells William that he'll give him a traditional education and teach him how to fight later.Ten years later, the adult William Wallace (Mel Gibson) returns home to his father's farm. He reconnects with his old friend Hamish. At a community wedding, Wallace sees the local magistrate take the bride for himself according to "primae noctis." Wallace also falls in love with his childhood sweetheart Murron MacClannough (Catherine McCormack), the young girl who gave him the thistle at his father's funeral, and they marry in secret so that she does not have to spend a night in the bed of the English lord.The Scots continue to live under the iron fist of Longshanks' cruel laws. Wallace intends on living as a farmer and avoiding involvement in the ongoing "troubles" in Scotland. When an English soldier tries to rape Murron, Wallace fights off several soldiers and the two attempt to flee, but the village sheriff captures Murron and publicly executes her by slitting her throat, proclaiming "an assault on one of the King's soldiers is the same as an assault on the King himself." In retribution, Wallace returns to the village, seemingly ready to surrender. He attacks his captors and joins several villagers as they slaughter the English garrison. Wallace himself brutally executes the sheriff in the same manner that he executed Murron.Following their triumph, Wallace is compelled to fight against the English who have taken over his homeland and enslaved himself and his countrymen and women. In response to Wallace's exploits, the commoners of Scotland rise in revolt against England. As his legend spreads, hundreds of Scots from the surrounding clans volunteer to join Wallace's militia. Wallace leads his army through a series of successful battles against the English, including the Battle of Stirling Bridge (September 11, 1297) where Wallace's Scots are outnumbered by the English army.Afterward, the victourious Scots invade northern England and sack of the city of York and kill its lord, the nephew of Longshanks himself. During his campaign, Wallace seeks the assistance of young Robert the Bruce (Angus MacFayden), son of the leper noble Robert the Elder (Ian Bannen) and the chief contender for the Scottish crown. However, Robert is dominated by his scheming father (who suffers from leprosy and lives in seclusion, seen only by his son), who wishes to secure the throne of Scotland to his son by submitting to the English, despite his son's growing admiration for Wallace and his cause.King Edward Longshanks, worried enough by the threat of the rebellion, poses to send the French princess Isabelle (Sophie Marceau) to try and negotiate peace with Wallace. Princess Isabelle is the wife of Prince Edward (Peter Hanly) the Prince of Wales and Longshanks' oldest son. The King sends her because his son is a weak-willed man and would not be imposing enough to negotiate, but she is a strong leader.Longshanks also knows that if Wallace kills her, the French king will declare war on Wallace in revenge. Wallace rejects the offer of a title, an estate and a chest of gold that Longshanks has told Isabelle to offer and continues with the fighting. However, during their conversation, Isabelle tells Wallace that she understands his suffering and that she has heard about the death of his wife. They share a moment of understanding and she becomes charmed by him.For Wallace to continue fighting, he needs the Scottish nobility on his side, contributing troops and food. But Wallace has problems convincing the nobility that they have a real chance to take back their country from the English. The nobles think that the Scots will lose and the English will treat them even worse than they are treated now. Also, the nobles are getting money from England and live quite well. Some of them are more concerned that this money continues to come and that their standard of living continues to be the best instead of looking after their people.Robert the Bruce is particularly torn over what he sees as his duty to the people to free them and what his father tells him to do to keep in good with the English and earn his crown.Two Scottish nobles, Lochlan and Mornay, planning to submit to Longshanks, betray Wallace at the bloody Battle of Falkirk the following year on July 22, 1298 as a new and larger English army, led by Longshanks himself, invades Scotland to crush the Scots rebellion once and for all. The Scots lose the battle due to Longshanks' clever use of his long-bowmen and his massive reserves which outnumber the Scots. Wallace nearly loses his life when, in a last desperate act, he furiously breaks ranks and charges toward Longshanks to kill him personally. He is intercepted by one of the king's hooded lancers and knocked from his horse, but gains the upper hand when the lancer dismounts to examine the fallen Wallace. Wallace is set to kill the lancer, but upon taking the lancer's helmet off, discovers his opponent is Robert the Bruce. Bruce is able to get Wallace to safety just before the English can capture him, but laments his actions for some time to come because of what Wallace has stood for, which he betrayed.Over the next seven years, Wallace goes into hiding and wages a protracted guerrilla war against the English, rallying more followers to his cause. In order to repay Mornay and Lochlan for their betrayals, Wallace brutally murders both men: Mornay by crushing his skull with a flail in his bed chamber and Lochlan by slitting his throat during a meeting of the nobles at Edinburgh and dumping his body on their banquet table.In 1305, as Wallace's guerrilla war continues, Princess Isabelle of France meets with Wallace as the English king's emissary. Having heard of him beforehand and after meeting him in person, she becomes enamored with him and secretly assists him in his fight. Eventually, she and Wallace make love, after which she becomes pregnant.Robert the Bruce contacts Wallace to set up a meeting, where the Bruce intends to declare his intent to join Wallace and commit troops to the war. Still believing there is some good in the nobility of his country, Wallace eventually agrees to meet with Robert the Bruce in Edinburgh. However, Robert's father has conspired with the other nobles to set a trap and Wallace is captured. He is beaten until he is unconscious and then handed over to the English. Learning of his father's treachery, the younger Bruce is told that the price of his crown was the the capture and extradition of Wallace himself. The younger Bruce disowns his father.In London, Wallace is brought before the English magistrates and tried for high treason. He denies the charges, declaring that he had never accepted Edward as his King. The court responds by sentencing him to be "purified by pain." After the sentencing, a shaken Wallace prays for strength during the upcoming torture and rejects a painkiller brought to him by Isabelle. Afterward, the princess goes to her husband and father-in-law, begging them to show mercy. Prince Edward, speaking for the now terminally ill and mute King Edward Longshanks, tells his wife that the king will take pleasure in Wallace's death. Isabelle verbally lambastes her husband and father-in-law, then informs the weakened Longshanks of her pregnancy with Wallace's child and swears that Edward will not last very much longer as king. The mute Longshanks is shaken and unable to tell his son of her plans.Wallace is taken to a square at the Tower of London for his torture and execution by beheading. He refuses to submit to the king and beg for mercy despite being half hanged, racked, castrated, and disemboweled publicly. Awed by Wallace's courage, the Londoners watching the execution begin to yell for mercy, and the magistrate offers him one final chance for mercy. Using the last strength in his body, the defiant William instead shouts, "Freedom!" Just as he is about to be beheaded, Wallace sees an image of Murron in the crowd smiling at him, before the blow is struck.Epilogue. On June 24, 1314, nearly nine years after Wallace's death, Robert the Bruce, now a Scottish king and still guilt-ridden over his involvement Wallace's betrayal, leads a strong Scottish army and faces a ceremonial line of English troops at the fields of Bannockburn where the English under their new king, Edward II (who had ascended the English throne upon the death of his father Edward Longshanks in 1307), are to accept him as the rightful ruler of Scotland. Just as he is about to cross the field to accept the English endorsement, the Bruce turns back to his troops. Invoking Wallace's memory, he urges his charges to fight with him as they did with Wallace. Robert then turns toward the English troop line and leads a charge toward the English, who were not expecting to fight.The film ends with Mel Gibson's voice intoning that the Scottish won their freedom in this battle. | murder, dramatic, violence, action, romantic, inspiring, revenge, historical | train | imdb | null |
tt0286499 | Bend It Like Beckham | Jesminder "Jess" Bhamra (Parminder Nagra) is the 18-year-old daughter of Punjabi Sikhs living in Hounslow, London. Juliette "Jules" Paxton (Keira Knightley) is the same age and the daughter of a native English family. Jess is infatuated with football, but because she's a woman, her family won't let her play. However, she sometimes plays in the park with boys including her best friend, Tony (Ameet Chana), a closet homosexual.
Whilst on a jog through the park, Jules discovers Jess's skills, befriends her, and invites her to try out for the local women's football team, the Hounslow Harriers coached by Joe (Jonathan Rhys Meyers). Jess is extremely happy and excited about the tryouts, even though Joe is skeptical about a new player joining the team. After seeing Jess's skills, Joe accepts her on the team and Jess lies to Joe about her parents being cool with the idea.
Her parents eventually discover that Jess has been playing football behind their backs, Jess's parents (Anupam Kher and Shaheen Khan) become more strict and forbid Jess from playing any more matches. The elder Bhamras are also distracted by their elaborate wedding plans for Jess's older sister, Pinky (Archie Panjabi). Thanks to Jess and Jules's skills, the Harriers reach the finals of the league tournament. Unfortunately, the final and Pinky's wedding are on the same day.
Joe pleads with Mr. Bhamra to allow Jess to play, but Mr. Bhamra refuses, revealing that he doesn't want Jess to suffer the same way he did when he was kicked out of the cricket club because of him being Indian. Jess develops an attraction toward Joe, and when the team plays in Hamburg, Germany and goes out clubbing, they're caught about to kiss by Jules, who also has a crush on Joe, souring Jess and Jules's friendship, as Jules is adamant she'd told Jess about her crush. When Jess goes to Jules's house to try to patch up their friendship, Jules's mother (Juliet Stevenson) is misled and thinks they're hiding a lesbian relationship.
Joe accepts that Jess isn't allowed to play, and the final begins without her. But halfway through Pinky's wedding, Tony convinces Mr. Bhamra to let Jess go. He agrees, and Tony drives Jess to the game, where the Harriers are losing 1–0 with half an hour left. Jess and Jules tie the score, and when Jess is awarded a free kick, she must bend the ball around the wall of players to score. She succeeds and the Harriers win the tournament. Jess and Jules are offered scholarships at Santa Clara University in California, which Jules tells her parents immediately, whereas Jess has trouble telling hers. Jules and her mother arrive at the wedding so that Jules can celebrate with Jess. When Mrs. Paxton accuses Jess of being a hypocrite and a lesbian, Jules grabs her mother and runs off in shame.
Jess still hasn't told her parents about the scholarship. Tony decides to lie to the family and tells them he's engaged to Jess as long as she gets to go to any college she wants. Jess reveals the lie and her mother blames Jess's father for allowing her to play. Jess's father convinces her mother to accept Jess's wishes after telling her he doesn't want Jess suffering as he did. Jess flees to the football field to tell Joe of her parents' decision. The two almost kiss, but Jess pulls away, saying her parents would object, and that although they had come far enough to let her go to America to play, she doesn't think they would be able to handle another cultural rebellion from her.
On the day of Jess and Jules's flight, Jules's mother gives her daughter a football jersey and wishes her good luck. The two are about to board the plane when Joe arrives and confesses his love for Jess. The two kiss and Jess agrees to sort out their relationship (and her parents) when she returns for Christmas. While at the airport, they see David Beckham with his wife Victoria, which Jules takes as a sign. Jess and Jules send their parents a team photograph, and it is revealed that Pinky is pregnant. Mr. Bhamra practices cricket with Joe's help. | thought-provoking, cute, queer, feel-good, romantic, entertaining, sentimental | train | wikipedia | As with all such tales, it is the young folk who feel the need to pull away from the stuffy values of the past, and who end up dragging the reluctant older folk kicking and screaming into the future right along with them.Jess Bharma is a fairly typical teen with dreams of becoming a world-class soccer player.
She receives superb support from a cast of outstanding actors, both young and old, including Keira Knightley as Jules, her inspirational buddy who provides Jess with the opportunity to bring her dreams to fruition; Jonathan Rhys-Meyers as Joe, the handsome young coach who provides lessons in love along with lessons in soccer; Anupam Kher as Jess' father, who turns out to have some of his own personal demons to deal with; Shaheen Khan as Jess' mother, who doesn't understand why her daughter can't be content with the pre-ordained life her parents have laid out for her; and Juliet Stevenson as Jules' mother, who proves that Indians don't hold a patent on tradition-obsessed parents.
In its quiet, gentle way, the film also confronts the issue of racism, particularly in terms of how the Indians are often still treated as second-class citizens in British society.As directed by Gurinder Chadha, `Bend It Like Beckham' is a light-on-its-feet `feel-good' film that never takes itself too seriously.
Jess is 18, very smart and wants nothing more than to play football, when she joins a local team she has to lie to her parents again and again, as they would never approve of her chasing her dream, they want her to settle down with a nice Indian boy and learn how to cook.Bend it Like Beckham is a very funny feel good movie that doesn't need to be deep and complex, it's just fine as it is.
The cast are all very good and they play their roles very well, the story is simple and predictable, but it works perfectly and the script is very realistic and very funny.A great Family movie 8/10.
It's also very true to life for the most part for that culture so if you want to sit down and watch a movie that you can enjoy and feel good about when you're finished.
The setting of transplanted Indian-ness makes it feel like one of Mira Nair's films - `Monsoon Wedding' or `Mississippi Masala.' There's also quite a bit of youthful, flippant, foul-mouthed, blue-collar London impertinence going on - an episode of `Eastenders,' perhaps.And yet to dismiss the movie with this quick sketch and a few references would do it a terrible injustice.
Go see it to watch her, even if the subject matter isn't your thing.It is perhaps not a great movie, but it's one that will, due to its sheer quirkiness and great heart, likely find its way onto the `favorites' shelves of many, and not just young girls aspiring to make it big and become soccer stars.
Anglo-Indian Jesminder Bhamra (Parminder Nagra) and her WASP friend Juliette Paxton (Keira Knightley) love to play football (yes, I'm going to say it the British - and international - way) and just adore football player David Beckham.
But seriously, even though no plot "twist" in this movie comes as a surprise, it's smartly written, full of entertaining little touches (especially concerning the main character's Panjabi family and their social circle) and thoroughly enjoyable.
Outside the house, in school or public places, she is a typical teenager -- except that she wants to be a professional football ("soccer") player(the film opens with Jess daydreaming that she takes a pass from Manchester United's soccer superstar, David "Bend It Like BECKHAM," and scores on a header.Jess is befriended by Juliette "Jules" Paxton (Keira Knightly), who invites her to join a local girls soccer team.
Without fanfare, this is the film's key event that opens all doors and windows -- as Jules' family is drawn into the cultural mix -- wherein WE begin to understand the film's point of view.The relationship between Jess and Jules is not presented as an example of cultural differences, but more as teenagers of one mind -- the two are more like each other at this age, than they are like their respective parents -- they enjoy boys (both have crush on the coach), shopping, sports, rock music and whatever young girls do and talk about.
Sure, there were charming moments, like the Babaji thing and many other Indian-vs-British things, Jules' mother was hilarious, and Parminder Nagra was acting convincingly, but that was it.The story was utterly predictable and ALWAYS followed the clichés.
When Juliette (Keira Knightly) sees her playing soccer with the guys in the park one afternoon, she invites Jess to try out for the team coached by Joe (Jonathan Rhys-Meyers).
Keira Knightly is equally as good as Jess's friend and her love for the game also causes a clash with her Mother, Paula (Juliet Stevenson), who believes her daughter should be out finding a man instead of wasting her female assets on the soccer field.
Story is set in London and an 18 year old girl who is a Sikh is very good at soccer but her parents are old fashioned and don't think their daughter should waste her time with such nonsense and instead concentrate on her sisters upcoming marriage and her own future as well.
It's definitely a 'feel-good' movie and you're pretty sure after the opening scene exactly how things are going to turn out, but the journey to the foreseen conclusion is pretty fun.A lot has been made of the Sikh angle, but I think a lot of people miss the sly parallel woven throughout the story.The movie focuses on Jes, a talented soccer player, younger daughter of a mostly traditional Sikh family living in England.
She, too, has a talent for soccer...and is defying her mother's expectations and notions of 'proper' behavior and goals for a young Anglo girl.That parallel is what elevates "Bend It Like Beckham" from hundreds of other movies of the same formula.
Wonderful sleeper indie smash culture clash comedy about a precocious and vigorously talented soccer playing teenage Indian girl (Nagra in a winning big screen debut) who is torn between her passion for excelling on the field over her strict and overbearing family.
Parminder Nagra wants to "Bend it Like Beckham" in this 2002 film also starring Keira Knightley and Jonathan Rhys-Meyers.
Set it England, Nagra is Jesminder, nicknamed "Jess" who loves to play soccer and is recruited into a women's team by a fellow player Jules (Keira Knightley).
There, she meets the team's coach, Joe (Rhys-Meyers) on whom Jules has a crush.But playing soccer is at odds with Jesminder's traditional Indian family, so she is constantly lying and sneaking out of the house.
When her sister's wedding falls on the day of their big tournament where a talent scout from America will be present, Jess is forced to make a decision.This is a really lovely film with many warm and funny moments and situations.
A very funny performance by Juliet Stevenson as Jules' mother."Bend it Like Beckham" covers a lot of ground - compromising your dreams, going after your dreams, prejudice, looking butch, and the perception of women in Indian vs.
On the other hand, Gurinder's tendency to give the actors a long leash ended up bringing in the parallels between the discrimination Parminder's character faced as an Indian & Sikh & those her coach must have faced as an Irishman in England as well as a more personal side of Parminder as she explains how she ended up with the horrific RL burn on her thigh which adds depth to her character and draws the viewer closer to the actress and overall story.It was fun to see that the actors, crew & Gurinder's family had fun on the project but it's not a film I feel overly compelled to watch again..
Incidentally, whenever I talk about football, I refer to soccer in case any US readers get confused.Parminder "ER" Nagra plays Jess, a rebellious daughter in a strict Indian family living in London.
The fact that the hero in "Bend It Like Beckham" is a cute Indian girl instead of a sixty-year-old meat head means that this is not your typical sports movie.
It tells of a young British Indian Sikh, Jesminder Bhamra, who struggles against her families' tradition to full fill her dream of playing professional football.
Unlike a conventional Indian girl, who learns to cook the traditional Indian dishes and get married to a nice young Indian man like Jess' sister Pinky, Jess aspires to achieve the success of her idol, football star David Beckham.
The movie "Bend it like Beckham" by Gurinda Chadha made in 2002 deals with the conflict between cultures and conflicts between generations, but it's also a comedy and romance.The main character Jesminder "Jess" Bhamra (Parminder K.
In a good movie should not be missing a love story, so there is the young handsome Joe (Jonathan Rhys-Meyers), the soccer coach of Jess.
Jules also has the problem that her mother wants her to be the demure girl who cares about nothing but how they look or who their latest snog was.The fact that I was fairly apathetic about it just added to the delight I felt when I was watching it.It's a great movie, one of those that you walk away from feeling light and refreshed, like "Amelie" or "Playing By Heart".It's got its own quirky humour, that mainly shows itself through Jess's family dealing with her unorthodox hobby, but the highlight of the movie is Jules' mother, expertly played by Juliet Stevenson who also made me laugh as Mrs. Elton in "Emma".If you haven't seen it, no matter what you feel about football (or soccer, whatever term you prefer) see this movie sometime soon.
regrettably anything above the x-men rank of flash glitz and violent fantasy reaches beyond the intellect of the pedestrian american audiencethis is an honest coming of age movie set in england with young indian immigrants trying to walk a thin line between their parent's ways and the freedom of the host cultureand the collision is on the field of sport -- much local color -- excellent social commentary in perfected sub-plots -- don't take my word see the flick -- well worth seeing.
The film is about an Indian girl named 'Jess' played by Parminder K.
Nagra), exclaims, "Anyone can do aloo gobi, but who can bend a ball like Beckham?" I figured I might be in for an interesting evening, given how little I know about Indian cuisine and how much less about British soccer (football).
I didn't learn about either from this fuzzily friendly film, but I came away with a much better understanding of the Indian/Brit culture clash and the place or not of women in that struggle.Simply put, Jess's traditional Sikh parents now living in London want her to forget football and eventually get married to a nice Indian boy.
succinctly portrayed Asian life in contemporary Britain, while Bhaji On The Beach took the subject into the feature film; With Bend It Like Beckham she goes one step further, effectively mixing social realism with comedy and romance to equate an entertaining feature with a sharp script and great acting (Rhys-Meyers and Parminder Nagra are surefire bets for future Hollywood stardom).One thing to commend "...Beckham" on is that, in spite of its generic constraints (typical love story, narrative of underdog comes good against the odds, etc), it is as accurate a portrayal of modern Britain, or at least London, as mainstream cinema is ever likely to give us.
Also in the cast Keira Knightley and Jonathan Rhys-Meyers, as well as Juliet Stevenson who is a lot of fun in whatever film she's in.All in all, a fun time at the cinema, even though you don't understand a thing about football..
She has grown to love playing football (soccer, in the USA) and the movie actually opens with a daydream sequence where she is imagining herself playing for David Beckham's men's team.In spite of her mom and dad's objections she joins a girl's team, and quickly becomes friends with another teammate, Keira Knightley (actually a teenager) as Juliette 'Jules' Paxton.
They are coached by Jonathan Rhys Meyers as Joe. After her parents reluctantly accept her playing the sport another crisis arises when the final championship game will be held on the day her older sister is getting married.The movie is all good fun, some tension is created when both girls seem to be after the same guy, who also happens to be their coach, but all is resolved in the end, and each girl gets a scholarship to attend college in the US and play soccer..
"Bend it like Beckham", directed by Gurinde Chadha in 2002, deals with culture problems, soccer, friendship and love.
An Indian family has a soccer-playing daughter, named Jesminder, who wants to play football professionally like her idol Beckham, but she gets many problems.
if you want British Indian comedy then bend it like Beckham is the one you should watch.
This makes the movie not just for 'Indians only', but just about everybody.It's a very balanced film – there's comedy in it, drama, romance, football and yeah, Beckham!
BEND IT LIKE BECKHAMFirst of all I just have to say that I did not see this movie all the way through, so this review is only for what I saw.I did watch most of it
I missed the first 20 minutes of the film, but watched the rest.It was pants!I didn't like the look of it before and after watching most of it I can say that I was right with my original instinct.The movie is about an Indian girl who just loves football and wants to play the game professionally
but her parents are dead against it.So she decides to go behind their backs and plays anyway.The movie stars Keira Knightly, Parminder Nagra & Jonathan Rhys Meyers.I was very disappointed with the acting in this movie.
He looked like he was reading his lines off of a dummy card all the way though the movie.It is a shame really, because I loved From Paris With Love
he did a great job in that, so I know he can act.The definite high note about this film was Parminder Nagra
she was convincing in her role.
And, in my book, lead actress Parminder Nagra is one of the most gorgeous creatures ever captured on screen – not only because she can lay claim to that hackneyed adjective, "luminous," but because her performance has an honesty and un-bookish intelligence that's utterly compelling.The result is a film women can enjoy without feeling like they're making a pact with the devil to do so.
And, in my book, lead actress Parminder Nagra is one of the most gorgeous creatures ever captured on screen – not only because she can lay claim to that hackneyed adjective, "luminous," but because her performance has an honesty and un-bookish intelligence that's utterly compelling.The result is a film women can enjoy without feeling like they're making a pact with the devil to do so.
Bend It Like Beckham is a fun movie about a British Indian girl named Jess (Parminder Nagra) who loves the game of soccer more than anything, but is encouraged by her traditional parents to abandon her passion and focus on other areas of her life, like finding a husband.
Bend It Like Beckham is just a good, solid, entertaining family flick to watch.
Parminder Nagra, an actress I have never seen act anywhere else, plays the Indian teenager Jess living in England with a passion for football (for us Americans, soccer).
Parminder Nagra plays Jasminda an Indien girl who has a great passion for football and David Beckham, lives in London with her family, which is very traditional.
I think the end of this film is a little bit unrealistic because the connection of our cultures and the agreement of the parents of for example Indian girls, to live like they want, will need much more time.
The movie " Bend it like Beckham " by Gurinder Chadha is a great comedy which deals with the conflict of a young girl living between two coltures .
Even if this is a typical Hollywood movie with a big happy-end and a predictable story it is a great film to watch !
Although that film makes you laugh a lot , it also shows you some true problems in our society and this is why " Bend it like Beckham " is not only a movie like many others : Living between two cultures can be very hard - also Jess realizes , that it is impossible to link the traditional way of life with the modern way of London-living.
Gurinder Chadhas' "Bend it like Beckham" is an all in all entertainer that will find its way right into the hearts of all who watch it.Jesminder "Jess" Bhamra (Perminder N.
The title and this Beckham cult is ways to overacted and doesn't really fit the film and is just to fancy football fans, who will be disappointed after watching the movie.
Some women adore football players because of their good looks, but there are also girls like Jess.
All in all BEND IT LIKE BECKHAM is a great film with fantastic actors, typical "English" humor, a happy ending and a serious message at the same time.
If you wonder what the post-colonial experience in the British society and a first class culture clash, soccer being its center, look like, you definitely need to find out about the story Indian teenager Jess (Parminder Nagra) from Houslow, Greater London, has to tell us.
Eventually, there's a Happy End to the movie, although the viewer might be surprised how quickly things can change in the Bhamra family considering the parents' original opinion on Jess playing soccer.
There is Jules, who gets Jess into a girls soccer team and becomes a good friend of her. |
tt0047472 | Seven Brides for Seven Brothers | In 1850, backwoodsman Adam Pontipee comes into a town in the Oregon Territory to search for a bride. Met with ridicule by some locals, he comes upon the local tavern where he meets Milly. Convinced of her worth by the quality of her cooking and her insistence on finishing her chores before she would leave with him, he proposes and she accepts despite knowing each other for only a few hours.
On the journey home Milly talks about how she is excited to be cooking and taking care of only one man, visibly upsetting Adam. When they arrive at his cabin in the mountains, Milly is surprised to learn that Adam is one of seven brothers living under the same roof. The brothers have been named alphabetically from the Old Testament in order of birth: Adam, Benjamin, Caleb, Daniel, Ephraim, Frank (short for frankincense, the Old Testament having no names beginning with F), and Gideon. All of the brothers have red hair and all but Gideon are well over six feet tall. Understandably sad about having to tend to the needs of not one, but seven men, and with an idea to solve the situation, a smart and reasonable Milly decides to marry Adam's brothers off to some girls from the town.
During an attempt to accomplish this, Milly teaches Adam's rowdy, ill-behaved younger brothers some manners and social mores. She also shows them how to dance. At first, the brothers have a hard time changing from their "mountain man" ways, but eventually each comes to see that the only way he will get a woman of his own is to do things Milly's way. They try out their new manners and make an attempt to begin courting the girls. This takes place at a social gathering in the town (dance + barn-raising) , where they meet six women they like — Dorcas, Ruth, Martha, Liza, Sarah, and Alice. The girls take a fancy to the brothers as well. However, they already have suitors among the young men of the town, who jealously taunt the brothers into fighting during the barn-raising. At first the six brothers remember Milly's teaching and try to resist being drawn into a fight by accepting physical indignities. Adam refuses to let himself be pushed around by the rival suitors and calls his younger brothers cowards for letting them get away with their behavior. The girls' suitors from the town finally go too far when they attack Adam, provoking Gideon into fighting back. A free-for-all ensues in which the brothers dominate their physically weaker townie rivals. Although the Pontipees did not start the fight, they are banished from the town after demolishing the barn they were raising in the course of the brawl.
Winter finds the six younger brothers pining for the girls for whom they had fallen fast and hard. Milly asks Adam to talk to the brothers as she fears they will want to leave because of missing the girls. Adam reads his brothers the story of "The Sobbin' Women" (taken from Plutarch's story of the Sabine Women), one of the books Milly brought to the homestead. He tells them that they should stop moping around and take whatever action is necessary to get their women. Aided by Adam, the brothers kidnap the six girls, then cause an avalanche in Echo Pass so that they cannot be followed by the townspeople. The only problem: they forgot to bring the parson to perform the marriages.
Milly is furious with Adam, as are the six kidnapped women. Milly consigns the brothers to the barn "with the rest of the livestock" while the women live in the house. Adam, feeling betrayed by Milly's reaction, leaves for the trapping cabin farther up the mountain to live out the winter by himself, unknowingly hurting Milly's feelings. Soon after, Milly realizes that she is pregnant by Adam.
The winter months slowly pass. The women vent their frustration and resentment by playing pranks on the brothers, such as hitting them with rock-filled snowballs and dumping basins of wash water on them. By spring, the women have forgiven their "kidnappers" and fallen in love with the brothers, who are now allowed to court them. Milly gives birth to a daughter, Hannah. Gideon rides to the cabin to inform Adam of his daughter's arrival and asks him to come home. Adam refuses, saying that he had said he would return home only when the snow had melted enough that the pass was open to traffic.
Having time to think about his baby daughter, Adam returns home in the spring just as Echo Pass is opening and reconciles with Milly. As a newly responsible father, he has become aware of how worried the townspeople would be about what has happened to the six abducted girls. Adam realizes he was wrong to tell his brothers to kidnap them. He tells his brothers they need to take the women back to their homes in town, but his brothers are unwilling. The six women also do not want to return to their homes; they all want to stay at the farm with their new suitors and hide so they will not be taken back home. When Milly discovers that the women are not in the house, Adam tells his brothers to go after them and bring them back.
The townspeople arrive with the intention of lynching the Pontipee brothers for the kidnappings. Upon finding the brothers trying to force the women to return, the fathers believe their daughters are being assaulted and charge to their rescue. Alice's father (Ian Wolfe), a preacher, hears baby Hannah cry in the distance, and worries that the baby might belong to one of the kidnapped girls. The fathers and other townsmen round up the Pontipees and announce they intend to hang them.
Alice's father, the Reverend Alcott, asks the women whose baby he had heard. They all decide, simultaneously, to claim the baby as their own. This misinformation gives the women and the brothers their wish: the townspeople, including the girls' fathers, insist that all six couples marry at once in a shotgun wedding, performed by the parson while Adam and Milly watch and the fathers stand behind their daughters' grooms, shotguns over their arms. | romantic | train | wikipedia | As good as Brigadoon was, it is outclassed by this, for me, the greatest musical of them all.Howard Keel stars with Jane Powell but for me I cannot look beyond the awesome dancing talent of Matt Mattox as Caleb.
A permanent place in the history of film musicals is obviously the fate of 'Seven Brides for Seven Brothers' the minute Howard Keel begins to sing 'Bless Your Beautiful Hide'.
I truly enjoyed seeing someone masculine (gay or straight doesn't matter) move in a skilled manner, and disprove the stereotypes of "White Men Can't Dance." Seven Brides for Seven Brothers has the great Howard Keel (the John Wayne of Musicals), supported by a cast of 6 men (some actors, some dancers and some acrobats) and the outcome is nothing short of spectacular.
Mercers music, especially "Bless Your Beautiful" and "Lonesome Polecat" is simply awesome and are in my head for days every time I watch it.
Credit director Stanley Donen, choreographer Michael Kidd, cinematographer George Folsey, and a perfect cast led by Howard Keel and Jane Powell for creating one of the all time great musicals and an unforgettable motion picture experience even 50 years after its release.
Prior to one song/dance number, bride Julie Newmarr poses on a bed in a position clearly representing "missionary position" sex, legs up and astride an imaginary lover's back.Though the brides don't get as much screen time or individuality as the brothers, each looks as if she would be a great partner.
This film boasts an attractive frontier setting, famously excellent dance numbers choreographed by Michael Kidd, powerful Howard Keel as the head of the Pontifee clan and Jane Powell as the lovely girl who is swept off her feet by his charms.
Howard Petrie, Ian Wolfe and such lovelies as Ruta Lee, Julie Newmar and Virginia Gibson contribute to the fun as the girls; the brothers include Russ Tamblyn, non-dancer Jeff Richards and some of the best dancers on the planet.
The movie also presents some famous songs including, "Wonderful Day", "I'm a Lonesome Polecat", "June Bride" and, "When You're in Love" as well as "Goin' Courtin'", among others.
They are, however, anxious to get wives of their own.After Adam reads about Roman capturing of Sabine women, he hatches a plan for his brothers - kidnap whoever they want to marry and bring them back to the cabin."Seven Bridges for Seven Brothers" is, today, somewhat of a classic; Stanley Donen adapts the screenplay by Albert Hackett, Frances Goodrich and Dorothy Kingsley; their combined efforts are superb.I have grown up on this film and was surprised at the fact that, after having seen it very recently, it continues to hold up as well as it did when I was younger.
I liked it more then I thought I would.Now, that still doesn't mean that this is my favorite musical but it is a pretty darn good one and appears to have a somewhat timeless quality to-the characters are sometimes zany and full of fun, the story is a clever one and it is the rare moment when your bored.
(help me here music experts) The choreography too, is just excellent- the men really stand out as athletic, as is typical in many cultures such as Indian & Hawaiian dances.I was again struck by how awful crazy the story line is, but how easily it's vindicated by Keel's character explaining how tough life is for mountain settlers.
I am not a great lover of Musicals, but "Seven Brides for Seven Brothers' is a major exception - it is a joy from the opening scene to the very end, with great songs, and the highlight of magnificent dance sequences, with the "building" of the barn a real showstopper.
As Adam, Howard Keel has his best ever role with songs like "Bless Your Beautiful Hide", and "Sobbin' Women" just great standouts.
This is one of the finest directed by Stanley Donen with great stars like Howard Keel, Jane Powell with wonderful dances.
"Seven Brides for Seven Brothers" is a delightfully funny and entertaining musical, with a pleasant feel-good story, wonderful performances and awesome choreographies.
Stanley Donen directs this unforgettable and awarded family entertaining with the remarkable support of the choreographer Michael Kidd, and the cinematographer George Folsey and a wonderful cast highlighting Jane Powell with a magnificent performance in the role of a strong young woman.
Among the highlights to be seen are Keel's lively rendition of "Bless Yore Beautiful Hide", Powell's "Goin' Cotin'" sung with the men, and of course the famous barn raising dance sequence, which is truly a sight to behold; a visual feast for the eyes.
I love this Movie, Even though it was made 23 yrs before I was Born it Is A timeless Classic, Honestly After you Watch it you'll be Signing the Sobbin women Song and Bless that Beautiful hide song for days!
In his memoirs Howard Keel said he had a rollicking good time making Seven Brides for Seven Brothers and the results certainly do show.
She's lucky she didn't run into that family of inbreds that Randolph Scott and Joel McCrea rescued Mariette Hartley from in Ride the High Country, they would have expected a lot more.Those six other brothers see what benefits from married life Keel is enjoying with Powell and decide to take matters into their own hands with a little help from Keel in that Sobbin' Women number.
Gene DePaul and Johnny Mercer wrote the music and lyrics for Seven Brides for Seven Brothers, the following year they would collaborate on Lil Abner on Broadway which would eventually come to Hollywood.Curiously enough three songs entitled When You're In Love came out at the same time.
A few years later, I was shocked to see an extensive clip from it (the barn raising dance, of course) featured in the documentary "That's Entertainment," which showcased all the great old MGM musicals.
The dancing in this film is so athletic and manly and spirited -- unlike the dancing in almost any other film from that era.On top of that, you have the power of Howard Keel's bass voice and sturdy frame, the absolute loveliness of Jane Powell in voice, looks and personality, and the impish charm and amazing athleticism of Russ Tamblyn as Gideon, the youngest of the seven brothers.
I would hesitate to place SEVEN BRIDES FOR SEVEN BROTHERS on the same level of greatness as classic film musicals like SINGIN' IN THE RAIN, but it does manage to come very close.
There's nothing that isn't charming about this film, from the seven red-headed, all singing, all dancing Pontipee brothers, through to the feel-good songs including (but not limited to) 'Wonderful Wonderful Day', 'When You're In Love', and 'Go'in' Co'tin'.
My favourite song is probably Howard Keel's opening number, 'Bless Yore Beautiful Hide'--incredibly catchy and a great introduction to the character and the film.One of the best reasons to catch this film is probably the energetic barn dance between the six Pontipee boys (Ben, Caleb, Daniel, Ephraim, Frankincense, Gideon), their six girls, and the town suitors.
After 50 years, this movie musical still warms the heart and the senses.It has been alluded to, revived somehow, often imitated but never duplicated.The songs, the scenery, the dances are the frosting on the cake.Although by today's standards SB4SB is dated, it nevertheless remains an industry and studio standard.A great way to chart the early appearances of Ruta Lee and Julie Newmar, who at the time were using their original respective surnames of Kilmonis and Newmeyer.
This movie is one of those movies that you plug into the VCR when you need a lift.I have seen this movie more times than I remember, yet every time I watch it again I see some other wonderful scene,song or dance that takes my breath away.This is a movie for every member of the family to see.
In every shot with the 7 brothers and brides, you'll only see 3 or 4 in full frame.The story is simple but the performances are terrific, the dancing is fantastic, with few edits, it makes the whole thing so much more rewarding to watch.The photography is good, but some of the sets just look like, er, sets!
There wasn't a whole lot of story here, not surprising as it was based upon a short story by Stephen Vincent Benet; but there sure was some excellent musical numbers, and amazing dance routines.It is a funny story and good enough that they actually made a Broadway musical out of a movie.
I was never the person for old movies until I watched 'Seven Brides for Seven Brothers'.
Adam (Howard Keel), the oldest of seven brothers, comes into town one day looking for some chaw and a wife.
Howard Keel starts things off by singing "Bless Your Beautiful Hide." Later on, he and the brothers have the great song "Sobbin' Women." And there's a nice double song near the end in "June Bride" fading into "Spring, Spring, Spring." My favorite, though, is "The Lonesome Polecat," which the six younger brothers sing while cutting up logs in the snow.
Every time I see it, I'm surprised by how much fun it is."Brigadoon" is good, too, but do yourself a favor, if you like musicals at all, and see "Seven Brides for Seven Brothers"..
I first saw this film when I was 9 and was captivated by it.I have seen it several times since and still find it a joy to watch.From the outset there is a "good to be alive feeling" about the film with Howard Keel's boisterous rendition of "Bless your beautiful hide" and the pace never slackens from thereon in.The music is a key feature ,of course ,with the clever yet delightful lyrics of Johnny Mercer but what really sets this film apart from other musicals is the sheer exuberance of the dancing.This is what stuck in my mind as a child of 9 even though I had no real appreciation of dancing at that time.The "Barn Raising" number is a true classic but in fact every musical number could be regarded as such and one is hardly concerned about the "cardboard mountains" of Oregon once the ensemble have launched into "Sobbin'Women".I suspect that having fallen for the charms of a film like this at the tender age of 9 its unlikely to ever be overtaken as my favourite musical as " they just don't make them like that anymore".
The association between Michael Kidd and director Stanley Donen paid off handsomely in the way this movie remains a big favorite.The story of 1850's Oregon, based in a story by Stephen Vincent Benet, is a bit dated, but one must make concessions because the times when this film was made.
Also in the cast were a few actresses that later made into the movies, notably, Julie Newmar and Ruta Lee. It was a simple time and "Seven Brides for Seven Brothers" will make anyone happy by watching it..
It isn't just great dancing, but a marvelous script and songs (especially "Bless Your Beautiful Hide," "Lonesome Polecat," and "When You're In Love"), as well as a standout performance by Powell- who manages to be tough, strong, and feminine all at the same time.
For those of you who love musicals, you'll love this show.1 of 7 brothers comes to town and on seeing Jane Powell for the first time, decides she is the bride for him.
Howard Keel is at his best in songs like "Bless Your Beautiful Hide" and especially "Those Sobbin' Women".
I love musicals, and I heard a lot about Seven Brides for Seven Brothers saying it was wonderful and everything.
It was also a delight to see Russ Tamblyn again.Overall, this film is wonderful with great performances, music and choreography especially.
you cant' not love it, what with adam singing about "when you're in love" then as soon as the song is over he tells his brother that one woman "is pretty much like the next." its always going to be one of those movies with those catchy songs that i will absolutely never forget...but in a good way.
"Seven Brides for Seven Brothers" is a splendid musical with incredible dance numbers and songs.
A lovely film, full of great dancing, hilarious scenarios and dialogue, good musical numbers, a whipper-snap cast, adn even some kissin'.
Two scenes stand out: Keel trying to tell the story from Plutarch's "Lives" of "The Rape of The Sabine Women," which gets a little mixed up in his head to become the classic song "Those Women Were Sobbin'." The second moment is the barn-raising scene, which is possibly the best danced scene in cinematic history, as Keels brothers face off against the town boys.
In the 1850s a man (Howard Keel) who lives with his six brothers out in the middle of nowhere takes a bride (Jane Powell).
So Howard tells them go off and kidnap them (!!) They do and the girls fall in love with them (!!!!!)OK--this film has good things---some absolutely beautiful, if fake, scenery; some pretty good songs; an incredible barnraising sequence (the dancing is unbelievable) and it's shot in bright color and widescreen.
Howard Keel is captivating as the only of the seven brothers who understands how to live in 1850's Oregon Territory society, Jane Powell is her normal, sweet self teaching the other brothers how they're expected to act.Perhaps the best part of this movie is the dancing.
Of course the women start to fall for the brothers as they begin to domesticate them, taking copious time out for great songs and showstopping dance numbers, showcasing some of the best choreography ever put to screen.Of course leave it to a dopey, escapist piece of entertainment like this to give us one of the most productive representations of gender roles in a decade known for its straight-jacket treatment of both women and men.
However, destiny brought me to Seven Brides for Seven Brothers and never before have I been so mesmerised and thrilled by an all-singing, all-dancing musical with a gripping underlying plot line.
Howard Keel and Jane Powell shine as on-screen husband and wife, with Adam's six brothers not far behind, all of whom were christened with first names from the Bible except Frank(incense - as he hates to be called!) Tommy Rall who plays him is truly an exceptional dancer who dares to act out fabulous stunts in the barn dance scene.
Stanley Donen's Seven Brides for Seven Brothers is a musical looking for an interesting story (you know, what movies generally need to make sense .
Intermingled with all this lovin' and fightin' and hintin' at bridal fornicatin', you've got, literally, what seems a dozen or more totally forgettable musical numbers, terrible sets and performances, and a complete lack of interest in whether or not the gals from town finally get hitched to the red-haired rubes in the sticks.Like Singin' in the Rain, after what seems like a lifetime, your butt will be shootin' out pain stars and you'll wonder why, oh why, this is a movie that makes middle aged single women go all squishy--like my idiot sister (before she got married to some dolt who looks suspiciously like one of Keel's brothers).Hmmm..
So it was that I watched this film only a few days after Howard Keel passed away, despite the fact that I'm not a big fan of big cheerful musicals (the South Park movie is my favourite musical that should tell you something).
Classic Fun. Seven Brides for Seven Brothers (1954)**** (out of 4) Extremely joyous musical has woodsman Adam Pontipee (Howard Keel) going into town to find a wife and he gets on in Milly Pontipee (Jane Powell).
What works so well is that the seven brothers and seven brides are so fun to watch and they actually all give very good performances.
Great musical numbers, dancing, acting, directing, etc, and I'm trying to understand how people can forgive it and just enjoy it for what it "was once," but this one lost me the minute Howard Keel started advising his brothers to look to the story of the Sabine.
It's Oregon in 1850.Adam Pontipee goes to town to find himself a wife.And he finds one.That (un)lucky woman is Milly.He doesn't tell her that he lives with his six brothers at a cabin in the mountains.At first Milly feels more like a maid than a wife.Then he starts teaching some manners to the fighting brothers, so that they could get them some ladies too.Seven Brides for Seven Brothers (1954) is a film by legendary Stanley Donen, who's 89 years old today.Howard Keel and Jane Powell make a very nice pair in the lead.Other actors include Julie Newmar, Russ Tamblyn and Marc Platt, a ballet dancer who just turned 100.There are a few great musical numbers in this movie.I could mention "Goin' Courtin'", which is pretty wild.The dance scene is a lot of fun.This is a movie not to be missed for all you musical lovers out there..
SEVEN BRIDES FOR SEVEN BROTHERSAnother so called classic movie I had never seen.I knew before I watched it that it was a musical but I didn't know anything else.The story is about 7 brothers who live together up in the mountains.
When red-headed Oregon farmer Howard Keel (as Adam Pontipee) comes home married to pretty Jane Powell (as Milly), his six scarlet-dyed brothers want to get into the act.
Director Stanley Donen, choreographer Michael Kidd, dancer Russ Tamblyn (as Gideon) and the barnstorming group brought down the house and saved the film.******* Seven Brides for Seven Brothers (7/22/54) Stanley Donen ~ Howard Keel, Jane Powell, Russ Tamblyn, Tommy Rall.
This is the movie that defined musicals for me.It is the story of the Pontipee brothers' search for wives in the pacific northwest, at a time when there were 7 men for every woman.
Anyone who is in for great dancing, acting, and laughter, 7 Brides for 7 Brothers is a great movie. |
tt0071141 | Angst essen Seele auf | An older German woman named Emmi (Brigitte Mira) enters an Arabic bar in Germany. The patrons all stare at her as she sits at the nearest table. The bartender (Barbara Valentin) walks over and Emmi explains how she needed to get out of the rain, and asks about the foreign music playing. The bartender tells her that it is Arabic music. Emmi notices that the patrons are mostly Arabic, and proceeds to order a cola. A brunette woman picks a song on the jukebox and suggests that Ali (El Hedi ben Salem) dances with Emmi. As they dance Emmi finds out that Ali is from Morocco and works as a mechanic. He says that he spends most of his time in that bar since Germans do not seem to treat Arabs very well. The whole bar watches as they talk and dance together. At the end of the song Ali and Emmi sit down at her table. Ali pays for Emmis drink and introduces himself. He tells her that everyone calls him Ali. Then Emmi needs to leave Ali offers to walk her home. The whole bar watches as the couple leaves.They arrive at Emmis apartment building and talk for awhile in the lobby. Ali asks her what she does for work, and she reluctantly tells him that she is a cleaning woman. He does not judge her and listens as she talks about her work. She realizes how nice it is to talk to someone, since she is alone most of the time. Emmi invites Ali up to her apartment to have coffee until the rain stops. As they walk up the stairs Emmi is stopped by her neighbor Mrs. Karges (Elma Karlowa) to pay her some money she owes her. As they continue up the stairs Mrs. Karges runs to tell another neighbor that Emmi has gone upstairs with a foreigner. They are disgusted by the idea of such a match.The next scene begins with Ali having a coffee with Emmi in her kitchen. As she gets the brandy she tells him that her husband was a polish worker who stayed in Germany after the war. Her family did not approve since he was a foreigner. She asks about Alis family and he tells her that his parents are dead and that he has five sisters. He tells Emmi he needs to leave but she asks him to stay for another drink. Ali needs to leave or he will miss the last tram of the night. He lives far away and shares a room with five other men. Emmi says that is inhuman, but Ali says that Arabs are not humans in Germany. Emmi decides to invite him over for the night.Ali cannot sleep and asks Emmi if he can talk with her for awhile in her room. He tells how lonely he is, and that maybe he isnt human at all. Emmi comforts him and tells him that that simply isnt true.The next morning Emmi wakes up to find Ali in her bed. At first she cannot believe what has happened and hurriedly leaves the room. She looks at herself in the bathroom mirror, and Ali finds her with tears running down her face. All she sees is her old age, but Ali does not see it. They look at each other and embrace each other. Next Emmi and Ali have breakfast together before they set off for work. She calls herself an old woman, but Ali does not see her as one. He sees her as a good person with a big heart. Emmi is so happy but she starts to cry out of fear. Ali tells her that fear isnt good, that it eats the soul. The two go downstairs together and part ways while Mrs. Karges watches from upstairs.Later that day Emmi is on her lunch break at work. As she eats with her co-workers they get on the topic of foreigners and how they all they care about is money and sex. Emmi tries to defend foreigners but it is obvious that these women will not change their minds about them. They think that a woman should die of shame if she were to ever become involved with such a man.Next Emmi goes to visit her daughter Krista (Irm Hermann) and her husband Eugen (Rainer Werner Fassbinder). Eugen is home from work on sick leave, and he and Krista keep bickering in front of Emmi. She changes the subject by asking about foreign workers at Eugens job. This upsets him greatly and he barks at his wife to get his cigarettes. Emmi then proclaims she has fallen in love with a Moroccan who is at least 20 years younger than her. Krista and Eugen think she is joking and laugh. She tells them it is no joke and leaves the apartment, but they still do not take her seriously. The whole idea is too unbelievable to be true.That evening Emmi returns to the bar where she met Ali the night before. She sits at the same table and orders a cola. The bartender brings her the drink and states that it isnt raining. She makes it abundantly clear that it was her bar and that Emmi was not welcome in it. Emmi sits there in hopes of running into Ali. She quickly leaves the bar and walks home, where she finds Ali waiting for her outside. They greet each other and go upstairs together.Next we see Emmi and Ali eating together in Emmis kitchen. As Emmi clears the table and gets them coffee Ali tells her that he has money to give her. He wants to pay her back for all the food and drinks she has provided. Emmi thinks that money will spoil their friendship and says she will put the money in a drawer for him when he needs it. Ali wants Emmi to take the money but she utterly refuses. They are then interrupted by Mr. Gruber (Marquard Bohm), the landlords son. Gruber comes by to tell her that she is not allowed to sublet to others and that Ali must move out. Emmi panics and tells him that Ali is not renting from her but they are actually getting married. Since that is the case the matter is resolved, or so Gruber thinks. Once he leaves Emmi tells Ali what she has done, and he thinks it is a good idea. He agrees to marry her and they have a drink before telling the news to his Arab buddies.Emmi and Ali go to the bar and celebrate their engagement with his friends. The brunette that was at the bar in the beginning of the film appears again and she is disgusted by the news. She calls Emmi is a filthy old whore, which then the bartender points out her jealousy. Emmi puts on a song on the jukebox and she and Ali dance to it. The other woman says that it will never work out because it is so unnatural.The next scene begins with Emmi and Ali leaving the courthouse where they have just gotten married. It is only the two of them and they are both dressed in grey suits, and Emmi has a bouquet of red flowers. As they walk together Emmi points out how long her new name is. She is now Emanuela ben Salem MBarek Mohammed Mustapha. She thinks it sounds terrific. They stop at a phone booth where Emmi calls her daughter Krista. She invites her and her two sons over to her house next Saturday. When Krista asks her why Emmi tells her theres no special reason. Emmi sees a taxi and tells Ali to stop it.The taxi then takes them to a restaurant called Osteria Italiana. It is where Hitler used to eat and Emmi had always wanted to eat there. The entire restaurant is empty except for the two of them and the waiter who is staring at them from the doorway. Emmi suggests they order the most expensive things on the menu, since it is such a special day. Ali says he will eat whatever she eats. She calls the waiter over and orders their food. The waiter asks her how she would like the Chateaubriand prepared. She is confused about the question, so the waiter asks if she wants it rare or medium. She tells him rare sounds good. Then she changes her mind once the waiter explains that rare means almost raw. The waiter then asks if they would like an aperitif to start with. Emmi is not sure which one to ask for, so the waiter recommends the house aperitif. After the waiter walks away Emmi says how he really had her on the rack there and it can be difficult if you are not used to things like that. The couple stares at each other and then they both stare forward. The scene ends with them looking ahead through the doorway.Emmis children have come over to her house at her request. Albert, Bruno, Krista and her husband are all sitting in the living room waiting for Emmis announcement. They are all curious as to why she has asked them there, and one of her sons asks if she is ill. Emmi tells them she is not ill but has gotten married. They are all shocked. They ask who she has married, so she calls Ali into the room. She introduces him to the children, who all stare at them with blank expressions on their faces. The room is silent until Bruno walks over to the television and kicks in the glass. He storms out of the apartment and Krista goes after him. Albert stands and tells Emmi that their marriage is a disgrace. She can forget that she has any children, and that he will have nothing to do with a whore. Krista comes back and tells her husband that they are living this pigsty. Once they leave Emmi breaks down into tears.Next Ali is at the local store trying to buy some Libelle margarine. The store owner (Walter Sedlmayr) keeps giving him lemonade even though Ali repeatedly tells him like butter, not lemonade. The owner barks at him to learn German and that he cannot help him. Adele (Doris Mattes) comes out and asks him what Ali wants. He tells her that he wants Libelle, which she says is the new margarine. The owner does in fact know what Ali wanted, but he just refuses to help him. Ali leaves the store.Ali comes home and tells Emmi what has happened. She knows that the owner understood Ali and just didnt want to serve him. She has been a customer at that store for twenty years and is furious. Ali says not to fight, that fighting isnt good. Emmi leaves the apartment to have a word with the shopkeeper.Emmi arrives at the store and Mr. Angermeyer why he wont serve her husband. He says that he couldnt understand what Ali was saying. She tells him that Ali asked for Libelle margarine. He pretends that he didnt know thats what Ali wanted. Emmi knew he understood him perfectly but he just didnt want to help a foreigner. Angermeyer does not appreciate Emmi accusing him of discrimination and that he cannot serve someone who cant speak German. Emmi angrily tells him that is nonsense and that Ali speaks better German than him. This upsets Angermeyer and he bans Emmi from the store.Emmi walks home from the store to find some of the neighbors standing in the stairwell. They stop her and tell her that everyone in the building has agreed that she has to clean the stairwell twice a month instead of their usual system. The three women say that there has been a lot more dirt than usual and that she should clean it since she brought a foreigner home. Emmi tells Mrs. Karges to mind her own business, since she does not meddle in her affairs. Mrs. Karges says that they have nothing to be ashamed of like she does. Emmi accuses her of jealousy and continues up the stairs. Mrs. Karges is shocked by the notion and wonders whatever Emmi could mean by that.Ali comes home to find Emmi sitting in the kitchen. She looks at his paystub and sees that he worked five hours overtime. She jokingly says that she thought he was off boozing somewhere. Ali doesnt understand what she means. Emmi explains herself and he says that he doesnt drink without her. She adds together their earnings and says that they will be rich, and that they will buy a little piece of heaven. He asks her why heaven? and she says it is just a fancy of hers. Ali gets up to take a shower and she offers to make him coffee.Emmi walks into the bathroom and sees Ali in the shower. She looks at him and tells him that he is very beautiful and that his coffee is ready. Ali continues to wash himself.Ali steps out into the kitchen and Emmi hands him his coffee. The doorbell rings and Emmi goes to answer it. Her coworker Paula (Gusti Kreissl) came over to see if Emmi could work her shift for her so she could attend her sisters funeral. She invites her into the living room where she introduces her to Ali. Paula is shocked to find out that they have been married for three months. She quickly excuses herself and says she will ask someone else to cover her shift. Ali says that that woman is no good, but Emmi just writes it off as just shock. He knows that she was disgusted by him and says that she had death in her eye. Emmi tells him he is imagining things and to get dressed. Ali suggests they go out to see his Arab buddies since Germans are not good. Emmi doesnt feel like going out but tells him to invite his friends over to their apartment.Ali goes to the bar to invite his friends over. No one is there yet except for the bartender. As she pours him a beer she asks him if he is happy, to which Ali says he doesnt know. She tells him to come over to her place sometime and she will make him couscous. He tells her that he doesnt know if he will, so she asks him if he is scared of his wife. This upsets him and he says he is not. She again tells him to come over, and he says maybe. One of Alis buddies and the brunette woman walk into the bar. They greet each other and Ali invites them over to his house. The woman says she will not go to that old whores place. Ali grabs her by her dress and tells her that Emmi is not an old whore. He lets her go and the two men walk to the door. They run into two other men on the way out and they all leave for Emmis. The bartender and the woman are left alone watching them leave.Later Mrs. Karges and another neighbor are in the stairwell talking to two police officers. They complain to them that the party going on in Emmis apartment is too loud. They also tell the officers that she has four Arabs in her apartment and that it isnt safe. The officers tell them not to exaggerate and that they will speak with Emmi. They walk up the stairs and the two women stay where they are, commenting on the policemens long hair.Ali and three of his buddies sit in the living room and play a game while Emmi watches. The door bell rings and Emmi goes to answer it. The policemen inform her that the neighbors are complaining about the noise and ask her if she could turn the music down. She agrees and says goodnight to the officers. Emmi walks back into the living room and asks Ali to turn down the music. She tells him that the neighbors have sent the police on them. They look out the window and watch the policemen drive away.Emmi is on her lunch break at work and eats with her coworkers in the stairwell. She asks them to pass her a knife, but all three women ignore her. They talk amongst themselves as if she doesnt exist. She tells them to stop acting so strange and asks them again to pass her a knife. They pretend they dont hear her and carry on their conversation. Emmi stands up and gets the knife herself. As she sits down the women decide to move further down the stairs. They continue talking and leave Emmi all by herself.Emmi and Ali leave their apartment building and walk past Mr. Gruber, Mrs. Karges, and the other neighbor woman. As they walk away Mrs. Karges asks Gruber if there is anything that can be done about them. He does not see a problem with Emmi and Ali as tenants. He says they seem happy together. The second woman does not see their happiness, just how indecent their union is. Gruber does not see anything indecent about the couple, though he says he has tried. He says goodbye to the ladies and departs. Mrs. Karges asks the other woman if she can understand such a situation. She says she does not and goes inside.The couple is sitting across from each other at an outdoor café. They are surrounded by dozens of empty yellow tables. Ali looks behind him and sees a group of people staring at them from the doorway. Emmi tells him to ignore them and that they are just envious. Ali doesnt understand so Emmi explains what envious means. She begins to cry. Emmi is so happy to be with the man she loves, but she cant take peoples judgments anymore. She pretends that peoples hatred doesnt bother her but it really does. She screams at the other people to stop staring at them. Ali comforts her as she becomes hysterical. Emmi suggests they go on a trip together to get away from everyone. Then when they get back everything will be different.The shopkeeper sees Emmi and Ali return from their trip. Adele points out how nice Emmi always was. She figures that the marriage wont last and that he should let Emmi shop there again. The shop needs the business and Emmi was always such a good customer. He decides that he will greet her the next time she walks by the store.Emmi and Ali take their things from the car and start walking upstairs. Two neighbors greet Emmi and wish to speak to her about her cellar. Mrs. Ellis son has been sent to Norway for a year and she needs a place to store his things. Emmi offers her space and promises that Ali will help her move. The woman thanks her and Emmi continues upstairs. As they separate the other two ladies comment on how nice and helpful Emmi is.Back at the apartment Emmi gives Ali the cellar keys and tells him to help Mrs. Ellis. If they are nice to her then she will be nice to them. She says she is going shopping and tells Ali to change his clothes.Adele and Mr. Angermeyer see Emmi walking towards their store. Adele tells him to go outside and talk to her. He greets her and invites her inside the store to tell them all about her trip.Emmis son Bruno walks up Emmis stairwell and is greeted by Mrs. Karges. She tells him that Emmi has returned from her trip and has gone out shopping. He thanks her and she proceeds to tell him about Ali helping Mrs. Ellis and about her son going to Norway. Emmi arrives and Bruno walks with her upstairs to her apartment.As Emmi puts things away, Bruno apologizes for breaking the television set. The children have gotten used to the marriage except for Albert. Emmi forgives him and he then asks her for a favor. His wife is going to start working again and they need Emmi to watch their child for a few hours a day. Ali arrives and Bruno shakes his hand. Ali goes to take a shower. Emmi agrees to Brunos favor and he leaves the apartment. Ali asks Emmi if she is going to make couscous. She tells them that she cannot make couscous and that he should get used to the way things are in Germany. Germans dont eat couscous and she herself doesnt like it. Ali leaves to go meet his Arab buddies and to eat couscous. He does not want Emmi to go with him. After he leaves Emmi is left standing alone in her kitchen, staring at the floor.Ali walks to his usual bar but it is closed. He goes to upstairs to the bartenders apartment. At first he hesitates, but then he rings the doorbell. She asks him if he wants anything to eat or drink, so he says he wants couscous. She tells him to help himself to some fig brandy. Later she finds him in the living room staring out the window. He takes off his jacket and she takes off his shirt from behind. They face each other and hug.Ali returns home drunk. He walks around calling Emmis name and tries to find the bedroom. He finds it locked and passes out on the floor. Emmi opens the door and sees him. She leaves him on the floor and closes the door.The next day they eat together in silence. They look at each other but do not say a word. Ali leaves the apartment while Emmi just stares at the table.At work Emmis coworkers greet her at lunch as if nothing has happened. They tell her that Frieda has been fired for stealing. In her place they have hired a foreign woman named Yolanda from Herzegovina. As they are talking one of the women decide that they should talk further down the stairs away from Yolanda. Then they tell Emmi that they are not getting their raise and that Yolanda makes less money than them. Emmi invites them over to her house to discuss how to get their raise. They decide not to invite Yolanda since she is on a different pay scale than them. Yolanda continues to eat her lunch alone.Later that evening the women show up to Emmis place and they meet Ali. They talk about him to Emmi as if he isnt there. They touch and examine him like some prize animal. He leaves the room and they dont know what is wrong with him. Emmi says its simply his foreign mood swings. She leaves the room to get coffee for the women and sees Ali leave the apartment. Again, they stare at each other and do not say a word. She turns back around and smiles at her friends, even though it is quite obvious that she is not in a smiling mood.Ali arrives at the bartenders apartment. She is just on her way out but she invites him to stay and eat leftover couscous. After she leaves he sits on the couch and looks down at the floor.Emmi thinks she hears Ali walking up the stairs. She opens the door and yells for him but it is just Mr. Gruber. She apologizes and begins to cry. Mr. Gruber says goodnight and leaves Emmi crying in her doorway.Ali wakes up on the bartenders couch just as she arrives home. She asks him to stay over for the night. Ali undresses as she cleans up in the bathroom. She walks back into the room naked and turns off the light before walking over to him. They embrace and lie down on the couch together.Ali is at work and one of his coworkers is telling jokes. His boss walks in with Emmi. She confronts Ali and asks him where he has been all night. She tells him how much she misses him and asks him to come back. He stares at her and says nothing. One of the men asks if that his grandmother from Morocco, and all the men laugh. Emmi and Ali stare at each other and she leaves. After she walks out the men continue to laugh at the joke, except for Ali.Later Ali gambles with is buddies at the bar. After he loses a game he sends one of the men to his house to get more money. The bartender scolds him for gambling away his wages. Ali snaps at her and goes into the bathroom.After using the urinal Ali walks over to the mirror. He stares at himself and slaps himself in the face over and over again.Ali comes out of the bathroom just as his friend returns with his money. He plays another hand and Emmi comes into the bar. She sits at a table and orders a cola. Ali loses again. The bartender brings Emmi her drink and she asks her to play The Black Gypsy on the jukebox. When the music starts to play Ali walks over to Emmis table. He asks her to dance with her. She stands and they walk to the dance floor. As they dance Ali confesses that he slept with another woman. She doesnt care but she says that she cannot stop him from doing that. However, she does want them to get along when they are together. Otherwise life isnt worth living. Ali says he doesnt want anyone else and that he only loves her. Emmi says that she loves him too and that together they are strong. Right then Ali collapses to the floor and groans in pain. Emmi tries to comfort him as the bartender calls an ambulanceAt the hospital the doctor explains to Emmi that Ali has a perforated stomach ulcer. It is very common among foreign workers due to the stress. They can only operate and he will probably have another one in six months. He will recover but the doctor guesses he will be back again. Emmi goes to Alis bedside and holds his hand as she cries. | romantic, melodrama | train | imdb | He, Ali, is a black foreign worker from Morocco, 20 years younger than her, speaking a rather bad German (a more faithful translation of the German original title 'Angst essen Seele auf', a quote from Ali, would be 'Fear Eat Soul').
The neighbors are talking about them, Emmi's colleagues ignore her, the merchant refuses to serve them, and Emmi's children don't want to understand it - her son Bruno even destroys the TV set in his anger.Rainer Werner Fassbinder is arguably the greatest German director ever, and with more than 40 films, TV series, TV films plus 16 theater plays he wrote, directed and often also (co-)starred in in a career that lasted only a mere 15 years, he is certainly one of the most efficient directors in film history.
That Ali goes to the waitress of his bar to get the two things Emmi can't give him - sex and his favorite dish.And then the film has some amazing acting.
As a young serviceman stationed in West Germany throughout the 1970's & 80's I used to watch a great deal of German Television, to try and understand the German people and their culture.One night,wife and children asleep, I happened upon: "Ein Film von Rainer Werner Fassbinder"What a revelation!!
Suddenly here was a film which showed all human life in its most passionate, desperate, vital but delicate form.It certainly made a great impression on me and even now, 26 years later, I can still see, feel and react to each thought, idea aand feeling that coursed through me at that time.Truly a wonderful film and a genius of a director.It helped me understand love..
Inspired by the Douglas Sirk melodrama All That Heaven Allows, Ali: Fear Eats the Soul by German master Rainer Werner Fassbinder is a simple and direct statement of love between an older woman and a younger man and also a biting commentary on the mentality of prejudice and the state of German society during a period of economic resurgence.Shot in a period of only fifteen days, Ali (El Hedi ben Salem) is a fortyish Moroccan auto mechanic who feels estranged from his culture amidst the condescension and hostility of German society.
In a classic scene, Emmi tells her children that she is going to marry and introduces Ali as they sit in stunned silence and disbelief staring at her until one of the sons kicks in the television set as the rest get up and leave.Even after they are married, the hostility continues and the couple are subjected to condescending service in restaurants and neighbors telling the landlord's son about Emmi's "lodger" and calling the police to report a disturbance when friends gather to listen to music.
A poignant, honest, and revealing work of art, Ali: Fear Eats the Soul is an immediate addition to my list of favorite films..
In Sirk's film, the only thing imposing on the complete happiness of Jane Wyman and Rock Hudson was the busy-body ostracism of family and friends who didn't approve of the relationship between a rich society widow and her working-class gardener.
One of the things I liked best about this film is that as the German society gets used to the unconventional romance and begins to accept our two protagonists, the couple themselves begin to struggle to maintain a grip on the happiness they thought would be their's by right.Fassbinder's unconventional couple are a frumpy German widow and a Moroccan immigrant 10-15 years younger than her.
This powerful and gentle film tells the story of love and marriage of Emmi, a 60+ widowed German cleaning lady and Ali, a Moroccan immigrant mechanic who is more than 20 (I think close to 30) years her younger.
The more I think of it the more I realize that "Ali: Fear Eats the Soul" is among the best, the most poignant, gentlest and heartbreaking descriptions of unavailability for happiness ever filmed.
What makes the movie even more poignant is the fact that both Fassbinder and El Hedi ben Salem, the man whom Fassbinder loved and who played Ali committed suicide in the same year, Fassbinder - a few weeks after El Hedi.
In one of the film's most moving scene, Emmi looks at the man with whom she so suddenly and desperately fell in love with admiration, longing, and wise sadness while he dries himself after the shower.
Fassbinder is a master in guiding his actors so they can they play naturally and believably without using a particular local accent or slang that is probably more realistic.I do not completely agree with the film's utterly pessimistic view on practically all the characters in the movie; I think his portray of contemporary society is a little bit exaggerated (and it was even twenty-five years ago).
I think Ali: Fear Eats the Soul may be the single best-acted film in the history of cinema.
In this film, the viewer is placed in an uncomfortable position of having to endure a kind of visceral commiseration with a totally absurd set of misfitted main characters while simultaneously working through his own emotional response to the true-to-life situations they encounter.
Fassbinder himself appears as Emmi's son-in-law (married to Emmi's daughter played by Irm Hermann, a stalwart of this director's productions), and though he gets little screen time, Fassbinder's facial expressions and sardonic dialogue are delightful.Yet, in spite of its curiously heartwarming romantic pairing and touching plot about two lovers against a cruel world, ANGST ESSEN SEELE AUF is not a perfect film.
Ali: Fear eats the Soul is written and directed by Rainer Werner Fassbinder.
It tells the story of a taboo relationship of a middle aged Woman Emmi(Brigette Mira) and a young Moroccan Immigrant Ali(El Hedi ben salem).
This is my personal favourite from Fassbinder, it's incredibly well written, and it feels like his most personal film.Fear Eats the Soul came out in a precarious time In 1970's Germany, the film is a critique on the xenophobic attitude and social ostracism of a relationship that people consider taboo, or don't morally agree with.
The film is both intriguing and heartbreaking to watch as Emmi is turned into a social outcast as the local community look down on her and especially Ali with predominantly racist judgement.
Also going further later on in the film, shifting the focus onto Emmi the film looks at how despite being bullied and berated, she still craves the acceptance of others and changes her persona and behaviour to fit in.Both Brigitte Mira(emmi) and El Hedi ben Salem(Ali) turn in fantastic central performances, they are given excellent dialogue to work with.
Some of it comes from the mouths of sweet looking little old ladies, others from people like her son-in-law, a blue collar worker who is bitter over having a Tunisian boss and who denigrates foreigners while sitting on his ass on a pretend sick day, bossing his wife around and drinking a beer.It's easy to think of the film positively because of its message of the need for tolerance, especially given how relevant that continues to be.
Rainer Werner Fassbinder's Ali: Fear Eats the Soul is a story of two people who are not exactly alone in the world but not apart of it, and it's this that is Fassbinder's focus first before making a "message" movie about racism.
And, again, this is not a story that unfolds with much ease; nobody accepts that Emmi and Ali, after knowing each other for only so long (and, indeed, based on a moment when Emmi has to come up with a quip to keep the landlord away), are married, not least of which her immediate family (this scene is classic Fassbinder, a sense of rage simmering under calm that just erupts without any theatrics with the camera), co-workers, a grocery story clerk, and, for a moment or two, not even Ali himself.It's such a sad little story that a couple of times I wondered "no, this can't be, Fassbinder can't really be going here", and the style, despite being reliant on the director's proclivity for doing scenes in one take per shot and on a two-week schedule, may inform that some of the acting is not the most professional caliber.
We can't be sure of anything with Ali and Emmi, how long people may come around to actually be alright with their marriage let alone see them (i.e. Fassbinder's own lazy louse character married to Emmi's daughter), or if the hypocrites who wouldn't talk to Emmi soon after feel up her husband's muscles, or if they can even stay in their little home or quarter without something else coming their way or if something may tear each other apart (we already get a good taste of that prior to this scene).
With that said, Ali: Fear Eats the Soul is a definitively powerful film that succeeds on many layers and rarely falling short.This particular Fassbinder entry is the story of a young Morroccan man by the name of Ali (El Hedi ben Salem) whom falls for a 60 year old German woman, Emmi (Brigitte Mira).
Fassbinder wants us to be aware of this.There is a dichotomy to the film, as one can also view it as subjectively as one would and see something just as organic and sad, the vicious cruelty of society en masse, archaic followers with their ears perpetually to the ground for information about others to absorb and spread through their networks of superficial acquaintances, never looking within themselves, never able to accept those who can, those who are different, and virtually incapable of accepting those who are one of them who is in fact willing to accept those who are different.This West German romantic drama has a rather inconsistent cast, providing good performances, namely from Bridgitte Mira, and not-so-good performances, but its technical work is remarkable.
Fassbinder's "Fear eats the soul" talks of the some of the most important elements of human existence:love,respect,companionship and of course indifference too.It is a highly poignant tale of two highly uncommon people coming from culturally diverse backgrounds who fall in love with each other.It is at a later stage that this love culminates in their marriage but not without immense pressure, displeasure,anger and disbelief.This theme is so out of the ordinary that it is really a matter of disbelief that this film was made in West Germany in 1974 at a time when the German nation was inundated with numerous guest workers from Turkey.Fassbinder has also highlighted the plight of Arab people in this film who feel culturally alienated in West Germany due to their ignorance of German customs and traditions.Brigitte Mira,a veteran actress who has been part of Fassbinder family plays the role of Emmi.El Hadi Ben Salem,Fassbinder's lover and partner plays the role of Ali.Ali fear eats the soul is not a melodrama but a plea for cultural diversity which is ever so important in our radically changing world..
Angst Essen Seele Auf/Ali:Fear Eats the Soul(1974) is a emotional draining and powerful motion picture about the love between two people from different cultures.
The character of Ali (played by El Hedi ben Salem) was practically a zombie through much of the film and showed almost no emotional range.
The "love triangle" that Fassbinder posits seems to include the woman, Emmy, her lover/husband Ali, and the rest of German Society.
Fassbinder, Race and Age. Emmi (Brigitte Mira), a woman truly in the second half of life, falls in love with Ali, a Berber guest worker more than ten years younger.
When the folks calm down a bit, Emmi and Ali get deeply unsure about their relationship.This was Fassbinder's take on "All That Heaven Allows", but also seems to have been a take on "Guess Who's Coming to Dinner", because he throws both age and race into the mix.
Not this film, at least for this viewer.The camera lingers around Ali, in these days the real life lover of Fassbinder.
Rainer Werner Fassbinder may have been post-war Germany's greatest director, and "Fear Eats the Soul" is one of the many movies that shows it.
Emmi Kurowski (Brigitte Mira) is a middle-aged woman who falls for young Arab immigrant Ali (El Hedi ben Salem), to the dismay of her friends and relatives.
Werner Fassbinder's 'Ali: Fear Eats the Soul' is loosely based on American director Douglas Sirk's 1955 soap opera, 'All That Heaven Allows'.
His tale focuses on Emmi, a 60ish West German cleaning woman who one day strays into a bar populated by Moroccan immigrants and ends up dancing with Ali, a dark-skinned Moroccan who works at an auto body shop.
Fassbinder's strategy is to expose a deeply prejudiced German society who react poorly to Emmi and Ali, after they end up as a couple.For awhile, Emmi is the true hero of the piece, as she endures all kinds of rejection from friends and family, who can't stomach the idea of a good German woman shacking up with (in their eyes) a 'lowly' Arab.
Emmi shows further signs of corruption, when she treats Ali as an object, showing off his muscles to her new found fawning friends and attributing his mood swings to a "foreigner mentality".While the bulk of German society is taken to task, Fassbinder refuses to even things up on the other side.
Fear Eats The Soul is one of the defining films of the New German Cinema movement of the late 60's and early 70's, and is perhaps the first true masterpiece by the maverick filmmaker, Rainer Werner Fassbinder.
Like the majority of the director's work, Fear Eats The Soul focuses on a relationship between two characters from different backgrounds, in this case, an elderly German woman and a Moroccan immigrant.Like his later film, Fox and his Friends, Fear Eats The Soul uses the central relationship to comment on contemporary German society and their treatment of the outsider.
In 'Fear', however, the villains of the piece are the same working class characters that seemed so simple and idealised in the film yet to come; the close-friends, neighbours and co-workers who should be celebrating the relationship, instead...
The first scene, in which Ali and Emmi meet, is a master class in forced perspectives; as Fassbinder uses the camera and positioning of the actors to isolate our two protagonists from the other customers in the bar.
The use of colour, although subtle when compared to later films like Lola and Querelle, is quietly overwhelming, particularly in the way Fassbinder moves from drab, white interiors (Emmi's bourgeois existence) to the vibrancy of the outdoors or the textural shades of the local bar (Ali's more sinful domain).The political points and the insights into modern German society are intelligent and add a certain depth to what could have easily become just another routine melodrama, with Fassbinder really managing to cut through the black and white aspects (pun intended) of human nature, by contrasting loving and nurturing behaviour with actions and dialog that would suggest something else.
The role of Ali was written specifically for Fassbinder's one-time lover, El Hedi Ben Salem, who, although limited as a performer, does manage to present the various emotional shades of the character well, and creates a real human being, regardless of limitation.
Although fairly bleak, like a lot of his films, Fear Eats The Soul urges us to find hope in even the most hopeless of situations, and remains one of Fassbinder's most touching and beautiful works.
Emmi is simply a genuinely good person who is lonely and falls in love with a man who comes from Morocco who is also a genuinely good person who is lonely.Brigitte Mira is beautiful, endlessly fascinating in this film..
Watching 'Ali: Fear Eats the Soul,' that statement strikes me as being very interesting and very thought provoking.There are many great moments, but one which stands out for me is when Emmi and Ali sit alone at a table at an outdoors restaurant.
Emmi, long on the verge of a breakdown, begins to cry, curse them, yell at them; Ali comforts her quietly and takes her hands in his own.'Ali: Fear Eats the Soul' is the story of a 60 year old German woman who falls in love and marries a 40 year old Moroccan.
It's easy to see what inspired Rainer Werner Fassbinder to make this film about a relationship that is looked down upon in society.
From director Rainer Werner Fassbinder, this German film featured in the 1001 Movies You Must See Before You Die book, I read about this and it sounded very interesting, especially being inspired by All That Heaven Allows, so I watched.
Basically lonely sixty year old cleaning woman Emmi Kurowski (Brigitte Mira) meets black mid thirties guest worker man El Hedi Ben Salem M'Barek Mohammed Mustapha, or Ali (El Hedi Ben Salem) in her local bar, and they have a dance together.
As time goes by and people may or may not be getting used to the idea of the two of them being together, Emmi and Ali are growing unsure of each other, whether they do indeed love each other enough to stay together.
"Angst essen Seele auf" or "Fear Eats the Soul" is a German movie from over 40 years ago written and directed by one of the most controversial filmmakers of the 1970s, Rainer Werner Fassbinder.
Doubtlessly this film is one of Fassbinder's greatest masterpieces, a spontaneous love story between Emmi (Mira), a 60-something German cleaning lady and Ali (Salem), a much younger Moroccan immigrant, and how they cope with the profuse prejudice from the people around them in light of color, ethnicity and age.
Set in Germany, director Rainer Werner Fassbinder's "Fear Eats the Soul" charts the relationship between Emmi (Brigitte Mira), a middle-aged widow, and Ali (El Hedi ben Salem), a Moroccan immigrant.
The immigrant is the new customer, the new worker, and so out of matters of practicality, profit and self-interest must be accepted."Fear Eats the Soul" ends with Ali in hospital and Emmi at her side. |
tt0050111 | Ali Baba Bunny | In the middle of the Arabian Desert, a rich Sultan has stored all his treasure in a cave and is leaving his guard Hassan to watch the cave. As the Sultan leaves, the trail of a burrowing rabbit crosses the desert towards the cave. Hassan spots the burrow tunneling under the entrance of the cave and attempts to chase out the intruders, but has trouble remembering the command to open the door ("Open Sesame").
Inside the cave, Bugs Bunny and his traveling companion Daffy Duck emerge from the burrow, believing they have arrived at Pismo Beach. Daffy's complaints about travelling underground ("What a way for a duck to travel; underground!") and that they're at the wrong place are silenced when he spots the riches. Determined to keep it all for himself, he stomps repeatedly on Bugs to force him back into the burrow.
Meanwhile, Hassan finally says the correct command to open the door and marches in. He is met by Daffy, who is wheeling a cart full of loot. Mistaking Hassan for a "redcap" (porter), Daffy asks him to call a cab. In response, Hassan brings his sword down on Daffy's head, splitting in half both the diamond-adorned hat he is wearing and a single feather underneath. Daffy chuckles nervously before he flees in terror and uses a large gem to try bribing Bugs into saving him, but Bugs is only concerned with dusting himself off from the earlier abuse from Daffy.
Hassan rushes towards them both, sword raised. Daffy hides and tells Hassan to chop the rabbit, but Bugs has disguised himself to be a genie in a bottle and fools Hassan with a rich offer for releasing him. Hassan does, taking no notice of Daffy's attempt to expose Bugs. Bugs tells Hassan the treasure is his to claim. Daffy sardonically mocks Bugs for allowing Hassan access to the treasure he wanted for himself.
Outside the cave, Bugs surveys the desert and concludes he is in the wrong place. Suddenly, Daffy runs out of the cave carrying a large gem. Hassan is in hot pursuit, enraged over the duck's efforts to lay claim to the treasure. Daffy begs Bugs to save him, and Bugs reluctantly complies while berating Daffy for his greed. He sets up an Indian rope trick behind a rock, and misleads Hassan up the rope. As Hassan disappears into the clouds, Bugs pulls the rope down. With the coast clear, Daffy runs back into the cave to enjoy the treasure.
Some time later, Daffy has emptied the cave of treasure into an enormous cart. Looking back, he spots an old oil lamp and rubs the dust off it. A genie comes out of the lamp, but Daffy thinks he is after the treasure and proceeds to stomp him back into the lamp. The genie reemerges from the lamp in a fury, declaring Daffy will suffer the 'consequences' for his disrespect, and Bugs, unable (and unwilling) to save Daffy, hurriedly escapes via burrow. Daffy, however, dismisses his punishment, just as the genie zaps him with bolts of magic.
Much later, Bugs has finally made it to Pismo Beach and, while tucking into the area's famous clams, casually wonders how Daffy's encounter with the genie worked out. Opening one clam and discovering a pearl inside, he soon finds out; Daffy, shrunk to a few inches in height, emerges from Bugs' burrow trail in the sand and claims the pearl for his own. Bugs closes the clam on the greedy duck by saying "Oh, brother. Close sesame!" | psychedelic | train | wikipedia | A Great Cartoon You Can Enjoy Many, Many Times.
This is a great cartoon for several reasons: 1 - Bugs Bunny and Daffy Duck are both in it; 2 - it's filled with classic lines (many by Daffy); 3 - the humor is both subtle and slapstick; and 4 - it looks fantastic with a restored version.
(See it on the Looney Tunes Golden Collection Volume 5).This story includes a bunch of treasure, a big guard named "Hassan" guarding the loot, and a genie.
As with some other cartoons that featured both Bugs and Daffy, our rabbit friend doesn't do much, just lets the duck make a fool of himself.This is very entertaining start to finish - tons of good gags - and one of those cartoons that always will be funny no matter how many times you see it..
I think I've seen every Looney Tunes cartoon in my short life span.
I always preferred WB to Disney, Bugs to Mickey, etc.
The best ones are, obviously, the Chuck Jones shorts.
But which of those are the best?I think the answer must be "Ali Baba Bunny".
It has the famous Bugs and Daffy rivalry, it has a different setting, it has a hilarious new character (Hassan), it's just cartoon perfection.
Also has some of the best damn lines in any Looney Tunes cartoon."Open sasparilla?
Open Saskatchewan?""I'm rich!
I'm comfortably well off!""DUCK.
YOU HAVE DESECRATED MY LAMP."Classic.
Absolutely classic.
No cartoons will ever match the genius of the Looney Tunes Chuck Jones ones.The animation is also top notch.
I hate seeing a Looney Tunes cartoon with bad animation, but Jones never disappoints.
The little things in the animation just make it perfect, like when Daffy first spots the treasure, and his bottom bill shifts side to side in greediness, or when Bugs is surprised by Daffy shouting for help, his toes scrunch up...Long live Bugs Bunny..
OK, I'll admit that I'm a big fan of animated shows, having grown up with them, they were part of my life for as far back as I can remember.My tastes have changed a little since that time, and I have added a sizable mental library of shows that I've seen, but overall I enjoy the animated shows quite a bit.Taking that into account, I can say that I was lucky enough to grow up with the Bugs Bunny line of cartoons, the Looney Toons cartoons if you will.
While I believe that some of them are better than others, I would give all of them a higher rating than most other animated shows in existence, each having something to offer in the way of humor, animation skill, or just plain silliness.This specific one, with Bugs and Daffy, is one of my all time favorites, one that I've quoted (much to the chagrin of my family) often, especially the Daffy lines regarding how greedy he is when encountering the vast amount of wealth in the cave.This one isn't played often enough on television, so if you have an opportunity to see it on TV, or in some sort of DVD set, do so and I believe that from the beginning, you will laugh..
we must praise Allah (or whomever) for Chuck Jones' talent.
One fine day, the Sultan of Baghdad closes Sesame, and reminds guard Hassan: "Guard well this treasure, or may the jackal grow fat on thy carcass." Hassan affirms: "No one shall pass Hassan." However, neither man counted on two people, er, animals: Bugs Bunny and Daffy Duck.
It just so happens that they accidentally burrow right into the cave.
When they see where they've landed, Bugs tries to figure out where they took a wrong turn, while Daffy spots the treasure.
His greedy side takes over, and after forcing Bugs back into the hole, Daffy proceeds to play in the treasure.Meanwhile, Hassan has finally remembered the password.
He goes after Daffy, while Bugs disguises himself as a genie and grants Hassan a wish.
After they finally manage to get rid of that guard, Daffy accidentally finds the real genie, and...well, let's just say that they don't become friends.
Bugs flees, of course.Once again, Chuck Jones and company hit the comedy jackpot.
This is what classic cartoons are all about.
In my opinion, the Looney Tunes were always better than Disney..
Classic Looney Tunes cartoon.
I have made no secret of loving Looney Tunes, and I think Ali Baba Bunny is one of my favourites.
It is hilarious and exciting, with a story that is simply great and the presence of two brilliant characters Bugs Bunny and Daffy Duck.
The animation is gorgeous here, the whole cartoon is made up of superb colours and excellent character animation, and the music is delightful.
What I love most is the humour, the dialogue is hilarious and has some surprisingly subtle moments too, Daffy here gets the best lines, and the sight gags are equally impressive.
The supporting characters are fine, Hassan is a worthy adversary and the genie has his moments as well.
Bugs is good here, but I think it is Daffy who steals the cartoon with his greedy manic attitude and witty remarks and this is all thanks to the one and only Mel Blanc who is simply genius once again.
Overall, this Looney Tunes cartoon is a classic in my opinion.
10/10 Bethany Cox. Daffy Duck's best?.
Whether this is the best Daffy Duck cartoon or not, it's obvious to anyone seeing it that certainly is among the best featuring this character.
In fact, Daffy is much like he was in the short RABBIT SEASONING--looking only out for himself and treating his friend(?) Bugs like dirt.
The main difference in this one is that Bugs is a nicer Bugs--in RABBIT SEASONING he was pretty devious as well.The film begins with the audience assuming it's a Bugs Bunny film.
That's because you see the typical trail of dirt as Bugs tunnels across the screen.
However, in a twist, as he emerges, so does Daffy!
It seem that they're headed for a vacation together and took a wrong turn--ending up in ancient Baghdad (or the like).
Soon, they have to contend with genies, greedy sheiks and Hassan who's only ambition it to chop them to pieces!
But, as Bugs is concerned with self-preservation, Daffy's greed has been ignited.
It seems that Hassan is guarding a fortune in gold and jewels and NOTHING is going to stop Daffy from his one true love...money!
The cartoon is brilliantly written, very engaging and fun from start to finish.
While it was an audience favorite, back in 1958, this was exactly the sort of picture that didn't stand a chance Oscar time and wasn't even nominated.
Time has shown that ALI BABA BUNNY and not BIRDS ANONYMOUS (the winner) was the better and more timeless film..
Wonderful Cartoon - Pismo Beach in California.
An absolutely wonderful cartoon.
But I'm biased - saw it first at the Cartoon Cinema in Sheffield England in 1958 or thereabouts aged 7 with grandmother.
To me it's one of the finest and funniest Bugs Bunny cartoons.Granted it might attract disparaging comment for the stereotypical Arabs - but it is of its time and that time was 1957.
So far as I know it never has attracted criticism from the Arab world.It is delightful for the interplay between the greedy (capitalist?) duck and his pretensions ("I'm comfortably well off...") and the world wise but decent Bugs Bunny - who rescues the duck from his folly only for Daffy to blow it at the end - with yet more greed.A fable for our times yet again?Oh, and Pismo Beach is in California, not Florida.Duncan Stewart..
Hilarious Bugs & Daffy short from the great Chuck Jones and Michael Maltese.
This one reminds me of the Hope & Crosby buddy comedy Road films as Bugs & Daffy travel to the Middle East (looking for Pismo Beach, of all places).
There they find a Sultan's treasure but standing in the way of them taking the loot is the Sultan's guard Hassan ("Hassan chop!").
This is such a wonderful cartoon.
It's funny from start to finish with beautiful animation (love the colors) and lots of memorable lines.
The music is nice and Mel Blanc's voice work is, as you might expect, flawless.
It's probably my favorite Bugs & Daffy cartoon where they are friends (or at least not enemies).
More of a showcase for Daffy than Bugs, though..
Another Story of Greed and a Crazy Duck.
This is a kind of variation on an Arabian Nights story.
It's the old "Open Sesame" thing where an immerse treasure is kept in a cave.
Daffy and Bugs are on their way to Pismo Beach, CA, to enjoy the beach, but a wrong turn in Albuquerque gets them lost.
They end up in an Arabian desert.
Because they have tunneled underground, they pop up in the treasure cave.
Of course, when Daffy sees the jewels and gold, he drives Bugs into the ground and begins to take possession of all the loot.
Unfortunately for him, Ali Baba or some other guy is around and he isn't happy to see someone running off with his treasure.
Just like always, Daffy goes bananas, and Bugs is the unflappable one.
Fun, familiar effort by Chuck Jones..
Not great but an enjoyable pairing.
Bugs Bunny and Daffy Duck are burrowing their way to a beach in South Florida they take a wrong turning and end up in a cave containing diamonds and riches.
Daffy immediately reacts and greedily tries to claim all the treasure for himself.
However as he carries it out of the cave he meets Hassan, the guard, who threatens to chop him in half.
Daffy runs back to Bugs for help.Any short film staring Bugs Bunny and Daffy Duck is going to have potential no matter what the setting or plot, however it is no guarantee that the cartoon will work necessarily.
This film is a case in point as I didn't feel it was very good.
The material is reasonable enough and there is enough energy to be amusing but it is never really laugh-out-loud funny.Part of the problem for me were the characters.
Bugs is OK but feels like he doesn't have enough material to really do his tricky stuff well, this is the downside of splitting the short with Daffy.
As a fan of Daffy in his crazy period, his greedy side is not as funny to me but it is that that the film relies on here.
As such this weakened the short a little for me but for fans of that side of the duck it shouldn't be too much of a problem.Overall this is an average cartoon despite the presence of two big stars.
Neither Bugs nor Daffy are really used as well as they have been in other things on their own.
However any short with these two is always going to be at least worth a look..
Surprisingly funny..
Personally I usually do not like episodes where Daffy Duck is annoyingly cruel, but I was very impressed with this one.
In "Ali Baba Bunny" are surprises, very good gags and jokes and a theme that works well.
The animation and lines from Daffy were also impressive and I did not begin to mind too much that he was, as he phrased it himself, "a greedy slob" in this episode.The episode begins with Ali Baba closing the cave to the well-known Arabian treasure.
He tells his guard, Hassan, to guard the cave well and goes off on his very small camel.
What Hassan was not expecting was a black duck called Daffy and a grey bunny called Bugs to come up from underground into the cave.
Bugs Bunny is beginning to become worried when he realises he is not where he wanted to be, but Daffy is perfectly happy to stay where he is and be "comfortably well off"...I recommend this episode to anyone who likes a good laugh, for anyone who does not mind a greedy black duck and for anyone who likes Looney Tunes in general.
As bobthemoo proves (he is a Looney Tunes fan, by the way people), not every Looney Tunes fan will enjoy this, but I say this episode is worth a try.
Enjoy "Ali Baba Bunny"!
Bugs Bunny does hip slides and head slides.
Other people here on IMDb have given good plot synopses in their comments, so I'll try to describe other things about this cartoon that may interest some people, such as which DVD you can find it on (if you care).The copy of this cartoon that I saw was on the DVD set titled "Looney Tunes Movie Collection".
It contains "two feature-length movies", both of which are collections of classic Looney Tunes cartoons loosely woven together with a minimal plot.
The first DVD in the set, which contains the Ali Baba Bunny cartoon, is "The Bugs Bunny / Road Runner Movie".
Ali Baba Bunny is the 8th scene.The length of Ali Baba Bunny as it appears in "The Bugs Bunny / Road Runner Movie" is 6 minutes 14 seconds.
For people like me who enjoy spotting glimpses of belly dancing in movies and cartoons, Bugs does a couple of head slides and hip slides about 3 minutes and 44 seconds into it, when he is pretending to be a genie.
It's only about 4 seconds long, but it's there.The other disk in the same 2-DVD package contains a much-shortened version of the same cartoon, under the name Hassan Chop.
It is chopped, indeed.
This falls within a movie called "Bugs Bunny's Third Movie: 1001 Rabbit Tales" as the 6th scene.
It is 1 minute 57 seconds in length.
It tells basically the same story, but leaves out a lot along the way to achieve the shorter length.
It doesn't have the genie scene with the hip slides.I prefer the Ali Baba Bunny version.
Too many funny moments needed to be removed to create the shorter Hassan Chop version..
Consequences, schmonsequences, as long as I'm rich.....
Contains the famous line, "Ahhh, no ya don't!
You want my treasure!
"I'm comfortably well off!".
Written by Michael Maltese and directed by Chuck Jones, "Ali Baba Bunny" is a brilliant Bugs Bunny/Daffy Duck cartoon that just might be the epitome of Daffy's greediness.
(If you haven't yet seen this cartoon, don't read any further.) While travelling underground with Bugs, Daffy suddenly spots a gigantic cache of riches, and rather than deciding to share it with Bugs, Daffy wants it all!
When a fat, stupid guard named Hassan chases after Daffy, Daffy suddenly decides to call a truce with Bugs and hides under his turban, but once Hassan is gone, Daffy breaks the truce and grabs all the gold.
What a greedy twit!There are two scenes in "Ali Baba Bunny" that I find especially hilarious.
First, when Daffy initially spots all the jewels, he loudly declares it's all his by stomping on Bugs and burying him underground, then joyfully jumping into the gold coins to the musical accompaniment of "We're in the Money".
And second, while disguised as a genie, Bugs does some wacky physical contortions as he recites his "iggity ackity ook ah ah" chant."Ali Baba Bunny" is such a great cartoon featuring wonderful facial expressions on the various characters, as well as some fine acting by that "Man of a Thousand Voices" Mel Blanc.
Daffy Duck has always proved to be insanely jealous of Bugs Bunny, which only serves to make life worse for the hapless duck.
As I mentioned earlier, "Ali Baba Bunny" is probably the purest example of Daffy not being willing to share ANYTHING (e.g., applause, safety, wealth) with Bugs..
"I'm a greedy slob .
it's my hobby," Daffy Duck explains to Bugs Bunny, in asking the self-proclaimed "Me Genie.
Light brown hare" to save him from a rich guy's security force for about the 11th time during Warner Bros.' seven-minute animated short, ALI BABA BUNNY.
Some Warnologists probably will view Daffy as the always prophetic Warner Folks' effort to Warn us Americans-of-the-Far-Future about the Advent of The Trumpster.
However, I feel that this slant may be a little unfair to the duck, who I do not remember being involved in a series of Charlie Sheen-like marriage scandals.
(In other words, the American Voter would have little reason NOT to trust Daffy to pick out the USA's next First Lady, but I'm getting a sense that our American Electorate would be extremely hesitant to afford the same privilege to either Charlie or Donald.) Speaking of the latter, Disney Corp.
has clearly copyrighted his moniker as a Duck's name.
finagles his way into the White House--Foreign Wives and All--I'm thinking that the top U.S. litigating company might sue America's Number One litigating citizen for first dibs on "The Donald" first name..
Genies, treasures and a greedy duck.
This 7-minute short film from almost 60 years ago has a touch of Aladdin 8or Ali Baba as the title suggests) to it.
Mel Blanc does all the voices in here and the director/writer duo are Jones and Maltese as always.
Basically Bugs and Daffy come out of their tunnel and appear in the treasure of a wealthy sultan.
Daffy wants to make it his own right away, but there is a strong guard watching it.
And after he (well, it was really Bugs) finally managed to get rid off him, a genie shows up and puts Daffy in his place.
Bugs plays a genie as well in an earlier scene.
at least Daffy realizes he is a greedy slob.
However, I was fairly underwhelmed by this cartoon.
I am surprised it is so popular, maybe because it has a set of antagonists other than the usual Elmer and company.
But I found it fairly uninteresting, pretty much never funny and also Bugs really adds nothing to this short movie, probably as Daffy has other characters to go against. |
tt0300471 | Shanghai Knights | The film opens in the Forbidden City in 1887, where Chon Lin (Fann Wong) is drinking tea with her father, the Keeper of the Imperial Seal of China. She tells him her brother, Chon Wang (Jackie Chan), is doing well as a sheriff in Carson City, Nevada, United States, but her father replies that her brother is dead to him. At that moment, Lord Nelson Rathbone (Aidan Gillen), leads a band of Boxers into the city, who attack the Keeper. Rathbone stabs him and leaves with the seal. As he lies dying, he gives Lin a puzzle box and a letter to Chon Wang.
Back in the Wild West, Chon Wang is doing well as sheriff, having captured an impressive array of fugitives. His deputy is relaxing with a book called "Roy O'Bannon Vs. The Mummy", a highly fictionalized account of the events of the first film that now portrays Wang's "Shanghai Kid" as a cowardly sidekick.
Wang receives a parcel, which contains the puzzle box and Lin's letter, telling him their father is dead and that she has tracked the murderer to London.
Chon Wang travels to New York City to find his old partner Roy O'Bannon (Owen Wilson), needing his share of the gold left over from the first film to buy his ticket. Roy has left his brief stint in law enforcement, broken off his romance with Falling Leaves, spent most of the gold investing in the Zeppelin, and is now a hotel waiter and part-time gigolo. After they attempt prostitution to pay for a trip to England, the Mayor of New York arrives in search of his daughters, Roy's latest clients. Chon Wang fights off a number of New York police officers, and he and Roy ship themselves to London in a crate. On the way, Wang tells Roy about his father, and Roy swears an oath to help reclaim the seal.
During a meeting with the British Parliament, Rathbone gives word of trouble going on in China and even presents a gift to the Queen from the Emperor as a Bengal Tiger. The Parliament find this action appalling and insulting.
In London, Wang and O'Bannon have their duster and watch stolen, respectively, by a number of street thugs including a young boy named Charlie (Aaron Johnson). After an extensive battle to reclaim these items, they are arrested by the police. In Scotland Yard, Inspector Artie Doyle (Thomas Fisher) thanks the two for defeating the Fleet Street gang and gives Roy his watch that Charlie had stolen. He tells Wang that Lin is also in Scotland Yard, having attempted to kill Lord Rathbone and been dubbed "Looney Lin". Doyle is a reader of the Roy O'Bannon novels, and is enthralled to meet the actual Roy O'Bannon. Roy tries to use this to get Lin released, but it does not work. Meanwhile, Rathbone finds himself not alone in his carriage as Wu Chow (Donnie Yen) sneaks his way on and the two exchange a quick conversation and Rathbone slips him the dagger that killed the Keeper of the Imperial Seal. Sometime later, Roy and Wang wander through London, seeing Buckingham Palace. They encounter Charlie, who lets them into the empty house of a nobleman. Charlie brings it to their attention that the nobleman has an invitation to a gala at the castle.
Roy and Wang don disguises: Roy masquerades as Major General "Sherlock Holmes" (a name he derives from the face of a clock), and Wang is the "Maharaja of Nevada". After turning down the offer to try some spotted dick, Wang and Roy follow Lord Rathbone to a private library. Once they enter, they cannot find him; he has slipped through a secret passage, which Wang discovers in a fireplace. As Roy occupies himself with a copy of the Kama Sutra, Wang enters the secret room, which contains treasures from throughout the British Empire. Rathbone's guards attack Roy, but he is rescued by Lin, who has escaped from Scotland Yard. The three see Rathbone hand the Imperial Seal to Wu Chow, the bastard little brother of the Emperor of China. Rathbone sees them and sets fire to the building, but young Charlie shows up and makes off with the Seal, Lin escapes through the roof, and Wang and Roy commandeer Rathbone's primitive automobile (one, though, which didn't actually exist in 1887, one of the many anachronisms in the movie) for a wild ride, culminating in them crashing into Stonehenge.
While unconscious after the car crash, Roy has a sexual fantasy involving Lin and the Kama Sutra, and he decides to start pursuing her, much to Wang's dismay. Lin finds them and gives them a ride to Whitechapel, where they stay in a rundown inn. Wang tells Lin about Roy's vices and problems, which Roy overhears. Lin does not flinch, but Roy is devastated at the betrayal. Wang however quickly makes it up to him by convincing several female prostitutes to have a sexy pillow fight with Roy.
Lin, surprisingly, walks in on the fiasco and is heartbroken at the sight of Roy taking part in all the shenanigans. They all find themselves surrounded by Rathbone and a squad of boxers who apprehend the three. Taken to a covered pier, tied up and left defenseless, Wang and Roy finally encounter Wu Chow, his second-in-command Liu (Tom Wu) and his Boxers. Wu Chow ties her up to try to locate the Seal, but they do not know where Charlie has taken it. He tells them the grand scheme: Rathbone would kill the bearer of the Seal and return the item to Wu Chow, who would use the Seal to unite the enemies of China and claim the throne. In return, Wu Chow would use a Gatling gun to dispatch the Royal Family, leaving Rathbone, who is tenth in line to the throne, King.
Chon Wang and Roy escape and track down Artie Doyle, who has developed an investigative technique called deductive reasoning, which he uses to find that Charlie has been hiding at Madame Tussauds wax museum. They reclaim the Seal, but it is taken by Boxers, and the three are arrested for trespassing. Charlie (who reveals his full name to be Charlie Chaplin, another anachronism because the movie is actually set 2 years prior to Chaplin's birth) breaks them out, and they go to Queen Victoria's Jubilee Ball, where the Royal Family will be.
Sure enough, Wang finds Wu Chow and Lin as well on the fireworks barge, kills Liu, unties Lin, and dismantles Wu's plan. However, Wu proves himself to be an accomplished martial artist, surpassing Wang in skill, but Lin arrives in time to kill him with a fireworks rocket and save Wang. Artie and Roy, who have found their way into the Houses of Parliament, confront Rathbone and prevent his escape. Before Artie can arrest him, Rathbone shoots him in the shoulder. Roy and Wang pursue Rathbone up into Big Ben, where they engage him in a sword fight. Rathbone pushes Roy out of the glass front of the clock, but Roy catches himself on one of the clock's hands. Rathbone nearly defeats Wang, but Wang's rage over his dead father and fallen comrade leads him to suicidally grapple with Rathbone, sending both of them flying out the clock face. Luckily, Roy catches Wang, as Rathbone plummets to his death. Roy and Wang decide to jump by gripping hold of a large British Flag drapped over Big Ben and land in the carriage containing Queen Victoria.
Roy and Wang are knighted, as is Artie, whose full name is now Sir Arthur Conan Doyle. Artie decides to become a writer, his stories revolving around his deductive reasoning technique, and asks Roy if he can use the "Sherlock Holmes" name. Roy and Lin kiss, and Roy proposes that he and Wang go to Hollywood to get in on the ground floor with motion pictures (motion picture, though, was only invented in 1894 and Hollywood only became a center of movie-making thirty years after the movie, another anachronism). They roll off in a buggy, with Charlie stowed away. Wang also manages to open the box his father sent him, finding a message inside reminding him of the importance of family. | entertaining, revenge, murder, violence, bleak | train | imdb | null |
tt0252480 | The Grey Zone | In autumn of 1944, at Auschwitz-Birkenau III, the Fourth Sonderkommando, a small group of Jewish prisoners assigned as laborers in the camp, oversees a load of Jewish prisoners bound for the gas chambers. The kommando's job is to ready the doomed Jews for death, ordering them to undress, turn over their valuables and herding them into the gas chambers where they are killed with Zyklon-B.The kommando enjoys privileges that are unheard of among Jews during World War II: they enjoy good food, are given decent living quarters and are even allowed to keep valuable articles taken from prisoners who are gassed. They are also only allowed to work for the camp for four months before being exterminated. One of the kommando, an old man, is near death and Dr. Miklos Nyiszli, a Czech Jew, is called from the Medical Experimentation block (where he works under the supervision of Joseph Mengele) by Hoffman, to tend to the old man. He revives the man but is thwarted by another prisoner, Rosenthal, who suffocates the old man with his pillow. The man's body is taken away to the crematoria where it will be incinerated.Nyiszli himself meets with Mengele and informs the notorious SS doctor that the experiments he's been ordered to perform on Jewish prisoners are too much for him to complete alone. Mengele says he'll provide Nyiszli with more staff. Mengele also grants Nyiszli permission, for his exemplary work, to visit his wife and daughter at the women's block of the camp.Speculation exists among the kommando that they will be liquidated by the camp command within a week. The kommando has been secretly receiving supplies for an uprising: local Poles from the countryside have been smuggling the prisoners gunpowder, grenades, ammunition and rifles for several months. The plan is to detonate a large bomb in Crematoria 4, rendering it unusable. The women of the camp, who have been working at the UNIO munitions factory have also been smuggling the men supplies for combat. Two in particular, Dina and Rosa, are discovered, separated and cruelly tortured for information about their plans. Rosa is killed by the SS of the camp and her body is left in Dina's room while she awaits further interrogation.While pulling the bodies of an exterminated group of Jews apart in the gas chamber, Hoffman finds a young girl who survived the gassing. He takes her out and manages to get her body sent past the crematorium by claiming she's a twin & would be a suitable experimental subject for Dr. Mengele. Dr. Nyiszli is called in to revive the girl fully. Due to shock, she is unable to speak. The kommando plans to help her escape the camp or to have her moved to the woman's camp where she may survive.Dina's entire barracks is taken out to a courtyard where they are summarily executed one at a time while she watches. She refuses to reveal the plans of the uprising and throws herself into an electrified fence where she dies.One of the German commandants, SS-Oberscharfuhrer Muhsfeldt, has been ordered by his superiors to investigate if the women's smuggling has infiltrated the men's camp. Muhsfeldt discovers the kommando hiding the girl in their washroom and, using her as leverage, interrogates the prisoners about the stolen and secreted arms. Dr. Nyiszli orders the rest of the kommando out of the room and privately tells Muhsfeldt about the uprising, though he cannot tell him the precise date and time. Muhsfeldt muses on how easily the Jews of Europe were defeated by the Nazis and how easily they were used for forced labor. He also talks of their plans to exterminate the rest of the kommando by the end of the month.The uprising begins the afternoon of October 7th. The bomb is exploded in Crematoria 4, destroying it beyond repair. The kommando holds out for several hours but are eventually overrun and captured. The ringleaders are rounded up and made to sit outside the ruined crematoria while the fires are extinguished. All of them are eventually made to lie face down on the grass while they are shot in the head one at a time. Hoffman and his fellow kommando, Rosenthal, talk about how they both grew up in the same town and would've been neighbors if they survived the war and returned home. They hold hands as the SS officer shoots them both.The girl who survived the gas chamber is allowed to witness the mass execution and is then allowed to run for a nearby gate, seemingly set free. Muhsfeldt, an expert marksman, draws his pistol and shoots her dead. A monologue by the girl plays over her cremation and she talks of being expelled as ashes into the air and river where the ashes of all the cremated prisoners are dumped by the Nazis. | dramatic, murder, flashback | train | imdb | null |
tt0062430 | Valley of the Dolls | The film opens with a voice-over narration from Anne Welles (Barbara Parkins). She reveals how she started a journey toward success by leaving her small New England town for New York City. When she gets to the city, she takes a work assignment with a talent agency, and immediately she starts to discover the harsh realities of show business. The agency sends her to a local theater to deliver contracts to renowned performer Helen Lawson (Susan Hayward). Helen's agent warns Anne not to let her guard down around Helen, and Helen's abrasiveness shocks Anne, who was expecting Helen to be true to her glamorous image. Instead, Helen is tough talking, uses vulgar language, and Anne's idle chatter with Helen sparks a terrible reaction and she sees first hand the evil and selfish woman that Helen really is. When Anne comments that a young woman singing down the hall is very good, Helen agrees, and immediately decides to have the girl fired from the show because the egotistical Helen fears being upstaged. Helen sends Anne back to the office with the contracts in shreds, threatening to leave the agency if Anne's boss doesn't get rid of the competition.The young girl that Helen sees as her rival is Neely O'Hara (Patty Duke), a talented up-and-coming singer. She is distraught when she finds out that her musical number has been cut from the show. Since all that remains for her is just a few lines of dialogue, she decides to leave the show all together. Also part of the show is a lovely showgirl named Jennifer North (Sharon Tate), who sympathizes with Neely when she's cut from the show.When Anne returns to the office to give the news about Helen (whom Anne now refers to as an "evil queen bitch"), she instead finds the agency's younger partner, Lyon Burke (Paul Burke). Burke and Anne are immediately attracted to one another, and when Anne tells Lyon that she wants to leave the agency after her frightening brush with the mean-spirited Helen, Lyon persuades her to stay. Pulling some strings for Anne's new friend, Lyon sets up Neely to appear on a popular telethon, where she is immediately noticed. Neely and her boyfriend, Mel (Martin Milner), live in a humble apartment in New York, but after her career takes off they are married. Neely's popularity skyrockets and her demanding schedule for concerts and singing gigs leads her to start taking pills. Neely first takes caffeine pills to wake her up in the morning as well as amphetamines keep her going during the day, then takes downers to help get to sleep at night.Anne and Lyon embark on a tenuous affair. Anne seems shy about spending the night with Lyon, and she brings up the idea of marriage. Lyon firmly declares himself a bachelor, however, and does not approve of the idea of marriage. When Anne's mother dies, she goes back to her home town to mourn, and Lyon joins her there later. They have a moment of reckoning; Anne makes it clear that she feels cheap for being sexually involved with Lyon knowing that he will never marry her. Lyon leaves a farewell letter for Anne the next day, telling her that he can no longer see her. Simultaneously, Anne gets a sudden opportunity to model for a cosmetics company, and she becomes a nationally known figure. Anne's face now appears on TV commercials, billboards, newspaper and magazine advertisements.Meanwhile, Jennifer begins an affair with Tony Polar (Tony Scotti), a lounge singer whose career is also mounting. Tony's sister, Miriam (Lee Grant), manages every aspect of Tony's life, and reacts to the relationship with icy disapproval. A little later, Jennifer and Tony get married secretly, and Miriam is despondent.Elsewhere, Neely's fame eventually proves to be too much for her. Her Broadway stardom leads to a career in the movies as she relocates to Hollywood, but her addiction to pills (which she refers to as 'dolls') sabotages her life. She loses Mel when he becomes weary of her vicious and unpredictable behavior, as well as her rumored affair with a Hollywood designer named Ted Casablanca (Alexander Davion). When Mel leaves Neely after filing for divorce, she becomes associated with Ted and ultimately marries him.Jennifer's married life with Tony seems happy enough, although Miriam lives with them and obviously imposes on their marriage. After moving to Los Angeles, Jennifer and Tony settle in a house while Jennifer's modeling career flourishes, Tony's career has peaked, having made the crossover into motion pictures without the same drug-induced success as Neely. One evening, Tony begins to lose control of his motor functions, and Miriam finally reveals to Jennifer why she never wanted Tony to marry: Tony suffers from a rare motor-reutron disease called Hunington's Disease, (similar to A.L.S.) that will ultimately render him senseless and eventually kill him. The disease is genetic and was passed down to Tony from his father who died from the disease several years ago. Jennifer is mortified, because she has just discovered she is pregnant.Some months later, Anne and Lyon rekindle their affair after her modeling success, with Anne leaving behind another beau to reunite with Lyon and relocate to Los Angeles (as well as keep in close touch with both Neely and Jennifer), but she still seethes inside over the knowledge that Lyon isn't interested in marrying her. Neely shows up at her house one night while Lyon is on a business trip, and she tells Anne that Jennifer called her wanting to know where she could get an abortion. Neely also offers Anne some of her pills to help her get through her lonely period with Lyon gone, but Anne bitterly refuses. Neely's conversation with Anne sparks something in her; when she confides in Anne that her marriage with Ted is on the rocks, Anne encourages her to try and renew the spark in their relationship. Neely returns home to her home in the Hollywood Hills only to find Ted frolicking in their backyard swimming pool with another woman. They have a bitter fight and Ted walks out on her.Sinking further into alcohol and pills, Neely is thrown off of the current film project she is working on due to her drunkeness and verbal fights with the crew. When Lyon attempts to get her to a sanitarium to dry out, she sneaks off to San Francisco and spends a few days wandering while drunk and stoned. After she is robbed by a strange man, she is finally picked up and taken to a clinic in L.A. by Lyon and Anne. While there, she goes through some horrible withdrawal symptoms and has some bizarre run-ins with the other residents in the sanitarium. However, she is inspired when she discovers that Jennifer's husband, Tony, is also in the same hospital, now almost completely debilitated. Neely and Tony sing a song together in the hospital recreation room before he lapses back into senselessness. This incident prompts Neely to struggle back to sobriety.Jennifer, meanwhile, is struggling with her own demons. She also begins taking pills and booze to help her cope with Tony's absence as well as an escape for her loneliness. Consistently told by her selfish and manipulative mother that she has no real talent and is only known for her beautiful body, Jennifer turns to making "art" films with a French director to make money. She feels her integrity is compromised by doing this, as she is still loyal to Tony and did most of her sexually provocative work before she was married to him. The high cost of Tony's hospital and sanitarium bills forces Jennifer to do the work, and the situation is made worse when she finds herself locked into an oppressive contract with the director which makes Jennifer slide into taking more pills and booze to suppress her emotions. She continues making softcore and hardcore "art films" while completely numb of feelings.Emerging from the sanitarium with what seems to be a fresh outlook, Neely makes a cryptic statement to Anne about "stealing her man". When Lyon takes Neely to New York to prepare for her comeback to the stage, the two of them share a hotel room, and it becomes clear to Anne that they are involved on a physical level. This is made more hurtful when Anne sees her name in the gossip column, the columnist commenting about how she is a "big loser" due to Neely and Lyon flaunting their affair all over New York. Anne finally succumbs to the lure of the "dolls", at first taking Neely's old pills and then getting a prescription of her own.In New York City, Lyon gives Neely strict orders to stay out of sight until the debut of her new Broadway show, but when he goes to a party in honor of Helen Lawson's new show, Neely makes an uninvited appearance. The photographers and reporters present give her a huge welcome, much to Helen's chagrin, and she slips off to the ladies room to avoid the ruckus. Neely, however, goes after her, and the two of them have a cat-fight in the ladies lounge. When the fight turns really ugly, Neely winds up tearing off Helen's wig, revealing her unflattering grey hair color underneath. Throwing Helen's wig in the toilet, Neely renders her unwilling to step back out into the party. Helen momentarily considers slipping out the back, until she resolves to face the party again with her hair wrapped in a colorful scarf.Back in Los Angeles, Jennifer's story comes to a sudden and sad close when she is diagnosed with breast cancer. She learns that she must have a mastectomy and checks herself into a hospital to have it done. But this is the final blow for her, as she feels that now she won't be able to support herself without her lovely body to rely on. After coming home from the hospital and following a friendly visit by Annie, Jennifer commits suicide by taking an overdose on pills. Her body is discovered the next day.Alone one day and devastated over Jennifer's death as well as the loss of Lyon to Neely, the drunk and stoned Anne wonders down the beach beside her house and after passing out in the surf, she returns to her house and smashes several furniture to pieces. She then decides to leave it all behind and a few days later, she returns to her snowy New England hometown where she is welcomed back by her aunt.In New York, Neely blows her big chance for her Broadway comeback when she gets into an argument with Lyon beforehand. She disregards him by saying "Who needs you? You're just an agent!" Lyon abandons her, no longer able to tolerate her egoistical behavior, and in response, Neely turns to a secret stash of pills. When it comes time for her stage entrance, Neely is completely disoriented and unable to perform, giving her understudy the chance to perform on opening night. Neely spends the night getting drunk in a nearby tavern, ultimately finding herself alone and disoriented in a deserted downtown alley.The next morning, Helen Lawson has a candid conversation with Lyon. She predicts that Neely will come back yet again from her latest blunder, simply because she has true talent, but that ultimately she'll destroy herself. She also warns Lyon that he should stop being so careless with his love life and settle down with Anne, before it's too late.Lyon seems to take this advice to heart and he travels upstate to Anne's snowy hometown where he proposes marriage to Anne, but it is indeed too late for them. Anne admits that she has waited so long for Lyon to propose that she now feels nothing when the offer's been made. Having emerged from her brief drug episode with a fresh outlook, Anne seems to be the only one among the three ladies who has learned from her experience. After pouring all her liquor bottles and pills down a sink, she walks off alone into the snowy landscape of her home town and ponders her next move alone and without the need for drugs or alcohol. | tragedy, cult, melodrama | train | imdb | Mark Robson directs without a trace of nuance or subtlety; Patty Duke and Susan Hayward come off as boozy drag queens; Sharon Tate and Barbara Parkins look and act as if they had taken one downer too many; Dory and Andre Previn's musical numbers are as funny as those in "The Operetta"--the "I Love Lucy" episode which parodied musical theater; Billy Travilla concocts some of the most glamorously god-awful gowns ever seen; and Kenneth (of Hairstyles by Kenneth, of course) must be personally responsible for the hole in the ozone layer, so lacquered, teased and towering are his creations.
The film adaptation of Valley of the Dolls is stupid, empty, overly melodramatic...and a lot of fun!Jacqueline Susann's 1966 novel is my all-time favorite, and her gritty, glossy pulp material was severely diluted for the big screen.
See Patty Duke's autobiography for some anecdotes about the filming.This movie pretty much destroyed Director Mark Robson's career, but it made pots and pots of money for the studio, and was still playing drive in theatres around the country years after its release.
I didn't notice any flaws in the acting (which is the principle instrument for telling a movie's story)---I personally thought that Patty Duke's performance was amazing.
As an ardent admirer of Patty Duke since 1962 and her incredible performance in THE MIRACLE WORKER, then following her likeable hi-jinks on the wholesome PATTY DUKE SHOW, where she "reflected" my adolescent years, I was one of millions of devoted fans who looked eagerly for her continued success when it was announced she'd play Neely O'Hara in the filmed version of Jackie Sussan's blockbuster, steamy novel.The Hollywood hoopla that surrounded that production - while it was still being made - was totally "over the top" in its pre-marketing and advance "Oscar buzz" ...
I can't tell you how many times, or how many people, I had to fend off in defense of my allegiance to Patty Duke and my belief in her as a actress, because of the film fiasco which has come to be known as VALLEY OF THE DULLS.
It is not quite as good as Robson's "Peyton Place," but not too far from it.I think most people now agree that the early critics were wrong about the performances, Susan Hayward is sufficiently Betty Davis-like cunning, Barbara Parkins is innocently sexy, and Sharon Tate is charming and radiant.
She mentioned that Patty Duke had emotional problems, like Neely; Sharon Tate did not live (was actually murdered) somewhat similar to Jennifer North's committing suicide; and she herself left the industry like Anne Welles did.
The casting is questionable (Patty Duke cannot sing, Parkins cannot do drama and I cannot badmouth Tate, but...), but the greatest legacy is Susan Hayward as Helen Lawson, the biggest bitch in the world.
Still, it has that gloriously goofy script to fall back on and you simply can't your eyes off it: the breathtaking brunette beauty of Barbara Parkins, the leggy and lean Sharon Tate, the raucous Patty Duke ("Hey, do ya still have that mole on ya keystah?!"), and the steely-eyed bitchery of Susan Hayward ("You heard me!
"Valley of the Dolls" is one of the best bad movies of the sixties, very entertaining in parts, and with a great score (which was nominated for an Academy Award back in 1968).I think the weak acting was a result of Mark Robson's careless direction.
It's Miss Hayward's performance, though, that steals the movie.Otherwise this movie has a ridiculous story, a more-than-questionable message, trashy-looking sets, unintentional laughs, bad dialogues and pretty much the worst photography I've ever seen in a major Hollywood movie (it makes any daily soap look like a piece of art!)..
I certainly don't have a problem calling this movie one of the best bad movies ever made.The acting ranged from flat (Barbara Parkins, Sharon Tate, Paul Burke) to disappointing (Susan Hayward & Lee Grant) to way-over the top (Patty Duke).
The only song that I thought survived this mess intact was the theme song sung by Dionne Warwick and written by Andre Previn and Dore Previn.Even though I've trashed this film that definitely deserves to be trashed, this is probably the 9th or 10th time I've seen this movie in many years.
Valley of the Dolls is ugly, garish, disgusting garbage but considering it was a major hit when it was released and people still have a good time watching this movie, I guess it serves some purpose like watching a bad auto wreck on the interstate..
Did you have a difficult time keeping up with the story line?Well, "Valley Of The Dolls" is in the same vein, but there actually is a story line...three girls looking for fame, love, etc....you know...what all girls are looking for, except that these girls have some real problems.There is our heroine, Anne Welles (Barbara Parkins), who leaves the snowfall of New England for the slush of New York.
Naturally, she ends up with a dream job upon arrival, meets Mr. Heartthrob, tangles with the nasty Helen Lawson (Susan Hayward...who took the role after Judy Garland was fired), becomes a super model overnight...all the things that happen to most girls.Then there's Jennifer North (Sharon Tate), who only has a body (and what a body it is) but she can't act (probably the only honest role in the film).
She too falls in love, except this guy is a real cheesy lounge singer ("Come Live With Me"), who happens to harbor a deep, dark secret which will drive Jennifer to do unspeakable things with dirty French director.And then there is Neely O'Hara (Patty Duke).
This is what film making is all about!Susan Hayward seems to have taken up the bitch-goddess torch from Joan Crawford in this film - drama queen to the max.A bad movie based on a trashy novel - the perfect time killer on a dull and rainy day..
C'mon, now - This sensationally sleazy piece of trash from the screwy 60s really should've been a whole lot better - 'Cause, believe me, it couldn't have possibly gotten much worse.The way I see it, the frequent, unintentional laughs that occurred throughout Valley Of The Dolls (VOTD) did absolutely nothing to compensate for all of the terrible "everything else" stuff that took place in this disappointingly dumb picture.Pathetically written, incompetently directed, with certified b-grade performances all around, VOTD is, without question, a shamelessly trashy adaptation of Jacqueline Susann's shamelessly trashy novel of the same name.In a nutshell - VOTD's decidedly drab and seemingly uneventful story revolves around the ups and downs and all-arounds of 3 ambitious young beauties breaking into show biz and their inevitable "introduction" (nudge-nudge-wink-wink) into NYC society.Remembering that this is, of course, 1967 - These 3 babes, in one way, or another, always seemed to be getting themselves mixed up with all the wrong men and ending up taking all the wrong drugs, for all the wrong reasons.
Trivia notes - The so-called "dolls" that are referred to in this film's title is a slang term used for barbiturates that are taken as sleep aids.Made on an estimated $5 million budget, VOTD (as of 1973) had earned itself $50 million, worldwide.To date, Jacqueline Susann's garbage novel of the same name has sold over 30 million copies, worldwide.Actor Richard Deyfuss made his screen debut in this film.VOTD is considered to be one of the top 100 "Most Amusingly Bad Movies Ever Made" - But, I'll tell you something....
A cautionary tale of three good girls who get into show business and promptly go to pot, it offers a vision of 1960s America at its most hip-twitching vulgar with very little in the way of plot, script, music, or indeed talent to justify any of it.Anne (Barbara Parkins) is a sweet little New England girl who arrives in New York just in time to luck into a secretarial job with a notable theatrical agent--and just in time to fall hard for studly Lyon (Paul Burke.) She barely has time to apply more eyeshadow before she is befriended by talented-but-undisciplined Neely (Patti Duke) and lovely-but-untalented Jennifer (Sharon Tate), and before you can take a deep breath everyone is rolling around in bed with everyone else.Throw in a really nasty Broadway star (Susan Hayward), a lounge singer with a degenerative disease (Toni Scotti) and his harridan sister (Lee Grant) and a couple of husbands both gay and straight and you pretty much have the story.
VALLEY OF THE DOLLS, the beyond dreadful 1967 film version of Jacqueline Susaan's trashy novel is the ultimate potboiler, a movie so hideously bad that it is funny as hell and endless laughs may be found here.
There is just so much to laugh at in this film, I don't know where to begin...Neeley singing at a telethon with a wild pair of beads on that won't stay out of her way, Anne's cover girl montage,where Parkins has on enough makeup to choke a horse and displays some of the most outrageous hairstyles and bad fashion ever seen, a drunken Neeley confronting her allegedly gay husband in the swimming pool, dressed in an unflattering slip and bra, a drunken Neeley sitting in a bar and listening to herself on a jukebox explaining to everyone in the bar who she was, Jennifer's husband Tony, losing his balance outside the benefit ("I can't feel my legs!"), Tony and Neeley singing a duet at an asylum; Helen Lawson lip-syncing (to Helen O'Connell's voice) in a too tight evening gown and trying to dodge a large mobile that thinks its alive, and of course, the classic ladies room encounter between Neeley and Helen which climaxes with Neeley pulling off Helen's wig and flushing it down the toilet.
Add to this "the addictive dolls", mental institutions, French New Wave and Jacqueline Susann herself (the author of the novel) as a nosy reporter at one character's suicide scene and you have a classic trash camp film possibly of all time.
Patty Duke somehow knew exactly what Jacqueline wanted for Neely, Barbara Parkins was the hero, was sweet, was from New England, and survived to the Valley of the Dolls.
As for as campy bad movies go, "Valley of the Dolls" is its "Citizen Kane." It's got drugs, sex, ridiculous outfits, horrendous performances, hairdos that defy gravity, dialogue that's unintentionally funny, and terrible performances.
What makes this movie is the terrible acting, the horrible period details like the hairdos and the ridiculous psychedelic montages, and Dionne Warwick's "Theme From Valley Of the Dolls" which is the world's longest song, I swear.
Someone should re-edit the film down to an hour and then it would be great camp but as it is, it's not worth siting through the dull moments just to see Patty Duke singing at a telethon with that clingy necklace or when she's over-acting shamelessly when she's high, that hair commercial or any scenes with ultra-butch scene-stealing Susan Hayward, including the one where she sings "I'll Plant My Own Tree", which has to be seen to be believed.
Yes, the movie is really awful if you objectively analyze it - bad writing (from an equally trashy, compulsively readable novel), bad directing (from veteran Mark Robson, who has done very good work over the years) and bad acting (ranges from wooden to outrageous overacting - Sharon Tate looks beautiful but does very little else, Patty Duke really chews the scenery in her first "adult" role, and Susan Hayward - for shame!) In fairness, the New England scenery is beautiful and the music is OK, (but really didn't care for the theme song) But for all its badness I guarantee you will stick with it to the end.
None of those things makes the slightest appearance in this film and thats why I think it is representational of someones wishes about what was 1967-or 1966 for that matter since Valley of the Dolls was first published in 1966.It was an important book because it was-I am told-the first time a woman had even published a large novel (442 pages long) in the USA.
It's like the makers of this film were on a totally different planet - the planet of Fuddie-duddie!I did watch it all the way though (albeit noodling on the guitar the whole time) and I have to agree with nearly everyone about one thing: Sharon Tate is very sweet.Thanks for reading!
"Gotta get off, gonna get...Have to get off from this ride." She was right, but if you stick with the ride you will laugh and cry....but the tears will be from the realization that what you are watching is the evaporation and demise of the careers of Barbara Parkins, Patty Duke and Susan Hayward.
Patty Duke, Barbara Parkins, and the late tragic Sharon Tate are the trio of young stars and they each try very hard to make this work.
I don't know if it's me or if it's the rest of the world who has poor taste but that movie is a must-see and a must-have!OK,it is completely different from the book (which takes place in the 30's and 40's)and very messy in terms of characters and stories...OK!But what a cast:classy and hotty Barbara Parkins,energetic Patty Duke,legendary Susan Hayward and last but not least,beautiful and radiant Sharon Tate!Although the screenplay was quite unbalanced,each actress managed to deliver a remarkable performance.The musical score by André Previn is both delicate and dramatic without being too "girly".The theme song performed by Dionne Worwick is a masterpiece!Finally,I believe that Valley of the Dolls symbolizes the Swinging Sixties at its pick and ironically,it predicts its brutal downfall with two scenes:Sharon Tate's character suicide scene(which makes me cry every time)and Patty Duke's character,now a junkie,begging for some pills...The Sixties ended with Sharon Tate's murder and Joplin/Hendrix/Morrison's drug related deaths...The party was definitely over!.
Valley Of The Dolls is the perfect camp film ,just the so called musical numbers alone make it campy , especially Susan Hayward's unforgettable (for all the wrong reasons) performance of 'Ill Plant My Own Tree', 'It's my yard ,so I will try hard to welcome friends I have yet to know!', whoever wrote that song must be using some dolls themselves,and whoever designed the set for that scene has no taste at all And this film is a perfect example of how a book is different from the movie ,in the novel Anne did not walk out of her own house when Lyon showed up ,in the book they were married and had a daughter named Jennifer, at the end of the novel Anne slipped further into pill addiction , Anne and Helen Lawson were friends also ,Helen did not fire Neely from her show, in fact she gave her a break, and Jennifer was not a dumb blonde, she did not do nudie films to pay for Tony's medical costs she did the movies over in Paris because she wanted to.
If that is indeed true, she had good reason to do so.Over the years, this film has "risen" from simply a bad adaptation of a bestselling novel to a cult camp classic at one extreme or a small guilty pleasure on the other extreme.Much has been said in previous reviews about the many elements of this movie that are simply bad or wrong or both.
(Lyon Burke's office is another mind boggler, stuffed from floor to ceiling with walls of legal references--not something one would think an entertainment lawyer would have much use for.) The script itself is lame as it doesn't even bother to develop how Neely (Duke), Jennifer (the lovely, late Sharon Tate) and Anne (the mannequin known as Barbara Parkins) ever became friends or even acquaintances in the first place!
If you want camp, see the non-sequel "Beyond the Valley of the Dolls" (1970), which is a satire scripted by none other than Roger Ebert.In an interview Patty Duke said that director Mark Robson treated the female actors like unintelligent bimbos, particularly Sharon Tate.
Based on the lurid best-selling novel by Jacqueline Susann, the film chronicles the rise and fall of three young women: Welles, played by Barbara Parkins; Neely O'Hara, played by Patty Duke; and Jennifer North, played by Sharon Tate.
Patty Duke says she and her friends occasionally order a pizza and have a "Valley of the Dolls night" and watch the movie and make fun of it.
But in all fairness there are a few touching moments in her book, and unbelievably even in the film itself.Despite it all, Valley of the Dolls is an entertaining movie.
Valley of the Dolls A lot less people would be inclined to take antidepressants if they only came in the form of suppositories.Since they don't, the girlfriends in this drama pop'em by the handful.At different points in their careers, fashion model Anne (Barbara Parkins), movie star Neely (Patty Duke), and girl next door Jennifer (Sharon Tate) each become addicted to polychromatic prescription pills colloquially referred to as "dolls".Anne takes her dolls to cope with her cheating husband (Paul Burke); Neely needs them for her ego and; Jennifer pops them for depression.But the highs don't last and soon all three women must face an array of consequences, from breast cancer to suicidal to psychotic breakdown.Based on the best seller by Jacqueline Susann, this salacious cautionary tale relies on gratuitous sex and sentimental twaddle to compensate for a flaccid script.Furthermore, the real pills corrupting young women in the 1960s were the contraceptive kind.Yellow Light vidiotreviews.blogspot.com.
) Patty Duke (who was already famous) Sharon Tate (whose career ended tragically) and Susan Hayward ( fading veteran movie star ).Tons of musical numbers, mostly forgettable, and let's not forget the trashy wardrobes and appalling hairstyles!
Sharon Tate was good but the movie is hard to watch when she is on the screen - for me - knowing what happened to her in real life.
In my opinion, she was justified, because this film excludes all the scenes that made Valley of the Dolls a great book, and included things which make it a horrible movie.. |
tt0090057 | Spookies | A 13-year-old boy named Billy runs from home as his parents forget his birthday. Making his way through thick woods, he encounters a drifter who is violently slashed to death after Billy leaves. Billy stumbles on an old mansion where a room is decorated for birthday celebrations. Thinking it is a surprise by his parents, he opens a present to discover a severed head. Running away, he is attacked by the drifter's killer, a werecat with a hook on one hand, and subsequently buried alive.
Meanwhile, a group of teenagers and some older adults come across the mansion intending to have a party, believing the mansion to be abandoned. However, a sorcerer named Kreon resides there, keeping watch over his bride who he has kept preserved for over 70 years using an unrevealed method, but it is known that he needs human victims in order to do it. He possesses one of teenagers in the group to use a Ouija board and summons a variety of monsters to pick off the group one by one. These include muck-men, small reptilian demons, giant spiders, an arachnid woman, an octopus-like creature with electric tentacles, a skeletal witch, a Grim Reaper statue, a vampiric boy in a monk's habit, and a large group of zombies.
Eventually, the entire group is killed by the monsters and Kreon hopes to preserve his bride for longer, but she escapes by killing him and trying to outrun the zombie horde around the mansion. The bride eventually is saved by a man who drives her away in his car. Kreon regenerates out of a coffin as it is revealed the man in the car is actually the werecat. The camera pans on Kreon's laughing face and the credits roll. | cult, murder, romantic | train | wikipedia | They go all out with nearly everything that you can (or CAN'T) think of: zombies, a spider woman, farting muckmen (hilarious!), a cellar hag, lizard monsters, the Grim Reaper, a half-cat weirdo in biker books with a hook in place of a missing hand, a tall, ugly monstrosity with an exposed heart and tentacles, etc., etc.
"Spookies" also has an interesting story behind the movie: It was begun around 1984 as a horror-comedy called "Twisted Souls".
IMDb readers are in luck: some of the production team behind one of the two films combined into the feature called SPOOKIES have been posting to the message boards for the film, and their insights into this really odd, enjoyable little flick are quite eye opening.Unless I am mistaken in reading what they have posted, SPOOKIES began in 1983/1984 as a film slated to be called TWISTED SOULS -- credited to directors Thomas Doran and Brendan Faulkner -- about a group of people who travel to a secluded mansion in the middle of nowhere for some sort of party: The place is haunted or possessed by poltergeists who saw THE EVIL DEAD (amongst other films given visual nods) and the cast is killed off in entertainingly gruesome ways by a host of early FX horror meanies -- My favorite is the statue of the Grim Reaper that comes to life, scythe and all, though most fans seem to prefer the Muck Men, who pass gas uncontrollably while trying to maul their victims.
"Farting mud men" or whatever.For reasons I am still not 100% clear about the film was shelved for two years or so until 1985/1986 when a hack director named Eugenie Johnson was brought in to try and create a finished feature length film out of the well-produced but unused footage, shooting some additional scenes and editing them into the body of TWISTED SOULS in the same way that one might make a quilt on a loom: The two films are now inextricably interwoven into one 85 minute feature called SPOOKIES, which unless my notes are incorrect, was released theatrically & on home video in 1987/1988 to a certain amount of popular acclaim.Put quite simply, the scenes with the group of people in the haunted mansion with the Ouija board possessed chick are what is left of TWISTED SOULS, the remaining footage with the goofy made-up kids, the Angus Scrimm like old man, and the young goth babe in the white dress are what Ms. Johnson added to round out the runtime.
The film comes off as a cross between a horror farce like DEADTIME STORIES and a grim little effects thriller like SUPERSTITION aka THE WITCH, which may also have it's own grim sense of humor but is hardly played for laughs.The final film known as SPOOKIES doesn't make sense as a linear narrative, and yet there is still something going on here that is pretty darn interesting.
Here is a film that requires background reading.That the original material from TWISTED SOULS is lost to time (or legal considerations, at least) is a travesty: This could have been one of the best haunted house movies of the 1980's, and instead exists only as a sort of incomplete, disorienting mish-mash filled with genuine dreck breaking up some of the most interesting horror scenes from that particular period of time.
I find the film as it exists today as a fascinating example of how the worst intentions of even the most talented people can be used against their own better judgment: I'd love to even see a 40 minute cut of what's left that excludes the SPOOKIES additions, even if the film wouldn't have an ending.
"Spookies" received the Delirium-award for best Special Effects at the international SF and Fantasy films festival, so you see I'm not the only one who likes it.
If it only had a little more plot, it would enjoy the same status as films like 'The Evil Dead', 'Demons' or 'Re-Animator'.
"Spookies" is a well-known title among the horror fans due to its copious creature effects.Set in a dilapidated and spooky mansion it features plenty of different monsters including farting mud-men,small reptilian demons,giant spiders,an arachnid woman,an octopus-like creature with electric tentacles,a skeletal witch,a Grim Reaper statue, a vampiric boy in a monk's habit and a large group of zombies.I must say that I was impressed by fantastic creature effects made by Gabe Bartalos,Arnold Gargulio,Jennifer Aspinal and John Dods."Spookies" along with "The Evil Dead","Return of the Living Dead" and "Demons" is an essence of low-budget 80's horror cinema.8 spookies out of 10..
were-cats, sh*t demons, a bunch of fiji mermaids, a predator type thing with electro-shock tentacles, skeletor, a spiderwoman, some sort of demon that releases a pulsating field, from her brain, that causes the living to age at an incredibly fast rate, and a hoard of zombies (for good measure).This 80's comedy-horror is cheesy, low budget, and a masterpiece of cult cinema.
After, originally, having been shot by a pair of directors, under the title Twisted Souls...the guy funding the project fired them...only to hire a porn actress/editor, as director, to finish shooting the film with an entirely different cast, and some additional scenes.You can actually feel the differences in the contributions from the 2 different groups: the original filmmakers, cast and crew; and a former porn star and her group of porn people.The latter would dismember the film from it's original form- so that she and her crew could insert their own additional scenes and special effects (like adding fart noises over the muck men scene, for example)- that are clearly inferior to the work of the original creators.Drama aside- in it's final form- Spookies owes a lot to earlier films like Evil Dead and Hausu...though, it has it's own lame charm that will surely win you over, by the end.
Although no one makes it out alive in this film...at least they all go down swinging.Don't make the mistake of turning this off during the first 5 minutes- when it seems like it's going to be a low budget, schlock, piece of crap (during an additional scene added by the porn people)- because, by the end, I guarantee it will have won you over.The creatures and special effects in this are simply amazing, and it contains just the right amount of cheese.
You don't rent a movie like Spookies if you are looking for a quality horror film.
If Spookies feels like the result of two separate unfinished movies badly edited together to create a full length feature, there's a very good reason for that: it is.
The film was patched together from an incomplete horror entitled Twisted Souls and some unrelated footage shot at a later date.However, despite this fairly valid reason for being crap, one can't help but feel that, even if Twisted Souls had been completed according to its creator's original vision, it still would have been total garbage: the acting is dire; the basic set-up is highly derivative, being very reminiscent of several much better films such as The Evil Dead and Night of The Living Dead; and the effects are extremely amateurish.Attempting to follow the story amounts to a fairly pointless exercise, since nothing really makes much sense: the muddled plot sees a group of revellers travelling to a creepy old manor house where they inexplicably find themselves battling for survival against zombies, monsters, a lovesick ghoul, his man\cat pet thing, farting muck-men, a possessed woman, a grim reaper with red eyes, a spider/woman, and a couple of ugly kids.
Furthermore, what sounds like it might still be a lot of fun, despite the iffy narrative, is actually incredibly dull.For some reason, this film seems to have gathered something of a cult following, and has some surprisingly positive comments here on IMDb. It's a strange old world..
i do not know why people do not like this movie.I think its a great horror movie.
The first film was called Beyond Terror, or Terror Evil, or some sort of crap and by the looks of things was trying to be a showcase for special effects, while trying slightly to rip off the Evil Dead.
Sadly the original film Terror Beyond or whatever looks as if it was a pile of crap anyway, but it's the tacked on bits that drag this film into the field commonly known as the chronic film.The plot of the original film goes kind of like this: Two groups of as*holes - an older mature couple, a bitchy quasi-English woman and her hen-pecked husband, Duke (who is straight out of the Wanderers and says 'this is stupid' all the time) and his be-jugged girlfriend, and some tw*t who is meant to be zany and has a hand puppet (in case we don't know he's zany, he has a t-shirt with his face on it) - are lost after being chucked out of a party and end up in a spooky mansion.
Some chick that I didn't mention find a ouijja board and turns into a demon, everyone splits up and are killed by various monsters before the boring finale, which we don't see the end of due to: plot number 2: Some old wrinkly who is a warlock sits in his spooky mansion, mumbling about his comatose bride and how he's going to get blood for her to live again.
The survivors try and fight the possessed women and inexplicably begin to age, but we don't know what happens because from this point on in the movie the bride escapes from the old tw*t and gets chased around by zombies for what seems an eternity before the twist ending.
Other than that you can just feel the minutes ticking off your life as your presented by sub-par eighties effects with awful editing to integrate the movies (a lot of the running time is devoted to that cat boy sneaking after folks, but never meeting them).
Otherwise it's like, "I just watched a movie where no one survived till the end...okay."Spookies is a film that could have been so much better if it had better writing and did not have issues between its creators and financial backers.
The special effects are top of the line for 1985, and the plot is unique.This movie is not your usual horror movie, and if the viewer looks closely at this film from beginning to end they have to admit love it or hate it, it is different from your average horror movie.I E-mailed the producer of this film, and she says this film flourishes in Europe especially France.It is sad that in the United States most people go for the same boring, uninteresting, and lame horror movies that have no sense of uniqueness what so ever.This movie is a 80's classic that deserves its respect..
Well where can I start when there is so much bad stuff in this movie, there is the farting zombies, the dodgy spider woman, the unconvincing evil muppets, duke the horny ghost.
The first time I tried watching "Spookies" was on a rough looking ex-rental video tape and I barely got through the opening sequence due to its bad quality.
Spookies 9/10This forgotten 80's flick deserves to be seen by b-horror movie fans who don't like to take things too seriously.
Here we have a cat-like henchman with a hook for a hand, a possessed woman conjuring evil with her beloved ouija board, wind-breaking muck-men who can be killed with wine, a grim reaper with glowing red eyes who can explode at any minute, a slimy little lizard-gremlin thing, a grotesque witch with icy-cold breath, an Oriental woman that can transform into a giant tarantula, a peculiar flashing blue light that causes instant aging, an adolescent boy-druid with fangs, a towering fleshless creature who strangles and electrocutes people at the same time, the neverending swarm of zombies, and much more.
come on people, I see these user ratings and I can't understand what people are looking for, If you want a cornball computer animated horror flick then you should probably stick to cheesy movies made from 95/04.
A group of young adults looking for a party end up stranded at an old house filled with zombies and other assorted creatures.Ok, from what I understand this was two separate films stitched together, I don't know if that is true though.
I won't give away any "spoilers" but I will say that some of the effects are pretty good but the zombies look like extras from the Michael Jackson "Thriller" video shoot, you know, the ones they used to fill out the scene, the ones way in the back that weren't lit and were covered by smoke.
But in both cases, they keep being bad movies and that shouldn't affect their rating.The editing is terrible, the FX are below average, the acting is amateurish, and the plot is so contrived it looks like it's gonna tear apart every minute.
Fart monsters, a Phantasm dude that talks as if he's talking through a can, one of the gang all the sudden acts as if she's all the sudden taken over by some uncontrolable desire to become possessed, a spider lady, a dwarf that looks like a character from the movie "The Brood".
While the plot may not be all that great (basically some college kids looking to party find an old haunted house filled with evil monsters.) While the "haunted house" idea has been done to death, this movie seems a little different.
In a film deeply reminiscent of the myriad 1930s old dark house horror flicks – in which a group of diverse characters found themselves collected in a haunted mansion, only to die mysteriously one by one – but with the up-to-date addition of special effects and bloodshed, SPOOKIES is a surprisingly enjoyable movie that is difficult to criticise.
As part of an unfinished film was also edited into the proceedings, this is in addition a confusing watch in which the plotting is sometimes all over the place; no matter, because there are guaranteed chills and monsters just around the corner, so don't focus too much on the storyline.Production values are invariably low (with the exception of the super-quality effects work) whilst the acting leaves a lot to be desired – just the typical badly-dressed '80s crowd you always see in horror movies like this.
The scripting is basic in the extreme, and, rather annoyingly, it rips off THE EVIL DEAD no end, including one female possession who looks just like a character in Raimi's film.
Anyway, the best thing in this is the diverse range of monsters, ranging from squelchy muck-men in the basement to a real-life Grim Reaper, complete with sharp scythe; possessed people; an Asian spider-woman; little GREMLINS-style critters; and, at the frenetic, effective climax, a whole graveyard full of zombies.
What you will find is a entertaining little flick with lots of "Spookies" to keep you coming back for more.-MaxBTW, the haunting medieval-like theme music stuck in my head for a long time.
Oh I always just loved this film to death, it has such a great fun and scary kind of atmosphere, and I never saw another horror movie with so many different kinds of monsters packed into the story!
At first it seems like the drifter's gonna try something funny with Billy until he's killed by the lame gypsy/pirate/werecat who then, after the creepiest damn horror movie birthday party ever, chases down the helpless little boy, slashes his face and buries him alive!
Most of the cast were admittedly annoying and forgettable, making you wish that they'd just hurry up and die, which in this case was probably a good thing, and that kind of low-budget acting only adds to the charm in a movie like this.
One of them called Carol seems to be really skilful with a ouja board so the sorcerer (dunno his name) pocesses her.After that, the group get separated in the dark and run into many weird monsters like zombies, farting mummies, gilled creatures with sharp teeth, a cat guy with a hook instead of a hand, a vampire kid, the grim reaper and a spider lady.
Neither did I, it's like one of those cheesy b-movies, with a handful of decent effects.I didn't know the film was done in 1987.
i is about a group of teenagers who are on the look out for a party only they decide to throw one in a manison little did they know that the house was home to an old sorcerer who wants them dead so that his bride will live - it is full of everything in a horror, action, jokes, supernatural, creatures, plus lots more my favorite actor is one of 2 Maria Pechukas and Joan Ellen Delancey..
The setting is dark, but good, and with all the different monsters on the loose, the dark setting makes the whole thing feel like a Halloween spook show, so it works.
The production is low-budget, but old-school monster movie fans should enjoy this.
My friend went screaming out of my apartment, mad that he had driven all the way over for "Spookies".The only good thing to say about the movie is that it has one of the best "bad acting" scenes ever.
There's some old guy, who doesn't appear to do anything besides play chess, and a bunch of zombies, and a spider lady, and a cast of dozens more: the movie is more like a poorly acted version of a movie about a Haunted House(tm), as in one of the ones you would go to at Cedar Point, that had somehow come alive, than a movie about any one thing.
The plot of this movie is about a group of people spending a night at a empty white house, they were having a fun time until the house became spooked by zombies, goblins, a werewolf, and a grim reaper. |
tt0155267 | The Thomas Crown Affair | Millionaire businessman-sportsman Thomas Crown (Steve McQueen) pulls off a perfect crime by orchestrating four men to steal $2,660,527.62 from a Boston bank, along with a fifth man who drives the getaway Ford station wagon with the money and dumps it in a cemetery trash can. None of the men ever meets Crown face-to-face, nor do they know or meet each other before the robbery. Crown retrieves the money from the trash can personally after secretly following the driver of the station wagon, then personally deposits the money into an anonymous Swiss bank account in Geneva, making several trips, never depositing the money all at once so as to not draw undue attention to his actions.
Independent insurance investigator Vicki Anderson (Faye Dunaway) is contracted to investigate the heist and will receive 10% of the stolen money if she recovers it. When Thomas first comes to her attention as a possible suspect, she intuitively recognizes him as the mastermind behind the robbery.
Thomas does not need the money, and in fact masterminded the robbery as a game. Vicki makes it clear to him that she knows that he is the thief and that she intends to prove it. They start a game of cat and mouse, with the attraction between them evident. Their relationship soon evolves into an affair, complicated by Vicki's vow to find the money and help Detective Eddie Malone (Paul Burke) bring the guilty party to justice.
A reward offer entices the wife of the bank robbery's getaway driver, Erwin Weaver (Jack Weston), to "fink" on him. Vicki finds out that he was hired by a man he never saw, but whose voice he heard. She tries putting Erwin in the same room as Thomas, but there is no hint of recognition on either one's part.
However, while Vicki is clearly closing in on Thomas, using the IRS as leverage against his liquid assets, he forces her to realize she is also becoming hemmed in — by her emotions. When she seemingly persuades him to negotiate an end, his point is proven when a jealous Eddie stubbornly refuses to cut any deal.
Thomas organizes another robbery exactly like the first with different accomplices and tells Vicki where the "drop" will be, because he has to know for sure that she is on his side. The robbery is successful, but there are gunshots and the viewer is left with the impression that people might have been killed, raising the stakes for Vicki's decision.
Vicki and the police stake out the cemetery, where they watch one of the robbers make the drop, and wait for Thomas to show up so they can arrest him. When his Rolls Royce arrives, however, she sees that Thomas has sent a messenger in his place, with a telegram asking her to bring the money and join him — or else keep the Rolls Royce. She tears the telegram to bits and throws the pieces to the wind, looking up at the sky with tears in her eyes. Crown flies away in a jet. | mystery, comedy, boring, romantic | train | wikipedia | A remake of the steamy 1968 Steve McQueen flick updated to the sleek and self-referential 90s, "Thomas Crown" features Brosnan as the title character - a bored billionaire businessman in the business of "acquisitions".
Or is Crown manipulating her affections like Bobby Fisher manipulates the pieces on a chess board?What we have here is a high-speed chase film whose vehicle is clever dialog, rich and exotic direction, and more than a little sexual tension!
Like other films from that era of history, it's lost some of its shock with time but unlike true classics, Thomas Crown Affair has lost a lot of its charm.
This is a fun cat and mouse movie, not a documentary.The premise-an art theft-strikes me as more interesting than the original's robbery; besides, how many films have bank robberies?
In the end, Thomas Crown Affair works not because of the film's subjects or its characters .
It was wonderful - much better than the "original" The characters were more interesting, the plot more interesting!The entire cast gives marvellous performances, Rene Russo and Pierce Brosnan are wonderful, sexy, intelligent and never boring!I am tired of hearing about Rene's age being a factor, there are sexy talented women of all ages!
Firstly, it's not a cookie-cutter remake of the original staring Mr. McQueen and Ms. Dunaway - so no comparison required.You might say Brosnan was typecast by Bond, and the idea of a suave player getting one over on yet another woman might be the obvious outcome, but not this time!
The movie provides glimpses into their lifestyles, and at the same time, keeps them both just outside what you'd expect from a wealthy businessman and a woman working for an insurance company.Supporting character Mr. Leary makes a cynical, yet caring detective attempting to save face by nabbing Thomas Crown - however it's quite obvious in a city the size of New York that a bored millionaire looking for thrills by staging a theft is not his priority.
They have a healthy appetite for each other so the love scenes in his apartment and 'island retreat' are the 'stuff that dreams are made of.'Yes, there are little snafus, such as a painting being folded in a manner that would permanently ruin it, and the usual gaffes that serious film-goers will pick over - but heck, it's just a movie and a love story - let yourself go and imagine you're a woman who's just crashed a black tie event in a dress making every man in the room salivate, or that you're the man she's heading for on the dance floor - then have fun with it .
An anticipation will build on and you will enjoy a climax every 15 minutes or so.This movie is one of its kind, not to mention Pierce Brosnan who looks tailor made for this role.Every few years a movie comes that you remember throughout your life, sometimes it may appeal to one group and detract another, but the people to whom it appeals, it touches their heart and they are deeply influenced by it.
Simple - In 31 years things have changed a lot in terms of movie skill and technology for the better.Sitting in my ultra comfy seat with my drink holder, hearing the sound track on a fantastic Sony Dynamic Digital Sound System, seeing fantastic footage and camera work on a huge screen, and watching Brosnan and Russo who were made for their roles smoothly cavort through this delightful romantic fantasy was my idea of movie heaven.Of course there was crass commercialism that came with the package.
The world may be falling apart so like we needed money spent on a remake of "The Thomas Crown Affair." But then heck if Tinseltown in all its unoriginality doesn't do a bang-up fun job of unreality with characters who have no place in the Unreel World, from the classy looking opening credits to Sting covering "Windmills of my Mind" over the closing credits.
In the opening scene I'm thinking, wait I know that woman's voice and voila it's Faye Dunaway from the original film as Crown's shrink - I cheered out loud (OK so I was the only one in the audience that got the joke).Pierce Brosnan and Renee Russo are an age-appropriate couple with genuine fireworks and chemistry (with help from director John McTiernan and editor John Wright in the tango and copulation scenes).There's unconventionally good music choices - that tango is from Three Penny Opera of all things and a terrific use of Nina Simone's "Sinner Man" in a marvelous Magritte-inspired ironically tense heist scene.
Where Russo seems to let go and enjoy herself is a slip mistake that the character would never have done; Dunaway ALWAYS kept her cool in the original.Enter the cat and mouse thriller element of the film.
However, Brosnan and Russo do not have that touch, the spark was nowhere near as big, and the inclusion of a nude scene still does not bring it anywhere near the status of attraction that the original couple had.This film could have been a classic remake if it didn't try to be so politically correct.
The characters from, Catherine Banning (Russo) and 'Det. McCann' (Leary) and (Frankie Faison as) ' Det. Peretti' and of course Pierce Brosnan as the lead 'player' Thomas or 'Tommy' as friend to be Catherine would call him.
And frankly I couldn't wait for Dennis Leary (playing the cop) to catch them both and send them to Texas for a lethal injection.At one point in the movie Rene Russo throws a Renoir on a fire and the both of them look on like this is a fine old joke.
Actually, a lot of people thought this version was a lot more interesting and entertaining.This '99 re-make was more of a thinking man's crime movie that one normally sees these days in which violence and profanity are way overdone so many times.
However, this movie is far from family entertainment with amoral lead actors including Rene Russo baring her breasts a few times and Pierce Brosnan having sex with her at first opportunity.Speaking of morals, one gets tired of the film world constantly making the criminals the good guy and the police as someone to root against.
Neither of the two leads has an ounce of integrity....but we are manipulated into rooting for them.For nostalgia buffs, the let Dunaway play a small role in here, as the annoying psychiatrist.I really liked this film the first two times I saw but was totally turned off at the third viewing.
She also played the investigator in the earlier version, however the name of her character (Vicki Anderson) is different than the name of the investigator played by Renee Russo (Catherine Banning) in this updated version.The story is about a rich thief named Thomas Crown (Brosnan)who steals a 100 million painting by Claude Monet, but to what end.
However if you have young children you may want to see the film after lights out, because of the nude/love scenes performed by Renee Russo and Pierce Brosnan..
THE THOMAS CROWN AFFAIR, in my opinion, is an excellent action movie with a little romance thrown in that has excellent performances.
Now, in conclusion, I highly recommend excellent action movie with a little romance thrown in that has excellent performances to all you Pierce Brosnan or Rene Russo fans who haven't seen it.
Pierce Brosnan and Rene Russo are fine leads, and their chemistry is somewhat steamier than the original's, and there is also some great support from Denis Leary and Faye Dunnaway herself.
Especially pleasing in "The Thomas Crown Affair" are plot points that steer clear of developments exhibited in the original; this remake (for a change) is fresh enough on its own terms that any degree of familiarity with the 1968 version is immaterial.
The original "Thomas Crown Affair" showed a cool and disciplined Steve McQueen, a seductive and self-controlled Faye Dunaway and - very important - a really cleverly and well-planned crime.
The Thomas Crown Affair is a totally superfluous remake of an earlier Norman Jewison film (which by the way I have never seen).The story is good, although it is clearly a Bond spinoff (which at the time of the original were still "en vogue").
So much so, that because you can't imagine that you've guessed the ending within 15 minutes, you'll invent a better and more original movie.The acting is decent, but can Pierce play anything but an exciting, older white male?
Rene Russo gets out of acting by continuously taking off her top, apparently to prove that "older women still got it." This was a big deal when the movie came out, but now it seems distracting, unnecessary and forced.Unless you've never guessed the end to a movie before in your life, stay away from this horrid "Affair.".
Although the film is beautifully shot, it lacks a certain element - namely believability.From the moment of the robbery, which is full of inconsistencies, to the point where the insurance investigator decides that Crown is the thief (for no other reason that I could see but it was the only way the scripters could manage to move what remained of the plot forward) right up to the ending the film is laughably inept.As an attempt to make a 'sophisticated' film it failed simply because it treated its audience like morons.
Sophistication has to fail when the audience spends half the time wondering where on earth they managed to find a judge to sign a search warrant against one of the richest men in New York on no evidence at all, or why the police didn't arrest the insurance investigator after discovering her illegal activities.The obligatory sex scenes were equally laughable - making love on a marble staircase has to be the most uncomfortable experience ever (I do not speak from personal knowledge).Apart from some good camera work this film has nothing to recommend it and must rank as one of the worst films it has ever been my misfortune to see.This is a definite not-to-see..
This film version of the "Thomas Crown Affair" was full of romance, passion and lots of guessing games.
Pierce Brosnan,(Thomas Crown),"Grey Owl",'99 had lots of fun playing fantastic games with Rene Russo (Catherine Olds Banning), "In The Line of Fire",'93.
The characters are sterile, the acting is wooden and who really cares about them anyway.I would invite anyone who saw this movie to view the original to experience a dated but good treatment of the same story.
Dialogue seems like it was written by 14 year old, there is tons of unnecessary scenes than don't do much good to it, Crown (Brosnan) is just "way too cool" for a human and Russo is getting old and she is showing more than necessary.
THE THOMAS CROWN AFFAIR / (1999) ***Starring: Pierce Brosnan, Rene Russo, Denis Leary, Frankie Faison, Fritz Weaver, and Faye Dunaway Directed by John McTiernan.
I missed almost an hour (by choice) and understood the ending and surprised that it took that long to get there.I also felt that they played off the Bond/Remington Steele image but added a little too much sex into a romantic character and that destroyed the image quickly with nothing to replace it.In a world of fast paced movies I was hoping for something a little slower-but not this slow.Next time I'm in the mood for a nice romantic film this movie will remind me they don't make them like they used to and I'll head for the classics.Not a good last impression..
I think that Rene Russo and Pierce Brosnan have an excellent chemistry together and Denis Leary makes a great cop who though starts out bitter, softens up quite a bit to someone you end up liking.
After a difficult experience with the 13th Warrior, director John McTiernan returns to his best form with this simple yet brilliantly entertaining romantically themed caper movie, that relies on the excellent interplay between the two main leads; some clever but simple dramatic set-pieces; clever dialogue; great chemistry between the actors, and stylishly photographed locations.
This movie shows that the director can deliver a great film without resorting to action sequences or blowing things up!This film is a clever and contemporary remake of the 1968 Norman Jewison directed, Steve McQueen starrer, and brings the themes very effectively up to date for a modern audience.
Due to circumstances early on in the film, he is pursued by insurance investigator Catherine Banning, also an outstanding performance by the charismatic Rene Russo, who flaunts her sexuality as a weapon to distract Brosnan's Crown character with a view to getting him arrested.
Dennis Leary and Frankie Faison are two down to earth and streetwise local detectives who work alongside Banning, and as the film goes on Leary's character, who starts off as a bit stereotypical, evolves cleverly into something more sophisticated, and ends up representing the most grown up and adult perspective on the chain of events that make up the film's plot.McTiernan's directing is clever, whether it's the opening and closing set pieces, dialogue scenes or a refreshing and stylish (but not gratuitous) take on sex scenes he melds this film together with real style, bearing in mind that this his first attempt at this genre, and shows his versatility as a director given the right material.
I enjoyed the chemistry between Pierce Brosnan and Rene Russo, not to mention "bravo!" to the powers-that-be for the great casting.
I thought Pierce Brosnan was a little more attractive than Steve McQueen, but he is not such a good actor, and Rene Russo looked cheap, superficial and unattractive, and I really didn't care whether she got him or not.
(Just like the movie Braveheart) If you haven't seen the THOMAS CROWN AFFAIR, you don't know what you're missing!.
This is the best reason to see the movie.The heists at the beginning and end of the film are also excellent (especially the latter) but if you are looking for non-stop action then go see something else instead..
You can see that the most famous of roles has had an effect on his acting style, but I thought he was good if a little unimaginitive at times.Russo was the star for me, impressing as she usually does, despite the gratuituous sex scenes with Brosnan on the stairs - debatably unnecessary to the plot, but they no doubt brought in the crowds - with her slick and stylish approach to a challenging role.Definitely worth seeing, if only because Brosnan and Russo is a far more likely combination than Connery and Zeta-Jones in Entrapment..
Yet, the quasi-nonchalant act of Pierce Brosnan - Thomas Crown in this story - combined with a fascinating image, forms the quality of this film.
Pierce Brosnan plays Thomas Crown, one of the most smug rich guys you've ever seen in this romantic drama.
THE THOMAS CROWN AFFAIR is the best film that Pierce Brosnan has done so far.
Pierce Brosnan is not at his usual standard like in the James Bond films and Rene Russo was almost perfect for her character.
I have no idea whether or not Steve McQueen and Faye Dunaway's chess scene was more erotically charged than Pierce Brosnan and Rene Russo's more direct scene-on-the-stairs.
I loved this film; I got my £5.00's worth and I'm happy.It was just so good to see a tightly worked thriller with no-one under thirty in it; having recently seen 'Cruel Intentions' (ie Dangerous-Liasons-Lite with Sarah Michelle Gellar and hip young co-stars making a mess of a perfectly good story), it was good to see that McTiernan and Brosnan had obviously realised that to make a good remake you don't have to half the age of the cast.
Better than the Steve McQueen version this one is great.Pierce Brosnan and Rene Russo are hot.
The movie works on a number of levels, but it is a character-driven film all the way.Thomas Crown is a man who has it all.
The Thomas Crown Affair is a "remake" of the Steve McQueen/Faye Dunaway hipster movie that in my opinion wasn't very good.
"The Thomas Crown Affair" is smooth.This is my favorite film by Rene Russo.
With that being said, I honestly think that while the 1999 version of "The Thomas Crown Affair", starring Pierce Brosnan and Rene Russo, does offer two hours of pure escapism to the audience, it suffers significantly from the fact that it is straight up forgettable.
It's fun, exciting, surprising, and peppered with action.Good acting, especially on the part of Pierce Brosnan, Rene Russo, and Denis Leary.
Sometimes the actor makes the movie, and such was the case with the original Thomas Crown Affair of 1968.
fantastic.brilliant.what the else i could say about this movie.i have seen the original one but this one is more convincing.Pearce Brosnan is fit for the character as 'Crown'.
fantastic.brilliant.what the else i could say about this movie.i have seen the original one but this one is more convincing.Pearce Brosnan is fit for the character as 'Crown'.
Now, in conclusion, I highly recommend excellent action movie with a little romance thrown in that has excellent performances to all you Pierce Brosnan or Rene Russo fans who haven't seen I enjoyed the movie a lot.Believe me you will definitely like it if you have not seen the movie yet.describe in one word it is 'BRILLIANT'.
Now, in conclusion, I highly recommend excellent action movie with a little romance thrown in that has excellent performances to all you Pierce Brosnan or Rene Russo fans who haven't seen I enjoyed the movie a lot.Believe me you will definitely like it if you have not seen the movie yet.describe in one word it is 'BRILLIANT'.
Laid-back caper movie, good acting by Russo and Brosnan.
The remake of the Thomas Crown Affair is a good remake of a much better movie, but in its own term it is certainly entertaining if you can look past the holes in the plot. |
tt0081777 | Xanadu | The film opens with a large mural of the Nine Muses of Olympia coming to life, with the women emerging from the painting and flying into the sky. One of them returns to Earth.
Sonny Malone is a talented artist who dreams of fame beyond his job, which is the non-creative task of painting larger versions of album covers for record-store window advertisements. As the film opens, Sonny is broke and on the verge of giving up his dream. Having quit his day job to try to make a living as a freelance artist, but having failed to make any money at it, Sonny returns to his old job at AirFlo Records. After some humorous run-ins with his imperious boss and nemesis, Simpson, he resumes painting record covers.
At work, Sonny is told to paint an album cover for a group called The Nine Sisters. The cover features a beautiful woman in front of an art deco auditorium (the Pan-Pacific Auditorium). Earlier that day, this same woman had collided with him, kissed him, then roller-skated away. Now, Malone becomes obsessed with finding her. He finds her at the same auditorium, now abandoned. She identifies herself as Kira, but she will not tell him anything else about herself. Unbeknownst to Sonny, Kira is one of the Muses that emerged from the mural.
Walking near the beach, Sonny befriends Daniel "Danny" McGuire, a has-been big band orchestra leader turned construction mogul. Danny lost his muse in the 1940s (who is seen in a flashback scene to bear a startling resemblance to Kira), and Sonny has not yet found his muse. Kira encourages the two men to form a partnership and open a nightclub at the old auditorium from the album cover. She falls in love with Sonny, and this presents a problem because she is actually an Olympian Muse ("Kira's" real name is Terpsichore, the Muse of Dance). The other eight women from the beginning of the film are her sisters and fellow goddesses, the Muses, and the mural is actually a portal of sorts and their point of entry to Earth.
The Muses visit Earth often to help inspire others to pursue their dreams and desires, but in Kira's case, she has violated the rules by which Muses are supposed to conduct themselves, as she was only supposed to inspire Sonny but has ended up falling in love with him as well. Her parents, presumably the Greek gods Zeus and Mnemosyne, recall her to the timeless realm of the Olympian gods. Sonny follows her through the mural and professes his love for her. A short debate between Sonny and Zeus occurs, with Mnemosyne interceding on behalf of Kira and Sonny. Kira herself then enters the discussion, saying the emotions she has toward Sonny are new to her; if only they could have one more night together, Sonny's dream of success for the nightclub Xanadu could come true. Zeus ultimately sends Sonny back to Earth. After Kira expresses her feelings for Sonny, Zeus and Mnemosyne decide to let Kira go to him for a "moment, or maybe forever." They cannot keep these straight because mortal time confuses them, and the audience is left to wonder what her fate is to be.
In the finale, Kira and the Muses perform for a packed house at Xanadu's grand opening, and after the final song, Kira and the Muses all return to the realm of the gods in spectacular fashion. With their departure, Sonny is understandably depressed. But that quickly changes when Danny asks for a drink for Sonny from one of the waitresses -- a waitress who looks exactly like Kira. Sonny approaches this seeming double and says he would just like to talk to her. The film ends with the two of them talking, in silhouette, as the credits begin to roll. | cult, flashback | train | wikipedia | XANADU is one of the most critically and commercially panned films in Hollywood history, a 'Nouveau Art' musical with Art Deco themes, a weirdly conceived animated interlude, and performances of such widely varying caliber that a viewer might wonder if the actors were all reading from the same script!
But all that being said, I would like to offer a minority opinion, and say that I didn't find the film THAT terrible, and there are some aspects of it I actually enjoyed...First and foremost, it offers the legendary Gene Kelly, in his last musical, as charming and wonderful as ever.
As retired musician/businessman Danny McGuire, Kelly has the film's best moments, including a 'classic' song-and-dance scene with Olivia Newton-John and some silly but endearing 'post-disco' routines with the talented young dancers of the cast (including future CONAN star Sandahl Bergman).
Kelly could do it all, and with style!The premise of the film, of a Muse coming from Olympus to inspire an artist, is far-fetched, but had been done on film several times in the past (ONE TOUCH OF VENUS, with Ava Gardner and Robert Walker, and DOWN TO EARTH, with Rita Hayworth, are the examples most often cited), and while Olivia Newton-John is oddly cast in the role, she tackles it gamely, with a smile and a wink, and isn't THAT bad.
An actor with limited range and no singing or dancing talent, Beck lacks the charisma to pull off the role (one wonders why British pop star Cliff Richard, who voices Beck's animated duet with Newton-John, 'Suddenly', wasn't utilized to play the part).While the film often veers off in bizarre directions, the 'Battle of the Bands' scene between popular 80s rockers, the Tubes, and a 'Tommy Dorsey/WWII'-style orchestra (as Beck and Kelly envision what the 'look' and 'sound' of their club, XANADU, should be), actually works, and is fun to watch.
The entire score, by Barry De Vorzon and John Farrar, and Jeff Lynne (with ELO) is terrific (and made the soundtrack album a hit).Sure, the ending is hokey, but it was also the same ending of ONE TOUCH OF VENUS and DOWN TO EARTH, so XANADU can't be totally faulted!All in all, XANADU isn't the WORST film ever made, and if you give it a chance, you might find it a guilty pleasure!.
Out of all the movies that I loved from my childhood, none of them entranced me more as Xanadu starring Olivia Newton-John.
It's movies like this that bring back great memories and take you back to a time when innocence wasn't such a bad thing.
Yeah, bad acting abounded and the plot line may have had its issues if you're going to critique it but I'll bet you caught yourself tapping your feet along to the music more than once.I saw this movie when I was about 8.
Xanadu consists of two parts, each of which can be divided into two parts depending on how successful each scene making up those two parts are.The first part is all dialogue, in which Michael Beck, Gene Kelly, Olivia Newton-John, or combinations thereof, spend a lot of screen time talking about the importance of following one's dreams.
According to Olivia Newton-John, the film was literally being written as it was shot, and nowhere does this show more than in the final musical sequences of the aforementioned rollerdisco scene.
Then in 1972, she was in a movie with Cliff Richard where she sang her latest record ("Banks of the Ohio") and a duet with Cliff.Flash forward 8 years and history is repeated with "Xanadu," only this time Olivia is the star and Cliff joins her for a song ("Suddenly").Filming started on "Xanadu" with no script.
All that existed was an 18-page treatment (plot summary) and an overarching theme: The Big Band Era meets the 80s Rock Era.Because everyone hired to work on the film was given this overall theme to work with, they all went off to their respective departments and started working: Set designers began designing sets, location scouts went out looking for shooting sites, costume designers started their work...and while all this was going on, development of the script was largely ignored.The music was written and recorded long before what can be called the "final script" was written.
Allan Carr, the more vocal of the "Grease" producers, said of Olivia's refusal, "She's a pretty face, but she ain't no Streisand." The film Allan Carr wanted Olivia Newton-John to star in was called "Disco Heaven," which was later retitled as "Can't Stop the Music." Instead, the lead role went to Valerie Perrine ("Superman: The Movie").
Her costars...none other than The Village People."Can't Stop the Music," although not without a charm of its own, is arguably THE worst musical motion picture of all time.Another strong contender for worst musical motion picture of all time would have to be Olivia's other film, "Toomorrow." The movie was produced by the same folks who played a role in creating "The Monkees." Because "The Monkees" was such a money-making concept in the US, producers felt they could repeat the success in England.
Instead, people dance in place and, I must admit, it is amusing to see Newton-John gyrate like Goldie Hawn did on "Laugh-In." Don Kirshner, the man credited for having invented The Monkees, The Archies, and Toomorrow, still holds the rights to the 1970 movie.
Today, however, she embraces it, having recently hosted a successful and fun midnight showing of the movie.Many people feel the saving grace of "Xanadu" is its music.
Vic Kemper (who recently passed away) is the man behind the cinematography and special effects for both "Xanadu" and "Toomorrow." "Xanadu" effectively put a huge black mark on Newton-John's credibility as a big screen actress ("Two of a Kind" put to rest any doubt on the matter), but I am glad that Olivia is still alive to see "Xanadu" and "Toomorrow" finally get the acknowledgment and recognition the films deserve, even if their worth as works of art is found only in their nostalgic value.For a musical that had its songs written before the script, the film came together nicely in the final analysis.
He made a telephone appearance during a "This Is Your Life" program honoring Newton-John a few years back and his snide comments made Newton-John squirm in her seat.Gene Kelly never mentioned regret for having participated in the film, although he did say something was terribly wrong with the way modern movies are made.
Gene Kelly and Olivia-Newton John were really good in this movie.
Michael Beck would have had a movie career, and we would have been spared from watching "Oh-I'm-so-cute-but-so-poor-at-moving-my-legs-around" Olivia in a second film (or maybe not).That said, I'm particularly ashamed to admit that I actually like "Xanadu".
The music is the main reason - years before I had seen this film or even heard of it, I had heard "Magic" in the radio, and managed to get a two-minute snippet of it on tape, thinking it was an Abba song I hadn't heard before (no, I'm not an Abba fan - they have a few good songs, but I hate their albums).
;) The movie contains: people following their dreams, roller skating (and roller dancing), love, the beauty of the California coast, talented artists (painters, musicians, actors, singers, dancers, etc.), a wide variety of cultural experiences, a sound track that is the ultimate in great music, energetic dancing in many different forms, vivid colors, interesting special effects, good-looking people, an upbeat and positive message, and a general appreciation for all forms of art.
Unfortunately, later on, Kelly goes through a series of color-challenged pimp outfits in the silly costume number set to ELO's toe-tapping "All Over the World".But Kelly is not the only victim here as silly moments abound - a hilariously overdone 1945-meets-1980 musical fantasy extravaganza, "Dancin'", featuring 80's rock band, the Tubes, and outlandish, Solid Gold-type choreography; and there are a couple of gooey pas de deux numbers between Newton-John and Beck - one amid rising palm trees and other props set to "Suddenly" and the other set to ELO's "Don't Walk Away" with the pair wackily transformed into fish and lovebirds in a Don Bluth cartoon sequence.
The most spectacularly inane moments are saved for last - the tacky final production number with a split-screen Kelly skating and Newton-John singing the title tune as she goes through a gamut of irrelevant musical genres and variety revue costumes.The pacing of this movie feels very off and the editing choppy, as the 93-minute movie alternately skitters and drags along coming to a dead halt with Newton-John's overlong number in Tron-like heaven on "Suspended in Time".
I'm just glad that for the past 30 years I was able to keep cynicism out of my life and watch it again (by chance) with pretty much the same eyes and spirit I did back in the day when I was only 11.Like many here I saw Xanadu when it was released, which happened in 1981 here where I live.
I loved this movie, An Artist struggling, A contractor needing a new dream, and a muse to bring them together to create magic.Acting,Not the best!
Olivia Newton John is awesome and electrifying, Gene Kelly still shows us what made him so wonderful in all his movies.If your looking for a real gem then take a chance on this movie.
XANADU is more of a series of incongruous elements and ideas the director and producers thought up (most likely while on drugs) and were haphazardly stitched together with no idea of what constitutes good storytelling in a musical format.The whole "film" is totally wonky.Case in point: the fact that Olivia Newton John rarely sings on screen, even though this is a musical and we hear songs sung by Olivia and yet Olivia is probably seen performing her songs just a couple of times on screen.Imagine hiring Julie Andrews for a musical, for something like THE SOUND OF MUSIC, and have her sing most of the songs but never show her perform her songs on screen.XANADU starts with the muses appearing from the painting, all dancing and smiling to "I'm Alive", sung by...ELO?!?!
This annoying "technique" or "style" (don't know what to call it) is repeated a couple of times during the "film", including the whole "All over the world" moment: we watch Olivia grinning and silent while ELO sings.Then there's the whole 1940s - glam rock melding scene, when we actually hear Olivia's voice on the soundtrack during the 1940s scenes but then, whoa, Olivia is nowhere to be seen.
Huh?But the stupidest aspect of this "musical" is that Magic, the best song of the whole disastrous project, doesn't even figure prominently in the film.I could go on and on about how bad this "film" is (bad fx, annoying transitions, ultra kitschy fashions, even for that time, etc) but I think I've made my point of how truly embarrassing the whole thingamajig is by having a popular singer like ONJ in a musical and rarely have her sing on screen.
3. Olivig Newton John, Gene Kelly & Michael Beck do a great job of showing a beautiful appreciation, collaboration (for lack of better words) of mixing the energy of the big band 40's era with the high energy rock bands of the early 80's.
4. Great music from Olivia Newton John & ELOOverall: A great family movie, especially for people of mixed generations who love romance and fantasy.
Especially with things as bad as they are in the world, a romantic fantasy about making dreams come true coupled with Olivia Newton John's singing and both her and Gene Kelly's dancing are exactly what the doctor ordered in these troubled times.
Aside from all that, the story works, it is easy to follow the plot, the animation was good for the era, The cast was great thanks to Olivia Newton John and Gene Kelly.
The acting is marginal (forgive me Gene Kelly), the dialogue is trite, and the plot, well...Olivia Newton-John is sent to help Michael Beck realize his dreams by becoming his muse.
I'm constantly having to defend it - we all realize that roller-skating muses who inspire artists on Earth isn't Oscar-worthy material, but it's hysterical and fun to watch!The soundtrack featuring Olivia N-J and E.L.O. is great and I never get tired of watching the movie or listening to the cd - both of which I own.I've read that a Xanadu play was produced in California and it was a big hit - hope it hits Toronto, because I'll be first in line!Glad to have discovered this website and other appreciative fans!!!.
One of them, played by Olivia Newton-John, returns to "inspire" down-on-his-luck artist Michael Beck to realize his dream of opening a roller disco and they naturally fall in love.
Given Gene Kelly was in the film,maybe they expected great dance numbers too.The plot overall really is not "that" bad.
This movie gave dear Miss Olivia Newton-John a lot of publicity and a big start in acting.
I loved seeing the film for exactly this reason and can also recommend ROLLER BOOGIE and THE APPLE as two other contemporary musical movies that are just as abysmally bad--so bad they are good!.
But instead what we get out of it is XANADU, a really bad script (blame Richard Christian Danus and Marc Reid Rubel for this one, folks) that somehow got Olivia Newton-John and Gene Kelly attached to it.
I can even believe that they thought Olivia Newton-John and Gene Kelly would make a great dance team, that Greek muses would come to Earth (on roller skates, no less) to fall in love with commercial artists and old timers and help them make their dream of opening a roller rink come true.
No wonder it ended the careers of Olivia Newton-John, Michael Beck, Gene Kelly, and ELO.
If the music styles can't merge for the choreographer, then why attempt it?Speaking of zombies, whenever Michael Beck and Olivia Newton-John dance on roller skates, they do little more than circle each other slowly.
And if we have a few seconds left over, we could discuss the only good points -- the big band dancing and Olivia Newton-John's legs.Or better yet, let's discuss good musicals like Singin' In The Rain, West Side Story, or Pennies From Heaven.Jason Hones, you are right on!
Neither Olivia Newton John's beauty and singing, nor Gene Kelly's dancing could save it.It's a musical/fantasy, and weak at each.
Even without the memory of how the scene played out in the movie (Gene Kelly and the artist had their opinions of how Xanadu should be, and slowly their ideas merged.) I guess that answers the question of what you get when you mix Big Band with Glam: you get a 70's Roller Disco.The one song that SHOULD work, but DOESN'T is the duet between Newton-John and Kelly in "Whenever You're Away From Me".
Even as a kid I was wondering about that one) but the wonderful scenes such as the one where the Muses come to life make it worth it.The combining 40's and 80's music sequence was great as well.I've seen this movie get panned over the years and it's considered a failure.The way I see it, this movie took some chances and came up short in places but that didn't deserve condemnation.But maybe I'm too forgiving, because whenever I look at Xanadu, I look at it through 12 year old eyes.
Or even simply for albums by Ms Newton-John & ELO, which will have the very best music from the movie.
I was somewhat interested, I am a fan of Gene Kelly and I have liked Olivia Newton-John since Grease.
Kelly was 68 years old in Xanadu and not only was he pathetic to watch during his dance numbers (just like everyone else was), but his screen-charisma, in my opinion, registered at a complete "zero".Besides that, I thought that the trite and snivelling on-screen romance that transpired between the 2 lead characters (played by Olivia Newton-John & Michael Beck) sucked to the 10th power, and beyond.I can't believe how utterly dismal Xanadu's visual effects were.
Inspired by Ms. Newton-John, Beck and Mr. Kelly open the roller-disco "Xanadu"...This poorly presented film reached a new low in wasted resources.
There are moments (seconds, really) when the picture gets some life pumping, but in none of those scenes does Michael Beck appear (as an artist desperately in need of inspiration, he's a gaping hole in the screen); Olivia Newton-John is very pretty but lethargic as his mythical muse (on roller-skates!); Gene Kelly is doing the same thing he did 40 years ago, telegraphing us he's being "cute", winking slyly as if to say it's all a put on.
Grease was the last of the great musicals of that era, not to mention the tangible chemistry between her and John Travolta, which for many of Olivia's fans' certainly has never been bettered since and is nigh-on impossible to live up to.The Xanadu script was not really up to scratch; the male lead had the charisma of the plank of wood - I'm sure Michael Beck is a nice enough bloke but I get p*ss*d off every time he's on screen; and there is virtually no chemistry between the 2 young leads.It wasn't really a good acting day for Olivia either, although to be fair she doesn't actually have to do much, other than sing and dance, look lovely and rollerskate.
Gene Kelly is a pro -- even in a bad movie he's able to showcase his talents, and a dance duet between him and Newton-John is a highlight.
I understand why this film has a terrible reputation and it's not like I really disagree with the general consensus regarding its quality, but even bad movies can have good qualities, and "Xanadu" is rather fun if watched in the right mood. |
tt0050986 | Smultronstället | The movie opens when 78-year-old Isak Borg, played by Victor Sjöström, is in bed at home. He dreams about being on a city street with no other people present. A clock hanging above the street has no hands. Isak checks his pocket watch; it too has no hands. A figure appears with its back turned. Isak walks up to the figure and touches it. It has no face. The figure collapses onto the pavement. Blood streams out of the figure. Next a hearse drawn by a team of horses turns a corner and enters the street on which the dream-Isak is standing. It approaches Isak and then passes him but its rear wheel gets caught on a lamppost. Although no one is driving the hearse, the horses continue forward. The left rear wheel breaks off at the lamppost. The horses and hearse drive away but the coffin comes loose, and slides out and onto the street. A hand appears on the outside of the coffin. Isak looks at the hand. His hand and the hand outstretched from the coffin touch, with the hand coming out of the coffin holding Isak. The body in the coffin is also Isak. He awakes.The viewer senses the loneliness in Isak. And that Isak's time is running out. These are themes that come up again and again through the day.He leaves his bedroom to waken his maid Agda, played by Jullan Kindahl. Isak asks her to pack his suitcase and prepare breakfast for him. He has decided to drive to Lund, where he will later today receive an honorary doctorate as an award for his contributions to medicine. They squabble because they had previously planned to fly from Stockholm to Lund. While eating breakfast, Marianne, Isak's daughter-in-law, enters the breakfast room. She is played by Ingrid Thulin. Marianne has been staying at Isak's house, and asks if she can accompany Isak on the 300-mile drive from Stockholm to Lund. He agrees.They depart. Marianne tries to smoke but Isak objects. There is some tension in the car almost from the beginning of the trip. They manage to converse. Isak mentions that his son, Evald, owes his father money, and on principle is going to pay it back, a principle both father and son endorse. Marianne talks about her relationship with Evald, who, like his father, is a physician. A good deal is revealed, especially in a flashback that summarizes the conversation in the car. Her marriage to Evald (Gunnar Björnstrand) is tense and unhappy. Evald is as rigid as Isak but Evald dislikes his father. Evald and Marianne quarreled sharply when she revealed to him that she was pregnant. He objected, and said he did not want children. Isak's marriage was also an unhappy one. At this particular juncture, the viewer develops a sense of the film's power of truth-telling.Isak decides to make a detour, and drives to the house where, during his youth, he spent many summers. One could find in the summer house his mother and father and 10 brothers and sisters as well as visiting cousins, uncles, and aunts. Marianne goes off to swim in the lake, leaving Isak alone. He walks up to a patch of wild strawberries (the Swedish title of the film better translates to "wild strawberry patch"). Isak begins remembering his youthful days at the house and the land nearby. Flashbacks with Isak still in the scene show some of what life was like there long ago. His cousin Sara is picking wild strawberries to give to her deaf uncle as a birthday present when Sigfrid (Per Sjöstrand), Isak's brother, arrives. Sigfrid helps her pick strawberries and flirts with her. They kiss. She is at first willing but then breaks away. She is too committed to the young Isak to continue the dalliance. Isak at that moment is away with his father fishing in the lake.At the lunch table, Isak's twin sisters, who are loud and naive, report on the interlude between Sara and Sigfrid, embarrassing Sara. One of the twins is played by director Ingmar Bergman's daughter. The older Isak looks in on the scene. Sara, upset, leaves the table, and is consoled by her aunt, with Isak looking on. Sara describes how she thinks Isak is too good for her. He is too upright. Sigfrid is more playful.The viewer learns that Isak was in love with Sara but ultimately she married his brother Sigfrid. Isak is the last of the 10 Borg children alive. Sara, Sigfrid's widow, is still alive and in her 70s.Near the house, a teenage girl and two boys come into the scene. One is her boyfriend and the other is a kind of chaperone. They are hitchhiking. Their ultimate destination is Italy. The girl, whose name is also Sara, is played by Bibi Andersson (Bibi Andersson and Ingrid Thulin have long been part of Bergman's company of players). Andersson also plays the Sara who was Isak's long-ago love. Of course, the present-Sara reminds Isak of his long-ago, and lost, Sara. The boys, Anders (Folke Sundquist) and Viktor (Björn Bjelfvenstam), argue about the existence of God and other matters, and Sara tries to keep their arguments civil. Although one boy is closer to Sara than the other, the viewer gets the sense that both are interested in her, much the way Sigfrid and Isak were interested in the Sara of long ago but only one will succeed with her.Back on the road, a Volkswagon beetle comes hurtling around a bend, and nearly crashes into Isak's big old Packard. Isak's black car is reminiscent of a hearse. The VW turns over but the passengers are unhurt, physically that is. The man (Gunnar Sjöberg) and woman (Gunnel Broström) in the car are a married couple almost out of Strindberg. The accident, the husband admits, was the result of driving while quarreling.Isak agrees to put the two in the car, and drive on toward Lund. The husband and wife are settled into jumper seats but continue to bicker. The husband needles the wife incessantly. She smacks him several times. Marianne, who is driving, stops the car, and orders the two to exit the car for the sake of the young people riding in the back.The car, now reduced to five travelers, stops at a service station that is run by a husband (Max von Sydow) and wife (Ann-Marie Wiman). Here we learn about another side of Isak. The couple is very happy to see Isak. Apparently long ago he worked some wonderful medicine to help the family. They admire him greatly, and absolutely refuse to let him pay for the gas or any of the work they did on the car. She is pregnant, and plans to name her child, if it is a son, Isak, after the doctor. Isak asks them to notify him when the child is born. He would like to be the child's godfather.They soon stop at a restaurant. The group has a delightful lunch at an outdoor terrace overlooking the beautiful Lake Vättern. Isak enjoys the company of the young people. The young people learn about Isak's award.There is another stop on the journey. At Isak's request, Marianne drives to the house of his ancient mother. Her house is en route. Marianne accompanies Isak into the house, and the young people remain in the car. Isak's mother is in her mid-90s and complains that she is always cold and that none of her grandchildren visit her. Mrs. Borg shows them some old artifacts from an earlier era, old toys and a pocket watch with no hands, the same pocket watch that appeared in Isak's dream at the beginning of the film. Later in the car, Marianne tells Isak how she is impressed by the mother's coldness. Marianne senses how that coldness runs through the family down to Evald.Isak falls asleep in the car while Marianne drives. He dreams that he is being given an examination by a professor of medicine. The professor is none other than the man Marianne asked to leave the car earlier that day. The cadaver he is to check is the man's wife but she isn't dead. Isak fails the examination. Perhaps it was not a medical school examination at all but an examination of how a lonely and aloof man lived his life. He awakes.The car has stopped. The young people have gone into a forest glen to gather flowers to make a bouquet for Isak. He is flattered by their attention.They reach Lund. Evald is in his home to greet them. Agda is there too although she was so angry in the morning that there was a chance she would not come. The three young people come. Isak, Marianne, and Evald dress for the ceremony which is an hour away. The young people plant themselves along the route of the processional to cheer Isak. The ceremony expresses great dignity and achievement, with many words uttered in Latin.Afterwards Isak is in Evald and Marianne's house although the viewer has the feeling that it is not going to be Marianne's house much longer. Isak tries to induce Agda to call him by his first name; after all they have known each other for 40 years. She declines.Isak is in bed in a second-floor bedroom. The young people serenade Isak from the garden below. He wishes them well as they got a lift to Hamburg and are closer yet to their goal of reaching Italy.Evald comes in. Isak wants Evald to forget about the debt. Isak also wants Evald and Marianne to reconcile. Marianne enters the room, and she and Isak have an affectionate exchange. The she heads off to party with Evald. The viewer gets a sense that Isak has to some extent broken through his loneliness and reconciled with the important people in his life. | psychedelic, comedy, flashback | train | imdb | Where the surrealist touches, moody photography, and incredibly smooth direction had made the big hit with me as a near boy, as an aging man I found myself--I hesitate to say painfully, but...well, closely--identifying with old Isak Borg in his strange pilgrimage, both interior and exterior, the day he receives his honorary degree at the cathedral in Lund.In the last twenty minutes or so of the movie, I found tears running down my face, not from any thrilling sentimental browbeating (I doubt if Mr. Bergman shot five seconds' worth of sentimentality in his whole long career!) but simply from the cumulative emotional impact of this simple, powerful story and its probing revelation of human character, desire, and chagrin.
In this symbolic tale of an old man's journey from emotional isolation to a kind of personal renaissance, Ingmar Bergman explores in part his own past, and in doing so rewards us all with a tale of redemption and love.Victor Sjostrom, then 80 years old, stars as Professor Isak Borg whose self-indulgent cynicism has left him isolated from others.
Bergman wrote that the idea for the film came upon him when he asked the question, "What if I could suddenly walk into my childhood?" He then imagined a film "about suddenly opening a door, emerging in reality, then turning a corner and entering another period of one's existence, and all the time the past is going on, alive."Bibi Andersson plays both the Sara from Borg's childhood, the cousin he was to marry, and the hitchhiker Sara who with her two companions befriends him with warmth and affection.
It is as though his life has returned to him as a theater in which the characters resemble those of his past; yet we are not clear in realizing whether the resemblance properly belongs in the old man's mind or is a synchronicity of time returned.Memorable is Ingrid Thulin who plays Mariana, the wife of Borg's son who accompanies him on the auto trip to Lund.
Such a gentle comeuppance meshes well with, and serves as a foil for, all that has gone on before on this magical day in an old man's life.See this for Bergman who was just then realizing his genius (The Seventh Seal was produced immediately before this film) and for Sjostrom who had the rare opportunity to return to film as an actor in a leading role many decades past him prime, and made the most of it with a flawless performance, his last major performance as he was to die three years later.(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!).
This picture is amazing in its emotional impact and in my opinion is one of Bergman's most optimistic, profound, and warm films."Wild Strawberries" provides sincere, intelligent, and emotional contemplations of life's disappointment, regrets, and losses.
The main character, seventy-eight-year-old Professor Isak Borg is forced to see his life in a true and painful light, but he also would learn that there is hope.Sparkling cinematography by Gunnar Fisher and superb acting of Bergman's regulars Ingrid Thulin, Bibi Anderson, Gunnar Bjornstrand, Max von Sydow and especially, the great silent film director, Victor Sjostrom as Professor Borg add to many delights of "Wild Strawberries" which also include Bergman's writing/directing with his famous mixing of conscious and unconscious, dreams and reality, the past and the present in the same scene..
Bergman's autobiographical story also benefits from the brilliant casting of Swedish film legend Victor Sjostrom as Isak Borg, whose towering performance is essential to the success of Wild Strawberries.
For once, he seems to come close to finding some peace with the unknowns of life that obviously preoccupied him as an artist, and the movie he gives us is sad but immensely warm; resigned but calm and reflective.An unequivocal masterpiece, and only one of a handful of Bergman films ("Persona" and "Cries and Whispers" being two others) that don't drive me over the edge when I watch them now.Grade: A+.
In Ingmar Berman's film masterpiece Smultronstallet (or Wild Strawberries' B&W, 1957), the protagonist, an elderly professor who is facing death, has to come to face to face with a long life that has failed to answer the important questions.
He is old now and faced with his own inadequacy and impotence.Bergman introduces three young people into the drama to introduce life's most important question that of the existence of God. The old man gives them a ride.
It's a silence that reveals an amazing dimension of loss the loss of year upon year of not coming to terms with this all-important question.In one of the final scenes, Bergman masterfully closes in tight on the aged face of Professor Isak Borg (played by Victor Sjostrom).
Bergman uses the usual pattern for him - a man is on a journey (life) and meets people who are going along the same road (friends and family), and they all head toward the end of their trip (death).
(Slight Spoilers) A man's life journey is all seen through a number of dreams and hallucinations on his trip, some 400 miles, to the town of Lund where he's to receive a lifetime achievement award for his 50 or so years of service to his fellow man as a doctor and a professor of medicine at his alma mater the Cathedral of Lund.Disturbed by a dream he had the night before Isak Borg decides to take a ride by car, not plane, to Lund for a ceremony thats to be in his honor for his work as a man of medicine.
Isak,in both his dreams and memories, is seen as a man who is unable to show any real feelings for those around and close to him in the fear of either being rejected as well as showing himself to be hurt by their negative responses.This defect in Isak personality has cost him the love of his life Sara when he was a young man who rejected him for his handsome and openly aggressive older brother Sigfried.
With the little time that he has left, Isak was to pass away three years later at the age of 81, Isak is determined to make up for it.Sweet touching yet simple little film about one man's journey back in time who sees how he missed out on the many wonderful things that life had to offer him by being blind to them.
The sound for instance -- I have seen the dream sequence at the beginning of the film when the Professor walks through empty streets, sees handless clocks, a carriage carrying a casket with his body -- a scene with almost complete silence,BUT prints on 16mm, VHS and even Laser Disc all contain a great deal of surface noise.
This is, admittedly, an uneven film, verbally over explicit, but it is packed with vivid imagery - an early dream sequence, both mysterious and yet significant; a disenchanted couple squabbling fiercely in a car; the sad beauty of Marianne, unhappy daughter-in-law; the words, memories and gestures of professor's mother; the distancing effect produced by the device of having the professor visiting his own past unseen by those who shared it with him; the meeting with Akerman.
It shows their lives to be rather drab for the most part, yet it also brings out how important the events in their lives are to the characters themselves.The story of old Professor Borg driving across Sweden to attend a ceremony in his honor is complemented by just the right measure of dream sequences and flashbacks to his youth, which put the doctor's life into perspective and raise the questions that Bergman wants his viewers to think about.
Bergman himself says that he got the idea for this film when he walked in his grandmothers house and suddenly he saw a lot of memories from his own childhood.Just as Orson Welles in "Citizen Kane" Victor Sjöström gives an magnificent performance.The superb use of flashbacks and Gunnar Fisher´s cinematography is some of the best I have seen.The film has many masterful dream sequence and I think that it´s one of the best films ever made.5/5.
Other important members of Bergman’s stock company of actors appear in bit-parts: even Gunnar Bjornstrand in the pivotal role of Sjostrom’s son and Thulin’s husband is only in a couple of scenes; a blonde Gunnel Lindblom plays Andersson’s sister (during Sjostrom’s recollections); and, most incongruously, Max von Sydow turns up as a gas-station owner grateful to doctor Sjostrom for services rendered in the past!WILD STRAWBERRIES also features two of cinema’s most unforgettable dream sequences – Sjostrom’s character meeting his own corpse while walking a deserted city street and, later, his humiliating exam for a doctor’s degree (by and in front of the people he met during the day’s journey on the way to picking up an award for his distinguished career).
The film presents a simple but eventful, episodic narrative that is brimming with reflections and insights about family, love and duty; invariably, these have marked the personality of the protagonist (rendered somewhat cold by regrets and disappointments) and now lead to either reconciliation or resignation on his part with his earlier life – it’s as if Bergman was doing his own version of “A Christmas Carol”!As usual, spirituality (the eternal debate on the existence of God) is touched upon here via semi-humorous incidents – a bickering middle-aged couple and two young students (both in love with the second character played by Andersson) who determine to settle the argument with a fistfight!
It's about an inner journey about one man's subjective state of mind as he sees nostalgic memories of childhood & lost love (regret), surreal visions of denial (mortality) and unsettling weird dreams which hint at a self-awareness and truth that he cannot face in reality.I was touched by Victor Sjostrom's performance as the elderly Prof.
It's also not without comedy, particularly the old Prof's relationship with his housekeeper Agfa and the absurd boxing match about 'God'(Bergman parodying himself) between the two young hitchhikers.What makes the film so intriguing is how characters/situations often reflect one another (Borg & his son, their coldness and attitude to life); these parallels extend to the point where characters even play dual roles: Bibi Andersson as Sara (the lost love & then the young vivacious traveller) and a cruel husband who later appears as the stern examiner in an unsettling dream.
What a magnificent performance.The direction of Ingmar Bergman, the crystal clear black and white photography of Gunnar Fischer and the music by Erik Nordgren meld together into a seamless work of art that stays with you long after the final frame.If you have never seen WILD STRAWBERRIES, now is the perfect time as it has been released on a beautiful DVD by Criterion.
Little does he know that she holds a great contempt for her father-in-law and is only accompanying him as a way of easily confronting him and expressing her true feelings.Painfully wounded by the prospect of his own daughter-in-law hating him, Borg begins to reflect upon his life in a series of visions, flashbacks and hazy dream sequences.This is my favorite Ingmar Bergman film.
Borg realizes as a frail old man that he has ruined his own life and has no happy memories.It is Bergman's "Citizen Kane" or "Ikiru" -- a poignant reflection on humanity and a film that, ultimately, can change the way you look at life -- if you open up enough to let it..
¨ Wild strawberries¨ is a spellbinding masterpiece by the great Ingmar Bergman with brilliant acting by Victor Sjostrom (Sweden first movie filmmaker and star , best known for his silent work , who died three years later , aged 81) and awesome cinematography by Gunnar Fischer ; showing a rich tapestry of fears , dreams , anxieties , memories and occasionally over-symbolic frames .
This Bergman's landmark film is developed in Sweden , after living a life marked by coldness, an aging professor is forced to confront the emptiness of his existence , taking place a sentimental voyage .
During the journey this old man that's kind and cold, generous and unable to express any feelings, he'll get into some dreaming that will make him face some ghosts of the past.Reflections about life and death, about the youth and its holy innocence.As you may know Bergman's movies are not for any kind of audiences, if you0're gonna watch "Wild strawberries" you have to know what you're getting in to.
As the loneliness generated the coldness in his life, the one radiant light was his quiet and close-guarded memory of the love he had for Sara, and in the final scene we watch the old man view paradise as he looks back on the time when Sara was still with him, with his family at a country get-together.
As he travels to Lund with his disarmingly candid daughter-in-law, Marianne, to accept an honorary degree, he will encounter both people and places that will elicit memories, both the good and the bad, of his past, as we watch his feelings of melancholy gradually morph into the affirmation of life of which he was always searching for.So much of "Wild Strawberries" is, at its core, extraordinarily nuanced, with each new experience revealing another layer of our grouchy protagonist.
I like to believe that, like 'Rosebud' in Citizen Kane, the wild strawberries serve as an emblem of the innocence in our youth, a memory that evokes hope and sheer joy, parts of life that many people will, as they grow older, seek to regain in some form or another.This film had me in a complete lost for words.
(well those are the only two Bergman films I have seen but Wild Strawberries in my opinion is better than the seventh seal.) The movie is very artistic and the dialog is very good.
Victor Sjostrom stars in Ingmar Bergman's Wild Strawberries, from 1957.As most everyone knows, Victor Sjostrom was the Swedish and Hollywood director Victor Seastrom who ultimately quit directing and acted full-time in theater and film.
It's a psychological drama about a Swedish physician (Dr. Isak Borg), later a professor, coming to terms with his life in his elder years: his mistakes, weaknesses, his successes, his strengths.Knowing Bergman's life in the family in which he grew up helps one better understand both this film as well as his others.
In "Wild Strawberries", Ingmar Bergman reminds us a film can be positive and uplifting yet not seem the least bit hokey, and that's what I'm most thankful for when it comes to this film."Wild Strawberries" has a simple enough plot: an aging professor, full of regrets about his life, travels across Sweden (to the surprise of his maid and son, who had his day planned for him) on his way to a ceremony in honor of him.
It might be seen as an allegory in why making plans based on a dream you have the night before is unlikely to add wildness or strawberries to your day.The film seems more like that of a young, naive director playing with university ideas and quite possibly trying to antagonize a professor he hated, or simply fool him into grading the film highly by not committing to anything and leaving it open for interpretation.At best, it's an interesting look into the Summer conventions and traditions of Sweden in the 1950s where pipe smoking is viewed as healthy and marrying cousins is normal.
The story unfolds beautifully as we get a deeper sense of Isak, who I assume is an alter ago of Ingmar Bergman at that stage of his life (he was thirty-nine when the film was released).It pains me to know that the majority of people my age would rather watch an Adam Sandler movie or "The Rock" than something like this.
The story unfolds beautifully as we get a deeper sense of Isak, who I assume is an alter ago of Ingmar Bergman at that stage of his life (he was thirty-nine when the film was released).It pains me to know that the majority of people my age would rather watch an Adam Sandler movie or "The Rock" than something like this.
Hey, I liked "Big Daddy" and I love Nicolas Cage, but "Wild Strawberries" is one of the few films I've seen that could possibly change the way I live my life.
Hey, I liked "Big Daddy" and I love Nicolas Cage, but "Wild Strawberries" is one of the few films I've seen that could possibly change the way I live my life.
In fact, it's probably the most vital part of the movie -- Isak may not like it, bbut once he gets past it, he has the option to develop.I don't know if the film is a masterpiece -- it's my introduction to Bergman, so once I see "Cries and Whispers," "Fanny and Alexander," "Persona" and "The Seventh Seal" (if I can get through it, this time) I'll come back to this film with a new perspective, or at least see it as a part of Bergman's whole.
In fact, it's probably the most vital part of the movie -- Isak may not like it, bbut once he gets past it, he has the option to develop.I don't know if the film is a masterpiece -- it's my introduction to Bergman, so once I see "Cries and Whispers," "Fanny and Alexander," "Persona" and "The Seventh Seal" (if I can get through it, this time) I'll come back to this film with a new perspective, or at least see it as a part of Bergman's whole.
Wild Strawberries is a story of a journey to past, dreams, nightmares, memories, fears and the choices made in life.Ingmar Bergman's films are clearly European modernism, and his films are actually the finest example of it. |
tt0420294 | The Texas Chainsaw Massacre: The Beginning | On August 7, 1939, a young woman who works in a meat-packing plant in rural Travis County, Texas, dies giving birth to a child in the back room of the building when she suddenly goes into labor. The cruel plant manager abandons the newborn in a dumpster. A local woman, named Luda Mae Hewitt, discovers the baby while searching for food. She names the infant Thomas and takes him to the Hewitt residence and raises the baby as her own son.Over the next 30 years, Thomas (Andrew Bryniarski) grows up and goes to work in the same slaughterhouse. When its horrid conditions cause the closure of his workplace, Thomas comes back and kills the slaughterhouse's owner with a sledgehammer; he also finds and takes a chainsaw. Charlie Hewitt (R. Lee Ermey), Luda Mae's (Marietta Marich) sadistic son, learns from Sheriff Winston Hoyt (Lew Temple) what Thomas has done, and accompanies the Sheriff to arrest Thomas. When they find Thomas, Charlie kills the Sheriff with a shotgun and takes his identity. Charlie and Thomas take the Sheriff's body home and butcher him for stew meat, telling the rest of the family that they will not leave their home even as the rest of the area becomes deserted.A few months later, in July 1969, two brothers, Eric (Matthew Bomer) and Dean (Taylor Handley), drive across the country with their girlfriends Chrissie (Jordana Brewster) and Bailey (Diora Baird). Eric and Dean are draft dodgers and are plotting to flee north to avoid being drafted into the U.S. Army where they will be sent to Vietnam. They stop at a local eatery where they encounter a group of bikers. As the group pulls away, a female biker, Alex (Cyia Batten), follows them. A chase ensues, ending with the group crashing into a cow and flipping their car. In the process, Chrissie gets thrown from the car and lands in the weeds, out of sight of the others. Charlie Hewitt/Sheriff Hoyt soon arrives on the scene; he immediately shoots Alex, throws her body into the trunk of his squad car, forces the rest of the group in as well, and calls for his Uncle Monty (Terrence Evans) on the car's CB radio to tow the wreckage. The tow truck comes and tows the car, in which Chrissie has hidden herself.Hoyt takes the group to the Hewitt house and calls for Thomas to butcher the dead Alex. He then takes Eric and Dean to a barn and hangs them by their arms from the rafters; he later ties Bailey to the kitchen table. From the car, Chrissie sees her friends tied up and runs back to the highway. She flags down Holden (Lee Tergesen), one of the bikers from the diner, and tells him about Alex and her friends. Holden then follows Chrissie back to the house.At the Hewitts', Hoyt tortures Eric and Dean by beating them with his nightstick and forcing them to do pushups when he figures out that they are draft dodgers. However, they manage to free themselves. When they attempt to rescue Bailey, Hoyt beats Eric, and Dean gets caught in a bear trap. Bailey escapes, taking Monty's truck, but Thomas stops her by stabbing her in the chest with a meat hook and drags her from the truck. Thomas then takes Eric to the basement and straps him to a wooden table.Holden enters the house to search for Alex, but ends up shooting Monty in one of his kneecaps, surprising Hoyt in the process. Hoyt leads him to a bedroom where Thomas kills him with his chainsaw. Chrissie finds Eric and tries to free him, but cannot release the metal straps nailed to the table. Thomas comes downstairs as Chrissie hides under the table. Thomas kills Eric and then skins his face, putting it on as a mask.... thus earning his nickname Leatherface. Thomas/Leatherface comes to the aid of his wounded uncle Monty, and seeing that the shotgun wound to his left kneecap is bad, uses his chainsaw to amputate Monty's leg off. Then, for no clear reason, Thomas chainsaws Monty's other leg off as well just above the kneecap as some twisted way of making is work perfect.Later, Chrissie finds and tries to free Bailey, whom Hoyt has tied up again on the second floor. As Chrissie attempts to untie her friend, Hoyt and Thomas catch her and bring her downstairs for "dinner". There, Dean sits unconscious as Thomas/Leatherface slits Bailey's throat with a pair of scissors, then grabs Chrissie and brings her downstairs as well. On the way to the basement, Chrissie manages to stab Thomas in the back with a screwdriver and escapes by jumping out a window, with Thomas pursuing her.Dean regains consciousness, escaping to the front of the house. There he assaults Hoyt by smashing his head repeatedly into the solid concrete porch, knocking out him out cold, as well as Hoyt's two front teeth, then heads out to find Chrissie. Meanwhile, Chrissie hides in the abandoned slaughterhouse. She slashes Thomas's face with a knife she has found, but he drags her to the floor. Dean arrives to stop him but Thomas impales and kills him with his chainsaw. Meanwhile, Chrissie makes her way to a nearby car and drives off into the night.Chrissie, desperately looking for help, sees a police deputy who has pulled someone over. As Chrissie is about to pull over, Thomas suddenly appears in the back seat and kills Chrissie by ramming his chaindaw through her seat. The car, out of control, crashes into the Deputy and citizen, killing both of them. Thomas (now called Leatherface) exits the car and slowly walks back along the dark road to the Hewitt house. | violence, cruelty, murder, sadist | train | imdb | Wow. Impresively taking "Texas Chainsaw" back to its roots, horror fans and cinema-goers alike should definitely give this prequel to the daring 2003 remake a chance.
Jordana Brewster plays Chrissie, who is on a fun road-trip across Texas with her friends, Eric, Dean, and Bailey, played well off of each other by Matthew Bomer, Taylor Handley and Diora Baird.Shortly after the terrifying, recognizable psycho Leatherface commits his first murders, a cross story involving an encounter with some nasty bikers throws the doomed teenagers flipping across the road in a surprisingly brutal accident.After Sheriff Hoyt arrives (R.
Lee Ermy in another chilling performance), to take control of the scene, the nightmare begins for Chrissie's friends as she watches them get taken away in his police car, unknowingly headed for the house which would become a place of torment and nightmares for years to ensue.Appropriately gory and no-holds barred, Jonathan Liebesman creates a tight, slick and sadistic thriller in the eyes of Chrissie as she endlessly attempts to rescue her friends from a demented madman's clutches.
Prequel to the 2003 "Texas Chainsaw..." giving us the origin of Leatherface and his twisted family.
Also there's good old Leatherface and his chainsaw chasing everybody.In some ways I applaud a grim, graphic R rated horror film that pulls no punches--I HATE the watered down PG-13 crap we usually get.
R. Lee Ermey plays a major character instead of a bit-player like in the 2003 remake, and the film benefits from this..
Texas Chainsaw Massacre:The Beginning is a fantastic slasher film that brings us back to the classic era of 1970's slashers.I loved this chainsaw film simply because it answers all the whys and provides you with leatherface's history.Definitely gorier than the previous film and far more cringe inducing.This is first non cheesy slasher i've seen in ages which is a very nice change for me personally.The acting in the film is very good there are some very intense performances and some graphic scenes.It's shot very 70's slasherseque which overall gives it a creepy aura.The storyline is very easy to follow yet very disturbing and depressing at the same time.Overall fans of The Devil's Rejects and The Hills Have Eyes see Texas Chainsaw Massacre:The Beginning it's well worth the admission fee..
I've been a Texas chainsaw fanatic since i saw the original (when i was about 8) and all the sequels obviously tried hard (except the one with Bridget Jones in which was an utter waste of time) but ultimately failed to be worthy of following up such a classic.
there was no crap attempts at humour (other than the 'sherrif' but thats laughing at how out of order he is) and once it gets going it doesn't stop until the abrupt ending.it looks great, the violence is above and beyond what you expect to see at a cinema (i don't know all the cuts made to the us version but the UK version seems to be about 8mins longer) and it felt like i was watching something that deserved to have 'texas chainsaw massacre' in the title.if you like horror and gore films you should have a great time, go see..
Extreme fans of horror, people who have seen Untold Story and stuff like that, will have no problem with this.
Especially a Texas chainsaw massacre flick but this movie answers so many questions from the first one and really makes it look like this movie should come first.
If you love gore, suspense, terror, and the symbol of all that is just plain wrong then The Texas Chainsaw Massacre: The Beginning is just your slasher!.
There is also lots of blood and gore which is of course one of the basic and inevitable parameters of a good horror film..
:) When i watched it i almost felt that it might turn me off of making horror films, but the feeling of course came right back:) Leatherface shows no mercy!
Christie follows them trying to rescue the trio, trapped in the house of sadistic and insane cannibals, in a trip of horror and gore."The Texas Chainsaw Massacre: The Beginning" is a great prequel to the classic "Texas Chainsaw Massacre".
The story gives a good explanation to the origins of Leatherface, "the ugliest thing ever seen", and the movie is extremely violent and gore, with touches of surrealism.
From beginning to end, the movie was far more intense and scary than the remake.
I mean, the remake kind of started a new genre of horror (whether people liked it or not).
Kind of wanted to know where the girl walking down the dirt road in the beginning of the 2003 movie came from and what her story was...I guess that was my ONLY disappointment.
If you like Horror or the original Texas Chainsaw movies I recommend you see this one.
Instead of being scary, Texas Chainsaw was just disturbing; the amount of blood and beatings that were actually shown was quite gross, and this seemed like an ill-attempt to cover the fact that there was no real plot and crappy dialog.Granted, I didn't expect an elaborate plot development, but the movie should have been less predictable and use fewer cliché scary techniques (like looking through a window and the bad person suddenly showing up).
I know that's ironic, but a good scare is in need once in awhile.Now if you like gore, suspense, and intensity then this is the movie for you!
The acting was great and I loved finally seeing how the family came about with their sickness for killing people.The gore is so bad that a few girls at different times ran out of the theater about to throw up, but that's how you know that is a good movie.
But i also thought that even if the story is the exact same thing has the remake, they actually did something right this time by adding a lot more gore in this one.
R. Lee Ermey lets loose in what he has been dying to do, be an out of control insane psychopath.They taunt you, without giving anything up, you will be taking up and down a roller-coaster, truly an experience.Leatherface, well, he is a supporting actor, the movie, IMO, was all About army and how he fostered what leather face becomes.
I know you are probably thinking that it would be boring talk and irrelevant banter about him being mistreated and abused, but it would have been nice to see what was the breaking point that made him turn into this raving lunatic killer.In essence, the movie is really like all the other Texas Chainsaw movies, so if you are a fan of the series or just enjoy actually seeing the damage being done, this movie will definitely please you..
Shocking and grisly prequel to The Texas Chainsaw Massacre (2003) is an extremely intense ride for horror fans.Young people on a road trip find themselves in the clutches of a murderous Texas clan - whose insane crimes will become history.Unlike the previous Texas Chainsaw films, this prequel focuses more on the crazed cannibal family rather than on their teenage victims.
R. Lee Ermey is perhaps the best as the sadistic sheriff, but Jordana Brewster and Taylor Handley also do great performances as their ill-fated young characters.Fans of The Texas Chainsaw Massacre (2003) will enjoy this film, while the squeamish had better beware!*** out of ****.
I am a big fan of the original Texas Chainsaw Massacre movie, and was pleasantly surprised by the remake release a few years back, although it wasn't as good as the original.
If you didn't like the remake at least a little bit, you probably won't like this movie either, but in my opinion this one is a good deal better.
If you are an extreme loyalist to the original you also may not be pleased, as this movie really has nothing to do with it but rather stays true to the remake.The movie opens with a look at the birth of our beloved Leatherface, and let it be known that even the opening scene isn't for the faint of heart which if you see the movie you will realize it is a recurring theme.
The other Chainsaw films at least had a fraction of a story to go with but here it's just one gory highlight after another with nothing in between.Every little tasteless thing is thrown in for good measure, such as a man urinating near a helpless victim, car running over a dead animal etc.
Maybe I'm a lone ranger in demanding that gory horror films offer up some kind of plot or story but this one just had me looking at the watch twenty minutes before the end..
The Texas Chainsaw Massacre: The Beginning is the first installment of the grim deeds of the Hewitt family as they start their rampage of serial killings.
Man this movie was like a Texas chainsaw massacre!!!.
Texas Chainsaw Massacre:The Beginning is comparable to the original Texas Chainsaw Massacre film.It's gorier,bloodier,and has twice the innovative ills as the original.Texas Chainsaw Massacre:The beginning has indeed brought us back to the 1970's where good slashers ruled the horror genre.I'm impressed with the under utilized actors that star in the film as they all play a great role and they each make a great addition to the overall masterpiece that is this film.The change of directors is the main reason i think that this film is the better of the two modern Texas Chainsaw Massacre movies so if you weren't satisfied with the 2003 re-make Texas Chainsaw Massacre:The Beginning should satisfy your blood lust..
I enjoy a good horror movie myself, but these on going Texas Chainsaw movies are really loosing their shock ability!
Giving a back story to something that you think might already know was a great way to bring new life to this classic tale of horror.
I wasn't exactly a fan of Hostel though i would admit some of the scenes were quite disturbing, especially for a horror movie these days.
Everything I saw in this film was what every horror movie should be showing.
I dig most horror movies that have great atmosphere, some gore, decent acting at least, a good creepy family, and one hell of a killer that looks bad-ass and doesn't care what he does with his weapon.
This movie is almost the complete package.This is a prequel to the The Texas Chainsaw massacre 03 REmake which i liked.
But The Beginning gives you clues to like how Leatherface was born and made into what he is, how Hoyt lost his teeth, how grandpa lost his legs, etc.Through movie from the start gives you a creepy feeling.
The gore and torture scenes were scary as hell and the whole movie mostly revolves around the scary family which REmake didn't really do and focused more on the actors though both movies had decent acting.I really don't want to say anymore.
Before going to see this movie, I thought that it was going to be cheesy and not as good like the remake that came out a few years ago.
"The Texas Chainsaw Massacre: The Beginning" is pretty close to being one of the grisliest horror movies in recent years.
The movie, from director Jonathan Liebesman, starts before the events of "The Texas Chainsaw Massacre" (2003), itself a blood-drenched remake of the original 1974 "The Texas Chainsaw Massacre."But don't expect anything new.
The two young male leads were effective and likable, and sympathetic in their own back story.The effectswork is terrific yet not overdone, fitting seamlessly into the storyline to visually tell the story of the horrors committed by this family, and the film is very well supported by the music score of Steve Jablonsky, who develops the atmospheric tonality developed for the 2003 remake and crafts a musical design that maintains a constancy of dread and a rhythmic, panic-inducing pulse during the action scenes.
People are watching films like this one and probably having fantasies about the blood and gore.
I am a huge fan of movies, especially horror films.
I don't mean to offend people who like this movie, but I just want to point out that a serial killer+sick ways of killing people+blood does not equal scary.
The 1974 Texas Chainsaw Massacre was and still is an icon in the genre of horror and is, hands down, far more creepier and disturbing than New Line Cinemas big budget attempt to cash in, yet again, on a $20,000 independent film that reigns in the top 3 of any professional critic's top ten scariest movies of all time!.
There was not one moment in the movie when I felt anything for the characters (good or bad), nor was there any time I felt anything resembling anxiety or horror.
Texas Chainsaw Massacre: The Beginning (2006) was an overall good film.
Lets face it, its not every film that can mutilate people with a chainsaw (among other things), do it realistically, and still tell a good story.
I loved the original Texas Chainsaw Massacre as well, so I figured it would be interesting to see how the family got started.
LOL go see the original one (1974), it's the only one worth of this Chainsaw franchise.With this movie they tried not to scare, but to freak out so many people with the violent scenes...
Yes it wasn't the best movie ever made it too short and was slightly too gory but just appreciate it for what it is.I loved the background story on Leatherface but wanted to see more and the deaths were great so was the acting.
If you are offended or grossed out by gore then do not see this but if you are a fan then this is your kind of movie.Like i said before the movie is very good if it's your thing and some fans of the original are still complaining that it puts a bad name to The Texas Chainsaw Massacre but just get a life because really no one cares I loved it and many other people did too.
One of the scariest movies I can remember seeing as a kid was the original Texas Chainsaw Massacre.
It does have some good old slasher fun that's lacking in a lot of today's horror.The actors are excellent and are better than the remake's cast.
The rest of the story plays out exactly like you'd expect from a Texas Chainsaw movie, and although this movie is slower and the characters less compelling, the atmosphere very closely resembles TCM (2003).Instead of writing a unique movie for the franchise, elaborating on Leatherface, his family dynamics and THE BEGINNING of his creepy tendencies, they gave us yet another rehash with 4 teens fighting for their lives in a small town.The audio is also really annoying, as the dialogue is extremely quiet while the sound effects are blaringly loud.
Going on a road-trip together, two brothers and their girlfriends going to reenlist in the Army find their stop-off in Texas puts them into contact with the vicious Hewitt family and their chainsaw- wielding son Leatherface and must find a way of getting away alive.This one was a pretty big disappointment, and only has several good things throughout it.
"The Texas Chainsaw Massacre: The Beginning," is the prequel to the 2003 version of the movie which was directed by Marcus Nispel in 2003.
'The Texas Chainsaw Massacre: The Beginning' is the epitome of a horror film and is one of the best stories of its kind..
Rated R for strong horror violence/gore, language and some sexual content I have not seen the original 1974 Texas Chainsaw Massacre or any of its sequels.However I did see the remake which I don't remember because I saw it a long time ago.I saw this about a week ago on the movie network.Will you like this movie?
Im not comparing it to any of the originals and grading it as a standalone film.If you are like me and usually look for gore in a horror film rather than plot or acting, then you will like this film.Not that it has a bad storyline or bad acting.The acting is fairly good especially from R.Lee Emery.The film is a prequel to the Texas chainsaw massacre and it takes place in the late 1960's.Four friends are driving around the desert.Two of them have to go serve in Vietnam and one of them already has.The other does not want to.They get harassed by some bikers and their car crashes.A sheriff comes to rescue them but instead he brutalizes them,takes them into his home, tortures and kills them.Will they escape or will they die?
The gore in this film is quite unthinkable, which you have to see to know what I mean.This starts from the beginning of Leatherface and family's terror.
After all the disappointing sequels of the original Texas Chainsaw Massacre, comes the remake and, off course it was better than the awful Part 4 but still, not near as good as the original TCM or even the first sequel.
Real horror fans have to check this one in its unrated edition, you will not be disappointed, its fair to the Leatherface legacy, it makes justice to the original movie.
I think of all the Texas chainsaw massacre films, this is the best.
It is nice to see such a good horror film, better to see if you know the background, that is real story on which this film is made.Even though film is picks up well from beginning and doesn't allow spectaculars to move from the seat, after some time you can easily predict what will happen next.
Film Review: The Texas Chainsaw Massacre:The Beginning Starring: R.
Lee Emery and Jordana Brewster Directed By: Jonathan Liebesman Okay, before I go into reviewing this film I should let you all know where I stand on the 2003 remake of 'The Texas Chainsaw Massacre'.
I never seen the original "Texas Chainsaw Massacre", but the remake looks very interesting & entertaining.
Leatherface character is now a legend in horror movies. |
tt0942384 | Shelter | The movie opens with Zach (Trevor Wright) skateboarding, stopping occasionally to take photographs and spray-paint silhouette graffiti. He arrives home and is greeted by his sister Jean (Tina Holmes) and her son Cody (Jackson Wurth). Jean is headed out, forcing Zach to take Cody with him to the diner where he works.At the end of his shift Zach takes Cody to the rich part of town (Zach, Cody and Jean all live together in the poor suburbs) and meets up with his friend Gabe (Ross Thomas). Zach drops Gabe off with some friends who he is travelling with back to college.Zach and Cody head home. Zach goes surfing. That evening he goes home to do some painting.The next day he waits with Cody outside the supermarket while Jean finishes her shift. Cody thinks Zach is his father, since Zach always takes care of him, but Zach reminds Cody he is his uncle.That night Jean heads out again with friends leaving Zach once again taking care of Cody. Zach calls his off-again-on-again (and currently off) girlfriend Tori (Katie Walder) but she is at a party and the connection is bad, meaning they can't understand each other. Jean arrives home with her boyfriend Allen (Matt Bushell) only to be admonished to keep quiet by Zach because Cody has just gone to bed.The next day Zach goes back to Gabe's house to fix a surfboard he has left there, only to find that Gabe's brother Shaun (Brad Rowe) is there. They go surfing together. As they are leaving, Tori arrives and invites Zach down to the beach to hang out with her friends.At the bonfire, one of the guys asks if Zach is gay, since he recently broke up with Tori, who is gorgeous. Zach and Shaun leave the fire and Shaun admits the reason he returned to town was because he just broke up with someone.Zach gives Tori a ride back to his place where they watch a movie. She tries to kiss him but is turned away. She is a little put off, so he tries to make it up to her, but she leaves.Meanwhile, Shaun is hunting around the house and finds a walkie-talkie as well as an old skating movie of Zach and Gabe.He talks into the walkie-talkie and is surprised when Zach picks up. These are the walkie-talkies that Zach and Gabe used to use years ago to communicate across town. Zach starts to draw on his bedroom wall, which he does when he is happy.Zach and Shaun meet up again the next day and go surfing again, at a spot Shaun has kept secret from Gabe and his friends, worried that they would trash it. They surf for a bit then stop for lunch. Zach ignores a call from Tori telling Shaun they are in 'limbo'.They return to Shaun's place and crash on the outdoor furniture, bonding over Zach's art and their mutual connection to Gabe.A playful wrestling match turns serious as Shaun kisses Zach. Zach wakes up the next morning beside Shaun, still outdoors, and immediately regrets what he has done. The normal life he has crafted has now been shattered. He flees.He goes home to find Jean waiting for him to take her to work. On the drive Zach talks about returning to art school. He applied a year ago but didn't get in. At the supermarket he meets Tori again. He tries to kiss her, but she pushes him away.He goes surfing again, this time checking out the guy dressing beside him. He stays out surfing late.
He goes home to shower. Jean talks with him about hanging out with Shaun, who is gay, and says she 'doesn't want Cody around that'. She accuses Zach of being gay too. He dodges the question.At the beach with Tori and Cody, he runs into Shaun again. Shaun wants to talk about what happened between them, but Zach brushes him off. After the things Jean said about Shaun, Zach doesn't want to leave Cody alone with him, but Tori wants to talk about their relationship. Finally, Tori and Zach break up for good.Zach goes home to think and paint. He can't deny his feelings anymore. He drives to Shaun's house and they have sex. The next morning Zach still feels a little guilty, but sticks around until Shaun wakes up. On the drive home he finally accepts what's going on.He starts to draw a huge mural on a nearby shop as a way to express his feelings for Shaun.At home, Jean asks him why he is so happy. She knows he is sleeping with someone, and also knows it isn't Tori. Zach tells her it is no-one. She uses that fact to con him into babysitting again. Zach draws on his wall some more, then gets a call from Shaun inviting him to a meal at his place. Jean wants him to watch Cody, so he turns down Shaun's offer, only to have Shaun invite Cody along too.Zach and Cody go clothes shopping before the meal.Shaun asks Cody what he wants for dinner, then heads out to stock up on groceries, since he doesn't have any of that stuff in the house. He says kids deserve to be spoiled. Later, as Cody sleeps, Zach and Shaun talk about Zach's family. Shaun tries to hug Zach, but Zach pulls away, scared that Cody may see them. When he knows he won't, he finally succumbs.Zach takes Cody home, since Cody doesn't like to wake up in strange places. Shaun offers Zach an admission form for art school.A montage follows showing Zach and Shaun growing closer. Zach completes the mural on the shop wall as well as doing more drawings on his bedroom wall.Shaun and Zach are in bed together when they hear a noise. Gabe has arrived back from college. Zach hides in the bathroom while Shaun distracts Gabe, allowing Zach to sneak out.Gabe visits Zach at work (commenting on the shirt Zach is wearing, which happens to be Shaun's) and the three go surfing. Gabe runs off for some beer. Shaun touches Zach, who rebuffs him, worried that Gabe will see.At home, Jean confronts him about what he has been doing with Shaun. She convinces him that if he cares about their family, that he will break it off.That night, at a party and Gabe's house, Zach sits in the car and is approached by Shaun. He shuns Shaun, telling him he isn't sure that a relationship is what he wants. Shaun replies, 'It seems like what you want'. Both guys get emotional and Zach drives off.The next morning Zach is getting the diner ready for opening when Gabe comes by and tells him he knows all about Zach and Shaun, but that it doesn't change anything between them. Zach says it doesn't matter since he has broken up with Shaun.Confused, he goes to visit Tori, but she is with another guy and can't talk to him.Shaun tries to call Zach, but Zach ignores him. He is looking for his portfolio to send to the art school, but can't find it. Jean offers to help him get a job at the supermarket where she works.Zach watches as the mural he painted is painted over. He feels his life is falling apart.Jean tells him she is moving away with her boyfriend, and that they are leaving Cody behind.Zach learns Shaun submitted his portfolio, and that he has been accepted to art school. He travels to the campus.
Later he meets up with Tori, prepared to tell her everything, but she already knows. In a roundabout way she tells him that even if it doesn't last, love is still worth it.Shaun is packing to leave, when he finds the walkie-talkie left by Zach. They talk, with Zach revealing himself to Shaun in the backyard. He's accepted the different parts of his life and wants Shaun to be a part of it. Zach tells Shaun that he got into art school, and that he got in a year ago, but turned it down because of his family commitments.They go to where Jean and her boyfriend are packing to leave.After the boyfriend maligns Cody, Zach attacks him, but Shaun and Jean separate them. Shaun goes inside to check on Cody, while the boyfriend takes a walk to clear his head. Zach tells Jean that Cody can stay with him and Shaun, or that Jean could stay behind. Jean admits Cody is better off with Shaun and Zach. Jean and her boyfriend leave, then so do Cody, Shaun and Zach.Some time later Zach, Cody and Shaun are all hanging out on the beach, playing, the implication being that everything turned out well. | romantic, queer | train | imdb | It was great to watch a film that used characters that stepped outside of the gay stereotypes seen in most films.
It was even better to see a movie that focused on the love (rather than the sex) between the two lead characters.While there are some scenes that scream "low budget," the end product as a whole was very rewarding.
The acting, writing, and directing were all solid.After so many disappointing gay films, I'm thrilled to have a movie like this come along.
Even in this low res screener, Shelter shines as a film with huge heart, and one that's been made with equal care by the actors and all of the film-makers.It's not at all like the angst-ridden abomination of a gay surf flick "Tan Lines".
We want things to work out for them.We understand that Zach is in a bind - he's allowed himself to be the physical and emotional anchor for a progressively more dysfunctional family, but we know that he deserves much better life options.
Don't get me wrong, I'm a huge fan of Brokeback Mt., but I saw a screening of this film at the SF Gay and Lesbian Film Festival tonight and loved it as much as BBM and in some ways appreciated it more.
For my money the acting (with avowed heterosexuals playing the gay roles, as in BBM) was more convincing, the kissing more natural, the sex scenes extremely sexy and moving; another milestone in the realistic portrayal of gay love and sex.
Interesting enough, that film is being shown at the SF LGBT festival and was changed to Shelter Me. Hopefully, the "surfer gay movie" will stand out..
I just saw this movie at the Philadelphia Gay and Lesbian Film Festival.
Because of this I was able to connect to the film better than any gay themed film I've watched before; I was practically giddy when Zach was on the phone with Sean cause I have been in that situation before.Other gay films should be like this one, realistic and with real men that have care more than about how they look in the mirror, we get enough of those twinks from the rest of Hollywood.
SHELTER has become my goto movie when I am feeling down, and a few of my straight friends have found this to be a very inspirational film in their own lives.
When I first watched this film, I was unprepared for and deeply moved by the honest and touching screenplay by director Jonah Markowitz and the superb quality of acting by a fine cast.
Most impressive is the emotion expressed by eye contact achieved between Trevor Wright and Brad Rowe -- something very uncommon and unforgettable in a film of this kind.
I'm not saying those are bad films, they are superb, but Shelter is a really touching, sincere journey through these interesting characters lives that had it's profound, charming aspects with a beautiful message and it didn't have to use extreme tragedy as a gimmick to amuse the audience.
It just mixes in dealing with homosexuality along with all the other problems life brings along the way in a brilliant manner that is very enjoyable; I was so entertained with the story.The main two characters, Zach and Shaun, have amazing, incredible, believable chemistry that was portrayed excellently by the actors to where you feel like this scene is going on right in front of you.
I've stated my opinion on Zach and Shaun, but Jeanne was a believable, stress-filled sister who wishes her life could fit in with her family, and Gabe was the best friend most gay guys wish they had; someone who just saw their homosexuality as no thing, and liked them as a friend for the qualities they share and fun they have.
I have to quote another user in their review: "The beautiful thing about Shelter is that it doesn't rely on inane gay stereo-types (i.e.: flamboyant characters, drag queens, limp-wristed high-pitched voiced effete men, gratuitous sex bordering on pornography, etc.) or heavy-handed subject matter (drug addiction, HIV/AIDS).
It manages all the material so well and creates this serene, lovely atmosphere that we are comfortable with.All I have said is of course in my opinion, but here again, look at all the other positivity it has received, so I feel as if most people got how wonderful Shelter was, and it deserves any praise it gets.
Don't just judge it as a "gay" film; it's one of the best movies I've ever seen in general.
I am a big fan of independent and European film, but this is the only movie I have watched many times in a few days period..
It makes me feel like I need to watch this movie every day just to lift my moods up or get me through the day.
I usually end up turning the screen off in the middle of a film when I get bored, when i don't like where the story takes me or just simply feeling sleepy.
Few days and even weeks after watching this movie, the scenes keep coming back in my head - especially the argument on the car scene - it made me stand still, it made me feel longing for something, it made me smile alone, it made me hope, it made me look at things differently and see life on another perspective.
I do not know if I should be happy that i was able to learn about this movie; confused that I am, I also even hope that i did not get the chance to watch because it just made me realize how empty my heart is right now; I hope things are just the way it was before.
Brokeback is in a different league, it belongs with films like The Wizard of Oz and Sunset Boulevard, it's a masterpiece, a milestone in cinematic history, not that the idiots at AMPAS noticed.I'd seen Tan Lines and swore I'd never sit through another crappy gay surfer flick but I'm glad I took a chance and watched Shelter, this is an outstanding film.
I mean this movie is set in San Pedro, I live several thousand miles north in Toronto, yet the dialogue and the way people live felt right even for me.I too love this film and highly recommend it.
Zach is a truly decent young man with a good loving heart but his sister is adrift in life and without Zach as her anchor you know she'd be lost.
Sometimes a movie resonates and this is one of those times.Don't we all wish we had a great guy like Shaun in our lives?
Unsure of his sexuality, Zach (a really good performance by Trevor Wright) lives in southern California where he works a menial job and enjoys both surfing the waves and creating "street art".
The plot structure is okay but predictable, and reminds me of "Making Love", a 1982 film with the same general gay theme.
The lead character in that film also was a guy named Zach.Overall acting in "Shelter" is quite good.
I have learned this when I started talking about who I really am and my true feelings.This film also shows the complete selflessness Zach has towards his family and loved ones.
But in the end everything is achievable with effort.I am probably;y going to watch this film a few more times because I don't think that I can get bored of it.Shelter shows us that not everything in this world is bad, but when you know you have some magnificent on your hands, grab it with both arms,.
I didn't know quite what I'd be seeing when I watched "Shelter." A lot of gay movies rely on stereotypes for laughs or wallow in their own grief.
Zach is just the right combination of melodramatic and responsible.Setting + photography is appropriate and the music is a great addition but the writing is what makes this film far above average of its genre.
To some extent, yes but I actually find myself having a problem with it because the movie could have achieved greater heights if it was able to explore the coming out tale better
if it was able to exploit the journey of the decision process and how hard it was for Zach to come out of the closet which I think is something more unique to gay movies.In my opinion, the two most laudable things about the movie are: (1) Trevor Wright's sensitive performance and amazingly surprising acting ensemble (also notable is Tina Holmes playing Zach's sister).
Actually, every performance I've ever seen of hers is top notch.Brad Rowe (Shawn) likewise is a natural, and contributes a thoughtful, easy going character to the film.
This was my first time seeing Trevor Wright (Zach) and I was extremely impressed with his work.Writer-director Jonah Markowitz takes time in getting to the heart of the story, and when its center unfolds one finds a moving, emotional study of conflicting needs and desires..
But "Shelter" is an engaging story about a young gay artist, played by Trevor Wright, living with his sister and her son and how he feels completely responsible for helping his sister take care of the kid.
One of the truly great gay "love" stories on film..
What are you afraid of????) I've seen dozens of gay films made with "straight" actors on every continent but NA, and THEY are not afraid of real open mouthed, tongue involved, passionate kissing playing gay men, but actors of the USA are deplorably bad at expressing passion and deflate the film no-end.That aside, this is one of the truly GREAT GAY LOVE STORIES on film.
The great gay love films, about true love and affection and devotion, are rare and this is one of them.I'll add RED DIRT, LILIES, LILTING and THE NORMAL HEART to that short list of great gay love films.Brad Rowe is just the most down to earth, decent, loving, patient man in love and Trevor Wright gives an Oscar-nom worthy performance as the confused artist, coming to grips with practically everything in his life all at once.Kudos to the director, to both actors and gratitude to you all.
Shaun, played by the lovely Brad Rowe, encourages Zach follow his dreams a little more and take control of his life.
It takes a little while, but a little soul searching later their friendship soon morphs into a full on romance, all the while Shaun builds up a strong rapport with Zach's little nephew, Cody.There are some lovely comic moments spaced throughout the movie, for example, Zach and Shaun are in bed together after a bit of bonding, when they hear Gabe coming back from college, which results in a rapid hiding of Zach, which could have easily turned into loose farce had the scene pacing been carefully thought out.
I love indie movies, that's why I like to spend hours on the internet finding good ones, that's how I found "Shelter".
I really hoped the film to be good, since there were a lot positive reviews towards it, and I must say, it deserved it...The movie wasn't perfect.
Definitely one of the best movie I have ever seen, and I will keep loving it more every time I watch it..
i think that most people who 'loved' this movie would have called it mediocre at best if the main characters were straight.
Overall i think this movie is fun, nice storyline, good acting, nice script and all together a great film.
The movie has a lovely soundtrack that helps to enjoy the story..
Would she have the same reservations if it was a woman Wright was seeing?Shelter is a nice story about young gay life that doesn't involve, disease or promiscuity.
I'm not big into writing reviews, but in all honesty, this has been one of the Best gay themed films I have ever watched, no sex, just a dude coming to terms with his feelings, and his commitments to family and learning how to deal with it all.
I really hope there are going to be more movies like this one because in most of the others, gay people kind of equal sex and not love and a steady relationship like this one.
The film is technically very well made, and Trevor Wright's acting is wonderful (about the only thing going for it), but the movie seemed 5 hours long to me.
I see as many "gay movies" as I can, and have accumulated quite a collection of DVDs. I think it comes from having grown up and been a young adult and even not so young adult at a time when there were few gay characters in movies, let alone a genre called "gay cinema." As people who know me are aware, I'm pretty forgiving as a theatergoer/film-goer, and often manage to see good even in plays and movies that have gotten mostly negative reviews.Tonight I saw a movie that I can rave about without reservations, Jonah Markowitz' Shelter, a film every bit as fine (in all respects) as those which get nominated for Independent Spirit awards every year.Shelter is the story of Zach, a 20ish surfer/skateboarder/artist with a dead-end job and a dead-end life.
With an older sister more interested in going after the wrong men than in taking care of her 6-year-old son, it falls on Zach's shoulders to be the father figure in young Cody's life.
The return of Gabe's older brother Shaun makes Zach realize something about himself that he'd managed to avoid thinking about, and soon the two end up "more than friends." What makes Shelter such a fine film, besides Markowitz' gifts as a director/writer, the quality of its music, editing, and art direction, and the excellent performances of its cast (and that's already saying a lot), is the way it deals with seen-that-done-that themes in new and non-clichéd ways.
Yes, it's a coming out story, yes, Zach has trouble accepting who he is, yes, Zach's sister doesn't react well to having a gay brother, but no, Zach's best friend doesn't desert him, and no, his girlfriend doesn't have a hissy fit when she learns the truth, and in the end, Zach turns out to be quite a man.Ultimately, Shelter treats its gay romance pretty much like any straight indie film would treat a boy-girl one, and if ever there was a film which shows how "love makes a family," Shelter is that film.Trevor Wright (Zach), Brad Rowe (Shaun), Tina Holmes (Jeanne), Ross Thomas (Gabe), Katie Walder (Tori), and young Jackson Worth (Cody) couldn't be better and deserve to be remembered in award season, as do the filmmakers.Keep a copy of Shelter handy to loan to anyone who bemoans the state of gay cinema in 2008.
With a strong California look and feel as a backdrop, the film is about young Zach (played remarkably by Trevor Wright) struggling with maintaining responsibility to his family while dealing with friends and potentially giving up his academic dreams to be an artist.
And eventually he develops not only the strength to accept himself and Shaun into his life, but become an extraordinary father-figure to his 5 year old nephew, Cody.The beautiful thing about "Shelter" is that it doesn't rely on inane gay stereo-types (i.e.: flamboyant characters, drag queens, limp-wristed high-pitched voiced effete men, gratuitous sex bordering on pornography, etc.) or heavy-handed subject matter (drug addiction, HIV/AIDS).
Instead, Shelter is a riveting family drama and a story of first gay love set in a working class world.
Don't miss this one....The good story, true-to-life writing, great acting, and awesome soundtrack make this one of the best films out there.
And while now, after two years, I can enjoy the movie from a detached position and consider it to be a well-directed and well-acted movie, I still don't really see what the big deal is.And let me just say one thing: "Brokeback Mountain" has NOTHING on "Shelter." Have you ever watched a movie and just instantly fell in love with it?
And the whole thing was just beautiful.Trevor Wright is astounding as Zach, a young man who's struggling with his life on a day-to-day basis with his family, his on-again/off-again girlfriend, and his job.
It was also enjoyable to see gay characters allowed to interact with a young boy and play the Best Uncle role that so many of us carry in real life.
Expecting a rather shallow, coming-of-age-meeting-a-hunk kind of gay film, this movie delivers in many levels.
Very Good - Mercifully Avoids The Irritating Pitfalls Many Gay Films Fall Victim To. If you've been interested in watching a movie with gay characters but cringe in exasperation when you see guys dressing up as women, acting like tarts, courting death by way of promiscuity, taking drugs, feeling sorry for themselves or bathing in suicidal despair, then "Shelter" is the movie for you.
Trevor Wright (who plays Zach) and Brad Rowe (playing Shaun) make this film very likable.
Gay or Straight....Just a "feel good" movie!.
But how was even better.This is probably the best 'gay' film I've seen and look forward to seeing it again.
If you want to see another movie where they are allowed that happy ending, but want a more fleshed out story/characters then I highly recommend 'Maurice.' It is my favorite films of all time, gay or otherwise.
But all this being said, I would recommend watching 'Shelter' if you want a feel good movie that doesn't require much thinking and has nice surfer boys to ogle!.
The film is not like other gay movies I've seen...
Trevor Wright (who is all kinds of attractive) is a brilliant actor and brings the character of Zach to life perfectly.
It would be easy to see this as just a film about love of two gay men but it has a deeper story of the struggles of love between partner but also family and friends. |
tt0116329 | Fly Away Home | Thirteen year-old Amy (Anna Paquin) is riding passenger with her mother (Deborah Verginella) in their car one rainy night in New Zealand. All seems right and pleasant until the mother loses control of the car and crashes. Amy awakens later in the hospital to find her father, Thomas Alden (Jeff Daniels), who says that he's come to take her home with him to Canada. Her mother has perished in the accident. Thomas brings her back home to his farm where he's evidently been used to living on his own for a while; most of the rooms in the house are used to store works of art and the barn has become his workshop. Amy isnt used to the transition and claims she doesn't remember anything about living there. Her displeasure is further fueled when her father introduces her to his girlfriend, Susan (Dana Delany). Amy responds to the introduction with quiet hostility.As Amy tries to become adjusted to her new life, she finds her father's traits difficult to accept at first. One morning he angrily runs out of the house clad in nothing but his underwear to confront a construction team deforesting the area around his home. Another day, Amy finds him testing a new invention for flight; an aluminum glider strapped to his shoulders which he soon crashes in the surrounding field. Scared and unsure if her father's all right after the crash, Amy shuts herself in the house when he finally emerges and shouts triumphantly.One day, while exploring the area around the Alden farm, Amy comes across a portion destroyed by the construction crews. Under a fallen tree, she discovers an abandoned nest of goose eggs, some of which emit weak chirps. She gathers all the eggs and brings them back to the barn where an old bureau stuffed with scarves and cloth provides a safe place to put them. She takes a heating lamp from her father's workshop and uses it to provide light and warmth for the eggs. The next morning, as she's preparing for her first day at school, she stumbles on her uncle David (Terry Kinney) who Thomas invited over to help with his work. She's quickly ushered out the door and impatiently sits through her classes as the first of the eggs begin to hatch. When she arrives home, she greets her father and Susan who say theyre going to a town meeting. Amy later takes advantage of her uncle's distracted attention and sneaks away to the barn where she finds the newly hatched goslings. They look at each other and a bond immediately forms.At the meeting, Thomas speaks out against the construction thats been destroying the habitats around his home but is criticized by one of the drivers who says he's merely performing a job to provide income for his family. The local game warden (Jeremy Ratchford) draws attention when he addresses the threat of construction not only towards local home owners, but to the wildlife. Thomas and Susan return home to find Amy missing and frantically search for her in the night fog with a remorseful David. However, they find her sleeping in the barn surrounded by her hatchlings. When she wakes up, she asks if she can keep them.Though Thomas is welcome to do anything for his daughter's happiness, hes less than enthused about sharing space with a flock of geese. He goes to the game warden, Glen, and issues his concerns. Glen gives general advice and stops by the farm to observe the goslings following Amy around the property, a trait called imprinting where baby geese or ducks assume the first thing it sees is its mother and will follow. At the house, he attempts to pinion the geese in accordance to a law that states all domestic geese must be rendered flightless. It would involve cutting off the first wing joint of each of the goslings, something Amy objects to by hitting Glen over the head with her popcorn bowl. She quickly gathers up her geese in the bowl and locks herself in the bathroom while Thomas forcefully ejects Glen from the house. Glen threatens that he will have to confiscate the geese if they start flying. Thomas tries to apologize to Amy but she refuses to come out. She spends the night in the bathroom.The next morning, Thomas' friend Barry (Holter Graham) stops by the farm to visit while Amy is in the shower with her goslings. When she accidentally sprays soap into her eyes and steps out of the shower screaming, chaos ensues after Thomas breaks the bathroom door in to expose the naked Amy. Susan shoves a shaken Thomas out of the bathroom and tries to console Amy. Amy lets out her frustrations of having to live with her father who is 'so weird' and her anger towards the game warden. Susan says that she knows she cannot replace Amy's mother, but that she can be her friend and assures her, as a friend, that nothing will happen to the geese.Thomas realizes that the realities of the geese flying is a real problem and devises a way to show the birds how to migrate south. With the help of David and Barry he upgrades his glider with a series of engines to maintain flight until he is able to construct a frame that he can sit in and control the plane with. He introduces the idea of leading the birds south to Amy, who is hesitant but agrees to help. Still, no matter how many times they try, the geese prefer to stick close to Amy rather than follow Thomas in his plane. Frustrated, Amy decides to try manning the plane herself and manages to get airborne, with the geese following, before crashing into a fence. Thomas finds her alive and well but breaks down, having thought the worst.Despite that, having seen the slight success of Amy's ill-fated flight test, Thomas proposes to Susan that he teach Amy to fly a new glider and lead her and the geese south. Susan thinks the idea is ludicrous but Amy is excited. Thomas sells one of his art pieces, a model of the lunar lander, to fund construction of a new glider complete with goose wings and head. He teaches Amy how to pilot it and, to everyone's elation, the geese follow her in flight. David is able to contact a bird enthusiast and entrepreneur, Dr. Killian (David Hemblen) about introducing the geese to a local bird sanctuary in South Carolina. The expert explains that if the geese are able to land by a certain date, the land is theirs.Meanwhile, Thomas and Amy continue training the geese in flight, making them stronger and discussing flight paths and when their takeoff date should be. However, on one training flight, Igor, a goose born with a limp and hesitant to fly, is accidentally knocked out of the air when he flies into Amy's plane. Fortunately, he is found later by Amy and the others during a night search in the woods. During this time, however, Glen revisits the farm and confiscates all the geese in their crates unnoticed.The next day, Thomas picks up Amy during lunch period from school while David drives down to the game warden's office claiming to have hit a mysterious creature during the night. Glen is teaching school children about conservation while all this is happening. As David takes the officer at reception to his, now empty, truck and suggests scanning the area for the missing beast, Sharon and Barry spring the geese loose from the back of the building and herd them into flight as Thomas and Amy pass overhead in their planes, beginning the flight south. As they pass over the school, Glen is left speechless.After crossing Lake Ontario, low fuel forces Thomas and Amy to land on an army base where they are quickly taken into custody. After they tell their story, however, they are welcomed and allowed to stay the night before leaving the following morning with plenty of news reporters documenting their amazing journey. At one point Amy's geese become distracted by a large flock of wild geese and follow them into marshlands where hunters take aim at them. Amy and Thomas fly in low, shocking the hunters, and land to search for the geese. They come across an old woman with a shotgun (Gladys O'Connor) who offers them residence when she discovers that Amy is 'the little girl I saw on television'. Back en route, Amy and Thomas find themselves in thick fog and descend into a dense city, narrowly missing skyscrapers while navigating the main street below.On the last day of their trip, Susan, David, and Barry arrive at the bird sanctuary early to find a crowd of people waiting for Amy and the geese, shouting their support and protesting against a corporation bent on bulldozing the sanctuary. As Amy and Thomas get nearer, Thomas' plane malfunctions and he crashes into a field. He persuades Amy to fly ahead, saying that she's got her mothers spirit and that she will make it to the sanctuary. Thomas rides ahead and makes it to the sanctuary in time to see Amy fly in over the dunes and land safely to cheers of hundreds, both on site and watching on TV. Reporters flock to her as her geese flock happily to their new winter home.An epilogue video shows Amy waking up on an early spring morning to the sounds of her geese returning along the route she had led them on, testing their feet on a still frozen pond. | tragedy, inspiring | train | imdb | null |
tt0280490 | The Hard Word | Three prisoners are about to be released on bail - DALE (GUY PEARCE), MAL (DAMIEN RICHARDSON) and SHANE (JOEL EDGERTON). Meet the Twentyman brothers. Hard experience and an unspoken bond of family have made them masters of their craft - armed robbery. It's a job and they do it because they're good at it. Their only rule is, no one gets hurt.Keeping the wheels of crime turning is their long-time criminal lawyer, FRANK MALONE (ROBERT TAYLOR), who combines flashy arrogance with a complete disregard for the proper process of the law. Frank's network of contacts enables him to play the brothers and the system to perfection. But success has clearly gone to his head when he starts screwing Dale's wife, CAROL (RACHEL GRIFFITHS). Dazzled by her physical attractiveness, Frank has severely underestimated the brain underneath the blonde. Carol is one of life's greatest operators and she is determined to get what's hers.The brothers are out on bail, only long enough to do one job before they are back behind bars because of a problem with the 'paperwork'. Of course Frank will get them out but there's a catch. They must do a really big job if it is to be their last. Dale's festering suspicion about Frank's motives, and a bout with food poisoning, create an impossible situation leading up to a multi-million dollar heist. The job is to take place in Melbourne. Frank has lined up some local criminals to work with them, to the displeasure of the brothers. Up against the wall and with no way out, the boys proceed with the ambitious robbery, despite some dark misgivings. When it all goes wrong, the brothers discover the full extent of Frank's treachery as they make a desperate escape from the surrounding havoc. Breaking free of Melbourne in a hijacked car, the brothers have plenty of time to think on the long road back to Sydney. Although they have the money, they know Frank will not be far behind. And he isn't. And neither is Carol. | revenge, comedy, murder, violence, romantic | train | imdb | 'The Hard Word' is an excellent, well-paced Australian movie, straddling the genres of the American noir caper film and the British thick-ear crime drama.
but 'The Hard Word' is definitely a one-off original, and it's very good.The early scenes in this film take place in the Australian prison system.
(In Britain, criminals have a gimmick called 'backslang' which is a simpler version of the same thing.) Several times in 'The Hard Word', the dialogue is brilliantly ambiguous, carrying two meanings at the same go.Three felons are released on the same day: violent Dale, easy-going Malcolm and Pepsi-swilling mother-obsessed Shane.
(The dialogue identifies them as brothers; they don't look remotely alike, but that line explains why they stick together no matter what.) As soon as they get out, our lads participate in an armoured-car robbery that's been set up by their crooked lawyer Frank ...
One long sequence takes place inside a restaurant shaped like a giant cow.An actor named Robert Taylor (doesn't he know that this name's been used before?) is very good as Frank, the brothers' crooked lawyer.
I thought Rhondda Findleton quite sexy as an anger-management counsellor with a semi-Louise Brooks hairbob, but I was annoyed when her character became that prison-movie cliché: the sexy female prison staffer who goes home every night and can get any man she wants on the outside, yet who becomes sexually involved with one of the inmates a few minutes after she meets him!
"The Hard Word" is a gritty, sexy, Australian take on the double-crossing heist movie.
We get to hear Guy Pearce (long-haired and greasy) and Rachel Griffiths (blonde and wet) go native in their accents in an entertainingly original script by first-time director Scott Roberts.
While not the first film to have quirky brothers-in-crime as the comfortable loyalty fulcrum, the familial psychological pathologies make for a nice counterpoint to the friends', foes', and femme fatale's twists and turns.
It's sort of like an Australian version of the film "Confidence," only with better acting and more interesting characters.
Big time Hollywood star Guy Pearce returns to his old stomping grounds in Australia to headline crime thriller The Hard Word.
Also owes something to the direction of Guy Ritchie as several times I felt like I was watching an Australian version of Lock Stock.
Pearce heads a trio of bank robbing brothers stuck in jail, waiting to be released by their employers high profile members of the police force and their lawyer.
Joining Pearce in a quality Australian cast are Golden Globe winner Rachel Griffiths, Joel Edgerton (The Secret Life of Us), Damien Richardson, Vince Colosimo and Kym Gyngell.
Not like the characters we are served in American movies who drive around in flash vehicles, live in mansions and take great delight in getting involved in car chases with police.
It is this respect for Australia and the determination of the film makers to give The Hard Way some substantive local grit that makes it a successful film, proving that not all Australian movies have to be quirky.
If you loved The Hard Word, then this is certainly the movie for you..
There is a lightness here and what appears to be a refusal to take itself seriously as a genre piece.The main performances are stand-out, especially Guy Pearce and Rachel Griffiths.
The best of these is Kate Atkinson as a ditzy blonde, but the rest are cardboard-cutout caricatures.From an Australian perspective, it was nice to see Paul Sonkilla reprising his police hardman roles from some of my favourite TV series, although he appears to be slightly typecast.I found the cinematography and the sound production quite well done and overall I really enjoyed this regardless of the small flaws, which end up looking more like positive traits - keeping the feel of the movie real and not produced to death, which is a problem I find with so many Hollywood films..
Stellar performances from Guy Pierce (thankfully redeeming himself here after Time Machine) and Joel Edgerton - (best known for playing lovable Will on the TV show Secret Life of Us).It's a smart, funny movie that keeps the action moving along at a satisfyingly snappy pace.
However, the ending is somewhat disjointed and throughout the film you get the feeling that Scott Roberts had lots of good scenes in his head (and they ARE good) that he wanted to put on screen, but that they don't necessarily all work together.Nonetheless it's a highly enjoyable movie in the Chopperesque genre of darkly funny gritty dramas that Australia is beginning to earn a well-deserved reputation for..
Tough and profane, THE HARD WORD is a nasty little gem filmed in Australia during the criminal caper comedy run of production themes from 1999-2003.
Wait until you see how Rachel Griffiths greets Guy Pearce peering at her from behind the glass prison visiting room window in THE HARD WORD....
The Hard Word has a little bit of everything going at once - heist film, love story, comedy, and drama.
It could be (and was) marketed as a thriller about lowlife criminals, double crosses and crime not paying - in other words an obvious Australian-style Tarantino rip-off like the boring and derivative "Two Hands".
However it seems to take its cues more from the kind of slower paced, character-based crime movies that were popular from the 70's.Often movies like this one choose style over substance, and skitter along on simplistic scripts and dumb dialogue.
Not the case here at all-The Hard Word has enough going in both departments to keep you more than interested and entertained, a credit to writer/director Scott Roberts.
What makes the movie special is an amazing, low-key performance from Guy Pearce, whose talent becomes more evident every time he graces the screen.
Co-star Rachel Griffiths plays his sneaky, trashy, two-timing wife; her performance is not quite up to Pearce's, but doesn't do anything to weigh the film down, and most of the other actors are top-notch.
I liked this better than Two Hands - the cast and the jokes put it above.The story basically follows 3 brothers Dale (guy Pearce), Shane (Joel Edgerton) and Mal (Damien Richardson) who are bank robbers.
A peroxide blonde Rachel Griffiths plays Carol, Dale's wife, who has been sleeping with the brothers lawyer Frank (Robert Taylor who one of the agents in The Matrix).
And together they all plan to execute Australia's biggest heist!Joel Edgerton (who was Uncle Owen in a 2 minute Star Wars 2 role) is exceptional, I love how he plays a bit of psycho!
Lots of blood, fair bit of swearing and some general naughtiness makes this film a bloody good time!.
In my time, I have seen many films that have shown the bad side of people's lives, with The Hard Word being no exception.
The tough guys using, aussie language, committing major crimes and misdemeanors and most importantly, they are having a bloody' good time while they are doing it.
Meet the Twentyman brothers, Dale, Shane and Mal: hard bitten thieves with a self imposed honour code that demands nobody gets hurt.
Frank bullies the brother's into one last heist; a grandiose scheme that will either liberate or kill them, once and for all!I really enjoyed this Australian piece of cinematography.
Like Guy Pearce, she lightens up the screen as only she can, and has been refreshing to the movie industry.
Griffiths has had a good time of late and is about to star in the upcoming movie on the famous Australian bushranger, Ned Kelly, and has been in the recent movie hit, Blow, starring Johnny Depp and Penelope Cruise.Dale's younger brother Shane, is played by Secret Life of Us' star Joel Edgerton.
Look I could on about the cast of this film, with good roles from Robert Taylor, who played the scheming lawyer Frank, comedian Kym Gyngell, Russell Dykstra, Rhondda Findleton and Vince Colosmo.Yet this film also had a wonderful story and showed off the landscape that it had beautifully.
When you are about to watch this film, you could be mistaken for knowing what to except, but let me assure you, that once you have viewed the Hard Word', the characters' and most of their actions will amaze you, to the point that you would never have imagined or forget.
CMRS gives The Hard Word': 5 (Brilliant film).
Half the characters could easily be written out of the film without affecting the film in any negative way (take Rachel Griffiths character; half her involvement in the film seems like an afterthought - something they came up with when the producers realised they had a "real" actress on board).Acting is a highly mixed bag.
When a huge heist opportunity comes their way, revolving around the Melbourne Cup, they see their chance to get out for good with a nice lump sum of cash money.The cast is solid, featuring Guy Pearce (Mike from "Neighbours"), Joel Edgerton and Rachel Griffiths, the storyline is OK, but the story just bugged me.
"The Hard Word", just another B-flick about a bunch of people after a bunch of money, sticks Pearce front and center with a beard and perpetual sneer as a bad/good guy with Griffiths looking equally out of her element as his blond bimbo in a padded bra.
I loved The Hard Word and was wrapped in the totality of the experience that showed none of the shortcomings as related by others who commented on this film.I thought that the scripting and direction of Scott Roberts was very good: the inevitability of the consequences that unraveled as the script progressed had a Shakespearian inevitability about it As a viewer I sat watching this all too real story unfold knowing nothing good was going to happen for any player in this strange dance of death but being powerless to change any of the pieces that formed the inescapable conclusion to all that would befall the players.The script worked itself out without being forced through the Hollywood funnel which can do little but transform reality into something palatablefor the mid-American diet: movies as a metaphor for fast food..
The weaknesses were that (1) very occasionally it seemed like a TV movie (especially as similar roles had been played by some characters before on TV)and (2)the section where they escape with a drunk blonde with the loot is unconvincing.
It was better than the Mothman Prophecies, and Kikujuro was so sickly sachharin I was almost spewing in the aisle.I know, we're told to go along, and are encouraged to support the Australian film industry, but with films like The Hard Word coming out, every now and then, I think we shouldn't have a film industry.
My only reason for watching this is because I caught the tail end of it on cable and saw the ending before I saw the re-run of the film starring GUY PEARCE, an actor whom I liked in L.A. CONFIDENTIAL and MEMENTO.
It's no more than an average crime caper movie but watchable enough to pass the time.It's one of those hard to define flicks about a trio of hoodlums (brothers, actually) who are exploited by a crooked lawyer and, in the end, decide to take revenge.
But first time Aussie director Scott Roberts has taken some very far out material with lots of quirky potential and turned it into a fairly interesting heist film that moves swiftly toward a most unlikely ending.
Along the way there are a lot of twists and turns--watch especially for the crucial scene where Pearce decides to take care of the corrupt lawyer all by himself until the unexpected happens.RACHEL GRIFFITHS is effectively cunning as Pearce's blonde and trashy wife, and JOEL EDGERTON has fun with his role as the wildest brother who is most brazen about his prison behavior with a counselor.
Also Guy's nose looks weird throughout the film, like Nicole Kidman's in The Hours, it made me a little bothered.
I was kinda disappointed in this movie,I though that Guy Pearce,that usually does good in movies(Memento,Count of Monte Cristo,Time Machine)would be able to save this one.but sadly it was to far gone even for him.seems like it was poorly edited or just quickly slapped together..
The Hard Word was hilarious because it was so Australian.
By this i mean that it wasn't polished and fake looking, like a hollywood film, the actors were tough and gritty and the casting focused more on talent than on good looks.
Guy Pearce and Joel Edgerton gave great performances.
It was nice to see Guy in an australian film again.
I love Guy Pearce, with or without nose putty, so I picked up The Hard Word from 2002.
It also stars Rachel Griffiths of "Six Feet Under" fame, Robert Taylor, Joel Edgerton, and Damien Richardson.Pearce, Richardson, and Edgerton play the Twentyman brothers, Dale, Mal, and Shane.
They are currently in prison, but when they're released on bail, they have time for one job until they need to return to prison due to a "paperwork" problem.Their attorney, Frank (Robert Taylor) is in love with Dale's wife Carol (Griffiths), and Dale suspects.
Yuk.As a blond, Griffiths looked terrific and did a good job as Dale's sexy and cool wife.The rest of the acting was good - Pearce, Edgerton, Richardson, and Taylor are all familiar faces.
It's a romp in that some segments are a bit cartoonish and comic in nature and the violence in it isn't anything emotionally jarring or tramautic.Fans of Pierce and Edgerton will probably watch this while going through their catalog of films and I think they won't be displeased although my favorite character was the sausage making good-natured and lovable 3rd brother Mal played by Damien Richardson.For those still skeptical, just give it a watch and see if it doesn't catch you in the first 20 or so minutes..
This film started off so great, although I couldn't figure out if Rachel Griffiths was supposed to look sexy or not.
This film, though it succeeds in digressing from the standard "Heist Movie" formula (worn down to an imperceptible nub of its once original splendor), makes no effort to be what one would term "good".
Did you see, nobody ever does that." Well, nobody (at least not anyone that produces a film for public consumption) has put a gerbil in a blender and filmed it, but I'm not gonna expect people to be impressed if I'm the first.While I am tired of the same movie coming out over and over again under different titles, with different superstars playing the same role, I do think that there are conventions in writing that are necessary for all but the few geniuses who know how to break the rules (and usually, they follow others).
The Australian film, `The Hard Word,' is little more than a wan cross between `The Usual Suspects' and `Oceans 11.' In it, Guy Pearce, almost unrecognizable beneath a scraggly beard, plays one of four criminals discharged from prison in order to help mastermind a heist at the famed Melbourne Cup horse race.
The real problem with `The Hard Word,' though, is that we've seen it all countless times before, only better..
Good guy Aussie gangsters try one last heist.
What can you say about an Aussie film that's blokey enough to throw what approaches character maturation or maturity onto the editing floor?It's not as if The Hard Word is a hard nosed gangster film like for instance Lock, Stock and Two Smoking Barrels.
The Hard Word has a much softer touch and its main characters were just aching for some sort of real happiness.
The Hard Word badly needed those female characters.The third brother's wife is as she says in the script `a c**t.' She sports a manly swagger that would do the boys proud.
Often tough guy films can be exciting, Chopper presents itself immediately, but whereas the Eric Bana character in Chopper was violent, sad and funny, the five hard central characters in The Hard Word are unreservedly macho, immature and shallow, including Carol played by Rachel Griffiths.
The Hard Word isn't a tough guy film but it acts like one.
That psychologist could have ended up deliciously surreal.The Hard Word, in spite of strong performances from Guy Pierce, Joel Edgerton, Damien Richardson and Rachel Griffiths is misdirected and badly written.
The Hard Word introduces us to Dale, Shane, and Mal Twentyman, three brothers Down Under and all in the same jail.
He's also got Dale's (Guy Pearce's) wife.
The wife, Carol, played by Six Feet Under's Rachel Griffiths, would be great if she didn't look so much like Laura Dern played by a man in drag: but she's hard all right.
He and the actors playing his brothers Shane (Joel Edgerton) and Mal (Damien Richardson) are all plainly having a lot of fun, which viewers can't help but share.
And finally, how could Frank come and propose another, bigger job after double-crossing them twice big time?After his successful international choices, notably LA Confidential and Memento, I guess Guy Pearce though he'd enjoy doing something lower keyed back home.
Eventually everyone gets fed up with Frank, and in a truly bizarre final scene, they turn him into a sausage.The underlying flaw in the film is that it fails to explore the characters or situations in a new or interesting way.
I am glad that there were sub-titles available for this Australian heist & chase film, as the accents nearly made it hard to understand the dialog.Guy Pierce & Rachel Griffisth are the stars & they do well.Joel Edgerton, Damien Richardson & Robert Taylor are on hand as well & they too do a fine job,.However, we have seen this tale ( 3 likable Brothers are released from prison---one of their wives is sleeping with their lawyer,) We have seen variations of this too many times to be taken in,..
If you watch The Hard Word expecting yet another heist/caper flick in the vein of The Bank Job, you're going to be frustrated.
And, right in the middle, Rachel Griffiths' character -- a somewhat unwilling and perhaps incompetent femme fatale.There's plenty of action in the film, including a climactic heist, but these events are surprisingly low-key. |
tt1361843 | Van Diemen's Land | This is the true Story of Alexander Pearce, an Irishman who was sentenced to forced labour on the island of Van Diemen's Land (Now Tasmania).The Film is initially about the brutality of this wild untamed wilderness for seven runaways. Van Diemen's Land appears to be a place bereft of any kind of life other than the escapees themselves. The cinematography captures a horrendously cruel wilderness.Initially on their escape from captivity, the convicts are able to sustain themselves upon small morsels of bread. After a short time, however their meagre food is totally exhausted; leading them to consider more drastic measures for their nutrition. Robert Greenhill (Played by Arthur Angel) plots to murder another of the escapees, Alexander Dalton (Mark Leonard Winter) and eat the meat from his corpse. This plan is not shared with the complete group however. The murder of Dalton is quite graphic and nothing at all is left to the imagination. On the completion of this vile act, the group - rather than rally around and agree that "needs must", become morally split. Two of the older members of the group are totally aghast at the measures that Greenhill and his lackeys are going to and they decide to make their own way, having refused to eat the new "feast" on offer.Anyway to cut a long story short - John Mathers (Torquil Neilson) is next for the chop when he starts to go mad. As the story progresses the madness intensifies and everyone remaining in the larger party becomes a target, culminating in the remaining two antagonists, Robert Greenhill and Alexander Pearce (Oscar Redding). As the film reaches its climax the coveted hatchet becomes the machine gun of its day. The wielder is the "boss" and holds sway over the other. Greenhill has the hatchet initially but the early bird catches the worm as they say and Pearce snatches it as the other man sleeps. Immediately Greenhill starts to wakefulness and blurts out - "Get it over with then" - Pearce obliges before hacking off a forearm and eating it raw.This is the end of the movie. Overall an excellent film and well made with wonderful shots of the landscape and the hardship endured. It isn't particularly one to watch with your girlfriend at Primetime on a Saturday evening though..... | dark, murder | train | imdb | Despite moving at a slow pace and sometimes lacking in exposition, Van Diemen's Land is an impressive film.
The story of Alexander Pearce's escape, along with 7 other convicts is gut-wrenching, especially when we take into account it is inspired by a true story (to which extent, we may never know).
As soon as the movie begins, you are hit by jaw-dropping cinematography that definitely takes you in this very different place and time.
The movie does not rely on much dialogue and at times, suffers a little from thisThe characters are very life-like, even if they aren't sketched very clearly to start.
Not a cartoonish Hollywood-like evil but rather, the terrible things men can do and the group dynamics displayed when acts of cruelty are done.
The narration by the character Pearce did not work all that well for me, and the movie felt a tad long to me due to its slow pace but this was an uneasy viewing.
When all that Life has left you is no future, a few rags and a brutalized nature then the consequences can reach unfathomable depths.I've read some of the negative reviews for this film and can understand it when viewers who watch 'sanitized' Technicolor visions of what are classed as the 'norm'
that is their benchmark and they don't like concepts that stray beyond that.
But when one has watched unglamourous brutality and emotions in such good, raw films like Saving Private Ryan, Last of the Mohicans, Apocolypta, Fateless and the superb Kokoda, then one can appreciate what this true-life film was trying to achieve.There are no heroes in this film
and no villains, just survivalists.
From the uniformed officers and men posted to what seemed a god-forsaken land, to the convicts they had control of, they all had one thing in common
the desire not to be there!I'll not watch this film again for a couple of months as I'd like my senses to be on an even keel next time, but already I'm looking forward to it..
This is based on a true story and although I'm not to fond when movies come along with tags like that, I really liked this one.
So as you can imagine, I didn't know the true story behind this movie and if you can, don't read anything the movie or it's origin and just watch it to be surprised.
This feels like a 'Tourism Tasmania' commercial with a touch of cannibalism, truly a great combination.The movie is based on the true account of Alexander Pearce, Australia's most notorious convict, and the events that took place in 1822, as Pearce and a group of convicts escape into the Tasmanian wilderness.
The group is then left at the mercy of nature, themselves, and notably the human desire to eat.This is truly a beautiful movie, the cinematography of sweeping landscapes and rugged bushland is worth watching the rental/ticket price alone.
This is also one of the main strengths of this film, it makes you want more; I was always wondering what was going to happen next, what's that guy going to do, where are they going, what's around that corner, what does that taste like etc
Ultimately this factor leaves the viewer a tad unsatisfied yet appreciative of the movie as a whole.On the Fruit-Meter, Van Demons Lands gets the "KIWI-FRUIT" - A bit grizzled and rough on the outside, but once you peel off the skin it's fresh and tasty, but it was a small fruit and I want some more.
In one scene the director focuses on a mountain top for longer than five seconds (It was long enough for the thought to enter my mind- did he hike up here with a camera and say, well I made it up here so this shot is taking up at least six seconds of this movie!)Budgetary constraints doesn't mean the film couldn't have been successful, engrossing, and in some ways this gave it an advantage over any big-budget films that may succeed it.
Whereas they would spend time on back-story, by cutting straight to the shock value of the cannibalistic 'middle part of a possible trilogy' as suggested by an earlier comment, Auf Der Heide could have given a definitive interpretation of it.
Time saved on earlier scenes could have been used to give more depth to the inter-group dynamics, leaving the viewer wondering 'who would be voted off next', in a Survivor-like scenario.
If you're making a film like this with a low budget, the focus has to be more on the human aspects of the group.
How could it have better elicited tension and emotions?· Fleeing the prison- dialogue about having to escape the deadly conditions would have helped us see the need for escape· The decision to resort to cannibalism- the portrayal of how the resources diminish isn't done in a way that builds tension, it's merely documented.
· There was no moment of catharsis where he reaches the village and is 'saved', if a man can be saved after what he has been through.Ultimately it's a poor script that failed to bring out the potential of the subject matter or to deliver any character I would either remember (the Alexander Pearce of my memory is the one whose character was explored in the documentary I saw) or whose survival I actually cared about even in the closing scenes of such dramatic potential..
The actual events of what happened after Alexander Pearce's first escape from the prison colony in Tasmania, according to Pearce himself, are shown in this movie.
The cinematography showing the Tasmanian wilderness is visually splendid.Do not expect a typical slasher/horror film, this movie is much more intelligently written and directed.
It is a good opportunity to know the history by watching this film, and to think about what action we would take if we were in that position, deeply review ourselves..
Went to watch a movie with my mrs and as you do look for hours to find a good one except this was a complete scheissehouse of a thing.....
A horrifying tale of murder and cannibalism in Van Diemen's Land.
File it away for future reference, because this young Tasmanian director has chosen for his first feature film a story so dark and grim, a tale so horrific, that you will want to keep a 'watching brief' on his career to see what he follows Van Diemen's Land up with.The film first saw light in an early short as Jonathan's Victorian College of the Arts graduation film called, Hell's Gates, which went on to be named Best Student Film at the Melbourne International Film Festival in 2008.Van Diemen's Land, as every adult Australian would know, is the first name given to Tasmania by British authorities during the early years of white settlement.
A dreaded penal colony, with a fearsome reputation, Van Diemen's Land saw more than its share of horror and barbarism meted out to the convicts unlucky enough to end up there.This film, set in 1882, tells the 'true' story of eight convicts who escape from a working party and head out across the Tasmanian wilderness in search of Macquarie Harbour (the Hell's Gates in the title of the original short), where they believe a ship will be waiting to carry them away from the island.One of the escapees is Alexander Pearce, a Gaelic speaking Irishman.
Pearce, was in fact, the only convict to survive the harrowing trek across Tasmania's wild mountainous peaks and valleys, and following his recapture, told a horrifying tale of murder and cannibalism that still echoes and shocks more than a hundred years after the original events took place.Filmed entirely on location in Tasmania and Victoria's Otway Ranges, the film has a dark foreboding quality about it that doesn't let up across its entire 100 minute length.
The air is constantly heavy with rain and damp, and one can only imagine what these convicts from England, Scotland and Ireland must have thought as they set out on foot to cross one of the harshest and most forbidding environments on earth.The film is hauntingly narrated by Pearce, who peppers his comments with poetical insights into the human psyche that are often as shocking as they are profound."I've looked up at God looking down", intones Pearce in his native Gaelic, "He dances with an axe in his hand." Or this: "Let God have his Heaven.
Although it felt like a rewarding experience, Van Diemen's Land is not what you would call an easy watch.
The score is haunting, and the film is beautifully shot, with bleached-out greens emphasizing the unforgiving nature of their surroundings and predicament.The trailer gives a good indication of what to expect, including two of the more iconic sequences that stayed with me long afterwards – one scene where the group are running time-lapsed and ghost-like through the forest trying to escape their pursuers, the other the shockingly swift brutality with which the second inmate on the menu meets his maker.
Elsewhere, we experience the messy and protracted depiction of how hard it is to kill a man, and as the numbers dwindle whilst the tension and paranoia mounts, individual camp fires become the order of the night, as the lengths men would go to survive become increasingly desperate.On the downside, I struggled to hear some of the heavily-accented dialogue (especially when the speaker was off screen), and it was hard to believe that there were no other nutritious animals in a rainforest, bar a solitary snake.
Van Diemen's Land is a beautiful film to behold but a lot more work was needed on the screenplay..
In 1882, several convicts escaped custody to brave the harsh conditions of Van Diemen's Land in Tasmania.
One of the escapees throughout the film is based on the real life convict Alexander Pearce (Oscar Redding).
Much of the tension throughout the film is derived from each man knowing that he is at risk of being the next person to be killed.The first feature film from director Jonathan Auf Der Heide is a great technical achievement.
The cinematography throughout Van Diemen's Land contains some of the most beautiful shots you are likely to see this year.
Heide previously made the short film Hell's Gate, which shared the same story about Pearce and his escape, and also starred Oscar Redding.
The performances throughout the film are solid with sporadic dialogue, but we needed to get to know these characters well so that we could care about their struggle more.Perhaps one of the most fascinating elements that can be taken indirectly from the cannibalism is the subversion of the Australian archetype of mateship.
The film's most damning death occurs before a blow is landed, as a convict is bitten by a snake, inevitably suggesting that he will not be able to continue and will have to be slaughtered.Van Diemen's Land is a beautiful film to behold but a lot more work was needed on the screenplay.
Like another film based on a true story from Australia - Snowtown - this is a grim telling of a very unpleasant tale.
The palette of the movie is gritty and washed out with a persevering lack of hope, and just in case you were in doubt the musical score reflects the vast and dark land.
As a horror genre fan no horror movie is anywhere near as horrific and haunting as I found this one, because it's a real story about a terrible thing.
"Wasn't the devil in you when you brought me here?"'Van Diemen's Land' opens up a window into the darker chapters of Australia's convict settlement past, when the British penal colony was a harsh, unforgiving wilderness populated by struggling pioneers and convicts sent to the other side of the earth for stealing so much as a loaf of bread.
In 'Van Diemen's Land', we join the convicts on the day of their escape attempt and follow the grizzly events that ensue.The story of Alexander Pearce is perhaps not unsurprisingly missing from the school curriculum in Australia, and it was only through this film that I myself became familiar with this dark chapter of White Australia.
'Van Diemen's Land' inspired me to fire up my browser and learn more, with the realisation that in movie terms, I was watching the middle part of a trilogy.
Director and co-writer Jonathan auf der Heide, however, appears to be fixated upon the middle part of the story, and while the moment when Pearce acquired a taste for human flesh strikes an undeniable discord with all but perhaps the Korowai tribe of Papua New Guinea, I can't help feeling that it's a little like telling the tale of Ned Kelly focusing only on the killings at Stringybark Creek.
Oscar Redding, perhaps the best-known, creates an Alexander Pearce just possibly capable of redemption, up until the moment he agrees to sacrifice a member of the party for food, while Arthur Angel portrays a Robert Greenhill you wouldn't want to be within twenty miles of when it came time to sleep.
Filmed on location in south-central Tasmania, the authentic natural backdrop does much on its own to sell the concept that the escapees are not only at the end of the earth as they themselves suggest, but that the land is cold and unforgiving - just as much today as it was in 1822.
If I have issues with the film, therefore, it's the storyline.By focusing purely upon the escape attempt and the descent into cannibalism, the tale feels reduced somewhat into a B-grade exploitation horror.
There is far more to the Alexander Drake story than we are witness to in 'Van Diemen's Land'.
Certainly any proud Australian and film fan should see 'Van Diemen's Land' for this purpose, and genre fans everywhere will appreciate what it does achieve.
I didn't know much about the story apart from the setting and that there was some cannibalism involved.Contrary to what IMDb says about "Australia's most notorious convict", I have lived in Australia for 20 years and had never heard of the main protagonist.
I only wish that I had had the opportunity to display subtitles for the English as well as the Gaelic as some of the phraseology and accents were hard to catch.There was a scene in the second half where the picture quality deteriorated for a minute or two but that may have been down to a bottleneck in the bandwidth.I was in two minds as the credits rolled about the beginning and end of the film.
We can only wonder grimly how we too might act in similar straits.It's a film that shows a rare side of humanity, an unexplored piece of history and features some excellent music, cinematography, acting and an intelligent, believable script.
It's a simple story which makes it difficult to adapt to a feature length film, and this attempt fails dismally.It is an incredibly dull and flat movie.
Making a film set 200 years ago, about a group of escaped convicts in a remote part of the world, and who end up turning to cannibalism is not an easy task, quite obviously.
That this film succeeds to the degree it does is a testament to the people behind it.There must have been a lot of time spent by the writers and director trying to work out the right approach for Alexander Pearce.
This was a man transported to the colonies for the theft of six pairs of shoes, not any type of violent act.The need to eat your fellow escapees would have been a slow dawn of horror, and that is captured quite nicely here as these uneducated men stumble off into a world they knew nothing about.
The acting is good as well, and the use of Gaelic for the occasional introspection of Pearce helps to prompt the viewer to think of just how someone can end up so far from home, and in such a horrific situation.Unfortunately there are a few stumbles as well, forgivable as this is the director's first feature.
To be fair, though, the depiction of cannibalism as the inevitable outcome of tackling this terrain with limited supplies is the main story, and given the limited budget of the film they were probably wise to focus on that aspect exclusively.All up, congratulations to the filmmakers for tackling such a tough subject and making it watchable.
The film is not easy to stomach (pun intended!) but you cannot watch it and not be affected, and is that not the aim of any movie?
But this film makes you think about your own response to landing in such an awful situation as these men.
And why is this story worthwhile a whole feature film?
If people are without food for a prolonged time they actually loose weight, and the characters as portrayed in Van Diemen's Land, although made to look somewhat dirty, seemed as healthy as anyone can be!
So, I recommend passing this movie unless you like watching people bashing in each other's brains for no particular reason whatsoever.
Auf Der Heide has crafted the best of all the Pearse projects- stark and uncompromising, the film doesn't shy away from the brutal fates the eight convicts escaping into the Tasmanian outback suffered- the men butchered for meat don't die quick and easy, as in many a Hollywood film.
It is a difficult and uncomfortable story to tell, but nonetheless a story well worth telling, and in my opinion, well told.I thought the actors we well chosen and played their characters descent into madness with frightening realism.The director was clever enough to shy away from gratuitous gore, but still managed to tell a very convincing horror story.I am 40 years old, and watched this with my wife and the in laws who are both in their sixties.My wife and I both liked the movie, but the in-laws disliked it. |
tt0098577 | Vampire's Kiss | Peter Loew (Nicolas Cage) is a driven literary agent, who is slowly going insane. He works all day, and club hops at night, with little in his life but one night stands and the pursuit of money and prestige. He sees a therapist (Ashley) frequently, and during these sessions, his declining mental health becomes clear through a series of increasingly bizarre rants that eventually begin to scare even his psychiatrist. After taking a girl he met in a club named Jackie (Kasi Lemmons) back to his place, a bat flies in through his window, scaring them both.
At his next session he mentions to his therapist that the bat aroused him. After visiting an art museum with Jackie the next day, he ditches her and she leaves an angry message on his phone.
Loew meets Rachel (Beals) at a night club, and takes her home. She pins him down, reveals fangs, and feeds on him. He soon begins to believe that he is changing into a vampire. He stares into a bathroom mirror and fails to see his reflection; he wears dark sunglasses during the day; and, when his "fangs" fail to develop, he purchases a pair of cheap plastic vampire teeth. All the while, Rachel visits him nightly to feed on his blood.
He experiences mood swings and calls Jackie back apologetically, asking to meet her at a bar. As he is about to leave, a jealous Rachel appears and beckons him back inside. A dejected Jackie eventually leaves the bar and leaves an angry note on his door asking him to leave her alone.
A subplot concerns a secretary working at Loew's office, Alva Restrepo (Alonso). Loew torments her by forcing her to search through an enormous file for a 1963 contract. When she fails to find the contract, he at first browbeats and humiliates her, then visits her at home, and finally attacks and attempts to bite her at the place where they both work. She mistakes the attempt to drink her blood as a rape attempt, causing her to pull out a gun, and Loew begs her to shoot him. Since it is only loaded with blanks, she fires at the floor to scare him off. He eventually overpowers her and mocks her rape-assumption by ripping her shirt open and knocking her down. He then takes the gun and attempts to fire it in his mouth, but after doing it twice, the blanks do not kill him.
He goes out to a club wearing his vampire teeth, and begins to seduce a woman, but when he gets too grabby she slaps him off, but he then overpowers her and bites her neck, having taken out the fangs and using his real teeth. He then puts the plastic fangs back in. Leaving the club, Loew has a brief, ambiguous encounter with Rachel: she admits to knowing him, but gives the impression that they have not been in contact for a long period. He accuses her of being a vampire, and is expelled from the club.
Alva wakes up with her shirt ripped open, possibly thinking she was raped, and eventually tells her brother about the sexual assault, and he goes after Loew to seek revenge. Loew is wandering the streets in a blood-spattered business suit, talking to himself. In a hallucinatory exchange, he tells his therapist that he raped someone and also murdered someone else. Based on a newspaper, the latter appears to be true, as the girl he bit in the club is announced dead. As Loew returns to his now-disastrous apartment (which he'd been using as a sort of vampire cave) Alva points out Loew to her brother, who pursues him inside his home with a tire iron.
In the midst of an argument with an imaginary romantic interest (supposedly a patient of his psychiatrist) he begins to retch again from the blood he had swallowed, and crawls under an upturned sofa. Alva's brother finds him and upturns the sofa, and Loew holds a large broken shard of wood to his chest as a makeshift stake, repeating the gesture he had made earlier to strangers on the street when he had asked them to stake him. Alva's brother, in a rage, pushes down on the stake and it pierces Loew's chest. As Loew dies, he envisions the vampire-Rachel smiling at him one last time. | absurd, cult, psychedelic | train | wikipedia | null |
tt0078875 | Die Blechtrommel | In 1899, Joseph Kolaizcek, the grandfather of Oskar Matzerath, the main character, is being pursued by the police through rural Kashubia. He hides underneath the skirts of a young woman named Anna Bronski, with whom he later has a daughter – Oskar's mother. He evades the authorities for a year, but when they find him again, he either drowns or escapes to America and becomes a millionaire.
Anna's daughter Agnes has two lovers: her cousin Jan Bronski, a Polish Post Office worker, and Alfred Matzerath, a chef whom she marries. The two men are great friends. Agnes gives birth to a son, Oskar. Oskar's father is uncertain; Oskar himself believes he is Jan's son.
On Oskar's third birthday, he is given a tin drum. He decides to stop growing and throws himself down the cellar stairs. From that day on, he does not grow at all. Oskar discovers that he can shatter glass with his voice, an ability he often uses whenever he is upset. Oskar's drumming also causes the members of a Nazi rally to start dancing. During a visit to the circus, Oskar meets Bebra, a performing dwarf to whom he can relate.
When Alfred, Agnes, Jan and Oskar are on an outing to the beach, they see an eel-picker collecting eels from a horse's head used as bait. The sight makes Agnes vomit repeatedly. Alfred buys some of the eels and prepares them for dinner that night. When he insists that Agnes eat them, she becomes distraught and retreats to the bedroom. Jan enters and comforts her, all within earshot of Oskar who is hiding in the closet. She calmly returns to the dinner table and eats the eels. Over the next few days, she binges on fish. Anna Bronski helps reveal that Agnes is worried her pregnancy is due to her relations with Jan. In anger, Agnes vows that the child will never be born. She dies, though the cause is never revealed. At the funeral, Oskar encounters Sigismund Markus, the kindly Jewish toy seller who supplies him with replacement drums, and who was also in love with Agnes. Markus is ordered by two of the mourners to leave because he is Jewish; Nazism is on the rise, and the Jewish and Polish residents of Danzig (Gdańsk) are under increasing pressure. Markus later commits suicide after his shop is vandalized and a synagogue is burned down by SA men.
On 1 September 1939, Oskar and Jan go looking for Kobyella, who can repair his drum. Jan slips into the Polish Post Office, despite a Nazi cordon, and participates in an armed standoff against the Nazis. During the ensuing battle, Kobyella is fatally shot and Jan is wounded. They play Skat until Kobyella dies and the Germans capture the building. Oskar is taken home, while Jan is arrested and later executed.
Alfred hires sixteen-year-old Maria to work in his shop. Oskar seduces Maria, but later discovers Alfred having sex with her. Oskar busts into the room, causing Maria to become angry at Alfred. She and Oskar fight, and he hits her in the groin. She later gives birth to a son, who Oskar is convinced is his. Oskar also has a brief sexual relationship with Lina Greff, the wife of the local grocer and scoutmaster.
During World War II, Oskar meets Bebra and Roswitha, another dwarf performer in Bebra's successful troupe. Oskar decides to join them, using his glass-shattering voice as part of the act. Oskar and Roswitha have an affair, but she is killed by artillery fire during the Allied invasion of Normandy while on tour.
Oskar returns home. Much of the city has been destroyed and the Russians are fast approaching. Oskar gives Maria's three-year-old son Kurt a tin drum like his own. The Russians break into the cellar where the family is hiding. Some of them gang-rape Lina. Alfred is killed by an Asiatic soldier after swallowing and choking violently on his Nazi party pin, apparently betrayed by Oskar.
During Alfred's burial, Oskar decides to grow up, and throws his drum into the grave. As he does, Kurt throws a stone at his head and he falls into the grave. Afterward, an attendee announces Oskar is growing again. The family, apart from Anna Bronski, leave for the West. | violence, magical realism, psychedelic, murder, romantic | train | wikipedia | null |
tt0130827 | Lola rennt | The movie opens with a series of questions about humanity and what we know to be true. After the credits, the camera zooms into a house and stops at a ringing telephone. Lola picks up and begins talking to Manni. Manni is in a telephone booth and questions her about where she has been since she was supposed to be waiting for him at the spot they had planned on. She tells him some guy stole the moped she was on while she was in the store and that it happened so fast she couldn't catch up to him. Manni begins to cry. He tells Lola that he made a big mistake and claims they're going to kill him. Lola asks him what happened and he begins to recollect the events. He says everything was going as planned; the car transactions went well, he got the diamonds he needed and crossed the border successfully, his encounter with a dealer went well, and he got the money he needed: 100,000 marks. All that was missing was her waiting for him at the spot. He walked to the train station and got on, but a bum bumped into him and fell. He helped the bum up, but two security guards got on the train. On instinct, he got off leaving the bag of money on the seat. He did not realize it until a minute or two later. He tried to go back to get the money but was stopped by the two security guards. The train left with the bag of money and the bum opened it, immediately grabbing it for himself. Manni tells Lola he would not be in this situation if she had been there on time. He blames her for being so sensitive and for believing love can solve anything. He tells her to come up with 100,000 marks in twenty minutes because that is all the time he has left before he has to meet Ronnie, his boss, and turn in the money or else he will kill him. He begins to tell her that over and over again until Lola screams "Stop" so loud, a few glasses on her TV set break. She finally tells him that she will come up with something in twenty minutes. She tells him to stay where he is and she will get him the money. He gets desperate and spots a store across from his phone booth and tells her that he is going rob it because that's the only way he can come up with that much money in twenty minutes. Lola thinks he is crazy and tells him again not to move from there. She tosses the phone and begins to think who she can go to. Images of possible people flash in her head until she finally decides on her dad.First Run: She begins to run through the city, and she bumps into a woman and her baby in a carriage. In a series of photo shots, it depicts the woman's future. Her baby is being taken away by social services and she ends up taking someone else's baby in a park. The camera returns to Lola running. Meanwhile, her dad and a woman is having a conversation in his office at a bank. The woman is telling him that she cannot go on lying and doesn't know who she will wait for a man who doesn't want to be with her. Lola continues running and encounters a guy on a bike who, while riding next to her, wants to sell her the bike for 50 marks. She says no. In a series of photo shots, his future is shown. He gets beat up by some men, and his bike is taken away. He ends up in a hospital where he meets a nurse, and they get married. It goes back to Lola crossing in front a car that barely misses her. The man driving stares at her and doesn't see another car coming, crashing into it. Manni is still in the phone booth. He is talking to someone and asks the person what he is supposed to do with 500 marks. He hangs up and returns the phone card to the blind lady he borrowed it from, but she doesn't take it. Meanwhile, Lola's dad and the woman are still talking and she tells him he has to decide whether or not he wants to be with her because she's pregnant. Lola finally reaches her dads work and is running to his office but accidentally bumps into a clerical worker. Again, in a series of photo shots, her future is shown. She gets into a car accident, is paralyzed, and then commits suicide. Lola finally reaches her dad's office and asks him for help. She tells him she needs 100,000 marks or her boyfriend will die. He starts to ask questions about her boyfriend and she tells him It doesn't matter in a scream so loud, she breaks the glass wall clock. He then walks her out and tells her he is leaving her mother and marrying another woman. He also tells her that he is not her father and throws her out. Lola is dazed for a little bit then exits the bank. A lady approaches her and asks her what is wrong, but Lola asks for the time and begins to run again. Manni is on the phone with someone and seems frustrated. He walks up to the store he plans on robbing and looks inside. Meanwhile, Lola is running and repeating over and over for Manni to wait for her. Manni makes up his mind and enters the store. Lola gets there too late because he is already pointing a gun and telling the cashiers to open the cash registers. She bangs on the window glass and asks him why he didn't wait for her. He tells her she got here too late. He then asks her if she is with him. At first, she just wants to leave, but she then grabs a bag of glass bottles from a lady nearby, goes into the store, and hits the security guard on the head. She grabs the gun from the guard and covers for Manni while he gets the money from the registers. They take off running, but the police block them. They run the other way but get blocked from that direction as well. Manni throws the bag of cash at the police. While looking up at the bag, the cop accidentally fires his drawn gun and hits Lola in the chest. She falls back, and Manni goes to her. She thinks back to when she and Manni were in bed together, and she questions his love for her. Manni finally asks her if she wants to leave. She replies no; she does not want to leave. She then says, "Stop", and the movie goes back to the beginning.Second Run: She hangs up the phone and begins running with her dad already in mind. She bumps into the same woman and her baby. This time, in the series of photo shots, the woman wins the lotto and is happy. Lola continues to run and encounters the man on the bike again, but this time his photo shots depict him as a bum and a drug junkie. She keeps running and instead of crossing the car, she jumps over it. The man still crashes into the other car because he is staring at her. She continues to run and bumps into the homeless guy with the bag of cash. She obviously does not know he has the money and keeps running. Meanwhile, her dad and the woman are having the same conversation. She asks him if he wants to have a baby with her even though it might not be his. At that moment, Lola enters the bank. This time, as she is running to her dad's office, she doesn't bump into the clerical worker. She gets to the office and finds them arguing. This time, he is telling the woman he cannot leave his sick wife and three kids. He tells Lola to leave them alone and go home, but she tells him she needs money. The woman tells her she should be ashamed for barging in on them. Lola calls her a stupid cow and her dad slaps her across the face. Lola begins to throw objects at her dad and leaves on her own. As she exits, the security guard tells her she can't always have what she wants. She walks back, but takes the guards gun with her. She reaches her dad again and tells him to go with her, but not before she shoots at the wall next to his head to let him know she is serious. She holds the gun to his head as they're walking out. The clerical worker tries to stop them, but Lola tells her to get lost. This time, in the clerical workers photo shots, she meets someone within the bank who likes to play dominatrix with her. Lola and her dad reach the front of the bank and tells one of the tellers to bag 100,000 marks. However, he only has 88,000 marks has to go downstairs to get the rest. He returns, and Lola tells him to put the money in the garbage can. She takes the bag and leaves. The police have the bank surrounded already. She just stands there staring at them, but the police tell her to get out of the way. They think it is someone else holding up the bank, so she begins to run to Manni. Manni is looking into the store he is going to rob. Just as he makes up his mind to go in, Lola calls to him. He turns around to go to her, but as he is crossing the street, he gets run over by an ambulance. This time, as he is lying on the street, he flashes back to when he and Lola are in bed together and asks her what she would do if he died. They go back and forth on the issue until Lola finally tells him he isn't dead yet, and the movie returns to the beginning again.Third Run: Lola hangs up the phone for a third time and starts to run through the city again. She encounters the woman with the baby but this time doesn't bump into her. This time the woman's photo shots depict her having a religious awakening. She encounters the guy on the bike but this time he doesn't try to sell her the bike and instead pulls into a sausage stand. The bum with the money is there and offers to buy the guy a drink. The bum tells him that some unexpected things can happen, and the guy tries to sell him the bike for 70 marks. Meanwhile, Lola is running and this time stumbles on the hood of the car. She and the driver recognize each other. He is Mr. Meyer, her dad's associate. He asks her if everything is okay. She replies no, and continues running. Meanwhile, the bum ends up buying the bike and riding it throughout the city. Lola's dad and the woman are conversing, and the woman asks him if he wants to have a baby with her. He says yes but then is interrupted by his secretary on the phone. She says Mr. Meyer is outside waiting for him, so the dad goes to him. Just as they're pulling off, Lola reaches the bank. She sees them and yells for them to stop. Meanwhile, Manni is getting out of the phone booth and returns the phone card to the blind lady. She tells him to wait and turns to look out on the street. Manni follows her gaze and notices the bum on the bike riding through the street. Manni recognizes him and chases after to him. He almost gets run over by Mr. Meyer, but Meyer swerves and hits another car head on. Meanwhile, Lola is still running and thinking about what to do. She almost gets run over by a truck, but she spots a casino and goes in. She gets a 100 mark chip and places her bet at a roulette table. She wins 3,500 marks, but she bets it all again on the same number. As the roulette wheel is spinning, she starts to scream really loud and breaks champagne glasses that people are holding. She wins the 100,000 marks she needs and takes off again to find Manni. Meanwhile, Manni stops the bum by pointing a gun at him and takes the money. The bum then asks for the gun, and Manni gives it to him. Lola gets into the back of an ambulance in which a sick man is there. His heart rate is irregular. She claims to be with him and holds his hand. His heart beat regulates. She gets out of the ambulance and calls out for Manni, but he isn't there. Then she sees him getting out of a car about a block away with Ronnie. They shake hands, and Manni begins to walk towards her. He asks her if everything is okay, and they begin walking together. After a minute or so, he asks her what is in the bag she is carrying, and the movie ends in a photo shot. | whimsical, thought-provoking, cult, alternate reality, violence, flashback, psychedelic, humor, romantic, entertaining | train | imdb | From that moment on, the movie takes us through three stories of Lola's trials trying to get Manni's money in 20 minutes - and with every person she comes into contact with, their lives take on completely different forms, as shown by 30-second photo flash montages.
Well, maybe it isn't all that simple, but while others have plowed these same fertile fields, as recently as the film "Go", and also in "The Music of Chance", based on Paul Auster's novel, no one has dealt with such cosmic existential questions with more brilliant originality, fast paced action, and a pulsing score than in this German cinematic masterpiece.In a compact ninety minutes, combining snips of animation, cinema verité, quirky characters, situations and dialogue, and a pace that makes most music videos look like they've been filmed in slow motion, three versions of the same story sequence unfold, and each time conclude with a jolting finish that defies convention, and keeps the viewer guessing until the final frame.This is one of those rare cinematic events that is entertaining, satisfying, and absorbing, as well as flawlessly acted, staged, edited, produced and directed.
The little known German director has produced a modern-day masterpiece; a dazzling technical film about how life consists of the decisions we make.Lola (Franka Potente) receives a phone call from her boyfriend, Manni.
Yet, it is hard to say that she was fantastic, because it is a role that requires a great deal of physical acting and we didn't get to know a lot about Lola, hence the film wasn't overly-focusing on her issues, rather her boyfriend's problem.
From here the film follows Lola choosing three paths, each going for 20 minutes, to getting the money for Manni.
At each of this situations, Lola shows great resources about how to help her petty criminal boyfriend, who has lost 100,000 DM, and now must account for the missing money.Franka Potente is the main reason why this movie works the way it does.
The supporting cast does good work under Mr. Tykwer's direction.It's a puzzle why Hollywood hasn't made an attempt to remake this film, since the Americans are obsessed with redoing material like "Run Lola Run".
of brilliantly shot action will keep the viewer enthralled with the love story of Manni and Lola who have to fight against time: 20 mins.
Lola starts running immediately thinking of a million different ways how to help the man who is the most important person in her life and she runs and runs.....The quality of cuts and camera shots, innovative techniques at the top of modern filming practically unknown to German viewers up to now will hopefully make 'Lola rennt' a blockbuster in the cinemas as it fully deserves it.Like 'Der Himmel über Berlin' (City of Angels', Ryan, Cage') and 'Bandits' this film is surely to be copied by Hollywood.
I believe that the director has used techno to try and get us inside Lola's head as she is running and stressing about Manni and all the other events that happen throughout this amazing film.
Lola's Determination to save her boyfriend Manni is very well projected as she enters the bank that her father runs, and throughout the three different versions of the story uses different techniques to try and save him.
By replaying through the same sort of events three times the director lets you really get a sense of feeling for the characters, especially Lola and as the film progresses you actually start to care about the characters and I think this was a really good quality in the film.
I've seen it a couple of times now and each time it is as fascinating as it was when I first saw it on the big screen.The most stunning thing about this movie is the fast pace that is maintained through all aspects of the film: the sound, the music, the camera perspectives, the editing, etc.
Plus Franka Potente does an excellent job to underline this effect.But to be honest: "Lola Rennt" is no film for the casual moviegoer who just wants to see another mainstream movie as we so often see it in Hollywood movies.
It is in nearly every aspect different from the average movie and has a lot of stylistic (animated sequences, split-screen, etc) and narrative twists that you won't see in most films today.Score: 10 out of 10.
Desperate and exasperated he calls up his girlfriend from a phonebooth and she is determined to help him and now Lola has 20 minutes to run, find the money, and deliver them to Manni before he robs the convenience store.There are precious few films to which I award the perfect 10/10 and "Lola Rennt" (1998) is one of them.
The film has Lola (an energetic Franka Potente) run across the city, bumping into strangers, falling prey to detours and diversions such as the typical huge sheet of glass plate carried by construction workers, the group of nuns, the woman with a baby carriage but always keeping her focus on the task at hand.
This part is so exquisitely well-crafted that if you study the background elements you will find differing details such as the position of the train in relation to Lola in the beginning, the careful timing of vehicles and the fated movements of the people she encounters it's a meticulous piece of film-making.For all its subtlety in craft and setting, Lola Rennt is first and foremost a very vibrant and alive film and dare I say very in-your-face.
Exhilarating thriller concerns a young punkette in Berlin named Lola (Franka Potente ,she broke up with longtime companion Tom Tykwer in spring 2002) who has twenty minutes to find and bring 100,000 Deutschmarks to her small-time criminal boyfriend before he robs a supermarket .
"Run Lola Run" is one of the most fun, involving, stylish movies I've seen in a long time.
The fun part is that we see Lola's journey three times with three very different outcomes, determined by little things that happen to Lola as she runs.Lola (the engaging Franka Potente) manages to be both an iconic, super-cool heroine, and a believable young woman who just wants to get her boyfriend out of trouble.
This is exhilarating film-making, with a propulsive soundtrack, a fast pace, and many flashy effects like animated and black-and-white sequences--in addition to the most stunning use of split-screen that I've ever seen.
The rapid-fire montages that show the fates of minor characters are superficially amusing, but unnecessarily hammer home the theme that "little things can have a huge effect on a person's life." However, the movie's philosophies are still ambiguous enough that there's a lot to think about when it's over.
Run, Lola, Run is a 1998 film from Germany which stars Franke Potente and Mauritz Bleibtreu (which in German means "stay true") as boyfriend and girlfriend in a desperate quest to replace 20,000 Deutschemarks within twenty minutes.The film begins with some universal questions -- who am I, etc., and then gets into the story.
The film goes on to show three twenty-minute sequences of Lola running and, depending upon what she decides to do, depending on whether her timing is just right or a little off to reach Manni, different things happen that decide the ending.
I was utterly satisfied and amazed by this cinematic masterpiece even though i did not know what to expect in the first place...all that narrative introduction filled with big time questions left me somehow on the track of a philosophical approach...i was ready for an ontological experience...but what really happened exceeded my imagination...we are facing here the real life experience seen through the eyes of a female teenager, we are witnessing the dramas that can occur only in a vivid imagination highly tributary to roll playing computer games and quests for identity...Maybe is for the first time in cinematography when we are witnessing the birth of an individual(speaking from a psychological point of view)...she reloads her own life in order to chose another path, and that only in a desperate attempt to solve a puzzle quest of love and duty...well, this is the romanticism of a high-tech generation; these are the tears of joy in a computer era; and this is the new ontology of the millennium...everything is virtual and when people actually interact there is a narrow limit between the outcome of their actions according to the choices they make...it is repetitive, it is about love, it is different, it is religious...and it is new and masterfully crafted...i'll give it 9 out of 10...and i'm ready to take another tour...
I'm sure there are earlier references as well.Granted, Franke Potente is good, but the characters are unsympathic (I couldn't care less about what happens to Manni, he's a loser's loser), the cheesy Euro-trash techno soundtrack is unbearably annoying, the animation is godawful, and the ending is so ludicrous I want to scream too.
--Animation inserted in live action--Parallel universes--Split screens--Heavy zoom shots--Hypermedia projections of the futures of incidental characters--A few visual jokes (a cartoon croupier `spins' her at the beginning)--Black and white flashbacks--Switching between video and 35mm--Real time action for each thread--Supernatural screams--Techno pacingDoes this add up to a new genre?
In this case, a heart-pumping, action-filled flick with an excellent soundtrack, and plenty of artistic weirdness to boot.Clocking in at a mere 80 minutes, this German-made film is infused with a quality normally seen in the cars this country produces.
Her boyfriend, Manni, is played by Moritz Bleibtreu, and his ridiculous behavior is pulled off well, especially when he loses the money and calls Lola in a blubbering panic.I loved, too, the incorporation of overlapping animation, something I enjoyed in the movie THE DANGEROUS LIVES OF ALTAR BOYS.Connections within connections is the main theme here, but one that is brought to life by a vivid script and excellent camera work (the dizzying slow-downs and speed-ups may drive some to distraction but are vital to the story).I mentioned earlier the great soundtrack and that the director contributed his own voice and songs to it.
She has only 20 minutes in front of her to get the money and to save her man.Someone who didn't see "Lola rennt" (1998) and reads the basic topic might think that he deals with a movie with a hackneyed subject.
If she chooses one of these three solutions, it can lead to dramatic consequences for others characters (her father's colleague in the car).By adopting a clip side "à la MTV" in the making, by using all the possibilities offered by a camera (succession of pictures filmed in a fast way or scenes in slow motion), by including wild extracts of animation film, through precise camera angles "à la David Fincher" and with a sharp sense of detail, the director Tom Tykwer makes us really share her heroin's state of stress and the fact of knowing that to save her boyfriend is a matter of life and death strikes right at the heart.
It is also relevant to note down that Tykwer's camera nearly never stands still and finds moments of break between the three stories when Lola and Manni are lying side by side.Franka Potente with her loud red hair (which I interpret as a symbol of hope mingled with fear) in the wind, wearing a tank top spends most of her time to run in the film, hounded by the camera which continually follows her everywhere she goes, either it is a little street, an avenue or a building site but she also capable of emotion (when her father refuses to give her financial help, she starts to cry).
Lola had run with enormous success on numerous German screens, she had to run on plenty others foreign screens a bit all over the world to satisfy a lot of viewers.The clip side of the whole, the sustained use of the techno music will probably fail to please certain film enthusiasts but will surely perceive "Lola rennt" as a lively and a really great exercise of style.
We watch three frantic possible journeys with Lola, and only fate will determine whether the young couple's story will have a happy ending or not.We cannot deny Tom Tykwer's has talent and this is a small, cool film.
The twists and turns are simply absurd and the film doesn't even try to explain them excusing them as merely part of the hyper-kinetic film being delivered!Potente tries hard as Lola and is pretty good looking running around in her small vest.
The film is mainly an exploration of choice, showing three different versions of the twenty-minute window Lola has to find 100,000 marks and deliver them to her boyfriend before he is killed by a crime boss.
Further emphasizing this is a series of snapshots illustrating what happens to many of the people Lola runs into, showing how the slightest difference in the way they interact leads to a chain reaction that completely changes their futures.
Why use animation for Lola going down the stairs?It's not that I always am looking for some deep film experience, I still felt disappointed that the movie didn't have more to it.
I might just be wrong.' In the end, while I didn't regret spending the money (only two dollars were at stake this time around), I emerged with pretty much the feelings I'd expected to have when I'd opted not to go two years earlier: fine, Lola's running, she's got 20 minutes to solve this problem, the 'Sliding Doors' gimmick is thrown in to make a feature out of it, but...
Like I said, it wasn't a movie which made me curse the time and expenditure, but I really couldn't recommend it to anyone who expects more than 90 minutes' worth of popcorn-munching diversion from a film.
We see this philosophy in action as Lola runs into people during her rush and we watch (in a series of photographs) what happens to the person, good or bad.
"Run Lola Run" seems like what would happen if the editors of a film were to leave their 5-year-old sons or daughters in the editing room by themselves and permitted them to play around with the different devices and have as much fun as they want.
Lola Rennt (or Run, Lola, Run) is something completely different, interesting and non-Hollywood thing - thank God. Director has been very careful with details one might not see before watching Lola 8th time.
Four years on, this clearly had something to do with fashion because aside from the gimmicky real-time narrative, in three different versions, the only moral seems to be, "sometimes you get hit by a car or flattened by a truck and sometimes...you don't." It would seem that Lola's determination and pseudo-supernatural powers (sort of a Back To The Beginning) hood-winked most IMdb users into thinking there was something of substance here (but then, these are the people who think Shawshank Redemption is a good film).
the subject matter could be dealt with more carefully and in more detail, and lola could have more shots at doing things rightcertainly the overall concept behind the movie is sound, and for those people that haven't considered the idea that life is a series of decisions and knock on effects, it could be illuminatingfor me, the presentation was a nice idea and i always take my hat off to some originality, but this one really didn't work for me at all (although it must have been an interesting study for the actors involved).
There is really no grey area with Run Lola Run. If you are looking for a fairly artsy foreign film with a distinctive life lesson, this movie is for you.
Here begins the film and Lola's running to get the money from her bank manager father before Manni holds up the grocery store he is at.
Lola Rennt is one of the few films that didn't lose it's magic when I it watched for the second time.
The film is dominated by the figure of Lola running, who is a young girl trying to save her boyfriend's life in 20 minutes by bringing him 100,000 Marks, which was to be paid to a thug her boyfriend is afraid of.
The fast pace of the scenes and the repetitious techno soundtrack adds to the suspense in the movie, and the effect is heightened because the audience is able to consider the action three different times.One of the interesting ironies in the plot is that it repeatedly explores the nature of romantic love in the tensions that exist between Lola's dependence on her father and her need to help her boyfriend.
The effect of repeating the time sequence is to allow the audience to more deeply consider the moral impact of Lola's actions, and how a simple thing such as bumping into a stranger might mean the difference between life and death.
Run Lola Run, directed by Tom Tykwer, was an excellent film.
Run Lola Run has so many elements that make it a great film that it did indeed deserve to be part of the top 250 movies of all time.
So I ended up liking it a lot more than I thought I was going to.Other interesting points: We find out entirely different things about the characters in the three versions of the story.
Indeed we're shown how "character" is malleable depending on circumstances so I suppose there is quite a lot here to make you think, just not too much time to do so while the film is actually running.I very much liked jldmh1's contribution about Germans and punctuality, by the way.
Tom Tykwer's film works for all audiences in part because it sets up a simple premise: Lola must help her boyfriend Manni come up with 100,000 Deutsch marks in 20 minutes or his "employer" will kill him. |
tt0054020 | The Leech Woman | This Universal International picture opens with Old Malla (Estelle Hemsley) responding to an endocrinologist's advertisement seeking very old women for a research project. In his office Dr. Paul Talbot (Phillip Terry) is serving a drink to his older wife, June Talbot (Coleen Gray). She is an alcoholic and the couple fight over money and his inattention. She has money and uses it to keep her husband in line, he needs her money to continue his research on reversing the aging process. They finally agree that divorce is the only answer. His nurse, Sally (Gloria Talbott), enters as June is leaving. She tells the doctor his next appointment, Malla, is ready and is very, very old--in her words, "looks like she came right out of a mummy's tomb." In the waiting room, Malla confronts June and tells her that she won't have to divorce her husband, "you won't have to: he will die." Dr. Talbot and the nurse examine Malla, and she tells him she is 152 years old. Of course, Dr. Talbot does not believe her. Malla explains that she and her mother were sold into slavery, but they come from a tribe that has discovered a substance that retards the aging process. She calls the powder Naipe (pronounced ni-pee). If another substance is added to this powder it will reverse the aging process and return the woman to youth. The doctor asks for a demonstration. Malla takes some of the powder, mixes it with water and consumes it. She then directs the doctor to perform the blood test again.At home, June is meeting with her lawyer, Neil Foster (Grant Williams). They discuss the details of the divorce and property division. She is drinking and getting quite drunk and maudlin. Dr. Talbot arrives and is in a very upbeat mood. He shows Neil and June the powder and explains that is retards the aging process. He explains that is comes from an African plant and that he wants June to join him on an expedition to find the source. Divorce talks are off.In Africa, Talbot and June meet with a guide, Bertram Garvay (John Van Dreelen). [Note: the cast list shows his name as Bertram Garvay, but June repeatedly addresses him as David.] Talbot tries to hire him to lead them to Malla's tribe--the Nando people. Garvay explains that her tribe hates Europeans and that the government forbids anyone bothering them. Garvay is enticed by a $5000 up front fee and a promise of $20,000 later. Garvay suspects that the doctor is interested in the rumors of the anti-aging power and tells him so.Garvay, the Talbots, and many porters trek through the jungle in search of Malla's tribe. They set up camp that evening and discuss the plan for the next day. Talbot and June get into a fight and she threatens to leave. Talbot changes his attitude to keep her on the journey, and blurts out his real reason for needing her along. He tells her he wants to make her young again. She is furious, and runs off into the jungle. She is chased by a leopard, but Garvay shoots the leopard just in time.The next day they discover the litter and Malla's walking stick. In addition they find her party of guides and porters dead, but she is not among them. They return to their own camp, but are captured by scouts of the Nando tribe. They are tied up and marched back to the Nando village. They are housed in a hut under heavy guard.Old Malla comes to visit Talbot, June and Garvay in the hut. She shows them the plant, an orchid, and explains some of the process. Malla asks them if they want to see her made young again. They agree and are brought to the main building for a demonstration. They are horrified and fascinated to discover that to be made young again calls for a human male sacrifice. The second ingredient Malla alluded to was pineal gland juice. The victim is drugged and struck on the neck with a special ring. The powder and pineal gland fluid is consumed, and results in an immediate transformation of Old Malla to Young Malla (Kim Hamilton). Some are skeptical, but as proof Young Malla shows the doctor the same slavers scar on her chest he saw in his office.Unfortunately for the doctor and his party, Malla explains that they will not be allowed to leave with the secret, and that they have but one day to live. When Young Malla dies, they will be killed by the tribe. But as a consolation to June, she offers her a chance to be young again. June agrees, and must select a victim, and she chooses her husband. Malla is pleased and tells her that she shall have beauty and revenge at the same time. Garvay creates a diversion to return to the hut and get some dynamite, while Talbot is killed and June is made young again. Garvay steals some powder, the special ring, and he and June escape into the jungle with the tribe in hot pursuit. The dynamite pretty much takes care of them.The next morning Garvay explains that he took some of the powder and the ring. But as Malla had promised, June's youth is fleeting, and she starts to age rapidly. Garvay is repulsed by her appearance and runs away from her. He falls into quicksand. June makes him give her the powder and ring in exchange for her assistance, but she kills him and extracts his pineal fluid and leaves his dead body to the quicksand.Sally and Neil wait for June at the airport, but are surprised to find June's "niece", Terry Hart instead. Terry explains that Aunt June will be coming later. They take her to June's house. Neil lingers a little too long helping Miss Hart, much to Sally's annoyance. Sally and Neil are engaged to be married, and Sally immediately takes a dislike to Terry. She is jealous and lets Neil know in no uncertain terms.June, looking even older than before, shows up at Neil's law office to ask for money and her jewelry. June has now deduced that she will need to kill more men, more often, to keep herself young. One evening she picks up a younger man, Jerry (Arthur Batanides). She kills him in her car for her latest youth fix.Neil and Sally's relationship has deteriorated, but Sally decides to confront Terry and convince her to leave town, at the point of a gun. After a brief struggle, Terry kills Sally and extracts pineal fluid from her, but it doesn't work to make her younger. She killed Sally for nothing.That evening, Neil comes over to have a drink with Terry. He tells her he never loved Sally, and asks Terry to marry him. Terry refuses, but won't explain why. The police stop by to question June, but Neil explains that June isn't home. They search the house and discover Sally's body in the entry closet. Terry bolts upstairs, while aging rapidly, and locks herself in her room. The police start forcing the door, but before they can get in we hear the sound of breaking glass and a scream. She crashes into a glass patio table below. We close with a closeup of an extremely old and dead June Talbot. | murder | train | imdb | null |
tt1216475 | Cars 2 | A secret message is received from a spy named Leland Turbo (Jason Isaacs), giving information about a secret location, and something even more sinister. The coordinates provided in Leland's message are followed by Finn McMissile (Michael Caine), who charters a fishing boat to the coordinates. As they get close, a large armored carrier appears and demands the fishing boat turn around. As it does so, Finn sneaks aboard the carrier.It takes him to an area rife with oil derricks. Finn ascends one of the derricks, and finds numerous lemons (aka small vehicles that often have engine trouble and need constant upkeep) milling about. He radios in to contact Leland, but is treated to two shocking sights: a tv camera in a special case with the logo World Grand Prix on the side, and Leland Turbo-having been killed by being crushed into a cube!The lemons suddenly notice Finn, and give chase. Finn takes out some of them, before plunging off the derrick into the water, and activating his hydrofoil mode. Several lemons climb aboard the armored carriers and give chase, firing their weaponry. One of them appears to score a direct hit, and Finn's tires bob to the surface in the fiery aftermath. Unseen to the lemons, Finn has dove down, activated his submarine mode, and piloted away.Meanwhile, in Radiator Springs, Lightning McQueen (Owen Wilson) has returned from his latest racing season, having won his 4th Piston cup. The win holds special meaning for Lightning, as this is the first year that they have renamed the Piston Cup in honor of Doc Hudson, who has since passed away. Mater is overjoyed that his best friend is back, and fills their first day with a full plate of things to do. However, Lightning tries to convince Mater that he also wishes to spend time with Sally that evening.Mater claims he understands, but that evening at the Wheel Well Motel, he shows up as their waiter. Trying to get them drinks, Mater is distracted in the Motel's bar when the news tells of famed millionaire Miles Axelrod, who has turned himself into a fully-electric vehicle and developed a new alternative fuel source called Allinol.Axelrod is sponsoring a race dubbed The World Grand Prix, of which the news is interviewing one of the race entrants named Francesco Bernoulli (John Tuturro). The talk turns to Lightning having turned down an invite to the Grand Prix due to having just completed his current racing season. Francesco brags how much better of a racer he is than Lightning, causing Mater to call up the news program and defend his friend.The news and Mater's call soon attract Sally and Lightning inside (as well as several other patrons). When Francesco seems to have insulted Mater over his fandom of Lightning, Lightning gets on the phone and vows to put aside his vacation and enter the World Grand Prix.Lightning assembels his pit crew (made up of Sarge, Fillmore, Luigi, & Guido), and also (at Sally's urging) asks Mater to come along and help with the pit crew. Mater is eager to travel with his best friend, and soon the gang jets off to Japan for the first leg of the race.The crew tours the sites, before going to a pre-game party where Lightning meets Francesco and the other racers. Also in attendance are Finn, and new field-agent, Holly Shiftwell (Emily Mortimer). Finn's photos taken at the oil derricks do not provide sufficient information, but both agents are in Tokyo to meet up with an American spy who will be doing a drop-off of more concrete photo evidence. However, the two note that there are several lemons milling about the party, and suspect they may be up to something here as well. During the party, Miles Axelrod makes an appearance, and claims the World Grand Prix will show the world that his alternative fuel works just as well as gasoline. As part of the promotion, all of the racers in the event will be using Allinol.Mater soon gets himself into trouble by mistaking wasabi for pistachio ice cream, and 'leaking oil' during Lightning's introduction on camera (though Mater insists it wasn't him). Mater rushes off to the restroom to clean-up. While in a stall, the American spy enters the men's room, a sports car named Rod Torqueline. However, he is soon accosted by two lemons: Grem, and Acer. The two rough up Torqueline, but are interrupted when Mater exits the stall. Rod has activated the homing beacon on the information packet he has, and attaches it to Mater's undercarriage to keep the information from being retrieved by the lemons.As Mater exits the men's room, Holly is shocked to see that the homing beacon is coming from Mater. Though she is unsure, Finn convinces her that Mater is their contact, and Holly is slightly convinced when Mater actually answers her test question correctly (though it's about older vehicles, something Mater is an expert on). Though Mater claims he's busy, he and Holly agree to 'rendezvous' the next day. Mater tells the others about meeting Holly, but his friends do not believe him.Later on that evening, Rod Torqueline is tortured by the lemons and Professor Zendepp. Rod is fueled with Allinol, but then has a special laser trained on him. Zendepp explains that when heated to a high temperature, Allinol can become an explosive. The group displays a number of pictures of possible people that Rod could have given the information to, and when Rod's gaze lingers on an image of Mater, the group make plans to eliminate Mater as Rod's engine explodes.The next day at the race, Mater joins the rest of Lightning's crew, and the race appears to be going well, until Holly's voice comes over Mater's headset, trying to warn him that several lemons are nearby, and intend to get him. Mater doesn't realize that Holly is contacting him on a secret frequency, and his voice distracts McQueen, giving him incorrect racing information, and causing Francesco to pull ahead and win the race by mere seconds. The race also takes a shocking turn when a couple of the racer's engines blow out (a result of Grem and Acer using the camera-disguised laser that was used on Rod). Miles Axelrod is called into question regarding this, and promises that his alternative fuel source is safe.In the aftermath, McQueen and Mater have a falling out, and Mater quietly leaves the team. While at the airport, Mater is met by Finn, who quickly leads Mater on a chase onto the tarmac as Grem and Acer give chase, intending to take both of them out. The two are quickly saved by Holly and a spy plane named Siddily.Back at the hotel, Lightning and the crew find a goodbye note from Mater, claiming he is going back to Radiator Springs. Lightning feels bad that he has driven his friend away, but he feels some comfort in knowing that Mater will safely be back home.Meanwhile, Holly has found the hidden information in Mater's undercarriage, and is analyzing the photos. The photos show a vehicle with an open hood, exposing an engine, as well as a number of spare parts. Both Finn and Holly are clueless as to the items, but Mater's knowledge of spare parts allows him to recognize them as the kind of parts used in 'lemon' vehicles. Amazed at this information, Finn has Siddily fly to Paris.In Paris, Finn finds a seedy parts dealer named Tombar (pronounced Tom-bay). The vehicle tells Finn, Holly, & Mater that the parts in the picture look like some he sold an unknown contact in Porto Corsa. Tombar has also heard a number of lemon vehicles are making there way their as well. Finn then knows where he and his cohorts should head next.Meanwhile, Lightning and the others have stopped in a little village where Luigi's Uncle Topolino and his Mama are. A festive party is held for Lightning and his friends, but Uncle Topolino notes that Lightning seems a little dour. Lightning confides about how he feels he pushed his best friend away, but Uncle Topolino gives Lightning some words of wisdom.Meanwhile, Finn, Holly, and Mater have secretly arrived in Porto Corsa. Holly's wiring into the local security cameras shows a large number of lemons going around, and a couple well-preserved models being towed around town. The Finn and Holly recognize a couple as being part of large crime syndicates, and upon seeing one of the groups being towed by a tow-truck with a very similar appearance to Mater, it is decided to send Mater undercover.Mater is equipped with a disguise program, but Holly notices the disguise doesn't completely cover him up due to a large dent. Holly is all for fixing the dent, but Mater refuses, claiming that each dent is important to him. Holly respects his request, and works the disguise around this limitation.Mater waits for Holly to let him know once their intended target is detained, and spends a few moments talking with Finn. Mater insists that he is simply a tow-truck, but Finn simply feels that Mater is still acting like a fool as part of his spy disguise. Hearing himself being considered to be a fool by Finn gives Mater a moment to reflect on himself, before Holly returns with the knocked-out target.Mater dons his disguise and goes into the hotel where the lemons are meeting. It is there they are greeted by Professor Z, and are contacted by camera to their benefactor. However, like the spy photos, only the leader's exposed engine is shown, and his voice is disguised. He then explains to the lemons his grand plans.With Professor Z having found out about Allinol's explosive connotations, they intend to sabotage the World Grand Prix, and destroy Miles Axelrod's plans to create a clean energy source. Once Allinol is finished, the lemons will have the last laugh on the world's energy woes, as their leader has found a large source of oil in the Atlantic Ocean, and intends to sell their stock at inflated prices.To cap off the festivities, the group are treated to race footage currently happening Porto Corsa. As they watch, 3/4 of the racers are eliminated by Acer and Grem using the laser. In the end, only Lightning and Francesco cross the finish line, but totally in the dark regarding the fate of their other racers.During this time, Finn is detained by a helicopter of Z's, and Holly is captured as well.Back in the hotel, the lemons are toasting their success as Miles Axelrod sadly proclaims he will forgo the use of Allinol in the final race in Britain. However, the festivities grind to a halt when in an interview, Lightning claims he will still use Allinol in the final race, as Fillmore has deemed it to be safe. Professor Z and the group's leader both proclaim that Lightning McQueen is the new target, as his victory in England using Allinol will ruin the group's plans.Fearing for his best friend's life, Mater rushes off to tell McQueen, but accidentally decloaks from his disguise. Mater intends to reach Lightning and tell him, but only gets to the edge of the press crowd before the lemons' spies detain him.Mater is knocked out with gas, and in his knocked-out state, Finn's talk about acting a fool circles around in his head, as he recalls alot of the embarrassing things he has done in the last few days. When he awakens, he finds himself tied inside Big Bentley in London, along with Finn and Holly, who are minute away from being crushed in the clock's giant gears.Down on the racing circuit, Lighting and his crew have now been joined by the rest of the Radiator Springs gang (minus Lizzie). After thinking he heard Mater in the crowd in Porto Corsa, Lightning contacted his friends back home, but when they reported they had no idea where Mater was, they came as quickly as possible to be with Lightning. Also on hand is Miles Axelrod, who thanks Lightning for not giving up on Allinol.As the race gets underway, Acer and Grem (inside Big Bentley) attempt to use their laser on Lightning...only to find it has no effect on him! They quickly leave to take care of him themselves, but let Mater know they have planted a bomb nearby that should take care of Lightning if all else fails.After they leave, Mater realizes that his gatling guns (though empty) create enough friction to sever the threads in the rope he's tied up in. Mater wants to save Finn and Holly, but the two demand he save Lightning.After he leaves, Holly manages to get them untied, but nearby find Mater's filter, leading them to a shocking conclusion. The two quickly race to the pit area, where they check Mater's engine. Sure enough, in place of his filter, a bomb has been welded to Mater's engine block! However, after they realize this, Lightning notices his friend and quickly drives over. However, Mater begins driving backwards as fast as he can, afraid he'll hurt his friend. Lightning continues to follow unsure just why Mater is driving away from him.Meanwhile, Finn and Holly find the Lemons' crime bosses nearby, but Professor Z drives off. Finn manages to catch him, and returns him to Mater. Finn demands that Z deactivate the device, but the Professor reveals two things: the bomb is voice-activated, and his voice will not deactivate it. Mater and his friends are unsure what to do as the clock ticks down, until Mater suddenly activates his rockets, and flies back to the main starting area.There, in the presence of The Queen and her son Prince Wheeliam, Mater confronts Miles Axelrod, claiming he's the one behind the entire scheme. Mater accuses Miles of just pretending to have turned himself all-electric, and that most likely, his engine requires the spare parts that he saw in the photos. Mater also claims that lemon-like engines tend to leak easily, and he knows that the leak during the Tokyo pre-game party was made by Miles, who pinned it on Mater. Miles continues to deny this until the last seconds of the bomb's countdown, when he voice-deactivates the bomb, proving Mater's theory to be correct.In the aftermath, Mater is knighted by the Queen, and returns to Radiator Springs a hero. Since the World Grand Prix has been called off, Lightning and his friends invite the entrants to their town for a nice, friendly race. As it gets underway, Finn and Holly stop by. Holly whole-heartedly admits to being Mater's girlfriend, but the two spies have come to request Mater's help on an upcoming mission. However, Mater feels he is better suited to staying in Radiator Springs. However, before the two spies leave, they give in to Mater's request to keep the rocket engines installed in him. With his newfound speed boosters, Mater, Lightning, and their new friends, race their way through the twisting roads surrounding Radiator Springs and Ornament Valley. | bleak, violence | train | imdb | 16 years ago, Pixar Animation Studios released the first feature length computer animated film in history, Toy Story.
For director John Lasseter (also head of Pixar), Cars is obviously a very personal film, a nostalgic story about the loss small-town American values in the face of increased modernity.
Returning director Lasseter takes the worst character from the first film (in my opinion the biggest reason for Cars' failure), and structures the whole story around his infuriating exploits.
Lasseter is on record as saying that the company would only explore sequels to their films if a good story could be developed, and the level of quality of the two Toy Story sequels seems to back up this sentiment, but it's hard to believe that anyone would think the script of Cars 2 is worthy of that high standard.
It's upsetting to think that Pixar, a company who seemed previously to place greater importance on the quality of its films than the bottom line, have gone for the easy cash grab, but there really seems to be no other reason for the existence of Cars 2.
What is most unfortunate is the catastrophic level of Cars 2's failure, and Pixar will undoubtedly lose a lot of respect for making such a soulless film, unworthy of the studio's name..
Off all the Pixar films, Cars made the most with the merchandise.The biggest problem is the story.
This more than anything makes me wonder if Pixar was even trying to up the ante or if they were just using what they had to make a movie a year.Spies and Cars seems to work well together.
Perhaps Pixar should have set it as simply a spy movie set in the Cars universe and had McQueen and his friends in cameos or as a background story.Another lousy spot is the music.
The people around him either were in awe of the man who made Pixar and Toy Story or they were afraid to hurt his feelings since he loves the Cars franchise so much.
It was engaging for me, I enjoyed it, but the entire time I couldn't help but wonder why Disney/Pixar chose to tell this story through a kids movie..
Cars 2 is pretty fun but the most important ingredient of their movies is missing.Firstly, the lead of the film is Mater.
Pixar still knows how to make a good movie but without their important elements, it's like you're watching a movie from a different studio.
Whether it's the gorgeous scenery, the breakneck chase sequences, or Finn McMissile's never-ending arsenal of cool gadgets, "Cars 2" is a movie that simply wants you to have fun as you follow along with its whirlwind escapades.Some might feel this is a disappointment from Pixar, but I think that's being unfair -- after all, no one begrudges Steven Spielberg for producing both "Schinder's List" and "Indiana Jones"."Cars 2" isn't high art, but it never tries to be.
The best of Pixar's films have protagonists who are a small part of a very large world and are almost helpless against incredible odds - Toy Story, Wall-E, Finding Nemo etc.
Whereas the first film had enough focus on character development to compensate for this, the subplot about the tested friendship between McQueen and Mater seems especially insubstantial here.Nevertheless, I feel like this is an enjoyable installment in the franchise, never letting your attention wander and always ready with a clever idea.
It is true that this film is not like others Pixar films.But it is not acctualy so bad.Many review-writers is telling that this film is huge disappointment,and I think it is not true.I think that expectations was too big.So,this is story about cars.About one friendship.They are completely different,but they are best friends.There is lot of nice,simple humor in the story.The scenario is "smooth" and it is easy watchable.There are much of action,surprises,cool techniques,like in James Bond.
Yes,we could not expect that,but it is really OK .The characters are in many different places and they are meeting a different people.Characters are 3D,they have feelings and we feel empathy about them.But,there is a "dark side" of film,which is not like Pixar.Enemies,propaganda and that stuff.These problems confuses and my 10 year old brother.It is not ugly or violent,it is just confusing to kids.About animation,I will not discuss.It is still Pixar;great animations and visuals and everything about it.This is family film and it is really relaxing and enjoyable.Maybe sometimes is confusing,but it is not acctualy so bad.Because of action and messages that film gives: 7/10.
As a Pixar movie, it might not be as good as others, but still it's a great film.
While several critics have claimed this sequel is aimed at particularly young audiences, no other children's movie you're likely to see in the near future does more to glorify gun violence.Pixar has sucked all the dimensionality out of every returning character, and the new ones it's added are so one-dimensional as to be nonexistent.
The main problem with this movie however was that Pixar made Mater, voiced by Larry the Cable Guy, the main character.
A little
clumsy.In the past Pixar has made concessions to no-one, sure they had their share of cute toys, animals and in this case cars, but they made films without the 'for'.They weren't 'for' kids.
Here there are sections for the kiddies and sections for the adults.The kids sections are mostly alright and revolve around a global series of races between Lightning McQueen (Owen Wilson) and a cocksure F1 race car named Francesco Bernoulli (John Turturro).The 'grown up' part is where things go a little awry, it seems Pixar have spent so many years hearing about the little touches that set them apart that they decided to throw as many little touches into Cars 2 as they could.
The toddlers like the bright colours and cars of course (there were three ads prior to the film marketing them), the other kids laugh at the funny voices and dream of one day racing their own car, the grow-ups get the more adult references including the subplot about spy-cars voiced by Michael Caine and Emily Mortimer (do you really think a kid will get the Bond stuff?) and recognise the notable voice cameos, (I was told afterward that the guys from The Deadliest Catch and some real life race drivers all had minor roles.
I like animated movies!' and I thought this was gonna be better than the first Cars!
The fly scenes were well executed too and there was more action than in the first Car. It offers also a great tour in Europe nicest countries as in Paris, Rome, Riviera, London and in Tokio.I think this is the plan how all the coming animation movies should be made.
I do not think it was a good idea to kids to see their gentle favorite Mater with rocket boosters and machine guns.Contrary to most expectations, Lightning McQueen is NOT the hero of Cars 2.
Cars 2 The sequel to Pixar's success movie about one car's journey to achieve his dreams follows the same premise; however it's Mater turn in the fast lane, this time.
When Lightning McQueen brings his best friend along to a world cup racing championship, based in Tokyo, Mater finds himself caught up in serious matters concerning spy cars and terrorism on an international level.
This is my first review and I cannot emphasize enough to other parents out there DO NOT take your child to see this movie, it is a mish mash of a storyline about being yourself and defeating big oil and loving State Farm all thrown into one.2 out of 10 only because there is a great bathroom scene in Japan that showed there was a little bit of Pixar thrown into the film..
'CARS 2': Two Stars (Out of Five) Pixar Studio's 12th animated feature, and without a doubt it's all time low point, is this sequel to the 2006 hit original.
Hopefully this was just a speed bump but it was not a good film by any means and by no measure lived up to the previous standards set by the respectable studio.The film picks up with race car Lightning McQueen (once again voiced by Owen Wilson) returning home to his hometown of Radiator Springs after a successful racing trip.
Once there Mater becomes involved in an espionage adventure (through a classic movie mistaken identity scenario) and teams up with two spies (voiced by Michael Caine and Emily Mortimer).The film does have a positive message about friendship and being true to yourself regardless of how others treat you because of it, as well as an environmental message about alternative fuel sources, but it seems tacked on and forced.
It had a focus on Mater, Lightning McQueen's best friend, in the sequel, which was a slight rehash of the original Cars, but I think John Lasseter has made a good decision on making a sequel and done a really good effort and he is cleaning up his act to make up for making needless and annoyingly Americanised dubs on Studio Ghibli films, which I think was a bad decision Lasseter made, which is a big consolation and it made up his talent.
Keep up the good work, Mr Lasseter, and may I wish you and Pixar the best in the future.The negative was there was a tiny rehash on the original Cars at the end.The positives were there was plenty of action, the new characters were good, the voice cast featuring Owen Wilson, Larry the Cable Guy, Michael Caine, etc was excellent, the music by Michael Giacchino was very cinematic, the animation was well done and the agent story was quite entertaining.Overall, the sequel to Cars is a film I highly recommend for any Pixar, Cars and John Lasseter fan, like me.
I also had fun watching it as I am an owner of different kinds of automobiles.If you want to watch a movie that will make you feel good, you definitely have to see Cars2..
When I first read about the plot two years ago, I didn't think that a race around the world and having Larry the Mater Guy being mistaken for an international spy would work, but since it was being done by Pixar, and John Lasseter in particular, I'd give it a chance.Unfortunately, my intuition was right.First of all, I thought this movie was way too violent for a G rating (see the bathroom scene where the American agent car gets beaten up for example).
I don't recall ever hearing "kill em" in any Pixar film, unless it was in The Incredibles, but this is something I would think that such a great company would of some what worked around in the story line.
If you don't want your kid watching CARS 2, then don't let them watch it till they're 8 or 9, that's all.Second, it was a REALLY good quality movie with an amazing message and really witty and hilarious cross-cultural humor which is in no way offensive.
Cars 2 was beautifully animated (sometimes breathtakingly so), laugh-out-loud funny at times, and in general, a fun summer popcorn movie that has a broad appeal.It would, though, have been nice to feature the supporting characters a bit more heavily - I missed Sally and the Radiator Springs crew.
Now, the sequel goes a completely different way, and first I thought that was a good and original move, but I also think that Mater has a lot of time on screen and frankly that is annoying ( it is the typical character that always screw things off but hey we love him because he has a big big heart and he will never let his friend down come on¡¡¡ that is so childlish and its okay for the kids, but we know that Pixar has made it to the top because they connect with kids and adults equally.
Cars 2, like the Toy Story films, captures every bit of sincerity, thrills, and pitch-perfect animation that the original did.
If anything, Mater is the greatest character f the entire Cars franchise because he has depth and emotion and feels unpredictable in his development, unlike Lightning McQueen who finds a way to be a spoiled brat in every single movie only to come around by the end.
In the end, Cars 2 is a very rewarding experience, both for kids who only will enjoy this film for its face value entertainment and stunningly-animated action scenes and for the adults looking for a deep, intellectual story or compassion and understanding.
This is a Disney/Pixar sequel about hot-shot race car Lightening McQueen who travels to Japan with best friend Mater for the World Grand Prix.
While McQueen tries to win the race, Mater gets himself caught in the path of Holly Shiftwell and Finn McMissile, spies on a mission to stop a sabotage plot created by old cars called "lemons." John Lasseter and Brad Lewis did a great job in directing this movie, grasping the audience's attention from the start with a thrilling espionage sequence.
With all the spies searching for clues to the "lemons" trying to sabotage the good cars, the plot gives you good ol' fashion spy movie excitement and quite a lot of thrills and suspense.The entire voice cast did a nice job in their respective roles, making the characters memorable.
Cars2 is a good, watchable, family entertainer with some great animation and a wholesome story line.
I love Pixar movies and shorts and I enjoyed the first Cars.
The racing is barely there, so it is like John Lasseter said, a spy movie with cars.
Even though Cars is my least favorite Pixar film, it was still good.
This a movie to enjoy, not a masterpiece like the rest of Pixar's films..
Hopefully, this will be both the first and last time with "Cars 2." Pixar has so far been the best animated studio for the last 15 years or so, and has never delivered a bad movie even once.
OK its not a Perfect movie but it was still a fun movie to watch over and over again but the sequel Cars 2 is way more underrated then the first movie and people dislike it come on its a great sequel and one of the better sequels Which I love.
Pixar never lets me dawn on a movie their is nothing wrong I don't like about this film don't be foiled I do love the first cars a lot but the 2nd one will always be my favorite I give it 10 out of 10..
Coming to this film, there is good action, but the story is too complicated for kids (Pixar films are aimed at adults too).
I didn't like the excessiveness of Toy Story 3, Pixar's giant last year, but that still very good film gave screen time to all of the characters we loved and had many moments that were simply magic.
In "Cars 2", the story focuses on Mater (McQueen's best friend) and how he somehow gets caught up in a spy mission.I was prepared for disappointment, considering all the reviews that I heard.
But if the first film wasn't considered, then people would find that "Cars 2" is actually be a pretty good movie!
But to be honest, I think that I would have liked this movie more if it was a new original Pixar movie, not just a sequel to "Cars".While watching this, just forget about "Cars" for a while and enjoy the humor and action that "Cars 2" gives.
I like these Cars movies and this one was just as good if not a tad better than the original!
High speed races and spy movie action set pieces ensue, and there are many fun moments and good laughs along the way.
As a member of the audience, I felt like I was just watching a movie rather than being caught up in a story, the characters were fun, but I never connected with them in the same way I've connected with Woody, Marlin, Flik, Carl Fredricksen, or WALL-E; I didn't even connect with Lightning McQueen or Mater in the same way I did in the first film.
It doesn't necessarily seem right to hold Cars 2 accountable for Toy Story 2, Ratatouille, and WALLE; completely on its own merit Cars 2 is a fun, entertaining film with great visuals and good characters.
I was discussing it with my dad and he brought up the point that working under the pressure of your audience expecting a masterpiece every single year must be a nightmare, and while Cars 2 is disappointing, the fact that Pixar released a film that's just good instead of great gives them some more room to breathe.
Than why didn't he thought about making a original Pixar movie on that instead of using that as a sequel to Cars?
The movie's basic plot is Mater being mistaken for a spy while accompanying McQueen throughout the World Grand Prix races.
Spy Cars could have been a good name for the movie.
It seemed very long for a pixar movie and half way through my cousin whose 5, started getting bored and started playing with a little toy car.
This film is about Lightning McQueen racing in the World Grand Prix, and during the process his best friend Mater unknowingly gets involved in covert spy operations."Cars 2" is fast paced, and the story is full of adventures.
Cars 2 is a bafflingly disappointing movie that tastes even more bitter since its coming from Pixar, the makers of the best computer-animated films of all-time.
And while 3D is a polarizing factor for movies, I think it really added to the excitement of this one.And now, while I go anxiously await Pixar's next feature film, Brave, I'll most likely be back to the cinema once, or even twice more to give Cars 2 some richly deserved business.I give it *** out of ****. |
tt1107859 | Kill Switch | A Memphis police detective, Jacob King (Steven Seagal), deals with the traumatic childhood memory of his brother's murder by devoting his life to hunting down serial killers. The story opens with King capturing and throwing from a fifth story window Billy Joel Hill (Mark Collie), a madman who had used timed explosive devices implanted in his victim's bodies. King and his partner Detective Storm Anderson (Chris Thomas King) then begin investigating another local serial killer, Lazereus (Michael Filipowich), known by the press as "The Grifter," a pervert with delusions of grandeur who murders prostitutes and leaves cryptographic clues involving zodiac signs on and in their bodies. During the investigation King and Storm get help from a sympathetic coroner (Isaac Hayes) and fend off interference from a by-the-book FBI agent, Frankie Miller (Holly Elissa Dignard). Miller is alarmed by King's ultra-violent police tactics and suspects the detective may be mentally unbalanced and more involved in the murders than anyone knows. King solves the Lazereus murders by researching cryptography and brutally beating information out of Memphis' lowest lowlifes, but has trouble actually nailing the elusive Lazereus. During a struggle, Lazereus scratches King and then places what he scratches off under the fingernail of his latest victim, in an effort to frame King for the murders. In the meantime, Billy Joel Hill is released on bail and continues his rampage, eventually kidnaping and murdering King's police officer girlfriend, Celine (Karyn Michelle Baltzer) throwing further suspicion on King. King finds and kills Hill in a brutal confrontation and is cleared of the murder suspicions by the written confession of the captured Lazereus. When Storm and Miller find HIll, they also find that King has disappeared, leaving a note for Storm thanking him for his friendship and telling him that he will not be seeing King again. The final scene shows King arriving at a house that looks exactly like the one we were shown in his childhood flashbacks. There King is greeted by people who appear to be his wife and children, all of whom speak to him in Russian. They greet him enthusiastically as though he was returning from a long trip. The woman who seems to be King's wife leads him to the bedroom and seductively strips for him. King smiles and looks happy to be home. | revenge, neo noir, murder, violence, flashback | train | imdb | I will say this, I am very upset he would make such a poor film after making 2 very good films: Pistol Whipped, and Urban Justice.HOWEVER with that aside even knowing there was the classic stunt double in most of the scenes there was still quite a bit of action and yes the editing and showing every punch a billion times got annoying, but for some reason I was able to sit through it and laugh and a lot of the scenes and actually found the stunt double to be very good at what he did....
And surprisingly the scenes where Seagal actually did fight (the end) he looked pretty good himself....Maybe some need to watch it again knowing what to expect this time haha....
If your looking for a classic Seagal movie like Our for Justice, or Hard to Kill this is not the one for you...
I've come to expect over-complex plot points in recent Seagal movies, but in KILL SWITCH it's not overly complex....it just doesn't make any sense.
The flashback to Seagal as a child (witnessing his brothers murder) serve little purpose to the storyline, but i guess they help pad out a few minutes of screen time.
In KILL SWITCH however, it once again feels like padding (and given that it runs throughout the movie, it feels like it's makers have only got 45 minutes of actual footage, and therefore NEED to show everything twice, thrice and even ten times) Seagal is chasing a suspect at one point, and he comes to a doorway.
Apparently, the makers of KILL SWITCH attempted to beef up (what would usually be a four second fight scene) with extra stuff involving stunt doubles.
It(in turn) makes Seagal look weak, as he'd usually demolish his opponents in 5 seconds (such is why we like the guy) but here, the 'padding'implies that Seagal can punch a guy 30 times (in the face) and STILL not put him down.
He rarely mumbles, and seems genuinely interested with the project (unlike say...FLIGHT OF FURY?)KILL SWITCH is a step back for Seagal (just as he was regaining some well needed credibility) after URBAN JUSTICE and PISTOL WHIPPED.
But as long as they don't start interfering and chopping up their filmed product, it won't need to be great to be better than this movie.
My theory on KILL SWITCH is that they've only had limited screen time with Seagal, and (hopefuly?) HAD to cut and paste this movie, to pad it out.
If they think that repeatedly showing a guy fall out of a window 12 times, or making pointless scenes last four times longer than needed to be....is cutting edge film-making then (to quote Seagal) "Lord have mercy")Big Lee gives this movie a 5 (only for Seagal's screen presence, and a OK final fight scene).
You'll see a fight scene about to start the real Segal, the camera then cuts to the back of the Segal double, his hair looks nothing like the real Segal!!!
When I started to watch this movie and saw that Seagal wrote it I got the feeling that this wasn't going to be a good movie.
The way this movie i cut in its action scenes is very annoying, every punch is seen 2-4 times and every so often you get a close-up at Seagal looking grim.
The gun fights are just as bad and you start to wonder how Seagals character ever made it into the police force, because he can't hit anything at all.
Steven Seagal's previous film, "Pistol Whipped", was a pretty solid little low-budget action thriller, and it looked as if Seagal was finally starting to learn from his mistakes and improve upon them.
Seagal adopts a ridiculous (I think it was meant to be Southern - "Y'all", "Lord Have Mercy", "Sho Nuff", etc.) accent, has a love interest at least 20 years younger than him, whom he completely ignores, because that's what all supercool detectives like him do, and is joined in his latest investigation by a rookie female FBI agent, whom he's a complete jerk to, because, again, that's what all supercool detectives like him do.
Consider an early scene where Billy Joe, one of Seagal's enemies, is kicked out of a window and the shot is repeated five times over.
The violence is extremely phony and the body double reveals, the abundance of cheap sound effects, and a misinterpreted use of the JUMP CUT technique only add to the delicious frenzy.Seagal with his trademark uninvolved voice (though the southern accent he adopts is hilarious) and his catchphrase "Lord Have Mercy" is on par with the screenplay's lack of emotional resonance, basic coherence and the senseless urge to kick the living __it out of generic antagonists.That urge is what makes Kill Switch his greatest film to date, that viewers affectionate of irony must absolutely see and see to believe.
It wouldn't be a post-millennium Seagal flick if the stunt doubles didn't do the fighting and the music didn't do the acting but in Kill Switch this phenomenon seems almost celebrated..
I have to give Steven Seagal the credit he deserves, he is an excellent Aikido master, and I am always keen to watch his films, not least because I also train in Aikido, His early films were a breath of fresh air, however of late the films he has made have had bad story line and limited action.
Seagal need to go back to his roots, and portray characters that are closer to his own personality.Kill Switch was a let down, poor editing and the use( or rather over use) of a fight double, inter cut with library footage of Seagal giving a mean face.....
Aikido action film with a good story line ( please don't continue with the eastern European locations doubling as US/UK locations.I hope the next film has more substance and Seagl at his fighting best ( think Under Siege/Nico etc.).
Steven Seagal, looking more like Wayne Newton each day, plays super detective Detective Jacob Stillwell who is desperately trying to track down an evil serial killer.
In this latest direct to video outing for Seagal we are treated with horribly choreographed fight scenes (with 90% of the action shot with the back of Seagal to the camera so as to hopefully fool us into thinking the hundred pound lighter stunt man is actually Seagal), and gun fights that are beyond belief as Seagal is apparently carrying a .45 automatic with a 150 bullet clip, but funnily enough he still can't manage to hit the bad guy.
If you want a accurate account of the flaws of this movie just read lee nicholson (dolemite72) review it really sums it all up It's a pity really as the film with better editing could have been quite decent the fights scenes in this movie are rubbish choppy and use a really unconvincing stunt double apart from the last fight which is all seagal and boy does the difference in quality prove it the earlier scenes seemed to have been put together by a five year old with a inserted image of a mean seagal intertwined with poor fighting from a stunt double just watching the last fight scene with seagal doing most of the fighting shows what could have been if he did the earlier stuff as for the character seagal plays they seem to over exaggerate the violence him been a cop and all the arrest of the serial killer is a prime example of this as he virtually breaks all his ribs with 2 cops watching then taking him away with no complaint of police brutality I know seagal is a maverick cop but that was just plain verging of stupidity if seagal had did more of the fighting apart from just the last one this would have been a half decent movie but he didn't and this isn't.
I know this review seems harsh, but if you watch the film, I think you will agree that Steven Seagal should retire.
does that make it a bad film??in my view seagal is slowly coming back to form, with pistol whipped and urban justice setting good markers..
The acting in this is actually really good and all of the actors do a killer performance but Steven Seagal's accent in this movie is pathetic I can't even tell what accent it is suppose to be.
So I am going to end off by saying it is not bad, not good, but simply OK and it is a take it or leave it movie.Overall Rating: ***** out of ************1/2 out of *****.
I had a very hard time following the story and the fight scenes were far less entertaining than I am used to from a Segal flick.I think my daughter could hit harder than Steve does in this movie.
Segal of old would have hit this clown once in the nose turned it to powder and then snapped one of the guys appendages just for a finishing touch.The best part of the movie for me was seeing "Southern Death Threat" playing in the bar.
Pretty much everything you can do wrong with fight scenes is captured within this movie: nonsensical jump cuts, wobbly choreographies (if any), painfully obvious stunt doubles, horrendous framing, just name anything and they've screwed it up.
There was no going back now, like one of Seagal's on screen sparring partners I was to be exposed to every sweaty punch and chop the big (big) man chose to throw in my direction.I can get back the precious 8% of available recording time KillSwitch occupied on my Sky box, and the 90 minutes I lost watching the film are, in the grand scheme of things, only a minimal fraction of my intended lifespan, but my faith in the movie-making business may never be the same after watching this unholy mess.The story is rubbish – that was to be expected after we learned who the screenwriter was – but the direction and editing in this film are surely something to be amazed by.
Another fight seems to go on forever, with all participants seeming to possess super-heroic stamina levels, and you end up watching in stupefaction, not quite able to believe that a movie fight scene is actually boring you.Seagal plays a Southern cop with issues.
In fact the incident just seems to have been added to fill out the running time, give the director (whoever he is – I really can't be bothered to check) a chance to show off all the flashy tricks he learned while balancing on top of a dustbin to peer through the window of the local film studies classroom, and to give Seagal the opportunity to come over all broody every now and then.Seagal was never sylph-like but, judging by the way we are treated to a lot of head-and-shoulder shots but hardly any full-lengths shots of him, his girth has expanded considerably since the 90s.
Steven Seagal used to be entertaining but in some of his recent direct to DVD movies he has been worse then awful.
OK, it has a story, he plays a pretty intuitive detective, but, the fight sequences typical to any Steven Seagal movie, which have always been his strong suit are to say the least in this movie, PATHETIC.
In this movie, and I think it's mostly poor filming and editing, he seems to hit the opponent like 100 times before they finally fall.
With plenty of action and fighting sequences of arresting brutality, Kill Switch keeps the viewer engaged but there is also plenty of distraction from it along the way.
You know what you want to get out of a Seagal film - just a Death Wish-like experience.
I was a devout Steven Seagal fan for years but his recent movies are major disappointments.To begin with, Seagal is looking increasingly like he's missed too many visits to the salad bar.
The fight scenes look very suspect and the supposedly clever camera angles fail miserably in convincing the audience that the much leaner and agile stunt man is in fact Seagal.
Instead, what I get is an over-sized action hero who looks out of breath even when he's talking on the phone - never mind fighting using a stunt man.His low-budget, straight to DVD films receive poor reviews and yet he continues to have a loyal following.
Its time he demonstrated his appreciation to his fans by shedding the pounds and giving them what they really want to see; Steven Seagal using his graceful Aikido moves to kick butt..
I remember Nico, Hard to Kill and Marked for Death, all of which were top of the notch Seagal-stuff but even so neither of his titles are quality products worth Oscars or emmies and there's not much to say about the plot because anyone can join at any given time of the film and still be able to figure out who the bad guy is and what's going on.
In his movies Seagal is either married or divorced and sometimes (most times) he even has children, all of which are exposed to danger from the second they're introduced until they either die or the bad guy dies.Kill Switch is no different from the description above and for 96 minutes you'll be exposed to heavy duty-assaults and forensic investigations, lots of fighting, lots of shooting and indeed lots of bodies but NO BLOOD!!!
The entire movie is like a deja-vu experience because every time Seagal throws the bad guy into a wall (or something similar, and it happens a lot) they show that scene repeatedly for 3 or 4 times.
8)Steven Seagals' movies shouldn't contains love-scenes with him in it, it looks stupid and not credible.
Kill Switch is probably the worst Seagal movie I've seen or he has made.
Kill Switch is not how I want to remember Steven Seagal..
They guy was a total freak and murdered innocent people and here Seagal is making another movie about it.
KILL SWITCH deserves one minor commendation for attempting to do something that many Steven Seagal films don't: feature a semi-original storyline.
At least there's none of that stupid inappropriate music from the last Seagal film I watched (DRIVEN TO KILL), but there are massive problems stemming from the ridiculous doubling in the fight sequences (and the voice double's back, to boot).
Seagal plays this cop that sees things that other don't, behaves like a professional even over focused on his job (and with a mumbled accent) - and on the other side he is the worst in action sequences ever seen (and he has an obvious unlimited supply of handgun clips).He not only hunts down one serial killer, but suddenly there is a side plot with a second one, which sometimes becomes the first one.
I also wonder where this city/place is where this movie is located: it looks and feels like a grim place without hope and every second guy is a sick madman; with a police force thats is clearly clueless and useless.Seagal gives his usual wooden performance and the others just drag by.
The plot (written by Steven Seagal himself) is hectic, with strange turns and flashbacks; fights and chases are too long and lopsided, acting leaves a lot to be desired (with the exception perhaps Isaac Hayes as coroner).
Well after 3 winners in a row i think this one is headed in the other direction,, i mean its not as bad as a lot of those other stinkers he did,, just i dunno, i'm trying to put my finger on it,, i guess guy flying through the window like 500 times in the same shot gets old,, there are some good fight scenes,, and a decent story line,, i think the ending was given away,, too early..
His accent in this one,, horrible, absolutely,, good shots of Memphis at night though,, i think with a different director this could have been so much better, but unfortunately it wasn't that too bad, because like i said it looked like Seagal had at least 3 good winners back to back to back till this one,,.
One of worst Steven Seagal movies.....
I have to admit that after Under Siege and Under Siege 2 I rarely watched Steven Seagal movies so I was not really ready for such a bad one.Everyone watched Under Siege knows what's the best area Steven Siege is good at.
Action scenes are the most important parts of a Steven Seagal movie but in this one (Kill Swtich), most action scenes were edited by a flashed execution.
We counted 26 re-uses of the same shot in one of the fights at the end which forced us to pause the film for fear of death by laughter.Im still having trouble working out who segal plays in this movie and the many flashbacks have no relevance on the film at all and are never explained, which just makes them better!
Seagal plays a hardboiled cop who really goes out of line a couple of times by beating and torturing the bad guys in some extreme ways.
Low Budget Glimmer Man. Most people are going to laugh, but I enjoyed this latest Seagal film "Kill Switch".
Maybe they wanted to waste no time, but on the otherside they had problems to fill 90 minutes: There is no really straight story: the took to stories in on, with a lot of flashback and at the end Segal is leaving to go to his family: this scene could be from another movie, your never heard about his family, maybe he is in heaven - I don't know, but the good thing is that, his blond wife is stripping at the end and he is smiling..
Seagal could have written anything for himself, but he chose to make Jacob a horrible torturer, just like the character he plays in Driven To Kill (2009).
I saw that Steven Seagal made a new movie, Kill Switch. |
tt0066993 | The Devils | In 17th Century France, Cardinal Richelieu (Christopher Logue) is influencing King Louis XIII (Graham Armitage) in an attempt to gain further power. He convinces Louis that the fortifications of cities throughout France should be demolished to prevent Protestants from uprising. Louis agrees, but forbids Richelieu from carrying out demolitions in the town of Loudun, having made a promise to its governor not to damage the town.Meanwhile in Loudun, the Governor has died, leaving control of the city to Urbain Grandier (Oliver Reed), a dissolute and proud but popular and well-regarded Catholic priest. He is having an affair with a relative of Father Canon Mignon (Murray Melvin), another priest in the town, unaware that the deformed, neurotic Sister Jeanne (Vanessa Redgrave), head of the local convent, is sexually obsessed with him. She asks for Grandier to become the convent's new confessor. Grandier secretly marries another woman, Madeline De Brou (Gemma Jones), but news of this reaches Sister Jeanne, driving her to insanity (this includes an attack where Sister Jeanne viciously attacks Madeleine when the latter brings back a book that the former had lent her, and Sister Jeanne accuses Madeleine of being a "fornicator" and "sacrilegious bitch", among other things).Baron de Laubardemont (Dudley Sutton) arrives with orders to demolish the city, overriding Grandier's orders to stop. Grandier summons the town's soldiers and forces Laubardemont to back down pending the arrival of an order for the demolition from King Louis. Grandier departs Loudun to visit the King. In the meantime, Sister Jeanne is informed by Father Mignon that he is to be her new confessor. She informs him of Grandier's marriage and affairs, and also inadvertently accuses Grandier of witchcraft and of possessing her. Mignon relays this information to Laubardemont. In the process, the information is boiled down to just the claim that Grandier has bewitched the convent and has had commerce with the Devil. With Grandier away from Loudon, Laubardemont and Mignon decide to find evidence against him.Laubardemont summons the lunatic inquisitor Father Pierre Barre (Michael Gothard), a "professional witch-hunter", whose interrogations actually involve depraved acts of "exorcism", including the forced administration of enemas to his victims. Sister Jeanne claims that Grandier has bewitched her, and the other nuns do the same. A public exorcism erupts in the town, in which all of the nuns remove their clothes and enter a state of religious frenzy. Duke Henri de Condé (actually king Louis in disguise) arrives, claiming to be carrying a holy relic which can remove the "devils" possessing the nuns. Father Barre "exorcises" the nuns with it. They appear as though they have been cured until Condé/Louis reveals the case allegedly containing the relic to be empty. Despite this proof that the possessions and the exorcisms are a sham, both continue unabated, eventually descending into a massed orgy in which the nuns sexually assault and desecrate a statue of Christ.In the midst of the chaos, Grandier and his wife return and are immediately arrested. After being given a ridiculous show trial, Grandier is shaven and tortured although at his execution he eventually manages to convince Mignon that he is innocent. The judges, clearly under orders from Laubardemont, sentence Grandier to death by burning at the stake. Laubardemont has also obtained permission to destroy the city's fortifications. Despite pressure on Grandier to confess to the trumped-up charges, he refuses. He is then taken to be burnt at the stake. His executioner promises to strangle him rather than let him suffer the agonising death by fire that he would otherwise experience. However, the overzealous Barre starts the fire himself, and Mignon, now visibly panic-stricken about the possibility of Grandier's innocence, pulls the noose tight before it can be used to strangle the priest. As Grandier burns, Laubardemont gives the order for explosive charges to be set off and the city walls are blown up, causing the people to flee.After the execution, Barre leaves Loudun to continue his witch-hunting activities elsewhere in the southwest of France. Laubardemont informs Sister Jeanne that Mignon has been put away in an asylum for claiming that Grandier was innocent (the explanation given is that he is demented), and that "with no signed confession to prove otherwise, everyone has the same opinion". He gives her one of Grandier's charred bones and leaves. Sister Jeanne, now completely broken, masturbates pathetically with the charred femur. Grandier's wife, having been released is seen walking away from the ruined city as the film ends. | comedy, cult, violence, psychedelic, absurd, satire, tragedy | train | imdb | Cited by director Alex Cox and critic Mark Kermode as one of the ten greatest achievements in cinema of all time, The Devils is based on a true story set in France in 1634 about the evils of the union of church and state controlled by power hungry, perverse men who prey on faith and fear, and one priest, Father Grandier, who tries to protect the liberties and walls of his city, Loudun.
Whether your first was "Altered States" or (like me) "The Devils," you learn early on that if Mr. Russell's name is listed as director and/or writer, you can expect to be at least a little disturbed."The Devils" is, in my humble opinion, one of the best films ever made.
Just witness the periodic witch hunts in the United States, such as the furore over the alleged Satanic cults running day care centers, not to mention the reds under the beds hysteria of the 50's.This was one of Ken Russell's most controversial films, and definitely very 70's in its style, after all, we had Mick Jagger and Twiggy perfectly cast as decadent French nobility, and it has taken 20+ years to see how right on the mark he was.Although Russell was the hottest thing in cinema for a while, he faded like a discarded fashion as every wannabe copied his style, but without being able to understand what is was that set Ken Russell apart.
Given that I've never seen the original edit released to cinemas back in the 1970s and that this was only the second time this version had been screened, I think its fair to estimate that the film I'm reviewing will be significantly different to the one that is widely available so please keep that in mind.Anyway...starting with a bizarre sequence involving an androgynous, foppish King prancing around a theatre stage done up like an Egyptian Queen, Ken Russell's The Devils is a film that over the course of its subsequent hour and forty minutes is liable to offend as many people as it will entertain.
Controversial scenes abound as Barre's determination brings about nothing but misery, with the brainwashed nuns stripping off and indulging in a mass orgy, culminating in perhaps the most offensive scene when a statue of Christ is pulled down from the chapel walls and used by the nuns as a sexual play thing.While it may depict blasphemy though, the film itself is not blasphemous and believe it or not, actually celebrates Christianity.
He isn't a perfect man and has a weakness for the fairer sex, but he will not bow down to pressure or allow physical pain to weaken his love of God, he is a fine depiction of a Priest of which the Church can be proud.However, religious sermonising isn't the chief attraction because let's face it, the reason most of us would want to see this movie is because it's controversial.
Furthermore, The Devils is possessed (pun very much intended) by a ceaseless, madcap energy that is easy to get swept up in and over the course of the film, you will witness flagellation, nun on nun lesbian action, deranged inquisitors chanting "confess" as they beat people with hammers and (perhaps most bizarrely of all), Oliver Reed duelling with a man using a stuffed crocodile in place of a sword.Yes, it is a bit uneasy to watch sometimes.
You will merely dilute it with your stupid, reality-TV watching fingers.Thank you.Also, some of Ken Russell's other great beautiful films include: Savage Messiah, Altered States, The Music Lovers, Women in Love, and Mahler..
British director Ken Russell's adaption of Aldous Huxley's book "The Devils of Loudun" is one of the most origional, controversial and daring films ever made.
The film takes place in 17th-century France and centres on the hypocritical and licentious behaviour of debauched priest Father Urbain Grandier, brilliantly played by Oliver Reed.
best religious movie ever seen, oliver reed looks and act like he already know about his destiny, but he is surprised at the end of all that violence , all the screams...
No matter how much I tried, I just could not get involved in the story - the shock factor is OK at first, but when there's nothing of substance to back it up, it grows repetitive and starts to feel like a bit of a gimmick.Russell does start to show some focus in the final 30 minutes or so, but even in these final 30 minutes we're treated to some rather formulaic plot twists that did nothing to improve my opinion of the film as a whole.Looking at the acting then again I'll use the words 'over the top'.
The blending of a complex story and high camp courtesy of director Ken Russell works really well, and while the film does suffer from less than interesting moments at times; in general, the movie is a lot of fun to watch, and it's most definitely a huge spectacle.
Grandier's problems start when he rejects the advances of the mother superior, who then hatches a plot involving a convent of possessed nuns to overthrow him on the grounds of heresy, and its plot that the Cardinal and his power hungry entourage are only too happy to be a part of.Ken Russell populates his film with a host of memorable and over the top characters; all of which get to quote brilliant lines of dialogue, which bodes extremely well with the camp style that the director has chosen to make a big part of his film.
The film is clearly not perfect, as there are too many scenes that don't make a lot of sense and aren't all that entertaining; but most of these are towards the beginning, and as an overall spectacle, Russell's masterpiece is hard to top and it comes highly recommended to all fans of cult cinema..
Evidently Ken Russell took many of the historical facts in Aldous Huxley's "The Devils of Loudon," and added large parts from "The Rocky Horror Picture Show" and what looks to be a particularly over-the-top college production of "Marat/Sade." First of all, I have to say that my main interest in the movie was just to check out the art direction.
We see a Church in this 17th century that is at best power-hungry and lustful (with Oliver Reed's Father Grandier), and at its worst a total farce of anything that resembles the teachings of Jesus Christ: completely bonkers Priests and high-court officials ready to take anything resembling accusations of witchcraft and heresy- after of course some torture is done, not least of which on the Sister Jeanne, and able to use their influence and maneuvering of power (and connection to the King Louis XIII) to do as they will.
which is what makes the second half of the film in particular so staggering.I'm reminded slightly of A Clockwork Orange specifically (not to forget comparisons to Ingmar Bergman's fascinating dissection of the moral horror of religion, and Terry Gilliam's outlandish visual constructions and iconography); we have a character like Grandier, who confounds a viewer with how he is a "hero" in a story where he isn't really one.
And Russell doesn't care how far he goes in depicting the mania of the period, starting out with ravenous plague - lots of dead bodies, close-ups of maggots coming out of skulls, fires raging outside of houses where people dying are "healed" by wasps and a crocodile (!) He also saves some of the delirious-best for those scenes where the nuns go all-out crazy - in large part by way of, sort of, encouragement from the Beatle- Priest Father Bare- and for little asides like when the King is shooting at people in blackbird costumes.
Sometimes I feel that Ken Russell is too concerned with outrageousness for outrageousness' sake, and his films become just too camp for their own good, but 'The Devils' manages a fine balance between art and exploitation, and ends up being his most successful movie.
The loosening of censorship restrictions in the late sixties and seventies led to a frenetic period in the history of the cinema, when nothing exceeded like excess and when filmmakers tried to break as many taboos as they could in the course of one movie, often egged on by critics who assumed that a controversial film was automatically a good one.
The Devils (of Loudon) is a powerful movie of a stunning play and novel, brought to the screen by fearless director Ken Russell (yes, it is over the top at times but makes it's point neatly); stars Oliver Reed (absolutely wonderful in this, a true tragic figure) and Vanessa Redgrave (as twisted as her physical form); and designer Derek Jarman, who puts into the set of The Devils the talent he'd later bring to his own films.
The fictional characters here are based on a play, brought to vivid--sometimes ghastly--life by director Ken Russell (Who better to take this helm?), and the narrative itself is carried out to its inevitable conclusion (not many people survived these times, so I'm not giving away anything...if you know something about World History).
Overall, The Devils is one of Russell's best and most fascinating films but it is very easy to see why it caused so much controversy at the time of release(it was very different for the time and the audience weren't prepared to be that shocked, the same treatment happened with Witchfinder General with Vincent Price as well).
It might have provoked outrage at the time of its release through the flouting of religious and sexual taboos, but retains its strength through the portrayal of an individual standing up for freedom of love and thought, resisting the pressures of church and state,this conveyed in a bizarrely stylized manner that seems often closer to opera or music theater than to narrative historical film.
Russell is at his best in the few "visionary" sequences (like those where Vanessa Redgrave imagines Oliver Reed as Jesus Christ, walking on water and, later, coming down from the cross to kiss her), but he's at his worst when he has to shoot one scene that must follow the previous one clearly and logically.
Some of Loudun's women see in Grandier a way to get to love and perhaps even a kind of mystical redemption through Jesus.It's a strange time, or at least, it appears so to us because we are so historically, far away from that mentality, a mentality which will accept the existence of devils as body invading spirits who need to be purged through painful tortures, while turning a blind eye to the sadistic powers which they allow to rule them.
OK he was not a priest not that i know of , strange affecting and surreal we got nuns in an orgy torture religious blasphemy thats Russell sideswiping his own upbringing , lots of great character actors though , a definite snapshot of the seventies when censorship was breaking down , always controversial anyone seen the totally uncensored version?.
With no doubt the most exuberant , explicit Ken Russel film , it is , besides a serious lack of the historical facts , a movie which main goal is strictly to shock the audience by putting pomposity on the psychedelic scenes , which are very impressive nevertheless .
THE DEVILS, Ken Russell's grandiose and provocatively scandalous adaptation of the notorious witchcraft trial in 17th Century France, has its own indisputable artistic flourish albeit its thinly veiled obloquy and ridicule of the insidious backscratching between religion and politics, actualized in the most wanton style which can be both riveting and endurance-testing.Father Urban Grandier (Reed), a Catholic priest in the city of Loudun, is as liberal in his attitude towards Protestants as in his views on sex, woman and marriage, which makes him a fair game in the eyes of Cardinal Richelieu (Logue), who is spoiling for a theocratic regime by ingratiating himself with a flamboyantly attired Louis XIII (Armitage), who opens the film with a ludicrous playacting.
Ken Russell's infamous masterpiece, "The Devils," focuses on a seventeenth century French village where a group of Ursuline nuns incite chaos, sacrilege, and full-blown Catholic hysteria after they accuse a local priest of witchcraft.If anyone has read Aldous Huxley's brilliant historical novel on which the film is based, then they are well familiar with the story, which is actually based on historical fact.
Counter to her is Gemma Jones as Grandier's naive "bride." Michael Gothard is even more over-the-top than Reed, playing a mad witch hunter, and Georgina Hale is fantastic and sinister as Grandier's sidelined sexual exploitee.As far as my claim that "The Devils" may be the most religious film ever made, by that I mean that it is profoundly critical of institutionalized religion and its turning in on itself.
"The Devils" is a film so wasted and badly filmed,that not even turning away would do me justice.On a scale of bad films,"The Devils" had me expressing feelings of anger and boredom.From what I heard,this was a really graphic film.Maybe it was for its time.I was never offended by the subject of this film.What did offend me was the visual style of the film.The cinematography in the film looks as if someone wiped a dirty rag over the camera lens.The set designs are depressing and the directing is not even good."The Devils" was banned in Italy and Oliver Reed and Vanessa Redgrave were threatened with three years jail time if they ever set foot in that country."The Devils" is a film that might be a film in which the reason why I don't like the film is because I don't get the point.I get the point.I knew what the story was and tried to follow it.I could only walk so many miles before I reach the end of the road."The Devils" had a long road and unfortunately,I was on it."The Devils" is so bad of a film,you will need a priest to forgive you for watching this film.Shame,shame on me..
1971THE DEVILS
Director
Ken Russell
Oliver Reed
Vanessa Redgrave
Dudley Sutton
I worked for about sixteen weeks on this film standing/in for Dudley and doing every crowd scene possible..
Great movie, in my opinion Ken Russell's best film.
Urbain Grandier is a political victim of Richelieu,but his downfall is more hilarious than tragic.Note that his lifestyle is not so clean like he might like to suggest-but probably Russel is more tolerant towards him,because he was less perverted than other Catholic clergymen and his strictly heterosexual affairs should make him more appealing,more of a good guy(like the famous off-screen ladies man Oliver Reed,he should be stirring viewers admiration with his numerous affairs,suggesting a sort of natural,Darwinist,primitive morality-he should be funny or captivating,it is actually just pathetic).In fact both Grandier and Richelieu are the products of an amoral age,both of them being hedonistic and conceited,cynical and unscrupulous opportunists using the Catholic Church for their own career and purposes.Neither one of them is more moral than the other,the only difference being that Richelieu is much more influential,shrewd,powerful.The sets are chilling and futuristic,but simply hideous.Why not stick to the old-fashioned period piece?
It is Ken Russell's most tolerable film to sit through, because it is always interesting and contains many memorables scenes and images, but at the same time it is highly controversial and challenging, often making you want to turn away from the screen.The story is of a highly influential priest in the French city of Loudon.
There are some boring parts but these are widely made up by some ultra-impressive sequences, like the scene in which Mother Superior has a vision of Christ's crucifixion blend with her own sexual fantasies about Father Graindier.The flawless acting performances by Oliver Reed and Vanessa bring this film to a higher dimension.
The film oozes style & visual flair with some beautiful yet at the same time disturbing scenes featuring naked Nun's, torture, religious fanaticism & sex set against the impressively realised backdrop of 17th Century France.
The acting is very strong here with a career best from Oliver Reed, he certainly though it was his best performance.The Devils has a big reputation to live up & while I think it can't quite manage it it's still a challenging film which deals with issues many may not agree with or want to watch.
It's odd that a movie that was so controversial at the time of its release seems almost forgotten today, except by collectors and Ken Russell fans.I have only seen the film for the first time recently, and was simply amazed at how good it is.
I was expecting something much loonier and bizarre, based on Russell's general reputation and the uproar surrounding the film, but it was almost restrained, given the horrible nature of the historical reality it deals with.Oliver Reed's performance is possibly the best thing he ever did, and Vanessa Redgrave was truly amazing as the tormented Sister Jeanne.
Watching it on the big screen was certainly a bit too much for me at the time, and I had to close my eyes during some of the ending scenes.I will not tell the story of this film in my comments as there are many comments that do just this, but would like to bring out some of the major themes about these events.Bishop Grandier is the voice of rationality, contrasting with the superstitious behaviour of many of the townspeople.
Based on the historical essay by author Aldous Huxley's "The Devils of Loudon." and the play, 'The Devils' by playwright, John Whiting, the movie tells the story of Father Urbain Grandier (Oliver Reed) who hopes to clean the city from the exploitation of the Church, only to find himself, accursed of witchcraft by a sexually repressed nun, Sister Jeanne des Anges (Vanessa Redgrave), whom under the control of the very corrupt, local Cardinal, Cardinal Richelieu (Christopher Logue).
I loved this film, greatly enjoyed itIt's got a good story, beautiful sets, great dialogue, amazing acting by the majority of the actors, especially by leads Oliver Reed and Vanessa Redgrave. |
tt0088748 | Astérix et la surprise de César | The movie begins when Obelix falls in love with the chief's niece, Panacea. His heart is quickly broken when he hears that she is due to be married to the handsome Tragicomix. The two lovers are walking in the woods when they are captured by a group of Romans lead by a fresh new recruit looking to impress the Centurion of the Roman Camp. The Centurion is infuriated, knowing that the Gauls will attack. Panacea, Tragicomix and the new recruit are sent to the farthest outpost of the Roman empire (in the Sahara) while the Centurion and his troops prepare for the battle.The angered Gauls trash the camp after which Asterix and Obelix are sent to find the Panacea and Tragicomix and thus end up joining the legionaries.In the Sahara Tragicomix and Panacea manage to escape the Romans but are captured by slave traders and sold to Julius Caesar (or rather given as the humorous scene explains). After defying Caesar they are condemned as the grand finale of the Circus Maximus at the Colosseum where they will be thrown to the lions.Asterix and Obelix trace the pair to Rome (after a brief stay in Egypt) and try to find the guy who they were sold to (the head of the Gladiator School). In a desperate effort to recruit Asterix and Obelix the owner of the Gladiator School orders their capture. They manage to capture Asterix who has lost his magic potion. That night a rainstorm flooded Asterix's cell and nearly drowned him. He is saved by Obelix who loses Dogmatix (Idéfix) who in fact has the magic potion and is bouncing around the Roman sewers which water was extremely rapid as the rainstorm causes it (the Cloaca Maxima?).In an effort to free the lovers Asterix and Obelix join the Gladiator School. After they successfully mock up the show, Caesar unleashes the lions. Dogmatix makes a daring run across the lions' cage to the centre of the arena and gives Asterix the potion. He throws it to Tragicomix who takes care of the lions. While Obelix attempts to capture the lions he's distracted by Panacea and runs in to a pillar shattering a third of the Colosseum. With the show over and the audience evacuated Caesar grants the Gauls their freedom.The movie ends up with the trademark victory feast that ends with the chief tripping over a rope of sausages. | psychedelic, revenge, romantic, historical fiction | train | imdb | Lively adventure with Asterix and Obelix enlisted into foreign Roman Legion and as gladiators to rescue Falbala.
This cartoon movie concerns about our friends, this time Obelix falls in love with Falbala, though she has a fiancée already.
Obelix is utterly enamored, blowing down a lot of trees with irritation his dog Ideafix.
But they're kidnapped by a Roman patrol and taken to the African legion outpost.
Then Asterix and Obelix are assigned by the chief Abraracourcix and druid Panoramix for looking them for.Our intimate duo, the intelligent Asterix and Obelix with super-human strength, enlist Roman Army and as gladiators into a fighters school.
As always, on the ending the bard is tied and the village people eating boars in a gargantuan lunch.
This is one of the best Asterix film, it's a sheer pleasure throughout, capturing outrageous adventures, feats and hilarious moments.
Full of modern anachronisms that's common thing in Asterix' comic books and the animation is more careless than former renditions.
The picture brilliantly retrieves the humour, strong satire and adventures of the original story based partially in 'Asterix Gladiator' by the masters René Goscinny and Albert Uderzo.
Enjoyable and lively musical score by Vladimir Cosma, though with songs on the preface and the finale to much catching.
The motion picture is well directed by Brizzi brothers who posteriorly directed a segment of 'Fantasia 2000'.
This is a lot of fun for children, grown-ups and nostalgics.
Asterix' entrance in the 80's ....
Spanning a glorious decade from 1967 to 1976, the first 'Asterix movies' period made all the fans worry about the little Gaul's ability to survive the untimely death of his creator René Goscinny, and that went for the books, too.
The first solo albums written and drawn by Albert Uderzo almost proved them wrong but the recent Asterix Adventures were dreadful, overly sentimental, disasters.Now, to have a look back on the movies: except for "Asterix the Gaul" which was more of a warm-up for the animators, both "Cleopatra" and "The Twelve Tasks" were pretty successful thanks to the careful supervision of both Uderzo and Goscinny.
Their hard work reached a peak of excellence with the "Twelve Tasks", an original creation that transcended the slapstick and satire so typical of the albums to the more ambitious requirements of big-screen entertainment.Sadly, Goscinny died, one year after the film's release, and couldn't even live to see the release of Lucky Luke's animated-feature "The Ballad of the Daltons".
Asterix then remained absent from theaters for a whole long decade, until 1985, when both Pierre Tchernia and Albert Uderoz probably felt mourning time was over and the greatest tribute to their late beloved friend was to keep on making Asterix films.
It was "Asterix vs.
Caesar" (in French "and Caesar's Surprise'), and this is how the 'Gaumont' period started.If "Asterix vs Caesar" isn't necessarily my favorite, I know it from early enough to be able to recite it line by line.
Yet I still have a slight preference for "Cleopatra", "The Twelve Tasks" and the 1986' "Asterix in Britain", so my guess is that "Caesar" takes a honorable fourth spot.
The film is enjoyable, entertaining, with a fair mixture of action, escapism and humor, but I'm afraid it might disappoint a younger audience because of some overuse of adult themes, foreshadowing what would become Uderzo's infamous storytelling style.But there's one thing I've got to hand to the movie, it has one hell of a catchy theme song, far from the previous and more kids-appealing ones.
The song "Asterix est là" ("Asterix is Here") is sung by the Belgian Plastic Bertrand, famous in the francophone world for his delirious hit-song "ça plane pour moi", and celebrates Asterix' come-back with lyrics full of Anglicism and adult puns I didn't get until my teenage days, but now, I realize how they firmly established Asterix' entrance in the 80's.
Maybe it was a time for a more mature material, to please the kids who enjoyed the first films and became adults or teenagers.And it's not surprising that the story they chose to focus on was "Asterix the Legionary", where Obelix (voiced for the first time by Pierre Tornade) falls in love with a local villager named Falbala.
Oddly enough, as a kid, I was so thrilled by Asterix and Obelix's complicity that I was afraid it would be ruined by a romance; I probably had the same defensive reaction than Dogmatix.
But the romance is only the starter and the story quickly mixes up with the plot from "Asterix Gladiator" where Caius Obtus, Cesar's most valuable promoter, is organizing Caesar's triumph in Coliseum Circus.To make the events even bigger, slaves from all the conquered provinces must bow down to Cesar and naturally, there's a glaring omission, one forgotten province that still resists the invader.
Back in Gaul, Falbala's fiancé comes back and breaks Obélix' infatuated heart, but the blonde-haired couple's reunion is short-lived by their sudden capture.
An upstart legionary takes them to the Camp's centurion, (a shorter version of Pierre Tchernia, voiced by the same man) but fearing the Gaul's vengeance, the Centurion immediately sent them to the Roman Legion.
Not that it will avoid him the Gauls' reaction anyway.The mission is set, and to be able to rescue their friends, Asterix and Obelix follow their track, enlist in the Roman legion, and their journey send them from Condatum to Rome, passing by Africa.
Meanwhile, a chain of events bring Falbala and Tragicomix on a silver plate to Caius Obtus, who got the Gauls to achieve his goals.
Casar meet the couple and Tragicomix' defiance sentences him (with Falbala) to lions' penalty.
Cesar is far crueler and villainous in this film, so far from his debonair attitude in "Cleopatra", still, as the host of the show will specify: the emperor magnanimously authorize the two Gauls to fight the lions bare-handed.The film gets indeed pretty dark, and some parts, like Falbala singing in jail upset me a little.
Jokes aren't rare though, and we're never as glad as when Asterix and Obelix are on- screen.
On that level, the film contains many hilarious one-liners that compensate the overall seriousness of the story.
To give a few examples, Asterix asks for the information office, to which he's advised to ask the information office.
Another running-gag shows him teaching Obelix the merits of politeness except that he inevitably ends up using Obelix' punchier methods to get what he wants.The legion part feature many great gags, they hate the food made of butter, lard and cheese cooked together, Obelix asks if the same every day, the cook reassures them: "No, Sunday, there's double ration".
The film is so full of adult humor I only regret it being too dramatic, even melodramatic, I'm thinking right now as the climactic sequence where Dogmatix tries to get the magic potion's flask in Rome's sewerage while Obelix searches Asterix at the edge of drowning in his own cell.
That part, mixed with Vladmir Cosma's heart-pounding score is so unlike Asterix' usual mood, but it works on a dramatic level.The film has a great conclusion in the Coliseum, with probably the greatest best chariots race after "Ben-Hur" and overall, an emotionally satisfying ending.
It's not the best Asterix film but a promising opener for the new Gaumont period, followed by the much funnier and entertaining "Asterix in Britain"..
The best Asterix-movie.
Astérix et la surprise de César(Asterix and Cesar`s surprise) is definitely the best Asterix cartoon.
It captures the atmosphere and style of the classic comics extremely well and this is a must see if you liked the comics.
Those who have read the comics will soon see that some of the plot-details have been changed, but it doesn`t matter since the end-result is very good.
Mix of more than one book = loss of source material = disappointment despite some good moments.
Obelix develops a crush on a local girl only to find that she has a boyfriend already.
When both the girl and her partner are captured by Romans and taken to the legion outpost, Asterix and Obelix set out to free them no matter what it takes.
Their quest takes them into the Roman Army, across deserts, into Gladiator school and up against Julius Caesar himself.Where most of the Asterix films are iffy, those that stay close to the books can't really go wrong.
Most do and are OK but some don't and suffer from it.
This is a mix of at least two books Asterix the Legionnaire and Asterix v;s Caesar and hence it isn't as good as either book as it has some new material.
However it's not terrible and much of the wit of the original(s) comes through.The animation is also better and has depth and shadow in it, although at times the colours leave much to be desired.
Even the character voices are better than usual although Obelix still gets done as a childish buffoon!
This is a minor complaint however and the majority of it is good.Overall, it's not terrible but the mix of stories and the wandering away from source will annoy many fans.
Oh and it opens and closes with the cheesyiest Euro-pop ever
.nasty!.
Enjoyablix.
The first Asterix adaptation not to be taken directly from one of the books but instead is a combination of Asterix the Legionary and Asterix the Gladiator.
The cut-and-shut story is a bit disjointed as a result, which might test your patience, especially if you don't like seeing the books jumbled.Life continues as normal in the Gaulish village as Panacea, the niece of Chief Vitalstatistix, returns fro her studies in Rennes (then called Condatum) and Obelix falls head-over-heels in love with her.
Too bad she already has a boyfriend in the shape of Tragicomix, a handsome stud.
The surrounding Roman outposts warn Decorian, a new recruit, to not anger the Gauls out of fear of a yet another pounding.
Decorian does not heed this warning and manages to capture Panacea and Tragicomix.
But before Asterix and Obelix can rescue them they have already been re-captured by slave traders and sold off to be butchered in the Colosseum.Asterix and Obelix then go undercover in order to get them back, pounding many Romans along the way.
The animation is wonderful and the humor is enough to keep you chuckling through-out, but I can't help but think that the books it was adapted from would have made better individual movies.
Caesar's presence feels arbitrary and it lacks a decent villain.Still a fun time..
Not the worst of the movies, but by Belenos this is weak....
As bob the moo notes, "Asterix et la surprise de Cesar" (or "Asterix Vs. Caesar" in English) is based on two of the Asterix books.
The problem with this movie is that the books in question - "Asterix the Gladiator" and "Asterix the Legionnary" - are two of the best of the lot, and either one would have made a good tale on its own, but in adapting them as one movie screenwriter Pierre Tchernia didn't do either one any favours, in addition to throwing in some odd new material (check out the attendant at the sauna Obelix visits at one point - the indication that the former is...
checking out the latter is a bit out of place among the sternly heterosexual series).The animation is okay, but nothing to write home about; and hearing the inhabitants of the small village of indomitable Gauls speak with American accents is distracting (though not as distracting as "Asterix Conquers America," the worst of the animated movies, which had our hero speaking in the Liverpudlian tones of Craig Charles in the English release).
And note the presence of Plastic Bertrand singing over the opening and end credits (insert famous Belgian joke here).The earlier films in the series, especially "Asterix and Cleopatra" and "The Twelve Tasks of Asterix," are better; and it's a tough call on whether this or the live-action "Asterix and Obelix Take On Caesar" is preferable - in terms of bringing the characters to the screen and in terms of entertainment and competence this one is, but then again this one doesn't have Laetitia Casta... |
tt0064728 | The Night of the Following Day | The film starts with Dupont's daughter (Franklin) on an airplane and a stewardess, Vi (Moreno) bending over her. As she leaves, we see a chauffeur, Bud (Brando), saying something to Dupont's daughter which we do not hear. He puts her in the back of a Rolls-Royce and drives off. They stop at a junction and Leer (Boone) gets in. The girl realises she has been kidnapped.
Bud starts to have second thoughts. He tries to protect the girl when Leer gets out of control. Bud also has to deal with the lack of courage with the head of the operation and Vi, who uses drugs and cannot be trusted.
Then things start to unravel. Leer kills all his partners in crime on their return with the ransom, the car catching fire. Bud, perhaps anticipating this betrayal, gets out early. Hiding on the beach, he is able to exact revenge and shoots Leer as he signals to a ship waiting to take him from the country.
All is revealed to be a dream during the girl's flight, sparked by Vi, the air hostess. But then the girl meets Bud in the airport just as in the dream... | romantic, neo noir, murder, sadist, flashback | train | wikipedia | The Night Before The Following Day is one of Marlon Brando's most over-looked films.
Looking as fit and trim as he was in Streetcar Named Desire, Brando gives an emotionally charged performance as Bud (Brando's nickname in real life!), the leader of a gang of ruthless kidnappers.
Brando's acting is at its best in an amazing scene in which he has an intense conversation with Jess Hahn about his misgivings regarding the success of their kidnapping.The supporting cast is remarkable.
Rita Moreno as Wally's drug-addicted sister and Brando's girl-friend, is at her rawest.
And a young Pamela Franklin as the kidnap victim shines in a truly abusive role.Raw acting, graphic brutality, realistic action, a surprise ending, and out-standing acting performances makes The Night Before The Following Day a Marlon Brando classic..
Among Marlon Brando's brilliant filmography,"night of the following day" remains one of his most mysterious .I saw the movie twice (it was a continuous programme) when it was theatrically released and since,I have never talked about it with anybody afterward.Yesterday ,when I finally saw it again after all those years,I realized I totally missed the point the first time:I had not understood the ending.It was a time unexpected twists were not that much common .Of course Fritz Lang's "Woman in the window" had already been made but I hardly knew Lang's name.But if the ending eluded me ,blame it on the script too.To make sense,the whole story should have been seen through Pamela Franklin's eyes!Her part is underwritten ,she hasn't even got a name.Anyway,Brando's smile on the last picture is really spooky and makes me think of many films of today.Cornfield's main asset is the perfection of his cast:apart from the two names I mention above,Richard Boone,Jess Hahn and Rita Moreno are first-class actors.Hats off to the latter who manages quite well in French: all the scenes with the cop are suspenseful ("Je vous ai fait peur?"=Did I scare you?)Cornfield's use of France is devoid of the usual clichés:no accordion tune,no Eiffel Tower,and,on the Champ Elysées ,we can't even see the Arc of Triumph.On the other hand,his depiction of the little bistros (French pubs) is accurate and the (Normandy?) beach where most of the action takes place is a good location.The house is wrapped in silence disturbed only by the sea.There's something bizarre which almost explains the eerie ending.This story of kidnapping has been told and told and told.And however Hubert Cornfield 's movie is unlike all the other ones.Marlon Brando assumes an indifferent air,which increases the strange atmosphere .Towards the ending,everything is happening at once and we sometimes wonder whether the criminals' plans are that much good (in the bistro,they make blunder after another).French director Robert Hossein certainly appreciated Cornfield's movie since he made "Point de chute" starring singer Johnny Hallyday which bore more than a distant resemblance to "night of...".Like Franklin,the victim has no name either !Hubert Cornfield infatuation with France took the form of a ...French movie in 1976 "les Grands Moyens" from an Exbrayat's novel which sank without a trace..
The Night of the Following Day(1969) is the sordid tale of four professional criminals who kidnap an 18 year old rich girl(Pamela Franklin) and hold her for ransom at a beach home off the coast of France.Marlon Brando,(looking fit and sporting a blonde wig), Rita Moreno, Jess Hahn and Richard Boone are the kidnapers.
Dont waste your time looking at any edited versions of this film, they will make no sense at all, but if can find the un-cut version, this movie will make your skin crawl.
Richard Boone, Rita Moreno, and the actor who plays her brother are all thinly written characters.
Rita Moreno's character snorts heroin, her brother is an ineffectual non-entity who doesn't care whether he's killed as a result of committing this crime, and Richard Boone's character has sadistic tendencies.
In it, a chauffeur in Paris with a criminal record (Marlon Brando) reluctantly agrees to take part in the kidnapping for ransom of a young British heiress (Pamela Franklin), which is being masterminded by his good friend, a washed-up pickpocket (Jess Hahn).
The girl will be held hostage at the English Channel home of a heroin-addicted stewardess (Rita Moreno), who is both Hahn's sister and Brando's girlfriend.
Added to this motley group is a sadistic pimp (Richard Boone), whom Hahn brought in but Brando doesn't trust.
Although the acting is by all means above average, this movie suffers from lack of tension and suspense.The characters' actions are sometimes incomprehensible and the ending is too disappointing.
This is the factor that helps 'The Night Of The Following Day' to deliver the refreshing quality that contrasts the morbid atmosphere the movie slowly builds so perfectly.A contradictory statement?
Suspense is conflict.A girl is kidnapped by an odd group of professional criminals - a man whose tough ways curtail his vulnerability, his stewardess girlfriend who is struggling against a serious drug addiction, her slow minded brother, and a sadistic lunatic.During two days, we analyze through Hubert Cornfield's almost Bergmanesque eyes, each desperate character, and how they manage to bring up the worst in each other.
This "kidnap" film has a strong supporting cast which gives equally impressive performances.
The Night Before The Following Day is one of Marlon Brando's top 10 acting roles..
The film begins with a young lady being kidnapped by two men (Marlon Brando and Richard Boone).
Then, at first, Boone appears like a pretty nice kidnapper--though later, he seems to be a bit of a sadist.
However, his friend is able to convince him to stick it out--against his better judgment.It's amazing watching this film, as apart from a VERY emotive scene involving Brando having what appears to be a temper tantrum, the folks in the film seem as if they are all on an painkillers--LOTS of them.
And, its ending was one of the WORST I've seen in a long time, and I watch A LOT of films..
Kidnapping Goes Bad. This is one of weirdest of film projects Marlon Brando ever got himself involved in.
I'm still trying to figure out the point of it all.The Night of the Following Day was shot in France and it involves rich, young, and pretty Pamela Franklin being kidnapped and held for ransom.
As is the usual the initial snatch goes off like clockwork, but the plan after that just doesn't come off.Jess Hahn, American expatriate actor, is the leader of the group that includes his sister Rita Moreno, Marlon Brando, and Richard Boone.
An obliging POLICEMAN actually gives them a lift.In the meantime Richard Boone who's never bad even in the worst films is getting some lascivious desires about Franklin.
A young British heiress (Patricia Franklin) is kidnapped at an airport in Paris in this rather tough existentialist crime drama featuring Marlon Brando as the nominal leader of the gang of morally flexible criminals that include his drug addicted girlfriend played by Rita Moreno, her pickpocket brother (Jess Hahn) and Richard Boone at his most menacing as a pimp named Leer.
Interesting tension develops between bad Boone and not-so-bad Brando, with Jess Hahn sort of stealing the show as a kind of non- violent pickpocket desperate just to get the money.
The Night of the Following Day (1968) *** (out of 4) A girl (Pamela Franklin) finds herself kidnapped by a group of kidnappers (Marlon Brando, Richard Boone, Rita Moreno) but is sworn her life is safe as long as her father pays the ransom.
Soon it becomes clear that the kidnapper's most difficult thing is going to be dealing with each other.THE NIGHT OF THE FOLLOWING DAY didn't make much of a splash when it was originally released and throughout the decades it still hasn't gained much of a cult following.
For fans of Marlon Brando this was released during a period when the actor was struggling or just not really caring what type of movies he was doing as long as there was a paycheck attached.
While there are certainly many flaws with the picture I think it's a rather underrated kidnapping yarn.What I enjoyed most about the film was the cast.
Brando delivers a pretty good performance here as the kidnapper who quickly realizes this plan isn't working.
Boone and Gerard Buhr as a friendly cop are also quite good and Moreno is also very memorable as the kidnapper with the drug problem.
THE NIGHT OF THE FOLLOWING DAY doesn't last too long and it's mainly going to appeal to people for its cast..
The Day After Watching the Night of The Following Day. To call this movie "bad" is to pay it a compliment.
There are superlatives, however: the worst musical score ever
worst-ever wig for Marlon (runner-up: Rita Moreno)
worst-ever ill-conceived kidnap plot and the list goes on.
It's fortunate that this was not Marlon Brando's first role because it might have short-circuited an otherwise brilliant career.This movie was not a dream, but a nightmare.
While this sounded promising, it was an insufferably dull film, easily the worst I've seen of Marlon Brando's at this point.
This film stars Marlon Brando as a leader of a gang who kidnap a girl with a rich father and hold her for ransom.
Marlon Brando should have known better than to get involved in rubbish like the above film.
The attempts in making "Night of the Following Day" something of a trendy film are excruciating!
Marlon Brando is just amazing in this intelligent film.Most people don't understand Brando's career choices during the sixties.But I think that as years go by,they will.His ideas were way ahead of his time.His talent and range were unbelievable.Every actor tries to imitate his intensity (deniro,penn,nolte,.....) with no success.Definitely the king of acting..
Released in 1968, "The Night of the Following Day" is a realistic crime drama featuring Brando as one of four professional criminals who kidnap a girl (a teenage Pamela Franklin) and hold up at a beach house in France.
Richard Boone stars as the fiendish member, while Jess Hahn plays a likable loser, the brother of the pathetically drug addicted Rita Moreno.At the time of this picture Brando was 44 years old and never looked better physically -- very trim and blond.
Most men in their mid-40's would kill to look as good as Brando did at the this age.BOTTOM LINE: Coming from the mid-60s when realism was fashionable this crime thriller is more of a crime drama, but suspense slowly builds to a compelling final act, which shows that crime doesn't pay, but people are redeemable if they qualify.
While Mr. Cornfield handled Night in a workmanlike manner (his earlier film Pressure Point is fantastic, one of my favorites), the violent scenes are weakly directed and shot.
Richard Boone, the best element about this film, would hone and refine his brutal criminal character in The Kremlin Letter not long after Night.
It was still rare in mainstream movies (if Night could truly be called mainstream; I don't think it was) to kill off a young helpless heroine at the end except in drive-in sleaze.
Marlon Brando is a sympathetic character for quite some time.
Pamela Franklin either liked the "victim" roles or they were the ones that were available to her at the time.
A "chauffeur" (Marlon Brando) isn't so sure he wants to participate, especially when unreliable drug addict Vi (Rita Moreno) and dangerous creep "the leer" (Richard Boone) cause problems for him; his old chum Wally (Jess Hahn) convinces him to stick around.
While this film does move slowly at times, Cornfield does a fine job in showing a part of Paris and the French countryside we don't always see; the exotic setting certainly doesn't hurt at all in the telling of this story.
The acting by the principals (you'll notice this isn't a particularly large cast) really is the glue that holds the whole thing together, with Brando getting a chance to emote in one scene but mostly playing it agreeably subtle.
(The actor, however, strongly disagreed on how things should end and it took some doing in order to come up with a final frame Cornfield could live with.) Not a bad bet for thriller fans, it's fairly chilling entertainment.
I haven't watched any other films directed by Cornfield, but if they are all blessed with this subtle pacing, I'm going to consider it.
Between his glory days of the early-to-mid-1950s and his reemergence as a major Hollywood player in "The Godfather", Marlon Brando seemingly dropped out of sight in the last half of the 1960s, appearing in a variety of unsuccessful and mainly forgotten films that are seldom discussed or seen today.
Then, there was the notorious feud between the director and his star, Marlon Brando, who almost appears acting in a different film.Marlon Brando, a brilliant actor, was not an easy man to direct.
Bud and Vi were lovers, yet he felt she was beyond help and therefore she could derail the well made plans.Richard Boone, an excellent character actor, did not receive credit for directing some of the scenes involving Mr. Brando.
Blonde-haired Marlon Brando and his blond-haired girlfriend (Rita Moreno) along with a couple of untrustworthy accomplices decide to kidnap a rich British girl and ask for ransom.
brando has moments here which just underline the fact that he is the greatest ever.the movie could have been better, but the performances are very good.
boone, moreno and of course brando.
Brando is looking good with blonde hair and is fit and fine in all black...and his greeting to richard boone in the last half hour of the film is to die for...when he says clark gable..hilarious.the movie captures the deceit and confusion of its main players and the geography of the entire movie adds to the drama.
Brando plays a participant in the scheme to capture young heiress Franklin and hold her for ransom.
These four take Franklin to a desolate beach house in France where she's kept in an upstairs room (part of her torment apparently being that she must sleep on the world's ugliest bedspread and under a window with the world's ugliest matching drapes!) With the sadistic Boone continuously threatening to do the girl harm and with Moreno feeling jealous towards her, Franklin tries to turn to Brando for some protection.
Soon, the human failings of the captors begin to take their toll on the operation with Boone becoming greedy, Moreno sinking into drug-induced stupor and Brando accusing Hahn of failing to come up with a sure enough plan.
Brando, who, according to the director, was practically impossible to deal with on this film, looks terrific in a blonde wig with a tan and a trim waistline.
Her part may have been more meaningful had the original plot line gone through which included a love scene with Brando, but he nixed it, changing the focus of the story (much to Cornfield's dismay.) None of the characters, which are given labels instead of names, have much of a chance to become fully realized, but perhaps they aren't even meant to be when the twist ending is taken into account.
I say European feel because the film was quite slow and you took a lot of time with the scenes.
Richard Boone as the psychotic gangster and Jess Hahn as the level headed gang member who keeps it all together were very respectable.
I have to assume that because judged on its own merits, The Night of the Following Day is a hideously awkward and amateurish movie.A young girl (Pamela Franklin) flies into France and is almost immediately abducted by a band of 4 seasoned criminals.
Things go wrong, there's a double cross and most of what you'd expect in this sort of story happens.I fervently hope these filmmakers and these actors were trying to do something different and unusual with The Night of the Following Day. I would like to think that there was some cultural or artistic point to the creative decisions they made.
There's one scene that goes on for a full minute where the camera is focused on the back of Marlon Brando's head.
The film ends with an epilogue that feels more like an editing mistake than anything intentional.I'm perplexed by this movie.
Did someone kidnap Cornfield's or Brando's children and force them to make this film?
Marlon Brando is among a group of no-goodniks who put the snatch on a British heiress, seventeen-year-old Pamela Franklin, in France.
The other kidnappers include Rita Moreno, Jess Hahn, and Richard Boone.You can tell right away that Boone is going to be the standout villain of this edgy piece.
Aside from the fact that it comes far too soon in the scenario -- I mean, they've only just kidnapped the girl that day and Brando is already fed up with the scheme and thinks it will fail because of Boone -- it lasts too long and gives Jess Hahn an opportunity to prove that he may be a great and bulky screen presence like some other supporting players, but he just can't act.
Rita Moreno does better but she's stuck with this tar baby too.Cornfield ends the movie as he began it, with Pamela Franklin waking up aboard an airplane about to land in Paris.
Wondering through the list of "free movies" available from my cable provider I stumbled on this rarely screened suspense film from the late 60's about an unstable group of kidnappers whose plot to snatch a rich heiress go completely wrong.
While the heavy (Richard Boone) may explain to the kidnap victim that "we are all professional criminals" they certainly don't act like it.
Night of the Following Day. Two men, a handsome hustler and a smooth-talking violent, with the help of a drug-addicted stewardess, kidnap a rich young heiress for ransom and carry her to a house on the coast.A refreshingly different and interesting little suspenser, though it suffers from a wandering middle section and the final suggestion of waking up from a dream is rather baffling. |
tt0080421 | Battle Beyond the Stars | The farmers of the peaceful planet Akir are threatened by the space tyrant Sador (John Saxon) and his army of mutants, the Malmori. Sador's huge ship carries a weapon called a "Stellar Converter", which turns planets into small stars. He threatens to use the Converter unless the planet submits to him when he returns in several days. Zed (Jeff Corey), the last Akira warrior, is old and nearly blind. He suggests they hire mercenaries to protect the planet. Lacking valuable resources, they can only offer food and shelter in payment. Unable to go himself, Zed offers his ship for the job if they can find a pilot. The ship is fast and well-armed but, despite its AI navigation and tactical computer Nell, cannot defeat Sador alone. Shad (Richard Thomas), a young man who has piloted the ship and is well-known to Nell, volunteers for the recruiting mission.
Shad's first stop is the Hephaestus space station, which repairs androids. Expecting to find weapons, Shad instead finds only two humans among the androids: Doctor Hephaestus (Sam Jaffe), kept on life support, and his beautiful daughter Nanelia (Darlanne Fluegel). The doctor attempts to force Shad to mate with his daughter. Shad doesn't want to abandon his people, and escapes, with Nanelia following in her own ship. Although she has no weapons, her highly advanced computer systems might be useful. The two split up to look for more mercenaries.
Shad comes across Space Cowboy (George Peppard), a spacegoing truck driver from Earth. Shad learns that Cowboy is late delivering a shipment of laser guns to a planet which, as they watch, Sador destroys with his weapon. Lacking the fuel to carry the weapons home, Cowboy offers to deliver them to Akir. Shad talks him into teaching the Akira to use the guns. Later, Shad meets a set of five alien clones who share a group consciousness named Nestor. They admit their life is incredibly dull, since their whole race shares one mind. In order to be entertained, they have sent five members to join Shad's cause. Nestor does not require payment, saying they are completely self-sufficient. Next, Shad recruits Gelt (Robert Vaughn), a wealthy assassin who is so well known he can't show his face on any civilized planet. Gelt offers his services in trade for the ability to live peacefully hiding among the Akira. Gelt's spaceship is highly maneuverable and well armed. On his way back to Akir, Shad is approached by Saint Exmin (Sybil Danning), of the Valkyrie warriors. She is a headstrong woman looking to prove herself in battle. She pilots a small, barely armed, but extremely fast spaceship. Shad finds her annoying and wishes she would go away, but she tags along.
While waiting for Shad's return, Nanelia is captured by a reptilian slaver named Cayman (Morgan Woodward). Cayman possesses a powerful old ship with an eclectic crew of aliens. She quickly recruits Cayman to their cause when he learns that they are looking for mercenaries to fight Sador. The only payment Cayman wants is Sador's head, since Sador's forces had destroyed Cayman's homeworld.
The fleet of seven ships return to Akir. Shad takes the mercenaries down to the surface, but they are greeted with caution by the natives, who are not used to violent species. Eventually, Sador returns, but his fleet of fighters is intercepted by Shad and his new friends. In the opening battle, Gelt skillfully destroys several of Sador's ships but is mortally wounded when his ship crashes. Meanwhile, Cowboy and the Akiran natives, armed with his laser guns, fight off Sador's invading ground forces.
Sador survives an assassination attempt by one of the captured Nestors and launches all of his ships in retaliation against the planet. The Akira ground troops, led by Cowboy, defeat Sador's army, but Zed is killed in the fighting. There is another huge space battle and the mercenaries' ships are destroyed one by one. However, the mercenaries are successful in destroying all of Sador's star fighters and the Stellar Converter, leaving only Sador's flagship. Shad and Nanelia, piloting Nell, are captured by the flagship in a tractor beam. The pair escape in a lifepod after Shad orders Nell to activate the ship's self-destruct program. Sador's ship is destroyed in the explosion. As Shad and Nanelia return to Akir, Nanelia despairs over the deaths of their friends. Shad tells her that the Akira believe that no one is truly dead when they are remembered and beloved by the living. The Akira will remember the sacrifices made by the mercenaries and honor them forever. | cult | train | wikipedia | null |
tt0298203 | 8 Mile | In Fall 1995 in Detroit, Jimmy "B-Rabbit" Smith Jr. (Eminem), a blue-collar worker from a poor family, struggles with various aspects of his life. He has moved back north of 8 Mile Road to the rundown trailer home in Warren, Michigan of his alcoholic mother Stephanie (Kim Basinger), his little sister Lily (Chloe Greenfield), and Stephanie's abusive live-in boyfriend Greg (Michael Shannon). Although encouraged by his friends who hail him as a talented rap music artist, Jimmy worries about his potential as a musician due to his lack of confidence. This causes him to panic during a rap battle one night at a club called "The Shelter" and leave the stage humiliated.
Jimmy works at an automotive factory, but when he asks for extra shifts, his supervisor dismisses his request on account of his habitual tardiness. Jimmy befriends a woman named Alex (Brittany Murphy). Over time Jimmy begins to take more responsibility for the direction of his life. When he exhibits an improved attitude and performance at work, his supervisor grants him the extra shifts he requested.
Later on, Stephanie receives a notice declaring that, because she cannot afford to pay the rent on her trailer, she and her family must vacate the premises immediately. Despite Stephanie's best attempts to keep the notice a secret, Greg finds out about it anyway, with a brutal fight ensuing between him and Jimmy, and Greg leaving Stephanie for good. Jimmy's friendship with Wink (Eugene Byrd), a radio station employee with ties to a record label prompter, becomes strained after he discovers that Wink does promotional work for Jimmy's rivals, a gang of rappers known as the "Leaders of the Free World". At one point, Jimmy and his friends get into a brawl with the Leaders, which is broken only when Jimmy's friend Cheddar Bob pulls out a gun and accidentally shoots himself in the leg; he survives, but is relegated to crutches.
At work one day, Jimmy sees a rap battle in which a worker named Mike (Xzibit) insults a gay co-worker Paul with his lyrics. Jimmy joins the battle to defend Paul by insulting Mike. Alex is impressed by this and she and Jimmy have sex in the factory. Wink arranges for Jimmy to meet with producers at a recording studio, but Jimmy finds Wink and Alex having sex atop a mixing console. Enraged, he beats up Wink and their friendship is ended. In retaliation, Wink and the Leaders of the Free World attack and beat up Jimmy outside his mother's trailer. The leader of the gang, Papa Doc (Anthony Mackie), holds Jimmy at gunpoint, threatening to kill him but Wink dissuades Papa Doc.
Jimmy's best friend Future (Mekhi Phifer) pushes him to get his revenge by competing against the Leaders of the Free World at the next rap battle. However Jimmy's late-night shift conflicts with the next battle tournament. But a goodbye visit from Alex, who is moving to New York, changes his mind about competing. Paul, the co-worker whom Jimmy had stood up for, agrees to cover for him at work, and Jimmy enters the battle.
In each of the three rounds of the battle, Jimmy is pitted against a different member of the Leaders and wins the first two rounds. In the last round he is paired against Papa Doc. Jimmy is aware that Doc knows all his weak points, so he uses his difficult life as a springboard to reveal the truth about Papa Doc: his real name is Clarence and despite passing himself off as a thug he comes from a privileged background, having attended Cranbrook Schools, a private high school in upper-class suburb Bloomfield Hills, and grown up in a stable two-parent household.
With nothing to say in rebuttal, Clarence hands the microphone back to Future, feeling embarrassed that someone he thought was below him beat him in a battle. After being congratulated by Alex and his friends, Future offers him a position hosting battles at The Shelter. Jimmy declines, saying he has to get back to work and to find success his own way. He walks back to work, with a renewed sense of confidence about his future. | neo noir | train | wikipedia | This film says something about rap and the human experience that hasn't been articulated this well many times before; it bridges the gap between rap and poetry in a big way, and makes that gap look a lot smaller.All in all, the thing that really defines 8 Mile is how committed to this idea the cast and crew must have been in order to make this film.
Those who are saying `8 Mile' shows a vanilla-ed Eminem may have a point: this movie introduces him to a non-rap audience just as `Wild Style' introduced us to hip-hop.
Perhaps his CD's contain more inflammatory material than is aired in this movie, but what gets said here is most definitely not for any suburban grandmothers who aren't stone deaf.It's surprising - admirable, really - how well Curtis Hansen and his crew keep track of the plot from scene to scene when not much of it seems to matter other than Rabbit's problems with his mother, Stephanie Smith -- Kim Basinger.
Rabbit's closest relationships are with his emcee pal `Future' (played by an utterly charming and huggable Mikhi Pfifer) and his slightly retarded token white homie, Cheddar Bob (Evan Jones).But his closest relationship of all is with himself, as is clear from the first scene, where Eminem is doing rap gestures in the competition shed men's room, looking in the mirror, hearing his music in his head --and this is fine, because it's what a young man has to do: get on friendly working terms with who he is.
You have to wonder how the rapper/actors feel who are in the movie only to be put down by Eminem.`8 Mile' cannot escape from the limitations of the fictionalized star biopic.
Things in Rabbit's life take a turn for the better when he later falls in love with Alex (Brittany Murphy), an aspiring young woman who dreams of becoming a model and moving to New York to start life a new."8 Mile" certainly is a moving and very touching drama.
Mekhi Phifer even said that he didn't want to do the movie because he thought it was about Eminem's life and that Hollywood was just trying to take advantage of a rising star, but this isn't the case.
This movie is something that really refreshed the Hollywood studio.It's preety different than the other movies because of it's really interesting plot and great cast(including Eminem).I have to say that Eminem did an amazing job on his debut and that he really was fascinating in a role that is maybe very autobiographical.Phenomenal soundtrack including 50 cent and Xzibit and of course "lose yourself"-the academy award winner.I think that the rap contest scenes are the best part of the movie, because they were made so realistic.After all, a movie that is surely creating maybe even an another genre in something that i called movie industry and a great try !.
Now there's a thing I thought I'd never say again about a rapper in a lead role of a film since Pac died!Like him or loathe him, Eminem prevents an average (at best) story being unwatchable by the sheer strength of his presence.
It doesn't matter whether you listen to rap a lot and are an Eminem fan or heard of his music occasionally on the radio, "8 mile" does an exceptional job at captivating the audience to the point that by the end of the movie, you are rooting for "Rabbit" - the nickname for eminem used in the film - to win and succeed.
8 mile road is used as a symbol in the film of the barrier the poor "white trash" lifestyle "Bunny Rabbit" is living in during most of the film to the rich and famous lifestyle full of power and clout that "Eminem" reaches after the film, and aspires to reach during the movie.The filmmakers did an excellent job making this story line based off the life of Eminem seem to be real.
Convincing the viewer of this realistic storyline creates some extra emotional attachment to Eminem (Rabbit) making it all the more intriguing even for those not interested in rap or not familiar with Eminem and his backstory.This rebelliousness you see in "8 mile" is a common theme in many films especially those coming out around this time.
Besides the basic aspects of the film it still does a great job portraying the life of a unique and obscure character in Eminem.Another thing that the movie does well is its use of subtle yet specific camera angles.
After all the hype from unlikely mainstream sources that said this movie was legitimately good, I expected to be impressed, but I wasn't.The music was good, the raps were good, and the sets were great, but the film itself was unimpressive.
8 MILE is one of those classic films that most A-list actors can only hope to appear in maybe once or twice during a long career and it's the kind Eminem makes on his first time out?
If it were, then he definitely wouldn't be on good terms with his mother in the movie and the little girl would be his actual daughter.Eminem does an excellent acting job, along with Mekhi.
STAR RATING:*****Unmissable****Very Good***Okay**You Could Go Out For A Meal Instead*Avoid At All Costs8 Mile is controversial Detroit rapper Eminem's eagerly anticipated acting debut.It was probably a good idea for his first time in front of the camera to stick to material relatively close to home and appear in a movie that is more-or-less semi-autobiographical.Does he pull it off?Yes,he more than passes muster.Being his first time,he hasn't quite mastered a naturalness that he would need to develop in order to be considered a truly amazing acting force,but he certainly tries very hard and carries himself very powerfully.The rest of the main cast,Kim Basinger,Mekki Phyiffer and Brittany Murphy,however,turn in merely adequate,passable performances which are less acceptable for more experienced actors.It doesn't help much that they are given such contrieved,unoriginal dialogue to work with,though.The film's other real fault is that the story has no real sense of structure or coherence.Although the central character and the situations and people he becomes involved with are very engaging,there's no real actual plot to follow and this ends up becoming quite a distracting hinderance.A good recommendation about the film however,is that it really comes alive towards the end,making you just able to care about the end outcome.The rapping sequences are great fun to watch too,watching the characters spurt out catchy,bouncing tunes that get lodged in your head,especially during the 'choking' scenes.Although this doesn't quite match up to director Curtis Hanson's original movie L.A. Confidential,it is easily on a par with his last film,Wonder Boys.***.
Eminem stars as a rapper trying to Make It Big while facing, oh you know, the White Trash Blues, eg, living in a trailer park, a next to nothing job, Kim Basinger etc etc.
While I'm quite sure my ignorance of hip hop slang and culture led me to miss references and the point of much conversation, it did seem to me that Hanson captured the why and how behind Eminem's rage.The movie's climax is the epiphany when his constructive genius takes over as he learns to channel his anger into his lyrics, and to even take it a level beyond the insulting toasting of the local Detroit battle-of-the-rappers to forge a new persona (what will eventually become Slim Shady among other images) and a new kind of rap that will sweep the nation.It is ironic that here in Detroit (or as the dialog and the credits call it - the 313) how few of the young adults have cars (even though Eminem's character is working in an auto parts plant), and are constantly cadging rides from each other to avoid the humiliation of taking the bus.
Kim Basinger, who plays his mother, allegedly based her own role on Eminem's accounts of his real mother.It's about a young white rapper from Detroit who wants to make it big but has to cope with personal issues along the way, which he vents about through his music.Curtis Hanson ("L.A. Confidential") is a surprising choice for director but it works out well - the film has a grungy, gritty urban feel to it.The acting is pretty good - Eminem got a lot of attention when the film came out but to be fair he's really just playing himself; I wasn't in awe of his performance as some critics claimed to be.
With an authentic touch, Curtis Hanson directs '8 Mile' starring new-on-the-film-scene rapper Eminem.
The fact that the film may be loosly based on the rappers own background, should not distract the viewer from recognizing Eminem's great acting talent.An overall superp picture which has been rightfully Oscar nominated for Best Song.
Eminem plays Jimmy Smith, Jr., a young white kid living in a trailer park in Detroit with his trashy mother and who aspires to succeed in the rap music industry.
It promises us that the film will be frighteningly realistic and distrubing, with performances so honest, because much of it is Eminem's so-called life story.What this movie really is is nothing but a movie you have seen one hundred times before, the only difference is that the characters names have been changed!
It wasn't the greatest movie of all time, but it gives "non-educated" people a chance to see what the underground hip-hop world is like, and some of the things that Eminem may have went through as he began his career.
I am not a big fan of rap music, but I liked the the songs especially "Lose Yourself." Finally, this movie has many apparent messages hidden through the plot.
Eminem proves he is an outstanding actor and makes the story unquestionable.B. Rabbit is a no one with plenty of ambition as well as his vocabulary intact, but when you're growing up on 8 mile it's not easy becoming anything, less alone a white rapper.
I was so surprised with how good this was i was expecting eminem not having a clue how to act, like so many singers which try acting cant but, Eminem is great, he has talent in the acting business, esp this type of film, you really feel this film, and the music really makes you buzz with excitement.
If you look through this new 50 Cent's piece of… let's say hip-hop movie (be accurate - watching it may cause some mental disease), you can remind 8 Mile and say to yourself, that Hanson's film could be much worse.
And what (who) makes this film great is Em. There were so much pros and cons, arguments and battles (even in Russia) about his acting ability (or maybe possibility), but he had done the job as good as he could and even better, especially during his rap episodes.
Based somewhat on Eminem's true life story of growing up in the suburbs of Detroit, 8 MILE is really not as bad as you would think.
The film is actually pretty exciting and Eminem acts so good, you would think he had been doing it for years.
This is a true masterpiece.What I think let a lot of people down is that rap music is not really the entire plot of the story, but it is more of a sub-plot used to show the life of a young man trying to deal with the problems of life.
For instance, the relationships between his mother (Kim Basinger) and pregnant girlfriend are not what Marshall dealt furiously about on his 2nd and 3rd albums.Having said that, I enjoyed 8 Mile, as that it doesn't go for cheap emotions, and Jimmy "Rabbit" Smith's misery and frustrations are projected splendidly by Eminem, since this is basically a version of how he made it- he starts off in a trailer, clothes in a garbage bag and a car that breaks down constantly, but has a gift to come at people at the right times with rhymes.
I even thought (in a sense) that Basinger did a decent job with Rabbit's mother, and she doesn't seem too much like a Hollywood starlet here.Bottom line, fans of Eminem and those who identify with the underground Detroit lifestyle will have a captivating couple of hours with Mr. Shady on screen, and maybe others will too.
When we look at the structure and theme of the film, Eight Mile could easily be described as Rocky does rap.In the Rocky movies (and for that matter in Flashdance), working-class nobodies in dead-end jobs are given a shot at the big time-a title match and admission to an elite ballet school respectively.
Eminem certainly does an effective job in a movie that is essentially his baby, his performance is very deep and personal, he certainly does not hold back, bringing his story to life through a fictional character.
The highlight of the movie is certainly the rap battles, I am a fan of Eminem's music, but I feel people who are unfamiliar with his art can still appreciate the drama and intensity of these scenes, the raw emotion of the cast is overwhelming at times.
The world is an odd place, but a human can become a master his destiny with hard work and will.The fact that Eminem succeeds in playing his role is also due to good supporting acting.
Eminem, the king of the white rappers, works in this film because he has the same "street cred" that my peers and I sought by taking rap seriously when no one associated it with whites.The movie "8 Mile" tells the story of "B.
Rabbit is troubled, conflicted, but his trials and tribulations are meshed together in a way that every artist can only hope for.One thing I've always liked about Eminem is that he's not a white rapper trying to be black, but that he puts a "white" spin on rap, mocking his race's perception as more grammatically correct, less "gangsta" and always the racial underdog.
Somehow, he manages to do this without appearing racist, but rather a mere product of his upbringing.This movie's main objective is to show the world of hard-core rap to a mainstream audience, and I can't imagine anyone watching this film while paying attention and not understanding the culture, at least on a surface level, by the end.One other note: Brittany Murphy stunk, as usual..
I guess only teenagers and people in their early twenties who like rap music and know the entire subculture around it and/or who like Eminem as an artist, will really love this movie.
First, after reading a select handful of everyones comments, it seems a lot of people DON'T realize that this movie is FICTION not fact....it is based on SOME of Eminem's experiences, BUT is fictionalized....if you have the dvd watch the making of the film, and you will see what I mean.
Rapper Eminem makes a spectacular screen debut in `8 Mile,' a film designed to showcase the performer's talents as singer, songwriter and, now, actor.
Kim Basinger, Mekhi Phifer, Britanny Murphy and several others all turn in fine performances in their roles, but it is Eminem himself who makes the film work.
I like the fact that Eminem's closing song says "lose yourself", not "express yourself".I still feel it's something of a waste of a film to give us this vision of Detroit, sketch out for us the virtues and nature of rap, and then mold the material into no particular form, not even that of a struggling artist eventually making it.
A lot of other story strands must go nowhere in order for so much good film-making to come to, compared to what's promised, so little.Despite what you may have heard there's nothing wrong with Eminem's performance.
This movie is so good that people who saw Rocky will like this a lot because 8 Mile has its moments that have the feel of Rocky.
Finally, a movie with a music star that's not just not bad, it's actually very good.The discussion first starts with, who else, Eminem.
The Man wants to know how he can prevent it from happening again.The Plot- Eminem plays Jimmy "Rabbit" Smith a young man seemingly from the "right side of the tracks" which Detroiters know as neighborhoods north of Eight Mile Rd. However, all is not what it seems for the suburban hero of this film.
Given the cast and premise, you'd probably expect 8 Mile to be an over-exaggerated version of hip-hop culture or a movie just showing how great Eminem is.
The semi-autobiographical account of the greatest hip-hop artist of all time, alive or dead, is actually a pretty enjoyable & nicely put together piece of work that also marks Eminem's acting debut at which he does a surprisingly good job, and despite featuring a familiar path & many unrefined aspects, is filled with brief moments that are absolutely thrilling.Set in Detroit, the story of 8 Mile concerns a young white rapper named Jimmy "B-Rabbit" Smith Jr. who's struggling with every aspect of his life & invites a lot of flak after choking at the local rap contest.
It's all leading up to the climatic final rap battle at The Shelter.Eminem does a pretty good acting job as Rabbit.
However the telling makes it worth seeing – the direction is pretty good and the liberal use of music is one of the many good touches, meanwhile Eminem ensures that it is always worth watching – whether doing witty disses in a car park, ripping the opposition in a battle or just being understated in a good role.
However the telling makes it worth seeing – the direction is pretty good and the liberal use of music is one of the many good touches, meanwhile Eminem ensures that it is always worth watching – whether doing witty disses in a car park, ripping the opposition in a battle or just being understated in a good role. |
tt0139134 | Cruel Intentions | New York City. 1999. The womanizing Sebastian Valmont (Ryan Phillippe) is with his therapist Dr. Greenbaum (Swoosie Kurtz) to talk with her over his sexual urges over other women. Sebastian decides that he is more or less cured and bids goodbye to him to set out as a new man. She thinks she has convinced him of sustaining longer and more serious relationships with girls. After Sebastian leaves her office, Dr. Greenbaum gets a phone call from her distraught daughter Marci (Tara Reid) who claims that her boyfriend just broke up with her and posted a nude photograph of her on the Internet. Dr. Greenbaum realizes that Sebastian is the guy whom Marci is talking about and she chases after him and yells at him for violating and corrupting her daughter in front of a small crowd. Sebastian slyly denies knowing who Dr. Greenbaum is and leaves, only stopping to pick up another young woman.Kathryn Merteuil (Sarah Michelle Gellar), the image of social perfection, takes the sheltered and naive Cecile Caldwell (Selma Blair), under her wing, promising to turn Cecile into a model student like herself. Kathryn's real intention, however, is to take revenge on Court Reynolds, Kathryn's own ex-lover, who dumped her for the "innocent little twit", Cecile. Kathryn intends to corrupt Cecile by getting her to sleep with as many men as possible, thereby destroying her reputation and teaching Court a lesson.Kathryn asks for help from her step-brother, who happens to be Sebastian. Though Kathryn and Sebastian have collaborated in schemes of manipulation before, he initially refuses. He is busy planning another "conquest", the beautiful Annette Hargrove (Reese Witherspoon), a girl who has published a manifesto saying that she plans to keep her virginity intact until she gets married. Annette is the only daughter of the new headmaster at their prep school Manchester, which is currently closed for the summer season. Sebastian learns that Annette will be staying with his aunt Helen Rosemond (Louise Fletcher) in the Hamptons on Long Island and Sebastian hopes that it will be a perfect opportunity to seduce Annette.Kathryn doesn't think Sebastian has a chance with Annette, so they make a wager. If Kathryn wins, she gets Sebastian's vintage Jaguar, a 1956 XK140 Roadster; if Sebastian wins, she offers him a night of passion with her, as she is the only girl Sebastian cannot bed. Sebastian initially rejects this deal, being very enamored of his car, but relents when Kathryn ups the ante, telling him that he can "put it anywhere."Meanwhile, Ronald Clifford (Sean Patrick Thomas), Cecile's music teacher for the summer, is also smitten with Cecile, and Kathryn makes arrangements for Ronald and Cecile to spend time together, hoping that he will take Cecile's virginity.On Long Island, Sebastian has a hard time seducing Annette when they first meet. Through they have chemistry, she sees right through him and rejects his advances claiming that she knows that he seduces and corrupts young women for his own twisted enjoyment.Shocked and angry by Annette's rejection of him, Sebastian confides in a Manchester Prep student Blaine (Joshua Jackson) about Annette's knowledge about his past. Blaine suggests that Annette's ex-boyfriend and Blaine's current lover Greg McConnell (Eric Mabius) may have accused him. After a confrontation later that same night, where Sebastian threatens to reveal Greg's homosexual relationship with Blaine, Greg denies that he told Annette anything. Seeing that Greg has no reason to lie, Sebasian then tells Greg to find out who has been bad-mouthing him to Annette while telling him to tell Annette a fabricated story about his good intentions.Later, Sebastian learns from Greg that Annette has been forewarned of his libertine ways by none other than Cecile's mother, Mrs. Bunny Caldwell (Christine Baranski). Wanting revenge, Sebastian returns to New York and re-joins Kathryn in her plans to corrupt Cecile.Kathryn engineers Ronald's break-up with Cecile by informing Mrs. Caldwell of their flirtations; Mrs. Caldwell quickly ends their affair and fires Ronald as Cecile's music teacher. Sebastian, in turn, calls Cecile to his house, ostensibly to give her a letter from Ronald. Once at his house, Sebastian blackmails Cecile and convinces her to have oral sex. The next day, Cecile confides in Kathryn, who advises her to learn the art of sex from Sebastian so that she can make Ronald happy in bed.Meanwhile, Sebastian continues his quest of Annette by continuting to put on a compasionate facade to discredit his bad-boy reputation. He tells Annette that he thinks of other people and demonstrates by volunteering at a hospice care facility where she also volunteers. He also gives money donations to charity groups knowing Annette is observing him which is also a part of his ploy to get back on her good graces.Over the next few days, Sebastian begins to fall in love with Annette, who returns his feelings but still keeps her defenses up. Sebastian declares that Annette is a hypocrite, waiting for love but refusing to sleep with the guy that loves her. Confused and beaten by Sebastian's logic, Annette relents, but Sebastian, now feeling guilty for leading her on, refuses her. Heartbroken and embarrased, Annette flees his aunt's estate. Sebastian tracks her down at her parents hotel suite in New York and professes his love, and they consummate their feelings.Kathryn offers herself to Sebastian the next day, since he has won the bet, but he refuses; his romantic focus is now on Annette. Kathryn taunts Sebastian for having gone soft, then convinces him that his love for Annette is nothing more than a infatuation. Kathryn threats to ruin Annette's reputation unless Sebastian breaks up with her.Swayed by Kathryn's threat, Sebastian coldly breaks up with Annette and returns to Kathryn. Kathryn, however, now refuses to sleep with him. After Sebastian tells Kathryn that he has arranged for Cecile and Ronald to be together, Kathryn reveals that she has known all along that he was truly in love with Annette, yet she manipulated him to give it up. While Sebastian may have initially won the bet, she made him lose his first true love, and she (Kathryn) does not sleep with "losers." Sebastian, hurt and angry, leaves and declares war on Kathryn.After trying unsuccessfully to talk to Annette, he sends her his journal, in which he has detailed all his previous "conquests" and written his true feelings for Annette. He wants to offer the diary to Annette, hoping she will learn the truth for herself and forgive him.Kathryn, meanwhile, informs Ronald of Sebastian's affair with Cecile; Kathryn also claims that Sebastian had hit her (in a deleted scene Sebastian indeed slapped Kathryn). A furious Ronald confronts Sebastian in the middle of the street outside Annette's apartment building and a fist fight ensues. Annette, in search of Sebastian, comes upon the fight and tries to stop it. She is thrown into the way of an oncoming taxi cab. Sebastian pushes her to safety and is hit by the speeding cab himself. Annette rushes to his side. Before he dies, he professes his love for her, and she reciprocates.A few weeks later, the new school year at Manchester Prep is inaugurated with Sebastian's funeral. During the service, Kathryn gives a self-sufficient speech to the school about how she had unsuccessfully tried to get Sebastian to mend his ways and become a model student like herself. Halfway through her speech, students start walking out. Flustered, Kathryn rushes outside the chapel, where Cecile is distributing copies of Sebastian's journal (entitled Cruel Intentions) to all the students. The journal shows all of Sebastian's inner thoughts: his conquests, his description of the bet, and a page on Kathryn, which finally exposes her manipulative and deceitful ways, including the fact that she hides a vial of cocaine in a crucifix she wears in the rosary beads around her wrist. The headmaster takes Kathryn's crucifix and opens it, spilling the cocaine. Kathryn's spotless reputation is destroyed, and people finally see her for the troubled, callous mastermind that she is.In the final shot, Annette drives away in Sebastian's Jaguar, putting his sunglasses on, with his journal by her side and fond memories of being with Sebastian playing through her head. | revenge, cult, cruelty, sadist, romantic | train | imdb | null |
tt0371746 | Iron Man | A convoy of military Humvees drives across the Afghanistan desert. In one of them is billionaire weapons developer Tony Stark (Robert Downey Jr.), riding with soldiers on duty. He is joking with some members of a convoy who seem to be genuinely amused by his persona and his flamboyant public image. Suddenly, the convoy is ambushed by unseen gunmen. The soldiers fight to defend themselves but are quickly killed. Tony flees the Humvee, taking refuge behind a large rock. Moments later, a missile lands nearby and explodes, but not before Tony sees the Stark Industries logo painted on it. Large amounts of shrapnel are lodged in Tony's chest despite the body armor he wears. Tony is captured and recorded on video by a group of masked terrorists.Las Vegas, 36 hours earlierTony Stark is about to receive the Apogee Award in Las Vegas. A presentation documents Tony's life story: born the son of legendary weapons developer Howard Stark, Tony is a child prodigy who built his first circuit board when he was four years old, his first V8 engine when he was six, and graduated summa cum laude from MIT when he was 17. His parents were killed in a car accident in 1991, and when he was 21, he became CEO of Stark Industries, where he is to this day. Colonel James "Rhodey" Rhodes (Terrence Howard) prepares to present Tony the award, but Tony is not in attendance. Tony's right-hand man (and his father's former partner) Obadiah Stane (Jeff Bridges) accepts the award in Tony's stead. Rhodey later finds Tony partying in a casino. On his way out, a reporter named Christine Everhart (Leslie Bibb) approaches Stark with some questions regarding the ethics of his weapons business. Stark deflects her questions with some swift quips and the two end up spending the night together at Tony's oceanfront house in Malibu.The next morning, Christine is awakened by a voice on a computer monitor. It's JARVIS (voice: Paul Bettany), the artificially intelligent program responsible for running Tony's house and his research lab. As Christine leaves the house, she's greeted by Tony's human assistant, Virginia "Pepper" Potts (Gwyneth Paltrow). Pepper helps Tony catch up on some business before Tony heads out to the airport where his plane awaits. In flight, Tony talks with Rhodey. Rhodey is unhappy about Tony's lax attitude, and Tony tries to get his old friend to relax. Before long they are drunk and leering at the flight attendants.Tony arrives at a military outpost in Afghanistan to demonstrate his company's latest project: the Jericho, an advanced super-missile system. After the demonstration, Tony gets a phone call from Obadiah and they are both pleased that the demonstration went well. Tony goes off with the convoy, which brings us to the convoy ambush at the start of the movie.Much later, Tony regains consciousness in a cave. His chest is hooked up to a strange device. Another captive, Dr. Ho Yinsen (Shaun Toub), explains that he operated on Tony but was unable to remove all of the shrapnel. Yinsen created a device -- essentially an electromagnet powered by a car battery -- that will keep the remaining fragments from shifting and causing further damage to his heart. The terrorists who captured Tony and Yinsen enter the room. Yinsen translates; they want Tony to build them a Jericho missile. Tony refuses and they torture him by dunking his head in water.Hours later, the terrorists, whose group is called the the Ten Rings, show off a huge stockpile of weapons -- all made by Stark Industries. Tony appears to give in and starts building the missile, but he has other plans. With Yinsen's help, and using palladium collected from his weapons, Tony constructs a tiny version of an arc reactor, streamlined from a much bigger design used at his company's headquarters. The power output is enough to run Stark's heart for "fifty lifetimes... or something much bigger for about 15 minutes." It will also be enough to keep the shrapnel in Tony's heart from shifting any further and killing him.Tony designs a way out for himself and Yinsen: an armored suit powered by the arc reactor that he will wear and use to defeat the terrorists. Midway through construction, the head of the Ten Rings, Raza (Faran Tahir), arrives and threatens to torture Yinsen, angry because he thinks Stark is not working on the Jericho as they wanted. Tony bargains for Yinsen's life, saying he makes a good assistant. Raza gives them one more day to finish.Working furiously overnight, Tony completes his project. Yinsen straps Tony into the completed armored suit, telling him the way out of the cave. They set off a bomb inside the cell door as a distraction for the guards as Tony powers up his suit. Yinsen realizes that they will not have enough time. He grabs a gun and runs off to distract the surviving guards.Tony, fully powered, muscles his way through the cave. The guards try to stop him but his suit easily deflects their weapon fire and he beats them off or kills them. He also fires one of the suit's missiles at Raza himself, who is flung out of sight by the blast. Halfway out of the cavern, Stark finds Yinsen, mortally wounded. Yinsen reveals that this was his plan, sacrificing himself so Tony could escape -- Yinsen's family is already dead and he will now see them again in the afterlife. Tony tearfully thanks Yinsen for saving him. Yinsen's last words to Stark are not to waste his second chance at life.Tony turns his suit on the remaining terrorists, igniting flame-throwers and firing missiles. He destroys their stockpile of weapons, but some of their larger-caliber weaponry begins to damage his suit. He uses a rudimentary jet-pack to launch himself out of the valley. Not long after firing, his jet-pack fails and he survives a crash in the desert. Stark leaves the suit behind and hikes through the desert until a couple of US helicopters fly overhead. A group of soldiers, led by Rhodey, come across Tony. Rhodey is overjoyed to find that his friend is alive.Tony is quickly flown back to the United States. Upon his arrival at Edwards Air Force Base, Pepper wants Tony to receive medical treatment, but Tony says that there are only two things he wants: an American cheeseburger and a company press conference. So Tony appears before a group of reporters and, clearly humbled and no longer the arrogant CEO he was before his capture, announces that he intends to shut down Stark Industries' weapons manufacturing division immediately. At the same time, Pepper is approached by Agent Phil Coulson (Clark Gregg) the from Strategic Homeland Intervention, Enforcement & Logistic Division. They want to talk to Tony about his capture. Pepper schedules an appointment for them.That evening, Obadiah Stane confronts Tony about his actions, furious. Obadiah knows that the stock value for their company (and, by extension, their financial status) is going to take a serious drop because of this announcement. Tony wants Stark Industries to move forward with arc reactor technology, but Obadiah thinks that the arc reactor is nothing but a publicity stunt. Through the conversation, Tony ends up revealing his prosthetic power-heart to Obadiah but refuses to allow the device to be studied for production. Stane convinces Tony to lie low for a while so the company can sort things out.Pepper watches Jim Cramer deliver a scathing news segment on Mad Money on the declining value of Stark Industries when Tony asks for her help. He's created an upgraded and much more powerful mini arc reactor, the Mark II chest piece, but can't install it into his chest without someone to help -- his assisting robot, Dummy, tried to insert the arc reactor but failed. Pepper accidentally yanks out the cords for the old reactor too soon, putting Tony on the verge of cardiac arrest. They manage to complete the process in time. Tony tells Pepper to destroy the old model since he's not a sentimental person.Tony visits Rhodes and asks for help with a new private project. Rhodey does not agree with Tony's approach; he thinks Tony is suffering from post-traumatic stress disorder because of his capture and needs time to recover.Tony turns to his other best friend -- JARVIS -- for help. Tony's plan is revealed to be an upgrade to his armored suit (referred to as Mark II; the suit from the terrorist cave was Mark I). Tony, studying a 3D CGI-mapped image of the Mark I, discards many of the components, streamlining the design.Meanwhile, Raza, having survived his battle with Stark and the Mark I, searches the desert, gathering all fragments of the Mark I suit that Tony left behind.Tony decides that the first thing he has to do is to perfect the armor's flight system. Since the leg-mounted jets proved too unstable, he creates repulsors for the feet and arm-mounted stabilizers for balance. Pepper comes in when he is testing the stabilizers and they find that it also creates a powerful repulsion beam that could also be used as a weapon. Pepper leaves a paper-wrapped box on Tony's desk as a gift.Obadiah visits Tony and reveals that the board of directors has filed an injunction to gain control of Stark Industries. Tony isn't worried; he still maintains controlling interest in Stark Industries.After several failed and painful attempts, Tony perfects his flight system, and is delighted at the prospect of flying.The Mark II armored suit is soon finished. It looks like a heavily-streamlined version of Tony's Mark I armor. Tony connects with JARVIS to monitor the progress in the suit. Against JARVIS's advice, Tony takes it out for a test flight, and he is thrilled by the suit's functionality. Tony pushes the limit for high-atmosphere flying, but at such great heights the freezing air causes the suit to become coated with ice and his power supply shuts down. Tony is barely able to reactivate his thrusters in time to avoid crashing into the ground. Stark returns home, but the armor is so heavy that it smashes through three floors of the house. As Tony recovers from his crash landing, he opens the box that Pepper left behind earlier; inside is the Mark I arc reactor, encased as a trophy with the message, "Proof That Tony Stark Has a Heart."Tony analyzes more data and decides to rebuild the suit using gold titanium from an old project to solve the icing and weight problems. He instructs JARVIS to add some hot-rod red trim to the next suit, codenamed Mark III, then leaves to attend his annual benefit dinner while the new suit is being assembled and painted.At the charity event, Tony meets with Agent Coulson, who still wants to learn about Tony's incident. Tony leaves to dance with Pepper and they share a moment together in the moonlight.Christine, the reporter Tony slept with prior to leaving for Afghanistan, shows him photographs of his weapons being used by a terrorist group the previous day in the remote Afghan town of Gulmira, Yinsen's home village. Tony confronts Obadiah on the matter, and Obadiah reveals that he is the one who filed the injunction against Tony. Obadiah calls himself an "iron monger," and has no qualms about selling Stark Industries weapons to both sides of the conflict. Tony returns home, furious. While there he watches news reports of the worsening situation in the Gulmira region. He tests modifications to his hand repulsors, turning them into a weapon and blasting out several glass panes. When the new suit is completed it is fitted to his body by an automated robotic system. Stark flies off to Gulmira at hypersonic speed, determined to right his company's wrongs.In Gulmira, terrorists are rounding up civilians for capture and execution when Tony shows up. His Mark III armor is more than a match for them. Within seconds, he defeats the first group of terrorists, using his advanced weapons to take out several without any innocent casualties. He leaves the group's leader, Raza's chief lieutenant, alive and defenseless for the villagers to take their revenge on.While flying to find his weapons, Iron Man is shot down by a tank shell. When he gets up, a second shell barely misses him. He responds by shooting a mini-missile at the tank, destroying it. Using the palm repulsors he designed, he destroys the captured Jericho missiles. After they are demolished, Raza arrives in time to see Tony fly off.CENTCOM at Edwards Air Force Base detects Tony in flight, mistaking him for a rogue drone. Col. Rhodes is asked about the status of any new developments. He contacts Tony, who claims that he knows nothing about what is happening. In the meantime, Tony is confronted by two F-22 Raptors. He tries to outrun the jets but they are too much for him. Tony calls Rhodes and reveals that he is responsible for the "unidentified craft." Rhodey is furious about Tony sending in unauthorized equipment, and horrified when Tony explains that the "equipment" is actually himself in his new invention. Iron Man is hit by one fighter jet, sending him flying into the wing of the second jet. The pilot is forced to eject, but his parachute fails to open. Iron Man, still under fire, flies in and deploys the parachute in time to rescue the pilot. Tony convinces Rhodey to pass off what happened with the jets as a "training exercise."After Tony arrives back at home, Pepper catches him removing the battle-damaged Iron Man armor. The removal is not going as well as the assembly and Tony quips that Pepper has seen him in situations that were much worse.Meanwhile, Stane pays a visit to the Ten Rings' camp. He paid the Ten Rings members to capture and kill Tony, but they realized who Tony was and had demanded a much higher price when they made their tape. Using a high-powered sonic device that induces temporary paralysis, Stane immobilizes Raza and takes the remnants of the Mark I armor they have gathered. Stane then has his men execute everyone in the camp.Tony tries to talk Pepper into helping him, believing that nothing else matters but saving the people who he put in harm's way. Pepper is moved by Tony's dedication, and agrees. She goes into Obadiah's office with a flash drive programmed to copy files from the computer. As Pepper sifts through stored files, she finds a video from the terrorists proving that Obadiah was responsible for Tony's capture. Obadiah comes into the office and sees her at the computer, but Pepper manages to hide what she is really doing. She leaves the office, but as soon as he powers up the computer, Obadiah realizes what she was up to. On the way out, Pepper sees Agent Coulson and tells him he can have his interview immediately so that he accompanies her safely out of the building.Obadiah meets with his team of developers who are working on his own armored suit based on the Mark I. They have rebuilt the components, but they cannot miniaturize Stark's arc reactor. Stane is furious, angrily telling one of them, "Tony Stark was able to build this in a cave! WITH A BOX OF SCRAPS!", then realizes that he has one other option.Stane arrives at Tony's house and paralyzes him with the sonic weapon. Obadiah yanks out the the Mark II chest piece from Tony's chest, taunting him about how it will be the flagship invention in a new era of weaponry. After he leaves, Tony realizes that he has only one hope for survival -- the preserved arc reactor that Pepper gave him as a gift. He gets the power source installed just as Rhodey arrives. Rhodey informs him that five agents have gone to arrest Obadiah, but Tony knows that is not nearly enough manpower.Rhodey watches Tony suit up, awestruck at the Iron Man armor. Rhodey asks if there's anything Tony needs, Tony asks him to "keep the skies clear." As Tony flies away, Rhodey spots the silver-colored prototype suit, the Mark II... then shakes his head and mumbles "Next time."Pepper, Coulson and several other agents arrive at Obadiah's research facility. They spot the Mark I armor and a storage location where something else was kept. Just then, a gigantic robotic suit comes to life and attacks them -- it's Obadiah's counterpart suit, code-named the Iron Monger, powered by the chest piece he stole from Tony.While Tony flies towards the research facility, JARVIS warns him that he has only about half power in the suit because the older chest piece wasn't designed power the Mark III during sustained flight.Tony arrives just as Obadiah is about to execute Pepper. The two ironclad warriors begin a huge, brawling battle that spills into the streets near Stark Industries. Tony flies into the upper atmosphere, drawing Obadiah along with him. Obadiah struggles but before long begins to freeze up -- his suit has the same icing problem that Tony's Mark II had. Obadiah begins to fall back to Earth, leaving Tony hovering above. The older arc reactor begins to lose power rapidly and Tony falls back to Earth, landing on top of his factory, running on auxiliary backup power.Back on the ground, Obadiah attacks Tony again. Tony evades Obadiah long enough to instruct Pepper to overload the building's arc reactor, which will generate a shock wave strong enough to disable Obadiah's suit. Pepper is hesitant, believing that Tony could also be killed. Tony manages to keep fighting while she builds up power to the reactor. The reactor releases its shock wave, knocking out the Iron Monger suit, which falls into the reactor, killing Stane and destroying the reactor. Stark's original mini arc reactor sparks back to life, allowing Tony to survive.Days later, Rhodey holds a press conference about the incident with the two "robots." Tony is impressed with the name the newspapers come up with, "Iron Man," and plans to adopt it. Agent Coulson has released cover stories about the death of Obadiah (who will die in a small plane crash while Tony is supposedly elsewhere) and the "truth" about Iron Man (who will be referred to as Stark's bodyguard). Pepper thanks Coulson but cannot remember the full name of the group he belongs to. Coulson tells them to call it "S.H.I.E.L.D." and says that they will be in touch again.Tony goes before the reporters once more, and prepares to comply with the cover story. But, as he begins talking, he throws away his notes and declares "I am Iron Man." The press goes into a frenzy.Much later (after the credits), Tony returns home to find a mysterious man in black telling him that as Iron Man, Tony has become part of a larger universe. Tony asks who the man is. He turns around and introduces himself: Nick Fury, director of S.H.I.E.L.D. (Samuel L. Jackson). He's come to talk with Tony about an upcoming project known as the Avenger Initiative. | murder, cult, violence, flashback, good versus evil, humor, action, entertaining | train | imdb | As an avid reader of the Iron Man comics, I was excited but also very scared that this movie would flop.While Robert Downey is not the biggest name in Hollywood, he plays the part perfectly and I was greatly impressed by how he portrayed Iron Man so well.The humor works well for this film also.
Jeff Bridges plays the bombastic creature of villainy over-the-top, but appropriately so; Terrence Howard is nice as the friend and military liason, not given much to do, but definitely sowing seeds for the future; and Gwyneth Paltrow is good as the sweet assistant Pepper Potts who at times seems a little underwritten and more female prop than anything else, but comes through with some nice moments in a very comic sort of way.
Here, we have a very detailed rendering of the entire design from scratch to final modification, and we're in at every step of the way, with many cheeky and sometimes a tad implausible scenes just for cheap laughs thrown in.I thought Iron Man the story worked because of stark (pardon the pun) similarities with Batman Begins, also an origin story which took its time to dwell on the man behind the suit, nevermind at the sacrifice of having less action sequences, or by not giving the fans what they want through the showcase of more than the basic powers.
Advanced capabilities can always find room in the sequel, and as the first movie used to establish its characters, I felt that it succeeded, given too that it had a cast of capables (just like Batman Begins had) to pull the movie through without resorting to over the top and campy performances, starting of course with the lead in Robert Downey Jr.In a nutshell, Downey is Tony Stark through and through.
The dialogue contained within each scene of Stark's, except perhaps during captivity, is full of one-liners done in double quick time, you probably would think it boiled down to a whole host of natural ad-libbing.But while Starks spends significant amount of time in his unsecured basement building his masterpiece, his human interaction come in the form of faithful secretary Pepper Potts (Gwyneth Paltrow) who actually, for the first time I admit, looked really good on screen as Stark's most trusted aide, bringing about some serious spark of sexual tension and chemistry between the two characters of opposite sex, more so than any other comic book movie I have seen.
While his performance is refreshing as he disappears behind the ball head and bushy beard, you could see his motivation and how the plot would have been developed to introduced the ultimate fodder for Iron Man to duke it out in a, sad to say, ordinary finale which any audience would probably be able to stay a step ahead.As mentioned earlier, there are plenty of similarities with the Dark Knight of Gotham in Christopher Nolan's reboot, but more so because of properties inherent with the likeness between Bruce Wayne and Tony Stark.
Both are incredibly wealthy to devote time outside of the day job to pursue their "hobby", both have to suffer personal tragedies in order to wake up to the cruel world, and in the movie, both fall prey to the corporate raider type, spend time perfecting their suit of war, have assistants they would trust their lives with, and of course save them from impending doom, and a finales set at their facilities.But Iron Man is still a special effects extravaganza offering a thrill ride especially when he goes into battle mode, and without a doubt, Robert Downey Jr probably should be credited for raising the profile of this once Tier-B character, to perhaps becoming more recognizable now, and obviously, expanding the fan base of this weaponry filled suit of metal, which of course, in this origin movie, we were only given a glimpse of its potential.
It looks fabulous, the whole film is very slickly made with top-notch special effects(which look like time and effort was really put into it), awesome-looking futuristic gadgets and Iron Man's suit will be a guaranteed delight to anybody who is familiar or loves anything to do with the superhero.
The story has enough to allow you to emotionally connect with Iron Man(who I've always considered one of Marvel's most interesting and multi-faceted characters) and has a clever mix of the comic's 1960s origins and the effects of contemporary war, which will provide plenty of nostalgia while also feeling relevant.
Robert Downey Jnr's performance as Tony Stark/Iron Man is a power-house and one of his best, doing much with the smart dialogue while making the emotional side of the characters wholly believable.
The CGI is excellent as I loved how much attention was given to detail and how the viewer is shown every step of the making of Iron Man. Of course, there's some humour added to lighten up the mood instead of technologically overloading the viewers.'Iron Man' is just the movie that Robert Downey Jr. needed and it couldn't have come at a better time.
An odd yet brilliant choice as the actor is refreshing and like his costar, he too needed an 'Iron Man' to give his career a boost.I noticed that some people were complaining that Muslims/Middle Easterners were portrayed as bad guys just like in any other American movie but I would like to state that this is no 'Vantage Point'.
A flawed character that becomes honourable is the answer, triumphing in the battle of Good over Evil in spite of being a bit of a prat.Add to that some of the best features of Robocop, Batman Begins and Terminator II, and you have one of the more satisfying comic-books-turned-blockbuster that we've seen for a while.Billionaire and genius Tony Stark with a personality vaguely based on Howard Hughes is a weapons inventor that gets captured by bad guys in Afghanistan.
Stark, nicely played by Robert Downey Jr, fashions a hi-tech suit of armour - before going on to save the world in usual exemplary fashion.This long build-up to explain how he becomes Iron Man is arguably the best part of the film.
I did like Bridges' Obadiah Stane with his intimidating yet charming persona but in the end he was just a reverse of Iron Man, not that interesting.+ Robert Downey Jr + Fresh, new start for superhero movies + Writing and pacing (mostly) + Action and Humor - Final Villain Final Score: 9.3/10.
Although he could have played the role as a scenery chewing , typical villain, Bridges injects the role with a sense of realism and imposing menace, making for a convincing antagonist.Iron Man is what a marvel comic book movie should be- a mix of great story ,exciting action, and a faithful representation of a classic character..
As a prisoner, Tony gets help from another prisoner by creating a metallic suit to shield himself as he escapes from the underground caves and later thinks about how with his inventions he can get rid of evil after learning that his weapons were not only used by the U.S. army but by the Iraq soldiers as well.It's fun to watch Downey Jr.'s character as Stark trying to reinvent the machine and at the same time learning from his mistakes that nobody's perfect.
Tony Stark/Iron Man is a good comeback for Robert Downey Jr. who's really had a bit of ups and downs in the past years of his career, but he finally found the right character at last.Jon Favreau (Swingers) directs the film balancing a sense of reality along with mixing humor, action, a bit of romance, adventure, screw-ups, and thrills along the way.
I gotta admit, like most other people I was not a big fan of Iron Man comics or Robert Downey Jr, but after seeing this movie I have new respect for the actor and the character.
And, when the time comes, he can whip up a technological breakthrough under the most dire of circumstances (i.e. under pressure of death to make a weapon for terrorists and instead making his quintessential suit).But at the same time, when Tony Stark becomes Iron Man, he does have a level of conscience from the start, realizing that the company that is under his name (if not one he entirely runs) has been manufacturing big-time weapons of mass mayhem (dont want to put destruction in there, though it's pretty much that), and wants to not want this any longer.
The story is well put and the mixture of humor, action, and a little drama is just epic.I have been a Iron-man fan boy for 10 years now and Im very pleased to say this movie does everything right.
To escape, he must exceed his greatest technological achievements, and in so doing, he envisions a new way to live for him and his firm.Iron Man is, far and away, the best film adaptation of a comic book 'origin story' that I have seen adapted to film.
The film has the pace of a military thriller (though it is more of an action film), the visual appeal of a well-crafted sci-fi spectacular (though it never sacrifices story to spectacle), and an abundance of talent (although star power does not drive this film).Robert Downey Jr, Jeff Bridges (Obie Stane) and Gwyneth Paltrow (Pepper) own the screen, and are nicely supported by Terence Howard and a number of talented character actors.
While the film is far from a one-man-show, Downey's performance could have made this a great comics film even without the fine work by the rest of the cast.I was also pleased by the appearance of S.H.I.E.L.D. in the film, and hope that their appearance is a foreshadow of things to come, not just a cameo.Highly recommended for fans of the genre..
Simply put, Iron Man is everything a comic book movie could hope to be: a perfect balance between the grittily serious and exuberantly enjoyable, flawless special effects and a roster of incredible performances.
Overall, Iron Man is the best superhero movie to date, great actors, excellent visuals, and best of all, the amazing script to this film.
After watching the overblown Spider-Man 3 last year; and the special effects driven Transformers, I was beginning to think that Hollywood didn't know how to make a decent comic book movie anymore.
Then Jon Favreau directed Iron Man. The first thing that he does right is casting Robert Downey Jr. as Tony Stark.
Stark now plans on using his technological prowess for good rather than evil, protecting the innocent and vanquishing the wrongdoers."Iron Man" soars into the top echelon of superhero movies thanks to a witty screenplay (by no fewer than four writers), fast-paced direction by Jon Favreau and top-notch special effects by a veritable army of CGI wizards.
James Bridges and Terrance Howard are also excellent in key supporting roles.Unlike in so many multi-million dollar, effects-driven extravaganzas, the action scenes in "Iron Man" - as pulse-pounding and jaw dropping as they are - never come to dominate the movie.
There are many things that makes this movie highly entertaining - the first, it must be said, was the amazing performance of Robert Downey Jr. as the main character 'Tony Stark'.
I was very impressed by it, particularly with a surprising anti-gun/war message delivered nicely by Robert Downey Jr.To my surprise, Downey did a pretty good job as Tony Stark/Iron Man. He's funny, entertaining, and a hero that could easily be liked.
Gwyneth Paltrow's character can be considered a damsel in distress at the end, but the relationship never grows between her and Iron Man. I'm not trying to sound like I am a lover of chick flicks, but in my opinion, a good superhero should always have a girl, or at least someone to love.Overall this is a great film with a solid plot, decent acting, and wonderful CGI that is not overdone.
It certainly is an improvement over some of the other comic book movies to come out of Marvel's lineup, like the disappointing Spider-Man 3.Robert Downey Jr. makes one of the greatest performances ever as Tony Stark/Iron Man. He is hysterical and is the best part of the whole movie.
Tony Stark is a lot like the movie itself, it's a hell of a lot of fun.I still haven't mentioned Gwyneth Paltrow, Jeff Bridges or Terrence Howard, but they all put in good work too, particularly Gwyneth, the will they/won't they chemistry between her and Robert is lovely and played almost in a 1940's screwball comedy way.
This really is some of the best special effects that I have seen in a film and it makes every scene involving Iron Man marvelous.I think the story is good as well.
It is cool seeing Tony Stark a lot, but it would have been nice to see him in the Iron Man costume more.The action is good in this film, but nothing too special.
Back home, Stark continues work on this technological advanced suit and is soon put to the test to defeat the ultimate enemy.Explosive and exciting action filled 'Iron Man' is not only a spectacular introduction to the comic book hero but is also a superb return for Robert Downey Jr. Downey is born to play Tony Stark, with a great supporting cast and amazing visual effects.
Iron-Man, one of the greatest superheros that has ever graced the comic book scene has finally mad it to the big screen in ones of the best and most successful comic book adaptions ever made, Iron-Man proves to the world that he's a hero that's built and not born.Iron-Man stars Robert Downey, Jr. as Tony Stark an ultra rich, genius weapons designer who has everything he wants and nothing at all, while Tony is demonstrating a new weapons of his he is captured by a group of terrorist who want him to build the very same weapon, now Tony has to use all his wits and genius to get out alive and his escape comes in a very familiar way, a high tech suit of armor made by him and his captive friend and assistant Yin sin.After Tony returns to civilization he decides not to make weapons anymore and uses his new found suit of armor to protect the innocent from the terrors of the world.Iron-Man is a high tech, high flying sci-fi action comedy that won't let you down until the movies over, Jon Favreau brings his own style to an old friend and turns Iron-Man into a truly jolting and explosive experience that you just can't miss.
But amazingly he pulls off an outstanding performance that's sure to make you accept him as Iron-Man for years to come, this movie is exciting, daring, funny & witty and is a perfect treat for comic book fans alike.
Comic book fans will like this movie as it is fairly accurate to the story of Iron Man. Robert Downey Jr. is excellent with the part of Tony Stark I doubt it could have been played better.
this is one movie that was way better than i thought it would be.it's not just an action movie.it's also a smart,cleverly written movie,with some great dialogue.it also incorporates real global problems,serving as a sort of commentary on our times.it's not preachy,it just shows how far we've progressed.or maybe regressed as a society.there is also the theme of redemption in the movie.i mentioned the good dialogue.an example of that is the witty banter between Tony Stark(Robert Downey Jr.)and his assistant Pepper Pots(Gwyneth Paltrow).beyond that though,Stark is generally witty.i liked the origin story of the film,though i can't say whether or not it's accurate to the comic book.naturally,there are some great action sequences,especially the flying scenes and the combat scenes.and that suit is very impressive,both in looks and functionality.as to the cast,Downey is very good as Stark/Iron Man.Paltrow is very likable as Pepper Potts.Terrance Howard is good as Stark's military friend Rhodey,but i feel he was underutilized.oh well,maybe the sequel will rectify that.i heard that Howard is being replaced in the sequel by Don Cheadle.nothing against Cheadle,but i think they ought to stick with Howard,since he originated the character in the film.but the best actor in the bunch,in my opinion is Jeff Bridges,who gives a William Hurt type performance,understated,yet simmering with passion and charisma.that's just my opinion.anyway,,the movie is fun and engaging,but it's no empty headed action movie.not that there's anything wrong with that.no,this is a smart movie with heart and soul.my vote for Iron Man: 9/10.
With brilliant acting from Robert Downey Jr as the quick-witted Tony Stark and a good performance from Gwyneth Paltrow they seem to hold the movie together and with great results.One thing that stood out for me in this film was the amazing CGI and effects.
After watching and being enthralled by the story, I accept that Downey was really born to play the role of Iron Man. The underplayed romance between Pepper Potts (Gwyneth Paltrow) and Tony Stark works well for the story.
Although my favorite comic book movie still goes to Batman Begins, iron Man is a very good film..
I Am Iron-Man. Now it's not always a movie based off a comic book would do it justice however Iron-Man hit all the right notes.Iron Man begin a series of films based in has been called The Marvel Climatic Universe.This film centers around the origin of Iron Man as Tony Stark (played by Robert Downey Jr) as he wants to rid the world of weapons after being taken hostage.
Phase 1 of introducing all the Characters from the Avengers which starts with Iron Man. Tony Starks played brilliantly by Robert Downey Jnr is a wonderful teleplay adaption of the comic hero suit of iron.
Through the impeccable choice of characters, well placed action, and great mix of CGI: this summer's greatest action movie Iron Man is sure to please.Robert Downey Jr. is a hell of an actor.
Robert Downey Jr. was a perfect choice for the character of Tony Stark/Iron Man. The Big Lebowski - Jeff Bridges - was a perfect villain. |
tt0832266 | Definitely, Maybe | 38-year-old father Will Hayes is in the midst of a divorce. After her first sex-ed class, his 10-year-old daughter Maya insists on hearing the story of how her parents met. Will reluctantly gives in, but decides to change the names and some of the facts relating to the various love affairs of his youth, thereby creating a love mystery; Maya is left guessing which of the women will turn out to be her mother. The story he tells Maya is depicted in flashbacks. From time to time the film switches back to the present, where Maya comments (often critically) and asks questions.
The story begins in 1992 when Will, an idealistic political operative, moves away from Wisconsin and his college sweetheart, Emily, to New York City, where he works on the Clinton campaign. Over the years, Will becomes involved with three women who enter his life, including Summer Hartley, an aspiring journalist, and April the copy girl for the campaign. Will and April have a chance meeting outside work, where Will reveals he is going to propose to Emily. When Will practices his proposal to Emily on April, she is taken aback by Will's wholehearted words, and replies, "Definitely, maybe." They go back to her apartment, where April has multiple copies of Jane Eyre in her collection, explaining that her father gave her a copy with an inscription in the front shortly before he died, and the book was later lost. She has spent years looking through copies of Jane Eyre at secondhand stores hoping to find the copy her father gave her, but she buys any copy she finds that has an inscription. They kiss, but Will abruptly stops and leaves.
Emily comes back to New York where she confesses, just after Will proposes, that she slept with his roommate. She did it on purpose to break up with Will, saying that she is "letting him go" because she does not share his passionate ambitions. After Clinton is elected, Will opens a campaigning business with most of his work colleagues, which enjoys a good amount of success.
Before Will left Wisconsin, Emily asked Will to deliver a package to her former roommate, Summer Hartley, who is living in New York City. Will first meets Summer when he gives her the package, a diary that she wrote when she was a teenager (which, among other things, tells of her brief affair with Emily). He finds she is going out with a famous writer who is old enough to be her father. The writer breaks up with Summer, and Will starts a relationship with her. April quits her job and leaves to travel around the world. When she returns, she plans to tell Will that she loves him, but discovers that he is planning to propose marriage to Summer. April half-heartedly congratulates him instead. Summer writes an offensive article about one of Will's clients. Will cannot forgive this conflict of interest, and he ends his relationship with Summer. As a result of the article, Will loses his business and his dream of a political career ends, with all of his friends abandoning him.
April calls after a long absence and finds that Will has a new job, but is despondent and depressed, feelings further exacerbated when she reveals she has a new boyfriend named Kevin. She throws a birthday party for him, reuniting him with his old colleagues. Will gets drunk and confesses his growing romantic feelings for April, but he starts an argument with her when he implies that she is wasting her life working in a book store. Some time later, Will passes a used book store and finds the copy of Jane Eyre that April has been seeking with the note from her father. Will goes to April's apartment to give her the book, but he decides against it when he meets Kevin, who is now living with her.
Emily moves to New York City, and she and Will rekindle their relationship after a run-in at a party of Summer's they both were attending. Maya correctly guesses that "Emily" is her mother. Maya states that it is unfortunate that the story has a sad ending, but Will explains that the story has a happy ending: Maya.
Will learns that April is single again, and he attempts to give her the copy of Jane Eyre. When she discovers that he has been holding onto the book for years, she grows upset and asks him to leave.
Maya is happy to have figured out the story, but she realizes that her father still loves April: he changed the name of her mother, Sarah, to Emily in the story, and the name of Natasha to Summer, but he did not change April's name. Maya makes Will have an epiphany, realizing that he is miserable without April. On the spur of the moment they take a taxi to go meet April. April does not let them into her apartment. As they walk away, April runs out and asks about the story. Will confesses to April that he held on to the copy of Jane Eyre because it was the only thing he had left of her. April hugs Will and takes them in to hear the story. As Maya passes through the doorway, April jumps into Will's arms and kisses him. | romantic, cute, storytelling, flashback | train | wikipedia | It truly was, as my summary suggests, absolutely wonderful, and that has mostly to do with the performances by the casts' dedication, though the plot and execution of the entire film was remarkable, as well, and the whole atmosphere and the way the movie folds out is incredible.It was so touching and completely entertaining from beginning to end, while being humorous and overall fun at the same time.
He changes the names to keep the surprise of who he eventually married, and he spins a charming story - spanning fifteen years - of loves lost and found and lost again.And found again.Ryan Reynolds (one of my all-time favourite performers) has seldom been better, Abigail Breslin (who appears frequently to comment on the story being told) is as genuinely charming as ever, and all three girlfriends are wonderfully cast.
Given Dakota Fanning's been past her age for such roles (yeah, they disappear come adolescent and may return once they enter young adulthood), Breslin's now having the world fawn over her performances (next up, Nim's Island), and here she has great chemistry with Ryan Reynolds, even if Reynolds might look a little too young to be playing her dad.But Definitely, Maybe's not all about Breslin as it serves more of a romantic comedy with Ryan Reynolds taking on the lead man-boy role as the father who has to satisfy the curiosity of his daughter Maya (Breslin), who's given a headstart in life thanks to a rather candidly explicit sexual education lesson.
In wanting to find out if she's an accident because of her parent's impending divorce, she gets her dad to recount his love life history in a romance- mystery, changing names in order for her to guess who her mom is.And so begins a tale which harks back to college days where most of us have their perennial sweetheart, and from there we follow Will Hayes (Reynolds) as he goes to New York to work on the Democrat ticket for Bill Clinton's election.
Kevin Kline seems to growing gracefully into more senior roles, and Rachel Weisz, Elizabeth Banks and Isla Fisher are all comfortable enough as Reynold's love interests.The script isn't belly-laugh funny but it has it's moments, there's some good use of news footage from the time in which the story is set, and the plot ticks over nicely.
Unexpectedly believable as a dad.The bulk of the movie is him explaining to his daughter, bedtime story style (told entirely in flashbacks) about love and how he met her mother, with her being the proverbial "happy ending".
Anyone who has ever traded a trip on the QEII for a proverbial three hour tour on the S.S. Minnow relationship-wise will totally relate.The fact that Ryan Reynolds sometimes gets so carried away with the story that he forgets he is talking to a little girl leads to a few (ok, so it's a lot) contrived chuckles along with a couple of genuinely funny moments.It's not going to win an Oscar or break a box office record, but if you want a completely enjoyable two hour escape ...
When I first saw the trailer for Definitely, Maybe, it looked like an alright film that was probably just your average Valentine's Day love fest movie.
Ryan Renolds, I love the guy in comedies, I haven't seen him in drama, so I was a little skeptical, but after seeing Definitely, Maybe, he pulled in a good performance that surprised me.
It could've been the script or director, but she pulls a decent enough performance to where the movie works and puts a different twist on the average romantic comedy.Will Hayes has it all, a great paying job, a beautiful daughter, Maya, and a nice home, but unfortunately he is getting divorced.
But he puts a little twist, since he went through a few women before her mom came along, he tells her the whole story, but through three women, Maya has to solve the love story mystery and find out who her mother is.Definitely, Maybe was different than the average romantic comedy and that's what I liked about it, it seemed also like it was just more real and not what women should have expectations about.
Isla Fisher is adorable and sweet but there is nothing much to her character that we have not seen before and Elisabeth Banks is fine with a character that she manages to give some life to despite the fact of how one dimensional she is.The film has a warm heart but it takes quite a lot for it to make the viewer forget how contrived it really is and its loses its focus on what it wants to be and that's not a good thing if you want the viewer to stay interested in it..
We derive a bit of pleasure as a romance plot drags us along the string of "will they or won't they?" even though we know in our hearts what will happen (because if it doesn't happen, our hearts will be broken and the movie will get bad-mouthed)."Definitely, Maybe" does as good a job of any rom-com at doing just that.
Thus begins a long story that begins in 1992, when young(er) Will sets out for New York City to work on the Clinton campaign and leaves his serious girlfriend, whom he refers to as Emily (Elizabeth Banks), behind.The '90s American history backdrop definitely gives the film its own flavor.
He starts the story as a mystery where the daughter has to find her mother among the three...With this line I don't want to talk about the story watch the rest..Coming to the casting part of the movie three love interests of Ryan Reynolds where so good in their roles particularly Isla was outstanding.Ryan has done justice to his role.
Once again I am here to give a review, and this time it is Definitely, Maybe, a movie that I in the beginning wasn't sure of, some of you may know I am not a huge Ryan Reynolds fan, but I got to be honest, with the movies that he has been in over the last years I have slowly began to grow fund of his acting, this is one of those movies, one that surprises me.It is in a way a hybrid of "How I Met Your Mother" yeah I know they don't have anything to do with each other, but the story in this movie is something like it, just one girl asking her father about it, and of course not an entire series, three women, who is the mother, three women who is his love really?
Storyline 10/10 – The storyline is definitely the stuff that makes this movie flourishes, the story is simple in a way, and it is about a daughter who after having had sex class at an early age asks her father about how he met her mother, that's actually it.The thing that steals the movie is of course your own idea of who her mother is, in the movie the daughter is wondering, but you the viewer is as well are trying to find out in your mind who is the real mother and who is his real love, in the beginning of the movie we find out he is divorced.I am not going to ruin anything for you in this review, I will however say this watch the movie for the story, it may be a little simple but as the story goes on it gets complicated haha.Definitely, Maybe Is also a hidden message for you, that's all I am going to give you, a hidden message that you should keep in mind when watching it, because that will be the clue, I felt that was a really cool idea!
Actors 9/10 – Some of the actors are hit and miss, but those that steal the show is surely the three women the daughter and yes of course Ryan Reynolds, and since I have already stated before I am not really a fan of him I will have to almost retract my opinion, because he is beginning to win me over with his acting.There is not that many actors in this movie, and most of them don't really have that much of an impact, those that does are those that I have already mentioned and they steal the story which is also the point of the movie, stay focused on them, I guarantee a new experience.Soundtrack 8/9 – I got to be frank I am not that fund of the same music in many movies, yes there were some great ones but those that you will remember will be "Nirvana" and Frank Sinatra, the other part of the soundtrack is made just for the soundtrack.And they are all played out well, some of them don't really have a big impact but they all try to set the mood of the movie and in some way they all do, I especially liked the music played in the ending of the movie, no not a song with voice and no not at the credits a little before, when you see this movie you will know what I am talking about.When I watch these movies I always try to listen to the music, some of them can be so ripping, some of them can be so wonderfully done, and much of the music done directly for this movie do set the mood and are ripping
Special Effects N/A – Didn't really notice any, yes of course the obvious camera angels and other places where the camera might have been held or moved differently but they aren't really special effects or anything they are just to give the movie a different feel, so basically it really has no effects and if it does then I haven't seen it.Overall 9-10 – I can give this a big nine basically because of the complicated story done so simple, and the actors play their parts so well, the music is also a lot better then what I expected, I don't really look for reviews when watching a movie, I don't care, we all have different opinions on movies, some will like it some wont.You will just have to try it out, give it a try and just basically merge yourself into this simplistic story that can at sometimes feel so complicated, maybe you are wrong when you wonder who will be the woman who is the mother and maybe you are wrong in knowing who is the love of his life, but no matter what give it a try.This movie is much better than your average love flick; it challenges your preconceptions in a way, well thank you for reading another review done from me!.
This film brings it's own sense of style, grace and beauty to a genre mired down by bad and very bland romantic Comedies, this film brings the genre out of the dark ages and gives it some great possibilities for the future.Definitely, Maybe was a good film for three reasons and three reasons only, 1.) It tells a story, a good story, and it sticks to it not trying to side step the plot that has already been set up.
None the less Definitely, Maybe is a love story that can't be ignored, or missed for that matter It's also a movie that will become a classic as time goes on, and it will go down as one of the best Romantic Comedies of all time.
Specially, when William Hayes (Ryan Reynolds) practices to propose his then girlfriend on her and she says, "Definitely, Maybe..." My rating, 9 out of 10, it's a good romantic movie that I think, most of the guys would like to watch, and many couples will enjoy...!
In a great twist to explain the divorce, he decides to tell her the story of three important loves in his life starting with his college sweetheart, a smart adventurous woman he met while working for the Clinton campaign in 1992 and a beautiful grad school journalist.
Realistic and not dramatic, it seems like a real father would talk to his child from the heart.The script develops gracefully and the twist on it feels completely believable, a major point in a story that deals with three different love relationships, many screenwriters could have screwed this up.All the cast performs well, the pace is just right (not a funny moment at the wrong time, and not an inadequate sad one either); so you can be sure you will be enjoying the film during and not only after.If you're not a romance buff, stay calm.
Definitely, maybe is about a divorced man Will Hayes (Ryan Renolds) whose daughter, Maya (Abigail Breslin), is interested in his life before his marriage and pushes him to tell her about how he and her mother met.
The intriguing premise in "Definitely, Maybe" surrounds Ryan Reynolds's Will Hayes recounting the story to his 11 year-old daughter Maya (Abigail Breslin) about how he met her Mom. Will's divorce is impending, and Maya wants to know how he and her Mom hooked up.
In a heart felt moment Will tells Maya, "I forgot to tell you the happy ending to the storyYou." Beneath it all, "Definitely, Maybe" is about the things that really matter in life.As Will's story begins, it is 1992 and University of Wisconsin graduate Will is heading to New York to work at the Bill Clinton Campaign Headquarters.
man, im going to get my mates to watch this.Definitely one of the worst films ever, maybe the worst of all time.I thought better of Rachel Weiss as well, and although Isla Fisher is cute and I think has a nice rom-com future in front of her, i wish they had both stayed well clear of this work!.
I know what every romantic comedy looks like these days: they're sappy and corny and, although they're "feel good", they're generally not that funny and the acting and writing makes you want to gag.This movie, despite what you, and I, may have thought going into the theater, isn't that at all.
It becomes a story of "How He Met Her Mother" as he recounts past girlfriends Emily (Elizabeth Banks), April (Isla Fisher), and Summer (Rachel Weisz).It's a different kind of rom-com.
Finally, a romantic comedy that breaks the boundaries of clichéd romantic flicks and has enjoyable characters, a plot that is exciting, mysterious and funny and with plenty of twists to justify the genre that is often slated for it's predictability.Ryan Reynolds (Just Friends) stars as Will Hayes, a middle aged man who is coming close to a divorce and when his daughter asks about her mother, Will takes a look back at the past years of his life.Don't judge the film by the trailer because there is so much more on offer.
Though the trailer for the film would give a sense of predictability and humour, the film was a delightful surprise with its great precise dialogue and dramatic scenarios, giving an account of true realism, of real life and its complications with married people, and couples.The plot is consistent with excellent twists and turns as Will dives deep into his relationship past, and there is always that great creativity about who it could be.Unlike a lot of other rom-coms, this 2008 film actually invites the audience into it, trying to make them guess and wonder who Will may end up with, and who the mother of Mai could be, which makes the film very unique and rather not the same old "Will he get it together with her?" There are a few clichés there, but still it maintains a more realistic drama approach to differ it which made me enjoy it.There are a few great one liners and a few chucklesome moments, not as funny as other romantic comedies, but that isn't the point of this film.
While I had read that it was "accused" of trying too much to be Love Actually/About a Boy, I think this remark misses the point, which is that all three are fundamentally feel-good movies and that supersedes any such feeling of similarity - which, to my mind, is surely there, but does not harm the experience whatsoever."Definitely, Maybe" is about a dad (Will) who is getting divorced, his young daughter (Maya) and three of the girls Will had cared about in the past (code-named Summer, April and Emily).
The supporting cast are brilliant, especially Abigail Breslin and Isla Fisher.I really enjoyed this movie, it's definitely better than most romantic comedies I've seen in the past year and it's not clichéd.
This mixed with genuine amounts of humor separates Definitely, Maybe from the rest of the films in this genre that are usually so generic.Set in present time, father Will Hayes (Ryan Reynolds) tells the story of the three women he loved in his life to his daughter, Maya Hayes (Abigail Breslin), while she tries to uncover which one of them is her mum.
This movie is about Will Hayes (Ryan Reynolds), a 38 year old father who is in the middle of getting a divorce, when his 10 year old daughter, Maya (Abigail Breslin) asks him about how he and her mother met.
The movie weaves an intricate and pretty realistic set of scenarios (although all of them together seems a bit far-fetched) on how men and women decide to enter and eventually exit relationships.As the story moves its way through the film, the viewer is introduced to a myriad of attractive and unique female supporting cast members, played by Elizabeth Banks (Emily/Sarah), Rachel Weisz (Summer/Natasha) and the eventual owner of Will's heart, the immensely sexy Isla Fisher (April).The writing and directing of Adam Brooks sucks the viewer into the narration just as much as young Maya.
He is played by Ryan Reynolds, most famous for his role as Van Wilder, but surprisingly good as a romantic lead, and the movie is about him telling the story of how he met his wife (from whom he is getting a divorce) to his young daughter (Abigail Breslin). |
tt1220213 | Grace | In the opening scene, a young couple named Michael and Madeline are having sex, attempting to conceive. It is soon apparent that they have succeeded.Michael's parents arrive for dinner: a vegan meal prepared by a now visibly pregnant Madeline. Michael's domineering mother Vivian grimaces at the food and suggests - in a passive aggressive fashion - that a more conventional diet would be healthier for the unborn baby. The conversation turns to the couple's unsuccessful search for a suitable obstetrician. Madeline has rejected Vivian's preferred doctor and friend, Dr. Sohn. Instead she has decided to consult Patricia, her old friend and midwife at an independent clinic. Vivian does not hide her disapproval. Though Michael is also skeptical, the couple visit the clinic for a tour. They meet with Patricia, who describes her natural approach to birthing. Madeline reveals that she and Michael have conceived twice before, but both pregnancies were unsuccessful.One night, Michael rushes Madeline to the hospital because of chest pain. Dr. Sohn arrives at Vivian's request. Just before he administers drugs to induce labor, Patricia arrives. She challenges his diagnosis and determines through blood work (which he has ignored) that inducement is not necessary. Madeline is treated and later released. On the way home from the hospital, a car accident kills both Michael and the unborn baby.Madeline refuses to go to the hospital to have the dead fetus removed. Patricia allows Madeline to carry the dead fetus to term and some weeks later the baby is delivered in Patricia's birthing tub. Madeline is left alone with the stillborn baby and pleads for her to live. Patricia returns to reason with Madeline, to find the baby miraculously alive. Overjoyed, Madeline names the baby Grace.Patricia later visits Madeline at home. She encourages Madeline to take Grace to the hospital for tests to help understand how she revived. Citing her recent experience with Dr. Sohn, Madeline refuses any involvement with conventional medicine. When Patricia reaches out to stroke Madeline's face, Madeline rebuffs her. Patricia leaves, visibly upset.As Madeline cares for the infant Grace, she tries to ignore strange happenings that occur. She resorts to hanging fly paper in the nursery because Grace is attracting them. She is unable to rid the house of a putrid smell and soon realizes that Grace is the source, though her diaper is not soiled. She decides to bathe her, but Grace's skin begins to bleed in the warm bath water. Madeline tries to contact Patricia for help, but can only reach the clinic's answering machine and Patricia's jealous lesbian girlfriend, who does not pass on her messages. After attempts at feeding Grace end with vomiting, Madeline realizes that the baby is unable to digest breast milk.Vivian, who has a pathological relationship with her husband, wants to visit the baby and attempts to call Madeline on the phone, but she will not answer. She visits Dr. Sohn and convinces him to visit Madeline while looking to collect proof that she is an unfit mother. She intends to have Madeline arrested and raise Grace herself.Madeline discovers that Grace's nursing is painful to the point of causing her breast to bleed. She soon realizes that the undead child is actually feeding on her blood. She buys raw beef, drains the blood, and is able to get Grace to drink it from a bottle. While disposing of the leftover meat outside, she almost catches Patricia spying on her from her car. She returns indoors to find Grace vomiting up the cow's blood, leaving Madeline no choice but to continue to feed Grace from her own bleeding breast. Each feeding becomes more gruesome and Madeline begins to become dangerously weak.Madeline becomes so sick and distraught that she allows Dr. Sohn into her home when he calls on her. He examines her, explains that she is anemic, and instructs her to refrain from nursing for a few days. After hearing Grace cry weakly, he starts upstairs, while dialing Vivian's number on his cell phone. Fearing that he will take Grace away from her, Madeline beats Dr. Sohn unconscious, but not before his call connects.Vivian arrives just as Madeline finishes draining blood from Dr. Sohn's arm into a baby bottle. Vivian notices the unkempt state of the house and suspiciously remarks at Madeline's sick appearance. She agrees to leave, but instead sneaks upstairs. She finds Grace in her crib, and the bottle of Dr. Sohn's blood broken on the floor. Madeline hears her and climbs the stairs, but Vivian is able to grab Grace and sneak into the bathroom. While seeking a place to hide, she discovers Dr. Sohn's body. She arms herself with a hammer she brought along and sneaks down the stairs with Grace. Madeline confronts her, and the two fight. Vivian beats Madeline unconscious with the hammer, but not before Madeline rips out part of her throat with her teeth. They are discovered by Patricia, who realized her girlfriend was withholding Madeline's messages and decided to investigate.Some time later, Patricia is driving a motor home through the desert. She pulls over and goes to the back to check on a very-much alive Madeline and Grace. Both women have changed their hair or donned wigs. Patricia asserts that medical tests have confirmed Grace is as healthy as she looks. As long as Madeline keeps eating the proper diet, they can continue feeding and raising Grace. Madeline is concerned about something else, however: the natural-born zombie Grace has begun teething. She pulls up her shirt to reveal that a large chunk of her breast has been chewed away.... | murder | train | imdb | null |
tt0961722 | Cabin Fever 2: Spring Fever | Picking up one day after the events of the first Cabin Fever film, Paul (Rider Strong) wakes up in the creek surrounded by bloody water. He is severely infected by the mysterious flesh-disolving virus and he is covered in sores and boils. He begins walking through the forest as his skin begins to fall off. He makes it to the highway and is hit by a bus full of high school students, completely dismembering his body into an unrecognizable mess.Deputy Winston (Giuseppe Andrews), the cop from the first movie, comes to investigate the crime scene and tells the bus driver he hit a moose. The bus driver drives away to the high school. Winston finds Paul's foot in his shoe hanging from a tree. Winston, disgusted, drives away from the scene. He is informed by the sheriff over his CB radio to return to town for several "goverment guys" are there asking questions.Through an opening animation sequence, the creek Paul was lying in was connected to a bottled-water company and the infected water was distributed into bottles of water and brought to the high school of the kids on the bus.In the school, the lunch lady distributes the infected water for the kids to drink. John (Noah Segan), a senior at the high school, is deciding whether to go to prom with his long-time crush Cassie (Alexi Wasser) or stay home and watch a horror film with his friends. His overweight, social misfit friend, Alex (Rusty Kelley), is totally against going until he hooks up with a loose girl named Liz (Regan Deal). Eventually after Liz gives Alex oral sex, he asks Liz to prom. She then says she has to get off work and that she might meet him there.John asks Cassie to go to prom but Cassie refuses. He is convinced to go by Alex because Liz might go.Back at the small town, Winston is at a local diner where a worker from the bottled-water company that distributed the water goes into convulsions, coughing up blood, and dies right at his table from the infection. Winston then realizes that dumping Paul in the creek got the water heavily contaminated. Winston drives to the water plant and has one of the workers there tell the officials that the water is contaminated. Just as Winston leaves, the worker is killed by a group of CCD (Contamination Control Division) soldiers who show up in U.S. Army trucks to quarantine the whole town and they have orders to kill anyone who might be infected to prevent the virus from spreading.At the high school, the infection begins to spread to the students. Rick (Thomas Blake Jr.), a popular student, ditches his girlfriend, Sandy (Lindsey Axelsson), the school's popular and mean girl, right at the prom. He meets and seduces an over-weight student, named Fredricka (Amanda Jelks), because of a bet with his jock friends. She had just finished making a punch with the contaminated water. They go to the gym swimming pool and begin to have sex in the pool. She then begins to succumb to the infection. Rick panics and gets out of the pool. Fredricka screams as she begins to drown for she can't swim. Rick tries to save her by using a pool strainer. She pulls on it and pulls Rick in. He hits his head on the side of the pool and bleeds to death. Fredricka drowns.At the prom, Alex is disappointed that Liz did not show up at all. Mean girl Sandy complains to Principal Sinclair (Michael Bowen) that she can't find Rick and screams that since she is the prom queen everything should go her way. Ms. Hawker (Angela Oberer), a mean teacher at the school, then slaps Sandy. John finds out Cassie is there with her boyfriend Marc (Marc Senter) who John hates. The two begin to fight. The principal splits them apart and kicks John out of the prom, blaming him for starting the fight. Cassie follows him outside trying to calm him down. John confesses his love to Cassie who does not know who to react. Just then, CCD soldiers in haz-mat suits arrives in U.S. Army trucks, and force John and Cassie to go back into the school. The CCD locks all of the main exits from the school and tells them that a quarantine is in effect. The two become worried and go back to the gym to warn the principal of the lock down. They go through the pool where they find Fredricka's rotting body floating in it.They find the principal and get Alex out of the gym. The principal demands to know what is going on with the lock down but the CCD soldiers shoot him in the head, killing him. The infection then begins to spread and kill the students in the gym at an alarming rate. The gym is then gassed from the outside by the soliders who then storm into the building to kill the infected. Cassie, John, and Alex watch in horror as the students try to get out of the gym but to no avail. All the students including Sandy die in the gym from the poison gas or by getting shot by the soldiers.Meanwhile, Winston is waiting outside a liquor store and is picked up by his cousin Herman (Mark Borchardt) who is at first reluctant about leaving town to escape from the quaratine, but Winston convinces him by giving him a grin (implying that they are going to Mardi Gras).Back at the school, Cassie, John, and Alex try looking for an exit. Alex storms off after finding out he is infected with the disease. He goes to the library to find out what it is. Cassie and John decide to go out through the auditorium.They try to find Alex while evading the CCD soldiers who are wearing bio hazard equipment. They find an infected Ms. Hawker who is killed by a soldier. They go to the library were they find Alex. They also discover that the disease is necrotizing fasciitis and incurable. Alex says the only way to stop the infection is to cut off the limb the infection is on. He dies moments later with John and Cassie distraught. John finds a boil on his hand and he knows he is infected with the disease. He and Cassie go to the wood shop room where Cassie cuts off John's hand with a buzz saw to stop the infection from spreading and uses an acetylene torch to stop the bleeding.Meanwhile, Winston and Herman are near the city limits when a police roadblock prevents them from going any further. After failing to convince the officer to let them leave, Herman knocks him unconscious and they drive away.Cassie's boyfriend, Marc, then comes out of nowhere and tries to kill John. Cassie kills Marc with a nail gun. John and Cassie leave the school only to be ambushed by the CCD soldiers who open fire on them. John stalls them allowing Cassie to escape from the school area through the woods behind the school. John is captured and is taken away by the CCD apparently to quaratine him as well. Cassie finds herself on a local road and stops Herman's van. Winston and Herman take away Cassie with them, not knowing she is infected with the virus.The end of the movie shows Alex's date with Liz at her work place. She is a stripper at a strip club (she lies about her real age). She is also infected and she secretly has sex with a customer at the club. He then becomes infected and begins to spread it around his work office the next day through the smallest casual touch. His friend, who had sex with her co-worker, also becomes infected, spreading to others on his trucking route to New Orleans along with two Mexican men who go back to Mexico also infected. The flesh-disolving pandemic is now spreading to global proportions. The infected Liz then goes home sick and wishes she went to prom instead of work.After the credits, John's friends, Daryl and Dane, (the only ones clearly not infected) are shown watching a movie at home and Dane says "prom blows." | comedy, murder, violence | train | imdb | null |
tt0435761 | Toy Story 3 | Andy Davis (voice: John Morris) is 17 years old, and is heading off to college in a few days. The fact that Andy has grown from a young boy to a teenager about to leave home has not been lost on his toys.Several of them hold out hope that Andy will play with them at least once before he leaves, but those hopes are soon dashed. As the toys take stock of how many are left, and those that they have lost over the years, their attention is drawn to the last of the little green Army Men: Sarge (voice: R. Lee Ermey) and two paratroopers. Fearful of being thrown away, they leap out the window into the world beyond, their parachutes taking them who knows where.This idea soon fills the heads of the remaining toys: Woody (voice: Tom Hanks), Buzz Lightyear (voice: Tim Allen), Jessie (voice: Joan Cusack), Bullseye (voice: Frank Welker), Mr. Potato Head (voice: Don Rickles), Mrs. Potato Head (voice: Estelle Harris), three alien squeak toys from Pizza Planet, Slinky Dog (voice: Blake Clark), Rex (voice: Wallace Shawn), and Hamm the Piggy Bank (voice: John Ratzenberger).Several are of the persuasion that Sarge is right, and they'll be tossed out soon, but Woody believes that Andy wouldn't do that. He figures Andy will store them in the attic...maybe one day to be played with again when Andy has kids of his own.The toys' "staff meeting" is cut short when Andy returns to his room with his mom (voice: Laurie Metcalf) in tow. With only a few days left until he leaves, Andy has not cleaned up his room. Andy's mom is having Andy's sister Molly (voice: Bea Miller) clean her room as well, and tells the two to throw out what they don't want, store extra items in the attic, or donate items to Sunnyside Daycare. From Andy's room, the toys watch as Molly throws her Barbie doll (voice: Jodi Benson) in the donations box, along with some other toys.Andy finally takes out a black trash bag and begins to put his old toys into it. When he gets to Woody and Buzz, he hesitates before putting Woody in a box marked 'College' and tossing Buzz in the black trash bag. Inside, the toys think they are going to be thrown away, and Woody watches as Andy leaves the room. His panic turns to relief as he sees Andy open the attic door. However, before Andy can go up, he helps Molly move the donations box downstairs. The lapse causes the attic door to close, and Andy's Mom soon after finds the trash bag with the toys. Thinking Andy left trash lying around, she takes it with another bag to the curb.Woody looks down the street in horror as the garbage truck slowly makes its way to the curb. Woody jumps out the window and slides down a pipe to the front lawn...only to see the trash bags thrown into the garbage truck and crushed! Shortly thereafter, Woody notices a recycling bin walking towards the garage. Following it, he is relieved to see that his friends escaped. However, they are now all convinced that Andy meant to throw them away.Woody tries to explain what really happened, but most of them just feel that he is in denial. Jessie soon notices the box of donations to Sunnyside Daycare, and proposes that they all go there. Everyone eagerly jumps in, except for Woody, who demands that they all return to Andy's room right away. Before he can say anymore, the trunk to the family mini-van closes, and Andy's mom takes the box to Sunnyside.At Sunnyside, Andy's mom brings the toys in to the Butterfly Room. Looking through the handle-hole in the box, the toys are excited to see a group of children happily playing with the toys in the room.After the recess bell sounds and the kids leave the room, the toys eagerly escape from the box, only to meet a very friendly group of toys who are excited to see them. The group is soon joined by a strawberry-scented bear named Lotso (voice: Ned Beatty), who soon calls his associate Ken (voice: Michael Keaton) to escort the group around, showing them what Sunnyside has to offer. During the tour Ken becomes smitten with Barbie...who finds herself drawn to him as well.Lotso explains that the toys are taken care of, and that due to a never-ending supply of kids coming and going, the toys will never be without someone to play with them. Andy's toys eagerly accompany Lotso over to the Caterpillar Room, where he then leaves them to experience their first playtime at Sunnyside. However, Ken and Barbie appear to have gotten along quite well, and Barbie eagerly goes back with Ken and Lotso to the Butterfly Room.Woody explains that while Sunnyside does seem great, he strongly believes they should go back to Andy. Woody asks Buzz to come back, but Buzz refuses, saying they should stick together. Realizing that the others won't accompany him, Woody sneaks out of Sunnyside, but not before accidentally losing his hat. In the process, a little girl named Bonnie (voice: Emily Hahn) finds him and takes him home with her.Back in the Caterpillar Room, recess ends, and the toys get their first playtime...only to find the room filled with noisy screaming toddlers, each of them rambunctious and not as 'delicate' as Andy was. They are thrown around, smashed about and covered with poster paint by the toddlers. Once the daycare closes, the toys feel there has been some mistake and that they should be in the Butterfly Room instead. Buzz manages to get out of the room, intending to talk to Lotso. However, once outside, his attention is drawn to Ken and several other toys sneaking inside a vending machine.Buzz follows them, but is caught by a sleepy-eyed doll named Big Baby. Ken and the others take Buzz to the daycare's library and tie him up. Suddenly, Lotso comes across the other toys, and demands that they let Buzz go. Buzz thanks Lotso for helping him out, and makes his request for himself and the other toys to be transferred. Lotso admires Buzz's initiative, but is only willing to consider to have him join the Butterfly Room inhabitants. When Buzz refuses, Lotso orders Buzz held down and procures a Buzz Lightyear instruction manual from the library. Using it, the group of toys sets Buzz to "demo" mode — he's once again the deluded space ranger we met early in the first movie.Lotso, his compatriots, and demo-Buzz return to the Caterpillar Room, where Buzz subdues his friends and places them in prison-like storage cages. Lotso explains how the daycare is run: all newcomers start in the Caterpillar Room with the ill-behaved toddlers. If they survive, they move up to the Butterfly Room where they'll be treated better.To set an example about what happens to troublemakers, Lotso has Big Baby take Mr. Potato Head out to the playground and stuff him in "the Box" (a sandbox). Also as a warning, Lotso produces Woody's hat, although he doesn't explain what happened to the toys' friend. Barbie realizes that Ken lied to her and as she refuses to be part of Lotso's regime, she's imprisoned as well.During the toys' day at Sunnyside, Woody has been in Bonnie's house, taking part in her imaginative fun and games. Woody grows excited to be part of a real playtime again, but longs to get back to Andy.Once the household is asleep, Bonnie's toys help Woody access the family computer. Woody is relieved to find that Andy's house is just around the corner. He thanks the toys and tells them that if Bonnie ever outgrows them, they should go to Sunnyside. However, the name causes the toys to look on in fear. The toys explain that Lotso is responsible, and one of Bonnie's toys named Chuckles (voice: Bud Luckey) begins to tell a story.Lotso, Chuckles, and Big Baby were once owned by a little girl named Daisy. Of the three, she loved Lotso the most. However, one day at a rest stop, the three toys were accidentally left behind. The three eventually made it back to Daisy's house. Lotso and Chuckles managed to look in her window, only to see that Lotso had been replaced. Lotso, resentful of being left behind, declared they had all been replaced (even though there was only proof that he had been replaced). Big Baby still wanted to go back, but Lotso yelled "She doesn't love you no more," and tore off a necklace around Baby's neck: a plastic heart that said "I belong to Daisy." Secretly, Chuckles kept it.The three toys went from place to place until they found Sunnyside. Lotso took over and set up the system in which most new toys would be subjected to the rough handling of the toddlers in the Caterpillar Room and would not survive. Chuckles explains that he eventually was broken at Sunnyside, and Bonnie took him in and repaired him. Realizing the danger his friends are in, Woody decides to return to Sunnyside and rescue them.The next day, Woody sneaks into the daycare and moves around the building above the ceiling tiles. Finding his way into a hidden area of the Caterpillar Room, he chances upon a Fisher-Price Chatter Telephone (voice: Teddy Newton). The telephone tells Woody that he should have stayed gone, and that there's no way that he and his friends can get out. Woody thanks him for the concern, but says they have to try. The Chatter Telephone explains what Woody and his friends will be up against: Lotso's minions manning search lights on the playground, trucks patrolling the halls and the playground, an 8-foot-high cinderblock wall, and a cymbal-clanging monkey (voice: Frank Welker again) that monitors the security cameras in the building. The telephone says the only other way out is through a garbage chute across the playground.Once the toddlers have gone to recess, Woody joins his friends, who tell him that Buzz was reset to demo mode, and now they want to get back to Andy. Woody sets his plan in motion. Later that evening, the group springs into action: Mr. Potato Head creates a scene to get put in the box again, this time as a way to get outside and report for the group. Barbie pleads with Ken that she can't take being imprisoned, and Ken lets her out. He takes her back to his dream house, where Barbie subdues him, and using one of his outfits as a disguise, infiltrates the daycare library to find the instruction manual for Buzz. Woody and Slinky Dog infiltrate the main security room and take down the cymbal-clanging monkey. Rex and Hamm start a fight to distract Buzz, allowing Jessie to escape. Then they trap Buzz under a plastic tub.The toys regroup and set about trying to get Buzz back to normal. However, a mistake in resetting Buzz sets him to Spanish mode. With little time left, the group decides to worry about fixing him later, and they set out for the garbage chute.The gang gets to the end of the chute before plummeting into the dumpster...only to find Lotso, Ken, and his associates waiting (along with the chatter telephone, now broken by the bad toys). Lotso offers the toys a choice: either end up in the dumpster, or return to the daycare. Jessie and Barbie both decry what Lotso has done to the daycare, and even Ken soon turns against Lotso.The eagerness of the group and Woody to return to Andy incites Lotso to declare that love doesn't exist. It is then that Woody mentions Daisy and produces the tag that Chuckles kept. Big Baby sees the tag, and Lotso declares that she didn't love them and replaced them. Woody reminds Lotso that it was only him she replaced. This revelation causes Big Baby to reach for the tag before Lotso destroys it, yelling at Big Baby for being stupid and believing that Daisy loved him. Big Baby, feeling betrayed, then throws Lotso in the dumpster.The other toys begin to run across the lid, but one of the Pizza Planet aliens' feet gets stuck in the lid. Woody goes to help him, only to have Lotso grab his hand. The others rush to help Woody, but just then, a dump truck pulls up and empties the contents of the dumpster (including Andy's toys) into the collecting bin in the back. Barbie and Ken, who were not on the dumpster's lid, can only watch as their friends are taken from them.Inside the dumpster, more trash is emptied onto the group, and a TV set falls on Buzz — which sets him back to his proper self. However, before the toys can rejoice, the truck arrives at the Tri-County landfill. They're shocked when a bulldozer scoops up the three Pizza Planet aliens, carrying them away! The remaining toys are shoveled by another machine onto a moving conveyor belt, headed towards a large shredding machine. The toys avoid being shredded by grabbing metal objects that are being magnetized to an overhead track. Woody and Buzz even manage to save Lotso, who thanks them.Once they make it through, they find themselves on another conveyor belt, heading towards what looks like daylight. However, as they draw closer, they soon realize it's a large pit that empties into a fiery incinerator. The toys try to outrun their fiery fate until Lotso notices an emergency stop switch. He motions for the others to help him, and they hoist him up to stop the machine. However, once he reaches the button, Lotso just smirks at Woody, muttering "Where's your kid now, Sheriff?" and runs off.The toys are soon unable to keep running, and tumble into the pit. They try to climb out, but there appears to be no escape. With no hope left, the toys all join hands, willing to stay together to the very end.Suddenly, a blue light appears overhead, and a giant claw falls down, scooping up the group. As they wonder who rescued them, the enormous claw swings by the glass cabin of the machine, where the three Pizza Planet aliens are. Once the group gets out, they thank their saviors and wonder what became of Lotso.Unknown to them, Lotso is found by another garbageman at the dump. Remembering that he had a Lots-a-Huggin' Bear as a kid, he ties Lotso to the grille of his dump truck and he heads off for duty.Andy's toys find the dump truck that services Andy's neighborhood and manage to get back before Andy leaves for college. After cleaning themselves up, they sneak back into the house, finding Andy's room cleaned out, except for some minimal items, and two boxes: one marked 'College,' the other 'Attic.'Woody's friends pile into the 'Attic' box, and say their goodbyes. Hearing Andy and his mom approaching, Woody hops in the 'College' box. As they enter Andy's room, his mother is hit with the sad reality that her son is going away. Andy tells her that even though he'll be gone, he'll still care about her.Hearing this, Woody realizes that Andy can still care for him and the other toys: an example of true love, in that you never forget those you really love. While Andy is distracted by his sister Molly and his dog Buster, Woody grabs a Post-It note and a marker and writes down Bonnie's street address. He takes the Post-It with him and hops into the 'Attic' box.Andy returns to the room and sees the note on the 'Attic' box. Thinking that his mom wrote it, Andy takes the box to the address and sees Bonnie playing in her family's front yard with the same quirky imagination that he had.Andy gets out of the car with his box. As Bonnie sees him approach, she stops her game and calls for her mom. Bonnie's mom (voice: Lori Alan) recognizes Andy, who explains that he has some toys for Bonnie. Andy introduces each of his toys, telling Bonnie a little bit about each of them, since he still remembers how he played with them: for example, Hamm saves your money but is also the evil Dr. Porkchop.With each toy revealed, Bonnie gets more and more brave, until after Buzz, she peeks into the box and sees Woody. Andy has no knowledge of how Woody got in there, but is surprised when Bonnie calls him "my cowboy doll," and quotes one of Woody's lines: "There's a snake in my boot!"Andy sees Bonnie looking at Woody, and explains to her how important Woody is to him: how long he's had him, and how brave Woody can be. However, he explains to Bonnie that she can have Woody, if she promises to take good care of him, and the other toys. When she quietly nods an affirmative, Andy begins to play with her, and the two are having an imaginative time with their toys. Secretly, Andy's toys are overjoyed at their last playtime with him.Finally, Andy gets into his car, as Bonnie gathers her old and new toys on the porch. As she holds Woody and Buzz in her little arms, she makes Woody wave goodbye. This causes Andy to give a sad but calming smile. "Thanks, guys," he whispers, as he drives off.After Andy leaves, Bonnie's mom takes her inside for lunch, leaving the toys on the porch, watching Andy's car fade into the distance down the street. "So long, partner," says Woody. Woody smiles at the other toys, reaffirming that Andy did care for them, and care for them enough to leave them with another child who will take care of them and give them many playtimes to come. Woody introduces his friends to Bonnie's other toys.Some time afterward, the toys find a note in Bonnie's backpack from Ken. In the time since Lotso has been gone, Ken and Barbie have worked to abolish the unfair system that ran Sunnyside, and now the toys have an equal opportunity to move between the Caterpillar and Butterfly rooms. The toys at Sunnyside now enjoy their time there, and soon after, Sarge and his two paratroopers arrive, with both Ken and Barbie welcoming them. | comedy, boring, violence, flashback, good versus evil, suspenseful, entertaining, sentimental | train | imdb | And naturally, Pixar would be at the forefront, leading the cavalry charge of digital animation ranging from great to gawd-awful."Toy Story 3" starts off as comfortably as possible, with our friends Woody and Buzz Lightyear doing what they do the best...playing with Andy in his world of make-believe adventure.
The first two Toy Story films are among the best movies of all-time and to this day entire animation studios have failed to duplicate an ounce of the magic contained in Toy Story.
But unlike all the other Pixar movies (with the exception of The Incredibles), Toy Story 3 has a heave dosage of suspense and peril, which is climaxed by one of the most exciting animated sequences this side of Castle in the Sky (a Miyazaki adventure masterpiece).
With so much time invested with these toys, the drama runs a bit high.Bottom Line: Toy Story 3 secures its place in cinema brilliance by becoming the best third installment since Indiana Jones and the Last Crusade, the best sequel since Kill Bill Vol. 2, and the best movie we've seen this year.
As it turns out, this daycare center is actually a prison, and Lotso runs this place with an iron fist; of course, Lotso has a very tragic back-story that explains his evil ways, much like with Jessie (Joan Cusack), who first appeared in "Toy Story 2." So Woody and the other toys must mount a valiant escape if they are to be reunited with their beloved owner before he leaves for college."Toy Story 3" is an amazing film, and a fitting end to a wonderful film series that started in 1995 with the first "Toy Story," which also signaled the arrival of the very illustrious and extremely talented Disney-owned animation studio Pixar.
The animation here is at its most life-like and real and it's damn-near flawless and strikingly beautiful, which signals just how far Pixar has come in the 15 years since their first hit with "Toy Story." And every film since then has added significant amounts of realism, weight, and dimension to their animated stories.While "Toy Story 2" had a high nostalgia factor for days long gone by, "Toy Story 3" is a film about the inevitability of children growing up and putting away their toys.
In addition, "Toy Story 3" can also be an incredibly dark film at times - a bold move considering that this is a family film - but there's no need to worry because the fact is that it's all perfectly balanced out amazingly well with some very light-hearted humor, fast and furious action scenes, and stirring emotional moments that just might bring a few tears to your eyes."Toy Story 3" is a triumph of animation and imagination, and I say that as a die-hard "Toy Story 2" fan.
There's also a really neat Totoro cameo, and it's great of Pixar to pay homage to their old friend, Miyazaki san.The old lovable characters are all here, and they are joined by an army of new ones, and each one of them has his real personality and you can recognize in them characteristics of someone, both visually and with their attitude they express different things and you instinctively feel what these toys stand for.
The animation is so brilliant that it captures shading, lighting, and textures that have yet to be seen on film.Then, Toy Story 3 becomes a beautiful elaboration on the first two, with very clever character development.
And every day, he does nothing more than pray that you come back to see him, every day waiting for you to bring out the ball again for a game of fetch.Finally comes Pixar's ability to integrate so many emotions - fear, love, action, and comedy, among others - with each having so much vigor in its own right, that the movie becomes a roller coaster of animation and adventure, wound together by the constant movement of setting and storyline, always keeping the audience guessing on what might happen next.
To date, I have personally always found myself to have enjoyed all of their outputs, and it does seem that Pixar has indeed grown from strength to strength with sophistication in its graphics and attention to detail, but more so that their creative teams have always come out with solid stories to tell, which is always the key beneath all the glossy bells and whistles visuals.And I simply love this installment, not only because it reunites us with the characters whom we have taken to heart as old friends, welcoming them back to yet another big screen outing, but because it has a moving story to tell, and has various elements from action-adventure, comedy and drama all rolled into one, allowing an outpour of a kaleidoscope of emotions as we journey for close to 2 hours with Woody (Tom Hanks), Buzz (Tim Allen), Jessie (Joan Cusack), Mr and Mrs Potato Head (Don Rickles and Estelle Harris), Hamm (John Ratzenberger), Res (Wallace Shawn), Slinky Dog (Blake Clark) and the aliens (Jeff Pidgeon) for one last hurrah.The storyline for all three Toy Story films may share some similar plot lines in having the constant fear of being discarded and unwanted when one turns old, or to obsess with the thought of being forgotten and unappreciated, and almost always comes with a distance to conquer.
Making things worst, he's about to relocate to attend college, and thus the anxieties that Woody, Buzz and the rest of the gang has to come to terms with, being provided 4 options of heading for the trash, the attic, being given away or being that rare toy that gets to accompany Andy to his new environment.New toys get introduced by way of how the story got crafted involving a children's day care centre, where we get to meet up with the over-emphasized, metrosexual Ken (Michael Keaton!) from Barbie (Jodi Benson), and others such as the Lotso bear (Ned Beatty), together with those belonging to a new human character called Bonnie (Emily Hahn) who owns a cool plush Totoro (which doesn't speak of course)!
At least two scenes got to me, one involving facing a consequence of inevitable hopelessness that is a definite edge of your seat stuff only to remind you of how much you really care for the characters, while the other was what I deem as the perfect send off, an au revoir fit for closing the chapter on this Toy Story arc, while leaving room for another to happen (if it does).
When you see that, like see professionals movie.Toy story 3 is not well a certain age-specific, anyone can see and enjoy.Other benefits include the animation can be pointed sense of unity and friendship.I think this animation become win best picture in this year.You can see anything in this animation, emotions, courage, love, comedy, action, drama and ....
So, if you don't prepare those tissues, I hope you have something you can use to wipe your tears.As an amazing end to such a magnificent trilogy, "Toy Story 3" is a must watch movie.
I think it was because the rest of the audience, like me, knew what was coming; a sad story about cosmic indifference and cold-hearted abandonment which sets in motion the real emotional undertow of the film.Set against this is Woody's firm if shaken resolution to "be there for Andy", even when it seems he and the other toys are no longer wanted by their owner.
Characters that revealed new depths; emotional scenes that only became increasingly poignant and meaningful, like that amazing scene where Buzz first becomes aware of his own mortality as a toy that can't really fly, or when he learns to cope with that fact by embracing the fact that he can instead fall rather well (with style).The point of this rambling trip down memory lane is that Toy Story, the whole legacy of it, means a lot to me.
I approached Toy Story 3 with the slightest of reservations, fully trusting Pixar, and yet wondering how they could possibly produce anything that would live up to such high standards.Well, suffice to say, they did it – if Toy Story 3 isn't the best of the series, then that's merely because it comes eleven years after the last one and it hasn't been given some time to work its full magic on us.
Nor do I want to inadvertently spoil any key moments (and please, for your own sake, avoid reading too much about the movie before going to see it – some reviewers are a bit too keen on giving away the ending, although it's understandable given how surprisingly emotional it is).The introduction of new characters is seamless – Ken (voiced by Michael Keaton) is hilarious but thankfully not overused, and the other assorted variety of toys, including Lots-o'-Huggin' Bear (Ned Beatty), are fine additions to the series.And Woody and Buzz (Tom Hanks and Tim Allen, respectively) pick up right where they left off, and you feel, in a weird way, like you're visiting old pals.
As Andy is off to college- as was predicted would happen as a given in Toy Story 2- we in the audience realize that this third film follows a kind of time-line that runs with our lives.
Pixar tends to do that.This is the kind of third movie that makes it a trilogy- it's hard to see it going on to a fourth film and having any kind of the same resonance- and one that seems perfectly fit together in terms of a progressing story.
Or rather, Toy Story IS this summer's big Blockbuster, and it's epic enough to be qualified as a kind of mini-masterpiece - that is, until the rest of the film unfolds.At the least, Buzz dancing to Spanish Salsa music, and that end of the movie, make it one of the high points of Pixar's career - and this is following WALL-E and Up!.
I randomly wonder if the Toy Story trilogy created any hoarders, because if I were a child and saw these films, I'd become a hoarder—just sayin'.The complaint that I see through many reviews is that the animation isn't adequate.
With the last scene the classic song playing, "You got a friend in me
" Toy Story 3 ends in the most amazing way possible for a film that made us all believe that toys come to life the moment our backs are turned.
But I'm absolutely a huge Toy Story fan, especially since I was 7 years old when the first one came out in 1995, and I've watched it so many times I can basically quote the whole movie.Needless to say I've been excited about Toy Story 3 for months, ever since I found out it was coming out.
As with sequels before, i thought it was going to be aimed at an entirely new audience, for the sake of profit and would squeeze the love i had for the series right out of it.Then i began to read about interviews and the plot line and how it continues from both previous films, with Andy just a child back then, he has now become a teenager ready for college.
While it may not be as brilliant from start to finish as the second "Toy Story" film (the animated equivalent of "The Godfather Part II"), is so engaging, so witty and entertaining and exciting, that adults and children will be pulled in all the way.
They spend their money on the talent to create everlasting stories, fun and adventures.Side Note: The preceding animated short, one I always look forward to prior to any Pixar film, Day & Night, was pretty good, and inventive, but not great.
I have a 11 year old son who LOVED the Toy Story characters, yet during the movie; even at the end he was far more composed then his old man.
It feels so fitting to have this movie end the trilogy, as the moral & theme of the story represents the entire Toy Story films.I was surprised at how emotional the final scene was; but then again, Pixar is great at adding the human elements into their stories & characters.
As for the main theme song "You got a Friend in Me", it's a universal message throughout the entire Toy Story films, to the very last sequence of this movie.
I've been watching Toy Story as long as I can remember and now its hard to imagine this great trilogy come to an end.
It has great comedy, wonderful performances by its all-star cast, probably one of the most emotional stories made by Pixar, and a climax so suspenseful it makes the ending all the more emotional.Toy Story comes from an older generation of films.
In a way I think its the filmmakers saying goodbye to the older generation of kids who first saw Toy Story and the other great Pixar films and welcoming a new generation.
And the message is simple but like all Pixar movie messages are they are also smart (especially the way its executed), but I think I'll let you find out what it is on your own.The film is about Andy leaving for college and now the toys are worried about their future.
And who can blame them (including me) for doing so, Pixar has proved time and time again that animated films are for more than just children and that the emotional aspects of the films can even be better than some of the best live action dramas that have ensured tears from their audience.My love for animation has proved to live on again in the new Toy Story film.
It has beautiful animation, loving characters, a great and emotional story, and a finale fit for the toys who have enchanted our lives for more than a decade.
Ten long years later, I finally received my wish.Toy Story 3 is the story of our classic and new favorite characters Woody, Buzz, Slinky, Ham, Rex and friends as they try to cope with the fact that Andy is going off to college.
My hopes were exceeded in the first few minutes of the film as my emotions were taken on a ride of crests and troughs throughout the entire experience.Not only that, but Pixar somehow managed to slip brand new characters into the plot so seamlessly that if you had never seen the two previous movies, you would have guessed that they had been around for the whole trilogy.
The finals scene was a great way to end the series and movie Overall Toy Story 3 is a fantastic film filled with magic moments, strong characters and visuals that only Pixar can produce.
It's funny, it's clever, it will make you cry with laughter and with tears, and it's also much much darker than the previous two Toy Story films, so expect to be both shocked and surprised!Plot Summary: When Andy leaves for collage his toys believe its a good idea to head for Sunnyside Daycare centre; this is so they can all be played with once again by kids.
Toy Story 3 – Firstly to begin with the animation in this film was the best yet, Pixar have done it yet again.
And naturally, Pixar would be at the forefront, leading the cavalry charge of digital animation ranging from great to gad-awful."Toy Story 3" starts off as comfortably as possible, with our friends Woody and Buzz Lightyear doing what they do the best...playing with Andy in his world of make-believe adventure.
With "Toy Story 3", Pixar has shown us one of the greatest magic tricks in modern showbiz history, likely not to be outdone or duplicated, that we all have very real and deep connections to our childhoods and to the things and people that allowed us as kids to be free, and innocent, and pure, and most importantly, to dream.
With "Toy Story 3", Pixar has shown us one of the greatest magic tricks in modern showbiz history, likely not to be outdone or duplicated, that we all have very real and deep connections to our childhoods and to the things and people that allowed us as kids to be free, and innocent, and pure, and most importantly, to dream.
It's as magical for kids as it is for adults & concludes on such an ideal note that it is a picture-perfect way for Woody & his friends to say their goodbyes.On an overall scale, Toy Story 3 is without a doubt the best film of its year, the best chapter of its series, the best that Pixar has come up with to date & one of the finest achievements of its genre that's extraordinary enough to rank amongst the greatest motion pictures of all time.
it was that good way better than TS1 and TS2.the story revolves and Andy's toys whose days are over because Andy grew up and goes to collage(Toy Story 3 got the time line right which i liked)and because of a big misunderstanding they end up at a day care,they thought it was heaven to be played with again...but they had another thing coming,meeting Lotsa Hugs they knew where they are and what this place is,eventually they find out that Lotsa has a dark past,that's when they going to bust out with woody's help.Toy Story 3 has it shares of recurring nostalgia,comedy sappy moments(i'm 18 and still sniffed and a certain last scene)this movie targets all genres weather kids,adults,teenager,parents or even grandpas!
The story also progresses at a good pace, and makes you feel like a kid again, rooting for the characters every step of the way, it makes you hope that at the time of the movie your old toys are conversing waiting for you to play with them.
my mind was like - "can pixar pull it off?; will it be better than 1 and 2?; andy is going to college, how can they end the story well?" then it came, i watched 3 and after that...
The way Disney uses that character can give nightmares for years.I saw the first Toy Story movie and enjoyed it. |
tt0082700 | Cannibal ferox | In New York City, an unnamed man is visiting an apartment to get heroin (using the term "horse") from his dealer named Mike. Instead of finding his usual pusher, the man finds two mobsters who are also looking for Mike, who had apparently skipped town owing them $100,000. After questioning the man about Mike's whereabouts, they shoot him and leave him for dead. Lt. Rizzo of the NYPD investigates the murder.Meanwhile in Leticia, Columbia on the Rio Amazonia, two siblings, Rudy and Gloria, with their friend Pat, prepare for a journey into the rain forest in nearby Brazil. The three have ventured there to help prove Gloria's theory that cannibalism no longer exists, and that it may not have existed all along, being a myth concocted by greedy European empires to justify colonising the land.After encountering a pair of natives who were brutally killed in a booby trap, the trio encounter two other westerners; Mike, the drug dealer mentioned in the beginning (who is also addicted to cocaine), and his partner Joe. Joe is badly wounded in the chest. Mike explains that they were attacked by cannibals. They claim they were with a Portuguese guide who was tied to a stake, castrated, and killed by the cannibals. During the night, Gloria goes missing, and Rudy finds a native village while looking for her. It is populated by a small group of natives, mostly the elderly.Due to Joe's injuries, the troupe decides to stay in the nearly deserted native village. Mike seduces the naive Pat, and has sex with her, as well as giving her cocaine. In a cocaine-fuelled rage, he encourages Pat to slowly kill a young native girl with a knife, but she is unable to do it, so he kills her himself with a gun. Pat, horrified by Mike's actions, warns the native girl's accomplice to flee before Mike gets to him.In his dying moments, Joe reveals to Gloria and Ruby that he and Mike were responsible for the cannibals' aggression. In a flashback sequence, Joe explains that the two of them came to the region just last week to exploit the natives for emeralds and cocaine, taking advantage of their trust in white men. One day, while high on cocaine, Mike brutally tortured and killed their native guide in full view of his tribe. The badly charred body that the troupe thought to be the Portuguese guide (who never existed) is actually this native. Mike kidnapped a native girl, whom was the native chief's daughter, in order to lead them out of the jungle, but the two were followed and attacked, explaining Joe's injuries.In light of Mike's murder of the young girl, the native warriors finally snap and have now begin to hunt the troupe out in the jungle. Joe eventually dies of his wounds, and his body is found and cannibalised by the natives in full view of Rudy and Gloria, who are hiding from the natives. In the meantime, the cocaine-agressive Mike and Pat had abandoned the rest of the troupe, but they are all rounded up by the natives eventually. They are forced into a cage (that Mike originally used to lock up natives) and forced to watch Mike have his penis cut off and eaten by the revenge-seeking native chief. The wound is then cauterized to ensure he does not bleed to death.The next day, the natives natives take the troupe by boat to another village down river. But when they arrive, Rudy manages to escape, hiding in a pool of water from the natives. However, he is caught in a booby trap in the jungle and the bleeding wound of his attracts the attention of piranhas, who force him out of the pool screaming. The natives shoot him with a poisoned dart, and he dies almost instantly.Pat, Gloria, and Mike are taken to a new village where their suffering continues. The women are put in a hole in the ground as Mike is placed in a separate cage. The native man that Pat saved from Mike at the other native village appears, and lowers a rope into the hole so the women can escape. However, at this point Mike digs out of his cage, chases the man away, and cuts the rope, preventing the women from escaping. He then flees into the jungle. He is almost spotted by a plane being flown by a search party looking for the missing troupe (one of which is Mike's girlfriend from New York), but shouting in an attempt to be noticed by the plane causes the natives to finally locate him. Deranged to the last, Mike attacks the natives with a machete he stole and kills one of them and wounded another until he is overpowered. The native warriors drag him to a fallen tree and cut off his right hand with the machete before taking him back to the village. When the search party lands, they are told by the natives that the explorers were in a canoe, which capsized. They were then eaten by crocodiles.Back at the village, Pat is bound, stripped, and has hooks put through her breasts. She slowly bleeds to death as Gloria is forced to watch. Mike's head is placed in a crude apparatus, and the top of his head is cut off; the natives then proceed to eat his brains. Gloria is left for the night. During this time, the same sympathetic native who Mike chased off earlier returns and frees her. He guides her through the jungle but is eventually killed by one of his own people's booby traps. A few days later, a desperate Gloria makes to the river and meets up with a pair of trappers, who take her to safety. Instead of telling them the true story, she backs up the natives' lie about the others being eaten by crocodiles.The film ends several weeks later with a shocked and jaded Gloria is seen back in New York, a part of society once again. She has published a book titled 'Cannibalism: End of a Myth' which completely covers up the story of what happened to her brother and friends. This was most likely done because of her realization that the natives were only vicious because of the extensive cruelty they had endured under the white man they once revered. | cruelty, murder, violence, horror, insanity, sadist | train | imdb | The police detectives seek out the touristic guide Myrna Stenn (Meg Fleming), who shared her apartment with Mike.Meanwhile, the anthropologist Gloria Davis (Lorraine De Selle) travels on vacation to Paraguaya, in Colombia, with her brother Rudolph "Rudy" Davis (Bryan Redford) and her friend Pat Johnson (Zora Kerowa) expecting to find the town of Manioca to prove her thesis that cannibalism does not exist.
It's interesting that when animals are butchered for your viewing pleasure in Italian exploitation movies it's banned in a dozen countries, but when Coppola does it (far less humanely) in Apocalypse Now, it's art.This was my first journey into the Cannibal genre, and if I can get my hands on Cannibal Holocaust, it won't be my last.
And no one who's seen this film will ever forget John "Giovanni Radice" Morghen's acting as he wails the immortal line, "then...THEN THEY ATE HIS GENITALS!!!"The commentary track on the DVD is fantastic - Lenzi is a hilariously arrogant idiot, while Morghen's camp, bitchy comments had me in hysterics.
The cannibal genre died out pretty quickly, thankfully, as they represent everything that is ugly about the horror genre, and Cannibal Ferox, possibly the second most notorious after Cannibal Holocaust, is no exception.The gore and violence is by no means convincing, or even disturbing, but it is clear from the off that the film's sole purpose is to be more repulsive than anything else before it.
This is all well and good and what can be expected from an Italian exploitation film at the height of the nasties era, but the animal killings are simply needless.I always found myself defending Cannibal Holocaust for the animal cruelty, as that is a genuinely good film, and the horrific animal scenes really do add to the horrible and deeply unsettling atmosphere.
The cast includes such exploitation-greats like Robert Kerman ("Eaten Alive"), John Morghen ("Cannibal Apocalypse"), Perry Pirkanen ("Cannibal Holocaust") and in the first line the wonderful Zora Kerova ("The New York Ripper"), who makes some really bad experiences with meathooks at the unhappy end..!
I have finally seen FEROX and have only good things to say about it.The plot is rather simple: a drug dealer and his co-hort torture and kill some natives in the Amazon jungle and escape, but after encountering a college group, they are captured and brutalized for the cruelties they have caused.
If it weren't for the needless animal killing in the name of 'shock' ("Ooh look at us, we're hardcore, we've added real death to our films") these films would make their way onto my dusty classics shelf - I'm a huge fan of cannibal films and zombies.
You may have heard of the mass controversy of CANNIBAL FEROX that led to its banning in 31 worldwide nations, so if you want to suffer from heart failure, do so now before the feds decide to kill one of the finest works of classic cinematic crap into oblivion, only to establish a New World Order, by god!.
The only decent thing in the movie was the score during the jungle scenes, something i thought was much more appropriate for the subject matter than the over dramatic love ballad in cannibal holocaust.
I love films like Make Them Die Slowly (Cannibal Ferox) The euro-trash cinema of the 80's was the BEST!!!
Penis whacking, hand chopping, head lopping, gut munching, breast piercing, eye gouging, brain slurping: its all there, along with some unnecessary animal cruelty for good measure.A New York student travels to the Amazon with her brother and a blonde nympho, hoping to prove that cannibalism is nothing but a myth created as an excuse to wipe out indigenous tribes.
Their bad luck continues when they run into two men, Mike and Joe (also from the Big Apple), who claim to have been attacked by cannibals, but in reality have been doing a little torturing and killing of their own; after failing to find emeralds in the river, they have taken out their frustration on the helpless locals in the nearby village (the younger, stronger members are away fishing)!
When the rest of the tribe return, they take revenge, capturing and killing the helpless Americans in gruesome and inventive ways.The brilliantly gory jungle scenes are interspersed with less interesting New York based moments, featuring the attempts of both the police and some gangsters to find Mike and his pal, who have absconded with a fortune in mob money.
These scenes are extremely dull, and could easily have been excised, allowing more time for cannibal chow-downs.Cannibal Ferox is a must see for fans of the genre, but casual viewers should take heedthis wasn't banned in 31 countries for nothing!.
but i found my self alternately laughing and being somewhat grossed out at the same time.#1 - i'm not real big into animal cruelty scenes, and it seems that these early '80's, overseas films threw these type of things in just to add some shock value.
this movie has a few such scenes and i feel they are unnecessary.i also found it humorous that the box (along with stating that it was banned in 31 countries - for good reason) had listed something like 30 "scenes of brutality" (i don't quite remember, it's been awhile since i've watched it).
The plot is a very basic rehash of Holocaust, the acting is terrible and their are some very redundant scenes (set back in New York) in the movie that does not help move the story along.An anthropologist takes two of her friends on an expedition to prove that cannibalism does not exist.
I'm the guy who kills animals for entertainment!" Then he made this pile of crap, the second most offensive Italian cannibal film.
Second because the plot, compared to the more plausible Cannibal Holocaust, is completely brain-damaged.Like 99% of Italian film made between 1980-1982, this film starts off in New York, where a junky is looking his pusher Mike.
Lorraine takes along her brother Rudy and the horny Mary (Zora Kerova), so we've a nice buffet lined up for the cannibals already.Once in the jungle, this lot get their jeep stuck in mud and head off into the unknown, experiencing the horror of a tribesman eating live grubs and finding two mutilated bodies.
After watching that I feel like cannibals have chopped the top of my head off and eaten my brains too.The thing is, you could forgive this nonsense if it wasn't for the killing of animals for the sake of it.
Hoping to dispel cannibalism as a myth created by 16th century conquistadors to justify the subjugation of native tribes, an anthropology student, her brother and his girlfriend get more than they bargained for when venturing into the Amazonian jungles in this Italian horror film.
This is a far from perfect motion picture with mostly second-rate acting and a subplot involving an urban police investigation constantly subtracting from the immediacy of the jungle action, but with a spine-tingling mix of music and sound effects and a chilling final scene, there is a lot more to 'Ferox' than just its controversial violence..
I must admit to not liking the thought of them being killed and then discarded for entertainment's sake, as these scenes were not required for the story.This is not the best cannibal film: For the best story and acting, watch Cannibal Holocaust For an interesting twist on the genre, better story and acting, try Cannibal Apocalypse For the best jungle location, I suggest you watch The Man From Deep RiverThough, I will say I do not find the cannibal genre that interesting and even though these are better than Ferox they're still not brilliant..
What looks like a sort of kitchen table with a head-size hole acts as a nice hors d'oeuvre server).The film makes clumsy attempts to inter-cut between the city (in this case New York) and the jungle (the Amazon).
This movie is not worth its controversy now a film like cannibal holocaust is and is excellent at the same time!!!
Though there are obvious parallels between the two (the theme of the so called "civilized" being the bringers of barbariety, the direction style used in the jungle scenes, gratuitous animal cruelty and small roles for both Richard Bolla and Perry Pirkanen), there's a vast difference in tone between the two films.While "Cannibal Holocaust" was relentlessly sadistic, "Cannibal Ferox" plays a variation on the theme with it's underlying bits of horror camp.The main characters' descent into jungle murder and madness is marked by classic horror bad decision making (How does not finding cannibals in one isolated village somehow disprove the entire phenomenon's existence?
The world may never know.), and their gruesome fates are sealed fairly early on, for sheer bold stupidity if nothing else.Giovanni Radice rips through his role with almost gleeful bug eyed abandon, Zora Kerova is the obligatory slutty blonde whom meets a nasty end, with Lorraine DeSalle playing straight woman to the other leads hamming it up."Ferox" has buckets of blood for the gorehounds, but other than the animal scenes, it's not nearly as real looking as "Holocaust".
Director Umberto Lenzi who has been credited as starting the cannibal sub-genre with Deep River Savages' (1972) effectively ended it with this nauseating and disturbing film.
Cannibal Ferox' also features a brief appearance from Robert Kerman (aka porn star Richard Bolla) who also appeared in Cannibal Holocaust'.Cannibal Ferox' is certainly not for everyone and those who have not been fans of other Italian cannibal films should probably avoid this movie completely.
If you like campy italian horror movies you'll love it of course, it follows a bunch of two dimesional characters and a whole lotta bad acting in a jungle filled with cannibals.
So instead Lenzi has ejected the script, forgot the camera skills, losened the budget on actors and simple focused everything hes got on creating an outright gorefest.From disection to castration, cannibalism, degrading and humiliating (but equally painful) torture scenes and eye gauging this film has the lot and furthermore theres little camera shy editing.
Oh and of course just so he wouldn't let down the morbid traditions seemingly so popular with the small circle of Italian gore directors theres plenty of pointless New York footage, and a good range of real life animal deaths.Well i you like gut renching, outright obsanities of films (like me), this is something for you.
but this movie is like "Milk Money" compared to Cannibal Holocaust (CH is maybe banned in 50 country's, not for sure), back to CF, it's got A'plenty of unnecessary animal violence.
This explicitly violent italian horror film is trashy,gory....BUT TOTALLY ACE!!!What could be better than seeing someone getting castrated on a Saturday night,or some big brute of a cannibal smashing some idiot's head and eating their brains.GEORGE ROMERO,THIS MAKES YOU LOOK LIKE JEFFREY ARCHER!!And,as further proof that this is THE best horror film ever,it's caused a stink in 21 different countries,where it is banned.HOW COOL IS THAT?!!!Rent it and die..
3 New York university students are venturing into the Amazon jungle when they cross paths with a couple of drug dealers, one of which being the illustrious John Morghen (AKA Giovanni Lombardo Radice), who have been running amok with the local cannibal tribe.
Trying to intellectualize a total s---pile like "Cannibal Ferox" (or "Make Them Die Slowly" as it was known when I saw it) is the height of stupidity & kills any real joy in watching the flick.I saw this in a cheasy run down theatre on a triple bill with "Driller Killer" & "Avenging Disco Godfather".
Horribly real special effects including poor old John Morghen`s trio of painful moments (surely a movie character has never suffered so much..) It`s the kind of film you know will have no great plot revelation, character developement etc, just a succession of ultra-gory moments, the next more gruesome & graphic than the last.
i watched this movie many years ago and was not really impressed its not a patch on deodato's cannibal holocaustcannibal ferox is pretty boring at times but when the gore is coming it is delivered like a whack on the headthe animal scenes are very cruel this is what i dont like about the italian cannibal movies i would give this film 4 out of 10.
If you see this movie and got offended or upset, then you must of miss read the title.Not as nasty as the counterpart "Cannibal Holocaust" but it does pack a punch of brutal scenes.
Kinda strange, but I found the movie very entertaining.The commentary on the DVD consists of the star (Giovanni Lombardo Radice) and the Director (Umberto Lenzi) saying how terrible the film is.
A bit better than Cannibal Holocaust, the most over-rated "supposed-to-be gore" movie ever, and most boring also..
All in all, a late-night gore fest with a typical Italian cheesy feel.Nothing like Cannibal Holocaust in either tone or effect - if you're new to Cannibal films, check this first!.
The film's attempts at moralizing, by trying to tell us that the cannibalism is only a response by the natives to the wrongdoings of the white man, doesn't quite work either since the white savagery occupies about one-eighth the screen time (in other words, a mere four-minute flashback sequence) devoted to the brutal torture by the natives.Still, despite the hokey nature of the script and the acting, the story does manage to grab you and stay in your head long after its over.
Partly very gory and just unbelievably boring on the other hand, this movie shows detailed graphic violence to humans and animals the same way as you can see in Cannibal Holocaust.
After all, these cannibal flicks by Mr. Lenzi (Ferox, Il paese del Sesso Selvaggio and Mangiati Vivi!) are not his most personal works and he has admitted that they were made only because of money and he prefers far more his crime/giallo films, and it is very understandable.Ferox has great music soundtrack as the very ominous theme in jungle scenes works perfectly and really tells something very wicked is in the air.
The worst thing is that in these films, many real animals were killed and these scenes are plenty in Ferox.
In Holocaust, the film crew at least ate the animals killed, but I'm not sure what's the case in Ferox.
I think that killing living animals only for shock purposes is not justified and thus I cannot accept that, and it is sad that many animals lost their lives probably in vain in these films.Cannibal Ferox is noteworthy film from that blood filled exploitation era of Italian cinema and due to its few cinematic achievements and atmosphere it is possible to like as a real film, too, but that demands the viewer to be a fanatic of this genre, of course.
c) you get a lot of trash including sometimes really bad effects.If you like (Italian) horror with some gore and lots of trashy stuff, you may enjoy Cannibal ferox.
The film also comes complete with basically the same subtext as the previous years' "Cannibal Holocaust", that it's us so-called "civilized" people who drive the more primitive humans of the planet to commit acts of violence.A must for anybody who digs trashy Italian genre filmmaking.Eight out of 10..
Cannibal Ferox starts with both a written and spoken warning that this motion picture contains at least two dozen scenes that may be seen as shocking and disturbing, and that you shouldn't watch this movie if you're quickly offended in any possible way.
And Zora Kerowa was no stranger to X films herself.Call this and Cannibal Holocaust the tag team champions of Italian jungle movies..
Umberto Lenzi's shabbily produced follow up to Ruggero Deodato's masterpiece may not be well made technically, but it makes up for the atrocious acting and poor screenplay with a great atmosphere, which includes both cannibalism and the jungle wildlife itself and lots and lots of disgusting, bloodthirsty gore - which is sure to delight anyone with the conviction to see this film.
Some movies try to scare the audience with psychological terror; but here, Umberto Lenzi has gone purely for the visceral; and unlike a lot of ghost stories - the Italian director has succeeded in making a film the likes of which horror fans want to see.
This is pretty much a carbon copy of "Cannibal Holocaust" with all the needed gore and violence, disgusting elements and shocking moments but it's not a great film like that was.
Thoughtful insights were left out to present once again people from developed nations getting eaten by people of the so-called uncivilized nations."Cannibal Ferox" was one of many films of that ongoing success of cannibal films made in the 80's that now are a cult among fans over the world and still banned in some countries due to its hardcore violence and cruelty against animals killed on screen (this has less scenes than Deodato's infamous classic but they still impress and they're completely pointless to the movie's context).
I thought that this was a very good cannibal horror film featuring a lot of torture and strong violence.
CANNIBAL FEROX will never be mistaken for a classic movie but for its genre the thing works..
The animal scenes are so unnecessary.It's not as gory as Cannibal Holocaust, and doesn't have all those rape-scenes and stuff like that but the gore is still there, even though some of the effects don't look that convincing.
Skip Ferox and see Holocaust if you want to see a cannibal film..
Although, this is a great cannibal film but the only problem with the movie just like most of the big cannibal films is for some reason they have to have moments of real animal cruelty.
It's filled with real animal cruelty (mostly the turtle scene is a mild riff on the one in "Cannibal Holocaust" but not as bad as that one), gore galore such as the infamous head slice, castration, great make-up effects, and a groovy soundtrack.
The gore was very realistic and quite disturbing, and you even get a piranha scene, that unfortunately was never filmed for Cannibal Holocaust. |
tt0089469 | Legend | The Lord of Darkness (Tim Curry) alone in his chamber, calls his minion the goblin Blixx (Alice Playten). He confides to Blixx that he wishes to kill the last two unicorns so that darkness will fall upon the world, allowing him to emerge from his cave where he is shielded from the sunlight that is his enemy.He cannot approach the unicorns, he tells Blixx, because only the pure can find them. Only someone innocent and pure, such as the Princess Lily (Mia Sara), can attract the unicorns. He sends Blixx and his two companions, Pox (Peter O'Farrell) and Blunder (Kiran Shah)to set a trap with orders to bring the unicorn's horn back to him.The scene shifts to Princess Lilly all innocence and mischief, heading to the enchanted forest. Along the way the playful young teen visits her friend Nell (Tina Martin) a kindly peasant who lives at the edge the woods. She warns Lilly that visiting the woods is not a princess-like activity, but Lily goes anyway, leaving as quickly as she arrived amid Nell's warnings of things to forest things avoid. Lily's real plan is to visit her beloved Jack(Tom Cruise), a forest child and trusted friend to all the creatures that live there.Unknown to the two lovers, Blixx and his companions have found them and although the goblins are repelled by the teens' beauty and goodness, they follow Jack and Lily knowning that the youngsters will sooner or later attract the targeted unicorns.Unaware of the danger, Jack and Lily play in the forest glades together like children. Then Jack tells her that he has a special surprise, taking her to see the last two unicorns - a mare and a stallion. These are sacred animals, guradians of purity, innocence and all that is good. Mortals like Jack and Lily are not permitted to see--let along touch them, but Lily, delighted by their beauty and against Jack's warning--approaches them and gently pats one on the nose. Although the unicorns appear to be as pleased by Lily as she is by them, she has unwittingly made them vulnerable.Blix, hiding from sight, seizes the opportunity presented by Lilly's charm of the unicorns, to fire a poisoned dart into the flank trusting stallion. Stung and in pain, the stallion gallops away followed by the mare. Blix's party gives chase while unknowing, Lilly, delighted by the experience, but puzzled by the unicorns sudden departure, returns to Jack. But Jack is very angry at her for desecrating the unicorn with her human touch.Lily, though not at all contrite, apologises teasing Jack by telling him that she will marry the man that finds her ring. She tosses the ring and it falls into a pond. Jack leaps to his feet and dives into the water to retrieve it.Meanwhile Blix and his party overtake the dying stallion and cut off the magical horn. Without the power of the stallion the world plunges into sudden, severe winter. The onset of a blizzard and the howling winds drive Lily to seek shelter. Meanwhile, below the surface of the pond Jack seeks unsuccessfully for Lily's ring. Out of breath, he swims to the surface but his way blocked by thick ice. Using the last of his strength to smash though, he crawls, gasping, to the shore, perplexed by the sudden snow and cold.Lilly, meanwhile, seeks refuge at Nell's house, but finds everyone and everything inside frozen solid. Hearing approaching riders, she hides in the loft when Blix and his triumphant party arrive seeking food and loot. Listening from her hiding place she overhears them bragging about what they have done and realizes it was her sin that provided them the opportunity. As they leave to deliver to horn to Lord Darkness she vows to follow them and make everything right again.At the same time Jack encounters a group of fairy folk led by the pan-like Honeythorn Gump (David Bennent). and his companions, two dwarves, Screwball (Billy Barty) and Brown Tom (Cork Hubbert) and Oona (Annabelle Lanyon) - a Tinkerbell-like pixie who only appears as a firefly sized point of light. The fey are also confused by the sudden change of climate. Upon careful questioning by Gump, Jack admits that he took Lilly to see the unicorns. Gump is outraged but forgives Jack when he realizes that Jack's motives had only been driven by love. Jack and rest of the group discover the mutilated body of the stallion and the still living mare. Gump tells Jack that a hero is needed right things. Jack protests that he is not a hero, but Gump leads him to a cave leaving Brown Tom to guard the mare. While the others wait outside Oona guides Jack into the cave to find armor and weapons that he will need. There, Oona reveals to Jack that she is able to assume the form of a beautiful wood fairy and tells him to keep her secret.Around the camp-fire that night Blix torments his companions with the magic of the horn when the cloaked form of Lord Darkness appears. Blix, trying to avoid Darkness's wrath, drops the horn and it is picked up by Blunder who tell Darkness he will use the horn's power to take over Darkness's throne. Unfortunately, he has greatly overestimated what the horn can do. Darkness seizes the horn and forces Blunder back to the underground lair. Still angry, Darkness orders Blix to capture the Princess and the mare.Lilly, who has been following the goblins, witnesses this exchange and races back to find the mare. She runs into Brown Tom and warns him of Blix's approach. She is too late and although Tom puts up a good fight, he is knocked cold and the Princess and the mare are captured and taken to Darkness's underground palace.When Jack, Gump, Screwball and Oona return they revive Tom and he tells them what has happened. The group sets out for the palace, but must first cross a swamp. There, Jack runs into the troll-like Meg Mucklebones (Robert Picardo). She threatens to eat Jack, but he distracts her with her own image in his mirror-like shield until he can use his sword to cut off her head. This is the first real challenge Jack has faced and he is quite overwhelmed when he realizes he has bested a powerful enemy. Still, enemies more powerful still lie ahead.Arriving at the castle the group stumble through a trap door, down a slide, and into cages of the palace's kitchen. There we learn that Darkness and the goblins are not above cannibalism. Various creatures in other cages await their turn to be made into meals by the kitchen staff, a pair of trolls. In the next cage they find Blunder, who beneath his armor is actually a creature closely related to the dwarves. Just as they are becoming acquainted one of the giant trolls appears and seizes Blunder as the main ingredient of a meat pie.Jack asks Oona to retrieve the keys to their cell but Gump points out that she is too small to carry them. Jack then reveals Oona's ability to assume human size. Oona is outraged at Jack's betrayal of her secret, but he tells her that if he keeps her secret they will all die. Gump, angered at Oona, demands to know why she has kept this information from him, but she challenges him that her secrets are her own to keep. She then turns to Jack seductively and even after using her glamour to assume Lily's form, finds that Jack will not sway from his own true love. Although she is angered by his rejection, she knows that he is the only hope against Darkness, so she retrieves the keys and sets her companions free.They escape the kitchen and split up to search for Lilly and the mare.Meanwhile, Darkness is complaining to an unseen father that he is distracted by Lily and doesn't understand why. The father's voice, emanating from the fireplace, states that Lily attracts him because she is so pure. He suggests that Darkness seduce Lily and corrupt her.Lily has been brought to the palace's throne room where Darkness' servants have laid out things things to tempt her: There is food, beautiful jewelry and a faceless dancing form wearing a revealing black dress. At first Lily is frightened but soon the seductive spell begins to affect her, luring her to dance with the black shrouded figure. A sudden flash finds Lily dancing alone, garbed in the sparkling black dress; a fit queen for the Lord of Darkness.Believing his techniques have worked on her, Lord Darkness enters the chamber through a mirror. He is a seven foot tall, hairless, muscular being with crimson skin, yellow slit-pupil eyes, hooved feet and crowned with three foot long ebony bull's horns. Terrified Lily squirms away from him. Darkness, however, keeps his distance and tells Lily he only seeks her conversation. Slowly, Lily's confidence returns as she realizes Darkness' attraction to her. Soon, Darkness, not Lily is the one who's being played. When he tells Lilly the dress and jewels are her wedding presents she stands up to him and tells him it will never happen. Even his frustrated rage no longer frightens her.Outside the room Jack and Gump overhear Darkness tell Lilly his plans to sacrifice the mare at sunset to bring eternal darkness to the world. Overconfident, Darkness reveals the one thing that can hurt him: sunlight. This inspires Jack with an idea. They rejoin Screwball and Brown Tom who have located the mare in the dungeon. Jack leads the group to steal the shiny silver platters from the kitchen to use to reflect sunlight down the chimney, though the palace and into the underground lair.The group returns to the kitchen and there release a grateful Blunder from the pie in which he was the main ingredient. Blunder eagerly switches sides to join the intrepid heroes. Unfortunately moving the heavy giant platters awakens the kitchen trolls and a battle ensues, ultimately won by Jack using his new heroic skills and a lot of luck. Screwball, being the smallest, volunteers to climb up the chimney carrying one of the platters so that it might catch the sunlight to reflect down into the lair. The rest of the group place more platters at strategic points throughout the underground palace.Lily, meanwhile, has convinced Darkness that she will marry him willingly on one condition. She wants to be the one to kill the mare! Ecstatically he agrees.Screwball and the final plate make it to the surface but unfortunately the elderly Screwball is so exhausted by the climb he has fallen asleep at the the chimney opening. Jack and Gump find the site of the intended sacrifice and slip inside while Oona flies frantically to find Screwball to see what is taking so long.Hiding on a ledge above, Gump and Jack observe the beginning of the ceremony. Darkness, holding the stallion's horn proclaims his intent to use it to kill the female. Proudly, he passes the horn to Lilly, who stands beside him, for all intents appearing the perfect wife for the master of evil. Gump, convinced she has joined Darkness, tells Jack to shoot her with an arrow. But Jack, trusting in his love for Lilly, hesitates. Fulfilling his trust, Lilly severs the mare's chain, shouting at the unicorn to flee. Enraged, Darkness strikes Lilly into unconsiousness. Jack leaps to her defense but he is no match for Darkness's strength, magical power and psychologically aimed taunts.Meanwhile, Oona finds and awakens Screwball. Together they angle the final platter to reflect sunlight down the chimney shaft. The light darts through the palace corridors and blows the doors off the dungeon and striking Darkness and opening an abyss behind him which threatens to suck him in. The evil lord, caught and weakened by the sunlight, clings to one of the pillars until Jack to cuts off his hand. Unable to hold on any longer Darkness drops unicorn horn and is swept into the starlit abyss. His last words to Jack are that he cannot be destroyed because there can never be light unless there is also Darkness.Gump brings the stallion's horn back whith then and replaces it on the stallion's head. The stallion awakes fully restored and is joined by the mare. With that, the world is released from its relentless winter. All is back to normal except that Lily does not waken. Gump tells Jack that she is under a deep spell. Jack once more leaps into the pond and this time emerges holding Lily's ring. He slips it onto her finger and kisses her. His love awakens her, but she is changed by her experience. While still good and pure as before, she now respects the powers of the wood.They leave the wood together while their fairy friends wave farewell. The final shot is of Darkness, still alive in an unknown place, laughing as he plans his revenge. | dark, fantasy, gothic, cult, good versus evil, action, brainwashing, romantic | train | imdb | It compares quite favorably with Peter Jackson's "Lord of the Rings" and is a modern classic.The theatrical release of 1986, shamefully butchered (chopped up and badly re-edited) by the mindless suits at Warner, and with its original Jerry Goldsmith score replaced by the rather trite Tangerine Dream soundtrack, is the version most people have seen.
The feeling and tone of the film were ruined by its treatment.The Ridley Scott Director's Cut, released in 2002, is a completely different movie.
Those who have written it off as a kids' movie totally betray their limitations and inability to see what is being offered here.A youthful Tom Cruise was such a good choice as Jack, the forest dweller destined to plunge the world into darkness and then have but one opportunity to restore the light.
I enjoyed the directors cut film more as it is longer and tells the story just a little better, but I enjoyed Tangarines Dream's score more as it captured the mood of fantasy ( for me) as set in a mystical place!
But the film is visually stunning and features a good performance by Tim Curry as "Darkness" , Tom Cruise on the other hand looks a bit confused throughout the movie .
The weakest and shortest of the all is the US theatrical cut because it misses many scenes and ads a few that seem tacked on but worst of all it contains a score by Tangerine Dream instead of the original one by Jerry Goldsmith .The European cut is better in that it is longer and it features Jerry Goldsmith's score .The best version however is the Director's Cut featured on The Ultimate Edition DVD .
The story follows a young man who lives in a forest (Jack, played by Tom Cruise) and a spirited young princess (Lily - Mia Sara) who is in love with him.
Before long, Jack and his magical forest friends must save Lily, the one remaining unicorn and the world from the grasp of the dark lord at any price.Even the lengthier director's cut goes by just a little too quickly.
Each scene is a work of art.Highly recommended for fantasy fans, Ridley Scott, Tim Curry and Mia Sara fans and those interested in artfully presented effects.
The Dark Lord decides he would like to have his way with virgin princess, while her true love Jack (Tom Cruise) tries to rescue her and save the world.
As a huge fan of Tangerine Dream and Jon Anderson, I praise the fact that their music is in the "American" cut of this film; their music has always sounded like they were trying to do soundtracks to a movie.
It could have been great, but (well, you fill in the blank).Fortunately, I've seen the way it was SUPPOSED to have been released in the States (which you can find on the 2-disc DVD, which has both versions).The Non-American version has a story which is much fuller, and the music (with a full symphony orchestra) is much better and adds more drama and punctuates the mood of each scene more properly.I do find the American version's end much more climatic musically and story-wise with Jon Anderson (singer of Yes)'s angelic voice thundering with Tangerine Dream's score in the background.So, pick an afternoon when you got about 4 hours to spare and watch BOTH.
So, Tim Curry and a lot of others would have been just voices over CGI characters instead of being in actual makeup and there would have been MORE to the story and script if CGI was as available back then as it is now.There IS such a thing as knowing limitations, you know.American Version, good enough to make one wonder what was more.International Version, done much better and fuller (though I like the American ending better)As I said, watch both versions and make your OWN version to enjoy.Aaaaannnd ...
Jack (Tom Cruise , though Johnny Depp, Robert Downey Jr. and Jim Carrey were all considered for this character) and his partners such as Screwball (Billy Barty) , Blunder (Kiran Shah) and Gump (David Bennet , recently his Tin Drum) are disposed to do everything to save the world and rescue princess Lili (Mia Sara) who Darkness intends to make his wife from the hands of this evil devil .
As Darkness (Ridley Scott was inspired to cast Tim Curry as Darkness after seeing The Rocky Horror Picture Show , he had also considered casting Richard O'Brien as Meg Mucklebones) plans to spread eternal night in the land where this tale takes place , by killing every unicorn (the sound of the unicorns at play is actually a recording of humpback whales) in Earth .This breathtaking film contains imagination , magic , thrills , fantasy , adventure and many other things .
Special mention to brilliant and colorful cinematography by Alex Thomson .Ridley Scott admits that comments made by some pot-smoking attendees at a screening got the director second-guessing himself, and influenced him to cut the film from 150 minutes to 98.
The motion picture was marvelous and 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¨ , in which his visual style is impressive as well as his speciality ,the historical genre , as ¨Robin Hood¨ , ¨Kingdom of heaven¨ , ¨Duelists¨ and ¨Black Hawk down¨ .
the story though a simple tale of good versus evil, has spectacular cinematography, and the score and soundtrack flow with the movie in perfect syncronisity, the imagery gives the full impression of an epic fantasy world, filled with interesting and unusual characters, Tim Curry gives a wonderful portrayal of the personification of Evil.
The relationship between the princess and Jack (Tom Cruise) is also more ambiguous, my favorite character other than Darkness, the elf (?) Gump, has more screen time, the appearance of Darkness is not spoiled right at the beginning making his first "real" entrance a lot more dramatic and the fun swamp "sorceress" is there longer.
On the other hand, with the shorter US theatrical version, you are less likely to find your mind wandering or being bored In closing, Ridley Scott the director said he was proud of his film despite all its problems (main set burning, big commercial flop and critically panned at the time being a few) and that at least, he managed to get that kind of film (fantasy fairy-tale) out of his system.
The simple fairy-tale storyline sees a brave young elf Jack (Tom Cruise) rescue the beautiful Princess Lily (Mia Sara) from the vile clutches of Darkness (Tim Curry).That's really about it, story-wise, although there's plenty of fun along the way.
Legend is a below average movie.The storyline is promising,but not at all what you'd expect.I am a huge fan of Tom Cruise and I also like a lot of movies Ridley Scott made,but I didn't really like this one at all.It was a very early movie for both of them,and its definitely not a movie that Cruise would star in if it was made today.It isn't necessarily a long movie but if you're like me you will still get very bored.The movie is rated PG,but it is very dark and creepy and I definitely wouldn't recommend you show any child under the age of ten this movie.Fans of very dark fairy tale and fantasy may enjoy Legend,but anyone who watched this because they like Tom Cruise or Ridley Scott movies wont appreciate it.Jack (Tom Cruise) is deeply in love with a woman who is kidnapped by the Lord of Darkness (Tim Curry,with the only impressive performance in this movie) to be his wife for eternity,its up to Jack save his true love..
The make up work great done by my favorate make up effects artist Rob Botin, the creatures as well as Darkness look real almost like they could exist.The music score is supurb as it's a mix from both Tangerine Dream and my favorate composer Jerry Goldsmith, there are lots of memorable tracks .
Action is decent which I'll admit one weak point in the film for me I honestly felt the choigraphy could of been better or a bit longer, but all the same there are some good scuffles like a fight in the kitchen as well as the sword fight between Jack and Darkness which was cool.Characters are soild, Tom Cruse is soild as Jack whom is sort of Tarzan like character just like Tarzan has lived in and with nature so his contact with the outside is limited except for Princess Lily.
But on the other hand the film does have some deep substance which complicates the story but in a good way, because it keeps itself simple but at the same time not so much.I really like how the film has some underlying tones of coming of age and the loss of innocence which is reflected in both the fantasy world and both Jack and Lilly, as we see the beautiful fantasy realm turned into a dark forboding icy hell.
Legend (1985) Starring: Tom Cruise, Mia Sara, Tim Curry, David Bennent, Alice Playten, Billy Barty, Cork Hubbert, Peter O'Farrell, Kiran Shah, Annabelle Lanyon, Robert Picardo, Tina Martin, Ian Longmur, Mike Crane, Liz Gilbert, Eddie Powell, and Mike Edmonds Directed By: Ridley Scott Review (Directors Cut) THERE MAY NEVER BE ANOTHER DAWN ADVENTURE HAS GOT YOUR BACK After his success with Alien and Blade Runner Ridley Scott wanted to do a fairy tale movie.
Mia Sara and Tim Curry as Princess Lily and Darkness are my two favorite actors/characters in the film.
(Crom knows, I've already had half a dozen comments deleted from the IMDb...) LEGEND is the fourth and (as far as I'm concerned) final Great Film from director Ridley Scott.
I love this movie too because it was the first fantasy, good versus evil stories before Harry Potter and Lord of The Rings..
Jack (Cruise) and his friends will do everything to save the world and princess Lilly (Mia Sara) who Darkness intends to make his wife from the hands of the evil monster.After releasing 4 movies in 1983, Cruise signed up for a big budget fantasy movie directed by Ridley Scott which wasn't released in the United States until 1986.Legend fails on just about every level for me.
I surprise me when I saw that Ridley Scott had directed Legend, seemed a very different film, and made me interested in the film , I finally watched , and found a good movie, a good mix of fantasy with romance , the cast is excellent Tom Cruise in a different role , Mia Sara is well , Tim Curry is the best of the film, his makeup as Lord of Darkness is excellent , the film is visually very beautiful , I found very good visual of the forest, and magical creatures some monsters reminded me some orcs from the Lord of the Rings , the soundtrack is very good , I really liked the theme when the monster appears , the last minutes are very good , Legend is a pleasant surprise for me , I do not expect much this film , most ended up liking a lot.
The difference between Ridley Scott's "Legend" and the other directors' films is that both versions of Scott's films are poorly made.The theatrical version released in America dropped the Jerry Goldsmith soundtrack and was cut from 150 minutes to about 90 minutes, and Goldsmith's symphony score was replaced with Tangerine Dream and Jon Anderson (of Yes) on vocals.
Tom Cruise plays Jack, a commoner who has to embark on a quest to defeat the Dark Lord (Tim Curry), who plans on destroying the last of the Unicorns and unleashing infinite darkness on the world, as well as marrying Jack's girlfriend.Watching Tom Cruise run around in leotards for two hours isn't exactly my idea of a fun movie.
I am an avid fantasy fan even as a 26-year old adult so after reading the glowing reviews on this site (and a few bad ones) I decided to give Legend, the longer director's cut version with the Goldsmith soundtrack, a try as I somehow missed it growing up.
What is also is; however, is a marvelously Ridley Scott-ian directed dark fantasy.This movie is almost 20 years old, so I won't bother with the storyline/plot here, but if you like fantasy; ie: unicorns, elves, goblins, and the like, you will LOVE this movie.The direction is beautiful, the cinematography and filmography are wonderful, the acting is convincing and the portrayals are rich.
Even when it should be too sickeningly sweet and innocent, or perhaps on the flip-side too dark and hellish, director Ridley Scott and his production team of designers and art decorators and effects men and costume and creature designers (main one 'Thing' creator Rob Bottin on one of his very best jobs) make this delightful to look at.
But the script, with some bits of exception, lacks the spark of soul needed for great fantasy, and what a director like Jim Henson- working at the same time on Dark Crystal and Labyrinth- understood intuitively.By the end, it's a wonderful marvel that, perhaps, wasn't entirely meant for me as a section of the audience.
In my 20's now this was the first time I had seen any version of the film, and yet even with my reservations I could see the film playing very well for young children ready for the bright, sweet innocent side and cold, grim, brimstone-laden dark side (look ye elsewhere for grays), and if one is totally obsessed with fairy-tale fantasy it might strike even as greater.
British director Ridley Scott's film "Legend" is a visual marvel, full of beautiful imagery and sounds.
But in all the beauty and magic, it's easy to see how things such as a complicated story, uneven scriptwriting, and mediocre performances can seriously undermine what could have been a truly great fantasy epic."Legend" concerns the classic good vs.
Jack is then allied with his four forest friends - an elf named Gump, two dwarfs, and a fairy - and together they set off on a dangerous trek to the Netherworld to rescue Lily from the hideous, would-be satanic, the Lord of Darkness (an unrecognizable Tim Curry), who wants Lily to be his bride.It has to be said over and over, but "Legend" is a beautiful-looking film, with some strong writing and poetic dialogue that are compliments of writer Hjortsberg.
The actors were all phenomenal; especially Tom Cruise (who I typically don't love), Mia Sara (who plays both the innocent and dark versions of Lili so well), and obviously Tim Curry (I mean, c'mon his Darkness is so badass).
I will say they are beautiful and realistic looking in this movie.I really loved the story as well as the costumes, sets and overall look/feel to the film - it is quite a magical cinema.
Unfortunately this doesn't always work and lessens the escapist fantasy experience somewhat.Just like Scotts masterpiece Bladerunner, watch both versions (theres a lot of extra footage in the directors cut) to fully appreciate this little gem..
Quite simply,regardless of which version you own,Legend is a magical fairy tale of adventure,charm,romance,and fantasy.It combines classical elements of storytelling that we grew up with when we were children.Some may even consider it a "dark" fantasy,since it deals with scary elements.I mean look at Tim Curry!Could you find a more intimidating villain in a PG film?
I have seen a load of horror films,but Darkness still ranks up there with the scariest and most unique characters played.Tom Cruise and Mia Sara have fantastic chemistry,and play their roles with heart and character.Not many films have done or dealt with unicorns that much(though Blade Runner does add a dash of unicorn to the mix)but this film is a one of a kind fantasy that ranks right up there with NeverEnding Story and the best fantasy trilogy of all time,Lord Of The Rings.Do yourself a favor and check the film that inspired the nintendo classic "Legend Of Zelda" today!.
Having said this and having just watched the Director's cut of the film with the original Jerry Goldsmith score, I must say I enjoy Legend even more now.
Almost every scene is fleshed out more in the Director's cut and the movie is paced so much better because of this and the Goldsmith score makes the film have a more epic feel to it.
With 24 more minutes of added scenes and a completely new score for the movie, the Director's Cut brings out Legend as the amazing fantasy it was designed to be.
It also stars Tom Cruise as a young forest boy who's love, Princess Lily, is kidnapped by a sinister devil-like character played by Tim Currie.
Tom Cruise obviously does no stunt work here as the action scenes be sure to cut Jack's face from the frame.Legend is better than Scott's G.I Jane but it's not at all a good movie.
Performances are pretty solid with Tom Cruise as the heroic Jack and his love interest the stunning princess Mia Sara and let's not forget an iconic performance of Tim Curry as Darkness.
Jack (Tom Cruise) and Lily (Mia Sara) are young friends in a mystical land occupied by goblins, fairies, all-important unicorns...and threatened by the evil machinations of the Lord of Darkness (Tim Curry).
If I long for real fantasy there are a few movies I like to re-watch, Dark Crystal, Pan's Labyrinth for example and - Legend.
Anyway, it ran at over two hours and, although I normally enjoy the director's cut more, this time I found it really boring.What was a pretty tight fantasy adventure had its first half dragged out, with long periods of little speech or where anything happens.Directed by Ridley Scott, Legend is naturally beautiful to watch and the make-up deserves a special mention for the hideous demon who's trying to slay the last unicorn.
The movie stars a very young Tom Cruise, Mia Sara, Tim Curry and Billy Barty. |
tt0454084 | Blind Dating | Danny Valdessecchi (Chris Pine) is an intelligent, handsome, charming young man who happens to be blind. Having been blind from birth, he volunteers for a risky experimental procedure that may restore his sight -- having a microchip installed in the visual cortex of his brain that connects to a camera that would give him only, at best, fuzzy black and white images. During the tests he meets a beautiful Indian nurse, Leeza (Anjali Jay). Meanwhile, because Danny is a virgin at 22, his brother Larry (Eddie Kaye Thomas), who runs a limousine service, gets him a string of hilariously disastrous blind dates in between rentals. When Danny finally realizes that he is falling for Leeza, she tells him she cannot see him anymore because she has been promised in an arranged marriage. Believing that Leeza did not pursue their relationship because of his being blind, Danny becomes depressed and stops taking the necessary tests for his brain surgery. Danny's family, his eccentric psychotherapist Dr. Evans (Jane Seymour) and eye doctor Dr. Perkins (Stephen Tobolowsky) advise him to continue because it is his only chance of seeing, and soon Danny is successfully operated on. He sees his family's faces for the first time, but not Leeza's, who was away, reluctantly preparing for her marriage. Soon the experiment proves to be a failure, as the fragile prosthesis in his brain moves, clouding his already weak vision, and Danny goes back to being blind. Realizing that he really loves Leeza, he bursts into the wedding, professing his love for her and saying "Love is how you speak to me. Love is how you touch me...and guide me showing me the way to go. And when we kiss, when we kiss, it moves me to my soul." The couple kiss. At this the marriage is called off and Danny and Leeza start over, learning more about each other's family and culture. | prank | train | imdb | BLIND DATING is a well-written (Christopher Theo), well-directed (James Keach - brother of Stacy Keach and husband of Jane Seymour) story about the coping of the visually impaired, the quirks of Italian and Indian families, brotherhood, and the gamut of finding the right partner in a world of essential blind dating!
One of the reasons the movie works so well is the ability of actor Chris Pine to make us believe he is blind and convey the positive manner in which people with impairments 'view' those around them.Danny (Chris Pine) was born prematurely and as a result is blind, and as he grows toward age 21 he feels he is unattractive to women.
His family is warm, loving and Italian and supportive - especially his brother Larry (Eddie Kaye Thomas) who runs a Limo service and is constantly trying to find Danny his first physical encounter, be that with hookers, girls from the office or neighborhood, or just referrals - each of whom is a disaster when it comes to dealing with a date who is blind!
In the office of ophthalmologist Dr. Perkins (Stephen Tobolowsky) is a young girl Leeza (Anjali Ray) who is Indian and whose parents have arranged a wedding with a man she does not love.
And yes, in time Danny and Leeza are attracted to each other in what appears to be a doomed relationship - for family reasons.
Danny has his operation and is able to see some images, but the implant fails and Danny once again is without sight - but far from being without hope, as both his and Leeza's families undergo changes of heart.There is a sense of love that emanates from the screen, due in part to the script, the direction, and to the acting.
Chris Pine is exceptionally fine in a challenging role, finding the balance between courage, comedy, and tenderness that make his character believable and lovable, and never once making a move that breaks his image as a sightless person.
Blind Dating is not what it looks like, it's more.
It was fairly well acted and, more importantly, it had heart.What I'm confused about is the cover to the film, it looks like a teenage movie with hot girls and bad jokes, but it's everything but.
Chris Pine's portrait of a blind guy seems very real to me, and I really felt for him throughout the whole movie.
I wanted it to be so much better than it was.The romance was so simplistic that it did not seem authentic and they didn't seem to have much chemistry.The family was so hodgepodge looking that it was distracting- yeah right they are brothers, yeah right that's his dad...I think this got bit in the butt by a low budget and honestly it was kind of sophomoric...
En contraire mes amis, this movie made me laugh and feel sad at the same time.The story of Danny's life (pretty darn well written) was touching.
It makes you feel how less fortunate people go through life.This movie is pure human, and that's what I liked about it.If you like a good story with some funny and touching moments, I would definitely recommend this one as it's one of the better ones I've seen out there..
There are several good, interesting ideas that could have been explored in this movie - one is a blind young man, interested in a serious relationship and wanting to have sex with meaning -- who doesn't view himself as attractive -- and how he goes about pursuing that relationship and what happens along the way.
Another way it could have gone is the experience of a blind young man who undergoes experimental surgery and the outcome and difficulties encountered along the way.
Finally, there's the relationship between a blind man and a sighted woman, a romance based movie, either drama or comedy, or the relationship between a Caucasian American male and an female of Indian descent from a very traditional Indian family, and the difficulties they would encounter along the way, again a drama with some comedy more than likely.Unfortunately, this movie overreached it grasp.
But the whole isn't even a sum of these parts -- it's a combination of movies that do not cohere in a way that one can call a success.Its unfortunate: the idea of a romance comedy that isn't simplistic, Boy meets Girl, Boy and Girl find love, encounter hindrance, break-up, but Love Wins Out, is a trite, tired formula.
The biggest weakness is the plot, story and script.Chris Pine deserves some better roles, to see what he can actually make with something more complex and intelligent.
There are some unfortunate and unnecessary stereotypes with both the Indian characters and the females set-ups that the Larry character attempts to hook up with Chris Pine's role as Danny..
I would say that this movie came as a surprise, I was waiting on that comedy/romance/drama movies that you laugh hard in the beginning that it just starts get dramatic and you lose complete interest in the movie.This movie has a steady flow of funniness, although it won't make you laugh your pants off, it can still make you laugh a few times.
Also there are some dramatic parts that are nice and you can have an overall nice time watching this movie.I liked some parts of the acting, but the main character must have forgotten sometimes that he was supposed to be blind, because he acts like a regular guy, doing regular stuff.
Also the I think the part near the ending is a bit over-dramatic and over-acted.The script takes the cliché story and add a bit of originality to it, and the result is a nice solid 6.
Worse than that the film is insulting to every group it portrays: blind people, Italian-American, African-Americans, Indian-Americans, limousine drivers, therapists.
From then if started to contrast the way adults deal with disabilities like blindness, but not in a heavy way, always using humour - until it came to love - then it changed the approach again.
At the end of the day I do think it is a movie I'll watch again..
The movie focuses on a blind man called Danny who tries to find a soul mate via his brother Larry.
Will a girl be able to accept him as he is?I fancy this film only because on Chris Pine.
This movie not only made me question my love of film, it made me question the existence of God. Simply horrendous, excruciating and degrading from the first frame to the last.
Chris Pine is adorable and gives an appealing performance as a blind man looking for love.
First, it's a raunchy, sexed-up comedy, with Danny's therapist stripping down to her underwear for no discernible reason and one of his blind dates pushing his face into her breasts and another doing a completely unsexy strip tease, which, of course, he can't see.
Blind since birth "Danny" (Chris Pine) has never had a relationship with a woman and his brother "Larry" (Eddie Kaye Thomas) is intent on correcting this problem.
Yet, although Danny is initially willing to go along with his brother's match-making arrangements, he soon discovers that all of the women he has been set up with have issues of their own which completely turns him off.
Usually movies like this are good and this is no exception!
Blind Dating is a 2006 Romantic Comedy starring Chris Pine and it tells the story of a young man named Danny(Pine)who was born blind.
Lacking any confidence with women his brother sets him up with blind dates with disastrous results.
Eventually Danny falls for an Indian woman named Leeza(Jay)who is about to get married to someone else through an arranged marriage.
Danny Valdessecchi (Chris Pine) is blind and everybody likes him.
Instead of trying to give Leeza her own dramatic story, the movie should try harder to incorporate her into his drama and give her some fun..
A blind young man (Pine) thinks he finds love with an Indian woman (Jay), though their relationship is fraught with cultural differences.
My only problem with the film was the supporting cast.The director likes to show certain things: scenes that might not be a part of the story, but add much to the story in general, the way a writer might prelude a chapter by describing something connected to, but not in line with the characters.
Blind dating is a heart warming romantic comedy about a young 22 year old man who has been blind from birth.
Chris pine plays the young man Danny who has not been with a girl because of his disability.
Danny's brother Larry tries to give Danny a normal life by setting him up on all these blind dates that fail.
Danny soon falls for a young Indian girl who work's for his doctor but there is one small problem she is engaged to marry an Indian man.
Chris pine is the standout In this little film making Danny real a man trying to get on with his life despite his blindness.
But the acting is good by all and you can easily over look that small issue.to sum things up Blind dating is a good little film for a rainy day or just for some lite entertainment give it ago..
Chris Pine makes this movie rock.
Isaac Keyet (ievolver)'s review is spot on, the cover doesn't do this film justice.This is NOT a film about some guy dating random people, it's about a blind man trying to find love and cultural boundaries.The acting is good and it's definitely worth watching.
Chris Pine did well, as did Eddie Kaye Thomas and the other cast.Feel-good film with decent comedy and an interesting story.Enjoy it for what it is and you'll be satisfied..
I don't wish I was blind because that would be an overstatement, but deep down I feel that it would have been better than watching this monstrous horror of a movie.
A blind man who tries to find love by faking that he actually can see.
How does the heroe of a movie like this ends up?
Which I thought it was.The main character, Danny, is blind and a virgin.
His brother does not understand this and sets Danny up on a slew of bad dates; ranging from the overly emotional to the very promiscuous.
Danny finally meets someone on his own, Leeza, who works at his eye doctor's office.
Danny and Leeza are separated and go through some ups and downs but ultimately they end up together.I enjoyed this movie.
It was funny and I thought Chris Pine (Danny) did a very good job.
But instead the movie focuses on the pranks that get pulled on Danny and the various nut-jobs his brother sets him up with.
Personally I would have liked to see Danny and Leeza's relationship become deep and really feel their connection over the sometimes crude humor.
Chris Pine is lovable, kind, and clever as he gets back at his brother and takes his life into his own hands.Overall, its a fun watch.
A comedy about a cute blind guy going on dates..
If you like feel good movies this is one to watch,and i really have to say that Chris Pine has the most beautiful eyes.I saw this on my birthday and it was definitely worth it.Danny is an intelligent, confident, GORGEOUS young man who also happens to be blind.
Which is why Danny's girl-crazy, limo-driving brother Larry is horrified to discover that Danny is shy and nervous when it comes to the opposite sex, his brother tries to set him up on a variety of disastrous blind dates..
And then I expanded "friends" to include "everyone I could possibly think of".At the beginning of the movie, we find out that Danny is 22, he's been blind all his life, and he's looking for love.
See his brother faking bench-pressing reps at the gym because he can't see the weights!His slimy brother, Larry (played by Eddie Kaye Thomas, who apparently watched a lot of Mickey Rourke movies to prepare for the role), just wants him to get laid and sets him up with a string of predictably awful dates.
See Danny's first date turn into a complete basket case the minute she finds out he's blind!
Leeza, a receptionist at a doctor's office for blind patients, takes a liking to Danny.
(Because apparently you have to be someone who works with blind people to ever fall in love with one.) But she's Indian, and therefore her family has an arranged marriage set up for her.
I guess it was trying to be like "The 40-Year-Old Virgin", which I really enjoyed, but there's a huge difference between that movie and this one.
But this movie treats Danny like a joke surrounded by phoned-in caricatures.
There's probably a good movie out there about the social awkwardness that can result from being blind, but this is absolutely not it.
Is it supposed to be a romantic comedy, a drama about interracial dating or perhaps a feel good story about a blind man wanting to see and finding something special instead?
This movie is a train wreck and though it initially seems like a good concept, the execution is way off!!
It doesn't entertain (there are a lot of movies out there that do the same thing less painfully), it doesn't provide a message and it doesn't even excel at being a good romantic comedy.
After a string of horrible blind dates, he falls in love with a receptionist at the clinic which he is going to, she happens to be Indian, and therefore drama ensues.I would recommend seeing this movie only if you are extremely bored or there is nothing else to watch.
Rating: BBlind Dating is a unique romantic comedy starring Chris Pine and Anjali Jay. This movie met my expectations as being the perfect chick flick with romance, comedy, and drama tied into an interesting storyline.
With the vast array of romantic comedies, this film stands apart from the rest by offering a different take on how to find love.
Not only is the main character named Danny blind, he also goes on several blind dates with many different types of women in order to find a woman that will accept him and his disability.
However the alluring and hilarious prospect of watching a handsome, blind guy navigate his way on the "streets" and also into the dating scene kept me captivated throughout the whole movie.
In the movie, Danny, played by Chris Pine, has adjusted to being blind with the help of his older brother, Larry, played by Eddie Thomas.
At twenty two years old, Danny realizes that he is missing out on having relationships and enlists the help of his brother to set him up on blind dates.
However, he soon realizes that the girls that he goes on dates ignore his personality and focus on the fact that he is blind.
Become conscious of the fact, Danny begins to try to memorize the restaurant setting in order to pretend that he is not blind in front of his dates.
Before this scene in the movie, it seemed as though being blind was something he had come to accept, however at this point in the film it seemed as though he saw it as a weakness.
He eventually falls in love with Leeza, an Indian woman who comes from a traditional family.
A small twist in the movie comes in when Leeza becomes engaged to marry an Indian man that her family believes will "support" her.
At the end of the movie, Danny and Leeza end up together, and the eye surgery is not as successful as it should have been.
Although the blind dates that Danny goes on provide comedic relief, the message of finding love that is deeper than just mere attraction is highly evident at the end of this film.
Because both Danny and Dr. Evans eventually find love, the superficial message this movie leaves to the audience is that finding love is sometime difficult to do; Dr. Evans was old and Danny was blind, they both had major attributions that worked against them in their search to find love.
Overall, this movie had all the elements that made for a good romantic comedy.
Romantic comedies have been so overdone that new ones try exotic and obscure twists to draw in their audience.In Blind Dating, not only is Danny (Chris Pine) blind, he's a virgin.
Although he's quite the hottie, girls are either repulsed by Danny's handicap or feel sorry for him.The story is a bizarre-yet-bland mix of Bend It Like Beckham, American Pie and that '99 Val Kilmer dud At First Sight.If you didn't catch At First Sight (and you wouldn't be alone), Kilmer played a blind masseuse who falls in love with Mira Sorvino and undergoes a revolutionary surgery to regain his sight.That's the basic plot line here, with touches of cross-cultural dating and raunchy sex comedy thrown in haphazardly.
Danny spends half the film nervously dating the women his brother Larry (Pie's Eddie Kaye Thomas) sets him up with, including not one but two hookers, while also seeing a therapist (Jane Seymour) who inexplicably doffs her clothes once Danny starts speaking of his women troubles.He spends the other half falling in love with his eye doctor's receptionist, Leeza (Anjali Jay), who is the catalyst for him to have surgery to regain his sight.
Again, funny when she played that character on How I Met Your Mother, not so funny here.The cultural differences between Leeza and Danny aren't insignificant, but there's no time or effort spent for them to get their full due.
Plus, Danny's family is supposed to be Italian Jersey Catholics, but because the movie was filmed in Utah and their accents come in and out, it has no authenticity.Just like the rest of this clutter. |
tt1385867 | Cop Out | The movie opens with Jimmy (Bruce Willis) and Paul (Tracy Morgan) in the interrogation room, working on a suspected drug dealer. Paul convinces Jimmy to let him try the interrogation this time and the crazy scene with all the movie quotes from the trailer ensues. They get the guy to rat out his supplier, so the next scene is at the guy's cell phone store, where Paul works as a sales person on the street with a cell phone costume on. He's casing the place, waiting for the supplier to show up so he can bust him, but when he does, the informant accidentally tips off the supplier who shoots him and splits out the back door. Paul chases him in the cell phone costume and eventually beats up a kid and steals his bike to chase the supplier. This is taped and put on YouTube, and when they don't catch the guy both cops are suspended without pay.Next, we see Jimmy and his ex-wife, daughter, and the ex-wife's new husband out at dinner. The daughter, Ava (Michelle Trachtenburg) wants an elaborate wedding (we see a bill for $48,000). Jimmy can't afford to pay for that, least of all now that he's suspended without pay. The new husband Roy (Jason Lee) offers to pay for it, but it's more to humiliate Jimmy than to help Ava. Jimmy can't let that happen, so he decides to sell his one of a kind baseball card, worth up to $80,000. When he arrives at the card shop to sell it, the shop is robbed by Dave (Seann William Scott) and an accomplice, who take money and memorabilia, including Jimmy's card. Jimmy sees Dave's distinctive tattoo and he and Paul figure out which shop he got it at, pressuring the tattoo artist and get a tip on the house he's going to rob next. They stake out the house before Dave gets there and once he arrives, they capture him and find out who's buying all the stuff from Dave.The buyer is drug overlord Po' Boy, who's brother was the supplier in the cell phone store. Jimmy and Paul go to see Po' Boy, and he agrees to give them the card back if they find his new car (which was stolen en route to him). The car was sold to a Russian lawyer, and they track him down. Once they get the car (and get Po' Boy's brother killed in the resulting chase), they decide to figure out why it's so important to Po'Boy, and they find Gabriella (Ana de la Reguera) in the trunk. She doesn't speak any English, so they take her to a diner to a guy they know who speaks Spanish, and he tells them she is the mistress of a Mexican drug lord. They know she's in trouble so they take her to a hotel to keep her safe, and just then Jimmy gets a call from some other cops who tell him Paul is a dirty cop (because his gun was used in a couple of gang killings after Dave stole it during the card shop robbery and sold it to Po' Boy). He rebukes them and goes back to the hotel, where he finds Paul asleep and Gabriella escaped through the window (saying she doesn't want to cause them any trouble by hanging around with them). She has left her crucifix on the table, which turns out to be bank account information for lots of accounts linked to drugs, which Po' Boy was attempting to steal.So now, knowing that the entire Po' Boy operation will be at the funeral for Po' Boy's brother for about an hour, they bail Dave out of jail so he can help them steal the card back. He promptly slips off the roof and is knocked out (setting up an in-credits gag where he wakes up in the morgue). Jimmy gets himself to the second floor and is still there when the organization returns to the house after capturing Gabriella off-screen. The other two cops who accused Paul show up (they had been working the case as well), and one is shot, prompting the other to call for backup to the house. This is when Paul is roused from his depression, figuring out that his wife, Debbie (Rashida Jones) isn't cheating on him, after all (a side-story running throughout). Paul and Jimmy proceed to clear the house of gangsters, leaving them with Po' Boy -- who has Gabriella hostage. They both shoot and both hit him, killing him instantly.After securing Gabriella with the paramedics, Jimmy returns to the house to find his baseball card, only to discover that it was in Po' Boy's front pocket, and Paul had destroyed it with his shot.The movie closes at the wedding, which Roy paid for. Jimmy's ex-wife Pam (Francie Swift) asks Jimmy to give away the bride with Roy (since Roy paid for the wedding, and all). He agrees, mostly because she threatens him. At the fateful moment, however, we see Paul (who is sitting behind Roy) put his gun in Roy's back, threatening to shoot if he stands to give away the bride -- allowing Jimmy the privilege all alone. | comedy, murder, violence, cult, flashback, humor | train | imdb | What he may lack in compelling direction skills, he more than makes up for in witty screenplays with equal balance raunch and insight having crafted classics such as Clerks and Chasing Amy. With Smith absent from the writing role there is absolutely no reason to seek out Cop Out.Calling Cop Out a 'buddy cop' film would be a gross misnomer.
If she had penned Cop Out this review could be reading far differently) but as with actors like Chris Rock and Chris Tucker, a little goes a long way.Then we have Bruce Willis who just seems eager to leave.
I would have begged for a Beverly Hills Cop XXII over this near abomination.The plot, in case you care, centers on Willis' and Morgan's Jimmie and Paul, two NYPD detectives who stumble into a drug ring after Jimmie's prized baseball card is stolen in front of his eyes during a robbery.
He needs the card to pay for his daughters wedding and as he searches with the help of the criminal by which it was stolen (William Scott) uncovers more than he had in mind.In summation, this film fails as a comedy, fails as an action film, fails as a breakout role for Tracy Morgan, fails as a return to the cop genre for Willis and mars Kevin's Smith's mostly unblemished track record.
And it was a "classic" Tracy Morgan performance, by which I mean he's his usual off-kilter self, some of his scenes work well and some of them fall flat on their face in awkward silence.A 50% success rate is more than I can say for Bruce Willis, though, who looked so disinterested I was half expecting him to break character at any moment and announce he had to leave the set because he had a plane to catch for another movie he was filming.The supporting cast of the underrated Sean William Scott and Jason Lee were their usually amusing selves, while the Latino gang villains, led by Guillermo Díaz of The Shield and Weeds fame, are absurdly over the top and clichéd, almost to the point of offensiveness.It's a movie you'll probably see on cable while nursing a hangover one morning, or something you watch on a plane because it's light and there aren't many better choices.
Kevin Smith's first directing gig that he didn't write himself, "Cop Out," finds the director re-teaming with his "Live Free or Die Hard" co-star, Bruce Willis, as well as Tracy Morgan and Seann William Scott, who both starred in his 2001 film and quite possibly the biggest inside-joke put to film, "Jay & Silent Bob Strike Back." More than that, though, the film is a brilliant throwback to the glory days of such 80's buddy cop franchises as "Lethal Weapon" and "Beverly Hills Cop." You'll recognize key dialog from the former while the composer for the latter, Harold Faltermeyer, makes a glorious return to the genre with a quirky retro score that sets the mood just right.
While this odd-couple/cop formula has been done to death in the past, it works for this film and is done in a loving way that pays tribute rather than re-hashes.Smith, whose films are mostly talk, proves himself to be a competent action director at times throughout the film.
As the movie opens the music tells you right now this isn't serious and it starts playing off possibly every "cop buddy" movie possible.As it opens Tracy Morgan shines in my opinion, he is energetic and a "perfect match" for Bruce Willis in this movie.
This film is light, well intentioned, hilariously funny and with good performances by the unusual team made by Bruce Willis and Tracy Morgan.Willis and Morgan play two suspended detectives with some personal goals to achieve.
Willis wants to pay for his daughter's wedding and he needs money for it, and he would get the money by selling a rare baseball card but it was stolen from him and he needs to get back; Morgan's character doesn't trust his wife so much believing that she has an affair with the neighbor, so he keeps investigating possible affairs.
Not only the team made by Willis & Morgan were cool but the team made by Kevin Pollak and Adam Brody as the serious detectives were responsible for the most interesting and funny moments of the film; Seann William Scott goes very well with his usual comedy style, here playing a thief.
The only problem with this film is the villain played by Guillermo Diaz, because this guy is so dangerous that there's no sense of comedy about him, it's not funny, and when director Kevin Smith tries to make of him a funny guy it is just too forced, weird.The 1980's references and the film references (mentioned by the film buff detective played by Morgan) are the best.
I have to echo another reviewer who stated, "I have rarely seen such a stark disconnect between some scathing reviews and actual audience reaction." I just saw this film because I really like Tracey Morgan, Bruce Willis and SWS and figured that for a $5 matinée it would be diverting.
Easy and light movie with good, cool acting from Bruce Willis, Tracy Morgan and Seann W.
I couldn't wait for the movie to end and I feel sorry for Bruce Willis, hey man, better enjoy your retirement than act in such chaotic remakes of all the old cop movies!.
Bruce Willis as a self-aware take on his usual cop character, Tracy Morgan as his slightly-wacky sidekick, Seann William Scott as a wacky burglar, Kevin Pollack and Adam Brody as slightly-incompetent and slightly- obnoxious cops, Michelle Trachtenberg as Bruce Willis' bride-to-be daughter, Guillermo Diaz as baseball-loving Mexican gangster Poh Boy - all were great in their roles.
Kevin Smith, in his first time as a director of someone else's material, did a damn good job of directing not only the dialog that is usually his specialty, but also the action parts that usually aren't present in his films.Don't expect Kubrick or Hitchcock, but definitely see this if you want an entertaining, funny way to spend a couple of hours without having to think too much.Even if you don't like Kevin Smith (I'm a fan, so I don't have this problem), remember that Martin Brest, the director Beverly Hills Cop, is also the writer/director/producer of Gigli.
This is a cop action/ comedy, bruce WAS funny, i love seeing him throw around the F word and cursing in every sentence, and considering Die Hard 4 was censored to hell, this movie shows he can still talk like he did in the original 3 Die Hards.
At least the movie lives up to its title -it cops out in every department, especially laughs.If you can wait 7 weeks, you'll be able to rent it at your local video store.Not really worth your time or your money.A laughless "comedy" that is more pathetic than funny.
Kevin Smith is no longer that bold independent director from "Clerks" or "Chasing Amy" and follows the easy way of Hollywood making a conventional film, supported by the chemistry between Bruce Willis and Tracy Morgan.
Jimmy and his long-time partner Paul (Morgan) set out to track down the baseball card and find themselves in the middle of a case to bring down a local drug lord who hopes to expand his business.See, it even sounds like an 80s buddy cop movie!!
Of course its unrealistic, but it is a very funny movie.Tracy Morgan's character was over the top as I would have expected, but this time he really didn't annoy me.
The way the final bad guy bites the dust was very unexpected, original and funny.I don't know if it will warm me up as a Tracy Morgan fan, but he did good on this one.
Its sad actor like Bruce Willis has taken this second class movie role.Tracy Morgan shouldn't even act..
Cop Out casts Bruce Willis and Tracy Morgan as a couple of police partners with some serious issues.
Cop Out doesn't do Bruce Willis, Tracy Morgan, and director Kevin Smith much favors....
With names like Bruce Willis, Tracy Morgan, and director Kevin Smith attached, Cop Out sounded like a can't miss comedy.
And the movie couldn't decide if it wanted to be a buddy cop comedy or a parody of a buddy cop comedy.The story begins with two cops named Jimmy and Paul(Bruce Willis and Tracy Morgan) who have partners for nine years.
From the opening scene where Tracy Morgan played out scenes from every movie ever made (and Bruce Willis retorting that he hadn't seen that one to the Die Hard reference).
Kevin Smith is at his Best.I bet a lot of Kevin Smith Fans would not even know He did it.The Plot is a little predictable but who cares its about the action and the one liners which this movie totally delivers.I am in no way a Bruce Willis fan but he Was as funny as hell and Tracy Morgan will always be Funny.
If you told me "there's a new cop movie out with Bruce Willis", I would have thought "Oh great, I don't want to actually waste my time watching a movie I can sit predict in my head before hand".
STAR RATING: ***** Saturday Night **** Friday Night *** Friday Morning ** Sunday Night * Monday Morning Jimmy Monroe (Bruce Willis) and Paul Hodges (Tracy Morgan) are your typical mis-matched New York cops who are on the trail of a wanted drug dealer who has a particular interest in a car they've got hold of.
Morgan was his usual eccentric, over the top character, but it was so overdone that only kids may enjoy his performance just because his body language looks so stupid.Bruce Willis seemed completely annoyed, a bit like he just wanted to get over with the scenes to grab a strong Irish coffee and a cigarette, cash his check and go home to watch TV and hang around.
I don't know what the hell is wrong with you haters, you don't expect a serious comedy movie when Tracy Morgan is in it's hilarious,i laughed my head off.
There is inevitably a touch of that in this film, but it does have some solid acting by all the main characters to give it some impetus at crucial times.Cop Bruce Willis must raise face saving money for his daughter's wedding and he has worked out a legal way of doing so.
When I heard that Kevin Smith was making a film with Bruce Willis and Tracy Morgan, I was in.
The first thing that hit me strong when started to watch the movie- that I was wondering whose decision and what kind of politics stood behind hiring Tracy Morgan for the main character next to Bruce Willis!
I would imagine, for example, that Seann William Scott, usually not the first actor that comes to mind as "brings the funny", was allowed to just go off and take-off on the text, making for an overlong but amusing one-note joke that he keeps annoying Bruce Willis and Tracey Morgan's cop characters (mostly the latter with taunting about his character's wife's possible infidelity).
So what we're left in in Cop Out is a lot of un-funny banter between a tired-looking Willis and an idiotic and out-of-place Morgan, and a plot that involves Mexican drug kingpins treated like it's something fresh, which it isn't.
Copout had everything going for it- a buddy cop duo consisting of Tracy Morgan and Bruce Willis.
Kevin Smith directs but does not write this tribute to 1980s buddy cop films.Bruce Willis and Tracy Morgan are the mismatched pair.
Jimmy decides to sell an antique baseball card to help pay for his daughter's wedding but when making the transaction he gets robbed and the card is sold to a notorious criminal.The pair then go about retrieving the card, even by finding one of the crooks who robbed him (Sean William Scott) to help them out.At the same time they come across a drug lord who has kidnapped someone and Paul thinks his wife is having an affair.With a music score by Harold Faltermeyer this film certainly wants you to think of Beverly Hills Cop, Running Scared, Turner & Hooch, Tango & Cash as well as other 80s mismatched buddy comedies.The trouble is the script here is rubbish, many of the side characters are annoying and there is no chemistry between Morgan and Willis.
As a fan of director Kevin Smith's, I had curiosity of watching Cop Out, but not too much enthusiasm, because the history has shown us that he is a better screenwriter than director, and that when he wanders from his traditional formula, the result is atrocious (let's remember Jersey Girl).So, Cop Out faced two important problems: the screenplay was not written by Smith, and the film had nothing to do with the style and formula he established with all of his films, with the exception of the previously mentioned Jersey Girl.However, I decided to give the movie a chance...but it unfortunately ended up being a truly horrible "comedy".Since his first film (the extraordinary Clerks), many people have been criticizing Smith for his poor visual style.Frankly, I have never been bothered by that characteristic (or lack) in his films.But what I discovered in Cop Out is that Smith's weakest point as a director is his ineptitude for keeping a consistent rhythm...an organic flow from the story which takes us from the beginning to the end with naturalness.Fortunately, in films like Clerks, Mallrats, Chasing Amy and Dogma, we had sparkling dialogs and intelligent humor in order to get distracted from the narrative inconsistencies.However, with such a poor screenplay like the one from Cop Out, Smith's limitations as a director are noticed, and they ruin the few attributes which could have beeen rescued from it.As for the cast, Tracy Morgan makes a competent work; pity he did not have a better screenplay to work with.Bruce Willis feels forced and bland in his character; this is not the acid and subversive Willis from Die Hard, but the irritating and affected Hollywood star from Live Free or Die Hard.In the supporting cast, the solid actors Adam Brody, Kevin Pollak, Seann William Scott and Rashida Jones are absolutely wasted on their roles.So, in summary, Cop Out is an irritating and pathetic film experience that I do not recommend by any means.I understand the ambition that impulses Smith to transcend his niche, and I respect his value for testing with new genres (if "odd couple of cops" can be considered as "new").However, his talent is limited to a defined range, from which he should not stay away.I hope that he learns the lesson, so that he does not make pieces of crap like Jersey Girl or Cop Out anymore..
Smith did include some semi-comical moments to the movie, but most of the attempted comedy was mainly misfires from Willis and Morgan's typecast characters; and it did not help Smith much that he had to work with a cop-buddy mechanical script from Rob & Mark Cullen.
Bruce Willis and Tracy Morgan team up for a raunchy R rated buddy cop movie directed by none other than the great Kevin Smith.
It is a movie about two goofball cops, Jimmy (Willis) and Paul (Morgan), who get suspended from the force after a drug bust goes horribly wrong.
This film is immature, stupid, unoriginal, and just plain not funny.At first I couldn't believe that the likes of Kevin Smith, who I just love, could make such an awful movie.
I accept the fact that this is just a dumb story and the real purpose of this film is to put Willis and Morgan in some "hilarious" situations for our "entertainment" so that we can all just sit back and "laugh." But the problem is that this movie isn't funny!
We had the star of an 80's movie play the lead and we had a composer who composed 80's action movies such as Beverly Hills Cop. In other ways, this is a Kevin Smith-like comedy and it's pretty good.This is about two cops who go undercover so that the elder one, Jimmy can retrieve his stolen baseball card that's going to fund his daughter's wedding.Bruce Willis and Seann William Scott steals the show.
Tracy Morgan had some funny scenes but he was mostly annoying.Overall, this is a decent action/comedy film.
Cop Out also represents, arguably, the film with the most mainstream elements that Kevin Smith has directed to date, featuring Hollywood stars Bruce Willis and Tracy Morgan, along with a more traditional buddy cop formula than many of his other films.
I had read that there were a lot of issues on this film due to Bruce Willis having an attitude and refusing to work with Kevin Smith.
The biggest problem with this film comes in the first scene, where Tracy Morgan gives Bruce Willis an anniversary card.
Which is a shame, as it also comes before probably the best scene in the film, where he's paying homage to some screen greats (including a film that Bruce Willis doesn't recognise), which gives Morgan a chance to shine.Putting Sean William Scott and Morgan together gives a few laughs, as they have the energy that could have driven this movie in a more Kevin Smith style direction (and maybe having them as two rookie cops might have been the way to go), while Willis and Jason Lee duke it out as more fatherly figures.
I knew this movie hadn't rocked the box office, but I love Bruce Willis, Tracy Morgan, Seann William Scott and Kevin Smith, so I had to watch it.Of course the plot is pretty weak, but action is sufficiently high energy for most males and the Willis/Morgan chemistry is great and they are excellent straight/funny men. |
tt2140379 | Self/less | Business tycoon and billionaire Damian Hale (Ben Kingsley) is master of his own universe, until he is diagnosed with terminal cancer. Now on his deathbed, he finds a business card directing him to a man named Professor Albright (Matthew Goode), who informs him about a radical medical procedure called "shedding", in which one's consciousness is transferred to an artificially grown healthy body.While Damian searches the article about Dr. Francis Jensen, a shedding neurologist, he suddenly collapses and the blood sputum is spurting onto the laptop. In his nursing home, Damian receives a call from Albright, saying that once he transferred into another body, it will not return to his original body and his death will be made to the public. Also, Albright plans Damian to fly to New Orleans to meet his friend, Martin. Damian then buries the box, containing something, in the cemetery. Damian and Martin having a coffee in the restaurant, but Damian collapse again to the floor. He is now brought into Albrights and he decides to transfer to the healthy body, we call him as Young Damian. Now his body is transferred to the new body, Young Damian begins to learn how to walk, swimming, etc. Albright prescribes medication to ease vivid hallucinations which he claims are side effects of the procedure.Young Damian starts a new life in New Orleans under a pseudonym of Edward Kittner. After Young Damian introduces his new home, he goes to play basketball and befriends his neighbor, Anton. After Young Damian read his own obituaries in the internet, he tries to call his daughter, Claire, but he refuses to talk with her and quickly hangs up the phone. Because he forgot to take his medicine, Young Damian subsequently hallucinate the war, the woman and a child, and the water tower styled as a pumpkin. When Edward asks Albright about the hallucinations, he dismisses his concerns, but accidentally reveals that he knows details of the hallucinations that Edward did not reveal. Albright arranges for him to move to Hawaii for a change of scenery, but Edward, convinced the hallucinations are some kind of memory, researches a landmark he saw in his vision and heads to St. Louis instead.In St. Louis, Young Damian infiltrates a house and sees the picture frames of himself and his wife, Madeline. Young Damian encounters Madeline, who identifies him as her apparently deceased husband Mark. After that, Albrights men, led by Anton - who reveals that he is one of Albright's employees breaks into the house and attacked Young Damian/Mark and Madeline. Edward learns that the body he inhabits belonged to another man who sold himself to Albright in order to gain the money he needed to cure their sick daughter. Young Damian then excuses him to go to the bathroom for taking medicine. After he took medicine, Young Damian attacks the henchman and kills him. Young Damian sees the fire thrower burns Madelines car. Anton and his henchman overhear the crashing and go to the bathroom. Young Damian shoots another man and Anton told him to the front. Anton goes inside the bathroom then tries to subdue each other, loses the medicine in the process. Young Damian tackles Anton out of the house and he goes back inside the house. The fire thrower burns the house. Young Damian takes Madeline out, but before they can escape, the two goes down under the house. Unseen by Anton and his other men, Young Damian shoots the fire thrower, accidentally burns Anton alive but manage to kill the fire by soaking himself into the tub and kills the henchman. The two escape and collect her daughter, Anna, from school.
The two stay at a motel for a while before heading to New Orleans. There, Young Damian researches the internet of Dr. Jensen, the man who invented shedding; Mark notices a tic he shares with Albright in a video of him and sees Albright in the same video as his assistant, and concludes that Jensen has shedded himself into Albright's body. Young Damian again hallucinates, because he loses his medicine, and collapses.The two drives back to the New Orleans and Young Damian told them to wait in the car. Young Damian finds Dr. Jensens wife, Phyllis, in a nursing home suffering from Alzheimers. Young Damian asks her if he can access his research, but she does not know. When Dr. Phyllis reveals that Albright came every week in her house, to bring butter scotch candy for her, she calls Albright to come in her house. Young Damian tranquilized Dr. Phyllis and he confronts Albright/Dr. Jensen. Young Damian asks Albright for medicine but he warns that if he continues to take the medicine, his "Mark" personality will eventually be completely erased, while if he quits, the "original" Mark will reassert control over his body and kill Damian's personality instead. But Mark flees when more assassins show up, including another man who he recognizes as Anton due to necklace they share Anton reveals that he has shedded multiple times.At a rest stop, Madeline confronts Mark over his behavior and lack of knowledge of their personal details, and he reveals all that has transpired to her. He takes them to his old friend Martin (Victor Garber) and convinces him to provide for Madeline and Anna to flee to the Caribbean. However, he and Madeline discover Anna playing with Martin's young son Tony (Dylan Lowe), who died two years ago; Martin admits that he used shedding to save his son and that Albright's men are waiting for them. Mark then reveals the dark secret behind shedding and flees to distract Albright's men while Martin, Madeline, and Anna escape. Mark manages to crash Anton's car with him in it and defeat his pursuers, but Madeline and Anna are recaptured.Mark stops taking his medicine in order to experience more memories, hoping they will lead him to Albright. This succeeds, and Mark pursues Albright to a lab built in an abandoned warehouse. There, Albright captures him and attempts to shed Anton into Mark's body, but Mark, remembering that metal interferes with the shedding process, takes a bullet casing in his mouth, therefore sabotages the procedure which kills Anton in the process. He rescues Madeline and Anna and takes down Albright once and for all. Mark arranges for Madeline and Anna to flee the country as planned, meets his own estranged daughter Claire (Michelle Dockery), and delivers her a letter reconciling with her. He then heads to the Caribbean and stops taking his medicine, dying peacefully. The real Mark reawakens in his own body and discovers a video message from Damian's personality thanking him for the time he gave him. Mark then reunites with his family at last. | comedy, murder, violence, flashback, psychedelic, revenge, sci-fi | train | imdb | Damian(Ben Kingsley) a self made billionaire discovers he is dying, and does have much longer to live, discovers a secret facility that can transfer his soul into a younger body(Ryan Reynolds), when the transfer is a success, Damian really begins to enjoy his new life in his new body, but soon realizes that his new life will have a price to pay.I'm surprised that I liked this, I went expecting this to be bad, but I was amazed on how intriguing it kept me.
When I saw the trailer, I was expecting a quiet little sci-fi drama about an old billionaire played by Ben Kingsley who gets the opportunity to live longer with the purchasing of a new body, played by Ryan Reynolds, and discovers his new body had a prior soul in it.The movie gave me a little more than that thanks to who the prior soul belong too and the large amount of trouble the creator of this body switching technique called shredding goes through to keep his project low key, when the billionaire freaks out about steeling another man's life.
When he delves into Edward's mysterious origin, he learns that some will kill to keep it secret.My buddy and I, both long time film buffs of multi-genres yearn for decent sci-fi thrillers that are well written and directed, leave us guessing here and there via plot twists and turns, includes necessary action, murder and mayhem and a credible Mr. Evil.
This film delivers 116 minutes of story, acting, production value and pure cinema sci-fi thrilling FUN.We were both thumbs-up entertained by one of Ryan Reynolds best efforts plus a fine supporting cast including Mr. Evil (Albright).
Production value gives us some fun shots of New Orleans, area mansions and a finale 'home' in a spectacular locale.There have been so many mind invasion/transfer films that our expectations for something original with thrills, excitement and pathos were low.
He does very well in the roll that Ben Kingsley gets started in a journey to achieve "Immortality." The fact that the film was shot exceptionally tastefully, had a great cast, and contained a worthy script makes it a shoe in for a good ride at the very least.You should take it.It's a return to what Science Fiction should really be.
From the quirky mind of Tarsem Singh, we are brought a Sci-Fi spectacle set five years in the future where immortality now exists with many consequences, having a new body, you need to take these pills so you don't have hallucinations or die.
Essentially like John Frankenheimer's classic 'Seconds', this film is still a merrymaking Thriller with enough twist and turns to make everything intriguing.Even if we get a introduction to Kingsley's character in the first ten minutes, we all can agree that Reynolds portrayed him very ideally, being in a young body again can bring some rather exceptions.
'SELF/LESS': Three and a Half Stars (Out of Five)A sci-fi thriller/action flick starring Ryan Reynolds and Ben Kingsley.
The filmmakers do very little with their interesting ideas; but they do deliver a fun, and stylistically thrilling, action flick.Kingsley plays Damian, a wealthy, and very successful, businessman; who's dying from cancer.
Nevertheless, I found Self/less entertaining thanks to the solid performances from Ryan Reynolds and Matthew Goode in the typical roles of "Creature" and "Dr. Frankenstein" (respectively) who played with the destiny, and now have to pay the consequences.
But the best line in the movie happens about eight minutes in when the old dying Kingsley is trying to make a connection with his daughter who runs some kind of NGO in the city."This isn't work.
With a decent chunk of his money, Damian decides to transfer his consciousness to a new, younger body (Ryan Reynolds).
All you get are big yawns.I also expected more science fiction, but the way things play out, the sci-fi aspect is interchangeable, weak plot device.My standards are not very high, but I still say this movie is not worth watching.
and you don't feel like getting deeply engaged in an actual plot - this movie could probably keep you entertained for a night.
This is one where a dying billionaire is incarnated in a younger body to cheat death, but that along with all the other twists, that he begins to hallucinate things from that previous self, has to take pills or fade away, are just generic devices so we can have plot and hijinks.Along the way we get "social commentary" where the rich buy the poor to prolong a life of comfort but even that grates as silly.
He makes friends, sticks to a routine, but there are episodes -- brought on by the shedding -- which complicate the new life he has.Some things just don't add up, and he sets out to investigate -- and pretty soon ends up running for his life.I would watch the movie again without hesitation..
He is good though, I've always liked Ryan Reynolds, this man is a movie star!
This film is at its worst a cool 90's sci-fi action movie and at its best, it makes you question yourself on whether if you could live forever will you feel bad about who was the person you're inhabiting the body?.
I went into the movie not expecting much; Ryan Reynolds (Green Lantern/RIPD), an hour and 10 mins in I just stopped watching.Boring.It reminded me of The 6th Day only The 6th Day was worth watching to the end and an OK movie.The pace and progression of the movie started good and then spiraled downward.
But here with Self/less all i could get is a very predictable boring film, not properly considered scenes like -hey we have a super Rich man lets make all his apartment heavy golden decorated interiors, cluttered looking!
Quickie Review:Damian (Ben Kingsley), dying from cancer uses his vast resource of wealth to go through a medical procedure to transfer his consciousness to a younger and healthier body.
The plot is very interesting, the first 20 minutes would want you to stay and finish it, the story starts with with Damian, Ben Kingsley, that gives a good start, although the scene with him did not gave out much of a story, it works very fine to start.
Lastly, the ending has one of the most wonderful and beautiful scene ever in a sci fi or any movie which is nice ending.Secondly, about the actors, they all did perfectly for their roles, Ryan Reynolds is very perfectly fits the Role as young Damian, he portrays the exact person you would be on the situation, anna, the daughter, portrays a very charming daughter, suits the expression from a child who has disease.
Self/Less might be a bit entertaining thanks to the rather well filmed action scenes (there's a car chase that's more difficult to understand and to follow that the supposedly "mind twisting" plot), but that's about it.
But then he is approached to be part of a pioneering new experiment, where his body is swapped with that of a fitter younger man (in the shape of Ryan Reynolds.) For a while, he is free to rediscover the freedoms and agility of his younger days, but then flashbacks of the former existence of his younger body start to simmer in his mind, and he is embroiled in a race against time when he learns the sinister truth of the experiment he's a part of.Renowned for his flashy visual effects, director Tarsem Singh here has a surreal sci-fi story on his hands, of the type Phillip K Dick is renowned for.
With well known talent Kingsley making way earlier on for hot new property Reynolds, the stage is set for an exciting roller-coaster ride, but, despite Self/Less's interesting premise, it just never delivers.Something this far fetched would have to have a really seat edge feel to it to really pay off, but rather than let the potentially interesting idea really develop, by the end all it's really done is overwhelm you and left you feeling all isolated and cold, and uncaring towards its conclusion.
Take this film as an example, an awesome story and had a good cast, but the writing was let down according to many who saw it.Even in the short period of appearance, Ben Kingsley's role's legacy carried out till the end, because the concept was designed like that way.
Not a fresh concept of an idea, but narrated differently and it needed a bit depth in showcasing everything in the film.My formula/secret for watching a movie successfully even it considered as an average or worse is, I won't bother for all the departments come together to become a well crafted product like the critics expect, because I'm a movie fanatic and love watching them almost most of the time than arguing about its flawed contents.
Movie starts with Ben Kingsley and a very calm atmosphere, giving the impression that we will witness a satisfactory amount of good acting, experience sci-fi thrill and a Black-Mirroresque dystopia.
Well, even these chase-action movies sometimes can be spectacular or epic, Self/less has nothing to do with it.Poor acting (except Ben Kingsley) and poorer plot; yet, initially promising..
This is such a case, thanks to a terrible script.Ben Kingsley turns into a younger man, played by Ryan Reynolds, but discovers that the medical facility is nothing short of being a criminal organization.
All logic or reality is thrown out of the window when a widow and child have the hope of getting their husband back, a ruthless tycoon self made millionaire suddenly changed to this typical hollywood hero and decided to go the unreasonable length and totally illogical way of murdering at least 30+ people to save this one man, who himself in the first place already made the decision to die?,LOL?And of course based on how the movie led the general audience to invest their emotions in, it's totally justified, story wise it might make some sense if it's for some random low IQ military brute misguided by pules of emotions, or a husband that places his wife and daughter above anything else like the owner of the original body, but this ruthless self made billionaire?
setting, if you're satisfied with another hollywood brainless one man murdering everyone just in another kind of randomly different background, oh but he's on the right side saving this other random guy/helpless mom or daughter you cared more because of the 5 min of time the movie forced you to remember their names thus emotions invested in, you've found the right one to watch, but why even this one, the actions, visuals and car chases are short and average at best....
The first 15 minutes (the stuff with Ben Kingsley) has the characteristics of a Tarsem movie, with the magical realism and the dreamlike pacing, but after the body switch it feels like a completely different director.
And that's too bad because Ben Kingsley always gives a good performance; Ryan Reynolds is quite capable and Tarsem Singh is one of the most visionary directors working today (see his movie, The Fall and his TV show, Emerald City).
I will not go over the plot widely discussed here by other fellow reviewers, but suffice to say the story line is very original and clever, and the film works very well as an action thriller, with twists here and there, but above all it is not superficial when its main character Damian is wondering about his legacy, immortality, trying to redeem himself, and coming to terms about the meaning of his life and trying to do what is right as he has been given a second chance.The choice of actors couldn't be more inspired, with both Ben Kingsley and Ryan Reynolds excellent in conveying their inner doubts, with Ryan Reynolds moving at ease in familiar territory for him (the action scenes), and Matthew Goode superbly creepy as the cold calculating manager with whom Damian is dealing.
If it wasn't for Ben Kingley I would give this movie 1 star, but he kept it engaging and interesting the first 15min.Anyway you have been warned, if you want to watch a poor rehash with bad acting and full of plot holes go for it.
A mixing in of a little "fleshing-out" of the film via some Bourne Identity-esque action sequences (Yes, some of us have seen it before, but somehow it still feels almost as fresh and exciting as the first time when Ryan Reynolds does it.) So whats been overlooked?
Ryan Reynolds is good in the lead and although Ben Kingsley is not on screen for long here again he puts in another great performance.
I like Ryan Reynolds and was surprised to see one of his movies reviewed as mediocre.
If you enjoy an entertaining science fiction plot, and appreciate a good ending where the primary character does the right thing, I believe you'll like this one..
This was surprisingly a good entertaining movie,lot of mixed reviews,so i thought it wont be that good nonethless it was a cool experience,had quite a lot of emotion in it.The negatives would be the music (they really needed to cut off on the bgm at some parts) another negative would be the style and pace.the transition from drama to scifi then action to thriller could have been handled better.Inshort - cool flick with some nice performances(ryan reynolds ,ben kingsley and most of the other actors did a good job) ..Dont expect it to blow your mind with sci fi content,go easy on it,this one is for the entertainment value and it does its job pretty well..
Director Singh is known for his visual wizardly with which he was able to overcome the lack of strong plotting in films like The Cell, The Fall and Immortals, but somehow he wasn't allowed to bring his usual lush and vibrant style to the table here.Let's hope that Singh's next project will be something where he can release his visual creative energy, because wasting the talents of Michelle Dockery and sir Ben Kingsley without something beautiful to look at is not a good use of his and our time..
The body that Damian is given to inhabit looks a lot like Ryan Reynolds.
There's a lot going on to keep you entertained while you're thinking deep thoughts about the story's bigger issues.Some critics fault "Self/less" for becoming too much of an action movie and failing to more fully exploit the plot's intriguing set-up.
There were enough surprises and plenty of intrigue to keep you wondering.If I had one little niggle, it's that for me after the transformation to Reynolds it felt like a different film, it didn't feel seamless, maybe that was intentional, I felt they could have delved into the transition a little deeper, it seemed to happen to quickly.Lots of action scenes, really well directed, the effects were great too.
I thought the action scenes were great, and the fight scenes were excellent, as well.The story line had twists and turns, and I was so surprised to see one of the characters actually start off as a 'nice' guy end up being a 'bad' guy as the movie progressed.
Liked the trailer, so I decided to watch the movie.The idea itself makes you think about the decisions one takes in life and how they affect you later on, how regrets overwhelm you and how it is that immortality seems such a divine option that we all dream of and how that can be a total disaster if not managed correctly.Damian is a business man who finds himself in the last phase of cancer, with 6 months to live.
With the three movies that are coming out today if you had to see one in theaters it would have to be Minions at least you would be entertained.So let me ask you if you were dying and a company came up to you and said they could extend your life and were completely honest about the procedure, would you go for it?My Recommendation:Rent It. Body swap Sci-fi premise subsumed by non-suspenseful, generic action "thriller".
This felt like an above average in depended movie and it was both entertaining and thought provoking.Ben Kingley's role was small but just enough so Ryan Reynolds could portray him and still be creditable and it was also good for the pacing.I don"t think this was a big budget movie and they spend their money well giving you a great story about the choices we make in life and how it could be different if we had a second chance.
The business man neglecting his daughter felt very relatable and so was Ryan Reynold's character in an attempt to save his daughter who otherwise would die because of her illness.There are numerous surprises in this film and besides the thriller aspect you get just enough sci-fi and more than enough action.The supporting cast did an excellent job and I especially liked the little girl because I thought she acted really natural.The scale of it all sometimes feels a little small but it was still sufficient and probably caused by a lack of budget.Two keywords come to mind for this and thats sacrifice and redemption.I liked it a lot and so I recommend you'll give it a try.Enjoy..
Self/less (2015): Dir: Tarsem Singh / Cast: Ryan Reynolds, Ben Kingsley, Natalie Martinez, Matthew Goode, Victor Garber: Title symbolizes two elements.
I saw "Self/Less", starring Ryan Reynolds-Green Lantern, The Amityville Horror_2005; Natalie Martinez-End of Watch, Death Race_2008; Matthew Goode- The Imitation Game, Watchmen; Victor Garber-Argo, Alias_tv and Ben Kingsley-Iron Man 3, Gandhi.This is a little thriller that has some similarities to a 1966 movie with Rock Hudson in it called 'Seconds'.
Though most of SELF\LESS' running times is devoted to Ben Kingsley moving into Ryan Reynold's brain and body, director Tarsem Singh felt he could get away with dropping a few Real Life hints about some recent corporate moguls who seemed to "come out of nowhere" to suddenly chart America's course. |
tt0084228 | Laberinto de pasiones | Un hombre y una mujer caminan por una abarrotada calle, y se dedican a calibrar y admirar los paquetes de los hombres. Después, en una cafetería, toman algo, y él lee dos noticias: el científico español De la Peña que logró reproducir seis periquitos asexualmente y que el emperador de Tirana ha escapado a Estados Unidos y se refugia en una isla en Contadora (Panamá). La pareja de la mesa de al lado, vestidos como iban vestidos durante la Movida, se quejan de que no tienen dinero, y esnifan a la vista de todo el mundo. Otra noticia: Patty Diphusa, una estrella de porno, es entrevistada en una revista. Los tíos entablan conversación, ya que el que está leyendo paga toda las consumiciones de la pareja antes de que el camarero (Javier Ulacia) monte un escándolo con la pareja joven por no pagar. El joven le ofrece irse a su pisito de 60 metros. Ellos se van, pero la cámara se queda con Sexilia (Cecilia Roth), que está hablando con unos tíos para montar una fiesta en su piso con drogas y sexo.En un piso, dos tías están hablando. Una de ellas, Susana Díaz (Ofelia Angélica), come un montón, es una maruja regordeta que está planchando. La joven, Sexilia, le cuenta que ayer conoció a 8 ó 9 tíos y se los llevó a su casa a follar con ella sóla. Sexi dice que nunca invita a chicas a sus fiestas, porque ella sola puede con todas, y admite, satisfecha, que es una ninfómana, "desde niña". Susana le dice que la culpa es de su padre, que no se preocupa de ella y por eso Sexi lo odia, intentando vengarse de él follándose a todos los tíos. Susana le dice que ella también quiere tirarse al padre (Fernando Vivanco) de Sexi, el bioginecólogo doctor de la Peña, y lo llama a su consultorio. Él aduce que está muy ocupado y la rechaza: se supone que Susana es la psicóloga de Sexilia, como le dice el padre a una mujer, Toraya (Helga Liné), antigua emperatriz de Tirana.Susana y De la Peña se conocieron en una fiesta, pero Ana (Mercedes Juste) le dice que él está obsesionado con su trabajo. Sexilia no sale de su habitación durante el día porque odia al sol. Susana dice que es una "psicóloga a la italiana" y se ofrece para darle un tratamiento a Sexi.La emperatriz, a la que llaman Princesa, de acento italiano, está satisfecha de ser fertil, por fin. De la Peña le pregunta por el emperado, pero ella le dice que debe estar pasándolo muy mal por el cáncer, el exilio y demás circunstancias de su vida. Resulta que De la Peña lo conoció en una playa hacía 15 años. Resulta que el Emperador quería que la mitad de la nación llevase su sangre, y habla con un joven De la Peña , que acababa de publicar una artículo muy polémico sobre ginecológía y estaba veraneando en el mismo lugar. Princesa piensa que el emperador está un poco loco, y desde que la dejó a ella, todavía más.Afuera, dos pacientes hablan del tratamiento revolucionario; a una ya le ha funcionado, y lleva a la niña que nació para una revisión, mientras que la otra piensa que será feliz cuando sea finalmente madre. La madre (Eva Siva) dice que ahora no tendría a la niña Maricarmen (María del Carmen Castro), y la niña dice que la madre está de los nervios. La niña es muy maleducada, y contesta al médico. Princesa dice que Maricarmen es una niña probeta. La madre de Maricarmen no quería tener hijos, pero el tío con el que estaba sí los quería. Al final, buscaron esa solución, y en cuanto nació Maricarmen, el tío la dejó abandonada. La otra paciente (Zulema Katz) le aconseja que aproveche que es azafata para conocer a otros hombres. Sexi entra mientras Princesa sale, y la segunda comenta lo feliz que se siente ahora que ya es fertil; Sexi gruñe que para qué quiere eso. De la Peña se disculpa por la mala educación de su hija, y dice que su hija es un gran problema.Sexi dice que su psicóloga está muy loca, a lo que su padre le responde que la gente dice que es muy buena.En una tintorería, el dependiente (Luis Ciges) está tomando algo para que se le ponga dura (supongo que será algún antecedente de la Viagra). Sexi lleva un montón de ropa, y la dependienta Queti (Marta Fernández Muro) lo anota todo. Necesitarán cinco días. La dependienta se imagina con el vestido corto. Los de la lavandería son padre e hija. Resulta que la hija le pone betamuro en el té, para que se le pase el ansia sexual. El padre se acicala y Queti le pone crema en la espalda. El padre no quiere que Queti le llame papá, e intenta llevársela a la cama. El padre la ata a la cama y le dice que le encanta que tenga dos personalidades.En la revista del corazón Diez Minutos aparece Riza Niro (Imanol Arias) en portada. Es el hijo del Emperador, también exiliado. Sadec (Antonio Banderas) liga con el tío del principio en plena calle. Princesa le dice a Mohammed que ya es fertil, y que necesita conseguir semen del emperador. Se van los dos a follar. Resulta que Sadec es de Tirania, y Riza se entera porque hay una foto de él vestido como una mujer musulmana en el baño. Riza quiere irse inmediatamente al darse cuenta de que es paisano suyo, aunque él afirma se inglés pero que su madre era de Marruecos, y de repente tiene una prisa enorme. Parece que los tíos con los que Sadec está compartiendo piso son criminales que quieren secuestrar a Riza Niro, aunque el asunto va a estar complicado, porque entre otras cosas, ni Hassan (Agustín Almodóvar) ni Alí (Juan Carlos Quirós) saben dónde vive Riza Niro.Una sesión de fotos con Fabio (Fabio/Fany McNamara) como zombie salido. En esta sesión delirante, Pedro Almodóvar (Él mismo) dirige la broca que lo agujerea. Riza lo visita, porque quiere que lo cambie completamente. Resulta que se Riza Niro, con peluca horrorosa.En un concierto, Pedro y Fabio cantan mientras el grupo sustituto llega a la discoteca. Nana (Ana Trigo) protesta por el cambio en el programa, pero se consuela mientras come un plátano y le dicen que sugruo va a grabar un disco. Llega Eusebio (Ángel Alcázar) y su grupo como los sustitutos oficiales, pero él resbala, se cae por unas escaleras y su novia (Cristina Sánchez Pascual) tiene que llevarla al hospital. Encuentran un sustituto para el cantante, Riza Niro, porque se sabe la canción Gran Ganga. Resulta que ahora quieren que el sustituto firme un contrato con ellos.Sexi y Riza se miran, pero ella se va con dos tíos y él se va con otro, Santi (Javier Pérez Grueso) cada uno por su lado. Esa noche resulta que ninguno de los dos es capaz de tener relaciones sexuales satisfactorias. Sexi se cuela vestida como Caperucita Roja, y visita a Riza. Duermen juntos, y quiero decir que realmente duermen juntos, porque los dos han tenido una noche muy larga. Él dice que en un mes se vuelve a Panamá, en la isla Contadora. Sexilia se ofrece a irse con Riza adónde sea.Cuando ella se va, se encuentra a Queti andando por la calle vestida con su vestidito verde estampado. Sale corriendo del taxi para echárselo en cara. Queti dice que es fan de Sexi, que también canta en el grupo. Sexilia se ofrece al levar a Queti en taxi a su casa, y durante la conversación le pregunta por qué ella no está satisfecha con su propia vida, y ella le dice que está muy traumatizada. Ella le cuenta que su madre los abandonó hace unos meses, y que desde entonces, su padre la viola día sí - cuando se toma el afrodisíaco - y día no. Queti le dice que el antídoto no le hace efecto, y Sexi se ofrece a hablar con Paco, un amigo suyo que es químico.Sexi le pide a la criada (Marcela Amaya) que les prepare café. A Queti también le encanta De la Peña. Paco dice que el benzamuro es lo que pone paranoico al padre. Llegan las amigas del grupo de Sexi, Angustias (Concha Grégori) y Nana. Queti dice que es fan de Sexi y que le gustaría ser cantante como ella, y recomienda a Nana un remedio para que no se le resequen los labios. Nana saca unos consoladores porque acaba de decir que ya ha superado su timidez.Riza empieza a ensallar con el grupo Ellos, en el que antes cantaba Eusebio. Éste y su novia aparecen en los ensayos. La discográfica prefiere a "Johnny". En la parada del bus, la novia lo consuela. Ella lo que quiere es casarse con él. En dos años que lleva en el grupo, Eusebio no ha ganado ni un duro, y ya no está para andar haciendo niñerías. Sadec huele a la novia de Eusebio. Resulta que Sadec tiene un olfato muy desarrollado, y ha olido que uno de ellos huele al tío que está buscando. Como Sadec no sabe cómo se llama el tío al que estaba buscando, Eusebio casi le pega con la muleta.Sadec vuelve a su piso con los dos terroristas, que todavía no han sido capaces de averiguar dónde está Riza Niro. Sadec les dice que con él no cuente, que al estar enamorado su olfato ya no funciona. Los amigos le dicen que sus mariconadas son menos importantes que todo el futuro del pueblo tiraní. Le lanzan la revista 10 Minutos, y es ahí cuando Sadec se da cuenta de que el tío del que está enamorado es Riza.Queti dice a su padre que se va a hacer la compra, pero en realidad se escapa con Sexi. Queti se sorprende de que ella todavía no haya follado con el tío que le gusta. Sexi se ha vuelto más discreta. Sexi ha pagado una cirugía estética para Queti.Ángel (Santiago Auserón) es un vendedor a domicilio que vende medallas. La madre de Angustias (Teresa Tomás), que está seleccionando unos sombreros, quiere librarse de él. Sin embargo, Nana quiere ligar con él, aunque resulta que ya se conocían. Se besan en el ascensor enfrente de unos abuelos que se escandalizan. Ahora su amor ya es posible porque Nana ya no tiene los labios resecos, ni se tira pedos.Sexi no quiere saber del pasado de Riza; de hecho, todavía no han follado, porque ella quiere respetarse.En el hotel, una camarera (Lupe Barrado) prepara la cama de Princesa y la de Riza y Sexi. Resulta que, sin saberlo, se alojan todos en el mismo hotel.Toraya sale con ropa masculina y mira a los chaperos de una calle.La madre de Queti, Remedios (María Elena Flores) vuelve, porque su amante (Charly Bravo) ya está harto de ella. El padre de Queti está feliz de la vida. Ya se ha dado cuenta de que Queti se ha escapado.Susana corre detrás del doctor De la Peña en plena calle. Al final, y ante su insistencia, toman un café juntos. Susana le dice que él no se ha preocupado mucho por ella..., y que quiere tener sexo con él. De la Peña le dice que nunca le ha interesado demasiado el sexo, ni siquiera cuando era joven; siempre lo vio como algo sucio, e incluso por eso se dedicó a la inseminación artificial. Susana le dice que alguien tan atractivo y tan elegante tiene que pensar eso sólo por el trauma de que nunca se lo han hecho bien, pero al ver que él se va intenta retenerlo, incluso diciéndole que la niña tiene problemas.Toraya y Riza coinciden en el mismo ascensor. Un telegrama acaba de informar a Toraya que es imposible conseguir semen del emperado, pero que su hijo está en la habitación tres de su mismo hotel. Toraya se da cuenta de que el joven que tiene al lado es Riza Niro. Le dice "chao" y se quita las gafas, afirmando que se va a conocer mucho. Sexi llega a la habitación del hotel cuando Toraya ya se iba, pero se la encuentra. Mientras tanto, Riza está en el jacuzzi. Toraya dice que tenía una deuda con el pueblo tiraní, por eso se tiró al joven. Toraya le dice que ella fue la primera mujer de la vida de Riza, lo que enfurece todavía más a Sexi. Él intenta explicárselo, porque está enamorado de ella, pero ahora Sexi se dacuenta de lo malo que es el amor. Sale corriendo del hotel prometiéndose que nunca jamás volverá a enamorarse. Aún llorando, y destrozada, vuelve a la consulta de Susana Díaz.Susana se deshace de Alicia, la paciente a la que estaba atendiendo, porque Sexi está peor que ella. Alicia se one a chillar. Susana obliga a tomar un somnífero a Alicia, para que se quede tranquila.Susana abre la ventana de par en par, para que Sexi tenga que enfrentarse a sus miedos. Inmediatamente, Sexi empieza a recordar cuando ella era niña (Eva Carrero) y estaba en la playa. Toraya los vigila. Riza está enterrando a Sexi. Aparece Toraya, y se lleva a Riza. Sexi se levanta desorientada. Toraya está intentando seducir a Riza, que podría ser su hijo. Sexi dice a Riza que se vaya con ella. Toraya se pone pesada, y Sexi sa va llorando, porque piensa que Riza prefiere a Toraya. Ella acude a su padre, pero el doctor De la Peña le dice que no puede acuparse de ella en ese momento, que tiene que ir a hablar con un señor. Sexi se queda sola, tirada en la arena con el sol dándole en la cara y deslumbrándola. Unos niños estaban jugando al fútbol, pero al verla a ella, prepubescente, le preguntan si quieren jugar a "maridos y mujer" con ellos; es entonces cuando Sexi toma la decisión de ser la mujer de todos.Al final, Riza niño sí que estaba intentando librarse de Toraya. Le pega un empujón y se va. Ve cómo el círculo de niños le están quitando el bañador a Sexi. Uno de los niños se levanta y le susurra lo que ha pasado a Riza. Se van losdos, traumatizados.Sexilia vuelve a casa, donde sólo la espera la criada. Manuel Ángel (Paco Pérez Brián) la espera en la Calle Orellana para hacerse unas fotos. La criada quita el polvo del traje de Sexilia.Queti queda con Sexi. Ella le dice que ese novio es el hijo del emperador de Tirana. El camarero las mira mucho, así que se van al baño. Queti le dice que tiene que hablar con Riza - después de la cirugía estética, se parece muchísimo, así que será Queti quien tenga que ir a hacer las fotos a la calle Orellana. Melinda, la criada cubana, no se da cuenta de que es Queti y no Sexilia. La criada le dice que, antes de salir, hable consu padre, que está muy triste.De la Peña dice que está frustrado profundamente: los periquitos no cantan. Queti le da un montón del mejunge que se tomaba su padre - los periquitos. Inmediatamente, los periquitos cantan.Riza tiene que dejar el grupo aunque acaban de grabar el disco. Les da un montón de dinero para que se acuerden de él.Nana y Angustias se van a maquillar a una tienda de lámparas, donde la dependienta (Helena Ramos) les dice que las vio actuar en el Carolina, pero que estaban horrorosas. Queti llega tarde, haciéndose pasar por Sexilia.Aparecen Eusebio y su novia buscando lámapras. En el fondo, Ouka Lele (Ella misma) con su cámara y Carlos García Berlanga (Él mismo) también está comprando. Nana y Angustias también dicen que el hijo del emperador de Tirana es Johnny.Queti y la novia de Eusebio se pelean. Eusebio llama al anuncio que pone en el periódico y denuncia a Riza. Queti avisa a Sexi, que avisa a Riza. Él y Sexi se reconcilian y se van con el grupo al aeropuerto.Jaime Roca (Jesús Cracio) pregunta a la señora de la limpieza (Socorro Siva), que entonces ya no tiene tiemo de ir al baño. Se van a ir para Contadora. Angustias ha vuelto con Gonzalo (Poch)El manager habla con Toraya, y le hace una foto con el grupo de chicas. Los islamistas también han oído que Toraya y Jaime están allí, pero que Riza se les ha escapado. Los islamistas amenazan con una pistola a Eusebio, que se puso pesado para cobrar.Jaime y Toraya se van. Jaime se da cuenta de que le han robado la cartera. Uno de los islamistas le dice que tiene un recado de Riza Niro, y así la sacan del aeropuerto y la secuestran en un visto y no visto.De la Peña y Queti - haciéndose pasar por Sexi - se van a la cama y tienen sexo. Susana llama e insiste en que eso no es normal. Queti dice que no se meta con ella, que ya no hay más problemas sexuales en la familia.En el avión sólo se oyen los gemidos de placer de Riza y Sexi, sobre todo esta última, que por fin siente una orgasmo como es debido. | melodrama | train | imdb | Polysexual self involved drug fiends in screwball classic!!.
I agree with both comments above but wanted to emphasis what a fun insanely gleeful movie this is.
Very camp and sleazy.
A movie about being young.
Worth viewing for Almodovar and Fanny (Fabio) McNamara's horrendous pop group 'performing' 'Suck It To Me'.
Drag queens worship Fanny and you'll see why.
A sort of Madrid Liquid Sky with humor and a decent plot.
Very cult and very 60's mod.
Pure fun..
A brilliant comedy with no equal or comparison..
This film exhibits Almodovar's true comic genius like no other.
It will leave you reeling, and wanting to run about the streets naked while you howl with manic glee.
It is truly a maddeningly funny comedy that goes way beyond risque (nothing is taboo in this lunatic-romp).
It is so original that you may have trouble excepting its anything goes mind-set at first.
The film's madcap style, characters and situations are akin to nothing I've ever seen.
You've got to check this one out!.
Anecdotal....
In his two first movies (and I would count the third one too -Entre Tinieblas-) Almodóvar was more a kind of outsider, someone who needed to express himself freely in a country that had suffered a Dictatorship for almost 40 years.
Neither "Pepi, Luci..." nor "Laberinto de pasiones" tell any story in particular, at least none that's interesting.
They're rather a collection of gags and sketches that are meant to scandalize and to drive up the wall all that right-winged people.
Almodovar uses topics such as incest, gay power, Islamic terrorism, drugs abuse...
100% punk attitude, basically.
And though Spain is much more liberal nowadays some of the passages of Almodovar's first movies couldn't be accepted by the society.
How come?
Well, because of the "political correction" stuff (isn't it some kind of censorship too??
I mean, self-censorship).Anyway, this movies have to be understood in the right context (just like John Water's first films).
If you don't take that into account you'd better go and watch any other thing.5.5/10.
Funny indeed.
Very typical Almodóvar of the time and, in its own way, no less funny than many of his later works.
There is nothing to be provoked or shocked about, and I guess any such effect is more coincidental than intentional.
No, the great humor stems from an underlying, almost surreal, absurdity that is woven into the scenery: The characters' nearly complete lack of taboo.
It's the same kind of 'comic suspense' you find in his later works, though you'll find it in a more rough version here.
He's building up for masterpieces to come, but is not yet there.The sole reviewer who commented on this movie before I did, claimed that it had to be a "very select" group of people who'd find this movie hilarious.
The (nearly) perfect movie for sexy belly laughs.
I was delighted when I saw that my husband rented "Labyrinth of Passion".
I love Almodovar's films.
We both loved the movie.
We both couldn't stop laughing.
We especially enjoyed the scene in which the transvestite is shooting a photo novel, and while supposedly being menaced by a killer with an electric drill, is told to answer the phone and say, "I can't talk to you right now, I'm being attacked by a sadistic serial killer.
If I survive I will call you back".
(That would make a great answering machine message come to think of it).
We also loved the lady telling her new found beloved, "I went to an orgy after the concert but I couldn't stop thinking of you." (I'm waiting to use that line on Twitter).
"Labyrinth of Passion" is a rollicking farce with plenty of high jinks, hilarious dialog and eye candy for everyone.
The film has aged well: the 1980s costumes and hairdos add to the wackiness.
I would give it a 10 out of 10 rating but I am giving it a 8 for two reasons.
The first is the scene which involves laxatives which includes a shot of a lady soiling herself: totally unnecessary, and it brings down the tone of the film to Hollywood gross-out comedy for a moment.
The second is the suggestion that Queti is sleeping with her father: shocking, yes, but again, it ruins the tone of the film.
Still, I would recommend the film to anyone who wants a sophisticated, spicy, and fun time..
when Almodovar was a punk.
While some of my friends watched (and were delighted by) the latest movie of Almodovar the cinematheque in my village screened his second movie, made almost 30 years ago – 'Labyrinth of Passion'.
A couple of months ago I had seen 'Do You Remember Dolly Bell?' (made one year earlier than the film of the Spaniard) the first film of Kusturica, now this one, and beyond the similarities of the game of identifying in early works the spark of genius of the later great movies there is also an abyssal difference between the two.
While Kustirica's movie show the restrains of the censorship his work was subjected to in the still-Communist Yugoslavia, Almodovar's film shouts FREEDOM.Indeed, 'Laberinto de pasiones' is a film that could have been only in 1982 and in Spain.
The young director seems to be drunken by the light and colors of a world that just woke up after several decades of dictatorship.
His characters live in a Madrid that has become the heaven of all kinds of experiments – in music, in love, in the way people live.
There is absolutely nothing that reminds the films of Carlos Saura or Bunuel, the film is made by a young director whose career started with the liberation of Spain, and who celebrates his freedom in making movies and experiments with characters and a social medium on the fringe.Did I already say that watching this film is fun?
Just saying that one of the characters is the son of the Shah of (T)Iran who happens to be gay but then is 'cured' by a nymphomaniac named Sexilia – you already got a feeling of the material Almodovar plays with.
He also crosses the line to play a gay punk singer in travesty in one of the several delicacies of the film.
Sure, there is a lot of trash around, and not all of it is that original, but then you have Banderas playing a gay terrorist who falls for his target before knowing whom he gets in bed with.
All the story is told with a kind of detachment that makes you feel the protective smile of the director when looking at his characters and actors.No, this film is not a masterpiece, and if I had seen it by or close to the time it was made I am not sure whether I would have liked it, or identified the huge director Almodovar will become starting a few films later.
If there is anything close in genre it is rather the low cost comedies that by that time I would have seen in Romania (later the boorekas movies in Israel).
There is however in this film enough craziness and bluntness to break away from the crowd, and a hidden tear behind the laughs that I am pretty sure that could not have escaped me completely..
Chaotic provocation.
Reviewing a film is also reviewing the period that a movie was made.
And besides that it also said something about the reviewer himself.
Laberinto de Pasiones was made in 1982.
All kind of taboos were already broken in the late sixties and seventies by directors like Pasolini, Verhoeven en Peckinpah to name just a few.
In Spain the situation was different.
Until 1975 the country was a dictatorship under General Franco, a strict Roman Catholic.
Censorship was common and Spain missed the cultural changes the rest of Western Europe made completely.
So when Spain turned into a democracy after the death of Franco the new freedom people enjoyed led to a period in culture where all boundaries were explored.
In Laberinto de Pasiones a lot of things are shown which wouldn't be possible under the regime of Franco.
Homosexuality, nymphomania and incest are just a few of the practices shown in this film.Of course I was aware of the films by Aldomovar, I have seen Todo Sobre Mi Madre and Hable Con Ella which are excellent movies made by a mature director who understands human nature and is possible to combine drama with humor.
I have also seen Atame!
which shows the exploration of the sexual behavior of humans more than his later works.
But I wasn't really prepared for the overflow of sexual perversions which is Laberinto.
Aldomovar provokes here and he is exaggerating.
Victims are the plot and the acting.
As a viewer you're completely lost in about thirty story lines about people whose only purpose in life seems to be to fulfill their sexual obsessions.
The mood of the film has most in common with the kind of movies that are not shown on IMDb, seventies porn flicks and that is not a compliment to this film.
It all looks very amateurish to me.
On the contrary the movie is not without humor.
The scene in the music venue were Aldomovar himself sings a song in drag is really hilarious and probably the highpoint of the film.
And it is special to see a young Antonio Banderas as a gay special agent, a role he wouldn't consider these days.So Laberinto de Pasiones is probably an important film to free Spain from some boundaries in their cultural mindset but that doesn't make it a good film.
Mediocre acting, a ramshackle plot and the mood of a porn movie prevents this from being an early hint of greatness of this director..
Pink Flamingos for Spain.
I'm not surprised that more people have not seen and commented on this tragic testament to the real Almodovar, since he would most likely prefer it this way.
Laberinto de Pasiones is proof that Almodovar was simply a wannabe Spanish version of John Waters, the latter gaining his mainstream fame from "Serial Mom".
"Pink Flamingos".
With campy acting, full-frontal male nudity, incest, drug references and an unhealthy dose of toilet humor for good measure, it's safe to say Laberinto de Pasiones is Almodovar's "Pink Flamingos"; an exercise in camp and shock-value over substance..
Early Almodovar.
A camp melodrama/comedy about Sexilia (a nymphomaniac), Sadec (a gay Islamic terrorist), Riza Niro (the son of the emperor of Tiran), and Queti (the daughter of a dry-cleaner).
When Riza Niro discovers that Sadec and his colleagues are after him, he disguises himself as a punk rocker, and falls in love with the stunning Sexilia, his first straight relationship.This film is rarely seen in American because, so far as I know, it has never been released on DVD here.
That is somewhat surprising given the major name Almodovar has become.
And to have Antonio Banderas as a gay terrorist is something that is so out of character with how we might think of him today (2017).By American standards, the film may be considered soft-core pornography.
There is a fair amount of nudity, with men and women...
and men on men.
No doubt this was risqué in its day, and some might still consider it so.
Whether Americans are prudes or Europeans are perverts, I do not know..
Labyrinth of Boredom.
I happened upon a rare copy of this early Almodovar film with high expectations - Almodovar is a prolific contemporary director, I enjoyed his 1988 film "Women on the Verge of a Nervous Breakdown", and I had read one or two very positive reviews of the film.
Well, I must have missed completely the humor that the reviewers saw in this film.
I just found it incoherent, tasteless, and boring.
Yes, there are plenty of innuendos, people in drag, and crude sexual situations, and yes, these elements may have shocked audiences in 1982 (which was almost certainly Almodovar's intention), but much of the shock value has probably eroded over the years, leaving a limp storyline.
Beyond that, the whole movie seemed very chaotic, none of the characters were particularly sympathetic, and for a "comedy" - even a dark one - I just didn't find this film funny.
I suppose it is possible there is a VERY select audience for a film like this, but I'm just not part of that audience, and not sure that I want to be. |
tt0120611 | Blade | The movie begins in the year 1967 with a pregnant woman being admitted to a hospital, bleeding from the neck. Paramedics think she was attacked by some type of animal. Doctors perform an emergency C-Section, and her baby (a boy) is born alive just as she dies.Thirty years later a young man named Dennis (Kenny Johnson) is riding in a car with an attractive redhead named Racquel (Traci Lords) heading to an underground nightclub (located, oddly, in a slaughterhouse) somewhere in Los Angeles. After addressing the doorman in Russian, Racquel brings the young man into the club. The man is confused and trying to understand the rules of the club. Some of the regulars indifferently push him aside. Saying he needs a drink, the sprinkler suddenly system activates, raining blood down on everyone inside. It is then that he (and the audience) realizes that everyone in the club is a vampire.Dennis desperately tries to get away and winds up at the feet of a menacing figure in a black-leather trenchcoat. The vampires look on this figure with awe, mumbling the words: "it's the Daywalker!" This is our first look at Blade (Wesley Snipes), the vampire killer.Blade pulls out a shotgun and opens fire on the vampires, who instantly burn to ashes when killed. When the gun is knocked out of his hands by Racquel, Blade uses a set of silver stakes to kill Racquel and more vampires, including the disk jockey. Soon all the vamps are either dead or have fled except for one; a heavyset vamp named Quinn (Donal Logue), whom Blade has apparently run into before. Blade pins Quinn to the wall, and then sets him on fire before confronting the last member in the club (the human man from the beginning). Finding no vampire bite marks on Dennis, Blade lets him live and makes his escape as the police arrive.Quinn is extinguished and taken to the local hospital. A morgue technician examines his blood and shows the results to Dr. Karen Jenson (N'Bushe Wright), who finds a number of irregularities, including abnormally developed jaw muscles. As they are discussing the test results, Quinn springs back to life and bites both doctors. Before he can finish Dr. Jenson, Blade shows up and saves her, cutting off one of Quinn's arms.Blade brings Karen to his hideout and asks for help from his mentor, an elderly man named named Whistler (Kris Kristofferson). Whistler injects Dr. Jenson with a solution of garlic essence and silver nitrate and remarks that she has a 50/50 chance of recovering.Meanwhile, a group of vampires are discussing Blade's latest attack on their members. Apparently this club (and to an extent, Quinn) is the property of a vampire named Deacon Frost (Stephen Dorff). Frost wants the vampires to outright rule the humans and use them as a food source while the others (particularly an older vampire named Dragonetti) prefer to maintain a peaceful co-existance. Dragonetti (Udo Kier) in particular does not like Frost because Frost is not a "pure-blood" (ie: was not born a vampire, merely became one through the bite of another). Frost is also arrogant and his & the actions of his followers draw unnecessary attention to the vampire underworld.The next morning, Jenson awakens and sees Whistler injecting Blade with some type of serum. She tries to run away but Whistler confronts her and tells her that he and Blade are hunting vampires. Karen of course is skeptical, but Whistler goes on to talk about what they use to hunt- explaining that vampires are severely allergic to silver & garlic while also being vulnerable to sunlight (ultraviolet rays in particular). Whistler fuels up Blade's car and gives him a new UV flashlight to use when hunting that night. Whistler also gives Karen a type of "vampire mace" (garlic & silver nitrate in a liquid form).Blade drops Karen off at her apartment and she tries to pack up and get out of town. A police officer, identifying himself as Officer Krieger (Kevin Patrick Walls), arrives and questions her about the events at the hospital last night, as a pretext for trying to attack her. Before he can kill her, Blade returns and subdues the policeman. Blade explains that this officer is a "familiar," (also called a "Reinfield" or a "bug-eater") a human slave owned by a vampire. Blade reveals a tattoo called a "glyph" on the back of the officer's neck and recognizes it as the mark of Deacon Frost. Blade lets Officer Krieger go free in the hopes of tracking him to another vampire club.Sure enough, Blade and Karen arrive at a new underground club and have a confrontation with Pearl (Eric Edwards), a morbidly-obese vampire who works as a record keeper. Pearl confesses that Deacon Frost is researching ancient vampire prophecies... one in particular involving a ritual and a creature named "La Magra." Karen burns Pearl severely with Whistler's giant UV light and Blade steals part of Pearl's hard drive.Blade and Karen move further into the vampire records and find pages from "The Book of Erebus," the vampire Bible. They are suddenly ambushed by a group of vampires led by Quinn, now healed and having regrown his lost hand. Quinn tortures Blade for information (and for his own amusement) but realizes that Blade has a radio link in his ear.Whistler suddenly arrives (having been listening in the whole time) and opens fire on the vampires. The three heroes escape through the subway system, and Blade cuts off Quinn's other hand to get away. When he and Karen board a passing subway car, Blade steps back and injects himself with more serum. Karen suspects that Blade is actually a vampire himself, but Blade responds in the negative; he is something completely different.At a vampire club, Officer Krieger arrives where he reports to Frost about Blade and of his new alliance with the doctor, Karen. Frost is angry for letting Blade get away, but does not kill Krieger. Frost lets his blond vamp girlfriend Mercury (Arly Jover) biting out Krieger's throat in gory fashion.Back at the hideout, Whistler explains Blade's history to Karen: Blade was the baby seen in the opening scene; his mother was attacked by a vampire hours before he was born. She died but Blade lived and Whistler found him on the streets. Due to the unique circumstances of his birth, Blade is a hybrid of human and vampire abilities; he can resist garlic & silver, can walk in open sunlight (hence the nickname "Daywalker" given by other vampires) and has enhanced strength and healing abilities, however he also has inherited the vampire's thirst for blood. Whistler developed a serum to curb Blade's cravings, but Blade's body is starting to resist it. Whistler also gives Karen a bit of his own history: his own children and wife were killed by a vampire years before and he acts out of revenge, as much as social justice. Whistler also shares his own history: he was married with children and one night while they were all home, a vampire held Whistler and his family hostage. The vampire killed them all but left Whistler himself alive.Whistler also learns that his attempted cure of Karen was ineffective and that she is growing close to turning into a vampire. Karen refuses to give up, taking a few items from the hospital where she worked to try and find a cure for both her and Blade. The first item she brings (an anti-coagulant formula known as EDTA) is found to have a violent reaction when mixed with vampire blood, so she gives it to Blade for use as a weapon.Meanwhile, Quinn is at Frosts' headquarters, berated for his second failure. Frost encourages Quinn to go back out and get Blade... alive. Quinn is confused by the order since the vampires have been trying to kill Blade for a very long time.Afterwords, Frost takes Mercury and his entourage of followers and abducts Dragonetti, taking him to a beach near sunrise and forcibly ripping out the elder vampire's fangs. Frost's gang shields themselves with sunscreen, black clothing and motorcycle helmets, leaving Dragonetti to burn to death in the sun. Frost confronts the remaining elders of the Vampire Council, asking for 12 people to "volunteer" for his "La Magra" project.While Blade purchases more items for hunting, Whistler and Karen discuss her latest attempt at a cure. Karen is sure that the new formula will work on her, but is unsure what effects it might have on Blade since he was born with vampirism. The stronghold is attacked by Frost's followers and Karen is abducted while Whistler is brutally beaten by the vampires.Blade returns to find Whistler in severe pain and infected by the vampire bites. In an emotional scene, Blade assists Whistler in committing suicide before loading up to raid Frost's stronghold.Blade kills many of Frosts' followers, even trying the EDTA formula (which makes vampires swell up and explode in a shower of blood). Blade finally reaches the final room of Frost's hideout, where he is confronted by a lone woman who calls him "Eric." It is Blade's mother, reborn to serve the Frost.Frost ambushes Blade, taking him hostage while revealing that HE (Frost) was the vampire who bit Blade's mother. Blade and Karen are transported to another location. Blade, despondent, asks Karen if she has finished her "miracle cure." Karen says that the cure would presumably rob Blade of his strength and healing powers while neutralizing his thirst, effectively making Blade fully human.Blade and the 12 members of the Vampire Council are to be used as offerings for Frost's "La Magra" ritual. Blade is put into a large torture device, where most of his blood is extracted for the ritual. The 12 members of the Council are executed and their souls are absorbed by Frost, turning him into La Magra: the Blood God.Karen escapes using the mace previously given to her by Whistler, and frees Blade - now terribly weak. Knowing that there is only one way to get Blade healed in time, Karen requests that Blade take some of her blood. Blade resists at first, but finally seeing no other choice, bites Karen.Blade's mother suddenly appears and fights Blade, ultimately being stabbed in the heart with a bone. Blade fights his way through the remaining vampire guards, reclaiming his trademark sword and decapitating Quinn to reclaim his sunglasses. Blade then takes on the vampire guards in marital-arts fashion, defeating them all. Mercury attempts to kill Karen who opens fire with a shotgun containing silver buckshot, but Mercury is too fast and knocks the gun out of Karen's hands and easily bests her in hand-to-hand combat. Karen finally kills Mercury by using the garlic mace to spray Mercury in her mouth just as she is about to bite Karen, making Mercury's head explode in a gory mass of blood and brains.Blade and La Magra fight, effectively clashing swords. Blade cuts off Magra's arm and slices him in half, but the Blood God merely regenerates without any effort. La Magra taunts Blade, mentioning the "serum" that Blade is so dependent on. Blade realizes that Magra is actually referring to the EDTA vials that Blade brought on the hunt. He grabs the packet of vials and unloads every one into the Blood God. La Magra swells up and explodes in a massive shower of blood.Karen and Blade exit the ruins. Blade finally declines the cure, deciding that even with Frost gone there are many other vampires out there and he needs the additional skills. Blade asks Karen to make him a more efficient serum, and she agrees.The movie ends with Blade resuming his hunt in a Russian-speaking country. | gothic, stupid, cult, violence, good versus evil, action, revenge | train | imdb | The best vampire slaying movie ever my number one favorite Blade film.
Blade (1998) is the best action/horror vampire slaying movie ever made!
Blade is humanity's last hope!Wesley Snipes plays a half-mortal, half-immortal charged with ridding the earth of a race of vampires led by Stephen Dorff in this action-packed blockbuster.This movie right here oh my god!
Since he teamed up with whistler (Kris Kristofferson) he has hunted down vampires who have lived amongst us unnoticed for centuries, but omnipotent overlord Deacon Frost (Stephen Dorff) is tired of living in harmony with the humans (Food as he calls them) and he plans to waken the blood god and take control of the world.This movie is well cast, written and directed; ensuring the viewer has a thrilling ride from start to finish.
The Blade character (Wesley Snipes) is pretty amazing in this film and mixes martial arts with Batman like darkness.
Stephen Dorf provides the best acting in the film and his chilling performance as Deacon Frost stands as one of the best screen villains I have perhaps ever seen.The story is good and, I feel, renews the vampire genre (something that hasn't been done since Robert Rodrigues' From Dusk Till Dawn) by adding a lot of contemporary elements and maintaining the comic book feel.
The fact that the overall effects were well done adds to the credibility of the film which would otherwise have fallen flat on its face.As previously stated Norrington has a very distinct visual style that sets him apart from the directors of the following Blade movies.
Some of the effects in the final fight are a bit lacking and they make the usual horror movie mistake of showing too much and having it be less effective than the build up and suggestion of the monster was.Snipes doesn't exactly display a great emotional range here but he is good in the title role nonetheless.
The support cast contains no real standouts; Lathan is no more than a cameo and isn't really good while people like Lords only stick in the memory due to their name and not their performance.Overall this is an enjoyably slick vampire/action movie.
The end product may be more style than substance but the character of Blade is darkly interesting, even if neither Snipes nor the film really give too much away in terms of his inner workings.
Blade is a fantastic action/thriller that keeps you captured for the whole duration and Wesley Snipes delivers what I would say to be his best performance yet.This film has everything that you would ask for in an action/thriller, it has plenty of blood, guts and gore, a twisted, disturbed bad buy, moments of humour but most importantly a very good story line with plenty of twists.Their is constant action throughout the film with breathtaking stunts and effects, Wesley Snipes fighting movement is fantastic.This film is in my opinion a must see, Wesley Snipes cool, solid appearance makes this film and I can't wait for the sequel 'BLADE 2' being released next year.My IMDB Rating - 9 out of 10.
It's technically polished, with good acting, excellent directing and production design, and awesome special effects - the way the vampires turn to skeletons and blow away like dried parchment when they die is way cool.
There are three accomplished action sequences, the opening party scene which Blade inconveniently crashes, a brush with death on a subway, and the final conflict, with some special effects I can say, as a movie seasoned veteran, I've never seen before.
It has Blade as a central character (Wesley Snipes is phenomenal) and a crazy enough story thread to hold/justify the action scenes!
Stephen Norrington's 1998 release "Blade" (based on the Marvel comic character) is the film that arguably lead to the recent trend of comic-book movies.
The film is an incredible, Gothic ride with great performances and unique visuals, and should be seen by any fan of action, horror or film in general.Blade (Wesley Snipes) is a half-human, half-vampire.
Blade and his mentor Whistler (Krist Kristopherson) spend their nights hunting and killing vampires who feed on the humans.At the same time, a vampire named Deacon Frost (Stephen Dorf) is plotting to overthrow the noble heads of the various vampire clans, and using them as sacrifices to bring about "La Magra" a vampyric blood-god, to destroy humanity and grant himself untold power.
Wesley Snipes is one of my favorite actors and is perfect for the role of the tortured half man, half vampire Blade.
Blade is a great film with two great stars, perfectly executed fight scenes, and lots of cool shots of vampires heads exploding.
This is the kind of film that you end up watching if it comes out on TV, even if you already own a copy of it!Watch the "Trivia"-section to find out how they almost ended up screwing this good head-start of comic-book action heroes to silver screen (LL Cool J as Blade, eh!)And, believe or not, the sequel is even better!
The film's opening scene is a great one and it's rather sad that the rest of the movie doesn't quite manage to stay on the same level – we've seen the best the film has to offer after the first ten minutes or so.Blade is kinda cheesy fun, a guilty pleasure of some sort.
If there was a better ending - it would have been a more satisfying ending.The movie seems to pay homage to both Hong Kong action films and newer stuff like "Mortal Kombat" (eg: lots of martial arts set to a thumping techno soundtrack) - although I wish there was a bit less orchestral music and more techno!Wesley Snipes is impressive in the action sequences but his character is a little bit shallow (makes Batman look deep!).OK - but could have been much sharper and better!.
wesley snipes was great for this role - and i'm sure blade 2 would be just as good.blade is by far one of my favorite action/horror movies out there!
This is more or less professional.....It's a bit lengthy, but bear with me.Hollywood, which over the decades has brought countless vampire horror/action movies to the silver screen, now spawns yet another series of blood-guts-and-gore filled thrillers-from this summer's "Scream 2" and "I Know What You Did Last Summer" to the more recent Wesley Snipes film, "Blade."The latter movie leaves an incredibly mixed impression, so much so that I am still not entirely certain whether I enjoyed it or not.
It is a peculiar mix of fast-paced, "edge-of-your-seat" action and a plethora of gruesome scenes, all shown in pitiless up-close detail.Blade, portrayed by Wesley Snipes ("US Marshals," Money Train") is a half-human half-vampire whose mission it is to find and destroy the vampire who killed Blade's mother and turned him into the "freak" that he is.Blade saves and teams up with Karen, played by N'Bushe Wright ("His and Hers," "Dead Presidents"), a doctor who in a matter of days invented the cure for anemia-a form of which supposedly makes vampires what they are-that real-life doctors took decades to discover.Together, the two hunt out vampires, led by the charismatic renegade Deacon Frost, played by Stephen Dorff ("City of Industry," "Blood and Wine"), who takes over the grand council by neatly disposing of the former leader and cowing the rest of the hardcore vampires into submission with the help of a host of fellow humans-turned-vampires.All of this transpires among chaos wrought by the incompetent handling of scene changes by director Stephen Norrington ("Death Machine," 1994).
The special effects, jumbled as they are, are nevertheless impressive, from the majestic, if somewhat Spartan and computer animation-reeking, grandeur of the temple of the Blood-God to the sped-up passing of the of the days and nights in the city.However, the most redeeming features of the movie are the martial arts scenes that rival Jackie Chan in his new movie "Rush Hour," and sword fights that make the "Highlander" series' Adrian Paul look like a rank amateur.The realistic, fast-paced action scenes almost make up for the numerous incongruities of the movie-Blade looks surprisingly like Batman with added bulk, the moon above the city is always full, despite the fact that the movie itself takes place over a span of several days, and the police attempt to shoot Blade down despite him having an innocent civilian with him.
That snarl...That scowl...The acts of random violence...The gutteral voice...The fetish wear...That shaven head...It can mean only one thing...GRACE JONES IS BACK!Actually my sources tell me that the title role in Blade wasn't played by the 1980s diva, but by Wesley Snipes.All in all this is not an improvement.Blade is an adaptation of a comic character; somehow in the transfer from the simplistic, two-dimensional world of the printed page it has become even more simplistic and lost a couple of dimensions.The plot is hackneyed almost beyond belief and adds nothing to the vampire genre, in fact, much like Nosferatu, it seems to suck the life out of the audience.
And whilst a vampire can be a tragic character, this is not true of Blade, he is relentlessly cruel, scornful and not a whole lot better than the bad guys.I assume that Wesley Snipes has an 'acting' career purely so that everyone else can be compared favourably.
Likewise no other actor is allowed any chance to give a reasonable performance; the likes of Steven Dorff *CAN* act, but they have to play second fiddle to Snipes' tedious performance.Kris Kristofferson used to appear in good movies, here he is reduced to a sidekick that you just know isn't going to make it through to the final reel.
The rest of the film devolves into a silly tale about reviving blood gods and whatnot, most of it incomprehensible junk that serves as filler in-between the action, which quickly grows redundant.The movie is packed to the brim with stunts and fight scenes, but most of them lack the precious sense of fun that makes the best of action movies exhilarating (the recent Equilibrium wildly succeeds with its action in comparison to where Blade resoundingly fails).
Seeing the preview lowered my expectations, and the movie itself was a disappointment.It is most of the time nothing but an average action movie, and even if the effects and fighting scenes are good to excellent, the story itself was quite flat and boring, and there was nothing about horror.
The start of the film is the best part of the whole picture; Traci Lords plays Racquel (even if nobody ever calls her with a name in the movie), a vampire woman, which takes a human victim (a man which believes she loves/likes him) to a vampire disco.
In all his films, Wesley Snipes is a natural cool one; but here he _tries_ to be cool all the time, and becomes, of course, very uncool this way.This film has been compared to Spawn, but Spawn is a totally different kind of film; a good family movie where good fights against evil, and good wins.
The Direction was totally laughable, Wesley Snipes (Who was good in White Men Can't Jump) plays a silly, unoriginal character!!I would ultimately compare this movie to 'Street Fighter', and it would be fun to see which one was actually better!This is purely a Franchise movie, with big-bucks in mind, nothing more!
The film then continues to show how the vampires lived in secrecy but Deacon Frost wishes to take control of the world using 'La Magra', the blood god!The music from this movie is great, its filmed very well and the story flows completely.
The gore spills out realistically and the burns also look realistic, Udo Kier combusting in sunlight is an image that sticks with you.In terms of overall plot this is relatively simple - Blade tries to take down Deacon Frost, the vampire that killed his mother.The execution is purely for those who like action-oriented vampire films such as Underworld or people who know the comics and want to see their favourite vampire-hunting comic book hero to be brought to life.Overall if you are into these types of films, this is a must see.
The range of characters is suitably colourful and impressive, with a great turn from a gruff and scruffy Kris Kristofferson, as The Whistler (who's a vampire hunter) and sexy, sultry black girl Dr Karen Jenson (N'Bushe Wright).However, it's Wesley Snipes, always looking lean, mean and imposing and great in his black leathers that transports the film from a hum-drum half-hearted affair to knock-out action movie.
The other great characters in this movie are the villains Deacon Frost(Stephen Dorf) and his right hand man Quinn(Donald Logue) they add some menace and humor to the film.
But despite it's many flaws Blade is a very entertaining film thanks to its style,energy and great action scenes.
Balde is a decent vampire movie from director Stephen Norrington who does a good job in making this but the lack of suspense, the dialogue at times, and a rushed finale are what weigh it down.
Stephen Dorff is effective as the villain Deacon Frost but he isn't given much to except for a few action sequences and his showdown with Blade at the end is sort of a let down.
Despite it's problems Blade is a decent adaption of a comic book with enough impressive martial arts action, cool special effects, and solid performances by most of the cast who make it worth watching if only the film had been a little better I would've enjoyed it more than I did..
While Blade is great to see on screen being portrayed by Wesley Snipes all the other characters along with the main villain do nothing for this story to make it interesting.
Overall Blade does have good fight scenes and is defiantly different from most vampire films.
Being based on a comic strip it has over the top action sequences, impossible to rationalise premises and a complete lack of seriousness but hey, it's a fun film.Wesley Snipes delivers a class performance as the hero in designer body armour and Stephan Dorff is great as the chilling vampire equivalent of a juvenile delinquent Decon Frost.
Fans of the comic may arque that Snipes doesn't look too much like Blade, but he delivers the goods.
Blade is basically an action film that has the right mix of movie styles to make it worth watching..
I don't expect him to forgive me, nor let me choose another movie to watch ever again after this.After watching "The Wolverine" I wanted to see what an R-Rated Marvel movie would be like (apart from "The Punisher", which is a guilty pleasure of mine) and I thought this would be a great idea, I was wrong and if you haven't seen it I can only ask you to please stay away from it.I'd probably give it a 1/10 if it wasn't for a scene where a little Asian girl the bad guy, played by Stephen Dorff, is holding as a hostage gets thrown away into what seems to be a hot dog stand and from there to the steet, it was one of those Robert Rodriguez ridiculously funny moments and just because of it I'm giving the movie a star.I recommend you stay away from this...please don't watch it..
I also liked the idea behind the main character: Blade, played by Wesley Snipes, is a renegade vigilante half-vampire who fights against the underworld while having to keep his own vamp urges in check.Sadly, I didn't like much else in this movie: the huge potential for creepiness was discarded in favor of non-stop video game-like action, any hint of atmosphere was destroyed by that annoying camera work (first jerky, then slow-motion) that's characteristic of today's action movies and music videos, and the overall look of the movie is dominated by a pretty obnoxious Cigar-and-Martini/GQ-style fashion sense.I enjoyed the opening action sequences, and a bit of what followed, but Blade became increasingly stupid, and by the half-way point I was pretty much through with it..
Other than the vampires and how many rules were not kept to in this movie, Wesley Snipes gives a good performance as Blade and Stephen Dorff is great as the evil vampire.
But Blade has it's moments and I would recommend it as a good horror/action movie..
Wesley Snipes performances, is arguably one of the best comic to live action movie adaptations.
If you like your science-fiction action packed, or your action movie to have a brain, then this Blade is for you.The first is still the best in franchise.Between Snipes' potent machismo and Norrington's stylistic eye, Blade pulsates with pounding vitality.An intensely thrilling comic- book story.Lots of pumping blood and superhuman feats power this Wesley Snipes- as- half- vampire flick above the norm.A hugely entertaining supporting cast.
The film Blade, is one of the very first all-out action vampire movies that are often seen today in modern horror films.
What's great about Blade is the likability of the two main heroes, performed by Wesley Snipes and Kris Kristofferson.
his own kind didn't even like him (Stephen Dorff's best role I have ever seen!)this film has good sometimes witty dialogue with that slight subtle humor to it, great martial arts action scenes throughout leaving you wanting more, definitely a very simple but effective Vampire film!
and I would recommend this to anyone who likes good action and Vampire films..
Blade is a quality comic book adaptation with some real visceral action and possibly the best opening sequence to any movie of this kind.
Wesley Snipes was made for the part of Blade both physically with his fight stunt work and in his brooding performance and thats what makes this film.
The plot is mostly irrelevant there's something going on about a blood god but really who cares it's all about Blade looking cool and kicking vampire a**.A quality movie for action and comic book fans that just falls short of being great 7/10. |
tt0111161 | The Shawshank Redemption | In 1947, Andy Dufresne (Tim Robbins), a banker in Maine, is convicted of murdering his wife and her lover, a golf pro. Since the state of Maine has no death penalty, he is given two consecutive life sentences and sent to the notoriously harsh Shawshank Prison. Andy always claims his innocence, but his cold and measured demeanor led many to doubt his word.During the first night, the chief guard, Byron Hadley (Clancy Brown), savagely beats an overweight and newly arrived inmate because of his crying and hysterics. The inmate later dies in the infirmary because the prison doctor had left for the night. Meanwhile, Andy remained steadfast and composed. Ellis Boyd Redding (Morgan Freeman), known as Red, bet against others that Andy would be the one to break down first and loses a considerable amount of cash. Red has been in prison for several years having been given three consecutive life sentences for the murder of his wife and two others.About a month later, Andy approaches Red, who runs contraband inside the walls of Shawshank. He asks Red to find him a rock hammer, an instrument he claims is necessary for his hobby of rock collecting and sculpting. Though other prisoners consider Andy "a really cold fish," Red sees something in Andy, and likes him from the start. Red believes Andy intends to use the hammer to engineer his escape in the future but when the tool arrives and he sees how small it is, Red puts aside the thought that Andy could ever use it to dig his way out of prison.During the first two years of his incarceration, Andy works in the prison laundry. He attracts attention from "the Sisters," a group of prisoners who sexually assault other prisoners. Though he persistently resists and fights them, Andy is beaten and raped on a regular basis.Red pulls some strings and gets Andy and a few of their mutual friends a break by getting them all on a work detail tarring the roof of one of the prison's buildings. During the job Andy overhears Hadley complaining about having to pay taxes for an upcoming inheritance. Drawing on his expertise as a banker, Andy lets Hadley know how he can shelter his money from the IRS, turning it into a one-time gift for his wife. He says he'll assist in exchange for some cold beers for his fellow inmates while on the tarring job. Though he at first threatens to throw Andy off the roof, Hadley, the most brutal guard in the prison, agrees, providing the men with cold beer before the job is finished. Red remarks that Andy may have engineered the privilege to build favor with the prison guards as much as with his fellow inmates, but Red also thinks Andy did it simply to "feel free."While watching a movie, Andy demands "Rita Hayworth" from Red. Soon after, Andy once more encounters the Sisters and is brutally beaten, putting him in the infirmary for a month. Boggs (Mark Rolston), the leader of the Sisters, spends a week in solitary for the beating. When he comes out, he finds Hadley and his men waiting in his cell. They beat him so badly he's left paralyzed, transferred to a prison hospital upstate, and the Sisters never bother Andy again. When Andy gets out of the infirmary, he finds a bunch of rocks and a poster of Rita Hayworth in his cell: presents from Red and his buddies.Warden Samuel Norton (Bob Gunton) hears about how Andy helped Hadley and uses a surprise cell inspection to size Andy up. The warden meets with Andy and sends him to work with aging inmate Brooks Hatlen (James Whitmore) in the prison library, where he sets up a make-shift desk to provide services to other guards (and the warden himself) with income tax returns and other financial advice. Andy sees an opportunity to expand the prison library; he starts by asking the Maine state senate for funds. He writes letters every week. His financial support practice is so appreciated that even guards from other prisons, when they visit for inter-prison baseball matches, seek Andy's financial advice. Andy prepares Norton's tax returns the next season.Not long afterward, Brooks, the old librarian, threatens to kill another prisoner, Heywood, in order to avoid being paroled. Andy is able to talk him down and Brooks is paroled. He goes to a halfway house but finds it impossible to adjust to life outside the prison. He eventually commits suicide. When his friends suggest that he was crazy for doing so, Red tells them that Brooks had obviously become "institutionalized," essentially conditioned to be a prisoner for the rest of his life and unable to adapt to the outside world. Red remarks: "These walls are funny. First you hate 'em, then you get used to 'em. Enough time passes, you get so you depend on them."After six years of writing letters, Andy receives $200 from the state for the library, along with a collection of old books and phonograph records. Though the state Senate thinks this will be enough to get Andy to halt his letter-writing campaign, he is undaunted and redoubles his efforts.When the donations of old books and records arrive at the warden's office, Andy finds a copy of Mozart's The Marriage of Figaro among the records. He locks the guard assigned to the warden's office in the bathroom and plays the record over the prison's PA system. The entire prison seems captivated by the music — Red remarks that the voices of the women in the intro made everyone feel free, if only for a brief time. Outside the office, Norton appears, furious at the act of defiance, and orders Andy to turn off the record player. Andy reaches for the needle arm at first, then turns the volume on the phonograph up. The warden orders Hadley to break into the office and Andy is sent immediately to solitary confinement for two weeks. When he gets out, he tells his friends that the stretch was the "easiest time" he ever did in the hole because he spent it thinking about Mozart's Figaro. When the other prisoners tell him how unlikely that is, he replies that hope can sustain them. Red is not convinced and leaves, bitter at the thought.With the enlarged library and more materials, Andy begins to teach those inmates who want to receive their high school diplomas. After Andy is able to secure a steady stream of funding from various sources, the library is further renovated and named for Brooks.Warden Norton profits on Andy's knowledge of accounting and devises a scheme whereby he puts prison inmates to work in public projects which he wins by outbidding other contractors (prisoners are cheap labor). Occasionally, he lets others get some contracts if they bribe him. Andy launders money for the warden by setting up many accounts in different banks, along with several investments, using a fake identity: "Randall Stephens." He shares the details only with his friend, Red, noting that he had to "go to prison to learn how to be a criminal."In 1965, a young prisoner named Tommy (Gil Bellows) comes to Shawshank to serve time for armed robbery. Tommy is easy going, charismatic, and popular among the other inmates. Andy suggests that Tommy take up another line of work besides theft. The suggestion really gets to Tommy and he works on earning his high school equivalency diploma. Though Tommy is a good student, he is still frustrated when he takes the exam itself, crumpling it up and tossing it in the trash. Andy retrieves it and sends it in.One day Red tells Tommy about Andy's case. Tommy is visibly upset at hearing Andy's story and tells Andy and Red that he had a cellmate in another prison who boasted about killing a man who was a pro golfer at the country club he worked at, along with his lover. The woman's husband, a banker, had gone to prison for those murders. With this new information, Andy, full of hope, meets with the warden, expecting North to help him get another trial with Tommy as a witness. The reaction from Norton is completely contrary to what Andy hoped for. When Andy says emphatically that he would never reveal the money laundering schemes he set up for Norton over the years, the warden becomes furious and orders him to solitary for a month. The warden later meets with Tommy alone and asks him if he'll testify on Andy's behalf. Tommy enthusiastically agrees and the warden has him shot dead by Hadley.When the warden visits Andy in solitary, he tells him that Tommy was killed while attempting escape. Andy tells Norton that the financial schemes will stop. The warden counters, saying the library will be destroyed and all its materials burned. Andy will also lose his private cell and be sent to the block with the most hardened criminals. The warden gives Andy another month in solitary.Afterwards, Andy returns to the usual daily life at Shawshank, a seemingly broken man. One day he talks to Red, about how although he didn't kill his wife, his personality drove her away, which led to her infidelity and death. He says if he's ever freed or escapes, he'd like to go to Zihuatanejo, a beach town on the Pacific coast of Mexico. He also tells Red how he got engaged. He and his future wife went up to a farm in Buxton, Maine, to a large oak tree at the end of a stone wall. The two made love under the tree, after which he proposed to her. He tells Red that, if he should ever be paroled, he should look for that field, and that oak tree. There, under a large black volcanic rock that would look out of place, Andy has buried a box that he wants Red to have. Andy refuses to reveal what might be in that box.Later, Andy asks for a length of rope, leading Red and his buddies to suspect he will commit suicide. At the end of the day, Norton asks Andy to shine his shoes for him and put his suit in for dry-cleaning before retiring for the night.The following morning, Andy is not accounted for as usual in his cell. At the same time, Norton becomes alarmed when he finds Andy's shoes in his shoebox instead of his own. He rushes to Andy's cell and demands an explanation. Hadley brings in Red, but Red insists he knows nothing of Andy's plans. Becoming increasing hostile and paranoid, Norton starts throwing Andy's sculpted rocks around the cell. When he throws one at Andy's poster of Raquel Welch (in the spot previously occupied by Marilyn Monroe, and before that by Rita Hayworth), the rock punches through and into the wall. Norton tears the poster away from the wall and finds a tunnel just wide enough for a man to crawl through.During the previous night's thunderstorm, Andy wore Norton's shoes to his cell, catching a lucky break when no one notices. He packed some papers and Norton's clothes into a plastic bag, tied it to himself with the rope he'd asked for, and escaped through his hole. The tunnel he'd excavated led him to a space between two walls of the prison where he found a sewer main line. Using a rock, he hit the sewer line in time with the lightning strikes and eventually burst it. Crawling through 500 yards in the pipe and through the raw sewage contained in it, Andy emerged in a brook outside the walls. A search team later found his uniform and his rock hammer, which had been worn nearly to nothing.That morning, Andy walks into the Maine National Bank in Portland, where he had put Warden Norton's money. Using his assumed identity as Randall Stephens, and with all the necessary documentation, he closes the account and walks out with a cashier's check. Before he leaves, he asks them to drop a package in the mail. He continues his visitations to nearly a dozen other local banks, ending up with some $370,000. The package contains Warden Norton's account books, which are delivered straight to the Portland Daily Bugle newspaper.Not long after, the police storm Shawshank Prison. Hadley is arrested for murder; Red says he was taken away "crying like a little girl." Warden Norton finally opens his safe, which he hadn't touched since Andy escaped, and instead of his books, he finds the Bible he had given Andy. Norton opens it to the book of Exodus and finds that the pages have been cut out in the shape of Andy's rock hammer. Norton walks back to his desk as the police pound on his door, takes out a small revolver and shoots himself under the chin. Red remarks that he wondered if the warden thought, right before pulling the trigger, how "Andy could ever have gotten the best of him."Shortly after, Red receives a postcard from Fort Hancock, Texas, with nothing written on it. Red takes it as a sign that Andy made it into Mexico to freedom. Red and his buddies kill time talking about Andy's exploits (with a lot of embellishments), but Red just misses his friend.At Red's next parole hearing in 1967, he talks to the parole board about how "rehabilitated" was a made-up word, and how he regretted his actions of the past of murder over 40 years ago and no longer expects anything from them. His parole is granted this time. He goes to work at a grocery store, and stays at the same halfway house room Brooks had stayed in. He frequently walks by a pawn shop which has several guns and compasses in the window. At times he contemplates trying to get back into prison feeling that he has no life outside of prison where he has spent most of his adult life, but he remembers the promise he made to Andy.One day, with a compass he bought from the pawn shop, he follows Andy's instructions, hitchhiking to Buxton and arriving at the stone wall Andy described. Just as Andy said, there was a large black stone. Under it was a small box containing a large sum of cash and instructions to find him. He said he needed somebody "who could get things" for a "project" of his.Red violates parole and leaves the halfway house, unconcerned since no one is likely to do an extensive manhunt for "an old crook like [him]." He takes a bus to Fort Hancock, where he crosses into Mexico. The two friends are finally reunited on the beach of Zihuatanejo on the Pacific coast. | fantasy, psychological, murder, mystery, dramatic, violence, cult, cute, thought-provoking, plot twist, flashback, atmospheric, humor, melodrama, inspiring, revenge, sentimental | train | imdb | null |
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